Costantino Nivola was an Italian sculptor, architectural sculptor, muralist and teacher. Born in Sardinia, Nivola had started his career when he fled Fascism for Paris in 1938, going to the U. S. in 1939. His major sculptural work is abstract, large-scale architectural reliefs in concrete, made in his own sandcasting and cement carving processes; these were erected on American buildings between the late 1950s and early 1970s. Creatively busy and while remaining active in Italy, Nivola taught at the Harvard Graduate School of Design, Columbia University, UC Berkeley, elsewhere; the Nivola Museum in Orani, Sardinia is dedicated to his life and sculpture, hosts the largest collection of his smaller scale work. Nivola grew up poor in Orani, a village in Sardinia; as an adolescent, he worked as an apprentice stonemason. In Sassari in 1926, Nivola served as apprentice to fellow painter Mario Delitala, executing frescoes for the aula magna of the local university. In 1931 Nivola enrolled in the ISIA in Monza.
Through one of his teachers, the architect Giuseppe Pagano, he contributed work to the 1936 Milan Triennial VI and the Italian Pavilion at the 1937 Paris Exposition. This drew the attention of Adriano Olivetti, who named him art director of his company's Publicity Department, where Nivola "made a significant contribution to...'the Olivetti style'. Nivola married fellow ISIA student Ruth Guggenheim in 1938, left together for the United States via Paris in 1939, he established a home in Greenwich Village to rebuild a social circle and a career despite speaking no English. Nivola resumed a close friendship with artist Saul Steinberg from Milan, attended meetings of the anti-fascist Italian-American Mazzini Society in 1941, by the 1940s Nivola was presiding over a weekly gathering of artists at Del Pezzo's restaurant described by Peter Blake as comparable to the Algonquin Round Table. One key friendship was Le Corbusier. Introduced in 1945 by Josep Lluís Sert, Nivola became warm lifelong friends with the Swiss architect, his houseguest on Corbu's rare trips to America.
Supported by small exhibitions and a progression of jobs in factories, for Bonwit Teller, for architectural magazines, the Nivolas bought a modest property in Springs, East Hampton, Long Island. It would expand to 35 acres, their garden landscape, a series of outdoor rooms and a roofless solarium, was co-designed by the Nivolas and architect Bernard Rudofsky. On the nearby beach Nivola developed the principle of his distinctive concrete sandcasting technique while playing with his children, they sculpted wet sand poured a slurry of plaster or concrete into the form. In 1951 Nivola was one of the artists shown in the pivotal 9th Street Art Exhibition, hung by Leo Castelli. Once more Olivetti provided the sculptor with a major commission, for an interior wall in their stylish Fifth Avenue showroom in 1953. Nivola executed it in a sequence of panels; the resulting attention and publicity started a successful career in large-scale architecture work which lasted for decades. One project, involving two thousand and ten cast-concrete panels for the McCormick Place Exposition Center in Chicago in 1959, was touted as the largest such installation ever.
In 1954 Nivola was named to direct the Design Workshop at the Harvard Graduate School of Design, where he stayed until 1957. He was visiting professor or artist in residence at Columbia University, Dartmouth, UC Berkeley, the Royal Academy of Art, The Hague; the American Institute of Graphic Arts awarded him its Certificate of Excellence. In 1972 the American Academy of Arts and Letters admitted Nivola as its first non-American member. Nivola died of a heart attack in Southampton Hospital, Long Island, in May 1988, he was the father of children's book author Claire Nivola, the grandfather of actor Alessandro Nivola. A foundation and museum dedicated to Nivola's work opened in his hometown in 1995, in a building designed by architect Peter Chermayeff; the Sardinian town of Ulassai decided, in the early 1980s, to rehabilitate its neglected municipal laundry building dating from 1903. It was turned into an open-air contemporary museum with a number of artists represented – Maria Lai, Luigi Veronesi, Guido Strazza.
Nivola's contribution, a sculptural sound fountain, was completed in 1987 as his final work. Nivola's public work includes: sgraffito exterior mural wall, Gagarin House I, Connecticut, with architect Marcel Breuer, 1952 interior sand-cast relief wall, Olivetti showroom, Fifth Avenue, New York City, with architects BBPR, 1953 exterior panel for the William E. Grady CTE High School, New York, 1957 Untitled, an interior cast-concrete mural of 132 panels in the former Covenant Mutual Insurance Company, 95 Woodland Street, Connecticut, with Sherwood and Smith, architects, 1957 over 2000 cast-concrete panels for the exterior of McCormick Place Exposition Center, for Shaw, Metz & Associates, 1959 Untitled, a cast-concrete abstract exterior wall for the Mutual Insurance Company, Connecticut, with Sherwood and Smith, architects, 1960 18 polychrome cast stone horses and an 80-foot sgraffito mural wall, for the Stephen Wise Towers housing development play area, with architect Richard G. Stein for the New York City Housing Authority, 1964 20 concrete panels for the Connec
Robert "Bob" Carlos Clarke was a British-Irish photographer who made erotic images of women as well as documentary and commercial photography. Carlos Clarke produced six books during his career: The Illustrated Delta of Venus, The Dark Summer, White Heat, Shooting Sex, Love Dolls Never Die, one DVD, Too Many Nights, he is "often referred to as the British Helmut Newton". His work is held in the collection of London. Carlos Clarke was born in Cork and educated at more than one English public school, they included Berkshire. After school after a gap in Dublin working in various low level positions at advertising agencies and newspapers as a trainee journalist and a brief spell in Belfast in 1969, Carlos Clarke moved back to England in the latter half of 1970 and enrolled in Worthing College of Art in West Sussex. By 1975 he had made the move to Brixton and enrolled in the London College of Printing, he went on to complete an MA from the Royal College of Art in photography, graduating in 1975. He in 1969 or 70 began photographing nudes as a means of making money.
Carlos Clarke's first encounter with photographing models in rubber and latex was an experience with a gentleman called ‘The Commander’, a publisher of a magazine for devotees of rubber wear who had contacted Carlos Clarke to shoot for his publication. Allen Jones was a good friend of Carlos Clarke, his work drew on fetishism and he advised the younger photographer to lay off the fetish scene. While at Worthing he met Sue Frame his first wife. Knowing that she was a part-time model he "knew he had to become a photographer without delay" and persuaded her to pose for him on a chromed 650 cc Triumph Bonneville. In 1975, a couple of years after this photograph was taken, they married at Kensington Registry Office. Carlos Clarke committed suicide on 25 March 2006, he is survived by their daughter Scarlett. The Illustrated Delta of Venus. W H Allen, 1980. Obsession. Quartet, 1981; the Dark Summer. Quartet, 1985. Shooting Sex: The Definitive Guide to Undressing Beautiful Strangers. Self-published, 2002. ISBN 978-0954346201.
Love Dolls Never Die. Self-published, 2004; the Agony and the Ecstasy. J&J, 2018. With texts by Max Houghton and Carlos Clarke. Edition of 200 copies. White Heat. Octopus, 1990. With Marco Pierre White. Too Many Nights Carlos Clarke's work is held in the following public collection: National Portrait Gallery, London: 10 prints, portraits of celebrities Exposure: The Unusual Life and Violent Death of Bob Carlos Clarke by Simon Garfield "Interview with Bob Carlos Clarke, TDP Magazine Bob Carlos Clarke: his life and death - LatexWiki Biography and art The Agony and The Ecstasy: Photographer Bob Carlos Clarke Captures Wild Photos Of Young Lovers Getting Off In The 90s" "Bob Carlos Clarke’s The Agony and The Ecstasy" a gallery of photos at Dazed
Mir Publishers was a major publishing house in the Soviet Union which continues to exist in modern Russian Federation. It was established in 1946 by a decree of the USSR Council of Ministers and has headquartered in Moscow, Russia since then, it was state funded, the reason for the low prices of the books it published. Its scope was domestic and translated special and tutorial literature in various domains of science and engineering: mathematics, chemistry, agriculture, energy, etc. Many Soviet scientists and engineers were its contributors; the staff provided translation from original Russian. In addition, during the Soviet times it was known for translated foreign scientific and popular science books as well as science fiction. Many of Mir's books are used as textbooks for studies of science in many countries; the publishing house survived after the dissolution of the Soviet Union and was privatised and expanded its scope by incorporating a number of state publishing houses: Kolos, Khimiya, Metallurgiya and Energoatomizdat.
Company profile] </ref> In 2008, the company faced a bankruptcy case. The case was closed by the Moscow Arbitral Court on June 2, 2009 because the publishing house had paid the debt to the creditors. Mir Books | Books from the Soviet Era