On September 12, Jennifer Mass, gave a presentation on the restoration history of the North Carolina Museum of Art’s Roman marble Bacchus (a.k.a. the Raleigh Bacchus) for Virtual Bacchus Scholars Day on the provenance, history, and conservation of this important work.
Deborah Krohn appeared in the documentary film, Ottolenghi and the Cakes of Versailles, which follows celebrity chef Yotam Ottolenghi as he assembles a star-studded team of the world’s most innovative pastry chefs to put on a Versailles-themed culinary gala at the Met.
The Eileen Gray catalogue, created to accompany the exhibition of the same name, co-edited by Nina Stritzler-Levine, was awarded the Deutsches Architekturmuseum Architectural Book Award for 2020 at a ceremony conducted online on October 16. Accepting the award, Stritzler-Levine acknowledged BGC, Yale University Press, co-editor Cloé Pitiot and designer Irma Boom, and all of the contributors to the catalogue. She remarked, “The awarding of an architecture prize to our book has special meaning. In the exceptionally versatile and extensive body of work and practices Gray engaged in, arguably architecture is the one that is at the same time revered and misunderstood. By that I mean the reverence for E1027, the exceptional house situated in such a dramatic way on the cliffs overlooking the Bay of Monaco in Roquebrune cap Martin. We must understand that architecture for Eileen Gray is the macro and the micro worlds she created, the interiors, the spatial journey, the situating of the rooms in relation to light, function, and the meaning of what constitutes a modern home. To be recognized as an architect, as a woman architect of that iconic house, however, is problematic because the overall body of architectural work, despite the efforts of scholars Caroline Constant, Cloe of course, Jennifer Goff and Renaud Barres it remains in a shadow of doubt about authorship. The total body of Eileen Gray’s work consists mainly of unbuilt projects and renovations like the houses she designed for herself. So to be acknowledged in this way contributes greatly to legitimizing Eileen Gray as a pioneer woman architect of the twentieth century, and we are especially grateful to you for that affirmation.”
Deborah Krohn appeared in the documentary film, Ottolenghi and the Cakes of Versailles, which follows celebrity chef Yotam Ottolenghi as he assembles a star-studded team of the world’s most innovative pastry chefs to put on a Versailles-themed culinary gala at the Met.
The Eileen Gray catalogue, created to accompany the exhibition of the same name, co-edited by Nina Stritzler-Levine, was awarded the Deutsches Architekturmuseum Architectural Book Award for 2020 at a ceremony conducted online on October 16. Accepting the award, Stritzler-Levine acknowledged BGC, Yale University Press, co-editor Cloé Pitiot and designer Irma Boom, and all of the contributors to the catalogue. She remarked, “The awarding of an architecture prize to our book has special meaning. In the exceptionally versatile and extensive body of work and practices Gray engaged in, arguably architecture is the one that is at the same time revered and misunderstood. By that I mean the reverence for E1027, the exceptional house situated in such a dramatic way on the cliffs overlooking the Bay of Monaco in Roquebrune cap Martin. We must understand that architecture for Eileen Gray is the macro and the micro worlds she created, the interiors, the spatial journey, the situating of the rooms in relation to light, function, and the meaning of what constitutes a modern home. To be recognized as an architect, as a woman architect of that iconic house, however, is problematic because the overall body of architectural work, despite the efforts of scholars Caroline Constant, Cloe of course, Jennifer Goff and Renaud Barres it remains in a shadow of doubt about authorship. The total body of Eileen Gray’s work consists mainly of unbuilt projects and renovations like the houses she designed for herself. So to be acknowledged in this way contributes greatly to legitimizing Eileen Gray as a pioneer woman architect of the twentieth century, and we are especially grateful to you for that affirmation.”
