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QS World University Rankings 2024 unveil top universities for art and design

Higher education data platform Quacquarelli Symonds (QS) published its 2024 ranking for the world’s top universities to study art and design last week. The Royal College of Art (RCA) in London has come out on top for the second year in a row.

The University of the Arts London, known for its London College of Fashion (LCF) and Central Saint Martins College of Art and Design (CSM) is QS’ second best international institution for art and design programmes, occupying this position for the third consecutive year.

Moving down to the third place, we notice the first change. The New School in New City which includes Parsons School of Design, has taken the third spot from the Rhode Island School of Design (RISD), which has in its turn moved down to fourth place.

Continuing along the trend of UK and US institutions, we find the prestigious Massachusetts Institute of Technology (MIT) in fifth place and Pratt Institute in New York City with its School of Design, in sixth place.

QS World University Rankings, UK and US institutions dominate top 5

All of the institutions ranked in the top 5, except for MIT, offer one or more fashion programmes.

The QS World University Rankings 2023 list a total of 1500 institutions. Each institution’s ranking is based on five indicators: academic reputation, employer reputation, publication data, the H Index (a way of measuring the productivity and impact of a professor or university department) and international research network (the ability of institutions to diversify the geography of their international research network through partnerships).

For this year’s World University Rankings, QS implemented its ‘largest-ever methodological enhancement’, introducing three new metrics: Sustainability, Employment Outcomes and International Research Network, the official website reads.

Comparing this year’s ranking to the QS World University Rankings 2023, it is apparent

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Inside Atelier Jolie, New York City Designer Mimi Plange Brings Elegance To The Art Of Upcycling

A view of Angelina Jolie’s Atelier Jolie clothing store in the East Village on December 07, 2023 in … [+] New York City. (Photo by Gotham/GC Images)

GC Images

When actress, humanitarian and activist Angelina Jolie wrapped up 2023 with the grand opening of Atelier Jolie, she breathed new life into an industry in need of brick-and-mortar innovation. “I am building a place for creative people to collaborate with a skilled and diverse family of expert tailors, pattern makers and artisans from around the world. A place to have fun. To create your own designs with freedom. To discover yourself,” Jolie wrote in an announcement.

“When we heard about the mission and the goal of bringing communities together, we were all in!” Plange says in an interview. “For years, we have been building a slow fashion brand made in New York City dedicated to creating impact and collaborating with others, and Atelier Jolie is the perfect platform to keep pushing slower fashion that is traceable, focused on design, and invested in the future.”

The first physical manifestation of Jolie’s concept is located at Jean-Michel Basquiat’s former studio at 57 Great Jones in New York City. Atelier Jolie is a hub and home for creativity, community, and creation. It is a space where artists and individuals from all backgrounds can come together to find inspiration, collaboration, and mentorship. But what exactly does this mean for designers and visitors? When you first step inside, you’ll find an atelier for custom pieces, which is available by appointment only. It provides a place for anyone to collaborate with a skilled and diverse family of expert tailors, pattern makers and designers to create personalized or one-of-a-kind garments using existing materials.

Visitors to the atelier can also bring their own clothing for repair or re-imagining—breathing

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by Imelda D. Garrett

Here’s a tour of the Kips Bay show house in W. Palm Beach, Florida

Rooms in the just-opened Kips Bay Decorator Show House Palm Beach celebrate grand living in a contemporary-style house in SoSo, the West Palm Beach neighborhood just south of Southern Boulevard near the Intracoastal Waterway.

With interiors and outdoor spaces created by more than two-dozen design firms, the seventh-annual show house is open for tours through March 17. As many as 15,000 guests are expected to visit, organizers predict.

The impressively scaled house’s interiors are crowned by soaring ceilings that add to the feeling of grandeur, from the generously scaled grand salon to luxuriously appointed sitting areas, from the outdoor oases envisioned for entertaining to intimate bedroom suites — all designed with luxe finishes and furnishings that might send visitors’ imaginations soaring.

The project benefits the Boys & Girls Clubs of Palm Beach County and the Kips Bay Boys & Girls Club in New York City, where the first Kips Bay show house opened in 1973. Since then, the project has raised more than $29 million for after-school and enrichment programs for children, according to the clubs.

The show house is open 10 a.m. to 4 p.m. Mondays through Sundays at 230 Miramar Way. General admission is $50 with advance ticket purchase and $60 at the door if available, with ticket details at KipsBayDecoratorShowHouse.org.

The Palm Beach Daily News asked the participating designers to describe the inspiration for their rooms and outdoor areas, some of which they christened with whimsical and evocative names.

The professionals discussed what got their creative juices flowing as they approached this grandly scaled residence.

Starting on the ground level and then ascending the stairs, here’s a room-by-room tour — or perhaps phrased even more appropriately, a grand tour.

“La Mer Pacifique,” by Tristan Harstan & Co.

With a tropical outdoor scene, a hand-painted silk wallcovering by de Gournay sets the tone for the dining room, with its soaring ceiling, at the Kips Bay Decorator Show House Palm Beach. The room in the house in West Palm Beach was designed by Tristan Harstan & Co.

A custom de Gournay hand-painted silk wallcovering named La Mere

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by Imelda D. Garrett

Must-See Art Installations in NYC, March 2024

This March brings forth a diverse range of art exhibitions and installations, from thought-provoking sculptures to botanical art and an immersive live painting demonstration! Explore the cultural landscape of New York City this spring by seeing artifacts from New Amsterdam at The New York Historical Society, giant sculptures along Park Avenue, mesmerizing videos on the billboards of Times Square, and more. Scroll down to discover the top art installations on view this month!

1. Traces in Order to Remember and Analogue Sites on Park Avenue

Metal sculpture — *A rendering of “Biosignature Preservation” on Park Avenue, a sculpture by Jorge Otero-Pailos which will be part of his forthcoming exhibition “Analogue Sites” on Park Avenue Exhibition*

The Fund for Park Avenue will unveil two massive sculptures this spring by artists Jorge Otero-Pailos and Betsabeé Romero.Traces in Order to Remember by Betsabeé Romero is a collection of five sculptures, each with a unique story to tell. On The Other Side Of The Track, a tower that symbolizes the industry and exploitation of Western colonization, kicks off the series on 81st St. The series continues uptown with Moon Seal and Warriors in Captivity III on 82nd St, Warriors in Captivity at 83rd Street, and Rubber and Feathered Snakes at 83rd Street. Romero is a Mexican visual artist who uses everyday materials in her work.

Jorge Otero-Pailos’ sculpture is made of large steel pieces wrought from a fence that once surrounded the former U.S. Embassy in Oslo. Part of an upcoming exhibition, Analogue Sites, the sculpture aims to raise awareness of the importance of American modern architecture and the preservation of mid-century embassies. Originally placed in Oslo, the art piece will relocate to Park Avenue in mid-March. It will be on display until October 2024. Don’t miss out on the Spring Program Lecture

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by Imelda D. Garrett

The City & The Artist’ is now on view in Manhattan

With its underground music, bohemian cafes, galleries and rare pockets of quiet, New York City has served as a demanding and mercurial muse to some of the most renowned artists in America. It continues this role today and likely will for decades to come.

A new show at Opera Gallery called “Muses: The City & The Artist” underscores that point with a star-studded gallery show featuring work by Alexander Calder, Willem de Kooning, Yayoi Kusama, Niki de Saint Phalle, Shepard Fairey, Keith Haring, Robert Indiana, Roy Lichtenstein, Michalene Thomas, Andy Warhol, Kehinde Wiley and many more. The show’s on view now through December 7 at Opera Gallery (Madison Avenue and 67th Street) on the Upper East Side.

RECOMMENDED: This empowering new art show in NYC features nearly 100 women artists

The exhibition begins with a quote by designer Le Corbusier: “A hundred times have I thought New York is a catastrophe, and fifty times: It is a beautiful catastrophe.”

Photograph: On White Wall/Opera Gallery | Andy Warhol, Multicolored Retrospective (Reversal Series), 1979

Across from the quote, an oversized map of Manhattan showcases key destinations in the arts, from schools and studios to bars and attractions. The Central Park Zoo is highlighted, for example, as a spot where Alexander Calder loved to sketch in the 1920s. The East Harlem location of Keith Haring’s “Crack is Wack” mural is noted; he painted the artwork in 1986 at a handball court and was arrested soon thereafter. Another notation points out Yayoi Kusama’s former loft space on Spring Street where she worked adjacent to Donald Judd.

While New York City’s artistic prowess is nothing new, seeing so many iconic locations grouped together on a map is fascinating. This graphic representation serves as a reminder of how often we walk

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by Imelda D. Garrett

What clothing can tell us about the past

Karyn Radcliffe
Special to The Citizen

Over the last two years, Cayuga Museum staff and volunteers completed a comprehensive inventory of the museum’s large clothing collection, which was the inspiration for the “Fabrication: Telling Stories through Clothing” exhibit. The collection contains everything from 18th century undergarments to 1950s wedding dresses.

Why do museums preserve clothing collections? Clothing is universal, serving as a functional tool and a method of artistic expression. Everyone can relate to it and it can be appreciated without a description, which makes clothing an ideal historical object, accessible to all. Common items in a museum clothing collection include celebratory pieces like formalwear, commemorative pieces like military uniforms, and items considered unusual today, like hoop skirts and bustles. Displaying clothing in a museum allows the viewer to look at how it’s made and appreciate the construction, but it is important to consider who is making the clothing, both historically and today.

Many of the pieces in the museum’s collection have documentation about the owner, but not the maker. Before the rise of ready-to-wear, mass-produced clothing, clothing production was relegated to women, who would make their own clothes and those of their families. Considered part of the duties of the “women’s sphere,” the time spent sewing clothing or weaving the cloth was substantial. Women were expected to manage the private, domestic sphere of the home while men dominated the public sphere. In addition to producing clothing, women created other textiles for the home such as quilts and coverlets. Wealthier women were able to pay a tailor or domestic worker to fashion their clothing, freeing their time for entertaining and traveling. Shops sold fabric and trimmings, allowing women to design their own clothes and hats based on the popular fashions of the time.

Women in

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by Imelda D. Garrett

to-Wear | The Art Institute of Chicago

1955

Stuart Davis (American, 1892–1964)

Stuart Davis was acquainted from an early age with John Sloan and Robert Henri, leaders of the so-called Ashcan School, a group of artists committed to depicting all aspects of modern urban life. Davis studied at Henri’s New York school, but he eventually came to disagree with his teacher’s belief in the preeminence of content over composition and form; instead, he created a style in which he generalized and abstracted his shapes and the spaces between them.

Nonetheless, Davis’s art is never totally abstract. Twentieth-century America is reflected in the shapes and colors he chose and in the sheer vitality of his compositions. His style—big, bright, bold, and clear—is completely appropriate to his subject matter. Forms have been reduced to large colored planes; words or numbers are simplified and offered as elements of design. In Ready-to-Wear, the bright, unmixed colors recall those of the French artist Fernand Léger. The way in which they intersect and interrupt one another, however, conveys a mood that is distinctly American: energetic, jazzy, mass produced—all qualities summed up in the title. The planes, reminiscent of overlapping pasted-down paper cutouts, even suggest the garment patterns from which ready-to-wear clothes are assembled.

Status: Currently Off View
Department: Arts of the Americas

Artist: Stuart Davis
Title: Ready-to-Wear
Place: United States (Artist’s nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1955
Medium: Oil on canvas
Inscriptions: Signed l. right: Stuart Davis
Dimensions: 142.6 × 106.7 cm (56 1/8 × 42 in.)
Credit Line: Purchased with funds provided by

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by Imelda D. Garrett

Highest-paid model: 20 highest earners in the fashion industry

The modelling industry has gradually become one of the most rewarding fields that make people wealthy. These famous personalities earn substantial incomes through brand endorsements, runway shows, photoshoots, and other commercial partnerships. Get to know some of the highest-paid models in the fashion industry.

Can modelling make you a millionaire? You can achieve higher financial success by securing high-profile contracts with determination and hard work. From Kendall Jenner, Chrissy Teigen and Cara Delevingne, discover some of the highest-paid models in the world.

20 highest-paid models

Some of the highest-paid models got recognition by engaging in regional beauty pageants during their teenage years. Here are the top-paid models who have made great efforts to reach the top.

1. Kendall Jenner ($40 million)

Who is the highest-paid model? Kendall Nicole Jenner is the highest-paid model in the world, with a net worth of $60 million. She was born on 3 November 1995 in Los Angeles, California, USA. She is also a television personality and socialite.

2. Gisele Bundchen ($40 million)

highest paid supermodel — Model Gisele Bundchen looks on prior to the 2014 FIFA World Cup Brazil Final

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by Imelda D. Garrett

More Lead-Paint Laws Coming for NYC Landlords

The New York City Council passed a series of bills Thursday amending administrative codes to tackle persistent lead paint problems apartment buildings.

The vote comes just a day after the Adams administration said it has settled thousands of violations with four landlords in an effort to rid apartments of lead exposure to young people.

The measures passed Thursday would create a process for landlords to correct lead-based paint violations; require lead-based paint abatement in all units where a child under the age of six resides by mid-2027; and require inspections for some buildings that may pose a risk of lead exposure to children.

The landlord group Community Housing Improvement Program said the legislation will primarily affect more than 10,000 rent-stabilized buildings constructed before 1960. It warned of unintended consequences.

“Removing lead-paint hazards from buildings is vitally important to the long-term sustainability of affordable housing in New York City,” said Jay Martin, executive director of CHIP. “How we go about accomplishing this goal matters. Increasing mandates and fines without fully considering the impact of these actions can cause more harm than good.”

The Rent Stabilization Association, which also represents rent-stabilized building owners, is especially concerned with Intro 6, which mandates abatements while tenants are still occupying a unit.

“It’s not really done anyplace because it actually can create more hazards than remedies,” the group’s Frank Ricci said. “There is a kind of opt-out: If a tenant refuses to leave the apartment, then the owner is off the hook.”

That bill and one other passed 35 to 7. The other three passed unanimously.

The bills also require property owners to produce records for the previous year, including X-ray fluorescence analysis after Aug. 1, 2025, whenever a violation for lead-based paint hazards is issued by the Department of Housing Preservation and Development.

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by Imelda D. Garrett

See Phoenix Art Museum’s Geoffrey Beene fashion exhibit through the eyes of its curator

Growing up in the Midwest, Helen Jean knew of Geoffrey Beene as the name on the designer-licensed shirts and neckties her father purchased at the mall.

It was only after she began her education in fashion that she came to see and understand the creativity and artistry of the revered American designer.

In her role as the Jacquie Dorrance Curator for Fashion Design at Phoenix Art Museum, she is the public face of the institution’s current exhibition “MOVE: The Modern Cut of Geoffrey Beene,” which is on display through July 23.

The show can be seen in three rooms on the second floor of the museum. In the large Harnett Gallery, mannequins posed as ballerinas dance in breathtaking evening gowns, watched by dress forms bearing sporty jumpsuits, chic officewear, and a gaggle of cheerful, polka-dotted garments. In the next gallery, a collection of inventive evening gowns faces a rainbow of coats and bolero jackets. In the final room, objects on loan from the Geoffrey Beene archives share space with one very special dress, a sequin-and-ostrich-feather minidress from the 1960s that was one of the first pieces in Phoenix Art Museum’s fashion collection.

Most of the items in “MOVE” come from the wardrobe of New York City philanthropist and publisher Patsy Tarr, a longtime client of Beene’s before his death in 2004.

As Jean explains, Ellen Katz, a major donor and supporter of the museum, who hails from New York, convinced her friend Tarr to donate the bulk of her Beene garments to Phoenix Art Museum in 2019. (Tarr had already loaned the museum a number of items for a 2009 exhibition titled “Geoffrey Beene: Trapeze.”)

“We’re very, very fortunate that she chose our museum,” Jean says. “Of course, it was very intentional on her part, sharing this story and these

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by Imelda D. Garrett

Tag: york city

QS World University Rankings 2024 unveil top universities for art and design

QS World University Rankings, UK and US institutions dominate top 5

Inside Atelier Jolie, New York City Designer Mimi Plange Brings Elegance To The Art Of Upcycling

Here’s a tour of the Kips Bay show house in W. Palm Beach, Florida

“La Mer Pacifique,” by Tristan Harstan & Co.

Must-See Art Installations in NYC, March 2024