Archive for February, 2012
With Art Southampton, Art Miami Enters Summer Fair Market | Gallerist NY
The Art Miami fair company today announced plans to create a new fair called Art Southampton, which will take place July 26-30 in its namesake Long Island hamlet with around 75 modern and contemporary galleries. A news release notes that the fair will be housed in a 75,000-square-foot pavilion “behind the Southampton Elks Lodge and adjacent to Mercedes Benz of Southampton.”
Art Southampton will compete in the summer fair game with Art Hamptons, running July 13-15 this year, and artMRKT Hamptons [sic], scheduled for July 19-22, which was started by Max Fishko and Jeffrey Wainhause, former employees of the conglomerate that owns Art Hamptons. Their launch of the fair prompted a legal battle last summer.
Do the Hamptons have enough wealthy collectors to justify three separate fairs on three successive weekends? We’ll see. Scope also used to operate there, though it shut down the branch of its fair in 2009, during the worldwide economic crisis.
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Disclosure –>
via galleristny.com
With Art Southampton, Art Miami Enters Summer Fair Market | Gallerist NY
The Art Miami fair company today announced plans to create a new fair called Art Southampton, which will take place July 26-30 in its namesake Long Island hamlet with around 75 modern and contemporary galleries. A news release notes that the fair will be housed in a 75,000-square-foot pavilion “behind the Southampton Elks Lodge and adjacent to Mercedes Benz of Southampton.”
Art Southampton will compete in the summer fair game with Art Hamptons, running July 13-15 this year, and artMRKT Hamptons [sic], scheduled for July 19-22, which was started by Max Fishko and Jeffrey Wainhause, former employees of the conglomerate that owns Art Hamptons. Their launch of the fair prompted a legal battle last summer.
Do the Hamptons have enough wealthy collectors to justify three separate fairs on three successive weekends? We’ll see. Scope also used to operate there, though it shut down the branch of its fair in 2009, during the worldwide economic crisis.
Follow Andrew Russeth via RSS.
Disclosure –>
via galleristny.com
What Is TV? New Media Assaults Marketers With Video Talk | MediaWorks – Advertising Age
Advertisers are getting mixed signals about what constitutes TV.
The medium once was represented largely by the Big Three, but is fast becoming (with apologies to Thomas Hardy) the Madding Crowd.
Our children and grandchildren will never know a time when television consisted of ABC, CBS and NBC, with a few local stations thrown in for good measure. The industry jeered in the 1980s, when News Corp.came along with what was considered a bold, quixotic move in launching a fourth network — Fox. (Though none of the rivals are laughing now, we suspect Rupert Murdoch wouldn’t attempt the same stunt in today’s media climate). It has become clear that marketers aren’t always envisioning the TV set when they figure out how to use motion-and-sound video to hawk their wares. TV’s biggest strength, the transmission of moving video to a national audience, has been usurped.
As a result, never before has the road to the upfront — that annual spring ritual in which the broadcast networks and their cable counterparts attempt to sell most of their ad inventory — been so crowded with interlopers. Just last week, word broke that Big Digital (that’s Microsoft, Hulu, Google’s YouTube, AOL and Yahoo) would attempt to stage its own confab with advertisers just weeks before the biggest TV networks do.
This isn’t the craziest endeavor. Yahoo has staged a similar event intermittently for years. But the combined heft of the participants tells us that nontraditional video concerns sense advertisers want — maybe even need — to spend on more than boob-tube advertising to get the job done.
It’s not hard to lump digital players who stream video into the “new TV” mix. But other, even less traditional combatants are trying to storm the arena. Cinema-advertising company NCM Media Networks is staging its own sales pitch on the Wednesday of Upfront Week — typically the same day CBS and Time Warner‘s Turner are in the spotlight. NCM will make the point that when TV viewership drops over the weekend, the movie screen deserves some consideration when trying to put an ad in front of a hard-to-reach 18-to-49er.
If video’s leap from living-room screen to other flat panels hadn’t been clear, it is now. The fog has lifted: Yes, it’s true that traditional TV continues to lure the biggest audiences, as with the Super Bowl broadcast on NBC. But it’s also true that more of what broadcast TV has to offer doesn’t strike the same chord it did two decades ago. Let’s be honest: If ABC aired “Love Boat” on Saturday nights today, it would probably do about as well as “Hart of Dixie.”
While following the video is a concept that’s pretty simple, the act of purchasing the video for commercials has only grown more complex.
In addition to the attempt by Turner and ESPN to plant the cable flag during the traditional “broadcast” portion of the upfront presentations, NBC Universal’s USA is taking over Thursday night. In past years, the CW’s Thursday-morning presentation usually tied a bow on the annual proceedings. Spanish-language TV is also rocking the boat, with Univision making its presentation much earlier than usual this year , holding forth on what has usually been ABC’s day.
Onetime TV advertisers will be assaulted on all sides. Video may be everywhere, but as a result, so are sales pitches.
Tuning In is an ongoing series of commentaries by Ad Age TV Editor Brian Steinberg on the TV schedule, the ads it carries and changes within the industry. Follow him on Twitter.
via adage.com
What Is TV? New Media Assaults Marketers With Video Talk | MediaWorks – Advertising Age
Advertisers are getting mixed signals about what constitutes TV.
The medium once was represented largely by the Big Three, but is fast becoming (with apologies to Thomas Hardy) the Madding Crowd.
Our children and grandchildren will never know a time when television consisted of ABC, CBS and NBC, with a few local stations thrown in for good measure. The industry jeered in the 1980s, when News Corp.came along with what was considered a bold, quixotic move in launching a fourth network — Fox. (Though none of the rivals are laughing now, we suspect Rupert Murdoch wouldn’t attempt the same stunt in today’s media climate). It has become clear that marketers aren’t always envisioning the TV set when they figure out how to use motion-and-sound video to hawk their wares. TV’s biggest strength, the transmission of moving video to a national audience, has been usurped.
As a result, never before has the road to the upfront — that annual spring ritual in which the broadcast networks and their cable counterparts attempt to sell most of their ad inventory — been so crowded with interlopers. Just last week, word broke that Big Digital (that’s Microsoft, Hulu, Google’s YouTube, AOL and Yahoo) would attempt to stage its own confab with advertisers just weeks before the biggest TV networks do.
This isn’t the craziest endeavor. Yahoo has staged a similar event intermittently for years. But the combined heft of the participants tells us that nontraditional video concerns sense advertisers want — maybe even need — to spend on more than boob-tube advertising to get the job done.
It’s not hard to lump digital players who stream video into the “new TV” mix. But other, even less traditional combatants are trying to storm the arena. Cinema-advertising company NCM Media Networks is staging its own sales pitch on the Wednesday of Upfront Week — typically the same day CBS and Time Warner‘s Turner are in the spotlight. NCM will make the point that when TV viewership drops over the weekend, the movie screen deserves some consideration when trying to put an ad in front of a hard-to-reach 18-to-49er.
If video’s leap from living-room screen to other flat panels hadn’t been clear, it is now. The fog has lifted: Yes, it’s true that traditional TV continues to lure the biggest audiences, as with the Super Bowl broadcast on NBC. But it’s also true that more of what broadcast TV has to offer doesn’t strike the same chord it did two decades ago. Let’s be honest: If ABC aired “Love Boat” on Saturday nights today, it would probably do about as well as “Hart of Dixie.”
While following the video is a concept that’s pretty simple, the act of purchasing the video for commercials has only grown more complex.
In addition to the attempt by Turner and ESPN to plant the cable flag during the traditional “broadcast” portion of the upfront presentations, NBC Universal’s USA is taking over Thursday night. In past years, the CW’s Thursday-morning presentation usually tied a bow on the annual proceedings. Spanish-language TV is also rocking the boat, with Univision making its presentation much earlier than usual this year , holding forth on what has usually been ABC’s day.
Onetime TV advertisers will be assaulted on all sides. Video may be everywhere, but as a result, so are sales pitches.
Tuning In is an ongoing series of commentaries by Ad Age TV Editor Brian Steinberg on the TV schedule, the ads it carries and changes within the industry. Follow him on Twitter.
via adage.com
MoMA | A Few More Ways of Looking at a Keith Haring
February 16, 2012 | Contemporary Galleries: 1980–NowA Few More Ways of Looking at a Keith Haring
Posted by Samantha Friedman, Curatorial Assistant, Department of Drawings
Keith Haring. Untitled. 1982. Ink on two sheets of paper, sheet: 72 x 671 1/2″ (182.9 x 1705.6 cm). The Museum of Modern Art, New York. Gift of the Estate of Keith Haring, Inc. © 2012 The Keith Haring Foundation
The monumental 1982 Keith Haring drawing Untitled is not often on view, so its inclusion in the Museum’s current installation Contemporary Galleries: 1980–Now seems like an ideal opportunity to think about how this artist’s iconic visual language fits into the larger story of 20th-century art.
Resolutely horizontal, this ink drawing on two sheets of paper stretches out to over 50 feet in length. Its frieze-like composition relates to the public aspect of Haring’s project, evoking the graffiti drawings he contributed to New York City’s subways and sidewalks in the 1980s. At first glance, the intricate web of marks overwhelms with its graphic totality; looking closer, Haring’s trademark icons emerge from the overall design. Winged men and dancing dogs, three-eyed aliens and hovering spaceships, wriggling snakes and epic phalluses, lightbulbs and nuclear symbols, all populate the drawing.
The work is pinned across three walls on MoMA’s 2nd floor in a truly immersive presentation. Shown alongside work by Haring’s contemporaries such as Jeff Koons, Martin Wong, and artist-run collectives like ABC No Rio and COLAB, the drawing can be appreciated in its art-historical and social contexts. Important to understanding any art, these frameworks are especially crucial for Haring, whose aesthetics turned increasingly toward activism after he was diagnosed with AIDS in 1988.
It’s also worthwhile, I think, to consider Haring alongside other brethren—artists whom he might not have (or couldn’t have) known chronologically, but with whom he shares something formally. Walking out of the 2nd-floor galleries, for example, I couldn’t help but reconsider the Brice Marden mural hung high in the Agnes Gund Garden Lobby in relation to the Haring I’d just seen. Though emphatically abstract, Marden’s The Propitious Garden of Plane Image, Third Version (2000-06) shares not only the Haring drawing’s scale and format, but also its all-over, calligraphic sense of line.
Another horizontal work often hung in the lobby is Joan Miró’s Mural Painting (1950-51). If any other artist has as personal and recognizable an iconographic language as Haring, it’s this Catalan Surrealist. Miró’s dual interest in automatism and anatomy aligns strikingly with Haring’s own use of line to render the body in shorthand. Miró’s simplified, even cartoonish, personages with their priapic protuberances anticipate Haring’s own recurrent characters.
In the audio guide for Haring’s drawing, Julia Gruen, once the artist’s friend and studio manager and now the Executive Director of the Keith Haring Foundation, remarks that when Haring “put the brush to the paper, it simply flowed down his body, out the brush in this extraordinary continuous movement.” This description evokes the language regularly used to describe Jackson Pollock’s kinetic application of paint in canvases like One: Number 31, 1950 (1950; currently on view on the 4th floor). But perhaps the earlier Pollock drawing Sheet of Studies (c. 1939-42), in which he fills the sheet with icons ranging from Jungian archetypes to Picassoid quotations to purely graphical marks, is an even more fitting forerunner.
Tags: drawings, Keith Haring
via moma.org
MoMA | A Few More Ways of Looking at a Keith Haring
February 16, 2012 | Contemporary Galleries: 1980–NowA Few More Ways of Looking at a Keith Haring
Posted by Samantha Friedman, Curatorial Assistant, Department of Drawings
Keith Haring. Untitled. 1982. Ink on two sheets of paper, sheet: 72 x 671 1/2″ (182.9 x 1705.6 cm). The Museum of Modern Art, New York. Gift of the Estate of Keith Haring, Inc. © 2012 The Keith Haring Foundation
The monumental 1982 Keith Haring drawing Untitled is not often on view, so its inclusion in the Museum’s current installation Contemporary Galleries: 1980–Now seems like an ideal opportunity to think about how this artist’s iconic visual language fits into the larger story of 20th-century art.
Resolutely horizontal, this ink drawing on two sheets of paper stretches out to over 50 feet in length. Its frieze-like composition relates to the public aspect of Haring’s project, evoking the graffiti drawings he contributed to New York City’s subways and sidewalks in the 1980s. At first glance, the intricate web of marks overwhelms with its graphic totality; looking closer, Haring’s trademark icons emerge from the overall design. Winged men and dancing dogs, three-eyed aliens and hovering spaceships, wriggling snakes and epic phalluses, lightbulbs and nuclear symbols, all populate the drawing.
The work is pinned across three walls on MoMA’s 2nd floor in a truly immersive presentation. Shown alongside work by Haring’s contemporaries such as Jeff Koons, Martin Wong, and artist-run collectives like ABC No Rio and COLAB, the drawing can be appreciated in its art-historical and social contexts. Important to understanding any art, these frameworks are especially crucial for Haring, whose aesthetics turned increasingly toward activism after he was diagnosed with AIDS in 1988.
It’s also worthwhile, I think, to consider Haring alongside other brethren—artists whom he might not have (or couldn’t have) known chronologically, but with whom he shares something formally. Walking out of the 2nd-floor galleries, for example, I couldn’t help but reconsider the Brice Marden mural hung high in the Agnes Gund Garden Lobby in relation to the Haring I’d just seen. Though emphatically abstract, Marden’s The Propitious Garden of Plane Image, Third Version (2000-06) shares not only the Haring drawing’s scale and format, but also its all-over, calligraphic sense of line.
Another horizontal work often hung in the lobby is Joan Miró’s Mural Painting (1950-51). If any other artist has as personal and recognizable an iconographic language as Haring, it’s this Catalan Surrealist. Miró’s dual interest in automatism and anatomy aligns strikingly with Haring’s own use of line to render the body in shorthand. Miró’s simplified, even cartoonish, personages with their priapic protuberances anticipate Haring’s own recurrent characters.
In the audio guide for Haring’s drawing, Julia Gruen, once the artist’s friend and studio manager and now the Executive Director of the Keith Haring Foundation, remarks that when Haring “put the brush to the paper, it simply flowed down his body, out the brush in this extraordinary continuous movement.” This description evokes the language regularly used to describe Jackson Pollock’s kinetic application of paint in canvases like One: Number 31, 1950 (1950; currently on view on the 4th floor). But perhaps the earlier Pollock drawing Sheet of Studies (c. 1939-42), in which he fills the sheet with icons ranging from Jungian archetypes to Picassoid quotations to purely graphical marks, is an even more fitting forerunner.
Tags: drawings, Keith Haring
via moma.org
Art Wynwood 2012 Exhibitors
Art Wynwood 2012 Exhibitors
Posted by Leticia del Monte on February 15, 2012 · Leave a Comment (Edit)
101/exhibit
Miami532 Gallery Thomas Jaeckel
New YorkACA Galleries
New YorkAldo de Sousa Gallery
Buenos AiresAlfredo Ginocchio Gallery
Mexico CityArcature Fine Art
Palm BeachArt Nouveau Gallery
Miami, MaracaiboAscaso Gallery
MiamiBakehouse Art Complex
MiamiBarry Friedman Ltd.
New YorkBlueLeaf Gallery
DublinC. Grimaldis Gallery
BaltimoreCernuda Arte
Coral GablesContessa Gallery
ClevelandCynthia Corbett Gallery
LondonCynthia-Reeves
New YorkDavid Lusk Gallery
MemphisDe Buck Gallery
New YorkDEAN PROJECT
New YorkDenise Bibro Fine Art
New YorkDot Fiftyone Gallery
MiamiDurban Segnini Gallery
MiamiForum Gallery
New YorkGalerie LeRoyer
Montréal – QuébecGalerie von Braunbehrens
MunichHollis Taggart Gallery
New YorkJerald Melberg Gallery
CharlotteJuan Ruiz Galeria
MaracaiboJulian Navarro Projects
New York, BogotaKavachnina Contemporary
MiamiLausberg Contemporary
Dusseldorf, Toronto, MiamiLeslie Smith Gallery
AmsterdamMagnan Metz Gallery
New YorkMark Borghi Fine Art Inc
New York, Palm BeachMike Weiss Gallery
New YorkMindy Solomon Gallery
ST. PetersburgNancy Hoffman Gallery
New YorkNow Contemporary Art
MiamiOlyvia Fine Art
LondonPriveekollektie Contemporary Art | Design
Heusden aan de MaasRudolf Budja Gallery
MiamiSundaram Tagore Gallery
New York, Beverly Hills, Hong KongTresart
Coral GablesUnix Fine Art
LondonVilla del Arte Galleries
Barcelona, AmsterdamWaltman Ortega Fine Art
Miami, ParisWaterhouse & Dodd
London, New York CityWestwood Gallery NYC
New YorkWitzenhausen Gallery
Amsterdam, New YorkShare this:
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Art Wynwood 2012 Exhibitors
Art Wynwood 2012 Exhibitors
Posted by Leticia del Monte on February 15, 2012 · Leave a Comment (Edit)
101/exhibit
Miami532 Gallery Thomas Jaeckel
New YorkACA Galleries
New YorkAldo de Sousa Gallery
Buenos AiresAlfredo Ginocchio Gallery
Mexico CityArcature Fine Art
Palm BeachArt Nouveau Gallery
Miami, MaracaiboAscaso Gallery
MiamiBakehouse Art Complex
MiamiBarry Friedman Ltd.
New YorkBlueLeaf Gallery
DublinC. Grimaldis Gallery
BaltimoreCernuda Arte
Coral GablesContessa Gallery
ClevelandCynthia Corbett Gallery
LondonCynthia-Reeves
New YorkDavid Lusk Gallery
MemphisDe Buck Gallery
New YorkDEAN PROJECT
New YorkDenise Bibro Fine Art
New YorkDot Fiftyone Gallery
MiamiDurban Segnini Gallery
MiamiForum Gallery
New YorkGalerie LeRoyer
Montréal – QuébecGalerie von Braunbehrens
MunichHollis Taggart Gallery
New YorkJerald Melberg Gallery
CharlotteJuan Ruiz Galeria
MaracaiboJulian Navarro Projects
New York, BogotaKavachnina Contemporary
MiamiLausberg Contemporary
Dusseldorf, Toronto, MiamiLeslie Smith Gallery
AmsterdamMagnan Metz Gallery
New YorkMark Borghi Fine Art Inc
New York, Palm BeachMike Weiss Gallery
New YorkMindy Solomon Gallery
ST. PetersburgNancy Hoffman Gallery
New YorkNow Contemporary Art
MiamiOlyvia Fine Art
LondonPriveekollektie Contemporary Art | Design
Heusden aan de MaasRudolf Budja Gallery
MiamiSundaram Tagore Gallery
New York, Beverly Hills, Hong KongTresart
Coral GablesUnix Fine Art
LondonVilla del Arte Galleries
Barcelona, AmsterdamWaltman Ortega Fine Art
Miami, ParisWaterhouse & Dodd
London, New York CityWestwood Gallery NYC
New YorkWitzenhausen Gallery
Amsterdam, New YorkShare this:
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The Second Annual Naples International Art & Antique Fair Presents Coveted Jewels, Paintings of All Periods and Rare Objet d’Art « The Cuban Art Project
The Second Annual Naples International Art & Antique Fair Presents Coveted Jewels, Paintings of All Periods and Rare Objet d’Art
Posted by Leticia del Monte on February 15, 2012 · Leave a Comment (Edit)
Naples, FL – February 14, 2012– The Cuban Art Project- The second annual Naples International Art & Antique Fair (NIAAF), Naples premier international fine art fair, will return February 23-28 to the Naples International Pavilion at Immokalee and Livingston Roads.
The 2012 Fair will showcase an array of international galleries exhibiting works for sale including painting from all periods, antique objet d’art, modern and mid-century Murano glass, sculpture, haute and period jewelry and decorative art and design.
EXHIBITOR HIGHLIGHTS:
Unique new designs will be presented by leading jewelry houses including one of the prominent pearl designers of the new millennium and returning exhibitor Yvel (Jerusalem). Rosenberg Diamonds (Boca Raton), Emsaru (New York) and Jewels by Viggi (Greenwich | Great Neck)will also be among the exhibiting dealers.
A collection of fine period jewelry will be showcased including J.S. Fearnley (Atlanta) and Spare Room (Baltimore) whose collections include period 20th century signed jewelry by David Webb, Van Cleef & Arpels, Cartier, Buccellati and Seaman Schepps.
Established international dealers will present paintings of all periods including 18th, 19th and 20th Century master works. Among the artists represented will include Chagall, Picasso, Klee, Lichtenstein, Dubuffet, Warhol and Calder.
NIAAF will feature a collection of antique furniture and unique objet d’art. Mark Helliar 20th Century Design (Los Angeles) will present Modern and Mid-Century vintage Murano glass and from the far reaches of Turkey, Gallery Afrodit will bring a collection of unique Oriental rugs.
The Silver Fund will be bringing an outstanding collection of Georg Jensen silver. In addition to the comprehensive collection of Georg Jensen holloware, the gallery will also bring an inventory including exceptional 20th century silver designed by Jean Puiforicat, William Spratling, Antonio Pineda and many other great 20th century designers.
Related articles
- Naples’ Premier Fine Art Fair Returns in February (miamiartnews.org)
- Raymond Lee Jewelers at the Inaugural Naples Art, Antique & Jewelry Show (raymondleejewelersblog.com)
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The Second Annual Naples International Art & Antique Fair Presents Coveted Jewels, Paintings of All Periods and Rare Objet d’Art « The Cuban Art Project
The Second Annual Naples International Art & Antique Fair Presents Coveted Jewels, Paintings of All Periods and Rare Objet d’Art
Posted by Leticia del Monte on February 15, 2012 · Leave a Comment (Edit)
Naples, FL – February 14, 2012– The Cuban Art Project- The second annual Naples International Art & Antique Fair (NIAAF), Naples premier international fine art fair, will return February 23-28 to the Naples International Pavilion at Immokalee and Livingston Roads.
The 2012 Fair will showcase an array of international galleries exhibiting works for sale including painting from all periods, antique objet d’art, modern and mid-century Murano glass, sculpture, haute and period jewelry and decorative art and design.
EXHIBITOR HIGHLIGHTS:
Unique new designs will be presented by leading jewelry houses including one of the prominent pearl designers of the new millennium and returning exhibitor Yvel (Jerusalem). Rosenberg Diamonds (Boca Raton), Emsaru (New York) and Jewels by Viggi (Greenwich | Great Neck)will also be among the exhibiting dealers.
A collection of fine period jewelry will be showcased including J.S. Fearnley (Atlanta) and Spare Room (Baltimore) whose collections include period 20th century signed jewelry by David Webb, Van Cleef & Arpels, Cartier, Buccellati and Seaman Schepps.
Established international dealers will present paintings of all periods including 18th, 19th and 20th Century master works. Among the artists represented will include Chagall, Picasso, Klee, Lichtenstein, Dubuffet, Warhol and Calder.
NIAAF will feature a collection of antique furniture and unique objet d’art. Mark Helliar 20th Century Design (Los Angeles) will present Modern and Mid-Century vintage Murano glass and from the far reaches of Turkey, Gallery Afrodit will bring a collection of unique Oriental rugs.
The Silver Fund will be bringing an outstanding collection of Georg Jensen silver. In addition to the comprehensive collection of Georg Jensen holloware, the gallery will also bring an inventory including exceptional 20th century silver designed by Jean Puiforicat, William Spratling, Antonio Pineda and many other great 20th century designers.
Related articles
- Naples’ Premier Fine Art Fair Returns in February (miamiartnews.org)
- Raymond Lee Jewelers at the Inaugural Naples Art, Antique & Jewelry Show (raymondleejewelersblog.com)
Share this:
Like this:
Be the first to like this post.Filed under Art Fairs, News · Tagged with Antonio Pineda, Cartier, Georg Jensen, Los Angeles, Murano glass, Naples, Naples Florida, William Spratling
Cuban Yoenis Cespedes signs with Oakland A’s – MLB
Yoenis Cespedes, the 26-year-old Cuban outfielder, agreed to terms Monday on a contract with the Oakland Athletics. Cespedes signed a four-year deal worth $36 million.
The former star of the Cuban national team defected from his home country last summer and was granted residency in the Dominican Republic in January, clearing the way for his free agency.
More From Tim Brown
Yoenis Cespedes batted an impressive .458 for Cuba during the 2009 World Baseball Classic.
(AP)The A’s are believed to have outbid the Miami Marlins, for weeks considered the frontrunners to sign Cespedes, who visited the club and its facilities last week.
The 6-foot, 215-pound Cespedes played eight seasons for Granma in the Cuban league. He hit a record 33 home runs in 2011. As Cuba’s starting center fielder in the 2009 World Baseball Classic, he batted .458 in six games. In his first real competition since late last spring, Cespedes batted .143 in a brief stint with Aguilas Cibaenas in the Dominican Winter League.
How his previous success – or his well-known showcase video – translates into the major leagues and Oakland’s lineup remains to be seen.
Two years ago, the Cincinnati Reds signed Cuban left-hander Aroldis Chapman to a six-year, $30.25-million contract.
Tim Brown is a national baseball writer for Yahoo! Sports. Follow him on Twitter. Send Tim a question or comment for potential use in a future column or webcast.Updated 47 minutes ago
via sports.yahoo.com
Cuban Yoenis Cespedes signs with Oakland A’s – MLB
Yoenis Cespedes, the 26-year-old Cuban outfielder, agreed to terms Monday on a contract with the Oakland Athletics. Cespedes signed a four-year deal worth $36 million.
The former star of the Cuban national team defected from his home country last summer and was granted residency in the Dominican Republic in January, clearing the way for his free agency.
More From Tim BrownYoenis Cespedes batted an impressive .458 for Cuba during the 2009 World Baseball Classic.
(AP)The A’s are believed to have outbid the Miami Marlins, for weeks considered the frontrunners to sign Cespedes, who visited the club and its facilities last week.
The 6-foot, 215-pound Cespedes played eight seasons for Granma in the Cuban league. He hit a record 33 home runs in 2011. As Cuba’s starting center fielder in the 2009 World Baseball Classic, he batted .458 in six games. In his first real competition since late last spring, Cespedes batted .143 in a brief stint with Aguilas Cibaenas in the Dominican Winter League.
How his previous success – or his well-known showcase video – translates into the major leagues and Oakland’s lineup remains to be seen.
Two years ago, the Cincinnati Reds signed Cuban left-hander Aroldis Chapman to a six-year, $30.25-million contract.
Tim Brown is a national baseball writer for Yahoo! Sports. Follow him on Twitter. Send Tim a question or comment for potential use in a future column or webcast.Updated 47 minutes ago
via sports.yahoo.com
Narran historia de Cuba a través de Bacardí – Cuba
SAN JUAN — El libro del periodista estadounidense Tom Gjelten que narra la historia de Cuba a través de la biografía de la familia Bacardí, Los Bacardí y la larga lucha por Cuba: La biografía de una causa, está a la venta en su edición en español.
El autor, que participa en San Juan en la primera edición de La Feria del Libro y las Artes de la capital puertorriqueña, señaló que esta semana ha llegado a las librerías, publicada por la editorial Penguin, la edición en español de su trabajo, en el mercado en su versión original en inglés desde el 2008.
Gjelten señaló que quiso que coincidiera la salida al mercado de la traducción al español de su trabajo con su presencia en Puerto Rico, adonde fue invitado por miembros de la saga empresarial de origen cubano para conmemorar los 150 años de la fundación de la compañía.
El periodista recordó que Bacardí inició su andadura a raíz de una pequeña destilería fundada por Facundo Bacardí Massó en Santiago de Cuba en 1862, que siglo y medio después ha dado paso a una de las mayores compañías privada de licores del mundo.
Gjelten destacó que en Estados Unidos, uno de los países donde más vende Bacardí, se considera a la compañía completamente puertorriqueña y que muy pocos recuerdan ya el origen cubano de la empresa.
Subrayó que espera que la versión en español supere las ventas de la edición en inglés y que se trata de un libro que explica la historia reciente de Cuba de forma paralela a la de la familia de empresarios.
El autor analiza los avatares políticos de Cuba desde los años en que la isla luchaba por conseguir la independencia de España hasta la sucesión de Raúl Castro, pasando por el ascenso al poder de Fidel Castro y el establecimiento del régimen comunista.
El libro cuenta que cuando Fidel Castro hizo su primer viaje a Estados Unidos como jefe de Estado de Cuba, el presidente por entonces de Bacardí, Pepín Bosch, fue el único hombre de negocios cubano invitado.
Sin embargo, después de establecer un régimen comunista en Cuba, Castro nacionalizó el negocio de los Bacardí, y la familia tuvo que huir de la isla hacia un exilio desde el cual se erigieron como los principales impulsores del movimiento anticastrista.
Narran historia de Cuba a través de Bacardí – Cuba
SAN JUAN — El libro del periodista estadounidense Tom Gjelten que narra la historia de Cuba a través de la biografía de la familia Bacardí, Los Bacardí y la larga lucha por Cuba: La biografía de una causa, está a la venta en su edición en español.
El autor, que participa en San Juan en la primera edición de La Feria del Libro y las Artes de la capital puertorriqueña, señaló que esta semana ha llegado a las librerías, publicada por la editorial Penguin, la edición en español de su trabajo, en el mercado en su versión original en inglés desde el 2008.
Gjelten señaló que quiso que coincidiera la salida al mercado de la traducción al español de su trabajo con su presencia en Puerto Rico, adonde fue invitado por miembros de la saga empresarial de origen cubano para conmemorar los 150 años de la fundación de la compañía.
El periodista recordó que Bacardí inició su andadura a raíz de una pequeña destilería fundada por Facundo Bacardí Massó en Santiago de Cuba en 1862, que siglo y medio después ha dado paso a una de las mayores compañías privada de licores del mundo.
Gjelten destacó que en Estados Unidos, uno de los países donde más vende Bacardí, se considera a la compañía completamente puertorriqueña y que muy pocos recuerdan ya el origen cubano de la empresa.
Subrayó que espera que la versión en español supere las ventas de la edición en inglés y que se trata de un libro que explica la historia reciente de Cuba de forma paralela a la de la familia de empresarios.
El autor analiza los avatares políticos de Cuba desde los años en que la isla luchaba por conseguir la independencia de España hasta la sucesión de Raúl Castro, pasando por el ascenso al poder de Fidel Castro y el establecimiento del régimen comunista.
El libro cuenta que cuando Fidel Castro hizo su primer viaje a Estados Unidos como jefe de Estado de Cuba, el presidente por entonces de Bacardí, Pepín Bosch, fue el único hombre de negocios cubano invitado.
Sin embargo, después de establecer un régimen comunista en Cuba, Castro nacionalizó el negocio de los Bacardí, y la familia tuvo que huir de la isla hacia un exilio desde el cual se erigieron como los principales impulsores del movimiento anticastrista.
Webinar Feb. 23: How to Leverage Social Media to Build Relationships With Journalists
PR News Media Relations Webinar –
How to Leverage Social Media to Build Relationships With JournalistsDate/Time: Thursday, February 23, 2012 | 1:30-3:00 p.m. EST
Price: $359 Per Location – CDs available for purchaseJoin PR News on February 23 for this Webinar that will provide the tactics you need to build relationships with key media professionals for your brand or your organization. In addition to showing you how media professionals are using the major social networks, our expert media relations trainers will also show you what kinds of actions are most likely to produce negative reactions and harm your relationships with time-strapped journalists and bloggers.
At this webinar, you’ll learn how to:
- Identify and engage with influential media professionals on Twitter, Facebook, LinkedIn and Google+
- Know when and how to engage with media pros directly on Twitter
- Know what is likely to make a media pro “unfollow” you
- Use your Facebook page as a center of sharable news and content that attracts the media and inspires “likes” and engagement
- Optimize press releases for social media
- Build relationships with media pros on LinkedIn and track their career progress and beats
- Use Facebook and Twitter for crisis communications
- Optimize your online newsrooms to attract media coverage
- Monitor online content and safeguard your organization’s reputation
- Measure the ROI of your media relations efforts
In just 90 minutes you’ll learn smart tips, tools and next practices for managing and improving your media relations initiatives. You’ll walk away with the most effective ways to leverage social media, break through the noise and gain the edge on the competition.
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Webinar Feb. 23: How to Leverage Social Media to Build Relationships With Journalists
PR News Media Relations Webinar –
How to Leverage Social Media to Build Relationships With JournalistsDate/Time: Thursday, February 23, 2012 | 1:30-3:00 p.m. EST
Price: $359 Per Location – CDs available for purchaseJoin PR News on February 23 for this Webinar that will provide the tactics you need to build relationships with key media professionals for your brand or your organization. In addition to showing you how media professionals are using the major social networks, our expert media relations trainers will also show you what kinds of actions are most likely to produce negative reactions and harm your relationships with time-strapped journalists and bloggers.
At this webinar, you’ll learn how to:
- Identify and engage with influential media professionals on Twitter, Facebook, LinkedIn and Google+
- Know when and how to engage with media pros directly on Twitter
- Know what is likely to make a media pro “unfollow” you
- Use your Facebook page as a center of sharable news and content that attracts the media and inspires “likes” and engagement
- Optimize press releases for social media
- Build relationships with media pros on LinkedIn and track their career progress and beats
- Use Facebook and Twitter for crisis communications
- Optimize your online newsrooms to attract media coverage
- Monitor online content and safeguard your organization’s reputation
- Measure the ROI of your media relations efforts
In just 90 minutes you’ll learn smart tips, tools and next practices for managing and improving your media relations initiatives. You’ll walk away with the most effective ways to leverage social media, break through the noise and gain the edge on the competition.
Related Items:
Cuban Arts Project 