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Education

Center for Digital Imaging Arts at Boston University|Washington, D.C. Graphic and web design|Certificate Program|May 2011 Alfred University|Alfred, N.Y. Major in digital printmaking and graphic design|Bachelor of Fine Arts|May 2004

Expertise

Adobe Design Suite { Photoshop|Illustrator|Indesign|Acrobat Prepress and color management Large format digital printers and scanners Printmaking { Lithography|Etching|Woodblock|Photogravure

Experience

Museum Assistant The Phillips Collection|Washington, D.C.|October 2009 - Present Monitor of exhibition galleries Provide information about the museum and the collection to the public

Graphic Designer Larissa Goldston Gallery|September 2005 - August 2009|New York, NY Designed over 30 exhibition invitations

Head of Digital Printmaking Department Universal Limited Art Editions|Bay Shore, NY|September 2005 - August 2009

Noelle Weber graphic designer

Photo retoucher Reproduction photographer Archivist Collaborator with world renound fine artists

Carroll Dunham : Prints : Catalogue Raisonne 1984-2006 Addison Gallery of American Art, Yale University Press|Published in 2008 Photographed, retouched and color-corrected over 120 images of fine art prints

Tatyana Grosman : A Scrapbook by Riva Castleman Universal Limited Art Editions| Published in 2009 Prepared historical documents and photographs for reproduction and publication Contributed to the design and editing of this unique biography

Universal Limited Art Editions website www.ulae.com Launched|2008 Catalogued and prepared over 800 images for this major digital archive showcasing 50 years of ULAE’s printmaking history

Noelle Weber

{

nouvellebelle@yahoo.com|585-721-6575 1825 Summit Place NW Apt. 301|Washington, D.C. 20009 http://issuu.com/noelleweber/docs/noelleweber_portfolio


Education

Center for Digital Imaging Arts at Boston University|Washington, D.C. Graphic and web design|Certificate Program|May 2011 Alfred University|Alfred, N.Y. Major in digital printmaking and graphic design|Bachelor of Fine Arts|May 2004

Expertise

Adobe Design Suite { Photoshop|Illustrator|Indesign|Acrobat Prepress and color management Large format digital printers and scanners Printmaking { Lithography|Etching|Woodblock|Photogravure

Experience

Museum Assistant The Phillips Collection|Washington, D.C.|October 2009 - Present Monitor of exhibition galleries Provide information about the museum and the collection to the public

Graphic Designer Larissa Goldston Gallery|September 2005 - August 2009|New York, NY Designed over 30 exhibition invitations

Head of Digital Printmaking Department Universal Limited Art Editions|Bay Shore, NY|September 2005 - August 2009 Photo retoucher Reproduction photographer Archivist Collaborator with world renound fine artists

Carroll Dunham : Prints : Catalogue Raisonne 1984-2006 Addison Gallery of American Art, Yale University Press|Published in 2008 Photographed, retouched and color-corrected over 120 images of fine art prints

Tatyana Grosman : A Scrapbook by Riva Castleman Universal Limited Art Editions| Published in 2009 Prepared historical documents and photographs for reproduction and publication Contributed to the design and editing of this unique biography

Universal Limited Art Editions website www.ulae.com Launched|2008 Catalogued and prepared over 800 images for this major digital archive showcasing 50 years of ULAE’s printmaking history

Noelle Weber

{

nouvellebelle@yahoo.com|585-721-6575 1825 Summit Place NW Apt. 301|Washington, D.C. 20009 http://issuu.com/noelleweber/docs/noelleweber_portfolio


ARTISTIC DIRECTOR ERIC SCHAEFFER MANAGING DIRECTOR MAGGIE BOLAND

A Fox on the Fairwayaya SIGNATURE IS PARTIALLY SUPPORTED BY A GRANT FROM THE VIRGINIA COMMISSION FOR THE ARTS AND THE NATIONAL ENDOWMENT FOR THE ARTS

WHEAT EY’S

ARTISTIC DIRECTOR ERIC SCHAEFFER MANAGING DIRECTOR MAGGIE BOLAND

SIGNATURE IS PARTIALLY SUPPORTED BY A GRANT FROM THE VIRGINIA COMMISSION FOR THE ARTS AND THE NATIONAL ENDOWMENT FOR THE ARTS


BY

SIDE SIDE BY

M I E H D SON

ARTISTIC DIRECTOR ERIC SCHAEFFER MANAGING DIRECTOR MAGGIE BOLAND

SIGNATURE IS PARTIALLY SUPPORTED BY A GRANT FROM THE VIRGINIA COMMISSION FOR THE ARTS AND THE NATIONAL ENDOWMENT FOR THE ARTS

Noelle Weber {

nouvellebelle@yahoo.com|585-721-6575

Signature Theater Posters My goal with the posters was to set a mood that was fun and playful through whimsical hand drawn-illustrations and textured tissue paper collage backgrounds, conveying the lightheartedness of the play’s content. The bold graphics and bright colors are intended to make these posters attractive and readable from a distance.


Book Cover Design To capture the mood of the morbid tale about Typhoid Mary, I chose to create an illustration that incorporates a skull with a hand mixer. The illustration signiďŹ es Mary’s talent as a cook but also embodies her spirit as a mischievous character. The text is printed on vellum, overlaying the illustration, giving the design an air of mystique and ethereality.

Noelle Weber {

nouvellebelle@yahoo.com|585-721-6575


Noelle Weber {

nouvellebelle@yahoo.com|585-721-6575

Brochure for Yves Klein Exhibition In this folding brochure, I wanted to capture the over-the-top attributes of both Yves Klein’s persona and his performance-based art work. To achieve this, I chose an interactive folding design in patented Yves Klein Blue to emulate and advertise his folding paneled sculptures. 4 x 40 inches


YVES KLEIN

Although he initially painted monochromes in a range of colors, in 1956 Klein initiated his “Blue Period” and began to focus mostly on an ultramarine blue of his own invention: International Klein Blue (lKB). For him, it represented complete freedom, the “spirit and sensibility that the color of the sky and the sea alone can produce.”

WITH THE VOID, FULL POWER In his short but prolific seven-year career, Yves Klein (French, b. Nice, 1928-1962) helped radically to reinvent the very definition and nature of what art could be. One of the most influential artists of the twentieth century, Klein was an innovator and visionary whose diverse practice included painting, sculpture, performance; photography, music, architecture, and writing as well as plans for projects in theater, dance, and cinema. Inspired by his study of judo, Eastern philosophies, and the mystical sect Rosicrucianism, he shifted the focus from the material object to an “immaterial sensibility,” not only challenging existing notions of art, but injecting it with a new sense of spirituality.

But it was not merely in his choice to present blocks of pure color that Klein challenged traditional painting. Throughout his career he developed inventive means of applying pigment, increasingly distancing the artist from the artwork. He first used paint rollers and then sponges, which evolved from a tool to a medium in itself as he saturated them with IKB pigment and formed them into both wall-mounted and freestanding sculptures. Eventually Klein conceived the notion of “living brushes”; under the artist’s direction, nude female models were smeared with IKB and then made body prints on prepared sheets of paper. In these Anthropometries, which he began in 1958 and which became one of his bestknown series, Klein attempted to record the body’s cosmic energy as well as its temporary physical presence.

The artist created what he considered his first artwork when he imagined signing the blue sky above Nice in 1947, making his initial attempt to capture the immaterial. Klein primarily sought to achieve immaterial sensibility through pure color, observing, “Through color I feel the sentiment of complete identification with space; I am truly liberated.”

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YKV L E

Untitled Fire-Color Painting (detail), 1961, dry pigment and synthetic resin on scorched cardboard on panel, 55 1/2x 117 15/16 in (141 x 299.6 cm)

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YVES KLEIN

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Hiroshima (detail), c. 1961, dry pigment in synthetic resin on paper on canvas, 55 x 119 1/2 in (139.7 x 303.3 cm)

Untitled Anthropometry (detail),1960, dry pigment and synthetic resin on paper on canvas, 57 x 117 7/8 in (144.8 x 299.4 cm). Photo by Lee Stalsworth

RelATeD PROGRAMS For a complete listing of all programs, please visit our website at hirshhorn.si.edu

WITH THE VOID, FULL POWERS MAY 20–SEPTEMBER 12, 2010

iN CONVeRSATiON: ROTRAUT KleiN-MOQUAy AND KeRRy bROUGHeR

GAlleRy TAlKS AND PODCASTS eVeRy FRiDAy

“i seek, above all, to realize in my own creations that ‘transparence,’ that immeasurable ‘void’ in which lives the permanent and absolute spirit freed of all dimensions.”

WEDNESDAY, JUNE 9, 7:00 PM

Throughout the course of Yves Klein, gallery talks and podcasts offer visitors in-depth information about the exhibition.

Rotraut Klein-Moquay, the artist’s wife, assistant, model, and muse, discusses Klein’s life and works with exhibition curator Kerry Brougher.

-yves Klein

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Sous-sol d’une cité climatisée (Climatisation de l’espace) [Beneath a Climated City (Climatization of Space)] (detail), c. 1959, ink and graphite on tracing paper, 28 3/4 x 18 7/8 in (73 x 47.9 cm)

Cité climatisée (toit d’air, mur de feu, lit d’air) [Climated City (roof of air, walls of fire, bed of air)] (detail), 1961, ink and graphite on paper

eVeNT: THe MANy FACeS OF yVeS THURSDAY, MAY 27, 6:30 PM Yves Klein’s life and art were informed by a diverse body of subject matter, from judo to progressive philosophical and architectural concepts. Exhibition curator Kerry Brougher and experts in a range of fields explore multiple facets of Klein’s career in this gallery event.

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Yves Klein, 1961 during the filming of “The Heartbeat of France”at Charles Wilp’s studio, Dusseldorf, February 20, 1961, (detail). Photograph Photograph by and © Charles Wilp

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Untitled Blue Sponge Sculpture (detail), 1960, dry pigment and synthetic resin on natural sponge on metal stem on rock, 16 1/2 x 7 3/4 x 4 in (42.1 x 19.7 x 10.2 cm)

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“Obsession de la levitation” (Le Saut dans le vide) [Obsession with Levitation (Leap into the Void)] (detail), 1960, black and white photograph, 11 13/16 x 9 7/16 in (30 x 24 cm). Photograph by Shunk-Kender, © Roy Lichtenstein Foundation

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Yves Klein and a model during an Anthropometry performance at the Galerie internationale d’art contemporain (detail), March 9, 1960. Photograph by Shunk-Kender, © Roy Lichtenstein Foundation


Natural elements-including reeds, wind, and rain, which he used to create his Cosmogonies, and, most notably, fire, which he considered “the universal principle of expression” -also became an essential part of Klein’s work. In his renowned Fire Paintings, fire either replaced or was combined with pigment, embodying the concepts of process, transformation, creation, destruction, dissolution, and elemental cosmology that were so essential throughout his career.

was published November 27, 1960 in the faux newspaper Dimanche, which he created for the second Avant-Garde Art Festival, Klein is actually depicted leaping into space himself, with the artist asserting in the accompanying text,”...to paint space, I must be in position. I must be in space.” Beyond charting a new course for art, Klein also envisioned a different, utopian path for society. These ideas are applied directly in his experimental range of “air architecture” projects, in which he proposed public spaces, fountains, and walls constructed out of natural elements like air, water, and fire, elements not traditionally associated with architecture, and elaborated on his vision for cities and dwellings that will “at last be flexible, spiritual, and immaterial.” An artist, a showman, a thinker, an innovator, and even a magician, Klein constantly blurred boundaries-between work and life, between painting and performance, between object and idea, between fact and fiction-and defied the common understanding and definition of art. His revolutionary aim was to rethink the world in spiritual and aesthetic terms, and his artworks, projects, and writings demonstrate his acute grasp of the contemporary moment, from the horror

In his most ambitious efforts to capture the immaterial, Klein moved beyond traditional mediums like painting and sculpture altogether. For his celebrated 1958 exhibition The Specialization of Sensibility in the Raw Material State of Stabilized Pictorial Sensibility, better known as “The Void,” at Calerie Iris Clert in Paris, he emptied the gallery of all artworks, leaving visitors in a white-walled space containing just the trace of the artist’s presence. He even sold the immaterial to patrons for gold ingots, which were then thrown into the River Seine before the receipts for the transaction were set on fire by their purchasers so that all that remained was the experience of the event. And in his famous Leap into the Void image by Harry Shunk and Janos Kender, which

of the Second World War to the promise of space travel. Klein’s wide-ranging creative endeavors opened the door for much that followed in the 1960s and beyond, including Pop, conceptual art, Minimalism, monochromatic painting, perceptual experimentation, and performance. Although he died in 1962 of a heart attack at age 34, the artist’s foresight as well as his profound and lasting influence is clear and marks a pivotal transition in the course of twentieth-century art and culture. Deborah Horowitz Hirshhorn Museum and Sculpture Carden

CONTACT US Museum offices: 202-633-4674 Museum shop: 202-357-1429 Information: 202-633-1000 or 202-633-5285 (TTY) Street Address: Independence Avenue at Seventh Street SW ACCeSSibiliTy To request accessibility services, please contact Kristy Maruca at marucak@si.edu or 202-633-2796, preferably two weeks in advance lOCATiON The Hirshhorn is located on the National Mall at the corner of 7th Street and Independence Avenue SW. The closest Metro station is L’Enfant Plaza (Green, Yellow, Orange, and Blue lines).

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HOURS Open daily except December 25 Museum: 10 am to 5:30 pm (EST) Plaza: 7:30 am to 5:30 pm Sculpture Garden: 7:30 am to dusk Admission is free

Untitled Fire Painting (detail),c.1961, scorched paper on fiberboard on panel, 51 1/4 x 98 1/2 in (130.2 x 250.2 cm)

YVES KLEIN WITH THE VOID, FULL POWERS MAY 20–SEPTEMBER 12, 2010

N Yves Klein: With the Void, Full Powers is co-organized by the Hirshhorn Museum and Sculpture Carden, Smithsonian Institution, Washington, DC, and the Walker Art Center, Minneapolis, MN.

leCTURe: KAiRA CAbAÑAS ON yVeS KleiN

FRiDAy GAlleRy TAlK: DANiel MOQUAy FRIDAY, JULY 23, 12:30 PM

THURSDAY, SEPTEMBER 9, 7 :00 PM

Daniel Moquay, head of the Yves Klein Archives in Paris, gives a tour of the exhibition and shares his extensive knowledge of the artist’s career and creative process.

Kaira Cabañas, art historian at Columbia University and contributor to the exhibition catalogue, discusses Klein’s work with particular emphasis on his films and performances.

“Rocket pneumatique...” [Pneumatic Rocket] (detail), c. 1958, Charcoal on paper, 12 5/8 x 16 7/16 in (32.1 x 41.8 cm)

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The exhibition is made possible by major support from The Andy Warhol Foundation for the Visual Arts, Martha and Bruce Atwater, and Judy Dayton. Additional generous support provided by Constance R. Caplan and Lewis and Barbara Shrenksy. Major support for the Yves Klein catalogue is provided by Sotheby’s, with additional support from L&M Arts and Heather James Callery. Clenstone and the Lisa and Steven Tananbaum Foundation provided generous support for the presentation at the Hirshhorn. Special program funding at the Hirshhorn is provided by RBC Wealth Management. Exhibition Airline Sponsor: Delta Air Lines. Lead exhibition sponsor at the Hirshhorn: EDF.

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© 2010 Artists Rights Society (ARS), New York/ADAGP, Paris.Private Collection. Image courtesy Yves Klein Archives.

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© 2010 Artists Rights Society (ARS), New York/ADAGP, Paris. Image courtesy The Menil Collection, Houston

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© 2010 Artists Rights Society (ARS), New York/ADAGP, Paris. Image courtesy Yves Klein Archives.

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© 2010 Artists Rights Society (ARS), New York/ADAGP, Paris. Image courtesy Hirshhorn Museum and Sculpture Garden.

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Untitled Blue Sponge Sculpture (detail), 1959, dry pigment and synthetic resin on natural sponge on metal stem, 24 7/16 x 5 1/8 in (62.1 x 19.7 x 13 cm)

Dessin fontaines de feu [Drawing of Fountains of Fire] (detail), c. 1959, ink and watercolor on paper, 18 1/8 x 16 15/16 in (46 x 43 cm)

AFTeR HOURS FRIDAY, JULY 27, 8 :00 pm TO MIDNIGHT This summer, After Hours celebrates Yves Klein with gallery talks, live music, and special performances on the plaza.

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“Excavatrice de l’espace” [Space Excavator] (detail), 1958, dry pigment and synthetic resin on metal disk on electric motor with metal feet, 8 9/16 x 6 11/16 in (21.7 x 17 cm)

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Yves Klein Orchestra Conductor, Gelsenkirchen (front view) (detail), 1959. Photograph by and © Charles Wilp

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“Excavatrice de l’espace” [Space Excavator] (detail), 1958, dry pigment and synthetic resin on metal disk on electric motor with metal feet, 8 9/16 x 6 11/16 in (21.7 x 17 cm)


Noelle Weber {

nouvellebelle@yahoo.com|585-721-6575

Vegemite Branding and Advertising To introduce the iconic Australian sandwich spread, Vegemite, to the American pallet, I created an appealing experience by pairing smiling animals with a soothing color palette of teal and green. These colors which are often associated with vitamin packaging, denote Vegemite’s nutritional beneďŹ ts. The advertisement encourages viewers to try Vegemite with an offer for a free sample through it’s website.


crikey!

give it a burl!

it comes from a land down under

for a free sample visit vegemite.com

it comes from a land down under

for a free sample visit vegemite.com


Mille Bornes Card Game For this project I chose to re-envision the classic auto-race card game, Mille Bornes. The challenge for my redesign was to create four distinct categories of cards (hazards, remedies, safeties and distance) while maintaining a uniďŹ ed look in the deck. To distinguish the different card types, I assigned a different color pallet to each card grouping. To achieve unity, I used a unique printed texture, made from linoleum block carvings, that is present on all of the card face icons.

Noelle Weber {

nouvellebelle@yahoo.com|585-721-6575


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MUSICAL CHAIRS

Classic + Contemporary = Cool

FLYING Suspension Lamps HIGH

April 2011

HOW DOES YOUR GARDEN GROW? Secrets to Container Gardening


Home Design Magazine Design My objective for this project was to create an elegant look for a home and design-themed magazine; a design that would appeal to consumers interested in high-end home and design products. I developed a sleek, clean style by using sophisticated colors and crisp layouts that compliment the form of the modern furniture and product designs featured in this magazine. The large page numbers, and bold typography, anchor the layout in contrast to the light feel of the page content.

Noelle Weber {

nouvellebelle@yahoo.com|585-721-6575


Noelle Weber

{

nouvellebelle@yahoo.com|585-721-6575 1825 Summit Place NW Apt. 301|Washington, D.C. 20009 http://issuu.com/noelleweber/docs/noelleweber_portfolio


Noelle Weber Portfolio