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2214 - 20161113 - U.S.A. - LOS ANGELES -CALIFORNIA - Getty Museum - London Calling - 26.07.2016 -13.11.2016


Working in postwar Britain, the artists of the "School of London" rejected contemporary art’s preoccupation with abstraction and conceptualism in favor of the human figure and everyday landscape.
Drawn primarily from the Tate in London, this exhibition highlights the work of six of the leading artists who revolutionized and reinvigorated figurative painting in the later 20th century: Francis Bacon, Lucian Freud, Leon Kossoff, Michael Andrews, Frank Auerbach, and R.B. Kitaj.

Getty Museum - London Calling - 26.07.2016 -13.11.2016


2213 - 20161105 - U.S.A. - SALT LAKE CITY - UTAH - Utah Museum of Contemporary Art - Berna Reale: Singing in the Rain - 19.08.2016 - 05.11.2016


Video and performance artist Berna Reale exposes habituated realities in Brazil’s contemporary society with acts that infiltrate the relentless urban routines of Belém, the largest city and capital of the northern Brazilian state of Pará.

Through pointed humor, satirical characters, and striking colors, Reale’s performances in the videos Palomo (2012), Cantando na chuva (Singing in the Rain)(2014), and Untitled (2011) investigate current social conflicts of Brazil involving issues of criminal justice, capitalism, and gender inequality.
Wearing a dog muzzle and an androgynous police uniform in Palomo, Reale sits atop a brightly painted red horse and arbitrarily patrols unusually vacant city streets, an image that simultaneously pokes fun of the police force while soberly suggesting a dormant, violent danger.[1] Naked and hogtied to a horizontal pole in Untitled, the artist is carried through bustling crowds who gawk and point, eliciting questions of how violence against women is often condoned or ignored altogether. In Cantando na chuva Reale is unrecognizable in a gold suit complete with a gold gas mask and a gold umbrella as she dances to the title song of the 1952 Hollywood classic Singin’ in the Rain.  Dancing through a landfill among the catadores (pickers) who routinely sift through the piles of trash in the background, Reale presents a contrast between the backbreaking actions of the workers and the frivolous nature of a material-obsessed world.
Reale’s work depicts a different Brazilian reality that is often substituted for tropical imagery and samba dancers, provoking audiences to consider the different social roles and situations in Brazil and to recognize the universal nature of such matters in their own lives.

[1] During the performance the Belém police lent Reale the uniform and the horse, Palomo, whose name is used as the title for this video. The police force further helped as they painted the horse with Reale and closed off the streets for the filming duration of the video. 
*This content may contain elements that are not suitable for some audiences, viewer discretion is advised.
Berna Reale (b. 1965) lives and works in Belém, Pará, Brazil.  She studied Art at the Federal University of Pará and has participated in group and solo exhibitions in Brazil and abroad in Europe.  Her solo exhibitions include “Eccoci” in 2015 in Venice (Italy); “Vapor” in 2014 at Galeria Millan (São Paulo, Brazil); and “Vazio de nós” in 2013 at MAR – Rio Art Museum (Rio de Janeiro, Brazil).  Reale’s participation in group exhibitions include Da pedra Da terra Daqui, 34º Panorama da Arte Brasileira at MAM – Museum of Modern Art (São Paulo, Brazil) 2015; “Amazônia – Ciclos da Mondernidade” Centro Cultural Banco do Brasil (Rio de Janeiro, Brazil) 2012; and “From the Margin to the Edge,” Somerset House (London, England), 2012.  In 2010 Reale began a second career as a criminal expert at the State of Pará Centre of Scientific Skills, and her personal experiences in crime, violence and corruption are themes that are explored in her provocative performances and video work. The Utah Museum of Contemporary Art (UMOCA) is the first art institution in the United States to exhibit Reale’s work, and therefore the videos shown in the Codec Gallery were chosen to highlight the range of the artist’s diverse performances.
Utah Museum of Contemporary Art - Berna Reale: Singing in the Rain - 19.08.2016 - 05.11.2016



2212 - 20161106 - U.S.A.- KALAMAZOO - MICHIGAN - Reaching into Infinity: Chul Hyun Ahn - 02.07.2016-06.11.2016


An exhibition of light sculptures displayed in the darkened Joy Light Gallery of Asian Art, Reaching into Infinity shows the work of a sculptor exploring light, color, and illusion as he muses on infinite space and spirituality. The Korean-born artist Chul Hyun Ahn combines one-way mirrors and LED lights to create light boxes glowing with geometric forms that recede like portals into distant space. The lack of gallery lighting will draw viewers into Ahn's visions - mesmerizing, mysterious, and meditative. Often described as a light artist, Ahn has pointed out another important element in his work.

"At the root, my art is about space," he says. "Without light, the space was not visible, so I brought light to my artworks so people would experience a sense of deeper space in the direction of the fading light."

Born in 1971 in Busan, South Korea, Ahn received a bachelor's degree from the Chugye University for the Arts in Seoul. He moved to the U.S. in 1997, and studied at Eastern Michigan University before receiving a master's degree from the Maryland Institute College of Art. Ahn has exhibited internationally and his work can be found in numerous private and public collections. He lives and works in Baltimore, where he is represented by C. Grimaldis Gallery.

Kalamazoo Institute of Arts - Reaching into Infinity: Chul Hyun Ahn - 02.07.2016 - 06.11.2016



2211 - 20161030 - U.S.A. - PRINCETON - NEW JERSEY - A Material Legacy: The Nancy A. Nasher and David J. Haemisegger Collection of Contemporary Art - 30.07.2016-30.10.2016

Kehinde Wiley, American, born 1977, Naomi and Her Daughters, 2013. Oil on canvas, 299.7 × 255.3 × 10.2 cm. Nasher-Haemisegger Collection. © Kehinde Wiley Studio.

A Material Legacy brings together many of the most exciting artists of the past decade to illuminate the material impulse found in contemporary art practices. Nearly all made within the last ten years, and many in the last several years, the works in the exhibition provide a fresh view into art making in the twenty-first century and include globe-spanning artists from North America to Chile and India. The daughter and son-in-law of legendary sculpture collectors Ray and Patsy Nasher, Nancy Nasher and her husband David Haemisegger have continued a family tradition by amassing a significant collection of contemporary art that sustains an interest in three-dimensional work while incorporating painting, drawing, and multimedia works, often at enormous scale. A Material Legacy reveals the various ways in which the featured artists manifest a material tendency—as seen in the precise calculations of Sol LeWitt, the surface brilliance and technical bravura of Anish Kapoor, the historically resonant and politically charged work of Kara Walker, and the exuberant confrontation of Kehinde Wiley.

Drawn entirely from the collection of Nancy A. Nasher and David J. Haemisegger, both members of the Class of 1976, the exhibition continues the Museum’s exploration and celebration in recent years of collections assembled by such distinguished Museum friends as Preston H. Haskell and Lenore and Herb Schorr.
A Material Legacy: The Nancy A. Nasher and David J. Haemisegger Collection of Contemporary Art is organized by the Nasher Museum of Art at Duke University in collaboration with the Princeton University Art Museum. The exhibition at Princeton has been made possible with generous support from William S. Fisher, Class of 1979, and Sakurako Fisher; Christopher E. Olofson, Class of 1992; the Virginia and Bagley Wright, Class of 1946, Program Fund for Modern and Contemporary Art; Stacey Roth Goergen, Class of 1990, and Robert Goergen; Susan and John Diekman, Class of 1965; Doris Fisher; the Anne C. Sherrerd, Graduate School Class of 1987, Art Museum Fund; the Allen R. Adler, Class of 1967, Exhibitions Fund; and the Sara and Joshua Slocum, Class of 1998, Art Museum Fund.  Additional support has been provided by the Partners of the Princeton University Art Museum.
Princeton University Art Museum - A Material Legacy: The Nancy A. Nasher and
David J. Haemisegger Collection of Contemporary Art - 30.07.2016-30.10.2016


2210 - 20161023 - U.S.A. - MILWAUKEE - WISCONSIN - From Rembrandt to Parmigianino: Old Masters from Private Collections - 29.07.2016-23.10.2016


The age-old tradition of collecting European Renaissance and Baroque art began in the very years in which the artworks were created and continues unabated today, including here in Wisconsin and the surrounding region. Yet because many of these treasures are held in private collections, the public seldom, if ever, gets the occasion to see them. During this exclusive presentation, Museum visitors will have the opportunity to enjoy paintings and drawings by masters such as Rembrandt van Rijn and Parmigianino, selected from the rich collections that reside within only a few hundred miles of the Museum.

From Rembrandt to Parmigianino: Old Masters from Private Collections also marks the happy occasion of two recent gifts to the Museum from the great Milwaukee connoisseur and collector of old master paintings, Alfred Bader. Not only has Dr. Bader been a longtime supporter of the Museum, but over his lifetime, he has also assembled one of the great collections of Dutch and Flemish paintings—a generous number of which will be on view in the exhibition. These two recent gifts are by Jacopo Vignali (Italian, 1592–1664) and Onofrio Gabrielli (Italian, 1616–1706) and will soon have pride of place in the Collection Galleries.

Milwaukee Art Museum - From Rembrandt to Parmigianino: Old Masters from Private Collections  29.07.2016-23.10.2016


2209 - 20160925 - U.S.A. - LAGUNA BEACH - CALIFORNIA - Peter Krasnow: Maverick Modernist - 26.06.2016-25.09.2016


Peter Krasnow Edward Henry Weston 1925, Oil on canvas, 50 x 38 inches, National Portrait Gallery, Smithsonian Institution; gift of the artist

Laguna Art Museum is proud to be organizing a comprehensive exhibition of the work of the Los Angeles artist Peter Krasnow (1886–1979).
Born in Ukraine, Krasnow immigrated to the United States in 1907 and studied at the School of the Art Institute of Chicago. While in New York exhibiting at the Whitney Club, he met photographer Edward Weston and began a lifelong friendship. Krasnow and his wife Rose drove cross-country in 1922 to settle in Los Angeles, where he quickly became part of a small but active art community. His notable peers included Weston, fellow artists Henrietta Shore, Stanton Macdonald-Wright, Lorser Feitelson, and Helen Lundeberg, and architects Rudolph Schindler and Richard Neutra.

Krasnow’s early works, largely realist portraits and symbolic carved sculptures, are accomplished examples of social realism and Art Deco. His “Demountables” of the 1930s and 40s—hand-carved wood sculptures assembled from interlocking component parts—are organic abstractions drawing on traditions of folk and tribal art. His abstract paintings, whose bright, synthetic colors he chose to contrast with the dark political realities of the 1940s, are schematic tableaux that employ calligraphic symbols referencing spiritual ideas and organic processes. In both sculpture and painting, Krasnow developed styles that have surprising contemporary currency.

Featuring approximately fifty paintings and twenty sculptures, Peter Krasnow: Maverick Modernist is the first museum survey of the artist’s work in almost forty years. It features works on loan from public and private collections all over the country, as well as selections from Laguna Art Museum’s own extensive holdings. It will be accompanied by a full-length catalogue, the first monograph to be devoted to the artist. Organized by Laguna Art Museum, the exhibition is curated by Michael Duncan, independent curator and corresponding editor of Art in America. Duncan has curated and co-curated over thirty exhibitions, most recently An Opening of the Field: Jess, Robert Duncan, and Their Circle, Crocker Art Museum, Sacramento, 2013 (awarded Best Thematic Exhibition Nationally by the International Association of Art Critics, United States); and LA RAW: Abject Expressionism in Los Angeles, 1945–1980, From Rico Lebrun to Paul McCarthy, Pasadena Museum of California Art, 2012.

Laguna Art Museum - Peter Krasnow: Maverick Modernist - 26.06.2016-25.09.2016



2208 - 20161010 - U.S.A. - BOSTON - MASSACHUSETTS - Year of the Monkey - 30.04.2016-10.10.2016

Ogata Gekkō, Monkeys and Mount Fuji, Japanese, Meiji era, 1900s. Woodblock print (nishiki-e); ink and color on paper. Gift of L. Aaron Lebowich.

In honor of the Year of the Monkey in the East Asian calendar cycle, this exhibition of 56 works celebrates the important role of monkeys in Japanese culture. The Japanese macaque, a short-tailed monkey, is a common wild animal in Japan; and during the Edo Period (1615–1868), monkeys were often kept as pets. The most famous fictional monkey in Japan is a visitor from China, the Monkey King known as Son Gokū, a simian superhero who is the prototype of Gokū, the hero of the hit manga and anime series Dragon Ball.
The highlight of the show is a complete set of all 21 known designs in the color print series Journey to the West by Tsukioka Yoshitoshi (1839–92), published in 1864–65 and based on a popular Japanese translation of the 16th-century Chinese novel of the same name. The story of the brave but mischievous Monkey King, who uses his supernatural powers to help a Chinese Buddhist monk travel to India and back on a quest for precious Buddhist scriptures, became almost as popular in Japan as in China. The Monkey King was featured not only in book illustrations and prints, but in decorative art forms such as netsuke and tsuba (sword guards).
Another major source of monkey imagery was a traditional performing art still occasionally practiced today, in which costumed monkeys dance to the music provided by trainers who have raised them from infancy. On the kabuki stage, actors in monkey costumes imitated the monkeys who were imitating humans. At the same time, paintings and prints of the natural world included many vivid depictions of wild monkeys.
Also part of the show are Art Deco postcards for 1932, another Year of the Monkey; and images related to the famous Three Monkeys—See No Evil, Hear No Evil, and Speak No Evil—whose names in Japanese are puns on the word for “monkey.”

Museum of Fine Arts Boston - Year of the Monkey - 30.04.2016-10.10.2016


2207 - 20161002 - U.S.A. - GLENS FALLS - NEW YORK - Dürer & Rembrandt: Master Prints from the Collection of Dr. Dorrance Kelly - 10.07.2016-02.10.2016


This exhibition will feature a selection of superb engravings and woodcuts by the German printmaker, Albrecht Dürer, and exceptional etchings by the Dutch Master, Rembrandt van Rijn, along with the printed works of their contemporaries including Lucas van Leyden, Lucas Cranach the Elder, Hendrik Goudt, Hendrik Goltzius, Adriaen van Ostade, and Jan Muller.
Dr. Dorrance Kelly has assembled one of the most distinguished private collections of prints in the country. The exhibition will feature more than 70 works from his collection. It provides an unparalleled opportunity for visitors to observe both the religious and secular works of these great masters while considering the historical contexts, religious backgrounds, and aesthetic approaches of each of the artists.

The Hyde Collection - Dürer & Rembrandt: Master Prints from the Collection of Dr. Dorrance Kelly - 10.07.2016-02.10.2016


2206 - 20161002 - U.S.A. - ASPEN - COLORADO - Alan Shields: Protracted Simplicity (1966–1985) - 24.06.2016-02.10.2016

Alan Shields

Moving easily between the mediums of painting, drawing, and sculpture, artist Alan Shields (1944–2005) displayed a deep consideration of material and color through his practice. Interested in opening up a broader context in which art could be experienced, he created objects that hang freely in space and are experienced in relation to the movement of the human body. His brightly colored, layered works illustrate Shields's belief in a direct connection between art and life, revealing a multifaceted practice that merges the sculptural, the painterly, and the theatrical.

Aspen Art Musem - Alan Shields: Protracted Simplicity (1966–1985) - 24.06.2016-02.10.2016


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2205 - 20160918 - U.S.A. - FORT WORTH - Frank Stella - A retrospective - 17.04.2016-18.09.2016


Frank Stella, Marrakech, 1964. Fluorescent alkyd on canvas. 77 x 77 x 2 7/8 inches. The Metropolitan Museum of Art, New York; gift of Mr. and Mrs. Robert C. Scull, 1971 (1971.5). © 2016 Frank Stella/Artists Rights Society (ARS), New York.

Frank Stella is one of the most important living American artists. This retrospective exhibition is the most comprehensive presentation of Stella’s career to date, showcasing his prolific output from the mid-1950s to the present through approximately 120 works, including paintings, reliefs, maquettes, sculptures, and drawings. Co-organized by the Modern and the Whitney Museum of American Art in New York, this exhibition features Stella’s best-known works alongside rarely seen examples drawn from collections around the world.

This exhibition is curated by Michael Auping, Chief Curator, Modern Art Museum of Fort Worth, with the involvement of Adam D. Weinberg, Alice Pratt Brown Director, Whitney Museum of American Art.

Modern Art Museum of Fort Worth - Frank Stella - A retrospective - 17.04.2016-18.09.2016



2204 - 20160918 - U.S.A. - BALTIMORE - MARYLAND - Waste Not: The Art of Medieval Recycling - 25.06.2016-18.09.2016


The concepts of recycling and reuse are often touted as a modern, even trendy approach to dealing with the overwhelming volume of material culture created by mankind. However, recycling was already a common practice by the medieval period. With ancient gems, written pages, scraps of metalwork, and used ivories, medieval artists were skilled at making use of older materials. This exhibition, which includes over 20 objects, explores medieval approaches to recycling through the mediums of gold, ivory, stone, glass, and parchment. Stunning and important in their own right, these works of art have unseen layers of history that can now be newly understood through modern research.

The Walters Art Museum - Waste Not: The Art of Medieval Recycling - 25.06.2016-18.09.2016

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2203 - 20160918 - U.S.A. - BOISE - IDAHO - Burchfield Botanicals - 18.06.2016-18.09.2016


American painter and visionary artist Charles Burchfield (1893-1967) is best known for his passionate watercolors of nature scenes and townscapes. Between the years 1908 and 1911, when Burchfield was still a teenager, he created nearly 500 botanical sketches that show the wide variety of wildflowers and plants he found in the forests and fields around his childhood home. Using books from the local library, Burchfield identified and catalogued these plants, along with the location at which he found them. These sketches from Burchfield’s young life provide some of the earliest evidence of his artistic ambitions and are a testament to his life-long fascination with the natural world. This exhibition features Burchfield masterworks paired with his early botanical sketches.

Also included are objects from the Marchand Wildflower Collection at the Buffalo Museum of Science. Paul Marchand (1904-96), whose father trained as a sculptor with Auguste Rodin in Paris, created the Hall of Plant Life in 1936 with his brother George. Marchand is well known throughout the world for his meticulous craftsmanship. He created scientifically accurate and visually stunning casts of flowers and mushrooms as well as dioramas for the museum throughout his career.

Boise Art Museum - Burchfield Botanicals - 18.06.2016-18.09.2016



2202 - 20160907 - U.S.A. - NEW YORK - László Moholy-Nagy - 27.05.2016 - 07.09.2016


László Moholy-Nagy, A II (Construction A II), 1924. Oil and graphite on canvas, 115.8 × 136.5 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection 43.900 © 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York.

Solomon R. Guggenheim Museum presents the first comprehensive retrospective in the United States in nearly fifty years of the work of pioneering artist and educator László Moholy-Nagy (1895–1946). Organized by the Solomon R. Guggenheim Foundation, the Art Institute of Chicago, and the Los Angeles County Museum of Art, Moholy-Nagy: Future Present examines the full career of the utopian modernist who believed in the potential of art as a vehicle for social transformation, working hand in hand with technology. Despite Moholy-Nagy’s prominence and the visibility of his work during his lifetime, few exhibitions have conveyed the experimental nature of his work, his enthusiasm for industrial materials, and his radical innovations with movement and light. This long overdue presentation, which encompasses his multidisciplinary methodology, brings together more than 300 works drawn from public and private collections across Europe and the United States, some of which have never before been shown publicly in this country. After its debut presentation in New York, the exhibition will travel to the Art Institute of Chicago (October 2, 2016–January 3, 2017) and the Los Angeles County Museum of Art (February 12–June 18, 2017).

Moholy-Nagy: Future Present is co-organized by Carol S. Eliel, Curator of Modern Art, Los Angeles County Museum of Art; Karole P. B. Vail, Curator, Solomon R. Guggenheim Museum; and Matthew S. Witkovsky, Richard and Ellen Sandor Chair and Curator, Department of Photography, Art Institute of Chicago. The Guggenheim presentation is organized by Vail, with the assistance of Ylinka Barotto, Curatorial Assistant, and Danielle Toubrinet, Exhibition Assistant.

Moholy-Nagy: Future Present provides an opportunity to examine the full career of this influential Bauhaus teacher, founder of Chicago’s Institute of Design, and versatile artist who paved the way for increasingly interdisciplinary and multimedia work and practice. Among his radical innovations were his experiments with cameraless photographs (which he dubbed “photograms”); use of industrial materials in painting and sculpture that was unconventional for his time; researching with light, transparency, and movement; his work at the forefront of abstraction; and his ability to move fluidly between the fine and applied arts. The exhibition is presented chronologically up the Guggenheim’s rotunda and features collages, drawings, ephemera, films, paintings, photograms, photographs, photomontages, and sculptures. The exception to the sequential order is Room of the Present (Raum der Gegenwart) in the High Gallery, a contemporary fabrication of a space originally conceived by Moholy-Nagy in 1930 but never realized in his lifetime. Constructed by designers Kai-Uwe Hemken and Jakob Gebert, the large-scale work contains photographic reproductions, films, slides, documents, and replicas of architecture, theater, and industrial design, including a 2006 replica of his kinetic Light Prop for an Electric Stage (Lichtrequisit einer elektrischen Bühne, 1930). Room of the Present illustrates the artist’s belief in the power of images and his approach to the various means with which to view them—a highly relevant paradigm in today’s constantly shifting and evolving technological world. Room of the Present will be on display at all three exhibition venues and for the first time in the United States. The Guggenheim installation is designed by Kelly Cullinan, Senior Exhibition Designer, and is inspired by Moholy-Nagy’s texts on space and his concept of a “spatial kaleidoscope” as applied to the experience of walking up the ramps.

Born in 1895 in Austria-Hungary (now southern Hungary), Moholy-Nagy moved to Vienna briefly and then to Berlin in 1920, where he encountered Dada artists, whose distinctive visual attributes of the urban industrial landscape had already entered his work. He was also influenced by the Constructivists, and exhibited work on several occasions at Berlin’s Der Sturm gallery. During this time, Moholy-Nagy experimented with metal constructions, photograms, and enamel paintings. At the same moment, in his ongoing quest to depict light and transparency, he painted abstract canvases composed of floating geometric shapes. While teaching at the Bauhaus in Weimar and then Dessau, he and Walter Gropius pioneered the Bauhaus Books series, which advanced Moholy-Nagy’s belief that arts education and administration went hand in hand with the practice of art making. Around this period, the artist became temporarily disenchanted with the limitations of traditional painting. Photography took on greater importance for him, and he described the photogram as “a bridge leading to new visual creation for which canvas, paint-brush and pigment cannot serve.” He fashioned photomontages by combining photographs (usually found) and newspaper images into absurd, satirical, or fantastical narratives. When he moved back to Berlin in 1928, he enjoyed success as a commercial artist, exhibition and stage designer, and typographer, examples of which will be on display in Moholy-Nagy: Future Present. Adolf Hitler’s rise to power made life increasingly difficult for the avant-garde in Germany; thus, in 1934 Moholy-Nagy moved with his family to the Netherlands and then to London. Once he moved to Chicago in 1937, he never returned to Europe.

Moholy-Nagy immigrated to Chicago to become founding director of the New Bauhaus, known today as the Institute of Design at the Illinois Institute of Technology. He also made some of his most original and experimental work during this time, pursuing his longtime fascination with light, shadow, transparency, and motion. He continued to make photograms, created his Space Modulators (hybrids of painting and sculpture made from Plexiglas), and pioneered 35 mm color slide photography, shown as projections in the exhibition. He gave his full attention to American exhibition venues before his untimely death of leukemia in 1946, showing nearly three dozen times across the United States—including in four solo shows.

Moholy-Nagy was a central figure in the history of the Guggenheim Museum. His work was included in the museum’s founding collection, and he held a special place at the Museum of Non-Objective Painting, the forerunner of the Guggenheim Museum. He was among the first artists director Hilla Rebay exhibited and collected in depth, and the museum presented a memorial exhibition shortly after his death. Moholy-Nagy: Future Present highlights the artist’s interdisciplinary and investigative approach, migrating from the school to the museum or gallery space, consistently pushing toward the Gesamtwerk, the total work, which he sought to achieve throughout his lifetime.

Solomon R. Guggenheim Museum - László Moholy-Nagy - 27.05.2016 - 07.09.2016



2201 - 20160828 - U.S.A - NEW HAVEN - CONNECTICUT - Le Goût du Prince: Art and Prestige in Sixteenth-Century France - 20.05.2016-28.08.2016


Antoine Caron, The Triumph of Mars, ca. 1570. Oil on panel, 28 5/8 × 46 5/8 in. (72.7 × 118.4 cm). Yale University Art Gallery, Leonard C. Hanna, Jr., Class of 1913, Edwin J. Beinecke, Class of 1907, Archer M. Huntington, Class of 1897, and Mrs. Gile Whiting Funds. Through a selection of prints, enamels, medals, sculptures, and paintings, Le Goût du Prince: Art and Prestige in Sixteenth-Century France explores the relationship between art and power during the French Renaissance, a time when patronage of the arts increasingly became a means for members of the aristocracy to assert their wealth and status. From architecture to tableware, everything at châteaux throughout France was meant to display the sophistication— and thus, the power and prestige—of the patron. The diversity of artworks on view in this studentcurated exhibition reflects the “goût du prince” (“taste of the prince”), a phrase that refers not to a particular individual but to a symbolic princely figure, recasting the patron as a cultured and aristocratic force that influenced artistic production. As more recent objects in the exhibition illustrate, this taste had an enduring impact on French art and culture in subsequent centuries.

Though the French nobility had long used art patronage and collecting as evidence of wealth and good taste, these practices reached new heights following the Italian Wars of the early 16th century. Members of the aristocracy who took part in those wars were exposed to the artistic accomplishments of the High Renaissance. Inspired by the magnificence of Italian palaces, King Francis I (r. 1515–47) brought celebrated Italian artists to decorate his château at Fontainebleau, about forty miles southeast of Paris. The masters Rosso Fiorentino and Francesco Primaticcio collaborated with French artists to create the elegant, erotic, classically inspired, and highly ornamental style now known as the Fontainebleau School. Francis I’s efforts transformed the château into the epicenter of the French Renaissance and earned him the title of “prince of arts and letters.”

The ornamental vocabulary of the elaborate fresco and stucco decoration at Fontainebleau circulated widely through prints during the second half of the 16th century. The novel aesthetic seen at the château was enthusiastically embraced by wealthy patrons eager to emulate the king’s taste. More direct references to the monarchy proliferated in the form of portrait medals and bronze busts replicating the king’s image, part of Francis I’s efforts to unify the kingdom which, at the beginning of the 16th century, consisted of powerful duchies that retained substantial independence from the crown. These portraits were displayed in the homes of noblemen as signs of their social rank and allegiance to the king. The nobility’s efforts to showcase wealth and taste even extended to small objects of daily use, such as tableware. Enamelists, ceramists, and metalworkers developed an array of luxury objects using innovative, elaborate techniques, some of which remained a mystery for centuries.

During the 19th century, artists rediscovered the ornamental style and practices of the 16th century and used them as inspiration for their own work, creating enamels in the grisaille style typical of the French Renaissance, bronze busts and medals of political figures, and ceramic figurines or candlesticks that replicate types from the period. Today, art historians and museum curators can find it difficult to distinguish between 16th-century objects and works that emulate or simply copy the vocabulary of the Fontainebleau School. The exhibition includes some 19th-century objects representative of this revival, as well as objects of uncertain date, which serve to illustrate the popularity of the Fontainebleau style, its distinctive qualities, and the longevity of its appeal.

“The extraordinary place held by 16th-century France in the history of art is illuminated in this exhibition of close to 120 works, most of them generously lent by a private collector,” explains Suzanne Boorsch, the Robert L. Solley Curator of Prints and Drawings. “The Italian artists Rosso Fiorentino and Francesco Primaticcio, invited by King Francis I to decorate his château at Fontainebleau, created an audacious, innovative, extravagant—perhaps best described as ‘truly overthe-top’—style that spread throughout France and, by the end of the century, to the rest of Europe. The Yale University Art Gallery’s program of student-curated exhibitions provided an unparalleled opportunity, and also a steep challenge, to the three student curators of Le Goût du Prince who worked with great dedication, but also verve and imagination, to do research on the period, select the works, devise and oversee the installation, write the labels, and plan and participate in programming for the public.”

In the summer of 2015, the three student curators—Cordelia de Brosses, CC ’16, Hélène Cesbron-Lavau, MC ’16, and Stephanie Wisowaty, TD ’16—visited the Château de Fontainebleau. “We wandered around the Château’s galleries, courtyard, and beautiful gardens,” states de Brosses. “The Château has changed since the 16th century and it was interesting to see various styles existing side by side, reflecting the taste of each royal patron who had lived there since the time of King Francis I. Looking at the majestic frescoes in the Gallery of Francis I and in the vestibule of the main entrance, called the Porte Dorée, we became more familiar with the elaborate and ornamental style that distinguished the School of Fontainebleau. This helped us to construct both the narrative and the layout of our own exhibition, in which we tried to recreate a similar sense of grandeur. The time we spent at Fontainebleau and the research we did last summer in libraries in London and Paris also helped us gain a better understanding of the objects in the exhibition and their original context.” 

Laurence Kanter, Chief Curator and the Lionel Goldfrank III Curator of European Art, concludes, “Le Goût du Prince: Art and Prestige in Sixteenth-Century France is a special case of three talented undergraduates mastering the complexities of a remote historical culture through self-directed private study; being given free rein of material from our own holdings and on loan from a distinguished private collection; and organizing a wonderfully coherent, informative, and beautiful display of works of art in many different media.”
Yale University Art Gallery - Le Goût du Prince: Art and Prestige in Sixteenth-Century France 20.05.2016-28.08.2016


2200 - 20160905 - U.S.A. - WASHINGTON, DC - Robert Irwin: All the Rules Will Change - 07.04.2016-05.09.2016

Robert IrwinUntitled, 1959–60
Collection of Adele and Robert Irwin
Photo © 2007 Philipp Scholz Rittermann

“Robert Irwin: All the Rules Will Change,” a major exhibition by one of the leading postwar American artists, runs April 7–Sept. 5, 2016, at the Smithsonian’s Hirshhorn Museum and Sculpture Garden. It is the first museum survey devoted to Irwin’s work from the pivotal decade of the 1960s, as well as the first U.S. museum survey outside his native California since 1977. The Hirshhorn is the exhibition’s only venue. A pioneer of California Light and Space art, Irwin (b. 1928) is also a leading figure in broader movements away from discrete art objects in traditional media and toward an understanding of art as a perceptual experience. The exhibition, whose title is drawn from the artist’s writings, consists of two parts. A historical survey chronicles the period from 1958 to 1970, during which Irwin moved from making small-scale abstract paintings to large acrylic discs and columns, before eventually abandoning working in a studio in favor of producing ephemeral installations of modest, unconventional materials, each made in response to the circumstances of a given site. The exhibition culminates in a major new commission in the Hirshhorn’s galleries, where Irwin will create an immersive installation in response to the museum’s distinctive architecture using what has become his signature medium, scrim. “Robert Irwin is one of the driving forces behind the expansion of the definition of art in the second half of the 20th century,” said Hirshhorn Director Melissa Chiu. “His new installation extends this vital legacy, engaging with the museum’s architecture so that visitors experience our public spaces in new ways. The Hirshhorn is honored to introduce Irwin’s intellectually rigorous and indescribably beautiful work to a new generation of viewers.” “The 1960s is a crucial decade in the history of contemporary art, and Robert Irwin’s investigations into the ways our perceptual processes are shaped and framed were at the forefront of the developments unfolding then,” said Hirshhorn Curator Evelyn Hankins, who organized the exhibition. “The historical portion of the exhibition includes many rarely seen works that, because of their extremely subtle nature, demand in-person viewing. And as both these objects and the new installation demonstrate, Irwin’s art becomes fully present only when you are standing in the physical space, experiencing it over an extended period of time.” As the survey follows Irwin’s inquiry into the nature and experience of art, it proceeds through each groundbreaking series of works from the period: the hand-held paintings, the pick-up sticks paintings, the early line paintings, the late line paintings, the dot paintings, the aluminum discs, the acrylic discs and the acrylic columns. The expansive new installation that occupies the final gallery employs more than 100 feet of scrim to square architect Gordon Bunshaft’s circle in one simple, conceptually elegant gesture. The exhibition will be accompanied by a full-color scholarly catalog, co-published with Prestel, that includes essays by Hankins, Irwin, Matthew Simms, Jennifer Licht Winkworth and Susan Lake.

Smithsonian’s Hirshhorn Museum and Sculpture Garden - Robert Irwin: All the Rules Will Change - 07.04.2016-05.09.2016


2199 - 20160814 - U.S.A. - DALLAS-TEXAS- Irving Penn: Beyond Beauty - 15.04.2016-14.08.2016


Irving Penn, Leontyne Price, New York, 1961, Smithsonian American Art Museum, Gift of The Irving Penn Foundation. Copyright © Condé Nast.

Known for his iconic images, many of which graced the pages of the equally inimitable Vogue magazine, Irving Penn (1917–2009) is one of the leading photographers of the 20th century.Adept at transforming mundane objects — including food, cigarette butts, and street debris — into striking images of surreal beauty, he deftly used both black-and-white and color techniques, thus bridging the gap between fashion and art; magazine and fine art photography.

This year, the first retrospective of the lensman’s work in almost 20 years is touring several museums and art centers in North America, making stops that include the Dallas Museum of Art in Texas this month.

Titled Irving Penn: Beyond Beauty, the exhibition will showcase about 150 images drawn exclusively from the large and diverse permanent collection of the Smithsonian American Art Museum. Aimed at presenting the full range of his oeuvre, the photos represent all stages of Penn’s nearly 70-year career, and range from 1930s street scenes and 1940s vignettes of the American South, to the elegant fashion editorials of the 1950s, as well as more recent celebrity portraits, and private studio shots.On display for the first time will be several images that have never been seen by the public, as well as Super 8mm films, made by Penn’s wife Lisa Fonssagrives-Penn, of her husband at work in Morocco. The exhibition will continue its tour with a stop at the Lunder Art Center in Cambridge, Massachusetts, and move on to three more venues in 2017 and 2018.

Dallas Museum of Art - Irving Penn: Beyond Beauty - 15.04.2016-14.08.2016


2198 - 20160828 - U.S.A. - LOS ANGELES, CA - Art of the Austronesians: The Legacy of Indo-Pacific Voyaging - 24.04.2016-28.08.2016


Art of the Austronesians explores the history and development of the arts and cultures of the Austronesian-speaking peoples—from their prehistoric origins in what is now Taiwan to their successive seafaring migrations over millennia throughout the Philippines, Indonesia, the Pacific, and beyond. The first major exhibition in the United States to examine the visual arts of the entire Austronesian world comparatively in a single project, it features a number of important pieces from the Fowler’s collection. Additional works borrowed from private California-based collections, many on view to the public for the first time, contribute to the remarkable breadth of the installation.
Most of the featured artworks date from the last two hundred years and therefore reflect a variety of accumulated influences. Visitors may, nevertheless, trace their development through time as the Austronesian world expanded and discern among them repeated themes suggesting a common heritage. With nearly 200 works on view, the exhibition offers visitors a rare glimpse into the cultures of the descendants of these voyaging peoples through their visual arts.

Fowler Museum at UCLA - Art of the Austronesians: The Legacy of Indo-Pacific Voyaging - 24.04.2016-28.08.2016


2197 - 20160814 - U.S.A. - BROOKLYN - NEW YORK - Tom Sachs: Boombox Retrospective, 1999-2016 - 21.04.2016-14.08.2016


Tom Sachs (American, born 1966). Clusterfuck, 2014. Porcelain and mixed media, 14 x 24 x 7 ½ in. (35.6 x 61 x 19.1 cm). Collection of Max Power Jacobellis, Washington, CT. Courtesy of the artist

Tom Sachs pays tribute to a defining icon of street culture—the boom box—by transforming our glass entryway, the Rubin Pavilion, into a living sound system that hovers between art and science, the functional and the mythological.

Tom Sachs: Boombox Retrospective, 1999–2016 features eighteen works that highlight the artist’s ability to inventively transform ordinary, everyday materials into art. With wit and ingenuity, he creates boom box sculptures that play music and activate the space, turning it into an immersive sound environment. The work is programmed with playlists that go on sequentially throughout our public hours.

The installation includes Toyan’s (2002), a group of speakers eight feet tall by twelve feet across inspired by Jamaican sound systems, and Presidential Vampire Booth (2002), complete with a stocked bar and Presidential seal. Sachs’s work is crafted from a wide range of materials such as plywood, foamcore, batteries, duct tape, wires, hot glue, and solder.

Tom Sachs: Boombox Retrospective, 1999–2016 is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum.
An earlier version of this exhibition, entitled Tom Sachs: Boombox Retrospective 1999–2015, opened in January 2015 at The Contemporary Austin.

Brooklyn Museum - Tom Sachs: Boombox Retrospective, 1999-2016 - 21.04.2016-14.08.2016


2196 - 20160710 - U.S.A. - HARTFORD, CONN - Gothic to Goth: Romantic Era Fashion & Its Legacy - 05.03.2016-10.07.2016


The Wadsworth Atheneum Museum of Art in Hartford, Conn., is mounting the first exhibition to fully explore the Romantic era as a formative period in costume history from Mar. 5, 2016 – Jul. 10, 2016. “Gothic to Goth: Romantic Era Fashion & Its Legacy,” presents historic garments alongside literary works, paintings, prints, and decorative arts to illustrate how European fashion from the Medieval, Renaissance and Baroque eras influenced new styles created in the Romantic era between 1810 and 1860. The exhibition explores how Romantic era principles of historicism, imagination and emotion, religion and the natural world—rejections of Neoclassical order and rationality—impacted not only costume but fine and decorative art, architecture, interior design, literature and music, and reveal the Romantic roots of recent Goth and Steampunk fashions. Lynne Z. Bassett, Costume and Textile Historian and museum consultant, is organizing the exhibition.

The first half of the 19th century—the Romantic era—is characterized by a societal shift away from the order and reason of the Enlightenment period, and corresponding embrace of imagination and emotion, originality and vision, and individuality and subjectivity as guiding principles. Romanticism idealized nostalgia for the bygone quiet rural life in a time of cultural stress, offering an escape from the social and economic uncertainty of the Industrial Revolution. These values gave rise in America to the Hudson River School of landscape painters, Transcendentalist philosophers including Ralph Waldo Emerson and Henry David Thoreau, and a fascination with revisiting historic costume designs that has endured to influence fashion in the present day.

“Gothic to Goth” explores how 500 years of European fashions were selectively integrated into creative new styles by showcasing women’s and children’s clothing and accessories from 1810−1860, alongside literary works, paintings, furniture and decorative arts of the period. Costume pieces, drawn largely from the Wadsworth Atheneum’s own collection, were carefully chosen to delve deeply into the inspirations of the little understood Romantic era of fashion. A cotton muslin dress from c. 1820, one of the earliest works in the exhibition, is an early example of historical revival clothing, with sleeves inspired by a Renaissance “slashed” style. A cotton dress from the 1830s incorporates the large, puffed sleeves and wide collar of the 16th and 17th centuries, while the decorative tab edging of the collar recalls clothing in the 13th and 14th centuries and the crenellations of Gothic revival buildings. In another mix of styles, a dress from c. 1840 reveals an overall silhouette akin to a Gothic arch and a bodice inspired by 16th-century gowns. A veneration of nature and spirituality is also embodied in the costume, as well as in the furniture and decorative arts featured in “Gothic to Goth,” along with the Romantic interest in historical revival. Garments including wedding gowns, a nursing dress, children’s clothing and accessories commemorating friendship reflect the sentimentalization of love, marriage and motherhood in popular Romantic era art and literature.

A look at recent Goth and Steampunk fashions concludes the exhibition, revealing their roots in the rich imagination and aesthetic of Romanticism, and featuring designs by Alexander McQueen, Jean Paul Gaultier, Nightwing Whitehead and House of Coniglio. The entire exhibition showcases approximately 40 fully-dressed mannequins, in addition to accessories, furniture, paintings and decorative arts objects.

Wadsworth Atheneum Museum of Art - Gothic to Goth: Romantic Era Fashion & Its Legacy  - 05.03.2016-10.07.2016


2195 - 20160619 - U.S.A. - ATHENS, GA - U.S.A.- Frank Hartley Anderson: Forging the Southern Printmakers Society - 26.03.2016-19.06.2016


In 1935, Frank Hartley Anderson founded the Southern Printmakers Society, the only major graphic arts society in the South at the time. For 10 years, the group circulated dozens of print exhibitions throughout the South, a region with few venues for viewing art, but its work was cut short by World War II. In celebration of the society, the Georgia Museum of Art at the University of Georgia will present the exhibition “Frank Hartley Anderson: Forging the Southern Printmakers Society” from March 26 to June 19, 2016.

Organized by guest curator Lynn Barstis Williams Katz, librarian emeritus, Auburn University, and a noted scholar on southern prints, the exhibition will display works made by a wide variety of artists who were members of the society. In 1994, one of Anderson’s daughters placed 73 prints in different media created by the society on longterm loan at the museum, and in 2008 she made the gift official.

Frank Hartley Anderson and his wife, the former Martha Fort, had a long-lasting impact on the South’s artistic community. By 1930, the two artists had begun collecting and exhibiting art in their home in Birmingham, Alabama. In founding the Southern Printmakers Society, the Andersons let printmakers share ideas and resources, creating touring exhibitions and giving out monetary prizes.

Instead of focusing only on printmakers working in the South, Anderson advertised in Art Digest, a national periodical, to diversify the society’s membership. By 1936, the society had organized its first exhibition, displaying more than 200 prints at the Birmingham Public Library. From there, the group went on to organize dozens of other exhibitions and promote artists throughout the United States.

The exhibition reveals a range of print media, styles and subjects within traditional, realistic composition, from Lynd Ward’s wood engraving “Seedling,” of a man cradling a tender young plant, to Hungarian-Canadian Nicholas Hornyansky’s colorful aquatint of a busy harborside market. It includes a number of works by women, who were active in the printmaking world, such as Alice Standish Buell, Frances Gearhart, Ella Sophonisba Hergesheimer, Ella Fillmore Lillie, Elizabeth Norton and Gladys M. Wilkins.

Georgia Museum of Art - Frank Hartley Anderson: Forging the Southern Printmakers Society - 26.03.2016-19.06.2016



2194 - 20160724 - U.S.A. - WASHINGTON, DC - Three Centuries of American Prints from the National Gallery of Art - 03.04.2016-24.07.2016


This exhibition surveys how America and its people have been represented in prints made by American and non-American artists between 1710 and 2010. Early prints of the continent’s indigenous peoples, its landscapes, flora and fauna, its historical events, wars, and citizenry reflect the curiosity of Europeans about a world they perceived as new and strange. At the same time, American artists often turned to prints to present a vision of their youthful democracy.

Prints are well-suited for quickly conveying images of contemporary events to a wide audience, and thus have often been a forum for social commentary or criticism. The exhibition includes works from across the centuries that aim to raise awareness and inspire change. On view, for instance, is an engraving of the Boston Massacre by Paul Revere as well as a broadside from more than two hundred years later by the undercover feminist collective known as the Guerrilla Girls. The exhibition also features works by artists equally drawn to the aesthetic potential of printmaking. From James McNeill Whistler, Mary Cassatt, and others of the late nineteenth century to Jackson Pollock and Helen Frankenthaler in the twentieth, vanguard artists have explored printmaking’s unique artistic possibilities. In recent years, radical experiments by artists such as Robert Rauschenberg, Claes Oldenburg, and Richard Serra have pushed to the breaking point the very definition of the medium.

The more than 150 prints in this exhibition, mounted on the occasion of the National Gallery’s 75th anniversary, are drawn entirely from the Gallery’s collection, including promised gifts.

National Gallery of Art - Three Centuries of American Prints from the National Gallery of Art


2193 - 20160821 - U.S.A. - Williamsburg, VA - Hiroshige’s 53 Stations of the Tokaido - 06.02.2016-21.08.2016


Hiroshige’s 53 Stations of the Tokaido  explores the most traveled road in old Japan with fresh eyes. This exhibition presents five distinct complete sets of Hiroshige’s The 53 Stations of the Tokaido Road never before displayed together. Centering on the fifty-five woodblock prints of Hiroshige’s famed first set, the Hoeido Tokaido (1832-1833, oban), the four additional series reveal the spectrum of Hiroshige’s visual poetry: Sanoki Tokaido (late 1830s, bound, chuban); Gyosho Tokaido (c. 1841-1842, aiban); Tsutaya Tokaido (c. 1850, bound, chuban); Upright Tokaido (1855, oban).  Hiroshige’s Tokaido  immerses the viewer in a panoramic view of the Tokaido and Hiroshige’s romance with the landscape of Japan. All works in this exhibition are on loan from the Ronin Collection of the Ronin Gallery, New York.

About Hiroshige’s Tokaido
Traveled as early as the 8th century, the Tokaido traced the eastern coastline of Japan. At the beginning of the 17th century, ruling power shifted from the emperor to the shogun, inviting an unprecedented level of activity on the road. By 1689, 53 stations connected the Eastern Capital of Edo (modern Tokyo), the seat of the shogun, to Kyoto, the Imperial capital. The Tokaido was the most traveled road in Japan: a 323-mile artery providing the backbone of trade and communication until the arrival of railways during the Meiji period. While novels, guidebooks, paintings and prints extolled the adventures of life on the road long before the Hoeido Tokaido, Hiroshige’s 55-piece set of woodblock prints captured the spirit of adventure like never before. Through changing seasons and viewpoints, 53 Stations of the Tokaido guides the viewer through each station, each veritable microcosm of Edo-period culture, as they journey from Edo’s Nihonbashi to the Sanjo Bridge in Kyoto.
About the Artist
Known as the “poet of travel,” Hiroshige was born in Edo in 1779. He grew up in a minor samurai family and his father belonged to the firefighting force assigned to Edo Castle. While he entered his apprenticeship in 1811, Hiroshige’s artistic genius went largely unnoticed until 1832 with his groundbreaking series, 53 Stations of the Tokaido. In 1858, at the age of 61, he passed away as a result of the Edo cholera epidemic. However, the legacy of Hiroshige’s work profoundly influenced the Impressionists and Post-Impressionists of Europe: Toulouse-Lautrec was fascinated with Hiroshige’s daring diagonal compositions and inventive use of perspective, while van Gogh literally copied two prints from 100 Famous Views of Edo in oil paint.
About The Ronin Collection
The Ronin Collection is the private collection of the Ronin Gallery, a leading family-owned Japanese and East Asian art gallery in New York City, and the largest private collection of 17th-21st century Japanese prints for sale in the United States. Founded in 1975 in the Explorers Club Mansion of New York City, the Ronin Gallery is now located at Madison Ave. and 49th St. For more information about the gallery and to access the gallery’s online exhibitions, visit roningallery.com. 
Muscarelle Museum of Art - Hiroshige’s 53 Stations of the Tokaido - 06.02.2016 - 21.08.2016