2224 - 20171231 - U.S.A. - ALBANY - NEW YORK - New York State Museum - Hudson Valley Ruins - 20.08.2016-31.12.2017


This photography and architecture exhibition is based on the work of Robert Yasinsac and Thomas Rinaldi. Their 2006 book, Hudson Valley Ruins: Forgotten Landmarks of an American Landscape, studies the region's forgotten cultural treasures. In addition to great river estates, the book profiles sites more meaningful to everyday life in the Valley: churches and hotels, commercial and civic buildings, mills and train stations. Included are works by some of the most important names in American architectural history, such as Alexander Jackson Davis and Calvert Vaux.

The exhibit is divided into three parts: the upper, middle, and lower sections of the Hudson River Valley. Sites have been selected for their general historical and architectural significance, their relationship to important themes in the region’s history, their physical condition or “rustic” character, and their ability to demonstrate a particular threat still faced by historical buildings in the region. The exhibition will look at a few sites that have changed, for better or for worse, in the past ten years since the book’s publication.

  New York State Museum - Hudson Valley Ruins - 20.08.2016 - 31.12.2017



2223 - 20170116 - U.S.A - HOUSTON - TEXAS - Degas: A New Vision - 15.10.2016-16.01.2017


Edgar Degas, Sulking, c. 1870, oil on canvas, The Metropolitan Museum of Art, New York, H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1918. Image © The Metropolitan Museum of Art, image source: Art Resource, NY
This fall, the Museum of Fine Arts, Houston, is the exclusive U.S. venue for Degas: A New Vision, the most significant international survey in three decades of the work of Hilaire-Germain-Edgar Degas (1834–1917). While Degas’s reputation has often been confined to his ballet imagery, the artist’s oeuvre is rich, complex, and abundant, spanning the entire second half of the 19th century and the first years of the 20th. Degas: A New Vision assembles some 200 works from public and private collections around the world, and showcase Degas’s abiding interests across painting, drawing, photography, printmaking, and sculpture.

The MFAH has developed this major retrospective with the National Gallery of Victoria, in association with Art Exhibitions Australia. Some 60 additional loans are exclusive to the Houston presentation, including such major works as Dancers, Pink and Green, from the Metropolitan Museum of Art, as well as preparatory drawings reunited with the iconic paintings that evolved from them, including Ballet Scene from Meyerbeer's Opera “Robert the Devil.”

Not since the 1988 landmark retrospective Degas—organized by Henri Loyrette, then at the Grand Palais in Paris; Gary Tinterow, then a curator at the Metropolitan Museum of Art in New York; and the late Jean Sutherland Boggs of the National Gallery of Canada in Ottawa—has the artist’s career been fully assessed. “The objective of Degas in 1988 was to piece together Degas’s work as a whole, in an accurate chronology; though it may seem surprising now, that had never been done,” said MFAH director Gary Tinterow. “That exhibition led to a revival of interest in Degas, and dozens of shows focused on individual subjects of his work—the bathers, the dancers, the jockeys, the portraits—or his influence on other artists. Now, we are able to benefit from that scholarship and, led by Henri Loyrette, the preeminent Degas biographer and scholar, put Degas back together again, and see the artist anew.”

“Degas: A New Vision will explore Degas’s measured continuity, his journey as he reworks one painting after another, and his total refusal to settle on a definitive composition,” commented Henri Loyrette, the Paris-based Degas scholar and former director of the Louvre who is the organizing curator of the exhibition. “This is the distinctive genius of Degas, which makes him both a precursor and particularly relevant to today. Each period looks at the artist in a different way. What can he tell us today? That is the basic purpose of this show.”

Degas: A New Vision reveals the continuity within Degas’s work from the beginning to the end of his career, as he restlessly moved among the media of oil painting, drawing, pastel, photography, printmaking, and sculpture, all the while employing common themes and approaches, revisiting poses and motifs that he had used decades earlier, and reworking paintings that he kept in his studio.

Degas’s earliest work, from the mid-1850s, is rooted in the Renaissance; in one early self-portrait he depicts himself as a Florentine courtier. By the late 1850s, Degas had shifted to multi-figure compositions, among them the double portrait of his brother-in-law and sister, Edmondo and Thérèse Morbilli (1865). This vignette of daily life, set in a nondescript, bourgeois environment, reveals a fascinating interplay of the couples’ relationship: in this depiction, Thérèse remains no more than the shadow of her husband, half hidden behind the table, with one hand grasping her cheek and the other anxiously reaching for Edmondo.

From paintings like the Morbilli portrait, Degas moved to modern history painting based on classical subjects, experimenting as he deployed multiple figures on a canvas. In two studies for Young Spartans Exercising and Scene of War, both from the mid-1860s, Degas uses a range of expressive posture and unusual pose that had not been seen before in painting. In addition, both works feature posed figures that Degas would revisit in very different contexts 20, even 40 years later.

By the late 1860s, Degas had abandoned these mythological and classical subjects. “After a great many essays and experiments and trial shots in all directions, he has fallen in love with modern life,” the great critic, artist, and writer Edmond de Goncourt wrote in 1874, following a visit to Degas’s studio.

At his height, in the 1870s and 1880s, Degas pursued every facet, high and low, of modern life: café scenes, in his iconic In a café (1875), also known as L’absinthe; jockeys and steeplechases, in Out of the Paddock (Racehorses) (1868–72) and Before the Race (c. 1882); student ballerinas in Dance Foyer of the Opera at Rue Le Peletier (1872), The Dance Class (1873), and Dancers, Pink and Green (1890); everyday routines in the brothel, in The Name Day of the Madam (1879); life below stairs, in Women Ironing (1884–86). A trip to visit his mother’s family in Louisiana produced his famous A Cotton Market in New Orleans (1873). All are complex, multi-figure compositions with the focus on the incidental or the moment of anticipation: a young dancer about to perform a step; the top-hatted silhouette of a standing man in a room crowded with young ballerinas; the man reading the newspaper amid the bustle of the cotton exchange.

Still, Degas continued to mine his earlier work for poses and postures. The young lady leaning on her elbows toward a man at his desk in the 1870 interior Sulking, who looks up at the viewer as if interrupted, becomes the older woman in a pensive tête-à-tête in the 1885 Conversation. Degas would continue to explore variations on a single subject, such as the female nude, creating them in different media across more than half a century. A lesser-known aspect of this creative journey included a short, but intensive, foray into photography. Degas’s photographs—the majority of which were produced during the year 1895 and feature his inner circle of family members, friends, and fellow artists—reveal how the artist used the medium both as part of a creative continuum that included paintings and pastels and as an experiment with a new form of visual expression, resulting in photographic figure studies, portraits, and self-portraits that stand alone as works of art in their own right. Degas: A New Vision will unite over 20 of his surviving photographs for the first time since the 1998 exhibition Edgar Degas: Photographer, which debuted at the Metropolitan Museum of Art in New York and traveled to the J. Paul Getty Museum in Los Angeles and the Bibliothèque Nationale de France in Paris.

“Thirty years ago, no one even considered Degas’s late work, but the 1988 exhibition changed the public’s mind,” Loyrette said. Tinterow added, “The revelation then was how strong and modern the end of Degas’s career was—allowing us to see, for example, how artists like Lucien Freud can show us the shocking modernity of late Degas, and how we can appreciate the extravagant color and expressive line.” Degas himself said that by the 1890s he had given himself over to “an orgy of color.” The two figures in Combing the Hair (The Coiffure, 1896; once owned by Henri Matisse) are rendered in a blaze of red; The Bathers and other late studies depict female nude figures—alone or in groups; some composed, others random. For Degas, these expressions of the female form showed women as they saw, rather than imagined, themselves.

Although organized chronologically overall, the exhibition also presents specific groupings devoted to a particular theme or technique. In all, some 200 works trace Degas’s career, across painting, drawing, photography, printmaking, and sculpture. The exhibition is drawn from private collections around the world as well as public collections that include those of the Musée d’Orsay in Paris, the National Gallery of London; the Metropolitan Museum of Art in New York, the Harvard Art Museums; Yale University Art Gallery; the Museum of Fine Arts, Boston; the Philadelphia Museum of Art; the Brooklyn Museum of Art; the J. Paul Getty Museum in Los Angeles; the Los Angeles County Museum of Art; the Thyssen-Bornemisza Museum in Madrid; and the Kunstmuseum Basel in Switzerland.
Museum of Fine Arts Houston - Degas: A New Vision - 15.10.2016 - 16.01.2017


2222 - 20170115 - U.S.A. - DENVER - COLORADO - Clyfford Still: The Works on Paper - 14.10.2016-15.01.2017


Clyfford Still

In celebration of its fifth anniversary year, the Clyfford Still Museum presents Clyfford Still: The Works on Paper, the first-ever exhibition of Still’s drawings, and the largest exhibition of Still’s work at the Museum to date. The exhibition, on view October 14, 2016–January 15, 2017, features more than 240 works, shedding new light on this integral but historically overlooked part of Still’s creative process. Arranged chronologically, the exhibition reveals the centrality of drawing to Still’s practice and offer an intimate look at the evolution of his style from figuration to fully realized abstractions.

In addition to offering a chronological study of Still’s works, the exhibition offers an in-depth exploration of works in many different media, the majority of which have never before been on public view. Among the exhibition highlights is a significant group of oil-on-paper compositions made between 1943 and 1944, selections from the more than 1,200 pastels that Still created in the final 10 years of his life, and a series of figurative portraits and landscapes—many featuring Still and his family—created in the mid-1920s. The exhibition also draws on the extensive Clyfford Still Archives housed at the Museum, featuring items such as technical studies made by Still while working in the San Francisco Bay Area shipyards during the onset of World War II and various sketches and notations that seem to lay out the abstract forms of his later work. The exhibition concludes with the artist’s final dated and signed work, a pastel-on-paper composition created in 1980.

“Five years into our deep dive into the creative process behind Still’s revolutionary work, this exhibition reveals more about this mysterious artist than anyone could have considered possible when we opened,” says director and exhibition co-curator Dean Sobel. Senior Consulting Curator David Anfam adds, “Still’s works on paper constitute a vast template and laboratory for the mechanics of Still’s art as a whole. Famously, drawing reveals an artist’s proficiency in a way that painting, with its more seductive materiality, can readily disguise.”

Despite the fact that Clyfford Still drew prolifically throughout his career, historically it has been next to impossible to view Still’s works on paper; only seven are known to exist in public collections outside Denver. The variety and sheer volume of Still’s drawings—more than 2,300 works in Denver’s collection housed at the Museum, compared with approximately 830 paintings—attest to the significant role that draftsmanship played in his work, particularly when compared to his Abstract Expressionist contemporaries. Still explored graphite, charcoal, pastel, crayon, pen and ink, oil paint, gouache, and tempera, as well as lithography, etching, woodcut, and silkscreen. In some cases, paintings—including such breakthrough canvases as Still’s PH-235 (1944-N-No. 1), widely considered to be the first mature iteration of Abstract Expressionism—grew directly out of sketches or more finished drawings. On the other hand, many works are fully realized pieces in themselves rather than preparatory steps.

Clyfford Still: The Works on Paper is curated by CSM Director Dean Sobel, Senior Consulting Curator David Anfam, and Bailey Harberg Placzek, assistant curator and collections manager.

Clyfford Still Museum - Clyfford Still: The Works on Paper - 14.10.2016 - 15.01.2017


2221 - 20170108 - U.S.A. - CINCINNATI - OHIO - Van Gogh: Into the Undergrowth - 15.10.2016-08.01.2017


Vincent van Gogh (1853–1890), Undergrowth with Two Figures (detail), 1890, oil on canvas, Bequest of Mary E. Johnston, 1967.1430.
Centered on Vincent van Gogh’s Undergrowth with Two Figures, the Cincinnati Art Museum’s new exhibition, Van Gogh: Into the Undergrowth, takes visitors up close with celebrated woodland landscapes from October 15, 2016–January 8, 2017.

This exhibition—presented only at the Cincinnati Art Museum—brings an important group of artworks on loan from around the world together for the first time.

Exploring the works of the Post-Impressionist painter Vincent van Gogh and his contemporaries, the exhibition traces the evolution of the Dutch artist’s love of the natural world, powers of observation and mastery of detail through this special group of landscape paintings spanning his career.

This exhibition is the first to take a close look at Van Gogh’s poetic depictions of the forest floor, known as sous-bois, the French term for “undergrowth.” These odes to nature were a reaction to the increasing industrialization and urbanization of society.

The exhibition allows visitors to compare Van Gogh’s treatment of this theme with examples by those who influenced and inspired him, including Théodore Rousseau, Paul Cézanne, Claude Monet and Paul Gauguin. Twenty artworks are borrowed from museum collections in Canada, The Netherlands, Switzerland, France, Japan and more, and are joined by works from the Cincinnati Art Museum’s own important collection of French paintings and works on paper.

“Visiting this exhibition is like taking a walk in the woods with Van Gogh and fellow artists,” explains Julie Aronson, Curator of American Painting and Sculpture. “Vincent van Gogh’s Undergrowth with Two Figures is widely recognized as one of the great masterpieces of Van Gogh’s late career. It is also a visitor favorite—often the favorite—among the many extraordinary works in the Cincinnati Art Museum’s galleries. This exhibition is a revelation that puts this significant work in the context of the art of its time.”

Since the Cincinnati Art Museum’s acquisition of Undergrowth with Two Figures in 1967, the museum has made this treasure available in major exhibitions around the world. It will travel to the Van Gogh Museum in Amsterdam in 2018.

In Van Gogh: Into the Undergrowth, the painter is brought to life for visitors with his own words about the intimate relation between nature and art and the artists he admired, extensively quoted from his voluminous correspondence with his brother Theo. These letters serve as inspiration for the exhibition’s interactive activity, which involves a hands-on letter-writing experience. Another interactive employs Google technology to allow visitors to explore Undergrowth with Two Figures on a touch screen, revealing the texture and brushstrokes of the painting in greatly enlarged detail.

With this exhibition, the Cincinnati Art Museum is leading the way with original scholarship in one of the few areas of Van Gogh study that remains to be explored. The accompanying catalogue, also titled Van Gogh: Into the Undergrowth, examines Van Gogh’s engagement with the sous-bois subject from various perspectives. Co-published by D Giles Limited, it will be available for sale at the Cincinnati Art Museum and online this fall. Cornelia Homburg, art historian and one of the world’s foremost Van Gogh experts, is among the authors. She will be speaking at the Cincinnati Art Museum on October 16.

To shed further light on Van Gogh’s artistic milieu, the exhibition also includes Unlocking Van Gogh’s World, a rich display of French Impressionist and Post-Impressionist prints from the Cincinnati Art Museum’s collection. In addition to Van Gogh, Artists Pierre-Auguste Renoir, Edouard Manet, Henri de Toulouse-Lautrec, Camille Pissarro, James McNeill Whistler and others are included in this supporting exhibition.
Cincinnati Art Museum - Van Gogh: Into the Undergrowth - 15.10.2016 - 08.01.2017


2220 - 20170318 - U.S.A. - HOUSTON-TEXAS - Blaffer Art Museum presents first major museum exhibition for Analia Saban - 24.09.2016-18.03.2017


This exhibition, the first major museum presentation of Argentinian artist Analia Saban, surveys her last decade of practice through 30 works that explore everyday objects through unconventional usage of materials.

Surveying art history as if it were a ‘murder scene,’ she peels back (researches, deconstructs, reconstructs) layers of material histories and subject matters in search of new directions and possibilities. Saban’s initial project included tracing and annotating paint strokes of existing paintings in an analytical process that culminated in literally stripping pictures of their material substance and iconography, and culminated into a rolled up ball of colored strips of painted fabric from a plethora of unraveled paintings.

Stripe Hand Towel, Bag with Canvas, and Fitted Bed Sheet, all 2011, chart her experiments with acrylic paint cast into viscerally affecting simulations of common household objects such as towels, sheets and plastic bags attached to or containing a canvas. In her 2010-12 Decant and the more recent Bulge series (begun 2014), encaustic paint forms swelling bodies protruding from their support. Applied to canvas by pouring hot encaustic paint into plastic bags that are peeled away when the medium has cooled off and hardened, these encaustic masses proudly display the marks of their prior aggregate state as both their subject and form.

In her Draped Marble series (begun in 2014), marble is broken, glued and fastened to exquisitely crafted wooden sawhorses to evoke folded towels left out to dry. Recalling Saban’s earlier works in cast acrylic, these sculptures displace classic associations of material and application both within art history and consumer culture.

Currently working across painting, drawing, sculpture, and photography, she uses the constituent parts of each as her very subject matter. Creating dialogue between media’s historically defined conventions and their manifestations within the anatomy of individual artworks, her work is deeply inscribed in the ongoing process of conditional evolution and boundary-pushing renegotiation of the possibilities of media-based practices. What contributes to the uniqueness of her approach is a decidedly feminist sensibility, the frequent inscription of her physical and psychic self, and a good dose of wry humor.

Born in 1980 in Buenos Aires, Argentina, Saban currently works in Los Angeles and lives in New York City. She received a BFA in Visual Arts from Loyola University in New Orleans in 2001, followed by an MFA in New Genres at the University of California in Los Angeles in 2005. The artist has exhibited extensively at institutions worldwide, including National Museum of Norway, Oslo; Armory Center for the Arts in Pasadena, CA; Palais de Tokyo, Paris; Gemeentemuseum, The Hague, The Netherlands; deCordova Sculpture Park and Museum, Lincoln, MA; MARCO Museum in Vigo, Spain; among others. Her works are represented in the collections of the Hammer Museum at UCLA, Museum of Contemporary Art, and Los Angeles County Museum of Art in Los Angeles; Hessel Museum of Art at Bard College in New York; Norton Museum of Art in Florida; Centre Pompidou in Paris, and Fundación Proa in Buenos Aires.

Blaffer Art Museum - Analia Saban - 24.09.2016 - 18.03.2017


2219 - 20170319 - U.S.A. - LOS ANGELES - CA - Major museum survey of Toba Khedoori's oeuvre in Los Angeles - 25.09.2016-09.03.2017

Toba Khedoori, Untitled (branches 1), 2011–12, oil on linen, 31 3/4 × 41 3/8 in., private collection, courtesy David Zwirner, New York/London, © Toba Khedoori, photo © Tim Nighswander, courtesy David Zwirner, New York/London and Regen Projects, Los Angeles.
The Los Angeles County Museum of Art announces Toba Khedoori (September 25, 2016–March 19, 2017), a major museum survey of Khedoori’s oeuvre over the past 22 years. The exhibition presents the artist’s more recent oil-on-canvas paintings alongside her earlier large-scale works on paper, demonstrating the impressive arc of her artistic production over the past two decades. The exhibition includes more than 25 works and is curated by Franklin Sirmans, Director of the Pérez Art Museum Miami (PAMM) and formerly the Terri and Michael Smooke Curator and Department Head of contemporary art at LACMA, with Christine Y. Kim, associate curator of contemporary art at LACMA. Following its run at LACMA, Toba Khedoori will be on view at PAMM from April 20–September 24, 2017.

Toba Khedoori has lived and worked in Los Angeles since 1990. Her early works are notable for their precise draftsmanship and for their use of negative space—often at a very large scale. Khedoori frequently depicts architectural forms from distanced perspectives, rendering commonplace objects and spaces familiar yet decontextualized. In recent years, she has transitioned from paper to canvas, producing smaller scale works that hover between representation and abstraction. Like her earlier compositions, these works are enigmatic and acutely detailed; in an art world awash with rapidly moving images and saturated colors, Khedoori remains committed to the silent, slow, and exacting process of working by hand.

Sirmans said, “Toba Khedoori elevates the experience of the commonplace by treating ordinary objects and bits and pieces of nature as if they were precious baubles. Her attention to detail, her surrealist wit, and her appreciation for the magic of the everyday remind us to take stock of what surrounds us.”

“Looking at this survey of Khedoori’s work in the context of recent exhibitions at LACMA, one can see a focus emerging that is indicative of a changing world of art,” said Michael Govan, LACMA’s CEO and Wallis Annenberg Director. “Considering the show alongside monographic exhibitions of Agnes Martin, Diana Thater, and Helen Pashgian as well as the long-term installation of Maria Nordman’s YANG-NA, it is clear that there is rapidly growing recognition of the work of women artists. In addition, the exhibition extends LACMA’s efforts to trace the recent history of art in Southern California, which includes Thater and Pashgian, as well as John Altoon, Asco, Edward Kienholz, Ken Price, Noah Purifoy, and James Turrell.”

Toba Khedoori is arranged in loose chronological and thematic order. The exhibition begins with large paintings on paper that ushered her into the contemporary art scene in the early 1990s. Her breakthrough came with monumental paintings on paper, such as Untitled (doors) (1996) and LACMA’s own Untitled (hallway) (1997), within which detritus from her studio floor appears embedded in the wax surfaces. Depicting common objects and architectural features and occupying a space between painting and drawing, these impressive works seem to withhold as much as they reveal. While Khedoori’s works are emphatically two-dimensional, the scale of those early paintings brings them into dialogue with the actual experience of architecture, which she often represents in fragments. While Khedoori’s emphasis the quotidian as subject matter serves as a sober update of Pop Art’s embrace of common objects, her placement of these everyday objects within undefined and thus mysterious surroundings invites an almost surreal unease.

Departing from the large scale and two-dimensionality found in Khedoori’s early work, the exhibition transitions into the artist’s paintings of the early 2000s. Here scale, shadows, and contrast become more varied and dramatic. Untitled (clouds) (2005), for example, is a vertical format with its entire upper half is filled with billowy clouds while the lower half is mostly empty space. Before 2005, almost all of Khedoori’s works are horizontal, suggesting the horizon line of nature and landscapes in the history of art while creating a surprising contrast with the everyday objects shown within these frames. Untitled (clouds), on the other hand, is oriented vertically and the clouds occupy the frame of the picture with no sky around them.

Untitled (black fireplace) (2006) and Untitled (white fireplace) (2005) feature an almost photorealist depiction of wood burning in a fireplace. In these works, she takes the same subject and paints it twice, changing only the color of the space surrounding the image of the fireplace. Using encaustic, she makes one work black; the other is simply oil and wax on paper, like her earlier works. Through this contrast, she encourages viewers to examine these differences, inviting them to question the copy in a world where the idea that something cannot be reproduced has long ago vanished.

The final gallery in the exhibition showcases the artist’s most recent work, including two paintings depicting branches and leaves. In Untitled (leaves/branches) (2015), Khedoori executes the line, color, and proportions of foliage with technical mastery. In contrast to the photorealistic quality of these works, other pieces in this final gallery move toward grids and abstraction, such as Untitled (tile) (2015), a geometric study of a mosaic tile floor reflecting light from an unseen source.

Toba Khedoori was born in Sydney, Australia in 1964. She received her BA from the San Francisco Art Institute (1988) and her MFA from the University of California, Los Angeles (1994).

Her work has been the subject of solo museum exhibitions worldwide, including the Saint Louis Art Museum, St. Louis (2003); Royal Hibernian Academy, Dublin (2002); Whitechapel Art Gallery, London (2001); Museum für Gegenwartskunst, Basel (2001); Hirshhorn Museum and Sculpture Garden, Washington, D.C. (1997); and the Museum of Contemporary Art, Los Angeles (1997).

Khedoori was the recipient of a Louis Comfort Tiffany Foundation Award (1994) and a MacArthur Foundation Grant (2002). Curators have included her in numerous international group exhibitions such as the 53rd Venice Biennale (2009); 2nd Seville Biennal (2006); Liverpool Biennial (2006); 26th São Paulo Biennial (2004); and the Whitney Biennial (1995).

Prominent museums that hold her work in their permanent collections include the Centre Georges Pompidou, Paris; Schaulager, Basel; Albertina, Vienna; Museum of Modern Art, New York; Whitney Museum, New York; Hirshhorn Museum and Sculpture Garden, Washington D.C.; Walker Art Center, Minneapolis; Art Institute of Chicago; San Francisco Museum of Modern Art; Los Angeles County Museum of Art; The Broad, Los Angeles; and the Museum of Contemporary Art, Los Angeles. She lives and works in Los Angeles
Los Angeles County Museum of Art - Toba Khedoori - 25.09.2016 - 09.03.2017 


2218 - 20161231 - U.S.A. - GREENWICH-CONN -"Her Crowd: New Art by Women from Our Neighbors' Private Collections" at the Bruce Museum - 24.09.2016-31.12.2016


Jenny Saville, The Mothers, 2011. Oil and charcoal on canvas, 106 5/16 x 86 5/8 in. Collection of Lisa and Steven Tananbaum © Jenny Saville. Courtesy of the artist and Gagosian Gallery.
Only yesterday, it seems, one was hard-pressed to name more than a handful of successful women artists; now the list would be extensive, and the choices rich and varied. Although numerous recent exhibitions have featured women’s art, the collecting of art created by women has received scant attention. In fact, private collections are in the process of being dramatically transformed, shifting to focus on contemporary artists, women in particular. 

The Bruce Museum opens Her Crowd: New Art by Women from Our Neighbors’ Private Collections. Greenwich and the nearby communities in Fairfield and Westchester counties are home to a number of the finest contemporary collections, and thus to some of the most exciting art by women being made today. Her Crowd will offer the rare opportunity to see what some of America’s most influential collectors of contemporary art consider beautiful, important, and compelling. Themes specific to women continue to be of significance: motherhood, food, sexuality; beauty and its discontents; stereotypes of femininity and their undoing; intersections of gender and race. Equally important for Her Crowd is the current powerful resurgence of abstraction in its myriad forms: minimalist patterning, expressive mark-making, and painterly exuberance. Many artists represented in the show traffic in unexpected collisions: of the second and third dimension, of the carefully crafted and the found object, of the concrete and the immaterial. Running the gamut from established figures to brilliant newcomers, the exhibition includes remarkable work by Yayoi Kusama, Kiki Smith, Betye Saar, Annie Lapin, Margaret Lee, Carol Bove, Dana Schutz, Jessica Stockholder, Jenny Saville, and Tara Donovan, among others. Her Crowd: New Art by Women from Our Neighbors’ Private Collections will offer a glimpse into the exciting interchange between contemporary artists and their passionate collectors.

The exhibition is co-curated by Kenneth E. Silver, New York University Professor of Modern Art and Bruce Museum Adjunct Curator of Art, and Mia Laufer, PhD candidate (Washington University in Saint Louis) and Zvi Grunberg Resident Fellow.
Bruce Museum - "Her Crowd: New Art by Women from Our Neighbors' Private Collections"
24.09.2016 - 31.012.2016


2217 - 20161230 - U.S.A. - CHICAGO, IL - Smart Museum of Art presents collection of 830 photographic works - 22.09.2016-30.12.2016


An extraordinary collection of 830 photographic works spanning from 1844 to 2012, bequested to the Smart Museum of Art at the University of Chicago, forms the basis of an expansive new exhibition, There was a whole collection made: Photography from Lester and Betty Guttman, September 22–December 30, 2016. The exhibition of more than 300 works is curated by Laura Letinsky, Professor in the Department of Visual Arts and the College at the University of Chicago, and herself an acclaimed photographer, and Jessica Moss, Smart Museum Curator of Contemporary Art.

There was a whole collection made mines the Estate of Lester and Betty Guttman’s 2014 gift of over eight hundred photographic works by 414 artists to the Smart Museum, essentially establishing a major new resource for the public as well as scholars of the history and theory of photography. The exhibition draws extensively from the collection, which the Guttmans built over 31 years, and includes rare vintage prints by pioneers of the medium like William Henry Fox Talbot and David Octavius Hill; modern works by Hannah Höch, Man Ray, László Moholy-Nagy, Brassaï, Berenice Abbott, and Helen Levitt; contemporary classics by Diane Arbus, Malick Sidibé, Chuck Close, and Carrie Mae Weems; and much more. The exhibition opens with a dramatic salon-style wall of nearly fifty works and afterward is organized into five thematic sections: the natural and built world; photographic experimentation; documentary; portraiture; and “fifteen minutes of fame,” which features portraits of famous and not-sofamous people by other famous, and not-so-famous photographers.

“Rather than seeking to collect, for example, all the works of a specific artist, period, or place, or the best known or most precious, Lester and Betty Guttmans’ choices grew out of their inquisitiveness and wide-ranging interests in the world,” said exhibition co-curator Laura Letinsky. “The breadth of historical, technological, and conceptual strategies, as well as the variety of subject matter, demonstrate an ongoing curiosity. It is a thoroughly eclectic and a fantastically personal gathering of images expressive of the Guttmans’ full, deep lives.”

“This exhibition marks the Smart Museum’s first opportunity to publicly celebrate the Guttmans’ inspiring collection and the generosity of their bequest,” added co-curator Jessica Moss. “At the Smart—Lester and Betty’s neighborhood museum—their passion and curiosity will live on as their collection becomes a vital resource not only for teaching and research but also for all to enjoy.”

There was a whole collection made is accompanied by a fully illustrated multi-author catalogue published by the Smart Museum and distributed by the University of Chicago Press.

The Guttmans were married for 50 years and worked together at Argonne National Laboratory, where Lester Guttman (1919–2006) was a senior scientist and editor of the Journal of Applied Physics and Betty Guttman (1922–2014) was a technical librarian. Betty was also an alumna of the University of Chicago (SB 1943) and the couple were longtime Hyde Park residents. While photography was just one of their shared pursuits—they were also patrons of art and music in Chicago and, as amateur mycologists, coedited the journal McIlvainea—they enjoyed the deep pleasure of living with art that one knows well.

Smart Museum of Art at the University of Chicago - Photography from Lester and Betty Guttman


2216 - 20170212 - U.S.A. - EAST LANSING - MICHIGAN - Broad Art Museum - Fire Within: A New Generation of Chinese Women Artists - 27.08.2016 - 12.02.2017


Geng Xue, Mr. Sea, 2014. Courtesy of the artist and Klein Sun Gallery, New York

Fire Within: A New Generation of Chinese Women Artists focuses a critical lens on the artistic production of a group of highly talented, emerging women artists from China. Collectively, the artists in this exhibition investigate a wide-range of themes and issues, including the status of women in China; cultural and gender identity; interpersonal relationships; and more broad sociopolitical dynamics, both in China and beyond. Importantly, their probing investigations stir discussion and draw attention to their diverse and varied experiences.

The generation of individuals born in China during the 1970s and after witnessed significant changes—including ideological, cultural, social, and in the domestic sphere—as a result of China’s opening up to foreign markets and international exchange. These shifts have in turn motivated artists to experiment within their own artistic practices in order to better understand the struggles and conflicts they encounter both privately and publicly. Following this line of inquiry, Fire Within brings together fresh perspectives and approaches to traditional mediums with the intent to reveal the new forms of consciousness that have emerged in recent years. Taken together, the works on display transcend gender and cultural differences, instead tapping into a more universal sense of human nature.

Broad Art Museum - Fire Within: A New Generation of Chinese Women Artists 
 27.08.2016 - 12.02.2017


2215 - 20161204 - U.S.A. - NEW PORT BEACH - CALIFORNIA - Orange County Museum of Art - American Mosaic: Picturing Modern Art through the Eye of Duncan Phillips - 06.08.2016-04.12.2016

Arthur Dove (1880-1946), Red Sun, 1935. Oil on canvas, 20 1/4 x 28 inches. The Phillips Collection, Washington, D.C. Acquired 1935.

This exhibition, organized by The Phillips Collection, presents a thematic journey that reveals the breadth of America's modernist vision, beginning with the great American art heroes of the late 19th century, whose work set the course for modern art in the United States, and concluding with the Abstract Expressionists, whose new visual language turned American art into a global force. Included are 65 works created between the 1860s and 1960s by artists such as Milton Avery, Alexander Calder, Richard Diebenkorn, Thomas Eakins, Helen Frankenthaler, Winslow Homer, Edward Hopper, and Georgia O'Keeffe.

Orange County Museum of Art - American Mosaic: Picturing Modern Art through the Eye of
Duncan Phillips - 06.08.2016-04.12.2016


Fic123 Blogs

The Fic123 Blogs have visitors from the following countries
Algeria - Argentina - Australia - Azerbaijan
Bangladesh – Belarus - Belgium - Bolivia – Botswana - Brazil - Bulgaria 
Cambodia – Canada - China – Costa Rica - Czech Republic
Denmark - Dominican Republic
Ecuador – Egypt
Fiji – Finland - France
Germany - Greece
India - Indonesia - Ireland - Israel - Italy - Ivory Coast
Japan – Jordan
Latvia – Lebanon
Macedonia – Maldives - Mali – Malaysia – Malta – Mauritius – Mexico
Namibia – Netherlands 
Pakistan – Panama - Philippines - Poland - Portugal
Romania - Russia
Saudi Arabia – Singapore - South Korea – Slovenia
Sri Lanka - Sweden - Switserland
Taiwan - Thailand – Turkey – Turkmenistan
Ukraine - United Kingdom – U.S.A.


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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