2014-10-01

2111 - U.S.A. - DELAND-FLORIDA - Chen Chi: Watercolors - 12.09.2014-04.01.2015

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Chen Chi, High Noon New York, 1986, Watercolor on paper

Inspired by modern art training in Shanghai, Chen Chi (1912 – 2005) moved to New York City in 1947. His works merge traditional Chinese brushstrokes with Western techniques creating colorful, aesthetic, harmonious works.

Chen Chi was born in Wusih, a small community near Shanghai, China. Due to his father’s financial difficulties in the silk business, in 1926Chen Chi moved to Shanghai where he was employed in an oil pressing factory. The owner of the factory, having children the same age, allowed Chen Chi to attend their classes. In 1931he enrolled in an art school that emphasized western techniques rather than traditional Chinese painting. The establishment of the Chinese Republic, in 1912coupled with the opening of China to the West, which had begun in the nineteenth century, heightened his awareness of Western ideas and art trends. Chen Chi, recalling his early training stated, “We were wanting a more modern painting…. There was already this direction in the modern cultural movement. And with art, we did not want to go back to the Chinese traditional style, although we had such a strong tradition of it…. I belonged to the younger generation, and we wanted … the modern style.”‘


 
Museum of Art       12.09.2014 - 04.01.2014



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2014-09-24

2110 - U.S.A. - DALLAS-TEXAS - Käthe Kollwitz: A Social Activist in the Era of World War I - 03.05.2014-16.11.2014

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Bread!, 1924. lithograph, Dallas Museum of Art, gift of Mr. and Mrs. Alfred L. Bromberg; Käthe Kollwitz

Käthe Kollwitz: A Social Activist in the Era of World War I contemplates the life and work of the German artist Käthe Kollwitz (1867-1945). For Germans born in the second half of the 19th century, life was in a constant state of chaos with the approach of World War I followed by the destruction of World War II. The impact of these grave events became the inspiration for Kollwitz’s artwork. This installation, drawn from the DMA’s collection, explores some of the artist’s works surrounding World War I, as well as her artistic reactions to World War II. Her lithographs, etchings, and woodblock prints are also accompanied by works by Ernst Barlach, Max Pechstein, and Max Pollak.



Dallas Museum of Arts       03.05.2014 - 16.11.2014



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2014-09-17

U.S.A. - CINCINNATI-OHIO - Paris Night & Day: Masterworks of Photography from Atget to Man Ray - 03.10.2014-11.01.2015

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Man Ray, Portrait of Dora Maar, 1936, photograph. Collection of Michael Mattis and Judith Hochbert
 
 
All works are from the collection of Michael Mattis and Judith Hochberg.

Some of the greatest names in photographic history appear inParis Night & Day. This exhibition features vintage prints by French nationals and international photographers who worked in Paris, including Eugène Atget, Jacques-Henri Lartigue, Brassaï, Ilse Bing, Henri Cartier-Bresson, Bill Brandt, André Kertész, and Man Ray. The exhibit comprises works ranging from the lingering realist perspective of the late 19th century, through modernist experiments in the early 20th, to the startling world of Surrealist photography in the 1930s. Lovers of photography will delight in the many iconic images to be seen. 


 
Taft Museum of Art   03.10.2014 - 11.01.2015



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2014-09-10

U.S.A. - CHICAGO-ILLINOIS - Earthly Delights - 28.06.2014-30.11.2014

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Lari Pittman
Untitled #14, 2003
Oil, lacquer and Cel-Vinyl on gessoed canvas over wood panel
76 x 102 in. (193 x 259.1 cm)
Collection Museum of Contemporary Art Chicago, Joseph and Jory Shapiro Fund by exchange, 2003.25
© 2003 Lari Pittman
Photo: Nathan Keay, © MCA Chicago


Earthly Delights brings together the work of eight artists who share a belief in the critical power of beauty. Drawn primarily from the MCA’s permanent collection, and made between 1949 and 2006, the paintings, sculptures, and installations in this exhibition embrace the decorative in defiance of prevailing artistic trends. By reveling in pleasure, exploring private moments, and exuding sensuality, these works challenge the primacy of rationality and logic in modernism.

As they explore the connections among art, decoration, and design, the artists in Earthly Delights insist on the intrinsic value of beauty by engaging with social issues. Lynda Benglis’s and Carol Bove’s sculptures address the exclusion of women from the history of minimalism. Works by Nick Cave and Yinka Shonibare, MBE, delve into gender and racial politics and the legacy of colonialism, as well as the histories of performance, music, and dance. Paintings and installations by Balthus, Marc Camille Chaimowicz, and Lari Pittman question taboos related to sexuality.

Irreverent and playful, this eclectic group of artists subvert the conservatism of minimalism and other twentieth-century movements that eschewed making art in pursuit of pleasure. Earthly Delights reveals the way beauty can be used as a conceptual tool.

Earthly Delights includes works by Balthus, Lynda Benglis, Carol Bove, Nick Cave, Marc Camille Chaimowicz, Michelangelo Pistoletto, Lari Pittman, and Yinka Shonibare, MBE.

This exhibition is curated by Abigail Winograd, Marjorie Susman Curatorial Fellow.



Museum of Contemporary Art Chicago   28.06.2014 - 30.11.2014



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2014-09-04

U.S.A. - CLEVELAND-OHIO - The Netherlandish Miniature, 1260–1550 - 21.12.2013-07.12.2014

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Leaf Excised from a Breviary of Charles the Bold and Margaret of York: The Martyrdom of Saint Denis, c. 1467-1470
Simon Marmion (French, 1420s-1489)
tempera on vellum, Sheet - h:15.20 w:11.20 cm (h:5 15/16 w:4 3/8 inches) Framed - h:44.45 w:34.29 cm (h:17 1/2 w:13 1/2 inches) Matted - h:40.64 w:30.48 cm (h:16 w:12 inches). John L. Severance Fund 2005.55
 
 
Illuminated manuscripts were produced across Europe throughout the Middle Ages. They preserve the major portion of medieval painting and all the arts of calligraphy, bookbinding, and publishing. The Low Countries, the region occupied today by the Netherlands and Belgium, produced some of the most sumptuous and innovative miniatures, or pictures, to be found within illuminated books. Netherlandish manuscript painting forms one of the great artistic traditions of the Middle Ages and was divided into two distinct artistic cultures—the north, with its centers of illumination at Utrecht, Delft, and the Hague, and the South Netherlands dominated by Flanders and its centers of Bruges, Ghent, and Antwerp. These miniatures from illuminated books represent the culture of private devotion and monasticism that dominated life in the medieval Netherlands. While the scale of the paintings may be small, their power and refinement is often truly monumental.


 
The Cleveland Museum of Art      21.12.2013 - 07.12.2014



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2014-08-27

U.S.A. - CHAPELL HILL-NORTH CAROLINA - Contemporary Japanese Ceramics from the Collection of Carol and Jeffrey Horvitz - 14.04.2014-30.11.2014

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Installation view of ceramics by (l to r) Hideki Goto, Hiroshi Seto, and Kazu Yamada.




Working with Boston-based collectors Carol and Jeffrey Horvitz, the Ackland is presenting changing installations selected from their comprehensive holdings of recent and contemporary Japanese ceramics. Among the most innovative and experimental practitioners of contemporary Japanese art, these ceramicists have explored the wide and fascinating range of expressive possibilities offered by clay and glazes. Presented within the context of the Ackland’s important collection of historical Asian art, the installations offer the opportunity not only to see significant examples by major artists, but also to reflect on their dynamic relationship to tradition.




Ackland Art Museum       14.04.2014 - 30.11.2014




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2014-08-20

U.S.A. - BALTIMORE-MARYLAND -Seeing Music in Medieval Manuscripts - 28.06.2014-12.10.2014

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Medieval painters often filled their manuscripts with scenes of everyday life that included charming illuminations of people and animals playing musical instruments and dancing. Many of these images, however, functioned as sophisticated symbols that conveyed a complex understanding of man’s relationship with the order of the universe. Musical harmony and dissonance were thought to mirror the perfection of heaven as well as the disorder of evil. This exhibition, composed of approximately twenty manuscripts and objects, will explore music in its relationship with philosophy, religion, and the arts during the Middle Ages.




The Walters Art Museum     28.06.2014 - 12.10.2014




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2014-08-14

U.S.A. - BELLEVUE-WASHINGTON - Under Pressure: Contemporary Prints from the Collections of Jordan D. Schnitzer and his Family Foundation - 03.07.2014-12.10.2014

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Sol LeWittColor Bands (from Wadsworth Portfolio), edition of 75, 2000Linocut. 29 X 29 in.



This exhibition traces printmaking's rise to prominence in postwar American art through works by renowned artists such as Chuck Close, Roy Lichtenstein, Robert Rauschenberg, Kiki Smith, Kara Walker, and Andy Warhol. Informed by the central question "why printmaking?", it reveals the diverse ways artists have adopted, embraced, and transformed this versatile medium. Under Pressure considers major currents in contemporary art, including Abstract Expressionism, Pop Art, Photorealism, and Minimalism, as well as recent technological advancements that have reinvigorated the print's role in art production.

Under Pressure: Contemporary Prints from the Collections of Jordan D. Schnitzer and his Family Foundation is organized by the Joslyn Art Museum, Omaha, NE and curated by Karin Campbell. The local presentation of this exhibition is curated by Stefano Catalani.


 
Bellevue Arts Museum     03.07.2014 - 12.10.2014



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2014-08-06

U.S.A. - BENTONVILLE-ARKANSAS - Born of Fire: Ceramic Art in Regional Collections - 01.02.2014-02.03.2015

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Clay is one of humanity’s oldest building materials. A ball of humble clay, fashioned by human hands and hardened by fire, can be transformed into something as workaday as a terra cotta flower pot or as exalted as a bone china cup made of porcelain so thin as to be translucent. Today’s clay artists are constantly innovating with new techniques and expressions, but the process of crafting vessels of clay remains essentially unchanged over millennia.

Born of Fire is a year-long exhibition that explores some of the many incarnations of ceramic fabrication: from traditional Native American vessels to highly decorated 17th-century Japanese porcelain meant for European trade, to delicate, stylized contemporary works that explore the limits of the medium.  The works are on loan from three institutions in our region:  the Arkansas Arts Center in Little Rock; the Springfield Art Museum, Springfield, MO; and the Sequoyah National Research Center at the University of Arkansas, Little Rock. Born of Fire will be on display in Crystal Bridges’ Great Hall Corridor through March 2, 2015; there is no cost to view this exhibition.


 
 
Crystal Bridges Museum of American    01.02.2014 - 02.03.2015




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2014-07-30

U.S.A. - BRATTLEBORO-VERMONT - A World Transformed: The Art of Jessica Park - 27.06.2014-26.10.2014

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Jessica Park, "The Great Stained Glass Doors #9, in Summer Near Sunset" (1988), acrylic on paper



With a rainbow-colored palette, artist Jessica Park transforms her meticulously drawn architectural monuments into compositions of decorative brilliance. Lights of all sorts radiate from the atmospheric heavens surrounding her houses, bridges, and skyscrapers. Day-lit features and nighttime skies appear in the same painting. Intricate details highlighted by carefully applied hues mark her pictures. Park is an artist with an unusual ability. Her visionary world of imagination and creativity has emerged from a combination of artistry and her lifelong struggle with autism.
Jessica Hilary Park was born in 1958 in North Adams, Massachusetts, near Williamstown, where she currently resides. Although early manifestations of autism threatened to shut down her life, she was fortunate to have a family of resourceful parents and siblings determined to bring her into the world of thinking and acting.

Art was a way for Park to connect, and her mother, Clara Claiborne Park—whose two books about her remarkable daughter are considered seminal biographies on a life with autism—began to draw with her when she was very young. Jessica, who did not speak until age eight, responded well to drawing, easily recognizing shapes and colors. As her drawing evolved, stick figures and elementary scenes comprising short narratives became a means for her to acquire language, through labeling and storytelling.

As Park became more adept at language, she attended school and continued to draw. In high school (which she entered at age twelve), given the opportunity to further explore the rudiments of drawing and color, she focused her keen observational skills by creating accurate, lively line compositions.

After Park graduated, in 1979, her art career took off, initially with colorful renderings of her favorite household objects, such as heaters and blanket controls. Introduced by her mother to receptive audiences, these pictures were greatly appreciated and sold well. Over the next several years, Park completed a series of paintings featuring doors, railroad crossings, and houses, which were sought after by clients who commissioned her work. She began loading the skies in her works with astronomical objects, fireworks, and inventions of her own, such as “horizontal” rainbows. By age thirty Park was an accomplished artist. But continuing her evolution, she introduced a creative mix of her signature buildings, skyscrapers, and bridges rendered with surprising originality.

Largely self-taught, Park has an exceptional ability to articulate balance, volume, and depth through meticulous application of color combinations in finely detailed patterns. She has combined the drafting skills honed during her high school years and the acrylic paints that became her chosen medium with her “enthusiasms” and carefully developed principles of order to become an accomplished artist.

In 1995, at the urging of patron/client and Williams College professor of art history S. Lane Faison, Park’s work was recognized with a retrospective exhibition at the Williams College Museum of Art. Her work has been in individual and group shows at western Massachusetts galleries and is in the permanent collection of the Bennington Museum in southwestern Vermont. Park received an honorary doctorate in fine arts from Massachusetts College of Liberal Arts (MCLA) in 2003. In 2008 the Jessica Park Project at MCLA created a traveling show of her work accompanied by a catalog, Exploring Nirvana: The Art of Jessica Park, with a foreword by the distinguished neurologist and writer Oliver Sacks, who made a documentary video about the artist titled Rage for Order. This exhibit, A World Transformed, draws its title from an art biography on Park by Tony Gengarelly, published in February 2014.

In Jessica Park, autism has found art. Through the imagination of the artist, both have become engines of transformation, bringing to life an unprecedented world of visionary beauty. Ultimately, Park’s singular life suggests a new way to approach and appreciate difference and diversity. Her extraordinary art, and that of other artists on the autism spectrum, invites altered perceptions toward those with so-called disabilities. Their work is a profound witness to another way of seeing art, and it awakens our sense of value for the lives it represents so compellingly.

Tony Gengarelly, PhD, Curator




 Brattleboro Museum & Art Center      27.06.2014 - 26.10.2014  




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2014-07-23

U.S.A. - BRUNSWICK-MAINE - Richard Tuttle: A Print Retrospective - 28.06.2014-19.10.2014

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"When Pressure Exceeds Weight VI," 2012 by Richard Tuttle. Paper elements with embossment in 3 colors. © Richard Tuttle/Universal Limited Art Editions
 
 
 
Offering new insight into his artistic practice, and organized in close collaboration with the artist, Richard Tuttle: A Print Retrospective is the first-ever comprehensive examination of the prints of Richard Tuttle. In exploiting the unique possibilities of multiple printmaking processes, Tuttle reveals his deep interest in the relationship between medium, tools, actions, and collaboration. Through a selection of more than 100 works from the 1970s to today, many of which have never been exhibited by a museum, the exhibition demonstrates how Tuttle reinvents printmaking with his experimental approach, raising intriguing questions about technique, materiality, and the nature of art itself.
Bowdoin College Students will give tours of the exhibition through August 15 on Tuesday through Friday at 11:00 a.m. and 2:00 p.m. and on Saturday and Sunday at 2:00 p.m. Free and open to the public.
Major support for this exhibition has been provided by the Devonwood Foundation, Eric ’85 and Svetlana Silverman, The Cowles Charitable Trust, Coco Kim and Richard Schetman P’13, halley k. harrisburg ’90 and Michael Rosenfeld, Thomas A. McKinley ’06, and the Elizabeth B. G. Hamlin Fund at Bowdoin College. Additional support has been provided by Agnes Gund, Mary G. O’Connell ’76 and Peter J. Grua ’76, an anonymous donor, and the membership of the Bowdoin College Museum of Art.

The publication has been generously supported by Annemarie Verna Galerie, Zurich; C. G. Boerner LLC, New York/Düsseldorf; Crown Point Press, San Francisco, CA; Furthermore: a program of the J. M. Kaplan Fund; Gemini G.E.L. LLC, Los Angeles, CA; Pace Gallery, New York; Universal Limited Art Editions, Bay Shore, NY; as well as by private collectors and supporters, in particular Barbara Egli and Ursula Hodel.



 
Bowdoin College Museum of Art       28.06.2014 - 19.10.2014
 
 
 
 
 
 

 

2014-07-16

U.S.A. - BUFFALO-NEW YORK - Anselm Kiefer: Beyond Landscape - 17.11.2013-05.10.2014

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Anselm Kiefer (German, born 1945). Der Morgenthau Plan (The Morgenthau Plan), 2012. Emulsion and acrylic on photograph on canvas, 110 x 224 inches (279.4 x 569 cm). Collection Albright-Knox Art Gallery, Pending Acquisition Funds, 2013, and Courtesy Gagosian Gallery. Image courtesy the Gagosian Gallery. Photograph by Charles Duprat.



Anselm Kiefer: Beyond Landscape explores the interplay of history, identity, and landscape in the work of one of the most important artists of our time. Several major works by Kiefer (German, born 1945) form the core of the exhibition. These include the Albright-Knox’s newly acquired der Morgenthau Plan (The Morgenthau Plan), 2012, a monumental panorama inundated with wildflowers that proliferate in the landscape surrounding the artist’s studio complex in Barjac, France; die Milchstrasse (The Milky Way), 1985­–87, an iconic depiction of a desolate, barren field; and Von der Maas bis an die Memel, von der Etsch bis an den Belt (From the Maas to the Memel, from the Etsch to the Belt), 2011–12, a seascape of epic proportions on loan to the museum. These works, in their layered and complex iconographies, exemplify the artist’s career-long explorations of nationalism, identity, and cultural memory. As an ensemble, they invoke the politics of landscape—the precarious relationship between nature, history, and aesthetics.

Complementing Kiefer’s works is an installation of paintings and works on paper from the Albright-Knox’s Collection that likewise feature landscape as a means of exploring a multiplicity of subjects and significations. The works in this section of the exhibition, by Bernd and Hilla Becher, Jean-Marc Bustamante, Sandra Cinto, Gustave Courbet, Willie Doherty, George Inness, Emil Nolde, Sophie Ristelhueber, Hiroshi Sugimoto, Vincent van Gogh, and others, provide a context for exploring two salient themes in Kiefer’s practice that also reflect the modern landscape tradition: The Romantic's Landscape and The Political Landscape.

The museum invites the community to play an important role in the exhibition by participating in a dual forum for expression and exchange that will result in an accompanying book scheduled for publication in 2014. Content for the book is being developed in two ways: online, the Beyond Landscape blog offers audiences a means of sharing observations, questions, and ruminations in text, image, video, and audio formats. Within the exhibition, a room dedicated to further learning, contemplation, and expression is equipped with reading materials, drawing and writing supplies, and computers to provide visitors with immediate access to the Beyond Landscape blog as well as video and audio content about the artist and his subject matter. Albright-Knox staff members are reviewing on-site and online responses and will continue to share selected submissions on the blog throughout the run of the exhibition. All submissions through February 14, 2014, will be considered for possible inclusion in the book.

This exhibition is conceived and initiated by Director Janne Sirén and organized by Chief Curator Douglas Dreishpoon and Curator for the Collection Holly E. Hughes.
This exhibition has been made possible, in part, through the generous support of The Margaret L. Wendt Foundation and M&T Bank.




Albright-Knox Art Gallery       17.11.2013 - 05.10.2014




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2014-07-09

U.S.A. - BERKELEY- CALIFORNIA - Forrest Bess: Seeing Things Invisible - 11.06.2014-14.09.2014

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Forrest Bess: Untitled (The Spider), 1970; oil on canvas, 13 ¾ x 16 1/8 in.; collection of Christian Zacharias.


Forrest Bess (1911–1977) described himself as a visionary artist. His small but powerful abstract paintings, with their thick paint and handmade rough-hewn frames, are deeply personal. They draw on a vocabulary of simple biomorphic shapes and symbols the artist developed over the course of years from his recurring visions; when he awoke each morning, he would sketch the shapes he had seen on the inside of his eyelids in the twilight between sleep and wakefulness. While resonant with Modernist abstraction, Bess’s beautiful and mysterious pictures suggest a spirituality akin to indigenous religious icons.

For most of his career, Bess lived an isolated existence in a fishing camp outside of Bay City, Texas. He made a meager living fishing and selling bait. However, by night and during the off-season, Bess read, wrote, and painted prolifically. He taught himself to paint by copying the still lifes and landscapes of artists he admired, including Vincent van Gogh and Albert Pinkham Ryder. He was also interested in Symbolism, the exploration of universal truths, and particularly the writings of Carl Jung. Despite his isolation, Bess developed an underground following and was known to a number of other artists and art historians, including Meyer Schapiro, who collected his work. In 1949, he traveled to New York and met the prominent dealer Betty Parsons, who between 1950 and 1967 organized several solo exhibitions of his work at her gallery in New York, one of the most avant-garde of its time.

Forrest Bess: Seeing Things Invisible pairs Bess’s paintings, dating from 1946 to 1970, with an installation of archival materials curated by sculptor Robert Gober, titled The Man That Got Away, which illuminates Bess’s art and life. The exhibition of this piece at the 2012 Whitney Biennial renewed interest in the magnetic, compelling paintings of Forrest Bess, whose reputation had waned, along with his health, in the 1970s. 

Forrest Bess: Seeing Things Invisible is organized by the Menil Collection, Houston, curated by Assistant Curator Clare Elliott, and coordinated at BAM/PFA by Lucinda Barnes, chief curator and director of programs and collections. At the Menil Collection, this exhibition was realized through the generous support of The John R. Eckel, Jr. Foundation; The Eleanor and Frank Freed Foundation; Ann and Henry Hamman; Bérengère Primat; Michael Zilkha; Baker Botts LLP; Bank of America; Peter J. Fluor/K.C. Weiner; Christy and Lou Cushman; and the City of Houston. Support for the BAM/PFA presentation is provided in part by Rena Bransten; Kate and Adam Clammer; Patricia W. Fitzpatrick; Beth Rudin DeWoody and the May and Samuel Rudin Family Foundation, Inc.; Charles Kremer; Tecoah and Tom Bruce; the Robert Lehman Foundation; and Laura and David Perry.




 Berkeley Art Museum and Pacific Film Archive    11.06.2014 - 14.09.2014




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2014-07-02

U.S.A. - ATHENS-GEORGIA - Women, Art and Social Change: The Newcomb Pottery Enterprise - 17.05.2014-31.08.2014

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George-Ann and Boone Knox I, Rachel Cosby Conway, Alfred Heber Holbrook, Charles B. Presley Family and Lamar Dodd Galleries

Organized by the Newcomb Art Gallery and the Smithsonian Institution Traveling Exhibition Service, "Women, Art and Social Change: The Newcomb Pottery Enterprise" is the largest presentation of Newcomb arts and crafts in more than 25 years. Works from various periods examine the role that the enterprise played in promoting art for the betterment of women, and in turn, New Orleans’ business and cultural communities, still struggling from the effects of the Civil War. The exhibition features significant examples of the iconic pottery, including a daffodil motif vase by Harriet Joor, as well as lesser known textiles, metalwork, jewelry, bookbinding and historical artifacts. The exhibition offers new insights into the Newcomb community—the philosophy, the friendships, the craftsmanship, and the women who made an enduring mark on American art and industry.

Produced by one of the most significant American art potteries of the 20th century, Newcomb works are a graceful union of form and decoration inspired by the flora and fauna of the Gulf South. Each piece is one of a kind—and collectively they create a distinctive southern art form. In 1895, the H. Sophie Newcomb Memorial College, Tulane University’s women’s coordinate college, established the Newcomb Pottery in New Orleans, and conceived it as part artist collective, part social experiment and part business enterprise initiative under the auspices of an educational program. The art school faculty incorporated the philosophies and tenets of the English Arts and Crafts movement into their curriculum to teach southern women self-reliance by way of an education and gain financial independence through the sale of their wares. The Pottery thrived until 1940.

Today these remarkable, distinctive art objects continue to be critically acclaimed and highly sought-after, and the Newcomb program is a rich mine for academic research. "Women, Art and Social Change: The Newcomb Pottery Enterprise" showcases a striking collection of Newcomb pottery, metalwork, bookbinding and textiles with text that draws from new scholarship to explore the history of the Pottery and its importance as a social and artistic experiment.

Dale L. Couch, curator of decorative arts, and Annelies Mondi, deputy director



Georgia Museum of Art       17.05.2014 - 31.08.2014



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2014-06-25

U.S.A. - BOSTON-MASSACHUSETTS - Truth and Beauty / Pictorialist Photography - 17.04.2014-22.02.2015

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F. Holland Day, The Seven Last Words (detail), 1898. Photographs, seven platinum prints in original frame. Barbara M. Marshall Fund, Frank B. Bemis Fund, Otis Norcross Fund, William E. Nickerson Fund, Lucy Dalbiac Luard Fund, and funds by exchange from a Gift of James Lawrence, Dorothy Mackenzie and John E. Lawrence, and funds donated by Michael and Elizabeth Marcus, Charles W. Millard III, and Scott Nathan and Laura DeBonis.



Photographers known as the Pictorialists, who worked around 1900, were part of the first international movement in the history of the medium. Their mission was to prove the artistic merit of photography by strengthening its connections with the fine arts. To this end they made images that sought to represent truth and beauty; that were atmospheric; that had poetic, literary, or spiritual value; and that emphasized the role of the photographer as a craftsman. Figures such as Alfred Stieglitz, Edward Steichen, Frederick H. Evans, Alvin Langdon Coburn, Gertrude Käsebier, and Clarence H. White made spectacular images influenced by current art trends, including Impressionism, Symbolism, and the Arts and Crafts movement.The Pictorialists primarily utilized two printing processes: platinum, with its extraordinary tonal richness, and gum bichromate, a labor-intensive process that involved hand coating papers with carefully prepared emulsions and pigments. They often presented their images by mounting them on papers that were specially lined or colored, like fine art drawings, and they sometimes showed them in specially designed frames.
 
This exhibition celebrates the MFA’s recent acquisition of four major works related to the Boston leader of the movement, F. Holland Day. His The Seven Last Words (1898), purchased in 2013, is a centerpiece of the show and was recently called “an important touchstone of Modernist photography,” by The New York Times. Day daringly styled himself in this series as Christ wearing a crown of thorns. The other three photographs—portraits of Day by Edward Steichen, James Craig Annan, and Clarence H. White—are also included. A small number of significant loans from private collections are also on view.
 
 
 
 
Museum of Fine Arts     17.04.2014 - 22.02.2015  
 
 
 
 
 
 

2014-06-18

U.S.A. - BENTONVILLE-ARKANSAS -American Encounters: Anglo-American Portraiture in an Era of Revolution - 17.05.2014-15.09.2014

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Gilbert Stuart, George Washington [The Constable-Hamilton Portrait] (detail), 1797, oil on canvas. Photo courtesy of The Museum of Fine Arts, Houston.


Crystal Bridges Museum of American Art, the Musée du Louvre, the High Museum of Art and the Terra Foundation for American Art have announced the third installation in their four-year collaboration focusing on the history of American art. American Encounters: Anglo-American Portraiture in an Era of Revolution provides a close look at five paintings that demonstrate how portraiture evolved in the late 18th and early 19th centuries as American and European painters were influenced by one another. The installation’s five works have never been displayed together previously.

Following its inaugural presentation at the Louvre (Feb. 1–April 28, 2014), the installation will travel to Crystal Bridges Museum of American Art (May 17–Sept. 15, 2014), and the High Museum of Art in Atlanta, Ga. (Sept. 28, 2014–Jan. 18, 2015).

Three of the portraits in the exhibition depict George Washington, and the others show Hugh Percy, Second Duke of Northumberland; and Lieutenant Robert Hay of Spott—both of whom were soldiers who may have fought against Washington in the Revolutionary War. The relationship between these works indicates that Britain and the U.S. were as connected through art during the period of the Revolutionary War as they were through commerce and politics.
Exhibited in the museum’s permanent collection galleries, there is no cost to view American Encounters.

This exhibition is sponsored locally by the Crystal Bridges Global Initiative Fund: Chuck and Terri Erwin, Reed and Mary Ann Greenwood, Warren and Harriet Stephens, Stella Boyle Smith Trust and Stout Executive Search.



 
Crystal Bridges Museum of American Art     17.05.2014 -15.09.2014




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2014-06-12

U.S.A. - ASPEN-COLORADO - Ernesto Neto- 06.06.2014-07.09.2014

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Ernesto Neto - Leviathan Thot 2006

Brazilian artist Ernesto Neto (born 1964, Rio de Janeiro, Brazil) has achieved international acclaim for his large-scale, immersive environments that alter and heighten our perceptions of our surroundings. Often involving stretchy, semitransparent fabric, aromatic spices, and, more recently, crochet, Neto’s installations have an organic, biomorphic character evoking skin and internal bodily systems. Neto challenges the notion of sculpture as static object and investigates the ways that alterations to space and environment transform the relations between people. In engaging with this dialogue, Neto draws on and extends both the abstract modernism of Alexander Calder, Hans Arp, and Constantin Brancusi, and the sensuous, performative practices of such Brazilian predecessors as Lygia Clark and Hélio Oiticica. Spanning both the AAM upper and lower galleries, Neto’s exhibition will present visitors with an opportunity to slow down, pause, and rediscover the essential qualities of sensory experience.

Ernesto Neto will be the AAM’s 2014 Aspen Award for Art honoree during the museum’s summer ArtCrush benefit, held on Friday, August 1, 2014.



Aspen Art Museum    06.06.2014 -07.09.2014   



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2014-06-05

U.S.A. - ASHEVILLE-NORTH CAROLINA - Ralph Burns: A Persistence of Vision — Photographs 1972-2013 - 29.03.2014-20.07.2014

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Ralph Burns Che #2, Havana, Cuba, Silver gelatin print, 14 x 11 inches. Courtesy of the artist.



Ralph Burns has long been recognized as a documentary photographer whose images have captured the diverse and enigmatic nature of ritual and religion, and who has explored the subjective and often defining nature of belief, worship and culture. Like his predecessors — such as Walker Evans, Diane Arbus, Mary Ellen Mark and Robert Frank — Burns uses his cameras to probe a constantly shifting human landscape and to document the public and private aspects of culture and religion in transition, often working at the unclear and overlapping intersection of both. Throughout his career Burns has displayed a continuous and persistent interest in the motivations for worship and ritual while maintaining a compassionate and non-judgmental intimacy with his subjects. He has photographed both collective and individualized manifestations of what he sees as a seemingly irrepressible human need to ritualize loss, love and death, and to formally externalize and codify hope and the desire for transcendence.

The photographs in Ralph Burns: A Persistence of Vision — Photographs 1972-2013 illuminate Burns’s concerns and interactions: an Elvis fan seemingly keeping vigil over a blanketcovered, bed-ridden Elvis icon in Memphis; a penitent in Mexico carrying the statue of Our Lady of Guadalupe, strapped awkwardly to his back; a man staring hard into the distance while being prayed over for healing at a Marion apparition site in Georgia; a woman in agonized ecstasy struggling with being baptized in the Jordan River in Israel.

A native of Louisiana and a resident of Asheville since 1975, Burns has travelled great distances to photograph a specific event or religious festival. He has photographed in New Orleans, Asheville and Western North Carolina, the American South, Mexico, Cuba, Israel, England, Thailand, Nepal, Afghanistan and Europe. Burns is recognized both nationally and internationally, exhibiting his photographs in museums worldwide. In her curator’s statement for Heaven, a group exhibition that included a number of Burns’s photographs and exhibited at Kunsthalle Düsseldorf in Germany and Tate Liverpool in England, the German/Israeli curator Doreet Levitte Hartten wrote: “(His) insights into the religious character … makes Burns’s work, apart from their aesthetic qualities, into documents of anthropological significance.”

This is Burns’s second solo exhibition at the Asheville Art Museum, his first being in 1990. His work has also been included in a number of group exhibitions at the Museum and is included in the Museum’s Permanent Collection. Ralph Burns: A Persistence of Vision — Photographs 1972-2013 is a broader and more extensive survey of Burns’s work over the past 40 years and, although centered on his images of religion, ritual and belief, is not limited to those subjects.



Asheville Art Museum       29.03.2014 -20.07.2014



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2014-05-29

U.S.A. - NEW HAVEN-CONNECTICUT - Collection on View - 29.05.2013-01.01.2015

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Presented to the university by Paul Mellon (Class of 1929), the Center houses the largest collection of British art outside the United Kingdom. The vast collection of paintings, sculptures, prints, drawings, and rare books explore British art, life, and thought from the Elizabethan period onward. On view are works by John Constable, J.M.W. Turner, Sir Joshua Reynolds, and William Blake, as well as major figures from Europe and America who lived and worked in Britain. Resources include a Reference Library, Photograph Archive, and Study Room for examining works on paper. A searchable database with images and details about the Center's collections is also available online. 




 
 
Yale Center for British Art    29.05.2013 - 01.01.2015




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2014-05-22

U.S.A. - ANN ARBOR-MICHIGAN - An Eye on the Empire: Photographs of Colonial India and Egypt - 22.03.2014-29.06.2014

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Francis Frith
Musjid, Boorhaupore - From Frith Series
1822–1829
albumen print
UMMA, Gift of Howard and Margaret Bond
1990/2.17






The zenith of the British Empire in the later nineteenth century coincided with a unique convergence of cultural, technological, and economic forces. Interest in the diverse lands under British influence led to numerous expeditions to explore and map new regions of the Empire.  At the same time, a rising tourism industry began to package trips to well-heeled Victorians hoping to visit societies quite different from their own. Photography, with its ability to capture in precise detail the geography, peoples, and culture of far-flung lands, brought this exotic world home to an eager audience in England, and its commercial potential sent numerous professional photographers to both India and Egypt. Serving as part record of famous monuments and part ethnographic survey, these photographs constituted a vast body of images that shaped colonial conceptions of these lands, while today they preserve an evocative record of Egypt and India from an earlier time. This exhibition includes a selection of works by leading photographers of the era such as Francis Frith and Samuel Bourne.

This exhibition is offered in conjunction with the University of Michigan's theme semester, India in the World.

Lead support for this exhibition is provided by the University of Michigan Health System.




UMMA     22.03.2014 - 29.06.2014




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2014-05-15

U.S.A. - DOYLESTOWN-PENNSYLVANIA - True Grit: The Poetic Eye of Barbara Schaff - 26.04.2014-24.07.2014

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Barbara Schaff born 1941, "Electric Garden", 20X20, acrylic, carand'ache on paper, Collection of Phillip Smith
 
 
 
 
 
 
Philadelphia painter Barbara Schaff has spent most of her adult life in a passionate and disciplined search for the poetic image. Both her drawings and her large-scale canvases have the spontaneous elegance of Chinese watercolor and calligraphy as well as the emotional directness of such poetic painters as Turner and Corot. To Schaff, the search for poetry is not about hiding behind a veil of secrecy and illusion. Poetic images drill down through the gentle topsoil of life into the gritty realities, the bedrock. Poetry is, above all, true-to the complexities of the human heart, and the eternal-and fleeting-mysteries of the universe.
 
 
 
 
James A. Michener Art Museum      26.04.2014 - 24.07.2014
 
 
 
 
 
 
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2014-05-08

U.S.A. - NEW YORK - Ai Weiwei: According to What? - 18.04.2014-10.08.2014

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Ai Weiwei (Chinese, b. 1957). He Xie, 2010. 3,200 porcelain crabs, dimensions variable. Installation at the Hirshhorn Museum and Sculpture Garden, Washington, D.C., 2012. Courtesy of Ai Weiwei Studio. Photo by Cathy Carver



Ai Weiwei is one of China’s most prolific and provocative contemporary artists. Featuring over thirty works spanning more than twenty years, Ai Weiwei: According to What? explores universal topics of culture, history, politics, and tradition, showcasing the artist’s remarkably interdisciplinary career as a photographer, sculptor, architect, and activist.

These works spotlight issues of freedom of expression, as well as individual and human rights both in China and globally. Many use minimal forms and methods, while others manipulate traditional furniture, ancient pottery, and daily objects in ways that question cultural values and challenge political authority.

Ai is best known for projects such as his collaboration with Herzog & de Meuron on the 2008 Beijing Olympic National Stadium, as well as his embrace of the Internet and social media as a platform for his activism. Despite his arrest and eighty-one-day detention in 2011, Ai has continued to create art that transcends dualities between East and West.

Ai Weiwei: According to What? is organized by the Mori Art Museum, Tokyo. It is curated by Mami Kataoka, Mori Art Museum Chief Curator, and the Brooklyn presentation is organized by Sharon Matt Atkins, Managing Curator of Exhibitions, Brooklyn Museum.

This exhibition in Brooklyn has been made possible by  Lisson Gallery, Mary Boone Gallery, the Andrew J. and Christine C. Hall Foundation, the May and Samuel Rudin Family Foundation, Galerie Urs Meile, and the Martha A. and Robert S. Rubin Exhibition Fund. Additional support is provided by the American Chai Trust for education and public programs.




Brooklyn Museum    18.04.2014 - 10.08.2014




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Website : New York - The Official Guide

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2014-05-01

U.S.A.- HUNTINGTON-WEST VERGINIA - The Daywood Collection - 15.03.2014-02.11.2014

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Between the years 1916 and 1965, Philippi, West Virginia, natives Arthur Spencer Dayton (1887-1948) and Ruth Woods Dayton (1894-1978) carefully selected a superb collection of  American and European paintings, prints, sculpture and decorative arts that speak to their personal philosophy of beauty in art. During their years in Charleston (1923-1948), the couple began seriously building their collection. They bought what they liked and what they could afford. They purchased works from art galleries, and over the years built a special relationship with MacBeth Gallery in New York City. They also bought directly from auctions, from prestigious exhibitions such as the Carnegie International, and purchased works directly from the studios of artists whom they admired – both in the United States and abroad. The Daytons kept a detailed and valuable record of where and when objects were acquired.

They were well read on the history of art, especially 19thand 20th century American artists, sharing a penchant for landscapes. The strength of their collection lies in academically trained artists working in the various schools of realism and American impressionism, including masterworks by Childe Hassam, J. Alden Weir, Emil Carlsen, John Twachtman, Willard Metcalf, Frank Benson, Charles Davis and works by “The Eight.” The ideals and works by early American modernists were of little interest.

In 1929, Ruth purchased from MacBeth Gallery an etching titled Calvary Church in Snow by Childe Hassam, and gave it to Arthur as a Christmas gift. Thus began a collection of engravings, etchings and lithographs by a literal “who’s who” of American and European printmakers. The Daytons also had a penchant for small bronzes, especially by women artists working in the late 19thand early 20th centuries, including Grace Helen Talbot, Harriet Frishmuth, Anna Hyatt Huntington, and Edith Parsons. A small collection of Lacy period glass was also part of the collection.

Arthur Dayton died suddenly at the age of sixty-one in May, 1948. With the goal of sharing the collection with the public, Ruth Dayton turned a building on the property adjacent to their home in Lewisburg, West Virginia, into a museum. She called it The Daywood Gallery, combining Arthur’s surname (Dayton) and her maiden name (Woods). The collection continued to grow through purchases and donations. The Daywood Gallery remained in operation from 1951 into 1966. The following year The Daywood Collection was donated to the


 
 
Huntington Museum of Art     15.03.2014 - 02.11.2014




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2014-04-24

U.S.A. - ALFRED-NEW YORK - Val M. Cushing - 24.04.2014-08.08.2014

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Val Cushing, covered jar,
Column Series, circa 1986,
stoneware, h: 16-1/4”,
Gift of the artist,
S-JIMCA 1991.152



Val Cushing (1931-2013) is a pottery legend. Born in Rochester, New York Val received his bachelor and masters of fine arts degrees from the School of Art and Design, New York State College of Ceramics at Alfred University. He joined the Alfred faculty in 1957 and retired in 1997. Val maintained a studio in Alfred Station and gave workshops and lectures throughout the world. Selected public collections of Val’s work are at the Brooklyn Museum, NY; Smithsonian Cooper-Hewitt Museum, National Design Museum, NY; Detroit Institute of Art, Detroit, MI; Everson Museum, Syracuse, NY; Museum of Art and Design, NY; Renwick Gallery of the Smithsonian Institution, Washington, DC; and Memorial Art Gallery, Rochester, NY. Selected awards include individual NEA award, Fellow of the American Crafts Council, Fulbright Award, and Fellow of the National Council on Education in Ceramic Arts.

This exhibition was organized by Susan Kowalczyk, the museum’s collection manager from pieces in the permanent collection and on loan from the family. Beauty and function are themes in his work.

I aspire to make beautiful pottery - some to be used and some to function visually, as sculpture. I look for ideas in a variety of places, but nature is my primary source. It is in nature that I find the rich colors, the dynamic textures and the harmonious forms I love to make. Val M. Cushing




The Schein-Joseph International Museum of Ceramic Art      24.04.2014 -08.08.2014




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Website : Alfred 

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2014-04-17

U.S.A. - AMHERST-MASSACHUSETTS - Lyle, Lyle, Crocodile and Friends: The Art of Bernard Waber - 18.03.2014-08.06.2014

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Bernard Waber, who died in May of 2013 at the age of ninety-one, was a born storyteller and nimble, elegant draughtsman with mischief to spare. In the more than two dozen picture books he created between 1961 and 2010, Waber reveled in life’s little surprises while quietly insisting on the importance of friendship and family. A crocodile for a house guest? A lion named Shirley Williamson? Why not! — Waber blithely declares in these droll, worldly-wise entertainments. Our exhibition features 85 original illustrations from the lion’s share of Waber’s classic picture books as well as a sampling of his work as a designer at Time Inc. and Condé Nast.



 
The Eric Carle Museum of Picture Book Art     18.03.2014 -08.06.2014




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2014-04-10

U.S.A. - ALBUQUERQUE-NEW MEXICO - 400 Years of Remembering and Forgetting: The Graphic Art of Floyd Solomon - 08.02.2014-17.05.2014

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400 Years of Remembering and Forgetting focuses on the work of Floyd Solomon (1952-2008), an artist of Laguna and Zuni heritage.  Growing up at Laguna Pueblo, Solomon listened to his community’s history as told by elders; these stories filled his life and ultimately his art. Among these stories were those concerning the dark events that came with the arrival of the Spanish in the late sixteenth century.

Solomon undertook a visual recounting of Pueblo history from his own knowledge of the past, an indigenous way of knowing positioned to re-imagine history that is largely based on non-Native records.  This was a personal understanding that grew deeper and more comprehensive through his art.  He effectively moved beyond the stereotypical accounts of the early confrontations with the Spanish, instead providing a more complete record of the destructive days from initial Spanish contact. His series of twenty etchings exploring the arrival of the Spanish, the effects this monumental event had on Pueblo people, and subsequent reactions, was initially titled Crucifixion of a Culture.



 
UNM Art Museum       08.02.2014 -17.05.2014




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