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


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


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

Getty Museum - London Calling - 26.07.2016 -13.11.2016


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


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

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

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



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


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

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

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

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



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

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

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

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


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


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

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

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


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


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

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

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

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

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



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

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

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

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


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


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

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


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

Alan Shields

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

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


                                                                          Overview of the FIC123 BLOGS



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

                                                                         Overview of the FIC123 BLOGS


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


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

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

Boise Art Museum - Burchfield Botanicals - 18.06.2016-18.09.2016



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


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

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

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

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

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

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

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

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



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


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

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

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

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

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

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

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


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

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

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

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


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


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

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

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

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

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


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


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

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


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


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

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

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

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

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

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