2015-06-24

2150 - U.S.A. - JACKSONVILLE-FLORIDA - Assemblage/Collage - 02.05.2015-30.08.2015

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Phil Parker, Twelfth Street Wheel, 2009. Assemblage/collage: oil/acrylic/wood/paper/found and fabricated objects, 63 × 58 × 6 inches. Image courtesy of the artist.

Flagler Beach artist Phil Parker works primarily in mixed media, assemblage, and collage. “These assemblages begin with a vague organizing principle, a mental ground, so to speak,” he writes in his artist statement. “The focus might be about flight or travel or surveying or whatever I’m deeply interested in at the time, things I’m passionate about. The journey begins by collecting all the information, data, imagery, objects that I feel have a direct, discreet, or symbolic association with that idea.” From this point, he constructs his compositions much the way a jazz musician writes music. “I need to explore dozens of options; if I don’t, I probably won’t hit those one or two that present the right direction the piece will take. That union that you know will work together like the logic found in music. You have to edit yourself ruthlessly to make this happen.”


 
MOCA - Assemblage/Collage - 02.05.2015 - 30.08.2015


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2015-06-17

2149 - U.S.A. - JACKSON- MISSISSIPPI - George Wardlaw, A Life in Art: Works from 1954 to 2014 - 29.05.2015-30.08.2015

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Raised on a farm in northeastern Mississippi during the years of the Great Depression, George Wardlaw emerged from humble beginnings to become an artist—at Ole Miss—and a member of the avant-garde scene in New York City during the 1950s and ‘60s. He flourished as an important figure in American art and an influential teacher at Yale University and University of Massachusetts at Amherst, where he continues to live and work.

This exhibition features thirty-four quintessential works, many large in scale, from among the hundreds created by Wardlaw over the course of more than six decades. They were selected by Dr. Roger Ward, the MMA’s Deputy Director and Chief Curator, to illustrate the trajectory of Wardlaw’s artistic development from his roots in Abstract Expressionism through the era of Color Field painting, Pop Art, and Minimalism to the individualistic and personally expressive character of his contemporary work. The exhibition will include Wardlaw’s drawings, paintings, and sculptures from the collections of other museums such as the de Cordova Museum and Sculpture Park, the Milwaukee Art Museum, the Ogden Museum of Southern Art, and the Wichita Art Museum in addition to works from the MMA’s own collection.

The exhibition will bring to life the important book published in 2012: George Wardlaw: Crossing Borders, the first comprehensive survey of the artist’s long career. The critical essays in this book offer an extended look into the unfolding of a lifelong dialogue between abstraction and spirituality, played out on canvas, forged in metal, constructed in objects, sculpture, and installations.



Mississippi Museum of Art - George Wardlaw, A Life in Art: Works from 1954 to 2014 - 29.05.2015 - 30.08.2015



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Website : Visit  Mississippi

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2015-06-10

2148 - U.S.A. - INDIANAPOLIS-INDIANA - Michelle Grabner: Weaving Life into Art - 22.05.2015-15.11.2015

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Michelle Grabner

Michelle Grabner: Weaving Life into Art is the artist’s first solo exhibition at an encyclopedic museum. Grabner is perhaps best known for her intricate, labor-intensive abstract paintings, made with silverpoint and black gesso and others inspired by fabrics found in the domestic sphere. Working also in photography, drawing, video, sculpture, and installation, Grabner has consciously made her art reflect her life, as she draws from her everyday experiences as artist, professor, curator, critic, as well as mother and wife.

Over twenty years ago, Grabner began making her extensive series of “paper weavings.” These works have come to represent the rich interwoven nature of her overarching artistic practice, one that endeavors to work both in and outside of traditional networks and systems. She actively threads together the various roles she has undertaken in the art world, from co-curating the Whitney Biennial last year to managing a leading contemporary art space called The Suburban with her husband, artist Brad Killam, on the grounds of their home in Oak Park, Illinois.

Michelle Grabner: Weaving Life into Art, curated by Tricia Y. Paik, will feature painting, video, photography, a monumental installation of her weavings, plus sculpture made with Killam. The exhibition will also debut a new series of photographic work inspired by the Indianapolis Colts’ 2014 season.

Michelle Grabner (b. 1962, Oshkosh, WI) holds an MA in Art History and a BFA in Painting and Drawing from the University of Wisconsin–Milwaukee, as well as an MFA in Art Theory and Practice from Northwestern University. Most recently, she was featured in her first comprehensive solo museum exhibition at MOCA Cleveland (2013–2014). Other solo exhibitions have been held at INOVA, The University of Wisconsin–Milwaukee (2012); Ulrich Museum, Wichita (2008); and University Galleries, Illinois State University, Normal (2006). She has been included in group exhibitions at Tate St. Ives, United Kingdom (2011); Walker Art Center, Minneapolis (2001); Museum of Contemporary Art, Chicago (2009); and Kunsthalle Bern, Switzerland (2008), among others.
A professor at the Art Institute of Chicago since 1996, Grabner was also chair of its painting and drawing department from 2009 to 2013. She has served as visiting faculty at Yale University, Bard College and University of Pennsylvania. Her writing has been published in Artforum, Modern Painters, Frieze, Art Press, and Art-Agenda, among other publications.



Indianapolis Museum of Art - Michelle Grabner: Weaving Life into Art - 22.05.2015 - 15.11.2015



Website & source

Website : Visit Indianapolis

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2015-06-05

2147 - U.S.A. - HUNTINGDON-PENNSYLVANIA - Unraveled: Paintings by Afarin Rahmanifar - 16.04.2015-12.09.2015

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Born in Tehran, Iran, Afarin Rahmanifar has emerged as one of the leading Persian painters working today. Her artistic vision originates, she says, “at the intersecting points of eastern and western culture.” She understands her journey toward her present identity as an American Iranian woman through these concepts: “Separation”…from what one has been a part of. “Belonging”…to that which is different. “Appearing,” then “disappearing,” then “reappearing” again. Rahmanifar strives to show the body as a vessel, moving through this Journey, taking in new experiences for the mind to process. The intellectual and emotional parts of the self are changed through the act of Separation; the changed self belongs both to the past and to the present. In her work, Rahmanifar says, she creates “ideal feminine figures or spaces,” portraying the Feminine as desiring not just beauty, poetry and seduction, but also desiring, as does the artist herself, to tell her personal stories, which have shaped her life as a woman. Rahmanifar’s paintings, lyrical and mystical, intricate and exquisitely beautiful, are informed, too, by the great mystical Sufi poet Rumi, of Persian literature. Her work has been widely collected and exhibited across the United States and internationally at venues including Columbia University, University of California at Berkeley, and Yale University. She has an upcoming show at the Kala Art Institute Academy in Panaji, Goa, India in 2015.



JCMA Museum of Art - Unraveled: Paintings by Afarin Rahmanifar - 16.04.2015 - 12.09.2015



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Website : Huntingdon

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2015-05-27

2145 - U.S.A. - GOLDENDALE-WASHINGTON - American Indian Painting: Twentieth-Century Masters - 15.03.2015-05.07.2015

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Allan C. Houser (Chiricahua Apache, 1914–1994), Buffalo Hunt, 1952, gouache on illustration board, 17¼” x 26½”; Arthur and Shifra Silberman Collection, National Cowboy & Western Heritage Museum, Oklahoma City, OK
 
 
 
This exhibition brings to the Columbia River Gorge a collection of 35 paintings of a type seldom—if ever—exhibited in the Pacific Northwest. Curated by Maryhill’s Steve Grafe, the exhibition features some of the most important American Indian artists of the 20th century. The featured artists were residents of the Southern Plains and Southwest, and affiliated with the University of Oklahoma, Bacone College and the Santa Fe Studio; they include Stephen Mopope (Kiowa), Allan Houser (Chiricahua Apache), Fred Beaver (Creek/Seminole), Jerome Tiger (Creek/Seminole), Harrison Begay (Navajo) and Tony Da (San Ildefonso).

All of the paintings are drawn from the collection of the National Cowboy & Western Heritage Museum in Oklahoma City.




Maryhill Museum of Art - American Indian Painting: Twentieth-Century Masters - 15.03.2015-05.07.2015
 
 
 
 
 


2015-05-20

2144 - U.S.A. - GLENS FALLS-NEW YORK - The Late Drawings of Andy Warhol: 1973-1987 - 21.06.2015-27.09.2015

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More than any other medium, drawing was essential to Andy Warhol's creative output. This exhibition, organized by The Andy Warhol Museum, one of the four Carnegie Museums of Pittsburgh, offers works created during one of the most prolific periods of his life, employing a confident and fluid contour line to depict some of the same motifs of his iconic paintings: celebrity portraits, flowers, and ads. Many of the drawings in this exhibition are on view to the public for the first time.

The Late Drawings of Andy Warhol: 1973-1987 was organized by the Andy Warhol Museum, one of the four Carnegie Museums of Pittsburgh.



The Hyde Collection - The Late Drawings of Andy Warhol: 1973-1987 - 21.06.2015 - 27.09.2015 



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2015-05-13

2143 - U.S.A. - FORT WORTH-TEXAS - FRAMING DESIRE: Photography and Video - 21.02.2015-23.08.2015

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(c)Anne Svenson - Neighbors 52

The Modern Art Museum of Fort Worth presents FRAMING DESIRE, an exhibition showcasing over 40 recent acquisitions alongside iconic photographs and videos from the permanent collection. The Museum has acquired key works by Cory Arcangel, Artemio, Larry Clark, Philip-Lorca diCorcia, Rineke Dijkstra, Debbie Grossman, Candida Höfer, Misty Keasler, Ragnar Kjartansson, Vera Lutter, Robert Mapplethorpe, Gordon Matta-Clark, Ryan McGinley, Nicholas Nixon, Catherine Opie, Orit Raff, Laurie Simmons, Allison V. Smith, Arne Svenson, Frank Thiel, and Gillian Wearing.

The artists included in FRAMING DESIRE each use their medium in ways that transcend what the imagery literally depicts to intensify the idea of desire. Interweaving the documentary, subjective, and symbolic, these artists address sexuality, gender, longing, catharsis, and transgression, among other subjects.

In her essay “In Plato’s Cave” from 1973, the philosopher and political activist Susan Sontag discusses desire as it relates to the photographed image. She theorizes that desirability is enhanced by the distance photographs can create, and that such imagery conjures the emotion by suggesting something unattainable. Sontag uses the examples of a lover’s photograph tucked into a married woman’s wallet, a rock-star poster in an adolescent’s bedroom, and the snapshot of a cabdriver’s children clipped to the sun visor. “All such talismanic uses of photographs,” Sontag writes, “express a feeling both sentimental and implicitly magical: they are attempts to contact or lay claim to another reality.”

Like Sontag’s assessment of photography, video also has the ability to seamlessly flow between reality and fantasy—and each medium does so to a marked degree over painting, drawing, or sculpture, especially because they often depict objects, places, and people from the real world. Yet even with their believability over other mediums, by the aim of the camera, click of the shutter, or roll of the film, artists choreograph and construct their shots, bringing their subjectivity to the image. Viewers add even more layers of personal perspective to what they see. This artist/viewer dynamic can transform the ordinariness of real people, architecture, and landscapes into images that incite desire.

Andrea Karnes, curator of FRAMING DESIRE, comments, “This exhibition highlights several of the most important contemporary artists of the last four decades, with a number of new acquisitions that meaningfully add context to the Modern’s growing collection in the areas of photography and video.” Karnes adds, “The artists included here explore the premise of desire, a topic that has been investigated in art in intriguing ways for centuries. The works are grouped into three themes of desire: Ages, Rooms, and Scapes. These updated takes on the traditional subjects of portraiture, architecture, and landscape make the well-traversed themes seem more magnified and provocative, especially when they are couched within the framework of desire.”

Ages is a variant on the genre of portraiture, showing stages of life from early childhood to death. This theme includes Rineke Dijkstra, whose photographs Dubrovnik, Croatia, July 13, 1996 and Hilton Head Island, SC, June 22, 1992 are from her seminal Bathers series, for which she posed adolescents wearing bathing suits in austere, formal poses along the coastlines of Central Eastern Europe and America. In a broad sense, these portraits are emblematic of the particular societies from which the teens come, creating intriguing comparisons between youth of the various geographic regions. With the delicate age Dijkstra focuses on in this series, she shows an extraordinary and often painful stage of being human regardless of locale—acknowledging the anxiety, posturing, pride, insecurity, and vulnerability of the years between childhood and adulthood.
The exhibition includes photographs and videos on the theme Ages by Cory Arcangel, Artemio, Larry Clark, Philip-Lorca diCorcia, Rineke Dijkstra, Debbie Grossman, Loretta Lux, Sally Mann, Robert Mapplethorpe, Ryan McGinley, Nicholas Nixon, Andres Serrano, Cindy Sherman, Laurie Simmons, and Gillian Wearing.

Rooms takes into account the interiors and architecture that several artists in FRAMING DESIRE explore as subject matter, often to scrutinize how such structures function in our lives and how they can spark voyeurism, recall a time and place, or fulfill the desire to see a space we have not experienced firsthand. Within the theme of Rooms, the early cut “drawings” of Gordon Matta-Clark from the 1970s resonate alongside the voyeuristic perspective of the Holes series by Hubbard/Birchler from the 1990s, as each group of images offers uncharacteristic views through architecture from unusual points of view. The theme Rooms includes works by Candida Höfer, Teresa Hubbard/Alexander Birchler, Misty Keasler, Gordon Matta-Clark, Orit Raff, Allison V. Smith, Thomas Struth, Hiroshi Sugimoto, and Arne Svenson.

Scapes includes a range of artists who present landscapes, sites, places, or events both majestic and commonplace, often imbuing one with a sense of the other. Uta Barth’s photographs take on unremarkable aspects of the landscape that often go unnoticed in our daily lives. Her diptych from the series Nowhere Near, 1999, depicts a combination of crisp and blurred imagery of trees, rooflines, and power lines that, at times, borders on post-painterly abstraction. The artist’s cropping, framing, and distorted views subtly deconstruct conventional notions of cityscapes, edging peripheral street scenes and grey, winter skies toward the sublime. Icelandic artist Ragnar Kjartansson’s video/performance A Lot of Sorrow offers a different approach to Scapes. He arranged for the band The National to play their song “Sorrow” repeatedly and continuously on stage for six hours, creating a work that is repetitive over a long duration, but surprisingly expansive. While the mood of A Lot of Sorrow wanes and swells throughout the performance, the shadowy and atmospheric nocturnal scenes, along with the song, create a beautiful and austere scape to contemplate the emotion of sorrow and harness the artist’s desire to work through personal and collective emotion (his, the band’s, the crowd’s, and the viewer’s).

Artists engaging in the theme of Scapes include Uta Barth, Bernd and Hilla Becher, Thomas Joshua Cooper, Ragnar Kjartansson, Rosemary Laing, Vera Lutter, Richard Misrach, Catherine Opie, Melanie Smith, and Frank Thiel.


Modern Art Museum of Fort Worth - FRAMING DESIRE: Photography and Video - 21.02.2015 - 23.08.2015


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2015-05-06

2142 - U.S.A. - FORT LAUDERDALE-FLORIDA - Pablo Picasso: Painted Ceramics and Works on Paper, 1931 – 71 - 12.03.2015-01.11.205

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 Pablo Picasso  Spanish Pitcher 1954

One of the most prolific and significant artists of the 20th century, Pablo Picasso (1881–1973) produced approximately 50,000 works in a variety of mediums; ceramics, drawings, paintings, prints, rugs, sculptures and tapestries. NSU Art Museum Fort Lauderdale is fortunate to own a significant number of his aquatints, ceramics, etchings and linocuts, gifts of various generous donors over the years.
 
This exhibition includes 72 objects of which 14 are etchings dating 1931-33 from Picasso’s famous Vollard Suite (1931-37). It was commissioned by art dealer Ambroise Vollard in exchange for paintings by Paul Cézanne and Pierre-August Renoir. These early works from the Suite were inspired in part by Picasso’s involvement with a monumental sculpture commission. They feature the artist (a nude bearded sculptor) at work and relaxing in his studio, his nude model and muse, Marie-Thérèse Walter, who was then Picasso’s mistress, scenes of pleasure and frolic, some of which include acrobats, bulls, or horses.  These elegant, expressive images reveal Picasso’s artistic and emotional universe of the early 1930s.
 
Several aquatints and etchings from the Museum’s collection are also in the exhibition, along with linocuts on loan to the Museum from collectors Drs. Mildred and Walter Padow.  These and other works on paper are juxtaposed with more than 50 ceramic bowls, pitchers, and plates that Picasso made and painted while living in the South of France.  These date from 1947-71, and their imagery explores many of the themes of Picasso’s earlier work, such as animals, acrobats, bacchanals, bullfights, fauns and other mythological figures, and owls (Picasso had a pet owl).  Given to the Museum by Miami Beach hotelier Bernie Bercuson in 1991, these ceramics reveal Picasso’s ability to be as innovative in the medium of clay as he had been in all of the others that he addressed. His innovations in ceramics spearheaded subsequent advances in the medium that elevated its status from craft to art.
 
Picasso began working with clay in 1946 after visiting the famous annual pottery exhibition in Vallauris, France, where he was impressed by works from the Madoura ceramic workshop, owned by Suzanne and Georges Ramié.  This town and the area in general had supported the production of clay since Roman times.  In exchange for access to the resources of the Madoura workshop, Picasso allowed the Ramiés to produce and sell editions of his work, and the ceramics in the exhibition are among them.  Picasso loved the flexibility of clay and the firing process.  As he painted forms on workshop produced clay objects and those he designed and created, he brought inanimate objects to life with expressive vitality and humor.  Picasso’s innovative work in clay spearheaded subsequent advances in the medium that led to its current recognition as a form of art rather than a craft.
 
While in Madoura, Picasso met Jacqueline Roque, who became his second wife in 1961, and the exhibition includes a plate on which Picasso painted her face in profile. The two went often to the annual pottery exhibitions in Vallauris as well as bullfights there, and 7 of the linocuts that Picasso designed that were printed as posters for these events are also on view.
 
Picasso, Henri Matisse and Marcel Duchamp are regarded as the three artists who most defined the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting, sculpture, printmaking and ceramics.
 
 
 
 
NSU Art Museum - Pablo Picasso: Painted Ceramics and Works on Paper, 1931 – 71-
12.03.2015-01.11.2015
 
 
 
 
 
 

2015-04-29

2146 - U.S.A. - HOUSON-TEXAS - U.S.A. - Marilyn Minter: Pretty/Dirty - 18.04.2015-02.08.2015

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For over three decades Marilyn Minter has produced lush paintings, photographs, and videos that vividly manifest our culture’s complex and contradictory emotions around the feminine body and beauty. Her unique works—from the oversized paintings of makeup-laden lips and eyes to soiled designer shoes—bring into sharp, critical focus the power of desire. As an artist Minter has always made seductive visual statements that demand our attention while never shirking her equally crucial roles as provocateur, critic, and humorist. Marilyn Minter: Pretty/Dirty features over 25 paintings made between 1976 and 2013, three video works, and several photographs that show Minter’s work in depth. The exhibition was co-organized by the Contemporary Arts Museum Houston and the Museum of Contemporary Art Denver.

Marilyn Minter: Pretty/Dirty begins with the artist’s earliest artworks, a startling photo series titled Coral Ridge Towers. While still in school, the young Minter shot one roll of film of her mother, a drug-addled, darkly glamorous woman who was nonetheless “mom” for the artist. Completed in 1969 when Minter was 21, the works were not shown until decades later by Linda Yablonsky, a lifelong friend of Minter’s who used them as background images for a reading program.  The series’ clear relationship to the artist’s later themes of degraded beauty has made these photographs into classics of the Diane Arbus-like genre. In Pretty/Dirty they are put back into their proper historical sequence as her earliest extant work.

The exhibition includes Little Girls #1 (1986) from Minter’s monumentally-sized series from the mid-1980s titled Big Girls, Little Girls. Minter employed a mechanically applied enamel technique to portray a young girl looking at her distorted reflection in a funhouse mirror. Here Minter focuses on how girls are trained at an early age to look critically at their bodies, only to see themselves as flawed. Also on view from this series is Big Girls (1986), which combines the little girl gazing at her reflection with an appropriated image of Sophia Loren anxiously peering at Jayne Mansfield’s voluptuous figure spilling out of her dress. “These works, like the others from this period, fused a feminist critique of the construction of gender and femininity with other postmodernist hallmarks of the 1980s, including the appropriation of mass-media imagery translated in a cool, detached, style of painting,” says Elissa Auther, co-curator of the exhibition.

In every decade, Minter offers a smart woman’s critical look at issues that are otherwise presented by men for female consumption. The fashion world is full of male fashion house owners, designers, and photographers who create an image of being female. Rather than a blatantly naive critique of fashion, Minter shows the dual nature and slight imperfections of herself and her fellow woman, finding that true allure comes from the sensuality of imperfections. In one of her best-known paintings, Blue Poles (2007), Minter takes what is clearly a beautiful face and reveals flaws: a pimple, errant eyebrow hairs, and freckles. In real life these so called flaws make us human, attractive, and loveable, but in the beauty industry these imperfections need to be eradicated. In the age of Photoshop, where things such as freckles disappear from fashion and entertainment magazines, this painting can be understood as marking a final celebration of the attractiveness of the un-retouched human face.

Minter’s recurring investigation of how the fashion industry expertly creates and manipulates desire led her to depict in many of her paintings an image of a gorgeous accessory looking less than glamorous. In Dirty Heel (2008), viewers are treated to a close up of a woman’s dirty heel accessorized by an expensive looking pink-lined high-heeled shoe. In her 2014 video Smash, large female feet in bejeweled high-heeled shoes appear to be having a hell of a time—dancing, sliding across the floor, and smashing glass—all in Minter’s signature silver liquid. As we become aware of the subject’s tattooed swollen feet, which seem to convey a wealth of experience, viewers might at first feel a wave of aversion, but the joy of her smashing time is impossible to resist.

The exhibition explores in detail the myriad image choices Minter has made as a painter and photographer, the evolution of her style and technique, and her mode of production, including her organization of an unusual studio of assistants trained to create hyper-real, sometimes dizzyingly painted surfaces. Pretty/Dirty illustrates Minter’s progress from a curious youth looking critically at the domestic landscape before her to the media-savvy cultural producer whose images simultaneously define and critique our times.

The exhibition is co-curated by Bill Arning, Director of the Contemporary Arts Museum Houston, and Elissa Auther, Windgate Research Curator, Museum of Arts and Design, New York, and the Bard Graduate Center. The exhibition is on view at the Contemporary Arts Museum Houston April 18 – August 2, 2015 and at MCA Denver September 18, 2015 - January 31, 2016. The show will travel to the Orange County Museum of Art, CA, May 15 - August 28, 2016 and the Brooklyn Museum, September 19, 2016- January 22, 2017.


 
Contemporary Arts Museum Houston - Marilyn Minter: Pretty/Dirty - 18.04.2015-02.08.2015



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2141 - U.S.A. - FARGO-NORTH DAKOTA - Bakken Boom! Artists Respond to the North Dakota Oil Rush - 29.01.2015-15.08.2015

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Bakken Boom! provides a striking array of artistic interpretations of North Dakota’s current oil rush, which has catapulted the state to second in the nation in oil production. The show invites you to consider the new realities in western North Dakota, and the profound impact of the energy boom on lives and the land.

Organized by Plains Art Museum, this groundbreaking exhibition curated by Becky Dunham includes 22 individual artists, three artistic collaborations, and selections from the Museum’s collection. Ranging from documentary photos and film, to sculpture, printmaking, paintings, and installations, the show reflects the many ways visual artists are exploring and commenting on the social, political, economic, and environmental dynamics of this hot topic.

Featuring nationally established artists such as Minneapolis photographer Alec Soth, along with emerging young talent like Chicago-area printmaker Elise Forer, the show is composed of an exciting mix of national, regional, and Fargo-Moorhead area artists, including Wayne Gudmundson, Kent Kapplinger, Meredith Lynn, Molly McLain, J. Earl Miller, Eric Syvertson, and Susanne Williams. Bakken Boom! also includes a series of short documentaries by The Cheddar Factory (based in Minneapolis and Williston), and the site-specific installation Road to Williston, as well as works from the Museum’s portfolio Oil and Water.

Bakken Boom! is supported by lead sponsor Doris Slaaten with additional contributions from Yvonne Condell, Linda Olson, Walter Piehl, and B. J. Zander. Funded in part by the North Dakota Humanities Council, a nonprofit, independent state partner of the National Endowment for the Humanities. Any views, findings, conclusions, or recommendations expressed in this program/exhibition do not necessarily represent those of the North Dakota Humanities Council or the National Endowment for the Humanities.



Plains Art Museum - Bakken Boom! Artists Respond to the North Dakota Oil Rush
29.01.2015-15.08.2015



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Website : Fargo

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2015-04-22

2140 - U.S.A. - ERIE-PENNSYLVANIA - Ian Brill - 30.01.2015-10.01.2016

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Pittsburgh-based multi-media artist Ian Brill’s work combines light, sound, and technology into an interactive experience for the viewer. Brill creates his installations out of polystyrene (corrugated plastic sheeting) and uses light and sound to amplify the experience. Brill’s installations are part of a series called Transmission. Begun in 2010, it explores architectural, interactive, and programmatic technology. His research has led to constructions for gallery exhibitions, festivals and staging contexts.

Storm is built from modular units, cut offsite and constructed at the Museum. Using computers to control colored LED lights and sound cues, Brill programs the experience on site. Storm is designed to mimic the unique shape and architectural elements of the McCain Gallery and transform it.

Ian Brill lives and works in Pittsburgh. He holds a BA in Studio Art from the University of Pittsburgh and an MFA in New Media from Penn State University. His work has been exhibited at the Pittsburgh Center for the Arts, Unicorn Meat (NYC), the Children’s Museum of Pittsburgh, The Warhol Museum and in University Park, PA.
You can view videos of his work at ianbrill.drupalgardens.com




Erie Art Museum - Ian Brill - 30.01.2015 - 10.01.2016




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2015-04-15

2139 - U.S.A. - EASTON-MARYLAND - Ray Turner: Population - 25.04.2015-05.07.2015

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Ray Turner
Brad, 2010
Oil on glass Collection of the artist

Artist Ray Turner lives in Pasadena, CA, where he received his BFA from Art Center College of Design. Post graduation, he became a professor of painting at his alma mater. Turner's work has been exhibited in museums and galleries throughout the United States. Turner began painting portraits for the current body of work and traveling museum exhibition called Population in 2007. The idea was to paint portraits of the uncelebrated to the celebrated people from a cross section of the populace in communities across America. The subjects would then become part of the growing body of work that represented their communities and respective museums.

The exhibition is which currently touring the United States and abroad, and began at the Pasadena Museum of California Art. It has shown in eight museums and Turner’s work is in many permanent and private collections. Still growing in number the body of work has currently has over 500 portraits. Population is an installation based body of work, painted on 12 inch squares of sapphire glass, which are then displayed on a color field grid that becomes their back ground.

Described recently by acclaimed writer and critic Michael Duncan, “Applied like slathered tattoos, Turner's portraits reside on slick square skins that are transparent, with the fields behind the figures left empty of paint. The blank glass fields reveal various colored wall panels that set off the images and enhance their floating spectral presence.” Like Lucien Freud, there is an “Overturning the spontaneity of abstract expressionism, Turner creates slow boiled stews of troweled paint, bringing the aesthetic decision-making process to a crawl so that a composition gradually reveals itself.” The transparent thickness of the glass causes the figures' silhouettes to form thin shadows that seem to shimmer. The slight distance from the wallemphasizes the film of paint that embodies each human image. Close likeness of his subjects is for Turner, as he calls it, only a "byproduct;" indulging his own emotional response to a painting as he makes it, he explains that a kind of "capturing can't not happen." But always the independent life of the painting takes precedence over the capturing. This is Ray Turner’s first exhibition in Maryland.



Academy Art Museum - Ray Turner: Population - 25.04.2015 - 05.07.2015



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2015-04-08

2138 - U.S.A. - DURHAM-NORTH CAROLINA - Colour Correction: British and American Screenprints, 1967-75 - 02.04.2015-30.08.2015

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Liliane Lijn, Koan – Cuts III, 1971. Screenprint with collage on paper, 22 x 31 1/2 inches (55.9 x 80 cm). Collection of the Nasher Museum of Art at Duke University, Durham, North Carolina. Gift of Mr. Kenneth Dorman, 1980.104.3. © Liliane Lijn. All Rights Reserved, DACS, London and ARS, New York, New York. Photo by Peter Paul Geoffrion.


Drawn primarily from the Nasher Museum’s vast collection of prints, Colour Correction examines a moment when artists adopted, and adapted, the screenprint technique during an extremely fertile period of experimentation and productivity in the United States and Great Britain. Coinciding with a confluence of social upheaval, political turmoil and artistic change and exchange, Colour Correction illustrates what many art historians consider to be the “golden age” of screenprinting. The exhibition includes more than 100 works by 40 artists─from the playful Pop art of Andy Warhol and Eduardo Paolozzi to the scathing political critiques of May Stevens to the minimalist abstractions and optical exercises in visual perception by artists such as Richard Anuszkiewicz, William T. Williams and Liliane Lijn.



Nasher Museum - Colour Correction: British and American Screenprints, 1967-75
02.04.2015 - 30.08.2015
 
 
 
 
 


2015-04-01

2137 - U.S.A. - DOYLESTOWN-PENNSYLVANIA - Rodin: The Human Experience — Selections from the Iris & B. Gerald Cantor Collections - 28.02.2015-14.06.2015

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Auguste Rodin, Balzac in Dominican Robe, modeled 1893; Musée Rodin cast 9 in an edition of unknown size in 1981, bronze; Georges Rudier Foundry, lent by Iris Cantor

Auguste Rodin (1840-1917) is one of the greatest sculptors of the late nineteenth century. This stunning installation of bronzes features work spanning the artist's long career, and is especially rich in portraiture. Included are his famous depictions of writer Victor Hugo and Honoré de Balzac; the musician Gustav Mahler; the artist Claude Lorraine; one of his favorite dancers, Hanako; and his portrayal of God, which is also a self-portrait.

The selected bronzes in the show represent the major achievements of Rodin's career. They include the powerful Burghers of Calais, as well as works derived from his masterpiece, The Gates of Hell. Others, such as The Night (Double Figure), demonstrate his experimentation with assemblage. Also featured are sculptures, such as Monumental Torso of the Walking Man, which demonstrate his admiration for Michelangelo, and Dance Movement D, which speaks to his interest in creating an illusion of movement.

Rodin’s ability to use bronze to represent living flesh and his interest in expressing extreme psychological states were highly influential upon younger artists, both in Europe and America. Rodin: The Human Experience reveals why the artist is considered the crucial link between traditional and modern sculpture.

Rodin: The Human Experience - Selections from the Iris & B. Gerald Cantor Collections is generously supported by Visit Bucks County and Jon Paton.

This exhibition has been organized and made possible by the Iris & B. Gerald Cantor Foundation.




James A. Michener Art Museum - Rodin: The Human Experience — Selections from the Iris & B. Gerald Cantor Collections - 28.02.2015 - 14.06.2015



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2015-03-25

2136 - U.S.A. - DOVER-DELAWARE - William D. White: Vision and Voice - 06.03.2015-21.06.2015

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William D. White
White Night Shift on Broad Street


This exhibition reintroduces the work of Delaware illustrator, muralist and painter William D. White (1896-1971). White’s varied and significant career spans some of the country’s most intense moments of the 20th century as well as the final days of the golden age of American illustration. The exhibition and related publication will celebrate significant moments in the life of the artist through an examination of over 75 works.



Biggs Museum of American Art - William D. White: Vision and Voice - 06.03.2015-21.06.2015




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2015-03-18

2135 - U.S.A. - DETROIT-MICHIGAN - Diego Rivera and Frida Kahlo in Detroit - 15.03.2015-12.07.2015

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Diego Rivera and Frida Kahlo were an explosive couple. He carried a pistol. She carried a flask. He romanticized Detroit. She rejected it. But what they shared was a belief in communism, a thirst for tequila and a passion for each other. Discover how they left their mark on Detroit. And how Detroit left its mark on their art. Exclusively on view at the Detroit Institute of Arts, Diego Rivera and Frida Kahlo in Detroit brings together nearly 70 works of art that depict the evolution of these two extraordinary artists’ careers, including eight of Rivera’s epic preparatory drawings for the Detroit Industry murals and 23 pieces by Kahlo, whose work has never before been shown at the DIA.




Detroit Institute of Arts - Diego Rivera and Frida Kahlo in Detroit - 15.03.2015-12.07.2015




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2015-03-11

2134 - U.S.A. - DENVER-COLORADO - Glitterati - Portraits & Jewelry from Colonial Latin America - 07.12.2014-27.11.2016

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Diego de Borgraf, Saint Catherine of Alexandria (detail), Mexico, 1656. Oil on canvas. Denver Art Museum, Gift of Frederick and Jan Mayer; 2011.426.

During the Spanish Colonial period in Latin America (1521–1850), precious gold and silver were crafted into elegant jewelry then embellished with emeralds from Colombia, coral from Mexico, and pearls from Venezuela. Wanting to demonstrate their wealth and status, people were painted wearing their finest dress and elaborate jewelry.

Women were adorned with tiaras, necklaces with pendants, and prominent earrings. Men proudly displayed hat ornaments, rings, watch fobs, and chatelaines (decorative belt hooks) with small tools similar to the modern Swiss Army knife. Priests wore gold crucifixes and rosaries while nuns had miniature paintings of the Virgin Mary and saints crafted into brooches, called nun’s badges. Inlaid and lacquered chests and boxes were used to store these luxury goods.

The portraits, furniture, and jewelry that are exhibited in Glitterati, drawn from the DAM’s world-renowned Spanish Colonial collection, tell the fascinating story of people and luxury possessions in the New World.



Denver Art Museum - Glitterati - Portraits & Jewelry from Colonial Latin America - 07.12.2014-27.11.2016



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2015-03-04

2133 - U.S.A. - DALLAS-TEXAS - Small Worlds: Edouard Vuillard and the Intimate Art of the Nabis - 21.11.2014-19.04.2015

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Maurice Denis, Portrait of a Young Girl (Thérèse Watillaux), 1896, oil on cardboard, Dallas Museum of Art

Small Worlds: Edouard Vuillard and the Intimate Art of the Nabis explores works in the DMA's collection created by Nabi artists, including Edouard Vuillard, Pierre Bonnard, Maurice Denis, and Félix Vallotton. In the years following the final impressionist exhibition in 1886, a variety of avant-garde groups were formed in Paris by young artists eager to propose a new kind of modernist painting. One of these was begun around 1888 by a handful of students at a private art school known as the Académie Julian. Calling themselves the Nabis, a Hebrew word meaning “prophets,” these young artists forged a new relationship to many of the same subjects that had fascinated the impressionists a generation before: the modern city, its streets and public spaces, and the status of the private self in relation to this public sphere.



Dallas Museum of Art - Small Worlds: Edouard Vuillard and the Intimate Art of the Nabis - 21.11.2014-19.04.2015



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2015-02-25

2132 - U.S.A. - CORAL GABLES-FLORIDA - Vik Muniz: Poetics of Perception - 07.02.2015-19.04.2015

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The Brazilian-born Muniz is known for the startling materials he uses in the production of his stunning images. By employing diverse materials such as toys, diamonds, garbage and magazine clippings, the artist creates tableaux, which are then photographed. Poetics of Perception includes elements of several of his renowned bodies of work, including Diamond Divas, Pictures of Chocolate, Pictures of Junk, Pictures of Color and more.

In 2001, Muniz was invited to represent Brazil in the Venice Biennale where he exhibited the Pictures of Color series. Utilizing thousands of Pantone color swatches, Muniz created the appearance of digitized images of known works of art, including Claude Monet’s famous 19th-century Haystack. Muniz likens the pixels in digital photography to Monet’s impressionist brushstrokes.
Using the same ideas and given access to thousands of diamonds, Muniz created dazzling portraits of Hollywood’s silver screen divas: Marilyn Monroe, Elizabeth Taylor, Grace Kelly, Bette Davis and Marlene Dietrich. He tested the “degree of interference between the overkill glamour of the stars themselves and that of shiny rocks.” These mesmerizing portraits of some of the 20th century’s most celebrated actresses seem to cast a glittering, eternal afterimage.

His recreation of Paul Gauguin’s Still Life with Puppies, also on display in Poetics of Perception, recreates the strange perspective of the original, as the tabletop is turned on a vertical axis to reveal puppies dining amidst goblets and fruit. The images of the divas, as well as his photographs constructed from a confetti-like collage of magazine clippings, hint at Muniz’s interests in a variety of media, showcased in this latest traveling exhibition.
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Exhibition Credits
Vik Muniz: Poetics of Perception was organized by the Virginia Museum of Contemporary Art, Virginia Beach. The exhibition is guest curated by Carla Hanzal, independent curator based in Charlotte, NC and former Curator of Modern and Contemporary Art at the Mint Museum. Lowe Art Museum exhibitions and programs are sponsored by Beaux Arts and the general membership. Additional support is provided by the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, and the Miami-Dade County Mayor and Board of County Commissioners.



 
Lowe Art Museum - Vik Muniz: Poetics of Perception - 07.02.2015-19.04.2015




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2015-02-18

2131 - U.S.A. - COLUMBUS-OHIO - Mobile Photo Now - 06.02.2015-22.03.2015

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Photo by Rob DePaolo

Columbus Museum of Art, and the #jj community, one of the world’s most active  communities of photographers, present #MobilePhotoNow the largest mobile photography exhibition ever organized by a museum.  

#MobilePhotoNow highlights the emerging art form of mobile photography, and the power of social media and smart phones as a means of creative expression and connection. CMA and #jj community partnered throughout October to post themed photo challenges that engaged the mobile photography community. More than 5,000 photographers from 89 different countries submitted nearly 45,000 images via Instagram. The resulting global exhibition co-curated by CMA and #jj features 320 photos from nearly 240 photographers representing nearly 40 different countries.



 
Comumbus Museum of Art  - Mobile Fhoto Now - 06.02.2015-22.03.2015




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2015-02-11

2130 - U.S.A. - COLUMBIA-SOUTH CAROLINA - Charles Courtney Curran: Seeking the Ideal - 20.02.2015-17.05.2015

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Lotus Lilies

Seeking the Ideal is the first-ever museum retrospective of this American Impressionist painter, bringing together 58 Curran masterpieces sure to astonish with their jewel-like color, immense space, and love for beauty. Charles Curran's heart was claimed by women, children, and flowers, and he devoted a lifetime to painting them in the full light of day out of doors. Curran's career blossomed in the 1880s when French Impressionism had changed the art world. Working in the beautiful Hudson River Valley, Curran became a much-respected leader of the art colony there in the early decades of the 20th century. These are wistful images, each one full of optimism and grace. He looked for what was ideal in American life and made it even more so.


 
Columbia Museum of Art - Charles Courtney Curran: Seeking the Ideal - 20.02.2015 - 17.05.2015



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2015-02-04

2129 - U.S.A.- CLEVELAND-OHIO - Themes and Variations: Musical Drawings and Prints - 25.01.2015-17.05.2015

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The Violin, 1914. Georges Braque (French, 1882–1963). Cut and pasted papers (newsprint block-printed or stenciled decorative paper, and faux bois), with charcoal and graphite; 71.8 x 51.8 cm (28 1/4 x 20 3/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund 1968.196. © 2014 Artists Rights Society (ARS), New York / ADAGP, Paris.


A selection of about 60 drawings and prints from the museum's permanent collection will explore the various ways in which music and music-making have been represented in Europe and the United States from the 15th through the 20th century. The exhibition will explore representations of sacred music in images depicting David and Saul, Apollo and the Muses, and Orpheus, as well as secular music addressing themes such as music and courtship, the café concert, dance, and synesthesia. Works by Rembrandt van Rijn, Jean Antoine Watteau, Henri de Toulouse-Lautrec, Wassily Kandinsky, and John Cage will be featured.
The Cleveland Museum of Art is generously funded by Cuyahoga County residents through Cuyahoga Arts and Culture. The Ohio Arts Council helped fund this exhibition with state tax dollars to encourage economic growth, educational excellence, and cultural enrichment for all Ohioans.




Cleveland Museum of Art - Themes and Variations: Musical Drawings and Prints - 25.01.2015 17.05.2015




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2015-01-28

2128 - U.S.A. - CINCINNATI-OHIO - Taiyo Onorato & Nico Krebs - 12.09.2014-22.02.2015

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Curated by Kevin Moore for FOTOFOCUS
Nico Krebs, Taiyo Onorato

The Swiss-born, Berlin-based duo Taiyo Onorato & Nico Krebs (both b. 1979) respond with humor and wit to various traditions of modernist architecture, documentary photography and the heroic travelogue. By pecking at such constructions, the artists reveal a more whimsical, ironic, and subjective vision of the structures and technologies that shape the way we see and live. Their work simultaneously explores the subject of artistic collaboration, as well as the expansion of photography as an artistic medium. Though much of Onorato & Krebs’ practice is photographic, the artists’ engagement with other media—film, sculpture, sound —sheds the artifice of objectivity and documentation to revel in reconstructions of the world around us.

This is the first major museum exhibition for Onorato and Krebs in the United States, and will collect a variety of eclectic, but interrelated bodies of work. The Great Unreal turns photographs taken on road trips in the U.S. (between 2005 and 2008) into the platform and playground for surreal satire. They returned to this format in 2013 during travels through Central Asia, producing an equally fantastic take on the lived experience of mapmaking. For the Constructions series (2009-2012), the artists photographed Berlin buildings in perspective and extended their contours with strategically placed wooden armatures. Further employing the camera’s eye to suggest alternative ways of seeing, the Spins series turns found materials and extreme camera angles into a psychedelic vision of the everyday.



 
Contemporary Arts Center - Taiyo Onorato & Nico Krebs - 12.09.2014 - 22.02.2015




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2015-01-21

2127 - U.S.A. - CHICAGO- ILLINOIS - MCA DNA: Richard Hunt - 18.12.2014-17.05.2015

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Richard Hunt
Small Hybrid, 1964
Steel
17 1/2 x 9 1/2 x 10 in. (44.4 x 24.1 x 25.4 cm)
Collection Museum of Contemporary Art Chicago, Gift of Mr. and Mrs. Morton A. Sterling, 1981.39
Photo: Nathan Keay, © Museum of Contemporary Art Chicago


Richard Hunt (American, b. 1935), a longtime resident of Chicago and one of the city’s most accomplished artists, has contributed significantly to the history of abstract sculpture. Hunt turns eighty in 2015, and the MCA celebrates his life and artistic achievements with an MCA DNA exhibition of his sculptures and drawings, dating from the 1950s through the 1990s. These works reflect the development of Hunt’s style—from smaller objects made of welded scrap materials to monumentally scaled metal sculptures. Throughout his career, Hunt has used bronze and steel in his sculptures to explore lyrical forms, the sublime possibilities of abstraction, and the reconciliation of the organic and the industrial. Presenting a selection of Hunt’s drawings as well, the exhibition highlights his cultivation of linear gestures and a sense of movement in his work in both media.

Hunt’s career, which spans more than fifty years and continues today, began with early success, at the time largely unprecedented for a young artist. The Museum of Modern Art, New York, acquired one of Hunt’s sculptures in 1957, when he was still a student at the School of the Art Institute of Chicago, and mounted a retrospective of his work in 1971, when Hunt was only thirty-five. Hunt has received a Guggenheim Fellowship, fifteen honorary degrees, and a Lifetime Achievement Award from the International Sculpture Center, New Jersey. In addition, he has completed more than 120 major public commissions around the US and Chicago is home to thirty-five of his public sculptures, including works at Midway Airport and the historic State of Illinois Building. Hunt’s exhibition at the MCA is accompanied by an interactive map locating his public commissions, as well as a new video, produced by the MCA, that features Hunt discussing his work.

This exhibition is organized by Naomi Beckwith, Marilyn and Larry Fields Curator at the Museum of Contemporary Art Chicago.



 
Museum of Contemporary Art Chicago - MCA DNA: Richard Hunt - 18.12.2014 - 17.05.2015




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2015-01-14

2126 - U.S.A. - DES MOINES-IOWA - FROM ICON TO ABSTRACTION - Goncharova, Kruchenykh ± Rozanova and The Great War - 26.09.2014-15.02.2015

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Natalia Goncharova (Russian, 1881-1962)
The Doomed City, from “Mystical Images of War,” 1914
Lithograph on paper, 12 5/8 x 9 ½ inches
Des Moines Art Center’s Louise Noun Collection of Art by Women through Bequest, 2003.316.11

Shortly after the outbreak of the First World War in 1914, Russian neo-Primitivist artist Natalia Goncharova (1881-1962) created a series of 14 black-and-white crayon lithographs titled “War: Mystical Images of War.” Her prints are rooted in the imagery of Russian icons, history, Apocalypse imagery, folk art, and contemporary warfare. Two years later, in his book “Universal War,” Russian avant-garde artist Alexei Kruchenykh (1886-1968) envisioned war as a series of counterbalanced geometric forms. In this set of editioned series of 12 cut paper and fabric collages, he evokes a cosmic battle in the year 1985 rather than depict the current war.
His collages were directly inspired by the work of Olga Rozanova (1886-1918). Zaum “transrational” poetry by Kruchenykh accompanies the collages. This exhibition compares these avant-garde Russian artists’ Modernist visions of war. Collector Louise Noun, who gave the prints and collages to the Des Moines Art Center, will be highlighted in the exhibition publication through her interest in avant garde women artists of the 20th century. This exhibition is organized by Amy N. Worthen, curator of prints and drawings.


 
Des Moines Art Center   25.09.2014 - 15.02.2015



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2015-01-06

2125 - U.S.A. - CHARLOTTE-NORTH CAROLINA - Connecting the World: The Panama Canal at 100 - 01.11.2014-01.02.2015

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Alson Skinner Clark (American, 1876-1949)  Created: 1913
Materials: Oil on canvas
 
 
Connecting the World: The Panama Canal at 100, the centennial of the opening of the Panama Canal in 1914, and brings together selected examples of the work of the three most important American artists to draw and paint the construction of the canal, printmaker Joseph Pennell and painters Alson Skinner Clark and Jonas Lie, for the first time. Providing a rich context for these works is a handful of paintings by nineteenth-century American artists including Frederic Church, Martin Johnson Heade, and Louis Remy Mignot, all of whom visited and painted in South America, as well as works by such American artists as Julien Alden Weir, Ernest Lawson, and George Bellows, who painted images of factories and industry in the popular styles of their day. Interspersed with the approximately 50 paintings and prints is a variety of ephemera—photographs, books, newspapers, and other period material—that address the broader public perception of the canal and its impact.

As 2014 marks the centennial of the opening of the canal it provides a perfect opportunity to both reconsider these historic works of art and to reflect upon the canal’s impact over the past one hundred years. Thus, in conjunction with the exhibition the Mint has commissioned a new short story by the award-winning author Anthony Doerr and a new work of art by renowned contemporary artist Mel Chin. These fresh perspectives on the canal and its legacy are particularly meaningful in light of the fact that an effort to significantly expand the canal is currently underway, and is tied to the development of many projects in the continental United States, such as the construction of an intermodal transportation hub at the Charlotte-Douglas International Airport.
 
Panama Canal at 100 is accompanied by a fully illustrated catalogue containing an essay by exhibition curator Jonathan Stuhlman, the new work of fiction by Doerr, and images relating to Chin’s commission along with an interview with the artist about the piece.
 
 
 
 
 Connecting the World: The Panama Canal at 100 - Mint Museum - 01.11.2014 - 01.02.2015
 
 
 
 
 
 

2014-12-31

2124 - U.S.A. - CAMBRIDGE-MASSACHUSETTS - Mark Rothko's Harvard Murals - 16.11.2014-26.07.2015

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Untitled - Study for Havard Murals

This new presentation of Mark Rothko’s Harvard Murals features innovative, noninvasive digital projection as a conservation approach. The exhibition returns this mural series to public view and scholarship while also encouraging study and debate of the technology.

The technique employs a camera-projector system that includes custom-made software developed and applied by a team of art historians, conservation scientists, conservators, and scientists at the Harvard Art Museums and the MIT Media Lab. The digital projection technology restores the appearance of the murals’ original rich colors, which had faded while on display in the 1960s and ’70s in a penthouse dining room of Harvard University’s Holyoke Center (now the Richard A. and Susan F. Smith Campus Center), the space for which they were commissioned. Deemed unsuitable for exhibition, the murals entered storage in 1979 and since then have rarely been seen by the public.

Featuring 38 works from 1961–62, including the murals and many of the artist’s related studies on paper and canvas, the exhibition also explores Rothko’s creative process. A sixth mural painted for the commission—brought to Cambridge by Rothko but ultimately not installed—will be presented publicly for the first time. Many of the works on paper contain relevant sketches on their reverse, which will be displayed during the second half of the exhibition beginning in March 2015. The studies on canvas provide perspective on Rothko’s process as he worked from small to large scale.

The majority of the works exhibited are from the Harvard Art Museums, with loans from Kate Rothko Prizel, Christopher Rothko, Dr. Corinne Flick, the National Gallery of Art, and the Menil Collection.

Curated by Mary Schneider Enriquez, the Houghton Associate Curator of Modern and Contemporary Art, Harvard Art Museums; in collaboration with Narayan Khandekar, senior conservation scientist, Straus Center for Conservation and Technical Studies, Harvard Art Museums; Carol Mancusi-Ungaro, director, Center for the Technical Study of Modern Art, Harvard Art Museums, and associate director for conservation and research, Whitney Museum of American Art; Christina Rosenberger, research coordinator, Center for the Technical Study of Modern Art, Harvard Art Museums; and Jens Stenger, conservation scientist, Institute for the Preservation of Cultural Heritage, Yale University (formerly of the Straus Center for Conservation and Technical Studies, Harvard Art Museums). The camera-projector system and software were developed with Ramesh Raskar, associate professor of media arts and sciences, Massachusetts Institute of Technology (MIT), and head, MIT Media Lab's Camera Culture Group. Digital restoration of Ektachrome transparencies was completed together with Rudolf Gschwind, professor and head, Digital Humanities Lab, University of Basel, Switzerland.

Research, technical analysis, and conservation treatment for Mark Rothko’s Harvard Murals have been made possible in part through the generous support of the AXA Art Insurance Corporation, the Bowes Family Foundation, InFocus Corporation, the Andrew W. Mellon Foundation, Ezra and Lauren Merkin, Novartis International AG, Lief D. Rosenblatt, and the NBT Charitable Trust. Initial exhibition funding was provided by the Graham Gund Exhibition Fund, the Rosenblatt Fund for Post-War American Art, and the Agnes Gund Fund for Modern and Contemporary Art. Modern and contemporary art programs at the Harvard Art Museums are made possible in part by generous support from the Emily Rauh Pulitzer and Joseph Pulitzer, Jr., Fund for Modern and Contemporary Art.

 

Harvard Art Museums       16.11.204 - 26.07.2015



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2014-12-25

2123 - U.S.A. - BOISE-IDAHO - Modern and Contemporary Ceramics Kay Hardy and Gregory Kaslo Collection - 22.02.2014-29.03.2015

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Wouter Dam, Red Sculpture, 2009, stoneware, thrown and assembled, with diffuser-applied matte glaze, 9″ x 16″ x 14″. Gift of Anita Kay Hardy and Gregory Kaslo in Honor of Terry Melton on the occasion of the 75th Anniversary of the Boise Art Museum.

Over several decades Kay Hardy and Gregory Kaslo have assembled an exceptional art collection, reflecting their interest in modern and contemporary art with a focus on ceramics. As part of their ongoing relationship with Boise Art Museum, they have loaned numerous artworks to various exhibitions and gifted BAM more than 40 important ceramics and other paintings that deepen and enrich the Museum’s collections.
 
In celebration of their impressive collection and significant contributions, BAM will present a full-scale exhibition highlighting their collection and gifts. Among the notable ceramic artists included are Rudy Autio, Frank Boyden, Helen Frankenthaler, Jun Kaneko, David Smith and Peter Voulkos as well as two-dimensional works by Judy Cooke, Alden Mason and Hung Liu.
 
 
 
 
Boise Art Museum   22.02.2014 - 29.03.2015
 
 
 
 
 
 

2014-12-17

2122 - U.S.A. - BOCA RATON-FLORIDA - Theresa Bernstein: A Century in Art - 09.11.2014-11.01.2015

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Theresa Bernstein (American, 1890-2002), Polish Church: Easter Morning, 1916, oil on canvas, 40 x 50 inches. Martin and Edith Stein Collection

The American artist Theresa Ferber Bernstein (1890–2002) made and exhibited her work in every decade of the twentieth century–a truly awesome feat. Working in realist and expressionist styles, she treated the major subjects of her time, including the fight for women’s suffrage, the plight of immigrants, World War I, jazz, unemployment, racial discrimination and occasionally explicitly Jewish themes such as a synagogue interior or ritual objects such as a menorah. While her portrait subjects include Albert Einstein, Martha Graham, Judy Garland, Louis Armstrong and Billie Holiday, yet it is her particular sensibility and empathy with those subjects that set her apart from her contemporaries. Theresa Bernstein: A Century in Art features a plethora of paintings along with interviews and related memorabilia spanning this great artist’s long and illustrious career.
Organized by Gail Levin, Distinguished Professor Baruch College and the Graduate Center, The City University of New York




Boca Raton Museum of Art    09.11.2014 - 11.01.2015



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2014-12-10

2121 - U.S.A. - WORCESTER-MASSACHUSETTS - Africa's Children of Arms - 19.11.2014-31.05.2015

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Untitled from the series The Rape of a Nation, ©Marcus Beasdale

Africa's Children of Arms

The Pulitzer Center is committed to telling the stories of vulnerable populations all over the world, and perhaps one of the most startling is that of child soldiers. Boys and girls from more than 20 countries are recruited or abducted into armies where they serve as messengers, spies, and combatants. All are subjected to the atrocities of wars that many are not old enough to understand. Their experiences in war and rehabilitation are diverse and haunting.

This project presents the work of three photographers, Marcus Bleasdale, Robin Hammond and Andre Lambertson, because of their deep understanding and sensitivity to these issues. Their images tell the stories of former child soldiers—of haunted pasts and of hope for the future.


 
Worcester Art Museum     19.11.2014 - 31.05.2015



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2014-12-03

2120 - U.S.A. - MINNEAPOLIS-MINNESOTA - Italian Style - Fashion since 1945 - 26.10.2014-04.01.2015

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Trace the evolution of Italian design, from Gucci and Prada to Missoni, Versace and more. A major retrospective of the fashion that has defined a nation—and a rare chance to see Milan’s finest in Minneapolis.



An MIA first, this groundbreaking exhibition examines the craftsmanship and entrepreneurial verve that catapulted Italy from the ashes of World War II to the style powerhouse it is today. Immerse yourself in impeccable design, rare ingenuity, and the head-turning glamour of celebrity style.



Minneapolis Institute of Arts     26.10.2014 - 04.01.2015



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2014-11-26

2118 - U.S.A - DETROIT-MICHIGAN - Ordinary People by Extraordinary Artists.- 19.09.2014-29.03.2015

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The “extraordinary artists” in this exhibition are a “who’s who” of late 19th-century figures who moved art from its traditional academic moorings into the modern era. Many of the DIA’s strongest holdings in works on paper are highlighted, including pastels, etchings, and lithographs. Edgar Degas’ bathers, dancers, and jockeys; Pierre-Auguste Renoir’s portraits of his family and celebrities; Henri de Toulouse-Lautrec’s stage performers; Paul Cézanne’s bathers; and Pierre Bonnard’s and Edouard Vuillard’s intimate interior and city life scenes are among the featured works. Other artists included are Edouard Manet, Paul Gauguin, Georges Seurat, Mary Cassatt, and Camille Pissarro.

These artists are well known for their colorful landscape paintings but prints and drawings of “ordinary people” in black and white and eventually in color are an equally prominent category of subject matter. In their search for themes from everyday life, they saw beyond villages, fields, and beaches for captivating scenes. Images of friends, family members, and folks in a variety of familiar poses— at ease, at play, in contemplation perhaps making art, reading, writing, or sewing— form a rich and interesting aspect of their scenes.Anonymous crowds enjoying public parks, taverns, cafés, theaters, and race tracks populate their views. By shunning topics based on grand historical, religious, or literary themes, these artists bucked the expected order of the art academies. Their sketchy styles which emphasized free brushwork in painting and broken, choppy lines in drawing and printmaking were considered inadequate for finished work ready for exhibition. The odd spatial settings, atypical perspectives, and emphasis on capturing fleeting moments of time and light were also once judged unacceptable.

When the label of “Impressionism” was first hung on Degas, Renoir and their colleagues in the 1870s, it was meant derisively. By the 1890s, it was the new normal and most progressive manner in which to create sparking a legacy that lasted for decades. What began as a break-away from the establishment by a group of young, relatively unknown and radical artists became one of the most influential art phenomenon in history. From ordinary, everyday aspirations of wanting nothing more than pursuing wider avenues for exhibiting their work, promoting their message and increasing their sales, these artists liberalized practices and attitudes toward art in an almost unprecedented manner.

Their popularity and fame only continue to increase.

This exhibition is organized by the Detroit Institute of Arts. Support has been provided by the DIA’s Woman’s Committee.


 
Detroit Institute of Arts       19.09.2014 -29.03.2015



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