2172 - 20160207 - U.S.A. - SAN JOSE-CA - Highlights from the gift of Dixon and Barbara Farley - 03.10.2015-07.02.2016


Jay DeFeo, Detail, Snake River Canyon, 1974. Acrylic on ragboard, 10 x 15 inches.

This fall, the San Jose Museum of Art showcases for the first time artworks from a major gift of art from the collection of Dixon and Barbara Farley. SJMA received 44 works from the Farley collection in 2015 and an earlier gift of 29 works following Mr. Farley’s death in 2011. Diebenkorn in the Bedroom, DeFeo in the Den: Generous Gifts from the Dixon and Barbara Farley Collection, on view October 3, 2015 through February 7, 2016, features highlights from this gift of modern and contemporary art, which includes works by nationally recognized artists as well as notable California artists. Among the highlights are works by Jay DeFeo, Willem de Kooning, Richard Diebenkorn, Philip Guston, Henry Moore, Claes Oldenburg, Richard Serra, James Siena, David Simpson, Richard Shaw, and Peter Wegner.

“The Farleys built their collection with deep passion, independence, and a keen eye for abstraction. Their art filled their home and their life—as did their commitment to supporting the work of living artists,” said Susan Krane, Oshman Executive Director of SJMA. “The Museum is honored to exhibit this intimate collection of works by California artists and nationally recognized artists who were previously unrepresented in the collection.”

The exhibition includes works that range from Jay DeFeo’s textured renderings and abstracted drawings to de Kooning’s powerful compositions to Philip Guston’s abstract expressionist works in various media. DeFeo’s painting Detail, Snake River Canyon, (1974) is a textured rendering of the prominent form also seen in her seminal work, The Rose (Museum of Modern Art, New York). Another work by DeFeo, Untitled, from the series “Shoe Tree”(1977), is one of her abstracted depictions of objects such as camera tripods, shoetrees, and swim goggles. In Woman II (1967), Willem de Kooning demonstrates his powerful combination of figurative distortion and gestural abstraction. In the gestural painting Composer’s Landscape (1960), Philip Guston showcases the experimentation that marked his career, as well as his interest in abstract expressionism. Alex Katz depicts bright yellow flowers flattened onto the picture plane in his painting Untitled (Yellow Irises) (1968), in which his use of bold colors, monochromatic backgrounds, and simplified forms to create two dimensional space show him to be a precursor to Pop Art. Richard Serra’s Bessie Smith (1999) is a large, one-color etching that resembles the thick, circular slabs of black-painted cast iron in his metal “Splashings” from the late 1960s. Serra used deeply etched plates capable of carrying up to a pound or more of ink to create a textured surface and a physical presence akin to his massive steel sculptures.

Other highlights include works on paper by Richard Diebenkorn, Joseph Cornell, Henry Moore, and Claes Oldenberg; and ceramic works by Richard Shaw. Works by Milton Avery, Tom Bolles, James Brooks, Bruce Conner, Red Grooms, Nancy Haynes, Jack Jefferson, Patsy Krebs, Frank Lobdell, Richard Lodwig, Brice Marden, David Ortins, James Siena, and David Simpson will also be on view.

Dixon and Barbara Farley shared their Marin home with an impressive, constantly growing collection of modern and contemporary art. Dixon Farley’s dedication (in particular to the work of Bay Area artists) never faltered, and he added new works to his collection up until his death in 2011. A talented painter himself, Dixon Farley enjoyed personal relationships with the artists whose work he collected and encouraged their development over many years.

San Jose Museum of Art - Highlights from the gift of Dixon and Barbara Farley - 03.10.2015 - 07.02.2016


2171 - 20160110 - U.S.A. - SAN ANTONIO-TEXAS - Joan Miro - 30.09.2015-10.01.2016


Woman, Bird and Start (Homage to Picasso), 1966/1973. Oil on canvas. Museo Nacional Centro de Arte Reina Sofia. © Sucessio Miro / Artists Right Society (ARS), New York / ADAGP, Paris 2015

The McNay Art Museum presents a rare glimpse at the later works of Spanish-born artist Joan Mirό (1893-1983), one of the greatest innovators of 20th-century art in Europe, during Miró: The Experience of Seeing. The exhibition opened September 30, 2015 and runs through Jan. 10, 2016. The McNay is the only southwest venue and final stop of the exhibition’s U.S. tour.

Featuring more than 50 remarkable paintings, drawings, and sculptures created by Joan Miró between 1963 and 1981, Miró: The Experience of Seeing is drawn entirely from the Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain. The exhibition features bold, colorful, and often playful compositions that highlight the artist’s ingenuity and offers a fresh assessment of the late period of Miró’s work—something that audiences in the United States have not yet had the opportunity to explore in depth.

“There are always references to nature, to humans, to animals in his work, but it becomes even more playful in his late career, and many of his sculptures are like little people looking at you, “ said Dr. William Chiego, Director of the McNay Art Museum. “They have a wonderful appeal for adults and children both and it just shows a lyrical side of his personality as an artist that really projects to the end of his life.”

A contemporary of Picasso as well as a fellow Catalan, Mirό was briefly aligned with the Surrealists in the late 1920s in Paris and went on to create a phenomenal pictorial and sculptural universe throughout his six-decade career.

Showcasing works of art exclusively drawn from the last 20 years of the artist’s life, Mirό: The Experience of Seeing brings an extensive and illuminating body of Miró’s work to South Texas for the first time.

Miró: The Experience of Seeing is organized by the Seattle Art Museum and the Museo Nacional Centro de Arte Reina Sofía.

McNay Art Museum - Joan Miro - 30.09.2015 - 10.01.2016


2170 - 20160124 - U.S.A. - PHILADELPHIA, PA.- We Speak: Black Artists in Philadelphia, 1920s-1970s - 26.09.2015-24.01.2016


Horace Pippin (American, 1888–1946), John Brown Going to His Hanging, 1942. Oil on canvas, 24 1/8 x 30 1/4 in. Photo: Pennsylvania Academy of the Fine Arts: John Lambert Fund Photograph courtesy of the Pennsylvania Academy of the Fine Arts.

This Fall Woodmere Art Museum presents We Speak: Black Artists in Philadelphia, 1920s – 1970s. The exhibition features over 70 paintings, photographs, sculptures, and prints produces by black artists living and working in Philadelphia during the roughly 50 year period. We Speak examines a series of relationships in the arts, while considering how artists supported each other and mentored subsequent generations. The exhibition opened on September 26 and runs through January 24.

The exhibition was organized with direct input from artists and their family members, museum professionals, collectors, gallery owners, and scholars in the form of fourteen oral histories, which are transcribed in the exhibition's catalogue. The oral histories represent a process of discovery that shaped the checklist and thematic structure of the exhibition.

We Speak also explores how different institutions and organizations in Philadelphia either provided a platform for black artists to advance their careers, or fell short of doing so. Among the many Philadelphia institutions that are part of the history presented include: the Graphic Arts Workshop of the Works Progress Administration; the Barnes Foundation; the Pyramid Club; the Philadelphia Public Schools; the Wharton Center and other settlement houses, the Ile-Ife Black Humanitarian Center; the National Conference of Artists; the Brandywine Workshop; the Afro-American Historical and Cultural Museum, as well as Philadelphia’s academies, museums, universities, galleries, and artist groups.

William Valerio, Director of Woodmere Art Museum, said, “Woodmere is the only museum able to bring to life an exhibition such as We Speak because our mission is to tell the stories of the art and artists of Philadelphia. By taking a closer look at our collection, we discovered some thought-provoking connections between artist's inspirations and ideas. We wanted to undertake the oral histories to learn more about the relationships and social contexts they shared. The artists included in the exhibition addressed matters of race and equality in many different ways, both implicitly and explicitly.”

The curatorial time frame of We Speak begins in the 1920s with Philadelphian Alain Locke's publication of “The Legacy of the Ancestral Arts,” (1925) which was a seminal text in the New Negro Arts Movement, issuing a call to black artists to find inspiration in their African heritage. In the 1970s, questions of identity and culture were reframed by the social politics of the post-Civil Right era and the black power movement. The nationwide bicentennial celebration also brought to the surface questions about progress toward freedom and equality.

Rachel McCay, Assistant Curator at Woodmere, organized the exhibition jointly with Susanna Gold, Guest Curator. McCay said, “The exhibition explores the many ongoing conversations in the arts that were resonant to black artists in Philadelphia during the time period, including questions of identity and gender, academic tradition, relationships within the urban fabric, exploration of abstraction, and the influence of African culture.”

Among those featured artists are: Laura Wheeler Waring (1887-‐1948); Allen R. Freelon, Sr. (1895-‐1960); Dox Thrash (1892-‐1965); Selma Burke (1900-‐1995); Paul F. Keene, Jr. (1920-‐2009); Charles Searles (1937-‐2004); Ellen Powell Tiberino (1938-‐1992); Barbara Bullock (b. 1938); Moe Brooker (b. 1940); Donald E. Camp (b. 1940); Barkley L. Hendricks (b. 1945); Richard J. Watson (b. 1946); Allan L. Edmunds (b. 1949), and many more.

Woodmere Art Museum - We Speak: Black Artists in Philadelphia, 1920s-1970s - 26.09.2015 - 24.01.2016


2169 - 20150103 - U.S.A. - WEST PALM BEACH-FLORIDA - Going Places: Transportation Designs from the Jean S. and Frederic A. Sharf Collection - 25.06.2015-03.01.2016


Allan Phillips, Mercury Carnival, 1952
Designed by: A.G. Spear Jr. Airbrush, gouache on illustration board. Jean S. and Frederic A. Sharf Collection Photography

Showcasing vehicles from the extensive collection of longtime Norton supporters Jean S. (a trustee) and Frederic A. Sharf, this exhibition focuses on the art of 20th-century transportation design. Mr. Sharf, especially, has long been fascinated by the acceleration of life that occurred in the middle decades of the 20th-century. Via model planes, trains, and, most of all, automobiles, he looked to capture the excitement of getting from one place to another. Featuring more than 200 items, including design drawings, concept sketches, renderings, advertising art, and posters, as well as model trains, planes, and automobiles  from the Sharfs’ collection, this exhibition literally examines how we arrived here – and highlights the designers who created the look of the 20th-century vehicles that transported us and transformed the way we travel. Going Places is augmented with related period newsreels, TV ads, and clips from classic films and television programs.

Norton Museum of Art - Going Places: Transportation Designs from the Jean S. and Frederic A. Sharf Collection - 25.06.2015 - 03.01.2016



2168 - 20160117 - U.S.A. - WICHITA-KANSAS - Scenery, Story, Spirit: American Painting and Sculpture from the Santa Barbara Museum of Art - 26.09.2015-17.01.2016


Childe Hassam, The Manhattan Club, 1891. Oil on canvas, 18 1/4 x 22 1/8 inches. Santa Barbara Museum of Art, Santa Barbara, California, Gift of Mrs. Sterling Morton to the Preston Morton Collection
Santa Barbara is considered the American Riviera. The region attracts wealth and beauty--with stunning private art collections. Carefully developed over decades, Santa Barbara’s museum now holds a phenomenal American art collection, and its treasures will be featured in this special exhibition in Wichita this fall.
The show offers a compelling overview of 19th- and early 20th-century American art. It showcases 52 paintings and eight sculptures by some of America's greatest artists.
• landscapes by Albert Bierstadt, Thomas Cole, and Frederic Church,
• narrative paintings and street scenes by Winslow Homer, Childe Hassam, and George Bellows,
• portraits by William Merritt Chase and John Singer Sargent,
• and scenes from the frontier of the American West.
Wichita Art Museum - Scenery, Story, Spirit: American Painting and Sculpture from the Santa Barbara Museum of Art - 26.09.2015 - 17.01.2016


2167 - 20160117 - U.S.A. - WILLIAMSBURG - VIRGINIA - Twilight of a Golden Age: Florentine Painting After the Renaissance - 25.04.2015-17.01.2016


The exhibition features more than twenty important paintings and sculptures of the 17th & 18th centuries

"The opportunity to exhibit these extraordinary works allows us to continue the story of our groundbreaking Renaissance shows," said Aaron De Groft, Director of the Muscarelle Museum of Art. "Most of the artists active in Florence after Michelangelo’s death in 1564 are little known outside of Italy," De Groft continued. "The Haukohl Family has the most important collection of Florentine Baroque paintings and objects in the United States."

More than 35 years in the making, the Haukohl collection has lent generously to important museums and exhibitions both in America and abroad. The core of this magnificent collection is its unique holdings of paintings by three generations of the Dandini family, beginning with Cesare Dandini (1596-1657), a leading master of the early 17th Century. Dandini founded a dynasty of painters of classical themes personified by female figures, whose beauty was calculated to appeal to private collectors. Dandini’s younger brother, Vincenzo (1609-1675), is represented in the exhibition by impressive representations of St. Mark and the goddess Juno. The leader of the younger generations of the dynasty, which extended into the 18th century, was Pietro Dandini (1646-1712) whose large canvas, Esther Fainting Before King Ahasuerus, is a splendidly colorful presence in the show. After collaboration with his father Pietro, Ottaviano Dandini (1681-1740), enhanced the clarity of his style which is demonstrated wonderfully in Saint Phillip Neri and the Miracle on the Voyage to Naples.

A special section of the exhibition, "Artists, Writers, and Academies," is dedicated to the lively culture of Florence under the rule of the Medici grand dukes, when more than ten artistic, literary, and scientific societies were founded. This gallery will be dominated by four
painted stucco over-life-size portraits by Antonio Montauti (1683-1746), representing Michelangelo, Machiavelli, Galileo and Marsilio Ficino. The centerpiece will be a treasure of Florentine 18th century painting, a harlequin jester scene by Giovanni Domenico Ferretti (1692-1768), the most gifted Florentine artist of his century. This charming scene from the comic theater of that time is presented in an antique period frame decorated with figures of cupids holding symbols of music, the theater and other arts.

Under the many years curatorship of Sir Mark Fehrs Haukohl, the Haukohl family has the largest private collection of Florentine Baroque art in the United States. Resident in Houston, Texas, Sir Mark Fehrs Haukohl was born into a family of art collectors, who have always been patrons of the arts. All the paintings and sculptures in Twilight of a Golden Age: Florentine Painting

Muscarelle Museum of Art - Twilight of a Golden Age: Florentine Painting After the Renaissance - 25.04.2015-17.01.2016



2166 - 20160117 - U.S.A. - WILMINGTON - DELAWARE - The Golden Touch - Patrizio Travagli - 04.09.2015-17.01.2016


Acclaimed Florentine artist Patrizio Travagli uses the ancient technique of gilding to transform the value and appeal of personal objects. Fascinated by the interaction of light and metallic leaf, Travagli draws upon the act of memorializing inherent in the gilding process and its finished product.
he Golden Touch features gilded objects made during several adult workshops at the DCCA. Participants were invited to gild a meaningful or emotionally relevant object from their homes, thereby willingly surrendering their connection to its original appearance and physicality. The gilding of each item both elevates and solidifies its integral role in the participant’s life, transforming the objects into trophies or small devotional statues. In this way, Travagli facilitates a shift in perception for each participant, differentiating her or his repeated experience of the memento and its original function from the present moment. Each newly gilded object boasts an enthralling relationship with light, riveting our senses and establishing a distant yet reverential proximity to the object.

Offering an additional layer of perception, Travagli includes his own gilded paintings of each object’s silhouette in seductive, radiant works on paper. These two-dimensional works act as scans of physical elements that may hold particular feeling or memory, perhaps featuring concentrations of pain or joy held within the curves and crevices of each object. The artist also includes representative imagery of the United States, tying the act of gilding these particular objects to a geographic location. Within the context of Travagli’s exhibition, his golden map of the U.S. reminds us of the passage of time, the possibility of travel, and our potential movement from place to place, original memories and experiences intact.

Travagli writes, “In the act of covering the object, you are also revealing it. Like a mirror, it becomes a reflection, your own personal reflection.” The Golden Touch is a collection of objects that personify these histories and form relationships with one another when viewed side by side. In a gesture of both high celebration and final release, viewers can partake in the admiration of each object, their gazes reinforcing the preservation of the owner’s private and prolonged attachment.

Patrizio Travagli graduated from the Accademia di Belle Arti di Firenze in 1993 and began teaching painting and sculpture in various art institutes soon after. Travagli is the founder and current Director of the Accademia D’Arte Ad’A in Firenze, Italy. He has exhibited his work internationally, including the 2011 Venice Biennale and has work in various private and corporate collections.

Delaware Center for the Contemporary Arts - The Golden Touch - Patrizio Travagli - 04.09.2015 - 17.01.2016



2165 - 20160103 - U.S.A. - WINSTON-SALEM - NORTH CAROLINA - The Artist's Garden : American Impressionism and the Garden - Movement, 1887-1920 - 03.10.2015-03.01.2016


Richard Emil (or Edward) Miller (1875-1943), The Pool, c. 1910

The Artist’s Garden will tell the story of American Impressionist artists and the growing popularity of gardening as a leisure pursuit at the turn of the 20th century. Focusing on the American Garden Movement of 1887-1920, the exhibition will consider such themes as American artists’ visits to European gardens; the enthusiasm for gardening among women; the urban garden, the artist’s garden, and the garden in winter. Organized by the Pennsylvania Academy of the Fine Arts in Philadelphia, the exhibition and its accompanying catalogue will include representations of gardens across the United States and Europe.

Among the artists whose work will be included are some of the most beloved artists in the Reynolda House collection such as William Merritt Chase and Childe Hassam, along with other major American artists not represented at Reynolda, including Cecilia Beaux, Maria Oakey Dewing, Frederick Carl Frieseke, John Twachtman, and J. Alden Weir.

Katharine Smith Reynolds’s creation of the Reynolda estate, with its formal gardens and carefully landscaped grounds, coincides with and reflects the American Garden Movement. Reynolda architect Charles Barton Keen and landscape architect Thomas Sears were both from Philadelphia, the center of the movement. Katharine Reynolds, a woman always up to date, subscribed to a number of influential periodicals that helped spread information about gardening, including Country Life in America and Garden magazine. Her library also contained important gardening books. A complementary exhibition on the gardens and landscape at Reynolda, Reynolda at 100: Reynolda Gardens, will be on view at the same time in the historic house.

Reynolda House - Museum of American Art -The Artist's Garden : American Impressionism and the Garden - Movement, 1887-1920 - 03.10.2015 - 03.01.2016



2164 - 20151129 - U.S.A. - WORCESTER-MASSACHUSETTS - American Folk Art, Lovingly Collected - 15.07.2015-29.11.2015


Portrait of the Farley Children of Groton, Zedekiah Belknap (American, 1781–1858), about 1835, oil on canvas

Explore the rich folk art tradition that flourished in the mid-19th-century in more than 40 works from an important private collection based in central Massachusetts, recognized as one of the best of its kind in existence. The exhibition features an array of paintings and furniture, many on display for the first time, with a particular emphasis on portraits of children, which illustrate the folk artists' unique approach to using color and towards the figurative treatment of their subjects.

Examined in the light of the growing economic development in New England during the 1800s, American Folk Art, Lovingly Collected showcases the work of home-grown artists, who traveled from town to town to paint portraits for rural families of their loved ones. The artists represented in the exhibition showcase a distinctive folk-art practice that grew out of a popular demand for personal keepsakes, and include John Brewster, Zedekiah Belknap, Ruth Henshaw Bascom, William Matthew Prior, and Sturtevant Hamblin, among others

Worcester Art Museum - American Folk Art, Lovingly Collected - 15.07.2015-29.11.2015



2163 - 20151101 - U.S.A. - OCEANSIDE-CALIFORNIA - In the Abstract: Midcentury San Diego Painting and Sculpture - 15.08.2015-01.11.2015


Ed Garman, Variation of a Structure No. 52, 1965, oil on canvas, 46 x 34 in. Collection of Kathryn Crane.

Abstract art is often an image or composition in which color, line, form, and texture may exist as fully independent subject matter, rather than literally depicting aspects of the natural world. From the late 1940s through the 1960s, abstraction became vital to the work of many highly regarded San Diego artists. At no time was this approach more controversial in the region, more charged with excitement and possibility, than during the mid-twentieth century.

As a starting point, In the Abstract recognizes the commitment of regional modernist pioneers such as painters Fred Hocks and Ed Garman, experimental photographer Lynn Fayman, and Harry Bertoia, the renowned sculptor, printmaker, and designer. Following these frontrunners, the exhibition pays special attention to a wave of youthful artists who came to regional prominence during the late 1950s and were, at least for a time, profoundly influenced by Abstract Expressionism. Notably, this particular group includes: John Baldessari, Don Borthwick, Jack Boyd, Don Dudley, Fred Holle, Sheldon Kirby, Karen Kozlow, Malcolm McClain, Norma McGee, Cliff McReynolds, Richard Allen Morris, Joe Nyiri, Toza Radakovich, Sarah Roberts, and Guy Williams.

The exhibition presents a lively continuum of works that can be considered abstract, from purely nonobjective works to those that deliberately modify, distort, or exaggerate subjective elements. Through a wide variety of paintings, sculpture, and works in other media, In the Abstract provides an important historical cross-section of the San Diego mid-century art community.

Oceanside Museum of Art - In the Abstract: Midcentury San Diego Painting and Sculpture - 15.08.2015 - 01.11.2015

Website & source : Oceanside Museum of Art

Website : Oceanside



2162 - U.S.A. - OMAHA-NEBRASKA - Art Seen: A Juried Exhibition of Artists from Omaha to Lincoln - 21.06.2015-11.10.2015


Shortly after opening its doors to the public in 1931, Joslyn Art Museum began regularly staging juried exhibitions. Intended to bring the work of artists from throughout the Midwest to Omaha audiences, these exhibitions showcased painting, sculpture, graphic arts, and utilitarian design. In the 1950s, Joslyn initiated a regional biennial that continued until 1988.

Art Seen: A Juried Exhibition of Artists from Omaha to Lincoln honors Joslyn’s traditions and celebrates the vibrancy of the current artistic moment in our area. While the Museum’s programming is often national or international in scope, Art Seen provides an exciting opportunity to carefully consider our immediate context. Featuring thirty-seven artists who live and work in Nebraska’s two largest cities, this exhibition represents a broad cross-section of the artist communities that thrive in Omaha and Lincoln. Selected from a pool of more than 200 submissions by Karin Campbell, Phil Willson Curator of Contemporary Art, and Bill Arning, Director of the Contemporary Arts Museum Houston, these artists work across media to respond to issues of personal, local, and global relevance. Political concerns, such as sexual and racial identity, gender roles, and environmental change feature prominently in Art Seen. Other artists are deeply engaged with topics that originate within the art world, including the importance of the handmade in an increasingly digital world, the intersection between written language and visual art, and the ongoing relevance of abstraction in American art. Placing the work of younger artists alongside that of more established artists, this exhibition opens up the rich dialogue taking place among our creative communities to a broader public.

Joslyn Art Museum - Art Seen: A Juried Exhibition of Artists from Omaha to Lincoln - 21.06.2015-11.10.2015

Website & source : Joslyn Art Museum

Website : Omaha



2161 - U.S.A. - OBERLIN-OHIO -Transformation: Images of Childhood and Adolescence - 12.08.2015-23.12.2015


Sir Joshua Reynolds (English, 1723–1792)
The Strawberry Girl, 1773–77
Oil on canvas

This exhibition brings together works from the AMAM’s collection that take as their subject infants, children, and adolescents. Just as significant physical and emotional changes occur over the years spanning infancy to adolescence, artists’ representations of children have shifted dramatically over the centuries, using their subjects as illustration for a variety of ideas about family, art, and society. From formal, sacred presentations of the Holy Family to intimate portraits of beloved offspring that capture innocence and its loss, these works evoke the nostalgia and deep sentiments associated with childhood and chronicle the transformation of body and consciousness that occurs in the development toward adulthood.

Organized by Andaleeb Badiee Banta, Curator of European and American Art, and Juliet Vincente (OC 2016), Curatorial Assistant

Allen Memorial Art Museum - Transformation: Images of Childhood and Adolescence - 12.08.2015 - 23.12.2015

Website & source : Allen Memorial Art Museum

Website : Oberlin



2160 - U.S.A.- OKLAHOMA CITY-OKLAHOMA - Fabergé: Jeweler to the Tsars - 20.06.2015-27.09.2015


More than 230 rare and storied treasures created by the House of Fabergé will be celebrated in a new exhibition at the Oklahoma City Museum of Art. Fabergé: Jeweler to the Tsars will be on view from June 20 through September 27, 2015. The exhibition, drawn from the Collection of the Virginia Museum of Fine Arts, Richmond, will showcase Peter Carl Fabergé’s fine craftsmanship in pieces of jewelry and adornments once belonging to the Russian Imperial family.From dazzling Imperial Easter eggs to delicate flower ornaments and from enchanting animal sculptures to cigarette cases, photograph frames and desk clocks, Fabergé often turned the most mundane objects into miniature works of art. The vast majority of his designs were never repeated, and most pieces were made entirely by hand.  The success of his business was inextricably linked to the patronage of the Romanov dynasty and the close ties among the British, Danish and Russian royal families, who often exchanged works by Fabergé as personal gifts.

The Imperial Tsesarevich Easter Egg of 1912, which will be on view at OKCMOA, was a gift to Empress Alexandra from her husband, Emperor Nicholas II. The egg commemorates their son, Alexsei, who nearly died the previous year of hemophilia. For the shell, craftsmen joined six wedges of highly prized lapis lazuli and hid the seams with an elaborate gold filigree encasement. Inside the egg, a diamond encrusted Romanov family crest frames a two-sided portrait of the young child.

These objects were associated with refinement and luxury because the House of Fabergé was known for accepting nothing less than perfection as well as for being business savvy. Beyond the elegant showrooms in Moscow and Saint Petersburg, hundreds of the country’s finest goldsmiths, enamellers, stone carvers, gem cutters and jewelers were at work creating innovative and complex designs that could not be readily imitated.

Oklahoma City Museum of Art - Fabergé: Jeweler to the Tsars - 20.06.2015 - 27.09.2015

Website & source : Oklahoma City Museum of Art

Website : Oklahoma



2159 - U.S.A. - NEW YORK - NY - Sargent - Portraits of Artists & Friends - 30.06.2015-04.10.2015


Throughout his career, the celebrated American painter John Singer Sargent (1856–1925) created exceptional portraits of artists, writers, actors, dancers, and musicians, many of whom were his close friends. As a group, these portraits—many of which were not commissioned—are often highly charged, intimate, witty, idiosyncratic, and more experimental than his formal portraiture. Brilliant works of art and penetrating character studies, they are also records of relationships, influences, aspirations, and allegiances.

Sargent: Portraits of Artists and Friends brings together ninety-two of the artist's paintings and drawings of members of his impressive artistic circle. The individuals seen through Sargent's eyes represent a range of leading figures in the creative arts of the time such as artists Claude Monet and Auguste Rodin, writers Robert Louis Stevenson and Henry James, and the actor Ellen Terry, among others. The exhibition features some of Sargent's most celebrated full-length portraits (Dr. Pozzi at Home, Hammer Museum), his dazzling subject paintings created in the Italian countryside (Group with Parasols [Siesta], private collection), and brilliant watercolors (In the Generalife, The Metropolitan Museum of Art) alongside lesser-known portrait sketches of his intimate friends (Vernon Lee, 1881, Tate). The exhibition explores the friendships between Sargent and his artistic sitters, as well as the significance of these relationships to his life and art.

The Metropolitan Museum of Art - Sargent - Portraits of Artists & Friends - 30.06.2015 - 04.10.2015

Website & source : The Metropolitan Museum of Art

Website : New York



2158 - U.S.A. - NEW ORLEANS-LOUISIANA - Orientalism: Taking and Making - 04.04.2015-31.12.2015


“Orientalism” describes the widespread popularity of European and American artists taking inspiration from art and people—both real and imagined—of Middle Eastern, North African, and East Asian cultures. A new installation drawn from NOMA’s permanent collection celebrates the beauty of 19th-century Orientalist artwork, but it also highlights undercurrents of oppression, racism, and superficial cultural understanding layered in these paintings, photographs, and decorative arts.

Until the 1800s, European contact with Eastern cultures was through limited trade and occasional military conflict. This changed rapidly in the 19th century, when worldwide transportation increased, Napoleon Bonaparte’s French army occupied Egypt, American Commodore Perry forced an end to Japan’s isolationism, and the British Empire controlled 400 million people worldwide. Western fashions like “Egyptomania,” “Orientalism,” and “Japonisme” are partly rooted in imperial practice.

On view in NOMA’s Hyams Gallery, Antoin-Jean Gros’ study sketch for The Pest House at Jaffa shows Napoleon Bonaparte visiting plague-stricken French soldiers in Syria. Gros’ sketch shows Syria’s Islamic architecture, but it was also propaganda in favor of French imperialism. Napoleon is depicted as a brave leader impervious to disease. Objects like NOMA’s Hunzinger side chair are part of the 1870s mania for the Japanese aesthetic in American interiors. In a choice that was more about fashion than cultural understanding, Western furniture was “ebonized” black to imitate fine Asian lacquer furniture.

This installation includes spectacular scenes of snake charmers and Bedouin horsemen by Jean-Léon Gérôme and Adolf Schreyer. These artists worked with good intentions, traveling with a genuine desire to accurately record and faithfully disseminate architecture, geography, fashion, and customs. But what they recorded was often seen through a lens conditioned by Western values and ambitions. As a result, their work often presented non-Westerners in negative ways—as lazy, barbaric, or hyper-sexualized.

Much Orientalist artwork was insensitive and factually incorrect, but its romanticism was powerful and effective in the West because it was both titillating and aesthetically alluring. Academically, this material on view gives us complicated and conflicted material to consider our own history, but also how “exoticism” continues to color the ways in which we view other cultures today.

NOMA - Orientalism: Taking and Making - 04.04.2015 - 31.12.2015

Website & source : NOMA

Website : New Orléans



2157 - U.S.A. - MONTGOMERY-ALABAMA - African Art from the Collections of Martha and Dileep Mehta and the MMFA - 20.06.2015-13.09.2015

Bamana Peoples, Crest Mask: Female Antelope (Chi Wara), 20th Century, wood, Montgomery Museum of Fine Arts, Gift of Dileep and Martha Mehta, 2013.17.5

Masks, sculptures, and religious and domestic objects illustrate the artistry and craftsmanship of diverse African artists who work with wood, gourds, terra cotta, iron, and other natural materials. Wood and gourds can be cut and shaped directly, but terra cotta must be fired, and iron requires smelting prior to forging or casting. Knowledge of the these tasks is valued highly by the Baule, Bamana, Bamalike, Bassa, Djenne, Dan, Dogon, Ewe, Lega, Massai, Tabwa, Tikar, and Yoruba peoples whose art is displayed in this exhibition.

MMFA - African Art from the Collections of Martha and Dileep Mehta and the MMFA - 20.06.2015 - 13.09.2015

Website & source : MMFA

Website : Montgomery



2156 - U.S.A. - MINNEAPOLIS-MINNESOTA - Big Bridges - 28.02.2015-06.12.2015


They are emblems of achievement and passage to the other side. Big bridges have been making their mark on cityscapes through the ages. In the Twin Cities, our unique location on the gorge of the Mississippi River makes our bridges as majestic as they are vital. Whether supported from below or suspended from above, they are important elements in our visual world and integral to our livelihood. And yet our bridges are wearing out and in need of attention.

The Target Studio for Creative Collaboration will address the challenge of maintaining the structural—and sculptural—quality of our big bridges in exhibitions and programs. Big Bridges invites artists, designers, engineers, and the University and larger community to engage in a creative dialogue establishing the expectations, possibilities, and aspirations for the preservation and replacement of our Mississippi River bridges.

From the Roman viaducts to our own Stone Arch Bridge, many historic bridges still stand as a sign of their times. Bridges have been on the leading edge of invention and the application of new materials. Many have been risky experiments, like the Brooklyn Bridge, which was the first suspension bridge to use steel cables (1883). Big Bridges will take us back to marvel at the artistic expression in historic bridges and look to the future of bridge design in the Twin Cities. Join us as Target Studio becomes a laboratory for the creation of innovative vision for big bridges in the twenty-first century.

To view all the bridges and the latest updates on the poetry and film contests, visit the Big Bridges website.

Weisman Art Museum - Big Bridges - 28.02.2015 - 06.12.2015

Website : Weisman Art Museum

Website : Minneapolis



2155 - U.S.A. - LOS ANGELES-CALIFORNIA - A Kingdom of Images: French Prints in the Age of Louis XIV, 1660–1715 - 16.06.2015-06.09.2015


Events of the Year 1713 (detail), Dumesnil, 1714. Lent by the Bibliothèque nationale de France, Département des Estampes et de la Photographie. Photo credit: BnF

Under the longest reigning king in French history, Paris became the most important print producer in Europe, a position it maintained until the end of the 19th century. This extraordinary development was fueled by official policies that aimed to elevate the entire spectrum of the fine and decorative arts. Prints were at once a means of communication, a propaganda tool, and an art form in ever-increasing demand. Printmakers and print publishers produced hundreds of thousands of works on paper in a century that was as hungry for imagery as ours is today.

Propaganda was an essential characteristic of print production. But propaganda refers to more than images of the king’s likeness, victories, virtues, and royal festivals, which were most effectively disseminated through etchings and engravings. It also refers to a broader strategy promoted by the king himself: France would be a model for the rest of Europe. With the help of prints, allies and enemies alike would bear witness to the unmatched refinement of French technical skill, aesthetics, and taste. On the tercentenary of the death of Louis XIV, this exhibition demonstrates the significance of an art that attained unparalleled sophistication and influence.

This exhibition was organized by the Getty Research Institute in special collaboration with the Bibliothèque nationale de France.

Getty Research Institute  - A Kingdom of Images: French Prints in the Age of Louis XIV, 1660–1715 - 16.06.2015 - 06.09.2015

Website & source : Getty Research Institute

Website : Los Angeles




2154 - U.S.A - LONG BEACH-CALIFORNIA. - Korda - 06.06.2015-06.09.2015


Cuban photographer Alberto Díaz Gutiérrez, better known as Korda (1928–2001), is remembered for his iconic photograph Guerrillero Heroico / Heroic Guerrilla Fighter. The 1960 portrait of Marxist Argentine revolutionary Che Guevara is now one of the most widely reproduced images in the world. Korda: Revolutionary Photographer presents this iconic image of protest and revolution in the context of Korda’s other Cuban Revolution-era photographs from the late 1950s and early 1960s. The exhibition is comprised of nineteen vintage photographs from the collection of Dr. Steve Pieczenik and Dr. Roberta Rovner Pieczenik.

MOLAA - Korda - 06.06.2015-06.09.2015

Website & source : MOLAA

Website : Long Beach



2153 - U.S.A. - LAFAYETTE-INDIANA - Foundations and forward : works from the permanent collection - 08.05.2015-18.10.2015


Frederick Grant’s The Red Parasol

Strong foundations are essential for the future.  In 1909, the founders of the Art Museum established the Lafayette Art Association, which laid the groundwork for amassing a remarkable Permanent Collection for the next 100 years and beyond.  The works in this exhibition feature numerous ‘foundation’ pieces beginning with the first acquisition, The Cruise of the Elida,  by F. Luis Mora.  Over time works of varying subject matter and medium have been acquired.  However, the caliber of work is the paramount concern.  Magnificent examples of craftsmanship include Henry Ossawa Tanner’s Entrance to Kasbah, Frederick Grant’s The Red Parasol, and Thomas Hart Benton’s Planting, to name but a few. 

Art Museum of Greater Lafayette - Foundations and forward : works from ythe permanent collection - 08.05.2015-18.10.2015

Website & source : Art Museum of Greater Lafayette

Website : Lafayette



2152 - U.S.A. - KANSAS CITY-MISSOURI - American Folk Art from the Collection of The Nelson-Atkins Museum of Art - 20.02.2015-01.11.2015


Calvin Balis, American, 1817/18-1863. George and Emma Eastman, 1850. Oil on canvas, 4 feet 5 7/8 inches x 5 feet 6 1/8 inches. Purchase: William Rockhill Nelson Trust, 33-43.

What is folk art?

The term is broad and often difficult to define. A diverse range of objects—from bedspreads to painted portraits—has been grouped as folk art since the term was first used in the early 1900s. Folk art like that featured in this small exhibition was produced by artists and artisans creating outside of art academies.

The works on view on the second floor of the Nelson-Atkins building offer a taste of folk art through objects from the museum's permanent collection. Created by men and women of all ages, they span more than 150 years, produced from 1795 to 1953.

Since the opening of the Nelson-Atkins in 1933, its holdings have included a small collection of American folk art. Some of these works are being shown for the first time, reaffirming the museum's interest in collecting and exhibiting folk art.

Nelson-Atkins Museum of Art - American Folk Art from the Collection of The Nelson-Atkins Museum of Art - 20.02.2015-01.11.2015

Website & source : Nelson-Atkins Museum of Art

Website : Kansas City



2151 - U.S.A.- KALAMAZOO-MICHIGAN - Adaptation: Transforming Books Into Art - 06.06.2015-06.09.2015


Traditional books might be threatened by the advent of the e-book, but given the medium's persistent evolution over time, it should come as no surprise that a growing number of contemporary artists are exploring the interplay between function, structure and format of books by cutting, folding, carving, drilling and gluing them into amazing sculptures and installations that honor and transcend the meaning held within the original pages. This exhibition is curated by Linda Ross and organized by the Birmingham Bloomfield Art Center.

Kalamazoo Institute of Arts - Adaptation: Transforming Books Into Art - 06.06.2015 - 06.09.2015

Website & source : Kalamazoo Institute of Arts

Website : Kalamazoo



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

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

Website & source

Website : Visit Jacksonville



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


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

Website & source

Website : Visit  Mississippi



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


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



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


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

Website & source

Website : Huntingdon



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


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


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


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 

Website & source : The Hyde Collection

Website : Glens Falls



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

(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

Website & source:: Modern Art of Fort Worth

Website : Forth Worth



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

 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-


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


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

Website & source : Contemporary Arts Museum Houston

Website : Houston