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


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

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

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

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

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

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


2196 - 20160710 - U.S.A. - HARTFORD, CONN - Gothic to Goth: Romantic Era Fashion & Its Legacy - 05.03.2016-10.07.2016


The Wadsworth Atheneum Museum of Art in Hartford, Conn., is mounting the first exhibition to fully explore the Romantic era as a formative period in costume history from Mar. 5, 2016 – Jul. 10, 2016. “Gothic to Goth: Romantic Era Fashion & Its Legacy,” presents historic garments alongside literary works, paintings, prints, and decorative arts to illustrate how European fashion from the Medieval, Renaissance and Baroque eras influenced new styles created in the Romantic era between 1810 and 1860. The exhibition explores how Romantic era principles of historicism, imagination and emotion, religion and the natural world—rejections of Neoclassical order and rationality—impacted not only costume but fine and decorative art, architecture, interior design, literature and music, and reveal the Romantic roots of recent Goth and Steampunk fashions. Lynne Z. Bassett, Costume and Textile Historian and museum consultant, is organizing the exhibition.

The first half of the 19th century—the Romantic era—is characterized by a societal shift away from the order and reason of the Enlightenment period, and corresponding embrace of imagination and emotion, originality and vision, and individuality and subjectivity as guiding principles. Romanticism idealized nostalgia for the bygone quiet rural life in a time of cultural stress, offering an escape from the social and economic uncertainty of the Industrial Revolution. These values gave rise in America to the Hudson River School of landscape painters, Transcendentalist philosophers including Ralph Waldo Emerson and Henry David Thoreau, and a fascination with revisiting historic costume designs that has endured to influence fashion in the present day.

“Gothic to Goth” explores how 500 years of European fashions were selectively integrated into creative new styles by showcasing women’s and children’s clothing and accessories from 1810−1860, alongside literary works, paintings, furniture and decorative arts of the period. Costume pieces, drawn largely from the Wadsworth Atheneum’s own collection, were carefully chosen to delve deeply into the inspirations of the little understood Romantic era of fashion. A cotton muslin dress from c. 1820, one of the earliest works in the exhibition, is an early example of historical revival clothing, with sleeves inspired by a Renaissance “slashed” style. A cotton dress from the 1830s incorporates the large, puffed sleeves and wide collar of the 16th and 17th centuries, while the decorative tab edging of the collar recalls clothing in the 13th and 14th centuries and the crenellations of Gothic revival buildings. In another mix of styles, a dress from c. 1840 reveals an overall silhouette akin to a Gothic arch and a bodice inspired by 16th-century gowns. A veneration of nature and spirituality is also embodied in the costume, as well as in the furniture and decorative arts featured in “Gothic to Goth,” along with the Romantic interest in historical revival. Garments including wedding gowns, a nursing dress, children’s clothing and accessories commemorating friendship reflect the sentimentalization of love, marriage and motherhood in popular Romantic era art and literature.

A look at recent Goth and Steampunk fashions concludes the exhibition, revealing their roots in the rich imagination and aesthetic of Romanticism, and featuring designs by Alexander McQueen, Jean Paul Gaultier, Nightwing Whitehead and House of Coniglio. The entire exhibition showcases approximately 40 fully-dressed mannequins, in addition to accessories, furniture, paintings and decorative arts objects.

Wadsworth Atheneum Museum of Art - Gothic to Goth: Romantic Era Fashion & Its Legacy  - 05.03.2016-10.07.2016


2195 - 20160619 - U.S.A. - ATHENS, GA - U.S.A.- Frank Hartley Anderson: Forging the Southern Printmakers Society - 26.03.2016-19.06.2016


In 1935, Frank Hartley Anderson founded the Southern Printmakers Society, the only major graphic arts society in the South at the time. For 10 years, the group circulated dozens of print exhibitions throughout the South, a region with few venues for viewing art, but its work was cut short by World War II. In celebration of the society, the Georgia Museum of Art at the University of Georgia will present the exhibition “Frank Hartley Anderson: Forging the Southern Printmakers Society” from March 26 to June 19, 2016.

Organized by guest curator Lynn Barstis Williams Katz, librarian emeritus, Auburn University, and a noted scholar on southern prints, the exhibition will display works made by a wide variety of artists who were members of the society. In 1994, one of Anderson’s daughters placed 73 prints in different media created by the society on longterm loan at the museum, and in 2008 she made the gift official.

Frank Hartley Anderson and his wife, the former Martha Fort, had a long-lasting impact on the South’s artistic community. By 1930, the two artists had begun collecting and exhibiting art in their home in Birmingham, Alabama. In founding the Southern Printmakers Society, the Andersons let printmakers share ideas and resources, creating touring exhibitions and giving out monetary prizes.

Instead of focusing only on printmakers working in the South, Anderson advertised in Art Digest, a national periodical, to diversify the society’s membership. By 1936, the society had organized its first exhibition, displaying more than 200 prints at the Birmingham Public Library. From there, the group went on to organize dozens of other exhibitions and promote artists throughout the United States.

The exhibition reveals a range of print media, styles and subjects within traditional, realistic composition, from Lynd Ward’s wood engraving “Seedling,” of a man cradling a tender young plant, to Hungarian-Canadian Nicholas Hornyansky’s colorful aquatint of a busy harborside market. It includes a number of works by women, who were active in the printmaking world, such as Alice Standish Buell, Frances Gearhart, Ella Sophonisba Hergesheimer, Ella Fillmore Lillie, Elizabeth Norton and Gladys M. Wilkins.

Georgia Museum of Art - Frank Hartley Anderson: Forging the Southern Printmakers Society - 26.03.2016-19.06.2016



2194 - 20160724 - U.S.A. - WASHINGTON, DC - Three Centuries of American Prints from the National Gallery of Art - 03.04.2016-24.07.2016


This exhibition surveys how America and its people have been represented in prints made by American and non-American artists between 1710 and 2010. Early prints of the continent’s indigenous peoples, its landscapes, flora and fauna, its historical events, wars, and citizenry reflect the curiosity of Europeans about a world they perceived as new and strange. At the same time, American artists often turned to prints to present a vision of their youthful democracy.

Prints are well-suited for quickly conveying images of contemporary events to a wide audience, and thus have often been a forum for social commentary or criticism. The exhibition includes works from across the centuries that aim to raise awareness and inspire change. On view, for instance, is an engraving of the Boston Massacre by Paul Revere as well as a broadside from more than two hundred years later by the undercover feminist collective known as the Guerrilla Girls. The exhibition also features works by artists equally drawn to the aesthetic potential of printmaking. From James McNeill Whistler, Mary Cassatt, and others of the late nineteenth century to Jackson Pollock and Helen Frankenthaler in the twentieth, vanguard artists have explored printmaking’s unique artistic possibilities. In recent years, radical experiments by artists such as Robert Rauschenberg, Claes Oldenburg, and Richard Serra have pushed to the breaking point the very definition of the medium.

The more than 150 prints in this exhibition, mounted on the occasion of the National Gallery’s 75th anniversary, are drawn entirely from the Gallery’s collection, including promised gifts.

National Gallery of Art - Three Centuries of American Prints from the National Gallery of Art


2193 - 20160821 - U.S.A. - Williamsburg, VA - Hiroshige’s 53 Stations of the Tokaido - 06.02.2016-21.08.2016


Hiroshige’s 53 Stations of the Tokaido  explores the most traveled road in old Japan with fresh eyes. This exhibition presents five distinct complete sets of Hiroshige’s The 53 Stations of the Tokaido Road never before displayed together. Centering on the fifty-five woodblock prints of Hiroshige’s famed first set, the Hoeido Tokaido (1832-1833, oban), the four additional series reveal the spectrum of Hiroshige’s visual poetry: Sanoki Tokaido (late 1830s, bound, chuban); Gyosho Tokaido (c. 1841-1842, aiban); Tsutaya Tokaido (c. 1850, bound, chuban); Upright Tokaido (1855, oban).  Hiroshige’s Tokaido  immerses the viewer in a panoramic view of the Tokaido and Hiroshige’s romance with the landscape of Japan. All works in this exhibition are on loan from the Ronin Collection of the Ronin Gallery, New York.

About Hiroshige’s Tokaido
Traveled as early as the 8th century, the Tokaido traced the eastern coastline of Japan. At the beginning of the 17th century, ruling power shifted from the emperor to the shogun, inviting an unprecedented level of activity on the road. By 1689, 53 stations connected the Eastern Capital of Edo (modern Tokyo), the seat of the shogun, to Kyoto, the Imperial capital. The Tokaido was the most traveled road in Japan: a 323-mile artery providing the backbone of trade and communication until the arrival of railways during the Meiji period. While novels, guidebooks, paintings and prints extolled the adventures of life on the road long before the Hoeido Tokaido, Hiroshige’s 55-piece set of woodblock prints captured the spirit of adventure like never before. Through changing seasons and viewpoints, 53 Stations of the Tokaido guides the viewer through each station, each veritable microcosm of Edo-period culture, as they journey from Edo’s Nihonbashi to the Sanjo Bridge in Kyoto.
About the Artist
Known as the “poet of travel,” Hiroshige was born in Edo in 1779. He grew up in a minor samurai family and his father belonged to the firefighting force assigned to Edo Castle. While he entered his apprenticeship in 1811, Hiroshige’s artistic genius went largely unnoticed until 1832 with his groundbreaking series, 53 Stations of the Tokaido. In 1858, at the age of 61, he passed away as a result of the Edo cholera epidemic. However, the legacy of Hiroshige’s work profoundly influenced the Impressionists and Post-Impressionists of Europe: Toulouse-Lautrec was fascinated with Hiroshige’s daring diagonal compositions and inventive use of perspective, while van Gogh literally copied two prints from 100 Famous Views of Edo in oil paint.
About The Ronin Collection
The Ronin Collection is the private collection of the Ronin Gallery, a leading family-owned Japanese and East Asian art gallery in New York City, and the largest private collection of 17th-21st century Japanese prints for sale in the United States. Founded in 1975 in the Explorers Club Mansion of New York City, the Ronin Gallery is now located at Madison Ave. and 49th St. For more information about the gallery and to access the gallery’s online exhibitions, visit roningallery.com. 
Muscarelle Museum of Art - Hiroshige’s 53 Stations of the Tokaido - 06.02.2016 - 21.08.2016


2192 - 20160807 - U.S.A. - NEW YORK - Agitprop ! - 11.12.2015-07.08.2016

SAHMAT, meaning "in agreement" in Hindi, was formed after the deadly beating of the socialist street theater activist Safdar Hashmi by a ruling-party candidate and his followers during a performance in 1989. Responding to such sectarian violence, the organization advocates for mutual respect within diversity through creative curatorial, performance, and publishing platforms.
One of SAHMAT's earliest efforts took advantage of existing street culture to maximize visibility for their message. The group invited Delhi's taxi drivers to redecorate their rickshaws with commentary on the theme of communal harmony. The one here reads: "Call Him Ishwar, Allah, Wahe-Guru, or Shri Ram, if you will; these are but different names for the one creator." After the official competition for best design, many rickshaws kept these painted slogans in circulation for years.

At key moments in history, artists have reached beyond galleries and museums, using their work as a call to action to create political and social change. For the past hundred years, the term agitprop, a combination of agitation and propaganda, has directly reflected the intent of this work.

Agitprop! connects contemporary art devoted to social change with historic moments in creative activism, highlighting activities that seek to motivate broad and diverse publics. Exploring the complexity, range, and impact of these artistic practices—including photography, film, prints, banners, street actions, songs, digital files, and web platforms—the exhibition expands over its run within a unique and dynamic framework. It opens with works by twenty contemporary artists responding to urgent issues of the day, in dialogue with five historical case studies. In the following months, two more waves of contemporary work are being added—on February 17 and April 6, 2016—with each wave of artists choosing those in the next.

These projects highlight struggles for social justice since the turn of the twentieth century, from women’s suffrage and antilynching campaigns to contemporary demands for human rights, environmental advocacy, and protests against war, mass incarceration, and economic inequality.

The first round of invited artists includes Luis Camnitzer, Chto Delat?, Zhang Dali, Dread Scott, Dyke Action Machine!, Friends of William Blake, Coco Fusco, Futurefarmers, Ganzeer, Gran Fury, Guerrilla Girls, Jenny Holzer, Los Angeles Poverty Department, Yoko Ono, Otabenga Jones & Associates, Martha Rosler, Sahmat Collective, Adejoke Tugbiyele, Cecilia Vicuña and John Dugger, and, in a collaborative work, The Yes Men with Steve Lambert, CODEPINK, May First/People Link, Evil Twin, Improv Everywhere, and Not An Alternative, along with more than thirty writers, fifty advisers, and a thousand volunteer distributors.

Agitprop! is organized by the staff of the Elizabeth A. Sackler Center for Feminist Art: Saisha Grayson, Assistant Curator; Catherine J. Morris, Sackler Family Curator; Stephanie Weissberg, Curatorial Assistant; and Jess Wilcox, former Programs Coordinator.

Brooklyn Museum - Agitprop ! - 11.12.2015 - 07.08.2016


2191 - 20160515 - U.S.A. - West Palm Beach - Florida - O'Keeffe, Stettheimer, Torr, Zorach: Women Modernists in New York - 18.02.2016-15.05.2016


Florine Stettheimer
American, 1871–1944
Portrait of Myself, 1923
Oil on canvas laid on board
40 3/8 x 26 3/8 in (102.7 x 67 cm)
Art Properties, Avery Architectural & Fine Arts Library,
Columbia University in the City of New York,
Gift of the Estate of Ettie Stettheimer, 1967, 1967.17.05
This exhibition will look at the art and careers of modernists Marguerite Zorach, Florine Stettheimer, Helen Torr, and Georgia O’Keeffe together for the first time. These women all sought to be recognized as artists rather than women artists, but their identity as women shaped the circumstances under which they worked, the forms their art took, and the way their pictures were interpreted. By exploring these effects, this exhibition will reveal the influence of gender on American modernism.
Norton Museum of Art - O'Keeffe, Stettheimer, Torr, Zorach: Women Modernists in New York - 18.02.2016-15.05.2016


2190 - 20160515 - U.S.A. - Miami - Florida - Predators and Prey: A Roman Mosaic from Lod, Israel - 10.02.2016-15.05.2016


In 1996, workmen widening the Jerusalem–Tel Aviv road in Lod (formerly Lydda), Israel, made a startling discovery: signs of a Roman mosaic pavement were found about three feet below the modern ground surface. A rescue excavation was conducted immediately by the Israel Antiquities Authority, revealing a mosaic floor that measures approximately 50 feet long by 27 feet wide. This large and extraordinarily detailed mosaic floor has only recently been carefully removed from its site and conserved. Dating to approximately the 3rd century CE, the opulent mosaic graced the floor in a reception hall of a private home. The panels portray exotic beasts as well as an abundant and rich marine scene.
Previously exhibited at the Hermitage Museum, St. Petersburg; The Metropolitan Museum of Art, New York; The Field Museum, Chicago; Musée du Louvre, Paris; and, most recently and Cini Foundation in Venice. It will return to Israel, where it will become the focus of the Shelby White and Leon Levy Lod Mosaic Center.

The Lod Mosaic is courtesy of the Israel Antiquities Authority and the Shelby White and Leon Levy Lod Mosaic Center.
Frost Art Museum - Predators and Prey: A Roman Mosaic from Lod, Israel -



2189 - 20160717 - U.S.A. - Winston-Salem, NC - Ansel Adams: Eloquent Light - 11.03.2016-17.07.2016


Ansel Adams (1902-84), perhaps the best-known photographer in American history, developed a system for creating luminous, vivid landscape photographs in sharp contrasts of black and white. He then printed his film negatives with meticulous attention to craft.  Adams’s manner of framing and capturing both magnificent, large-scale landscape formations, and small, exquisite natural objects created icons of the American wilderness.
hese forty breathtaking photographs by the renowned artist-photographer have never been on view together, and Reynolda House is the exhibition's only venue.
Adams subscribed to the romantic tradition of American landscape, an artistic lineage that included major American painters—including Thomas Cole, Frederic Church, and Albert Bierstadt —whose work anchors the collection of Reynolda House Museum of American Art.

Adams took his first photos with a Kodak Brownie camera at age 14 during a family vacation to Yosemite National Park, and he would return to Yosemite regularly throughout his life. An early and passionate environmentalist as well as an artist, Adams advocated powerfully for wilderness preservation, national park creation, and the Sierra Club, with which he was affiliated from the age of 17.  His goal was “to rekindle an appreciation of the marvelous.”

This exhibition’s debut in North Carolina coincides with the centennial of the National Park Service, which marks its 100th anniversary in August 2016. The National Parks Conservation Association has joined Reynolda House as the National Outreach Partner for the exhibition. During the exhibition season, Reynolda House will embark on a series of events and talks focused on themes of sustainability and preservation, highlighted by an Earth Day event co-presented by Wake Forest University.

Ansel Adams: Eloquent Light has been organized by the Amon Carter Museum of American Art, Fort Worth, Texas.

Reynolda House - Museum Of American Art - Ansel Adams: Eloquent Light 
11.03.2016 - 17.07.2016


2188 - 20160529 - U.S.A. - Wilmington,DE - Our America: The Latino Presence in American Art - 05.03.2016-29.05.2016


Organized by the Smithsonian American Art Museum, Our America: The Latino Presence in American Art presents the rich and varied contributions of Latino artists in the United States since the mid-20th century, when the concept of a collective Latino identity began to emerge. Our America showcases the rich diversity of Latino communities in the United States and features artists of Mexican, Puerto Rican, Cuban, and Dominican descent, as well as other Latin American groups with deep roots in the United States. It explores how Latino artists shaped the artistic movements of their day and recalibrated key themes in American art and culture. The exhibition presents works in all media by more than 50 leading modern and contemporary artists.

Delaware Art Museum - Our America: The Latino Presence in American Art


2187 - 20160424 - U.S.A. - WORCESTER, MA - Cyanotypes: Photography's Blue Period - 18.01.2016-24.04.2016


Invented by Sir John Herschel in 1842, cyanotypes are photographs with a distinctive Prussian blue tonality produced by treating paper with an iron-salt solution. The treated paper can be developed using only the sun, which made cyanotypes a favored technique among amateur photographers through the turn of the twentieth century. Cyanotypes: Photography's Blue Period will trace the rise of these "blueprint photographs" beginning with the botanical photogenic drawings printed by Anna Atkins in the 1850s. The exhibition will also feature contemporary artists who have recently revived the process manipulating the medium to varied expressive effects.

Organized in collaboration with a seminar from Clark University, the exhibition will be presented with thematic emphasis on botanicals, landscape, abstraction, and portraiture—areas that dominated much of the production of cyanotypes in the early twentieth century and recur in contemporary work. Artists on display include nineteenth and twentieth-century photographers Henry Bosse, Edward Sheriff Curtis, and F. Holland Day, and contemporary artist Christian Marclay.

Worcester Art Museum - Cyanotypes: Photography's Blue Period - 18.01.2016 - 24.04.2016


2186 - 20160402 - U.S.A. - NEW YORK - Global/Local 1960–2015: Six Artists from Iran - 12.01.2016-02.04.2016


Global/Local 1960–2015: Six Artists from Iran features works by three generations of Iranian artists born between 1937 and 1982. The exhibition presents some ten works each by six artists—Faramarz Pilaram (1937–1983), Parviz Tanavoli (b. 1937), Chohreh Feyzdjou (1955–1996), Shiva Ahmadi (b. 1975), Shahpour Pouyan (b. 1980), and Barbad Golshiri (b. 1982)—examining their individual artistic practices through shared aspects of their Persian heritage, such as ornamentation, poetry, architecture, and Sufism. Comprising paintings, sculpture, drawings, mixed-media installations, and video, the show includes key works from NYU’s Abby Weed Grey Collection of Modern Asian and Middle Eastern Art, which comprises the largest holdings of 20th-century art from Iran outside that country. Global/Local illuminates how these artists have participated in international discourses, merging global with local over a 55-year span that was punctuated by the 1979 Iranian Revolution and subsequent eight-year war with Iraq. Organized by NYU’s Grey Art Gallery and curated by Lynn Gumpert, the show is accompanied by an illustrated publication.

Grey Art Gallery - Global/Local 1960–2015: Six Artists from Iran - 12.01.2016-02.04.2016


2185 - 20160327 - U.S.A. - NEW YORK - Photo-Poetics: An Anthology - 20.11.2015-27.03.2016


This group exhibition features more than 70 works by ten artists: Claudia Angelmaier, Erica Baum, Anne Collier, Moyra Davey, Leslie Hewitt, Elad Lassry, Lisa Oppenheim, Erin Shirreff, Kathrin Sonntag, and Sara VanDerBeek. The exhibition and its accompanying catalogue examine an important new development in contemporary photography, offering an opportunity to define the concerns of a younger generation of artists and contextualize their work within the history of art and visual culture. Drawing on the legacies of Conceptualism, these artists pursue a largely studio-based approach to still-life photography that centers on the representation of objects, often printed matter such as books, magazines, and record covers. The result is an image imbued with poetic and evocative personal significance—a sort of displaced self-portraiture—that resonates with larger cultural and historical meanings. Driven by a profound engagement with the medium of photography, these artists investigate the nature, traditions, and magic of photography at a moment characterized by rapid digital transformation. They attempt to rematerialize the photograph through meticulous printing, using film and other disappearing photo technologies, and creating artist’s books, installations, and photo-sculptures. While they are invested in exploring the processes, supports, and techniques of photography, they are also deeply interested in how photographic images circulate. Theirs is a sort of “photo poetics,” an art that self-consciously investigates the laws of photography and the nature of photographic representation, reproduction, and the photographic object.

This exhibition is organized by Jennifer Blessing, Senior Curator, Photography, Solomon R. Guggenheim Museum with Susan Thompson, Assistant Curator

Guggenheim Museum - Photo-Poetics: An Anthology - 20.11.2015-27.03.2016



2184 - 20160626 - U.S.A. - NEW YORK - Michelle Stuart, Theatre of Memory: Photographic Works - 03.02.2016-26.06.2016


Michelle Stuart
Maroc Shoes, 2015
Archival inkjet photograph on Hahnemühle paper
12 x 18 inches
Courtesy of the artist
Photo credit: Michelle Stuart

Widely recognized as one of the very few female pioneers of Land Art, Stuart is known for her nature-based art dating to the late 1960s and 1970s. Comparatively lesser-known are her remarkable photographic works, which constitute a crucial part of her oeuvre and have been her primary focus over the past several years.

Organized by guest curator Gregory Volk, Michelle Stuart, Theatre of Memory: Photographic Works consists of twelve recent large-scale works—including a major wall piece created specifically for this exhibition—as well as two important pieces from the early 1980s that can be seen as precursors to Stuart’s later direction.  This exhibition is the first museum treatment of Stuart’s photography-based works.

“Michelle Stuart is an innovator, and her turn to photography in the last few years, once again, shows that she is always exploring new ways to create unique perspectives on the world,” said Holly Block, Executive Director of The Bronx Museum of the Arts. “We are excited to present her recent and new work at The Bronx Museum.”

The exhibition will also debut My Still Life (2015-16), a major, large-scale work created for this show—“an autobiographical opus of sorts,” as Volk describes it. Photographs of a series of what might be called ‘sculptural vignettes’ bring together objects and images—including archival and vintage personal photographs, actual things (e.g., a whale bone, a ceramic frog, a pomegranate), maps, celestial landscapes, and fragments of writing on paper, among others—many of which Stuart collected and have been with her for years.

Also included in the exhibition are two works from Stuart’s early 1980s Codex series, with squares of earth-rubbed paper (the earth is from specific sites that Stuart visited, including a New Jersey quarry and the ancient Maya city of Uxmal in Mexico) surrounded by photographs of the same site. Stuart’s Codex pieces, with their incorporation of photos, herald her recent photography-based work.

Bronx Museum of the Arts - Michelle Stuart, Theatre of Memory: Photographic Works - 03.02.2016 - 26.06.2016



2183 - 20160508 - U.S.A. - NEW YORK - American Folk Art Museum - Mystery and Benevolence: Masonic and Odd Fellows Folk Art from the Kendra and Allan Daniel Collection - 21.01.2016-08.05.2016

Independent Order of Odd Fellows Plaque, artist unidentified, United States, 1850–1900, paint on wood, 16 x 15 in., American Folk Art Museum, gift of Kendra and Allan Daniel. Photo by José Andrés Ramírez, www.fotophoto.net.

Enigmatic, evocative, and often simply strange, fraternal references are a rich part of contemporary American popular culture. But the seductive mystique of secret societies, with their cryptic signs, gestures, and arcane rituals, has been inculcated in our American experience since the early eighteenth century. Before the age of mass production, the artist who painted a portrait or embellished a piece of furniture might have also decorated a parade banner, an apron, symbols on a chart, or a backdrop for a fraternal lodge. More important, he or she encoded the ideals of fellowship, labor, charity, passage, and wisdom—the core of fraternal teachings—into the many forms associated with fraternal practice. The iconic art and objects showcased in Mystery and Benevolence relate the tenets of fraternal belief through a potent combination of highly charged imagery, form, and meaning. The exhibition explores the fascinating visual landscape of fraternal culture through almost two hundred works of art comprising a major gift to the American Folk Art Museum from Kendra and Allan Daniel.

Co-curators: Stacy C. Hollander, Deputy Director for Curatorial Affairs, Chief Curator, and Director of Exhibitions, American Folk Art Museum, and Aimee E. Newell, Director of Collections, Scottish Rite Masonic Museum & Library.

American Folk Art Museum - Mystery and Benevolence: Masonic and Odd Fellows Folk Art from the Kendra and Allan Daniel Collection - 21.01.2016 - 08.05.2016


2182 - 20160427 - U.S.A. - NEW YORK - Peter Fischli David Weiss: How to Work Better - 05.02.2016-27.04.2016


Peter Fischli David Weiss, Untitled, 1994–2013 (detail). Painted polyurethane, 164 parts, overall dimensions variable. Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Collections Council and through prior gifts of an anonymous donor, Mr. and Mrs. Nathan L. Halpern, and the Andrew Powie Fuller and Geraldine Spreckels Fuller Bequest 2014.115 © Peter Fischli David Weiss. Photo: Jason Klimatsas, courtesy Matthew Marks Gallery

For more than three decades, Peter Fischli (b. 1952) and David Weiss (1946–2012) collaborated to create a unique oeuvre that brilliantly exploits humor, banality, and a keen rethinking of the readymade to realign our view of the world. Peter Fischli David Weiss: How to Work Better offers the most thorough investigation to date of their joint production, revealing the ways they juxtaposed the spectacular and the ordinary in order to celebrate the sheer triviality of everyday life, while creating an open-ended interrogation of temporality, visual culture, and the nature of existence itself. The retrospective will demonstrate the intricate interrelationships among Fischli and Weiss’s seemingly discrete works in sculpture, photography, installation, and video, each of which they used to confront, examine, and lampoon the seriousness of high art. In particular it will establish a sustained dialogue between Fischli and Weiss’s work with the moving image and their sculptural practice, with signature projects like Suddenly This Overview (1981– ), hundreds of unfired clay sculptures that pillory established truths and myths alike, and The Way Things Go (1987), an inane filmic study of causational activity, appearing along the museum’s ramps. The exhibition will further consider Fischli and Weiss’s extended meditations on the banality of existence, with key objects from virtually every body of work within their oeuvre, including Sausage Series (1979); Equilibres (Quiet Afternoon) (1984–86); Grey Sculptures (1984–86/2006–08); Rubber Sculptures (1986–90/2005–06); Visible World (1986–2012); Airports (1987–2012); Polyurethane Installations (1991– ); Question Projections (2000–2003); Fotografías (2005); and Walls, Corners, Tubes (2009–12), among others.

Initially planned during David Weiss’s lifetime, Peter Fischli David Weiss: How to Work Better is organized by Nancy Spector, Deputy Director and Jennifer and David Stockman Chief Curator, and Nat Trotman, Curator, Performance and Media, in close collaboration with Peter Fischli.
To coincide with this exhibition, two public works by Fischli and Weiss will appear on the streets of New York. From February 5 to May 1, Public Art Fund presents the text-based monument to labor How to Work Better (1991) as a wall mural at the corner of Houston and Mott Streets. At 11:57 pm nightly throughout February, the video Büsi (Kitty) (2001) will appear in Times Square as part of Times Square Arts’ Midnight Moment program.

Guggenheim NY - Peter Fischli David Weiss: How to Work Better - 05.02.2016 - 27.04.2016


2181 - 20160508 - U.S.A. - WATERVILLE-MAINE - Alex Katz: A Singular Vision - 29.10.2015-08.05.2016


Alex Katz, Canoe, 1974, oil on canvas, The Lunder Collection, 2013.165

This installation features highlights from the museum’s permanent collection, including several recent acquisitions on view for the first time, as well as two important loans. Many of the artworks on display in A Singular Vision touch upon themes of pairing, doubling, and repetition. In some cases, these are formal devices, with Katz coupling figures off or depicting a subject multiple times within a single canvas. Elsewhere this entails his return to particular models or motifs over the course of his career.

Colby Museum of Art - Alex Katz: A Singular Vision - 29.10.2015 - 08.05.2016



2180 - 20160424 - U.S.A. - DENVER-COLORADO - A Place in the Sun - Paintings by Walter Ufer and E. Martin Hennings - 25.11.2015-24.04.2016


E. Martin Hennings, A Friendly Encounter, c. 1922. Oil on canvas. 45 x 50 inches.

Explore the journey of two lifelong friends and fellow artists who were instrumental in defining American art in the twentieth century. A Place in the Sun presents bold, large-scale paintings by Walter Ufer and E. Martin Hennings, who found their niche in the Southwestern village of Taos, New Mexico.

Organized chronologically, this exhibition highlights the parallels and differences between the artists' lives and artistic development. Both artists gravitated toward subjects drawn from the region’s rich American Indian and Hispanic cultures, the serene landscape, and vibrant light of the Southwest. Even though the artists painted similar subjects, their artistic styles truly differentiate their work. Ufer painted alla prima, in which layers of wet paint are applied to previous layers of wet paint. Hennings adopted the German style of art nouveau called jugendstil, which is inspired by curved lines and the natural forms in flowers, plants, and trees.

A Place in the Sun is the first exhibition to present the major award-winning paintings by Ufer and Hennings.

Denver Art Museum - A Place in the Sun - Paintings by Walter Ufer and E. Martin Hennings - 25.11.2015-24.04.2016 


2179 - 20160424 - U.S.A. - DES MOINES-IOWA - Selfie: Self Portraits From the Permanent Collection - 18.12.2015-24.04.2016

Cindy Sherman (American, born 1954)
Untitled Film Still #56, 1980
Black and white photograph
Des Moines Art Center Permanent Collections; Purchased with funds from the Edmundson Art Foundation, Inc., 1992.40
Photo by Rich Sanders, Des Moines

Selfie: Self Portraits From the Permanent Collection considers both well-known and little seen self-portraits from the Des Moines Art Center’s permanent collections through the filter of popular culture’s obsession with the “selfie”. Works by Rembrandt van Rijn, Anthony van Dyke, Chuck Close, Cindy Sherman, Mauricio Lasansky and Danny Lyon among others span the 17th century to the present. The Early Renaissance gave rise to the popularity of the self-portrait by painters, sculptors and printmakers. In many cases mirrors were used to assist artists in creating their likeness, while in modern times the camera, both still and moving, has enabled artists to create the final work. One of the most recent works in the exhibition is a video self-portrait by the conceptual artist Ragnar Kjartansson titled “Me and My Mother 1,” 2001, in which the artist asks his mother to repeatedly spit in his face for 10 minutes.

Selfie considers this history in relation to the rise of the self-portrait in social media. Statistical sources online confirm that Instagram has over 53 million photos tagged with the hashtag #selfie, while the word “selfie” was mentioned in Facebook status updates over 368,000 times during a one-week period in October 2013, offering compelling statistical evidence of an ongoing and fundamental human desire for self-representation.

Des Moines Art Center - Selfie: Self Portraits From the Permanent Collection
18.12.2015 - 24.04.2016


2178 - 20160403 - U.S.A. - DELAND-FLORIDA - Will Barnet: Graphic Retrospective - 15.01.2016-03.04.2016

Will Barnet - 128 Woman and Cats - 1962

This exhibition charts the momentous evolution of art from realism to abstraction during one of the most distinguished careers in American art. In 2009, Art & Antiques Senior Editor, John Dorfman, wrote, “A painter, printmaker and teacher for more than 80 years, he is a living link to art history, yet he looks forward, not backward… Barnet has become an Old Master himself.”

Museum of Art - Will Barnet: Graphic Retrospective - 15.01.2016 - 03.04.2016


2177 - 20160320 - U.S.A. - DALLAS-TEXAS - Jackson Pollock: Blind Spots - 20.11.2015-20.03.2016


Jackson Pollock: Blind Spots is only the third major U.S. museum exhibition to focus solely on the artist hailed as “the greatest painter this country has ever produced.” On November 20, the Dallas Museum of Art will present what experts have deemed a “once in a lifetime” exhibition, organized by the DMA’s Hoffman Family Senior Curator of Contemporary Art Gavin Delahunty: the largest survey of Jackson Pollock’s black paintings ever assembled. This exceptional presentation, which critics hailed as “sensational," "exhilarating," "genius,"  “revelatory,” and “revolutionary” on its UK premier at Tate Liverpool, will receive its sole US presentation in Dallas and include many works that have not been exhibited for more than 50 years.

Jackson Pollock: Blind Spots offers critical new scholarship on this understudied yet pivotal period in the artist’s career and provides radical new insights into Pollock’s practice. With more than 70 works, including paintings, sculptures, drawings, and prints, the exhibition will first introduce audiences to Pollock’s work via a selection of his classic drip paintings made between 1947 and 1950. These works will serve to contextualize the radical departure represented by the black paintings, a series of black enamel paintings that Pollock created between 1951 and 1953. An unprecedented 31 black paintings will be included in the DMA presentation. Exhibiting works from the height of the artist’s celebrity set against his lesser known paintings will offer the opportunity to appreciate Pollock’s broader ambitions as an artist, and to better understand the importance of the “blind spots” in his practice.

Dallas Museum of Art - Jackson Pollock: Blind Spots  - 20.11.2015 - 20.03.2016


2176 - 20160417 - U.S.A. - WASHINGTON-DC - Jill O’Bryan 'one billion breaths in a lifetime' - 09.06.2015-17.04.2016


It takes approximately 97 years to breathe a billion breaths. “Our corporeal relationship to the number one billion is experienced both intimately and politically,” says artist Jill O’Bryan. “one billion breaths in a lifetime is a celebration of longevity and a life well lived, an acknowledgement of mortality, and a recognition of lives cut short. The number is a cultural signifier of excessive abundance, referring primarily to corporate earnings and fiscal budgets. Fundamentally the message is a reminder of a system that connects all life in micro and macrocosmic networks—you complete the artwork when you walk by and see your reflection.” This sculpture is based on the artist’s calculation of her own breaths through a series of drawings she began in 2000 to capture time.
O’Bryan received her MFA in painting from the San Francisco Art Institute and a PhD in art theory and criticism from New York University. She is also active as a writer and divides her time between New York City and New Mexico. Her work has been on view at the Mildred Lane Kemper Art Museum, St. Louis; Zimmerli Art Museum, Rutgers University, New Jersey; University of Richmond Museums; and Museo de Arte Contemporáneo Esteban Vicente, Segovia, Spain.
The Phillips Collection - Jill O’Bryan 'one billion breaths in a lifetime' - 09.06.2015 - 17.04.2016


2175 - 20160221 - U.S.A. - WAUSAU-WISCONSIN- American Impressionism: The Lure of the Artists’ Colony - 05.12.2015-21.02.2016


Lyrical landscapes of snow-covered hills and sun-drenched harbors, portraits, and still-life paintings exemplify American artists’ varied approaches to Impressionism during the early twentieth century. Oil paintings and works on paper reveal the abiding interest they shared – capturing the effects of light and atmosphere in loosely brushed compositions. Arranged by artists’ colonies from New England to Taos, New Mexico, and California, the exhibition explores the critical role of the colonies in the development of American Impressionism in the 1880s through the 1940s. Colony artists – surrounded and inspired by scenic locations – taught, collaborated, and escaped the daily rigors of their city studios. Included are works by William Merritt Chase, Frank W. Benson, Guy Wiggins, Charles Webster Hawthorne, Edward Redfield, and American expatriate artists Mary Cassatt and John Singer Sargent. American Impressionism: The Lure of the Artists’ Colony was organized by the Reading Public Museum, Reading, Pennsylvania.

Leigh Yawkey Woodson Art Museum - American Impressionism: The Lure of the Artists’ Colony - 05.12.2015 - 21.02.2016



2174 - 20160501 - U.S.A. - LOS ANGELES-CA - Living for the Moment: Japanese Prints from the Barbara S. Bowman Collection - 11.10.2015-01.05.2016


Lucky Dream for the New Year: Mt. Fuji, Falcon and Eggplants, Suzuki Harunobu, circa 1768-1769, Color woodblock print, Promised Gift of Barbara S. Bowman.

Over 100 prints are featured in this exhibition of transformative promised gifts of Japanese works to LACMA. Included are examples of rare early prints of the genre known as ukiyo-e (oo-key-o-eh, pictures of the floating world); superior works from the golden age of that art form at the end of the 18th century by Suzuki Harunobu, Kitagawa Utamaro, and Katsukawa Shunshō; and 19th-century prints by such great masters as Utagawa Hiroshige, Katsushika Hokusai, Utagawa Kuniyoshi, and others.

During the Edo period (1615–1868), commercially printed ukiyo-e showed the sensualist priorities of Japanese at a time when a shogunal government restricted nearly all aspects of life. Pictures of entertainers, from the brothels or the theaters, were favored subjects. Unconventional poetry appeared on a subgenre of ukiyo-e called surimono, which were privately published and distributed, often at the New Year. Unlike commercial prints, censored for their content and quality, surimono could be made with luxury materials, such as metallic pigments.

LACMA - Living for the Moment: Japanese Prints from the Barbara S. Bowman Collection - 11.10.2015 - 01.05.2016



2173 - 20160103 - U.S.A. - TAMPA-FORIDA - XTO + J-C: Christo and Jeanne-Claude featuring works from the bequest of David C. Copley - 26.09.2015-03.01.2016


Christo, Running Fence, Project for Sonoma and Marin Counties, 1975, charcoal and pastel on paper, 42 x 96 inches. Collection Museum of Contemporary Art San Diego, Museum purchase. © CHRISTO 1975.

Christo is best known for the monumental projects he and his late wife and collaborator Jeanne-Claude accomplished over nearly four decades. These include the 24 1/2 mile-long Running Fence in California’s Sonoma and Marin Counties (1976), the Wrapped Reichstag in Berlin (1995), and the epic-scale crowd pleaser The Gates (2005), which comprised 7,053 fabric banners that spanned the walkways of New York’s Central Park.

XTO+J-C will present the artist’s important Wrapped Package (1960) alongside many drawings and collages related to his early wrapped objects—chairs, road signs, motorcycles, and other commonplace items that disrupt our relationship to the everyday through their concealment. The exhibition also includes Christo’s large-scale Store Front (1965–66) and a related series of Show Windows from the early ‘70s, which signal an expansion of the artist’s sculptural practice to a new environmental realm.

Taken together, this exhibition features more than fifty works by Christo, and also highlights recent gifts from The David C. Copley Foundation and from the artist himself, in recognition of Copley’s patronage and support of the Museum of Contemporary Art San Diego over the years. The late David C. Copley (1952–2012) was the most prolific collector of Christo and Jeanne-Claude’s work in the United States.

XTO+J-C: Christo and Jeanne-Claude Featuring Works from the Bequest of David C. Copley is organized by the Museum of Contemporary Art San Diego. Lead underwriting support has been generously provided by Colette Carson Royston and Dr. Ivor Royston, with additional funding and works of art received from the David C. Copley Foundation. Additional underwriting support has been received from the Friends of David C. Copley underwriting group.

Tampa Museum of Art - XTO + J-C: Christo and Jeanne-Claude featuring works from the bequest of David C. Copley - 26.09.2015-03.01.2016


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