2014-07-30

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

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



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

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

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

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

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

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

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

Tony Gengarelly, PhD, Curator




 Brattleboro Museum & Art Center      27.06.2014 - 26.10.2014  




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2014-07-23

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

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

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



 
Bowdoin College Museum of Art       28.06.2014 - 19.10.2014
 
 
 
 
 
 

 

2014-07-16

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

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



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

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

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

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




Albright-Knox Art Gallery       17.11.2013 - 05.10.2014




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2014-07-09

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

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


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

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

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

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




 Berkeley Art Museum and Pacific Film Archive    11.06.2014 - 14.09.2014




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2014-07-02

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

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

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

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

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

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



Georgia Museum of Art       17.05.2014 - 31.08.2014



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2014-06-25

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

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



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

2014-06-18

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

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


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

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

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

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



 
Crystal Bridges Museum of American Art     17.05.2014 -15.09.2014




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2014-06-12

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

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Ernesto Neto - Leviathan Thot 2006

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

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



Aspen Art Museum    06.06.2014 -07.09.2014   



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2014-06-05

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

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



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

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

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

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



Asheville Art Museum       29.03.2014 -20.07.2014



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2014-05-29

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

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




 
 
Yale Center for British Art    29.05.2013 - 01.01.2015




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2014-05-22

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

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






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

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

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




UMMA     22.03.2014 - 29.06.2014




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2014-05-15

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

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

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

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



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

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

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

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

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




Brooklyn Museum    18.04.2014 - 10.08.2014




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2014-05-01

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

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

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

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

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


 
 
Huntington Museum of Art     15.03.2014 - 02.11.2014




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2014-04-24

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

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



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

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

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




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




Website & source : The Schein-Joseph International Museum of Ceramic Art     

Website : Alfred 

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2014-04-17

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

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



 
The Eric Carle Museum of Picture Book Art     18.03.2014 -08.06.2014




Website & source : The Eric Carle Museum of Picture Book Art

Website : Amherst

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2014-04-10

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

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

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



 
UNM Art Museum       08.02.2014 -17.05.2014




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Website : Albuquerque

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2014-04-03

U.S.A. - AKRON-OHIO - Tony Feher - 12.04.2014-17.08.2014

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The Akron Art Museum is delighted to present the first comprehensive, in-depth exploration of the career of American sculptor Tony Feher. Covering 25 years of Feher’s art, the exhibition will feature the range of everyday materials Feher employs, from bottles filled with colored water to marbles and pennies, Styrofoam blocks, soft drink crates, plastic bags, paper cups and various packing materials. Although Feher's materials can be seen as banal—even throwaway—they are chosen specifically for their distinct visual and structural qualities as well as for their connection to people. Feher stacks, arranges, dangles and aligns his materials to form fluid lines, thoughtful rhythms and bursts of color and light. His art enables us to observe and appreciate the beauty and poetry in the ordinary objects that surround us or simply look at things anew.




Akron Art Museum  12.04.2014 - 17.08.2014




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2014-03-27

U.S.A. - ALLENTOWN-PENNSYLVANIA - Paul Harryn: Essence of Nature - 19.01.2014-18.05.2014

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Winter Module No. 2 (2012)



For the past decade, artist Paul Harryn has lived and created at “Arcadia,” his rural studio near the Delaware River between Upper Bucks County and the Pocono Mountains of Pennsylvania. Here, surrounded by nature, he has been able to focus on the development of his art: paintings, drawings, writings, films, and original music scores. His interests are wide ranging and regularly lead him across disciplinary divisions to parallel territories in philosophy, psychology, history, politics, chemistry, and theology.

Harryn’s career has spanned more than three decades. In addition to Arcadia, Harryn also creates art from studios in Venice and Santa Monica, California, and onsite in the Mojave Desert. He has been drawing inspiration from the desert since the late 1980s. There, in the undistracted beauty, his work takes its cues directly from nature. Likewise, in a documentary being produced by Michael Barnard, the teaser Zuma Light (2011) reveals Harryn’s process of painting at the Pacific Ocean in Malibu. By painting in partnership with the sea, Harryn is able to create a layering of color and patterns inspired and imbued with elements of nature.

Essence of Nature will be a collection of Harryn’s works made over the past few decades, most of which have not been seen outside of private collections.These abstract works are a visual record of the artist’s highly individualized exploration of syntax and causality within the context of natural environments. His technique reveals a mastery of materials, involving a complex process of selective layering in which up to fifty stratums of paint are sequentially applied, with only the most significant “events” of each layer preserved. The result synthesizes the best elements from the “life” of the painting, with portions of each generation coexisting simultaneously and seamlessly as a unified surface, yielding a seasoned and deeply harmonious work.

Harryn’s in-depth understanding of contemporary philosophical and aesthetic ideas allows him to pioneer new discoveries while bridging them with conventional idioms. This exhibition will be a multimedia experience, in tune with the multidimensional lives most of us live. Essence of Nature will include Harryn’s small-scale Seasons work, along with drawings, sculpture, and the much larger 10-by-10-foot canvases from his Pacificus series in California, as well as original music compositions.

“My paintings are improvisational,” Harryn has said, “a collage of visual phrases informed by nature and responding to the ever-changing conditions of its life force. They are symphonies of compressed time.”


 
Allentown Art Museum of the Lehigh Valley    19.01.2014 -18.05.2014




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Website : Allentown

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2014-03-20

U.S.A. NEW YORK - The Passions of Jean-Baptiste Carpeaux - 10.03.2014-26.05.2014

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About 160 works, including sculptures, paintings, and drawings, will be organized around the major projects that Carpeaux undertook during his brief and stormy career. His genius for portraiture will shine particularly, and there will be groupings of drawings and models to trace the evolution of such masterpieces in marble as the Musée d'Orsay's Prince Impérial with the Dog Nero and the Metropolitan Museum's own Ugolino and His Sons.

The exhibition is made possible by the Iris & B. Gerald Cantor Foundation.

Additional support is provided by the Gail and Parker Gilbert Fund and the Diane W.
and James E. Burke Fund.

The exhibition was organized by The Metropolitan Museum of Art and the Musée d'Orsay.

The catalogue is made possible by the Iris & B. Gerald Cantor Foundation and the
Samuel I. Newhouse Foundation, Inc.








The Metropolitan Museum of Art     10.03.2014 - 26.05.2014




Website & source : The Metropolitan Museum of Art   EN

Website : New York City Guide

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2014-03-13

U.S.A. - CHICAGO-ILLINOIS - MCA DNA: Alexander Calder - 12.10.2013-17.08.2014

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Alexander Calder
Chat-mobile (Cat Mobile), 1966
Painted sheet metal and steel wire
20 x 26 x 26 in. (50.8 x 66 x 66 cm)
Museum of Contemporary Art Chicago, the Leonard and Ruth Horwich Family Loan, EL1995.10
© 2013 Calder Foundation, New York / Artists Rights Society (ARS), New York
Photo: Nathan Keay, © MCA Chicago
 
 
 
MCA DNA: Alexander Calder traces the development of the artist’s ideas over a fifty-year career, in particular, his exploration of how art can move in response to its physical environment. The exhibition presents examples of Alexander Calder’s (American, 1898–1976), mobiles, stabiles, and works on paper dating from the 1920s to the 1970s—a selection of the museum’s in-depth holdings of the seminal artist’s work. The core of this collection comes from the Ruth and Leonard Horwich Family Loan, which Museum of Contemporary Art Chicago has housed, cared for, and displayed since 1995. The Horwich family were, and remain, preeminent collectors of surrealist and Chicago Imagist art; and, as some of the founders and earliest supporters of MCA Chicago, helped to build the museum’s collection.

Trained as an engineer, Calder applied his knowledge of mechanics to colorful abstract shapes. Activated by air currents, his dynamic mobiles are ever-changing compositions. Marcel Duchamp invented the word mobile to describe Calder’s revolutionary work. Even Calder’s Flamingo (1973)—located in Chicago’s Loop—and his other static sculptures, dubbed stabiles by Jean Arp, evoke movement as they invite viewers to contemplate them from every angle.

The city of Chicago was important to Calder. In 1935, the Renaissance Society and the Arts Club of Chicago hosted one of his early solo exhibitions in the United States. The Horwich family amassed a significant Calder collection, befriending the artist and ultimately acquiring more than two dozen of his artworks. In 1974, as part of the inaugural ceremonies for Flamingo, then-Mayor Richard J. Daley declared a “Calder Day,” and Calder was carried to the sculpture’s dedication by a circus-themed parade on State Street. As part of these festivities, the MCA mounted a major Calder exhibition, and his art has been a steady presence in the museum’s galleries ever since.
 
MCA DNA: Alexander Calder is part of an ongoing exhibition series featuring iconic works from the MCA Collection and is organized by Michael Darling, James W. Alsdorf Chief Curator at the Museum of Contemporary Art Chicago.
 
 
 
 
 Museum of Contemporary Art Chicago     12.10.2013 -17.08.2014
 
 
 
 
 
 

2014-03-06

U.S.A. - WORCESTER-MASSACHUSETTS - Art Since the Mid-20th Century

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Alex Katz, Ada with Sunglasses, 1969, oil on canvas, Gift of Sidney and Rosalie Rose, 1983.62


A new installation of the Museum's collection of art since the mid-20th century features approximately fifty works of art displayed in renovated galleries, and presented in three thematic installations: The Persistence of Abstraction, Revivals of Figuration and Portraiture, and Cultural Signs.

This presentation chronicles the past seven decades as still-evolving chapters which illustrate how artists across disciplines, generations, and geographies respond to the experiences of their time by revising the visual languages and genres they have inherited. The integration of all media offers an encounter that foregrounds how materials are often signifiers of meaning, demonstrating how an artist's choice of medium can be a critical conceptual strategy in the art-making process.

Examples from mid-century through the 1970s, including iconic works by Grace Hartigan, Alex Katz, Ellsworth Kelly, Franz Kline, Robert Matta, Joan Mitchell, Louise Nevelson, Jackson Pollock, Andy Warhol, and Tom Wesselmann provide visitors with landmarks from which to explore more recent contributions by artists including Louise Bourgeois, Chuck Close, Tony Feher, Annette Lemieux, Iñigo Manglano-Ovalle, Beatriz Milhazes, Elizabeth Murray, Nam June Paik, Sigmar Polke, Doris Salcedo, Cindy Sherman, Yinka Shonibare, and Kiki Smith.

In conjunction with this focus on the Museum's holdings from the late 20th century, a major stripe painting from 1967 by Kenneth Noland, one of the central figures of Color Field painting, is on view in the Museum's library. Also in the collection, Bill Viola's Union, a color video diptych from 2000, will remain on view in the Medieval gallery.




Worcester Art Museum  - now on view




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Website : Worcester

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2014-02-27

U.S.A. - KENT-OHIO - Arthur Koby Jewelry: The Creative Eye - 25.10.2013-05.10.2014

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Arthur Koby combines, manipulates and assembles unexpected materials, found in his worldwide travels, into necklaces that his clients can choose to wear in full evening dress or with jeans and T-shirts.

Architect/sculptor/jeweler: all describe the work of Arthur Koby whom Vogue Magazine described as “one of the masters of collage.” Designer Geoffrey Beene asked Koby to provide jewelry for his runway collections as did Oscar de la Renta and Donna Karan throughout the 1980s. He combines, manipulates and assembles unexpected materials, found in his worldwide travels, into necklaces that his clients can choose to wear in full evening dress or with jeans and T-shirts. The fantasy necklaces might be made of “drawer hinges, Victorian shoe buckles, diamond-faceted stones made from melted-down beer bottles, hand-carved buffalo horn and shredded or solidified balloons” as the New York Times put it in 1987.  “You have to be a little daring; that’s what adds excitement!” said the designer.

This exhibition will include works on loan from clients who have amassed collections of Arthur Koby’s jewelry, and from the designer himself.




Kent State University Museum     25.10.2013 - 05.10.2014




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Website : Kent


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2014-02-20

U.S.A. - JACKSONVILLE-FLORIDA - Material Transformations - 25.01.2014-06.04.2014

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Angela Ellsworth
Seer Bonnet IV 2009
19,872 pearl corsage pins and fabric
83.8 x 27.9 x 38.1 cm




The artists of Material Transformations — Angela Ellsworth, Alison Foshee, Johnston Foster, Kirsten Hassenfeld, Rune Olsen, Lucrecia Troncoso, and Paul Villinski — all uncover symbolism in the very unconventional substances they use to construct their works of art. They find inspiration in the stuff of life — items we frequently encounter, use, and discard with rarely a second thought, such as aluminum cans, cleaning sponges, construction debris, corsage pins, masking tape, office supplies, and wrapping paper.
Manipulating and transforming these humble and common objects, the artists address a multitude of cultural and social issues including our preoccupation with consumer goods. Removed from their normal use and modified into inventive works of art, these ordinary products adopt an extraordinary second life. In their altered states, these new objects form intriguing works of art that challenge us to question our relationship to the consumer-based foundations of our modern lives while leaving behind established hierarchies between art, craft, and design.
This exhibition is organized by the Montgomery Museum of Fine Arts, Montgomery, Alabama.




MOCA    25.01.2014 - 06.04.2014




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2014-02-13

U.S.A. - HOUSTON-TEXAS - Georges Braque: A Retrospective - 13.02.2014-11.05.2014

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This definitive retrospective of the career of Georges Braque (1882–1963) presents 75 significant works of art. The selections range from the artist’s early, bold Fauvist paintings, to the radical Cubist compositions that shaped the course of Modern art, to the lyrical still lifes and landscape abstractions of his later years.

The MFAH is the only U.S. venue for Georges Braque: A Retrospective, which premiered at the Grand Palais in Paris. Organized to mark the 50th anniversary of the French artist’s death, the exhibition draws on the deep collections of Braque’s work at the Centre Pompidou in Paris, with additional loans gathered from public and private collections across Europe and the United States. Works from the MFAH collections are also included.

One of the most influential painters of the 20th century, Braque invented Cubism with his friend and collaborator, Pablo Picasso. This exhibition explores Braque’s unique achievement and reveals his genius to new audiences. It is the first comprehensive museum survey of Braque’s work seen in the United States in 25 years




Museum of Fine Arts Houston   13.02.2014 - 11.05.2014




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Website : Houston 

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2014-02-06

U.S.A. - FORT WORTH-TEXAS - Samurai: Armor from the Ann and Gabriel Barbier-Mueller Collection - 16.02.2014-17.08.2014

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Travel back in time and discover the life, culture and pageantry of the revered and feared Japanese samurai warriors through more than 100 remarkable objects from one of the best and largest collections in the world. Samurai: Armor from the Ann and Gabriel Barbier-Mueller Collection features the extraordinary artistry of the armor used by samurai—the military elite led by the shoguns, or warlords, of Japan from the 12th through 19th centuries. The exhibition illustrates the evolution of the distinctive appearance and equipment of the samurai through the centuries and examines the warriors’ history through works of consummate craftsmanship and exquisite design. Among the highlights of the exhibition are warriors’ helmets of lacquered metal, adorned with emblems often inspired by nature, which signaled the status of the wearer, differentiated samurai from each other and frightened the enemy on the battlefield. Combat-ready samurai in full regalia will be shown in suits of intricately crafted armor on similarly armored steeds. The exhibition will also feature beautifully designed accoutrements used for both battle and ceremonies. It will be the first traveling exhibition displayed in the new Renzo Piano pavilion.



 
Kimbell Art Museum       16.02.2014 - 17.08.2014




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Website : Fort Worth, Texas

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