2016-02-10

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

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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
 
 
 
 
 
 
 

2016-02-03

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

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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
 
 
 
 
 
 
 

2016-01-27

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

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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




 
 
 
 

2016-01-20

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

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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 
 
 
 
 
 
 
 
 


2016-01-13

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

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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
 
 
 
 
 
 
 
 
 

2016-01-06

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

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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
 
 
 
 
 
 
 
 

2015-12-29

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

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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
 
 
 
 
 
 
 
 




2015-12-22

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

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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
 
 
 
 
 
 
 
 
 
 
 
 

2015-12-16

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

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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


 
 
 
 
 

2015-12-09

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

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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



 
 
 
 



2015-12-02

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

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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
 
 
 
 
 
 
 



2015-11-25

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

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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
 
 
 
 
 
 
 

2015-11-18

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

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

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

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

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

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

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

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



McNay Art Museum - Joan Miro - 30.09.2015 - 10.01.2016
 
 
 
 
 
 

2015-11-11

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

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

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

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

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

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

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

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

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




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

2015-11-04

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

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

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


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



 
 
 

2015-10-28

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

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

2015-10-21

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

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

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

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

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

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





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






 

2015-10-14

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

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

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

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


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



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





 


2015-10-07

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

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

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

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

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


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





 



2015-09-30

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

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

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

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


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





 


2015-09-23

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

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

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

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

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



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



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2015-09-16

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

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

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



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



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2015-09-09

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

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


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

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



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



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2015-09-02

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

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

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

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



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



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2015-08-26

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

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

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


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



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2015-08-19

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

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

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

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

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

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



NOMA - Orientalism: Taking and Making - 04.04.2015 - 31.12.2015



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2015-08-12

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

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

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




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




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2015-08-05

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

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

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

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

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


 
Weisman Art Museum - Big Bridges - 28.02.2015 - 06.12.2015



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2015-07-29

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

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

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

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

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




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



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2015-07-22

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

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



MOLAA - Korda - 06.06.2015-06.09.2015



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