U.S.A. - LOS ANGELES-CALIFORNIA - Illuminated Manuscripts from Belgium and the Netherlands

A Siren and a Centaur, unknown artist, about 1270. From a Bestiary authored by Hugo of Fouilloy, Flandres

The splendor of the late medieval court of the dukes of Burgundy evokes the legendary Camelot. Its magnificence was expressed in lavish banquets, pageants, and tournaments, as well as luxury goods such as tapestries, paintings, metalwork, and particularly illuminated manuscripts.
This exhibition traces the tradition of Netherlandish manuscript painting from the 12th century to its extraordinary flowering in the 15th and 16th centuries. By the mid-1400s the Burgundians held sway over much of the Netherlands, including the prosperous Flemish towns of Ghent and Bruges (in present-day Belgium) and the Dutch city of Utrecht—all important centers of manuscript production. At this time Netherlandish books, especially from Ghent and Bruges, dominated the European market. They were created for an international clientele of princes, dukes, cardinals, bishops, and wealthy burghers.
The image above is from a bestiary, a collection of moralizing descriptions of real and mythical beasts, and one of the most popular books of the 1200s in northern Europe. The bird-women Sirens lured sailors to their deaths with song, and represented worldly temptation. Centaurs, whose human appearance above the waist belied their beastly nature below, represented hypocrisy.

The J. Paul Getty Museum 24.08.2010 - 06.02.2011

Website : The J. Paul Getty Museum

Website : City of Los Angeles

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U.S.A. - LOUISVILLE-KENTUCKY - Modern in the Making: Design 1900-2000

Over the past few years, the Speed’s collection of twentieth-century design—furniture, ceramics, silver, and other materials—has grown rapidly through both gifts and purchases. These objects, many on view for the first time, will be featured in a new installation, Modern in the Making: Design 1900-2000. From French Art Deco to the Bauhaus to mid-century Modern to Post-Modern, the installation will explore the diverse definitions of “modern” that marked the twentieth-century. Did "modern" mean French opulence or German austerity? How did new materials like plastics define “modern”? Come and see modern living in the making!

The Speed Art Museum 05.10.2010 - 03.04.2011

Website : The Speed Art Museum

Website : Louisville

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U.S.A. - Saratoga Springs-New York - The Jewel Thief

Chris Martin, The Record Painting, 2006, Oil, acrylic gel, and collage on paper, 54 x 49 inches, On extended loan from Private Collection

The Jewel Thief explores new ways to think about and experience abstract art. Using divergent forms of display, the exhibition focuses attention on art’s intersection with the decorative and functional elements of architecture. Beginning in the museum’s atrium, the exhibition continues into the large Wachenheim gallery, filling the space with a diverse range of artwork, including painting, sculpture, textiles, wallpaper, chandeliers, video, and photography. 

Artwork is presented through the lens of several opposing yet fluid categories that exist in our everyday lives, such as private and public, intimate and spectacular, and hot and cold. Hot might relate to feelings of passion, authenticity, expression, and the hand-made while cold might be attributed to restraint, intellectual distance, controlled execution, and the machine-made. The Jewel Thief explores how artworks negotiate the distance between these constantly shifting categories and how space affects this negotiation.
Discarding the notion that abstract works are devoid of content, The Jewel Thief maintains that beauty and pleasure in artworks are full of meaning. The exhibition draws parallels between questions and attitudes seen within individual artworks and various means of display our culture traditionally uses. Defining boundaries and edges determines how we understand the limit of an object and experience. The establishment of such definitions requires a kind of invention—a shared abstraction—that alters what is possible for us to do, think, and be. These abstractions lead to the building of fences—real lines being drawn around things—and to shared understandings about the distance required for personal space.
The exhibition features artworks from the Tang Collection and on loan by artists Anni Albers, Polly Apfelbaum, Gary Batty, Alex Brown, Richmond Burton, Kathy Butterly, Patrick Chamberlain, Stephen Dean, Dorothy Dehner, Anne Delaporte, Francesca DiMattio, Cheryl Donegan, Roy Dowell, Brad Eberhard, Rico Gatson, Joanne Greenbaum, Joseph Grigely, Christopher Harvey, Elana Herzog, Jim Hodges, Peter Hopkins, Jessica Jackson Hutchins, James Hyde, Betsy Kaufman, May Kedney, Martin Kersels, Bill Komoski, Nicholas Krushenick, Lisa Lapinski, Liz Larner, Michael Lazurus, Barry Le Va, Sherrie Levine, Charles Long, Virgil Marti, Chris Martin, Andrew Massulo, Jane Masters, Allan McCollum, Joan Mitchell, Carrie Moyer, Victoria Palermo, Jorge Pardo, Janet Passehl, Marion Pease, Jerry Phillips, Ann Pibal, Josh Podoll, Richard Rezac, Ednah Root, Nancy Shaver, Cary Smith, Joan Snyder, Jessica Stockholder, John Torreano, Rosemarie Trockel, Andy Warhol, Stanley Whitney, Lawrence Weiner, and Richard Woods.
The Jewel Thief is co-curated by Ian Berry, Susan Rabinowitz Malloy ’45 Curator of the Tang Museum, and Jessica Stockholder, Director of Graduate Studies in Sculpture at Yale University.

Tang Teaching Museum 18.09.2010 - 27.02.2011

Website : Tang Teaching Museum

Website : Saratoga Springs

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U.S.A. - PITTSBURGH-PENNSYLVANIA - André Kertész: On Reading

Henri Cartier-Bresson once said of himself, Robert Capa, and Brassaï, “Whatever we have done, Kertész did first.” He was referring to André Kertész, one of the giants of 20th-century photography, whose work spanned more than 50 years. On Reading presents 100 photographs that examine the power of reading as a universal pleasure, made by Kertész in Hungary, France, Asia, and the United States over the course of his career. Collectively, these images reveal Kertész’s penchant for the poetry and choreography of life in public and in private moments at home, and evoke the love affair people have with the written word.

André Kertész: On Reading is organized by The Museum of Contemporary Photography, Columbia College, Chicago. The exhibition tour is organized by Curatorial Assistance Traveling Exhibitions (CATE), Pasadena, California. The presentation at Carnegie Museum of Art is made possible by the support of The William T. Hillman Fund For Photography. General operating support for Carnegie Museum of Art is provided by The Heinz Endowments and Allegheny Regional Asset District. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.


U.S.A. - PASADENA-CALIFORNIA - Hiroshige: Visions of Japan

Utagawa Hiroshige, Japanese, 1797-1858The Sumida River Embankment in the Eastern Capital, 1858, from The Thirty-Six Views of Mount FujiColor woodblock, ōban, 14-5/16 x 9-7/16 in. (36.4 x 24 cm)Norton Simon Museum, Gift of Mrs. Edward C. CrossettP.1975.2.47

Drawn from the Norton Simon Museum's extensive Japanese woodblock-print collection, Hiroshige: Visions of Japan features approximately 175 prints by Utagawa Hiroshige (1797-1858), one of the most celebrated and prolific artists of his time.
Hiroshige was born Andō Tokutarō in Edo (now known as Tokyo) in 1797. Around 1810, he was accepted as a student by Utagawa Toyohiro, a master artist of the Utagawa school of designers, print-makers and painters. Under Toyohiro's tutelage, the young artist honed his skills in the genre of ukiyo-e, or "pictures of the floating world." The school's successful apprentices formally adopted Utagawa as their surname and received new given names; by 1813 Andō Tokutarō had officially become Utagawa Hiroshige.
The landscape print, a late ukiyo-e development, was introduced by Katsushika Hokusai (1760-1849). Hiroshige was greatly influenced by Hokusai's famous series Thirty-Six Views of Mount Fuji (1823-32), depicting Japan's famous volcano, which was visible from Edo. Landscape prints-known as fūkeiga-became popular in Japan following a rise in leisure travel, a phenomenon that drove a demand for illustrated guidebooks, topographical views and souvenir pictures.
Hiroshige's own revolutionary series, Fifty-Three Stations of the Tokaido Road (1833), presents scenic landscapes along the famous highway that linked Edo to Kyoto. The Tokaido Road followed the coastline from Edo, the administrative capital of the shogunate in the early 17th century, west to Kyoto, the imperial capital of Japan since the 8th century. Affording spectacular, picturesque views of the craggy coastline, the Tokaido was used by large retinues traveling back and forth from Edo, as well as merchants, religious pilgrims and tourists. Hiroshige's series, on display in the present exhibition, established his reputation as the foremost artist of the topographical landscape print.
Other highlights of the exhibition include more than 20 bird and flower prints. Exotic birds were popular in Edo, and many teahouses and public gardens boasted large aviaries. Hiroshige's lyrical depictions of birds with flowers or other natural elements are often paired with haikus or poems, as with Sunrise, Falcon on Pine Tree: "At sunrise on New Year's Day/ Throughout the nation/There are no boundaries."
Hiroshige produced his own version of Thirty-Six Views of Mount Fuji shortly before his untimely death on October 12, 1858. Unlike Hokusai's series, Hiroshige's views of Mount Fuji from the surrounding countryside are vertical; this provided the artist with a new orientation and perspective with which to present his unique vision. In the evening scene Fuji from the Sumida Embankment, the volcano, off in the distance, is in shadow. A group of three geisha, visually interrupted by a tall cherry tree, have disembarked from their pleasure boat to enjoy the spring blossoms.
Hiroshige's last great series, One Hundred Famous Views of Edo, is a tribute to his home city. At first glance, the interior scene Asakusa Ricefields and Torinomachi Festival appears to be a fairly simple composition of a white cat sitting on a window ledge. In the distance, a large procession has congregated to celebrate Torinomachi, the Festival of the Cock, a time when owners of entertainment venues such as restaurants, tea houses and brothels prayed for prosperity. In fact, Hiroshige has provided this bird's-eye view of the festival from a room in a brothel. A ceramic water bowl and a towel rest casually on the window ledge, and a set of rake-shaped hairpins lay on the floor, a gift from a man to his lover that implies "raking in" money in the coming year. In these dramatic compositions, Hiroshige manipulates the essence of a scene by offering an insider's view of the great city he called home.

Norton Simon Museum 04.06.2010-17.01.2011

Website : City of Pasadena


U.S.A. - LINCOLN-MASSACHUSETTS - Existed: Leonardo Drew

Number 43, 1994Fabric, plastic, string, and wood138 x 288 x 12 inchesMarc and Livia Straus Family Collection and the Saint Louis Art MuseumInstallation view: Existed: Leonardo Drew, Weatherspoon Art Museum, The University of North Carolina at Greensboro, 2010

Existed is a mid-career survey of the New York based artist, Leonardo Drew. This exhibition highlights Drew's career-long interest in the cyclical nature of creation, decay, and regeneration through a selection of large-scale sculptures, installations, and works on paper. Built from rows of stacked cotton and wooden boxes, stuffed with rags, covered with scavenged objects, and caked with rust to suggest degeneration, Drew's sculptural work is made to resemble the detritus of everyday life. The artist often ages his found and fabricated materials, employing a process that is physically and conceptually steeped in memory, history, and the passage of time. These disparate materials are often composed within a grid that organizes the chaos into an ordered structure. Deeply informed by the theory and practice of mid-twentieth-century abstraction, post-minimal and process art, Drew's emotionally-charged abstract compositions are evocative and carry both a metaphorical and historical weight. To encourage personal interpretation, Drew titles his works sequentially and explains that "the works in themselves should act as mirrors."
Spanning twenty years, Existed displays Drew's seminal piece, Number 8 assembled in 1988, through the monumental Number 123, that has been re-fashioned by the artist specifically for deCordova in the Grand Stairwell. While the show's title, Existed, refers to the past, its emphasis on a life lived invokes the present. It speaks of the profound human urge to leave a trace, to be remembered, to state "I was here." As such, it is an appeal against forgetting and for remembering, an attempt to write oneself into history. Existed considers Drew's interest in the cycles of life–birth, death, rebirth–that allows the past to be continually revealed through the present.
Born in Tallahasee, Florida and raised in Bridgeport, CT, Drew currently lives and works in Brooklyn, New York and San Antonio, Texas. Drew attended the Parsons School of Design and received a BFA from the Cooper Union in 1985. His work has been shown internationally, including at the Hirschhorn Museum and Sculpture Garden, Washington DC; the Royal Hibernian Academy, Dublin; the Art Institute of Chicago; the Miami Art Museum; Tate Modern, London; and the St. Louis Art Museum.
This exhibition has been organized by the Blaffer Gallery, The Art Museum of the University of Houston. Major funding has been provided in part by an award from the National Endowment for the Arts, with additional support from the Eleanor and Frank Freed Foundation, the Harpo Foundation, the Linda Pace Foundation, The Fifth Floor Foundation, and Sikkema Jenkins & Co. Opening Reception sponsored by Welch & Forbes LLC.

deCordova Museum 18.09.2010 - 09.01.2011

Website : deCordova Museum

Website : Town of Lincoln


U.S.A. - DAYTON-OHIO - 100 Years of African-American Art - The Arthur Primas Collection

Romare BeardenPilate (Misty Mountain), 1979, Art © Romare Bearden Foundation, Licensed by VAGA, New York, NY

100 Years of African-American Art celebrates the creativity and achievements of African-American artists. The exhibition features 69 works from the Arthur Primas collection, one of the country’s most significant collections of African-American art. It highlights 34 artists, including Hughie Lee-Smith, Charles White, Elizabeth Catlett and many others, who created magnificent art that reflects the African-American experience and aesthetic.
The works in the exhibition range in age from the early 1900s to 2008 and include paintings, sculpture, drawings and prints. The collection focuses primarily on works that examine the nature of, and impediments to, freedom, a theme both central to American identity and to the universal quest of humankind. It offers a look at social realities, past and present, and what they mean for our society’s continued growth.

The Dayton Art Institute 06.11.2010 - 30.01.2011

Website : The Dayton Art Institute

Website : City of Dayton

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U.S.A. - CHAPEL HILL-NORTH CAROLINA - Flowers from Earth and Sand: Art Glass and Ceramics, 1880-1950

Louis Comfort Tiffany, American, 1848-1933: Flower Form, 1903; glass with striated feathering and iridescence. Gift of Dorothy and S.K. Heninger, Jr. and the William A. Whitaker Foundation Art Fund, 94.1.3

The names Art Nouveau and Art Deco only partly describe a series of bold innovations in decorative art that happened between the 1880s and the 1930s. Glassmakers like Louis C. Tiffany and Rene Lalique are familiar to anyone interested in the art of the 1890s and 1920s, but equally brilliant artists worked in ceramics across Europe during the same period. The glazes and ornament designs of artists like the French Clement Massier and the craftsmen of the Hungarian Zsolnay Factory will come as a revelation to viewers.
Blending the resources of the Ackland Art Museum, a notable private collection, and additional loans, this exhibition surveys a rich variety of decorative styles and techniques for manipulating glass and clay. Nearly a hundred examples of luxury vases and other vessels with accompanying prints, posters, and illustrated books show how the style expressed in these luxury objects also infused popular culture.

Ackland Art Museum 12.09.2010 - 12.12.2010


U.S.A. - City of New York-New York - Between Here and There: Passages in Contemporary Photography

Themes of dislocation and displacement in contemporary photography are explored in this exhibition of works from the collection by artists such as Vito Acconci, Ed Ruscha, Richard Long, On Kawara, Bruce Nauman, Rineke Dijkstra, Thomas Struth, Darren Almond, Doug Aitken, Lothar Baumgarten, Matthew Buckingham, VALIE EXPORT, Felix Gonzalez–Torres, Svetlana Kopystiansky, Dennis Oppenheim, Allen Ruppersberg, Fazal Sheikh, Erin Shirreff, Robert Smithson, Anne Turyn, Jeff Wall, and Weng Fen.
Beginning in the mid-1960s the work of art started to break free from wall and pedestal. Fixed categories and traditional types of objects were often no longer seen as sufficient to capture the contingencies and complexities of modern life. Finding the proper idiom with which to express each idea became supreme, and the artwork could now take the form of a walk, a twenty-five-foot book, or a series of postcards detailing the time the artist rose each day.
It is not accidental that so many of the types of works seen in this exhibition trace shambolic or meandering paths or that the subjects appear to be the chaotic output of some enigmatic—though highly specific—criterion; digressions without logical end or endlessly attenuated gestures hollowed out the spot where "meaning" once went and made that formerly orderly, plentiful place ghostly, dislocated, and emblematic of the spooky, comical vacuity of the modern world. Any satisfaction to be had, the artist seemed to say, was now catch-as-catch-can—in the space between private imagination and public record. Photography (and, by extension, video) was mechanical, reproducible, and once-removed, making it an ideal tool for reflecting the rootless, unfixed nature of the modern world.
If dislocation were somehow inherent to the low-tech, ad-hoc nature of art in the 1960s and 1970s, the period that followed witnessed the restoration of established genres and formats (albeit modified by Conceptualism) while epochal and historical transformations were wreaking havoc upon the old geopolitical certainties. Displacement was no longer simply a formal or structural trope to convey isolation and alienation but an actual uprooting of individuals and peoples caught up in global strife. Some artists responded humanistically with tried-and-true tools, such as the old-fashioned view camera on a tripod, which could bring the past to the surface and memorialize the present for the future. At the same time, photography was used interchangeably with video and film—often in absorbing multimedia installations—by other artists who sought to reflect the mind-bending perceptual and psychological distortions that accompany a global existence that is also, increasingly and paradoxically, virtual and unmoored.

The Metropolitan Museum of Art 02.07.2010 - 13.02.2011

Website : The Metropolitan Museum of Art

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U.S.A. - TEMPE-ARIZONA - Lasting Impressions: Japanese Prints from the ASU Art Museum

Yoshu Chikanobu, Bamboo Joints: Chronicle of the Dan-no-ura Helmets, Koto, (1898) woodblock print, 13 13/16 x 9

Lasting Impressions will feature approximately 60 Japanese prints spanning from the 18th century to contemporary artists. It also includes essays on the prints researched by the fall 2009 Japanese Art History Seminar class taught by Dr. Claudia Brown, professor of Asian art history, School of Art, Herberger Institute of Design and the Arts. This project continues the museum’s efforts to transcend the students’ traditional experiences at ASU with direct curatorial experience beyond classroom walls. This will be the first Japanese print exhibition from the print collection of the ASU Art Museum, Jules Heller Print Study Room.

ASU Art Museum 28.08.2010 - 27.11.2010

Website : ASU Art Museum

Website : City of Tempe

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Susan Chrysler White
Yin & Yang Kachinas, 2010 Acrylic and enamel on plexiglas, Variable

This exhibition assembles paintings, drawings, sculpture, and installation by artists who mine artistic precedents for source material, style, or technique. A common practice throughout the history of art, these methods of visual quotation allow viewers a point of recognition and artists a means of critique. Carrie Ann Baade’s autobiographical parables combine fragments of Renaissance and Baroque religious paintings, resulting in surreal landscapes inhabited by exotic flora, fauna, and figures. Addressing 21st century consumerism and production, Laurie Hogin’s monkey portraits infuse 17th-century Dutch still life with pointed social commentary. Julie Heffernan’s large-scale self-portrait landscape paintings quote a variety of 17th and 18th century old masters—Northern Renaissance and Spanish Baroque, among others—with an underlying consciousness of notions of femininity. In her whiteware vases and lush paintings, Jane Irish combines references to conceptual artists working in the mid-20th century—such as Marcel Broodthaers and Joseph Beuys—with elements of French Rococo painting, architecture, and porcelain production. Works by artists such as Annette Davidek, Sara Sosnowy, and Susan Chrysler White draw influence from plant illustration and William Morris wallpaper designs, while recalling the female-dominated Pattern and Decoration movement of the 1970s. René Treviño layers Victorian wallpaper designs with figures and animals associated with masculinity as an exploration of the artist’s self-identity (as a gay Latino male). Whether exploring the human condition, notions of beauty, or personality in popular culture, the artists included work both within and outside of the art historical “canon.”

Delaware Center for Contemporary Arts 13.08.2010 - 02.01.2011

Website : DCCA

Website : Wilmington



© Christopher Rauschenberg

The Marche aux Puces at Saint-Ouen, just outside the city limits of Paris, is said to be the greatest flea market in the world. "It is a museum of antiques, a P.T. Barnum sideshow, a life size dollhouse, a fever dream," says photographer Christopher Rauschenberg.
A series of his photographs, Marche aux Puces, is featured in the Main Gallery of the Griffin Museum September 9 through November 7.
"This exhibition is a salute to the dealers of Saint-Ouen, who have created this stream-of-consciousness dream world in search of commerce but in search of poetry, too," says Rauschenberg. "These photographs of this dream world somehow tell me things that I had an inkling of and that I hope to someday almost know."
Rauschenberg, a native of New York, has a degree in photography from Evergreen State College in Olympia, Washington. He taught art and photography at Marylhurst University in Oregon from 1982 to 1996.
In 1995, he organized a group of a dozen artists to join him in a nine-year long photographic exploration and documentation of the city of Portland, http://www.griffinmuseum.org/www.PortlandGridProject.com. He and a second group of artists are working on a second, nine-year re-exploration.
In 1997 and 1998, Rauschenberg took three trips to Paris and re-photographed 500 of the images made of the city by Eugene Atget between 1890 and 1927. He's had solo shows and participated in group shows around the world.
A resident of Portland, Oregon, he is co-founder and past president of Photolucida, a photography festival formerly called Photo Americas. He is co-founder, co-curator, and board chairman of Blue Sky Gallery, where for more than 34 years he has co-curated and co-produced 650 solo exhibitions and 45 group shows. He is also co-founder and a member of the co-op Nine Gallery. He has edited and produced some 60 art and photography publications.

Griffin Museum of Photography 09.09.2010 - 07.11.2010

Website : Winchester

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U.S.A. - WINTER PARK-FLORIDA - A Mas­ter of Mod­ernism: Wood­cuts and Paint­ings by Charles Turzak

The son of Czech immi­grants, Charles Turzak (1899 – 1986) enjoyed a long and pro­lific career as a mas­ter wood­block print­maker, painter, WPA mural­ist, com­mer­cial illus­tra­tor and a beloved art teacher. His crit­i­cally acclaimed graph­ics of the expand­ing urban sky­line in his home­town of Chicago and work­ing class heroes epit­o­mized the Mod­ern Art move­ment in Amer­ica in the 1930s. Over forty wood­cuts and paint­ings will be on dis­play dat­ing from the 1930s to 1960s and include views of Chicago land­marks, his­tor­i­cal Amer­i­can fig­ures, Czecho­slo­va­kian land­scapes and impres­sions of Orlando, Florida, where he retired in 1958.

The Albin Polasek Museum 01.09.2010 - 14.11.2010

Website : City of Winter Park


U.S.A. - ROCKFORD-ILLINOIS - Spaces Within

Imagery relating to the architecture of interior spaces will be explored through the work of fellow Chicago artists Richard Hull and Nicholas Sistler. Each artist presents unique imagery composed of intimate spaces, angles, planes, bold perspectives and exuberant color. The principles of geometry will be further evident in a selection of works from RAM's permanent collection including paintings by Gordon Dorn and Michiko Itatani. A selection of bronzes from the late Chicago artist David Kotker (1961-2005) will add a sculptural element to the exhibition.

Rockford Art Museum 2010.09.10 - 2011.01.09

Website : City of Rockford


U.S.A. - SARASOTA-FLORIDA - Splendid Treasures of the Turkomen Tribes from Central Asia

The Central Asian landscape can be bleak and harsh, but the lives of the Turkomen tribes who inhabit the region are enriched by their skill at creating sophisticated and elaborate jewelry. Splendid Treasures of Turkomen Tribes, an exhibition of recent gifts to the Museum, features objects created in the late 19th to early 20th centuries, focusing on the important milestones and rhythms of daily life of these semi-nomadic people. With social and economic needs to move with the seasons, wealth had to be portable, and so jewelry came to play an important role. These objects provide a unique window into the extraordinary decorative and spiritual elements of these tribes and their pastoral lifestyles. The jewelry, fashioned by Turkomen artists, was created from precious metals such as silver and gold and featured intricate forms and patterns ornamented with semi-precious stones. Reflecting tribal identity and their beliefs regarding time and space and heaven and earth, the geometric shapes and elaborate curved forms capture the cosmos, express desires for safety and continuity, and echo the relationship of the tribal people to their unique physical and cultural environment.

The John and Mable Ringling Museum of Art 24.04.2010 - 20.01.2011

Website :Ringling Museum of Art

Website : Sarasota

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U.S.A. - SEATTLE-WASHINGTON - James Ensor and Georg Baselitz: Graphic Works

European artists James Ensor and Georg Baselitz worked during very different time periods, came from very different places and never knew each other. Their shared interests in the grotesque, political agitation, the suffering of war and the figure, however, bind them in unexpected ways.
Bringing together more than 50 prints from private collections, this installation pits late 19th-century Belgian artist James Ensor and contemporary German artist Georg Baselitz in an unlikely and provocative dialogue that provides a unique insight into the work of both artists. At the same time, the exhibition highlights the artists’ great skills in etching and other printmaking techniques and demonstrates the strong relevance their work sustains in our present moment in history.

Seattle Art Museum 10.04.2010 - 24.10.2010

Website : Seattle Art Museum

Website : Seattle

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U.S.A. - WASHINGTON.DC - American Modernism: The Shein Collection

This exhibition explores the advent of modernism a century ago through twenty important paintings, sculptures, and drawings by the first-generation American avant-garde. Among the artists represented are Patrick Henry Bruce, Stuart Davis, Charles Demuth, Arthur Dove, Marcel Duchamp, Marsden Hartley, Stanton Macdonald-Wright, John Marin, Georgia O'Keeffe, Man Ray, Morton Schamberg, Charles Sheeler, Joseph Stella, John Storrs, and Max Weber. All works are from the Edward and Deborah Shein Collection, which is distinguished by its remarkable quality and rigorous focus on early American modernism.

National Gallery of Art 16.05.2010 - 02.01.2011

Website : National Gallery of Art

Website : Washington.DC

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U.S.A. - BALTIMORE-MARYLAND - Great Illustrations: Drawings and Books from The Walters’ Collection

Through a selection of drawings and books, this exhibition explores the variety of ways in which 19th-century artists approached the idea of illustration. It features seldom-seen works from the permanent collection, including drawings for Gustave Dore's Holy Bible (1866) and Paul Gavarni’s lively sketches of the London underworld. French, American and British artists' responses to the works of William Shakespeare, Charles Dickens and Jonathan Swift join in the volumes in which they were published.With the birth of lithography and the widespread use of steel and wood engraving, the 19th century saw an explosion in the art of illustration. Illustrated newspapers, magazines and literature, aimed at both adults and children, became more widely available than ever before. For the first time the very latest images by the most fashionable artists could be owend and enjoyed by people at all levels of society. This mass circulation of images also encouraged collecltors to place new value on exceptional and personal expressions, seeking out illustrated autographs and assembling albums of sketches. The 15 works in this exhibition reveal both the popular art of published illustrations and the unique images sought by collectors, which brought literature and imags together in fresh and illuminating ways.

The Walters Art Museum 31.07.2010 - 10.10.2010

Website : City of Baltimore

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For British sculptor Henry Moore (1898-1986) drawing was both ancillary to his three-dimensional body of work and autonomous from it. This significant exhibition, organized by Hauser & Wirth in collaboration with the Moore family, highlights Moore's prodigious talent as a draftsman, featuring work produced over six decades.
Moore never abandoned the life-drawing practice he had initiated as a student in Paris in the 1920s. If Moore's sculptural subjects (his reclining figures, for example) furnished him with constraints in which to work, drawing offered him opportunities to refine his "ideas for sculpture" but, just as importantly, to digress from them.
On paper, Moore worked in an exceptionally diverse variety of media ranging from chalk and crayon to pen and ink, often all in the same drawing; in every case he was as attuned to his materials as he was in his sculpture-indeed, the intense physicality of his drawings could be deemed sculptural.
This exhibition, supported in part by Hauser & Wirth, presents spectacular selection of diverse works on paper by one of the twentieth century's most celebrated artists.

Bowdoin College Museum of Art 22.07.2010 - 03.10.2010

Website :Bowdoin College Museum of Art

Website : Town of Brunswick

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Landscapes from the Age of Impressionism is a captivating exhibition of 38 paintings, including many of the finest examples of mid nineteenth- through early twentieth-century French and American landscape in the Brooklyn Museum's collection. Ranging in date from the 1850s to the 1920s, the works presented offer a broad survey of landscape painting as practiced by such leading French artists as Gustave Courbet and Claude Monet and their most significant American followers including Frederick Childe Hassam and John Singer Sargent.
Landscapes from the Age of Impressionism has been organized by the Brooklyn Museum. In Omaha, major sponsors of the exhibition are Douglas County, Energy Systems, First National Bank, Mutual of Omaha, Omaha Steaks, Peter Kiewit Sons, Robert H. Storz Foundation, and Valmont. Contributing sponsors are Lenore Polack, Deloitte., and Lincoln Financial Group. Supporting sponsors are Fran and Rich Juro, SilverStone Group, and Slosburg Company.

Joslyn Art Museum 05.06.2010 - 12.09.2010

Website : City of Omaha



The Aspen Art Museum’s third Jane and Marc Nathanson Distinguished Artist in Residence is New York-based artist Marlo Pascual. Pascual combines glamorous photographs of women from the 1940s and 50s with found objects and light sources to create brooding, psychologically charged work. Pascual’s elegant installations and theatrical lighting—varying from old lamps and candlelight to fluorescents and colored theater gels—animate the women in the photographs, enacting the dramatic potential frozen in the still frames of a bygone era. The hope and allure of Hollywood’s past is transmuted into melancholy, reflecting the unfulfilled dreams of countless anonymous actresses and models. This will be Marlo Pascual’s first one-person museum exhibition.
The AAM Jane and Marc Nathanson Distinguished Artist in Residence program furthers the museum’s goal of engaging the larger community with contemporary art. Residencies can last between forty-eight hours and two months, resulting in a new body of work exhibited at the AAM.
Marlo Pascual was born in 1972 in Nashville, Tennessee, and currently lives in Brooklyn, New York. She has had one person exhibitions at the Swiss Institute, New York, and Casey Kaplan, New York. Her work has been included in group exhibitions at the Henry Art Gallery, University of Washington, Seattle; Sculpture Center, New York; White Columns, New York; and Brattleboro Museum and Art Center, Brattleboro, Vermont. Her work is included in the permanent collections of the Dallas Museum of Art; Seattle Art Museum; Solomon R. Guggenheim Museum, New York; and Walker Art Center, Minneapolis.



Hands in Harmony is a photographic exploration of the makers of Appalachian folk music and traditional handcrafts by photographer Tim Barnwell. The exhibition includes approximately 30 black-and-white photographic portraits of well-known figures in the Appalachian music and crafts communities and images of some who are not as well known.
The images are drawn from Barnwell's three decades in photography. They speak to the beauty and uniqueness of handmade objects and their creators as well as the musical heritage carried on by the traditional musicians of the region.
Barnwell (1955 - ) was born in Franklin, North Carolina. He started taking photographs at age 10, when he bought a camera from his uncle. He served as Executive Director of the Appalachian Photographic Workshops based in Asheville, NC from 1980 to 1988. Barnwell's background is photojournalism: he has had over 60 articles and 1,000 photographs published to date.
Barnwell's work has been widely exhibited and is in the permanent collections of the Metropolitan Museum of Art, Asheville Art Museum, the New Orleans Museum of Art, the Greenville County Museum of Art, Western Carolina University, Mars Hill College and R.J. Reynolds Industries. His book, Hands in Harmony: Traditional Crafts and Music in Appalachia was published by W.W. Norton Books in fall 2009 and is available in the Museum Shop.

Asheville Art Museum 14.05.2010 - 10.10.2010

Website : Asheville Art Museum

Website : Asheville

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Denver artist Tony Ortega has long been renowned for chronicling the richness of the Hispanic experience. He utilizes his signature style of bold coloration, simplified forms, anonymous figures and cultural icons to explore community life, family, urban and rural sectors, youth culture, popular culture and cultural politics. Paramount in his artistic intent is the discovery of the relationship between humans and their circumstances. In a country where demographics are rapidly changing, issues of multiculturalism and hybridity are tantamount. Much of this exhibition deals with those who have crossed and continue to cross the borders, to secure a better life, obtain work, and to ensure the welfare and safety of their families. To Ortega the border is porous, with layered implications.
Through monotypes, serigraphs, charcoal drawings and a mural installation we get a glimpse of the melding of histories, traditions, culture and politics of our ever expanding and diversified population. Additionally, Ortega will create murals in collaboration with students from “I Have A Dream” Foundation of Boulder County and The Family Learning Center. Following their display at BMoCA during the exhibition, the murals will be on view at the Boulder Public Library and Denver Public Library. This exhibition is organized in connection with the Denver Biennial of the Americas 2010. Additional support comes from the Boulder Arts Commission and the Kevin Luff Family Fund.

Boulder Museum of Contemporary Art 11.06.2010 - 11.09.2010

Website : BMCA

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Acclaimed Maine photographer Judith Ellis Glickman has worked on both sides of the camera: as a photographer and as the subject of her father’s photographs. UMMA is pleased to feature a selection of over 40 black and white photographs from Glickman’s private collection. Major photographic luminaries will be showcased, including Edward Steichen, Margaret Bourke-White, Edward Weston, Dorothea Lange, William Klein and Jerry Uelsmann. In addition, the exhibition includes works by photographers with connections to Maine such as George Daniell, Melonie Bennett, Todd Webb and Paul Caponigro. Photographs include seductive still-lifes, transcendent landscapes and portraits that reflect Glickman’s unique vision, broad interests and background as a fine art photographer.

University of Maine Museum of Art 25.06.2010 - 18.09.2010

Website : UMMA

Website : City of Bangor

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Dutch Utopia: American Artists in Holland, 1880-1914 is organized by the Telfair Museum of Art, Savannah, Georgia, in association with the Singer Laren Museum, the Netherlands. This exhibition is made possible through the generous support of the Terra Foundation for American Art and the Henry Luce Foundation, with major additional support provided by the Telfair Academy Guild and the Consulate General of the Kingdom of the Netherlands.

Grand Rapids Art Museum 21.05.2010 - 15.08.2010

Website : Grand Rapids Art Museum

Website : Grand Rapids

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Featuring approximately eighty seldom-seen paintings, sculptures, prints, photographs, drawings, and films, this exhibition juxtaposes the work from artists of the Americas, providing a fresh and innovative look at this dynamic and cosmopolitan period of modernism.
Constructive Spirit features several works by artists represented in the Amon Carter Museum’s permanent collection, such as Alexander Calder, Stuart Davis, and Louise Nevelson. Other artists in the exhibition include Joaquín Torres-García, Jesús Rafael Soto, and Arshile Gorky. The exhibition is a first-time chance for Carter patrons to understand the conceptual and aesthetic parallels that linked artists across the Americas.
This exhibition was organized by the Newark Museum with major support by the Henry Luce Foundation, the National Endowment for the Arts, Johnson & Johnson, and the Consulate General of Brazil in New York.
The local presentation of this exhibition is supported in part by the Arts Council of Fort Worth and Tarrant County and The Eugene McDermott Foundation. Promotional support is provided by Star-Telegram, WFAA, and American Airlines.

Amon Carter Museum 26.06.2010 - 05.09.2010

Website : Fort Worth

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Icons of Costume: Hollywood's Golden Era and Beyond features the fashions and accessories worn by luminous film stars such as Elizabeth Taylor, Errol Flynn, Audrey Hepburn, Warren Beatty, Barbara Stanwyck, Gene Kelly, Loretta Young, Arnold Schwarzenegger and many others. More than 50 costumes and objects present the still-influential designs of celebrated fashion designers, from the 1940s through the 1990s, including Edith Head, Adrian, Walter Plunkett, Orry-Kelly, Bob Mackie and others of legendary renown. Drawn, in part, from numerous films that were nominated for an Academy Award for Best Costume, six of them took the Oscar home. Also included are rare publicity stills, lobby cards, jewelry, and film props, as well as an exciting interactive component that lets visitors experience the sights and sounds of the movie studio as well as be a star in their own film scene. Rounding out the exhibition is an hour-long video of 35 memorable clips from films with a distinct Bucks County connection, such as Casablanca, Lassie Come Home, On the Waterfront, West Side Story, The Buddy Holly Story, and A Star is Born.
According to the exhibition's curator, Erika Jaeger-Smith, "These costumes are remarkable survivals, and their impact on today's fashions is immediately recognizable. The unique aspect of this exhibition is its concentration on the early years in Hollywood."

James A. Michener Art Museum 17.04.2010 - 05.09.2010

Website : Doylestown



Drawn from the Berkeley Art Museum’s extensive collection of works by the influential painter and teacher Hans Hofmann (1880–1966), Nature into Action is inspired by an article by the prominent art critic Harold Rosenberg, written on the occasion of Hofmann’s retrospective exhibition at the Whitney Museum of American Art in 1957. “No American artist,” Rosenberg wrote, “can mount a show of greater coherent variety than Hans Hofmann. Fed by his tireless consciousness, constantly growing more concrete and inwardly responsive, his originality suggests no limits.” Rosenberg identified the importance of nature as an enduring source in Hofmann’s work, importantly leading to automatism—noting that Hofmann was one of the first American painters to practice this method—and on to action as the method of his creation.
The year after Rosenberg’s article was published, Hofmann would close his famed schools, after four decades of teaching in Europe and the United States, to devote himself full-time to his own studio practice. His artistic production and experimentation, which had been prodigious throughout his years of teaching, blossomed in full from the later 1950s until his death in 1966.

Berkeley Art Museum 03.02.2010 - 29.08.2010

Website :BAM/PFA

Website : Berkeley

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Some Alaska Native art speaks of cultural heritage in a whisper; some calls out in a loud, clear voice. But on some level, all the art in the (Re)Emergence exhibition celebrates what it means to be Native today.
(Re)Emergence: Contemporary Native Art and Design from the Anchorage Museum Collection is on view through Dec. 31. The exhibition features nearly 50 art works created during the past five decades by Alaska Native artists such as James Robert Schoppert, Alvin Amason and Preston Singletary.
The exhibition is flush with examples of Native artists transcending traditional media while embracing the past and initiating cultural renewal. For instance, Lawrence Beck’s metallic mask is sculpted from a hubcap, bicycle handle bars and dentist mirrors. Or there is Sonya Kelliher-Combs’ Idiot Strings IV, a thoroughly modern, ceiling-mounted installation fashioned from natural materials such as walrus stomach and rawhide.
Situated adjacent to the artifacts in the Smithsonian Arctic Studies Center, this contemporary art exhibition provides profound perspective on change and continuity in Alaska Native art.

Anchorage Museum 22.05.2010 - 31.12.2010

Website :Anchorage Museum

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The Fenimore Art Museum is proud to present the first museum exhibition devoted exclusively to portraits of women by American artist John Singer Sargent (1856-1925). "John Singer Sargent: Portraits in Praise of Women breaks new ground in several ways," commented Dr. Paul S. D'Ambrosio, Vice President and Chief Curator and exhibition organizer. "It is the first exhibition to directly compare the varied attributes of the women Sargent portrayed and the visual strategies employed by the artist to communicate those characteristics. Lastly, paired with the Museum’s new exhibition Empire Waists, Bustles and Lace, the first exhibition of the Museum’s collection of historic costumes, the Sargent exhibition will be the first to allow visitors to see and experience broader historical context of women’s fashion." Included will be drawings of Madame Gautreau, the mysterious subject of Sargent's famous portrait Madame X.

Fenimore Art Museum 29.05.2010 - 31.12.2010

Website : Village of Cooperstown

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The phrase “medieval glass” evokes images of stained glass windows. But there is another world of medieval glass: objects made for daily use. This is the first exhibition in the United States devoted to glass made for the use of popes, princes, and peasants in the Middle Ages.
The Middle Ages lasted from the fall of the Roman Empire in the fifth century AD to the rise of the Renaissance in the 15th century. During this period, Europe was transformed: from a complex society administered from cities to scattered rural communities and back again; from an empire-wide economy to small-scale exchange systems that over the centuries evolved into international networks of trade; and from a world that abandoned advanced technology, then regrouped and built the architectural marvels of the Renaissance.
Glassmaking, too, was transformed. After the fall of Rome, all but the simplest techniques were forgotten. But, over the centuries, the quality, quantity, and repertoire of glassware increased. In the later Middle Ages, local products were joined by luxurious glasses imported from the Islamic world and, by the 15th century, the stage was set for the golden age of Venetian glassmaking.

Corning Museum of Glass 15.05.2010 - 02.01.2011

Website : Corning



Done in conjunction with the exhibition Hair Tactics and referencing Victorian hair jewelry, sisters Janelle and Lisa Iglesias have adorned the Jersey City Museum's upper atrium gallery with the large-scale installation, Hairwork. The Hermanas Iglesias have been using hair in a variety of ways since 2005, making wall installations that combine real and synthetic hair and that sometimes also include gold and silver chains and earrings associated with urban styles. The sisters have also worked in various other media, including performance, installation, sculpture, video, painting and drawing.

Jersey City Museum 05.02.2010 - 22.08.2010

Website : Jersey City



Body Unbound: Contemporary Couture from the IMA’s Collection, on view from April 10, 2010 to January 30, 2011, will examine the many ways designers have manipulated, transformed and liberated the female figure. The exhibition will feature groundbreaking designs by Rudi Gernreich, Issey Miyake, Junya Watanabe, Thierry Mugler, Jean-Paul Gaultier, Gianni Versace and other avant-garde fashion designers. Body Unbound will explore how these designers used modern construction and unexpected materials to contort, conceal, reveal or mock their wearers.
Fashions by visionaries Rudi Gernreich and Jean-Paul Gaultier illustrate how some designers played with the notions of shape and construction, challenging mid-century ideals of form. Examples by Issey Miyake and Junya Watanabe, based on the theories of androgyny and “universal beauty,” demonstrate how Japanese designers working in Paris in the 1980s and 1990s promoted an alternate way of styling the body, concealing its contours and silhouette.Pieces by Thierry Mugler, Gianni Versace and Franco Moschino display how designers utilized innovative textiles and subversive design elements to toy with the concepts of seduction and femininity.
Featuring a range of works, many of which are recent additions to the IMA’s fashion arts collection, Body Unbound will demonstrate how some of the most influential designers of the 20th century helped shape the direction of avant-garde fashion. Organized by the Indianapolis Museum of Art, Body Unbound: Contemporary Couture from the IMA’s Collection will be on view in the Paul Textile and Fashion Arts galleries. The IMA will be its sole venue.

Indianapolis Museum of Art 10.04.2010 - 30.01.2011

Website : IMA

Website : City of Indianapolis

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Wrapped in Silk and Gold presents for the first time the Museum's recently acquired collection of deluxe kimono, haori, obi, and other traditional Japanese women's garments. Dating from the 1930s through the end of the 20th century, these garments trace changing fashions as the function of kimono changed over the course of time, as well as the arc of a woman's lifetime from youth to maturity. The works in the exhibition are the generous gift of the Yamaguchi family, and were made for and worn by a mother and daughter living in Tokyo.
This exhibition is made possible in part by the University of Michigan's Center for Japanese Studies, the Michigan Council for Arts and Cultural Affairs, the Friends of the University of Michigan Museum of Art, the Charles H. & Katharine C. Sawyer Endowment Fund, The Japan Foundation, New York, the CEW Frances and Sydney Lewis Visiting Leaders Fund, and the Japan Business Society of Detroit Foundation.

University of Michigan Museum of Art 01.05.2010 - 25.07.2010

Website : UMMA

Website : City of Ann Arbor

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Beginning in the 1960s, New York couple Dorothy and Herbert Vogel spent 45 years collecting contemporary art including paintings, sculpture, and works in many other media. Over that time, their collection grew to nearly 5,000 works, and reflected the Vogel's close relationships with the artists whose work they acquired. In 1992, the Vogels pledged more than 2,000 works to the National Gallery of Art in Washington, DC. Staff at the National Gallery then worked with them to make plans for the further dissemination of their collection. In 2008, the Fifty Works for Fifty States initiative was announced, giving 50 works of art to one institution in each of the 50 states. The Birmingham Museum of Art received the gift for Alabama, owing to its "importance as an educational and cultural institution in our region." This exhibition features all 50 of the donated works by an international roster of well- and lesser-known artists. This is a great opportunity to see the work of a number of contemporary artists whose work has never before been exhibited in the Southeast.

Birmingham Museum of Art 14.03.2010 - 06.06.2010

Website : Birmingham Museum of Art

Website : City of Birmingham

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For John and Joyce Price, collecting art is a passion, a unique personal way of entering into a rich and meaningful life experience. Eyes for Glass features three different areas of their collecting interests, the majority of which are contemporary works in glass. As a nine year old child John saw the 1952 film Moulin Rouge, featuring the life of Henri de Toulouse-Lautrec, and as a result decided that, when an adult, he would collect the art of Lautrec.
In the mid 1970’s, while continuing to acquire Lautrec’s art and memorabilia, the Prices discovered the world of contemporary Inuit artists, some of whom utilized similar printing techniques as Lautrec. The Inuit and other Northwest tribal art became a great passion as reflected in the pieces by such leading figures as Kenojuak Ashevak, Joe David and Preston Singletary, among others. The Native American artwork presented in the collection is alive with relationships among generations, individuals and cultures. Each work enunciates the power of cultural heritage and the many ways in which these artists are shaping a new language of American art.
By the late 1970's, John learned of the existence of Western Washington’s famed Pilchuck Glass School. Impressed by the ever increasing innovations and beauty of national and international contemporary studio glass artists studying and teaching there, the Prices avidly began collecting glass art - whether it be blown, cast, cold-worked, sand-cast, engraved, fused, slumped, carved, lamp-worked, painted or in combination with non-glass materials. Artists included, but not limited to, are Chihuly, Fritz Dreisbach, Kyohei Fujita, Walt Lieberman, Dante Marioni, William Morris, Cappy Thompson and Dick Weiss. More than the art, it is the individual artists or teams who make the art and the galleries, museums and organizations who supporting their efforts, that have become so important to the Prices. The act of collecting has allowed them to establish not only a dialogue with artists, but also to grow into lifelong friendships. At a time when the world is fragmented and chaotic, the Prices have sought to share the objects from their collection that speak of balance, beauty and harmony.
Artists included in Eyes for Glass are: Sean Albert, Kenojuak Ashevak, Jane Beebe, Lisbeth Biger, Sonja Blomdahl, Curtiss Brock, Frederick Carder, Dale Chihuly, Joe David, Einar and Jamex de la Torre, Laura de Santillana, Steven DeVries, Fritz Dreisbach, Tom Farbanish, Gisele et Regis Fievet, Fabio Fornasier, Kyohei Fujita, Saburo Funakoshi, Lewis Tamihana Gardiner, Ann Gardner, Mitchell Gaudet, Katherine Gray, Gregory Grenon, Susan Holland Reed, James Houston, Clarissa Rizal, Ulrica Hydman-Vallien, Ryosuke Kinoshita, Joey Kirkpatrick, Sabrina Knowles, David Leight, Walter Lieberman, Flora Mace, Joanna Manousis, Dante Marioni, Paul Marioni, Massimo Micheluzzi, Ohotaq Mikkigak, Yasuko Miyazaki, Tobias Mohl, Benjamin Moore, William Morris, Mel Munsen, Felice Nittolo, Marvin Oliver, Allan Packer, Jackie Pancari, Danny Perkins, Shaun Peterson, Susan Point, Annie Pootoogook, Jill Reynolds, Richard Royal, Ginny Ruffner, Judith Schaechter, Preston Singletary, David Schwartz, Therman Statom, Susan Stinsmuehlen-Amend, Lino Tagliapietra, Cappy Thompson, Cesare Toffolo Rossit, Henri de Toulouse-Lautrec, Veruska Vagen, Bertil Vallien, Laura Ward, Dick Weiss, Sally Worcester, William Worcester, Hiroshi Yamano, Mark Zirpel and Toots Zynsky.

Bellevue Arts Museum 18.03.2010 - 08.08.2010

Website : City of Bellevue

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