U.S.A. - CITY OF NEW YORK-NEW YORK - Hopper Drawing - 23.05.2013-06.10.2013


Edward Hopper (1882–1967), Study for Nighthawks, 1941 or 1942. Fabricated chalk and charcoal on paper; 11 1/8 × 15 in. (28.3 × 38.1 cm). Whitney Museum of American Art, New York; purchase and gift of Josephine N. Hopper by exchange  2011.65

Hopper Drawing is the first major museum exhibition to focus on the drawings and creative process of Edward Hopper (1882–1967). More than anything else, Hopper’s drawings reveal the continually evolving relationship between observation and invention in the artist’s work, and his abiding interest in the spaces and motifs—the street, the movie theatre, the office, the bedroom, the road—that he would return to throughout his career as an artist. This exhibition showcases the Whitney’s unparalleled collection of Hopper’s work, which includes over 2,500 drawings bequeathed to the museum by his widow Josephine Hopper, many of which have never before been exhibited or researched. The exhibition surveys Hopper’s significant and underappreciated achievements as a draftsman, and pairs many of his greatest oil paintings, including Early Sunday Morning (1930), New York Movie (1939), Office at Night (1940), and Nighthawks (1942), with their preparatory drawings and related works. This exhibition also features groundbreaking archival research into the buildings, spaces and urban environments that inspired his work.
Hopper Drawing is organized by Carter E. Foster, Steven and Ann Ames Curator of Drawing.
Whitney Museum of American Art  23.05.2013 - 06.10.2013


U.S.A. - MANCHESTER-NEW HAMPSHIRE - Visual Dispatches from the Vietnam War - 03.08.2013-11.11.2013


Larry Burrows, "Farley Shouts..." Yankee Papa 13, March 31, 1965, 1965 (printed later), gelatin silver print, 20 x16 in. Larry Burrows, LIFE © Time Inc, courtesy Larry Burrows Collection.

Larry Burrows, Ammunition Airlift, Operation Pegasus, April 1968, 1968 (printed later), dye-transfer print, 20 1/2 x 29 3/4 in. Larry Burrows, LIFE © Time Inc, courtesy Larry Burrows Collection.
Don McCullin, Shell-Shocked Marine, Hue Vietnam, 1968 (printed later), gelatin silver print, 24 x 20 in. © Don McCullin, courtesy of Hamiltons Gallery, London
This exhibition presents 35 iconic photographs that brought the Vietnam War to the dinner table of every American household. Photographers Horst Faas, Henri Huet, Eddie Adams, Larry Burrows and Don McCullin provided the definitive visual record for one the most defining events in American 20th century history. They laid bare the horrors of combat with directness never before seen, causing many to question the morality of war. That these images influenced public opinion of the Vietnam War and hastened its end is a testament to the visual power and authority of the medium and the courage and artistry of their makers, many of whom died on the battlefield.
Currier Museum of Art   03.08.2013 - 11.11.2013



U.S.A. - LOS ANGELES-CALIFORNIA - James Turrell: A Retrospective - 26.05.2013-06.04.2014


James Turrell: A Retrospective explores nearly fifty years in the career of James Turrell (b. 1943, Los Angeles), a key artist in the Southern California Light and Space movement of the 1960s and 70s. The exhibition includes early geometric light projections, prints and drawings, installations exploring sensory deprivation and seemingly unmodulated fields of colored light, and recent two-dimensional work with holograms. One section is devoted to the Turrell masterwork in process, Roden Crater, a site-specific intervention into the landscape just outside Flagstaff, Arizona, presented through models, plans, photographs, and films.

LACMA  26.05.2013 - 06.04.2014

Website : LACMA

Website : Los Angeles

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U.S.A. - MADISON-WISCONSIN - Los Grandes del Arte Moderno Mexicano - 07.06.2013-01.06.2014


Frida Kahlo, Still Life: Pitahayas, 1938. Oil on aluminum, 10 x 14 inches / 17 x 20¾ inches (frame). Collection of the Madison Museum of Contemporary Art. Bequest of Rudolph and Louise Langer. © 2013 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York.

Los Grandes del Arte Moderno Mexicano (Masters of Mexican Modern Art) showcases the artists who, more than any others, defined Mexican Modernism in the 1920s and 1930s: Manuel Alvarez Bravo, Frida Kahlo, Leopoldo Méndez, José Clemente Orozco, Diego Rivera, David Siqueiros, and Rufino Tamayo. The paintings, prints, and photographs that comprise the exhibition are drawn from the permanent collection of the Madison Museum of Contemporary Art, which is particularly strong in twentieth-century Mexican art. In presenting Los Grandes del Arte Moderno Mexicano, the museum places these works in a world context for acknowledgment and celebration. The exhibition will be on view in MMoCA’s Henry Street Gallery from June 7, 2013, to June 2014.

Following the Mexican Revolution (1910–1920), modern art enjoyed a vital period of artistic achievement in a newly egalitarian society. Mexico City was the movement’s hub and the city played host to an international gathering of artists. Although their presence created a cosmopolitan exuberance comparable to that generated by the international avant-garde in Paris, it was the Mexican painters, muralists, photographers, poets, and printmakers who dominated the art scene. Modern art in Europe, rejecting the art of the past, was itself a revolutionary model. Mexican artists who wished to depart from the academic tradition of their colonial history enlisted modern art as a vehicle for recognizing and honoring the ideals of the Revolution.

Similar to modernist movements that arose between World Wars I and II in Germany, the Soviet
Union, and the United States, Mexican artists sought a realist art that championed social reform and national identity. 

This new artistic movement was nationalistic but tempered by Expressionism and Surrealism, which were among the most important avant-garde directions in Europe. Mexican Modernism was also characterized by a fresh expressivness and enriched by references to indigenous folk art and Pre-Columbian art.
A clear example is Leopoldo Méndez’s El Rebozo de Soledad (The Shawl of Solitude), from 1952, a woodcut by an artist esteemed as the greatest Mexican printmaker of the twentieth century. Méndez’s social agenda was to show compassion for the indigenous peoples of Mexico, but the slashes of white and emotional intensity of this print ally it to the sensibilities of expressionist movements abroad

Generous support for Los Grandes del Arte Moderno Mexicano, and all exhibitions in the Henry Street Gallery of the Madison Museum of Contemporary Art, has been provided by an endowment established by the Pleasant T. Rowland Foundation. Related education programming is made possible through a major grant from the Madison Community Foundation.

MMoCA   07.06.2013 - 01.06.2014

Website : MMoCA

Website : Madison

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