Art Knowledge News - Keeping You in Touch with the World of Art... |
- The Pompidou Center In Paris Welcomes Our Editor ~ Europe’s Premier Collection Of Modern & Contemporary Art
- Major Painting by American Artist Philip Evergood is Acquired by VMFA
- AMAM Exhibits Modern Landscapes from Collection
- Chris Stain solos at Carmichael Gallery of Contemporary Art
- Georgia Museum of Art to host Everett Gee Jackson Retrospective
- 'Looking and Listening in 19th-Century France' at the Smart Museum of Art
- Peter Fischli & David Weiss / Flowers & Questions at Tate Modern
- The Art Gallery of New South Wales presents "Monet and the Impressionists"
- Brazilian Cildo Meireles Major Survey coming to Museum of Fine Arts, Houston
- The Film Forum to Premiere Chiara Clemente's Portrait of 5 NYC Women Artists
- Yayoi Kusama ~ "I Want to Live Forever" ~ Her Japanese Contemporary Art in Milan
- Norton Simon Museum announces Loan of Painting by Ingres from the Frick Collection
- 'Masters & Pupils' by Dr Gert-Rudolf Flick
- Art Knowledge News Presents "This Week In Review"
| Posted: 11 Feb 2011 08:49 PM PST  The "Centre National d'Art et de Culture Georges Pompidou" (Pompidou Center) was the brainchild of President Georges Pompidou who wanted to create an original cultural institution in the heart of Paris, completely focused on modern and contemporary creations, where the visual arts would rub shoulders with theatre, music, cinema, literature and the spoken word. Housed in the centre of Paris, the Pompidou Center first opened its doors to the public in 1977. The competition to design the bulding was won by two young architects, the Italian Renzo Piano and British designer Richard Rogers (both of whom went on to design multiple, stunning buildings around the world and, both of whom have been recognized with Pritzker Prizes). Together, they had proposed a constraint-free architecture in the spirit of the 1960's. The supporting structure and movement and flow systems, such as the escalators, were relegated to the outside of the building, to free up interior space for museum and activity areas. Color-coded ducts are attached to the building's west façade, as a kind of wrapping for the structure, blue for air, green for fluids, yellow for electricity cables and red for movement and flow. The transparency of the west main façade allows people to see what is going on inside the centre from the piazza, a vast esplanade that the architects conceived of as an area of continuity, linking the city and the centre. Not without controversy, the New York Times noted that the design of the Centre "turned the architecture world upside down" and that "Mr. Rogers earned a reputation as a high-tech iconoclast with the completion of the 1977 Pompidou Centre, with its exposed skeleton of brightly colored tubes for mechanical systems." The Pritzker jury said the Pompidou "revolutionized museums, transforming what had once been elite monuments into popular places of social and cultural exchange, woven into the heart of the city." The centre quickly fell victim to the unexpected scale of its success. With some seven million visitors per year (far more than ever expected or planned for), the building aged prematurely and had to close in October 1997 for 2 + years. During this time 70,000 m² were renovated and 8,000 m² added, mainly to display the growing collections. When it reopened on 1 January 2000, the centre was an immediate, overwhelming public success again, testifying to the public's attachment to the museum and its spirit. In a unique location under one roof, the Centre Pompidou houses one of the most important museums in the world, featuring a leading collection of modern and contemporary art in Europe, a vast public reference library with facilities for over 2,000 readers, ample documentation on 20th century art, a cinema and performance halls, a music research institute, educational activity areas, museum shops, a restaurant and a café. Unswerving in its interdisciplinary vocation and its core mission - to spread knowledge about all creative works from the 20th century and those heralding the new millennium - each year the Centre Pompidou holds thirty or so public exhibitions plus international events - cinema and documentary screenings, conferences and symposiums, concerts, dance and educational activities - many of which go on to other venues in both France and abroad. Visit the museum's website at http://www.centrepompidou.fr  The National Museum of Modern Art (MNAM) existed before the Centre Georges Pompidou, and the Pompidou inherited the collections of the MNAM. Between the world wars, Paris was at the eye of the storm, artists including Picasso, Braque, Matisse, Chagall, and Brancusi were producing stunning new art, but there was nowhere in Paris dedicated to collecting or displaying it. The collection continued to grow, thanks to donations and acquisitions, and is now one of the largest collections of modern and contemporary art in the world with over 53,000 works, covering all areas of artistic endeavor including painting, sculpture, architecture, photography, film, new media and design. Even with such vast display spaces, only a fragment of the collection can ever be displayed at any time and the collection is rotated every few years. The 5th floor collection of 20th century modern art was rehung in 2010 with major changes made to the 1945-1960 section. Two whole floors of the Pompidou Center are dedicated to the permanent collection, the fifth floor showing modern art from 1905 to 1960, and the fourth floor exhibiting contemporary art since 1960. On each level, displays dedicated to specific artists alternate with themed selections of work. The fifth floor collection includes works by all the early 20th century masters, including Pablo Picasso, Max Ernst, Paul Klee, Amadeo Modigliani, Georges Braque, Alberto Giacometti, Jackson Pollock, Vassily Kandinsky, Salvador Dali, Marcel Duchamp, Robert Delaunay, Henri Matisse, André Masson, Marc Chagall, Vieira da Silva, René Magritte, Fred Mitchell, Jean Miro, Jean Philippe Arthur Dubuffet, Raoul Dufy, Constantin Brâncusi, Theo van Doesburg, Marcel Duchamp and Josef Albers. These masterpieces from the collection can be seen now in various galleries in the Pompidou Center. More contemporary works on the fourth floor include, Andy Warhol, Francis Alys, Tony Oursler, Mike Kelley, Niki de Saint-Phalle (who also designed the "Stravinsky Fountain" outside the museum), Bruce Nauman, Giuseppe Penone, Boltanski and Ugo Rondinone. The space for New Media offers a choice of over 950 videos, interactive CDs or audio works of noted artists.  Temporary exhibitions, whether using artworks from the permanent collection which would otherwise not be displayed, or using loan pieces from other institutions, play a key role in the success of the Pompidou Centre. Major restrospectives and themed exhibitions have featured since it first opened, and have proven extremely popular. Until March 21st, 2011, a new exhibition, "Mondrian and De Stijl" studies the interwoven progress of the De Stijl (neoplasticism) artistic movement and Piet Mondrian, its leading figure. This important retrospective is the first in France to shed light on this key moment in the history of 20th century art. The De Stijl, literally translated as "the style" was an art movement founded by architect by architect and painter Theo van Deosburg in 1917 in Leiden. Other founders of the group included the sculptor Vantongerloo, architect JJP Oud, designer Rietveld, and the painter Mondrian. The group was intent on finding a new aesthetic of art and principles. The movement spread through town planning, fine arts, applied arts and philosophy. The De Stijl movement also published a magazine between 1917 and 1932 and provided and overview of the movement's works and theories. In the magazine Mondrian comments that the "pure plastic vision should build a new society, in the same way that in art it has built a new plasticism". Artists of the De Stijl movement saw art as a collective approach, and as a language that went beyond culture, geography and politics. The artwork created by the De Stijl movement artists gave off a depersonalized, anonymous feel. It was felt that the artist's personality should take a back seat in the artwork. The key to creating art within the movement's views was to follow the theory of scaling down formal components of art – using only primary colors and straight lines. A painting was created from the features on the surface and many De Stijl paintings convey elements of nature – expressed abstractly. Mondrian followed the principles of new-plasticism whereas Van Doesburg attempted to broaden the movement's research projects in architechture – he wanted to recreate the entire living space within a home. De Stijl paintings usually represented parts of larger spaces like interiors spaces within houses. De Stijl forms were often geometric, and made up of primary colors. The main views of the De Stijl movement greatly influenced the Bauhaus movement in Germany in the 1920's.  Until February 21st 2011, the fourth floor is hosting "Women Artists in the Collection of the Museum of Modern Art", dedicated to women artists, and bringing together a selection of 350 works by 150 artists from the early 20th century to today. Changing over time, the exhibition currently focuses on new acquisitions and works which had been in storage. This is an opportunity for the institution to forcefully demonstrate its commitment to women artists in all disciplines and from all nationalities, and to the creative contributions they have made to the history of modern and contemporary art in the 20th and the 21st centuries. Amongst the recent acquisitions on show are artists such as the acclaimed Iranian artists Shadi Ghadirian and Sara Rahbar, Sandra Vásquez de la Horra, a Chilean artist and winner of the 2009 Foundation for Contemporary Art & Daniel Florence Guerlain Prize for Drawing. The French art scene is particularly well represented, with young artists such as the visual works of Loutz Frédérique and Lili Reynaud Dewar. The entry of two leading figures from the Young British Artists, Tracey Emin and Angela Bulloch is noteworthy, as well as that of their compatriot, Lucy Skaer, winner of the Turner Prize in 2009. In addition to the new artists, US artists including Adrian Piper, Susan Hiller, Jenny Holzer are featured shoing their influence on the development of contemporary and feminist art. The Afro-American artist Adrian Piper, strongly marked by minimalism and conceptual art, was one of the first to address issues of race, gender and social class in the 1970s. An anthropologist by training, Susan Hiller uses various media to deconstruct the everyday. A third exhibition is aimed at younger visitors, "Play it Yourself" is the first space dedicated to adolescents in a major arts institution and features until March 23rd 2011. Featuring artists in all genres, workshop events and interactive works with strong music and computer game themes, this exhibition is designed to introduce contemporary art in all its varied forms to younger visitors.
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| Major Painting by American Artist Philip Evergood is Acquired by VMFA Posted: 11 Feb 2011 08:40 PM PST
Here is a listing of the recent VMFA acquisitions. AMERICAN: "Street Corner," 1936, by Philip Evergood (American, 1901-1973); oil on canvas mounted to board; 30 by 55 inches; acquired through VMFA's J. Harwood and Louise B. Cochrane Fund for American Art. "Mirror with Three-light Sconce," circa 1800-1820, by an unknown American, possibly Eastern Massachusetts; eastern white pine, gessoed and gilded, and iron wire with a gilded plaster ornament and with gilt brass candleholders and a mirrored plate; 54-1/2 by 26 by 10-7/8 inches; acquired through VMFA's J. Harwood and Louise B. Cochrane Fund for American Art. "Mother and Child" (also known as "Mother and Babe"), 1902, by Bessie Potter Vonnoh (American, 1872-1955); bronze; 10-7/8 by 8 by 9-1/2 inches; acquired through VMFA's J. Harwood and Louise B. Cochrane Fund for American Art. "Construction," 1958, by Ralston Crawford (American, 1906-1978); silver print on paper; 10 by 8 inches; gift of Neelon Crawford of Fort Washakie, Wyo.; and "Construction," 1958, also by Crawford; pen and ink on paper; 11 by 9 inches; director's discretionary purchase
MODERN AND CONTEMPORARY: "A Screwing," 1995, by Richard Carlyon (American, 1930-2006); wood, hinges and screws; approximately 4-1/2 by 8 feet; gift of Jean and Robert Hobbs of Richmond, Va. "Lincoln 1861-1865," 2006, by Tomas Lasansky (American, born 1957); color intaglio, four copper plates with etching, drypoint, soft ground, mezzotint, aquatint and color pencil (unique impression #80 from a series of 100 plus two trial proofs); 36 by 24 inches (plate); gift of Joseph S. Czestochowski of Memphis, Tenn., in honor of Muriel B. Christison. Two photographs, "Hephaestus," 2008, and "Was Ever Love," 2009, both from the series "Proud Flesh" by Sally Mann (American, born 1951); silver-gelatin contact prints from collodian wet-plate negatives; each 15 by 13-1/2 inches; director's discretionary purchase through VMFA's Kathleen Boone Samuels Memorial Fund. Four photographs, "Nude," 1934, by Edward Weston (American, 1886-1958); silver gelatin print; 3-1/2 by 4-1/2 inches; "Weeds and Wall," 1972, by Brett Weston (American, 1911-1993); 13-1/2 by 10-1/2 inches; silver gelatin photograph; "8th Street Movie Theatre," 1938, by Ruth Bernhard (American, born in Germany, 1905-2006); silver gelatin print; 7-1/2 by 9-1/2 inches; and "New York, 1951," 1951, by Aaron Siskind (American, 1903-1991); silver gelatin print; 24 by 20 inches; director's discretionary purchases with VMFA's A. Paul Funkhouser Endowment Fund. EUROPEAN: "  The Sacrifice of Polyxena," circa 1855, by Pio Fedi (Italian, born Viterbo 1825, died Florence, 1892); plaster study; 33 by 17-1/4 by 18-1/2 inches; VMFA purchase. "Study for the Monument to Claude Lorrain," modeled 1889, by Auguste Rodin (French, 1840-1917); bronze, Musée Rodin cast 5 of 8 in 1992, Godard Foundry; 19-4/5 by 8 by 8 inches; gift of Iris and B. Gerald Cantor Foundation, Los Angeles, Calif. "Les Vieilles Histoires" ("The Old Stories"), 1893, by Henri de Toulouse-Lautrec (French, 1864-1901); lithograph, first state of two, printed in green; approximately 17-1/2 by 25 inches; gift of Frank Raysor of New York, N.Y. "Le Bonheur du Jour, ou, Les Graces à la Mode" ("Daytime Delights, or, Fashionable People"), 1924, by George Barbier (French, 1882-1932), published by Chez (Jules) Meynial, Paris; portfolio, engraved by Henri Reidel, comprising decorated paper wrappers, two illustrated pages, table of contents page and 16 loose plates of colored pochoir (stenciled) prints, edition of 300; oblong folio, approximately 12-1/2 by 17-3/4 inches; gift of John and Maria Shugars in memory of Christina Louise (Dittmer) Shugars. Ten publisher's certificate proofs from the series "Emotions de Chasse" ("Hunting Incidents"), 1858, by Honoré Daumier (French, 1808-1879); lithographs with handwritten notations; approx. 10-1/2 by 8 inches; gift of VMFA's Friends of Sporting Art by director's discretionary purchase. VARIOUS: Works of Modern furniture purchased by VMFA in the mid-1950s for the 1954 expansion and now accessioned for the collection, comprising a table, circa 1954, by Florence Knoll (American, born 1917); an upholstered chair, designed 1941, by Jens Risom (active in America, born 1916); a stacking chair, designed 1947, by Andre Dupre (French, dates unknown); and a 'Barcelona" chair, designed 1929, by Mies van der Rohe (German, active America, 1886-1969). | |
| AMAM Exhibits Modern Landscapes from Collection Posted: 11 Feb 2011 08:39 PM PST
Oberlin, OH – The Allen Memorial Art Museum at Oberlin College presents The Modern Landscape, an exhibition of nearly 40 works drawn entirely from the AMAM's outstanding collection that shows the complex interactions between people and the land around them. The Modern Landscape will be on view in the museum's John N. Stern Gallery from Sept. 4 to Dec. 23, 2007.
One of the exhibition's highlights is Henri-Edmond Cross's "The Return of the Fisherman" (1896). This painting is the result of Cross's intense observation of the Mediterranean coastline at the small village of Saint-Clair. With vibrant colors and a pointillist technique, Cross depicted the path to the beach, with the rocks known as "Les Baleines" (The Whales) visible in the surf and a fisherman in the foreground returning from a day's work. Cross's combination of topographical accuracy, abstracted forms and brilliant tonalities is evidence of his attempt to resolve the tension between the use of specific natural motifs and his own inner vision. Superb examples of late 19th-century views of the American landscape included in the exhibition are James McDougal Hart's "Peaceful Homes" (1868) and John Semon's "The Wheatfields" (1895). Both paintings were given to Oberlin College in 1904 by Charles Fayette Olney, a Cleveland citizen who donated a substantial group of American landscapes that became the foundation of the AMAM collection.
"It was a pleasure to be able to bring some of the Allen's treasures," says Derstine, "and to juxtapose these American works with masterpieces of French impressionism and an outstanding group of Dutch 19th-century landscapes, all done at about the same time." More experimental 20th-century works, including two very early Alexander Calder paintings, as well as scenes of the Himalayas, Tahiti and Mexico, demonstrate both the depth and breadth of the Allen's landscape holdings, Derstine says. At 2:30 p.m. on Tuesday, October 9, 2007, as part of the museum's monthly Tuesday Tea series of talks, Steven Volk, Professor of History at Oberlin College, will discuss José Clemente Orozco's painting "Mexican House" (1929), from the exhibition. The talk is free and open to the public. Four other new exhibitions are also on view at the AMAM this fall: On Line: European Drawings, 16th–19th Centuries, an exhibition of Old Master drawings from the Renaissance to the dawn of the 20th century; Founded in 1917, the Allen Memorial Art Museum (AMAM) is one of the finest college or university collections in the United States. Comprising more than 12,000 works of art from virtually every culture and spanning the history of art, the AMAM's collection is a vital cultural resource for the students, faculty, and staff of Oberlin College as well as the surrounding community. Notable strengths include seventeenth-century Dutch and Flemish art, nineteenth and early twentieth-century European and contemporary American art, and Asian, European, and American works on paper. The collection is housed in an impressive Italian Renaissance-style building designed by Cass Gilbert and named after its founder, Dr. Dudley Peter Allen (B.A. 1875), a distinguished graduate and trustee of Oberlin College. In 1977, Venturi, Scott Brown and Associates designed an addition that represents one of the earliest and finest examples of postmodern architecture in the United States. The Allen Memorial Art Museum is open to the public. Admission is free. Allen Memorial Art Museum - Oberlin College - 87 North Main Street - Oberlin, OH 44074 - Phone: (440)775-8048 - Visit Website: www.oberlin.edu/amam | |
| Chris Stain solos at Carmichael Gallery of Contemporary Art Posted: 11 Feb 2011 08:37 PM PST
West Hollywood, CA - Carmichael Gallery of Contemporary Art is proud to present Up on the roof countin' pigeons, the first West Coast solo exhibition of work by Baltimore artist Chris Stain. Artwork featured in the exhibition will include stencil, spraypaint and mixed media on metal and found objects. A preview reception for the exhibition will be held on Thursday, February 5th, 2009 from 7.00pm – 10.00pm. The exhibition will be open for viewing through Thursday, February 26th '09 from 1.00pm – 7.00pm. For Up on the roof countin' pigeons, Chris Stain will transform the gallery into a NYC rooftop scene, complete with pigeon coop and live jazz music. The enigmatic stencil portraits integrated into the large-scale installation pierce the gaze of viewers and offer a unique perspective of contemporary inner city life. "My work explores the emotional and physical struggle of growing up in an urban environment. Through hand-cut stencils and installations made from found materials I hope to inspire compassion for the often overlooked individuals of society." – Chris Stain
Born in Baltimore, Maryland, Chris first developed an interest in art through graffiti at the age of eleven. In the years to come he learned printmaking in high school. This later led to stencil cutting when money wasn't readily available for printmaking equipment. His subject matter is drawn from his working class upbringing on Baltimore's east side. The people he portrays in his work carry with them the struggle for a better life than the common individual. Chris' self-taught style has gained him recognition worldwide. Since 2000 he has shown in numerous galleries in New York, California, Paris, London, Germany, and Amsterdam, amongst others. He has also been published in several books about stencil graffiti and street art. Carmichael Gallery of Contemporary Art is fast gaining recognition as one of the major exhibitors of emerging international contemporary art on the US West Coast. Artists who have showcased their work at the LA–based gallery are becoming widely recognized by the art world establishment with institutions such as the Tate Modern as well as Christie's, Phillips Du Pury, and Bonhams auction houses supporting their careers. 1257 N. La Brea Avenue West Hollywood CA 90038 Phone/Fax: +1 323 969 0600 / Email: elisa-at-carmichaelgallery.com / Web: www.carmichaelgallery.com | |
| Georgia Museum of Art to host Everett Gee Jackson Retrospective Posted: 11 Feb 2011 08:27 PM PST
ATHENS, GA - Everett Gee Jackson/San Diego Modern, 1920–1955 will be on display from July 19 to September 28, 2008, at the Georgia Museum of Art. Organized by the San Diego Museum of Art, this traveling exhibition recognizes and commends the work of noted artist, educator and illustrator Everett Gee Jackson and serves as a re-introduction to modernism in American art. This major retrospective features more than 50 images that span Jackson's most significant and productive years as an artist.
Born in 1900 in Mexia, Texas, Jackson showed strong interest in the Southwest early in his career through his use of earth tones and color choices. As one of the first American artists to visit Mexico after its social and cultural revolution, Jackson was heavily influenced by Mexican painters Diego Rivera and José Clemente Orozco. His stylized form and Mexican motifs form the basis of his modernist style. A gifted artist and popular teacher, Jackson's legacy in San Diego parallels the long-lasting impact of Lamar Dodd in Georgia. As a young man in his twenties, Jackson was one of the first Americans to visit Mexico after the country's prolonged social and cultural revolution. While there, he became influenced by artists such as Diego Rivera and José Clemente Orozco, as well as the Mexican Mural movement. As a result, stylized forms and Mexican motifs became dominant in Jackson's work, and his new artistic inclination towards realism began to form the basis of his modernist style. A gifted artist and popular teacher, Jackson's legacy in San Diego was pervasive in his own day and has had long-lasting impact. As one of the founding artists of the Contemporary Artists of San Diego, the region's first professional artists' organization, created in 1929, he staked out a course for vanguard art making in the region. Jackson also taught renowned conceptual artist John Baldessari and founded SDMA's Latin American Arts Committee.
This exhibition is generously sponsored by YellowBook USA, the Fort Foundation Trustee Fund of the Community Foundation of the Chattahoochee Valley, the W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art. Georgia Museum of Art Information Partial support for the exhibitions and programs at the Georgia Museum of Art is provided by the Georgia Council for the Arts through appropriations of the Georgia General Assembly. The Council is a partner agency of the National Endowment for the Arts. Individuals, foundations and corporations provide additional museum support through their gifts to the Arch Foundation and the University of Georgia foundation. The Georgia Museum of Art is located in the Performing and Visual Arts Complex on the East Campus of the University of Georgia. The address is 90 Carlton Street, University of Georgia, Athens, Georgia, 30602. Hours: Tuesday, Thursday, Friday and Saturday from 10 a.m. until 5 p.m., Wednesday from 10 a.m. until 9 p.m., Sunday from 1 p.m. until 5 p.m. and closed Mondays. Visit our web site at www.uga.edu/gamuseum or call 706.542.GMOA (4662) | |
| 'Looking and Listening in 19th-Century France' at the Smart Museum of Art Posted: 11 Feb 2011 08:26 PM PST
Chicago, IL - 'Looking and Listening in Nineteenth-Century France' will be on view at the Smart Museum of Art, University of Chicago, until March 23, 2008. The exhibition is part of the Smart Museum's Mellon Projects, an ongoing series of exhibitions developed in collaboration with University of Chicago faculty and students. Audiences in different eras have looked at art and listened to music in dramatically different ways. The experience of looking or listening is not historically constant, but rather varies with social settings, technologies, and trends. In France during the nineteenth century, the habits and fashions associated with looking and listening changed rapidly. The proliferation of mechanically reproduced images (and later, recorded sound); the rise of museums, galleries, and concert halls; and the burgeoning science of psychology—all transformed how people encountered the arts.
The exhibition is the culmination of an interdisciplinary course taught at the University by curators Martha Ward and Anne Leonard in the spring of 2007, and draws on recent scholarship from fields as varied as art history, musicology, history of science, and psychology. LISTENING STATIONS Three listening stations accompany select works in the exhibition. Each station consists of an iPod and headphones, and presents related music from nineteenth-century France. For example, Édouard Vuillard's painting The Lerolle Salon is accompanied by François Chaplin's piano performance of "Lent (mélancolique et doux)," the first movement to Claude Debussy's Images (oubliées) . The piece was written for Yvonne Lerolle, the teenage daughter of Henry Lerolle, whose home is believed to be the setting for Vuillard's painting. Two other listening stations, with selections of pieces by Clara Schuman and Hector Berlioz, accompany works by Henri Fantin-Latour. EXHIBITION CATALOGUE The exhibition is accompanied by a 104-page, fully illustrated catalogue and CD compilation of related music, including two bonus tracks of early recordings. The catalogue features a preface by Anthony Hirschel, Dana Feitler Director of the Smart Museum of Art; two principal essays by the curators, Martha Ward, Associate Professor and Chair of the Art History Department at the University of Chicago, and Anne Leonard, Smart Museum Curator and Mellon Program Coordinator; and contributions by Josephine Landback, Julia Langbein, Allison Morehead, Elayne Oliphant, Eleanor Rivera, and Michael Tymkiw, all University of Chicago students who participated in the Looking and Listening course. The book is distributed by the University of Chicago Press and will be available at the Smart Museum Shop. To order, call 773.702.0528 or e-mail smart-books@uchicago.edu . Visit the Smart Museum of Art, University of Chicago - 5550 S. Greenwood Ave.- Chicago IL 60637 (773) 702-0200 - www.smartmuseum.uchicago.edu | |
| Peter Fischli & David Weiss / Flowers & Questions at Tate Modern Posted: 11 Feb 2011 08:24 PM PST
London - The first major retrospective of Swiss artists Peter Fischli (b1952) and David Weiss (b1946) to take place in the UK will go on display at Tate Modern in October 2006. The artists' creative partnership began in the late 1970s and this exhibition will span nearly three decades of their collaborative practice bringing together more than twenty significant bodies of work. Fischli and Weiss' conceptually-driven output covers a wide variety of forms including sculpture, photography, film, video, and installation art, and often involves a dialogue between opposites, such as order and chaos, work and leisure, the everyday and the sublime. A childlike spirit of discovery underlies their artistic ventures and they revel in transforming materials. Working project by project, they have broken with artistic convention, made use of commonplace materials and, among other things, created an extensive archive of popular images, all with characteristic wit and humor.
This exhibition also brings together both early photographic projects, such as Sausage Series 1971, and Quiet Afternoon (Equilibres) 1984, in which the artists used photography to document ephemeral sculptures, and later photographic series, in which the artists expand their repertoire to investigate the photographic medium itself, highlighting the prevalence of visual cliché in contemporary culture. These later works include the spectacular pictorial encyclopedia, Visible World 1987-2001, and the iconic series, Airports 1988-1999, in which the artists examine the aesthetic of the amateur photographer by creating deadpan photographs of tourist attractions and airports around the world. In the recent collection Untitled (Fotografias) 2005, the artists have documented colorful painted motifs from fairgrounds and transformed them into snapshot-sized black and white prints. Alongside these photographic series, the exhibition will present the artists painstakingly hand-crafted polyurethane sculptures and installations which simulate banal and functional objects from their studio such as dirty ashtrays, Styrofoam cups and boxes of light bulbs, creating a type of anthropology of everyday life. On exhibit until 14 January, 2007. Visit the Tate Modern at : www.tate.org.uk/ | |
| The Art Gallery of New South Wales presents "Monet and the Impressionists" Posted: 11 Feb 2011 08:22 PM PST
SYDNEY, AU - One of the finest exhibitions of Impressionist art ever held in Australia will open today at the Art Gallery of New South Wales and will be on exhibit through the 26th of January 2009. Sydney will be the only venue in Australia. Monet and the Impressionists will have an impressive 29 works by Claude Monet – the master of Impressionism. His work will be exhibited alongside other masterpieces by Renoir, Pissarro, Cezanne, Degas, Sisley and others. Most of these paintings have never been seen before in Australia.  The MFA collection is well equipped to show the pre-history of Impressionism as well. It is rich in works by the generation of French artists who brought landscape painting to new prominence during the first half of the 19th century: painters associated with the Barbizon school (Corot, Rousseau and Millet); painters in Normandy who were Monet's first teachers (Boudin and Jongkind); and those who were Monet's mentors during his early days in Paris (Manet). The young Monet took particular interest in these artists, and he was attracted to some of the same locations where they had painted – Fontainebleau, the towns, harbours, cliffs and beaches of the Normandy coast and rural spots within easy access of Paris – the Ville d'Avray, Mantes and so on. The Impressionist style was a collective creation which had its heyday in the 1880s when the works of Monet, Sisley, Renoir and Pissarro were often difficult to distinguish from each other. During the 1890s, Monet attained great success when he began to exhibit his famous series, astounding the Parisian public through his ability to register the changes of colour and light. By the beginning of the twentieth century, the surviving members of the Impressionist group had taken very different directions in their work, and there was little that they visibly shared in common anymore. In contrast to former colleagues such as Degas and Renoir, Monet remained staunchly committed to landscape painting and the great Waterlily paintings he painted in the last decades of his life had a massive influence on developments in abstract painting in the mid-twentieth century. Monet and the Impressionists is curated by George Shackleford, a leading scholar of Impressionism from The Museum of Fine Arts in Boston. George Shackleford will be in Sydney for this exhibition. Claude Monet will be accompanied by artists including Edgar Degas, Theordore Rousseau, Camille Corot, Jean-Francois Millet, Constant Troyon, Gustave Courbet, Auguste Toulmouche, Eugene Boudin, Johan Jongkind, Edouard Manet, Paul Cezanne, Auguste Renoir, Camille Pissarro, Alfred Sisley, Ando Utagawa Hiroshige and Suzuki Utagawa Hiroshige Claude Monet Born Paris 1840, died Giverny 1926. Monet's talent was first recognised by the painter Eugene Boudin, whom the 18 year old Monet met in Le Havre. Boudin was the first to encourage him to paint out of doors. Monet's short tenure at Charles Gleyre's art school in Paris also proved decisive because it was there that he met Pierre-Auguste Renoir, Alfred Sisley and Frederick Bazille who shared his anti-academic convictions. After limited success exhibiting in the Salon during the 1860s, Monet became one of the leaders of a group of rebel artists who chose to exhibit independently of the Salon, a group who became known as the Impressionists. Because of his commitment to landscape painting Monet chose to live on the outskirts of Paris, moving far from the capital, finally settling in Giverny, 60 kilometres to the north-west in 1883. In search of challenging motifs, he travelled extensively in France and abroad, making trips to London, Holland, Venice, Norway and the Italian Riviera. Productive well into his eighties, Monet died at the summit of his fame and fortune, universally regarded as The Impressionist. Visit the Art Gallery of New South Wales at : www.artgallery.nsw.gov.au/ | |
| Brazilian Cildo Meireles Major Survey coming to Museum of Fine Arts, Houston Posted: 11 Feb 2011 08:21 PM PST
On view from June 7 to September 27, 2009, Cildo Meireles was organized by Tate Modern in London and curated by independent writer and curator Guy Brett and Vicente Todolí, director, Tate Modern, with Amy Dickson, assistant curator, Tate Modern. "Cildo Meireles is one of the most fascinating and influential Latin American artists of our time, and we look forward to giving U.S. audiences their first chance to explore his career in such depth," said Peter C. Marzio, MFAH director. "With this exhibition, the MFAH continues its commitment to advancing scholarship and public appreciation of contemporary Latin American art. Cildo Meireles will offer our visitors another powerful experience with one of the region's leading artists, following on the MFAH's 2006 presentation of Hélio Oiticica: The Body of Color and 2004's Inverted Utopias: Avant-Garde Art in Latin America." The MFAH is one of the few museums in the country with a single gallery large enough to accommodate the monumental installations in Cildo Meireles. The exhibition will be presented in the expansive, 22,000-square-foot Upper Brown Pavilion of the museum's Caroline Wiess Law Building designed by Mies Van der Rohe. The exhibition begins with work from the artist's early career, when he was focused on exploring extreme notions of scale. Objects from this period include his Mutações Geográficas (Geographical Mutations) (1969), a small leather case that holds earth taken from the rival states of Rio de Janeiro and São Paulo, compressing Brazil's vast terrain into a carry-on; and Southern Cross (1969-70), a cube of pressed oak and pine, trees that were sacred to Brazil's native peoples. Meireles also started to probe the idea of space as a network for circulation, and explore ways that he could subvert established networks under Brazil's repressive military regime. For one of his most well-known pieces, Inserções em Circuitos Ideológicos (Insertions into Ideological Circuits) (1970), Meireles printed Who Killed Herzog?—a reference to a journalist who died at government hands—on paper currency and Yankees Go Home, on circulating Coca-Cola bottles.  By the mid-1970s Meireles had begun to experiment with complex, walk-in installations. Eight of these are presented in this show, and each one involves entering a very distinctive environment. They include Desvio para o Vermelho (Red Shift) (1967-1984), a suite of rooms thoroughly furnished in red, with a trail of spilled crimson that leads you to a third, darkened room; Eureka/Blindhotland (1970-75), a floor strewn with 201 rubber balls that look the same size but don't have the same weight when you pick them up; and another curtained environment, Missão Missões (How to Build Cathedrals) (1987), that presents a glowing canopy of 2,000 bleached cow bones, a floor that shimmers with 600,000 pennies piled in a mound and a single, ropelike column of 800 communion wafers connecting the two. This piece was commissioned to commemorate the first Jesuit settlements in Brazil, in the early 1600s, and addresses the human cost of missionary conversions of native peoples. Sound is essential to Meireles' work. Visitors hear the crush of glass shards cracking underfoot as they make their way through a maze of barriers in Através (Through) (1983-1989), the thump of balls set loose and tossed around in Eureka/Blindhotland, and the barely audible, dissonant babbling emitted by 800 radios in his towering 2001 construction, Babel. They also hear only their own breathing and muffled steps as they press ahead in Volátil (1980/1994), a darkened room filled with talcum powder and the smell of what seems to be natural gas, with a burning candle as the only source of light. Cildo Meireles was born in 1948 in Rio de Janeiro, where he now lives and works. His father worked for the Indian Protection Service. As a boy, Meireles and his family constantly moved throughout the vast Brazilian territory; glimpses of these childhood experiences often appear in his work. Among a generation of artists who began to work with conceptual installations, Meireles was also influenced by Brazil's Neo Concrete movement of the late 1950s. Led by Hélio Oiticica and Lygia Clark, they rejected the dominant style of geometric abstraction in favor of more participatory works that engage the body and the mind. Meireles began showing in Brazil in the late 1960s, and over four decades has participated in the preeminent international biennials as well as in solo and group exhibitions in museums and galleries around the world. | |
| The Film Forum to Premiere Chiara Clemente's Portrait of 5 NYC Women Artists Posted: 11 Feb 2011 08:19 PM PST
 After experiencing the New York Dolls in San Francisco , Kiki Smith realized she needed New York 's energy to create her wildly influential paintings and sculptures; Marina Abramovic, originally of Belgrade , is a performance art pioneer who often uses her own body as a canvas. And Nancy Spero returned from Paris with artist-husband Leon Golub in 1964, to meld art and activism during the Vietnam War and become, in her own words, "a woman warrior." Chiara Clemente has been making documentaries on art and artists since 2000. Her work includes THREE WORLDS: A PORTRAIT OF FRANCESCO CLEMENTE and short films on Frank Gehry, Jim Dine and Brice Marden, as well as shorts commissioned by W Magazine, Saatchi and Saatchi and The New York Times. Film Forum began in 1970 as an alternative screening space for independent films, with 50 folding chairs, one projector and a $19,000 annual budget. Karen Cooper became director in 1972 and under her leadership, Film Forum moved downtown to the Vandam Theater in 1975. In 1980, Cooper led the construction of a twin cinema on Watts Street. Finally, in 1989, when the Watts Street cinema was demolished by developers, Film Forum's current Houston Street cinema was built. Today, Film Forum is a 3-screen cinema open 365 days a year, with 250,000 annual admissions, 489 seats, 59 employees, 4500 members and a $4.1 million operating budget. We present two distinct, complementary film programs – NYC theatrical premieres of American independents and foreign art films, programmed by Cooper and Mike Maggiore; and, since 1987, repertory selections including foreign and American classics, genre works, festivals and directors' retrospectives, programmed by Bruce Goldstein. Our third screen is dedicated to extended runs of popular selections from both programs, as well as new films for longer engagements. Visit The Film Forum at : http://www.filmforum.org/ | |
| Yayoi Kusama ~ "I Want to Live Forever" ~ Her Japanese Contemporary Art in Milan Posted: 11 Feb 2011 08:18 PM PST
On show also Narcissus Garden, a sculptural installation first exhibited at the 33rd Biennale di Venezia (1966). Kusama produced this interactive environment of 1500 mirror balls with the assistance of Lucio Fontana. In a rogue presentation on the lawns of the Italian Pavilion, Kusama, dressed in traditional Japanese kimono, drew attention to the usually covert commercial aspects of the Biennale, selling each mirror ball for 1,200 lire. More than forty years later, Narcissus Garden will come to Milan for the first time. Kusama produced her first huge "infinity" paintings as a young, struggling artist in New York in the late Fifties. The inherent philosophical paradox of these works – that "infinity" could be quantified within the arbitrary framework of a readymade canvas – combined with the more subjective and obsessional implications of their process, distinguished them from the Minimalist abstraction that would dominate the local scene several years later. Today Kusama composes the Infinity Net paintings as isotropic fields filled with fairly evenly painted elements, either in austere monochromes or vibrant contrasting and psychedelic hues such as the magnificent five-panel I Want to Live Forever (2008). Her latest figurative paintings, such as Cosmic Space (2008) in which eyes, amoebae, and other more indeterminate biomorphic forms abound, reflect a preoccupation with mortality, as well as with enlightenment, solitude, nothingness, and the mysteries of the physical and metaphysical universe.
Yayoi Kusama was born in Matsumoto City, Japan in 1929. Her work is in the collections of leading museums throughout the world including the Museum of Modern Art, New York; LACMA, Los Angeles; Walker Art Center, Minneapolis; Tate Modern, London; Stedelijk Museum, Amsterdam; Centre Pompidou, Paris; and the National Museum of Modern Art, Tokyo. Major exhibitions of her work include Kitakyushu Municipal Museum of Art, Fukuoka, Japan (1987); Center for International Contemporary Arts, New York (1989); "Love Forever: Yayoi Kusama,1958-1969", LACMA, 1998 (traveling to Museum of Modern Art, New York, Walker Art Center, Minneapolis and Museum of Contemporary Art, Tokyo), 1998-99; Le Consortium, Dijon, 2000 (traveling to selected venues in Europe and Korea), 2001-2003; "KUSAMATRIX", Mori Museum of Art, Tokyo, 2004 (traveling to Art Park Museum of Contemporary Art, Sapporo Art Park, Hokkaido); "Eternity – Modernity", National Museum of Modern Art, Tokyo (touring Japan), 2004-2005; and "The Mirrored Years", Museum Boijmans Van Beuningen, 2008, currently on view at the Museum of Contemporary Art, Sydney and traveling to the City Gallery, Wellington, New Zealand later in 2009. Kusama has completed several major outdoor sculptural commissions, mostly in the form of brightly hued monstrous plants and flowers, for public and private institutions including the Fukuoka Municipal Museum of Art and Matsumoto City Museum of Art in Japan; Eurolille in Lille, France; and most recently, the Beverly Hills City Council in Los Angeles. Kusama currently lives and works in Tokyo. The PAC is able to perform its activities primarily through the funding it receives from the City of Milan. However, contributions from external sponsors are also indispensable. They help the PAC make its services and its important projects to promote and diffuse contemporary art more visible and accessible. Visit : http://www.comune.milano.it/ | |
| Norton Simon Museum announces Loan of Painting by Ingres from the Frick Collection Posted: 11 Feb 2011 08:16 PM PST
"The Frick Collection is one of the world's most acclaimed art institutions and was especially admired and respected by Norton Simon," says Walter Timoshuk, President of the Norton Simon Museum. "This exchange program not only brings some of the Frick's marvelous works to the West Coast, but also honors Mr. Simon's esteem for this exceptional institution." Located on Fifth Avenue, The Frick Collection is housed in the former mansion of industrialist Henry Clay Frick (1849–1919) and is home to an internationally celebrated collection of Western fine and decorative arts, with works by Bellini, Fragonard, Gainsborough, Goya, Holbein, Ingres, Manet, Monet, Rembrandt, Renoir, Titian, Turner, Velazquez, Vermeer, Whistler, and others. "We are delighted more to form this special exchange with the Norton Simon Museum, whose superb works very rarely leave Pasadena," says Anne L. Poulet, Director of The Frick Collection. "And what a pleasure it will be to view the Comtesse in a new setting—the Norton Simon's beautiful and serene galleries." Comtesse d'Haussonville will be on view at the Norton Simon Museum from October 30, 2009, through January 25, 2010. Two preparatory drawings by Ingres will accompany the painting—one a direct study, executed around 1843 or 1844, which shows this same pose and his process in dealing with the folds of her elegant dress; the other a preparatory detail drawing for an 1839 commission for his monumental work, The Golden Age. All three works will hang alongside the Norton Simon's portrait of Baron Joseph-Pierre Vialetés de Mortarieu, also by Ingres. A series of lectures and educational and family programs will be organized around the installation. A related exhibition, "Gaze: Portraiture after Ingres," runs from October 30 through April 5, 2010. Comtesse d'Haussonville Jean-Auguste-Dominique Ingres (French, 1780–1867) left behind a rich and varied body of work created during his long life. While many of his most known paintings are historical and religious depictions, his series of portraits, many of them of well-born, beautiful women, are among his most captivating. Ingres began his portrait of Louise d'Haussonville (1818–1882) in 1842, when he was 62 and the comtesse was 24. The picture shows the lovely young woman standing before a hearth in a well appointed room, a mirror on the wall reflecting the back of her head and neck. She wears an elegant, Delft-blue silk dress, its folds and details resplendent, a few pieces of gold jewelry, and an ornate red ribbon and tortoiseshell comb in her hair. One arm rests across her waist, the other is bent upward, and her hand is tucked under her chin. The comtesse looks directly ahead, and her slight smile and open expression invite the viewer into this lovely scene. "Her contemplative pose, with hand to chin, is a motif Ingres revisits time and time again in portraits, history paintings, and surviving sketches," says Carol Togneri, Chief Curator at the Norton Simon Museum. "The opportunity to have this beautiful portrait, as well as two working drawings that show his interest in this important detail, allows us to consider Ingres's relationship and homage to antique art." Visit : http://www.nortonsimon.org/ | |
| 'Masters & Pupils' by Dr Gert-Rudolf Flick Posted: 11 Feb 2011 08:15 PM PST  LONDON - This ground-breaking book is about a family tree. Dr Gert-Rudolf Flick traces the 'apostolic succession' from Perugino in Italy in the fifteenth century to Edouard Manet in France in the nineteenth, as one painter passed on his knowledge to the next generation. He shows how, over the centuries, the nature of artistic instruction changed, passing from the guild system and the individual workshop to the academy and elaborate institutions of state.
The Artistic Succession from Perugino to Manet 1480–1880 The line of descent that connects Perugino with Manet is made up of just eighteen artists. Some are household names, such as Raphael and David. Others, such as Horace Le Blanc and Louis Boullogne, have fallen into obscurity. All are connected by a common bond: the belief that art could be taught and learned, and that those lessons would be passed on from an older artist to a younger. With Manet, the succession came to a halt, marking the end of a great tradition but also the beginning of the modern art world, in which the very desirability of teaching art has been thrown into question. Gert-Rudolf Flick is author of the acclaimed Missing Masterpieces, chosen by Brian Sewell in The Evening Standard as his book of the year in 2003, calling it 'as much a bedside book for devotees of detective fiction as for the querulous art historian'. Dr Flick brings an equally unusual approach to the story of European art since the Renaissance. His fresh and original account is lavishly illustrated not only with many well-known masterpieces but also a host of unfamiliar works in little-regarded locations that will surprise and delight the reader, while revealing why the artists in question enjoyed such high reputations in the art world of their time. Published by Hogarth Arts, in association with Paul Holberton Publishing 400 pages, hardback, 250 colour illustrations, 300 x 240 mm, price £50 ISBN 978 0 9554063 2 4 | |
| Art Knowledge News Presents "This Week In Review" Posted: 11 Feb 2011 08:14 PM PST This is a new feature for the subscribers and visitors to Art Knowledge News (AKN), that will enable you to see "thumbnail descriptions" of the last ninety (90) articles and art images that we published. This will allow you to visit any article that you may have missed ; or re-visit any article or image of particular interest. Every day the article "thumbnail images" will change. For you to see the entire last ninety images just click : here .  |
The exhibition highlights works by artists as diverse as Alexander Calder, Giorgio de Chirico, Arshile Gorky, Piet Mondrian and Claude Monet. All of these artists have taken up the subjects of the natural world and changing notions of its beauty, resources and man's place within it.
The Modern Landscape was organized by Andria Derstine, Curator of Western Art at the AMAM. 
Repeat Performances: Seriality and Systems Art since 1960, a selection of the museum's important holdings of Minimalist art; From Africa to America, an exhibition that brings together traditional African art and works by African-American artists; and "Great Criticism": Paintings from Modern China. 
About Chris Stain
"The Georgia Museum of Art is interested in the connections among artists, and there are parallels between the works by Everett Gee Jackson and those by artists such as Jean Charlot in our collection. Jackson uses social realism and shows the artistic interest in everyday subject matter," said Paul Manoguerra, curator of American art at the Georgia Museum of Art. 
This major retrospective organized by SDMA presents the work of Everett Gee Jackson, San Diego's most important Modernist artist.
Further, they altered how artists sought to capture the attention of their viewers and listeners. Incorporating works from the Smart Museum's collection and select loans, this exhibition combines prints, paintings, drawings, sculptures, as well as music from nineteenth-century France. Looking and Listening cuts to the heart of debates about art and its function, and examines just what it was that attracted and secured the attention of nineteenth-century audiences in visual and musical works.
This exhibition features early sculptural projects and iconic films. In the series Suddenly this Overview 1981, the artists attempt to chronicle the history of the world by hand-modeling, in unfired clay, narrative scenes such as Mick Jagger and Brian Jones Going Home Satisfied After Composing "I Can't Get No Satisfaction". The tragi-comic super-8 movie, The Right Way 1983, portrays the artists dressed in Rat and Bear costumes as they fight for survival in the wilds of nature, and provides a commentary on the struggle for artistic success. In the slapstick film The Way Things Go 1987, objects such as shoes, teapots, rubber tires, buckets and balloons become performers in a chain reaction propelled by explosions and collisions that unfolds in a carefully staged setting. 
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