- Jack Rutberg Fine Arts to feature Two Solo Exhibitions: Claire Falkenstein & Ruth Weisberg
- The Utah Museum of Fine Arts presents American Prints From the Great Depression
- The Freer Gallery shows "Winged Spirits: Birds in Chinese Painting"
- "Accidental Genius" exhibition features major gift to Milwaukee Art Museum
- Lehmann Maupin Gallery highlights recent photo series by Juergen Teller
- Impressionism: Pastels, watercolors & drawings at The Albertina in Vienna
- Monumental black & white Tapestries from Craigie Horsfield's Circus Series at Marvelli Gallery
- The Art Fund Helps Hunterian Acquire A Work About Surrealist Leonora Carrington
- Storm King Art Center ~ One of the World's Most Distinguished Sculpture Parks
- Recoat Gallery shows Solo Exhibition of NY Artist Matt Mignanelli
- Romantics Display Opens at Tate Britain Following Re-Hang of the Clore Galleries
- From Caspar David Friedrich to Gerhard Richter: at the Getty Center
- Renowned Artist Kiki Smith to Receive 50th Edward MacDowell Medal
- " Humaneyes " at judi rotenberg gallery
- La Luz de Jesus Continues its 25th Anniversary Celebratory Show
- The Ashmolean Museum Acquires a Collection of Drawings by Tom Phillips RA
- Large-Scale Wall Installation by the Artist Chitra Ganesh at P.S. 1
- The Watermill Center Collection
- A Converted Bunker in Berlin Houses the Famous Boros Art Collection
- Art Knowledge News Presents "This Week In Review"
Posted: 13 Feb 2012 09:40 PM PST
Los Angeles, California.- Jack Rutberg Fine Arts is honored to present two solo exhibitions which continue the gallery's themed Pacific Standard Time shows, which debuted September 28th, 2011 with an historic Hans Burkhardt exhibition. "Claire Falkenstein: An Expansive Universe" and "Ruth Weisberg: Now & Then" are both on view at the gallery from February 18th through April 28th. Ruth Weisberg will be inattendance for the opening reception of Saturday, February 18th from 6.00 to 9.00 pm.
"Claire Falkenstein: An Expansive Universe" features a selection of the artist's larger sculptural work and rarely-seen paintings, and follows an earlier Pacific Standard Time exhibition at the gallery of her intimately-scaled sculpture, wall pieces and iconic jewelry. Claire Falkenstein's (1908-1997) work, with its innovative use of materials such as glass, metal and resin, reveals a prescient fascination with the possibilities of chance and choice which parallels current views of our expanding universe. Her ability to move sculpture to non-traditional realms, whereby she incorporates and suggests both the expansiveness of form as well as the compression of space, has established her as one of the most important modern artists in this medium. Falkenstein is well-known as the creator of Peggy Guggenheim's Venice palazzo gates. Falkenstein's first solo museum exhibition at the San Francisco Museum of Art in 1940 was followed by her works being shown at such prestigious museums as the Louvre and the Rodin Museums of Paris.
Moving to Paris for 13 years in 1950, her studio was a central meeting place for admiring critics and artists. Her works were shown at The Tate Gallery in London, Whitney Museum, Metropolitan Museum of Art, Museum of Modern Art, the Carnegie Institute in Pittsburgh, Art Institute of Chicago, the Guggenheim Museums in New York and Venice, National Museum of American Art at the Smithsonian Institute, San Francisco Museum of Modern Art, Los Angeles County Museum of Art, Armand Hammer Museum of Art, and the Museum of Contemporary Art in Los Angeles. The exhibition also launches the first major publication detailing her entire career – Claire Falkenstein – with essays by art historians Susan M. Anderson and Maren Henderson, art writer and critic Michael Duncan, and an introduction by Philip Linhares, President of the Falkenstein Foundation and former Chief Curator of Art at the Oakland Museum of California.
"Ruth Weisberg: Now & Then" presents paintings and works on paper by one of Los Angeles' most celebrated figurative artists since her arrival in 1969. The exhibition, which includes her most recent paintings, and spanning more than three decades, reveals Weisberg's unique vision through which the viewer sees the convergence of art history, personal memory, and cultural experience. The exhibition reveals Weisberg's decades-long interest in re-imagining the works of such past masters as Titian, Velazquez, Blake and Corot. Through fresco-like effects in her unstretched paintings, as well as the veils of washes in her masterful lithographs, Weisberg brings past-time into contemporary context. Ruth Weisberg is currently a professor at USC, where she was one of the longest tenured Deans of the Roski School of Fine Art. Ruth Weisberg is the first living painter to have been afforded a solo exhibition at the Norton Simon Museum of Art. She holds that distinction as well at the Huntington Library. Her first major survey in Los Angeles was in 1979 at Los Angeles Municipal Art Gallery. The subject of over 80 solo and 185 group exhibitions, Weisberg's work is included in the permanent collections of over 60 museums, including the Metropolitan Museum, National Gallery of Art in Washington, D.C., Whitney Museum of American Art, Portland Art Museum, Los Angeles County Museum of Art, Getty Research Institute, Norton Simon Museum, Art Institute of Chicago, Detroit Institute of Arts, Biblioteque Nationale in Paris, and Rome Institute Nationale per la Grafica, among many others.
Jack Rutberg Fine Arts in Los Angeles was established in 1979 as a gallery dealing in Modern and Contemporary art. In that capacity they have acted as dealer, curator, and consultant for more than 25 years, representing a wide range of important American and European artists. Jack Rutberg hismelf has lectured extensively on a wide range of subjects related to Modern and Contemporary art in colleges and universities, including the University of California Los Angeles, California State University Northridge, Utah State University, Pierce College, Fullerton College, Orange Coast College, and Rancho Santiago College. Credited with bringing significant artists to broader public attention, Mr. Rutberg has been particularly responsible for the formidable attention afforded to the Irish contemporary painter Patrick Graham and Swiss born American painter Hans Burkhardt (1904-1994).
Both artists are represented internationally by Jack Rutberg Fine Arts. Mr. Rutberg is the exclusive agent for The Hans G. & Thordis W. Burkhardt Foundation. Regarded as an authority on their works, Mr. Rutberg has on frequent occasions lectured on both artists at numerous museums. Mr. Rutberg has published extensively on the works of Hans Burkhardt. Among the many catalogues published to date on Burkhardt, Mr. Rutberg has written the catalogue raisonné, Hans Burkhardt: The War Paintings, published by Santa Susana Press, California State University Northridge. Documented are Burkhardt's paintings created in response to war, spanning the Spanish Civil War through the mid 1980's. Other publications include Hans Burkhardt: Desert Storms, Burkhardt's response to the Iraq Kuwait conflict, published in 1991, and Black Rain documenting Burkhardt's final works dating from 1993 and most recently, Hans Burkhardt: Paintings of the 1960s. In more than 29 years at its La Brea Avenue location, the Rutberg Gallery has featured exhibitions by gallery represented artists Jordi Alcaraz, Hans Burkhardt, Patrick Graham, Reuben Nakian, Ruth Weisberg, Jerome Witkin and Francisco Zuniga in addition to a wide range of solo exhibitions of major international artists: Alexander Calder, Oskar Fischinger, Sam Francis, Arshile Gorky, George Herms, Hundertwasser, Käthe Kollwitz, Georges Rouault, Edward Ruscha, Antoni Tapies, Max Weber and others. The gallery has been particularly noteworthy for its emphasis on education, presenting numerous lectures and panel discussions. Through that endeavor, Jack Rutberg Fine Arts is an important resource for established and beginning collectors, art historians, and museums internationally. Visit the gallery's website at ... http://www.jackrutbergfinearts.com/
Posted: 13 Feb 2012 09:19 PM PST
Salt Lake City, Utah.- The Utah Museum of Fine Arts is pleased to present "At Work: Prints from the Great Depression", on view at the museum through May 6th. Organized in collaboration with Dr. Matthew Basso, Assistant Professor of History and Gender Studies and Director of the American West Center at the University of Utah, this exhibition features Depression-era prints focusing on men and women at work, selected from the remarkable collection of Marcia Price and Ambassador John Price. During the years of the government-sponsored Federal Art Project, American printmaking techniques were expanded, and themes of labor were integral to the new print vocabulary. Printmakers, along with other artists, were given an unprecedented sense of purpose when the U.S. government included them in the vast numbers of unemployed workers who could apply for work relief from the Works Progress Administration (WPA).
Posted: 13 Feb 2012 08:59 PM PST
Washington, D.C.- The Freer Gallery at the Freer and Sackler is pleased to present "Winged Spirits: Birds in Chinese Painting" on view through August 5th. In Chinese culture many birds are endowed with strong symbolic associations, both on their own and especially in combination with certain auspicious flowers. In the tenth century, birds and flowers emerged as major themes in traditional Chinese painting. At first such images were based on the close observation of nature and employed fine detail and color; later they derived from the painting tradition itself and often were rendered in only ink. While the primary interest of many artists was to capture the essence or spirit of their subjects, most birds in the paintings can be scientifically identified. More than thirty-five species of birds are depicted in flight, on the ground or in water, or perched on tree branches. A delight for bird - and art - lovers alike, the sumptuously colored paintings represent the finest of avian and flower art from the Ming and Qing dynasties (15th-18th centuries).
Posted: 13 Feb 2012 07:46 PM PST
MILWAUKEE, WIS.- Accidental Genius: Art from the Anthony Petullo Collection, an original exhibition of modern self-taught art featuring more than two hundred works opened February 10th, and will be on view until 6th of May, at the Milwaukee Art Museum. The exhibition includes many of the most important European and American artists in the genre, and celebrates the significant gift of works by Milwaukee collector Anthony Petullo to the Museum. According to Museum Director Daniel Keegan, Accidental Genius will display over two-thirds of Petullo's gift, which represents one of the most extensive groupings of modern self-taught art in any American museum or private collection. In all, over three hundred works were gifted to the Museum.
Posted: 13 Feb 2012 07:21 PM PST
NEW YORK, NY.- Lehmann Maupin Gallery presents Juergen Teller on view 10th February until 17th March, at 201 Chrystie Street in NYC. This exhibition highlights three recent series, demonstrating Teller's dynamic and diverse oeuvre. Featuring the controversial photographs of Kristen McMenamy, shot in the home of Carlo Mollino and seductive portraits of Vivienne Westwood, juxtaposed with intimate portraits of his family and close friends, this exhibition displays an amalgam of subjects and personalities. Drawing inspiration from the eccentric architect, Teller recalls Mollino's fascination with the erotic, capturing McMenamy in provocative poses. Although the series garnered controversy for its alleged "pornographic" nature, it demonstrates Teller's skilled storytelling and fearless approach to his medium.
Posted: 13 Feb 2012 07:01 PM PST
VIENNA.- The exhibition at The Albertina presents up to 200 drawings, watercolors and pastels by the Impressionists and Post-Impressionists. Active in France during the second half of the nineteenth century and closely associated with avant-garde movements, artists such as Manet, Degas, Renoir, Signac, Pissarro, Seurat, Gauguin, Cézanne and Toulouse-Lautrec created works on paper that may be less well-known than their paintings but which are just as significant. This is the first international exhibition devoted exclusively to drawings by these artists and considerably extends knowledge of Impressionism and Post-Impressionism . On view at The Albertina through13th May.
Posted: 13 Feb 2012 07:00 PM PST
NEW YORK, NY.- Marvelli Gallery presents a solo exhibition by Craigie Horsfield, February 4th through March 22nd. The exhibition, Horsfield's first in New York since 1996 at Barbara Gladstone Gallery, includes monumental black and white tapestries from his Circus series and a survey of photographs in production between 1973 and 2010. Art historian and critic Carol Armstrong writes on Horsfield's use of tapestry and large-scale portraiture in the following essay, Craigie Horsfield: Modern Magnificence: Photo-tapestry? Isn't that an oxymoron? And in this day and age? I always thought-probably most people think-that tapestry was a Renaissance art form. And depicting a Russian circus in Barcelona with teetering elephants and a caged tiger in black and white? There is something strange about the conjunction of 'photograph,' 'tapestry,' 'today' and 'circus.' Well, yes, strange, but also wonderful, and completely magnificent.
Craigie Horsfield is an artist who has decided that we deserve magnificence in our time, and that we can bring the past forward into the present, and sit in wonderment before it, like grown-up children at a magic-show, or for that matter, a circus. And then go away and come back and talk about it, and keep talking about it into the future. Among the things we can talk about as we go away and come back to it are the contradictions involved in it. At the same time we can, as the sensuous and subjective animals that we are, revel in the sensory experience of it, and in the flights it allows our imaginations. For we are stranger beasts than elephants or tigers, in all our peculiar curiosity about other beings, with the combination of cruelty and kindness, detachment and empathy, sensation, emotion and mental abstraction, that that curiosity involves.
The art of tapestry gives the art of the photo-graph a richness and tactile warmth that it often otherwise lacks. By means of art it brings the "realism" of the photograph home to our senses, and makes the "everyday," not banal, but splendid. We are heir to two decades of large art photographs made to rival paintings in size and imaginative scope, and as such fit to enter into world-class museums, galleries and ambitious collections. Names like Thomas Struth and Jeff Wall are widely known in this regard. But though less well-known to American audiences, the English artist Craigie Horsfield was already making large-scale photographic pictures in the 'eighties, first in black-and-white, and now more recently in color, in places like Poland and London, and then Barcelona and Madrid, the Canary Islands, Naples and Belgium. And he has been among the very first to explore the new technical possibilities offered by the large inkjet print.
There are other things in this exhibition besides the two large-scale photo-tapestries in the front room: colored inkjet prints of human faces and still lifes that beautifully evoke the other times and places we continue to be curious about, in the long here and now. But together the two photo-tapestries form the centerpiece of the show, and suggest that it is we the people, and not just kings and popes of the past, who deserve this modern magnificence. And in fact, there is a perfectly modern pedigree for these tapestries. Indeed, the first computers arose, around the same time as the photograph, out of the jacquard loom with its punch-cards: Horsfield has brought the double strands of the (scanned) analogue photograph and digital media back together in the modern, computer-driven jacquard loom that wove these photo-tapestries in Belgium, the home of fine tapestry-making since the Northern Renaissance. Moreover, in addition to evoking the magic of Georges Seurat's modern nocturnal entertainments, these tapestries might also serve to remind us that the system of color mixture that drives the contemporary inkjet printer depends on much the same color theory, invented by the director of the Gobelins Tapestry Works in 19th-century Paris, that inspired Seurat - it is not entirely by coincidence that Seurat's large pointillist paintings were often compared to tapestries. In short, these are thoroughly modern works of art, made for us, today. Yet they are unique; there is nothing else like them being made out there today.
CRAIGIE HORSFIELD lives and works in London. His work has been exhibited at the Whitney Museum of American Art, Documenta Kassel (1997 and 2002), Centre Georges Pompidou, and the Ydessa Hendeles Foundation, and his works are in the collections of the Whitney Museum, the San Francisco Museum of Modern Art (SFMOMA), the Tate Modern in London, among other museums and institutions. The artist will exhibit at the SFMOMA, the 18th Biennale of Syndey this summer, and the National Gallery in London in the fall. Two major catalogues have been published on the artist: Craigie Horsfield: Relation (2007) and Craigie Horsfield: Confluence and Consequence (2011). This is the artist's first exhibition at Marvelli Gallery. Visit : http://www.marvelligallery.com/
Posted: 13 Feb 2012 06:31 PM PST
Leonora Carrington (b. 1917) is perhaps best known for her involvement in the Surrealist movement during the late 1930s. Following the wartime internment of her lover, the artist Max Ernst, Carrington suffered a nervous breakdown and was later incarcerated in a Spanish mental institution and treated for mild psychosis. On recovery, she moved to Mexico in 1942, where she continues to live and work. Her paintings are influenced by fairy tales and Celtic lore.
When she was eighteen, Leonora was sent to the Chelsea School of Art in London. After a few months at the Chelsea School, Carrington moved to the recently opened Ozenfant Academy for Art in London. Ozenfant ran his school like a drill sergeant, and was able to instill in Carrington the discipline that she needed to harness her creative energy. In 1936, there were two major Surrealist exhibitions in London: The First International Surrealist Exhibition in June, and a solo exhibition of the work of Max Ernst. Carrington learned about Surrealism and became particularly interested in Ernst's work. When she met Ernst at a dinner party, it was love at first sight. Of their love, art historian Susan Aberth says "it was a profoundly transformational experience for Carrington, who, literally overnight, was freed from a lifetime of familial restrictions and was propelled into an artistic community and lifestyle that promised the sorts of freedoms and creative expressions she had always longed for." At age twenty, Carrington moved to Paris where she joined Andre Breton's Surrealist ring and moved in with Ernst.
Lucy Skaer said: "I was struck by how the world had changed during Carrington's life, and that her internal vision had remained more constant than reality had. My short film is a simple record of our meeting. I wanted to use the presence of Carrington within my installation as a kind of carte blanche to disassemble the logic of my own practice and move into unknown territory."
Andrew Macdonald, Acting Director of The Art Fund, said: "This fascinating installation celebrates the life and work of a daring, avant-garde artist and muse, whilst also revealing the originality and creativity of Lucy Skaer herself. It is entirely fitting that a work by one of Glasgow's leading young artists should enter the Hunterian's permanent collections, where it will inspire new generations of artists."
Mungo Campbell, Deputy Director of the Hunterian Museum & Art Gallery, Glasgow, said: "Leonora has emerged as a pivotal work in the development of Lucy's career and it has been very exciting to work so closely with her over the last eighteen months to bring such a significant acquisition to fruition."
Leonora exemplifies Lucy Skaer's innovative, mixed media approach. Her work often utilises found imagery and photojournalistic reportage, whilst also combining large-scale drawings made using graphite as well as touches of enamel paint, ink and gold leaf.
Skaer was born in Cambridge in 1975 and graduated from the Environmental Art Department of Glasgow School of Art in 1997. Based in Glasgow, she has recently spent extended time in Berlin, Amsterdam, New York and Basel. Lucy Skaer is one of the four artists nominated for this year's Turner Prize, to be awarded in October 2009.
Posted: 13 Feb 2012 06:30 PM PST
MOUNTAINVILLE, N.Y.- Storm King Art Center, one of the world's most distinguished and best-loved sculpture parks, opened to the public for its 2011 season on April 1. Located about an hour north of New York City, in the Hudson Valley, Storm King encompasses over 500 pristine acres of rolling hills, fields, and woodlands. These provide space for more than 100 large-scale sculptures by some of the preeminent artists of our time, including Alexander Calder, Mark di Suvero, Andy Goldsworthy, Maya Lin, Louise Nevelson, Isamu Noguchi, Richard Serra, David Smith, and Ursula von Rydingsvard, among others.
Posted: 13 Feb 2012 06:29 PM PST
GLASGOW.- Recoat Gallery presents The Paradigm, a solo exhibition from New York artist Matt Mignanelli. Mignanelli has exhibited in two group exhibitions at Recoat since they opened. They selected his work for its aesthetic forms, bright colours, stylised graphic nature, and his attention to detail and technique. This solo exhibition sees Mignanelli travelling from New York to paint an installation within the space and to hang a collection of new paintings. On exhibition through 2 May, 2010.
Posted: 13 Feb 2012 06:28 PM PST
LONDON.- This week Tate Britain's Clore Galleries have re-opened to the public following a major re-hang. Romantics, part of the BP British Art Displays, features over 170 key paintings, prints and photographs spread over nine thematic rooms exploring the origins, inspirations and legacies of British Romantic art. Highlights of the new display are eight spectacular hand-coloured etchings by William Blake (1757-1827) which were acquired by Tate for the nation last year. Found hidden in a railway timetable amongst a box of secondhand books in the 1970s, these rare works are images from Blake's now famous series of illuminated books. Originally left to Blake's widow, the prints were gifted to a friend, and their location was unknown until their remarkable rediscovery.
Posted: 13 Feb 2012 06:27 PM PST
LOS ANGELES, CA - Since the Enlightenment, the city of Dresden has been a world leader in the arts and sciences. Overshadowed by the catastrophic bombing of World War II, Dresden has reemerged as a major European cultural capital following German reunification. The rebuilding of some of Dresden's major monuments has involved the world as a partner in binding the wounds of the 20th century, promoting healing and reconciliation.
Joining in this process, the J. Paul Getty Trust has provided expertise and resources to the Dresden State Museums in a variety of initiatives since 1995. As an extension of this relationship, the J. Paul Getty Museum, with From Caspar David Fiedrich to Gerhard Richter: German Paintings from Dresden (until April 29, 2007 at the J. Paul Getty Museum, the Getty Center), embarks on a series of collaborative exhibitions forged by curatorial departments in both cities, bringing to Los Angeles works of art from Dresden that provide visitors new perspectives on the collections of both institutions.
From Caspar David Fiedrich to Gerhard Richter: German Paintings from Dresden takes a look at the range of German painting in the time period between two of the best-known German artists associated with Dresden – Caspar David Friedrich (1774-1840) and Gerhard Richter (b. 1932). For this exhibition, two galleries in the Museum's West Pavilion will be dedicated exclusively to the works of these two artists – one devoted to a series of works by Friedrich, the key voice of German Romanticism, from the Galerie Neue Meister in Dresden; the second showcasing new work by Gerhard Richter, the most significant German artist working today. Additionally, paintings by other German artists from the Galerie Neue Meister, one of the foremost collections of German art from the 19th century to the present, will be interspersed throughout the Getty Museum's permanent galleries, displayed alongside objects from the Getty's own collection to allow for comparisons of subject matter, technique and style.
In the gallery devoted to works by Friedrich will be eight paintings, including his 1809 masterwork, the Tetschen Altarpiece , or Cross in the Mountains, which has never before been exhibited in the United States. On view in an adjacent gallery will be a series of twelve works completed by Richter in 2005 initially titled Abstract Paintings, but renamed Wald (Woodlands) in light of his affinity—shared with Friedrich—for the theme of evocative landscapes.
Throughout the rest of the Getty Museum, 13 paintings from the Galerie Neue Meister by such artists as Carl Gustav Carus, Johann Christian Dahl, Otto Dix, and Karl Schmidt-Rottluff will be shown alongside works from the Getty's permanent collection for comparative analysis. These juxtapositions address diverse aspects of German art between 1800 and World War I, including Romanticism and the sublime, and the interrelationships between Germany and its artistic heritage with European culture at large.
"The Getty's partnership with the Dresden State Museums will give our curators the chance to offer fresh perspectives on objects throughout the Getty's entire collection," says Michael Brand, director of the J. Paul Getty Museum. "While the first exhibition focuses on German paintings, our future collaborative exhibitions will allow us to draw comparisons between our two collections not just with paintings but also with antiquities and decorative arts. The Getty's visitors will benefit greatly from being able to experience objects in new contexts."
Over the course of the next three years, subsequent exhibitions at both the Getty Center and the Getty Villa will include: The Herculaneum Women and the Origins of Archaeology at the J. Paul Getty Museum, the Getty Villa (Spring 2007) as well as planned exhibitions of decorative arts from Dresden's Green Vault (Fall 2008) and Bolognese paintings (Winter/Spring 2009) at the J. Paul Getty Museum, the Getty Center.
From Caspar David Fiedrich to Gerhard Richter: German Paintings from Dresden is curated by Jon Seydl, associate curator of paintings at the J. Paul Getty Museum, and Ulrich Bischoff, director of the Galerie Neue Meister in Dresden, with the assistance of curators Birgit Dalbajewa and Gerd Spitzer in Dresden and Mary Morton in Los Angeles.
This exhibition has been co-organized by the J. Paul Getty Museum and the Galerie Neue Meister, Staatliche Kunstsammlungen Dresden. An illustrated catalogue, featuring an interview with Gerhard Richter, accompanies the exhibition
The J. Paul Getty Trust is an international cultural and philanthropic institution devoted to the visual arts that features the Getty Conservation Institute, the Getty Foundation, the J. Paul Getty Museum, and the Getty Research Institute. The J. Paul Getty Trust and Getty programs serve a varied audience from two locations: the Getty Center in Los Angeles and the Getty Villa in Malibu.
The Getty Center is open Tuesday through Thursday and Sunday from 10 a.m. to 6 p.m., and Friday and Saturday from 10 a.m. to 9 p.m. It is closed Monday and major holidays. Admission to the Getty Center is always free. Parking is $8. No reservation required. Reservations are required for event seating and groups of 15 or more. Additional information is available at www.getty.edu
Posted: 13 Feb 2012 06:26 PM PST
NEW HAMPSHIRE.- The MacDowell Colony, the nation's leading artist residency program, will present its 50th Edward MacDowell Medal this year to visual artist Kiki Smith. The MacDowell Medal is awarded annually to an individual who has made an outstanding contribution to his/her field and this year marks a half-century of recognizing pivotal artists. Smith joins an impressive list of past recipients, including Georgia O'Keeffe, John Updike, I.M. Pei., and Aaron Copland. The award will be presented in a public ceremony during the Medal Day celebration on Sunday, August 9, 2009, beginning at 12:15 p.m. on The MacDowell Colony grounds in Peterborough, New Hampshire. Robert MacNeil, chairman of The MacDowell Colony, will award the Medal, along with Carter Wiseman, president of the board, and Cheryl Young, executive director. Novelist, critic, and Colony Fellow Lynne Tillman will be the Medal Day speaker.
Posted: 13 Feb 2012 06:25 PM PST
Boston, MA - The judi rotenberg gallery is pleased to present Humaneyes, an exhibition that entertains the possibility of finding the human in the animal. As a response to the curatorial and cultural trend of unleashing the animal in the human, or getting in touch with our wild sides, Humaneyes is a quieter, more empathetic approach to the condition of being human. Through the personification of the animal's gaze, these artists create a palpable space for interaction between the viewer and the subject. By injecting a human quality to the eyes, the artists evoke a sense of empathy and investment from the viewer.
Posted: 13 Feb 2012 06:24 PM PST
Los Angeles, California.- "La Luz de Jesus 25", the milestone anniversary show and largest exhibition in the gallery's history, launches its second half during the first weekend of November. Following hard on the heels of October's spectacular Part One, Part Two features more than 120 artists including Shawn Barber, Gary Baseman, Tim Biskup, Al Farrow, Chris Mars, Elizabeth McGrath, Jason Mecier, Mark Mothersbaugh, Marion Peck, The Pizz, Mark Ryden, Shag, Peter Shire, Joe Sorren, Mark Todd and Eric White. The exhibition opens of November 4th and will remain on view through November 28th. This exhibition is documented in the beautiful companion book, 'La Luz de Jesus 25: The Little Gallery That Could', featuring images of all the art in the show, a personal anecdote about Billy Shire and the gallery written by each artist, essays by gallery directors and a foreword by Shire.
Posted: 13 Feb 2012 06:23 PM PST
OXFORD, UK - A comprehensive group of over 200 drawings and sketch books, assembled by the artist Tom Phillips, has been acquired by the Ashmolean with a major grant from independent charity The Art Fund, and additional funding from the MLA/V&A Purchase Grant Fund, and the Christopher Vaughan Bequest Fund. The collection spans the chronological range and genres of his work, from a drawing of his mother made before he went to university, to a set design for The Magic Flute at Opera Holland Park in 2008.
A comprehensive group of over 200 drawings and sketch books, assembled by the artist Tom Phillips, has been acquired by the Ashmolean with a major grant from independent charity The Art Fund, and additional funding from the MLA/V&A Purchase Grant Fund, and the Christopher Vaughan Bequest Fund. The collection spans the chronological range and genres of his work, from a drawing of his mother made before he went to university, to a set design for The Magic Flute at Opera Holland Park in 2008.
Its centrepiece is the entire series of 107 drawings published in the book Merry Meetings, sketched at board meetings at the British Museum, Royal Academy, and elsewhere (2005). It also includes studies for portraits; sketch books; life studies; collages; designs for panels in All Souls' Chapel, Westminster Cathedral; for tapestries in St Catherine's College, Oxford; for street furniture, for book covers, and for the Royal Mint.
Born in 1937, Tom Phillips is one of Britain's most eminent artists. His intellectual range and artistic versatility comprises portrait painter, book designer, translator, musician, graphic artist, printmaker, sculptor and designer. With solo exhibitions at the ICA (1973), the Basel Kunsthalle (1975), the National Portrait Gallery (1989), and the Royal Academy (1993), he was elected RA in 1989 and appointed CBE in 2002. As the Slade Professor of Fine Art at Oxford in 2006, he arranged a micro-retrospective of his work in the Ashmolean, which formed an integral part of his lecture series Making Art Work, acclaimed as one of the most imaginative and innovative in living memory.
In 2007, the Bodleian Library acquired an important archive of material relating to Phillips's Dante's Inferno. The Ashmolean's new acquisition constitutes an unprecedented example of a developing collaboration between the University of Oxford's Museum of Art and Archaeology and its principal library to create mutually complementary collections, fully representing one of the outstanding artistic talents of the last half century in Britain.
Establishing the Tom Phillips archive at the Ashmolean provides the Museum's Print Room with a major contribution to its collection of 21st century works on paper. Housing one of Britain's finest collections of European prints and drawings from the fifteenth century to the present day, the Print Room features the largest collection of Raphael's drawings in the world, along with notable groups of drawings by Turner, Samuel Palmer, John Ruskin and Camille and Lucien Pissarro, amongst many others.
Posted: 13 Feb 2012 06:22 PM PST
NEW YORK, NY.- P.S.1 presents a large-scale wall installation by the artist Chitra Ganesh, for the second installment of the new series "On-site" which continues P.S.1's long standing tradition of commissioning site-specific, wall based projects. Ganesh's new wall piece, The Silhouette Returns (2009), was put on view in the P.S.1 lobby this October 1, 2009 and will continue through April 5, 2010.
Chitra Ganesh creates wall installations, paintings, drawings, photographs, and animations that make use of an expansive visual vocabulary that ranges from Bollywood films, comics and graphic novels, to iconic feminist imagery.
Posted: 13 Feb 2012 06:21 PM PST
The Watermill Collection
The Watermill Collection is more than a static accumulation of artifacts. It is very much a living entity that is one of many artistic media in which Robert Wilson explores the relationship between the human body and the surrounding space. In this sense, collecting is an essential component of Wilson's artistic work. His work draws upon a vast and continuously expanding inventory comprising images, objects, texts, music, and gestures. In Wilson's world, all elements that are part of the total experience have similar weight. Foreground and background, down to the smallest detail, don't compete with one another but form a synchronous experiential field of infinite richness. Much of the material for this tapestry of stimuli is drawn from Wilson's intense interaction with his collection.
Posted: 13 Feb 2012 06:20 PM PST
BERLIN - This June, Christian Boros and his wife Karen Lohmann are making their collection of contemporary art available to the public in a converted bunker in Mitte, a central borough of Berlin. The first exhibition exclusively shows works which incorporate the space. Christian Boros is the owner of an advertising agency with offices in Wuppertal and Berlin. He has been collecting contemporary art since 1990. Over this time, he has put together a private collection with around 500 works by artists such as Damian Hirst, Olafur Eliasson, Elizabeth Peyton, Wolfgang Tillmans, Anselm Reyle, Manfred Pernice, Tobias Rehberger, John Bock, Wilhelm Sasnal and Michel Majerus.
The Boros Collection now has a permanent home in a converted bunker in Berlin -Mitte. The first presentation of selected exhibits, to open in June 2008, will be exclusively works which incorporate the bunker space itself. Sculptures, room and light installations as well as performance works will create a new experience of the rooms in the bunker. Most of the works were installed and staged by the artists themselves. There was no curator. The artists sometimes altered or added to their works in order to overcome the sometimes difficult space, and some of the works were created especially for the bunker.
As of June 2008 the private collection can be viewed by prior appointment. There will be two-hour guided tours every Saturday. He currently has comprehensive groups of works of 57 artists. Parts of the collection were previously shown to the public in two museum exhibitions.
In 2003, Christian Boros bought the 1942-built bunker and started to prepare the conversion of the building for the collection of contemporary art. Jens Casper from the Berlin-based office Realarchitektur was entrusted with the conversion. It took a year of planning and four years of conversion; in addition, the 1000 square meter roof space was turned into a penthouse complete with terraces and a roof garden.
The new private museum has 3000 m2 of exhibition space, with room heights varying from 2,30 to 13 metres. Many of the low intermediate floors were removed using diamond cutting technology – an extremely time consuming technique. In addition to this, the concrete floors that were cut out had to be broken up inside the bunker and then to be removed by hand. The 120 initial rooms were changed into 80 rooms. There is no daylight. The building's monumental character has been preserved: all evidence of the war has been left on the outside and inside one can still see the different uses of the building.
History of the bunker
The bunker is on the corner of Albrechtstrasse and Reinhardtstrasse in the Berlin Mitte. It was built in 1942 as the Reichsbahnbunker Friedrichstrasse (State Railway Bunker). Planning began in 1941 under the supervision of Albert Speer in line with the "Fuehrer's Immediate Programme" for the creation of civil air raid defences. The bunker was to offer passengers from the near by Berlin- Friedrichstrasse railway station protection against Allied air raids. The civil population from the surrounding residential area and visitors to the German Theatre could also shelter here when the air raid warning sounded; it could house up to 2000 people. After the German surrender, the Red Army took over the bunker and used it as a prison.
From the mid-1950s onwards, it was used as a store by the nationally owned Berlin fruit and vegetable conglomerate. The thick walls and the sophisticated ventilation system provided an almost constant inside temperature, making it especially suitable for the storage of tropical fruit: in the DDR the locals also called it the 'Banana Bunker'.
After reunification, the techno and fetish scene discovered the bunker as a party location. The "Bunker" was considered one of the most hardcore techno clubs in Germany, with the SM and fetish parties organised there achieving fame well beyond the borders of Berlin. "Sexperimenta" took place in the bunker in 1995 and the bunker saw its last techno party in 1996.
It is a square building which is about 38 m long and 16 m tall. Inside, the shelter covers five floors. There is a separate stairwell on each of the four sides. The external walls are made of 2 m thick solid reinforced concrete. The original rooms were just 2.3 m high. The roof is 3.10 m thick reinforced concrete. What was known as "blue concrete" was used to build it. At the time, this specialist concrete was one of the most resistant materials and only fully hardened after around 30 years. The surface was left as untreated face concrete with the traces of the boarding still visible. Because of its historical significance, the building is listed in the historical registry.
Posted: 13 Feb 2012 06:19 PM PST
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