Senin, 20 Februari 2012

Art Knowledge News - Keeping You in Touch with the World of Art...

Art Knowledge News - Keeping You in Touch with the World of Art...

Smithsonian to display Ruby Slippers in new "American Stories" exhibition

Posted: 19 Feb 2012 08:16 PM PST

artwork: The famous Ruby Slippers that Judy Garland wore in the 1939 MGM film "The Wizard of Oz"

WASHINGTON, DC.- The famous Ruby Slippers Judy Garland wore in the 1939 MGM film "The Wizard of Oz" are showing their age and need to be removed from display in February in order to prepare them for a new exhibition called "American Stories," opening April 5. The slippers are currently on view in "1939" at the Smithsonian's National Museum of American History through February 22nd. The Wizard of Oz is a fantasy tale about a journey to a magical land and was based on the 1900 novel by L. Frank Baum (1856-1919). In addition to its many other merits, the MGM movie ranks as a milestone in the history of Technicolor because of its extensive color sequences set in the Land of Oz. The magical shoes, changed from the book's silver slippers to those with an iridescent red hue, played a central role in the film. The Ruby Slippers were designed by Gilbert Adrian, MGM Studios' chief costume designer. Adrian also designed the many costumes in The Wizard of Oz, including Ray Bolger's Scarecrow costume.

"These slippers are beloved by our visitors, and we are honoring that affection by placing them in a central location among the great stories of American history," said Marc Pachter, interim director.

artwork: The Ruby Slippers worn by Dorothy in the 1939 movie The Wizard of Oz. Photo courtesy of the Smithsonian Institution.

"American Stories" will showcase historic and cultural touchstones of American history through more than 100 objects from the museum's vast holdings. Joining Dorothy's Ruby Slippers will be the rarely seen walking stick used by Benjamin Franklin, a sunstone capital from the Mormon temple at Nauvoo, Ill., Abraham Lincoln's gold pocket watch, Archie Bunker's chair, Muhammad Ali's boxing gloves, a fragment of Plymouth Rock and Kermit the Frog.

The Ruby Slippers were donated anonymously to the museum in 1979 and have been on almost continuous display since. The yellow brick road will still be represented to visitors by the hat from the Scarecrow costume worn by Ray Bolger in the film. Because of the delicate nature of that costume, the museum is rarely able to exhibit it. Visitors can also visit the website to see the slippers under conservation.

The movie's costume designer altered commercially manufactured red shoes by attaching red netting to their tops and heels and covering it with red sequins. Movie costumes and props are made quickly and cheaply; they are meant to last only for the brief duration of the shoot—not for posterity. Now in their seventh decade, the shoes are fragile. In the current "1939" exhibition, the slippers have been displayed under a red-filtered light to help the color seem more robust.

Visit :

Alon Zakaim Opens New London Gallery With Impressionist & Modern Master Works

Posted: 19 Feb 2012 08:15 PM PST

artwork: Emile Othon Friesz - "Automne à Honfleur, la Côte de Grace", circa 1906-7 - Oil on canvas - 65.4 x 81.2 cm. - Courtesy of Alon Zakaim Fine Art, London. On view in the inaugural exhibition at Alon Zakaim Fine Arts new gallery in Dover Street until March 23rd.

London.- Alon Zakaim Fine Art recently unveiled their second Mayfair gallery, which opened on February 10th. Alon Zakaim is highly regarded on the Mayfair art scene and will be joining numerous prestigious galleries on Dover Street which is fast becoming a rival to Cork Street. Featuring an exciting programme of exhibitions in a spectacular setting, the new gallery will showcase the highest calibre of works by Impressionist, Modern and 19th Century masters. Dover Street will also expand on the diverse programme of Zakaim's Cork Street premises, including shows by the gallery's stable of Contemporary and 20th Century European artists. Building on their established success, the new gallery, boasting over 2,000 square feet of exhibition space, will launch with an opening show unveiling key works by artists who shaped the course of art history over the hundred years from 1880 to 1980.

Weils in Belgium Surveys Work of Rosemarie Trockel ~ Questioning Social Conventions

Posted: 19 Feb 2012 07:44 PM PST

artwork: Rosemarie Trockel - "Dessert 2", 2007 - Ceramic, glazed, 28-1/4 x 12-1/4", Private Collection, New York. - Courtesy Donald Young Gallery, Chicago. Photo: Tom Van Enyde.

Brussels, Belgium - This survey constitutes the first large exhibition of Rosemarie Trockel (1952, Schwerte) in Belgium. Although the work of Rosemarie Trockel is clearly referencing the symbolic and aesthetic legacies of surrealism and dada , her work has until now hardly been shown in Belgium. This exhibition will provide comprehensive insight into her oeuvre and will features works and groups of works produced from the early 1980's onwards and works created specifically for the exhibition. On exhibition at Weils from 18th February through 27th of May. The motif of the exhibition is an expressive group of 40 recent collages, and ceramics in which Rosemarie Trockel assembles in an impulsive and direct way her own work, iconography, sensibilities and themes. Rosemarie Trockel has been producing her stylistically heterogeneous works in a wide range of media since the 1970's.

Linda Pace Foundation features a new three-screen Video Installation by Isaac Julien

Posted: 19 Feb 2012 07:43 PM PST

artwork: Isaac Julien - Green Screen Goddess Triptych (Ten Thousand Waves) (Detail), 2010 - Courtesy of The Linda Pace Foundation.

SAN ANTONIO, TX.- The Linda Pace Foundation announces the presentation of a special three-screen edition of TEN THOUSAND WAVES by Isaac Julien. The work was co-commissioned by the Foundation in 2009, and its presentation continues the organization's mission to support the work of contemporary artists. TEN THOUSAND WAVES crosses the boundaries of past and present, fiction and reality, and feature film and documentary. Connecting social, psychological, aesthetic, mythic, and spiritual dimensions, Julien engages the viewer with poetic beauty while encouraging the critical inquiry of Western-centric cultural globalization.

Vancouver Art Gallery celebrates The Sixties ~ Canadian Painting from the 1960's

Posted: 19 Feb 2012 07:08 PM PST

artwork: Michael Morris - Untitled, 1967 - Acrylic on canvas - Collection of the Vancouver Art Gallery, Gift of Mr. Alfred Blundell Photo: Jim Jardine, Vancouver Art Gallery.

VANCOUVER, BC.- It was the era of turning on, tuning in, and dropping out. A time of tumult and creativity. The sixties shook up politics, social mores, and culture – and ushered in an era of great creativity in Canadian painting. Opening at the Vancouver Art Gallery a new exhibition, "Lights Out! Canadian Painting from the 1960's" celebrates the verve and energy of this decade as expressed on canvas. Featuring nearly ninety paintings, Lights Out! reflects the vibrancy of this exceptional era. On museum display from 18th February through 29th of April. Visit the
Vancouver Art Gallery at :

Investment Helped the Art Market Weather the World Economic Crisis

Posted: 19 Feb 2012 06:50 PM PST

artwork: Johan-Barthold-Jongkind (Dutch 1819-1891) - "Moonlight Scene", 1866. Oil on canvas - The Joey and Toby Tanenbaum Collection, 2002
HELVOIRT.- A change in luxury spending habits caused by the recession has helped the international art and antiques market weather the global economic storm, reveals a new report commissioned by The European Fine Art Foundation which organises The European Fine Art Fair (TEFAF) to be held in the Dutch city of Maastricht in the MECC (Maastricht Exhibition and Congress Centre) from 12-21 March 2010. The report The International Art Market 2007-2009, Trends in the Art Trade during Global Recession has been prepared by Dr Clare McAndrew, a cultural economist specialising in the fine and decorative art market and founder of Arts Economics. The price of the report is €15 and can be ordered at  (click on shop).

Shift in luxury spending habits
Wealthy buyers have been switching away from expensive cars, yachts and jets in favor of assets with long-term tangible value such as art and antiques. These 'investments of passion' have meant that, although the world market in art and antiques has suffered during the economic downturn, it has performed far better than expected.

"As economically recessive conditions in many countries have led to a reduction in incomes, demand for and consumption of many luxury goods has also contracted," says the report, the latest in a series of important annual studies commissioned by TEFAF. It adds that the world financial crisis produced a drop in the number of High Net Worth Individuals (HNWIs) – people with investable assets of at least US$1 million, excluding their primary home, collectibles and consumer items.

"While outright global demand was weaker for luxury collectibles and consumables, there has also been a shift in luxury purchasing habits, as many HNWIs looked to secure their wealth in assets with long-term tangible value," says the report. "This has worked strongly in favour of the art market, with art now recognized as a viable alternative investment asset.

"Although purchases of luxury cars, jets, yachts and other collectibles fell sharply, the share of art in HNWIs 'investments of passion' actually rose from 20% in 2006 to 25% in 2008 as investors looked to find assets that had a more enduring value.

"In 2009, there was a major shift in the purchasing behaviour of the most affluent buyers as many began focusing on intrinsic quality and on the durability of luxury items instead of fashion content. Luxury buyers are also spending much more discreetly. Ostentation is 'out' with regard to what they buy and how they shop.

New global buyers in the art market
"The geographical distribution of wealth has also worked in favour of the art market. The emergence of new global buyers in the international art market has been driven primarily by economic factors, specifically by the increasing wealth of their populations. While most of the older Western economies are currently in recession, many of the new art markets are still showing positive growth, with China and India at rates of 9% and 6% respectively in 2009."

Motivation of art collectors
Although a survey of existing major collectors by Arts Economics showed that many are primarily motivated by aesthetic, decorative, intellectural or historical reasons rather than money "most felt that their investment in art had out-performed inflation and in many cases had done better than their investments in financial and property markets.

"It seems likely that as the financial crisis has created a much more cautious investment climate, assets such as art which offer long term stability with potential for risk diversification will continue to gain more mainstream interest in the investment community."

Among the key findings (p. 15-17) of the report are: 

  • In 2008, total sales in the global market for fine and decorative art reached just over €42.2 billion, down over 12% from its peak in 2007 of €48.1 billion. In 2009, sales are estimated to have slipped further, dropping by about 26% to €31.3 billion as the effects of the global recession filtered down to some sectors of the art market.
artwork: Decorative art reached just over €42.2 billion, down over 12% from its peak in 2007 of €48.1 billion.
  • However although the fall in sales from 2007 to 2009 represents one of the biggest contractions in the art market since its previous recession in the early 1990s, sales in 2009 are still well above any year of the arts market's history before 2006. 
  • Global sales of art and antiques are divided between auction houses and dealers, which shared approximately 45% and 55% of the market respectively. Auction houses have been slightly worse affected by the downturn than dealers. 
  • Just under 50% of the value of all transactions in the global market took place in the EU in 2008, which achieved a total market turnover of €20.7 billion in 2008. The UK continues to dominate the EU art trade, with a majority share in 2008 of 69%. 
  • The US and UK continued to dominate the global art and antiques market in 2008, with a combined share of just over two thirds of the value of all transactions. The US has retained its leading share of the market over the last ten years, however its margin has declined, as its art market has been more affected by the global recession. In Euro values, its global market share dropped 11% from 2006 to 2008 reaching a level of 35%, while the UK has made relative gains in share over the same period from 27% to 34%. In 2009, the market shares of the US and UK further declined to a combined 59% (with the UK at 29% and the US at 30%).
  • China has continued to gain share in the global market. In 2007, it achieved the third largest sales worldwide, and in 2008 maintained that position with a share of 9% (ahead of France's 6%). The Chinese art market, including both mainland China and Hong Kong, reached a total of €3.8 billion in 2008. The Chinese art market bucked the trend in the rest of the world and increased aggregate sales in 2009 by 12%, boosting its share of the global art market to 14%, and reaching a high of €4.2 billion. 
  • The EU was a net exporter of art in 2008, with exports of €5.5 billion exceeding imports of €4.9 billion. The US is the largest global trader of art and a net exporter in 2008 with €5.2 billion in exports and €4.9 in imports. 
  • Average prices in several sectors of the art market dropped during 2008 and 2009. Just as a small number of very high priced sales helped to inflate averages in 2006 and 2007, the reduced number of high value works sold over the next two years was reflected in a drop in average prices.
  • Within the fine art market, different sectors of the market have different (and often independent) trajectories in terms of prices, volume of sales and sales values. 
  • The middle market (in terms of prices) appears to have been one of the worst hit by the global recession in 2008 and 2009, while the very high and very low ends of the market have fared better. 
  • The auction market for Contemporary art grew from €92 million in 2002 to €915 million in 2008, or just under a tenfold increase in value. Just as it had been a leader in the expansive phase of the art market, the Contemporary sector has also fared worse than other sectors. 
  • More traditional categories have performed well throughout the last few years. Old Master paintings, for example, are now regarded as a strong sector in which to collect and invest.

Ballina Arts Centre Will Reveal To The Public ~ Altered Images

Posted: 19 Feb 2012 06:49 PM PST

artwork: Thomas Brezing - Did Germany put the sun there?, 2007 - Oil on paper 29 x 42 cm. -  Collection Mayo County Council

CO MAYO, IRELAND. - An exhibition of works from the Collections of Mayo County Council, South Tipperary County Council and the Irish Museum of Modern Art opens to the public on Friday 14 August 2009 at the Ballina Arts Centre, Ballina, Co Mayo. Altered Images includes work by artists Thomas Brezing, David Creedon, Alice Maher, Caroline McCarthy and Abigail O'Brien, with especially commissioned works by Amanda Coogan and Daphne Wright. The exhibition will be officially opened by Aidan Dunne, Art Critic, The Irish Times, on Thursday 13 August 2009.

World-Renowned Sculptors Unite to Honor Major Philanthropists

Posted: 19 Feb 2012 06:48 PM PST

artwork: "Niijima Floats," by Dale Chihuly at Frederik Meijer Gardens. The Chihuly exhibit consists of 15 sites throughout the gardens.

GRAND RAPIDS, MI.- In just 15 years, Frederik Meijer Gardens & Sculpture Park has established a permanent sculpture collection of international acclaim built by two philanthropists who collected solely for public enrichment and enjoyment. The world's most renowned sculptors working today have united to present an exclusive group exhibition honoring the organization's namesakes. "Sculptors Celebrate the Legacy of Fred and Lena Meijer" will be on display through January 2, 2011. The exhibition features works by 26 of the most important artists working today including iconic masters Magdalena Abakanowicz , Louise Bourgeois, Mark di Suvero and Claes Oldenburg; internationally heralded sculptors Jonathan Borofsky, Deborah Butterfield, Antony Gormley, David Nash and Jaume Plensa; as well as emerging talents like Laura Ford and Sophie Ryder.

Twenty Years of Chinese Contemporary Art on View at National Art Center in Tokyo

Posted: 19 Feb 2012 06:47 PM PST

artwork: Zhang Xiaogang - Bloodline: The Big Family No. 2 - Oil on canvas

TOKYO - China has been much in the news recently for its rapid economic growth and also for hosting the Beijing 2008 Olympic Games. It is also becoming the subject of worldwide attention for its contemporary art. Artistic expression that departed from socialist realism emerged in the late 1970s, after the country implemented its reform and opening-door policy. In 1979 artists known as the "Star Group" held an exhibition, blazing the trial for much freer forms of expression that put the Chinese artists' individuality front and center.

The Kunsthaus Bregenz (the "KUB") ~ Outstanding Exhibition Spaces for Contemporary Art In Austria ~ Is Toured By AKN Editor

Posted: 19 Feb 2012 06:46 PM PST

artwork: On the right the last two buildings are The Kunsthaus in Bregenz (KUB) and the museum's cafe and administration building to the right of the museum. Designed by Peter Zumthor and opened in 1997. Architectonically unusual exhibition gallery for contemporary art, a glass cube at the banks of Lake Constance. From the outside, the building looks like a lamp. It absorbs the changing light of the sky, the haze of the lake, it reflects light and colour and gives an intimation of its inner life according to the angle of vision, the daylight and the weather.

In August 1993 the district administration office of Bregenz issued the building permit for the construction of a new art museum. Planning and negotiation had begun some years before, and construction started the following year. Both the museum itself and adjacent administration building were designed by Swiss architect Peter Zumthor a Pritzker Prize winner. The Kunsthaus Bregenz ( the KUB) was opened on July 25, 1997. The architect described the building as: "The art museum stands in the light of Lake Constance. It is made of glass and steel and a cast concrete stone mass which endows the interior of the building with texture and spatial composition. From the outside, the building looks like a lamp. It absorbs the changing light of the sky, the haze of the lake, it reflects light and colour and gives an intimation of its inner life according to the angle of vision, the daylight and the weather." Within the Urban Context The Kunsthaus Bregenz was built as a solitary construction in a prominent location not far from the lakefront bank. It filled the space on "Seestraße" between the Theater for Vorarlberg and the main post office. Fresh air is conducted through a gap between the floor and the outer walls to the halls. The used air is sucked in through the gaps between the sheets of glass of the light ceiling and flows out through this space, requiring no mechanical air conditioning. The entrance lies on the eastern side of the building facing the town. The administration building, situated in front of the museum towards the city centre, acts as a transitional structure to the smaller and low buildings of the old part of the town. All functional facilities of the Kunsthaus other than those directly associated with the presentation of art are housed separately in this smaller building, which accommodates a library, the museum shop and a café besides the administrative offices. The striking facade consists of etched glass shingles that lend the building lightness and transparency, provide insulation and form an essential part of the lighting arrangement for the building. The refractive properties of the glass shingles and a 90-centimetre wide light pit between the glass cladding and the concrete structure of the building proper makes it possible to direct daylight to the first subterranean level and illuminate the building at night. Three exhibition floors are used to exhibit the museum's own collection and featured thematic or solo artist exhibitions. As a new institution, the Kunsthaus' own collection is still very young, but focuses on contemporary Austrian art The collection begins in the 1980s with works by the younger generation of artists which broke away from the determining traditions of postwar Austrian art in favor of a more international orientation (for example Bohatsch, Brandl, Kogler, Kopf, F. Pichler, Rockenschaub, Scheibl, Schmalix, Ströhle, Türtscher, West, Wurm, Zobernig, among others). Acquisitions of groups of works by the most important artists set focal points. In parallel to these exhibitions, the KUB Arena's program examines examples of differing forms of curatorial practice (such as the current Antony Gormley installation in the high Alps). Visit the museum's website at :

artwork: Antony Gormley -  Horizon Field Installations on view until April 2012 - A Landscape Installation in the High Alps of Vorarlberg, Austria. Horizon Field consists of 100 life -size, solid cast iron figures of the human body spread over an area of 150 square kilometers.Presented by Kunsthaus Bregenz

Currently, the Kunsthaus are showing three exhibitions. Haegue Yang's "Arrivals" runs until 4th March 2011 and features both the artist's older work as well as 33 new light sculptures, which enigmatically populate the third floor like alien life-forms and her largest installation to date, specifically for the Bregenz show, consisting of approximately 200 aluminum venetian blinds, which occupy KUB's entire second floor with an impressive weightlessness. These complex installations, sculptures, objects, photographs, videos, and slide projections, which in their atmospheric intensity appear equally poetic and conceptual, negate any unequivocal interpretation. Haegue Yang's work captivates precisely because of its ambiguity, which is rooted as much in the conceptual art of the 1960s and 1970s, as in an engagement with current theoretical discourses. Also 'Living Archives' - Cooperation Van Abbemusem (which runs until 4th March 2011) explores artistic archives. What is an archive? What is a collection? What are the relationships between the documents stored in archives and objects stored in collections concerned with memory, identity, history, and politics? The collaboration with the Van Abbemuseum in Eindhoven is a joint consideration of the significance of archives and collections, which play a major role in the current reconsiderations of artistic practices and conservations in the realm of the museum. Alongside the exhibit Living Archive – Mixed Messages of the Van Abbemuseum, which includes works by Francis Bacon, Robert Indiana and Paul McCarthy, works by Michal Heiman, Hannah Hurtzig (both from the collection of the Van Abbemuseum) and Katrin Mayer offer a range of processual and amenable strategies of collecting and archiving. Meanwhile, for the more adventurous visitor, The KUB Arena presents Antony Gormley's "Horizon Field" which can be found in the High Alps of Vorarlberg, a short journey from Bregenz. The Kunsthaus Bregenz and the British artist Antony Gormley (born in 1950) realized a unique project in the mountains of Vorarlberg. Horizon Field is the first art project of its kind erected in the mountains and the largest landscape intervention in Austria to date. Horizon Field consists of 100 life-size, solid cast iron figures of the human body spread over an area of 150 square kilometers. The work forms a horizontal line at 2,039 meters above sea level. This height has no specific metaphorical or thematic relevance in the placement of the figures. It is an altitude that is readily accessible but, at the same time, lies beyond the realm of everyday life. Some of the figures are installed in places one can hike to or ski past in the winter. Others are unapproachable though visible from certain vantage points. The works are neither representations (statues) nor symbols, but represent the place where a human being once was, and where any human being could be. Horizon Field engages the physical, perceptual, and imaginative responses of anyone coming within its relational field. Over the 2 years during which this installation is in place, the work will be exposed to the elements, to different lighting conditions, and to the changing seasons, thus enabling constantly new perceptions and impressions.

L.A. Louver presents New Sculptures by Deborah Butterfield

Posted: 19 Feb 2012 06:45 PM PST

artwork: Installation photography, Deborah Butterfield / 9 April - 9 May 2009 / at L.A. Louver, Venice, CA
Venice, CA - L.A. Louver is pleased to present a solo exhibition of new sculptures by Deborah Butterfield. The show includes both small and large-scale horse forms, made from a range of materials including cast bronze, steel, copper and concrete. The sculpture is presented throughout all first and second floor galleries. Deborah Butterfield has created sculpture in the form of horses since the early 1970s. In her early work the artist used humble materials such as mud, clay and sticks. On exhibition through 9 May, 2009.

'Alternative Nature' at Cavan County Museum

Posted: 19 Feb 2012 06:44 PM PST

artwork:  Alice Maher - Berry Dress, 1994 - Rosehips, cotton, paint, sewing pins 16 x 26 x 30 cm - Collection Irish Museum of Modern Art, Purchased, 1995 

Caven County, Ireland - An exhibition of work from the Irish Museum of Modern Art's Collection has opened to the public at the Cavan County Museum in partnership with the IMMA National Programme. Alternative Nature is based on the depiction of nature in art and includes works by artists such as Hamish Fulton, Marie-Jo Lafontaine, Alice Maher, Barrie Cooke, Oliver Comerford and Avis Newman.

4th Fukuoka Asian Art Triennale opens Live & Let Live: Creators of Tomorrow Theme

Posted: 19 Feb 2012 06:43 PM PST

artwork: Journey of a Yellow Man No.5: Index to Freedom, at 4th Asian Art Show, Fukuoka Art Museum, Japan
FUKUOKA CITY, JAPAN - The Fukuoka Asian Art Triennale (the Fukuoka Triennale) is a large-scale international exhibition held under a different theme every three years to feature the most up-to-date art tendencies/practices in 21 countries/ region in Asia, making the best use of resources accumulated through the continuous research and art exchange programme in the Fukuoka Asian Art Museum. In this exhibition, organizers present paintings, sculptures, installation and video works, workshops, performance and collaborative art-making by inviting artists from across Asia to Fukuoka. The Fukuoka Asian Art Triennale aims to create a space of art exchange involving the people in Fukuoka.

Commemorating the inauguration of the Fukuoka Asian Art Museum, the 1st Fukuoka Asian Art Triennale 1999, under the theme of "Communication: Channels for Hope" focused on the possibility of connecting people of different cultures and communities through art. The 2nd Fukuoka Triennale 2002 highlighted handmade works which employ indigenous local material under the theme "Imagined Workshop". The 3rd Fukuoka Triennale 2005 featured artworks of young generation influenced by popular culture under the theme "Parallel Realities Asian Art Now". By dynamically presenting cutting-edge ideas and works from Asia, these triennales were all well received both within and outside Japan.

artwork: Yau Bee Ling - Pride  Oil on canvas, 2008 183 cm. x 138 cm. Wei-Ling GalleryIn the 4th Fukuoka Triennale, organizers carefully select the most promising artists in Asia as in past triennales. At the same time, commemorating the 10th anniversary of the Fukuoka Asian Art Museum, the Triennale will also look back on the development of Asian art in the past decade by featuring artists who have actively participated in the international art scenes. Furthermore, taking advantage of the urban space where the museum is located, artworks will be displayed outside extending beyond the museum to intervene other public spaces (shopping malls, park etc). The Fukuoka Asian Art Triennale also aims to create a wider and diversified space of exchange by jointly organizing events with the city government, and collaborating plan with local organizations, universities and NPOs.

LIVE and LET LIVE: Creators of Tomorrow
The Japanese title, Kyo-sai-sei is a combination of two words, "kyosei" (symbiosis, coexistence, co-living) and "saisei"(revival, reconstruction, regenetation, rebirth). "Kyosei" stands for a situation in which humans and different kinds of living beings have a stable relation with each other. In addition to the coexisting relation in the nature, the meaning of "kyosei" here includes a symbiotic relation between self and other, individual and collective, the rich and the poor, majority and minority, center and periphery, metropolis and villages, city and nature, as well as political, economical and social relations among different generations or cultures. These relations often cause conflicts or produce a winner only in one side. In this exhibition, however, we would like to explore the symbiotic relation in which sustainable development and creation can be continued by making appropriate profit for the both sides. This is because it is almost impossible that such harmonious and mutual-aid symbiotic relation among humans, other living beings and nature can be seen in its primitive state, in this contemporary societies where the individual, community or country fight about vested rights and desire for the limited natural resources and market.

In Asian countries, economic development and globalization in which enormous amount of capital, labor, and information rapidly circulate beyond boundaries of nations and cultures in the past ten years, increasingly expanding the gap between the rich and those who are defeated in or even cannot join market competition. Furthermore, even in the country marking the economic power, the worldwide economic recession that has emerged since autumn 2008 plunged laborers of all generation into dire predicament where they feel anxiety even about living tomorrow. Omnipresent market fundamentalism and foisted consumerism cause less sense of responsibility and ethic as citizen, and is depriving children and youngsters of hope and future.

artwork: Fang Lijun, Series 2, No. 3, 1992, Oil on Canvas Fukuoka Asian Art MuseumUnder these circumstances, it is necessary that troubled companies and local governments, declining towns or villages, shattered schools are revitalized or reconstructed. Furthermore, it is human rights of living and responsibility for other people, nature and history that should be recovered. It should not be like a replay of the same digital content, mere regeneration of lost or wounded parts of living beings and objects, or resuscitation from dying state, but should be a creative "rebirth" which can fill our mind with hope for future, based on experimental methods and innovative ideas.

In the era of despair, stagnation, and crisis, "tomorrow" would not come by itself. We have to create "tomorrow" by our own efforts. To have "tomorrow" through survival, we should not rely on unreasonable fundraising, conventional methods, or outdated ideals, but should start to "utilize" existing objects and ideas, such as surrounding materials and spaces, other people's experience and wisdom, existing urban system and ecological systems of nature.

These endeavors can be made not only by professional artists, but also by creators who generate objects, systems and ideas in cultural and social activities, and all people who make an effort to "create tomorrow" for existence of the individual, reconstruction of organizations and communities.

The Fukuoka Asian Art Museum opened on the 6th march 1999 as a museum for collecting and exhibiting Asian modern and contemporary art. There is no other collection of this quality and quantity in the world with over 1,700 works (as of March 2004) covering various aspects drawn from 21 Asian countries and regions.

In the Asia Gallery, the streams of Asian modern and contemporary art are introduced through the collection and temporary exhibitions with specific themes. The exhibits are changed from time to time in order to introduce the richness, diverse expressions and the fresh impact of Asian art. Visit :

"Drawing: A Broader Definition" at Museum of Fine Arts, Boston

Posted: 19 Feb 2012 06:42 PM PST

artwork: Francisco Goya Two Men Fighting 

BOSTON, MA - The Museum of Fine Arts, Boston, will present Drawing: A Broader Definition, on view October 27, 2007 – May 4, 2008 at the Trustman Galleries. This unconventional exhibition includes 66 drawings on a variety of surfaces (paper, ceramic, metal, cloth) produced by artists from diverse world cultures and ranging in date from 4000 BC to the 1950s.

Irish Museum of Modern Art hosts Retrospective of McDermott & McGough

Posted: 19 Feb 2012 06:41 PM PST

artwork: McDermott & McGough - The Last Supper,1898 - 1998 Palladium print - 51 x 61 cm   Courtesy of Galerie Jérôme de Noirmont 

DUBLIN, IRELAND - A retrospective of the entire photographic work of the American-born artists McDermott & McGough, covering two decades of their highly-original output in that medium, at the Irish Museum of Modern Art. An Experience of Amusing Chemistry: Photographs 1990 – 1890 comprises some 120 works created using a wide range of historic photographic techniques, including the use of palladium, gum, salt and cyanotype prints.

FIAC 2011 Brings Modern & Contemporary Art to the Grand Palais in Paris

Posted: 19 Feb 2012 06:40 PM PST

artwork: Yves Tanguy - "Roux en Hiver", 1932 - Oil on panel - Courtesy Ubu, New York - On view at the 38th edition of FIAC from October 20th to October 23rd at the Grand Palais, Paris.

Paris.- The 38th edition of FIAC will take place from October 20th to October 23rd (with a private viewing on October 19th). FIAC 2011 will witness an important milestone in the history of the fair: the opening of exhibition spaces situated on the upper level of the Grand Palais will make it possible to house all exhibitors at FIAC 2011 within this historic monument. FIAC 2011 will be the first occasion to discover the majestic volumes of these exhibition galleries, closed for many decades and recently restored to their original proportions. The nave will house galleries specializing in modern, contemporary-modern and contemporary art. The upper galleries will likewise host galleries specializing in contemporary art, together with emerging tendencies. 168 galleries representing 21 countries will exhibit at FIAC 2011.

FIAC and the Groupe Galeries Lafayette, official partner of FIAC, are pleased to announce the third consecutive edition of the Lafayette Sector, a programme of support for galleries which promotes emerging talents. The 2011 Sector Lafayette will provide substantial financial support to 10 French and international galleries selected by an independent jury of international curators for the quality of their exhibition programme in the field of emerging art, and on the basis of a specific project for FIAC. One of the artists presented in the context of the Lafayette Sector will be awarded the Lafayette Prize. Also created in 2009, the award consists in the acquisition of a work by the Groupe Galeries Lafayette and an exhibition scheduled to take place in a Parisian institution during FIAC in the following year, doted with a production budget. Carol Bove and Morag Keil are respectively the 2009 and 2010 recipients of the Lafayette Prize. Morag Keil's exhibition opens at the Palais de Tokyo on October 6th.

artwork: Evelyne Axell - "Self-portrait", 1971 - Crayon and gouache on paper. Courtesy Natalie Seroussi, Paris - On view at the 38th edition of FIAC

For the sixth consecutive year, in collaboration with the Domaine national du Louvre et des Tuileries, FIAC will stage an outdoor exhibition located in the renowned Tuileries Garden. The growing interest for this annual event among galleries and artists - together with the exceptional beauty of the site—has enabled us to bring together each year some twenty projects (a total of 97 since 2006), including sculptures, installations and ephemeral creations deployed in the garden's fountains, basins, lawns, alleys and groves. Works by Jean-Luc Moulène, Danh Vo, Lynda Benglis, Antony Gormley, Mathieu Mercier, Richard Jackson, Urs Fischer and Melik Ohanian among others will be presented in 2011 together with an architectural realisation by Jean Prouvé, the Maison Metropole (1949).

artwork: David Hockney - "Felled Totem", 2009 - Oil on canvas - Courtesy Annely Juda Fine Art, London On view at the 38th edition of FIAC from October 20th to October 23rd at the Grand Palais, Paris.

FIAC is proud to announce that the Hors les Murs programme has been expanded to include a second off-site exhibition in an equally emblematic and historic Parisian venue, the Jardin des Plantes at the Muséum National d'Histoire Naturelle. Works will be installed in the gardens themselves but also in the Menagerie, the exotic greenhouses and the exhibition galleries of the Museum itself, such as the Grand Gallery of Evolution. Works by Alain Séchas, Mark Dion, Not Vital, José Maria Sicilia, Malachi Farrell and Renaud Auguste Dormeuil, among others, will be presented in the fascinating range of indoor and outdoor sites especially chosen for this inaugural edition, in collaboration with the Direction of the Museum and the gardens, the artists and their representatives. Visit the fair's website at ...

Art Knowledge News Presents "This Week In Review"

Posted: 19 Feb 2012 06:39 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 .

When opened that also will allow you to change the language from English to anyone of 54 other languages, by clicking your language choice on the upper left corner of our Home Page.  You can share any article we publish with the eleven (11) social websites we offer like Twitter, Flicker, Linkedin, Facebook, etc. by one click on the image shown at the end of each opened article.  Last, but not least, you can email or print any entire article by using an icon visible to the right side of an article's headline.

This Week in Review in Art News

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