- The Albright-Knox Art Gallery Celebrates 150 Years of Collecting
- CB1 Gallery to Debut "Laura Krifka ~ First Blush"
- The Herbert Art Gallery and Museum Hosts Turner-Prize Nominated Artist George Shaw
- Minneapolis Institute of Arts exhibition Follows the Rise of Global Sports Culture
- New works by Danish photographer Thomas Bangsted at Marc Straus
- Waterhouse & Dodd to Show Solo of Dada Icon Hans Richter
- Viridian Artists Showcases Mary Wells' Enchanting Paper Mosaics
- The A.I.R. Gallery Presents Collages & Ceramics by Elizabeth Surbeck Biddle
- The Kunsthaus Zürich presents Albert Welti ~ Landscapes in Pastel
- The Prado Museum in Madrid Hosts Our Editor ~ A Unique Collection Of Spanish Masters And Much More
- Exhibition of Photographs by Robert Weingarten at Marlborough Gallery in Chelsea
- Carnegie Museum of Art offers a Survey Exhibition of of Great British Art
- The Frist Center Last Stop for Masterpieces from the Musée d’Orsay
- Albright-Knox Shows Recent Acquisition by Pipilotti Rist
- Carnegie Museum of Art to open Retrospective of Naoko Matsubara's Prints
- Collector Julia Stoschek Exhibits Her Collection at The Deichtorhallen
- TATZU NISHI PROJECT ~ "HIER ENTSTEHT EIN HOTEL"
- Yeshiva University Museum features "I of the Storm: Michael Hafftka, Recent Work"
- The IFPDA Print Fair Brings Fine Art Prints to New York in November
- This Week in Review in Art Knowledge News
Posted: 20 Feb 2012 09:49 PM PST
Buffalo, New York.- The Albright-Knox Art Gallery is proud to present "The Long Curve: 150 Years of Visionary Collecting at the Albright-Knox Art Gallery" on view through March 4th. "The Long Curve" presents a survey of one of America's foremost Collections and will feature eighty iconic works by more than seventy-five artists from the late nineteenth century to the present, highlighting the history of the Albright-Knox Art Gallery's extraordinary Collection, and the benefactors and museum professionals who made it possible. Founded in 1862 as The Buffalo Fine Arts Academy (now the governing body of the Albright-Knox Art Gallery), it is among the oldest arts organizations in America and one of the most celebrated for its long-standing commitment to collecting and exhibiting contemporary art.
To complement and contextualize the exhibition, the Gallery will also present "The Impermanent Collection: The Room of Contemporary Art, 1939–1971". This installation tells the story of the Room of Contemporary Art, an untried approach to collecting art through which the Gallery was able to acquire, through purchase or gift, many bold and fearless works of its time—helping to create a reputation for which the museum is still known today.
Organized by Albright-Knox Chief Curator Douglas Dreishpoon, "The Long Curve" marks the beginning of the Gallery's celebration of its 150th year. The history of the Collection centers around several benefactors, each of whom possessed a compelling and prescient vision and a deep commitment to contemporary art. Together, A. Conger Goodyear, Seymour H. Knox, Jr., Martha Jackson, and Natalie and Irving Forman donated more than 1,300 works to the Collection over the course of the last century and a half. Most recently, in 2008, the Gallery acquired seventy-one works of art by fifteen artists from the renowned collection of Giuseppe Panza di Biumo, through the generosity of the Panza Family and existing Gallery funds. This is a landmark exhibition of the Albright Knox's Collection, one of the world's most important modern and contemporary art collections, A. Conger Goodyear joined the Gallery's Board of Directors in 1912. A man of eclectic tastes, guided by connoisseurship, he pursued a collection of cutting-edge art over the course of forty years. During his many years of service to the Gallery, and even after he left Buffalo, in 1926, to become the first president of the Board of The Museum of Modern Art in New York, he continued to donate work by such exceptional artists as Pablo Picasso, Paul Gauguin, Paul Cézanne, Vincent van Gogh, Salvador Dalí, Robert Delaunay, and Frida Kahlo, all of whom are represented in the exhibition.
In his later years, Goodyear deferred to others to make sense of the postwar artistic landscape and the new work that poured forth from New York's lofts and cold-water flats. Seymour H. Knox, Jr., joined the Gallery's board in 1925. Later described as "the Dean of American Art Patrons", Knox was a consistent advocate for contemporary American art. His tenure on the Board, and his long-standing collaboration with Gallery Director Gordon M. Smith, gave rise to an intense period of visionary collecting, focused on 'Masters of the Future', that, to this day, represents one of the most significant periods of growth in the Gallery's Collection. Major works acquired during this time by postwar American artists Arshile Gorky, Willem de Kooning, Mark Rothko, Sam Francis, Jackson Pollock, Adolph Gottlieb, Franz Kline, Helen Frankenthaler, and Lee Krasner will be included in the exhibition. Many of Knox's daring acquisitions were made possible through the able facilitation of New York art dealer and Buffalo native Martha Jackson, who graciously introduced Knox and Smith to many artists of the New York School. The nimble way in which Goodyear, and later, Knox, could make bold acquisitions of experimental art under such unpredictable circumstances was made possible by a radical initiative at the then Albright Art Gallery known as the Room of Contemporary Art.
An installation entitled The Impermanent Collection: The Room of Contemporary Art, 1939–1971, organized by the Gallery's Head of Research Resources Susana Tejada, will present original letters, photographs, publications, and other documents drawn from the Gallery Archives that will help museum visitors understand the significant role the Room of Contemporary Art played in the history and development of the Collection. Described as 'a meeting place between the artist and the public', the Room of Contemporary Art was established in 1939 with the express purpose of bringing new art to Buffalo. Selections were shown at the Gallery in rotating exhibitions placed in a dedicated public space that was designed to feel much like a domestic living room. The public was invited to relax and feel at home with the cutting-edge art installed there. Visitors were encouraged during the first three weeks of the Room's opening literally to cast their votes for the art on view. Ballots were tallied, for both Gallery visitors and staff, for first, second, and third favorites. Works in the Room were brought in 'on probation', and, if any of them failed to live up to expectations, they could be exchanged or sold. Objects carefully chosen for retention became valuable additions to the Gallery's Collection. These purchases were made possible through a special fund set aside for this purpose and financed principally through a sizeable gift given by the Knox Family and seventeen other individuals. The Room functioned until 1971, circumventing institutional protocol and allowing one of America's great art collections to prosper in Buffalo. "The Long Curve: 150 Years of Visionary Collecting at the Albright-Knox Art Gallery" also includes work by Joseph Kosuth, Robert Therrien, Anne Truitt, John Beech, and Florence Pierce that have entered the Collection in more recent years as part of significant gifts to the Collection by renowned collectors Count Giuseppe Panza Di Biumo (gifts and acquisitions), and Natalie and Irving Forman.
The Albright-Knox Art Gallery is dedicated to enhancing the understanding and appreciation of contemporary and modern art. Founded officially in December 1862, The Buffalo Fine Arts Academy is among the country's oldest public arts institutions, sharing that distinction with the Corcoran Gallery of Art in Washington, D.C.; the Pennsylvania Academy of the Fine Arts in Philadelphia; the Wadsworth Atheneum Museum of Art in Hartford; and the Yale University Art Gallery in New Haven, among others. With Edward B. Green as its architect, the Greek revival structure that became the permanent home for the Albright Art Gallery was dedicated on May 31, 1905. During the middle years of the century, Seymour H. Knox, Jr., became the Gallery's most influential supporter, not only making possible the building of a new addition designed by Gordon Bunshaft, but also amassing a brilliant collection of artworks. The group of nearly seven hundred works collected during this time still represents the most intense period of growth for the Gallery's Collection, a result of Mr. Knox's daring spirit, discerning judgment, and the unique partnership and vision he shared with Director Gordon M. Smith. The new wing that was dedicated in 1962, one hundred years after the founding of the Academy, stands as a testament to Mr. Knox and his vision; his generosity was reflected in the institution's adoption of a new name, the Albright-Knox Art Gallery. The Gallery's nearly 150-year tradition of collecting, conserving, and exhibiting the art of its time has given rise to one of the world's most extraordinary art collections, including such renowned works as "La Toilette" by Pablo Picasso, "Carnival of Harlequin" by Joan Miró, "Gotham News" by Willem de Kooning and "The Liver is the Cock's Comb" by Arshile Gorky. The Gallery has continued to add cutting-edge contemporary art to its Collection, adding major works in recent years by such artists as Matthew Barney, Mark Bradford, Tara Donovan, Teresita Fernandez, Liam Gillick, Felix Gonzalez-Torres, Mona Hatoum, Jim Lambie, Catherine Opie, Jorge Pardo, Jennifer Steinkamp, and Philip Taaffe. Visiting the Gallery today promises unexpected surprises. Constantly changing installations and special exhibitions pair contemporary art with the masterworks of modernism, always inviting a reexamination of the old with the new in innovative and exciting ways. Visit the museum's website at ... http://www.albrightknox.org
Posted: 20 Feb 2012 09:39 PM PST
Los Angeles, California.- CB1 Gallery is pleased to present "Laura Krifka: First Blush" on view from February 26th through March 25th, with an artist's reception on Sunday, February 26th from 5 – 7 p.m. The exhibition explores the artist's interest in the creation of American mythology and the role visual language has played in its construction. Laura Krifka makes paintings, sculptures and videos that dissect common fantasies of power and identity. Her sculptures grew out of her paintings, which led to her work in animation, with all mediums now informing one another. Her work is both gorgeous and terrifying often dealing with fantasies of beauty and nobility, myth, power, identity, seduction and the American dream.
Posted: 20 Feb 2012 09:15 PM PST
Coventry, UK.- The Herbert Art Gallery and Museum is porud to present "George Shaw: I Woz 'ere", on view at the museum through March 11th. This exhibition marks the first major show of Turner-prize nomiated George Shaw's work to be held in Coventry, the city where he grew up, and which provided much of the subject matter for his works. The exhibition is a retrospective of Shaw's work. Concerned with leaving a mark and a static memory in an ever-changing environment, the exhibition will look to the past and explore how the places Shaw has painted for the last 15 years have become new and alien to their old world. George Shaw was born in 1966 and brought up on the Tile Hill estate of Coventry. After school Shaw attended Sheffield Polytechnic between 1986 and 1992 gaining a BA in Fine Art and a PGCE. Following this he attended the Royal College of Art in London where he completed a MA in Painting in 1998.
Posted: 20 Feb 2012 07:46 PM PST
MINNEAPOLIS, MN.- The Minneapolis Institute of Arts is the first major art museum to trace the rise of a global sports culture dating from the late 19th century to the present. "The Sports Show" demonstrates how photography itself spurred this expansion. Featuring photographs, moving images, and television clips of athletes and athletic competitions, the exhibition delineate the evolution of sports events from community entertainment into spectacles of mass participation. Opening February 19th until 13th May. "The Sports Show" comprise photographs by Diane Arbus, Richard Avedon, Andreas Gursky, Alexander Rodchenko, Wolfgang Tillmans, and Andy Warhol, among other innovative photographers and filmmakers.
Posted: 20 Feb 2012 07:28 PM PST
NEW YORK, NY.- Marc Straus announces an exhibition of new works by Danish photographer Thomas Bangsted. This is the artist's first solo show in the United States. This exhibition is comprised of mostly large scale photographs aggregated from numerous exposures over a period of time up to several years. A bird perched on a pole, a workman laying on the Church floor – were there but once. The nearest association and influence is likely Jeff Wall but Wall oftentimes sets the scene, builds the room, digs a gravesite. For Bangsted in these works nothing is altered. Every place undergoes its own natural change over time. We tend to miss that unless perhaps we come back after a long interval. Here he takes snippets from many moments and thus extends the conventional limits of photography. It is as if these were paintings. On exhibition through 18th of March.
Posted: 20 Feb 2012 07:06 PM PST
London.- Waterhouse & Dodd are delighted to show their first solo exhibition at the 16 Savile Row gallery dedicated to the work of Hans Richter, on view from February 22nd through March 9th. Richter was a Dada icon whose visual art (painting, collage and film), writing and personality helped form one of the most important artistic movements of the 20th Century. The exhibition will comprise 30 works originally from the estate of the artist. Waterhouse & Dodd will include work from across Richter's long career, from his earliest still life canvases through to his famous Dada head series, of which they have two delightful examples.
Richter's first contacts with modern art were in 1912 through the "Blaue Reiter" and in 1913 through the "Erster Deutsche Herbstsalon" gallery "Der Sturm", in Berlin. In 1914 he was influenced by cubism. He contributed to the periodical Die Aktion in Berlin. His first exhibition was in Munich in 1916, and Die Aktion published as a special edition about him. In the same year he was wounded and discharged from the army and went to Zürich and joined the Dada movement. Richter believed that the artist's duty was to be actively political, opposing war and supporting the revolution. His first abstract works were made in 1917. In 1918, he befriended Viking Eggeling, and the two experimented together with film. Richter was co-founder, in 1919, of the Association of Revolutionary Artists ("Artistes Radicaux") at Zürich. In the same year he created his first Prélude (an orchestration of a theme developed in eleven drawings).
In 1920 he was a member of the November group in Berlin and contributed to the Dutch periodical De Stijl. Throughout his career, he claimed that his 1921 film, Rhythmus 21, was the first abstract film ever created. About Richter's woodcuts and drawings Michel Seuphor wrote: "Richter's black-and-whites together with those of Arp and Janco, are the most typical works of the Zürich period of Dada." From 1923 to 1926, Richter edited, together with Werner Gräff and Mies van der Rohe, the periodical G. Material zur elementaren Gestaltung. Richter moved from Switzerland to the United States in 1940 and became an American citizen. He taught in the Institute of Film Techniques at the City College of New York.
While living in New York, Richter directed two feature films, Dreams That Money Can Buy (1947) and 8 x 8: A Chess Sonata in 8 Movements (1957) in collaboration with Max Ernst, Jean Cocteau, Paul Bowles, Fernand Léger, Alexander Calder, Marcel Duchamp, and others, which was partially filmed on the lawn of his summer house in Southbury, Connecticut. In 1957, he finished a film entitled Dadascope with original poems and prose spoken by their creators: Hans Arp, Marcel Duchamp, Raoul Hausmann, Richard Huelsenbeck, and Kurt Schwitters. After 1958, Richter spent parts of the year in Ascona and Connecticut and returned to painting. Richter was also the author of a first-hand account of the Dada movement titled Dada: Art and Anti-Art which also included his reflections on the emerging Neo-Dada artworks. His paintings are in the collections of the Musée National d'Art Moderne in Paris as well as the Museum of Modern Art in New York. In 1964 Hans Richter wrote the seminal text on Dada theory in Dada, Art and Anti-Art. Richter's art is hard to pigeon-hole as it covers such a wide number of styles. The beautifully painted, almost Nicholson-like, dreamscapes contradict with his anti-art of torn newspaper collages which remind us of Mimmo Rotella and even Kurt Schwitters who Richter himself knew well. Richter's oeuvre always keeps us guessing and that is what makes him such a fascinating artist to exhibit.
Ray Waterhouse and Jonathan Dodd started working together in 1982 and formed Waterhouse & Dodd five years later. In 1989 they opened a first-floor gallery in Bond Street and in 2001 moved nearby to 26 Cork Street. Their gallery at Cork Street is now dedicated to a program of contemporary art exhibitions, whilst their Impressionist and Modern art has recently relocated to new premises at 16 Savile Row. Waterhouse & Dodd are also proud to announce the opening of their first gallery outside the UK, at Greene Street in the heart of New York's Soho district. The gallery will exhibit international contemporary art. Eleanor Cheetham has joined the company as gallery manager in New York. For more than 25 years Waterhouse and Dodd have dealt in paintings from the late 19th and 20th centuries, combining great paintings by both major and minor artists. During the 1990s they increasingly offered professional advice to collectors, a service that became formalised into one of the most respected art advisory services in the world, Fine Art Brokers. In 2008 they curated ArtRoutes, a major show of contemporary Middle Eastern and Arab Art that was the first in a series of such annual exhibitions. Visit the gallery website at ... http://www.waterhousedodd.com
Posted: 20 Feb 2012 06:33 PM PST
New York City.- Viridian Artists is pleased to present "Ensemble: Paper Mosaics", on view at the gallery from February 21st through March 10th. This solo exhibition features the work of Mary Wells, variously described as "paper magic", "enchanting", and "a sterling feat, piecing together something with a grand romantic sweep on a tiny scale". Each of award-winner Mary Wells' paper mosaics is a multi-hued, intricate, jewel-like and precisely detailed rendering of a lifelike image. The finished pieces glow with reflective light and a strong feeling of three-dimensionality. Every one of Wells' paper mosaics contains some aspect of landscape, memory or journey and each marks a moment and contains a story from her life, acting as a specific entry in her ongoing personal visual journal. While based on Wells' personal life experiences, each mosaic also embraces a more universal view.
Posted: 20 Feb 2012 06:11 PM PST
New York City.- The A.I.R. Gallery is pleased to present "ALIENZ", an exhibition of new ceramic work and collages by Elizabeth Surbeck Biddle, on view from February 29th through March 24th. There will be an opening reception on Thursday, March 1st from 6pm – 9pm. The exhibition showcases Biddle's continuing interest in a mixed media approach. Old wires, light bulbs, screws and other found objects protrude from holes in the ceramic pieces. These mechanics fit in with her robot theme. Many creature like robots, some strange and disturbing and others endearing, also appear in both her collages and drawings.
Posted: 20 Feb 2012 06:10 PM PST
Zurich. - The Kunsthaus Zurich is pleased to present "Albert Welti - Landscape in Pastel", on show through March 4th. This cabinet exhibition will feature the colourful landscapes of the Swiss painter, graphic artist and draughtsman Albert Welti (1862-1912). A pupil of Arnold Böcklin and a native of Zurich, Welti received numerous national commissions and is known both in Switzerland and abroad for his painting of the citizens' assembly in the chamber of the Swiss Council of States. His works express the turn-of-the-century mood: a time of transitions, as with the motif of the bridge, the cycle of ageing and the depiction of dream-like twilight scenes in nature. Albert Welti loathed the impressionistic in all its forms. He was reluctant to exhibit his pastel works, and most remained hidden away in his studio throughout his life. Reportedly, he never showed his colour improvisations even to his closest friends, regarding them as nothing more than 'pastel nature sketches' – study material at best, that served its purpose in terms of picture composition.
Posterity has come to view them differently. The Kunsthaus Zürich was quick to recognize his genius, staging a major, comprehensive exhibition of his work as early as 1912. The most recent significant presentation, curated by Bice Curiger in 1984, featured drawings and graphic works from the Kunsthaus collection on the theme of 'Walpurgis Night.' Marking the 150th anniversary of Welti's birth, the new exhibition is centred around 45 pastel landscapes whose intense, hyper-natural chromatic effect speaks directly to the viewer. They helped Welti to break free from the influence of his mentor and model Arnold Böcklin and develop his own artistic style. In fact, these 'improvisations' are masterpieces in their own right. Using a selection of 25 studies for paintings and engravings – including one pastel that served as a draft for the celebrated mural of the citizens' assembly in the chamber of the Council of States at the Swiss Federal Parliament building – curator Bernhard von Waldkirch demonstrates the various functions of pastel drawing. The majority of the works are from the artist's estate in the Museum zu Allerheiligen, Schaffhausen, the Kunsthaus Zürich and private collections. Welti's art is imbued with the specific atmosphere of the turn of the century. Its Janus-faced quality is most productive where his pictures depict a transition, as with the motif of the bridge, the cycle of ageing and the depiction of dream-like twilight scenes. Welti is at his most carefree in his Post-Impressionist pastel landscapes; drawing on a still-fresh apprehension of the scenery and without recourse to Symbolist personification, he hints at the presence of the unconscious. He exhibits a particular penchant for twilight scenes – those moments in nature at which chiaroscuro is utterly transformed into colour. In his boldest efforts, Welti ventures into the field of chromatic improvisation; but unlike with Kandinsky, he remains firmly anchored in the visible world. Throughout his life, Welti drew on the rich treasury of folk tales, myths and legends. Guided by the painting technique of the Old Masters, he became skilled in the iconography of classical history and landscape painting. Yet in many ways, his conception of the image is resolutely modern. His uncompromising advocacy of imagination opens up lines of communication with our earliest childhood memories and creates a bridge to the formal language of the preconscious. As brain research has taught us, dreams are not limited to sleep. Even when we are awake, many brain activities link us to the regions associated with dreaming: here too, the transitions are fluid.
Albert Welti was born in 1862 in Zurich-Aussersihl, an area that was still rural at the time. His father ran the successful Welti-Furrer transport company. In 1880, Albert embarked on an apprenticeship in photography with his uncle Oswald Welti in Lausanne, though he abandoned it after a year. His father allowed him to move to Munich where, from 1882 to 1886, he trained as a painter at the Academy. He received his first painting lessons from Ludwig von Löfftz, an outstanding pastel artist with whom Karl Stauffer-Bern and Lovis Corinth also studied. The Weltis' circle of close friends in Munich included Ernst Kreidolf and Wilhelm Balmer. Welti spent two years in the Zurich studio of Arnold Böcklin, to whom he retained a debt of gratitude throughout his life. In 1894 he married and settled in the Zurich district of Höngg. 1892 saw a fateful meeting with the East Prussian landowner Franz von Doehlau, who supported him until his death. Welti travelled to Berlin, Breslau, Dresden, Vienna, Paris and Venice. In 1901 he was commissioned to paint the glass windows in the stairway of the Federal Parliament building on the subject of 'the textile industry in eastern Switzerland.' In 1906 the family spent time in Innertkirchen and Vättis, where Welti painted numerous pastels from nature. Hermann Hesse was among those who admired his art. In 1907 he worked on the designs for the image of Wilhelm Tell's son to appear on the 25-centime stamp. The following year he moved to Berne to begin work on the commission for the painting of the citizens' assembly in the Council of States chamber of the Federal Parliament. The numerous sketches, drawings and cartoons that Wilhelm Balmer executed as a mural continued to occupy him until his sudden death in 1912. Hermann Hesse, who visited Welti on a number of occasions, published a monograph on him in 1917 for which he wrote the foreword. Pastel painting has been a recognized technique in its own right since the 18th century. It was revived in the last quarter of the 19th century by artists such as Manet, Degas, Redon and Picasso, and experienced an upsurge in popularity in the context of Symbolism and Art Nouveau. In Switzerland Augusto Giacometti, with his decoratively abstract pastel paintings, is regarded by art historians as its chief pioneer. Manipulating the pastel crayon, a dusty, porous material that can be used on paper to create painterly nuances or spontaneous improvisations, requires supreme skill; and yet the technique's consummation is its union of drawing and painting. The Collection of Prints and Drawings of the Kunsthaus Zürich is represented in the exhibition by four pastels and the engraving 'The Journey into the 20th Century,' a critique of the era. It was Kunsthaus director Wilhelm Wartmann who in 1912 – the last year of the artist's life – published the first catalogue raisonné of his graphic prints and organized an exhibition. He considered Welti to be the leading Swiss Symbolist, alongside Hodler. The Zürcher Kunstgesellschaft subsequently acquired the entirety of Welti's graphic prints. Today, the Kunsthaus possesses the most comprehensive collection of paintings, drawings and graphic works by the master and some of his contemporaries. The opening of the Kunsthaus extension will provide sufficient space for these treasures to be shown to the public at more frequent intervals than has hitherto been possible.
Founded in 1787, the Künstlergesellschaft began to collect works of art in 1794 and in 1812, obtained the first presmises. In 1847 the rotating exhibition organized by the Swiss Kunstverein provided the impetus to annex a tiny gallery, designed by Gustav Albert Wegmann, the architect responsible for the Villa Tobler and the Kantonsschule, to the original premises. For a long time the new 'museum' was dominated by the collection donated by Colonel Keller zum Mohrenkopf in 1854, a representative selection of Zurich painting from Hans Asper to the 18th century. It was not until 1910 that the 'Kunsthaus' was opened on a plot of land donated by city councillor Landolt – neither 'museum' nor 'art gallery', as the architect Karl Moser pointed out, but both. The name 'Kunsthaus' (house of art ) consciously reflects its democratic aspirations and wish to bring art to a broad public. When the Kunsthaus held a large Ferdinand Hodler exhibition in 1917, it became clear that the financial resources of the 'Kunstgesellschaft' were insufficient, and Alfred Rüetschi responded by founding the 'Vereinigung Zürcher Kunstfreunde' (Society of Zurich Friends of Art), which even today regularly helps to extend the Kunsthaus collection with significant acquisitions. In 1920 the Kunsthaus received as a legacy the collection of Hans Schuler and with it for the first time works of French Impressionism and Post-Impressionism including, Pierre-Auguste Renoir, Paul Cézanne, Vincent Van Gogh and Pierre Bonnard. After many years of preparation the Kunsthaus organised its first exhibition with Edvard Munch in 1922 and began to build up the largest collection of works by the Norwegian artist outside of Scandanavia. The Kusnthaus was extended throughout the twentieth century and by 1957 the collection had increased to over 450 works. From 1998 to 2000 the Villa Tobler was restored in a manner befitting its status as a new renaissance palazzo to become the new home of management and to serve as a venue for representational purposes. On the 28 May 2002 the departing President of the Zürcher Kunstgesellschaft, Thomas W. Bechtler, Director Christoph Becker and the Chairman of the City Council, Elmar Ledergerber, presented plans for a further extension of the building at Heimplatz. The extension building is scheduled to be realized by 2015. Visit the museum's website at ... http://www.kunsthaus.ch
Posted: 20 Feb 2012 05:44 PM PST
The Prado Museum (Museo del Prado) in the Spanish capital, Madrid, is the most prestigious museum in Spain and probably the largest gallery of classical paintings in the world. The museum features one of the world's finest collections of European art, from the 12th century to the early 19th century, based on the former Spanish Royal Collection. The building that is now the home of the Museo Nacional del Prado was designed on the orders of Charles III in 1785 by the architect Juan de Villanueva. Charles III believed that Madrid should boast the same amenities as Europe's other major capitals, so he set about building museums and other attractions, attempting to make this Castilian town equal to cities like Rome, Paris, and London. Originally designed to house the Natural History Cabinet, construction was delayed by the War of Independence and the building's final function was eventually decided by Charles III's grandson, Ferdinand VII. Encouraged by his wife, Queen María Isabel de Braganza, the building became the new Royal Museum of Paintings and Sculptures. The Royal Museum, which would soon become known as the National Museum of Painting and Sculpture and following nationalization in 1868, the Museo Nacional del Prado (after the area of Madrid in which it is located), opened to the public for the first time in November 1819. Despite the size of the original building, space has always been a problem, and in 1971 the nearby Casón del Buen (which began life in 1637 as a ballroom for the Buen Retiro Palace) was acquired to house the 19th century collections from the Prado and Picasso's "Guernica". In 1992, this building was transferred to the Reina Sofia Museum of modern and contemporary art (along with "Guernica"), and the Prado once again had to look for more space. The museum's exhibition area increased by more than 50% in 2007 with a new, modern extension designed by Pritzker prize winning Spanish architect Rafael Moneo. The new area includes four rooms for temporary exhibitions, the restored cloister of the Los Jerónimos Church, a large entrance hall, an auditorium with capacity for 450 people, as well as various storage facilities and workshops for the expert restoration of artworks. The new entrance hall joins the new annex with the original building and is concealed beneath a box-hedged garden in the plaza area between the two buildings. The museum contains an extensive library which is open to the public and a large conservation department equipped with modern technology to analyze art materials and to carry out technical studies (the fruits of the restoration department's labors are regularly displayed in special exhibitions, such as Durer's restored "Adam and Eve"). Visit the museum's website at: http://www.museodelprado.es
Founded as a museum of paintings and sculpture, the Prado also contains important collections of more than 6,000 drawings, 5,000 prints, 1,000 coins and medals, and almost 2,000 decorative objects and other rare works of art. Sculpture is represented by more than 720 works and by a smaller number of sculptural fragments. The painting collection comprises about 7,800 paintings, of which only about 1,300 are at public display, mainly because of the museum's lack of space. Spanish art has always been the main focus of the museum, and indeed, the first catalogue of the Museum, published in 1819 only mentioned 311 of the Spanish paintings held in the collection, even though at that time the Museum housed 1,510 works, including paintings from other schools. This focus has continued to the present day, and the Prado is proud to have particularly large and significant collections of works by Velázquez (more than 50 painting) and Goya (more than 140). The exceptionally important royal collection, which forms the nucleus of the present-day Museo del Prado, started to increase significantly in the 16th century during the time of Charles V and continued under the succeeding Habsburg and Bourbon monarchs. Their efforts and determination meant that the Royal Collection was enriched by some of the masterpieces that are now on view. These include masterpieces of classical art such as, "The Descent from the Cross" by Rogier van der Weyden, "The Garden of Earthly Delights" by Hieronymous Bosch, "Knight with his Hand on his Breast" by El Greco, "The Death of the Virgin" by Mantegna, "The Holy Family" (known as "La Perla") by Raphael, "Charles V at Mülhberg" by Titian, "Christ washing the Disciples' Feet" by Tintoretto, Dürer's Self-portrait, "Las Meninas" by Velázquez, "The Three Graces" by Rubens, and "The Family of Charles IV" by Goya.
In addition to works from the Spanish royal collection, other holdings increased and enriched the Museum with further masterpieces, such as the "Two Majas' by Goya. Among the now closed museums whose collections have been added to that of the Prado were the Museo del la Trinidad in 1872, and the Museo de Arte Moderno in 1971. In addition, numerous legacies, donations and purchases have been of crucial importance for the growth of the collection. Various outstanding works from the Museo de la Trinidad include "The Fountain of Grace" by the School of Van Eyck, the Santo Domingo and San Pedro Martír altarpieces painted for the monastery of Santo Tomás in Ávila by Pedro Berruguete, and the five canvases by El Greco executed for the Colegio de doña María de Aragón. Most of the Museum's 19th-century paintings come from the former Museo de Arte Moderno, including works by the Madrazo, Vicente López, Carlos de Haes, Rosales and Sorolla. Private bequests which are now in the Prado's collection include Van der Weyden's masterpiece, "The Virgin and Child" and Barón Emile d'Erlanger's gift of Goya's "Black" Paintings in 1881. Among the numerous works that have entered the collection through acquisition include two works by El Greco, "The Fable" and "The Flight into Egypt" (acquired in 1993 and 2001), Goya's "Countess of Chinchón" bought in 2000, and Velázquez's portrait of "The Pope's Barber" (acquired in 2003). the ground floor of the Villaneuva building also houses the Prado museum's sculptures. Of special note are the Greek bronze-work and the Roman carvings.
The Prado also feature temporary exhibitions. Some of these, such as the current (until 20 March 2011) "Adam and Eve", by Dürer, feature special displays of a work or works that are particularly important or have recently been restored, as in this instance. Two years of intensive restoration work went into "Adam and Eve", coordinated between the Prado and the Getty Foundation in Los Angeles, and the two restored panels now feature in a special exhibition. From 5 April 2011, José de Ribera's "Lazarus" will feature the artist's "The Raising of Lazurus" (recently acquired by the museum) alongside around 30 paintings executed by Ribera in Rome and during his early years in Naples. Visiting exhibitions include "Passion for Renoir. The Collection of the Sterling and Francine Clark Art Institute" (extended until 13 February 2011), showing more than 30 paintings by the great impressionist, and upcoming exhibitions of work from the Hermitage in St. Petersburg ("Treasures of the Hermitage" opens on 8 November 2011) and from the Louvre in Paris (for the first exhibition in Spain of works by Siméon Chardin (opening 1 March 2011)). Until 27 February, visitors can also see "View and Plan of Toledo" by El Greco, accompanied by three other paintings by the artist: "San Sebastian", "San Andres and San Francisco" and "San Bernardino". Featuring works from the El Greco Museum in Toledo alongside works from the Prado's own collection, and in a room adjoining the Prado's permanent El Greco collection, this exhibition gives visitors an opportunity to experience the unique works of this artist in more detail.
Posted: 20 Feb 2012 05:43 PM PST
NEW YORK.- Marlborough Gallery presents an exhibition of photographs by Robert Weingarten entitled Portraits Without People. The exhibition opened at Marlborough Chelsea and will continue through April 2. In his recent Portraits Without People series, Robert Weingarten creates composite portraits of his subjects without using their likenesses. Images that correspond to specific passions, achievements, belongings or moments in the lives of prominent individuals are digitally combined and layered to create metaphorical portraits, which the artist calls translucent composites. These portraits reference their subjects through biographical detail rather than physical appearance.
Posted: 20 Feb 2012 05:42 PM PST
Pittsburgh, PA - A broad spectrum of artworks by significant artists active in the British art world from the mid-1700s through the 1950s is on view in the Works on Paper gallery of Carnegie Museum of Art through May 18, 2008. Great British Art: 200 Years of Watercolors, Drawings, and Prints from The Bank of New York Mellon Collection features 86 works on paper by 51 different artists and offers a nearly comprehensive survey of major trends and genres of the period. Works by a wide range of artists, such as David Bomberg, John Constable, Richard Dadd, Thomas Gainsborough, Gwen John, Thomas Rowlandson, J. M. W. Turner, and Sir David Wilkie are included in the exhibition.
Posted: 20 Feb 2012 05:41 PM PST
NASHVILLE, TN.- The Frist Center for the Visual Arts will open The Birth of Impressionism: Masterpieces from the Musée d'Orsay Friday, Oct. 15, 2010, and the exhibition will remain on view in Nashville through Jan. 23, 2011, when the works in the show return to Paris. The Frist Center is one of only three cities in the world to host this exhibition. It opened in Madrid at MAPFRE in January 2010, and is currently on view at the de Young Museum in San Francisco, where it will remain until Sept. 6, before traveling to the Frist Center.
The exhibition includes 100 paintings from the permanent collection of the Musée d'Orsay and tells the story of the development of Impressionism through the magnificent works of artists living in Paris in the mid-to-late 19th century. Among the highlights of the exhibition are important works, including 2 by Adolphe-William Bouguereau, 2 by Gustave Courbet, 6 by Edgar Degas, 15 by Édouard Manet, 6 by Claude Monet, 7 by Camille Pissarro, 11 by Pierre-Auguste Renoir, 5 by Alfred Sisley and James Abbott McNeill Whistler's Arrangement in Gray and Black, No. 1: Portrait of the Painter's Mother (1871), the painting best known as Whistler's Mother.
While the majority of the works in this exhibition have been seen in Madrid and San Francisco, the exhibition boasts 17 paintings from the Musee d'Orsay's collection that will travel only to Nashville, including:
Also included in the exhibition:
The Musée d'Orsay has made its works available throughout the world in several traveling exhibitions, including The Birth of Impressionism: Masterpieces from the Musée d'Orsay, while the museum undergoes renovation and refurbishing prior to the institution's 25th anniversary in 2011.
"The Musée d'Orsay has the finest collection of French mid-to-late 19th-century art in the world," said Frist Center Executive Director Susan H. Edwards, Ph.D. "In sharing these masterworks with the cities of Madrid, San Francisco and Nashville, the Musée d'Orsay offers an unparalleled cultural experience to people who might not have the opportunity to travel to Paris. Beyond including works of breathtaking attainment, the exhibition teaches about the complex intersections between academic art and the avant-garde, conveying the creative vitality of a particularly fertile moment in French intellectual and social development."
"We are delighted to be one of only three cities in the world to host this truly magnificent exhibition," said Nashville Mayor Karl Dean. "Nashville has long been known as a city of music, and because of exhibitions such as The Golden Age of Couture and The Birth of Impressionism, many are recognizing that we are becoming known as a great city for the visual arts as well. We look forward to welcoming visitors from around the region to Nashville to sample our cultural landscape and all our great city has to offer."
Stylistically, the exhibition examines various cross-currents in painting. These include a consideration of the influence of Spanish artists such as Francisco de Goya and Diego Velázquez on Édouard Manet and James Abbott McNeill Whistler; the connection between the lively palettes of the Batignolles school—which included Manet, Claude Monet and Pierre-Auguste Renoir—and the development of the classical Impressionist style and the threads linking the Realism of the Salon to the Impressionism that was pursued by artists such as Jules Breton and Jean-François Millet, whose works celebrated the beauty, luminosity and dignity of the rural landscape.
At the Frist Center, the exhibition is divided into 13 themes:
Visit The Frist Center for the Visual Arts at : http://www.fristcenter.org/site/default.aspx
Posted: 20 Feb 2012 05:40 PM PST
BUFFALO, NY.- This second exhibition in the Gallery for New Media centers on the recent acquisition of All or Nothing (alles oder nichts), 2010, an intimately scaled video sculpture by the Swiss-born artist Pipilotti Rist and the first work by the artist to be acquired by the Albright-Knox. Rist creates video installations that push imagery to its extreme, and invite viewers into a dreamlike fantasy world of havoc, play, and rebellion. Enveloping aspects from many creative sources—including painting, poetry, and language, as well as music and dance—her practice is rooted in a staunch belief that artmaking should not be a passive endeavor. In her work, Rist blurs the boundaries between art and popular culture to "explore the unfamiliar in the everyday." Her lush and seductive imagery encompasses a honed visual iconography that bridges the sleekness of commercial advertising and the quirky narrative of a nonsensical pop music video. These elements are no doubt influenced by Rist's past experience as a set designer and a member of the Swiss band and performance group Les Reines Prochaines.
Posted: 20 Feb 2012 05:39 PM PST
PITTSBURGH, PA - For almost 50 years, Naoko Matsubara has explored the medium of the woodblock print, creating a body of works that are bold, often large scale, and always captivating. This retrospective at the Carnegie Museum of Art of over 60 works provides an overview of Matsubara's career, from her earliest prints, in which she investigated representational imagery using innovative black-and-white techniques, to her current experimentations with abstraction and vibrant color.
Posted: 20 Feb 2012 05:38 PM PST
The exhibition takes up the Deichtorhallen tradition of presenting major collections. In this case, the collection is one of the most important sets of media-influenced art in Germany, something no doubt related to the age of the collector (34). At the same time, the show links back to the "Fire, Earth, Water, Air" exhibition, organized at the Deichtorhallen in 1993 as part of the Mediale and the first display of media-influenced art at the Deichtorhallen.
The exhibition at the Deichtorhallen features some classics of video art, such as Marina Abramovic's "Art must be beautiful, Artist must be beautiful" dating from 1975-6, Vito Acconci's "Openings" (1970) and Chris Burdens "Shoot" (1971), but the majority of the works were produced since 2000. They range from more lyrical pieces such as Heike Baranowsky's "Mondfahrt" via elaborately animated films like Björk's "Wanderlust" in 3D through to marvelous installations such as those by Monica Bonvicini, Anthony McCall and Nathalie Djurberg.
The Julia Stoschek Collection is a private collection of contemporary art that focuses on media and video art, installations and photography. The collection, which is made up of about 400 works, includes, among others, art by Bruce Naumann and Marina Abramovic via Doug Aitken and Paul Pfeiffer through to Monica Bonvicini, Mika Rottenberg, Heike Baranowsky and Isaac Julien.
Julia Stoschek was born in 1975 and is a partner in the Brose Group, which produces automotive components. She studied Business Administration and since graduation in 2001 has devoted herself completely to art. Since 2004 she has been on the Board of Directors of the KW-Institute for Contemporary Art, Berlin. In 2007, she was appointed a voting member of the acquisitions commission of the Trustee Committee on Media and Performance Art at MoMA, Museum of Modern Art.
The collection is housed in the former halls of the Conzen frame factory. All the floors of the building, which celebrated its 100th anniversary in 2007, were specially converted by architects Kuhn Malvezzi to meet the needs of the collection. The building includes two floor set aside as exhibition areas for public presentations of the Julia Stoschek Collection.
For the opening exhibition entitled "Destroy, she said" Julia Stoschek assembled about 40 international artistic positions that mainly concentrated on the themes of construction/destruction, interior/exterior.
The main theme of the second presentation "Number Two: Fragile" was the aspect of corporeality in video, installations and photo art, something with which above all representatives of Body Art and Performance Art have experimented ever since the 1960s/1970s. Self-staging, pain, transformation, corporeality in the sense of sculptural qualities that can be experienced as a real outer shape, not to mention fragility in the literal sense were all the main areas illuminated by the selection of 54 works. Within the exhibition, each of the total of 30 artists could be read as an individual position, as usually there were several works by each.
The exhibition that opened on Oct. 17, 2009 and entitled 100 Years (version #1, Düsseldorf), which was the first collaboration with the P.S.1 Contemporary Art Center, New York and the international performance biennial Performa 09, New York, documented the last century in the history of performance. The exhibition, which toured not only Düsseldorf but as of November the P.S.1/MoMA in New York and will move to other international venues, is conceived as a research project, that in the context of the Performa 09 and on the occasion of the 100th anniversary of the publication of the Futurist Manifesto offers an overview of the most important actions, happenings and performances of the last 100 years. Parallel to "100 Years (version #1, Düsseldorf)", a performance program entitled NUMBER THREE: HERE AND NOW will take place at regular intervals on the second exhibition floor.
Thus far, the plan is for performances by: Marina Abramovic, Allora & Calzadilla, Jerome Bel, John Bock, Keren Cytter, Bert Didillon, Stefan Ettlinger, Andrea Fraser, Dara Friedman, Simon Fujiwara, Manuel Graf, Christian Jankowski, Joan Jonas, Sharon Hayes, Eunhye Hwang, Ragnar Kjartansson, Andreas Korte, Michalis Nicolaides, Jen DeNike, Cornelius Quabeck, Xavier Le Roy, Jimmy Robert, Tino Sehgal, Annette Sonnewend & Michael Strasser, Nico Vascellari, Sven Vieweg, Tris Vonna Michell, and Andrea Zittel.
The exhibition at Hamburg' Deichtorhallen is the world's first extensive presentation of the JULIA STOSCHEK COLLECTION in a museum context. On exhibition through 25 July, 2010. Visit : http://www.deichtorhallen.de/
Posted: 20 Feb 2012 05:37 PM PST
Vienna, Ausria - Tatzu Nishi will focus on the Secession as a historic monument by enclosing the iconic dome and transforming it into an exclusive hotel room which reveals itself only to the guest/visitor, while from outside, all that will be visible is a construction site situation with scaffolding. "HIER ENTSTEHT EIN HOTEL" is an ongoing project by Tatzu Nishi that is due to be realized over the coming year.
Posted: 20 Feb 2012 05:36 PM PST
New York City - After more than 30 years of portraying the human figure with a neo-expressionist style, Michael Hafftka turns to his Jewish heritage for subject matter and inspiration in his new exhibition, "I of the Storm: Michael Hafftka, Recent Work," at the Yeshiva University Museum. Frequently compared to the painters Soutine, Goya and Rouault, Hafftka here makes use of mystical images, biblical themes and the Hebrew alphabet in watercolors and oils. The exhibition runs through August 30, 2009. Gallery Talk: Tuesday, April 21, 2009 at 1:00 pm
Posted: 20 Feb 2012 05:35 PM PST
New York City.- The International Fine Print Dealers Association (IFPDA) print fair opens at the historic Park Avenue Armory located on Park Avenue between 66th and 67th Streets in the heart of Manhattan's elegant Upper East Side. The fair opens on November 3rd and runs through November 6th. The largest international art fair focused exclusively on the artistic medium of printmaking, the IFPDA orint fair is noted for its historical depth, exhibiting works from the 16th through 21st centuries. While the Fair is known among museum curators and major collectors for its rare and exceptional prints, excellent works can be found in all price ranges.
Visitors have an unrivaled opportunity to view and acquire outstanding works across the diverse range of periods and specialties represented by the IFPDA's exhibiting members. While the Fair is known among museum curators and major collectors for its rare and exceptional prints, excellent works can be found in all price ranges, including exciting new projects from today's leading and emerging artists. For its entrance, the Fair is proud to introduce a new wallpaper created by painter and designer Madeline Weinrib and produced by Studio Printworks.
Exhibiting dealers are all leading members of the International Fine Print Dealers Association (IFPDA). This year's roster of ninety exhibitors includes dealers from Paris, London, Amsterdam, Berlin, Frankfurt, Zurich, and North America. The IFPDA is a non-profit organization of expert art dealers committed to the highest standards of quality, ethics, and connoisseurship, and to fostering a greater appreciation of fine prints among art collectors and the public. The Association's thorough vetting assures collectors of each exhibitor's expertise and professionalism, and of the authenticity and condition of artwork available for purchase. The IFPDA has sponsored the Print Fair since 1991.
The Fair presents nearly 500 years of printmaking from early woodcuts and traditional engravings to etchings, lithographs, and innovative contemporary projects. The wide historical spectrum of artists' works on view includes old masters Rembrandt, Dürer, and Goltzius; Japanese ukiyo-e; 19th century American masters including Winslow Homer, James McNeill Whistler, and Mary Cassatt; European Impressionists Edgar Degas and Pierre-Auguste Renoir; American and European Modernists such as George Bellows, Martin Lewis, Pablo Picasso, Henri Matisse, and Max Beckmann; and postwar masterworks by Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, Andy Warhol, Joan Mitchell, and Louise Bourgeois. New editions pwill also remiere at the Fair from leading contemporary artists such as Chuck Close, Kiki Smith, Richard Serra, and John Baldessari.
The Fair attracts over 6,000 new and seasoned collectors, curators from major museums worldwide, artists, art historians, and art enthusiasts. The fair is held at the end of New York's Print Week. This lively schedule of lectures, exhibitions, demonstrations, gallery talks, and openings is focused on printmaking and its vitality as an artistic practice. Print Week enables collectors, artists, scholars, educators, and the public to connect with IFPDA member galleries, museums, and non-profit organizations to discover new projects, enrich their knowledge of fine prints, and expand or begin their own collections. Visit the fair's website at ... http://www.ifpda.org
Posted: 20 Feb 2012 05:34 PM PST
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