- Elite Decorative Arts Auction of Fine Artwork, Decorative Arts & Russian Works
- The Roy Boyd Gallery Shows William Conger's Innovative Abstract Paintings
- Giant Child on a Rocking Horse by artist duo Elmgreen & Dragset unveiled in Trafalgar Square
- The Guggenheim to showcase A Restrospective Devoted to John Chamberlain
- The MAC in Lyon France to Show a Robert Combas Retrospective
- Telfair Museums features "Paintings by West Fraser"
- The South Carolina State Museum hosts "Abstract Art in South Carolina: 1949-2012"
- Erarta Galleries to Show New Paintings by Aleksey Chizhov
- Phillips de Pury & Company New York Contemporary Art Auctions
- Städel Museum inaugurates New Underground Building beneath the Städel Garden
- The Institut Néerlandais to Show Paintings from the Frits Lugt Collection
- It's Not Dry Yet ! by Roberta Smith of the New York Times
- Fitzwilliam Museum To Host " Imperial Treasures from Vienna "
- The Forest Lawn Museum Presents Prominent Mexican American Artists
- Edinburgh Printmakers Present 'An Informed Energy: Lithography & Prints'
- The Hofstra University Museum Presents "Body Mapping"
- The British Museum hosts Garden and Cosmos ~ The Royal Paintings of Jodhpur
- Barry Friedman Ltd Presents "Michael Glancy ~ Infinite Obsessions"
- Norman Rockwell Museum Shows "The 3D Animation Art of Blue Sky Studios"
- Art Knowledge News Presents "This Week In Review"
Posted: 23 Feb 2012 11:54 PM PST
Boynton Beach, Florida.- Around 400 quality lots of fine artwork, decorative art and Russian works will cross the block on Saturday, February 25th, at Elite Decorative Arts. The auction will be held in the firm's spacious gallery facility, located in the Quantum Town Center at 1034 Gateway Boulevard (Suite 106-108) in Boynton Beach. The action will begin at 1 p.m. Two works of art are expected to fetch $80,000-$100,000. The first is a large acrylic on canvas rendering of a reclining woman on a settee with flowers by the iconic American artist Peter Max (b. 1937). The 60 inch by 73 inch work is signed upper right and the reverse (verso) side states, "Copyright Peter Max 1992 #1127)." Max became famous in the '60s as a Pop Artist. The other work is an original oil on canvas by American artist Franz Kline (1910-1962). The abstract design with four black stripes was executed circa 1958-1960 and was signed lower right. It measures 12 inches by 20 inches and is matted and framed. Best known for his large-scale black and white works, Kline was a prominent artist in abstract and non-objective styles.
Two lots of decorative art are expected to attract keen bidder interest. One is a stunning antique Chinese Qianlong hand-carved ivory mammoth tusk depicting an epic warrior battle scene (est. $50,000-$60,000). The piece boasts 70 figures clashing in a relief-carved scene, with 13 cavalry warriors, spear men, swordsmen and men carrying mask shields. It is 45 inches tall. The other lot consists of a pair of 18th century French dore bronze-mounted red marble urns (est. $25,000-$35,000). Each urn is finely crafted, with red marble bodies and base clad with gilded bronze decorations depicting two lion busts with hanging lion fur. Each one is about 20 inches high by 11 ½ inches wide and the combined weight of the two urns is about 75 pounds. Collectors of fine Russian works will not be disappointed. One outstanding lot is an Imperial Russian enameled silver and agate boar's head cup with cabochon ruby jewels set to eyes and the Faberge Cyrillic mark with double-headed eagle (est. $40,000-$50,000). The 7 ½ inch tall cup has 88 silver purity marks and comes in a handsome fitted wood presentation box.
Another piece sure to get paddles wagging is an Imperial Russian enameled silver plique a jour Judaica spice tower centerpiece, with 84 silver purity marks and Pavel Akimov Ovchinnikov workmaster marks to the side of the base (est. $35,000-$45,000). The 17 ½ inch tall by 6 ½ inch wide centerpiece has red cabochon stones set to eyes and weighs 33.2 troy ounces. Two Russian lots have identical pre-sale estimates: $30,000-$40,000. One is an Imperial Russian enameled silver and agate kovsh bowl, magnificently designed throughout, with scrolled designs and holding the Faberge mark to the bottom of the handle. The bowl has three cabochon cut ruby jewels set to the handle and front, is 4 ½ inches in height and weighs 38.9 troy ounces. The other is an antique Russian silver and enamel kovsh bowl made around 1900, having the Moscow town mark and holding the Orest Fedorovich Kurliukov maker marks (plus 84 Russian silver and town marks on the bottom). The 7 ¼ inch tall bowl features beautiful enamel miniature depictions of a man and a woman presenting items with a building in the background.
One other Russian object of note is an Imperial Russian silver and enamel desk clock with the back signed Faberge in Cyrillic and with the mark of workmaster Michaell Perchin (1860-1903). The clock features a white enamel dial and black Arabic numerals and notches. It also has gold scrolled hour and minute hands. The 8-day movement clock stands 4 ½ inches tall. Returning to fine art, a bronze sculpture by Francisco Zuniga (Mex., 1912-1998), titled Silvia Agachado and depicting a seated nude female with her head lowered, is expected to bring $24,000-$28,000. The 15 inch wide by 10 inch tall work is from a limited edition and is marked "V/VI" (5/6). It is also signed and dated (1967) on the figure's left thigh and weighs 27 pounds. An abstract acrylic on canvas by Jules Olitski (Am., 1922-2007), titled No Objects 4, signed and dated 1982 to the back of the canvas, carries a pre-sale estimate of $20,000-$30,000. The work is substantial, at 117 inches wide by 40 ½ inches tall. Olitski experimented with spray painting onto canvases and sculptures, but his later work was marked by thick impasto surfaces. Rounding out a short list of the day's expected top lots is an abstract acrylic on canvas work by Larry Poons (Am., b. 1937), signed and dedicated on the reverse, "To Val, Love L. Poons 1984" (est. $15,000-$20,000). The 33 inch wide by 16 inch tall painting is guaranteed original. Poons was a prominent figure in Optical Art and the Color Field school of painting.
Elite Decorative Arts is an established, third-generation, full-service antique and auction gallery, specializing in fine decorative arts, paintings, estate jewelry and more. The gallery is located in the Quantum Town Center, located at 1034 Gateway Boulevard (Suite 106) in Boynton Beach, Fla. A full-time, knowledgeable staff is on hand Monday-Friday, from 10-6. Elite Decorative Arts is always accepting quality consignments for future auctions. Visit the auction house's website at ... www.eliteauction.com.
Posted: 23 Feb 2012 11:30 PM PST
Chicago, Illinois.- The Roy Boyd Gallery is pleased to present "William Conger: Eminent Domain", on view at the gallery from February 24th through April 10th. "William Conger's abstractions are doubly original: formally innovative, by way of their complicated dynamics, and thus important from a modernist point of view; and psychoaesthetically innovative, for their abstract forms express the unconscious more directly than Chicago fantastic imagery, suggesting that Conger's abstractions are more purely surrealistic...and their formal brilliance makes them aesthetically persuasive...by fusing fantastic imagery and pure formalism he has found the means of being true to himself and of restoring unity of purpose to abstraction, thus rescuing it from decadence" (Donald Kuspit, catalog essay 2009).
Posted: 23 Feb 2012 10:20 PM PST
LONDON.- The new commission for the Fourth Plinth, Powerless Structures, Fig. 101, by artist duo Elmgreen & Dragset, was unveiled today in London's Trafalgar Square. Commissioned by the Mayor of London and supported by Arts Council England, AlixPartners and Louis Vuitton, the 4.1m high golden bronze sculpture portrays a boy astride his rocking horse. Built in 1841, the Northwest Plinth was originally designed to host a bronze equestrian statue of King William IV by Sir Charles Barry, which was never installed. After more than 170 years, Elmgreen & Dragset have completed the process by presenting a new take on the tradition of equestrian statues, directly engaging with the history of the plinth itself. The child is elevated to the status of a historical hero in line with the existing iconography of the other statues in the square. Instead of acknowledging the heroism of the powerful, however, the work celebrates the heroism of growing up. The image of a young boy astride his rocking horse encourages viewers to consider the less spectacular events in their lives, which are often the most important. The sculpture invokes life's everyday activities and questions the tradition of monuments predicated on military victory or defeat.
Posted: 23 Feb 2012 09:41 PM PST
New York City.- From February 24th to May 13th, the Solomon R. Guggenheim Museum will present "John Chamberlain: Choices", a major retrospective comprising approximately ninety-five works by the important American artist and the first U.S. museum presentation of his work since 1986. The exhibition examines Chamberlain's development over his sixty-year career, exploring the shifts in scale, materials, and techniques informed by the assemblage, or collage, process that has been central to his working method. Taking as a point of departure his 1971 Guggenheim exhibition, the retrospective presents works from the artist's earliest monochromatic iron sculptures and experiments in foam, Plexiglas, and paper to his latest large-scale foil pieces, which have never been shown in the United States, and addresses the "chosen"—Chamberlain prefers this term to "found"—element in his lifelong engagement with recycled materials.
Posted: 23 Feb 2012 09:40 PM PST
Lyon, France.- The Musée d'Art Contemporain, Lyon (MAC Lyon) is proud to present "Robert Combas: Greatest Hits", on view at the museum from February 24th through July 15th. The first large retrospective dedicated to the work of Robert Combas, who declares his painting to be "rock music", the exhibition will be accompanied by a soundtrack taken from the artist's extensive music collection and by exclusive live performances, showcases over 200 works from the 1970s to the present day. The exhibition extends over a 3,000 square metre space. Robert Combas will be present daily in a specially installed workshop and recording studio where he will paint and create eclectic video clips.
"Greatest Hits" gathers together works chosen from public and private collections throughout Europe, the United States and Asia. The exhibition follows a chronological and thematic route, to the strains of the music that has forever accompanied the work of the artist. On the third floor, a scene is built for the exhibition, in which Combas' musical creations are presented on a regular basis. The artist, accompanied by musicians, will regularly perform live throughout the duration of this exhibition. Furthermore, Robert Combas will continue to create works in a specially designed studio space where he will welcome art professionals, friends and the general public. A leading figure of a movement that has been termed entitled "Figuration libre" (including such artists such as Rémi Blanchard, François Boisrond, Hervé and Richard Di Rosa), Robert Combas has been creating art since the end of the 1970s. This exhibition, combining rock music and contemporary art, covers all aspects of a rich and abundant body of work: painting of course, as well as sculpture, drawing, and other artistic practices that Combas himself refers to as "satellites", where the artist transforms images by other artists and which develop alongside the "trademark Combas style". Various iconic themes will be illustrated by works dating from the 1970s to the present day, such as women, religion, love, death, war, southern roots… and music.
The exhibition allows the viewer to appreciate the fusion that he draws from the diversity of his media, techniques, formats and themes and his consistent approach in terms of constant experimentation. Although Robert Combas is known for his painting, his music however, is less well-known. In Lyon, a special "cabaret space" will be created where the artist's musical shows and videos will be revealed for the first time. For Combas, music is not confined to being merely the subject of his paintings. Founder of rock group Les Démodés at the end of the 70s, the artist has never strayed very far from music; he has continued to play music and more so these past two years, collaborating with Lucas Mancione. Both have established a varied repertoire which they perform on surprising video clips. In the paintings, we will see key figures from the history of rock and other colourful figures such as the Velvet Underground, Georges Brassens and South American cheerleaders and conga players.
Situated within Lyon's Cité Internationale, by the banks of the Rhone and near the park Tete d'Or, the Musée d'Art Contemporain is at the heart of a scenic and pleasant area. In 1984, when the museum was located within the Musée des Beaux Arts de Lyon, a particular interest in the production of art works began. These works, new projects for the artist or a continuation of an earlier concept, were produced in the museum, for the museum, in direct collaboration with the artist and became a part of the museum's collection. This gave an opportunity to artists to experiment with form, idea and dimension, and to create work in harmony with the space itself. Contemporary art museums collect works created by living artists. Consequently, they are largely focused on current artistic practices, but without ignoring historic trends that have led to those of today. When the museum was established in 1984, it set itself the objective of completing the contemporary art collection that the Musée des Beaux Arts lacked. To achieve this, it developed a policy of producing new works of art in parallel with an exhibition programme of current trends and practices. In this way, the Musée d'Art Contemporain de Lyon is unique in its maintenance of the relationship between collection and exhibition. This relationship has been strengthened thanks to productions, acquisitions, donations and deposits of art works. Today, the collection boasts 1,100 works of art and has an exhibition space of 35,000 m2. Visit the museum's website at ... http://www.mac-lyon.com
Posted: 23 Feb 2012 09:06 PM PST
Savannah, Georgia.- The Telfair Museums are proud to present "A Native Son: Paintings by West Fraser", at the Telfair Academy from February 24th through May 6th. Despite coming of age at a time when modernism and abstraction had achieved a firm hold on the prevailing modes of art instruction throughout the country, West Fraser has remained a traditionalist, earning a place among the region's leading practitioners of traditional realism. Fraser was born in Savannah in 1955 and has spent most of the past three decades working in the South Carolina Low Country and coastal Georgia. He is particularly well known for his luminous landscapes (many, though not all, of which are painted en plein air) and engaging city scenes. "A Native Son: Paintings by West Fraser" considers the landscapes, marine views, and city scenes for which Fraser is best known, as well as travel paintings created around the world and figure-based compositions depicting family, friends, and the artist himself. Consisting of approximately 55 works, the exhibition also demonstrates the evolution of Fraser's technique, beginning with his large-scale watercolors of the 1980s, which were painted from photographs in the artist's studio.
Posted: 23 Feb 2012 08:56 PM PST
Columbia, South Carolina.- The South Carolina State Museum is proud to present "Abstract Art in South Carolina: 1949-2012", on view at the museum from February 24th through August 26th. This new art exhibit will examine a topic not always quickly associated with the traditions of the Palmetto State – abstract art. "Abstract Art in South Carolina: 1949-2012" will be on show in the Lipscomb Art Gallery, and will present the first inclusive look at the evolution and influences of abstract painting and sculpture in South Carolina. The exhibit will include work by pioneering artists such as William Halsey, Corrie McCallum, J. Bardin, Carl Blair and Merton Simpson, and contemporary artists currently working in communities across South Carolina today, such as James Busby, Shaun Cassidy, Enid Williams, Paul Yanko, Katie Walker and Tom Stanley, among many others. In all, work by more than 40 artists will be included in the exhibition, which focuses on one of the most important aspects of South Carolina's visual culture.
Posted: 23 Feb 2012 08:40 PM PST
London.- Erarta Galleries London is pleased to present "les Paradis Naturels", a new collection of paintings by Aleksey Chizhov, on view at the gallery from February 24th through April 5th. One of Russia's finest emerging artists, Chizhov's paintings present a hallucinatory world encouraging growth and emotional development. In "Paradis Artificiels" (Artificial Paradises) Charles Baudelaire writes about opium as the wrong way through which humankind can achieve enlightenment; a taste for the infinite satisfied by the creation of a pharmaceutical heaven. Chizhov, however, uses the symbol of poppies as a metaphorical escamotage to encapsulate the struggle evident in our society – whether to run away and hide from one's problems, or to face them. "Les paradis naturels" (Natural Paradises) was chosen as the title for Chizhov's exhibition, as his work is a true manifesto inviting us to pursue an emotional and cognitive journey of self-growth.
Posted: 23 Feb 2012 08:13 PM PST
New York City.- Phillips de Pury & Company is pleased to announce highlights from its New York Contemporary Art Auctions. "Under the Influence", starts off the activities at 12 noon on March 8th at 450 Park Avenue, New York. More than 300 lots range from a pre-sale low estimate of $2,000 to a high estimate of $60,000. Amongst the artists included in the afternoon sale are Andy Warhol, Richard Prince, George Condo, Raymond Pettibon, Keith Harring, Sean Landers, Tony Oursler and Vik Muniz. Viewing will take place from February 25th through March 7th.
The Evening auction will take place from 7pm, and comprises 37 lots with a pre-sale low estimate of $4,720,000 and a high estimate of $6,900,000. Viewing will take place from February 25th through March 8th. The sale will feature highlights from Dan Colen, Tauba Auerbach, Cindy Sherman, Damien Hirst and Steven Parrino. The auction will also showcase works from major movements from the last 50 years, from the pop art of Roy Lichtenstein and Andy Warhol through to the minimalism of Donald Judd and Dan Flavin, alongside blue-chip artists who came to prominence in the 80s: Jean-Michel Basquiat, Anselm Kiefer, Richard Prince and Takashi Murakami.
Highlights of the auction will include Dan Colen's "The son of a white man (Air force pilot / plantation owner)", 2010, estimated at $100,000-150,000. Drawing from mass media, environmental experience and sub-cultural language, Dan Colen's work infuses a sense of magic in the prosaic and ordinary. In the present lot, a canvas is coated, plastered, smeared, and overlaid with chewing gum. The once pristine surface is fictionally transplanted to the urban landscape of a metropolitan city. It immediately conjures images of the teenage ritual of smearing gum on the surfaces of municipal buildings, street signs, and benches. But unlike the haphazard and random design of this adolescent rebellion, the gum is stretched across the surface in beautiful arches of monochromatic tones. The overlapping blacks, criss-crossing whites, and entwined grays, rhythmically dance across the picture plane with the fluidity and vitality of Pollock's drip paintings. Instead of paying homage to the Abstract Expressionist painter's rich oils, Colen has instead replaced the traditional medium with that of a disposable and chewable substance. Tauba Auerbach's "Binary Lowercase", 2006, estimated at $40,000-60,000. Tauba Auerbach's suspiciously simple compositions explore both the freedoms and limitations of Semiotics through a visual word-play on palindromes, anagrams, ligatures, and other abstract sequences. Her work ranges from an idiomatically familiar study of phonetics to the obscure and esoteric origins of human communication. While her designs and explorations are clean, pure, and simple, they are woven with complexities and intricacies that are deeply rooted in Fluxus and Constructivist utility. Behind the razorsharp lines of her designs lies a language that both abides and challenges our laws of linguistics. The marriage of language and the visual in the present lot, converts arbitrary marks into a moment of conceptual awakening.
Cindy Sherman's "Untitled #426" from 2004 has an extimate of $300,000-500,000. Starting with her Untitled Film Stills in the 1970s, through her latest series of Clowns, Cindy Sherman has assumed a dual role: that of artist and of performer. In this latest series, she explores and discovers the masquerade of a multi-faceted character - the clown. In this series of clowns, as seen in her early black and white Untitled Film Stills, Sherman carefully manipulates pose, gesture, costume, makeup, lighting, and composition to create portraits of both the real and the imagined. By using digital image processing technology, Sherman is able to manipulate and dictate precisely how the final image should stand. She is able to multiply herself and stage herself as a group of persons, or in the case of the present lot, Untitled # 426, 2004, create a backdrop of vibrant and intense Technicolor. With each series, Sherman repeatedly finds new contemporary forms of representation and consistently advances the topics and subjects which have connected her work through its four decade span. Damien Hirst's "Sulfochlorophenol", 2007, estimated at $700,000-1,000,000. Damien Hirst's "spot paintings"—a form he has returned to on many occasions in the past twenty-five years—gleam as exemplary stalwarts of his internationally recognized oeuvre. Their omnipresence in the art world is topped only by their transcendence into the world of commercial art, advertising, and beyond; they walk the razor sharp line between renowned examples of the contemporary art market and universal symbols of the enduring value of modern painting. The present lot, Sulfochlorophenol, 2007, contains all of the quintessential elements of Hirst's famed series—chromatic beauty, patterned regularity, and considerable size. Yet it also assumes many of the conceptual paradoxes that make Hirst's body of work a study in depth and meaning. It is at once a celebration—of the simplicity of color, of the miracles of medical science, and of the power of painting in an age that is futuristic in its media. Yet it is also revelatory in its sinister underpinnings—in the deeper complexities of its subject, in its visual illusions, and in its reflection on society's medicinal dependence.
Phillips was founded in London in 1796 by Harry Phillips, formerly senior clerk to James Christie. During his first year of business, Phillips conducted twelve successful auctions and soon the business was holding sales for some of the most distinguished collectors of the day including Marie Antoinette, Beau Brummel and Napoleon Bonaparte. To win business, Phillips combined business acumen with a flair for showmanship, introducing new ways to promote his sales such as elaborate evening receptions before auctions - an essential part of the auction business today. Phillips quickly gained the confidence of British society and remains the only auction house ever to have held a sale inside Buckingham Palace. When he died in 1840, Harry Phillips' son, William Augustus, inherited a strong and successful legacy and business. In 1879, William changed the firm's name to Messrs Phillips & Son. In1882, William brought his son-in-law, Frederick Neale into the business, the company was renamed again as Phillips, Son & Neale. This name remained through the 1970s, when the company became Phillips. The company had a reputation for strong regional salerooms dotted throughout The British Isles, selling everything from furniture to art and estates. In 1999, the company was bought by Bernard Arnault, the chairman of the French luxury-goods brand, Louis Vuitton Moet Hennessey (LVMH). Shortly after the transaction, Mr. Arnault merged with the esteemed private art dealers, Simon de Pury and Daniela Luxembourg who were operating the Impressionist and Modern art gallery, de Pury & Luxembourg in Zurich. The new team at Phillips, de Pury & Luxembourg with headquarters on East 57th street held sales in Impressionist, American and Modern works of art in addition to watches and jewelry and design. In 2002, de Pury & Luxembourg took majority control of the company and in 2003, Simon de Pury moved the headquarters to the Meatpacking District in Chelsea, which at the time was just beginning to sprout as an international art district. With a new remit to focus solely on the sale of the best works of Contemporary Art, Design, Jewelry, Photography, and Editions, Phillips de Pury & Company began business in a spectacular and spacious gallery setting on 15th Street, overlooking the celebrated Highline and The Hudson River. It is in this space today where Simon de Pury, his partners, and team of specialists are dedicated to the company's unique approach to the auction market. In October 2008, Mercury Group, the Russian luxury retail company, acquired majority share of Phillips de Pury & Company to further enable the company's expansion, including the opening of our flagship galleries at 450 Park Avenue. Visit the auction house's website at ... http://phillipsdepury.com
Posted: 23 Feb 2012 07:56 PM PST
FRANKFURT.- With the opening of the extension for the presentation of its vast collection, the Städel Museum has carried the largest expansion of its nearly two-hundred-year history– with regard to its architecture and its collection alike – to completion. In the autumn of 2009, in conjunction with important additions to the museum's holdings, work commenced on the construction of an annex designed by the architectural firm schneider+schumacher of Frankfurt. Situated beneath the Städel garden, the new light-flooded halls provide some 3,000 square metres of additional exhibition space, thus doubling the area available for the presentation of the Städel's holdings. Thanks to the completion of the annex, from now on visitors will be able to experience 700 years of Occidental art under one roof in presentations of equally high quality: the Old Masters, Modern Art and Contemporary Art. The grand opening will be celebrated with an Open House and major public festivities on 25 and 26 February.
Posted: 23 Feb 2012 07:03 PM PST
Paris.- Paintings from the Frits Lugt Collection are leaving their mansion and going on show to the public. At the heart of the collection are works from the Dutch Golden Age, but there will also be an opportunity to see Flemish paintings, masterpieces by Francesco Guardi and Nicolas de Largillière and paintings from the Silver Age – the eighteenth-century Dutch school – as well as some recently acquired nineteenth-century oil sketches. The works will be on view at the Institut Néerlandais , Paris from March 1st through May 27th in "An Intimate Universe: Paintings from the Frits Lugt Collection".
The eighteenth century Hôtel Turgot which houses the Frits Lugt Collection contains many paintings that are hardly known to the public. The Dutch masters of the Golden Age form the largest and most important group. Selected with a discerning eye by the great Frits Lugt (1884-1970), they are representative of their period and their authors, and many have featured individually in loan exhibitions. The exhibition offers a rare opportunity to view this outstanding collection of pictures ( Nicolaes Berchem , Pieter Jansz Saenredam , Nicolaes Maes , David Teniers , Francesco Guardi, Nicolas de Largillière, Eugène Isabey , Richard Parkes Bonington and other), expanded in the past two years with another hundred works.
This is the first time that a major selection of these works is shown together accompanied by an array of Dutch pictures from the eighteenth and nineteenth century and by a number of fine Flemish paintings. More unexpected is the presence of some remarkable works by masters such as Francesco Guardi , Nicolas de Largillière and Richard Parkes Bonington. As a whole, the collection reflects the outspoken taste of its collector, who preferred intimate subjects like portraits, still lifes and landscapes to scenes of martyrdom and allegories. In 2010, almost sixty oil sketches from the later eighteenth and nineteenth century have come to enrich the collection, thanks to the bequest of its former director Carlos van Hasselt (1929–2009). Invariably landscape studies, these works have found their natural place within the Lugt collection, echoing its remarkable holdings of drawings by French, English and Danish artists from the same period. An active acquisition policy has recently allowed enhancing the coherence and quality of this ensemble by adding a number of significant works in the same technique. Many of the paintings have been restored in the course of 2011, revealing their original details and colours, and some of them have newly been mounted in period frames.
Behind the façade of 121 rue de Lille, in Paris's elegant seventh arrondissement, lie two worlds that are closely connected. On the street side, there is a hive of activity: here the Institut Néerlandais organises exhibitions, concerts, lectures, film shows, conferences and language courses centred on Dutch culture. If one crosses the courtyard at the rear between this house and the eighteenth-century Hôtel Turgot, it seems as if time has stood still. This is where the Frits Lugt Collection is housed under the watchful eye of the Fondation Custodia. The Fondation Custodia is in charge of the Frits Lugt Collection, the scholarly research relating to it, the publishing programme and the organisation of exhibitions. It also works in partnership with the Institut Néerlandais in Paris, which was founded in 1956 as the result of a joint initiative by Frits Lugt and the Dutch government. The Fondation Custodia also gives moral and financial support to the Nederlands Interuniversitair Kunsthistorisch Instituut (Dutch Institute for Art History) in Florence and the Rijksbureau voor Kunsthistorische Documentatie (Netherlandish Institute for Art History) in The Hague. The Fondation Custodia's collection of books on art history is open to the public. It consists of about 180,000 titles which are housed in the library of the Institut Néerlandais. The collection includes French, English, American, German, Italian, Dutch and Indian art history literature. Visit the foundation's wbesite at ... http://www.fondationcustodia.fr
The Netherlands Institute, founded in 1957, is one of the oldest foreign cultural centers in Paris. It organizes many cultural events: exhibitions, concerts, film screenings, seminars, conferences, debates and courses in Dutch. It serves as a platform for the Dutch culture in France, providing a meeting place for dialogue between France and the Netherlands, it acts as an intermediary between the institutions and the French and Dutch artists. In addition, each year more than 500 French try to learn Dutch at the Institute and 30,000 to 50,000 visitors attended the Dutch Institute. Visit the institute's website at ... http://www.institutneerlandais.com
Posted: 23 Feb 2012 06:47 PM PST
NY Times -Few modern myths about art have been as persistent or as annoying as the so-called death of painting. Unless, of course, it is the belief that abstract and representational painting are oil and water, never to meet as one. The two notions are related. The Modernist insistence on the separation of representation and abstraction robbed painting of essential vitality. Both notions have their well-known advocates. And both, in my mind seem, well, very 20th century. Pictorial communication — signs, symbols, images and colors on a flat surface — is one of the oldest and richest of human inventions, like writing or music.
It started on rocks and the surfaces of clay pots and in the woven threads of textiles, then moved to walls, wood panels, copper and canvas. It now includes plasma screens, Photoshop and graphic novels. Even so, paint on a portable surface remains one of the most efficient and intimate means of self-expression.
As for representation and abstraction, historically and perceptually they have usually been inseparable. Paintings — like all art — tend to get and hold our attention through their abstract, or formal, energy. But even abstract paintings have representational qualities; the human brain cannot help but impart meaning to form.
There have been moments of dazzling balance between the representational and the abstract — for example, Byzantine mosaics; pre-Columbian and American Indian textiles and ceramics; Japanese screens; Mughal painting; and post-Impressionism.
Painting may be in a similar place right now, fomented mostly, but not always, by young painters who have emerged in the last decade. They feel freer to paint what they want than at any time since the 1930s, or maybe even the 1890s, when post-Impressionism was at its height.
In the late 19th century painting was being radically changed by a series of artistic explosions — the newly abstracted figuration of post-Impressionists from van Gogh to Ensor; the extremes of color favored by the Fauves, like the young Matisse, and German Expressionists, like Kirchner; the shattering of representational form by Cubism and Futurism; and finally the flowering of abstraction itself in the work of Malevich and Mondrian.
By the 1970s, thanks largely to formalist critics like Clement Greenberg and Donald Judd, painting had been flattened and emptied of figures, subject matter and illusionistic space. It was also superseded, it seemed, by the explosion of post-Minimalism's multiple mediums. But a kind of figure envy ensued: How could painters look at the figures in much of the video, body and performance art and not think, "I want a piece of that"? By the '80s painting was creeping back, largely because painters like Sigmar Polke, David Salle and Julian Schnabel started pitting representation against abstraction, albeit self-consciously and often ironically.
But with each generation of painters, the authority of Greenberg and Judd pales while the history of the pictorial expands, revealing new possibilities for scholars, curators and artists alike. It seems noteworthy that Robert Rosenblum's startling "1900: Art at the Crossroads," a revisionist juxtaposition of modernist and academic painting, opened at the Guggenheim Museum exactly 10 years ago this fall.
Yet old habits die hard. No less a personage than Klaus Biesenbach, the Museum of Modern Art's new chief curator at large, recently told The Art Newspaper that he preferred the phrase "contemporary practice" to "contemporary art" in order to include fashion, film, design and more. That doesn't bode well for a phrase like "contemporary painting."
But what really is questionable, and passé, is the implied ranking of art mediums and the leaving of some of them for dead. None of them ever really, ultimately have much of a monopoly on quality. And something else greatly reduces the chances of the death of painting: too many people — most obviously women — are just beginning to make their mark with the medium and are becoming active in its public dialogue.
What follows is a sampling of the post-abstract representational painters who have emerged since 2000. (View the slide show here : http://nyti.ms/9OE2OD)
Posted: 23 Feb 2012 06:46 PM PST
Cambridge, UK.- The Fitzwilliam Museum is proud to host the only UK showing of precious Hapsburg Imperial collection. "Splendour & Power: Imperial Treasures from Vienna" will be on view at the museum from August 16th through January 8th 2012. From this summer, visitors to the Fitzwilliam Museum can experience a stunning collection of precious decorative arts never before seen in the UK – the treasures of the Hapsburg Emperors. This unique selection of beautifully crafted jewellery, vessels and other objects made from gems, precious metals and stones comes to the Fitzwilliam Museum from the renowned 'Kunstkammer' collection of the Kunsthistorisches Museum in Vienna. This is the first time that audiences in Britain will be able to view these extraordinary objects, as the collection has never before been loaned on this scale.
Posted: 23 Feb 2012 06:45 PM PST
Glendale, CA.- The Forest Lawn Museum is proud to present "¡Adelante! Mexican American Artists: 1960s and Beyond", showing the eclectic and influential work of more than 40 prominent Hispanic artists, many who helped forge the Chicano Art Movement that began in the 1960's, as well as a number of the new generation of artists. This extraordinary exhibit includes paintings, drawings, sculpture, and photography. "Adelante" is on view at the museum from September 9th through Sunday, January 1st 2012. This cemetery is the only place in the world containing a complete collection of replica Michelangelo's sculptures, which were made from castings taken from the originals and using marble from the same quarries in Carrara, Italy as used by Michelangelo.
Posted: 23 Feb 2012 06:44 PM PST
Edinburgh.- The Edinburgh Printmakers presents 'An Informed Energy: Lithography and Prints from the Tamarind Institute of Lithography in New Mexico', on view until 21st May 2011. This world-class exhibition of works by leading international artists including Jim Dine, Kiki Smith and Lesley Dill, celebrates the diversity of the medium of lithography and the accomplishments of the renowned Tamarind Institute of New Mexico. Collaboration, between the artist and the master printer as well as between Tamarind and institutions worldwide, is at the heart of the Tamarind's programme and they have a long association with the Scottish art community.
That history goes back to the late 1970s when Ken Duffy from Edinburgh attended the Tamarind Professional Printer Program with the assistance of the Scottish Arts Council. Since then the Tamarind have hosted a number of Scottish lithographers, including Stuart Coordiner, Elspeth Lamb, and Linsay Croall, and have been associated with the Edinburgh Festival and Glasgow School of Art as well as print shops in Aberdeen, Glasgow, and Dundee. The Tamarind shares with Edinburgh Printmakers an interest in expanding the boundaries of the traditional print and highlighting the creative possibilities of original printmaking.
The Tamarind Institute is a non profit centre for lithography that trains master-printers and houses a professional collaborative studio for artists. Founded in 1960 in Los Angeles, Tamarind played a significant role in reviving the art of lithography in the United States and continues to provide professional training and creative opportunities for artists. The Tamarind Institute is recognized internationally for its contributions to the growth of contemporary printmaking around the world. Now located in Albuquerque, New Mexico, USA, the Tamarind is currently celebrating its fiftieth anniversary in 2011. Tamarind continues to offer programs that range from the training of master printers and intensive courses for lithographers to print publishing and international projects that mesh artistic and social goals. The work in this exhibit was created between 1989 and 2010 by artists-in-residence who collaborated with Tamarind master printers in our studio. When Tamarind was founded in 1960, few American artists made prints; now, thanks to the community of master printers who have established workshops in the United States, many of whom were trained at Tamarind, artists who do not have the necessary equipment or skills can explore the unique expressive vocabulary of lithography and other graphic mediums. Visit the Tamarind's website at ... http://tamarind.unm.edu/
Established in 1967 as the first open access studio in Britain, Edinburgh Printmakers (EP) is dedicated to the promotion of contemporary printmaking practice. It achieves this by providing, maintaining and staffing an entrance free gallery and inexpensive, open access print studio, where artists and members of the public can use equipment and source technical expertise in order to develop their hands on printmaking skills. As a not for profit organisation that is also a registered charity, EP receives approximately 50% of it's funding through revenue and project funding from the Scottish Arts Council as well as support from the City of Edinburgh Council. This enables the organisation to highly subsidise the cost of using the print studio, making access to creative facilities affordable to a wide range of people. This includes professional artists, students, community groups and members of the public, who wish to develop new or existing skills. To complement the work on show by the resident artists they have a rolling programme of exhibitions representing the whole spectrum of contemporary graphic art. Previous exhibitions have ranged from the graphic works of artists such as Marc Chagall, David Hockney, Matisse and Picasso to contemporary American prints by such artists as Andy Warhol and Jim Dine as well as showcasing the wealth of talent that exists in Scotland itself. The Gallery and Studio are very centrally situated being only a few minutes walk from both the railway station, central bus station and the main shopping and cafe areas. Visit Edinburgh Printmakers website at ... http://edinburgh-printmakers.co.uk/
Posted: 23 Feb 2012 06:43 PM PST
Hempstead, NY.- The Hofstra University Museum is proud to present "Body Mapping", in the Hofstra University Museum's Emily Lowe Gallery. The exhibition features works by four contemporary artists, Tina Blondell, Giedre Montvila, K.C. (Kaethe) Kauffman, and Eileen Senner. In the exhibit, each artist draws upon cultural and societal issues about body image incorporating traditions such as Mehndi and ta moko practices of superimposing interlacing spiral markings on painted portraits. The exhibition, organized through Katharine T. Carter & Associates, commemorates the opening of the Hofstra North Shore-LIJ School of Medicine at Hofstra University and includes works of oil painting, near photorealistic representation, superimposition on portraiture, and pigment on skin recorded by photographs that themselves become painted surfaces.
Posted: 23 Feb 2012 06:42 PM PST
LONDON - The pioneering exhibition Garden and Cosmos: The Royal Paintings of Jodhpur presents little known, large-scale images from the 17th-19th centuries that convey an unsurpassed intensity of artistic vision in Rajasthan art. The exhibition will feature a loan of 56 paintings from India, none of which have been displayed before in Europe. The paintings included in the exhibition range from a handful of miniatures to monumental artworks depicting the palaces, wives and families of the Jodhpur rulers. Later works depict epic narratives and demonstrate the devotion of Maharaja Man Singh to an esoteric yogic tradition . Jodhpur artists rose to the challenge of creating images for metaphysical concepts and yoga narratives which had never previously been the focus of the region's court. It is a fantastic opportunity to experience the unique art tradition that flourished in the royal courts between the 17th and 19th centuries. This exhibition provides a rare chance to see paintings in the royal collection of the Mehrangarh Museum Trust, Jodhpur. During an international tour Garden and Cosmos is on view in the British Museum through 23 August, 2009.
Marwar-Jodhpur, the largest of the former Rajput kingdoms (in the modern state of Rajasthan in northwest India), was ruled by the Rathore Rajputs, a princely caste of warriors who became great patrons of art in the 17th to19th centuries. Here, the great fort Mehrangarh overlooks the capital city of Jodhpur, where it served generations of rulers not only as a military base but also as a complex of temples, courtyards and palaces and a center of music and art.
The elaborate paintings on view in Garden and Cosmos come to London from the Mehrangarh fort's present-day museum, thanks to the generosity of the Mehrangarh Museum Trust, headed by Maharaja Gaj Singh II of Jodhpur, lender of the fifty-five paintings from the desert palace at Nagaur that form the centerpiece of the exhibition. Created for the private enjoyment of the Jodhpur maharajas, these paintings include thirty-three richly-adorned, four-foot-wide folios from 19th-century "monumental manuscripts," which demonstrate how yogic philosophy and practice changed the focus of art patronage, resulting in a surprisingly "modern," sublimely minimal aesthetic. Ten 17th-century Jodhpur paintings borrowed from museum collections in India, Europe, Australia and the U.S. reveal the idiom from which these innovations of later Jodhpur painting emerged.
Painting in a palette of rich colors and elaborately decorative patterns, court artists depicted Maharaja Bakhat Singh (reigned 1725-51) sporting with his harem in fantastic gardens. Painters replaced images of royal luxury with visions of heavenly landscapes populated by Hindu deities such as Krishna and Rama during Maharaja Vijai Singh's reign (reigned 1752-93). Artists working for Vijai Singh's grandson Maharaja Man Singh (reigned 1803-1843) were challenged to create images of metaphysical concepts and yoga narratives, such as the origins of the cosmos, reflecting the ruler's devotion to an esoteric yogic tradition.
GARDEN AND COSMOS
Garden and Cosmos is divided into thematic sections devoted to the garden and cosmos themes, with an introductory gallery revealing the history of the kingdom of Marwar-Jodhpur and the origins of its court painting traditions in the 17th century.
THE ORIGINS OF JODHPUR COURT PAINTING
Between the 13th and the 17th centuries, the Rathore clan leaders transformed from regional rulers into cosmopolitan maharajas, or great kings. Five 17th-century paintings track this transformation by revealing how the atelier synthesized a local, spontaneous style with the sophisticated court style of the Mughal Empire (1526-1857) to create a uniquely Marwar-Jodhpur idiom. Small in size, these royal portraits and musical theme paintings (ragamala) presage -- and help the viewer to fully appreciate -- the innovative directions taken by the atelier in the following centuries.
GARDENS FOR ROYAL PLEASURE: MAHARAJA BAKHAT SINGH
A recently rediscovered cache of paintings reveal that the aesthetic of the garden first emerged under Maharaja Bakhat Singh (1725-51) at Ahhichatragarh Fort in Nagaur on the northern border of Marwar. Bakhat Singh was an exemplary ruler, but his reputation was permanently stained when he murdered his father in order to gain the throne of Nagaur.
Bakhat Singh transformed the arid region of Nagaur, into a garden paradise by rebuilding its palaces and creating a sophisticated water-harvesting system. Eleven paintings accurately depict the architectural setting and express Bakhat Singh's sensuous delight in the opulent garden-palaces. Many paintings also depict musical performances.
THE GARDEN IN THE DESERT
The exhibition will also feature a splendid embroidered tent canopy from the Marwar ancestral collection. Exuberantly adorned on its interior with silk-embroidered blossoms on scrolling vines, the tent canopy recreates the virtual gardens that the maharajas enjoyed when they made camp in remote areas of the desert kingdoms while on military campaigns or religious pilgrimages. The floral pattern, which recurs in paintings of gardens throughout the exhibition, epitomizes the Marwar aesthetic of the garden.
GARDENS FOR DIVINE PLAY: MAHARAJA VIJAI SINGH
Maharaja Vijai Singh, the son of Bakhat Singh, ruled Marwar for 41 years (1752-93). Vijai Singh's atelier created the "monumental manuscript" genre for sacred texts relating the exploits of Krishna, Rama and the great Goddess Durga. While Vijai Singh's court artists continued to depict gardens and palaces in the rich pastel colors employed at Nagaur in Bakhat Singh's reign (1725-51), their grand vision expanded and transformed the earthly court into expansive sacred landscapes that charm and delight with narrative verve and compositional ingenuity.
KINGDOM AND COSMOS: MAHARAJA MAN SINGH
The grandson of Vijai Singh, Man Singh credited his near miraculous ascension to the Marwar throne to the divine intervention of Jallandharnath, an immortal practitioner of hatha yoga (mahasiddha). Originating in the 12th-13th centuries by India's Nath religious sect, the Hatha Yoga of Man Singh and other Nath disciples was much broader than the modern conception of the practice, comprising meditative and somatic rituals performed by mortals in order to achieve immortality or supernatural powers. Man Singh sought, through his religious devotion, to undermine the hereditary nobility, replacing it with a divinely legitimized sectarian elite. He would use his art patronage to illustrate and underscore the legitimate role of these ascetics, gurus and disciples within the political history of Marwar-Jodhpur.
Man Singh commissioned more than 1,000 paintings expressing the sacred power of the Nath mahasiddhas and their metaphysics. Garden and Cosmos includes about two dozen of these spectacular paintings, which present intense, almost hallucinatory images of enormous conceptual sophistication and visual élan. Monumental paintings in this section of the exhibition represent profound subjects with visionary intensity. Large fields of gold map the cosmos and its emergence from the formless void in some works, while others incorporate intricately realized bodies and cosmic landscapes with shimmering silver rivers. The subject matter ranges from the origins of the cosmos and the immaterial essence of being Brahman, to shimmering chakras (energy centers), mandalas (cosmic maps) and asanas (yoga postures).These imposing works often employ unexpected changes of scale, subdivisions of the page and multiple, successive narratives. Such cosmic and divine compositions had never before attempted by Indian court painters.
Visit The British Museum at : www.britishmuseum.org/
Posted: 23 Feb 2012 06:41 PM PST
New York.- Barry Friedman Ltd. is pleased to present, "Infinite Obsessions", a solo exhibition of glass and metal sculptures by the contemporary American artist Michael Glancy. This will be Glancy's first solo show in almost five years and his largest to date, including more than 35 new works. Accompanying the show, and covering the last 15 years of the artist's work, is a 228-page, full-color book published by Arnoldsche Art Book Publishers, Germany and Barry Friedman Ltd, featuring an interview by Tina Oldknow, Curator of Modern Glass at the Corning Museum of Glass. The catalogue will be available through the gallery for $75.00. The exhibition will open with a reception for the artist on Thursday May 5, 2011 from 6:00-8:00pm, and will be on view through July 15, 2011.
Posted: 23 Feb 2012 06:40 PM PST
Stockbridge, MA.- The Norman Rockwell Museum will present a weekend of star-studded events based around its new, interactive exhibition "'Ice Age" to the Digital Age: The 3D Animation Art of Blue Sky Studios," which looks at the artistry and technical genius of one of the world's leading animation studios. Blue Sky Studios is the creator of such blockbuster films as the "Ice Age" series; "Robots;" and the recent hit "Rio," which is the second highest grossing film released so far this year. The exhibition will be on view at the Museum from June 11th through October 31st.
On Friday, June 10, the Museum will present an ICE/HOT Preview Party for "'Ice Age' to the Digital Age," from 6 to 9:30 p.m. Meet Chris Wedge, Blue Sky Studios' VP of Creative, who co-founded the company in 1987. Award-winning illustrator Peter de Sève, the lead character designer for Blue Sky Studios' "Ice Age" series, will be the guest of honor for this evening of cocktails; hors d'oeuvres; a raw bar; wine tasting; music from the Bossa Triba Quartet; and dessert at the Museum's historic Linwood House, which overlooks Norman Rockwell's Stockbridge studio and the Housatonic River. Members of Blue Sky Studios creative team will join Norman Rockwell Museum for the official exhibition opening of "'Ice Age' to the Digital Age," to be held on Saturday, June 11, from 6 to 8 p.m.
Celebrate the art of animation with this first-ever look behind the scenes at Blue Sky Studios, where cutting-edge creativity and technique brings imaginative characters and stories to life. Commentary will be provided by Blue Sky Studios' VP of Creative Chris Wedge, and award-winning illustrator and "Ice Age" character designer Peter de Sève, starting at 6:30 p.m. Learn about the complex and exciting process of creating CG animated films, from initial concept to the big screen. The family friendly opening will include "Rio colada" snow cones, Blue Sky balloon sculptures, wine and caricatures courtesy of winetasting.com, as well as other ICE/HOT fun, party fare and libations.
Go "behind the scenes" with a look at the world of digital animation with the artists of Blue Sky Studios, creators of the blockbuster films "Ice Age" (and its popular sequels), "Robots," and the recently released hit, "Rio." This first-ever exhibition brings art and technology together to explore how visual concepts are transformed into believable worlds for the big screen. Rarely-seen original character drawings, storyboards, and background paintings reflect the conceptual process, and a recreated sculpture studio will bring you face-to-face with Blue Sky's amazing sculptural maquettes. Interactive stations reveal how today's stunning computer generated imagery is built, from initial concept to finished frame.
Blue Sky Studios is the Academy Award©-winning, feature CG animation studio behind the wildly successful Ice Age franchise. Using their propriety rendering software, CGI Studio©, Blue Sky creates photo-realistic, high-resolution, computer-generated character animation and rendering to create timeless stories for children of all ages. Blue Sky is the studio behind "Ice Age" (2002), "Robots" (2005), "Ice Age: The Meltdown" (2006), "Dr. Seuss' Horton Hears a Who!" (2008), "Ice Age: Dawn of the Dinosaurs" (2009) and "Rio" (2011). Blue Sky Studios is wholly owned by Twentieth Century Fox.
Norman Rockwell Museum is the preeminent museum of American illustration art. Dedicated to art education and art appreciation inspired by the enduring legacy of Norman Rockwell, the Museum stewards the world's largest and most significant collection of Rockwell art, and presents the works of contemporary and past masters of illustration. The Museum's holdings include Rockwell's last studio, moved from its original location to the Museum grounds, and the Norman Rockwell Archives, a 200,000-object collection undergoing digital preservation through ProjectNORMAN, "A Save America's Treasures Project." The Museum is also home to the new Rockwell Center for American Visual Studies, the nation's first research institute devoted to the art of illustration. In 2008, Norman Rockwell Museum became the first-ever museum recipient of the National Humanities Medal, America's highest honor in the field. Founded in 1969 with the help of Norman and Molly Rockwell, Norman Rockwell Museum is dedicated to the enjoyment and study of Rockwell's work and his contributions to society, popular culture, and social commentary. The Museum, which is accredited by the American Association of Museums, is the most popular year-round cultural attraction in the Berkshires. The Museum houses the world's largest and most significant collection of Rockwell's work, including 574 original paintings and drawings. Rockwell lived in Stockbridge for the last 25 years of his life. Rockwell's Stockbridge studio, moved to the Museum site, is open to the public from May through October, and features original art materials, his library, furnishings, and personal items. The Museum also houses the Norman Rockwell Archives, a collection of more than 100,000 items, including working photographs, letters, personal calendars, fan mail, and business documents. Having spent its first 24 years at the Old Corner House on Stockbridge's Main Street, the Museum moved to its present location, a 36-acre site overlooking the Housatonic River Valley, in 1993. Internationally renowned architect Robert A. M. Stern designed the Museum gallery building. Visit the museum's website at ... http://www.nrm.org
Posted: 23 Feb 2012 06:35 PM PST
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