- The Seattle Art Museum showcases "Gauguin and Polynesia: An Elusive Paradise"
- Gallery Bergelli displays John McNamara's Painted Collages
- The Bellevue Arts Museum opens Dirk Staschke's First Museum Solo Exhibition
- Paintings by Mel Ramos opens at Bernarducci.Meisel.Gallery
- Hanart TZ Gallery shows New Paintings by Wei Dong
- The Autry National Center Presents Masters of the American West Exhibition & Sale
- The Cafesjian Center for the Arts Hosts Selections from the Museum of Russian Art
- The Durham Art Gallery Presents ~ "John Cecil Stephenson: Pioneer of Abstraction"
- Marcus Weber's "FetaFantaFatima" on view at Palagkas Temporary in London
- Kenneth Price ~ Iconoclastic Artist & Sculptor ~ Dies at Age 77
- Lyons Wier Gallery features "Chris Cosnowski ~ American Metal"
- The Contemporary Arts Center New Orleans Displays Works by Tina Girourard & Robert Gordy
- The Surreal Universe of Salvador Dali at the William Bennett Gallery
- Phoenix Art Museum Hosts Major Retrospective of Ernest L. Blumenschein
- Long Beach Museum of Art Celebrates 60th Anniversary of the Museum's Impressive Collection
- The Unique Bauhaus Archive Museum of Design in Berlin ~ Was and Is A One Of A Kind Educational Museum ~ Says Our Editor
- Danish Sculptor Oivind Nygard Exhibits at Statens Museum for Kunst
- 300 Picasso Works in Metropolitan Museum's Collection in Landmark Exhibition
- MoMA PS1 Major Exhibition Reflects Upon "September 11"
- Art Knowledge News Presents "This Week In Review"
Posted: 29 Feb 2012 10:59 PM PST
Seattle, Washington.- The Seattle Art Museum (SAM) is proud to present the only United States stop for "Gauguin and Polynesia: An Elusive Paradise", a landmark show highlighting the complex relationship between Paul Gauguin's work and the art and culture of Polynesia. The exhibition, on view through April 29th, includes about 50 of Gauguin's brilliantly hued paintings, sculptures and works on paper, which are displayed alongside 60 major examples of forceful Polynesian sculpture. Organized by the Art Centre Basel the show is comprised of works on loan from some of the world's most prestigious museums and private collections.
Recognized for his distinctive palette and the evocative symbolism of his subject matter, Paul Gauguin (1848–1903) is one of the most influential and celebrated artists of the late nineteenth century and was a leader in the Post-Impressionist movement that rejected Impressionism's emphasis on visual observation. Along with Vincent van Gogh, Emile Bernard and others, Gauguin sought to bring timelessness and poetry into painting. From very early in his career, Gauguin yearned for the exotic in both his life and his work, leading to two significant sojourns in French Polynesia – a two-year stay in Tahiti beginning in 1891 and a second trip to Tahiti, and later, to the even more remote Marquesas Islands. Gauguin and Polynesia aims to contribute not only to a deeper understanding of Gauguin's work, but also to further an understanding of Polynesian culture. Gauguin and Polynesia traces Gauguin's journey from bourgeois stockbroker to full-time artist, while at the same time tracing Polynesia's artistic evolution during the 18th and 19th centuries.
Paul Gauguin's biography reveals a complicated personal journey. Born June 7, 1848, to Clovis and Aline Gauguin, the yearning for adventure was likely fueled by an early experience in Peru. In 1849, the Gauguin family left Napoleonic France due to a political climate hostile to the liberal leanings of Gauguin's journalist-father. En route to Peru, Clovis died of a heart attack, leaving Aline and their two children to complete the journey alone. Returning to France in 1857, Aline Gauguin struggled to support her children, and Paul was eventually enrolled in a prestigious boarding school in Orléans. At the age of 17, the young man joined the merchant marines and, later, the French Navy, in positions that would take him around the world. He eventually settled into a position as a stockbroker in Paris, where he met and married a young Danish woman named Mette Sophie Gad and had five children in quick succession. Gauguin showed an interest in painting, and collected art in the 1870s, but it was with the collapse of the stock market in 1882 that he decided to pursue his own career as an artist. Gauguin and Polynesia opens with a look at early paintings and sculptures Gauguin created in the late 1880s when he lived in Brittany. Through his life in Brittany and a five-month trip to the Caribbean island of Martinique, Gauguin sought a less costly and simpler lifestyle to fuel his artistic practice. Rejecting the Impressionists' focus on momentary observation, Gauguin sought to impart a decorative timelessness through the "primitive" people and places he encountered both in the Caribbean and in rural France. It was during this period that Paul Gauguin developed a short-lived working relationship with Vincent van Gogh which would help define the direction Gauguin's life and art would take from the 1890s through the end of his life. Gauguin and Polynesia includes a gallery of Polynesian sculptures similar to those that Gauguin would have seen at the World's Fair.
This brief exposure to the cultures of French Polynesia as well as that of other European colonies, notably Cambodia and Java, provided Gauguin with the final nudge he needed to pursue his idea of creating a Studio of the Tropics, where he and other artists could live and work without the constraints of financial hardship or the formality of life in Western Europe. Very shortly after the Fair, he made several unsuccessful attempts to secure government posts in present-day Vietnam and Madagascar before he successfully received a grant to visit Tahiti, and he left France on April 1, 1891. When Gauguin arrived in Papeete, Tahiti in June 1891, he expected to find himself immersed in a "voluptuous" culture, a paradise of gentle populations set in nature's abundance. In fact, what he found was a local culture that had been in decline for more than a century, due to disease, famine, warfare and a prohibition on traditional art forms enforced by the Catholic Church, along with the difficult dealings of a colonial bureaucracy much like that he had left behind in France. Deeply disappointed at finding so much of what he had sought to escape and so little of the paradise he had expected, Gauguin enacted his own, restless search for Polynesian art, and introduced his imperfect notions of Polynesian religion and culture into the works of art he sent back to Europe.
The exhibition includes numerous paintings in which Gauguin created the environment he had hoped to find. A motif from a small set of Marquesan ear ornaments, for example becomes a fence keeping viewers from entering a sacred precinct in Parahi te Marae (The Sacred Mountain), (1892), where a tiki is installed on a Tahitian hillside where heightened colors prevail. Gauguin and Polynesia includes specific Polynesian art alongside Gauguin's unique permutations of their imagery and meaning, allowing a more fully informed investigation of the tension between Gauguin's representations and the true evolution of the Polynesian cultures in which he lived. Gauguin and Polynesia comes to SAM after opening at the Ny Carlsberg Glyptotek in Copenhagen (September 24– December 31, 2011). The exhibition was curated by Suzanne Greub, and organized by the Art Centre Basel in collaboration with the Ny Carlsberg Glyptotek in Copenhagen and the Seattle Art Museum in Seattle, WA, USA. Curators in Seattle are Chiyo Ishikawa, Susan Brotman Deputy Director for Art and Curator of European Painting & Sculpture, and Pam McClusky, Curator of Art of Africa & Oceania at SAM.
The Seattle Art Museum (SAM) maintains three major facilities: its main museum in downtown Seattle; the Seattle Asian Art Museum (SAAM) in Volunteer Park on Capitol Hill, and the Olympic Sculpture Park on the central Seattle waterfront, which opened on January 20, 2007. The SAM collection has grown from 1,926 pieces in 1933 to nearly 25,000 as of 2008. Its original museum provided an area of 25,000 square feet, the present facilities provide 312,000 square feet plus a 9-acre park. SAM traces its origins to the Seattle Fine Arts Society (organized 1905) and the Washington Arts Association (organized 1906), which merged in 1917, keeping the Fine Arts Society name. In 1931 the group renamed itself as the Art Institute of Seattle. The Art Institute collection formed the core of the original SAM collection and the institute was responsible for managing art activities when the museum first opened. The SAM collection includes approximately 25,000 pieces. Among them are Alexander Calder's "Eagle" (1971) and Richard Serra's "Wake" (2004), both at the Olympic Sculpture Park; Cai Guo-Qiang's "Inopportune: Stage One" (2004), a sculpture constructed from cars and sequenced multi-channel light tubes on display in the lobby of the SAM Downtown; "The Judgment of Paris" (c. 1516-18) by Lucas Cranach the Elder; Mark Tobey's "Electric Night" (1944); Yéil X'eenh (Raven Screen) (c. 1810), attributed to the Tlingit artist Kadyisdu.axch'; Do-Ho Suh's "Some/One" (2001); and a coffin in the shape of a Mercedes Benz (1991) by Kane Quaye of Ghana. There are early Italian paintings by Dalmasio Scannabecchi, Puccio di Simone, Giovanni di Paolo, Luca Di Tomme, Bartolomeo Vivarini, and Paolo Uccello. There are paintings by V. Sellaer, Jan Molenaer, Emanuel De Witte, Luca Giordano, Luca Carlevaris, Armand Guillaumin, and Camille Pissarro. This museum also has a large collection of Twentieth Century American paintings by Jacob Lawrence and Mark Tobey. There is an appreciable collection of Aboriginal Australian Art. Visit the museum's website at ... http://www.seattleartmuseum.org/
Posted: 29 Feb 2012 10:21 PM PST
Larkspur, California.- Gallery Bergelli is pleased to present "John McNamara: A Survey of Paintings", on view at the gallery. John McNamara makes surrealist photo-collages and then slowly covers with them with a layer of oil paint, mixing not only figuration and abstraction, but also raising questions about representation in the way that many photographers of constructed realities are also doing, writes DeWitt Cheng in a catalog essay accompanying the exhibition. For John McNamara collage is a time machine of sorts. The painted skin on top jettisons the photo document into the world of painting; but these people, places and things still speak from underneath the painted skin. Photography's frozen moment is resurrected into a sustained romantic presence.
Posted: 29 Feb 2012 09:34 PM PST
Bellevue, Washington.- The Bellevue Arts Museum (BAM) is proud to present "Dirk Staschke: Falling Feels a Lot Like Flying" on view at the museum from March 1st through May 27th. Winner of the John and Joyce Price Award of Excellence of the BAM Biennial 2010: Clay Throwdown!, ceramic sculptor Dirk Staschke returns to BAM with his first museum solo exhibition. Desire and consumption are at the heart of this lush and ultra-realistic installation. Inspired by the bountiful Vanitas still-life paintings of 16th-century Northern Europe and the excessive ornamentation of the Baroque period, Staschke seduces the viewer with his voluptuous organic forms while exploring themes of excess and its effects. A master ceramicist whose work has been shown internationally, Staschke is best know for his banquet style displays of flora, fauna and food. In Falling Feels a Lot Like Flying, an exhibition specifically created for Bellevue Arts Museum, the artist takes his work to a new scale. Comprised of more than ten large pieces, the exhibition captures the beauty and opulence of a moment in time – creamy and syrupy stacks of sweets – yet, decay and collapse is looming right around the corner.
Posted: 29 Feb 2012 09:34 PM PST
NEW YORK, NY.- In celebration of the success of Mel Ramos' 75th birthday retrospective, the Bernarducci.Meisel.Gallery presents selections returning from the recent six-venue European tour. Paintings spanning the 1960s to the present are featured, including highlights from each major series in the artist's career: the Female Super-Heroines, the Commercial Pin-up images, Beauty & the Beast, Salute to Old Masters, I Still Get a Thrill when I See Bill, the Drawing Lessons and the Galatea series. An artist's reception will be held on March 10th at which time Ramos will unveil his new light-box prints produced by Galerie Ernst Hilger, Vienna. Paintings and prints alike will feature the beautiful and vivacious Pop-stylized females for which Ramos is renowned. On view 1 March through 31 March.
Drawing upon the pin-up magazines of the fifties and sixties, Mel Ramos contradicts classical notions of female beauty through his playful use of humor. Rather than treating the female nude as an idealized form, Ramos approaches the subject from a Pop sensibility--treating beauty as a product of creation, a false idealized constructed mirror image of perfection. His iconic subjects are derived from both highbrow imagery, as in the case of his reinterpretations of historic artworks, and lowbrow imagery as with his commercial paintings.
Mel Ramos' artworks pay homage to the very origin of sexual desire, and popularize the female physique through humanization of the female pose and his use of the facial expression. The emotional enticing come hither look, like a seductive siren, is omnipresent in each of his subjects. Featured paintings, "Giant Panda" (1971) and "Lucky Lulu Blonde" (1965), embody these characteristics, playing upon the viewer's own preconceived notions of beauty, sexuality and the traditional representation of the female form.
Mel Ramos, born in 1935, has solidified a place in the history of art alongside the greatest Pop artists of his generation. Raised in California, he received his masters from Sacramento State College in 1958, and has taught at Arizona State University as well as California State University. He has been represented by Louis K. Meisel Gallery since the 1970s, and his work is in the permanent collections of the National Gallery of Art, Washington, DC, the Solomon R. Guggenheim Museum, New York, and the San Francisco Museum of Modern Art.
Also on view, Ester Curini's Photorealist paintings capture the innocence and purity of her animal subject. Her technical execution of details, like the precise placement of animal hair and the very nature of her subject's composition, exemplify her powerful ability to render her animal subject. Curini's animals engage their subject through their submissive and gentle posture and in turn allow for the portrayal of true reality. Placed against an ethereal white background, her three-dimensional lifelike animals are presented as timeless subjects.
Born in Italy and currently residing in New York City, Curini is represented by Bernarducci.Meisel.Gallery and was coined the "Year's Best Artist" in the Artist's Magazine of 2007. She is part of Bernarducci.Meisel's First Look program, which exhibits new artists to the Gallery's expanding collector base. She was ArtSlant.com's 5th showcase winner in 2011. Her work aims to capture the spirit and emotion of the animal figure.
Posted: 29 Feb 2012 09:11 PM PST
Hong Kong.- Hanart TZ Gallery is proud to present Wei Dong in his solo exhibition "A Nowhere Body: New Paintings by Wei Dong" on view at the gallery through March 10th. Talking of the exhibition, Wei Dong says: "One of my earliest childhood memories was my first trip on a train, sometime during the 1970s. It was already dark when we set out. We were surrounded by a tightly packed, noisy crowd, which quieted down after midnight. Cradling my head on her lap, mother held me and soothed me to sleep. I closed my eyes, listening to the rhythmical murmur of the wheels. I do not know how much time had passed. I awoke, and realized I had fallen asleep. The seated passengers in the darkened train looked like clay statues in a temple. I didn't know where I was. The sense of foreignness terrified me. I felt helpless. Seized by panic, I thought for a moment I was still dreaming. I paused, losing any sense of time. At last, I realized that I was on a train. I got up and looked for my mother, whom I found sitting across from me, fast asleep, leaning on my father. I whispered to her and she took me into her arms.
Posted: 29 Feb 2012 08:51 PM PST
Los Angeles, California.- The country's most important Western art show, the "Masters of the American West Fine Art Exhibition and Sale", celebrated its 15th anniversary at the Autry National Center on Saturday, February 4th. The exhibition will remain on view through Sunday, March 18th. This prestigious exhibition challenges nationally recognized artists to exhibit their very best work. The juried exhibition and sale features seventy-six artists whose work is stylistically and thematically diverse. Masters artists participate in opening-weekend activities such as a special artists' dinner and gallery tours. Most are on hand for the Saturday chuck wagon luncheon, where the awards are presented, followed by the evening cocktail reception and sale where approximately 275 works are sold by a draw. In addition, there will be a silent-bid process for Howard Terpning's latest masterpiece, "Traders Among the Crow".
Posted: 29 Feb 2012 08:27 PM PST
Yerevan, Armenia.- "Spring Motifs: A Selection from the Collection of the Museum of Russian Art" exhibition opens at Sasuntsi Davit Garden Gallery of the Cafesjian Center for the Arts on March 1st. The exhibition presents 24 paintings from the reserves of the Museum of Russian Art of Armenia (Aram Abrahamyan Collection), united by the theme of women's portraits and flowers, conveying the spirit of spring. Throughout the first day of the exhibition the admission to the gallery will be free. The exhibition will last till May 20th. The cheerful tonality of the exhibition inspires the hope for the better, associated with the spring, the return of the sun and warmth. The intimate, in camera feeling imparted by the artworks bear the imprint of the personal taste of the collector, his own preferences in art. At the same time, the exposition bears emblematic significance as it presents the major artists of the late 19th and early 20th century as well as of the Soviet era, presenting such major artists as Mikhail Vrubel, Eghishe Tadevosyan, Evgeny Lancere and others. The exhibition is a joint undertaking of the Cafesjian Center for the Arts and the Museum of Russian Art of Armenia and marks the launch of intermuseum cooperation program by the Cafesjian Center for the Arts.
"Loyal to its mission of bringing the best of world's art to Armenia and presenting the best of Armenian culture to the world, the Cafesjian Center for the Arts, through such joint exhibitions presented in the Center's state-of-the-art galleries, will encourage the public to rediscover its cultural heritage and provide its sister museums with added visibility in the international community. I am positive that this innovative collaboration with the Museum of Russian Art will make it more accessible for the art-loving community – both during this exhibition and after its closure", stated Vahagn Marabyan, the Acting Executive Director of the Cafesjian Center for the Arts. "One can hardly view it as incidental that the very first examples of the intermuseum cooperation presents the Museum of Russian Art. The Cafesjian Center for the Arts and the Museum of Russian Art obviously have a lot in common. In particular, both Museums are established on the basis of private collections, donated by two great benefactors, Aram Abrahamyan and Gerard L. Cafesjian, to their historical motherland. The biographies of these two patriots are completely different, yet among the human qualities that unite them - the reverence for art and for Armenia comes as the first and foremost. This is what guided them in this action of utmost patriotism", noted the Director of the Museum of Russian Art Anush Ter-Minasyan.
The Cafesjian Center for the Arts is dedicated to bringing the best of contemporary art to Armenia and presenting the best of Armenian culture to the world. Inspired by the vision of its founder, Mr. Gerard L. Cafesjian, the Center offers a wide variety of exhibitions, the majority of which are derived from Mr. Cafesjian's own extensive collection of contemporary art. The building that now houses the Cafesjian Center for the Arts is well known to the Armenian people, especially those living in its capital city of Yerevan. Known as "The Cascade," the complex was originally conceived by the architect Alexander Tamanyan (1878–1936). Tamanyan wanted to connect the northern and central parts of the city with a vast green area of waterfalls and gardens, cascading down one of the city's highest promontories. Unfortunately, the plan remained largely forgotten until the late 1970s, when it was revived by Yerevan's Chief Architect, Jim Torosyan. Torosyan's conception of the Cascade included Tamanyan's original plan but incorporated new ideas that included a monumental exterior stairway, a long indoor shaft containing a series of escalators, and an intricate network of halls, courtyards, and outdoor gardens embellished with numerous works of sculpture bearing references to Armenia's rich history and cultural heritage. Construction of Torosyan's design of the Cascade was launched by the Soviets in the 1980s but abandoned after the Armenian earthquake of 1988 and the break-up of the Soviet Union in 1991. With independent rule and the transition to democracy, Armenia entered a period of severe economic hardship, and the Cascade remained a neglected relic of the Soviet era for more than a decade. Mr. Cafesjian, working with the City of Yerevan and the government of the Republic of Armenia, initiated its recent revitalization in 2002. Over the next seven years, virtually every aspect of the monument was renovated, and much of it completely reconstituted into a Center for the Arts bearing the name of its principal benefactor. Visit the Cafesjian Center for Arts website at ... http://www.cmf.am
Posted: 29 Feb 2012 08:08 PM PST
Durham, England.- The Durham Art Gallery is proud to present "John Cecil Stephenson: Pioneer of Abstraction" on view at the gallery through April 29th. The works within the exhibition will illustrate his path from figurative painting toward his later geometric abstracts of the late 1930s. Stephenson was one of the principal modernists of the 1930s; Herbert Read described him as "one of the earliest artists in this country to develop a completely abstract style". He lived at 6 Mall Studios, NW3 where his neighbours and immediate circle included Ben Nicholson, Barbara Hepworth, Piet Mondrian, Naum Gabo, Herbert Read and Henry Moore amongst others.
Posted: 29 Feb 2012 07:53 PM PST
LONDON - In German-speaking regions the crossover between fine art and comic strip is still regarded as sensitive unlike, for example, in America. There the trenches between High and Low are used in a considerably more productive way. This easy handling may be explained by the absence of a formative tradition of figurative painting in American art history. High culture in this country, as in contemporary art, is still defined by exclusion, which clearly is not an indication of the sovereignty of an intact system. With these new paintings, which incorporate images of a comic language, Marcus Weber demonstrates lucidly that there is no such crossover problem. Central to the work is the essential hustle and bustle to be found happening in streets and other open air spaces, but such a description sounds far more documentary than the worlds of these paintings actually are. Here, codes of depiction come to life through the radical simplification of this so-called reality, elements of which we recognise in their familiar absurdity.
Posted: 29 Feb 2012 06:28 PM PST
Los Angeles, CA - Kenneth Price, a prolific Los Angeles artist whose work with glazed and painted clay transformed traditional ceramics while also expanding orthodox definitions of American and European sculpture, died early Friday at his home and studio in Taos, N.M. He was 77. Price had struggled with tongue and throat cancer for several years, his food intake restricted to liquids supplied through a feeding tube. Despite his infirmity, he continued to produce challenging new work and to mount critically acclaimed exhibitions at galleries in Los Angeles, New York and Europe. At the time of his death Price had completed preparations for a 50-year retrospective, scheduled to open at the Los Angeles County Museum of Art in the fall in an exhibition designed by architect Frank Gehry. The show will travel to the Nasher Sculpture Center in Dallas and the Metropolitan Museum of Art in New York. A 1992 retrospective traveled from the Menil Collection in Houston to the Walker Art Center in Minneapolis.
Posted: 29 Feb 2012 06:27 PM PST
New York City.- Lyons Wier Gallery is pleased to present " Chris Cosnowski : American Metal", on view at the gallery from March 1st through March 31st. There will be an artists reception on Thursday March 1st from 6 to 8 pm. Trophies have played a critical role throughout history. Recipients take pleasure in their award, not because the trophy has monetary value, but because it symbolizes success. Those that win them cherish the satisfaction and legacy associated with them. They revel within the symbolism of the prize itself -- victory. Trophies are, and will continue to remain, a visible goal to which any competitor is geared, and harbor the unspoken sacrifices that victory so often demands. In American Metal, artist Chris Cosnowski utilizes and exploits the intrinsic value and symbolism of these treasured keepsakes. His paintings envision a nostalgic no-holds-barred America.
Posted: 29 Feb 2012 06:17 PM PST
New Orleans.- The Contemporary Arts Center New Orleans is proud to present "Patterns and Prototypes: Tina Girouard and Robert Gordy", on view at the center until September 25th. Of the many art movements that took place in the United States during the latter part of the 20th century, few have consistently lacked critical and historical reassessment to the extent experienced by the Pattern and Decoration (P&D) movement that took the New York art world by storm from the mid 1970s until the early 1980s. During its heyday, such stars of the P&D movement as Robert Kushner, Kim MacConnell, Joyce Kozloff, and Robert Zakanitch promoted a freeform, sensual use of patterned motifs in their work, fusing abstraction and representation in a distinctively pleasure-based aesthetic that was embraced as a significant departure from the more conceptualized approach of Post-Minimal art and Earthworks.
Unbeknownst to most casual observers, two Louisiana artists-Tina Girouard and Robert Gordy-played a formative role in the P&D movement, and as part of its 35th Birthday program, the CAC presents "Patterns and Prototypes", an exhibition focused on early works by these two pioneering figures.
Tina Girouard was originally from Louisiana, but moved to New York in the 1960's attracted by the creative fever of the city's contemporary art movements. In New York, she met and worked with musicians Richard Landry and the Philip Glass Ensemble and performance artists such as Gordon Matta Clark, Keith Sonnier, Richard Serra, Lawrence Weiner, Laurie Anderson, Sonnier, Deborah Hay and the Natural History of the American Dancer, among others. She was an early founding participant of many cutting edge artistic developments, including, 112 Greene St., FOOD, the Clocktower and PS1, Creative Time, Performance Art and the Fabric Workshop. After a fire destroyed her building in 1979, she her main studio back to Louisiana. From her base there, she helping to promote Louisiana's culture by creating visual arts venues and an international festival. Since 1990, she has maintained a studio in Port-au-Prince, Haiti. Girouard has received numerous fellowships and grants, and her works are in museums and private collections around the world.
Louisiana artist Robert Gordy was known for his complex acrylic paintings which featured patterning and repetition, and linear shapes in a flat pictorial space in closely-keyed colors. In the early 1980s, the human head began to emerge as an important element in his paintings and in a series of monotypes created in Santa Fe. Invited to a residency at Graphicstudio in 1983, Gordy created his first etchings in aquatint. Many works make direct references to African sculpture, which Gordy collected. Gordy had solo exhibitions at the New Orleans Museum of Art, the Long Beach Museum of Art, the Phyllis Kind Gallery in New York and the Arthur Roger Gallery, New Orleans. He was included in the 1973 Whitney Biennial, and the 21st National Print Exhibition at the Brooklyn Museum, among many other exhibitions. Born in Louisiana in 1933, Gordy died in 1989.
The Contemporary Arts Center New Orleans is a multi-disciplinary arts center, dedicated to the presentation, production and promotion of the art of our time. The CAC is a cultural leader. As such, it organizes, presents and tours curated exhibitions, performances and programs by local, regional, national and international artists. It demonstrates proactive local and regional leadership by educating children and adults; cultivating and growing audiences; and initiating and encouraging collaboration among diverse artists, institutions, communities and supporters. The Contemporary Arts Center (CAC) was formed in the fall of 1976 by a passionate group of visual artists when the movement to tear down the walls between visual and performing arts was active nationwide. The CAC began as an artist-run, artist-driven community organization in the nearly empty arts district of New Orleans. As the burgeoning arts district grew, so did the CAC, evolving to meet the increasing needs of a diverse audience and artist communities. Renovated in 1990, and donated to the CAC in 1999, the CAC's building mixes the timelessness of New Orleans' historic architecture with contemporary materials and usable open spaces. Throughout the CAC's 35 years, the center has remained active in the visual and performing arts and arts education communities, continuing to represent an era of creative freedom and multi-disciplinary expression.
Today, the CAC is one out of a handful of nationwide arts organizations who have remained solvent and successful while serving a truly multi-disciplinary mission. Currently dedicating two floors, about 10,000 square feet of gallery space, on the 4-story building to rotating exhibitions throughout the year, the CAC is home to artists' bold experiments in painting, theater, photography, performance art, dance, music, video, education, and sculpture. Since 2006, the CAC has awarded $350,000 in grants to individual New Orleans' artists who were affected by Hurricane Katrina through the CAC Theatre Arts Fund and the SweetArts Katrina Fund. Offering creative outlets and opportunities, the CAC's education department successfully engages over 10,000 children and adults annually, including those with special needs and those from economically deprived backgrounds. The CAC's education and outreach projects offer intimate arts education settings where students, most for the first time, work together with artists, generating a greater impact through more personal, interactive experiences. The CAC's significance and role in the cultural community of New Orleans has and always will be cemented in its broad community-based programs and initiatives. Visit the center's website at ... http://www.cacno.org
Posted: 29 Feb 2012 06:16 PM PST
New York City.- The William Bennett Gallery is pleased to announce the opening of its newest show, "The Surreal Universe of Salvador Dalí". Featuring exceptional unique works, rare prints and the unveiling of Dalí's never before seen Twelve Signs of the Zodiac bas-relief sculptures. The bas reliefs are vivid expressions of the 12 signs of the zodiac --- Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricorn, Aquarius and Pisces. Each offers Dalí's impressive interpretations of these popular signs.
Posted: 29 Feb 2012 06:15 PM PST
Phoenix, AZ – Phoenix Art Museum celebrates the career of one of the most successful American artists of the early 20th century with the opening of In Contemporary Rhythm: The Art of Ernest L. Blumenschein. A founder of the famed Taos Society of Artists, Blumenschein rocketed into the spotlight with his modernist approach to capturing the American West. This major retrospective, on view March 15 through June 14, 2009, covers every aspect of the artist's career and is the first Blumenschein exhibition in 30 years and the first in Arizona.
"In Contemporary Rhythm is the most comprehensive exhibition to ever assemble, study and celebrate Blumenschein's remarkable work," commented Jerry Smith, associate curator of American Art, Phoenix Art Museum. "It features masterworks by the artist that reveal his daring aesthetic, his proto-modernist style, his social sensitivities and his influence on regional as well as national trends in art."
The exhibition follows Blumenschein's life, tracking the artistic, social and political dimensions of his art. It features his major landscape and figural paintings of the Southwest, for which he is best known today, as well as early works from the beginning of his career when he worked in France and as a professional illustrator. As Blumenschein developed as an artist, he also formed a stance on social issues that included pictorial testimonials of the cultural identity of the native people of Taos and respect for their lands.
Blumenschein landed in Taos, New Mexico, as the result of a fortunate accident. He was traveling with fellow artist Bert G. Phillips on a sketching trip from Denver to northern Mexico when a wheel of their carriage broke, leaving them stranded in Taos Valley. The delay gave the artists time to take in the spectacular countryside and interesting cultures of the area. They decided to stay and work in the area, later founding the Taos Society of Artists to promote the splendor of Taos and the art of the American West to larger audiences.
Academically trained in New York and Paris, Ernest L. Blumenschein painted in a style that combined traditional and realistic means of expression with subtle undercurrents of modernism, particularly in his bold use of color and the manner in which he constructed his compositions. In addition to founding the Taos Society of Artists (1915-27), Blumenschein's interests in modernism also led him to establish the New Mexico Painters (1923-27), one of the region's earliest groups of modernist painters. At the height of his career, he was one of the few artists to have paintings purchased by the Metropolitan Museum of Art and the Museum of Modern Art, New York.
"Blumenschein's work has been treasured by collectors and museums since the early 20th century," commented Smith. "In Contemporary Rhythm exemplifies why curators and critics alike have heralded Blumenschein as the most distinctive of the Taos artists."
This exhibition is organized by Phoenix Art Museum, in collaboration with the Albuquerque Museum of Art and History, and the Denver Art Museum. This exhibition is presented at Phoenix Art Museum in the Steele Gallery, March 15 through June 19, 2009.
A substantial catalog tracing the artist's career, artistic achievements and role within modernism will accompanies the exhibition and is available in the Museum Store. The catalog, written by Peter H. Hassrick and Elizabeth J. Cunningham, includes a foreword by Phoenix Art Museum director James K. Ballinger and a contributing essay by Associate Curator of American Art, Jerry N. Smith.
Admission to the exhibition is included in general museum admission, which is $10 for adults, $8 for senior citizens (65+), $8 for full-time college students with ID, $4 for children ages 6-17 and free for children under 6 and for museum members. Admission is also free on Tuesdays from 3:00 p.m. – 9:00 p.m. and for everyone on First Fridays, 6:00 p.m. – 10:00 p.m. Phoenix Art Museum is located in downtown Phoenix at the corner of Central and McDowell Road. Museum hours are Tuesday, 10:00 a.m. – 9:00 p.m. and Wednesday – Sunday from 10:00 a.m. – 5:00 p.m. The museum is closed on Mondays and major holidays.
About Phoenix Art Museum
Phoenix Art Museum is the Southwest's premier destination for world-class visual arts. Popular exhibitions featuring artists such as Rembrandt, Norman Rockwell, Annie Leibowitz and Monet are shown along side the Museum's outstanding collection of more than 18,000 works of American, Asian, European, Latin American, Western American, modern and contemporary art, and fashion design. A community epicenter for nearly fifty years, Phoenix Art Museum presents festivals, live performances, independent art films and educational programs that enlighten, entertain and stimulate. Visitors also enjoy PhxArtKids an interactive space for children, vibrant photography exhibitions through the Museum's landmark partnership with the Center for Creative Photography, the lushly landscaped Sculpture Garden, dining at Arcadia Farms at Phoenix Art Museum, and shopping at The Museum Store.
To learn more about Phoenix Art Museum, visit : www.PhxArt.org, or call the 24-hour recorded information line at (602) 257-1222.
Posted: 29 Feb 2012 06:14 PM PST
LONG BEACH, CA.-The Long Beach Museum of Artannounced that 2010 marks the 60th Anniversary of the Museum's impressive permanent collection. To celebrate this exciting milestone, the Museum will present an extended exhibition series titled Celebrating Sixty, which will feature eight rotating exhibitions that respectively highlight specific elements of the rich history of the Museum's collection.The first installment of Celebrating Sixty will offer a glimpse into the past of the Long Beach Museum of Art when they open to the public on Friday, February 5, 2010. The exhibitions will highlight the extraordinary legacy of the Museum, offering the public an opportunity to view a variety of works from the permanent collection and gain a more thorough understanding of the tremendous impact that the Museum has had on the history of contemporary art in Southern California since 1950. Many of the works presented in Celebrating Sixty have not been seen in decades.
Posted: 29 Feb 2012 06:13 PM PST
The Bauhaus Archive Museum of Design, in Berlin, collects items, documents and literature which relate to the Bauhaus School (1919 - 1933), one of the most influential schools of architecture, design, and art of the 20th century and puts them on public display. The museum features the most complete collection of the school's history and work. The collection is installed in a building drafted by the famous architect Walter Gropius, the school's founder. Spanning art forms including fine arts, photography, industrial design, architecture and urban design it was forced to move from provincial Thuringia to Dessau and then to Berlin following threats from the Nazi regime. The entire spectrum of the school´s activities is represented in the Bauhaus Collection: architecture, furniture, ceramics, metalwork, photography, stage pieces and student work from the preliminary course, as well as works created by the school´s famous teachers, including Walter Gropius, Johannes Itten, Paul Klee, Lyonel Feininger, Wassily Kandinsky, Josef Albers, Oskar Schlemmer, László Moholy-Nagy and Ludwig Mies van der Rohe. Even today, the "Bauhaus Lamp", the "Wassily" armchair, Bauhaus wallpaper and other pieces are regarded as modern classics. This presentation of paintings, drawings, sculptures and models by Bauhaus masters and students from the world´s largest collection of Bauhaus artifacts illustrates its lasting influence. Researchers have access to over 28,000 volumes (books, periodicals, exhibition catalogues) on the history and reception of Bauhaus ideas and activities in the library. The document collection contains manuscripts, letters, printed matter, drawings, plans and photos, as well as the Gropius Estate. The programme of the museum is complemented by at least four special annual exhibitions, numerous lectures, podium discussions, workshops, readings and concerts. The educational and social claim to a new configuration of life and a corresponding environment could not be so easily achieved. The school's name became a synonym for the ongoing trend. However, changes in the directorship of the school and among teachers, as well as artistic influences from various sources and the political situation in which the school's experimental work was staged, resulted in a permanent transformation. The Bauhaus began with an utopian definition: "The building of the future" was to combine all the arts in ideal unity. This required a new type of artist beyond academic specialization, for whom the Bauhaus would offer adequate education. In order to reach this goal, the founder, Walter Gropius, saw the necessity to develop new teaching methods and was convinced that the base for any art was to be found in handcraft: "the school will gradually turn into a workshop". Indeed, artists and craftsmen directed classes and production together at the Bauhaus. This was intended to remove any distinction between fine arts and applied arts. The numerous consequences of the experiment flow into contemporary life even today. The Bauhaus was the 20th-century's emblematic, most important school of design, architecture and art, and has thus left its mark on design to the present day.
The painting "A II" ( above) illustrates how Moholy-Nagy translated his efforts to manipulate light "as a new plastic medium" onto the painted canvas. In the first painting, the colored parallelograms and circles appear to be almost translucent as one plane overlaps the next and their hues shift accordingly. In the second, the intersecting transparent forms read as converging beams of light. A sense of layered space, echoing the artist's three-dimensional plastic "paintings" constructed with clear, projecting planes, was thus achieved. The contrived play of shadow and illumination on these canvases underscores the artist's conviction that light could be harnessed as an effective aesthetic medium, "just as color in painting and tone in music." László Moholy-Nagy's utopian view that the transformative powers of art could be harnessed for collective social reform—a tenet embedded in much Modernist theory—reflected his early association with a coalition of artists devoted to the fusion of art and political activism. It was also tied to his long-standing affiliation with the Bauhaus, the German artistic and educational community founded by Walter Gropius and dedicated to the development of a universally accessible design vocabulary. With his Bauhaus colleagues, who included Josef Albers, Vasily Kandinsky, Paul Klee, and Oskar Schlemmer, he strove to define an objective science of essential forms, colors, and materials, the use of which would promote a more unified social environment.Moholy-Nagy firmly believed that the art of the present must parallel contemporary reality in order to successfully communicate meaning to a public surrounded by new technological advancements. Hence, he considered traditional, mimetic painting and sculpture obsolete and turned to pure geometric abstraction filtered through the stylistic influence of Russian Constructivism. Inspired by the structural and formal capacities of modern, synthetic materials, Moholy-Nagy experimented with transparent and opaque plastics, particularly Celluloid, Bakelite, Trolitan, and Plexiglas. In 1923 he created his first painting on clear plastic, giving physical form to his profound interest in the effects of light, which would later be manifest in film and photography as well as in transparent sculptures, such as the kinetic Dual Form with Chromium Rods. Comprehensive shows are organized in parallel to the permanent collection, which occupies the larger part of the exhibition space. These have been devoted to the central Bauhaus artists Wassily Kandinsky, Paul Klee, Johannes Itten, Georg Muche and Herbert Bayer, to the Bauhaus architects (Walter Gropius, Marcel Breuer, Hannes Meyer, Ludwig Mies van der Rohe) and to the specific Bauhaus workshops (pottery, metal, photography, and advertising). 1993 saw a large exhibition on the work of Henry van de Velde. Guest shows (i.e. 1988 in the Bauhaus in Dessau, or 1995 in Tokyo) lead to a better knowledge of the Bauhaus beyond the "homestead"; likewise, important exhibitions (i.e. 1983 the presentation of the Busch-Reisinger-Museum of Harvard University Art Museums, or 1987 the School of Design in Ulm) came to Berlin. The Bauhaus Archive is now not only treating historical themes from the Bauhaus context, but also actual questions concerning contemporary art, architecture and design. In the exhibition 'From Art to Life : Hungarians at the Bauhaus', the work of the group is presented as an integral part of Bauhaus history. All of the artistic genres that were practiced by the school are represented. The show includes pieces from the period prior to the Bauhaus years of these artists — particularly Cubo-Expressionist works created by the seven Bauhäusler who came from the southern Hungarian city of Pécs. Other major themes are the early Constructivist phase of Lászlo Moholy-Nagy and Sándor Bortnyik, as well as the furniture of Marcel Breuer and the contribution of the Hungarians to architecture and theatre at the Bauhaus. An individual section is devoted to photography and weaving – whereby the latter category is demonstrated through the work of Otti Berger, the most prominent weaver during the late Bauhaus period.
Posted: 29 Feb 2012 06:12 PM PST
COPENHAGEN - The Danish sculptor Øivind Nygård (b. 1948) uses both abstract and naturalistic elements in his beautiful, often enigmatic sculptures. At first glance, regular, geometric shapes dominate his works, but the surfaces and seductive finish are often broken by an inner mobility and mutability that creates new layers of experience – both literally and figuratively. On exhibition through 17 August, 2008 at the Statens Museum for Kunst; the Danish national gallery.
Posted: 29 Feb 2012 06:11 PM PST
NEW YORK, NY.- Picasso in The Metropolitan Museum of Art, a landmark exhibition of 300 works by Pablo Picasso (Spanish, 1881–1973), will provide an unprecedented opportunity to see one of the most important collections in the world of the artist's work. On view at The Metropolitan Museum of Art from April 27 through August 1, 2010, this is the first exhibition to focus exclusively on the remarkable array of works by Picasso in the Met's collection. The exhibition will reveal the Museum's complete holdings of the artist's paintings, drawings, sculptures, and ceramics—never before seen in their entirety—as well as a significant number of his prints.
The exhibition encompasses the key subjects for which Picasso is so well known: the pensive harlequins of his Blue and Rose periods, the faceted figures and tabletop still lifes of his Cubist years, the monumental heads and classicizing bathers of the 1920s, the raging bulls and dreaming nudes of the 1930s, and the rakish musketeers of his final years. Picasso in The Metropolitan Museum of Art will feature 34 paintings, 58 drawings, a dozen sculptures and ceramics, and an extensive selection of prints (some 200 from a total of 400), all acquired by the Museum over the past 60 years. Importantly, the exhibition includes many works on paper by Picasso that have rarely, if ever, been exhibited before at the Metropolitan.
The Metropolitan's collection reflects the full breadth of Picasso's multi-sided genius as it asserted itself over the course of his long and influential career. The works range in date from a dashing self-portrait of 1900 (Self-Portrait "Yo") by the 18-year-old Spaniard to the fanciful Standing Nude and Seated Musketeer (1968), created when the artist was 87.
Picasso's iconic portrait of Gertrude Stein from 1906—a bequest of the writer herself in 1946—was the first painting by Picasso to be acquired by the Metropolitan. Over the next six decades, the holdings were shaped by a succession of purchases and gifts from more than 25 donors, among them other pioneering champions of modernism, such as Alfred Stieglitz and Scofield Thayer, and such illustrious collectors as Florene M. Schoenborn, Mr. and Mrs. Klaus G. Perls, and Jacques and Natasha Gelman.
The collection is notable for its remarkable constellation of early figure paintings, which also include: Seated Harlequin (1901), from the beginning of his Blue period; At the Lapin Agile (1905), in which the artist depicts himself dressed as a melancholy harlequin; and a self-portrait from 1906 that reflects Picasso's encounters with African and Iberian sculpture. Among the many other celebrated paintings in the exhibition are Woman in White (1923), The Dreamer (1932), and Dora Maar in an Armchair (1939).
The Metropolitan's collection of Picasso's works also stands apart for its exceptional cache of drawings, which remain relatively little known, despite their importance and number. Examples of the numerous compelling drawings in the exhibition are: Standing Female Nude (1910), one of the key works shown in Picasso's first U.S. exhibition, at Alfred Stieglitz's 291 gallery in 1911; a 1915 portrait of legendary art dealer Ambroise Vollard; and Head of a Woman (1922), a powerful chalk drawing from his Neoclassical period of the early 1920s. In addition, the exhibition features an extraordinary group of some 200 prints, including: The Frugal Repast (1904); Blind Minotaur Led by a Girl through the Night (1934); and a number of color Linoleum cuts from the 1950s and 1960s, such as Portrait of a Woman, after Lucas Cranach II (1958) and Bacchanalia with Kid and Spectator (1959).
In preparation for this exhibition, all of Picasso's works in the collection have been studied closely, and many have been conserved to reveal the artist's intentions or to restore their physical integrity. The exhibition will disclose a number of exciting discoveries made during the research and conservation process. X-rays and infrared reflectography of several Picasso canvases, such as La Coiffure (1906), have revealed paintings underneath paintings, bringing to light new information about the artist's working process. As part of the exhibition, there will be video displays that incorporate the Museum's recent research photographs to illustrate how Picasso revised his compositions, styles, and themes while re-working specific paintings.
Furthermore, Picasso's large Rose-period painting The Actor (1904–05), which has undergone conservation after being damaged in the galleries in January, has been restored and is featured in this exhibition. This major work inaugurated Picasso's shift from the Blue-period world of tattered beggars and blind musicians to the Rose-period imagery of acrobats dressed in costumes from the commedia dell'arte. Picasso painted The Actor on the back of a previously used canvas, after covering the earlier composition with heavy paint. The picture on the reverse appears to have been a Symbolist landscape painted by another artist. The exhibition will provide more details on the history of this intriguing painting.
Complementing the presentation of the artist's works will be photographs of Picasso by Man Ray, Brassaï, Arnold Newman, David Douglas Duncan, and others, all drawn from the Museum's collection.
Picasso in The Metropolitan Museum of Art continues the Museum's tradition of organizing major exhibitions that bring to light its impressive collection of works by a singular artist or period of particular importance, such as Goya in The Metropolitan Museum of Art (1995); Toulouse-Lautrec in The Metropolitan Museum of Art (1996); John Singer Sargent Beyond the Portrait Studio: Paintings, Drawings, and Watercolors from the Collection (2000); Gauguin in New York Collections: The Lure of the Exotic (2002); and The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art (2007–8) . The exhibition is organized by Gary Tinterow, Engelhard Chairman, with Susan Alyson Stein, Curator, both of the Metropolitan's Department of Nineteenth-Century, Modern, and Contemporary Art.
Visit The Metropolitan Museum of Art at : http://www.metmuseum.org/
Posted: 29 Feb 2012 06:10 PM PST
New York City. - MoMA PS1 is presenting "September 11", a major exhibition reflecting upon the attacks of September 11th 2001, and the ways that they have altered how we see and experience the world in their wake. Eschewing images of the attacks on 9/11, as well as art made directly in response, the exhibition provides a subjective framework within which to consider the attacks in New York and their aftermath. Organized by MoMA PS1 Curator Peter Eleey, September 11 will occupy the entire second floor of the museum, with additional works located elsewhere in the building and in the surrounding neighborhood. The exhibition will open on the tenth anniversary of the attacks, and will remain on view through January 9th 2012.
The exhibition brings together more than 70 works by 41 artists — many made prior to 9/11 — to explore the attacks' enduring and far-reaching resonance and the ways that they have altered how we see and experience the world in their wake. Since that morning, "September 11" has come to connote a broad swath of feelings and subjects that range from the personal to the national, while continuing to weigh upon the landscape of New York and its inhabitants, especially those directly affected by the attacks. Witnessed by an estimated 2 billion people, the attacks on the World Trade Center towers in New York City were likely the most pictured disasters in history, yet 9/11 remains, a decade later, underrepresented in cultural discourse—particularly within the realm of contemporary art.
A Diane Arbus photograph of a newspaper blowing across a New York intersection at night, for example, assumes a haunting cast in the context of 9/11 (despite having been taken in the late 1950s), as does a series of pictures that John Pilson took in the World Financial Center in the late 1990s depicting intimate scenes of office life across the street from the World Trade Center towers. When Mary Lucier made "Dawn Burn" (1975), a video installation of a sunrise over the East River, the brightness of the sun rising in the sky scarred the camera's tube, leaving behind a dark burn in the image. The resulting installation is unsettlingly both an enactment of trauma and a representation of trauma's persistence in memory. Against the backdrop of 9/11's anniversary, September 11 features a number of works that explore commemoration and its rituals, including Susan Hiller's installation Monument (1980–81), which centers upon photographs of a Victorian monument erected in a London park to mark the heroism of ordinary citizens who died saving others. Harun Farocki's more recent film 'Transmission' (2007) examines pilgrimage sites that tourists feel compelled to touch—for luck, healing, or remembrance—such as the foot of the statue of the Apostle in St. Peter's Basilica in Rome, and the names engraved in the Vietnam Veterans Memorial in Washington, D. C.
The public desire to participate in communal mourning and grief is suggested by one of Thomas Hirschhorn's street altars from the late 1990s, which will be installed for the first month of the exhibition on a street corner near MoMA PS1. To make her audio installation 'The Forty Part Motet' (2001), Janet Cardiff adapted a 16th-century piece of choral music, recording each member of the choir individually. The 40 separately recorded voices are played back through 40 speakers arranged in a large circle, allowing each voice to emerge distinctly as visitors move throughout the room-size installation. When the Motet went on view at MoMA PS1 in the weeks following the attacks, its joining of collective song and individual voice summoned for many visitors 9/11's distinctive combination of national tragedy and personal loss. In September 11, Cardiff's piece will be reinstalled in the same gallery where it was first presented a decade ago. Like the exhibition itself, the echoes of the Motet resounding once again in that room will invite us to consider what has changed in the intervening ten years, and what history has allowed to remain substantially the same.
September 11 will be accompanied by a 248-page catalog designed by Kloepfer-Ramsey and published by MoMA PS1. In addition to Peter Eleey's curatorial essay, it will include new contributions by philosopher Robert Hullot-Kentor, Chair of the Critical Theory department at the School of Visual Arts; and art historian Alexander Dumbadze, Assistant Professor of Art History at George Washington University; as well as texts by Alexander Kluge, W.J.T. Mitchell, and Retort. SPONSORSHIP: The exhibition is made possible by MoMA's Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation, the Teiger Foundation, and The Andy Warhol Foundation for the Visual Arts. Generous support is provided by The Horace W. Goldsmith Foundation. Artist featured in the exhibition include Diane Arbus, Siah Armajani, Fiona Banner, Luis Camnitzer, Janet Cardiff, John Chamberlain, Sarah Charlesworth, Christo, Jem Cohen, Bruce Conner, Jeremy Deller, Thomas Demand, Shannon Ebner, William Eggleston, Harun Farocki, Lara Favaretto, Jane Freilicher, Maureen Gallace, Felix Gonzalez-Torres, Jens Haaning, Susan Hiller, Roger Hiorns, Thomas Hirschhorn, Alex Katz, Ellsworth Kelly, Barbara Kruger, Mark Lombardi, Mary Lucier, Gordon Matta-Clark, Harold Mendez, Mike Nelson, Cady Noland, Roman Ondák, Yoko Ono and John Lennon, John Pilson, Willem de Rooij, George Segal, Rosemarie Trockel, James Turrell, Stephen Vitiello, and John Williams.
MoMA PS1 is one of the oldest and largest nonprofit contemporary art institutions in the United States. An exhibition space rather than a collecting institution, MoMA PS1 devotes its energy and resources to displaying the most experimental art in the world. A catalyst and an advocate for new ideas, discourses, and trends in contemporary art, MoMA PS1 actively pursues emerging artists, new genres, and adventurous new work by recognized artists in an effort to support innovation in contemporary art. MoMA PS1 achieves this mission by presenting its diverse program to a broad audience in a unique and welcoming environment in which visitors can discover and explore the work of contemporary artists. MoMA PS1 presents over 50 exhibitions each year, including artists' retrospectives, site-specific installations, historical surveys, arts from across the United States and the world, and a full schedule of music and performance programming. MoMA PS1 was founded in 1971 by Alanna Heiss as the Institute for Art and Urban Resources Inc., an organization devoted to organizing exhibitions in underutilized and abandoned spaces across New York City. In 1976, it opened the first major exhibition in its permanent location in Long Island City, Queens, with the seminal 'Rooms' exhibition. An invitation for artists to transform the building's unique spaces, Rooms established the MoMA PS1 tradition of transforming the building's spaces into site-specific art that continues today with long-term installations by James Turrell, Keith Sonnier, Richard Serra, Lawrence Weiner, and others. For the next twenty years, the building was used as studio, performance, and exhibition spaces, in support of artists from around the world. After a building-wide renovation, P.S.1 Contemporary Art Center (now MoMA PS1) reopened in 1997, confirming its position as the leading contemporary art center in New York. True to the building's history and form, the renovation preserved much of the original architecture as well as most of its unique classroom-sized galleries. In 2000, P.S.1 Contemporary Art Center became an affiliate of The Museum of Modern Art to extend the reach of both institutions, and combine MoMA PS1's contemporary mission with MoMA's strength as one of the greatest collecting museums of modern art. 2010 marked the completed merger of the two institutions and celebrates P.S.1's new and exciting chapter as MoMA PS1. A true artistic laboratory, MoMA PS1 aspires to maintain its diverse and innovative activities to continue to bring contemporary art to international audiences. Visit the museum's website at ... http://ps1.org
Posted: 29 Feb 2012 06:09 PM PST
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