- 101/Exhibit in Miami to present "Ted Vasin ~ Poison Bliss"
- The National Gallery of Art to showcase 'Colorful Realm of Living Beings' ~ Ito Jakuchu
- The San Jose Museum of Art to exhibit "MexicanisimoThrough Artists’ Eyes"
- The Hofstra University Museum to feature “Yonia Fain ~ Remembrance”
- The Musée du Quai Branly to present "Masters of Chaos"
- The Carousel du Louvre hosts the 5th "Drawing Now Paris" Fair
- Yves Saint Laurent retrospective comes to the Denver Art Museum
- New dealers join the second edition of the AADLA Spring Show in New York
- The Gallery Space at NYU Wagner to show New Works by Erick Sánchez
- The Jewish Museum Recaptures the Brilliance of a Vanguard Theater, Cut Short
- Rare Luis Buñuel Photographs on View at the Spanish Film Library
- French Embassy hosts the Guerlain Exhibit
- Schirn Kunsthalle Frankfurt to showcase "René Magritte 1948 ~ La Période Vache"
- The Photograph Collection: An Introduction at the George Eastman House Museum
- Palais des Beaux-Arts Opens a Room for Spanish Contemporary Art
- MoMA hosts ~ Dali: Painting & Film Explores Cinema in the Work of the Surreal Master
- Neuberger Museum of Art opens "British Subjects: Identity and Self-Fashioning 1967-2009"
- Moscow Museum of Modern Art opens Exhibition by Semen Faibisovich
- Columbia Museum of Art shows Its Collection of Art Spanning 1000 Years
- This Week in Review in Art Knowledge News
Posted: 26 Mar 2012 11:57 PM PDT
Miami, Florida.- Ted Vasin, the Russian-born psychedelic artist known for his meticulously drawn, dark psychedelic works is returning to Miami for a month-long exhibit of his latest work. "Poison Bliss" is the just-completed collection he began in 2009, and will be showcased at 101/exhibit in Miami from April 14th through June 6th. Meticulous in realism yet beautifully unsettling, Vasin's work evokes the isolation of a dark, drug-induced hallucination, and frequently pairs drawings of detailed environments with shocking hues and metallic paints.
"Poison Bliss" continues Vasin's tradition of using large-scale canvases to capture his truly exceptional drawing abilities, incorporating twisted iconography, hallucinations and an uncomfortably skewed vantage point. This series evokes the isolation of a man hypnotized by the psychedelic invasion of his body and the world around him, and his violent reaction to the perceived threat. Vasin will appear in person at the April 14th opening to discuss his work, accompanied by his signature electronic music. Ted Vasin's work has garnered international acclaim and exhibitions, including shows at the 101/exhibit, Limm Art Gallery, De Young Art Center, artMRKT Hamptons, Frey Norris Gallery, Tarryn Teresa Gallery, Sotheby's New York, Tel Aviv and Amsterdam, Stanford Art Spaces and more.
Vasin participated in two residencies through programs at the Fine Arts Museums of San Francisco, exhibiting at the Palace of the Legion of Honor and the De Young Art Center. Vasin was a recipient of the 2006 Pollock-Krasner Foundation Grant. His work has been reviewed by the ArtWeek, San Francisco Chronicle, ArtSlant and has been featured in New American Paintings, Fashion Week Magazine, Wired Magazine as well as online in Juxtapoz, Hi-Fructoze and Beautiful/Decay.
Ted Vasin (born April 11, 1966) is a painter and sound artist based in San Francisco. Born the only child of an artist and a geologist in Moscow, Russia, Ted Vasin often attended the Moscow Circus on Tsvetnoy Boulevard where his grandfather Alexander Falkovsky was a costume and stage designer who created costumes for Oleg Popov, Yuri Nikulin and Karandash. His grandmother, Alexandra was a chapel soloist at the Yelokhovo Cathedral in Moscow. After study at the Moscow Art College Vasin found his way to the Bay Area.
With a mission to discover, promote, and preserve the works of great contemporary artists, 101/exhibit, established by Sloan Schaffer in 2008, has become an important destination in the burgeoning cultural and commercial landscape of Miami. Founded on his own personal love of collecting, Schaffer presents the works of modern masters and emerging artists- to an ever-growing number of collectors and art enthusiasts in his stunning 5000 square foot gallery space in the heart of Miami's Design District. Among the artists whose work he represents are: Jason Shawn Alexander, David Michael Bowers, Christopher Carter, Isabelle Du Toit, Claudio Ethos, Robert Fleisher, Chambliss Giobbi, Joshua Hagler, Michelle Hinebrook, Marcus Jansen, Marilyn Manson, Charles Pfahl, Pat Rocha, Jorge Santos, and Ted Vasin. Alexander Calder, Albert Paley, Michael Lucero, Peter Voulkos and Larry Rivers are also featured. Visit the gallery's website at ... http://www.101exhibit.com
Posted: 26 Mar 2012 11:49 PM PDT
Washington, DC.- One of Japan's most renowned cultural treasures will come to Washington, DC, in celebration of the centennial of Japan's gift of 3,000 cherry trees to the nation's capital. Entitled 'Colorful Realm of Living Beings', this 30-scroll set of bird-and-flower paintings on silk is the centerpiece of the landmark exhibition "Colorful Realm: Japanese Bird-and-Flower Paintings by Ito Jakuchu (1716–1800)", on view at the National Gallery of Art's West Building from March 30th through April 29th. Never before shown in its entirety outside of Japan, "Colorful Realm of Living Beings" provides a panoramic pictorial survey of flora and fauna, both mythical and actual, reflecting the highest standards of artistic and technical accomplishment in Japanese painting. To evoke the work's original religious context, the Gallery will install it with Jakuchu's Sakyamuni Triptych (The Buddha Sakyamuni, Bodhisattva Mañjusri, and Bodhisattva Samantabhadra), which belongs to the Jotenkaku Museum, Shokokuji Monastery, Kyoto. Exhibited for four weeks only (owing to their fragility), these works will be in Washington during the National Cherry Blossom Festival, which runs from March 20th through April 27th.
Posted: 26 Mar 2012 11:26 PM PDT
San Jose, California.- In a new exhibition this spring at the San Jose Museum of Art, Mexican and Mexican-American artists contrast the traditional with the cutting-edge, the high-brow with the low-brow. "Mexicanisimo Through Artists' Eyes", on view at the museum from March 30th through September 23rd, presents works by artists who draw inspiration from Mexico's deep well of visual culture. Their references include folk art, popular culture, and vernacular craft traditions as well as contemporary idioms. This exhibition includes works by artists who enlist traditional, refined artisan's techniques (such as weaving and ceramics) to challenge today's mass-market consumer culture alongside the work of artists who transform the most expendable materials into art.
Posted: 26 Mar 2012 10:58 PM PDT
Hempstead, New York.– The exhibition "Yonia Fain: Remembrance", on view from April 19th through August 3rd in the Hofstra University Museum's Emily Lowe Gallery, provides a retrospective look at works by internationally acclaimed artist and poet Yonia Fain created between 1959 and the present. Yonia Fain is an internationally acclaimed artist and poet. In his artwork, Fain (Hofstra University retired professor of art history and humanities [1971-1985]) employs powerful visual imagery in his canvases and works on paper which pay tribute to the memories of those lost during the Holocaust. His work is eloquent as it simultaneously relates the Holocaust's despair and atrocities while expressing key themes of survival and hope.
"Yonia Fain's art, his often larger-than-life canvases convey the atrocities of war while simultaneously offering hope and the affirmation of life," said Executive Director of the Hofstra University Museum, Beth E. Levinthal. "Through his masterful use of line, his conveyance of the human form, his choice of color, and his brushstrokes the viewer becomes caught within a transformed reality that ignites the imagination, letting us know we are in the presence of a singular artistic voice, a voice that conveys history."
The exhibition consists of over 20 paintings and mixed media works as well as examples of Yonia Fain's poetry. Accompanying the exhibit is a fully illustrated catalog, Yonia Fain: Remembrance with an essay and timeline providing strong historical and artistic context for the artist by Kenneth Wayne, Ph.D., an art historian and Deputy Director for Curatorial Affairs at The Noguchi Museum. Also included in the exhibition are works by Rufino Tamayo and Diego Rivera, who championed Fain's work by mounting exhibitions and writing catalog essays during Fain's years in Mexico and then in New York.
Yonia Fain was born in Russia in 1913, and studied at the Academy of Fine Arts in Vilna, Poland, receiving his B.A. and M.F.A. degrees. His life story is one of survival having escaped the pogroms of Russia, the Nazis and the Soviets in 1939, spending much of World War II in a Jewish Ghetto in Shanghai, and subsequently locating in Mexico in 1947, where he worked for seven years with the artist Diego Rivera while teaching at the University of Mexico. At the urging of artist Rufino Tamayo he relocated to New York in 1954. His work has been featured in major American and European museums and galleries including representing Mexico in the 1952 Carnegie International, participation in three annual Whitney Museum of American Art exhibitions (1972, 1973, 1974), a one-man exhibition at Oxford University in 1995, a 2001 exhibit at the National Holocaust Museum, and a 2008 exhibit at the Hofstra University Museum. He served for many years as the President of the Yiddish Pen Society and has been honored by the State of Israel for his poetry and books such as A Gallow Under the Stars, and The Fifth Season. At the age of 98, Yonia Fain continues to work daily from his Brooklyn home true to his mission to respect the memories of those lost in the Holocaust.
The Hofstra University Museum has been awarded the highest honor a museum can receive, continued accreditation by the American Association of Museums (AAM). Approximately 4% of museums nationwide have earned this distinguished recognition. Accreditation certifies that the Hofstra University Museum operates according to professional standards, manages its collections responsibly and provides quality service to the public. Hofstra University is a dynamic private institution of higher education where more than 12,000 full and part-time students choose from undergraduate and graduate offerings in liberal arts and sciences, business, engineering, communication, education, health and human services, honors studies, a School of Law and the Hofstra North Shore-LIJ School of Medicine. The Hofstra University Museum is dedicated to furthering the understanding and enjoyment of the visual arts. It helps people make deep and long-lasting connections to individual works of art as well as the varied cultures from which they originate.
Through its collections and exhibitions, its sculpture gardens and its interpretative programs, the Museum is committed to being a vital partner in the educational, pedagogical, and cultural life of Hofstra University students, faculty and staff, as well as residents of the greater New York metropolitan region. It strives to achieve this mission by adherence to the highest professional standards in the collection, preservation, exhibition and interpretation of works of art. The Hofstra University Museum will continue to evolve as a vital cultural and educational center for Hofstra University, Long Island, and the New York metropolitan region. Dynamic and intellectually stimulating exhibitions and programs, along with opportunities to study the permanent collection, in an improved museum environment, will serve as the impetus for rich and varied explorations that enhance knowledge and the experience of art. The museum's collection contains approximately 5,000 works of art in varied media dating from the ancient to the contemporary, and includes American artists of the 19th and 20th centuries along with Asian, Oceanic, African and Pre-Columbian art. Visit the museum's website at ... http://www.hofstra.edu/Community/museum/index.html
Posted: 26 Mar 2012 10:50 PM PDT
Paris.- The Musée du Quai Branly is pleased to present "Masters of Chaos" on view at the museum from April 11th through July 29th. All order, including divine order, is fundamentally imperfect, limited and threatened with collapse. This consciousness of disorder seems to be shared by all civilisations and disturbing forces are considered necessary for the balance and continuity of the universe. For the first time, the exhibition "Les maîtres du désordre" offers a transdisciplinary conceptual analysis of these ideas via both anthropology and the works of contemporary artists. The museum contains the collections of the now-closed Musée national des Arts d'Afrique et d'Océanie and the ethnographic department of the Musée de l'Homme.
Posted: 26 Mar 2012 09:55 PM PDT
Paris.- "Drawing Now Paris: Le Salon du Dessin Contemporain" is the first european fair exclusively dedicated to contemporary drawing that gathers more than 80 international galleries selected by an independant committee. Over four days, collectors, curators, professionals and art lovers are being invited to meet artists and passionate gallery owners. It is a unique opportunity to see the many forms of contemporary drawing, through the work of established or emerging artists. For its sixth edition, "Drawing Now Paris: Le Salon du Dessin Contemporain" will take place from Thursday March 29th to Sunday April 1st, in the prestigious Carrousel du Louvre, in the heart of Paris. "Drawing Now: Reference" will host around 70 well-established galleries of which over a third is international and will receive two New York galleries for the first time. "Drawing Now: Emergence" will take a new dimension and allow a dozen or so galleries established within the past 4 years to present a focus on the work of an artist aged under 40.
Posted: 26 Mar 2012 09:11 PM PDT
DENVER, COLORADO - The Mile High City is not what most people think about when it comes to high fashion. But come Sunday March 25th, the Denver Art Museum hosts the only U.S. showing of "Yves Saint Laurent: The Retrospective," a sweeping look at 40 years of design from the late influential French designer best known for his tuxedo suit for women, Le Smoking. The retrospective consists of 200 mannequins dressed in mostly haute-couture ensembles spanning Saint Laurent's career. The ensembles were picked from an archive of 5,000 complete outfits conserved by the Fondation Pierre Berge-Yves Saint Laurent, the muscle behind the exhibit, and occupy 13,000 square feet on the second floor of DAM, itself an architectural landmark. On exhibition through 8th of July. Why Denver? Museum director Christoph Heinrich was the first to ask for it after seeing the exhibit, which originated in Paris in 2010.
"The fabulous thing about this country is you have major events everywhere, all over the country," said Heinrich, who is from Germany. "It's not only everything happening in New York and Los Angeles."
And what would Saint Laurent, who died in 2008 at age 71 (and never visited Denver), think?
"He would be astonished," said Dominique Deroche, who worked closely with Saint Laurent as his publicist from 1966, when he opened his Paris boutique, to his retirement in 2002. "But he would be very proud." Curator Florence Muller spoke passionately of Saint Laurent's ability to weave his signature gender-bending styles fluidly.
Muller said Saint Laurent didn't want to dictate what woman wore. His vision was to offer women many options - and most importantly, he wanted to be able to dress every woman equally, she said.
Saint Laurent's final fashion show in 2002 in Paris plays on a big screen at the entrance to the exhibit. Just inside are six chiffon dresses from that collection. Then, Irving Penn's famous portrait of Saint Laurent, with one eye peeking out from his hand over his face, welcomes viewers to the galleries.
The clothes begin with ball gowns and a set of four trapeze dresses, symbolic of Saint Laurent's first collection as head designer for Christian Dior in 1958, the year after Dior died.
Saint Laurent's use of transparent materials are represented by two black dresses, one long and completely see-through and the other short with an open lace back, in the center of a gallery that features his most controversial collection, from 1971. That collection was touted, according to a replica newspaper in the gallery, as the "ugliest show in town" for its use of a retro 1940's style. Saint Laurent sought to reflect France's troublesome years during World War II with designs like a green fox fur jacket and turbans.
Also on display is Saint Laurent's Caban coat, which introduced to women the navy-style wool coat popularly known as a peacoat, Muller said. A similar style sits on a mannequin, shorter and paired with a dark dress.
One gallery shows how the designer was influenced by his favorite artists, with a heavily embroidered jacket inspired by Vincent Van Gogh and a dress inspired by Pablo Picasso . "The Imaginary Journey" gallery features Saint Laurent's vision for fashion around the world - though he wasn't much of a traveler, Muller said. Its collection includes a Spanish bolero, jackets inspired by China and colorfully beaded Moroccan outfits from a ready-to-wear line.
A 28-foot tall wall displays 40 incarnations of 'Le Smoking', perhaps Saint Laurent's best known design. It debuted in 1966. Opposite this wall are dozens of gowns in gold satin, black sequin and white tulle arrayed along a red-carpeted staircase. The final dress is an haute-couture black velvet ball gown with a "Paris rose" pink silk bow and sheath skirt from 1983.
The show "has not only to do with beauty; it really has to do with the history of the last 50 years," said Heinrich, citing Saint Laurent designs like the trapeze dress, which are familiar classics whether they carry a YSL label or not. Heinrich's own safari jacket, he added, isn't YSL, but the design comes from Saint Laurent's "creative mind."
The exhibit also includes artifacts from Saint Laurent's life. They include a replica of his work studio, a sampling of clothes owned by friend and French actress Catherine Deneuve, designs made for other famous friends and an Andy Warhol painting of the designer borrowed from the Berge foundation.
Typically just 30 percent of Denver Art Museum visitors are from out of state, but that number is expected to spike for the YSL show. Ads have appeared in The New Yorker magazine, The Wall Street Journal, Women's Wear Daily and Texas Monthly, and hotel packages are being offered that include tickets to the show.
High fashion has proven to be a big draw for museums. The Metropolitan Museum in New York ranked last year's Alexander McQueen show among its top 10 most popular exhibits ever, with more than 600,000 visitors, and the YSL show in Paris was seen by more than 300,000 people.
Pierre Berge, Saint Laurent's business and life partner, said the designer would have been thrilled to have his work spotlighted in a city often better known for sunshine, outdoorsy lifestyles and Western heritage.
"People ask me, 'Why Denver?'" Berge said. "My answer is, 'Why not Denver?'"
"He loved to show his work to everybody and everywhere," Berge added. "I think in Denver probably many, many people like art - and why not fashion?"
If You Go...
YVES SAINT LAURENT: THE RETROSPECTIVE: March 25-July 8 at Denver Art Museum, 100 W. 14th Ave. Parkway, Denver; http://www.denverartmuseum.org or 720-865-5000. Museum hours: Tuesday-Sunday, 10 a.m.-5 p.m. and until 8 p.m. on Fridays. Timed tickets are required for the Yves Saint Laurent show; adults, $22, children 6-17, $14, seniors and college students, $18.
Read more here: http://www.tri-cityherald.com/2012/03/23/1876449/yves-saint-laurent-retrospective.html#storylink=cpy
Posted: 26 Mar 2012 09:10 PM PDT
NEW YORK, NY.- The Art and Antiques Dealer League of America ( AADLA ) has announced the participation of several leading galleries from the United States and abroad that will be making their debut at the second edition of the Spring Show NYC. Taking place at New York City's Park Avenue Armory, the four-day fine and decorative arts fair, sponsored by 1stdibs, opens with a benefit preview party for the ASPCA® (The American Society for the Prevention of Cruelty to Animals) on May 2nd and runs through May 6th. "We are very pleased to welcome this new group of prominent dealers to the second edition of the Spring Show," says Clinton Howell, president of the AADLA. "These specialists, with their expertise and connoisseurship, will further broaden the breath of spectacular offerings of our fair." Howell expects a total of 60 dealers to participate.
Posted: 26 Mar 2012 09:09 PM PDT
New York City.- The Gallery Space at NYU Wagner in partnership with the Steinhardt School of Culture, Education, and Human Development, is pleased to announce the opening of "I will show you fear in a handful of dust: An Earth Day Exhibit". Curated by NYU Steinhardt faculty Ann Chwatsky and NYU Wagner's Frankie Crescioni-Santoni, this dynamic, environmentally-focused series features paintings and installation work by New York City artist Erick Sánchez. It is staged in commemoration of international Earth Day and Earth Week at New York University. The exhibition is co-presented by the Wagner Environmental Policy & Action (WEPA), with promotional sponsorship by NYU Sustainability/Earth Week and the Student Network Exploring Arts & Culture (SNEAC). An opening reception will be held on Wednesday, April 4th, 6:00-8:00pm, the exhibition will remain on view through May 31st.
Posted: 26 Mar 2012 08:49 PM PDT
NEW YORK, NY.- During the artistic ferment following the 1917 Bolshevik Revolution, major artists joined actors, choreographers, writers, and musicians in creating a daring new theater. This collaboration gave rise to extraordinary productions with highly original stage designs that redefined the concept of theater itself, attracting large, diverse audiences and garnering international critical praise. In Chagall and the Artists of the Russian Jewish Theater, 1919-1949, on view from through March 22, 2009, The Jewish Museum tells the little-known and tumultuous story of this vanguard artistic flowering, which thrived on the stage for thirty years before being brutally extinguished during the Stalinist era.
More than 200 works of art and ephemera, the majority never before exhibited, have been drawn from collections in Russia, France, Israel, and the United States for the showing. Marc Chagall's celebrated, monumental murals are featured, in addition to more than 100 watercolor, gouache and crayon drawings of costume and set designs, executed in the experimental modes of Cubism, Futurism, and Constructivism by such artists as Natan Altman, Robert Falk, Ignaty Nivinsky, Isaac Rabinovich, and Aleksandr Tyshler.
Rare film footage of early performances transports viewers back to another time. Fascinating archival materials such as music, posters, prints, programs, and period photographs of productions and actors in character help recapture extraordinary moments. Many items in the exhibition survived a 1953 blaze at Moscow's Bakhrushin State Central Theater Museum, the premier repository for archives of the Moscow State Yiddish Theater (GOSET), and a major lender to the exhibition. The fire, almost certainly intentional, was an attempt by the Soviets to stamp out the legacy of the Russian Jewish theater.
Following its showing in New York, Chagall and the Artists of the Russian Jewish Theater, 1919-1949 travels to the Contemporary Jewish Museum, San Francisco where it will be on view from April 25 through September 7, 2009.
The exhibition has been organized by Susan Tumarkin Goodman, Senior Curator at The Jewish Museum. She first learned of the Bakhrushin's trove while researching another exhibition in Moscow nearly a decade and a half ago: "I became aware of the achievement of artists who, in the heady days after the revolution, embraced the avant-garde and the potential of a people's theater."
"These artists created a uniquely new theater, one that combined visual art and music with stylized expressionist performances. They also had an affinity for the grotesque and the comedic melodrama of Yiddish folklore," continues Goodman.
The Jewish theater movement in Russia was represented by two companies based in Moscow with very different approaches. Habima's productions, performed in Hebrew, emphasized the ideas of Zionism and Jewish national rebirth. Soviet ideologues soon deemed the theater's policies at odds with socialist ideals. In 1926, Habima left the Soviet Union to settle in Palestine, eventually becoming Israel's national theater. In contrast to Habima, GOSET, which performed in Yiddish, presented daring expressionistic dramas. With its innovative blending of Jewish folklore and literature, Constructivist-inspired sets, and expressionist acting techniques, GOSET was wildly popular with Jews and non-Jews alike.
The legendary murals created by Marc Chagall in 1920 to adorn the GOSET theater will be displayed in a gallery that replicates its original intimate size. Painted by the artist in a little over a month, Chagall's murals will cover the Museum's walls with engaging representations of GOSET's performers using vibrant color and geometric forms that dance across the surfaces.
Natan Altman's faux-naïve, yet sophisticated color drawings for the sets and costumes of one of Habima's most acclaimed productions, Solomon An-sky's The Dybbuk (1922) are another highlight. Already a leading avant-garde artist, Altman transformed familiar folkloric characters into a visual feast of exaggerated, distorted, and twisted forms. Rare photographs of the original production, directed by Evgeny Vakhtangov, a protégé of the renowned Konstantin Stanislavsky, will be shown on video, and the production's Constructivist set model (reconstructed), poster, handwritten score, and program also will be on view. Costume design drawings by the artist Robert Falk for GOSET's production of At Night in the Old Marketplace are animated with an angular visual vitality in portrayals of prostitutes and the walking dead.
In 1932 Stalin issued a decree stating that all artistic endeavors must conform to the goals of the Revolution. The only approved form of artistic expression was Socialist Realism. Thereafter, the avant-garde fell out of favor. Many in Russia's theatrical avant-garde feared for their lives and began to opt for "safe" works. In 1935 GOSET mounted Shakespeare's King Lear, which, rather ironically, became the company's greatest success due in large measure to the acclaimed performance of the brilliant actor Solomon Mikhoels. Helping to convey the gravitas of the production are emotive watercolors by set designer Aleksandr Tyshler and photographs of Mikhoels, by then GOSET's director, as Lear.
In 1948, Solomon Mikhoels was murdered at Stalin's direction, his brutal death staged as a truck accident. More than ten thousand people attended his funeral. GOSET was liquidated the following year. Exhibition visitors will be able to see the actor's broken eyeglasses, retrieved when his body was found on a snowy road, as well as film footage from Mikhoels's funeral.
Other productions to be featured in Chagall and the Russian Jewish Theater, 1919-1949 include Habima's The Golem (1925), and GOSET's The Sorceress: An Eccentric Jewish Play (1922), 200,000: A Musical Comedy (1923), and At Night in the Old Marketplace: Tragic Carnival (1925).
The catalogue was funded through the Dorot Foundation publications endowment.
About The Jewish Museum
The Jewish Museum was established on January 20, 1904 when Judge Mayer Sulzberger donated 26 ceremonial art objects to The Jewish Theological Seminary of America as the core of a museum collection. Today, The Jewish Museum maintains an important collection of 26,000 objects—paintings, sculpture, works on paper, photographs, archaeological artifacts, ceremonial objects, and broadcast media. Widely admired for its exhibitions and educational programs that inspire people of all backgrounds, The Jewish Museum is the preeminent institution exploring the intersection of 4,000 years of art and Jewish culture.
Museum hours are Saturday through Wednesday, 11am to 5:45pm; and Thursday, 11am to 8pm. Museum admission is $12.00 for adults, $10.00 for senior citizens, $7.50 for students, free for children under 12 and Jewish Museum members. Admission is free on Saturdays. For general information on The Jewish Museum, the public may visit the Museum's Web site at http://www.thejewishmuseum.org or call 212.423.3200. The Jewish Museum is located at 1109 Fifth Avenue at 92nd Street, Manhattan.
Posted: 26 Mar 2012 08:48 PM PDT
MADRID - Luis Buñuel is, without a doubt, one of the best known movie directors. A lot has been written about him and many exhibitions on him have been organized. But, there are some aspects of his works that are not known, and we have not resisted temptation to show some of these. In the archives of the Spanish Film Library, there is a collection of photographs made by him when he was looking for exterior locations for the films he made in Mexico and the organizers wanted to show this work that illustrates the work he did prior to making a movie, and that also shows us another face of Buñuel.
Posted: 26 Mar 2012 08:47 PM PDT
NEW YORK CITY - Florence and Daniel Guerlain have decided to exhibit 140 drawings from their collections at the Cultural Services of the French Embassy during the Armory Show (March 26-30) and beyond. Every year, private collectors in New York briefly open their doors to visitors during the Armory Show, one of the most prestigious contemporary art shows in the world. But never before has a collection from overseas made the trip expressly for this occasion. The Armory Show's organizers have marked this initiative of the Cultural Services of the French Embassy by highlighting the Guerlain Exhibit in their VIP circuit.
Posted: 26 Mar 2012 08:46 PM PDT
Frankfurt, Germany - René Magritte numbers not only among the most important, but also among the most popular artists of the twentieth century. Often against the grain of the tendencies in the arts of his time, the Belgian Surrealist painter developed a unique and unmistakable pictorial language. His work's continuing crucial influence on later generations of artists and his impact on today's visual culture are almost without par. Many of his equally enigmatic and hard-to-forget solutions have been reproduced in the millions and become famous icons far beyond the world of art. On exhibition 30 October 2008 – 4 January 2009.
However, a fascinating period of the artist's landmark oeuvre has remained nearly unknown: his so-called période vache. In 1948, Magritte made a group of paintings and gouaches distinctly different from the rest of his work for his first solo exhibition in Paris. Relying on a new, fast and aggressive style of painting – and particularly inspired by popular sources such as caricatures and comics, but also interspersing his works with stylistic quotations from artists like James Ensor or Henri Matisse – Magritte, within only a few weeks, produced about thirty entirely uncharacteristic works that caused an outrage in Paris.
The artist deliberately conceived the exhibition as a provocation of and an assault on the Parisian public. Painting in an unexpectedly crude, playful, and intentionally "bad" manner, he reflected his own work and painting in general. Magritte thus anticipated strategies of painting current in the 1970s and 1980s, which are highly topical again today.
While only sporadically included in most retrospectives of Magritte's oeuvre, the works from the période vache will be assembled in the exhibition at the Schirn outside France and Belgium for the first time. Especially against the background of the last thirty years' art, this concentrated presentation will shed a new, surprising light on an extraordinary artist.
With "René Magritte 1948. La Période Vache," the Schirn continues a series of exhibitions that started with "Henri Matisse. Drawing with Scissors" and "Paul Klee. 1933" and was followed by "Max Beckmann. The Watercolors and Pastels" or "Picasso and the Theater," focusing on specific groups of works or certain aspects in the oeuvre of established masters of classical modernism.
A catalogue accompanying the exhibition will be published by Ludion.
The SCHIRN KUNSTHALLE FRANKFURT is one of Europe's most renowned exhibition institutions. Since 1986, more than 180 exhibitions have been realized, among them major surveys dedicated to Vienna Art Nouveau, Expressionism, Dada and Surrealism, to "Women Impressionists" and the history of photography, to subjects like shopping and the relationship between art and consumerism, the visual art of the Stalin era, the Nazarenes, or the new Romanticism in present-day art. Artists such as Wassily Kandinsky, Marc Chagall, Alberto Giacometti, Frida Kahlo, Bill Viola, Arnold Schönberg, Henri Matisse, Julian Schnabel, James Lee Byars, Yves Klein, and Carsten Nicolai were presented in comprehensive solo shows. The SCHIRN, with Max Hollein as director, presents explosive issues and topical aspects of artistic oeuvres in a concise language under contemporary aspects. Being a venue of discoveries, the SCHIRN offers both sides to its visitors: an original sensuous experience and committed involvement in cultural discussion.VENUE: SCHIRN KUNSTHALLE FRANKFURT, Römerberg, D-60311 Frankfurt. Visit : www.schirn.de
Posted: 26 Mar 2012 08:45 PM PDT
ROCHESTER, NY - "The Photograph Collection: An Introduction" feature some of the star objects and photographers from the George Eastman House photography collection. This newly mounted and changing exhibition will greet visitors to the world's oldest museum of photography. The new installation includes landscapes by Ansel Adams, advertising work by Edward Steichen, and color celebrity portraits by Nickolas Muray. Ongoing through 12 July, 2009.
Posted: 26 Mar 2012 08:44 PM PDT
BRUSSELS.- The exhibition El Ángel Exterminador (The Extermination Angel), presented at the Palais des Beaux-Arts BOZAR in Brussels, takes as a starting point Buñel's movie in order to suggest later –leaving aside stylistic or trend logics– an encounter between artists from different positions and perspectives. As the curator, Fernando Castro, puts it, the exhibition would work as a "tableau vivant, a living picture in which the theatre dimension is vital, as well as the ability to reconfigure the world from fragmentary elements in a bricoleur way". It thus represents the will to show, in the framework of the Spanish Presidency of the Council of the European Union, a vision of the different ways of doing, by creating a space where, as with Buñuel claustrophobic room, "anything can happen".
Posted: 26 Mar 2012 08:43 PM PDT
NEW YORK CITY - The Museum of Modern Art presents Dalí: Painting and Film, the first exhibition to focus on the profound relationship between the paintings and films of Salvador Dalí (Spanish, 1904–1989). The exhibition proposes that Dalí's personal engagement with cinema—as a filmgoer, a screenwriter, a filmmaker, and an art director—was fundamental to his understanding of modernism and deeply affected his art. Comprising a gallery presentation of more than 130 paintings, drawings, scenarios, letters, and films. The exhibition is on view from June 29 to September 15, 2008, with the first film program beginning on June 20.
The exhibition is organized by Tate Modern in collaboration with The Gala-Salvador Dalí Foundation. It is coordinated for MoMA by Jodi Hauptman, Curator, Department of Drawings; the film exhibition is organized by Anne Morra, Assistant Curator, Department of Film.
Ms. Hauptman states: "Dalí homed in on cinema's seemingly contradictory ability to combine the real and the surreal, the actual and the imaginary, the objective and the imaginative, the prosaic and the poetic. Whether still or moving, painted or shot, Dali's works are meant to wholly intoxicate their viewers, offering an experience provoked by an image but played out in the mind."
Film was a passion for Dalí and cinematic vision became a model for his own work. In the sixth-floor galleries, collaborations between Dalí and legendary filmmakers, including Luis Buñuel, Walt Disney, and Alfred Hitchcock, are projected on large screens alongside his paintings to show the way ideas, iconography, and pictorial strategies are shared and transformed across mediums. The installation includes some of the most provocative films of the early twentieth century, including Un Chien andalou (1929), a film made with Buñuel, which features the almost unwatchable sequence of an eye being slit by a razor; L'Âge d'or (1930), another collaboration with Buñuel and one of the landmarks of Surrealist film; and such iconic paintings as The First Days of Spring (1929), Illumined Pleasures (1929), and The Persistence of Memory (1931).
MoMA's presentation of Dalí: Painting and Film is distinguished by a six-part film program in the Museum's theaters that features examples of the popular and avant-garde motion pictures Dalí treasured, those that he made, and the works his innovative aesthetic influenced.
The films are drawn from MoMA's collection as well as from the collections of film studios such as Twentieth Century-Fox, Walt Disney Co., Paramount Pictures, and Universal Pictures. Film archives such as the George Eastman House (Rochester, NY), Filmoteca de Catalunya (Barcelona) and the UCLA Film and Television Archives have generously agreed to loan films.
Dalí was part of the first generation of artists for whom film was both a formative influence and a creative outlet. Throughout his career, and in many mediums, he frequently referenced elements of cinema, including its episodic nature, popular appeal, narrative structure, and techniques like fades and dissolves, and the strong characterization of its stars.
The exhibition comprises six galleries, most of which include very large projections of films on screens measuring 10 feet high by 13 feet wide. The projections are presented alongside paintings, drawings, and ephemera pertaining to the films shown.
The first two galleries feature two of Dalí and Buñuel's collaborations: Un Chien andalou (1929) and L'Âge d'or (1930). Exploiting film's potential to manipulate reality and evoke the sensation of dreaming, montage is the primary cinematic strategy in Un Chien andalou. The film's provocative imagery, also found in Dalí's paintings of the time, creates a shocking vision of physical desire. Imagery seen in the film, such as a disembodied hand, infestations of ants, putrefying donkeys, and such unexpected transformations as a hairy armpit into a sea urchin and a cloud into a razor, can be found in various paintings shown in this gallery, including Apparatus and Hand (1927) and The Accommodations of Desire (1929). The film put Dalí and Buñuel at the center of the Surrealist community in Paris, and also confirmed the potential of film to secure the movement's goals.
This first gallery also includes an early series of drawings about Spanish nightlife from 1922–23, including Madrid Suburb and Madrid Night Scene. These works illustrate Dalí's appreciation of the strong graphic aesthetic of the silent Expressionist films of that era. Other paintings like The First Days of Spring (1929) reveal his interest in filmic perspective and in creating compositions that dissolve into other images. Illumined Pleasures (1929), which features luminous imagery projected on or performed within the theater-like boxes that dominate the composition, illustrated the shooting script for Un Chien andalou.
More complicated, polemical, and bitter than Un Chien andalou, L'Âge d'or was Dalí and Buñuel's second collaboration. The film's prologue, an excerpt from a preexisting scientific film, shows a scorpion killing a rat, heralding the violence that, together with the irresistible power of desire, drives the storyline. Lovers are immediately torn from each other and spend the rest of the film in frustrated attempts to reunite. Dark and threatening in tone, L'Âge d'or reflects the sense of unease at the time among Surrealists—and Europeans in general—sparked by the rise of the political right.
The third gallery of the exhibition comprises Dalí's film projects and paintings that incorporate filmic elements, including his collaboration with the Marx Brothers and his work on the film Moontide (1942). Dalí associated the Marx Brothers' combination of humor and mayhem with his own practice as a Surrealist. Dalí met Harpo Marx in 1936 and soon began work on a film project known as Giraffes on Horseback Salad or The Surrealist Woman, a motion picture he hoped would rival the Marx Brothers' film Animal Crackers (1930). Although the film never reached production, the imagery and ideas survive in two manuscripts (one of which is on view in this gallery) that illuminate Dalí's writing style and his process of revision and in a series of drawings that offer views of the production's atmosphere and scenery. Paintings in this gallery, such as Autumnal Cannibalism (1936) and Metamorphosis of Narcissus (1937), demonstrate Dalí's ability to imply animated movement and narrative in a static image.
By the beginning of the 1940s, Dalí's name had become synonymous with Surrealism in the United States, through exhibitions, publicity, and his own eccentric showmanship. In 1940 Dalí traveled to California and moved beyond the realm of avant-garde films to work on major studio productions. Soon after his arrival, he was hired by Twentieth Century-Fox to design a threeminute nightmare sequence for Moontide, a film to be directed by the legendary Austrian-born director Fritz Lang and starring the French actor Jean Gabin in his first English-language picture.
Dalí's dreamlike vision seemed an ideal fit for the 1940s movie industry and for the cinema screen, where total immersion in Dalí's imagination became possible for a mass audience. Dalí seized the opportunity to work on Hitchcock's Spellbound (1945), which is the focus of the fourth gallery. The famous dream sequence for Hitchcock's thriller recreated the disquieting universe of Dalí's contemporary paintings on a grand scale. On view in this gallery are four grisaille paintings and one color study for the five scenes of the dream sequence, which is also shown here on a continuous loop. Technical difficulties necessitated revisions to the film without Dalí's and Hitchcock's participation, and only three scenes survive in the finished film: the gambling house, the rooftop, and the slope. In the end the artist received a limited credit—"based upon the designs by Salvador Dalí"—but Spellbound provided one of his most remarkable encounters with a mass audience.
The next gallery features the animated film Destino (2003). Towards the end of 1945, Walt Disney invited Dalí to work on a six-minute short that was to combine real images with animated drawings and be set to the ballad "Destino" by Armando Dominguez, a Mexican songwriter. Dalí's episode was intended to be part of a composite animated feature along the lines of Fantasia (1940). In January 1946, Dalí began an intense eight-month period at the Disney studio, working with the classically trained animator John Hench. Dalí produced numerous color sketches and storyboard drawings to tell a tale of star-crossed lovers: Chronos, the god of time, and a mortal girl. Only about 15 to 18 seconds of the film—the section with two tortoises—was completed before the project was abandoned, due to either a lack of finances or the controversial nature of Dalí's imagery.
The final gallery of the exhibition focuses on Dalí's late projects and his engagement with popular cinema. Chaos and Creation (1960), a documentary he made with photographer Philippe Halsman, is considered to be one of the first artist's videos ever made. Unable to give a speech at a convention, Dalí sent this video to address the attendees remotely. Loosely structured as a lecture and a performance in which the creation of an artwork is the result, the video shows. Halsman, who often worked with Dalí, playing the role of commentator, translator, and straight man to the artist's frenzied presence.
In the 1960s Dalí split his time between Paris, New York, and his home in Port Lligat, in the Catalan region of Spain. With the emergence of Pop art in New York, Dalí's particular blend of showmanship, irreverence, and extravagance won him new connections with young American artists, including Andy Warhol. In 1966 Warhol asked Dalí to be the subject of one of his short film portraits; called Screen Tests, these portraits were meant to be projected backdrops for Warhol's Exploding Plastic Inevitable multimedia events, featuring the band the Velvet
Underground. The screen tests that Warhol made of Dalí are included in this final gallery. Later paintings included in this gallery, like Portrait of Colonel Jack Warner (1951) and Portrait of Laurence Olivier in the role of Richard III (1955), also show Dali's interest in popular cinema, and how the idea and techniques of film moved from being an influence on his work to forming its very subject.
Posted: 26 Mar 2012 08:42 PM PDT
Purchase, New York - When artist Tracey Emin, who represented Great Britain at the 2007 Venice Biennale, was asked by an interviewer whether she felt British, she replied, "I am British! My passport's British. I was born in London. My dad's Turkish-Cypriot; my mum's from the East End.... I'm definitively multicultural British!" The interviewer's question was not so strange considering that in the last sixty years, Britain has become a multi-cultural society, transformed by the dissolution of its empire, post-war immigration, and the new social movements embracing minority cultures. This has had a tremendous impact on British culture and notions of identity -- on what it means to be British and conceptions of selfhood. Exhibition on view at Neuberger Museum of Art from 13 September through 13 December, 2009.
Posted: 26 Mar 2012 08:41 PM PDT
Moscow - Moscow Museum of Modern Art and Regina Gallery opens a large-scale exhibition by Semen Faibisovich, showing two latest periods of the artist's creative career: the "Evidence" project of the first half of the 90s, and a newly created after a 12-year break "Razgulyay" cycle. The continuity of the projects, differing radically in ideologies, philosophies, artistic techniques, is established by the artist's coherent focus on the viewer's personal experience: they are invited to see what they themselves see everyday – only in their customized versions and with their own eyes. On view 29 January through 28 February, 2010.
Posted: 26 Mar 2012 08:40 PM PDT
COLUMBIA, SC.- Highlights from the Collection opens on Saturday, January 10 and runs through June 7. The exhibition includes approximately 80 works of art spanning 1000 years pulled from the Columbia Museum of Art's galleries and storage. The exhibition encompasses the breadth of the collection from Ancient art to Contemporary and from paintings to silver.
Dr. Todd Herman, the Museum's chief curator says, "This is an opportunity for the public to see these old friends and new ones in a different light. Viewing these works in a different setting and arranged in a way to excite original dialogues between the works offers a chance for visitors to engage, or re-engage, with the collection and individual works in a new way. Everyone familiar with the Museum's collection will find a surprise waiting for them among the works."
From around the world and spanning multiple centuries, the decorative arts included in Highlights showcase the richness and diversity of the Museum's collection. Among the European objects on display are an ancient Greek lekythos (oil jar); a Roman cassone (wedding chest) carved with biblical scenes; and a very rare German porcelain ink stand made by Fürstenberg Porzellan — one of only two examples known to exist. Works by American artists include an early Charleston linen press; a neoclassical sofa made for Millford Plantation by the New York firm of Duncan Phyfe and Son; and several exceptional Arts and Crafts objects by Gustav Stickley's Craftsman Workshops, the Roycrofters, Newcomb Pottery, and the Grueby Pottery Company.
Included in Highlights from the Collection are favorite paintings such as the Botticelli Nativity, which is the only Botticelli fresco outside of Italy, and Canaletto's View of the Molo. A number of significant works are on view for the first time such as A Rainy Day painted by Hans Burkhardt, an influential artist at the genesis of the American Abstract Expressionist movement, and an important early drawing by Ilya Bolotowsky, a leading artist of Geometric Abstraction. Works on paper, which must remain in storage for long periods because of conservation issues, are also on view such as a lively drawing by the American realist artist William Glackens and major prints by his compatriots John Sloan and George Bellows. Prints from the 16th and 17th century are on view as well as Alfred Stieglitz's seminal photograph The Steerage documenting immigration and social division in early 20th-century America.
Museum executive director Karen Brosius says, "In March, the Museum opens its doors to a display of one of the finest collections of Impressionist and Post-impressionist paintings in Europe. Turner to Cézanne: Masterpieces from the Davies Collection, National Museum Wales (March 6 – June 7, 2009). Because of the nature and flow of the space on the second floor, we are installing Turner to Cézanne in the upstairs galleries where the Museum's collection is normally housed, allowing the finest pieces of the collection to be installed in this new and exciting way downstairs."
Visit Columbia Museum of Art at : http://www.columbiamuseum.org/
Posted: 26 Mar 2012 08:39 PM PDT
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