- The AIPAD Photography Show returns to New York's Park Avenue Armory
- The George Gallery to feature Works by Susan Jamison & Lisa Stefanelli
- The Everson Museum of Art exhibits "Robert Henri and Ireland"
- Three New Exhibitions open at Agora Gallery in NYC on March 30th
- Lyons Wier Gallery to showcase New Photo-Paintings by David Lyle
- The Lisa Sette Gallery to host Jessica Joslin & Luis Molina-Pantin
- fordPROJECT to show "Valentina Battler ~ Form and Fancy"
- The Milwaukee Art Museum shows Self-Taught Art from the Petullo Collection
- The Cedar Rapids Museum of Art shows Works From the Collection
- Phillips de Pury & Co. announces highlights from evening editions auction in New York
- German & Swiss masters featured in drawings exhibition at the J. Paul Getty Museum
- Richard L. Feigen Collection Hosted by The Yale University Art Gallery
- The Boca Raton Museum Of Art displays 75+ Works By Andrew Stevovich
- Getty Images Gallery to show Londoners Through a Lens: From Film Stars to Flower Sellers
- Restrospective of Large-Scale Drawings by Sol LeWitt opens at MASS MoCA
- Portuguese Artist Joana Vasconcelos at Haunch of Venison in London
- The Blanton Museum of Art shows 'The Language of Prints'
- Masterpieces from Henry Francis du Pont’s collection at the Mint Museum
- The Museo Thyssen-Bornemisza & Fundación Caja Madrid opens Marc Chagall retrospective
- Art Knowledge News Presents "This Week In Review"
Posted: 28 Mar 2012 02:09 AM PDT
New York City.- The Association of International Photography Art Dealers (AIPAD) will hold the 32nd edition of The AIPAD Photography Show New York, one of the world's most important annual photography events, March 29th through April 1st, at the Park Avenue Armory at 67th Street in New York City. Seventy-five of the world's leading fine art photography galleries will present a wide range of museum-quality work, including contemporary, modern, and 19th century photographs, as well as photo-based art, video, and new media. The AIPAD Photography Show New York is the longest running and foremost exhibition of fine art photography. The Show will commence with an opening night gala on March 28th, to benefit inMotion, which provides free legal services to low-income women.
AIPAD 2012 will present four new member exhibitors: David Zwirner, New York; Sasha Wolf Gallery, New York; Paul Cava Fine Art Photographs, Bala Cynwyd, PA; and 798 Photo Gallery, Beijing. A wide range of the world's leading fine art photography galleries will exhibit at The AIPAD Photography Show New York. In addition to galleries from New York City and across the country, a number of international galleries will be featured from France, Germany, Great Britain, Argentina, Japan, and China.
Among the highlights at The AIPAD Photography Show New York will be a solo exhibition at David Zwirner, New York, of new work by Philip-Lorca diCorcia, and a specially curated exhibition of early French photography at James Hyman Photography, London. A number of extraordinary portraits will be on view. Bonni Benrubi Gallery, New York, will show Linda McCartney's photographs of Jim Morrison and Jimi Hendrix. Bert Stern's prints of Marilyn Monroe from her last sitting in 1962, which she famously crossed off, will be on view at Staley-Wise Gallery, New York. Hans P. Kraus Jr. Inc., New York, will exhibit portraits by the 19th century photographer Julia Margaret Cameron. Flip Schulke's mural-sized silver gelatin print of Muhammad Ali jumping out of a hotel pool in Miami Beach from1961 will be exhibited at Keith de Lellis Gallery, New York. Portraits of pioneer photographers will be shown at Charles Schwartz Ltd., New York. Steven Kasher Gallery, New York, will exhibit new portraits of Occupy Wall Street protestors by Accra Schepp, along with work by Weegee and the posthumously discovered Vivian Maier. Tam Tran is known for self-portraits with provocative titles such as My Call to Arms, Retro Bitch, I Forgot Pants, Strip Tease, and When Are We Leaving? Her image entitled Youniverse, 2010, will be shown by Gary Edwards Gallery, Washington, DC. At the forefront of digital technologies for the past decade, Kelli Connell addresses complex issues of identity and visual rhetoric. Her work will be exhibited at Catherine Edelman Gallery, Chicago. Unique portraits of dolls by Fausta Facciponte will be on view at Stephen Bulger Gallery, Toronto. A collection of personal holiday cards by Lee Friedlander, Jerry Uelsmann, and John Szarkowski, among others, will be on view at Scheinbaum & Russek Ltd., Santa Fe. Karen Knorr's series India Song, 2008-2010, depicts tigers and other wild animals lounging in exotic palaces, mansions, and mausoleums. Prints from India Song will be on view at Danziger Gallery, New York, along with work by Andy Warhol, Evelyn Hofer, and Hendrik Kerstens. Robert Burge/20th Century Photos, Ltd, New York, will show John Woolf's new color panoramas of classical theater interiors. Work from Laura Letinsky's new series Ill Form and Void Full, will be the highlight at Yancey Richardson Gallery, New York. Compelling landscape photography will be on view at AIPAD. Mariana Cook spent eight years traveling to Peru, Great Britain, Ireland, the Mediterranean, New England, and Kentucky in pursuit of photographing dry stone walls. Her acclaimed book Stone Walls: Personal Boundaries was published last fall, and Lee Marks Fine Art, Shelbyville, IN, will exhibit a number Cook's gelatin silver prints. Yossi Milo Gallery, New York, will show striking seascapes from Alejandro Chaskielberg's series The High Tide, 2010. The first picture ever made of the earth from lunar orbit in 1966 will be on view at Charles Isaacs Photographs, New York.
Galerie f5,6, Munich, will exhibit cityscapes by Max Regenberg from his series Come to Where, which documents advertising for Marlboro in the U.S. and Canada in the 1970s. 798 Photo Gallery, Beijing, will show work by artists Song Chao, Wang Shilong, Xiao Zhuang, and Yang Yankang. Julie Saul Gallery, New York, will show the panorama Flatiron Building, Manhattan, 2011, by Jeff Chien-Hsing Liao. Sherril Schell's Skylights, Penn Station, a silver print from 1929, will be on view at Paul M. Hertzmann, Inc., San Francisco, CA. A study of trees, c. 1910-1920, by Maxfield Parrish will be on view at Paul Cava Fine Art Photographs, Bala Cynwyd, PA. Sasha Wolf Gallery, New York, will offer the diaristic photography of Elinor Carucci. Gitterman Gallery, New York, will show the landscapes of Adam Bartos, whose interest in 19th century travel photography has taken him to Egypt, Kenya, and Mexico with a large-format camera. Robert Mann Gallery, New York, will exhibit landscapes and interiors ranging from 1940s work by Ansel Adams and Fred Stein to new work from Julie Blackmon and Jeff Brouws. Bill Eppridge's touching portrait Mrs. Chaney and young Ben, James Chaney Funeral, Mississippi, 1964 will be on view at Monroe Gallery of Photography, Santa Fe. Henri Cartier-Bresson's Rue Mouffetard, 1948/1956, which depicts a young schoolboy triumphantly carrying two bottles of wine, will be on view at John Cleary Gallery, Houston. Paul Strand's Central Park, New York, a platinum print from 1915-1916, will be shown at Weston Gallery, Carmel, CA. André Kertész's silver print, Distortion #40, from 1933/1940s will be exhibited by Contemporary Works/Vintage Works, Chalfont, PA. Robert Koch Gallery, San Francisco, will show Robert Heinecken's Recto/Verso #2, 1988. Hyperion Press Ltd., New York, will show several celebrated photographs by Man Ray. Etherton Gallery, Tucson, is bringing an exquisite print of Ansel Adams's Monolith, The Face of Half Dome, Yosemite National Park, California, c. 1926. As Adams said, "This photograph represents my first conscious visualization; in my mind's eye I saw (with reasonable completeness) the final image as made with the red filter… The red filter did what I expected it to do." In addition to the gallery's exhibiting at the fair, a series of five panel discussions featuring leading curators, artists, dealers, and collectors will be held on Saturday at a spacious auditorium at Hunter College in the Hunter West Building. Founded in 1979, The Association of International Photography Art Dealers (AIPAD) represents more than 120 of the world's leading galleries in fine art photography. The organization is dedicated to creating and maintaining the highest standards of scholarship and ethical practice in the business of exhibiting, buying, and selling fine art photography. Visit the fair's website at ... http://www.aipad.com
Posted: 28 Mar 2012 02:08 AM PDT
Laguna Beach, California.- The George Gallery is please to present "(In)Delicate", on view at the gallery from April 5th through May 1st. "(In)Delicate" features the work of two visually enthralling and critically acclaimed mid-career artists, Susan Jamison and Lisa Stefanelli. Jamison's work forms part of major museum collections, including the Corcoran Gallery in Washington, DC. She has shown in prestigious galleries and universities. Stefanelli recently had a solo show at Mark Moore gallery in Los Angeles and she has exhibited in every art capital from New York to Miami to Los Angeles. Her paintings also belong to several noteworthy collections."(In)Delicate" plays with the paradox at the heart of the work. Jamison offers delicately rendered allegories of salacious and salivating desire, female sexual pleasure, erotic aggression and the profound interior terrain of loss and mourning. Using fine line and exquisite imagery, Jamison delivers a forceful and indelicate visual trove of female longing, lust and aggression and morbidly dainty Memento Mori.
Posted: 28 Mar 2012 01:56 AM PDT
Syracuse, New York. The Everson Museum of Art is proud to be hosting the travelling exhibition "From New York to Corrymore: Robert Henri and Ireland", on view at the museum through May 13th. "From New York to Corrymore: Robert Henri and Ireland" is the first exhibition to examine the American artist's work focused on the Irish landscape and people, particularly children, created between the time of his first trip to Ireland in 1913 and his last trip there in 1928. Long celebrated as an iconic American artist due to his important early work as a teacher and as the leader of The Eight, Henri's paintings have received less attention on their own. Most projects explored his career as it related to his role as a member of The Eight or in a broadly retrospective manner. Few projects focused on his landscapes, drawings, or foreign portraits.
Posted: 28 Mar 2012 01:38 AM PDT
New York City.- Two excellent collective exhibitions will be gracing the walls of Agora Gallery this spring, in addition to a remarkable solo exhibition featuring the works of Austrian artist Fred Friedrich. "Elements of Abstraction" presents art with the ability to induce a shift in perspective, allowing the viewer to reach new conclusions about what they see and experience that vision in different ways. "Portals of Perception" displays works which seem to breathe with creative energy and inspiration, and a passionate joy in the world and its complexities which they pass, in turn, to those who see them.
In "Fin de Ciel: Fred Friedrich / a Solo Exhibition" the audience is introduced to the tremendously powerful artwork of a man who is constantly engaged in exploring the balance between the figurative and the abstract, the fluid and the definite. The result is a mesmerizing collection of works which speak across barriers of culture, place or time to reach fundamental elements of existence. The exhibitions will begin on March 30th and will run until April 19th. The opening reception will take place on April 5th. Entrance is free and all art enthusiasts are warmly encouraged to attend and meet the artists responsible for these enthralling creations.
Fred Friedrich displays in his work a characteristic bold, abstract style which immediately captures the attention, and which owes some of its tremendous power to the artist's experience as an architect. His powerful paintings bear the traces of acrylic paints pooling and running off the canvas in thick streaks, the result of his controlled but emphatic movements as he works, and very thin, delicate lines that evoke illustration. By allowing his works to emerge from a kind of controlled randomness, Friedrich achieves an immensely effective layering effect that at times approaches figuration. Faces and silhouettes begin to emerge as if from Rorschach test inkblots, something they do overtly in his more representational sculptures. What is perhaps most impressive is Friedrich's ability to wrest from this very fluid process images that seem so carefully and impressively composed. From the interplay of jet-black tones against bright hues in compounding shades, to the increasingly fine rivulets of paint stretched across his canvases, there is both incredible subtlety and aesthetic might to each piece, reflecting his empathetic concern for individuals and his determination to promote creativity in the world.
The works presented in "Elements of Abstraction" explore the mysterious nature of the way we see the world. Infinitely variable and full of interest and personality, this theme expresses itself in different ways through the hands of each talented artist. Delightful, diverse and sometimes even daring, these remarkable works will stay with you long after you first view them. Artist featured in the show include; María Inés Cámara, Bogdan Chiritoiu, Tina Dadouch, Melody Hawtin, Hanna Jach, Nadine Y. Jeners, Heidi Kirschner, Julio Lugo Rivas, Ramón A. Olivares, Raúl Prieto, Laura Pritchard and Paul Saucier. In "Portals of Perception", artists show their innate sensitivity and rich understanding of the world through creations which speak on a number of levels. Skillful and thoughtfully structured, these works reflect the fascinating ambiguity and lively energy that makes the world we know such a continually inspiring place. The featured artists are; Katerina Alavedra-Duchoslav, Donna Bonin, Tullia Caporicci, Michèle Caussin-Bellon, Seán Conlon, Dawn Crothers, Suzanne (SÜ) Fortin, Elisa Grion, Barry Grose, Leigh Gusterson, Joanne Helman, Marc Laberge, Raúl Lara Naranjo, Kunshik Shin, and Douglas The Boogie Man.
Agora Gallery is a fine art gallery, established in 1984 and located in the heart of New York City's Chelsea art galleries district. It is famous for showcasing a spectacular array of talented artists from around the world and around the corner, while providing quality and original art to collectors. Gallery II, an elegant adjacent gallery space, gives artists the ideal area for a solo or group exhibition of their own, organized and publicized by Agora Gallery. The gallery also publishes ARTisSpectrum Magazine, a bi-annual magazine that is distributed to museums, galleries, art institutions and art schools around the world. It provides artists, collectors, museums, galleries, art organizations and enthusiasts with access to the work of international talented artists as well as feature articles, reviews and interviews. Agora Gallery is also the sponsor of ARTmine, one of the most comprehensive resources available worldwide to view and purchase fine art. The gallery also runs Agora Art Blog, a blog designed to provide helpful information and advice for artists while providing a forum for artists to help one another by sharing their experiences and thoughts. Visit the gallery's website at ... http://www.agora-gallery.com
Posted: 28 Mar 2012 01:31 AM PDT
New York City.- Lyons Wier Gallery is pleased to present "Misbehaving", a new body of work by artist David Lyle. Working from found vintage and vernacular photographs, Lyle seamlessly composes works that harken back to 1950's and 1960's America - not as they were, but skewed and reimagined by the artist. Lyle's painstakingly reductive painting process is a very crucial element to the evolution of his final images. Each piece is rendered using only black paint and turpentine. Lyle begins his process by priming a panel with white gesso. He then paints a thin, rich, oily black veneer over the primed panel, slowly and systematically developing his images by removing some of the black paint with a cloth. In doing so, Lyle renders layer upon layer of various values of black paint resulting in his signature-style of luminescent works."Misbehaving" opens with an artist's reception on April 5th and remains on view through April 28th.
Posted: 28 Mar 2012 01:18 AM PDT
Scottsdale, Arizona.- The Lisa Sette Gallery is pleased to present Jessica Joslin and Luis Molina-Pantin, on view at the gallery from April 5th through April 28th 2012. April is a fertile month for contemporary art at Lisa Sette Gallery, with exhibitions of Jessica Joslin's startling skeletal creatures and the subtle commentary of Luis Molina-Pantin's photographs. Molina-Pantin is renowned for his images of Columbian drug cartel architecture; the photographer collects images of global scenes that reflect the ironies of human-made topographies. A collector of a different sort, the sculptor Jessica Joslin combines taxidermic processes with her skill for unconventional adornment to create buttons-and-bones creatures as endearing as they are unnerving.
Posted: 27 Mar 2012 11:59 PM PDT
New York City.- fordPROJECT is pleased to present "Form and Fancy", a solo exhibition of new works on paper by Valentina Battler, on view from April 17th through June 1st. An opening reception will be held from 6 – 8 pm on Tuesday, April 17th. Form and Fancy explores the extent of human emotion through artistic representation of figure and form. Combining traditional and contemporary Chinese Ink Painting techniques, Battler's new works on Yupo paper reflect an impressionistic style. Her additional works on Xuan paper are rooted in the Yin Yang philosophy's principle of complementary contradiction.
Posted: 27 Mar 2012 11:43 PM PDT
Milwaukee, Wisconsin.- The Milwaukee Art Museum is proud to present "Accidental Genius: Art from the Anthony Petullo Collection", an original exhibition of modern self-taught art featuring more than two hundred works by many of the most important European and American artists in the genre, on viewthrough May 6th. The exhibition celebrates the significant gift of works by Milwaukee collector Anthony Petullo to the Museum. "Accidental Genius" will feature drawings, paintings, and objects by leading artists, including Henry Darger, Martín Ramírez, Bill Traylor, Adolf Wölfli, Anna Zemankova, and Carlo Zinelli.
Previously defined as "outsider art," "art brut," or "naïve art," the works in the Petullo Collection, more often than not, were made by artists whose personal stories and motivations are as compelling as the art itself. British artist Scottie Wilson's career began when he started doodling on a tabletop in the back room of the shop he owned. Swiss artist Rosemarie Koczy, who was imprisoned with her family in a Nazi concentration camp during World War II, was driven by her experiences in the camp, and by the death of her father, to create her artwork. Rural Texas native Eddie Arning discovered his artistic ability later in life through an art class offered at his nursing home. Magazine illustrations and products from advertisements inspired his pastel drawings. Some of the lesser-known but equally significant artists collected by Petullo include English laborer James Lloyd and Italian draftsman Domenico Zindato.
According to Museum Director Daniel Keegan, Accidental Genius will display a portion of Petullo's gift, which represents one of the most extensive groupings of modern self-taught art in any American museum or private collection. In all, over three hundred works were gifted to the Museum. "The gift of the Petullo Collection establishes the Milwaukee Art Museum as a leading American institution for modern self-taught material, and comes at a crucial turning point in the history of the genre," said Keegan. "The Museum's commitment to the work of self-taught artists began as early as 1951 with the gift of two paintings by Wisconsin artist Anna Louisa Miller, and expanded through the Hall Collection and the Flagg Collection. With the Museum's acquisition of the world-class Petullo Collection, its holdings now encompass a more broadly inclusive representation of self-taught art, and we are challenged to understand this work on a new level."Petullo, a retired Milwaukee businessman, built his collection over a span of three decades. Objects from the Petullo Collection have been on display throughout the country, including a six-stop museum exhibition, and various objects have been loaned to museums and galleries around the world.
The Milwaukee Art Museum's history began in 1882 when the Milwaukee Museum of Fine Arts was founded. The museum dissolved six years later. In 1888, the Milwaukee Art Association was created by a group of German panorama artists and local businessmen; its first home was the Layton Art Gallery. In 1911, the Milwaukee Art Institute, another building constructed to hold other exhibitions and collections, was completed. The institute was built right next to the Layton Art Gallery. Alfred George Pelikan, who received his Masters in Fine Arts (MFA) from Columbia University, was the Director of the Milwaukee Art Institute from 1926 to 1942. The Milwaukee Art Center (now the Milwaukee Art Museum) was formed when the Milwaukee Art Institute and Layton Art Gallery merged their collections in 1957 and moved into a three-story building underneath the Eero Saarinen-designed Milwaukee County War Memorial. The museum is home to over 25,000 works of art. Its permanent holdings contain an important collection of Old Masters and 19th-century and 20th-century artwork, as well as some of the nation's best collections of German Expressionism, folk and Haitian art, American decorative arts, and post-1960 American art. The museum holds a large number of works by Georgia O'Keeffe, as well as many works by the German Expressionist, Gabriele Munter. Other notable works in the collection includes Fauve paintings by Georges Braque and Maurice de Vlaminck, seminal Expressionist paintings by Ernst Ludwig Kirchner and Vassily Kandinsky, and magnificent works by Pablo Picasso and Alberto Giacometti. The MAM recently gained international recognition with the construction of the white concrete Quadracci Pavilion, designed by Santiago Calatrava (his first completed project in the United States), which opened on May 4, 2001. The pavilion was engineered by the Milwaukee-based engineering firm, Graef, while the construction manager was also Milwaukee-based, C.G. Schmidt. The structure contains a movable, wing-like brise soleil which opens up for a wingspan of 217 feet during the day, folding over the tall, arched structure at night or during inclement weather. The brise soleil has since become a symbol for the city of Milwaukee. In addition to a gallery devoted to temporary exhibits, the pavilion houses the museum's store and its restaurant, Cafe Calatrava. The pavilion received the 2004 Outstanding Structure Award from the International Association for Bridge and Structural Engineering. Visit the museum's website at ... http://mam.org
Posted: 27 Mar 2012 07:42 PM PDT
Cedar Rapids, Iowa.— The Cedar Rapids Museum of Art (CRMA) is excited to be opening an exhibition of works by area artists! "Lure of the Local: Collecting the Corridor, 2006-2011" through May 13th. Beginning with its first acquisition in 1906, the Cedar Rapids Art Association (now the Cedar Rapids Museum of Art) has valued art of its own time, often from local origins. Over the last century, the collection has grown to more than 7,000 works of art, including several works by local artists Grant Wood and Marvin Cone. Over the past five years, a concerted effort has been made to ensure that the Museum collection continues to reflect the artistic outputs of artists living in and near the Corridor.
Posted: 27 Mar 2012 07:33 PM PDT
NEW YORK, NY.- Phillips de Pury & Company announces the highlights from its 3rd special Evening Editions sale of prints and multiples ranging from Modern to Contemporary works created in an edition to be held at 450 Park Avenue on April 25th. "The third Evening Editions sale is not your typical "print sale" included is a wide range of important and iconic works made by an equally diverse group of artists, much of it special material which does not appear often at auction." Kelly Troester and Cary Leibowitz, co-Directors, Modern and Contemporary Editions at Phillips de Pury & Company.
Posted: 27 Mar 2012 06:50 PM PDT
LOS ANGELES, CA.- Renaissance Drawings from Germany and Switzerland, 1470–1600, an exhibition that explores vibrant masterpieces of the German Renaissance, will be on view at the J. Paul Getty Museum , Getty Center , from March 27 to June 17, 2012. The 43 objects have been selected from the Getty Museum's celebrated permanent collection of drawings, and they illuminate an age that elevated draftsmanship to new heights of achievement. The Renaissance in German-speaking lands, which included present-day Germany, Switzerland and parts of France, was one of the greatest periods in the history of northern European drawing. The exhibition includes masterpieces by masters such as Albrecht Dürer, Hans Holbein the Younger, Martin Schongauer and Lucas Cranach the Elder .
Posted: 27 Mar 2012 06:37 PM PDT
NEW HAVEN, CT - A dozen years ago the art dealer Richard L. Feigen attended an auction of European paintings at Sotheby's in London and found a picture he liked: a richly colored scene of a religious vision, with a hovering saint and four angels, all topped by shimmering gold halos, that was attributed to a minor Italian painter. "It seemed like it was from the third decade of the 15th century," said Mr. Feigen, 79, who has been collecting art since he was a teenager. "But the perspective and the way some of the spaces were rendered seemed very far out for that moment." He picked it up for about $20,000 and a year later asked Laurence Kanter, an expert in early Italian painting and at the time a curator at the Metropolitan Museum of Art, for his opinion of the work. Examining a photograph of the painting, Mr. Kanter immediately felt the rush of discovery.
"The way the four feet of the scene's candelabra sit perfectly, completely, convincingly on the floor, so you can see exactly how the floor recedes — only one artist ever painted like that, and that was Fra Angelico."
More than that, Mr. Kanter soon realized — after a sleepless night and what he called "a eureka moment, like Archimedes in the bathtub" — that if the four corners of the work, which were hidden in its framed state, turned out to be gold leaf, it could be an Angelico from a famous five-part predella, the other four panels of which resided in institutions.
Bingo. Mr. Feigen had bought Angelico's "Vision of St. Lucy," from 1427 to 1429, a work that could conceivably fetch north of $5 million at auction today.
"St. Lucy" is now on view with some 60 pieces from Mr. Feigen's personal collection of Italian paintings here at theYale University Art Gallery, where Mr. Kanter is now a curator, through Sept. 12.
The exhibition features works from the early 14th century to the 17th, including three panel paintings that Mr. Kanter has attributed to the supremely scarce early Florentine master Andrea di Cione, known as Orcagna, whom he called "the rarest fish in the sea."
Such an exhibition could be seen as merely a victory lap for Mr. Feigen, who has been at the top of the art trade for decades, selling million-dollar pictures to the biggest museums and the richest collectors — and pocketing enough in the process to buy some choice pieces for himself.
But he and Mr. Kanter, who organized the exhibition, have something loftier in mind. The show is part of a campaign to bring old-fashioned connoisseurship back into the academy, which they consider to be a thicket overgrown with abstruse theories.
"Art history has been hijacked by other disciplines," said Mr. Kanter, who teaches a connoisseurship seminar to Yale graduate students. "Original works of art have been forgotten. They're being used as data, without any sense of whether they're good, bad or indifferent."
He added: "No one wants to turn art history back 150 years. But we're lacking an important tool that we threw out the window 70 years ago."
The outspoken Mr. Feigen, who graduated from Yale in 1952, went further. "There isn't a single art history department in the world that I consider first-class," he said, as he toured the exhibition earlier this year. "I'm hoping Yale will develop a focus on objects instead of theories."
The idea is a simple one: If Mr. Feigen can spot Fra Angelico-level quality by closely looking at art with his well-trained eye, perhaps students too one day can learn to tell gold from dross. Mr. Kanter and Mr. Feigen do have allies in their cause, though it is a small club, many of whose members are white, male and over 40.
"It's not uncommon to encounter bright students who are able to express the most abstract ideas with ease and who, when faced with actual works of art, are tongue-tied," said Keith Christiansen, a curator of European paintings at the Met and Mr. Kanter's former colleague there. "Connoisseurship needs to form an alliance with the very academic approach. They inform each other."
Robert Storr, the dean of the Yale School of Art, said he was also sympathetic to that perspective. As a former Museum of Modern Art curator, Mr. Storr has written many a monograph and knows his way around the theories of Jacques Lacan. But he is also a painter who laments that many students learn art only from reproductions.
"Telling a fake from the real thing is one of the most important things to learn," Mr. Storr said. "At the recent Caravaggio show in Rome I could see that three paintings were dramatically retouched — areas way too clumsy to be his work. If you go there to bask in the glory of Caravaggio and don't realize you're also basking in the glow of Joe Schmo, you need to learn connoisseurship."
But Mr. Storr said that he will go only so far with the discernment brigade. "There's a conservative side to all this that I don't subscribe to," he said. "It takes us back to Clement Greenberg and the idea that some people have an eye that trumps all other."
For his part Mr. Feigen remains resolute and cheerful about his unfashionable stance. "I take an elitist attitude," he said. "I don't ask people what they want to see. I tell them what they ought to want to see." Usually his pictures reside in the temperature- and humidity-controlled dining room of his Upper East Side home, where they are stacked high and crowded in the manner of an old-fashioned salon.
The paintings have more space to be appreciated on Yale's walls, and Mr. Feigen and Mr. Kanter are particularly eager to train the eyes of visitors with a comparison of two works that are displayed side by side, both from the 14th-century Florentine studio of Bernardo Daddi: Daddi's "St. John the Evangelist," from about 1337, and "St. Benedict" of the same period, which Mr. Kanter has attributed to Orcagna, who briefly worked in Daddi's studio.
"It's a lesson in hard looking," Mr. Kanter said. "Once you can tell these pictures are by different painters, even thought they are a pair, it opens you up to so many different things." Both saints have a beatific aura, but Benedict's beard, robes and book are more subtly, realistically rendered.
Mr. Feigen said that after they were restored, he was able to appreciate fully St. Benedict's sculptural qualities. "Look how his arm curls and the drapery folds," Mr. Feigen said. "The beard rakes into the light. This is almost as sophisticated as 20th-century painting."
Although few students are present over the summer to pore over the differences between these works, the exhibition does overlap into the start of Yale's academic year, which starts Sept. 1.
Mr. Kanter will bring his students to the show; he added that there was interest from his colleagues as well. "I've had three professors complain that it should have been scheduled as a fall exhibition, so that they could design a class around it," he said.
Maybe it's not evidence of a seismic shift toward connoisseurship, but Mr. Kanter is taking his cues from the depictions of religious signs on the walls. "We live in hope," he said.
The Yale University Art Gallery, 1111 Chapel St. (at York), is open to the public free of charge Tuesday-Saturday 10 a.m.-5 p.m.; Thursday until 8 p.m. (through June); and Sunday 1-6 p.m. It is closed Mondays and major holidays. Admission is free. To see all of the collection visit : http://opa.yale.edu/news/article.aspx?id=7576
Written by : Ted Loos for The New York Times (c)
Posted: 27 Mar 2012 06:36 PM PDT
BOCA RATON, FL.- Who is the mysterious figure at the center of Boca Raton Museum of Art's new exhibition, Andrew Stevovich: The Truth About Lola? Andrew Stevovich (born in Austria in 1948-) may consider himself to be an abstract painter more concerned with meticulous composition than with narrative, but don't tell that to the highly figurative characters appearing on his canvases. The deadpan paintings, with their frozen moments of social interactions, are set in the contemporary world, though their crisp design, brilliant color and precise surfaces recall the early Italian Renaissance masters from Giotto to Botticelli. The show opened March 17, 2009. The exhibition will run through May 31, 2009.
Posted: 27 Mar 2012 06:35 PM PDT
LONDON.- The forthcoming photographic exhibition, Londoners Through a Lens, opens on Friday 14th August at the Getty Images Gallery and follows on from last year's hugely popular show, London Through a Lens. Londoners Through a Lens takes another look at the capital, but this time with the emphasis on its inhabitants, from the famous figures to the everyday people. Time Out Guides will once again be publishing a 'Londoners Through a Lens' book to accompany the exhibition, which will go on sale 3rd September 2009.
Posted: 27 Mar 2012 06:34 PM PDT
NORTH ADAMS, MA.- After nearly six months of intensive drafting and painting by a team of some sixty-five artists and art students, Sol LeWitt: A Wall Drawing Retrospective is fully installed. The historic exhibition opens to the public at MASS MoCA (Massachusetts Museum of Contemporary Art), on November 16, 2008, and will remain on view for twenty-five years. Conceived by the Yale University Art Gallery, in collaboration with the artist before his death in April 2007, the project has been undertaken by the Gallery, MASS MoCA, and the Williams College Museum of Art.
Sol LeWitt: A Wall Drawing Retrospective comprises 105 of LeWitt's large-scale wall drawings, spanning the artist's career from 1969 to 2007. These occupy nearly an acre of specially built interior walls that have been installed—per LeWitt's own specifications—over three stories of a historic mill building situated at the heart of MASS MoCA's campus. The 27,000-square-foot structure, known as Building #7, has been fully restored for the exhibition by Bruner/Cott & Associates architects, which has closely integrated the building into the museum's main circulation plan through a series of elevated walkways, a dramatic new vertical lightwell, and new stairways.
The works in the exhibition are on loan from numerous private and public collections worldwide, including the Yale University Art Gallery, to which LeWitt designated the gift of a major representation of his wall drawings, as well as his wall-drawing archive.
Jock Reynolds, the Henry J. Heinz II Director of the Yale University Art Gallery, states, "Watching this grand installation of Sol LeWitt's wall drawings progress over the past six months has been nothing short of thrilling. In addition to providing an enduring exhibition of great beauty, this retrospective will enable visitors to behold for the first time the full trajectory of a major aspect of Sol's artistic career. Until today, the only way to view multiple LeWitt wall drawings has been to travel far and wide, pursuing them individually in situ or in temporary museum exhibitions. Now, visitors will be able to return to MASS MoCA again and again to experience this visual feast of Sol's wall drawings in a single location, doing so at their leisure over the next twenty-five years."
LeWitt—who stressed the idea behind his work over its execution—is widely regarded as one of the leading exponents of Minimalism and Conceptual art, and is known primarily for his deceptively simple geometric structures and architecturally scaled wall drawings. His experiments with the latter commenced in 1968 and were considered radical, in part because this new form of drawing was purposely temporal and often executed not just by LeWitt but also by other artists and students whom he invited to assist him in the installation of his artworks.
Each wall drawing begins as a set of instructions or simple diagram to be followed in executing the work. As the exhibition makes clear, these straightforward instructions yield an astonishing—and stunningly beautiful—variety of work that is at once simple and highly complex, rigorous and sensual. The drawings in the exhibition range from layers of straight lines meticulously drawn in black graphite pencil lead, to rows of delicately rendered wavy lines in colored pencil; from bold black-and-white geometric forms, to bright planes in acrylic paint arranged like the panels of a folding screen; from sensuous drawings created by dozens of layers of transparent washes, to a tangle of vibratory orange lines on a green wall, and much more. Forms may appear to be flat, to recede in space, or to project into the viewer's space, while others meld to the structure of the wall itself.
The impetus for Sol LeWitt: A Wall Drawing Retrospective was a 2004 conversation between Reynolds and LeWitt. This evolved and resulted in a commitment by the artist to give a substantial number of his wall drawings and his entire wall-drawing archive to the Yale University Art Gallery, which already owned an extensive array of LeWitt's art in multiple mediums. Realizing that the Gallery did not have enough space to install and maintain a large number of the artist's wall drawings at any one time, Reynolds suggested to LeWitt that MASS MoCA, with its historic mill complex, growing audience, and history of realizing ambitious new works of art, might be able to accommodate an extended retrospective of the works.
Reynolds and LeWitt then met with Thompson, who introduced the artist to Building #7. The structure, situated at the center of MASS MoCA's multi-building complex and featuring large banks of windows that open onto two flanking courtyards, appealed to LeWitt as an ideal site for a multi-floor installation of his work. In addition to the new interior walls, which he designed in consultation with Bruner/Cott & Associates, his specifications for the space included a plan that would leave nearly all of the existing exterior masonry walls and large windows intact, providing direct side lighting and offering beautiful views to surrounding courtyards and the Berkshire Hills beyond.
Retrospective Installation and Education Opportunities
"Detailed," "painstaking," and "strangely liberating" are terms that have been used to describe the experience of creating Sol LeWitt's monumental wall drawings. The drawings at MASS MoCA were executed over a six-month period by a team comprising twenty-two of the senior and experienced assistants who worked with the artist over many years; thirty-three student interns from Yale University, Williams College, the Massachusetts College of Liberal Arts, and fourteen other colleges and universities; and thirteen local artists and recent graduates and post-graduates from many of the nation's leading studio-art programs.
MASS MoCA's North Adams location, just five miles from Williams College, offers a unique educational opportunity for Williams's undergraduates and those enrolled in its graduate art-history program at the Sterling and Francine Clark Art Institute to participate in this special exhibition. Like Yale, Williams is among the primary training grounds for professionals in the field of art history, and the LeWitt collaboration, to be accompanied by a variety of educational programs, will offer students many opportunities to study the work of this important artist.
In conjunction with the project, the Williams College Museum of Art (WCMA) is creating a series of programs and shorter-term companion "teaching exhibitions" in a space at the entrance of Building #7 and at the WCMA. The first of these, The ABCDs of Sol LeWitt, opens at WCMA on November 14, 2008. It includes important works from LeWitt's private collection that help elucidate the underlying grammar of the artist's work and ideas. Visit MASS MoCA at : www.massmoca.org/
Posted: 27 Mar 2012 06:33 PM PDT
LONDON.- In July Haunch of Venison presents "I Will Survive" the first survey exhibition of Portuguese artist Joana Vasconcelos to take place in London. The pre-eminent Portuguese artist of her generation, Vasconcelos came to public attention for her display at the Venice Biennale in 2005. Her stunning sculpture A Noiva (The Bride) took the form of a chandelier made from around 25,000 tampons and greeted visitors to the Arsenale. Typical of her witty and often provocative work, these unglamorous objects belie the sculpture's grand structure.
Posted: 27 Mar 2012 06:32 PM PDT
Austin, TX - The Blanton Museum of Art presents an important exhibition of prints drawn exclusively from its renowned collection. The Language of Prints will provide an opportunity for seasoned connoisseurs to view a comprehensive section of the Blanton's collection, as well as serve as an overview to anyone who has ever wondered about the importance of prints or how to read the nuanced craftsmanship behind these complex works on paper. On exhibition through 17 August, 2008.
Conceived as an introduction to this distinctive medium, the exhibition includes more than 100 rare works from the museum's collection, with examples from Albrecht Dürer, Rembrandt, Francisco Goya, Roy Lichtenstein, Henri Matisse, Carol Bove, and many others. With works from the 15th century to today, it serves as a comprehensive overview of the history of printmaking, but more importantly, it examines the relationship between the works and the society and time in which they were produced. Through insightful parings, the principles, techniques and processes of prints will be examined, offering viewers an accessible explanation of the medium.
Jonathan Bober, Curator of Prints, Drawings and European Paintings, explains, "Prints are the most frequently experienced but least understood works of art. In most exhibitions, the medium is usually presented in terms of its great masters or explained solely in terms of technique. This exhibition uses these traditional presentations as simply a point of departure. It explores the medium as a rich and largely collective system of expression–a 'language'– all its own."
The exhibition explores three important areas: the principles, techniques, and processes of the medium. Mezzotints, engravings, lithographs, woodcuts, etchings, and many other print making methods will be explained to viewers, with first-rate examples of each process. In addition to printmaking techniques, viewers will come to understand how throughout history, prints have functioned within their respective societies. Used as advertisements, teaching or proselytizing tools, portraits, and even currency, prints have long influenced society in both direct and subtle ways.
The exhibition also marks the occasion of the 2008 annual meeting of the Print Council of America. This meeting in May, organized by the Blanton, is the first Council meeting in Texas. The Council specifically selected the Blanton for its comprehensive collection, which is widely recognized as one of the largest and most distinctive collections of prints on a university campus.
The Language of Prints is organized by the Blanton Museum of Art. Funding for the exhibition is provided by Robert Loper.
The Blanton's Collection of Prints and Drawings
The museum's 15,000 drawings include examples from most periods and cultures, ranging from Raphael and Guercino to J.M.W. Turner and Richard Serra. The Blanton's holdings are distinguished in the following areas: Italian Renaissance drawings, which include works by Raphael, Correggio, and Luca Cambiaso; Baroque drawings (Italian, French, and Central European), which constitute one of the finest and most extensive collections in this country; Contemporary Latin American drawing, which include works by Luis Benedit and Juan Calzadilla.
The Blanton's prints and drawings collection, while possessing a solid reputation as broad, deep, and of high quality, was greatly enhanced with the major acquisitions of the Suida-Manning and Leo Steinberg Collections. In 1998, in addition to paintings, the Suida–Manning Collection brought some 400 Renaissance and Baroque drawings by many important painters and draftsmen to the Blanton's collection. With this acquisition, the Blanton's holdings of Old Master drawings became one of the finest in the nation, with renowned groups of Italian, French, and German Baroque works. In 2002, noted art historian and critic Leo Steinberg gave his collection of more than 3,200 prints to the Blanton. This encyclopedic collection was among the finest in private hands in the United States and is recognized by scholars for its extraordinary quality, range, and depth, and for its representation of rare and unique works. It includes prints from the 15th through the 20th centuries, including masterpieces by Marcantonio Raimondi, Dürer, Parmigianino, Cornelis Cort, Hendrick Goltzius, Claude Lorrain, Rembrandt, and Francesco Piranesi, as well as William Blake, Matisse, Picasso, George Grosz, Jasper Johns, and many others
Visit the Blanton Museum of Art at : www.blantonmuseum.org/
Posted: 27 Mar 2012 06:31 PM PDT
CHARLOTTE, N.C. – Winterthur, an American country estate located in Delaware's picturesque Brandywine Valley, is widely known for its museum, garden and library. Open to the public since 1951, it displays Henry Francis du Pont's (1880-1969) magnificent collection of American decorative arts. In celebration of Winterthur's 50th anniversary in 2001, an exhibition of the rarest and most renowned objects from the museum's collection was organized for the National Gallery of Art, Washington, D.C. Now, some of Winterthur's most prized possessions are on traveling exhibition. An American Vision: Henry Francis du Pont's Winterthur Museum will be on view at the Mint Museum of Art from June 30 through September 23, 2007.
Posted: 27 Mar 2012 06:30 PM PDT
Madrid.- The first retrospective on the Russian artist Marc Chagall to be organised in Spain will open in February at the Museo Thyssen-Bornemisza and Fundación Caja Madrid. More than 150 works from public and private collections and institutions around the world will be on display in the two venues, offering a complete overview of the career of one of the leading artists of the 20th century: a unique creative figure with a highly distinctive style who played a key role in the history of modern art. The MoMA and the Guggenheim in New York, the Kunsthaus Zurich, the Kunstmuseum Berne, the Stedelijk Museum Amsterdam, the Tel Aviv Museum of Art, and Tate Modern in London are among the twenty international museums that have lent key works from their collections, to be seen alongside others from private collections.
Particularly important is the loan from the Centre Pompidou in Paris, which is sending 20 works, and that from the artist's family, which has been particularly generous in this respect. The result is a large and comprehensive group of masterpieces selected by the exhibition's curator, Jean-Lous Prat, President of the Comité Chagall. Together they will make this exhibition a major and unrepeatable artistic event and one that will offer visitors a unique opportunity to appreciate the wide-ranging and incomparable oeuvre of this essential figure. "Chagall" will be on view at both venues from February 14th to May 20th.
Marc Chagall developed a highly expressive and colourist pictorial style that was closely linked to his own life and to the religious and popular traditions of the Russian Jewish community. Chagall combined elements from Cubism, Fauvism and Robert Delaunay's Orphism to create a personal style that is difficult to categorise. Born in the small Russian town of Vitebsk, Chagall's long life (he lived to be almost 100) was marked by the major historic events of the first half of the 20th century. A tireless creator and one always open to new experiences and to learning, Chagall's output is rich and varied. Using his particular and unique style, he was permanently open to exploring new techniques (oil, printmaking, sculpture, ceramics, stained glass, etc) and to undertaking new projects. One important section of this exhibition, for example, is devoted to his significant activitie s as a book illustrator. Throughout his life Chagall was surrounded by poets and writers who were his friends and with whom he maintained close and mutually creative relations. Breton, Malraux, Cendrars and Apollinaire were among those who considered him a "literary painter" and it is evident that Chagall loved literature, particularly the message of freedom contained within words, which he was able to enrich with his fantastical and colourful compositions.
Chagall was essentially a master of colour; his tones vibrate in different intensities and function to highlight the subjects of his paintings. His blues, greens, reds and yellows fill with life his real or imaginary characters, who inhabit a special universe of their own. Everything is possible in this constantly surprising world based on real or imagined stories: a violinist, a rabbi, two lovers, an acrobat, a landscape and a wide range of fantastical animals fill his compositions. In this world, colours and surprising figures and animals come together in previously unknown ways, resulting in a unique combination that made Chagall a forerunner of Surrealism, as that movement's theoretician, André Breton, noted: "With Chagall, metaphor made its triumphant entry into modern painting."
In the summer of 1911, the young Chagall arrived in Paris from the remote provincial city of Vitebsk in Russia with the aim of making his way in the international capital of the art world at that date. He made friends with the painters Léger, Modigliani and Soutine and with the poets André Salmon, Max Jacob and Guillaume Apollinaire among others. Over the next few years he exhibited at the Salon d'automne and at the Salon des Indépendants. Through Apollinaire, Chagall met the Berlin art dealer Herwarth Walden who chose three of his works for the first Herbstsalon in Berlin in 1913. Chagall held his first solo exhibition in Walden's gallery in 1914. Accustomed to Expressionism, the German public received his works with enthusiasm and Chagall progressed from being a young and talented painter to one who enjoyed international recognition. From Berlin the artist went back to his native city where he was surprised by the outbreak of World War I. In 1915 he married his fiancé Bella Rosenfeld and following the Russian Revolution was employed as Director of the Vitebsk Art School for two years. Due to differences of opinion with Kazimir Malevich he was obliged to leave the academy and in 1920 began to work for the State Jewish Theatre in Moscow for which he created sets and costume designs. In 1922 Chagall left Russia for ever and after a short period in Berlin settled in France in 1923. He lived there for the rest of his life with the exception of a brief period between 1941 and 1948 when he lived in the USA in order to avoid deportation by the Nazis.
It was during this period, in 1946, that the Museum of Modern Art in New York held a retrospective exhibition of his work that fully established his international reputation. Baron Thyssen-Bornemisza acquired his first painting by Chagall, "The Madonna of the Village", in 1965, followed by three further exceptional works that are now part of the Museum's Permanent Collection, namely "The Cockerel", "The Grey House" and "Nude". In one of the biographies of the family, the Baron recalled: "I once asked Chagall why he always painted cows playing the violin in the skies in his paintings. Very simply, he replied that he had grown up in the countryside and had therefore always been surrounded by cows, 'which is why I always paint cows in the sky'". The present exhibition at the Museo Thyssen-Bornemisza and Fundación Caja Madrid follows a chronological order. The first part, "The Path of Poetry", runs from Chagall's earliest years in Russia and his early period in Paris to his enforced exile in the USA and includes his experiences in revolutionary Russia and his return to France in 920. The second part, "The Great Play of Colour", to be shown at the exhibition space of Caja Madrid, analyses Chagall's artistic evolution from 1950 onwards, focusing on the principal themes within his work in his final decades including the Bible and the Circus, his relationships with contemporary poets and his sculptures and ceramics.
The Thyssen-Bornemisza Museum (Museo Thyssen-Bornemisza in Spanish), is one of the three Madrid museums that make up the "Golden Triangle of Art", which also includes the Prado and the Reina Sofia (modern and contemporary) galleries. The collections's roots lie in the privately owned Thyssen-Bonremisza collection, once the second largest private art collection in the world (after the British Royal Collection). The collection started in the 1920s as a private collection by Heinrich, Baron Thyssen-Bornemisza de Kászon (1875–1947). In a reversal of the movement of European paintings to the United States during this period, one of the Baron's sources was the collections of American millionaires coping with the Great Depression and inheritance taxes, from which he acquired such exquisite old master paintings as Ghirlandaio's 'Portrait of Giovanna Tornabuoni' (once in the Morgan Library) and Carpaccio's 'Knight' (from the collection of Otto Kahn). The collection was later expanded by Heinrich's son Baron Hans Heinrich Thyssen-Bornemisza (1921–2002), who re-assembled most of the works from his relatives' collections (distributed after his father's death) and proceeded to acquire large numbers of new works. In 1985, the Baron married Carmen Cervera (a former Miss Spain 1961) and introduced her to art-collecting. Carmen's influence was decisive in persuading the Baron to decide on the future of his collection and cede the collection to Spain. When Baron Thyssen decided to open his collection to the public, he initially tried to have his museum in the Villa Favorita in Switzerland expanded, when this proved impossible, a Europe-wide search for a new was home started. The competition was won in 1986 when the Spanish government came to an agreement to provide a home for the collection (the 19th century Villahermosa Palace close to the Prado in Madrid) and fund the museum in return for the loan of the collection for a minimum of nine and a half years. Pritzker prize winning Spanish architect, Rafael Moneo was employed to redesign and extend the building and the museum opened in 1992.
However, so impressed were the Thyssen-Bornemiszas with the building and Spain's commitment to the collection, that even before it opened, they were negotiating with the Spanish government to make the museum permanent. In 1993, the Spanish government agreed to buy the collection (valued at up to 1.5 billion dollars) for $350 million and the Thyssen-Bornemisza Museum became a permanent fixture in Madrid. The museum currently houses two collections from the Thyssen-Bornemiszas, the Thyssen-Bornemisza Collection, acquired by the Spanish government from Baron Hans Heinrich Thyssen-Bornemisza on permanent display since the museum opened in 1992 and the Carmen Thyssen-Bornemisza Collection, owned by the baron's widow and held by the museum since 2004 on loan. These two collections comprise over one thousand works of art (mostly paintings), with which the museum offers a stroll through the history of European painting, from its beginning in the 13th century to the close of the 20th century. The Baroness remains involved with the museum, deciding the salmon pink tone of the interior and in May 2006 campaigning against plans to redevelop the Paseo del Prado as she thought the works and traffic would damage the collection and the museum's appearance. A collection of works from the museum is housed in Barcelona in the Museu Nacional d'Art de Catalunya. Visit the museum's website at … http://www.museothyssen.org
Posted: 27 Mar 2012 06:29 PM PDT
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