Senin, 02 April 2012

Art Knowledge News - Keeping You in Touch with the World of Art...

Art Knowledge News - Keeping You in Touch with the World of Art...

The Museum of Fine Arts in Boston to feature "Alex Katz Prints"

Posted: 02 Apr 2012 01:49 AM PDT

artwork: Alex Katz - "Dog at Duck Trap", 1975–76 - Lithograph - 29 x 43 cm. - Collection of the Albertina, Vienna - © 2012 Alex Katz/Licensed by VAGA, NY On view at the Museum of Fine Arts, Boston in "Alex Katz Prints", from April 28th until July 29th.

Boston, Massachusetts.- Alex Katz's bold portraits and lyrical landscapes are among the most recognizable images of contemporary art. Quintessentially American and characterized by cool detachment, his works spark a dialogue between abstraction and representation. In celebration of the 60-year career of Katz (born 1927), and the promised gift of an archive of the artist's prints from the 1960s to today, the Museum of Fine Arts Boston (MFA), will present "Alex Katz Prints", on view from April 28th through July 29th in the Ann and Graham Gund Gallery.  This retrospective — conceived and drawn from the collection of the Albertina Graphic Collection in Vienna, which received the gift of a major Katz print archive — will showcase approximately 125 works. Included among them will be portraits of Ada, Katz's wife and longtime muse, family members, and figures from the worlds of art and culture; landscapes of Maine; portfolios; and illustrated books of poetry.

In Boston, additional works from the MFA's collection and promised archive will be included, and a special highlight will be Rush (1971), a series of 37 paintings given by Katz to the MFA in 2011, which will make its Boston debut during the exhibition. Alex Katz Prints will have its only US showing at the MFA. "New York artist Alex Katz, who has spent his summers in New England since the 1950s, has a longstanding relationship with the MFA," said Malcolm Rogers, Ann and Graham Gund Director of the Museum. "Over many years, he has been exceptionally generous, helping us to build our contemporary collections in exciting and meaningful ways. We are delighted to celebrate his long and distinguished career as a printmaker, as well as his promised gift to the Museum of an archive of his prints with this beautiful exhibition."

artwork: Alex Katz - "Indian Blanket", 1987 - Aquatint - Collection of the Albertina, Vienna  © 2012 Alex Katz/Licensed by VAGA NY.  -  At the Museum of Fine Arts, Boston in "Alex Katz Prints", from April 28th until July 29th.

The exhibition will begin with a "family room" featuring prints of the artist, his wife Ada, poet and art critic son Vincent, and daughter-in-law Vivien. The centerpiece will be the dramatically cropped image Ada: Orange Hat (1990). For more than five decades, Katz's wife has been his muse, her elegant visage captured in a variety of poses. Throughout the exhibition, in works such as Blue Umbrella (1979-80), Ada assumes many different guises and costumes, evoking the ever-changing fashions and styles of recent decades. An adjoining space will feature portfolio images of Alex and Ada, including Self-Portrait (Passing) (1990) and the life-size, freestanding silkscreened aluminum cutout Ada (1999). Elsewhere in the exhibition, additional images of Ada will be showcased, including Brisk Day (1990), three identical, sequential portraits of her in a red coat printed in woodblock, aquatint, and silkscreen. A focal point of the exhibition will be Rush (1971), on view in a separate space dedicated to the portrait series. Given to the MFA in 2011, it comprises 37 painted aluminum silhouetted heads, which will be hung side-by-side at eye level like a continuous frieze, suggesting a roomful of people gathered at a cocktail party. Among them are key cultural figures of the 1960s and '70s, including artists Rudy Burckhardt, Al Held, Brice Marden, and Yvonne Jacquette; writers Ted Berrigan, Thomas Disch, and Larry Fagin; critics Edmund Leites, Robert Rosenblum, and Irving Sandler; and, from the world of dance, Edwin Denby and William Dunas. Throughout the Gund Gallery, visitors will discover a wide range of prints by Katz that capture various facets of everyday life in both city and country.

A hallmark of Katz's work is its evocation of the New York cultural scene with the artist drawing heavily on the worlds of art, dance, and poetry. Of special note is the series Pas de deux (1994), prints of five couples in high-fashion dress, including artists David Salle, Red Grooms, and Francesco Clemente; Face of the Poet (1978), a portfolio of 14 aquatints from shaped plates consisting of portraits and poems by leading poets, such as Ann Lauterbach and Ted Berrigan; and Night: William Dunas Dance 1-4 (1983), a sequence of four lithographs that draws upon Katz's interest in the world of dance. Even animals will be part of the mix, as seen in the whimsical life-size cutout Cow (2006), or in Dog at Duck Trap (1975–76), an image of the Katzes' shaggy-haired Skye Terrier, Sunny, looking out at visitors from a Maine landscape. Among the highlights of Alex Katz Prints are the artist's evocative landscapes that capture the quiet majesty of Maine, where the Katzes have summered for decades in Lincolnville. The woods, beaches, and ponds of Maine have provided rich subject matter for Katz since he first visited the state in 1949.  Many of the works show his keen interest in the effect of changing light and shadow on a particular setting, such as the early Luna Park I (1965) and Twilight I, II, and III (1978). In addition, Katz's large painting Poplars (2003), a 2009 gift to the MFA from the Alex Katz Foundation, will be on view as one leaves the Gund Gallery.

artwork: Alex Katz - "Ulla in Black Hat", 2010 - Screenprint - 28 1/2" x 40" - Collection of the Albertina, Vienna © 2012 Alex Katz/Licensed by VAGA, New York, NY. On view at the Museum of Fine Arts, Boston in "Alex Katz Prints", from April 28th until July 29th.

A native of Brooklyn, NY, Katz was one of the pioneering artists who moved in the late 1960s to Soho.  He graduated from The Cooper Union in 1949 and subsequently studied at the Skowhegan School of Painting and Sculpture in Maine, where he was exposed to painting from nature.  Early in his career in the 1950s, Katz began painting numerous portraits, especially of Ada and their friends.  By the mid 1960s, Katz made a major commitment to printmaking, producing editions in lithography, etching, silkscreen, woodcut, and linoleum cut.  During this time and into the 1970s, he became interested in portraying groups of figures—especially the artists, poets, and critics who occupied his cultural sphere. Katz also produced large-scale billboard murals in Times Square in 1977. His love of dance led to a long-standing collaboration with choreographer Paul Taylor to design sets and costumes for his dance company.  An appreciation of poetry and his close friendship with many key literary figures of the period inspired collaborations with poets, including his son, Vincent, in a series of illustrated books. In the 1980s, the world of fashion influenced Katz's work, and during this time he also focused his attention on large-scale landscape paintings. His work in this period had a notable resonance for a generation of artists that included David Salle, Eric Fischl, and Francesco Clemente. From the 1990s through today, Katz's landscapes have featured variations on the theme of light as it falls through tree branches and changes from day to night. Today, he continues to work extensively on a variety of projects and exhibitions, and his work is an important frame of reference for a younger generation of artists. His gallery representation is Gavin Brown's enterprise. Katz's works have been showcased in countless international exhibitions, and are included in more than 100 museums and collections worldwide. His strong ties to Maine led to the opening in 1996 of the Paul J. Schupf Wing for the Works of Alex Katz at Colby College, one of the few wings of a museum in the United States devoted solely to the work of a single living artist.

The Department of Prints, Drawings, and Photographs, which originated in 1887 at the MFA, houses an encyclopedic collection of works on paper—prints, drawings, watercolors, photographs, illustrated books, and posters of American and European origin dating from the 15th century to the present. It is one of the world's major print rooms measured by standards of both size and quality. Well-represented artists include Albrecht Dürer, Rembrandt van Rijn, Francisco Goya, Pablo Picasso, Edvard Munch, Kathe Kollwitz, and the German Expressionists, as well as the French Impressionists Camille Pissarro, Mary Cassatt, and Edgar Degas. In addition to the promised gift of the archive of prints by Alex Katz, the MFA is the repository for archives of the prints of Michael Mazur and Jim Dine. Selections of prints and drawings by other contemporary artists, such as Jasper Johns, Robert Rauschenberg, Terry Winters, and Tara Donovan, are also featured. Works from the collection are exhibited on a rotating basis in galleries throughout the Museum. The Museum of Fine Arts, Boston (MFA), is recognized for the quality and scope of its encyclopedic collection, which includes an estimated 450,000 objects. The Museum's collection is made up of: Art of the Americas; Art of Europe; Contemporary Art; Art of Asia, Oceania, and Africa; Art of the Ancient World; Prints, Drawings, and Photographs; Textile and Fashion Arts; and Musical Instruments. Visit the museum's website at ...

The Governor General’s Awards in Visual and Media Arts 2012

Posted: 02 Apr 2012 01:35 AM PDT

artwork: Lady Gaga created quite a controversy when she wore this meat dress created by Canadian artist Jana Sterbak on the cover of Vogue Japan. She proved that controversies don't bother her because she wore it yet again for the MTV Video Music Awards.

Ottawa, Canada- Through their innovative, daring work, the recipients of the 2012 Governor General's Award in Visual and Media Arts, awarded by the Canada Council for the Arts, have each made their mark on the Contemporary visual arts scene. Recently, their rich and influential careers were honored with this prestigious award and from 30 March to 17 June 2012, these great Canadian artistic talents will have some of their most important works shown at the National Gallery of Canada, in the Contemporary Galleries (B108). Significant pieces by performance artist Margaret Dragu, photographer Geoffrey James, visual artist Ron Martin, visual artist – media and installation Jan Peacock, sculptor Royden Rabinowitch, visual artist Jana Sterbak, and Charles Lewton-Brain (Saidye-BronfAward for excellence in the fine crafts). The exhibition is organized by the National Gallery of Canada in collaboration with the Canada Council for the Arts and the Governor General of Canada.

British Museum reports Hajj exhibition receiving over 80,000 visitors to date

Posted: 02 Apr 2012 01:17 AM PDT

artwork: Ahmed Mater (b. 1979) - "Magnetism of the Hajj" - Photogravure etching. 2011 - © Ahmed Mater and the Trustees of the British Museum.

LONDON.- Hajj: journey to the heart of Islam has reached the target visitor figure for the exhibition receiving over 80,000 visitors in just over seven weeks. The exhibition opened on 26th January and runs until 15th April. The exhibition has been seen by a diverse audience including many family visitors (children under the age of 16 can access the exhibition for free). With only two weeks left the British Museum has extended the opening hours of the exhibition on Saturday and Sunday evenings to release more tickets and meet demand as time slots are frequently sold out. Hajj: journey to the heart of Islam is the first major exhibition dedicated to the Hajj; the pilgrimage to Mecca (Makkah) in the Kingdom of Saudi Arabia which is central to the Muslim faith.

"The Art of the Enlightenment" Finishing in Beijing, more than 450,000 Visitors

Posted: 01 Apr 2012 10:20 PM PDT

artwork: National Museum of China is located at the east side of Tiananmen Square in central Beijing.  Three German museums unveiled nearly 600 exhibits, spread over a total display area of 2700 m² in the National Museum of China in Beijing. At its heart, the exhibition features artworks which best exemplify the great art of the Enlightenment, and its effective history, from the best of artistic revolutions of the 18th century right up to the present day.

BERLIN.- With a joint ceremony on March 25th , Cornelia Pieper, Minister of State in the Foreign Office, and Zhao Shaohua, Deputy Minister of Culture for the People's Republic of China, officially concluded the exhibition "The Art of the Enlightenment" at the National Museum of China. For the past year the exhibition has been on view in Beijing. So far, more than 450,000 visitors have attended. Michael Eissenhauer, Director General of the Staatliche Museen zu Berlin: "The exhibition has shown how the central ideas of the European Enlightenment, which to this day contribute to our cultural identity, have affected art. In addition, it was an offer to enter into a dialog about European art and its forms of expression. Therefore I am particularly pleased about the positive reactions from visitors who have been fascinated by and have thought intensively about the works."

Dirk Syndram, Provisional Director General of the Staatlichen Kunstsammlungen Dresden: "The exhibition was a significant link in the long chain of scientific exchanges and exhibition projects by the three museum institutions in Berlin, Dresden and Munich with their partners in China. This exemplary cooperation made the exhibition possible. It will also foster the continuation of our dialog in a decisive way - already in the near future - with a special exhibition about Xu Jiang at the Lipsiusbau in Dresden. I am convinced that the exhibition will continue to have a positive effect long after it closes."

Klaus Schrenk, Director General of the Bayerische Staatsgemäldesammlungen München: "The cooperation of the three major museum institutions in Berlin, Dresden and Munich with the National Museum of China was a unique and challenging event. It has significantly expanded the horizon for the transmission of culture and has certainly set important standards for future collaborations as well. Together with the Mercator Foundation's lecture series 'Enlightenment in Dialog', the exhibition has made a decided contribution to a deeper understanding of modern Europe's cultural foundations at the time of the Enlightenment."

artwork: Johann Heinrich Füssli - "Satan and Death Separated by Sin", 1802 - Oil on canvas - photo: Bruno Hartinger © Bayerische Staatsgemäldesammlungen Munich.

"The Art of the Enlightenment" is an exhibition by the Staatliche Museen zu Berlin, the Staatliche Kunstsammlungen Dresden, the Bayerische Staatsgemäldesammlungen München Collections and the National Museum of China. Jointly curated by the four museum institutions, the focus of the exhibition is on artworks in which the central ideas of the Enlightenment are visible, their influence on the visual arts, and the impact they have had on the artistic revolutions of the 18th century until the present. On 2,700 sq. meters of space they present the full media spectrum of the arts of the Enlightenment - from painted masterpieces, sculptures and graphics to crafts and fashion, even valuable scientific instruments. The Foreign Office played a key role in promoting and supporting the exhibition.

The concluding event on March 25th begins with the forum "Enlightenment and the Culture of Knowledge". This is the last of five forums in the series "Enlightenment in Dialog", which, on the initiative of the German Ambassador in China and with the support of the Chinese Ministry of Cultural Affairs, the Mercator Foundation has organized together with the National Museum of China as an academic program to supplement the exhibition. In addition, German and Chinese intellectuals have met in salons and exchanged views on various aspects of the Enlightenment.

Sartwork: Andrea Appiani - "The Children of the Painter", 1808 © Bayerische Staatsgemäldesammlungen Munich -  Photo by Nicole Wilhelms

The exhibition was also accompanied by an international youth congress, in which youth from China, India, Russia and Germany discussed enlightenment, cultural values and intercultural museum projects. The programs and events of the Goethe Institute in Beijing also enriched the program, among them readings and guided tours through the exhibition. Beyond the finissage, the cultural exchange program will continue in partnership with the Freie Universität Berlin and the Hochschule für Technik und Wirtschaft Berlin. Aside from the continuing education, it enables the participants to make contacts, develop new ideas for cooperation and so to foster long-term dialog between the cultures.

The initiative "Germany - Land of Ideas" selected the exhibition as one of 365 "Landmarks" ever exhibited.

Art Gallery of New South Wales announces Tim Storrier's self-portrait wins Archibald Prize

Posted: 01 Apr 2012 10:19 PM PDT

artwork: Archibald prize winner Tim Storrier looks at his self portrait, titled "The Histrionic Wayfarer" at the Art Gallery of New South Wales in Sydney, Australia. Tim Storrier took the first prize after contesting with more than 800 entries to win $75,000 as prize money. -  AP Photo/Rob Griffith.

SYDNEY, AU - Tim Storrier was represented in last year's Archibald Prize with another self-portrait without a face. Entitled Moon boy (self-portrait as a young man), the figure was represented by a suit of empty clothes hanging as if on a scarecrow in a barren landscape. This year's self-portrait is, as he notes, a work in a quite different mood. 'It refers to a painting by Hieronymus Bosch called The wayfarer painted in 1510 where the figure is believed to be choosing a path or possibly the prodigal son returning,' says Storrier. 'It also has other references, I believe, but they are rather clouded in biblical history and time. Though there is no face to identify him, Storrier believes that identity is made clear by the clothes and equipment carried. Storrier has included a drawing of himself in the painting, scribbled on a piece of paper being blown away by the wind.

Kunstmuseum Basel exhibits "Renoir Between Bohemia and Bourgeoisie: The Early Years"

Posted: 01 Apr 2012 09:09 PM PDT

artwork: "Le garcon au chat (1868)" ("The Boy with the Cat") of French painter Pierre-Auguste Renoir in the exhibition "Renoir - between Bohemian and Bourgoisie: the early years" at the museum of Fine Arts in Basel, Switzerland. The exhibition runs from April 1 to Aug. 12, 2012.

Basel, Switzerland - From April 1 to August 12, 2012, the spectacular exhibition Renoir. Between Bohemia and Bourgeoisie: The Early Years at the Kunstmuseum Basel will focus on the underappreciated early work of the great painter Pierre-Auguste Renoir (1841–1919). Fifty paintings—portraits, landscapes, and still lifes, among them masterworks from the collections of major museums such as the Musée d'Orsay , Paris, the National Gallery, London, the Metropolitan Museum , New York, and the Art Institute of Chicago , as well as virtually unknown works from private collections, form a magnificent panorama of the formative years of Renoir's art. Pierre-Auguste Renoir was among the French painters who founded Impressionism. With a light palette, loose brushwork, and motifs from modern urban life and leisurely amusements in natural settings, he and his fellow innovators wrote art history. The painter's Impressionist period and his late work have subsequently tended to eclipse other parts of his oeuvre. He has been celebrated as the "painter of happiness," but that has also been a cliché to which he was reduced..

Ceramics of a vast & impressive variety by Lucio Fontana at Karsten Greve Gallery

Posted: 01 Apr 2012 09:08 PM PDT

artwork: Lucio Fontana - "Le Sirene", 1950 - 98 x 110 cm., polychrome ceramics - Courtesy of Karsten Greve Gallery, Paris

PARIS.- Karsten Greve Gallery presents an exhibition of rarely seen ceramics of a vast and impressive variety by Lucio Fontana (1899-1968). The sculptures of this artist are characterised by an experimentation where the concern for the non-finito in the subjects animates the material, approached as it is in a revolutionary manner, while at the same time conserving its innate organic vitality. The matter seems to sizzle, becoming very agitated and telluric, though capable of palpable pleasure. Fontana is oriented in the direction of sculptural research that sees shape as an event through light and space, an actual vital lump charged with energy. It was in 1937 during a stay at the Manufacture Nationale de Sèvres and later, at the furnace of Albisola in Liguria (Italy), that Fontana deepened his technique in a systematic and disciplined manner. It was in fact in Albisola that he produced a marine series with seaweed, butterfly, flower and lobster motifs and an entire petrified and brilliant aquarium. The show will be accompanied by a catalogue with a text by Robert Storr.

Frida Kahlo's Self-Portraits at San Francisco Museum of Modern Art (SFMOMA)

Posted: 01 Apr 2012 07:41 PM PDT

artwork: Frida Kahlo - The Two Fridas, 1939 - Oil on canvas - 68 x 68 in. Museo de Arte Moderno, Mexico City

San Francisco, CA - Through September 28, 2008, the San Francisco Museum of Modern Art (SFMOMA) presents the exhibition Frida Kahlo. Organized by world-renowned Frida Kahlo biographer and art historian Hayden Herrera, the presentation will include approximately 50 paintings from the beginning of Kahlo's career in 1926 to her death in 1954. The San Francisco presentation is organized by John Zarobell, SFMOMA assistant curator of painting and sculpture.

While concentrating on Kahlo's hauntingly seductive and often brutal self-portraits, the exhibition also will include those particular portraits and still-life paintings that amplify her sense of identity. The peculiar tension between the intimacy of Kahlo's subject matter and the reserve of her public persona gives her self-portraits the impact of icons. As her practice progressed, her images grew in confidence and complexity, reflecting her private obsessions and political concerns. Kahlo struggled to gain visibility and recognition both as a woman and an artist, and she was a central player in the political and artistic revolutions occurring throughout the world.

artwork: Frida Kahlo, Henry Ford Hospital,   1932 Oil on metal; 12-13/16 x 15-13/16 inches; Collection Museo Dolores   Olmedo © 2008 Banco de México, Trustee of the Rivera & Frida Kahlo   Museums TrustThe exhibition also will feature photographs that once belonged to Kahlo and Diego Rivera from the Vicente Wolf Photography Collection, many of which have never before been published or exhibited. Emblematic images of Kahlo and Rivera by preeminent photographers of the period (Manuel Alvarez Bravo, Lola Alvarez Bravo, Gisele Freund, Tina Modotti, Nickolas Muray) will be on view alongside never-before-seen personal snapshots of the artist with family and friends, including such cultural and political luminaries as André Breton and Leon Trotsky. These photographs—several of which Kahlo hand-inscribed with dedications; effaced with self-deprecating marks; and kissed, leaving a trace of lipstick—pose fascinating questions about an artist who was both the consummate manufacturer of her own image and a beguiling and willing photographic subject.

During her lifetime, Kahlo was best known as the flamboyant wife of renowned muralist Rivera. Today she has become one of the most celebrated and revered artists in the world. Between 1926, when she began to paint while recuperating from a near-fatal bus accident, and 1954, when she died at age 47, Kahlo painted some 66 self-portraits and about 80 paintings of other subjects, mostly still lifes and portraits of friends. "I paint my own reality," she said. "The only thing I know is that I paint because I need to." Her reality and her need to explore and confirm it by depicting her own image have given us some of the most powerful and original images of the 20th century. Paradoxically, her work allowed her to both express and continually fabricate her own subjectivity.

 Kahlo was born in 1907 in Coyoacán, then a southern suburb of Mexico City. Three years after the 1925 bus accident, she showed her paintings to Rivera. He admired the paintings, and the painter, and a year later they married. Theirs was a tumultuous relationship: Rivera once declared himself to be "unfit for fidelity," and Kahlo largely withstood his promiscuity. As if to assuage her pain, Kahlo recorded the vicissitudes of her marriage in paint. She also recorded the misery of her deteriorating health—the orthopedic corsets she was forced to wear, the numerous spinal surgeries, plus a number of miscarriages and therapeutic abortions. Her painful subject matter is distanced by an intentional primitivism, as well as by the canvases' small scale. Kahlo's sometimes grueling imagery is also mitigated by her sardonic humor and extraordinary imagination. Her sense of fantasy, fed by Mexican popular art and pre-Columbian culture, was noted by surrealist poet and essayist Breton when he came to Mexico in 1938 and claimed Kahlo for Surrealism. She rejected the designation but clearly understood that doors would open under the surrealist label—and they did: Breton helped secure exhibitions for her in New York in 1938 and Paris in 1939.

artwork: Frida Kahlo -   Me and my Parrots,1941 Photo: Vando Rogers Jr - c. 2008 Banco de mexico   Trustee of Diego Rivera & Frida Kahlo Museums TrustSoon after Kahlo returned from attending her Paris show, Rivera asked her for a divorce. They remarried a year later. In the second half of the 1940s Kahlo's health worsened; she was hospitalized for a year between 1950 and 1951, and in 1953 her right leg was amputated at the knee due to gangrene. Her insistence on being strong and joyful in the face of pain sustained her, however; she drew a picture of her severed limb in her journal and wrote, "Feet, what do I need them for if I have wings to fly?"

Kahlo had her first exhibition in Mexico in 1953. Defying doctor's orders, she attended the opening and received guests while reclining on her own four-poster bed. Because she could not sit up for long and she suffered severe effects from prescribed painkillers, her paintings in the period from 1952 to 1954 lost the jewel-like refinement of her earlier works. Her late still lifes and self-portraits—many of which proclaim Kahlo's allegiance to Communist doctrine—testify to her passion for life and her indomitable will, however.

Frida Kahlo brings together works such as Henry Ford Hospital (1932), depicting the artist's miscarriage in Detroit (a first in terms of the iconography of Western art history), and The Broken Column (1944), painted after she underwent spinal surgery. It also includes self-portraits such as Me and My Doll (1937) and Self-Portrait with Monkeys (1943), both of which explore the theme of childlessness. The artist's suffering over Rivera's betrayals is reflected in paintings like her masterful double-portrait The Two Fridas (1939); created during her separation and divorce from Rivera, the work presents a powerful depiction of pain inflicted by love and Kahlo's divided sense of self. Collectively, these images suggest the extent to which, for Kahlo, painting served as catharsis, as well as an opportunity to redefine and critique modern bourgeois society.

Collectors of Kahlo's work can be found around the world—the paintings in the exhibition come from some 30 private and institutional collections in France, Japan, Mexico, and the United States. Several paintings have never before been on public view in the United States. Two of the most important and extensive collections of Kahlo's work—the Museo Dolores Olmedo Patiño Collection in Mexico City and the Jacques and Natasha Gelman Collection of Modern and Contemporary Mexican Art, currently housed in the Centro Cultural Muros in Cuernavaca—have loaned some of their most treasured Kahlo paintings to the exhibition.

The exhibition is accompanied by a richly illustrated 304-page catalogue featuring more than 100 color plates, as well as critical essays by Herrera, exhibition co-curator Elizabeth Carpenter, and Latin American art curator and critic Victor Zamudio-Taylor. A separate plate section is devoted to works from the Vicente Wolf Photography Collection. The catalogue also includes an extensive illustrated timeline of relevant socio-political world events, artistic and cultural developments, and significant personal experiences that took place during Kahlo's lifetime, along with a selected bibliography, exhibition history, and index.
Visit The San Francisco Museum of Modern Art (SFMOMA) at :

The Lowe Art Museum features "Las Artes de Mexico"

Posted: 01 Apr 2012 07:40 PM PDT

Coral Gables, FL - The Lowe Art Museum at the University of Miami is proud to present Las Artes de Mexico, from the Collection of the Gilcrease Museum,  on view through April 5th, 2009. Celebrating the rich and diverse artistic traditions of Mexico, Las Artes de Mexico examines over 3,500 years of art and culture, from the ancient worlds of the Mayans and Aztecs to the 20th century works of Miguel Covarrubias and Diego Rivera. The exhibition is part of a national tour and includes pottery, paintings, folk art, and prints.

The Detroit Institute of Arts (DIA) hosts Jane Hammond ~ 'Paper Work'

Posted: 01 Apr 2012 07:39 PM PDT

artwork: Jane Hammond (American, b. 1950)- My Heavens!, 2004 - Twelve-color lithograph with silver Mylar & collage on amate paper, Edition of 40 - Published by Shark's Ink. Collection of Bud and Barbara Shark - © 2006 Jane Hammond

Detroit, MI - The Detroit Institute of Arts (DIA) hosts the special exhibition Jane Hammond: Paper Work . The exhibition features Hammond's unique works on paper made over the last 15 years from a myriad of techniques and materials, along with prints and books. All of the objects rely on the artist's "vocabulary" of 276 borrowed images which she has manipulated endlessly to produce visually rich and mentally stimulating compositions that provoke thought, feeling, and new meaning about interaction and communication. Zany and mysterious, the works are flat and three-dimensional, large and small, painted and drawn, photographed, and printed.

Greenfield Sacks Gallery Shows Legendary Los Angeles Artist Ed Moses

Posted: 01 Apr 2012 07:38 PM PDT

artwork: Ed Moses often speaks about non-objective art, and insists that he has no pre-conceived image or idea. - Image courtesy of Greenfield Sacks Gallery

SANTA MONICA, CA.- In a career spanning five decades, legendary Los Angeles artist Ed Moses has been an inventive and prolific leader in abstract painting. Moses, born 1926 in Long Beach, studied at UCLA, receiving B.A. and M.A. degrees. He has remained in the Los Angeles area much of his life and is one of the city's outstanding abstract artists. In the course of his career he has explored many styles, and relentlessly pursues the process of painting. His work ranges from compositions featuring repeated decorative patterns, to large fields of flowing color or to hard-edged geometric designs. Color is not used to describe objects, but rather to establish pure aesthetic experience. The exhibition is on view at Greenfield Sacks Gallery through June 5, 2010.

National Gallery announces The Sacred Made Real: Spanish Painting & Sculpture 1600-1700

Posted: 01 Apr 2012 07:37 PM PDT

artwork: Francisco de Zurbarán (1598–1664) - Virgin of the Misericordia, 1634 - © Photo Imagen M.A.S. Courtesy of Museo de Bellas Artes, Seville

LONDON.- Created to shock the senses and stir the soul… 'The Sacred Made Real' presents a landmark reappraisal of religious art from the Spanish Golden Age. Paintings including masterpieces by Diego Velázquez and Francisco de Zurbarán are displayed for the very first time alongside Spain's remarkable 'polychrome' (painted) sculptures. The religious art of 17th-century Spain pursued a quest for realism with uncompromising zeal and genius. Far from being separate, this exhibition proposes that the arts of painting and sculpture were intricately linked and interdependent. On exhibition 21 October through 24 January, 2010 at The National Gallery.

artwork: Pedro de Mena - St Francis of Assisi 1650's Wood Sculpture Sacristy of the Cathedral, ToledoWhile the religious paintings of Velázquez and Zurbarán are relatively well known, the polychrome sculptures which also emerged from 17th-century Spain have never been the subjects of a major exhibition. Still passionately venerated in monasteries, churches and processions across the Iberian Peninsula, very few of these sculptures have ever been exhibited overseas.

During the Spanish Counter-Reformation, religious patrons, particularly the Dominican, Carthusian and Franciscan orders, challenged painters and sculptors to bring the sacred to life, to inspire both Christian devotion and the emulation of the saints. The exhibition brings together some of the finest depictions of key Christian themes including the Passion of Christ, the Immaculate Conception and the portrayal of saints, notably Pedro de Mena's austere rendition of Saint Francis Standing in Meditation, 1663, which has never before left the sacristy of Toledo Cathedral.

By installing 16 polychrome sculptures and 16 paintings side-by-side, the exhibition aims to show that the 'hyperrealistic' approach of painters such as Velázquez and Zurbarán was clearly informed by their familiarity – and in some cases direct involvement – with sculpture.

Last seen in Europe over 50 years ago and a crucial loan to the exhibition, Zurbarán's masterpiece, 'The Crucifixion', 1627 (Art Institute of Chicago) achieves an astonishing sculptural illusion on canvas. When seen in close proximity with Juan Martínez Montañés' polychrome sculpture of 1617 (Church of the Convent of Santo Ángel, Seville), these two art forms begin an intense natural dialogue.

To obtain even greater realism, some sculptors such as Pedro de Mena and Gregorio Fernández introduced glass eyes and tears as well as ivory teeth into their sculptures. Fernández's astonishingly realistic 'Dead Christ', 1625–30 (Museo Nacional del Prado, Madrid; on long term loan to the Museo Nacional Colegio de San Gregorio, Valladolid) incorporates the bark of a cork tree to simulate the effect of coagulated blood, and bull's horn for Christ's fingernails. It was fully intended that believers should feel truly in the presence of the dead Christ.

artwork: Diego Velazquez The Immaculate Conception, c.1618 Oil on canvas - 135 x 101.6 cm. The National Gallery, LondonIn Seville, Francisco Pacheco taught Velázquez, later his son-in-law, and a generation of artists the skill of painting sculpture as an integral element of their training. Pacheco himself painted the flesh tones and drapery of exquisite wooden sculptures carved by fellow Andalucian, Montañés, known by his contemporaries as 'the god of wood'. Among the most important examples is their life-size 'Saint Francis Borgia Meditating on a Skull', 1624 (Church of the Anunciación, Seville University) commissioned by the Jesuits to celebrate his beatification that year. Another highlight of the exhibition is the fascinating juxtaposition of Velázquez's 'The Immaculate Conception', 1618–19 (National Gallery, London) with Montañés's exquisite polychrome sculpture of the same subject, about 1620 (Seville University).

During 'Semana Santa' ('Holy Week'), some 17th-century polychrome sculptures are still carried through the streets by religious confraternities, particularly in Seville, Granada and Valladolid, the most important centres of this art. During the evening of Palm Sunday, Seville's Archicofradía del Cristo del Amor ('Confraternity of the Christ of Love') process a life-size sculpture of the Crucifixion by Juan de Mesa. The exhibition features a smaller version of this work, about 1621, which although non-processional, plays a vital role in the pastoral life of the confraternity.

While sometimes deeply unsettling, depictions of Christ's suffering or indeed Juan de Mesa's 'Decapitated Head of Saint John the Baptist', about 1620 (Seville Cathedral) are also exquisitely finished. When depicting the saints, sculptors and polychromers combined their skills to achieve maximum facial expressiveness. Alonso Cano's life-size head of Saint John of God, 1655 (Museo de Bellas Artes, Granada), which has never left Spain before, depicts with astonishing sensitivity the compassionate expression of Granada's patron saint.

Zurbarán's heightened illusionism, in particular his handling of fabric, shows an acute understanding and appreciation of sculpture. Once in British collections and now returning to the UK for the first time in over 50 years, 'Saint Serapion', 1628 (Wadsworth Atheneum Museum of Art, Hartford, CT), is among the artist's greatest achievements. The saint's voluminous white habit cascades with astonishingly rendered crevasses of deep shadow. Here, Zurbarán demonstrates that painting can indeed achieve the same disconcerting realism as sculpture. Visit :

Colin McCahon at Auction

Posted: 01 Apr 2012 07:36 PM PDT

artwork: Colin McCahon, Mondrian's Last Chrysanthemum: Scared (Scared series), 1976 - Acrylic on Steinbach paper mounted on hardboard,signed with initials 'C.McC' and dated '76' lower left, 73 x 109.5 cm. - TCMDAIL No. 001460 

MELBOURNE - Deutscher and Hackett, a leading Australian fine art auction house, are excited to announce that its final auction for the year, to be held in Melbourne on November 26, will feature an exceptionally rare and important work by Colin McCahon. The painting, Mondrian's Last Chrysanthemum: Scared, has been held in a private collection for the last 12 years, and its sale represents an exceptional opportunity to secure the work before it disappears once more.

A US Art-Detective Claims To Have Discovered A New Michelangelo ~ A Model For His Most Famous "Pieta"

Posted: 01 Apr 2012 07:35 PM PDT

artwork: Michelangelo - "The Pieta", 1498-1499 -  Marble - 174 x 195 cm. At St. Peter's Basilica, Vatican City. The statue was commissioned for the French Cardinal Jean de Billheres for his funeral monument, but was moved to the basilica in the 18th century. It was the only work he ever signed. A US Art-Detective Bow Claims To Have Discovered A Terracotta Model For This Famous Sculpture.

Rome (AFP). - A US art detective says he has proof a garish terracotta statue found discarded in a mouldy cardboard box in an Italian antiques shop is an original model by Michelangelo for his famous "Pieta". "When I first set eyes on the statue I couldn't speak for fully 10 minutes, it was so beautiful. Such mastery, it's impossible to capture in words," Roy Doliner told AFP in Rome this week as he presented his book on the discovery. The art detective and writer, who first unveiled his findings in December, won't disclose the whereabouts of the statue, though it has been seen and photographed by journalists. Doliner was called in by a private collector who had discovered and bought the statue, had restored it and found what he thought were Jewish symbols etched onto the bottom of it which might prove the work was Michelangelo's. Rebutted by traditional art historians, the collector turned to self-styled historical consultant Doliner, who specialises in Michelangelo mysteries and has written a book on codes hidden in the Sistine Chapel ceiling.

Rare Works by Goya, Fragonard, David and Turner at Sotheby's July Old Master Paintings

Posted: 01 Apr 2012 07:34 PM PDT

artwork: Pieter Brueghel the Younger - A Flemish Village in Winter with the Massacre of the Innocents - Oil on oak panel, 122 by 170 cm. Estimate: 2,500,000—3,500,000 . Photo: Sotheby's.

LONDON.- Sotheby's forthcoming sales of Old Master Paintings and Drawings to take place in London on Wednesday, July 8 and Thursday, July 9, 2009 will bring to the market a superb selection of rare works by renowned French, Spanish, Dutch, Flemish, Italian and British Old Masters as well as a single-owner sale of Renaissance and Baroque masterworks from the collection of Barbara Piasecka Johnson. Among the artists to feature in the Old Master Paintings Evening Sale are Daddi, Dell'Abate, Metsu, Guercino, Zurbarán, Guardi, Fragonard and Goya and the 48 lots have an estimate in the region of £24 million. A large proportion of the works come to the market with exemplary provenance, having either been in private collections for many years or actually never having been offered at auction before.

French highlights:
With an estimate of £2.5-3.5 million, a pair of portraits by Jean-Honoré Fragonard (1732-1806) will lead the French offerings. The two decorative portraits entitled A Young Woman Adorning her Powdered Coiffure with a Spray of Roses and A Young Blonde Woman with a Garland of Roses around her Neck are mature works by the French artist and they epitomize his skillful combination of virtuoso paintwork and Rococo elegance that made Fragonard one of the most brilliant and versatile painters of 18th century France. Almost certainly dating from the early 1770s - one of the most brilliant and fertile periods of the artist's career - the portraits are very similar in subject and style to a number of other paintings from this date. Previously unrecorded and unpublished, the two magnificent portraits became a major addition to Fragonard's known oeuvre when they were exhibited for the first time in New York in 2005 and the forthcoming sale will be their first appearance at auction.

artwork: Francisco José de Goya y Lucientes, An Equestrian Portrait of Manuel Godoy, Duque de la Alcudia, oil on canvas, estimate: £2.5-3.5 million. Photo: Sotheby's.Spanish highlights:
An important equestrian portrait of Don Manuel Godoy, Duke of Alcudia by Francisco José de Goya y Lucientes (1746-1828), estimated at £2.5-3.5 million, will spearhead the selection of Spanish works. A remarkable political and military figure who swiftly rose to power on the strengths of his talents and much-commented-upon relationship with Queen María Louisa and King Carlos IV, Don Manuel Godoy was undoubtedly the most powerful man in Spain during the reign of Carlos IV. Goya undertook the portrait of him in 1794, at the height of his own career, following his appointment as Pintor del Rey in 1786 and Primer Pintor de Camara in 1789, and although details surrounding the precise commission of the painting are unknown, the work can be accurately dated to 1794 as Goya refers to the picture in a letter to a childhood friend.

The portrait ranks among the most important paintings by the Spanish artist ever to come to auction. With its magical Goya atmosphere and signature Goya sky, the painting has been extensively exhibited.

Francisco de Zurbarán's (1598-1664) imposing portrait of Doctor Juan Martinez Serrano - an ecclesiastic and professor from Segovia - comes to market in remarkable condition and with superb provenance, having not been on the market for nearly 40 years. The painting in soft and subtle tones was discovered in 1969 by Jose Lopez-Rey and since this time scholars have dated it to the 1630s. It has an estimate of £800,000-1,200,000.

A third notable work with Spanish links is a depiction of St George on top of the slain dragon by Jorge Inglés (active 1455-1485), an artist of English origin who was working predominantly in the Spanish region of Castile in the third quarter of the 15th century. This work is also in excellent condition and is estimated at £400,000-600,000.

Dutch and Flemish highlights:
Pieter Brueghel the Younger's (1564-1637/8) finest version of The Massacre of the Innocents - the renowned composition devised by his father - comes to the market in fine, original condition and with an estimate of £2.5-3.5 million. Breughel the Younger produced many versions of the well-known scene, the original of which is in the Royal Collection at Hampton Court today, and the number and general quality of the younger Breughel's works suggest that he was very familiar with his father's original painting. The impact of The Massacre of the Innocents composition – both in terms of the horror of the narrative and the veiled political comments – was, and still remains, very powerful.

A three-quarter-length portrait by the Antwerp-born Sir Anthony van Dyck (1599-1641), estimated at £1-1.5 million, depicts Endymion Porter, the diplomat, connoisseur and courtier to Charles I who was a close friend and confidante of van Dyck. The Portrait of Endymion Porter was on loan to the York City Art Gallery for many years and more recently it was included in the Van Dyck and Britain exhibition at Tate Britain earlier this year. Never offered at auction before, the painting has descended through the same family collection since 1798.

Endymion and van Dyck first met on the artist's initial visit to England in 1620- 1621 and this portrait, painted a few years later in Antwerp in 1628, represents the first in a series that the artist undertook of his great friend. It is also one of his earliest portraits of Englishmen and it is emblematic of his role in introducing a progressively more engaging and psycho-analytical portraiture style to England. Van Dyck portrays his friend and patron in a striking yet intimate and refined pose and his rich satin doublet and great clock are those of an elegant and dashing courtier; a man of great character and personality is clearly presented. Van Dyck later captured his relationship with Endymion in a double portrait of them together side-by-side and this work today hangs in the Museo Nacional del Prado in Madrid. Endymion was the only Englishman to receive such an honour.

The sale will also feature remarkable works by Gabriel Metsu (1629-1669) and Adriaen Coorte (1660-1707). Metsu's A Woman Selling Game from a Stall, estimated at £1.2-1.8 million and, comes from the Fermor-Hesketh family collection at Easton Neston in Northamptonshire and is one of the most important and largest works by the artist to ever appear on the auction market. A still life of a vine twig with fruit by the much sought-after Adriaen Coorte, estimated at £300,000-400,000, was included in the first exhibition devoted to the artist in 1958 but has since been hidden away from public view in a private family collection. Works by Coorte, a painter of outstanding quality and originality, are rare to the market as only a mere 64 pictures by him are known to exist today.

Italian highlights:
A rare figurative work by Francesco Guardi (1712-1793) and a Venetian view by his near contemporary Michele Marieschi (1710-1743) are two of the most important Venetian works in the sale and they are estimated at £800,000-1,200,000 and £600,000-800,000 respectively. Guardi's dazzling interior is a relatively early work by the artist – it is believed to date from the 1750s – and it is one of only a small number of the artist's paintings that depict the interior of a Venetian palazzo. Although best known for his landscapes, Guardi was a skilled narrative painter, as is shown in A Ridotto with Masked Figures Dancing and Conversing. In this work he captures the Sala grande of the ridotto in Palazzo Dandolo in the San Moise district of Venice and he delights in intimating the relationships between characters through gesture and pose. The ridotto was a public space of entertainment where aristocrats, the middle-class and prostitutes could interact and given that most attendees wore masks, they often became a location for illicit amorous liaisons and conspiratorial plots. Guardi painted several similar views of the ridotto at Palazzo Dandolo and all are closely related in terms of the figures they contain. Marieschi's beautiful and well preserved Venetian cityscape captures The Grand Canal from the right bank and the Church of San Stae.

Nicole dell'Abate's (1509/12-1571) large-scale oil on canvas The Taking of Carthage: Hasdrubal's Wife Denouncing Her Husband Before Scipio, estimated at £800,000-1,200,000, will offer a rare opportunity to acquire a work from the artist's time in France as, with the exception of a number of drawings, very few painted works from this period in his career survive today. After a successful career as a painter of large-scale decorative schemes in his native Modena and in Bologna, dell'Abate was summoned to France in 1552 to assist Francesco Primaticcio at the Court of Henri II and he worked extensively at Fontainebleau.

artwork: J.M.W. Turner's (1775-1851) Virginia Water, Estimated at £500,000-700,000, late 1820sBritish highlights:
A Portrait of Baron de Robeck Riding A Bay Hunter by George Stubbs (1724-1806) is one of the undoubted highlights of the British pictures in the sale and the magnificent painting - one of Stubbs most heroic images - carries an estimate of £2-3 million. The painting dates from 1791, the year in which the artist's fortunes greatly improved; in 1790 he had received a commission to paint a series of famous racehorses to illustrate a history of The Turf and then early 1791 saw the beginning of his substantial patronage to the Prince of Wales. John 2nd Baron de Robeck was a colourful Swedish nobleman whose father had been ennobled in 1750 by Frederick I of Sweden and the heroic pose in which he is captured - showing him on a rearing horse - has its origin in several famous equestrian portraits by earlier Old Masters such as Velázquez, Titian and Van Dyck.

J.M.W. Turner's (1775-1851) Virginia Water, estimated at £500,000-700,000, dates from the late 1820s and it is one of two watercolours of the same title that were engraved for The Keepsake Annual in 1830. The second watercolour, which also shows the Chinese fishing pavilion, was exhibited at the Royal Academy in 1886 but its whereabouts are unknown today. The watercolour on offer captures Virginia Water in Berkshire from an easterly direction; it takes the view from near the road (now the A30) and shows the lake looking towards the Chinese pavilion, which was demolished in 1936. Close to the pavilion is a fishing boat fitted with an awning and the Royal Standard, indicating that the King is onboard and in the foreground a military band plays onboard an elegant barge being towed by a rowing boat. On the calm water's surface are two buoys decorated with the Cross of St George, which is also shown on the flag at the stern of the bands elegant barge. Such ceremonial elements suggest the date to be April 23, which is St George's Day, the King's official birthday and also coincidentally, Turner's birthday. The watercolor has superb provenance having descended through the same family collection since 1913 - a period of almost a century - and having never appeared on the auction market before.

John Constable's (1776-1837) dramatic landscape Storm Clouds over Hampstead, estimated at £300,000-500,000, depicts a windswept day and the full powers of Mother Nature. The dark blue and grey storm clouds are captured being driven by a strong westerly breeze and the merest hint of tree tops on the lower right hand horizon serve to emphasise the enormity and scale of the view. Rarely found in other such cloud landscapes, two birds are depicted joyously wheeling on the wind. Constable is known to have painted more than 100 cloud studies during his career but few examples are as significant in scale and power as Storm Clouds over Hampstead. The sky is a key component in all of Constable's landscape works.

Woodcuts of Albrecht Dürer to Tal R at the National Gallery of Denmark

Posted: 01 Apr 2012 07:33 PM PDT

artwork: Edvard Munch (1863 - 1944) - Evening. At the Beach. Melancholy, 1901 - 640 x 750 mm. - The Royal Collection of Graphic Art, Denmark

COPENHAGEN.- While the world is experiencing an ever-increasing influx of new media, the Royal Collection of Graphic Art directs attention to one of the oldest mediums around. A medium, moreover, which remains very much alive and continues to attract the attention of the most innovative strata of contemporary art. The spring exhibition at the Royal Collection of Graphic Art at the National Gallery of Denmark (SMK) provides a comprehensive introduction to the technique and functions of woodcut. Woodcut is the oldest known graphic technique, and the exhibition homes in on the most significant periods in the history of the medium. Featuring more than 100 specially selected works from the Collection of Graphic Arts, the exhibition shows a range of rarely seen prints by lesser-known artists alongside works by some of the leading figures within art history, including Dürer, Altdorfer, Titian, Gauguin, Kandinsky, Nolde, Jorn, Baselitz, and Tal R. On view until 4 September.

The Menil Collection hosts Maurizio Cattelan's First Solo Show in the U.S. Since 2003

Posted: 01 Apr 2012 07:32 PM PDT

artwork: Italian artist Maurizio Cattelan is known for his playful yet disconcerting use of materials, objects, and actions – and for manipulating their larger contexts and meaning. - Photo: EFE/Regina Kuehne.

HOUSTON, TX.- Born in the university town of Padua in 1960, Italian artist Maurizio Cattelan is known for his playful yet disconcerting use of materials, objects, and actions – and for manipulating their larger contexts and meaning. In his work the artist unleashes critiques on a range of issues, from nationalism and organized religion to art history and to the very concept of an art museum. Cattelan's uncanny juxtapositions uproot and invert conventional understandings of the world around us. The Menil exhibition, which will remain on view for much of 2010, will focus on recent large-scale works first seen in Europe in 2007 along with recent sculptures. Cattelan has also created other works in response to his site visits to the Menil, which included the museum's renowned Surrealist holdings.

Marlborough Fine Art will present London Show of New Work of Juan Genovés

Posted: 01 Apr 2012 07:31 PM PDT

artwork: Juan Genovés - Pozos sin fondo, 1990 - acrílico sobre tabla, 145 x 160 cm. - Collection of the Artist

LONDON. - The Directors of Marlborough Fine Art announced the first London exhibition in over 40 years by the Spanish artist Juan Genovés of 15 new paintings that will open at Marlborough Fine Art, London on October 29th. Born in Valencia in 1930, Genovés has been exhibiting with Marlborough worldwide since 1964. This exhibition continues Genovés' exploration of people in groups, depicted through bird's-eye views of crowds where the absence of buildings, roads, trees or clues to a common landscape creates a dynamic of intensity and dislocation. The motivations for the groups' activities are never clear, as Genovés allows the viewer to draw his own conclusions.

The Fondazione Nicola Trussardi Presents First Solo Exhibition of Work by Pipilotti Rist

Posted: 01 Apr 2012 07:30 PM PDT

artwork: Pipilotti Rist - "Cape Cod Chandelier", 2011 - Video installation - 244 x 155 cm. - Courtesy the artist and Hauser & Wirth.  - On view at the former Cinema Manzoni, Milan in the Fondazione Nicola Trussardi organized "Parasimpatico" from November 9th until December 18th.

Milan, Italy.- The Fondazione Nicola Trussardi is proud to present "Parasimpatico", the first major solo exhibition in Italy of work by Pipilotti Rist, on view at the former Cinema Manzoni from November 9th through December 18th. The setting for the Swiss artist's new project is the former Cinema Manzoni, which for over fifty years was one of the most important movie theaters in Milan, and has been closed to the public since 2006. Pipilotti Rist is one of the most highly respected, unconventional voices in art today: she has had solo shows in the world's best-known museums—including MoMA in New York and Centre Pompidou in Paris—and has participated in major international events such as the Venice Biennale and the biennials of Berlin, Sydney and Lyon. In 2009 she presented her first feature-length film, Pepperminta, at the Venice Film Festival.

Floating visions, vibrant, psychedelic colors, hypnotic soundtracks, sensuality and ethereality are some of the main ingredients in the world of Pipilotti Rist, which lies at the border between dreams and reality. Her luxuriant videos and multimedia installations explore human sexuality and media culture with a playful, provocative blend of fantasy and everyday life, with images in movement transforming familiar subjects, themes and places into fascinating kaleidoscopes. For Pipilotti Rist, video images are a projection of desires and emotions, a new form of organic life that viewers can perceive not just with their eyes but with their bodies. Often hidden in unexpected places—toilets, liquor bottles, seashells and handbags—or projected onto evocative surfaces—church ceilings or giant television screens—her installations are explorations of the senses, all-enveloping experiences in which all physical and psychological distance from the viewer is abolished. In Rist's visual journeys, viewers often find themselves in spaces with topsy-turvy proportions, reduced to Lilliputian scale before giant images that heighten the sensation of childhood memories of a pure world, where corporeality seems reconciled with rationality and where sensuality takes on an almost spiritual dimension, sometimes tinged with irony and melancholy.

artwork: Pipilotti Rist - "Homo Sapiens Sapiens", 2005 - Still from audio video installation (music by Anders Guggisberg & Pipilotti Rist) - Courtesy the artist. Hauser & Wirth.

The gateway into Pipilotti Rist's work is our emotional side, the part of us that reacts involuntarily to external stimuli. This observation inspired the title for her show with the Fondazione Nicola Trussardi, "Parasimpatico": with her usual sense of humor, Pipilotti Rist is referring to the division of the nervous system that governs the body's involuntary functions, such as digestion, relaxation, rest and energy storage. Like her previous installations, this project conceived for the former Cinema Manzoni combines old and new work, with the objective of transforming the former theater into a  huge living creature, mingling cinema and television, hallucinations and high-definition images. In Parasimpatico, Pipilotti Rist wraps the sumptuously decorated spaces of the Manzoni—from the lobby to the grand staircase, and from the auditorium to the bar—in a new skin of images, an all-enveloping carousel of sound, light, and color that restores a joyous magic to what was once Milan's most prestigious movie theater, in a final flutter of life before its definitive transformation.

Elisabeth Charlotte Rist was born in Grabs, Switzerland in 1962. She lives and works in Zurich and Sommerset. As a child, she decided to adopt the unconventional name Pipilotti, which combines Lotti, a nickname for Charlotte, with Pippi Longstocking, the Astrid Lindgren's character with whom she strongly identified. After studying applied arts, illustration, photography and visual communication in Vienna and Basel, and founding the all-female rock band Les Reines Prochaines, with whom she created albums, concerts, videos and live performances, Pipilotti Rist undertook the artistic career that has led her to exhibit in the world's most important museums. Nominated for the New York Guggenheim's Hugo Boss Prize in 1998, in 2009 she won the Joan Miró Prize, organized by Fundació Joan Miró in Barcelona. Her videos and installations have been exhibited in solo shows at some of the world's leading art institutions, including Hayward Gallery in London (2011), the Museum of Contemporary Art in Tokyo and Fundació Joan Miró in Barcelona (2010), KIASMA in Helsinki (2009), the Museum of Modern Art in New York (2008), Centre Georges Pompidou in Paris (2007) and Museo Nacional de Arte Reina Sofía in Madrid (2001). She has participated in prestigious contemporary art events such as the Venice Biennale (2011, 1999, 2005, 1997, 1993), the Biennale of Sydney (2008, 2000), the Istanbul Biennial (2007, 1999, 1997), the Moscow Biennale (2007), the Shanghai Biennale (2002), the Berlin Biennial (1998), the Biennale de Lyon (1997) and the São Paulo Biennial (1994). In 2009 she made her first full-length film, 'Pepperminta', presented the same year at the Venice Film Festival, the Seville European Film Festival, the Miami  International Film Festival, the International Film Festival Rotterdam, and in 2010 at the Sundance Film Festival.

artwork: Pipilotti Rist with her video work at the Hauser & Wirth gallery. - Photo: Graeme Robertson

This exhibition by Pipilotti Rist will be a unique opportunity to see the spaces of the former Cinema Manzoni in their original beauty, after five years of closure.  Designed by architect Alziro Bergonzo and opened in 1950, the Cinema Manzoni is part of a stately edifice conceived to house shops and commercial venues on Via Manzoni, in the heart of Milan. With a surface area of over 5000 square meters, richly decorated and frescoed, an enormous 1400-seat auditorium, and showing only first-run films, the Manzoni immediately came to be seen as the most elegant movie theater in the city, and was used as a location for important films such as Michelangelo Antonioni's Story of a Love Affair (1950) and The Lady Without Camelias (1952). In 1955 it became the first movie theater in Italy, and the third in the world, to introduce Cinerama, an innovative three-screen panoramic projection system. These unique features made the Cinema Manzoni one of the most remarkable movie theaters in Milan and in the entire country for over fifty years, until it definitively closed on 25 September 2006.

The Nicola Trussardi Foundation is a non-profit institution for the promotion of contemporary art and culture. Created in 1996, the Nicola Trussardi Foundation is neither a museum nor a collection. It's rather an agency for the production and the diffusion of contemporary art in a wide variety of contexts and channels. From autumn 2003, under the direction of President, Beatrice Trussardi and with Artistic Director, Massimiliano Gioni, the Nicola Trussardi Foundation has decided to explore new territories and modes of presenting contemporary art; its main purpose is now the realization of contemporary art events and exhibitions in public spaces of the city of Milan. The Nicola Trussardi Foundation has left its exhibition spaces in Palazzo Marino alla Scala to disperse contemporary art directly in the city of Milano: the Foundation explores the art world of today, and it becomes a compass to orient oneself in the theatre of the city, starting new collaborations with the institutions of Milan, inside and outside contemporary culture's borders. With its activity, two major exhibitions a year and a series of more agile projects such as publications, insertions in magazines, mail projects, the Foundation infiltrates in Milan and looks at the city as a new visionary field for art and culture, a tank of energy and creativity that originating new occasions of exchange and ideas to promote. The Foundation invests all its resources and knowledge to produce culture's events and to make the most innovative research of contemporary artists available to everyone. Among the exhibitions that the foundation have organised have been major shows featuring Elmgreen and Dragset, Darren Almond, Maurizio Cattelan, John Bock, Urs Fischer, Anri Sala, Martin Creed, Paola Pivi, Pawel Althamer, Peter Fischli & David Weiss, Tino Sehgal, Tacita Dean and Paul McCarthy. Visit the foundation's website at ...

This Week in Review in Art Knowledge News

Posted: 01 Apr 2012 07:29 PM PDT

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