- Shannon's Fine Art to hold their Traditional April Auction
- Carriage Trade shows Color Photographs from the New Deal (1939-1943)
- The Larissa Goldston Gallery hosts watercolors and a film by David Rathman
- Ran Hwang's solo show opens at Leila Heller Gallery in New York
- Soviet Art and Architecture 1915-1935 opens at Martin-Gropius-Bau
- "Curvae in Curvae" New Sculptures by Beverly Pepper opens at Marlborough Chelsea
- Major painting by Francis Bacon featured in Sotheby's May Contemporary Art sale
- The de Young Museum and Musée d'Orsay Announce Two Impressionist Exhibitions to Debut in San Francisco
- The Michele & Donald D’Amour Museum of Fine Arts Shows Courier & Ives Images of the American West
- Columbus Museum of Art presents European Portraiture of Aristocratic Children
- Georgia Museum of Art to host Everett Gee Jackson Retrospective
- The Michele and Donald D’Amour Museum of Fine Arts Shows Printmakers From the Bauhaus School
- Palace of Fine Arts in Mexico Presents René Magritte Exhibition
- LEGO ® Sculptures
- Kunsthaus Zürich Presents Work by Georges Seurat One of the Fathers of Modern Art
- The Schoen Collection
- Hispanic Heritage Month ~ MoLAA presents Auction 07
- The Phoenix Art Museum Shows Jamey Stillings' Photographs of the Hoover Dam Bridge
- Art Knowledge News Presents "This Week In Review"
Posted: 06 Apr 2012 11:54 PM PDT
Milford, Connecticut.- Over 150 examples of high-quality fine American and European paintings, drawings, sculpture and prints will cross the block on Thursday, April 26th, at Shannon's Fine Art Auctioneers, in the firm's gallery located at 354 Woodmont Road in Milford. Internet bidding will be facilitated by www.ArtFact.com. Phone and absentee bids will also be accepted. It will be the first auction of 2012 for Shannon's, which conducts just two sales a year. The firm posted record numbers in 2011, with auctions in April and October combining for about $7.6 million. The top lot at the fall event was a Luminist view of the Hudson River by Jasper Cropsey that brought $252,000. The spring sale was hugely successful, grossing $5.1 million.
The upcoming sale is loaded with impressive, mainly American 19th and 20th century offerings. "We secured some great consignments early on, and they just kept pouring in," said Gene Shannon, owner of Shannon's. He added, "The economy overall may still be fragile, but the market for high-end artworks remains strong." The auction catalog reads like a who's who in the world of fine art. The list of artists in the sale includes Thomas Cole, James McDougal Hart and Edward Moran (all 19th century); Walter Launt Palmer, Paul Cornoyer, Louis Ritman and William Glackens (all 20th century); and Rolph Scarlett, Franz Kline, Robert Smithson and Robert Indiana (all Modernist painters).
The auction's expected top lot should bring $150,000-$250,000. It is a fine Luminist work from the 1820s by Thomas Cole (1801-1848). Cole is generally acknowledged as the founder of the Hudson River School, a group of American landscape painters whose works were romantic and naturalistic. Cole's aesthetic vision influenced and entire generation of artists. Two other 19th century works of note expected to do well are a brightly lit view of New York Harbor by Edward Moran (1829-1901), one of the most renowned American marine painters of his time (est. $80,000-$120,000). The other is a large luminist view of the Adirondacks, done in 1864 by James McDougal Hart (1828-1901), an important artist of the Hudson River School, known for his landscape paintings (est. $30,000-$50,000). Additional works by other prominent Hudson River School artists will also be offered. They include paintings by Jervis McEntee (1828-1891); Alexander Wyant (1836-1892); David Johnson (1827-1908); Worthington Whittredge (1820-1910); and Herman Fueschel (1833-1915). Other 19th century works will also cross the block. The anticipated top lot of the 20th century group is a flower garden scene in Giverny, France by Louis Ritman (1889-1963), known for his sunny, Impressionist landscapes (est. $100,000-$150,000). Another star lot will be a museum-quality snow scene by Walter Launt Palmer (1854-1932), who had a prizewinning career (est. $70,000-$90,000). Other 20th century paintings to watch will include a major work of carriages in New York City by Paul Cornoyer (1864-1923, est. $60,000-$80,000); a colorful scene of a harbor in Long Island by pioneer "Ashcan" painter William Glackens (1870-1939, est. $40,000-$60,000); and a monumental Eakins-influenced painting by Francis Luis Mora (1874-1940), exhibited at the National Academy in 1908 (est. $50,000-$75,00). Other significant 20th century works will be in the auction, by Arthur Wesley Dow (1857-1922); Gifford Beal (1879-1956); Mary Bradish Titcomb (1858-1927); Fern Coppedge (1883-1951); John Follinsbee (1892-1972); Dwight Tryon (1849-1925) and Emil (Soren) Carlsen (1848-1932).
The Modern works will be a led by a masterpiece by Rolph Scarlett (1889-1984), one of 12 works by the painter of geometric abstraction during the American avant-garde movement of the 1930s and '40s (est. $50,000-$75,000); and a newly discovered work by Franz Kline (1910-1962), purchased from the artist in 1947 (est. $25,000-$35,000). Also sold will be a museum-size masterpiece by Robert Smithson (1938-1973), titled The Serpent of the Blood, which has been rolled up in a tube since shortly after it was painted, in 1962 (est. $30,000-$50,000); and a painted aluminum sculpture by Robert Clark (better known as Robert Indiana, his home state, b. 1928), a member of the Pop Art movement. Other Modern works in the sale will be by artists Hilla Von Rebay (1890-1967); Cleve Gray (1918-2004); Stefan A. Hirsch (1899-1964); Michael Goldberg (1924-2007); Alvin Demar Jr. Loving (1935-2005); Milton Avery (1885-1965); and Robert Richenberg. Orientalist paintings will be led by a large and colorful depiction of an Arab rug seller by Addison Millar (1860-1913), known for his landscapes, portraits, genre work and still lifes (est. $20,000-$30,000); an Eastern beauty by Paul de la Boulaye (1902-1961); a fine rendering of an Arab market by Gerard Pieter Adolfs (1897-1968); and other works. Sculptures will also be offered. They include a depiction of a young beauty by Mario Korbel (1882-1954, est. $20,000-$30,000); a work titled The Dancer by Bessie Potter Vonnoh (1872-1955); and works by Anna Hyatt Huntington (1876-1973); Richmond Barthe (1901-1989); A. G. Newman (1875-1940); Louis St. Gaudens (1854-1913); and T. Toyofuku (b. 1925). Certainly worth mentioning is a collection of six nautical works by Antonio Jacobsen (1850-1921), one of America's best-known and post prolific painters of marine subjects and a graduate of the Royal Academy in Copenhagen; and a pair of works by William H. Yorke (1847-1921), an artist also renowned for his ship portraits and coastal views.
Previews for the auction will be held from April 16-21 (Mon.-Sat., from 11-6); April 23-24 (Mon.-Tues., from 11-6); April 25 (Wed., from noon to 8 p.m.); and April 26 (Thurs., from noon to 5:30 p.m.). Shannon's is closed for business on Sunday, April 22. Shannon's Fine Arts Auctioneers' gallery is located off Interstate 95 in Milford, Conn., just south of New Haven. Shannon's Fine Art Auctioneers is one of only two auction houses in the country that sells only fine art. Its auctions include paintings, watercolors, drawings and rare prints. Historically, Shannon's has specialized in American and European art executed between 1840 and 1940. But in recent years the firm has expanded more into post-war Modern and Pop art. Shannon's produces a 132-page, full-color catalog and an eight-page, oversize color brochure that is mailed to 18,000 clients. Paintings consigned to Shannon's are viewed by collectors, museum directors, appraisers and clients with an interest in fine international art. The firm markets itself online worldwide and in newsletters and magazines in Europe and the U.S. Visit the auction house's website at ... www.shannons.com.
Posted: 06 Apr 2012 11:53 PM PDT
New York City.- Carriage Trade is pleased to present "Color Photographs from the New Deal (1939-1943)" on view through April 29th. Largely forgotten until the mid-seventies when they resurfaced in the Library of Congress archives, the color photographs of the Farm Security Administration/ Office of War Information (1939-1943) document the later period of FDR's New Deal, an ambitious series of government programs designed to address the brutal effects of the Great Depression on the social and economic fabric of 1930's America. While the Library's archive of black and white depression-era photographs is more familiar and more often reproduced, the color images, taken within three years of the invention of Kodachrome film, are striking for their rich, saturated colors and rigorously formal compositions. The images document industrial and agricultural labor, rural and small town life, as well as large-scale mobilization for the war effort in the early forties, and were intended as a kind of inspirational portrait of Americana in the face economic troubles and the growing wartime fears of "Hitler at our doorstep."
Posted: 06 Apr 2012 11:35 PM PDT
New York City.- Larissa Goldston Gallery is pleased to present David Rathman's fifth solo exhibition in New York. "Let's See What Stirs" includes eight watercolors and a 9 minute film. The exhibition will be on view through May 12th. For this exhibition, Rathman eschews traditionally recognizable art-historical influences and turns to contemporary culture for source material, appropriating images of events replete with intensity. His large-scale works on paper embrace and portray the excitement, danger and vulnerability of the human experience. Drawing from his lexicon of quintessentially masculine imagery (sports, Westerns and cars, to name a few) Rathman challenges the traditional ideas of the implacability of the masculine ideal. Theses works evoke competitiveness—keeping score, a theme that permeates the majority of Rathman's work.
Posted: 06 Apr 2012 11:17 PM PDT
NEW YORK, NY.- Ran Hwang's first solo show in New York City is on view at Leila Heller Gallery in Chelsea at 568 West 25th Street from April 5th through 27th. Transition features eight works made of buttons, beads, crystals, thread, and pins, and will also include a video installation. A catalogue with an essay by Barbara Pollack accompanies the exhibition. Using common, mass-produced fashion materials, Hwang creates striking works of art that transform and re-contextualize these everyday objects. Sparkling buttons, shimmering beads, and long spools of thread are affixed to wood panels with thousands of pins to form Buddhas, temples, urns, and plum blossoms—all iconic symbols of Zen Buddhism. Zen Buddhism is apparent not only in Hwang's motifs, but also in the process of constructing the works. Weaving thread, creating hand-made paper buttons, hammering each pin approximately 25 times until it is secure are all time-consuming tasks. The monotony and receptiveness of these actions require the utmost concentration and discipline, recalling the meditative state practiced by Zen masters.
Posted: 06 Apr 2012 10:58 PM PDT
BERLIN.- The Exhibition "Architects of Revolution" sheds light on an area of the Soviet avant-garde that has remained relatively unknown in Europe and beyond: architecture. Even in Russia and the other successor states of the former Soviet Union the names of most of the architects have been largely forgotten. Their structures have not become part of the collective cultural memory to the extent that the "New Building" movement in the West has. The exhibition presents this impressive chapter in the history of the avant-garde in an unusual way in that it binds together three thematic strands. Selected works of the early avant-garde, such as those of El Lissitzky, Gustav Klutsis, Liubov Popova, Alexander Rodchenko or Vladimir Tatlin, show the artists' intense preoccupation from 1915 onwards with questions of form, space and texture. After the Revolution they were active in the various bodies concerned with the implementation of these ideals, such as the Commission for the Synthesis of Painting, Sculpture and Architecture (1919-20).
It was there that the architects Nikolai Ladovskii, Vladimir Krinsky and the painter Rodchenko created the first designs for town planning and communal housing. In 1919 Tatlin produced his famous design for a "Monument to the Third International" – a complex engineering structure with moving spaces. Although never built, its visionary potential, and dynamic formal language influenced the later architecture of Constructivism. Whereas the impressive pictures and drawings of the Costakis Collection in Thessaloniki make clear what a role was played by architectural themes in the early artistic designs, vintage prints from the Shchusev State Museum of Architecture in Moscow give an idea of the unleashing of architectural energies which took place a few years later. The historical photographs show that the new structures embodied a new age, not only in a typological sense, but in terms of scale. They towered above the old urban buildings and acted as a torch signalling the coming industrialization and transformation of the country. The photographs of the renowned British architectural photographer, Richard Pare, on the other hand, lead the viewer back to the present. Pare had begun to rediscover this lost avant-garde in 1993. In the course of several trips to Moscow and St. Petersburg, as well as to the former Soviet republics, he documented what remained of the buildings. His shots bring out their beauty and the inventiveness of their creators while at the same time tracing the course of their decay. In that sense they draw a picture of a post-Soviet society that is unaware of its extraordinary heritage.
What was new about this architecture was not only the formal idiom, but also the tasks it was supposed to perform. With the building of the new society workers' clubs, trade union houses, communal apartments, sanatoria for the workers, state-owned department stores, party and administrative buildings, as well as power stations and industrial plants to modernize the country.
The first important structure to be erected after the Revolution was Vladimir Shukhov's Shabolovka Radio Tower, built in the years 1919-22 and consisting of six hyperboloids mounted on top of one another. At 150 metres it was the tallest tower in the world of its kind at the time. Its elegant filigree structure became a symbol of how all that was old and ponderous could be surmounted. Rodchenko's well-known photos of the radio tower – today seen as icons of avant-garde photography – stress the dynamics from above and below. Pare's shots of the tower focus more on details, thus emphasizing the construction techniques of the time.
The achievements of Russian engineers like Shukhov, with their novel technical designs, influenced the development of an architecture that used clear, geometrical forms that were in keeping with its functions. In the course of the 1920s there arose two clearly defined tendencies in architecture: Rationalism and Constructivism. In 1923 representatives of the first founded the Association of New Architects (ASNOVA), whose leading light was Ladovskii. Among the Constructivists Alexander Vesnin and Moisei Ginzburg played major roles. In 1925 the Constructivist architects of Moscow joined together to form the Society of Contemporary Architects (OSA). There were also other tendencies as well as outstanding individualists, such as Konstantin Melnikov. Despite polemical squabbles among the tendencies a modern style of building had consolidated itself by the end of the 1920s.
In the course of the industrialization of the country under the first Five-Year Plan (1928-32) the building of new towns proceeded apace. This gave rise to questions concerning the concept of the city, for which various solutions were proposed, such as the "horizontal skyscrapers" for Moscow or Ladovskii's "parabola" as the basic pattern of urban development. Quite a few of the buildings photographed by Pare were developed for communal living. The Narkomfin (People's Commissariat for Finance) residential block built in Moscow in 1930 by Ginzburg and Ignati Milinis was one of the most experimental projects of that era. In addition to two floors of apartments it contained a communal canteen, a crèche, a gymnasium and a scullery. Other types of construction designed to promote the collectivist way of life were canteen kitchens, three of which were built in what was then Leningrad by a group associated with Iosif Meerzon and representing Rationalism. Workers' clubs and palaces of culture offered numerous educational opportunities, symbolizing with their dynamic forms the role of the new class in the urban environment.
When in the mid-1930s the political climate in the Soviet Union underwent a fundamental change, and a monumental style of architecture based on Classical models found favour with the powers that be, this exciting chapter of avant-gardism came to an end and sank into oblivion.
Posted: 06 Apr 2012 10:23 PM PDT
NEW YORK, NY.- Marlborough Chelsea announces that an exhibition of sculptures by the notable American sculptor Beverly Pepper opened at Marlborough Chelsea, 545 West 25th Street, on April 5th, and continue through May 5th. The exhibition, Curvae in Curvae: New Sculptures by Beverly Pepper, consists of four monumental Core-ten steel sculptures ranging in height from 8 feet to 13½ feet, continuing Pepper's examination of monumentality, a recurrent theme in her work. The monumental sculptures plus 6 tabletop and 2 garden scale works are fabricated in COR-TEN steel and then oxidized in Pepper's characteristic red-brown finish. The new works powerfully demonstrate the artist's unique ability to create sculptures that seemingly exist both in and outside of historic time. Pepper treats the surface of the works with acidic solutions in order to control the tone and texture of the oxidation process and to achieve a deep, rich surface coloration. In the artist's beautiful new Rizzoli monograph by the art historian Robert Hobbs, he explains:
Posted: 06 Apr 2012 10:02 PM PDT
NEW YORK, NY.- Sotheby's 9th May Contemporary Art Evening Sale in New York will feature Figure Writing Reflected In Mirror, among the most powerful and sophisticated paintings by Francis Bacon. The work incorporates some of the artist's most important themes and iconography, synchronizing the essence of Bacon's life and art in an extraordinary painting. Figure Writing Reflected In Mirror was included in the legendary 1977 exhibition at Galerie Claude Bernard, Paris, where it was shown alongside Triptych, 1976, which holds the record price for any work of Contemporary art at auction. The present owners purchased the painting at that exhibition and it has not appeared on the market since. Figure Writing Reflected In Mirror is estimated to fetch $30/40 million and will be exhibited in London beginning 13th April before going on view in New York.
Posted: 06 Apr 2012 09:50 PM PDT
SAN FRANCISCO, CA.- The Fine Arts Museums of San Francisco and the Musée d'Orsay jointly announce two consecutive special exhibitions, Birth of Impressionism: Masterpieces from the Musée d'Orsay and Van Gogh, Gauguin, Cézanne and Beyond: Post-Impressionist Masterpieces from the Musée d'Orsay which will be on view at the de Young Museum for a combined eight months beginning in May 2010 and ending in January 2011. Each exhibition will include approximately 100 paintings from the Musée d'Orsay's permanent collection and highlights the work of nearly 40 artists including Cézanne, Degas, Gauguin, Manet, Monet, Pissarro, Renoir, Rousseau, Seurat, Sisley, Toulouse-Lautrec, van Gogh and Vuillard.
The Musée d'Orsay will loan the exhibitions while it undergoes a partial closure for refurbishment and reinstallation in anticipation of the Musée's 25th anniversary in 2011. The de Young will be the only museum in the world to host both exhibitions. Tickets for the general public will go on sale on April 6, 2010.
"These two exhibitions present a rare and unique opportunity for Americans to see the evolution and incubation of the Impressionist style from the collection of the most important repository of French 19th and early 20th century art — the Musée d'Orsay," says John E. Buchanan, director of the Fine Arts Museums of San Francisco. "These exhibitions give us the opportunity to share with visitors some of the most seminal works of Impressionist and Post-Impressionist art that they would only be able to see in Paris or in an art history book as the likelihood of them traveling en masse again is slim."
The first exhibition, Birth of Impressionism: Masterpieces from the Musée d'Orsay opens in the Herbst special exhibition galleries at the de Young on May 22, 2010 and runs through September 6, 2010. This exhibition puts forth nearly 100 works by the famous masters who called France their home during the mid-19th century and from whose midst arose one of the most original and recognizable of all artistic styles, Impressionism. This exhibition begins with paintings by naturalist artists such as Bougereau and Courbet and presents American expatriate James McNeil Whistler's Arrangement in Gray and Black, known to many as "Whistler's Mother." Early work by Manet, Monet, Renoir and Sisley are on view as well as a selection of Degas' paintings that depict images of the ballet, the racetrack and life in "la Belle Époque." Notable works in this exhibition include:
Posted: 06 Apr 2012 09:49 PM PDT
Springfield, MA.- Currier & Ives images of the American West will be on view at the Michele & Donald D'Amour Museum of Fine Arts from June 28th through January 29th, 2012 in the special exhibition "Imagining the Frontier: Landscape and Hunting Scenes of the American West". Fascination with the Western frontier had a major influence on American art in the 19th century. Currier & Ives mass produced images that witnessed the great drama of Westward expansion, including the California gold rush, trappers and pioneers traveling to unknown territories, conflicts with Indians, buffalo hunting, fires on the prairie, and the building of the transcontinental railroad.
Posted: 06 Apr 2012 09:48 PM PDT
COLUMBUS, OH - The Columbus Museum of Art presents Great Expectations: Aristocratic Children in European Portraiture, the first major exhibition of Old Master works CMA has shown in nearly a decade. On view through June 8, 2008, the selection of 40 paintings in this exhibition is drawn exclusively from the unique and world-renowned collection of the Fundación Yannick y Ben Jakober in Mallorca, Spain. The most fascinating aspect of this collection is the glimpse it provides into the childhood of some of the most noteworthy figures in history.
Posted: 06 Apr 2012 09:47 PM PDT
ATHENS, GA - Everett Gee Jackson/San Diego Modern, 1920–1955 will be on display from July 19 to September 28, 2008, at the Georgia Museum of Art. Organized by the San Diego Museum of Art, this traveling exhibition recognizes and commends the work of noted artist, educator and illustrator Everett Gee Jackson and serves as a re-introduction to modernism in American art. This major retrospective features more than 50 images that span Jackson's most significant and productive years as an artist.
"The Georgia Museum of Art is interested in the connections among artists, and there are parallels between the works by Everett Gee Jackson and those by artists such as Jean Charlot in our collection. Jackson uses social realism and shows the artistic interest in everyday subject matter," said Paul Manoguerra, curator of American art at the Georgia Museum of Art.
Born in 1900 in Mexia, Texas, Jackson showed strong interest in the Southwest early in his career through his use of earth tones and color choices. As one of the first American artists to visit Mexico after its social and cultural revolution, Jackson was heavily influenced by Mexican painters Diego Rivera and José Clemente Orozco. His stylized form and Mexican motifs form the basis of his modernist style. A gifted artist and popular teacher, Jackson's legacy in San Diego parallels the long-lasting impact of Lamar Dodd in Georgia.
As a young man in his twenties, Jackson was one of the first Americans to visit Mexico after the country's prolonged social and cultural revolution. While there, he became influenced by artists such as Diego Rivera and José Clemente Orozco, as well as the Mexican Mural movement. As a result, stylized forms and Mexican motifs became dominant in Jackson's work, and his new artistic inclination towards realism began to form the basis of his modernist style.
A gifted artist and popular teacher, Jackson's legacy in San Diego was pervasive in his own day and has had long-lasting impact. As one of the founding artists of the Contemporary Artists of San Diego, the region's first professional artists' organization, created in 1929, he staked out a course for vanguard art making in the region. Jackson also taught renowned conceptual artist John Baldessari and founded SDMA's Latin American Arts Committee.
This major retrospective organized by SDMA presents the work of Everett Gee Jackson, San Diego's most important Modernist artist.
This exhibition is generously sponsored by YellowBook USA, the Fort Foundation Trustee Fund of the Community Foundation of the Chattahoochee Valley, the W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art.
Georgia Museum of Art Information
Partial support for the exhibitions and programs at the Georgia Museum of Art is provided by the Georgia Council for the Arts through appropriations of the Georgia General Assembly. The Council is a partner agency of the National Endowment for the Arts. Individuals, foundations and corporations provide additional museum support through their gifts to the Arch Foundation and the University of Georgia foundation. The Georgia Museum of Art is located in the Performing and Visual Arts Complex on the East Campus of the University of Georgia. The address is 90 Carlton Street, University of Georgia, Athens, Georgia, 30602. Hours: Tuesday, Thursday, Friday and Saturday from 10 a.m. until 5 p.m., Wednesday from 10 a.m. until 9 p.m., Sunday from 1 p.m. until 5 p.m. and closed Mondays.
Visit our web site at www.uga.edu/gamuseum or call 706.542.GMOA (4662)
Posted: 06 Apr 2012 09:46 PM PDT
Springfield, MA.- An exhibition of prints by American and European artists associated with the Bauhaus School in Germany is on view at the Michele and Donald D'Amour Museum of Fine Arts through October 30th. The Bauhaus School, or school of architecture, was one of the first colleges of design. It was the result of a merger between the Weimar Academy of Arts and the Weimar School of Arts and Crafts in Germany. Founded by Walter Gropius in 1919 during the Industrial Revolution, the Bauhaus School brought together many international contemporary artists. The school combined crafts and fine arts and was famous for its design curriculum. Industrial design was an important component of the movement.
Posted: 06 Apr 2012 09:45 PM PDT
MEXICO CITY.-The Museo del Palacio de Bellas Artes is presenting the exhibition about the Belgian painter René Magritte to be held from March 17 through July 11, 2010. The main purpose is to display for the first time in Latin America the work of such a unique artist.Being a landmark in the heart of Mexico City, the Museo del Palacio de Bellas Artes has been standing since 1934 as the greatest forum of the National Institute of Fine Arts (INBA) housing the celebrated masterworks of the muralists —Diego Rivera, José Clemente Orozco, David Alfaro Siqueiros and Rufino Tamayo.
Posted: 06 Apr 2012 09:44 PM PDT
SPRINGFIELD , MASS. – If you build it, they will come. And New York artist Nathan Sawaya has built some amazing sculptures out of common LEGO® building bricks. The Art of the Brick, an exhibition of Sawaya's work, will be on view from June 16 through September 5 at the Michele and Donald D'Amour Museum of Fine Arts at the Quadrangle. There is a special exhibition fee of $5 per person in addition to museum admission for all visitors ages 3 and up. The Brick Lab, a play area stocked with LEGO bricks at the Science Museum, is included in the special exhibition ticket. Visitors to The Art of the Brick will have the opportunity to see Sawaya at work on a new piece on Saturday, July 31.
Posted: 06 Apr 2012 09:43 PM PDT
ZURICH.- Under the heading 'Figure in Space', the Kunsthaus Zürich presents work by one of the fathers of modern art, Georges Seurat, from 2 October 2009 until 17 January 2010. A colleague of Paul Cézanne and Vincent van Gogh's, Seurat brought a scientific precision to bear on Impressionist painting. Where there was nothing but light and atmosphere he introduced rational dialogues between figures and the space surrounding them, as attested by the over 60 high-quality paintings and drawings the Kunsthaus Zürich has assembled from important public and private collections in London, Paris, New York and Washington.
Father of Pointillism
Together with Cézanne, van Gogh and Paul Gauguin, Georges Seurat (1859-1891) is considered one of the 'fathers' of modern art. He was also the most original of France's avant-garde artists in the late 19th century. Seurat was born in 1859 in Paris, and when he died an untimely death at the age of 32 he had provided Impressionism with a theoretical underpinning. Stimulated by the key discoveries of contemporary color theories Seurat began to cover canvases with contiguous, schematically positioned dabs of pure color. He was satisfied to allow these dots to take on form only in the eye of the beholder. This process, which would come to be known as 'Pointillism', soon inspired other artists, who recognized the merits of a technique that replaced individual brushstrokes with systematically painted dots, painstakingly applied to the canvas until it resembled a web of juxtaposed points. Artistic expression thus ceded its decisive place in the painting process to the eye, which in turn required agility and schooling to produce the optical effects desired.
Figure in Space
Unlike van Gogh, Seurat was a recognized master during his own lifetime, with contemporary colleagues such as the Dutch painter and Gauguin fascinated by his choice of colors and his technique. Later generations, foremost among them the artists of the Bauhaus, raved about his unusual compositions and his imposition of geometry on figures and landscapes alike. His way with a figure in space played a key role in the French artist's career, and is the central theme of a show that comprises both drawn and painted works. Although Seurat claimed that the subject of his pieces was of only secondary importance to him, viewers and art historians alike have sensed the keen interest in his figures of an artist who created works with titles like 'Reclining Man' (1883-84), from the Fondation Beyeler, and 'Woman with Bouquet, seen from behind' (1882-83), from another private Swiss collection. Seurat immortalized contemporary society with a cold eye in severely calculated compositions.
While he may now and then have varied a particular figure, zooming in on it or combining it with a wide range of other human forms, yet he was always content to give his subjects an individual, isolated appearance, on occasion to the point of parody. His palette shows an elegant reserve. The effect on the viewer is of pleasing harmony – of an art bent on imposing calm even as it stimulates and challenges the sense of sight. The eye registers a faint vibration as it traces the scenery of such key oil studies as 'Final Study (Study for A Sunday on La Grande Jatte)' (1884), from the Metropolitan Museum of Art, New York; 'The Seine at Courbevoie: Study' (1885), from the National Gallery in London; or 'Study for A Sunday on La Grande Jatte' (1884-85), on loan from the Foundation E.G. Bührle Collection, Zurich.
Circus, Landscapes and the Eiffel Tower
Seurat began his career with drawing, and he never abandoned the medium. The intensive encounter with the human form that would become so characteristic of the mature artist was already visible in his attempts as a student, while in later drawings he was to achieve a remarkable balance between figurative contingency and technical autonomy. Pencil lines woven densely across the paper cause the subject to emerge as something vague and floating, or perhaps to vanish entirely. Striking chiaroscuro effects play about his figures, accentuating them and lending them an otherworldly aura, as in 'At the Concert Européen' (1886-88), from New York's Museum of Modern Art. In Seurat's paintings, too, the representation of people in space is of central importance. Another spectacular masterpiece on show at the Kunsthaus is 'Circus' (1891), on loan from the Musée d'Orsay in Paris.
Works such as 'The Gardener' (c. 1882), from the Kunsthaus Zürich collection, and 'Stone Breaker and Wheelbarrow, Le Raincy' (1882-83), from The Phillips Collection, Washington, can be adduced to indicate a caesura in Seurat's creative career. While he had initially oriented his work to the thinking of groups like the École de Barbizon, to periods such as the Renaissance, or to fellow artists like Puvis de Chavannes, in these pieces Seurat suddenly began painting his subjects with a new technique and setting them in innovative compositions. This avant-garde rebellion would be lent further impetus in later works in which he repeated or varied forms and subjects within the same painting. Seurat transformed his pictorial space and the figures placed within it into a geometrical phenomenon, and thus followed his invention of Pointillism with further proof of his avant-garde mettle, as evinced in the brilliant 'Eiffel Tower' (1889), on loan to Zurich from the Fine Arts Museums of San Francisco. Artists such as the Italian Futurists, Fernand Léger and Le Corbusier were enthusiastic about their debt to Seurat, and helped continue his scientifically informed work in the 20th century.
The Kunsthaus art education program, which includes school programs, continued learning classes as well as leisure time classes, serves children, adolescents and adults. A well-rehearsed team of professional art educators and art historians looks forward to welcoming you at the Kunsthaus.
With its exceptional collection and internationally acclaimed exhibitions the Kunsthaus Zürich attracts hundreds of thousands of visitors each year. The Zürcher Kunstgesellschaft, the Association of Friends of the Kunsthaus Zürich, counts more than 20'000 members and is therefore one of the largest and oldest art societies in Europe. Visit : http://www.kunsthaus.ch/en/
Posted: 06 Apr 2012 09:42 PM PDT
ATHENS, GA.- The Georgia Museum of Art (GMOA) received three awards for its publications from the Southeastern Museums Conference (SEMC). "We are all excited and pleased to receive these awards from our peers, especially as the range of publications being honored shows our pursuit of excellence both in teaching and in research," said William U. Eiland, director of the Georgia Museum of Art.
Posted: 06 Apr 2012 09:41 PM PDT
LONG BEACH, CA. - In celebration of Hispanic Heritage Month, MoLAA presents Auction 07, October 20th and 21st. A six-week preview exhibition from September 9 through October 19 will allow visitors to view the auction pieces in the MoLAA galleries, as well as online. The auction will feature over 300 extraordinary works of art by renowned artists from throughout Latin America, including Diego Rivera, Rufino Tamayo and Fernando Botero, whose artworks are expected to receive the highest bids.
Posted: 06 Apr 2012 09:40 PM PDT
Phoenix, AZ.- The Phoenix Art Museum is pleaded to present "The Bridge at Hoover Dam: Photographs by Jamey Stillings", on view at the museum from August 13th through December 4th. From the moment photographer Jamey Stillings first encountered the bridge at Hoover Dam he knew it was a subject he couldn't ignore. Over the next two years, he visited the bridge 16 times documenting the progress and completion of the enormous structure that would eventually span the Colorado River. The resulting photo essay is the focus of The Bridge at Hoover Dam: Photographs by Jamey Stillings which features more than 40 large format color photographs chronicling the creation of North America's longest single-span concrete arch bridge.
Officially named the Mike O'Callaghan-Pat Tillman Memorial Bridge, the bridge is located roughly 1500 feet downstream of Hoover dam and is the central portion of the Hoover Dam Bypass project. Construction began in 2004 and was completed in 2010. The 1,905 foot long bridge spans the Black Canyon connecting Arizona and Nevada nearly 900 feet above the Colorado River. It is the first concrete-steel composite arch bridge in the United States and the second highest bridge in the country. Photographing the Mike O'Callaghan-Pat Tillman Memorial Bridge was a personal quest for Stillings. Between March 2009 and January 2011, he spent 39 days at the site taking photographs. He visited the bridge at all hours of the day and night, rented helicopters for aerial shots and worked closely with the Bureau of Reclamation and the Federal Highway Administration for permission to access restricted areas.
Stillings's overarching goal was to acknowledge the collective talents and labors of those who had built the bridge and to place the bridge within the historical context of Hoover Dam and the American West. "Jamey recognized that the documentation of the creation of a structure greatly impacts how it is remembered in the annals of history and, for him, the story of the bridge was about the many people who made it possible: those who had envisioned the design, made plans for the construction, worked in the challenging desert environment and dedicated years to its completion," commented Rebecca Senf, Norton Curator of Photography, Phoenix Art Museum. "His work offers a revealing portrait of the bridge by recording the construction for posterity and illuminating the structure's impressive impact on the southwestern landscape." Stillings's large-scale, jewel-toned photographs sumptuously capture the bridge's impressive scale and grandeur. Early morning and nighttime photographs are rich with saturated color, while daytime images juxtapose the manmade structure's shapes, lines and patterns against the natural beauty of Black Canyon.
Since 1959, the Museum has served as the cornerstone of Phoenix's art and cultural community, providing the people of Arizona with great art from around the world and amazing cultural experiences. Popular international exhibitions are shown along side the Museum's outstanding collection of more than 18,000 works of American, Asian, European, Latin American, Western American, modern and contemporary art, and fashion design. A vibrant destination for over fifty years, Phoenix Art Museum presents festivals, live performances, independent art films and educational programs that enlighten, entertain and stimulate. Visitors also enjoy PhxArtKids an interactive space for children, vibrant photography exhibitions through the Museum's landmark partnership with the Center for Creative Photography, and the lushly landscaped Sculpture Garden. The Museum has nine curatorial departments: American, Western American, Asian, European, Latin American, Fashion, Modern, Contemporary, and Photography. The paintings and sculptures on view in the American collection reflect an interest in naturalism and the traditions of Europe, dating roughly from 1790 to the 1940s. Artists include John Singleton Copley, Fitz Henry Lane, George Inness, Eastman Johnson, William Merritt Chase and Robert Henri. The American West Collection includes over 900 paintings, sculptures and works on paper. The collection features paintings from 19th century local artists whose work was influenced by exploration and adventure. Some of the earliest paintings of the Arizona Territory are in the collection as well. Artists include: Albert Bierstadt, Frederic Remington, Grant Speed, Ernest Blumenschein, Walter Ufer, Martin Ernest Hennings, Maynard Dixon, Georgia O'Keeffe, Bill Owen, and Chuck Forsman. Spanning three millennia, the comprehensive collection of Asian art features ancient tomb figures, rare imperial porcelain and delicate ink paintings from China, samurai armor from Japan, Chinese ceramics, cloisonné enamel, and Japanese prints and screens. From fine Old master paintings to 19th century sculpture and paintings, the Museum's European collection features more than 1,200 works of art depicting the spectrum from religion to everyday life from the 14th to 19th centuries. Artists include: Marco Palmezzano, Astorga Master, Giovanni Francesco Barbieri (Il Guercino), Abraham Janssens, François Boucher, George Romney, Jean-Baptiste Greuze and Jean-Antoine Houdon, Jean-Léon Gérôme, Auguste Rodin, Antoine-Jean Gros, Ferdinand Victor Eugène Delacroix, Gustave Courbet, and Claude Monet.
The Latin American Collection includes over 400 works of art from the 18th, 19th and 20th centuries. The collection highlights Spanish Colonial and early 20th century Mexican artworks that include religious paintings, colonial furniture, and decorative arts. Artists include: Frida Kahlo, Rufino Tamayo, Diego Rivera, and many contemporary Latin American artists. The Fashion Collection is made up of more than 4,500 American and European garments, shoes and accessories. The Collection of Modern Art is made up of more than 2,400 paintings, sculpture and works on paper from the turn of the 20th century to 1950. The collection represents many of the pioneers of European and American modernism. Artists include: Pablo Picasso, Jean Cocteau, Milton Avery, Stuart Davis, Marsden Hartley, Joseph Stella, Arthur Dove, Oscar Bluemner, Georgia O'Keeffe, Hans Hoffman, Seymour Lipton, Mark Rothko, Helen Frankenthaler, and Willem De Kooning. The Contemporary Collection - art created since the 1950s - is one of the most active and growing areas in the Museum. Displayed in the newly opened, 30,000 sq ft (2,800 m2). Ellen and Howard C. Katz Wing for Modern Art, the collection includes large-scale photography, outdoor sculpture, and art created in a variety of surprising and unexpected materials, plus more "traditional" paintings on canvas. In several instances, works push the technical limitations of several media, including computer-controlled LED lighting and video, ceramics, mirrored glass, and even charred wood struck by lightning. Artists include: Anish Kapoor, Sol LeWitt, Josiah McElheny, Julian Opie, Donald Judd, Michal Rovner, Yayoi Kusama, and Cornelia Parker. In 2006, Phoenix Art Museum and the Center for Creative Photography at the University of Arizona in Tucson inaugurated a collaboration to mount rotating exhibits from the Center's photography archives for Phoenix Art Museum visitors. The joint effort has built the Museum's photographic expertise and simultaneously brought the Center's world-renowned collections to new and larger audiences. Artists include: Ansel Adams, Lola Alvarez Bravo, Richard Avedon, Louise Dahl-Wolfe, W. Eugene Smith, and Edward Weston. Visit the museum's website at ... http://www.phxart.org
Posted: 06 Apr 2012 09:39 PM PDT
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