- The National Gallery London ~ One Of The Best Collections Of European Art In The World
- Fashion House Salvatore Ferragamo's Museum Goes Online
- The Louvre Declines Apollo Statue from Cleveland Museum of Art
- Vereshchagin Painting to Highlight Sotheby's Auction of Russian Art
- Christie's Announces Prints & Multiples Sale in New York
- Frida Kahlo's Self-Portraits at San Francisco Museum of Modern Art (SFMOMA)
- Jean-Marc Bustamante's 'Dead Calm' Exhibition On Display The Fruitmarket Gallery
- Chris Beetles Gallery Announces a Cecil Beaton Collaboration with Sotheby's
- Paintings from 1967-1975 by Mark Greenwold at DC Moore Gallery
- Delhi Art Gallery Shows 75 Works by Significant Indian Artists of the 20th Century
- The Madison Museum of Contemporary Art Hosts Two Exhibitions of the Chicago Imagists
- Gautam Mukerjill shows at Jamaat Gallery
- Steven Holl Architects Chosen to Design the New Queens Library
- Afghan Artist Lida Abdul Solos at The Indianapolis Museum of Art
- The Reina Sofia Museum Opens New Rooms Showing Parts of its Collection
- This Week in Review in Art Knowledge News
Posted: 12 May 2012 10:27 PM PDT
Unlike comparable art museums such as the Louvre in Paris or the Museo del Prado in Madrid, the National Gallery in London was not formed by nationalizing an existing royal or princely art collection. The History of London's National Gallery dates back to April 1824 when the House of Commons agreed to pay £57,000 for the picture collection of the banker John Julius Angerstein. His 38 pictures were intended to form the core of a new national collection, for the enjoyment and education of all. The pictures were displayed at Angerstein's house at 100 Pall Mall until a dedicated gallery building could be constructed. Angerstein's house was small and unsuited to becoming an art gallery (it had to close for a while due to subsidence) and was compared unfavorably with other national art galleries, such as the Louvre in Paris, and ridiculed in the press. So, in 1831 Parliament agreed to construct a dedicated building for the National Gallery at Trafalgar Square. There had been lengthy discussion about the best site for the Gallery, and Trafalgar Square (at the time being constructed on the site of the King's Mews in the Charing Cross district) was eventually chosen as it was considered to be at the very centre of London. Trafalgar Square could be reached by the rich driving in their carriages from the west of London, and on foot by the poor from the East End. It was felt that in this location the paintings could be enjoyed by all classes in society. The new building designed by William Wilkins finally opened in 1838. There was a lot of public criticism of the Wilkins' building, King William IV (in his last recorded utterance) thought the building a "nasty little pokey hole", while the novelist William Makepeace Thackeray called it "a little gin shop of a building". Some of these criticisms were addressed through the landscaping of Trafalgar Square, the steps in front of the National Gallery serving to increase its height and prominence, but in 1869 the architect E.M. Barry was asked to submit designs for rebuilding the entire Gallery. After much discussion, it was decided that the existing building should remain, and instead, a new wing should be added. This was completed in 1876, and added seven new exhibition rooms at the east end, including the impressive dome. The Royal Academy of Arts which had also been housed in the National Gallery building moved out in 1869, leaving extra space for the National Gallery. Continuing expansion of the collection led the trustees to campaign long and hard for additional space. Eventually, in 1907, barracks at the rear of the Gallery were cleared and work began to construct five new galleries. Further expansion was carried out in 1975, when the 'Northern Extension' was completed, providing 9 large rooms and 3 smaller 'cabinet' rooms of additional exhibition space. In 1985 Lord Sainsbury and his brothers agreed to finance the construction of a new wing on a site next to the Gallery which had been vacant since the Second World War, when a furniture shop was destroyed by bombing. The new Sainsbury Wing, designed by Pritzker Prize winning architect Robert Venturi and his wife, Denise Scott Brown, was opened in 1991, to display the entire early Renaissance collection. With a commitment to free admission, a central and accessible site, and extended opening hours the Gallery has ensured that its collection can be enjoyed by the widest public possible, and not become the exclusive preserve of the privileged. From the outset the National Gallery has been committed to education. Students have always been admitted to the Gallery to study the collection, and to make copies of the pictures. A vibrant education program continues today for school children, students, and the general public. The program includes free public lectures, tours and seminars. Following the completion of the Sainsbury Wing, the Gallery has a total floor area of 46,396 metres squared and is visited by more than 4 million people every year. Visit the National Gallery's website at … http://www.nationalgallery.org.uk/
The first paintings in the National Gallery collection came from the banker and collector John Julius Angerstein. They consisted of Italian works, including a large altarpiece by Sebastiano del Piombo, "The Raising of Lazarus", and fine examples of the Dutch, Flemish and English Schools. In 1823 the landscape painter and art collector, Sir George Beaumont, promised his collection of pictures to the nation, on the condition that suitable accommodation could be provided for their display and conservation. In 1826, they went on display alongside Angerstein's pictures in Pall Mall until the whole collection was moved to Trafalgar Square in 1838. Initially, the Gallery had no formal collection policy, and new pictures were acquired according to the personal tastes of the Trustees. By the 1850s the Trustees were being criticised for neglecting to purchase works of the earlier Italian Schools, then known as the Primitives. Following the reform of Gallery administration in 1855, the new Director travelled throughout Europe to purchase works for the Gallery. In the 10 years that he was Director, Sir Charles Eastlake ensured that the Gallery's collection of Italian painting expanded and widened in scope to become one of the best in the world. Eastlake's purchases included Botticelli's "Adoration of the Kings" and Uccello's "The Battle of San Romano". In 1871 the Gallery's collection was broadened yet further, when 77 paintings were bought from the collection of the late Prime Minister, Sir Robert Peel. These consisted mainly of Dutch and Flemish paintings, and included Meindert Hobbema's "The Avenue at Middleharnis". From the very beginning, the National Gallery's collection had included works by British artists. By the mid-1840s, the rooms of the National Gallery had become overcrowded. When Robert Vernon presented a large gift of British works to the Gallery in 1847, they had to be displayed elsewhere, first at Vernon's private house, and later at Marlborough House. Not long afterwards, the artist Joseph Mallord William Turner bequeathed over 1,000 paintings, drawings and watercolors. When they came into the collection in 1856, they had to be displayed at South Kensington, along with the Vernon collection, which was moved from Marlborough House. In 1876 the National Gallery was enlarged, and the paintings were returned to Trafalgar Square. However, by this time a precedent had been set for exhibiting British works in separate premises. In 1889 the wealthy industrialist, Henry Tate, offered his collection to the nation and subsequently offered to fund the construction of a separate Gallery for British works of art. After lengthy negotiations, a site was selected a mile away from Trafalgar Square, at Millbank, and the Gallery opened in 1897. The new gallery was officially known the National Gallery of British Art, changing its name to the National Gallery, Millbank in 1917. However, it soon became known as the Tate Gallery. The majority of the British pictures were transferred to the Tate Gallery, and only a selection of works remained at Trafalgar Square.
Amongst some of the highlights of the collection of French painting are 15 paintings by Edgar Degas, 19 works by Claude Monet and famous works by Philippe de Champaigne ("Cardinal de Richelieu), Claude Lorrain ("Seaport with the Embarkation of Saint Ursula"), Nicolas Poussin ("A Bacchanalian Revel before a Term"), Pierre-Auguste Renoir ("The Umbrellas") and Edouard Manet. The Italian collection includes 12 paintings by Canaletto (including "The Stonemason's Yard"), 10 by Raphael (including "Portrait of Julius II"), 10 Titians (including "Bacchus and Ariadne") and works by Michelangelo Merisi da Caravaggio ("The Supper at Emmaus" and others), Giovanni Bellini ("The Doge Leonardo Loredan"), Sandro Botticelli ("Venus and Mars", Leonardo da Vinci ("The Virgin and Child with St Anne and St John the Baptist"), Michelangelo ("The Virgin and Child with Saint John and Angels"), Giovanni Battista Tiepolo ("An Allegory with Venus and Time"), Tintoretto ("The Origin of the Milky Way") and Paolo Veronese ("The Family of Darius before Alexander"). Amongst the Spanish works held by the National Gallery are paintings by El Greco ("Christ Driving the Traders from the Temple "), Francisco Goya ("Doña Isabel de Porcel"), Bartolomé Esteban Murillo ("The Heavenly and Earthly Trinities"), Diego Velázquez ("Christ in the House of Martha and Mary") and Francisco Zurbarán "Saint Francis in Meditation". Dutch and Flemish artworks include a selection of 20 Rembrandt works (including "Belshazzar's Feast") alongside works by Aelbert Cuyp ("Peasants and Cattle by the River Merwede"), Meyndert Hobbema ("The Avenue at Middelharnis"), Pieter de Hooch ("The Courtyard of a House in Delft"), Jan Steen ("Skittle Players outside an Inn"), Johannes Vermeer ("A Young Woman seated at a Virginal"), Anthony van Dyck ("The Emperor Theodosius is Forbidden by Saint Ambrose to enter Milan Cathedral"), Jan van Eyck ("The Arnolfini Portrait"), Peter Paul Rubens ("The Judgement of Paris") and David Teniers the Younger ("Peasants at Archery"). The majority of the British pictures in the national collection were transferred to the Tate Gallery (originally under the administration of the National Gallery), and only a selection of works remained at Trafalgar Square. However, the remaining works include some of the most famous British paintings, such as John Constable's "The Hay Wain", J. M. W. Turner's "The Fighting Temeraire", Thomas Gainsborough's "Mr and Mrs Andrews" and William Hogarth's six pictures of "Marriage à-la-mode", pointedly skewering upper class 18th century society.
"An American Experiment: George Bellows and The Ashcan Painters" until 30th May 2011, features 12 paintings never before seen in the UK. This exhibition introduces visitors to the American artist George Bellows and his artist friends, the Ashcan Painters: William Glackens, George Luks, John Sloan and their teacher Robert Henri. The Ashcan School was formed at the beginning of the 20th century, when American painters, principally in New York City and Philadelphia, began to develop a uniquely American view on the beauty, violence and velocity of the modern world. 'An American Experiment' contains seven paintings by the most prominent member of the group, George Bellows. He is largely known as a painter of urban scenes. The exhibition includes 'Excavation at Night', one of a series of images Bellows made of the building work at the site of Pennsylvania Station. However, Bellows and his contemporaries also enjoyed painting landscapes away from the metropolis. 'The Palisades', 1909 shows his engagement with the natural world as its main subject. It also reveals Bellows as a master of snow, alongside his work in 'Blue Snow, The Battery'. Later works such as the 'Big Dory', 1913 see him absorbing avant-garde influences from Europe and anticipating the Art Deco style. The Ashcan painters were part of a widespread interest in the quality of life in modern cities during the early 20th century. Along with British artists like Walter Sickert, they represent a strong analysis of their contemporary urban experience while owing much to Old Masters such as Velázquez and Manet. Also currently showing at the National Gallery are "Jan Gossaert's Renaissance" (until 30 May 2011), featuring over 80 works, including works on loan from the Prado in Madrid and Barber Institute of Fine Arts, Birmingham. It also features drawings and contemporaneous sculptures of the Northern Renaissance. "Bridget Riley: Paintings and Related Work" (until 22 May 2011) focuses upon Bridget Riley's most recent paintings. Two of Riley's works have been made directly on to the walls of the exhibition space. Riley and her studio have created a new wall drawing, 'Composition with Circles 7', especially for the longest wall of the Sunley Room. In addition a version of the wall-painting, 'Arcadia' (last seen at the major 2008 retrospective in Paris) has been recreated on a larger scale.
Posted: 12 May 2012 10:27 PM PDT
MILAN (REUTERS.- Italian fashion house Salvatore Ferragamo has taken a museum detailing its history and culture online, allowing young designers to add their creative touch to its shoe models. The new website, www.museoferragamo.com, is dedicated to its "shoemaker to the stars" founder and includes pictures, vintage films relating to the Florence-based maison, which is known for its shoes, silk ties and scarves as well as handbags. Visitors can browse through Ferragamo archives as well as book tickets to the actual museum in Florence. Artists can download famous shoe models, redesign them and send them back with a panel of judges picking a winner to join a virtual gallery every three months.
Posted: 12 May 2012 10:25 PM PDT
The statue, Apollo the Lizard Slayer, was stunning. The five-foot-tall bronze, created by the Greek artist Praxiteles as many as 2,350 years ago, depicts the nude god poised to ambush a lizard. And the Cleveland Museum of Art wanted it. During a visit to Geneva in 2003, Michael Bennett, the museum's curator of Greek and Roman art, noticed a statue beneath a black cloth while browsing at Phoenix Ancient Art, an exclusive antiquities gallery. After Hicham and Ali Aboutaam, the dapper Lebanese brothers who owned the gallery, pulled off the cloth to reveal the Apollo Sauroktonos, as it is also known, it did not take long for the museum to buy it.
Posted: 12 May 2012 10:24 PM PDT
NEW YORK, N.Y.- Sotheby's auction of Important Russian Art on 1 November will be led by Vasili Vasilievich Vereshchagin's Pearl Mosque at Delhi, the most accomplished painting from the artist's famed Indian series and his most significant canvas to appear at auction in over a century (est. $3/5 million*). The monumental work – measuring approximately 13 by 16 feet – is on offer from the Museum of Fine Arts, Boston (MFA), along with seven works in the Impressionist & Modern Art Evening Sale the following night. Pearl Mosque at Delhi will be on view in Sotheby's York Avenue galleries beginning 26 October, alongside the full sale exhibition.
Posted: 12 May 2012 10:22 PM PDT
NEW YORK, NY.- Christie's New York announces the Prints & Multiples Sale on April 26 and 27. The auction features 482 lots including an impressive variety of American, Modern, Post-War, and Contemporary prints estimated in the region of $7 million. Highlights in the sale include works by Edvard Munch, as well as Works from the Collection of Michael Crichton — best-selling author, screenwriter, film director and producer — and Pop Art prints by artists such as Andy Warhol, Jean-Michel Basquiat, and Roy Lichtenstein.
Posted: 12 May 2012 10:20 PM PDT
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.
The 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.
Soon 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 : www.sfmoma.org
Posted: 12 May 2012 10:19 PM PDT
LONDON.- Jean-Marc Bustamante is one of France's senior artists and a major figure in the international art world. His clear, direct vision manifests itself in an almost bewildering array of materials and media – first photography, then sculpture, painting, architectural projects, installation. His work is unified and characterized by its calm intelligence and a kind of extraordinary ordinariness that helps us see its subject, the world around us, in a new way. Jean-Marc Bustamante's 'Dead Calm' exhibition is on display until April 4, 2011. Bustamante's art has not been seen enough in Britain, and The Fruitmarket Gallery brings it to new audiences in Scotland.
Posted: 12 May 2012 10:14 PM PDT
LONDON - Chris Beetles Gallery announced an exhibition of Sir Cecil Beaton prints in collaboration with Sotheby's. From 22 April – 16 May 2009 photographs taken by this renowned photographer of many twentieth century icons will be on display including, Marilyn Monroe, Audrey Hepburn, Gilbert and George, and members of the Royal family. The exhibition is the first time for many years that these prints will be on view and available to buy. By drawing extensively on Sotheby's archive of Beaton material, the exhibition of around 70 prints will form the most comprehensive Beaton exhibition for many years.
Posted: 12 May 2012 10:13 PM PDT
NEW YORK, NY.- Beginning March 17 through 17 April, DC Moore Gallery presents Mark Greenwold Secret Storm: Paintings 1967-1975. This provocative exhibition brings together, for the first time, controversial early paintings made between 1967 and 1975, as well as watercolors and drawings from the period. A catalog including an interview with the artist by Alexi Worth accompanies the exhibition. The six paintings in the show have been virtually un-exhibited, and their overwhelming size, bubblegum palette, and overtly sexual subject matter will surprise even those familiar with Greenwold's more recent, small-scale paintings of friends and family members in unsettling scenarios.
Posted: 12 May 2012 10:12 PM PDT
NEW DELHI.- "Manifestations V", an exhibition of 75 works by significant Indian artists of the 20th century, is part of Delhi Art Gallery's biannual series introduced to fulfill the need to present an edited slice from its collection. Its format consists of a single work of each chosen artist which is carefully examined within the unique experiences of his artistic journey. What is exciting is the freedom to select artworks without constraints of chronology, style or subject. On view through June 18th.
Posted: 12 May 2012 10:09 PM PDT
Madison, WI.- The Madison Museum of Contemporary Art is proud to present two exhibtions featuring the works of the Chicago Imagists. Both exhibitions open on September 10th. In the museum's main galleries, they will be showing "The Chicago Imagists" (until January 15th 2012), while the State Street Gallery will be showing "Chicago School: Imagists in Context" (until December 30th). In the late 1960s, art audiences were introduced to a vibrant new generation of artists who would soon be identified collectively as the Chicago Imagists. Like the Pop artists in New York, Los Angeles, and London, who were somewhat older, these young artists drew inspiration from the everyday urban world and popular culture. But despite these common interests, the Chicago Imagists were more focused on a fantasy art of brilliant color, graphic strength, and free line. With sources and inspirations that ranged from comic books to Surrealism, the Chicago Imagists trafficked in exuberant and irreverent satire that spoke to the political and social foibles, as well as the whimsy, of contemporary life at the end of the tumultuous 1960s and into the 1970s.
"Chicago Imagists" at the Madison Museum of Contemporary Art will include more than 75 works by Roger Brown, Sarah Canright, Ed Flood, Art Green, Philip Hanson, Gladys Nilsson, Jim Nutt, Ed Paschke, Christina Ramberg, Suellen Rocca, Barbara Rossi, and Karl Wirsum, as well as their friend and mentor Ray Yoshida. The exhibition is being organized by the museum's curator of collections, Richard H. Axsom; director, Stephen Fleischman; and former curator of exhibitions, Jane Simon, and will be accompanied by a major publication. Titled 'Chicago Imagists', this richly illustrated book will include essays by Lynne Warren, curator at the Museum of Contemporary Art, Chicago; Cécile Whiting, professor of art history at the University of California, Irvine; and the exhibition curators. Together, these writings will comprise the most extensive examination to date of the Imagist artists, their influences, and their place within American history and art history. "Chicago School: Imagists in Context" offers a cultural framework in which to consider the work of the Chicago Imagists. Drawing from the museum's permanent collection, this exhibition presents works by artists who influenced the Imagists or were influenced by them--from the expressionistically rendered human figures of Leon Golub to the sexually charged, surrealist watercolors of Robert Lostutter. Other artists represented include Robert Barnes, Phyllis Bramson, Don Baum, Miyoko Ito, Ellen Lanyon, June Leaf, Peter Saul, Hollis Sigler, and H.C. Westermann, among others.
The Madison Museum of Contemporary Art is a nonprofit, independent organization that exists to exhibit, collect, preserve, and interpret modern and contemporary art. After a distinguished 105-year history in borrowed and refurbished spaces, the Madison Museum of Contemporary Art opened to the public on April 23, 2006, in a new facility within the Overture Center for the Arts. Designed by world-renowned architect Cesar Pelli, the museum's exhilarating facility offers 51,500 square feet of space for the study, presentation, and conservation of modern and contemporary art, as well as a 7,100-square-foot rooftop sculpture garden. Public amenities include spacious galleries, a 230-seat lecture hall, a children's classroom, a new-media gallery, and a study center for drawings, prints, and photographs. Like the rest of Overture Center, the facility was made possible by the extraordinary generosity of W. Jerome Frautschi, a long-time friend of the museum. The museum's collection traces its origins to a major gift from Rudolph and Louise Langer in 1968.
Through donations and museum purchases, the collection has grown to become an important community resource. Works span the twentieth and twenty-first centuries and include paintings, sculpture, photography, prints, and drawings. Romare Bearden, Deborah Butterfield, John Steuart Curry, Frida Kahlo, Diego Rivera, and Cindy Sherman are among the many esteemed artists represented in the collection. Exhibitions are the cornerstone of MMoCA's public programs and have featured many of the most respected artists of the last century, including Robert Rauschenberg, Jasper Johns, Chuck Close, Sol LeWitt, George Segal, Jim Dine, Rodney Graham, Georgia O'Keeffe, Claes Oldenburg, Ursula von Rydingsvard, and John Wilde. The main galleries, located on the second floor, host the museum's major exhibitions. The Henry Street Gallery presents exhibitions from the museum's permanent collection while the State Street Gallery offers a changing roster of exhibitions and installations. MMoCA's rooftop sculpture garden presents major works on a rotating basis in an illuminated garden setting. Visit the museum's website at ... http://mmoca.org
Posted: 12 May 2012 10:04 PM PDT
Mumbai, India - Ghare - Bhaire , a title made famous by the inimitable film maker , Satyajit Ray. A phrase that can be trietly translated into " Inside Outside " . But a meaning that is so much more. It is the interaction of us people with our environs. What we are like in our homes . What we do when we go out . The bright clean look of our abode. The drabness of the humdrum outside. The masks we put on outside , the open welcome inside. On exhibition 7 December through 7 January, 2008.
Posted: 12 May 2012 10:01 PM PDT
NEW YORK, NY.- Steven Holl Architects has been selected to design the new library at the Queens West Development at Hunters Point. This new library will provide state of the art library services to the community, as well as offer a space for community programming. Tom Galante, Chief Executive Officer for the Queens Library, said, "Queens Library at Hunters Point will be a great resource for the whole community. We are looking forward to working with Steven Holl Architects to see a truly special library built on this site."
Posted: 12 May 2012 10:00 PM PDT
INDIANAPOLIS, IN - The Indianapolis Museum of Art premieres the first solo museum exhibition in the United States for Afghan artist Lida Abdul. The exhibition, titled Lida Abdul, includes three video works by Abdul on view in the IMA's Carmen & Mark Holeman Video Gallery. The installation will include White House (2005), What We Saw Upon Awakening (2006), and will premiere Abdul's newest work, Airplane (2008). The exhibition is on view at the IMA through September 28, 2008.
Posted: 12 May 2012 09:58 PM PDT
MADRID.- Opening to the public at the Museo Reina Sofía on Wednesday 30 November are the rooms devoted to the third section of the Museum's Collection, which covers the period from 1962 to 1982. The Museum's Collection is articulated around four areas corresponding to the key moments in the history of art, both Spanish and international, in the 20th and 21st centuries. Two of them have already been opened to the public. The first, exhibited on the second floor of the Sabatini Building, takes in the twenties and thirties, when the avant-gardes moved in the direction of greater commitment and antagonism. The second, presented a year ago under the title Is the War Over? Art in a Divided World (1945-1968), surveys the forties, fifties and sixties, and can be visited on the fourth floor.
Occupying some 2,200 square meters of the two exhibition areas in the Nouvel Building, the third section of the Collection is now presented under the title From Revolt to Postmodernity (1962-1982). In it are about 300 works, including paintings, drawings, sculptures, installations, videos, photographs and documentary material. A substantial part of the work is seen here for the first time, since it includes recent acquisitions, donations and long-term loans that have not been shown before. In this respect, the Museum has made a great effort to fill important gaps in this part of the Collection, adding names essential to an articulation of the period.
The rooms devoted to this period will house work by artists like Sol LeWitt, Dan Flavin , Hélio Oiticica , Luis Gordillo, Gerhard Richter, Pistoletto , Carl Andre, Hans Haacke, Eugènia Balcells, Eulalia Grau, Mario Merz, Marcel Broodthaers, Donald Judd , Moraza, Molero, Yvonne Rainer, Buren, Jo Spence, Guillermo Pérez Villalta, Carlos Alcolea, Carlos Leon, Esther Ferrer, Concha Jerez, George Brecht, Alberto Corazón, Colita, Nacho Criado and others.
In the twenty years covered by the newly presented work, world-changing events took place whose decisive factors were the growth of new technologies, the advance of consumerism, the processes of decolonization (materializing in nonconformist attitudes among young people and women) and the beginnings of globalization. Events like May '68, the economic crisis starting in 1973, the death of Franco, the transition to democracy and the start of globalization on an international scale are just some of the landmarks of this period, one of the most turbulent in the history of the 20th century, in Spain and elsewhere.
While this part of the Collection begins in the year of the war in Algeria and the Cuban missile crisis, and so belongs to the buildup to May '68, 1982 marks the end of the political transition in Spain and opens a decade dominated by figures like Ronald Reagan and Margaret Thatcher, and defined by the fall of the Berlin Wall in 1989. These years are essential for an understanding of the world we live in, and many of the transformations of today's society have their origins in them.
The period also brought the definitive paradigm shift with regard to what had been considered art since the Renaissance. This was not only because the traditional division of the medium into painting and sculpture was finally overcome, but also because of the "absence" of the author. It is the turning point between modernity and postmodernity. In modernity the author lay at the centre, whereas it was now his "death" that was proclaimed. Artists also showed dissatisfaction with the isolation of the studio, reacting to a need to go out into the streets and interpellate their public.
The new paradigm also implies a radical response to an art understood as a western male practice, with the appearance of voices like those of feminism or tropicalism, or of others raised in protest and denunciation of a repressive social and political context, as in the case of the Latin American and Spanish dictatorships. Minimalism, conceptual art, arte povera, and practices in an expanded field (sculpture opening up to landscape, films shown in museums, etc.) are all characteristic of those years.
A fundamental role is played in the presentation of this part of the Collection by the long-term loans secured by the Museum through various agreements in order to lend coherence to the expository discourse. Special mention should be made of that of Javier Luz, which includes the material by Trama; that of Onnasch, with four works by George Brecht, one by Dieter Roth and another by Daniel Buren ; and that of Vijande, which has made it possible to include several pieces by Luis Gordillo.
Above all, however, we must highlight the importance of the long-term loan of the Sonnabend Collection . Decisive artists of the second half of the 20th century, such as John Baldessari , Donald Judd and Bernd and Hilla Becher , can now be seen as part of the Collection thanks to the agreement subscribed recently between the Museo Reina Sofía and the estate of the celebrated gallerist and collector Ileana Sonnabend (Bucharest, 1914 - New York, 2007). The agreement also makes provision for other works by important artists to visit the rooms of the Museo Reina Sofía in the future.
The framework for such actions is the Museum's policy of long-term loans, which allows it to fill the existing gaps in its Collection without costly investments in pieces that can in some cases reach exceedingly high values on the market, so putting them effectively beyond the institution's reach.
In the meantime, a number of the Museum's new acquisitions are presented here for the first time. Among them are works by Hans Haacke, André Cadere, Luciano Fabro, Helio Oiticica, Juan Carlos Romero, Roberto Jacoby, Paz Muro, Philip Haas , Concha Jerez, Eugenia Balcells, Raimundo Patiño, Herminio Molero, Nazario, Michelangelo Pistoletto, Angels Ribé, CADA, Colita, Miguel Trillo and Antón Patiño.
Visit the Museo Reina Sofía at : http://www.museoreinasofia.es/index_en.html
Posted: 12 May 2012 09:57 PM PDT
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