- MoMA exhibition of Joan Miró ~ Painting and Anti-Painting 1927–1937
- The Kalamazoo Institute of Arts Exhibits Indonesion Artist Entang Wiharso
- Ullens Center for Contemporary Art opens "8 Key Figures of China's New Generation of Artists"
- The N2 Gallery in Barcelona Displays Sixeart's Andean Inspires Street Art
- Artist Yun-Fei Ji exhibits New Works on Paper at James Cohan Gallery
- The Metropolitan Museum of Art opens "Art & Love in Renaissance Italy "
- "In His Sixth Decade ~ Prints by Peter Milton" at Jane Haslem Gallery in Washington D.C.
- Schwartz Center for the Arts Rolls Out Films of Real-Life Experiences
- Julian Opie at the MAK in Vienna ~ Solo Exhibition of Recent Works
- The Orlando Museum of Art opens Barbara Sorensen's Topographies Exhibition
- The Kunsten Museum of Modern Art Presents "Marc Quinn: All of Nature Flows Through Us"
- The Kunstverein Hannover features Solo Exhibition by the American painter Hernan Bas
- Metropolitan Museum of Art to display International Loan Exhibition of Korean Art
- Upside Down Church to be Resurrected
- Sotheby's To Sell the 'Pearl Carpet of Baroda' at an Auction in Doha
- The Nevada Museum of Art presents Three Exhibitions on a Tiffany & Co. Themes
- Art Knowledge News Presents "This Week In Review"
Posted: 17 May 2012 10:47 PM PDT
New York City - "Joan Miró: Painting and Anti-Painting 1927–1937" is the first major museum exhibition to identify the core practices and strategies Joan Miró (Spanish, 1893–1983) used to attack and reinvigorate painting between 1927 and 1937, a vital decade within his long career. Taking as its point of departure the notorious claim Miró made in 1927—"I want to assassinate painting"—the exhibition explores 12 of Miró's sustained series from this decade, and includes some 90 paintings, collages, objects, and drawings. The exhibition is organized by Anne Umland, Curator, Department of Painting and Sculpture, The Museum of Modern Art, and will be on view in The Joan and Preston Robert Tisch Gallery, from November 2, 2008, through January 12, 2009.
Explains Ms. Umland, "This exhibition takes a close-up, in-depth look at a decade's worth of Miró's work, created during a period of economic and political turmoil, illuminating the way his drive to assassinate painting led him to reinvigorate, reinvent, and radicalize his art. The resulting body of work is at times willfully ugly, and at others savagely beautiful. It brings together both beloved masterpieces and largely unfamiliar works, transforming our understanding of Miró's legacy for our own twenty-first century times."
In 1941, The Museum of Modern Art organized the first full retrospective of Miró's work to be mounted anywhere in the world, followed by major exhibitions in 1959 and 1973, and a landmark retrospective, presented on the centennial of his birth, in 1993. Fifteen years later, Joan Miró: Painting and Anti-Painting 1927–1937 offers a fresh look at the artist's work through a tightly focused presentation of a single transformative decade.
By assembling in unprecedented depth the interrelated series of works of this decade, this exhibition repeatedly poses the question of what painting meant to Miró and what he proposed as its opposite, and in the process reveals the artist's paradoxical nature: an artist of aggression and resistance who never ceased to be a painter, a creator of forms. Acidic color, grotesque disfigurement, purposeful stylistic heterogeneity, and the use of collage and readymade materials are among the tactics that Joan Miró used to take apart and reconstruct painting and his own art.
The body of work Miró produced between 1927 and 1937 is symptomatic of the troubling malaise and creeping sense of doom that emerged in Europe as the so-called Roaring Twenties came to an end, and as the political tensions that would, by 1939, lead to World War II became increasingly apparent. The compressed time period examined by the exhibition reveals the extensive range of Miró's experimentation during these years and the many different types of art making he pursued in order to produce a body of work that defiantly refuses to add up. The persistent tension he maintained between abstraction and figuration, the radical and the traditional, formal mastery and aesthetic "murder," is among his radical achievements.
The exhibition's principal goal is to illuminate the particular and changing character of Miró's challenge to painting during these years, a period of his work that is generally under-recognized and not well understood. This exhibition reunites works from long-separated series, including over 20 works never before seen in the United States. The Centre Pompidou, Paris, and the Fundació Joan Miró, Barcelona, have each contributed a number of important loans to the exhibition, among them the Pompidou's remarkable Portrait of a Dancer (1928), which has never been shown in the United States and which, for the first time since leaving Miró's studio, will be reunited in this exhibition with the two other extant works from the artist's series of Spanish Dancer collages.
The exhibition is organized to follow Miró's practice of conceiving and executing his works in distinct series, adopting the artist's own groupings and, in the case of those works that he dated by day, month, and year, reflecting the sequence of presentation that he determined. The installation is structured around 12 series created between 1927 and 1937, while working in Paris, Montroig (a rural village on the coast of Catalonia), and Barcelona. It begins with a 1927 group of works on unprimed canvas and concludes with 1937's singular, hallucinatory painting, Still Life with Old Shoe, a work that establishes a historical endpoint for this decade-long period of experimentation. The tight chronological framework affords the opportunity to present individual series of works in sustained depth.
Constructions and Objects, 1930–32: Working in Montroig between August and November 1930, Miró created as many as 12 relief constructions, although only the two on view in this gallery are known to have survived. The following year he began to make small objects, including the six presented in this gallery, that frequently combine found materials with painted figures and passages of glued sand, juxtaposing real-world objects with imaginative images to create a richly volatile mix of painting and assemblage. Miró and the Surrealists pointedly referred to many of the three-dimensional works he made between 1931 and 1932 as objects, not sculptures, to underscore their distance from aesthetic conventions and norms. Wood panels and blocks recur frequently, both as defiant references to the tradition of painting on wood and as surfaces onto which objects are nailed or stapled.
Still Life with Old Shoe, 1937: Miró left Barcelona for Paris sometime before October 28, 1936. With the civil war in Spain advancing without a foreseeable end, he decided to remain in the French capital; his wife and daughter joined him in December. They would not return to Spain for four years. On January 12, 1937, Miró announced his intent to do "something absolutely different," and abruptly returned to working from life—from the observation of an external model, of real objects arranged in space. The result was the incandescent, hallucinatory painting Still Life with Old Shoe, which marks a historical endpoint to the decade-long period presented in this exhibition. The painting is both a still life and a landscape, in which the irregular back edge of the tabletop can also be read as an undulating horizon line. Scale and perspective have been adjusted, so that the worn old shoe dwarfs the surrounding objects. The color is highly saturated and dissonant, and the objects seem to glow from within.
Posted: 17 May 2012 10:44 PM PDT
Kalamazoo, MI.— The Kalamazoo Institute of Arts is pleased to present "Second Skin: Peeling Back the Layers", featuring work by contemporary Indonesian artist, Entang Wiharso, and curated by Dr. Mary-Louise Totton, Associate Professor of Asian/Pacific Art, Western Michigan University. According to Dr. Totton, "Currently one of Indonesia's most active international artists, Entang Wiharso compounds the narrative power and complex formats of the ancient local artistic genres of his homeland with a contemporary global outlook. His original voice is processed through a variety of mediums and idioms that explore issues of identity, power, love, and intolerance." "Second Skin: Peeling Back the Layers" is on view from September 10th through November 6th.
Posted: 17 May 2012 10:42 PM PDT
BEIJING.- The Ullens Center for Contemporary Art (UCCA) presents "Breaking Forecast: 8 Key Figures of China's New Generation of Artists", a groundbreaking exhibition showcasing a comprehensive look at the future of contemporary art in China. The exhibition will gather an exciting group of emerging and mid-career artists working throughout China today: Cao Fei, Chu Yun, Liu Wei, MadeIn, Qiu Zhijie, Sun Yuan & Peng Yu, Yang Fudong and Zheng Guogu. On exhibition from 17 November through 28 Febuary, 2010.
Posted: 17 May 2012 10:39 PM PDT
Barcelona, Spain.- The N2 Gallery is proud to present "Sixeart: Cosmovisión Andina y los Hijos del Inti (Andean worldview and the Sons of Inti)", on view at the gallery through January 9th. "Cosmovisión Andina y los Hijos del Inti" is an approach to ancient Andean cultures, full of colour, wisdom and mysticism. Sixeart use his pictorial language in order to reinvent a new idea of ancestral reconnection. The conceptual part in Sixe's work has aroused the interest of Casa America in Madrid, where they will show an installation made specifically to coincide with ARCO (International Contemporart Art Fair in Madrid, Febraury 15th through February 19th 2012) and later, in March, an exhibition with all his latest work.
Posted: 17 May 2012 10:37 PM PDT
NEW YORK, NY.- James Cohan Gallery presents their second gallery exhibition by Chinese expatriate artist Yun-Fei Ji, opening February 19 and running through March 27. The exhibition will include new works on paper as well as Ji's artist's book, Migrants from the Three Gorges Dam, recently published by the Library Council of The Museum of Modern Art, NY. Like in the ancient stories, Ji's ghosts are stand-ins, free to express themselves in ways not allowed to people living under tightly controlled social and political hierarchies.
Posted: 17 May 2012 10:35 PM PDT
New York City - Key moments in the lives of Italian men and women in the Renaissance were marked by celebrations carried out with the greatest possible degree of magnificence. Of these, betrothal, marriage, and the birth of a child were of the utmost significance. Art and Love in Renaissance Italy, at The Metropolitan Museum of Art, offers a unique look at approximately 150 art objects and paintings, dating from around 1400 to 1550, that were created to celebrate love and marriage. Exhibition on view 18 November through 16 February, 2009.
It includes exquisite examples of maiolica and jewelry given as gifts to couples, marriage portraits and paintings that extolled sensual love and fertility, such as the Metropolitan's own Venus and Cupid by the great Venetian artist Lorenzo Lotto, and some of the rarest and most significant pieces of Renaissance glassware, cassone panels, birth trays, and drawings and prints of amorous subjects.
Art and Love in Renaissance Italy is divided into three sections: Celebrating Betrothal, Marriage and Childbirth, which features splendid wedding gifts such as maiolica decorated with narratives or portraits, rare Venetian glassware, rings (including one of the earliest known diamond wedding rings) and other jewelry, delicate gilded boxes, and costly painted cassoni, or bridal chests; Profane Love, which focuses on erotic, at times salacious, imagery treated in drawings, prints, and other objects created by some of the most celebrated artists of the time, including Parmigianino and Giulio Romano; and From Cassone to Poesia: Paintings of Love and Marriage, which shifts to nuptial portraits and paintings on themes of love that decorated bedchambers and private quarters. Here the poetic genius of Renaissance artists is on display with some of the most beguiling and sensual works by Botticelli, Titian, Lorenzo Lotto, and their contemporaries that were produced for marriages and as gifts for lovers.
It was the very fluidity of the marriage vows that made the traditional rituals and their public manifestations so important for weddings sanctioned by society. This was true at all social levels but was especially vital for the wealthy. Indeed, public wedding ceremonies and the material objects generated for them provided the physical demonstration of the marriage's legitimacy. The gifts and paraphernalia that formed the cornerstones of wedding celebrations were discussed at length and in great specificity in the abundant contemporary texts that recorded particular weddings and inventoried couples' belongings, as well as in more generalized writings on marriage.
One example illustrates the problems of interpretation we face. Late in his career, Titian painted five related works showing Venus reclining in bed accompanied by a male musician—sometimes an organist and sometimes a lute player—who gazes at her intently. Not only the kind of musician but other details vary as well: Cupid comes and goes, and the landscape backgrounds differ significantly. Technical examination has shown that the principal figure of Venus was in most cases transferred mechanically from canvas to canvas through use of a cartoon and that Titian was personally involved in the production of each work to varying degrees. We can assume, therefore, that at least some of these paintings were produced for the open market, rather than invented for a specific client, and that their imagery evolved as a result of the popularity of the composition. Titian's paintings seem to embody the multiplicity of interpretations found in contemporary poetry and prose and therefore bring these writings alive in visual terms.
The primary functions of the institution of marriage centered on the family and society, and love rarely entered into the equation. Yet the subjects of love, beauty, and attraction mesmerized Renaissance men and women. They were discussed—even dissected—endlessly in poems, dialogues, and treatises from perspectives ranging from the most base to the most elevated. The pleasures and pain of love could be weighed against each other, even within a single poem. The same dichotomy was rehearsed in prose. The great Renaissance paintings on the themes of love and marriage owe their rich complexity, and often ambiguity, of meaning to the coexistence of this broad range of contemporary thought on the subject. Love can bring pleasure or pain; beauty can inspire lascivious thoughts or bring us closer to the divine; marriage makes it impossible to live a spiritual life or provides us with an ideal companion who brings us harmony. Is the woman a courtesan or a wife? Was these works painted to commemorate a marriage or as an erotic pinup?
Visit The Metropolitan Museum of Art at : www.metmuseum.org/
Posted: 17 May 2012 10:34 PM PDT
Washington D.C.- The Jane Haslem Gallery is pleased to present "In His Sixth Decade: Prints by Peter Milton" until June 30th. Peter Milton is now in his sixth decade as an artist. His most recent prints, which embrace digitally produced imagery, have sent him in another new and perhaps unexpected direction. These new prints are more luminous and three dimensional. Proving, once again, that Milton continues to reinvent himself by pushing his art to another level of visual experience.
Posted: 17 May 2012 10:31 PM PDT
Dover, DE - After a break for the holidays, the Schwartz Center for the Arts rolls out a series of films in January based on remarkable, real-life experiences. In 2004, a strategic alliance was formed to collaborate the resources of Wesley College, Delaware State University, and The Friends of the Capitol Theater, to maximize usage and position the historic treasure as the premiere performing arts center in Central Delaware. The Schwartz brings a selection of moving memoirs and beautiful biopics to the big screen. All films run Wednesday and Sunday nights at 7 pm.
Posted: 17 May 2012 10:28 PM PDT
Vienna, Austria - In this show of "Recent Works", the MAK presents a comprehensive solo exhibition of the British artist Julian Opie. The three large bodies of work assembled in the show, "Portraits", "Nudes", and "Land-scapes", survey most recent works by the artist, many of them never shown before. The works of this boundary-pushing artist who always strives to find innovative ways of artistic expression oscillate between painting and sculpture, expanding techniques and readings of art.
Posted: 17 May 2012 10:25 PM PDT
ORLANDO, FL.- The Orlando Museum of Art has expanded its permanent collection with dynamic sculptures donated by renowned artist Barbara Sorensen and her husband. The sculptures included in the donation are nine pieces from the Dwellings Series, which are currently on display at the museum's entrance. Beginning January 7, 2012, visitors will have the opportunity to view Barbara Sorensen: Topographies, as part of the museum's Made in Florida series. Made In Florida will showcase the exemplary work and influence of Florida artists throughout the 2012 season. Renowned for her ability to capture the unique form, surface and texture of the Earth through sculpture, Topographies will feature installations from the last 20 years of Sorensen's work and take viewers on a topographical expedition of the world's most rugged and remote settings. New pieces will be on view for the first time as well. Topographies will remain on display through April 1, 2012.
Posted: 17 May 2012 10:22 PM PDT
Aalborg, Denmark.- The Kunsten Museum of Modern Art is pleased to present "Marc Quinn: All of Nature Flows Through Us" on view at the museum from January 21st through April 29th. Marc Quinn belongs to the generation of Young British Artists, who in 1990 broke through with a bang on the art scene. Since then, Marc Quinn has worked with sculpture and painting in a sometimes violent and direct idiom. "All of Nature Flows Through Us" is Marc Quinn's first exhibition in Denmark. The exhibition takes as its starting point a series of new works, created under the inspiration from a trip to India. A number of skeletons cast in bronze entitled Matter Into Light is located on large betonpodier with fire around it. Around these works creases Quinn's works from the past year out. Themes such as death, passion, beauty and sexuality unfold in seemingly classical sculptures and paintings, all with a special twist. The entire exhibition brings its different expressions a series of existential and religious themes up to date.
A harmonious exhibition that is both disturbing and existential, innovative and classic, menacing and upbeat. The exhibition, created in cooperation with Kistefos Museum in Norway, is the first comprehensive presentation of Marc Quinn in Denmark. The exhibition catalog includes texts by curator at ART, MA. Gitte Ørskou and the Norwegian art historian Nora Cicely daughter Nerdrum.
Marc Quinn's wide-ranging oeuvre displays a preoccupation with the mutability of the body and the dualisms that define human life: spiritual and physical, surface and depth, cerebral and sexual. Using an uncompromising array of materials, from ice and blood to glass, marble or lead, Quinn develops these paradoxes into experimental, conceptual works that are mostly figurative in form. Quinn's sculpture, paintings and drawings often deal with the distanced relationship we have with our bodies, highlighting how the conflict between the 'natural' and 'cultural' has a grip on the contemporary psyche. In 1999, Quinn began a series of marble sculptures of amputees as a way of re-reading the aspirations of Greek and Roman statuary and their depictions of an idealised whole. One such work depicted Alison Lapper, a woman who was born without arms, when she was heavily pregnant. Quinn subsequently enlarged this work to make it a major piece of public art for the fourth plinth of Trafalgar Square. Other key themes in his work include genetic modification and hybridism. Garden (2000), for instance, is a walk-through installation of impossibly beautiful flowers that will never decay, or his 'Eternal Spring' sculptures, featuring flowers preserved in perfect bloom by being plunged into sub-zero silicone. Quinn has also explored the potential artistic uses of DNA, making a portrait of a sitter by extracting strands of DNA and placing it in a test-tube. DNA Garden (2001), contains the DNA of over 75 plant species as well as 2 humans: a re-enactment of the Garden of Eden on a cellular level.
Quinn's diverse and poetic work meditates on our attempts to understand or overcome the transience of human life through scientific knowledge and artistic expression. Marc Quinn has exhibited in many important group and solo exhibitions internationally including Sonsbeek '93, Arnhem (1993), Give and Take, Victoria and Albert Museum, London (2001), Statements 7, 50th Venice Biennale (2003) and Gwangju Biennale (2004). Solo exhibitions include Tate Gallery, London (1995), Kunstverein Hannover (1999), Fondazione Prada, Milan (2000), Tate Liverpool (2002), Irish Museum of Modern Art, Dublin (2004), Groninger Museum, Groningen (2006) and MACRO, Rome (2006), DHC/ART Fondation pour l'art contemporain, Montréal (2007) and Fondation Beyeler, Basel (2009).
The Kunsten Museum of Modern Art Aalborg was designed by Elissa and Alvar Aalto and Jean-Jacques Baruël, and built between 1968 and 1972. It is a very flexible building, that, due to the mobile partition wall system, can change character, depending on the requirements of each individual exhibition. Special note should also be made of the unique use of natural light, which has helped to make the building world famous. The museum is designed to blend in with its natural surroundings, and like a ziggurat it rises to meet the adjoining hillside. It is situated on the edge of a large area of parks and woodland, and the surrounding vegetation stands in contrast to the precise contours of the building. The materials used were specially selected. The outer walls, and a large part of the floor area are made of carrara marble, and the light material structure helps to give prominence to the art works. The total area is approx. 6000sq.m. On the ground floor is the central hall together with an adjoining sculpture hall. Surrounding these are series of long sky lit galleries, seven smaller exhibition rooms, a chamber music room, the entrance hall, and the administration offices. On the lower ground floor are exhibition rooms, a café, cloakroom, lecture rooms, a study group room, a workshop and a library. The museum is encircled by a sculpture park, an amphitheatre and a grassy terrace. A brick wall forms a bridge between the stringent lines of the museum buildings and the wooded slopes behind. On display in the park are sculptures by Gunnar Aagaard Andersen, Willy Ørskov, Lene Adler Petersen, Mogens Møller and, in pride of place, Bjørn Nørgaard's Klassisk tableau. Drømmeslottet (Classical Tableau. The Dream Castle) – a veritable crystal palace, complete with fluttering banners. The permanent exhibit traces the course of art in Denmark from Naturalism to Abstract Art and more recent experimental art forms. The Danish artist J.F. Willumsen occupies a central place in the collection, which also boasts a fine selection of works by artists from the first half of the 20th century – among them Vilhelm Lundstrøm, Edvard Weie, Jens Søndergaard and Erik Hoppe. Artists from the middle of the last century such as Wilhelm Freddie, Ejler Bille, Egill Jacobsen, Asger Jorn, Carl-Henning Pedersen, Sonja Ferlov Mancoba, Richard Mortensen and Robert Jacobsen are well represented here, while late 20th century art is exemplified by such names as Willy Ørskov, Poul Gernes, Mogens Møller, Kirsten Christensen, Kirsten Ortwed, Kehnet Nielsen and Ingvar Cronhammar. Milestones in international art which have had an impact on Danish art are also highlighted, primarily through works from the mid-20th century by such artists as Max Ernst, Fernand Léger, Karel Appel, Constant, Victor Vasarely and Serge Poliakoff. A large private collection forms the nucleus of the museum's permanent exhibit. The Anna and Kresten Krestensen Collection was acquired in 1967 with the aid of a grant from the Kirsten and Palle Dige Foundation. It contains works from Denmark and abroad dating from the first half of the 20th century, and focusses primarily on Danish modernism, the COBRA group and the School of Paris. By dint of donations and new purchases the collection has expanded to include works by the surrealists, members of the Fluxus group and Denmark's "wild young artists" from the 1980s. Visit the museum's website at ... http://www.kunsten.dk
Posted: 17 May 2012 10:19 PM PDT
Hannover, Germany - The Kunstverein Hannover presents the first institutional solo exhibition in Europe by the American painter Hernan Bas (born 1978 in Miami, lives in Detroit). The son of Cuban parents, he grew up in Miami and developed in part large-format paintings depicting fantastic, dreamlike landscapes whose protagonists convey a melancholic romanticism. Hernan Bas, whose work is already represented in numerous public and private collections in the United States and Europe, has evolved a wide-ranging oeuvre within the course of only a few years. His paintings are marked by an exciting combination of fictional landscapes, abstract elements and religious or mythological set pieces. On exhibition 18th of February through 29th of April.
Posted: 17 May 2012 10:16 PM PDT
New York City - The early Joseon period, a time of extraordinary artistic achievements in Korea, will be explored in a loan exhibition opening at The Metropolitan Museum of Art in March 2009. Showcasing approximately 47 spectacular works—painting, ceramics,metalwork, and lacquer—Art of the Korean Renaissance, 1400-1600 will illustrate the lively and nuanced story of the formidable cultural renaissance that flourished during these two centuries. On exhibition March 17th through June 21st, 2009.
Posted: 17 May 2012 10:14 PM PDT
VANCOUVER, BC - Dennis Oppenheim's sculpture, " Device to Root out Evil " gains a progressive new home through Calgary's Glenbow Museum, Vancouver's Benefic Foundation and a major Alberta arts sponsor to be announced in the coming days.
Posted: 17 May 2012 10:03 PM PDT
LONDON - Sotheby's announced that it is to sell the Pearl Carpet of Baroda, one of the most extraordinary masterpieces of its kind ever to come on the market. The carpet will form the centerpiece of Sotheby's inaugural series of sales in Doha and be sold alongside other objects in the Arts of the Islamic World auction on 19th March 2009. The carpet is traditionally believed to have been created as a gift for the tomb of the Prophet Mohammad in Medina and was commissioned by "Gaekwar" Kande Rao, the Maharaja of Baroda. The intended gift was clearly never delivered as the Maharaja died before he made the donation and the carpet therefore remained in his family. Bidding on this will start around US$5 million but is expected to rise considerably higher.
Posted: 17 May 2012 10:01 PM PDT
Reno, Nevada.- The Nevada Museum of Art is pleased to present three exhibitions organized around Tiffany & Co. "Out of the Forest: Art Nouveau Lamps", "In Company with Angels: Seven Rediscovered Tiffany Windows" and "Tiffany & Co. Arms from the Robert M. Lee Collection" are all on view at the museum from February 11th through May 20th. "Out of the Forest: Art Nouveau Lamps" features 20 exquisite lamps manufactured in the early twentieth century by Tiffany Studios, Handel, Durand, and Duffner & Kimberly. The exhibition focuses on themes related to the Art Nouveau style and its inspiration in nature.
Discussion will also unfold related to various companies who competed for customers to sell lamps at the turn of the century and the competition between them. The exhibition will also explore the intricate copper foil production process used for the creation of glass lamps. All of the objects in "Out of the Forest" are from the private collection of Byron Vreeland.
"In Company with Angels: Seven Rediscovered Tiffany Windows" tells the remarkable story of the stained glass windows created by Tiffany Studios for the Church of the New Jerusalem in Cincinnati, Ohio. Created by Tiffany Studios in New York City at the beginning of the 20th century and named for the angels in the Biblical Book of Revelation, the seven windows in this exhibition were originally installed in the Church of the New Jerusalem in Cincinnati. When the church was taken by eminent domain and demolished for highway construction in 1964, the windows were crated and stored in various garages and sheds for decades until their re-discovery in 2001. This national exhibition tour debuts the story of these seven rediscovered Tiffany Windows.
The most distinguished name in decorative firearms in America is Tiffany & Co. — a surprise to those who might otherwise recognize the firm as a legendary purveyor of fine silver, jewelry and luxury objects. Founded in 1837 by Charles Lewis Tiffany, what became Tiffany & Co. commenced business just one year after the young inventor Samuel Colt registered his new designs for revolving pistols and long arms with the U.S. Patent Office. In the 175 years since then, the paths of Tiffany & Co. and Colt have crossed many times. Among the other American gun makers with ties to Tiffany & Co. are Henry Deringer, Winchester, and Smith & Wesson. The exhibition "Tiffany & Co. Arms from the Robert M. Lee Collection" features a selection of these highly decorated weapons. The Robert M. Lee Collection is recognized as the finest selection of Tiffany & Co. arms privately owned. The collection of items in this exhibition — including three revolvers, four pistols, one rifle, and one presentation sword — is rivaled only by those on display in the Robert M. Lee Gallery of American Arms, at The Metropolitan Museum of Art, New York. Tiffany's production of presentation swords and fine guns began in the 1850s, reached a peak during the Civil War period (c. 1861-65), and continued through the close of World War I (c. 1918). The art of Tiffany & Co. arms was revived c. 1982, and remained active until c. 2001, with innovative modern era designs created by the firm's Corporate Division. The Tiffany and Co. items in the exhibition span just over a century — they were made as early as 1893 and as recently as 1994.
The Nevada Museum of Art is the only accredited art museum in the state of Nevada. Recognized for following best practices as outlined by the American Association of Museums, the Museum is committed to continuous institutional improvement and change. The permanent collection is the heart of a fine arts museum. Held in trust by the Museum and enriched constantly, the collection is an inexhaustible treasure that grows in value and meaning. The permanent collection provides both the Museum and the community with a variety of fine artwork regularly displayed for the public. The collection is a resource for exhibitions and educational programs. The Permanent Collection at the Nevada Museum of Art consists of over 2,000 works of nineteenth through twenty-first century art and is divided into five focus areas that are unified by an overarching focus on natural, built and virtual environments. This thematic, rather than historical or stylistic specialization, is a natural outgrowth of the institution's collecting practices over the years and offers varied perspectives on the ways in which humans interact with the world. Visit the museum's website at ... http://www.nevadaart.org
Posted: 17 May 2012 10:00 PM PDT
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