Art Knowledge News - Keeping You in Touch with the World of Art... |
- The Joslyn Art Museum to show "Contested Terrain ~ Painting the Modern Landscape"
- The Asheville Art Museum to Host A Fine Art Print Fair
- The Kalamazoo Institute of Art shows Lee-nam Lee's "Conversation between Monet and Sochi"
- The Mint Museum to show "Thornton Dial ~ Hard Truths"
- The Kunstmuseum Wolfsburg presents "Ornamental Prints from Dürer to Piranesi"
- The Daum Museum of Contemporary Art Celebrates its 10th Anniversary
- Braunstein/Quay Gallery features Ursula Schneider ~ The River
- Postmasters Gallery presents Two Video Works by Omer Fast
- The Baltic Centre ~ A Superb International Exhibition Centre ~ A Major Venue For Contemporary Art
- The Evansville Museum To Show John Dowell's Large-Scale Photographs
- 2012 Drawing Prize of the Daniel & Florence Guerlain Contemporary Art Foundation
- The Elgiz Museum of Contemporary Art ~ Turkey’s First Contemporary Art Museum
- Royal Academy of Arts presents Recent Work from 30 Leading Contemporary Artists
- Ritter / Zamet presents French artist couple Jean François Moriceau + Petra Mrzyk
- Paul McCarthy Takes Over Both Hauser & Wirth London Galleries
- Artist Yun-Fei Ji exhibits New Works on Paper at James Cohan Gallery
- Frances Lehman Loeb Art Center presents " Out of Shape "
- The Alan Avery Art Company Celebrates its 30th Anniversary with 3 Great American Women Artists
- Christie's Post-War & Contemporary Art Auction To Feature Gerhard Richter
- Museum of Modern Art (MoMA) premieres 'Filmmaker in Focus ~ Ferzan Ozpetek'
| The Joslyn Art Museum to show "Contested Terrain ~ Painting the Modern Landscape" Posted: 16 Jun 2012 10:26 PM PDT  Rather than searching for scenic vistas or idyllic fragments of wilderness, the artists in Contested Terrain uncover a diversity of narratives — personal, environmental, technological, and cultural histories — that are revealed by a careful reading of American topography. Each artist emphasizes the importance of their personal experiences within the American landscape, encouraging close observation and an awareness of one's relationship with nature. Reevaluating the grand traditions of landscape painting that helped shape our national identity, these paintings embody a consciousness of the past while playing against conventional mythologies. Images of reservoirs, wind farms, housing developments, and natural disasters reflect an interest in sites where our preconceptions about the natural world are laid bare. Panoramic vistas of strip mines and clear cut forests replace sites like the Grand Canyon as monuments of a post-industrial landscape we have created yet still struggle to acknowledge. Yet by reworking tradition to accommodate the realities of the present, the beauty that still endures at these intersections of man and nature becomes evident. Contested Terrain describes places transformed by development and industry, while still locating moments that speak forcefully of the natural world.  Chuck Forsman (American, born 1944) asks what it means to be "in balance" with our surroundings in the twenty-first century. In his paintings, strip mines and dams replace canyons and rivers as monuments to the post-industrial word. His uneasy representations of the tension between development and preservation refuse to shy away from the contradictions of the mythic West. Karen Kitchel (American, born 1957) paints intricately detailed closeups of the western prairie, eschewing a traditional horizontal compositions based on the distant horizon to concentrate on more intimate spaces. Kitchel's art is a sensitive portrayal of the personal and environmental transformations that help shape one's identity. James Lavadour (American, born 1951) rejects traditional narratives and symbols of western painting in favor of a synthesis of Asian philosophy, jazz, and Abstract Expressionism. Lavadour's fluidly painted surfaces capture the energy and emotion of the geological and cosmic forces that govern our surroundings. Jean Lowe (American, born 1960) depicts the suburban landscape with the trappings of a nineteenth-century painting to examine the relationship between nature and culture, reality and image. In their monumental scale and false grandeur, her paintings become ironic laments for a landscape that is being consumed at an alarming pace. Alexis Rockman (American, born 1962) reveals the tensions of growth and destruction that follow the human impulse to impose order on the environment. Rockman's apocalyptic paintings synthesize a range of art historical sources including abstraction, museum dioramas, and scientific illustration. Michael Scott's (American, born 1952) work critiques the interrelationships of myth, spectacle, and commercialism in Western Americana. Incorporating motifs from art history, folklore, and popular culture, his art engages the complex and often contradictory realities of the contemporary West. Don Stinson (American, born 1956) revels in scenes of human intervention — satellite dishes, abandoned hotels, highways, and billboards — creating monumental panoramas reminiscent of nineteenth-century Romantic painters such as Albert Bierstadt and Frederic Church. His brightly lit views illuminate a landscape where fictions of the past meet the unsettling realities of a present whose future is precarious and uncertain.  Joslyn Art Museum was a generous gift to the people of Omaha from Sarah H. Joslyn (1851–1940) in memory of her husband, George A. Joslyn (1848–1916), in his day, the richest man in Nevada, thanks to his interests in paper mills and publishing. When it opened on November 29, 1931, the new museum received several private collections as gifts, as well as collections from the Art Institute of Omaha and the Friends of Art. The extraordinary Art Deco building was hailed not only as an important addition to the city of Omaha, but to modern American architecture as well. In 1938 it was listed among the 100 finest buildings in the United States. Construction took three years and cost almost $3 million. The three-level interior comprises some 38 marbles from around the world and includes stone from Italy, France, Germany, Belgium, and Morocco. The exterior and retaining wall alone filled 250 boxcars with George Pink (Etowah Fleuri) marble. The building's architects utilized Native American themes throughout the museum interior and on the east entrance columns. Moravian floor tiles used in the colorful Storz Fountain Court include symbols for literature, music, architecture, and painting. The Walter and Suzanne Scott Pavilion, a 58,000 square-foot addition designed by renowned British architect Norman Foster, Baron Foster of Thames Bank, and built in 1994 at a cost of $15.95 million, connects to the original Memorial building with the glorious glass ConAgra Foods Atrium. The permanent collections include an exceptional collection of Greek pottery, European art from the 16th and 17th century works including paintings by Veronese, Titian, Claude Lorrain and El Greco. However the strongest collections are from the 19th century, including romantic works by Delacroix and Gustave Doré, realist works by Corot and Gustave Courbet, and an impressionist works by Edgar Degas, Claude Monet, Camille Pissarro, and Pierre Auguste Renoir. The American collection includes early American portraiture by James Peale and Mather Brown, many works by painters of the Hudson River School, realist works by Winslow Homer and Thomas Eakins, and works by the American impressionists Childe Hassam and William Merritt Chase. The collection of Western American art including important collections of work by the Swiss artist Karl Bodmer based on his 1832-34 journey to the Missouri River frontier, and by Alfred Jacob Miller, also illustrating the West of the 1830s. A wide range of 20th century painting and sculpture is represented, including paintings by Henri Matisse, Stuart Davis, Theodore Roszak, John Sloan and Robert Henri, and sculpture by Deborah Butterfield, Robert Haozous, Donald Judd, Sol LeWitt and Martin Puryear. The collection stresses significant American artistic movements, including regionalism (with paintings by Grant Wood and Thomas Hart Benton) and Abstract Expressionism (with work by Jackson Pollock, Hans Hofmann, and Helen Frankenthaler) and Pop Art (with work by George Segal and Tom Wesselmann). Although the best known names appear in the European and American collections, it is probably the Western American and Native American collections that have the greatest importance as collections. Visit the museum's website at ... http://www.joslyn.org |
| The Asheville Art Museum to Host A Fine Art Print Fair Posted: 16 Jun 2012 10:25 PM PDT  Asheville, North Carolina.- The Asheville Art Museum is pleased to announce the region's premier Fine Art Print Fair, to be held at the Museum on Saturday, June 23rd from 11:00 a.m. – 5:00 p.m. (free with Membership or regular admission) and Sunday, June 24th from noon – 5:00 p.m. (free admission for all visitors). An exclusive Preview Reception will be held at the Museum on Friday, June 22nd from 5:30 – 7:30 p.m. (tickets are $35 for Members, $45 for non-Members). The first event of its kind in Western North Carolina, the Fine Art Print Fair will showcase respected fine art dealers and galleries from across the country, including: William P. Carl Fine Prints (Northampton, MA), Dolan/Maxwell Gallery (Philadelphia, PA), Hampton III Gallery (Taylors, SC), The Jerald Melberg Gallery (Charlotte, NC), The Susan Teller Gallery (NYC), the Carlisle Gallery (Auburn, AL), the New Gallery of Modern Art (Charlotte, NC) and Matrix Register, Contemporary Prints and Photography. The Fine Art Print Fair will appeal to novice and experienced fine art print collectors and art enthusiasts alike. The diverse selection of participating dealers will offer visitors something for every taste and budget. The International Fine Print Dealers Association (IFPDA), one of the world's leading experts in the field of fine prints, offers a comprehensive overview of fine prints and the practice of collecting prints on their web site: http://www.ifpda.org/. The Asheville Art Museum specializes in American Art beginning in the 20th century. Prints are an important part of the Museum's Permanent Collection and are featured prominently in exhibitions. The Museum also offers a wide array of educational programs for adult audiences including many on collecting.
A number of major dealers will be attending the fair to present a fantastic selection of prints. William P. Carl is a fine art dealer who specializes in works from 1850 to the present with an emphasis on color woodcuts, American prints, Dutch, Belgian and other fine European printmakers. The extensive inventory focuses on intricate etchings, stunning lithographs and block prints that capture detail and vivid color. Internationally known in the field of modern & contemporary visual art, Dolan/Maxwell will be showcasing modern and contemporary artist's prints. Dolan/Maxwell specializes in work by artists from the 1930's to the present. Their works are presented seriously and in depth: WPA, Modernist, European, New York School, African American & International Contemporary. Hampton III Gallery, the oldest continuing gallery in SC, was established in 1970. The core of the gallery features professional artists from the mid 20th century who strongly influenced the visual culture of SC. Representing over 30 artists, the Hampton III Gallery supports living artists, as well as the estates of artists who showed with the gallery from the early 70's. The Jerald Melberg Gallery represents acclaimed national and international artists including works from Argentina and Spain. They have worked with numerous prestigious institutions such as the Museum of Modern Art New York, and the National Gallery of Art in Washington, D.C. The talented artists represented have a particular visual poetry, a spiritual quality and an inner integrity that transcend the every day, regardless of being abstract, representational or realist. The Susan Teller Gallery represents American paintings, prints, and unique works on paper. The beautiful and inspiring pieces are from over 70 different artists. Most prints will be from the 1930s to late 1950's including the WPA Era, Urban and Industrial Realism, and Modernism. The gallery works with collectors and institutions throughout the country, and has placed works with the Metropolitan Museum of Art, the Whitney Museum of Art, and the museums of Universities such as Harvard and Yale. Established in 2001, Carlisle Gallery specializes in nineteenth-century through contemporary American and European art. International in scope, its inventory incorporates museum-quality works that primarily emphasize the painting and printmaking traditions. In the interest of advancing and supporting community artists, Carlisle Gallery also represents a number of significant local and regional artists working in a variety of media. The gallery is located near the campus of Auburn University in downtown Auburn, Alabama. New Gallery of Modern Art (located in Charlotte, NC) brings together the most significant privatelyheld collection of works by artists such as Pablo Picasso, Marc Chagall, Salvador Dali, Joan Miro, Henri Matisse and Andy Warhol, an elite selection of contemporary artists, as well as some of the best regional artists. The gallery offers a range of artwork that educates, supports local endeavor, builds collections and importantly, introduces the Southeast to new aesthetics. Matrix Register presents artists whose works celebrate the vital exploration in contemporary print media today. Intaglio, relief, silk screen and photography are represented in three dimensional objects, prints, photographs and artists books. The Artists, Michael Loderstedt, Lori Kella, Steve Mann, Erin Brethauer, Tony Bradley, Florence Darling, Bruce Edwards and Kevin Hogan are a diverse group. They share a common passion and deep understanding for the graphic matrix. They explore their craft, informed by a current discourse in relative contemporary issues. This register will make you re-evaluate what print is and ask how do they keep the matrix in registration.
The Asheville Art Museum in North Carolina annually presents an exciting, inviting and active schedule of exhibitions and public programs based on its permanent collection of 20th and 21st century American art. Any visit will also include experiences with works of significance to Western North Carolina's cultural heritage including Studio Craft, Black Mountain College and Cherokee artists. Special exhibitions feature renowned regional and national artists and explore issues of enduring interest. The Museum also offers a wide array of innovative, inspiring and entertaining educational programs for people of all ages. With its outstanding collection of American art of the 20th and 21st centuries the Asheville Art Museum has established itself as a leader in the arts for Western North Carolina and the Southeast. It is the only organization of its kind providing cultural and educational experiences for residents and visitors to the 24 county region. Established by artists and incorporated in 1948, the Asheville Art Museum is committed to being a vital force in community and individual development and to providing life-long opportunities for education and enrichment through the visual arts. The Asheville Art Museum is a 501(c)3 non-profit organization, accredited by the American Association of Museums which receives support for its programs from Museum members, other generous individuals, corporations, businesses and foundations,the North Carolina Arts Council, a state agency, the Institute of Museum and Library Services, a federal agency and the National Endowment for the Arts, a federal agency which believes that a great nation deserves great art. Additional support is provided by the City of Asheville and Buncombe County. Visit the museum's website at ...www.ashevilleart.org |
| The Kalamazoo Institute of Art shows Lee-nam Lee's "Conversation between Monet and Sochi" Posted: 16 Jun 2012 10:24 PM PDT  |
| The Mint Museum to show "Thornton Dial ~ Hard Truths" Posted: 16 Jun 2012 10:23 PM PDT  This exhibition presents a major survey of Dial's work, an epic gathering of over fifty large-scale paintings, sculptures and wall assemblages that address the most compelling issues of our time. Born and raised in the rural South, Dial spent his childhood toiling in the farm fields of western Alabama, followed by decades spent as a laborer in the region's factories and heavy industry. A working-class man whose art was weaned in the unheralded expressive practices of the black vernacular South, Dial speaks in a voice long overlooked in the canons of modern art and culture. Since his discovery in the late 1980s, critics have likened Dial's complex and tumultuous creations to the renowned works of such artists as Jackson Pollockand Anselm Kiefer.  To create his art, Dial employs a vast universe of symbolically charged materials — from plastic grave flowers, child's toys, bed springs and carpet scraps to cow skulls and goat carcasses. Salvaged from garbage cans and trash heaps, these items reappear in dense accumulations amidst the artist's fields of dripped paint and expressionistic brushworks. Over the years, Dial has tackled a wide range of social and political subjects in his art, from gripping commentaries on the homeless, the abuse of the environment, and the failings of global capitalism to haunting meditations on the War in Iraq, Hurricane Katrina, and the tragedy of 9/11. Concerned with representing those otherwise rendered invisible within the contours of history, he has also created many works on the plight of women, labor, the rural poor, and the impoverished underclass. Still other paintings and sculptures examine the long history of racial oppression in America. Recounting the atrocities of slavery and Southern sharecropping, the aspirations of the Great Migration, the flight for Civil Rights, and other episodes in black memory, these pieces form a powerful anthology on the human struggle for freedom and equality. Thornton Dial was born to Mattie Bell in 1928 in Emelle, Alabama. He lived with his mother until he was around three when Dial and his half-brother Arthur moved in with their second cousin, Buddy Jake Dial, who was a farmer. When Thornton moved in with Buddy Jake, he farmed and learned about the sculptures that Buddy Jake made from items lying around the yard, an experience that greatly influenced him. Dial grew up in poverty and without the presence of his father. This poverty led him and his siblings to create toys from the discarded objects around them. In 1940, Dial moved to Bessemer, Alabama. When he arrived in Bessemer, he noticed the art along the way in people's yard and was amazed at the level of craft exhibited. He married Clara Mae Murrow in 1951. They have five children, one of which died of cerebral palsy. He is cousins with the artist Ronald Lockett. His principal place of employment was the Pullman Company in Bessemer, Alabama, until the company closed its doors in 1981. After the Pullman factory shut down, Dial began to dedicate himself to his art for his own pleasure. In 1987, he was introduced to Bill Arnett, a local art collector of great influence who brought Dial's work to public attention. Dial has lived, worked, and created art in Alabama for his entire life. He continues to create works of art and shows them throughout the United States. Thornton Dial met another self-taught artist Lonnie Holley, who introduced Dial to Atlanta collector and art historian, William Arnett. Arnett, who focuses on African American vernacular art and artists, brought Dial's work to national prominence. The art historian has also brought Lonnie Holley and The Gee Bend Quilter's to the attention of the United States, among others citation needed. Arnett also helped to create the Tinwood publishing company in 1996, along with his sons Paul and Matt. Michael Kimmelman, from the New York Times, called Dial "preternaturally gifted," and said he looks "dumfoundingly adept to some of us because his energy and fluent line, abstracted in maelstroms of color, easily call to mind Jackson Pollock and Willem de Kooning. In 1993, Dial's work was the subject of a large exhibition that was presented simultaneously at the New Museum of Contemporary Art and the American Folk Art Museum in New York. In 2000, the artist's work was included in the Whitney Biennial, and in 2005-06, the Museum of Fine Art Houston presented a major exhibition titled "Thornton Dial in the 21st Century." Dial's works can be found in many notable public and private collections, including those of, among other institutions, the High Museum of Art, the Museum of Fine Arts, Houston; the American Folk Art Museum, New York; the Philadelphia Museum of Art; TheHirshhorn Museum and Sculpture Garden, Washington D.C.; the Smithsonian American Art Museum, Washington D.C.; and the Indianapolis Museum of Art.  The Mint Museum in Charolotte, North Carolina is housed in two separate buildings. The Mint Museum Uptown houses the internationally-renowned Mint Museum of Craft + Design, as well as outstanding collections of American, contemporary, and European art. Designed by Machado and Silvetti Associates of Boston, the five-story, 145,000-square-foot facility combines inspiring architecture with groundbreaking exhibitions to provide visitors with unparalleled educational and cultural experiences. Located in the heart of Charlotte's burgeoning uptown, the Mint Museum Uptown is an integral part of the Levine Center for the Arts, a cultural campus that includes the Bechtler Museum of Modern Art, the Harvey B. Gantt Center for African-American Arts + Culture, the Knight Theater, and the Duke Energy Center, and features a range of visitor amenities, including a 240-seat Auditorium, Family Gallery, studios, Café, and Museum Shop. Housed in what was the original branch of the United States Mint, the Mint Museum Randolph opened in 1936 in Charlotte's historic Eastover neighborhood as the first art museum in North Carolina. Today the Mint features collections that span more than 4,500 years of human creativity from all over the world. Intimate galleries invite visitors to engage with the art of the ancient Americas, ceramics and decorative arts, historic costume and fashionable dress, and European, African, and Asian art, among other collections. Resources include a reference library with over 15,000 volumes, a theater featuring lectures and performances, and a Museum Shop offering merchandise that complements both the permanent collection and special exhibitions. Visit the museum's website at ... http://www.mintmuseum.org |
| The Kunstmuseum Wolfsburg presents "Ornamental Prints from Dürer to Piranesi" Posted: 16 Jun 2012 10:22 PM PDT  |
| The Daum Museum of Contemporary Art Celebrates its 10th Anniversary Posted: 16 Jun 2012 10:21 PM PDT Sedalia, Missouri.- The Daum Museum of Contemporary Art on the State Fair Community College campus will celebrate the 10th anniversary of the museum's opening with the exhibition "10! The First Decade" on view from February 4th through May 27th. The museum-wide survey of the Daum's permanent collection will feature 125 artworks ranging from 1966 to 2010, including painting, ceramics, graphics, photography, and mixed media collections. Some selections are making their debut and others are familiar pieces in the collection. They will be arranged in groupings that show shared traits among objects that date from different decades, represent distinct media or conform to disparate movements.  The museum opened to the public in January 2002. It is named for collector and benefactor Harold F. Daum, M.D., and contains nine galleries devoted to the exhibition of art created since the mid-20th century. At its founding, the permanent collection comprised 300 artworks collected by Daum. Today, the collection includes more than 1,000 works of art in various media by some of the most celebrated artists of the last 60 years.Daum's core collection continues to determine the nature and kind of all subsequent additions to the permanent collection.The primary holdings are in the areas of painting, ceramics and prints, but there are growing collections of photographs, sculpture and works on paper. The core of the painting collection includes works by artists associated with Post-Painterly Abstraction, including Helen Frankenthaler, Jules Olitski, Friedel Dzubas, and Gene Davis. Tangents of this movement are represented by Larry Poons, Walter Darby Bannard and Laddy John Gill. The collection of ceramics is centered on large-scale sculpture and includes signature works by many of the contemporary ceramists responsible for the singular achievements made in this medium during the last 50 years, among them Peter Voulkos, Ron Nagle, Marc Leuthold, Annabeth Rosen, Ramon Elozua, and Sunkoo Yuh. The print collection includes compositions by Robert Rauschenberg and Jasper Johns; pop artists Andy Warhol, James Rosenquist and Roy Lichtenstein; conceptualists Sol LeWitt and Chuck Close; neo-expressionists Eric Fischl and David Salle; as well as graphics by celebrated figures like Louise Bourgeois and Richard Serra.  The exhibition also presents 30 highlights of the museum's collection of more than 450 examples of contemporary photography, ranging from documentary work and social commentary to portraiture, landscape and abstraction. Included are works by Ansel Adams, Linda Connor, Jack Welpott, JoAnn Verburg, and Joel Meyerowitz. Another significant concentration of the collection focuses on work by Midwestern artists, many of whom live in Missouri, including Keith Jacobshagen, Warren Rosser, Philomena Bennet, Lupus Garrett, Anne Lindberg, and Gary Passanise.The Daum Museum of Contemporary Art sheds light on the stimulating complexity of modern and contemporary art by collecting, preserving, interpreting, and exhibiting artworks created since the mid-20th century. In concert with the faculty and students of State Fair Community College, the Daum works to enhance the cultural and educational life of the college, the city of Sedalia, and the 14-county area of central Missouri that comprises its primary audience. The educational mission of State Fair Community College guides and informs every aspect of the Museum and its operation. As part of an institution of higher learning responsive to the entire needs of the college, it works in collaboration with faculty and students. Through its educational programming, the Museum enhances the cultural life of its immediate community. The Museum is uniquely positioned to serve Missouri's central region and to specifically attract patrons traveling between its two major cultural centers, Kansas City and St. Louis. It is not duplicated in its region. The Museum constitutes a cultural "oasis," dedicated to the highest level of aesthetic and educational standards to implement innovative, humane, and enlightening programs. The Daum offers a temporary exhibition series that changes three times each year. It houses nine exhibition galleries on three levels, with a combined area of 9,300 square feet. Visit the museum's website at ... http://www.daummuseum.org |
| Braunstein/Quay Gallery features Ursula Schneider ~ The River Posted: 16 Jun 2012 10:20 PM PDT
San Francisco, CA - The large-scale paintings by Ursula Schneider are based on her observations of the Hudson River, the architecture of the Indian Point Energy Center, a nuclear power plant in Buchanan, New York , and the intrusion of industrial barges on the river's serenity. On exhibition at Braunstein/Quay Gallery, 430 Clementina / San Francisco, CA 94103 from 25 June through 1 August, 2009. Reception Saturday, June 27, 2009, 3:00 - 5:00pm |
| Postmasters Gallery presents Two Video Works by Omer Fast Posted: 16 Jun 2012 10:19 PM PDT
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| The Baltic Centre ~ A Superb International Exhibition Centre ~ A Major Venue For Contemporary Art Posted: 16 Jun 2012 10:18 PM PDT  Housed in a landmark industrial building on the south bank of the River Tyne in Gateshead, UK, the Baltic Centre is a major international centre for contemporary art. The Baltic itself has no permanent collection, providing instead an ever-changing calendar of exhibitions and events that give a unique and compelling insight into contemporary artistic practice. Baltic's dynamic, diverse and international program ranges from blockbuster exhibitions to innovative new work and projects created by artists working within the local community. The Baltic was founded with funding from The National Lottery through Arts Council England, Gateshead Council, Northern Rock Foundation, the European Regional Development Fund and One NorthEast, and receives continued support from Arts Council England and Gateshead Council. The notion of Baltic began in 1991 when Northern Arts (now Arts Council England North East) announced its ambition to achieve 'major new capital facilities for the Contemporary Visual Arts in Central Tyneside'. The Baltic Flour Mill was closed in 1981. Dominic Williams of Ellis Williams Architects won an architectural competition in the mid-1990s to convert the old mill building into a centre for art. Construction began in 1998, and only the south and north facades of the original 1950s building were retained. A new structure consisting of six main floors and three mezzanines was secured between the facades which contain 3, 000 square meters of arts space (four galleries and a flexible performance space), artists' studios, cinema/lecture space, shop, a library and archive for the study of contemporary art and the Rooftop Restaurant on Level 6 (providing stunning views over the River Tyne). An additional two-story structure: The Riverside Building, was constructed to the west of the main building, providing the main entrance into BALTIC, which looks out across Baltic Square and the Gateshead Millennium Bridge. After ten years in the planning and a capital investment of £50m, BALTIC opened to the public at midnight on Saturday 13 July 2002. The inaugural exhibition, 'B.OPEN', featured work by Chris Burden, Carsten Holler, Julian Opie, Jaume Plensa and Jane & Louise Wilson, and attracted over 45,000 visitors in the first week. Since then the Baltic has presented over 40 exhibitions and welcomed more than 3 million visitors. As well as contemporary art exhibitions, the Baltic also offers a range of spaces for hire, and can accommodate a wide range of events, from meetings and workshops to banquets and conferences. Since opening in July 2002 the Baltic has hosted a range of high profile events including The Channel 4 Stirling Prize 2002, Audi Young Designer of the Year Competition Final 2002-2005, University of Northumbria final year fashion show 2003, BBC Question Time and Prime Minister's Newsnight. Even though BALTIC opened to the public in July 2002, the first exhibition which was seen on the site of the building was "Tarantantara" by Anish Kapoor in 1999. "Tarantantara" formed part of 'B4B', the Baltic's pre-opening series of exhibitions and events. A site-specific installation by Anish Kapoor, "Tarantanrara" was commissioned specially for the site before the construction of the new building began. Over 50m long and 25m wide, the work filled the shell of the Baltic Flour Mills and was in-situ for eight weeks and seen by over 16,000 people. In 2011 the Baltic is to be the venue for the Turner Prize, this would be the first time the event has been held outside of a London or Liverpool Tate in its 25 years, a major exhibition from 21 October 2011 to 8 January 2012 will coincide with the final stages of the competition and the winning artist will be announced at a celebratory event at BALTIC in December 2011. Visit the Baltic's website at … http://www.balticmill.com  The Baltic currently have 2 related exhibitions of work by British painter George Shaw. "Payne's Grey" is an intimate presentation in the Baltic's Level 2 gallery showcasing a strand of George Shaw's practice that has never been seen before. Fourteen watercolors, named after the peculiar shade of their creation, provide a new take on Shaw's familiar subject matter. Describing the works, Shaw said; "Once I started painting skies in Payne's Grey and following Constable's dictum that the sky was like the tuning fork for the tone of the painting, I began to simply allow the whole world to be sky coloured. And like the worst fears of Chicken Licken the sky did fall in - and the painted world became Payne's Grey." A more major retrospective of George Shaw's works is exhibited in "The Sly and Unseen Day: George Shaw". This major exhibition brings together some forty paintings from 1996 to the present day. Within a practice that has encompassed drawing, video-making, performance and writing, Shaw is best known for his expansive body of painting. Based upon photographs taken of and around his childhood home on the Tile Hill Estate, Coventry, Shaw's landscapes are at once familiar and unnerving. Unassuming buildings, patches of woodland, pubs, his school, the park, and the arbitrary details of urban infrastructure deposited by town planners, are the cast of a series of paintings ongoing since the mid-1990s. Shaw's landscapes are at once familiar and unnerving. Painted exclusively in 'Humbrol' enamel, the material of choice for teenage model-makers, Shaw's subject matter brings about associations of domesticity, folk art and nostalgia for a lost childhood and adolescence. Yet, as "The Sly and Unseen Day" reveals, Shaw's art quickly moves beyond the autobiography it first suggests. His jarring, atmospheric paintings become peculiar records of 'Englishness' and are suggestive of a different state of mind. Even his more tranquil paintings, for example "Scenes from the Passion: Pig Wood" and "Scenes from the Passion: The Way Home" (both painted in 1999), included within the exhibition, retain a peculiar tension. As the exhibition progresses we see Shaw take an investigative journey, typically making something out of nothing, as beauty is found in the mundane. The 'Ash Wednesday' series (2004-5) depicts the estate hour-by-hour on a single day. Other paintings, such as 'The Age of Bullshit' 2010 (a demolished pub) and 'The Assumption' 2010 (the local school), offer a curious record of British social and class life. Shaw's painting 'Scenes from the Passion: The First Day of the Holidays' 2003, can be seen on a large-scale banner on the North face of BALTIC's exterior building for the duration of the exhibition. Both George Shaw exhibitions run concurrently through May 15th at the Baltic.  "Jesper Just: The Nameless Spectacle", also from February 18th to May 15th features the New York-based Danish artist Jesper Just's short films. These films have the formal qualities and gloss of Hollywood productions while resisting their narrative conventions. His lavish visual language, overlapping musical, literary and cinematic references deliver a framework onto which the viewer can attach personal memory. Despite its often highly charged emotional content, Just's work is ambiguous, uncertain and never reaches the moment of 'closure'. The exhibition at the Baltic is Just's first in a public gallery in the UK and includes three works: , "A "No Man Is An Island", 2003 (video); Vicious Undertow" 2007, and new work "Sirens of Chrome" 2010. "Lindsay Seers: It Has To Be This Way 2" (until 12th June 2011) explores the complexities and uncertainties of history and memory. The installation resumes the story of the disappearance of the artist's stepsister, Christine Parkes. Presented on a circular screen within a structure derived from forts on the West African Gold Coast, Christine's stepmother narrates her tale while the film retraces her travels through West Africa. The complex and unsettling story takes the viewer on a journey that navigates the occult, the subconscious and the fragmentation of personal memory. 'I was her mother but she was never my daughter and now she has gone missing, I can honestly say that I never loved her.' This sentence, which opens the film at the heart of "It Has To Be This Way 2", crystallizes the ambiguities, the contradictions and the play between past and present which constantly reshape our memories. Memory of the past illuminates our present actions and experiences. Lindsay Seers' work explores the complexities and shifts at play in any understanding of past and present. She begins with an exploration of the image; a recurring interest into the act of photography, the workings of the lens and the apparatus of the camera. She develops narratives from her family life, engaging chance, the occult and the subconscious to restage periods from her own history and the histories of her parents and siblings.  Throughout its short history, the Baltic has become famous for the quality of the exhibitions it has hosted. A major retrospective of Anselm Kiefer's work ended in January 2011. This exhibition, the largest of the artist's in the UK for many years, spanned forty years of his work. Major paintings were presented over two floors of the Baltic's galleries, alongside the monumental installation "Palmsonntag". In 2009, "Yoko Ono: Between the Sky and my Head" highlighted works from a career spanning nearly 50 years with two floors dedicated to works from the 1950s to the present. A 2007 exhibition of work by Beryl Cook divided art critics, who could not decide whether her (very popular) self-taught paintings of people going about their daily activities deserved space in an art gallery. "Package Holiday by Monica Studer and Christoph van den Berg in 2005 gave visitors the chance to have themselves photographed in the fictitious and digitally-created Gleissenhorn mountain region. In 2004, the Baltic presented a large selection of recent and new paintings by Elizabeth Magill. "Domain Field; Allotment; Body, Fruit, Earth" in 2003 was an extensive solo exhibition by Antony Gormley, creator of the North East landmark 'Angel of the North' which included a major new commission plus existing works. Also in 2003, "Copenhagen, Brussels, Amsterdam" was the first major show in the UK of the Cobra movement and presented works by 20 artists, including paintings and drawings by key figures of the movement Pierre Alechinsky, Karel Appel, Constant, Asger Jorn and Carl-Henning Pederson, alongside a selection of film, publications and manifestos. As part of B.OPEN, the Baltic's inaugural exhibition, Julian Opie was commissioned to make new work for both inside and outside of the building. Julian Opie adorned the Level 2 art space and Level 5 Viewing Box, as well as the two glass boxes outside the Baltic on each side of the Millennium Bridge, with outlines of human bodies. these figures, represented in Opie's distinctive graphic style as simple silhouettes in black vinyl (one male, one female) were positioned opposite one another and sometimes together on the gallery walls and surfaces on Levels 2 and 5 as well as on opposite banks of the River Tyne. Other exhibitions have featured local North East, British and international artists (often featuring works with a distinct 'North East' tone to their works, such as Chris Burden's scale model of the Tyne Bridge in Meccano or Sirkka-Liisa Konttinen's photographs of industrial wreckage on North Eastern beaches). |
| The Evansville Museum To Show John Dowell's Large-Scale Photographs Posted: 16 Jun 2012 10:17 PM PDT  Evansville, Indiana.- The Evansville Museum's this year's art exhibition series opens with "City Lights: The Photographs of John Dowell", on view from February 1st (subject to the museum reopening on schedule) through March 4th. Philadelphia native and Professor of Printmaking at the prestigious Tyler School of Art at Temple University, John Dowell captures the pulse of various American cities in his large-scale color photographs. "City Lights" is presented as part of the Black History Month celebrations. |
| 2012 Drawing Prize of the Daniel & Florence Guerlain Contemporary Art Foundation Posted: 16 Jun 2012 10:16 PM PDT  PARIS.- Following the deliberations of the Contemporary Drawing Prize's committee, the Daniel & Florence Guerlain Foundation has announced the names of the three selected artists for the 2012 award. The award ceremony will take place on the 29th of March, 2012 during the Salon du Dessin at the Palais de la Bourse, Paris. The winner will receive an endowment of 15.000 euros and the two other selected artists will receive 2.500 euros each. A work by the winner is offered by the Foundation to the Graphic Arts Department of the National Museum of Modern Art – Centre Pompidou. |
| The Elgiz Museum of Contemporary Art ~ Turkey’s First Contemporary Art Museum Posted: 16 Jun 2012 10:15 PM PDT  Contemporary art may not be the first thing that springs to mind when you think of Turkey, but for the last 25 years, the country has developed a thriving market and some spectacular artists. During the 1980s, the country opened up to western artistic influences and the social elite started to collect contemporary works. Auction houses, which had previously sold only antiques, carpets and traditional Turkish paintings, soon began catering to these collectors and in 1987, the Istanbul Foundation for Culture and Arts launched the Istanbul Biennale, a major international contemporary art event that today ranks with the biennials of Venice and São Paolo. But it was one young couple, Can and Sevda Elgiz, who in 2001 single-handedly changed the very structure of the Turkish art world and created a climate that would support contemporary artists within Turkey for the first time. With the help of curator Vasif Kortun, curator of the third Istanbul Biennale and already an internationally known figure at the time, they founded Proj4L and later the Museum Elgiz, the city's first museum for modern and contemporary art, with holdings from their own collection. Originally established as a gallery, and located in the Levent district of Istanbul, Proj4L evolved, while maintaining its mission to promote the development of contemporary art in Turkey. During its first 4 years many well-known contemporary Turkish artists of the day were presented to the world art stage at Proje4L, as they were given the chance to open their first exhibitions. The institution was also the first Turkish contemporary art space to house exhibitions of Turkish artists that were known internationally but not yet recognized in Turkey. Halil Altındere, Kutluğ Ataman, Hüseyin Çağlayan, Aydan Murtezaoğlu, Bülent Şangar, Ergin Çavuşoğlu, Cengiz Çekil, Hale Tenger, Fikret Atay, Erinç Seymen, Cengiz Tekin, Haluk Akakçe and Leyla Gediz are only some of the artists whose works were shown in Proje4L between 2001-2005. Hans Ulrich Obrist, Charles Esche, Chris Dercon, Dan Cameron, Kari Immoen, Ayşe Erkmen, Francsco Bonami, Jerome Sans, Erden Kosova, Marta Kuzma, Ali Akay, Suhail Malik and Paolo Colombo all gave lectures and joined panel discussions at Proj4L. Maintaining high quality standards, the museum quickly gained an international reputation in a very short period and supported Turkish artists in the world-wide contemporary art scene. However, as new art institutions and museums bloomed in the Turkish art scene, the need for gallery space became less urgent and the Egliz was re-opened (at the same location) on the 25th of December, 2004 as a fully-fledged museum, under the name 'Proje4L/Elgiz Museum of Contemporary Art' to host the Elgiz Collection. In 2011, while celebrating its 10th anniversary, the museum moved into a new, purpose-built structure designed by Dr Elgiz under Beybi Giz plaza, one of the many sky-scapers in Maslak business district of Istanbul. With over 2,000 square meters of space, the Elgiz Museum is an international standard museum with a world class collection of Turkish and international contemporary art. Aside from the main hall, reserved for displaying selections from the Elgiz Collection, there are two large temporary exhibition galleries (known as the 'Project Rooms' and generally used to promote young Turkish artists, often with their first solo exhibitions), an archive room, conference hall and cafe. Lectures and seminars are regularly held in the conference space by inviting International collectors to share their enthusiasm and their experiences in collecting art. Visit the museum's website at … http://www.proje4l.org  Consisting of works by influential Turkish and International artists, 'The Elgiz Collection' represents a wide range of progressive art in different media (including painting, photography, installations, sculpture and video) and illustrates the unerring passion for collecting of its founders. The objective at the 'Elgiz Museum of Contemporary Art' is to create a common message through Turkish and International art, promoting visual and cultural diversity. By integrating the work of Turkish artists with that of established International artists the museum effectively facilitates the globalization of Turkish art. The Elgiz Collection contains works by influential Turkish and international artists, such as Ömer Uluç, Fahrelnissa Zeid, Ibrahim Koç, Abdurrahman Öztoprak, Tracey Emin, Jan Fabre, Barbara Kruger, Fabian Marcacio, Cindy Sherman, Jonathan Meese, Peter Bonde, Roman Lipsky, Tine Benz, Gilbert & George, Andy Warhol, Peter Halley, Won Ju Lim, Paul McCarthy and Robert Rauschenberg. The eclectic content of the collection allows the viewer to enjoy a comprehensive journey through the major contemporary art movements of the last two decades. With the integration of new works by young artists the Elgiz Collection maintains its dynamism and prevalence. Turkish and foreign masters and young artists, are included the Elgin Collection, style, genre and represents a wide range of materials. Conceptual structure of the collection is eclectic and stylistic diversity of contemporary art movements in the last two decades in the viewer on a journey to invite. The collection of the local and international artworks are exhibited together with great pride and exceptional displays of their fine art.  The Elgiz Museum 10th Anniversary Program, under the title of "Now New: New Works, New Space", runs throughout 2011, taking advantage of the new museum space to show a selection of previously unseen works from the Elgiz Collection alongside recent acquisitions in the main gallery. The first exhibition, entitled "Unbounded" is on show from 23 February-20 August 2011 and comprises works from the Collection that have never been on view before. The show also includes recent acquisitions such as works by Chinese artists Luo Jie and Liu Chun Hai, Norwegian artist Bjarne Melgaard, Turkish artists Azade Köker and Pınar Yolaçan, English artist Paul Hodgson and the American artist Donald Baechler. The first of the 2011 'Project Room' exhibitions consisted of works by Halil Vurucuoğlu and ran from February 23rd until March 19th, 2011. Vurucuoğlu's site-specific sound and light installation is based on the adaptation problem of today's individual in dealing with the nature/city dichotomy. The artist uses the metaphor of oxygen intoxication to manifest the vertigo and the chaos of the urban dweller as he can live in harmony with neither the city nor nature. Simultaneously, a second 'Project Room' exhibition by Semra Özümerzifon took visitors under water with an installation made with fishing nets. A group exhibition entitled 'The Fold' takes over both 'Project Rooms' between March 23rd and May 21st 2011. Young curator Nazlı Gürlek, a rising star in the Turkish contemporary art scene, has been given the opportunity to select works to include in "The Fold". Nazli Gurlek decided to focus her research on the possibilities of the museum's collection, and chose one particular work from the collection, Hale Tenger's "Self-Portrait (Broken Record/Perpetual Motion)" from 2005 as the source of inspiration for the exhibition concept. Fold presents Hale Tenger's "Selfportrait" in relation to both new and old work by Asli Cavusoglu, Francesca Grilli, Joana Kohen, Sumer Sayin, Emrah Sengun and Ignacio Uriarte. Hale Tenger's "selfportrait" brings together the photograph of a second hand shop, and Perpetual Motion's record 'Keep on Dancing' spinning silently non-stop. The experience of the passing of time through the use of accumulated images, objects and memories become the source of inspiration to question the existence of an affinity between her work and Asli Cavusoglu, Francesca Grilli, Joana Kohen, Sumer Sayin, Emrah Sengun and Ignacio Uriarte's manifold researches on the complex nature of self-representation. Emrah Sengun's sculptures contain assembled fragments of ceramics and clay that the artist has collected. Francesca Grilli's video work shows the artist and her 87-year-old grandfather Giordano Bruno conversing while bowling, and reflects upon heritage, identification and distance in human relationships. Asli Cavusoglu appropriates an anonymous graffiti sign from the street and brings it into the exhibition space as a neon objet d'art. The object contains the term "revolution" masked by its anonymous creator. Ignacio Uriarte looks for the possibilities of artistic creativity using the methods and tools he has acquired while working as an administrator, and with "routine" as his main focus. A number of sculptures and printed material brought together by Sumer Sayin create an uneasy, fragmented, and slippery space, and question the individual's relationship with both natural and constructed environment. A specially designed sound system is set inside the exhibition. Works are accompanied by each artist's song of choice from which to take bearings, special paths to recognition, or mysterious elements that confront the visuality of the pieces. |
| Royal Academy of Arts presents Recent Work from 30 Leading Contemporary Artists Posted: 16 Jun 2012 10:14 PM PDT
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| Ritter / Zamet presents French artist couple Jean François Moriceau + Petra Mrzyk Posted: 16 Jun 2012 10:13 PM PDT
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| Paul McCarthy Takes Over Both Hauser & Wirth London Galleries Posted: 16 Jun 2012 10:12 PM PDT  London. Hauser & Wirth are proud to present "Paul McCarthy The King, The Island, The Dwarves, The Train..." on view at botht eh companiy's London galleries (Savile Row and Piccadilly) through January 14th 2012. This exhibition features major new works and some of the most significant sculptures and installations by Los Angeles based artist Paul McCarthy, including the ambitious 'Pig Island'. Spanning both the Savile Row and Piccadilly galleries, this exhibition showcases the highly developed themes and interrelationships coursing through McCarthy's complex practice. Combining political figures and pop culture, 'Pig Island', on view at Savile Row, is a morally deviant world populated by pirates, cowboys, the likenesses of George W. Bush and Angelina Jolie, an assortment of Disney characters and the artist himself, all carousing in a state of wild and reckless abandon. |
| Artist Yun-Fei Ji exhibits New Works on Paper at James Cohan Gallery Posted: 16 Jun 2012 10:11 PM PDT
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| Frances Lehman Loeb Art Center presents " Out of Shape " Posted: 16 Jun 2012 10:10 PM PDT
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| The Alan Avery Art Company Celebrates its 30th Anniversary with 3 Great American Women Artists Posted: 16 Jun 2012 10:09 PM PDT  Atlanta, Georgia.- The Alan Avery Art Company will celebrate their 30th anniversary with the exhibition "The Glass Ceiling Shattered, 30 Years – 3 Great American Women Artists", featuring work from Louise Nevelson, Helen Frankenthaler and Kara Walker. A VIP Preview will be held Friday, December 2nd from 7-9 PM and an Opening After Party from 9pm until midnight. The Preview and After Party are by invitation only. The exhibition opens to the public on Saturday, December 3rd and continues through Friday, February 10th 2012. For the past three decades as an art dealer, Alan Avery has strived to bring a different voice and a new perspective to Atlanta's collecting audience by bringing artists and great works to a city that may otherwise not be seen on southern soil. |
| Christie's Post-War & Contemporary Art Auction To Feature Gerhard Richter Posted: 16 Jun 2012 10:08 PM PDT  LONDON.- Coinciding with Gerhard Richter's Retrospective at Tate Modern (October 2011 to January 2012), Christie's is to offer five definitive works by the artist in the Post-War and Contemporary Art Evening Auction on 14 October. The group is led by the artist's seminal Kerze (Candle) painted in 1982, which has not been seen publicly since 1986 and is estimated to realize £6,000,000-9,000,000 / US$9,100,000-14,000,000 / €6,800,000-10,000,000. It also includes four exceptional abstract paintings by the artist including Abstraktes Bild (1992), Grat (5) (1989), Abstraktes Bild (1988) and Sumpf (Marsh) (1983) charting his investigations of the medium over a decade. |
| Museum of Modern Art (MoMA) premieres 'Filmmaker in Focus ~ Ferzan Ozpetek' Posted: 16 Jun 2012 10:07 PM PDT
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