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• New Zealand's National Museum Te Papa (Our Place) ~ A Comprehensive National Museum
• Baltimore Museum of Art presents works by Pierre Bonnard and Édouard Vuillard
• FIAC ~ France's Most Prestigious Art Fair Will Feature 194 Galleries of Art
• The Guggenheim Museum Bilbao presents Selections From Its Collection
• The Rebecca Molayem Gallery Unveils Two "Pep Art" Pioneers
• San Diego Museum of Art hosts " Eleanor Antin ~ Historical Takes "
• Lanning Gallery to show Legendary Pop Artist James Gill
• University of Iowa Museum of Art Searches for Museum Director
• MACBA in Barcelona Presents 250 Works by Rodney Graham
• ICA shows ' Dead Language '
• Ronald Feldman Fine Arts presents "One Part Human"
• Museu Picasso in Barcelona presents 'Living Things: Picasso Figure ~ Still Life'
• Tehran Museum Collection
• Seattle Art Museum Announces Gifts of Art Honoring Outgoing Director Mimi Gates
• Art Knowledge News Presents "This Week In Review"

New Zealand's National Museum Te Papa (Our Place) ~ A Comprehensive National Museum Posted: 25 Mar 2011 09:50 PM PDT New Zealand's national museum, Te Papa (Our Place), faces the sea in the national capital, Wellington, at the southeastern end of the North Island. It is one of the world's most comprehensive national museums and presents a vision of New Zealand's past, present and future, the strands of its nationhood, and the spirit that brings the nation together. It traces the flowering of a rich culture, the growth of a people, and the weaving of a tapestry that encompasses not only the past but the future as well. Exhibitions range from historic artifacts to modern interactive displays. A living Nature environment, Bush City, transports the visitor into a recreated habitat island which includes native trees and shrubs, a lagoon, stream and underground caves. Te Papa is on Cable Street on the Wellington waterfront, easily accessible on foot from the city's central business and retail district. The museum was designed by Ivan Mercep for Jasmax Architects. Built on a site the size of three rugby fields, it has a total floor area of 38,000 square meters. The building has its own New Zealand-invented shock absorbers which isolate Te Papa from most ground movement during an earthquake. It took four years to build. Te Papa's first predecessor was the Colonial Museum, which opened in a small wooden building in 1865. The tiny Colonial Museum opened behind Parliament Buildings shortly after Parliament moved to Wellington in 1865. In 1907, the Museum became known as the Dominion Museum. The idea of developing a public art gallery in Wellington was gathering support around this time. In 1913, the Science and Art Act provided for the establishment of the National Art Gallery in the building. But not until 1930 did the idea start to become a reality under the National Gallery and Dominion Museum Act. In 1936, a new building to house the Dominion Museum and new National Art Gallery opened in Buckle Street, Wellington. It incorporated the New Zealand Academy of Fine Arts. They sold their land and donated the proceeds to the new organization. The way the National Museum functioned was also in need of review. The Museum had been much loved for many years but no longer represented its increasingly diverse community. Society had changed, and so had views about New Zealand's history and identity. In 1988, the Government established a Project Development Board to set the scene for a new national museum. This Board consulted people nationwide, including iwi (tribal groups), about their visions for the museum. The goals for the Museum of New Zealand Te Papa Tongarewa (Te Papa) emerged. In 1992, the Museum of New Zealand Te Papa Tongarewa Act was passed. Te Papa would unite the National Museum and National Art Gallery as one entity, unite the collections of the two institutions so that New Zealand's stories could be told in an interdisciplinary way, be a partnership between Tangata Whenua (Māori, the indigenous people of New Zealand) and Tangata Tiriti (people in New Zealand by right of the Treaty of Waitangi), speak with authority, represent and appeal to New Zealand's increasingly diverse society, be a place for discussion, debate, involvement, and celebration and link the past, present, and future. On 14 February 1998, Te Papa opened in Cable Street, Wellington. Since Te Papa opened, more than 17 million people have visited the Museum. The narrative-based, interdisciplinary, and interactive approach has attracted international attention, as has the commitment to biculturalism. The Marae, Rongomaraeroa, reflects Te Papa's bicultural nature and observes Māori customs and values. It is a fully functioning marae, an inclusive place where all New Zealanders can meet, discuss, debate, and celebrate. It is also a place to welcome the living and farewell those who have passed on. The Marae is unique because the kawa (protocols) change according to the iwi (tribal group) in residence. Every few years, a different iwi works with Te Papa to develop an exhibition. Kaumātua (elders) from the iwi are in residence at the Museum throughout. They set and uphold the kawa on The Marae. The idea of the waharoa, or gateway, is particularly meaningful at Te Papa. Two important waharoa are on display , a contemporary one on The Marae and a traditional one in Wellington Foyer. The entire Museum is also a waharoa, a gateway to New Zealand's natural and cultural heritage. As well as significant collections of New Zealand art, the taonga (treasures) looked after by Te Papa comprise the largest Maori collection held by any museum in New Zealand, and number almost 17,000. These cover the broad spectrum of Maori art and culture, from the most highly revered and significant cultural heirlooms through to the most humble of day-to-day items, from very early pre-European times to today. . .Visit the museum's website at … www.tepapa.govt.nz2011-03-25 The development of the national art collection began in about 1905 under the guidance of the New Zealand Academy of Fine Arts and gathered momentum with the establishment of a National Art Gallery, housed with the Museum in a new building in Buckle Street in 1936. Artworks purchased between 1905 and 1936 formed the basis of the collection and included early New Zealand and international works with an emphasis on Britain. The proportion of local art collected by the National Art Gallery increased steadily as confidence in the significance of the art and of the Gallery itself grew. The collection now houses a broad range of predominantly New Zealand, but also international, painting, sculpture, prints, watercolors, drawings, photographs, and archival material. The strengths of the collection of early New Zealand sculpture come from the close connection between the New Zealand Academy of Fine Arts and the National Art Gallery, one of Te Papa's predecessors. Because of this association they have a strong collection of works by New Zealand artist Margaret Butler and some works by early New Zealand sculptors Francis Shurrock and William Wright. In the 1970s, the collection was developed to include New Zealand ceramics. Works by Barry Brickell, Doreen Blumhardt, Len Castle, and Anneke Boren were all purchased at this time. In addition, in 1996, all the works by New Zealand artists that had been commissioned for the 1992 Expo New Zealand in Seville were added. With the 1993 acquisition of works from the Stone Bone Shell exhibition of New Zealand jewelry, decorative arts also began to form a component of this collection. In the early 1980s, efforts were made to acquire works by significant contemporary New Zealand sculptors. As a consequence, we have a strong collection of works by Greer Twiss, Don Driver, Andrew Drummond, Neil Dawson, Christine Hellyar, and Vivian Lynn. In addition, efforts were made at this time to acquire sculptures by modern New Zealand artists who were not represented in the collection, such as Russell Clark. With a growing awareness of the cultural heritage of sculptural forms within New Zealand came a significant recognition of contemporary indigenous artists. With exhibitions specifically dedicated to contemporary Maori art, the collection gathered important examples of contemporary Maori and later Pacific work. Well-known examples here are works by Fred Graham, Para Matchitt, and Michel Tuffery. As the collection of New Zealand sculpture developed so too did the definition of sculptural form, which began to move towards incorporating installation, assemblage, site-specific works, and post-object and new media art. Because of the nature of these forms, there are only a few in the collection. There are good examples by Ralph Hotere, Pauline Rhodes, Derrick Cherrie, Billy Apple, and Jacqueline Fraser. For the opening of the new Museum and exhibition spaces, nine site-specific sculptures were commissioned, some of which now form part of the fabric of the new building. The focus of the New Zealand Prints is in the area of works created after the drawings and watercolors that recorded the eighteenth and early nineteenth century voyages of exploration in the Pacific and those that record first settlement in New Zealand. These include prints after paintings by artists such as Sidney Parkinson, Louis de Sainson, George French Angas, and Charles Decimus Barraud, and appear as both individual prints and in bound volumes. Highlights include a selection of the botanical prints of Banks' Florilegium, early imprints of the Cook folios and D'Urville folios, and lithographs by Edith Halcombe. The New Zealand print collection contains examples of 2oth century artists' prints whose work is also represented in other media, for example, woodcuts by Philip Clairmont, screen prints by Gordon Walters, etchings by Robyn Kahukiwa, and lithographs by Tony Fomison. There are also collections of work by artists whose work is primarily graphic. These include a large collection of etchings by A H McLintock and E Heber Thompson, wood engravings by Mabel Annesley and E Mervyn Taylor, and linocuts by Eileen Mayo and Stewart Maclennan. The work of contemporary printmakers such as John Drawbridge, Gordon Crook, Robin White, Kate Coolahan, Barry Cleavin, Max Hailstone, and Paul Hartigan are strongly represented. New Zealand watercolors and drawings are represented by large collections of works by a diverse group of artists including Maori and military subjects by Horatio Gordon Robley, T J Grant, and W F Gordon; landscape and early settlement works by Nicholas Chevalier, William Swainson, John Gully, and J C Richmond; and New Zealand flora and fauna by John Buchanan, Sarah Featon, and F E Clarke. The work of turn-of-the-century artist Petrus van der Velden is extensively represented by drawings and sketchbooks. Artists of the first half of the century are well represented. These artists include Raymond McIntyre, Jenny Campbell, Roland Hipkins, Mina Arndt, James Nairn, Dorothy Kate Richmond, Christopher Perkins, and John Weeks. More recent acquisitions include major works by John Pule, Tony Schuster, and William Dunning. Highlights of this collection include substantial representation of the works of Rita Angus, Frances Hodgkins, Colin McCahon, Sir Tosswill Woollaston, and John Pule. The emphasis on local, New Zealand artists carries through into the painting collection. Over time, this collection has been shaped by Te Papa's and its predecessor's relationship with the government, the New Zealand Academy of Fine Arts, and the city of Wellington. As a consequence of these relationships, the Paintings Collection shows strengths in the work of particular New Zealand artists, in particular genres of painting (portraiture, for example, because of a quantity of 'national' portraits), and in subject matter relevant to the events and geography of Wellington city. Te Papa's collection has strengths in the work of Petrus van der Velden, in both his New Zealand and his Dutch subjects, and J M Nairn, from his time working in and around Wellington as a professional artist. In portraiture, Te Papa has a number of works by painters such as Mary Tripe, Archibald Nicoll, C F Goldie, and Gottfried Lindauer. Of early modern New Zealand painters, the collection holds good examples of works by John Weeks, Charles Tole, Russell Clark, Sir Tosswill Woollaston, and Lois White. The Rita Angus loan collection, from the Angus Estate, together with Te Papa's collection of this New Zealand painter, forms a body of many excellent works. In the late 1970s and throughout the 1980s, there was a push to strengthen the New Zealand Paintings Collection. As a result, the collection has good examples of works by many artists of this time - in particular, paintings by Jeffrey Harris, Michael Smither, PhilipTrusttum, and Gretchen Albrecht. Te Papa's collection of late modern New Zealand painters (Colin McCahon, Ralph Hotere, Tony Fomison) is a reflection of the perceived need to have a good representation of significant New Zealand painters. Te Papa also has a collection of some 600 international (mainly British) drawings and watercolors. Highlights of this collection are works by Thomas Girtin, John Sell Cotman, David Cox, Samuel Prout, and Thomas Rowlandson and a larger collection of twentieth century British paintings, that includes works by Winifred Knights, Anthony Gross, Paul Nash, David Jones, Edward Burra, and John Tunnard. There is collection of International sculpture in the collection which includes works by British and French artists, including Aime-Jules Dalou, Jacob Epstein, Auguste Rodin, Charles Wheeler, and Barbara Hepworth. This collection was extended significantly in 1983 by the bequest of Judge Julius Isaacs, which included two works by Marcel Duchamp. A small number of sculptures were purchased as illustrative examples of artistic styles and trends in international art. The international print collection includes a strong representation of German, Dutch, and Italian prints from the fifteenth to the eighteenth centuries; French prints of the nineteenth century; and twentieth century British prints. There is also a smaller group of Japanese woodblock prints. Particular highlights are large holdings of engravings and woodcuts by Albrecht Durer and etchings by Rembrandt. English satirical prints of the eighteenth and early nineteenth centuries by William Hogarth and James Gillray are well represented, as are the etchings and aquatints of James McNeill Whistler. A highlight of the collection dating from the early twentieth century is the large number of etchings, including some rare versions of prints, by Australian artist Lionel Lindsay. A large collection of linocuts by artists influenced by English artist Claude Flight, who pioneered a particular kind of linocut print, is also held. These works from the 1930s are a highlight of the extensive and comprehensive collection of twentieth century British prints. There is a collection of early twentieth century European prints by artists such as Pablo Picasso, Eric Heckel, Wassily Kandinsky, Max Ernst, and André Masson. Experimental prints by Pop artists of the 1960s and 1970s form a distinctive group within the collection and feature the work of artists such as Roy Lichtenstein, Eduardo Paolozzi, Richard Hamilton, and Robert Rauschenberg. New directions in printmaking in the 1980s by international artists are represented by, among others, Bea Maddock, William Wiley, Susan Rothenberg, George Baselitz, and Dorothea Rockburne. Photography was first collected as art for the national collection in 1976. The focus since has been primarily on New Zealand contemporary work, with some forays into collecting international photography. There are about 1700 photographs by contemporary New Zealand photographers in the collection. Large groups of work are held by artists including Laurence Aberhart, Mark Adams, Wayne Barrar, Peter Black, Glenn Busch, Anne Noble, Peter Peryer and Ans Westra. The International photography collection includes approximately 130 images by mostly American photographers acquired in the 1980s. Many of the famous names are represented, such as Edward Weston, Minor White, Walker Evans, Lee Friedlander, and Diane Arbus. The other group of international work is by photographers from the famous photo agency Magnum. This was acquired by the gift of the 1989 travelling exhibition "In our time: the world as seen by Magnum photographers". Photographers include Henri Cartier-Bresson, Eugene Smith, Elliot Erwitt, and Marc Riboud. The museum also have large collections of historical artifacts, Māori and Moriori cultural treasures, a collection of Pacific Island artifacts that reflects not only the diversity of Pacific Island cultures but also New Zealand's relationships with Pacific communities at home and abroad and a large natural history collection (that includes the world's largest giant squid). Amongst the interactive features are a virtual bungee jump and an 'earthquake room'. On temporary exhibition at the Te Papa, you can currently see "Brian Brake: Lens On The World" (until 8 May 2011). Brian Brake (1927–1988) was New Zealand's best known photographer from the 1960s to the 1980s, though his career spanned more than 40 years. He first made his name as an international photojournalist, photographing for picture magazines such as Life, National Geographic and Paris Match. His most famous work was on the monsoon rains in India in 1960. This essay yielded the widely reproduced Monsoon girl, an image of a young woman feeling with pleasure the first rains on her face. Brake was also well known in New Zealand for his 1963 best-selling book, New Zealand, gift of the sea and, in the 1980s, for his images associated with the Te Maori exhibition. Brian Brake's early grounding in photography came about in three ways. Each activity shaped Brake's later work. The camera club period fuelled an interest in scenic and spectacular landscapes; studio portraiture influenced the way he lit his later studio photographs of museum objects; and the film experience developed his ability to create a story by assembling individual shots – a valuable skill for a photojournalist. He was involved in camera clubs in Christchurch and Wellington as a teenager, then became an assistant in a Wellington portrait studio. Finally, before going overseas in 1954, he worked as a cameraman at the National Film Unit in Wellington. Brake joined the prestigious Paris-based photo agency Magnum in 1955. This set him on course for the life of a globe-trotting photojournalist through to the early 1960s. The 1950s were the heyday of black and white magazine photojournalism. A host of large-format picture magazines such as Life, Look, Paris Match, and Illustrated provided a window on the wider world. Their success was possible mainly because television was not yet widespread, but also perhaps because relatively few people were able to travel themselves. In the 1960s, Brian Brake moved from small assignments, mostly involving black-and-white photography, to more extended picture stories – usually in color and often taking up to a year or more to shoot. This shift resulted from the close relationship he formed with the international picture magazine Life, then in an era of grand projects and big budgets. It was also a time when magazines were increasingly using color reproduction. This suited Brake well. His study of color cinematography for the National Film Unit in 1951–52 had given him greater expertise and comfort with working in color than most photographers at that time. Although Brian Brake left New Zealand in 1954 and lived overseas for most of the next two decades, he always thought of himself as a New Zealander. He began photographing the New Zealand landscape as a teenager, and returned to this theme in a 1960 photo essay on the land and its people. These photographs became New Zealand, gift of the sea, a best-selling book that struck a chord with New Zealanders looking for a more sophisticated vision of their country. When Brake returned home permanently in 1976, he continued photographing the landscape but became equally known for his images of craft objects and taonga Maori – work that contributed to a growing interest in rethinking New Zealand's collective heritage.

Baltimore Museum of Art presents works by Pierre Bonnard and Édouard Vuillard Posted: 25 Mar 2011 09:50 PM PDT Baltimore, MD - The Baltimore Museum of Art presents a luminous two-gallery exhibition of works by Pierre Bonnard and Édouard Vuillard—two modern masters whose experimental work inspired artists from Henri de Toulouse-Lautrec to Henri Matisse. On view April 23 through August 10, 2008, Bonnard & Vuillard features more than 30 works that explore the profound impact both Pierre Bonnard (1867–1947) and Édouard Vuillard (1868–1940) had on each other as they evolved from a late 19th-century interest in everyday life to a colorful exploration of domestic life in interior scenes into the 1930s.

FIAC ~ France's Most Prestigious Art Fair Will Feature 194 Galleries of Art Posted: 25 Mar 2011 09:49 PM PDT PARIS.- The 37th edition of FIAC will be held from 21st to 24th October 2010 at the Grand Palais, the Cour Carrée du Louvre and the Jardin des Tuileries, outstanding sites that are emblematic of Paris, imbued with its history and cultural life. Because of the high standards it sets and constantly renews and the synergies it has developed with the major Parisian institutions, FIAC occupies a position as one of the not-to-be-missed international events relating to artistic creativity.

The Guggenheim Museum Bilbao presents Selections From Its Collection Posted: 25 Mar 2011 09:48 PM PDT BILBAO, SPAIN - The Guggenheim Museum Bilbao presents Selections from the Guggenheim Museum Bilbao Collection , the first in a cycle scheduled to take place over the next three years and organized to offer an in-depth perspective of the most significant works in the Collection of the Guggenheim Museum Bilbao by placing them in context and thereby facilitating a comprehensive vision of the Collection's focus. Curated by Petra Joos, Director of Museum Activities at the Guggenheim Museum Bilbao, this exhibition illustrates major art movements of the second half of the 20th century such as Abstract Expressionism, Art Informel or Pop Art with a careful selection of key works in the evolution of postwar art by 14 artists who have exerted a tremendous influence on other creators.

The Rebecca Molayem Gallery Unveils Two "Pep Art" Pioneers Posted: 25 Mar 2011 09:47 PM PDT NORTH HOLLYWOOD, CA.- The Rebecca Molayem Gallery in West Hollywood will be opening a solo exhibit on February 13, 2010 from 6-10 PM of the newest work from "Pep Art" pioneer David Willardson in collaboration with digital impressionist and photographer, Marshall Swerman. Willardson and Swerman's "IKONXART Series" renders American and International superstars like Marilyn Monroe, James Dean, Elvis Presley, And Warhol, Audrey Hepburn, Amelia Earhart, the Beatles, Muhammad Ali and others. All are represented in larger-than-life scale that reflects their influence on global pop culture and history. Willardson's use of rich texture, bold colors, and accentuated movement working with Swerman's creative digital manipulations offer a unique perspective on the scope and meaning of fame and power.

San Diego Museum of Art hosts " Eleanor Antin ~ Historical Takes " Posted: 25 Mar 2011 09:46 PM PDT   San Diego, CA - Organized by the San Diego Museum of Art, SDMA, this solo exhibition features the work of celebrated conceptual artist Eleanor Antin. The exhibition is the first to focus on Antin's recent series of large-scale tableaux photographs based on Greek and Roman history and mythology, which are presented together for the first time.  On exhibition through 2nd November, 2008.

Lanning Gallery to show Legendary Pop Artist James Gill Posted: 25 Mar 2011 09:45 PM PDT   SEDONA, AZ -  The legend of James Gill began in the early sixties with the meteoric rise of this small-town Texan artist.  Gill would reach the heights of success and celebrity only to turn his back on it all; to seek an inner peace more lucrative to his soul than any facet of the material world.  The story begins again now as James Gill re-emerges - after more than three decades - stronger than ever, to reclaim his place in Contemporary Pop Art history.

University of Iowa Museum of Art Searches for Museum Director Posted: 25 Mar 2011 09:44 PM PDT IOWA CITY, IA.- Replacing the University of Iowa Museum of Art (UIMA) must be a top priority so the entire permanent art collection can return to the UI, according to a report by the UI Museum of Art Envisioning Committee. The report also recommends that the new museum enhance the UI's academic and research mission by making its collection and expertise accessible to faculty and students across the disciplines, as well as to Iowans. President Sally Mason, who requested the report, said she would carefully review the recommendations before determining next steps. Meanwhile, a national search is under way for a Museum of Art director who will help plan and begin major fundraising for the new facility.

MACBA in Barcelona Presents 250 Works by Rodney Graham Posted: 25 Mar 2011 09:43 PM PDT BARCELONA.- With source material deriving from Georg Büchner, Sigmund Freud, Edgar Allan Poe, Herman Melville, the Grimm brothers, Richard Wagner, Stéphane Mallarmé and Picasso, among many others, Rodney Graham (1949, Abbotsford, Canada) never ceases to delve, playfully and theatrically, into the history of the art of our times. The Museu d'Art Contemporani de Barcelona (MACBA) explores the evolution of this fundamental artist's oeuvre through his literary appropriations, as well as through his films, photographs and pictorial works. The exhibition's title, Through the Forest, is taken from a key phrase in the English translation made by C.R. Mueller of Lenz, the only work of prose by the dramatist Georg Büchner which gives expression to the romantic subject of being lost in the forest. Rodney Graham became aware of a peculiarity in the text layout: the words "through the forest" coincided twice when passing from one page to another. He converted this chance occurrence into a narrative loop in which the spectator, in similar fashion to the novella's main character, is obliged to continually retrace his steps.

ICA shows ' Dead Language ' Posted: 25 Mar 2011 09:42 PM PDT   LONDON - Platoons of the latest replicas of Banksy roam the landscape, led by General Clone Banksy, a talentless nobody who once found a sample of Banksy DNA on an empty spray can. A rowdy gang of Tracey Emins wrestle half a dozen dazed Andy Warhols to the ground.

Ronald Feldman Fine Arts presents "One Part Human" Posted: 25 Mar 2011 09:41 PM PDT New York, NY - With its exhibition, One Part Human, The Feldman Gallery brings together artists who explore the tension between human and technological capabilities in today's scientific society. The exhibition includes two remarkable motorized sculptures by Canadian artists who have not exhibited previously in New York: Perfect Vehicle by Simone Jones and Robotic Chair conceived by visual artist Max Dean and realized in collaboration with Raffaello D'Andrea and Matt Donovan. Brian Knep, an artist in residence at Harvard Medical School, will exhibit photography and high definition video related to the microscopic worm, Caenorhabditis elegans, one of the most studied multi-cellular organisms in the world. On view 9 January through 13 February, 2010.

Museu Picasso in Barcelona presents 'Living Things: Picasso Figure ~ Still Life' Posted: 25 Mar 2011 09:40 PM PDT   BARCELONA - Museu Picasso presents today 'Living Things: Picasso Figure - Still Life', on view through March 1, 2009. From 1907, Picasso opened his work to metamorphosis. He increasingly made one thing into another. In particular, he turned figures into things and things into figures, or even created things that were also figures. This exhibition brings together sketches, studies, prints and paintings to show some of the ways in which this happened in Picasso's work through the Cubist period and then between 1924 and the early 1930s as he engaged with and responded to the Surrealists.

Tehran Museum Collection Posted: 25 Mar 2011 09:38 PM PDT THERAN.-  The Tehran Museum of Contemporary Arts is one of the most important museums of Asian modern arts. The museum was inaugurated in 1978 in Tehran and after 30 years, this museum's treasures are being publicly exhibited for the second time. Four years ago, in the period of Khatami's presidency in Iran and in the last days of the so called "reforms period", the treasures were exhibited on the walls of 9 galleries for the first time. The treasures of Tehran Museum of Contemporary Arts is one of the richest eastern modern treasures of the world which can be considered as the most important Asian museum of the world's contemporary arts.

Seattle Art Museum Announces Gifts of Art Honoring Outgoing Director Mimi Gates Posted: 25 Mar 2011 09:37 PM PDT SEATTLE, WA.- The Seattle Art Museum announced that 20 works of art have entered the museum's collection in honor of outgoing director Mimi Gates. Gates, whose last day at the museum is June 30, 2009, has been the museum's director since 1994 and leaves behind a distinguished legacy. The SAM Board of Trustees also recently announced that the bridge that spans over the railroad tracks at the Olympic Sculpture Park and features Teresita Fernandez' Seattle Cloud Cover will now be named the "Mimi Gates Bridge" in her honor. Gates will become Director Emerita upon her departure in honor of her extraordinary accomplishments at SAM.

Art Knowledge News Presents "This Week In Review" Posted: 25 Mar 2011 09:36 PM PDT This is a new feature for the subscribers and visitors to Art Knowledge News (AKN), that will enable you to see "thumbnail descriptions" of the last ninety (90) articles and art images that we published. This will allow you to visit any article that you may have missed ; or re-visit any article or image of particular interest. Every day the article "thumbnail images" will change. For you to see the entire last ninety images just click : here . When opened that also will allow you to change the language from English to anyone of 54 other languages, by clicking your language choice on the upper left corner of our Home Page.  You can share any article we publish with the eleven (11) social websites we offer like Twitter, Flicker, Linkedin, Facebook, etc. by one click on the image shown at the end of each opened article.  Last, but not least, you can email or print any entire article by using an icon visible to the right side of an article's headline.

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