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• The Martin-Gropius-Bau To Present A Major Hokusai Retrospective
• The Museum of Colorado Springs Fine Arts Center Hosts Joellyn Duesberry's Paintings
• The Nerman Museum of Contemporary Art Presents a Survey of Leo Villareal
• The Tarble Arts Center Shows 82 Years of Painting from the Collection
• The Morgan Lehman Gallery Shows New Watercolors by Laura Ball
• The Berkeley Art Museum & Pacific Film Archive Presents a Kurt Schwitters Retrospective
• The Academy Art Museum Features the Work of Richard Paul Weiblinger and Jan Matulka
• The Camerawork Gallery Presents Andrzej Maciejewski's Garden of Eden Series
• Cindy Sherman signed for M*A*C Self-portraits for Fall 2011
• MoMA to Show A Selection of Murals Made by Diego Rivera During the 1930's
• Gagosian Gallery showcases "Picasso ~ Mosqueteros" / Picasso's Late Paintings
• The Best School of London Post-War and Contemporary Art at Sotheby's
• Museo Arte Reina Sofía explores 'The Invention of the 20th Century'
• The Fenimore Art Museum hosts America's Rome: Artists in the Eternal City, 1800-1900
• Stadel Museum shows Expressiveness of Prints from Its Collection Made by Edvard Munch
• The RISD Museum of Art to display "The Brilliant Line: Following the Early Modern Engraver"
• The Art of Architecture: Foster + Partners Opens at the Nasher Sculpture Center
• "A Game of Chess" ~ Solo Exhibition of New Work by Marcel Dzama at David Zwirner
• Exhibition "Le Mouvement. From Cinema to Kinetics" at the Museum Tinguely
• This Week in Review in Art Knowledge News

The Martin-Gropius-Bau To Present A Major Hokusai Retrospective Posted: 17 Aug 2011 01:05 AM PDT Berlin.- The Martin-Gropius-Bau is please to present a major retrospective featuring the works of Hokusai. Organized as part of a series of events to mark "150 Years of German-Japanese Friendship", this marks the first tima a major retrospective is to be devoted to the world-famous Japanese artist Hokusai (1760-1849) in Germany. Perhaps his best-known picture is the woodcut: "The Great Wave off Kanagawa" from the series: "Thirty-six Views of Mount Fuji" (1826-33). Over 350 loans, which with few exceptions come from Japan, will be on display in the exhibition in Berlin's Martin-Gropius-Bau. NAGATA Seiji, the leading Japanese authority on Hokusai and his work, will be curating the exhibition, which is to be seen exclusively in Berlin from August 26th through October 24th. Works from all periods of the artist's career – woodcuts and drawings, illustrated books, and paintings – will be shown. In 2000 Life Magazine ran a survey to find out who were the most significant artists in world history. Hokusai came 17th, ahead of Pablo Picasso. The exhibition – which covers the entire span of Hokusai's creative activity, extending well over 70 years – offers convincing evidence of the genius of this great artist. In the course of his life he used over thirty pseudonyms. Today he is known to the world under just one of these names: Hokusai. His full name was Hokusai Katsushika. Hokusai was born in Honjo, a district of Edo, in 1760. Today Honjo is part of the Sumida district in Tokyo, as Edo was renamed after the Meiji restoration of 1868. The municipal authorities in Sumida are planning to devote a new museum to the world-renowned artist who spent most of his life in Edo. Some items of the collection intended for the museum will now be on view for a few weeks in Berlin. Many of the works have never been seen outside Japan. Hokusai and Ukiyo-e (pictures of the transient world) Hokusai's father came from Uraga, near Edo. It was off the coast of Uraga that the American Commodore Perry was to appear with his "black ships" in July 1853, four years after Hokusai's death, in order to put a forcible end to Japan's isolation policy (sakoku) which had been in existence since 1635. Hokusai was temporarily adopted by his uncle, a mirror-maker at the court of the Shogun. At six he was able to draw. By the age of twelve he was working in one of the many libraries in Edo that lent out printed books. By the time he was eighteen he was already a master of the art of the woodcut. The multi-coloured woodcut had been practised in Japan since the 1740s and achieved a preliminary apogee in the 1790s, a process in which Hokusai played a major part. At that time there were some artists who would use up to 70 colour plates for a single woodcut print. Yet at the age of 22 years Hokusai was more inclined to be a draughtsman than a woodcut artist.  The Japanese paper manufacturers and publishers had wisely agreed on the production of only two paper formats (oban and chuban) – a rationalization measure that permitted high print runs at ever lower prices. Bijin-ga, or pictures of beautiful women (Yoshiwara, the famous amusement district, was in Honjo-Sumida); pictures of Sumo wrestlers, or sumo-e, whose arenas were located in Honjo-Sumida; pictures of Kabuki actors, whose theatre was also in HonjoSumida – all those were ukiyo-e, pictures of the fleeting, transient entertainment) world, which the woodcut artists produced in large numbers. Flying dealers sold them all over Japan. Most of their customers were middle class. The term ukiyo also means an impermanent world in the Buddhist sense, as Buddha also taught the transience of all things. But they also included illustrations of flowers and plants drawn with scientific precision, illustrations for novels – by about 1780 650 novels a year were being printed – or classical texts, such as the scenes from the life of Prince Genji, were part of the repertoire of a draughtsman and woodcut artist at that time. Hokusai himself produced over 1,000 illustrations for novels in that period. A certain, albeit minor, European influence manifested itself about 1770 with the appearance on the Japanese market of the zograscope, an "optical diagonal machine" for viewing prints, which had been delighting the European public for some time. The Dutch imported the devices through Nagasaki, with the result that the Japanese artists learned to draw from a central perspective. Most of the scenes chosen by the artists to depict from a central perspective – views of Holland for example – were alien to the Japanese eye. The Japanese tradition of showing perspective was a different one and went back to much older painting traditions. The zograscope images, with their scenes taken from all areas of the then known world, gave the beholder the feeling of being at the centre of the action. It was a kind of global television for the 18th century. Hokusai also designed zograscope images and took an intense interest in the central perspective. By about 1700 Edo already had 1.2 million inhabitants. It was a rich and freely spending public that Hokusai grew up among: merchants and samurai, daimyo (princes) and courtiers. Books could easily be published in print runs of 13,000 copies. From one wooden plate one could make many hundreds of proofs. Millions of the colour prints were sold. Hokusai was praised far and wide for the versatility of his style. Although he did not invent "Manga", his woodcut "Hokusai Manga" is a household name even today and always available as a reprint. And yet it is "only" a painting manual that arose as a woodcut print in several volumes from 1814 onwards on the basis of about 4,000 drawings done by Hokusai himself. Looked at today, it seems like a portrayal of life in Japan, providing both a wealth of information and tremendous subtlety of design. It is said that Hokusai painted about 150 pictures, though not all have survived. Some – including a self-portrait – will be on view in Berlin.  Hokusai lived to be almost 90, and his productive period lasted well over 70 years. Even in old age he continued to be active. Towards the end of his life he would rather be seen as a painter than as a woodcut artist or draughtsman. In his epilogue to an 1834 edition of the work "One Hundred Views of Mount Fuji" he wrote: "Ever since I was six years old I have drawn things I saw about me. Since my 50th birthday I have published many works. Yet all the works I did before my 70th birthday were insignificant. It was only when I was 73 that I understood a little of the anatomy of animals and the life of plants. If I make the effort I shall have made further progress by the time I am 80, and at 90 I shall be able to uncover the final secrets. And when I am a hundred years old, the individual strokes and dots will come to life all on their own. May the god of longevity ensure that this conviction of mine does not remain an empty phrase." The response of 19th century Europe to the work of Hokusai was overwhelming. The Dutch, with whom Hokusai could deal directly despite strict controls, brought colour woodcuts and paintings to Europe in his lifetime. The Martin Gropius Bau (Martin Gropius building, or MGB) is considered one of Berlin's most magnificent buildings with its combined classical and Renaissance features. A short walk from Potsdamer Platz, it doubles as one of Europe's top international exhibition and event venues. With a constant flow of half a million visitors per year and over 20 large art photography and cultural exhibitions, the MGB is an established Berlin cultural institution. First inaugurated in 1881 as a Museum for the Applied Arts, the building was designed by Martin Gropius, great uncle of Walter Gropius, founder of the Bauhaus movement and Heino Schmieden. After World War I, the building housed the Museum of Pre and Early History and the East Asian Art Collection. Damaged, like most Berlin buildings during World War II and not deemed worthy of preservation, the building was almost demolished to make way for an urban motorway were it not for the intervention of Walter Gropius. Given protected heritage site status in 1966, its reconstruction and restoration only began in 1978 when it was also renamed Martin Gropius Bau. After reconstruction of the exterior by Winnetou Kampmann, it reopened in 1981 as an exhibition venue, remaining directly adjacent to the Berlin Wall until 1990 and accessible only via a rear entrance as the main doorway remained unusuable because of its proximity to the Wall. After German reunification and the collapse of the Berlin Wall, a further spate of restoration and alteration was necessary and the Federal Government commissioned architects Hilmer, Sattler and Albrecht to carry out the work. Completed in 2000, the works included air conditioning and the redesigning of the north entrance as the main entrance to the building. Today the Martin Gropius Bau building is the central venue for the Berliner Festspiele and its partners – the 50 year old umbrella cultural institution which runs many of Berlin's international festivals and cultural events including the Musikfest Berlin, the International Literature Festival and JazzFest Berlin. The Gropius Bau hosts over 20 large art, photography and cultural exhibitions every year. Among the building's special features are its vast exhibition and reception spaces. These include the 300m north vestibule with a glass dome, the 600m Atrium on the ground floor with a surrounding gallery where vast functions for up to 750 guests can be held. Other facilities are conference rooms and a 200-seat cinema. Just off the central Foyer area on the ground floor are the Café and Bookshop. In the high-ceilinged café meals and refreshments are available and in the warmer months food is served in the garden at the back of the building. Visit the MGB website at … http://www.berlinerfestspiele.de

The Museum of Colorado Springs Fine Arts Center Hosts Joellyn Duesberry's Paintings Posted: 17 Aug 2011 12:27 AM PDT Colorado Springs, CO.- The Museum of Colorado Springs Fine Arts Center is proud to present "Elevated Perspective: Paintings by Joellyn Duesberry", on view in the El Pomar, Steiner Galleries until September 11th. In the late 1990s, the artist earned a World Trade Center grant to study and paint the cityscape for five months. The grant came from the Lower Manhattan Cultural Council who provided Duesberry with a studio on the 91st Floor of the north tower. The person who replaced Duesberry in the Artist Residency program died in the attacks of 9/11. There are three paintings in the exhibition painted during this time and one painting from 2002 ("First Pairing: Ground Zero and Elephant Graveyard") of the Ground Zero.

The Nerman Museum of Contemporary Art Presents a Survey of Leo Villareal Posted: 16 Aug 2011 11:41 PM PDT Overland Park, Kansas  - 'Leo Villareal' opened in the first-floor galleries of the Nerman Museum of Contemporary Art at Johnson County Community College in Overland Park, Kansas from 6-8 p.m. Friday, June 24th. A lecture by the artist begins at 7 p.m. in the M.R. and Evelyn Hudson Auditorium on the second floor of the museum. The exhibition will be on view through September 18th. The opening reception and lecture are free and open to the public. The Nerman Museum of Contemporary Art will present the first-ever museum survey of the work of the prominent sculptor Leo Villareal, a pioneer in the use of LEDs and computer-driven imagery. Leo Villareal, organized by the San Jose Museum of Art, will feature approximately 20 sculptures and expansive installations by Villareal on loan from public and private collections, as well as video documentation of his architectural, site-specific works.

The Tarble Arts Center Shows 82 Years of Painting from the Collection Posted: 16 Aug 2011 11:23 PM PDT Charleston, IL.- The full range of oil and acrylic paintings found in the Tarble Arts Center's permanent collection are presented in the Tarble's summer exhibition. Titled "From the Collection: 82 Years of Painting", the exhibition is on view now. Paintings in a wide variety of styles and approaches are presented – Midwest Impressionism, folk art, and different forms of abstract art and representational art, from forms of Cubism to Surrealism to Photo-Realism.  Subjects include landscapes, still lifes, portraits, even some barn paintings. The paintings date from 1927 to 2009.

The Morgan Lehman Gallery Shows New Watercolors by Laura Ball Posted: 16 Aug 2011 11:22 PM PDT New York City.- The Morgan Lehman Gallery is pleased to present "Animus", a solo exhibition of new watercolors by California based artist Laura Ball. Ball's work is rooted in the idea that deep within our unconscious minds, our faults, fears, struggles and strengths manifest themselves in corporeal form. The exhibition's title refers to the anima and animus, Jungian terms that describe the two primary archetypes of the unconscious mind. The anima is the archetypical male, and animus the female. It is through her work that Ball portrays the psychic journey of a mythic heroine. She freezes these moments in pigment, holding a mirror to our own strife and resilience. "Laura Ball: Animus" is now on view at the gallery.

The Berkeley Art Museum & Pacific Film Archive Presents a Kurt Schwitters Retrospective Posted: 16 Aug 2011 10:48 PM PDT Berkeley, CA.- The University of California, Berkeley Art Museum and Pacific Film Archive (BAM/PFA) presents "Kurt Schwitters: Color and Collage, the first major overview of the German artist's work presented in the United States since the Museum of Modern Art's celebrated 1985 retrospective. The exhibition includes approximately eighty assemblages, sculptures, and collages made between 1918 and 1947 that elucidate the relationship between collage and painting—as well as color and material—in Schwitters's work. It also features the reconstruction of the artist's monumental walk-in installation piece, 'Merzbau', which was bombed by the Allies in 1943. Originated by the Menil Collection in Houston, Texas and on view at BAM/PFA through November 27th, this presentation is the only West Coast stop for the exhibition.

The Academy Art Museum Features the Work of Richard Paul Weiblinger and Jan Matulka Posted: 16 Aug 2011 10:48 PM PDT EASTON, MD.- The Academy Art Museum in Easton , MD , is featuring in its Selections Gallery the photography of Richard Paul Weiblinger, an avid self-taught nature photographer whose favorite topics include macro images, landscapes and flowers. Richard's photographs typically capture the ever changing moments of the diversity of nature whether it is a fleeting wildlife expression or a striking landscape. His photographs of wildlife; fauna, flora, and landscapes capture our world with intense intimacy. His work exhibits chromatically strong colors and his use of lighting energizes his subjects, not simply illuminating his subject, but giving them somewhat surreal quality.

The Camerawork Gallery Presents Andrzej Maciejewski's Garden of Eden Series Posted: 16 Aug 2011 09:03 PM PDT Portland, OR.- The Camerawork Gallery is proud to present "Andrzej Maciejewski: Garden of Eden" on view at the gallery from August 20th through September 23rd. "Garden of Eden" is a series of still-life photographs of fruits and vegetables. They are inspired by the Old Masters paintings, but they show our modern fruits from supermarkets. It's an example of the difference between the stereotype created by our culture and reality created by our civilization. The photographs were taken using large format Sinar view camera on 4x5 inch colour transparencies. The artist used tungsten lighting, which helped him to re-create the atmosphere of the old paintings.

Cindy Sherman signed for M*A*C Self-portraits for Fall 2011 Posted: 16 Aug 2011 08:37 PM PDT Toronto, Canada - Photographer Cindy Sherman and MAC have teamed up on a fall makeup collection, and MAC just released some totally eye-catching promo shots. The images artfully depict what could be described as makeup malfunctions, but since it's Cindy Sherman, a photographer famous for using her own face as a canvas, we'll chalk them up to seriously cool works of art that fall under MAC's motto of makeup as "Our medium of transformation." Using three different palettes, Sherman stars as three unique characters—a clown, an overdone doyenne, and what seems to be a pink-cheeked ingénue. Besides the vivid "clown" collection, for the most part, the products are beautifully wearable.

MoMA to Show A Selection of Murals Made by Diego Rivera During the 1930's Posted: 16 Aug 2011 08:36 PM PDT NEW YORK, N.Y.- For the exhibition Diego Rivera: Murals for The Museum of Modern Art, MoMA will reunite five "portable murals"-freestanding frescoes with bold images commemorating events in Mexican history-that were made for a monographic exhibition of the artist's work at the Museum in 1931. On view from November 13, 2011, to May 14, 2012, the exhibition will also feature three eight-foot working drawings, a prototype "portable mural" made in 1930, as well as smaller working drawings, watercolors, and prints by Rivera. It will also include design drawings for his infamous Rockefeller Center mural, a project Rivera began to discuss with the Rockefellers while in residence at the Museum. Comprising works from MoMA's collection and loans from private and public collections in the United States and Mexico, Diego Rivera: Murals for The Museum of Modern Art is organized by Leah Dickerman, Curator, Department of Painting and Sculpture, The Museum of Modern Art. MoMA is the exhibition's sole venue. In organizing the 1931 exhibition, the Museum had to solve a key problem-how to present the work of this famous muralist when murals were by definition made and fixed on site. In light of these circumstances, the Museum invited Rivera to New York six weeks before the opening, and gave him studio space in an empty gallery in the Museum's original building. Working around the clock with three assistants, Rivera produced five "portable murals"-large blocks of frescoed plaster, concrete, and steel that feature bold images commemorating Mexican history and addressing themes of revolution and class inequity. After the exhibition's opening, Rivera added three more murals, now taking on New York subjects through monumental images of the urban working class and the social stratification of the city during the Great Depression. All eight were on display for the duration of the exhibition's run; the first of these panels, Agrarian Leader Zapata, later joined MoMA's collection, and is now a familiar icon on the Museum's walls. Focused specifically on works made during the artist's stay in New York, Diego Rivera: Murals for The Museum of Modern Art creates a succinct portrait of Rivera as a highly cosmopolitan figure who moved between Europe, Mexico, and the United States, and offers a fresh look at the intersection of art making and radical politics in the 1930s. The five murals from the 1931 retrospective that will be on view in Diego Rivera: Murals for The Museum of Modern Art are: Agrarian Leader Zapata (1931), Indian Warrior (1931), The Uprising (1931), Frozen Assets (1932), and Electric Power (1932). The three remaining murals in the series are Liberation of the Peon (1931), Sugar Cane (1931), and Pneumatic Drilling (1932). Accompanying the murals and drawings, the exhibition will feature archival materials, including designs and photographs drawn from MoMA's archives, related to the commission and production of the works. PUBLICATION: In November 2011 the publication Diego Rivera Murals for The Museum of Modern Art will accompany the MoMA exhibition. The richly illustrated accompanying catalogue presents each of the eight frescoes in detail. An essay by curator Leah Dickerman discusses the history and context of Rivera's fresco works; his political engagements in Mexico, the United States, and the Soviet Union; and his complex interactions with patrons. Anna Indych-López, a specialist in Mexican modernism, considers each of the eight panels. Conservators Anny Aviram and Cynthia Albertson examine Rivera's working process, materials, and technical innovations. Also included is a selected chronology of the artist's life and work, focusing on the events that led to his New York show. Together these elements provide a compelling perspective on the intersection of art making and radical politics in the 1930s. 148 pages, 128 illustrations. Hardcover, $35. Available at the MoMA Stores. Distributed to the trade through ARTBOOK | D.A.P. in the United States and Canada. The Museum of Modern Art (MoMA) is an art museum in Midtown Manhattan in New York City, on 53rd Street, between Fifth and Sixth Avenues. It has been important in developing and collecting modernist art, and is often identified as the most influential museum of modern art in the world. The museum's collection offers an unparalleled overview of modern and contemporary art, including works of architecture and design, drawings, painting, sculpture, photography, prints, illustrated books and artist's books, film, and electronic media. MoMA's library and archives hold over 300,000 books, artist books, and periodicals, as well as individual files on more than 70,000 artists. The archives contain primary source material related to the history of modern and contemporary art. Visit The Museum of Modern Art at : http://www.moma.org/

Gagosian Gallery showcases "Picasso ~ Mosqueteros" / Picasso's Late Paintings Posted: 16 Aug 2011 08:28 PM PDT New York City - "Picasso: Mosqueteros" is the first exhibition in the United States to focus on the late paintings since Picasso: The Last Years: 1963-1973 at the Solomon R. Guggenheim Museum in 1984. Organized around a large group of important, rarely seen works from the collections of Bernard Ruiz-Picasso, as well as works from The Museum of Modern Art, New York, the Museo Picasso Málaga and other private collections, "Picasso: Mosqueteros" aims to expand the ongoing inquiry regarding the context, subjects, and sources of the artist's late work. On exhibition at Gagosian Gallery through 6 June, 2009. Building on new research into the artist's late life through the presentation of selected paintings and prints spanning 1962-1972, the exhibition suggests how the portrayal of the aged Picasso, bound to the past in his life and painting, has obscured the highly innovative and contemporary nature of the late work. The tertulia, an Iberian tradition of gregarious social gatherings with literary or artistic overtones, played a major part in Picasso's everyday life, even after he moved to the relative seclusion of Notre-Dame-de-Vie in the 1960s. The inner circle of Picasso's last years differed from its precedents in that, in addition to the writers and artists whom Picasso had always favored, it included a contingent of imaginary personages—musketeers, matadors, cavaliers, prostitutes, circus performers – borrowed from the history of art or developed in conversation with his friends. These characters, who fill the late paintings and prints, were drawn from a vast array of sources, from the old masters to the media. As a body of work, Picasso's late period is among the greatest demonstrations of his constant invention of the new, in terms of style, technique, and subject and, indeed, in relation to the history of his own creative output. One figure who appears both in the imaginary world of the tertulia, and stripped of all pretense in the pictorial present, is Jacqueline Roque: muse, wife, and constant companion of Picasso during his late years. For all his prior attention to the nude, the scale and anatomical frankness of the late pictures, in which a Jacqueline-like odalisque is subjected to every manner of scrutiny, is unprecedented. Their increasing sexual explicitness, whether a symptom of sublimated impotence or simply one of modern candor, is just one instance of Picasso's awareness of the radical changes in contemporary art and culture in the late sixties and early seventies. Looking afresh at the late work in the context of Picasso's life at Notre-Dame-de-Vie and the political climate of the time reveals the great artist to have been as aware of, and responsive to, the upheavals of the day as he was absorbed in the history of art and his own memories. Views about the last period in Picasso's long career have clearly begun to shift. But the final stage of his life, and the work that he produced during it, have yet to receive the attention that they warrant. ―Picasso: Mosqueteros‖ aims to spur renewed interest in both. The exhibition is curated by John Richardson, Picasso's celebrated biographer, whose third volume of A Life of Picasso was published in 2007 and Dakin Hart, former Assistant Director of the Nasher Sculpture Center, Dallas, now a PhD scholar working on Picasso at the Institute of Fine Arts in New York. An extensively illustrated book with essays by John Richardson, Dakin Hart, Memory Holloway, Assistant Professor in Art History at the University of Massachusetts, Dartmouth, and artist Jeff Koons will be published to accompany the exhibition. Several important but previously untranslated texts from the seventies will complete this vital resource on Picasso's late work. The exhibition design is by New York-based architect Annabelle Seldorf. Pablo Picasso was born in Málaga, Spain in 1881 and died in France in 1973. Recent exhibitions of his work include Picasso: Tradition and the Avant-Garde, Museo Nacional del Prado and Museo Nacional Centro de Arte Reina Sofía, Madrid (2006); Picasso and American Art‖ at the Whitney Museum of American Art, New York (2006) traveling to the Walker Art Center, Minneapolis and San Francisco Museum of Modern Art (2007); Picasso et les Maîtres, Galeries nationales du Grand Palais (2008/2009). " I enjoy myself to no end inventing these stories. I spend hour after hour while I draw, observing my creatures and thinking about the mad things they're up to " . .  Pablo Picasso, 1968 Please contact James McKee at jmckee-at-gagosian.com or 212.741.1111 for further information. GAGOSIAN GALLERY / www.gagosian.com 522 WEST 21ST STREET / T. 212.741.1717 NEW YORK, NY 10011 / F. 212.741.0006

The Best School of London Post-War and Contemporary Art at Sotheby's Posted: 16 Aug 2011 08:27 PM PDT LONDON.- Sotheby's announced that its Contemporary Art Evening Auction on Monday, June 28, 2010 will present collectors with a one-off opportunity to acquire some of the best Post-War and Contemporary artworks by the venerated and highly sought-after School of London artists Lucian Freud, Leon Kossoff and Frank Auerbach, as well as Paula Rego, Richard Prince, and Patrick Heron (all born in the inter-war years between 1920 and 1935). These eight paintings of exceptional quality and historic significance come from a distinguished private collection and are estimated to realise in excess of £3,350,000.

Museo Arte Reina Sofía explores 'The Invention of the 20th Century' Posted: 16 Aug 2011 08:26 PM PDT Madrid, Spain - The art critic and historian Carl Einstein was one of the most important and multifaceted personalities of the 20th-century artistic avant-garde. His books, articles and essays were fundamental pieces for the critical study of the avant-garde movements; in them he introduced the West to African art and ratified Cubism as a movement in its own right. His intellectual oeuvre, rediscovered in recent decades, is now paid tribute at the MNCARS. This is the first international exhibition to offer a visual description of the work of Einstein, a key figure in visual arts as well as literature, theatre, film and political action.

The Fenimore Art Museum hosts America's Rome: Artists in the Eternal City, 1800-1900 Posted: 16 Aug 2011 08:25 PM PDT COOPERSTOWN, N.Y.- The Fenimore Art Museum has unveiled America's Rome: Artists in the Eternal City, 1800-1900, a major exhibition of American artists' depictions of 19th-century Rome.  Curated by Dr. Paul D'Ambrosio, Vice President and Chief Curator at the Fenimore Art Museum, this exhibit showcases some of the most influential American artists of the period, placing them within the timeless backdrop of Rome and its ancient surroundings.  The exhibition contains three sections, or views, of ancient Rome: The Forum, The Colosseum, and The Campagna.  These views of ancient Rome dominated the creative consciousness of Americans in the 19th century, offering symbolic objects to ponder and to include in paintings and writings. On exhibition through 31 December, 2009.

Stadel Museum shows Expressiveness of Prints from Its Collection Made by Edvard Munch Posted: 16 Aug 2011 08:24 PM PDT FRANKFURT.- The Städel Museum's Department of Prints and Drawings holds more than 80 prints by the Norwegian Edvard Munch (1863–1944), among them donations by the artist and many acquisitions already made during his life-time. Presenting these impressive treasures, the exhibition "Edvard Munch. Prints in the Städel Museum" pays tribute to the outstanding expressiveness of Edvard Munch's prints and illustrates their landmark importance for twentieth-century art. Like in his paintings, Munch mainly gave expression to psychological states and interior processes in his prints, too. With his scenic descriptions and symbolic mental landscapes, he created sheets thematizing moods and life experiences such as love, jealousy, anxiety, angst, disease, loneliness, or grief. On view through 18 October, 2009.

The RISD Museum of Art to display "The Brilliant Line: Following the Early Modern Engraver" Posted: 16 Aug 2011 08:23 PM PDT PROVIDENCE, RI.- The RISD Museum of Art presents The Brilliant Line: Following the Early Modern Engraver, 1480-1650, featuring 85 objects from the RISD Museum's outstanding collection of Renaissance and Baroque prints—until now unpublished and rarely viewed—as well as objects from major public institutions such as the National Gallery of Art, and the Metropolitan Museum of Art. Visitors to the exhibition will receive a privileged view into this prized resource. Although most people see and even touch an engraving every day—US currency and many stamps are engraved on steel—few artists work in the medium today. In the Renaissance engraving was new, and one of the world's first reproducible art forms, full of possibility for the spread of designs of all types throughout Europe.

The Art of Architecture: Foster + Partners Opens at the Nasher Sculpture Center Posted: 16 Aug 2011 08:22 PM PDT DALLAS, TX.- Continuing its investigation of contemporary architecture, the Nasher Sculpture Center in Dallas presents a retrospective of the work of Foster + Partners. Scheduled to coincide with the grand opening of the new, Foster-designed Winspear Opera House in the AT&T Center for Performing Arts, the exhibition explores Foster + Partners' major architectural achievements over the past four decades. On exhibition 26 September through 10 January, 2010.

"A Game of Chess" ~ Solo Exhibition of New Work by Marcel Dzama at David Zwirner Posted: 16 Aug 2011 08:21 PM PDT NEW YORK, NY.- David Zwirner presents a solo exhibition of new work by Marcel Dzama, on view at the gallery's 525 West 19th Street space. The exhibition features the artist's film, A Game of Chess, alongside related drawings, sculptures, and dioramas. Dzama has become known for his prolific drawings, which are characterized by their distinctive palette of muted browns, grays, greens, and reds. In recent years, the artist has expanded his practice to encompass three-dimensional work and film and has developed an immediately recognizable language that draws from a diverse range of references and artistic influences, including Dada and Marcel Duchamp.

Exhibition "Le Mouvement. From Cinema to Kinetics" at the Museum Tinguely Posted: 16 Aug 2011 08:20 PM PDT BASEL.- The legendary "Le Mouvement" exhibition was held in the Galerie Denise René in Paris from 6 to 30 April 1955. The common element in the works on show was movement as means of expression, and the leaflet produced for the exhibition, Le manifeste jaune, postulated "Colour – Light – Motion – Time" as the basic principles for the further development of kinetic sculpture. The first section of the exhibition in the Museum Tinguely is devoted to presenting as comprehensive a reconstruction of this celebrated show as possible. Thanks to the loan of outstanding works from locations as varied as Venezuela, New York, Paris and Zurich, the goal could be achieved.  On view through 16 May, 2010.

This Week in Review in Art Knowledge News Posted: 16 Aug 2011 08:20 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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