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• The Museum Het Domein Presents Recent Works by Charlotte Schleiffert
• Bulgaria Opens "Museum of Socialist Art" as Europe Marks the 20th Anniversary of the Soviet Collapse
• The Salmagundi Club To Host "The Art of John Pierce Barnes"
• The Speed Art Museum Announces Largest Ever Donation of Kentucky Art
• The Library of Congress Opens Series Titled "Fields of Vision"
• Swords & Medals of Royal Navy Commander Farquhar for Sale at Bonhams
• Efrén Ordóñez, "the painter of the divine", dies at 84
• George Grosz Family’s Claim Against MoMA Hinges on Dates
• Pop Art from the Collection of Valencia's IVAM Travels to Cuba
• "The Power of Fantasy: Modern and Contemporary Art From Poland" Comes to Brussels
• Pinakothek der Moderne hosts ‘Passionately Provocative’ ~ The Stoffel Collection
• New Arts and Literary Publication Launched by Irish Museum of Modern Art
• The Austin Museum of Art (AMOA) to explore "The Art of Memory"
• Harn Museum of Art Presents A Retrospective of Jerry Uelsmann's Photography
• Sotheby's Auction for Kolkata Museum of Modern Art
• Museum Tinguely Displays Artificial Intelligence and Robotics in New Exhibition
• Christie’s First Open Post-War & Contemporary Art Sale Had Positive Results
• The Leopold Museum exhibits Hilda Uccusic ~ A Cultural Idol
• Manga! opens at The Louisiana Museum of Modern Art ~ Denmark
• This Week in Review in Art Knowledge News

The Museum Het Domein Presents Recent Works by Charlotte Schleiffert Posted: 24 Aug 2011 11:34 PM PDT Sittard, Netherlands.- The Museum Het Domein is proud to present "Charlotte Schleiffert: Rozen en Pistolen (Roses and Guns)", a substantial collection of recent work by the artist. Charlotte Schleiffert gained international recognition with her very expressive drawings and paintings featuring bright colours, impressive formats, and unconventional use of material such as fake fur and adhesive plastic. Issues related to gender play an important role in her engaged work, as do themes such as intolerance, power, violence, oppression, poverty, and alienation. The exhibition at Het Domein is primarily dedicated to the work Schleiffert has done in the past three years and other pieces that have rarely or never been displayed before. As part of the exhibition, the artist will create a new mural. "Roses and Guns" will be on view at the museum from September 10th through January 8th 2012. "Roses and Guns" is the first solo museum exhibition of Schleiffert's work since her exhibition 'Feel No Shame' in the Museum Boijmans Van Beuningen, Rotterdam, in 2004. A constant feature in her drawings and paintings since this time are the hybridized beings that appear in them. They unite various cultures, times, and sexes. 'I want to create a mix of times and locations. My figures are not always happy with their lives and dream of an alternative. They embody the desire for another world,' Schleiffert explains. Travel has always been an important source of inspiration for her choice of subject and material. In 2007-2008 she was in residence at the Künstlerhaus Bethanien in Berlin, and over the last few years she has been regularly living working and living in Xiamen, China, for longer periods. In Berlin Schleiffert discovered old-fashioned coloured wrapping paper as a background for her small-scale political drawings. In China she started creating collages made of pieces of satin and calligraphic paintings on rice paper. What is striking about her new work is that Schleiffert has increasingly adopted the role of sculptor. While her earlier paintings often included three-dimensional components, in her more recent work amorphous plaster objects and assemblages play a more independent role. Also new are the small-scale almost entirely abstract paintings that exude the artist's joy in painting. The exhibition title "Roses and guns" reflects its content. The personal and the political are always closely connected in Schleiffert's work. In her recent drawings and paintings, seemingly sweet depictions with flower motifs alternate with strongly engaged pieces. With her recent flower and plant motifs, Schleiffert returns to a preoccupation from the period in which she studied at De Ateliers. Even in the fairy-tale-like world that emerges from these works, disaster lurks. Several figures appear to be trapped in the vegetation; a male figure is entangled up to his crotch in a giant liana. Several recent series of drawings are imbued with visual material that Schleiffert has encountered in newspapers and magazines. In these drawings, she attempts to extract pressing issues from the transience of current media. From a stance of personal engagement, Schleiffert makes a searing commentary on world problems in her work. 'My anger at the misuse of power, at injustice and hypocrisy, fuels my work. I am strongly against something or feel enormous aggression. Then a painting must be made,' she once stated in an interview. Just as Schleiffert borrows many of her titles and texts in her work from snippets of sentences from the print media, the title of this exhibition comes from the headline of an article in de Volkskrant newspaper about the commemoration of the Six-Day War in Israel. The Museum Het Domein pursues a policy based on investigation, originality and creativity. First of all, of course, they investigate trends in contemporary art – the ways in which artists continue to interpret today's world, each in their own unique visual idiom. At the same time, they investigate the economic, political and cultural backgrounds to these artistic trends from an international perspective, and their implications for the work of the museum in its local setting. In this way we hope to bring about a fascinating series of encounters between our city and the world. Being a relatively young museum, they are blessed with the freedom to pursue an original, independent artistic course. This independence has allowed them to make clear, often unconventional choices in terms of both presentation and collection, rather than attempting to present broad historical overviews or collect contemporary art in an encyclopaedic fashion. They prefer to take a contextual approach in which they endeavour, in a highly personal manner, to keep abreast of contemporary developments in the visual arts and so make their own special contribution to the world of modern art. More specifically, the museum focusses on artists and works with an unusual, independent artistic viewpoint and an explicit response to the world around them. They seek out the trendsetters within a relatively young generation of visual artists (from anywhere in the world) and those that have inspired them, as well as artistic approaches from the past that we believe may be of particular relevance to the present. Pursuing an international policy in a local, peripheral context naturally requires creativity. By consistently setting high standards, seeking partnerships in the Netherlands and abroad, and fostering contacts with a growing cultural audience, the museum has proved again and again that it can achieve amazing results even with limited resources. As the museum's collection has expanded over the past few years, a 'debate' has begun between the various works, shedding more and more light on the nature and coherence of the core collection. Visit the museum's website at ... http://www.hetdomein.nl

Bulgaria Opens "Museum of Socialist Art" as Europe Marks the 20th Anniversary of the Soviet Collapse Posted: 24 Aug 2011 11:15 PM PDT SOFIA, BULGARIA - Giant statues of Soviet dictators Vladimir Lenin and Josef Stalin. Paintings of enthusiastic socialist laborers. A huge red star that graced Communist Party headquarters. As Europe marks the 20th anniversary of the Soviet collapse, this nation that's still shaking off its troubled communist legacy is opening a museum dedicated to the totalitarian past. A debate's raging on whether the museum romanticizes the Soviet era or teaches new generations about its horrors. Other former communist countries like the Czech Republic and Hungary have long had similar museums; the fact it's taken Bulgaria this long to open one is a sign of its fragile transition to democracy.

The Salmagundi Club To Host "The Art of John Pierce Barnes" Posted: 24 Aug 2011 09:02 PM PDT New York City.- The Salmagundi Club is proud to present "The Art of John Pierce Barnes" on view from September 15th through September 28th. The exhibition marks the first time that the Pennsylvania impressionist's art will have be shown publicly in New York. The exhibit features pastels and oils. The 24 pastels included in this exhibition were exhibited in 2008 at the Flora Giffuni Gallery of the Butler Institute of American Art in Youngstown, Ohio. A student of acclaimed Pennsylvania impressionist Daniel Garber, Barnes is best known for his oil paintings of landscapes and portraits rendered in the impressionist and pointillist styles with vigorous broken brush strokes, often in a bold bright palette. He painted in eastern Pennsylvania, on the Maine coastline, and in Europe.

The Speed Art Museum Announces Largest Ever Donation of Kentucky Art Posted: 24 Aug 2011 08:39 PM PDT Louisville, KY.- The Speed Art Museum is pleased to announce one of the most important gifts in the history of the Museum and the largest donation of Kentucky art ever received by the Speed.  Given by Robert and Norma Noe, this extensive collection includes 119 examples of early Kentucky furniture, paintings, silhouettes, textiles, ceramics, and silver. Artworks from the Noe Collection are currently on view in the exhibition Kentucky Antique the Commonwealth. Dr. Charles L. Venable, Speed Director and CEO remarks, "The gift of the Noe Collection more than doubles the Museum's holdings of Kentucky-made decorative arts and paintings from the nineteenth century, giving the Speed the best collection of this kind anywhere.  We now will be able to provide visitors with an unparalleled opportunity to experience and enjoy the state's artistic heritage as never before.  We are extremely grateful to the Noes for both their generosity and vision."

The Library of Congress Opens Series Titled "Fields of Vision" Posted: 24 Aug 2011 08:11 PM PDT WASHINGTON, D.C.- The more than 172,000 black-and-white and 1,600 color images that comprise the Farm Security Administration Office of War Information (FSA/OWI) Collection at the Library of Congress offer a detailed portrait of life in the United States from the years of the Great Depression through World War II. Selected images from the works of FSA/OWI photographers Gordon Parks (1912-2006), Arthur Rothstein (1915-1985) and Carl Mydans (1907-2004) are now featured in the Library of Congress series titled "Fields of Vision." Edited by Amy Pastan, an independent editor and book packager, and published by D Giles Ltd. in association with the Library of Congress, each volume in the series includes an introduction to the work of the featured FSA photographer by a leading author.

Swords & Medals of Royal Navy Commander Farquhar for Sale at Bonhams Posted: 24 Aug 2011 07:55 PM PDT LONDON.- A Lloyds Patriotic Fund sword awarded to Arthur Farquhar will be offered by Bonhams Knightsbridge on 30 November with an estimate £60,000 to £80,000. Farquhar, Commander of HMS Acheron, survived the ultimate Royal Navy catastrophe of losing his ship to a French man of war, but in the subsequent court martial he was acquitted of any wrongdoing and complimented for his actions which were described as 'highly meritorious and deserving imitation'. In a naval action off Malta while on convoy duty to 35 ships, he took on a much larger French adversary and after a stiff fight was overcome by a ship with many times the firepower of his own. A pair of oil paintings by Francis Sartorius (1734-1804) depicting the action for which Farquhar was awarded his Lloyds sword are to be offered in the upcoming sale of Marine Pictures to be held at Bond Street on 13 September (estimate: £8,000-10,000).  Farquhar's medals will be offered in the next 'For Valour and Gallantry' sale to be held at Bonhams Knightsbridge on 28 September.

Efrén Ordóñez, "the painter of the divine", dies at 84 Posted: 24 Aug 2011 07:54 PM PDT MEXICO CITY.- With a legacy of paintings, sculptures and stained glass, focusing on the religious sphere, the general director of National Institute of Fine Arts (INBA), Teresa Vicencio Alvarez, highlighted the life and work of artist Efrén Ordóñez, who died on 21 August. In a statement, the INBA recalled the career of this artist, who left most of his work at the Seminary of Monterrey and the Institute itself. This last preservation of collection of works include: "Yesterday and Tomorrow '(1992),' Red Gray Space '(1968)," Red Bridge "(1968),' Ghost '(S / F) and' Painting '(S / F). With regards to his death, the official said: 'We lost a great artist who made a footprint in the history of art in our country, and distinguished us with a lifetime of work devoted to his trade '

George Grosz Family’s Claim Against MoMA Hinges on Dates Posted: 24 Aug 2011 07:28 PM PDT New York City - When the Expressionist artist George Grosz, a celebrated painter, fled Nazi Germany in 1933, he left behind two important oil paintings and a watercolor with his Berlin dealer. Next month the United States Supreme Court, in deciding whether to hear the case, will determine whether Grosz's heirs have any hope that legal action will help them recover the works from their current owner, the Museum of Modern Art (MoMA). The lawsuit is an emotional, last-ditch effort by Grosz's son Martin, and Martin's sister-in-law, Lilian, to reclaim works they say were lost in the midst of Nazi persecution, only to end up two decades later in one of the world's most elite art institutions. Beyond the family, the case has drawn the attention of Jewish groups and experts in international law who argue that the Grosz case, like many others concerning art looted or lost during World War II, have too often been decided not on the merits but on whether claimants filed suit before the legal time limit. MoMA, for example, has won several lower court decisions in the Grosz case because judges have ruled that the family simply filed its suit too late to be considered under New York State law. The United States has twice signed international agreements that urged nations to decide Holocaust-recovery claims based on their substance, not on legal technicalities. But the agreements do not have the force of law. "Museums are breaking their own ethics codes and causing the U.S. government to break its international commitments by invoking our courts to resolve Holocaust-era art claims on technical grounds rather than on the merits," said Jennifer Anglim Kreder, co-chairwoman of the American Society of International Law's Interest Group on Cultural Heritage & the Arts. Ms. Kreder is an author of a "friends of the court" brief supporting the Groszes. Several other organizations have also weighed in to argue against the use of statutes of limitations to bar such claims. The organizations include the American Jewish Congress and the nonprofit Commission for Art Recovery. The museum, which acquired the works in the 1950's, declined to comment because the case is being litigated. But it has maintained in court documents that, regardless of the timing issue, it has diligently researched the artworks' provenance and has found no evidence that the works were looted by the Nazis or any basis for disputing their legitimate ownership. Raymond J. Dowd, the Groszes' lawyer, counters that the lower court considered inadmissible evidence and also failed to take into account a 1998 federal law that was intended to help Holocaust-era victims recover their assets. Since 2004, the Supreme Court has refused to review several Nazi-era art cases, most recently in June when it decided not to review a case brought against the Norton Simon Museum in Pasadena, Calif., which ran afoul of a different deadline statute. Lawyers involved in Grosz vs. Museum of Modern Art agree that it is unlikely that the high court, given its reluctance to weigh in on matters of state law, will take up this case when it meets on Sept. 26 to review the appeal. The tangled odyssey of the three disputed works — the portrait "Poet Max Herrmann-Neisse" (1927), "Self-Portrait With Model" (1928) and the watercolor "Republican Automatons" (1920) — begins in 1933. Grosz, a prominent member of the Dada movement best known for his biting caricatures, was a staunch critic of Hitler and emigrated to America just as the Nazi regime was coming to power. Grosz, who was not Jewish, left the three works with Alfred Flechtheim, his dealer, who was Jewish. Under the Nazis, Jewish businesses were boycotted, and within months Flechtheim also left Germany. He died penniless in London four years later. The Grosz heirs say that Flechtheim was only temporarily caring for the three works and that he was forced to sell or abandon his holdings because of the climate of terror created by Hitler's regime. The accompanying paper trail that shows bills of sale, liquidation papers and letters, they add, was later fabricated or distorted to mask illicit dealings. MoMA, which obtained the two oil paintings and the watercolor at different times in the early 1950s, has said it was unaware of any doubts about the chain of ownership. Grosz himself saw the portrait of Herrmann-Neisse hanging on the museum's walls in 1953, and wrote to his brother-in-law, "Modern Museum exhibits a painting stolen from me (I am powerless against that) they bought it from someone, who stole it." Grosz, who died in 1959, never contacted the museum about regaining possession, however. To his heirs the letter is proof that the painting was stolen; to MoMA, it is evidence that Grosz himself passed up opportunities to ask for his art within a reasonable time. In any case, MoMA has argued, Martin Grosz and Lilian Grosz missed the deadline to file a lawsuit. Under New York law, claimants have three years to sue after their request for the return of their property is rejected. The first formal request from the Groszes for the works came in November 2003. MoMA says it researched the provenance with scholars from Yale. In July 2005 the museum's director, Glenn D. Lowry, wrote to the Groszes' representative that evidence challenging the museum's ownership was unpersuasive and that the transfers were not forced. Mr. Lowry's letter, the museum says, started the clock ticking. The family members, however, argue that Mr. Lowry told them that only the museum trustees could make a final decision, and the Groszes say that they were still negotiating with the museum until April 2006, when the museum board rejected their claim. In their view the board's vote is what started the clock, and so their lawsuit, filed on April 10, 2009, would have fallen within the allotted three-year period. Charles A. Goldstein, counsel to the Commission for Art Recovery, said "the museum strung along" the Groszes, holding out the possibility of a settlement while the clock ran out. "The museum was dead wrong," he said. During the Nazi regime about 100,000 artworks were looted from public and private collections, including forced sales. To address some of the issues such looting raised, the United States and more than 40 other nations adopted the 1998 Washington Conference Principles on Nazi-Confiscated Art, and the 2009 Terezin Declaration, which urge nations to decide claims "on the facts and merits" and to take historical circumstances into account when legal hurdles arise. American policymakers have frequently urged other countries to abide by these agreements. In a keynote address at the Terezin conference, held in the Czech Republic, the leader of the United States delegation, Stuart E. Eizenstat, said he was concerned about the tendency to seek refuge in "technical defenses," including the statutes of limitations. Some lawyers who have represented MoMA and other museums in unrelated cases say that laws regarding time limits are not merely technical, but also speak to the question of whether it is possible to reconstruct an accurate historical record after a long lapse. Automatically giving claimants the benefit of the doubt can unfairly penalize honest and rightful owners, said Jo Backer Laird, a lawyer at Patterson, Belknap, Webb & Tyler, a New York firm that represents MoMA and other museums but is not currently involved in any restitution cases. Mr. Goldstein of the Commission for Art Recovery counters that given stated United States policy on the issue, museums and the courts should respect the 1998 and 2009 agreements. "The statute of limitations was never intended to cover something like wartime mass pillaging of property," he said. (c) The New York Times

Pop Art from the Collection of Valencia's IVAM Travels to Cuba Posted: 24 Aug 2011 07:20 PM PDT HAVANA, CUBA - The IVAM (Instituto Valenciano de Arte Moderno) and the SEACEX (Sociedad Estatal para la Acción Cultural Exterior de España) opened February /5/ 2010 this co-production with the collaboration of the Embassy of Spain in Cuba and the Museo Nacional de Bellas Artes de Cuba. The Pop Art exhibition at the IVAM Collection is curated by chief curator of the Dali Museum in St. Petersburg (USA) William Jeffett, and the Director of IVAM, Consuelo Ciscar. The exhibition brings together 59 works of different techniques and media including paintings, photography, works on paper and sculptures. These works have been selected from the extensive exhibition devoted to Pop Art held at the IVAM in 2007 and that following its exhibition in San Juan (Puerto Rico), Fortaleza (Brazil) and Buenos Aires (Argentina) are presented now in the National Museum of Fine Arts of Cuba. The works of Pop Art in the Collection of the IVAM, which are among the most outstanding in Europe, focus on the European contribution to Pop Art, complemented by some examples of American artists and including some precursors of this style and actual Pop artists. The collection comprises a large number of the different artistic positions and they are grouped in a flexible manner under the umbrella of the term Pop. The catalogue published for the exhibition contains over eighty works by Richard Hamilton, Equipo Crónica, Claes Oldenburg, James Rosenquist, Valerio Adami, Sigmar Polke, Eduardo Arroyo and others, and texts by William Jeffet, Consuelo Císcar, Santiago B. Olmo, Clare Carolin and Lluís Fernández, along with a selection of critiques about Pop Art. The Collection of the IVAM provides a broad, comprehensive overview of Pop Art and the presence of its legacy in the most recent contemporary creations. It focuses on the artists who influenced the development of the avant-garde movements in Spain, including the important contribution made by Spanish artists to that trend. And we say trend because of the different international manifestations of Pop Art that took place simultaneously in several countries rather than something that stemmed from a single source. Manifestations that can be grouped in categories that go from the precursors of Pop Art like Richard Lidner or artists of the Independent Group like Robert Hamilton or the American precursors Jasper Johns and Robert Rauschenberg or Claes Oldenburg to the artists of New Realism like Martial Raysse, and New Image with works by James Rosenquist, and Narrative Figuration with works by Gilles Aillaud, Hervé Télémaque, Valerio Adami and Eduardo Arroyo, Realismo Crítico represented by the work of Equipo Crónica, Equipo Realidad and Juan Genovés, among other trends, including the legacy that has tinged the cinematographic photography of Cindy Sherman or John Baldessari. Be that as it may, Pop Art was never a programmatic movement directed by a coherent group that expressed their ideas in manifestoes, but rather a nexus of different groups and critical stances that resorted to images from mass production as their point of departure and that presented important variations according to their geographic and cultural background. Although in many aspects it is the heir of the historic avant-garde movements, Pop Art constitutes one of the first examples of postmodern art practice thanks, precisely, to its appropriation of images already in existence. Collage and photomontage, along with Marcel Duchamp's ready-mades and similar works or creations of Surrealism, are important artistic antecedents. In fact, a series of Pop artists were directly linked to the latter movement (Jasper Johns, Robert Rauschenberg and Hervé Télémaque). But more than anything else, Pop was the result of the growth of the consumer society that took place in the nineteen fifties and sixties: the new reality that captured the attention of the younger generation. The British Independent Group, active from 1952, devoted itself to studying and reinterpreting popular culture and the impact of the mass media on society. Some relevant British Pop artists originally involved in the Pop movement produced a kind of painting or sculpture that does not fully develop their own presuppositions of the fifties. Nevertheless, American Pop emerged spontaneously without a group or manifestoes or an agenda, as a series of individuals that came together by chance through the first exhibitions that dealt with the phenomenon. In its treatment of popular consumerist culture and its figures, characters and products, there is a systematic appropriation and a creation of icons by means of a visual operation that consists in shifting them from the banal context of everyday life to the territory of painting, exhibitions, museums, in other words, to culture. Josep Renau, who uses collage and photomontage techniques to criticise the American society, appropriating ordinary everyday images of the media and popular culture, has been considered a forerunner or a pioneer of Pop aesthetics, above all because of the influence he had on the work of Equipo Crónica and Equipo Realidad, who used the same techniques in painting to establish a critical interpretation of the images and icons that configure the visual culture of Spain at that time, but also turn their critical glance towards the past and history. However, this resorting to history, the painting of the past or cult cinema, which we find in both Equipo Crónica, Equipo Realidad and Eduardo Arroyo, is not limited to the cultural sphere in Spain but involves permanent interrelationship between popular culture and high culture. This is something that did not follow the initial premises of Pop Art, but in the eighties even Warhol was using images from paintings by Munch, De Chirico or Leonardo's Las Supper in his works. The strategies of Pop provided a (not only visual but also intellectual) framework that, thanks to the contradictions enclosed in this iconographic encyclopaedia, constituted a point of departure for political and social reflection about the present. This point of departure allowed Pop to survive in neo and post formulations. Pop Art, in its broadest sense, left the avant-gardes the legacy of a narrative that is still vital for the aspirations of emerging artistic movements today. Visit The IVAM (Instituto Valenciano de Arte Moderno) at : http://www.ivam.es/

"The Power of Fantasy: Modern and Contemporary Art From Poland" Comes to Brussels Posted: 24 Aug 2011 07:19 PM PDT Brussels.- "The Power of Fantasy: Modern and Contemporary Art from Poland", as major exhibition gathering many of the most significant works of contemporary art from Poland by a generation of artists who have made their careers since the fall of communism in the country in 1989, is on view at the BOZAR Arts Center in Brussels from June 24th until 18 September. More than 30 internationally renowned artists such as Monika Sosnowska, Wilhelm Sasnal, Piotr Uklañski, Katarzyna Kozyra, and Robert Kuœmirowski are featured in the show. Divided throughout the 19th century, occupied during the Second World War, and subsequently under the Soviet yoke for decades, Poland became a democracy in 1989.

Pinakothek der Moderne hosts ‘Passionately Provocative’ ~ The Stoffel Collection Posted: 24 Aug 2011 07:18 PM PDT Munich, Germany - Passionately provocative major works of contemporary art were collected by the Stoffels from the 1970's onwards. 'Passionately Provocative': the Modern Art Collection at the Pinakothek der Moderne is now showing a large part of this splendid collection for the very first time with some 120 works exhibited over more than 1,200 m. On exhibition 20 November through 1 March, 2009.

New Arts and Literary Publication Launched by Irish Museum of Modern Art Posted: 24 Aug 2011 07:17 PM PDT DUBLIN.- A new arts and literary publication featuring contributions by Francesco Clemente, Seamus Heaney, Nalini Malani, David Mitchell, Sean Scully, Colm Tóibín and a host of other leading art world figures, will be launched by the Irish Museum of Modern Art at 6.00pm on Thursday 11 June 2009. Boulevard Magenta is the brain child of IMMA's Director, Enrique Juncosa , himself a noted poet, who has brought together a collection of works ranging across the visual arts, prose, poetry, music, film and architecture for the first issue of the biannual magazine. The launch coincides with the opening of a new exhibition at the Museum by the celebrated American artist Terry Winters, who has contributed nine drawings incorporating texts by the American writer Ben Marcus to the publication.

The Austin Museum of Art (AMOA) to explore "The Art of Memory" Posted: 24 Aug 2011 07:16 PM PDT AUSTIN, TEXAS –  Family photo albums, Road Runner cartoons, the works of Shakespeare, and Barack Obama's presidential primary campaign are just some of the subjects explored in AMOA's upcoming exhibition, The Lining of Forgetting: Internal & External Memory in Art. This international exhibition, opening to the public on May 30, 2009 through 9 August, explores the ways we remember, both as individuals and collectively, and highlights how we often forget, rewrite, and even fabricate memory.

Harn Museum of Art Presents A Retrospective of Jerry Uelsmann's Photography Posted: 24 Aug 2011 07:15 PM PDT GAINESVILLE, FL.- The first critical retrospective of American photographer Jerry Uelsmann's work opened at the Harn Museum of Art at the University of Florida on June 14, 2011. Uelsmann, known for his iconic, surreal style and his innovative composite printing techniques, has spent more than 50 years challenging and advocating for the acceptance of photography as an experimental art form. The Mind's Eye: 50 Years of Photography by Jerry Uelsmann, organized by the Peabody Essex Museum in Salem, Massachusetts features 89 works from every phase of the artist's wide-ranging career, including a selection of rare pieces that have never before been on public view. Additional works from the artist's collection are on view only during this leg of the exhibition, open through September 11th.

Sotheby's Auction for Kolkata Museum of Modern Art Posted: 24 Aug 2011 07:14 PM PDT   Kolkata, India - Kolkata will now have its own modern art museum. Auction giant Sotheby's will hold a benefit sale in New York to support the mega art project. The auction for the Kolkata Museum of Modern Art (KMOMA) will be held July 17. On sale will be modern and contemporary Indian art works. Important works including paintings, sculptures and photographs by Tyeb Mehta, Jehangir Sabavala, Somnath Hore, Sakti Burman, Ram Kumar, F.N Souza, Akbar Padamsee, Jogen Chowdhury, Ganesh Pyne, Arpita Singh, Rameshwar Broota, Paresh Maity, Subodh Gupta, Chintan Upadhyay, Baiju Parthan and Dayanita Singh among others will be part of the auction highlights.

Museum Tinguely Displays Artificial Intelligence and Robotics in New Exhibition Posted: 24 Aug 2011 07:13 PM PDT BASEL.- The Museum Tinguely in Basel and Kunsthaus Graz are co organising an exhibition that addresses the subjects of "Artificial Intelligence" and "Robotics". The title Robot Dreams is borrowed from a short story of the same name by Isaac Asimov, a biochemist and extraordinarily prolific writer of science fiction, in which Elvex, a robot, has to be destroyed because he has a dream in which he plans a revolt and starts to disregard the Three Laws that are intended to keep him subservient to humans. On exhibition 9 June through 12 September.

Christie’s First Open Post-War & Contemporary Art Sale Had Positive Results Posted: 24 Aug 2011 07:12 PM PDT NEW YORK CITY - Christie's first open Post-War and Contemporary Art sale achieves positive results. Alexandre Carel, Head of First Open said, "The positive results achieved for the first mid-season sale of the season are a reflection of the right amount of lots offered and correct estimates. The 149 lots presented achieved over $3 million and a healthy sold rate of 86%, with many works selling well above their pre-sale estimates.

The Leopold Museum exhibits Hilda Uccusic ~ A Cultural Idol Posted: 24 Aug 2011 07:11 PM PDT   Vienna, Austria - The Leopold Museum is showing an extensive exhibition of the work of Hilda Uccusic. It presents her sensitive and effortlessly executed watercolours and drawings, including portraits, landscapes, floral depictions and city views. Special attention is devoted to the series "Heads and Portraits", which has represented a project of particular importance to the artist in recent years. On exhibition through 26 January, 2009.

Manga! opens at The Louisiana Museum of Modern Art ~ Denmark Posted: 24 Aug 2011 07:10 PM PDT   Humlebæk, Denmark - In the autumn Manga is coming to the Louisiana Museum of Modern Art. Historically Manga goes back 200 years and today has international cult status with millions of comics sold every month and a fast-growing anime film industry. The exhibition traces the development of manga historically and culturally: from 200-year-old woodcuts and book illustrations through today's mass-produced comics, computer games and films to current Japanese contemporary art.

This Week in Review in Art Knowledge News Posted: 24 Aug 2011 07:09 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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