Art Knowledge News - Keeping You in Touch with the World of Art...

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• Art London 2011 Fair at the Royal Hospital in Chelsea
• The Contemporary Arts Center Presents Contemporary Miniaturist Paintings From Pakistan
• The Museo Thyssen-Bornemisza Features Roberto Matta's Dazzling Outcast Cycle
• The Kunstmuseum Liechtenstein Presents "Example: Switzerland"
• Pipilotti Rist Survey Exhibition Opens at Hayward Gallery
• The LA Municipal Art Gallery Presents New Contemporary Los Angeles Art
• The Vancouver Art Gallery Presents Photographic and Video Works
• The Museum of Mexico City Hosts The First Retrospective of Ricardo Martinez
• New Zealand's National Museum Te Papa (Our Place) ~ A Comprehensive National Museum
• Tate Modern to feature "Pop Life ~ Art in a Material World" ~ Artistic Modern Life
• Albertina Museum exhibits 150 Works Made by Van Gogh at a Major Retrospective
• The Getty Center features Maria Sibylla Merian and Daughters
• Sotheby's London Offers the Greatest Collection of 20th-Century British Art
• Paintings by Nicholas Hlobo on View at Galerie Pfriem at SCAD Lacoste
• Franklin 54 Gallery shows Collages Works & Assemblages by Siri Berg
• PINTA Announces Its 2nd Latin American Art Show in London
• Camden Arts Centre presents Thomas Scheibitz
• New Works by Yigal Ozeri at the Mike Weiss Galerry in New York
• MOCA exhibits Major Survey of Works by Pioneering Artist Louise Bourgeois
• This Week in Review in Art Knowledge News

Art London 2011 Fair at the Royal Hospital in Chelsea Posted: 27 Sep 2011 10:03 PM PDT London.- Art London is delighted to announce the details of its 2011 fair at Royal Hospital, Chelsea. From October 6th through October 10th, galleries from across the globe will come together for Art London's annual event to present carefully curated exhibitions of both blue-chip historical and contemporary art works. As well as London-based and UK galleries, an exciting international focus will be brought by galleries showing artists from Europe, Australia and the United States. This year, the cultural dynamism brought by galleries representing Asia and the Middle East will also give an added dimension to the already buzzing art scene found at Art London. Art London is known for its success in attracting new and young buyers as well as established collectors, with works ranging in price and medium. Stands specialising in historical works will bring paintings or drawings by Impressionist and Modern British artists including Camille Pissarro, L.S. Lowry, Sir Peter Blake, Pablo Picasso and Graham Sutherland among others. The fair will also show new and unusual installations, photography and mixed media works by emerging contemporary artists such as Tom Leighton, Luke Foreman, Emma Hack and Alastair Gibson. There is sure to be no shortage of variety for London's art lovers. Galleries exhibiting at the 2011 fair will include contemporary art specialists The Cynthia Corbett Gallery, The Rebecca Hossack Art Gallery, Tamara Beckwith's The Little Black Gallery, Long & Ryle Contemporary Art, and Galerie Olivier Waltman as well as historical art specialists including Whitford Fine Art, The Court Gallery, Clerkenwell Fine Art, and the Stern Pissarro Gallery. International galleries will include Lebanese art specialists, Art Med, Vietnamese art dealers, Apricot Gallery, Irish gallery, Oliver Sears, and Hong Kong gallery Karin Weber. In 2010, Art London attracted over 16,200 visitors and was described by The Times as "one of the most enjoyable modern art fairs". Apollo magazine similarly raved about the fair stating "[Art London] sets outs to marry serious art with a welcoming and friendly approach". Founder of Art London, Ralph Ward-Jackson, commented "Testament to the growing popularity of Art London, this year we will be hosting an exceptional range of galleries both local to the UK and internationally. We are extremely excited about the variety of art on offer, and we are certain that Art London 2011 will follow in the success of its previous editions." Each year Art London works alongside a series of charity partners who benefit directly from the sale of artwork on their stands. This year the fair's charity partners will include Survival International and Blue Sky Healing Home. Survival International is the only human rights organisation that helps to protect the lives, land and human rights of tribal people. A photography exhibition and sale at Art London, curated by Survival International supporter Ghislain Pascal of The Little Black Gallery, will include works by legendary photographers Bob Carlos Clarke, Duffy, Chris Levine, Gered Mankowitz, Terry O'Neill and Sebastiao Salgado among others. Blue Sky Healing Home is a small, private medical foster home in Beijing, China, that helps orphans and children from poor families receive the medical care and surgeries needed. Their home provides children with a loving and clean environment to heal their wounds and nurture their physical capabilities. To support Blue Sky Healing Home, their stand at Art London will exhibit work by 17 year old prodigy, photographer Tanis Chalopin. Besides the main gallery within the marquee at Royal Hospital, Chelsea, Art London will also present its acclaimed Sculpture Garden with monumental outdoor pieces. 2011 is set to exhibit an exciting and eclectic range of works including a 10 metre installation by street artist, L'Atlas. Visit the fair's website at ... http://www.artlondon.net

The Contemporary Arts Center Presents Contemporary Miniaturist Paintings From Pakistan Posted: 27 Sep 2011 08:51 PM PDT Cincinnati, Ohio.- The Contemporary Arts Center, Cincinnati is proud to present "Realms of Intimacy: Miniaturist Practice from Pakistan", on view at the museum  through January 22nd 2012. This exhibition explores the method of miniaturist painting as a stylistic foundation of art in Pakistan. Realms of Intimacy addresses the ability of art forms to adapt to different environments and to exist as a language with universal relevance. It features the work of Ambreen Butt, Faiza Butt, Imran Qureshi, Nusra Qureshi, and Saira Wasim, who all studied at the National College of Art in Lahore, Pakistan (NCA).

The Museo Thyssen-Bornemisza Features Roberto Matta's Dazzling Outcast Cycle Posted: 27 Sep 2011 08:37 PM PDT Madrid, Spain  - To coincide with the 100th anniversary of the birth of the Chilean artist Roberto Matta, which falls in 2011, the Museo Thyssen-Bornemisza is presenting a new installation of the cycle 'L'Honni aveuglant (The Dazzling Outcast)', comprising five paintings from the Museum's Permanent Collection. This installation exactly reproduces the one that Matta created for the first time in the Galerie Alexandre Iolas in Paris in 1966. Shown alongside it is Untitled of 1942-1943, another work by the artist from the Museum's collection. Unde the title of "The Open Cube", the exhibition will remain on view until October 23rd.

The Kunstmuseum Liechtenstein Presents "Example: Switzerland" Posted: 27 Sep 2011 07:58 PM PDT Liechtenstein.- The Kunstmuseum Liechtenstein is pleased to present "Example: Switzerland", on view at the museum from September 30th through January 15th 2012. The exhibition will present selected works of space-oriented art from Switzerland, including installations, paintings, drawings, photographs and objects, arranged in an open parcours. The works in the exhibition have been selected and arranged with a view to highlighting the important role that spatial concepts play in contemporary and emerging Swiss art. They re-veal the many diverse forms in which the conceptualisation and deconstruction of the artwork are expressed.

Pipilotti Rist Survey Exhibition Opens at Hayward Gallery Posted: 27 Sep 2011 07:57 PM PDT LONDON.- Swiss artist Pipilotti Rist is one of the world's leading contemporary artists, a pioneer of video art, acclaimed for her innovative installations. This is her first major public survey show in the UK, presenting videos, sculptures and installations, and bringing together over 30 works spanning her career from the 1980s to today. Highly accomplished technically and rich in dazzling colour, Rist's practice fuses sensual images, music, and sometimes text to create mesmerizing works. The exhibition will transform the gallery's lower spaces and includes new works specially created for the Hayward Gallery. On view 28 September through 17 October.

The LA Municipal Art Gallery Presents New Contemporary Los Angeles Art Posted: 27 Sep 2011 07:56 PM PDT Los Angeles, California.- The Los Angeles Municipal Art Gallery at Barnsdall Park is pleased to present "Beyond Eden", a multi-gallery event celebrating the new contemporary art scene in Los Angeles. "Beyond Eden" is on show for the weekend of October 1st and 2nd only. This will be the third edition of Beyond Eden to be hosted by the Los Angeles Municipal Art Gallery at Barnsdall Park and entry is free. After the overwhelming back-to-back success of the 1st two editions of Beyond Eden, both of which drew over 5,000 people to the beautiful confines of Barnsdall, the organizers plan to keep the focus of the event on the thriving New Contemporary Art Movement.

The Vancouver Art Gallery Presents Photographic and Video Works Posted: 27 Sep 2011 07:43 PM PDT Vancouver, British Columbia.- The Vancouver Art Gallery is proud to present  on view at the museum from September 24th through Feburary 12th 2012. "The Distance Between You and Me" presents the work of three notable contemporary artists from Vancouver, Los Angeles and Guadalajara. Thematically, the exhibition revolves around the ideas of location and dislocation, not only in the geographical sense, but also in terms of psychological location.  The artists - Isabelle Pauwels, Kerry Tribe and Gonzalo Lebrija – are loosely united by the geographical configuration of their locations, which form a line extending along the west coast of North America from Vancouver through Los Angeles to Guadalajara in Mexico. "This simple line unites diverse cultures revealing shared points of intersection and interest," says Bruce Grenville, senior curator of the Vancouver Art Gallery, "but this is only the beginning, for we can also see in the work of each of these artists a shared sense of dislocation, a necessary estrangement that shapes our personal history and sense of self, creating the distance that allows us to see who we are in this place."

The Museum of Mexico City Hosts The First Retrospective of Ricardo Martinez Posted: 27 Sep 2011 07:42 PM PDT Mexico City.- The Museo de la Ciudad de México (Museum of Mexico City) is proud to present "Ricardo Martinez" on view at the museum until October 30th. A little over two years after his death the Museum of the City of Mexico opened this new exhibition on July 13th, the first posthumous retrospective and the most important retrospective of the artist's work to date. Mounted in the newly refurbished top floor of the museum, the exhibition comprises works from the Foundation Ricardo Martinez, the Museum of Modern Art, the National Autonomous University of Mexico, the Mexican Art Gallery, Bancomer Foundation and about 15 private collections. The exhibition features more than 110 pieces, including oil paintings, sketches, photographs and some of his personal collection of pre-Hispanic figures. One of the main objectives of the exhibition is to locate and publicize the work of Ricardo Martinez, which due to lengthy active period, ranging from the late forties until shortly before his death in January 2009. True to his own style, Ricardo Martinez was an artist who kept out of mainstream and artistic trends of the twentieth century, and although they took items he used in his work, he always retained an independence that is perhaps what gives a certain timelessness to his painting. Thus in the exhibit, visitors can glimpse features resembling the Mexican School of Painting, the landscapes of Dr. Atl, the style of the great muralists, the stroke of Hispanic Soriano and monumentality. Always figurative, the selection of the exhibited work allows the audience into the world of Ricardo Martinez. Most canvases are displayed accompanied by small sketches that show the process of creation, in which the colors change at the last moment, details are added or removed and perspectives change. The search for identity seems to be a constant in the painting of Ricardo Martinez, the monumentality of form, color palette and lack of background scenery give greater weight to the human form and became his signature style, seen throughout his artistic career. Large canvases surround the visitor with sober colors and geometric pyramidal structures that invade the halls of the Museum of Mexico City, the serenity of Martinez's work appropriate for the space in unique ways. Born in Mexico City, Ricardo Martinez was educated abroad. After returning to Mexico, Martinez studied law at the National University of Mexico but decided instead to become a painter. He was a self-taught artist who never received any formal training. He exhibited for the first time at the Galeria de Arte Mexicano, Mexico City in 1942 and has since enjoyed international recognition. After a period of still life painting his work evolved to a form of monumental non-narrarive figural painting. His style can be related to Rufino Tamayo. The Museo de la Ciudad de Mexico (MCM) is a public museum located on Avenida Pino Suarez No. 30, just two blocks from the Plaza de la Constitución (Zócalo). The museum is a beautiful colonial palace which dates back to 1536. Since then the building has been remodeled and modified many times, both in appearance and in its operation, having served from the palace of noble families to neighborhood. In 1960 the Federal District Department decreed that the property should become the official home of the Museum of Mexico City, giving it its current name. The museum has four rooms for temporary exhibitions as well as a permanent exhibition covering the history of Mexico City and the studio of the painter Joaquín Clausell on the top floor. The museum also contains the Jaime Torres Bodet Library (the largest Collection of literature about Mexico City). Visit the museum's website at ... http://www.cultura.df.gob.mx/

New Zealand's National Museum Te Papa (Our Place) ~ A Comprehensive National Museum Posted: 27 Sep 2011 07:30 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.

Tate Modern to feature "Pop Life ~ Art in a Material World" ~ Artistic Modern Life Posted: 27 Sep 2011 07:29 PM PDT LONDON.- Pop Life: Art in a Material World, at the Tate Modern,  will propose a re-reading of one of the major legacies of Pop Art. Exploring Andy Warhol's notorious provocation that 'good business is the best art', the exhibition takes Warhol's influential practice as a starting point. It looks ahead to the various ways that subsequent generations since the 1980s have created their own brands, engaged in self-promotion and developed ideas around the mass media, celebrity and the artist's persona. Among the artists represented will be Tracey Emin, Damien Hirst, Keith Haring, Martin Kippenberger, Jeff Koons and Takashi Murakami.

Albertina Museum exhibits 150 Works Made by Van Gogh at a Major Retrospective Posted: 27 Sep 2011 07:28 PM PDT VIENNA, AUSTRIA - The Albertina's large autumn exhibition is presenting Vincent van Gogh from an entirely new perspective: the show unites both the painter and draughtsman Van Gogh, and its 150 works illustrate how much the artist's expressive brush work in the paintings was prepared by his dynamic draughtsmanship. This exhibition was compiled in collaboration with the Van Gogh Museum in Amsterdam and is the largest presentation of the artist's oeuvre since the jubilee exhibition in Amsterdam in 1990. Moreover, it is the first Van Gogh show in Austria for more than half a century. On exhibition 5 September through 8 December, 2008.

The Getty Center features Maria Sibylla Merian and Daughters Posted: 27 Sep 2011 07:27 PM PDT Los Angeles, CA - This Getty Center exhibition charts the artistic and scientific explorations of German artist Maria Sibylla Merian (1647–1717) and her daughters Johanna Helena and Dorothea Maria. Enterprising and adventurous, these women raised the artistic standards of natural history illustration and helped transform the field of entomology, the study of insects. The exhibition presents books, prints, and watercolors by Merian and her contemporaries and features one of the greatest illustrated natural history books of all time, The Insects of Suriname.  On view 10 June through 31 August, 2008.

Sotheby's London Offers the Greatest Collection of 20th-Century British Art Posted: 27 Sep 2011 07:26 PM PDT LONDON.- Sotheby's London announced the sale of the greatest collection of 20th-Century British Art ever to come to the market: The Evill/Frost Collection, a stand-alone three-part sale which launches with an Evening Sale on Wednesday 15th. This incomparable collection comprises outstanding works of the highest calibre by Modern British masters including the most important – and largest – group of paintings by Stanley Spencer ever to come to the market, in addition to works by Lucian Freud, Henry Moore, Dame Barbara Hepworth, Graham Sutherland, Edward Burra and Patrick Heron, amongst many others. The collection – which is estimated to fetch in excess of £12 million and comprises not only 20th-century British art but also furniture and porcelain.

Paintings by Nicholas Hlobo on View at Galerie Pfriem at SCAD Lacoste Posted: 27 Sep 2011 07:25 PM PDT LACOSTE, FRANCE.- Having hosted his first U.S. solo exhibition in Savannah in 2007, the SCAD exhibitions department is pleased to present Nicholas Hlobo in "Paintings," a solo exhibition at Galerie Pfriem at SCAD Lacoste, France. "Paintings," a compilation of new works on canvas, discards notions of traditional painting techniques and presents canvases that have been slashed then delicately stitched with distinct materials such as satin, rubber, gauze and leather. Hlobo's richly layered, tactile works are anchored in the post-­‐Apartheid South African culture the artist was raised in, and reflect on larger human issues such as language, gender, sexuality, race and communication. "Paintings" will be on view at Galerie Pfriem at SCAD Lacoste, France, from July 3-­‐Aug. 28, 2010.

Franklin 54 Gallery shows Collages Works & Assemblages by Siri Berg Posted: 27 Sep 2011 07:24 PM PDT   New York City - Franklin 54 Gallery is pleased to present collage works and assemblages by Siri Berg.  Rich in color and design, the "It's All About Color" series is comprised of 6 large panels of 20 individual rectangular Japanese wood block prints within each panel.  The series starts with little color in the copper, grey and green range and transforms through each panel into the brilliance of fiery reds and oranges, blues and purples.  Each individual print within is unique with interesting textures and designs, although still within Berg's minimalism they complete a larger cohesive vision.  The 4 panels in this exhibition are attractive and elegant with rich and subtle colors.

PINTA Announces Its 2nd Latin American Art Show in London Posted: 27 Sep 2011 07:23 PM PDT LONDON.- Following a successful first year in London in 2010, PINTA, the Latin American Art Show is returning to Earls Court Exhibition Centre this June 6th - 9th to present the very best in modern and contemporary Latin American art. Launched in New York City in 2007, PINTA has become the annual meeting place for Latin American Art. In June 2011, PINTA will bring to London over fifty galleries from the Americas and Europe including Guillermo de Osma Galería and Distrito 4 from Madrid; Maddox Arts from London; Ruth Benzacar Galería de Arte from Buenos Aires; LucIa de la Puente from Peru, Galería Enrique Guerrero from Mexico, Galeria Nara Roesler from São Paulo, Aninat Isabel from Santiago, Chile and Durban Segnini and Sammer Gallery from Miami.

Camden Arts Centre presents Thomas Scheibitz Posted: 27 Sep 2011 07:22 PM PDT London - Camden Arts Centre presents a new exhibition by Thomas Scheibitz including paintings, sculptures and large works on paper. German artist Scheibitz received international acclaim at the Venice Biennale in 2005. Using geometric shapes and symbols taken from personal memory and the media, he creates a vision of a future fast-paced consumer society. On exhibition 22 February – 20 April 2008.  Admission free.

New Works by Yigal Ozeri at the Mike Weiss Galerry in New York Posted: 27 Sep 2011 07:21 PM PDT New York.- Opening on May 6th, "Yigal Ozeri: Garden of the Gods" highlights new work from this acclaimed hyperrealist painter. For his seventh show at Mike Weiss Gallery, Photorealist painter Yigal Ozeri contrasts intense colors and detailed textures, like pale white skin and lace with red jutting cliffs and blue skies, to explore the human experience and offer a contemporary take on sensual femininity. Through his hyperrealistic oil portraits of distinctive young women in lush environments, Yigal Ozeri brings an ethereal sensibility to his tableaus. With tinges of Pre-Raphaelite aesthetics, Ozeri's works engage with contemporary theories of femininity and sensuality while offering a revitalized connectivity to nature. "Yigal Ozeri: Garden of the Gods" runs until June 11th 2011.

MOCA exhibits Major Survey of Works by Pioneering Artist Louise Bourgeois Posted: 27 Sep 2011 07:20 PM PDT   LOS ANGELES.- The Museum of Contemporary Art, Los Angeles (MOCA), presents the first major travelling survey of the work of pioneering artist Louise Bourgeois (b. 1911) in more than two decades. Louise Bourgeois is organized by Tate Modern in collaboration with the Centre Pompidou and curated by Frances Morris, head of collections, Tate Modern; Marie-Laure Bernadac, chief curator of contemporary art, Louvre; and Jonas Storsve, curator, Musée national d'art moderne, Cabinet d'art graphique, Centre Pompidou. The Museum of Contemporary Art, Los Angeles, is the fourth venue of an ambitious international tour that includes Tate Modern, London; Centre Pompidou, Paris; Solomon R. Guggenheim Museum, New York; and Hirshhorn Museum and Sculpture Garden, Washington, D.C. MOCA's presentation, which is organized by MOCA Curator of Architecture and Design Brooke Hodge, includes a number of significant works from Los Angeles collections that will not be seen elsewhere. Also exclusive to the three U.S. presentations will be at least one new work completed in the last few months by Bourgeois, who at 96 continues to make art almost daily. Louise Bourgeois is on view at MOCA Grand Avenue through January 25, 2009. "I am honored and thrilled to present this landmark showcase of Louise Bourgeois's work at MOCA," said MOCA Director and Bourgeois scholar Jeremy Strick. "Louise is an important artist who has created an enormous body of work that engages with most of the major international avant-garde artistic movements of the 20th century—from surrealism and primitivism to conceptual art and assemblage. And yet, she has always maintained her identity as an independent artist, positioned at the forefront of contemporary art practice, giving great inspiration to many others." Louise Bourgeois's long and distinguished career has engaged both modern and traditional techniques, exploring various themes in a range of styles, from abstraction to the ready-made. With over 150 works dating between 1938 and 2008, the exhibition includes the artist's earliest paintings and works on paper; sculptures made in a variety of materials, including wood, steel, plaster, latex, marble, and bronze; large-scale installations from the 1980s and '90s; a broad selection of drawings and prints from throughout her career; small-scale hand-made objects; and her most recent works, which utilize fabric. This unique, must-see presentation also reunites many of Bourgeois's most well-known pieces, including The Blind Leading the Blind (1947–49), Fillette (Sweeter Version) (1968–99), and a number of her powerful Cell installations, such as Cell (Choisy) (1990–93), Cell (You'd Better Grow Up) (1993), Red Room (Child) (1994), Red Room (Parents) (1994), and Spider (1997). Louise Bourgeois is an opportunity to discover the artist's most important works and explore the core themes that unite them across media. Bourgeois has said that her childhood, which was rich with both craft and symbolism, is the source all of her artwork and its themes. Born to a family of weavers, Bourgeois spent her early years surrounded by fabrics and textiles, as she played an active role in her family's business of repairing and restoring tapestries. Sewing needles signified restoration for Bourgeois, as she witnessed her mother's constant efforts at conservation and repair; hence, a number of the artist's large-scale sculptures take the form of needles, evoking both the psychological and physical symbolism of the device and its magic power. The spider, itself a weaver and repairer, is another highly charged figure that appears frequently in Bourgeois's work. Other themes favored by Bourgeois include maternity, the couple, childhood, the body, sexuality, gender, and autobiography. Born in Paris in 1911, Louise Bourgeois studied under a variety of artists during the 1930s, including the cubist painter and sculptor Fernand Léger. In 1938, she moved to New York, where she continues to live and work to this day. Bourgeois's 1982 solo exhibition at The Museum of Modern Art in New York was the museum's first-ever retrospective of a female artist. Bourgeois has exhibited in numerous museums and galleries worldwide, and her work is in major public and private collections throughout the world. The Museum of Contemporary Art, Los Angeles (MOCA) is your source of creativity and inspiration in Los Angeles through innovative exhibitions and programs by significant and compelling contemporary artists. MOCA is a private not-for-profit institution supported by its members, corporate and foundation support, government grants, and admission revenues. MOCA Grand Avenue is open 11am to 5pm on Monday and Friday; 11am to 8pm on Thursday; 11am to 6pm on Saturday and Sunday; and closed on Tuesday and Wednesday. For 24-hour information on current exhibitions, education programs, and special events, call 213/626-6222 or access MOCA online at www.moca.org.

This Week in Review in Art Knowledge News Posted: 27 Sep 2011 07:19 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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