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

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• The Museum of Arts and Design to Show Contemporary Korean Artists
• Chinese artist Hung Liu solos at Walter Maciel Gallery in Los Angeles
• The Museum of Biblical Art Exhibits the Paintings of Ludwig Blum
• The Museum of Contemporary Art (MCA) to Host Retrospective of Iain Baxter&
• The Carnegie Museum of Art Presents the Photographs of Teenie Harris
• The Lowe Art Museum Shows a Gift of Mexican Retablos From Joseph and Janet Shein
• The Mezzanin Stiftung für Kunst Collection on view at Kunstmuseum Liechtenstein
• Andrea Rosen Gallery Presents a Study of Llyn Foulkes' Rock Paintings
• Gary Snyder Gallery to Display New Sculptures by Richard Van Buren
• Ashmolean Museum Exhibition Features "Claude Lorrain: The Enchanted Landscape"
• Mystic Masque ~ Georges Rouault, 1871-1958 at The McMullen Museum of Art
• Masterpieces of the Renaissance from the National Galleries of Scotland on View at MIA
• Monique van Genderen Solos at Galerie Michael Janssen
• Hood Museum of Art Opens "American Art from the Huber Family Collection"
• The Arkansas Art Center Shows "The Impressionists and Their Influence"
• Museo de Zaragoza features "Goya and the Modern World"
• Napoleon and the Art of the Empire Style (1800–1815) at the Saint Louis Art Museum
• George Eastman Museum features Roger Ballen: Photographs 1982-2009
• The Sterling and Francine Clark Art Institute shows 'The Art of the Pastel'
• This Week in Review in Art Knowledge News

The Museum of Arts and Design to Show Contemporary Korean Artists Posted: 29 Oct 2011 11:57 PM PDT New York City.- The Museum of Arts and Design (MAD) is proud to host the internationally-acclaimed exhibition "Korean Eye: Energy and Matter". Sponsored by Standard Chartered, the exhibition shines a spotlight on new work by contemporary Korean artists, bringing together 21 emerging and established Korean artists working in photography, painting, video, and mixed media. "Korean Eye" will be on view at MAD from November 1st through February 19th 2012. The Museum of Arts and Design, working in collaboration with Parallel Contemporary Art (founded by David and Serenella Ciclitira), is pleased to be the inaugural venue for the exhibition, which will tour internationally after its premiere. A previous iteration of "Korean Eye: Energy and Matter", presented by Standard Chartered, was shown at the Saatchi Gallery, London and in Seoul and Singapore. "Korean Eye: Energy and Matter" reflects a new era of diversity in Korean life, politics, and culture, and offers a unique opportunity for education and appreciation of Korea's rapidly developing art scene, which until recently has seen little global exposure. Korean Eye: Energy and Matter extends MAD's focus on materials and process in contemporary art and design by showcasing works of art in an astonishing range of materials, reflecting the ways in which Korean artists today are exploring techniques both traditional and innovative. Korean Eye: Energy and Matter offers an illuminating commentary on the philosophical and aesthetic conditions of modern Korean culture, from virtual reality and the pervasive influence of fantasy and pop culture to the dehumanization inherent in a post-industrial society. By turns ironic, satirical, and metaphorical, the exhibition includes photo-sculptures by Seung Hyo Jang; embroidery and acrylic paintings by Young In Hong; a large, imposing shark fabricated from reclaimed and repurposed automobile tires by Yong Ho Ji; and Meekyoung Shin's astonishing "antique" porcelain vases, rendered in soap. The Museum of Arts and Design ("MAD") explores the blur zone between art, design, and craft today. Accredited by the American Association of Museums since 1991, MAD focuses on contemporary creativity and the ways in which artists and designers from around the world transform materials through processes ranging from the artisanal to the digital. For nearly half a century, MAD has served as the country's premier institution dedicated to the collection and exhibition of contemporary objects created in media such as clay, glass, wood, metal, and fiber. The seed for MAD, however, was planted almost 70 years ago, when Aileen Osborn Webb—the nation's premier craft patron and benefactor—established the American Craftsmen's Council in 1942. In the decades that followed, MAD broadened its vision and expanded the scope of its exhibitions and programs. In 1979, MAD was renamed the American Craft Museum, reflecting its position, and in 1986, moved to a new location in four floors of a new building at 40 West 53rd Street. The new Museum's space—designed by Roche-Dinkeloo, with an interior created by Fox & Fowle Architects—doubled the space of the original quarters. The opening exhibition was Craft Today: Poetry of the Physical, which articulated the direction of MAD's new era. Some of the objects were purely functional, while others placed a higher value on visual expression and conceptual content. Today, MAD celebrates materials and processes that are embraced by practitioners in the fields of craft, art and design, as well as architecture, fashion, interior design, technology, performing arts, and art and design-driven industries. The institution's new name, adopted in 2002, reflects this wider spectrum of interest, as well as the increasingly interdisciplinary nature of MAD's permanent collection and exhibition programming. In September, 2008, MAD opened the doors to its new home at 2 Columbus Circle to the public. With triple the exhibition space, and new amenities including a greatly expanded store, a 144-seat theater, and a restaurant, MAD is finally able to satisfy the growing public demand for its programs. 2 Columbus Circle's design, accomplished  in collaboration with architect Brad Cloepfil of Allied Works Architecture, weaves MAD into the social and cultural fabric of the newly revived Columbus Circle and its surrounding neighborhoods. The design includes a new façade that features textured terracotta panels and transparent fritted glass, materials that express MAD's history of honoring the relationship between materials and maker. Visit the museum's website at ... http://www.madmuseum.org

Chinese artist Hung Liu solos at Walter Maciel Gallery in Los Angeles Posted: 29 Oct 2011 11:21 PM PDT LOS ANGELES, CA.- Walter Maciel Gallery presents a solo show of new work by internationally known artist Hung Liu. This is Liu's third solo gallery exhibition appropriately titled Dawn Blossoms Plucked at Dusk which references the idea of remembering one's youth, possibly from an elder's perspective. The show is presented concurrently with Pacific Standard Time celebrating the art in Southern California from 1945 though the early 80s. Liu was born in Changchun, China in 1948 and immigrated to the US In 1984 to attend the University of California, San Diego where she received an MFA in the Visual Arts Program. She studied with Allan Kaprow who became a lifelong friend and mentor. On exhibition from 29 October though 22 December.

The Museum of Biblical Art Exhibits the Paintings of Ludwig Blum Posted: 29 Oct 2011 10:53 PM PDT New York City.- The Museum of Biblical Art (MOBIA) is proud to present "Jerusalem and the Holy Land: The Paintings of Ludwig Blum", on view at the museum from October 28th through January 15th 2012. This exhibition, organized by Ben Uri, The London Jewish Museum of Art, The Art Museum for Everyone, was first shown in London, England in January 2011 and curated there by the Israeli scholar Dr. Dalia Manor. Known as the "Painter of Jerusalem," Ludwig Blum (1891-1974) immigrated to Palestine in 1923 from what is now the Czech Republic. A veteran of the First World War and an academically-trained painter, Blum set about depicting the Middle East, most notably, the Holy Land, both through vast topographical scenes and through small-scale street and marketplace scenes.

The Museum of Contemporary Art (MCA) to Host Retrospective of Iain Baxter& Posted: 29 Oct 2011 10:24 PM PDT Chicago, Illinois.- The Museum of Contemporary Art (MCA) is proud to present the first retrospective of one of Canada's most compelling artists, when "Iain Baxter&: Works 1958-2011" opens on November 5th. The exhibition will remain on view through January 15th 2012. Iain Baxter legally changed his name to Iain Baxter& in 2005. He appended an ampersand to his name to underscore that art is about connectivity and collaboration with the viewer."Iain Baxter&: Works 1958-2011" is a survey of all major phases of his work. Baxter&'s consistent emphasis is on reaching out to the viewer, his core concern with ecology and the environment and his belief that art must be made in many kinds of media, inform his early understanding that "art is all over."

The Carnegie Museum of Art Presents the Photographs of Teenie Harris Posted: 29 Oct 2011 08:49 PM PDT Pittsburgh, PA.- The Carnegie Museum of Art is proud to present "Teenie Harris, Photographer: An American Story" on view from October 29th through April 7th 2012. This groundbreaking exhibition will celebrate the artist/photographer whose work is considered one of the most complete portraits anywhere of 20th-century African American experience. Large-scale, themed photographic projections of nearly 1,000 of Teenie Harris's greatest images accompanied by an original jazz soundtrack will generate an immersive experience in the exhibition's opening gallery. Subsequent galleries will present a chronological display of these photographs at a conventional scale, and give visitor access to the more than 73,000 catalogued and digitized images in the museum's Teenie Harris Archive. The exhibition will offer an examination of Harris's working process and artistry, and audio commentary on the man and his work by the people who knew him. In addition, the photographs and many of these materials will be accessible on Carnegie Museum of Art's website.

The Lowe Art Museum Shows a Gift of Mexican Retablos From Joseph and Janet Shein Posted: 29 Oct 2011 08:26 PM PDT Miami, Florida.- The Lowe Art Museum is pleased to present "Saintly Blessings: A Gift of Mexican Retablos from Joesph and Janet Shein", on view at the museum through September 23rd 2012. Painted devotional images of saints and other holy persons, called retablos, are used primarily by Mexican peoples as objects of veneration and to seek favors. A splendid collection of twenty-eight retablos, painted on tin, has been graciously donated to the Lowe Art Museum by prominent Philadelphia and Miami art collectors, Joseph and Janet Shein. The gift is an important addition to the Lowe's collection of santos (2 and 3 dimensional depictions of saints and other Catholic religious icons). When the Spanish came to the New World, they brought significant changes, one of the most lasting of which was their religion, Catholicism. As the desire to possess a sacred object that would ensure health, fertility, and abundance of crops led to a transfer of beliefs from pagan images to those of the Church, religious imagery appeared. They are on view for the first time at the Lowe Art Museum.

The Mezzanin Stiftung für Kunst Collection on view at Kunstmuseum Liechtenstein Posted: 29 Oct 2011 08:25 PM PDT Vaduz, Liechtenstein - Domiciled in Liechtenstein, the "Mezzanin Stiftung für Kunst" collection is devoted primarily to international, contemporary art. Bearing the stamp of the extreme care and personal commitment of collector Hanny Frick, it has grown continuously over the past few decades. Hanny Frick relies on direct contact with artists and their works of art. Her approach has led, over the years, to a collection that places the collector on equal footing with the international art world. The holdings range from paintings, drawings, prints and photography to objects and a remarkable group of sculptures from Europe and Africa. In addition, the collection includes artefacts such as found pieces from nature, tools used by artists and a group of prehistoric rock drawings that have been transferred to paper. The exhibition is on view from 28 October until 26 February, 2012.

Andrea Rosen Gallery Presents a Study of Llyn Foulkes' Rock Paintings Posted: 29 Oct 2011 07:43 PM PDT New York City.- The Andrea Rosen Gallery is extremely excited to present a focused study of Llyn Foulkes paintings revolving around the presence of the rock imagery spanning from 1963 to 1991. As a legendary figure and pioneer beginning in the 1960's,  Foulkes' influence within the LA community is both "vast and unquantifiable" and while he has a deep following he is just now beginning to get his full recognition. Over the past number of years, his work has been included in seminal exhibitions from LA MoCA's "Helter Skelter" (1992), the Hammer's "Nine Lives: Visionary Artists From L.A." (2009), to the Venice Biennale (present) which has brought a growing awareness and clarity to the wide range of his influence and the powerfulness of his unique artistic territory. "Llyn Foulkes" is on view at the gallery through December 3rd. In the past two years the Andrea Rosen Gallery have been carefully researching Foulkes' complete oeuvre and is delighted to present this extremely specialized exhibition that studies Foulkes' landscape paintings and our multi-faceted and veiled relationship to nature.

Gary Snyder Gallery to Display New Sculptures by Richard Van Buren Posted: 29 Oct 2011 07:19 PM PDT New York City.- Gary Snyder Gallery is pleased to announce "Richard Van Buren: New Sculpture" on view at the gallery from November 10th through December 17th. The exhibition features new works in thermoplastic and is Van Buren's first in a New York gallery in almost ten years. Eighteen of the artist's swirling abstract sculptures will be on view, including a thirteen-foot wall piece, "Botticelli's Revenge" (2011), and "Walking with Garth" (2011), a twenty-four-foot floor piece—Van Buren's largest and most ambitious works to date. A fully illustrated catalogue will accompany the exhibition, with an essay by Klaus Kertess. The exhibition and its accompanying publication offer an in-depth look at the artist's work over the past three years—Technicolor biomorphs in thermoplastic and acrylic paint, adorned with natural materials.

Ashmolean Museum Exhibition Features "Claude Lorrain: The Enchanted Landscape" Posted: 29 Oct 2011 07:18 PM PDT Oxford, UK.- The Ashmolean Museum's major exhibition this autumn is "Claude Lorrain:The Enchanted Landscape", rediscovering the father of European landscape painting, Claude Gellée (c.1600–1682), or Claude Lorrain as he is best known.In partnership with the Städel Museum, Frankfurt, the exhibition will bring together 140 works from international collections, created at different points in the artist's career. By uniting 'pairs' of Claude's paintings and making a comprehensive survey of his work in different media, the exhibition brings new research to bear on his working methods, to reveal an unconventional side to Claude which has previously been little known. "The Enchanted Landscape" is on show until January 8th 2012. Born in France, Claude travelled first to Italy at the age of 13 or 14, settling in Rome for the rest of his life in 1627. The scenery of his great compositions was based on his studies of the ancient ruins and the rolling country of the Tiber Valley and the Roman Campagna. Claude's ability to translate his vision of the countryside and the majesty of natural light with the aid of his brush won him the admiration of his contemporaries, above all else, as a 'natural painter'. It has been his signature treatment of classical landscape and literature which has impressed itself on generations of artists and collectors, and which has made his name synonymous with great landscape painting. The cult of Claude which grew up in the 18th and 19th centuries, begun by British 'Grand Tourists', has left a profound mark on our history and landscape. English country houses are well stocked with both originals by Claude and with copies. Responding to aristocratic taste and fashion, designers such as Capability Brown, Henry Hoare and William Kent reproduced his ideal views in the parklands of great houses from Blenheim Palace, Rousham House and Stowe, to Stourhead and Chatsworth. Claude's drawings were collected with no less enthusiasm by English connoisseurs, as a result, over 40% of his drawings are now in the British Museum. Claude's influence on later artists is apparent in the work of Thomas Gainsborough, J. M. W. Turner and John Constable, who described him as 'the most perfect landscape painter the world ever saw'. A lesser-known side to Claude is the eccentricity of his graphic art. The exhibition will show 13 paintings alongside related drawings and etchings from international and private collections, and from the Ashmolean's own extensive holdings. Claude was a dedicated graphic artist. He drew for the sake of mastering the world of nature but also because drawing was a pleasure in itself. Many of his drawings were made as works of art in their own right. During his own lifetime Claude's fame grew rapidly. As a guard against forgeries, he made copies of his paintings in a book, the Liber Veritatis (Book of Truth), which, by the time of his death, contained 200 drawings. The book also gave him a collection of ideas which he could reuse when necessary. Although he made only 40 prints in total, all of which are on display, he took a serious interest in printmaking. Similar to his drawings, his principle focus was to explore the potential of the medium. His exceptional technique - a painterly brush-and-ink style replicating natural effects - was a novelty in contemporary printmaking. The spectacular 'Fireworks' series, ten etchings made during a week of firework displays in Rome, illustrate his experimental style and will be on show together in the Ashmolean's exhibition. Unlike contemporaries who had an academic training, Claude's style and artistic process were unique to him. He worked frequently with existing materials progressing from one painting to another through a process of variation and combination. His sketching excursions provided him with a stock of motifs, including trees, hills, rivers and antique ruins, which became constant accessories in his paintings. Figure groups were shifted from one composition to another. Landscapes, like stage scenery, were taken out for reuse with a different set of characters. Elsewhere he would cut compositions in two or enlarge them with separate sheets. Occasionally, he would pick up a discarded study and add detail to make it a finished work of art, often with peculiar results. Claude was also the first artist to specialise in painting 'pairs'. Approximately half his compositions were made as companion pieces, the earliest of which, on display here, are Landscape with the Judgement of Paris and Coast View (both 1633). The idea of pairs is also found among his prints. While many of his pairs show a compositional correspondence, contrast played as great a role as similarity. Often an Arcadian landscape is combined with a maritime view, or a morning scene with an evening setting. The pairs were not always executed concurrently: his very last painting, the Ashmolean's great Ascanius and the Stag of Sylvia (1682), was made 5 years after its companion, Aeneas's Farewell to Dido in Carthage (1676) now in Hamburg. The present Ashmolean was created in 1908 by combining two ancient Oxford institutions: the University Art Collection and the original Ashmolean Museum. The older partner in this merger, the University Art Collection, was based for many years in what is now the Upper Reading Room in the Bodleian Library. The collection began modestly in the 1620s with a handful of portraits and curiosities displayed in a small room on the upper floor. In 1636 and 1657, Archbishop Laud and Ralph Freke added notable collections of coins and medals, later installed in a strong room of their own and now incorporated into the Ashmolean coin collection. The objects of curiosity included Guy Fawkes' lantern and a sword said to have been given by the pope to Henry VIII, both now in the Ashmolean, as well as a number of more exotic items, including Jacob's Coat of Many Colours, long since lost. However, as there was a museum for curiosities of this kind in the University Anatomy Theatre, objects like this tended to go there or to the Ashmolean, after it opened in 1683, leaving the Bodleian gallery to develop as a museum of art. Visit the museum's website at ... http://www.ashmolean.org

Mystic Masque ~ Georges Rouault, 1871-1958 at The McMullen Museum of Art Posted: 29 Oct 2011 07:08 PM PDT CHESTNUT HILL, MA.- The McMullen Museum of Art at Boston College hosts an exclusive exhibition, Mystic Masque: Semblance and Reality in Georges Rouault, 1871-1958, on view August 30 through December 7, 2008. It marks the fiftieth anniversary of the 1958 death of the French Fauvist and Expressionist painter and printmaker, and aims to recover the artist for a new generation by uncovering dissonant aspects of his work, which exhibition curator Stephen Schloesser, SJ, an associate professor in BC's History Department, argues have been obscured by "forced conventional consonances." The exhibition will comprise approximately 240 of Rouault's finest paintings, works on paper and stained glass—many never before displayed in North America—drawn largely from the holdings in Paris of the Fondation Georges Rouault, the Centre Pompidou and the Musée d'Art Moderne de la Ville de Paris. Prominent American museums also will lend paintings (see below), and many of Rouault's prints and books will be lent by the Boston Public Library. "Drawing largely on the unique resources of the Boston College faculty in multiple disciplines, the McMullen is pleased to offer this re-examination, and in several cases new interpretations, of Georges Rouault's oeuvre in the most comprehensive exhibition of his work mounted in North America in several decades," according to McMullen Museum Director and Professor of Art History Nancy Netzer. Mystic Masque: Focusing on meanings preserved in the French word "masque," the exhibition and catalogue explore Rouault's work in two senses, organizers note. First, displaying the many outward "masks" he loved to paint—those of circus players, prostitutes and judicial figures, as well as the iconic sainte face (holy face) of Christ, definitively symbolized by the key figure of Véronique (vera icon)—the exhibition will recover Rouault's keen sense of disjunction, unintended consequences and ironic reversals. Schloesser explains that "this irony—a sometimes bitterly satirical one—was often glossed over by a conventional piety in the presentation of his work from the time of his death in 1958 until the centenary of his birth in 1971." Employing a second sense of "masque," the exhibition presents Rouault's representation of the human condition as a kind of "pageant" or "guising"—or as Balzac put it, a "human comedy." Rouault's world is an often tragic comedy of errors, marked by uncertainty and misapprehension. Outward appearances misrepresent and betray deeper realities. This is true both for society's marginal figures and esteemed ones. Rouault succinctly summed up this vision in his several studies entitled (quoting Virgil's Aeneid), "Sunt Lacrymae Rerum"—"There are tears (of grief) at the very heart of things." According to organizers, the exhibition will show viewers that the act of judgment is central in Rouault's work: judicial figures must make their judgments based on limited appearances and not full knowledge. The innocence of criminals is frequently misjudged; the painted on joy of clowns and prostitutes (filles de joie) is an intentional misrepresentation that leads the audience to misjudge these tragicomic lives. Rouault explicitly used these figures as types for the dissimulation of human beings in general: "Who among us does not wear a mask?" he famously asks in one image reproduced several times. "Are we not slaves ... believing ourselves to be kings?" he asks in another. Schloesser explains: "Such dark reflections are redeemed for Rouault by the human masque's qualifier—"mystic"—which points to the centrality of Christian iconography for the artist." Arranged chronologically, the exhibition seeks to demonstrate that Rouault's religious realism as it developed was far removed from any conventional piety. Rouault's human comedy is simultaneously a divine comedy; it is a masque—but one that is ultimately mystic. In addition to the French institutions, lenders to Mystic Masque include the Metropolitan Museum, Museum of Modern Art, Currier Museum, Saint Louis Art Museum, Philadelphia Museum of Art, Chrysler Museum of Art, Dumbarton Oaks, Museum of Fine Arts, Boston, Los Angeles County Museum of Art, Dallas Museum, Phillips Collection, and Dayton Art Institute. Accompanying Exhibition Catalogue - A fully-illustrated catalogue of approximately 450 pages, edited by Schloesser, will comprise more than 30 essays—discussing various themes and groups of objects—based on new research by scholars, many professors at Boston College, from a variety of disciplines, including Art History (Jody Blake, Naomi Blumberg, Claude Cernuschi, Stephan Dahme, Marie Garraut, Jeffery Howe, Soo Yun Kang, John McCoy, John Michalczyk, Tara Ward); Painting, (Gael Mooney); Sculpture and Aesthetics (Jean-Marie Tézé, SJ); History (Paul Breines, Sheila Nowinski, Virginia Reinburg, Mary Louise Roberts, David Quigley, Schloesser), Literature (Bernard Doering, Thomas Epstein, Susan Michalczyk); Philosophy (Anne Davenport, Nora Possenti Ghiglia), and Theology (Roberto Goizueta, James Keenan, SJ, Margaret Miles). McMullen Museum of Art The McMullen Museum is renowned for organizing interdisciplinary exhibitions that ask new questions and break new ground in the display and scholarship of the works on view. It serves as a dynamic educational resource for all of New England as well as the national and the international community. The Museum displays its notable permanent collection and mounts exhibitions of international scholarly importance from all periods and cultures of the history of art. In keeping with the University's central teaching mission, the Museum's exhibitions are accom-panied by scholarly catalogues and related public programs. The McMullen Museum of Art was named in 1996 by the late Boston College benefactor, trustee and art collector John J. McMullen. McMullen Museum Hours and Tours Admission to the McMullen Museum is free; it is handicapped accessible and open to the public. The Museum is located in Devlin Hall on BC's Chestnut Hill campus, at 140 Common-wealth Avenue. During this exhibition, hours are: Monday through Friday, 11 a.m. to 4 p.m.; Saturday and Sunday from noon to 5 p.m. Closed on the following dates: September 1, October 13, November 27-28. For directions, parking and information on public programs, visit : www.bc.edu/artmuseum  or call (617) 552-8100.

Masterpieces of the Renaissance from the National Galleries of Scotland on View at MIA Posted: 29 Oct 2011 07:07 PM PDT MINNEAPOLIS, MN.- The Minneapolis Institute of Arts, in conjunction with the National Galleries of Scotland, the High Museum of Art, Atlanta, and the Museum of Fine Arts, Houston, presents an exhibition of 25 Venetian masterpieces, 12 paintings and 13 drawings, including two of the greatest paintings of the Italian Renaissance, Titian's "Diana and Actaeon" and "Diana and Callisto" (1556–59). The exhibition will also include paintings by Tintoretto, Veronese, and Lotto from the National Galleries of Scotland's collection. The Minneapolis Institute of Arts' presentation of "Titian and the Golden Age of Venetian Painting: Masterpieces from the National Galleries of Scotland" will be on view February 6 through May 1, 2011. Visit the Minneapolis Institute of Arts (MIA) at : www.artsmia.org/

Monique van Genderen Solos at Galerie Michael Janssen Posted: 29 Oct 2011 07:06 PM PDT BERLIN - Galerie Michael Janssen presents its second solo exhibition by L.A.-based artist Monique van Genderen. Entitled The Gentle Art of Making Enemies the exhibition alludes to the book of the same name by James Abbot McNeill Whistler. First published in 1892 it is an account of personal revenges between Whistler and the art critic John Ruskin who criticized Whistler's painting Nocturne in Black and Gold, exhibited in the Grosvenor Gallery in London in 1877, as „unfinished" and as „a pot of paint flung in the public's eye". Whistler was incensed with the criticism and initiated a libel case against Ruskin. While the text is a narrative about the development of abstract painting, it also explores the relationship between artist and viewer and their expectations and desires for imparting unfixed ideas.

Hood Museum of Art Opens "American Art from the Huber Family Collection" Posted: 29 Oct 2011 07:05 PM PDT HANOVER, NH.- America at the turn of the twentieth century was characterized by dramatic social, cultural, and artistic change. The works in Embracing Elegance, 1885–1920: American Art from the Huber Family Collection represent a diversity of reactions to that change while generally featuring intimate, informal subjects captured in a personally expressive manner influenced variously by the Aesthetic movement, impressionism, urban realism, and postimpressionism. The exhibition features over thirty pastels, drawings, watercolors, and paintings by such leading artists of the period as Cecilia Beaux, Thomas Wilmer Dewing, Joseph DeCamp, Robert Henri, Lilla Cabot Perry, John Singer Sargent, Everett Shinn, John Sloan, John Henry Twachtman, and J. Alden Weir. All of the works were collected over the past twenty-five years by Jack Huber, Dartmouth Class of 1963, and his wife, Russell. On exhibition through 4 September.

The Arkansas Art Center Shows "The Impressionists and Their Influence" Posted: 29 Oct 2011 07:04 PM PDT Little Rock, Arkansas.- The Arkansas Art Center is proud to present "The Impressionists and Their Influence" until June 26th. Organized in conjunction with the High Museum of Art in Atlanta, this exhibition brings together beautiful paintings and intimate works on paper by such French artists as Claude Monet, Paul Cézanne, Pierre-Auguste Renoir, Edgar Degas, Camille Pissarro, as well as works by major Post-Impressionist artists Pierre Bonnard, Édouard Vuillard, and Paul Signac. In addition, the show features works by American artists, such as Mary Cassatt, Childe Hassam, and Theodore Robinson, who fell under the influence of the Impressionists. Featuring more than 100 works from the collections of the renowned High Museum of Art, the Arkansas Arts Center, and private collections, The Impressionists and Their Influence is a splendid opportunity to explore the movement that became Impressionism. In late 19th century Paris, a group of artists broke from long-standing tradition when they moved outdoors to paint. These artists, the Impressionists, captured the world around them in new ways creating colorful, light-filled scenes of carefree summer outings, riverbanks and seashores, private gardens, public parks, dance halls, cafés and the people who inhabited them. This exhibition brings together beautiful master paintings and intimate works on paper by French artists such as Claude Monet, Paul Cézanne, Pierre-Auguste Renoir, Edgar Degas, Camille Pissarro, as well as works by major Post-Impressionist artists Pierre Bonnard, Édouard Vuillard, Paul Signac and more. In addition, the show features works by American artists, such as Mary Cassatt, Childe Hassam, and Theodore Robinson, who fell full sway under the influence of the Impressionists. Featuring more than 100 works from the collections of the renowned High Museum of Art, the Arkansas Arts Center and private collections, The Impressionists and Their Influence is a unique opportunity to explore the movement that became Impressionism. The Arkansas Arts Center is an art museum with a children's theatre and a studio school. Founded in 1960, its mission is to ensure that learning, inspiration and creative expression in the arts flourish throughout Arkansas, for people of all ages and backgrounds. The AAC realizes this mission by developing, preserving and exhibiting its outstanding permanent collection, offering a rich variety of art from other collections and presenting programs for the education and cultural benefit of the public. The seed for the Arkansas Arts Center was planted in 1914, when the Fine Arts Club of Arkansas was formed. Its membership formed the core of supporters and volunteers who later contributed to the creation of the Museum of Fine Arts in 1937 in Little Rock's MacArthur Park. Several key decisions at critical points in the Arts Center's history helped form the remarkable arts facility that exists today. In 1960, the museum was created by ordinance of the City of Little Rock and renamed the Arkansas Arts Center. By 1963, the museum had been enlarged to include 5 galleries, a 381-seat theater, 4 studio classrooms, sculpture courtyards and an art library. It offered temporary art exhibitions, community theater and a school of fine and performing arts. In 1971, the board selected drawings as the collection's primary concentration, recognizing that few museums were collecting unique works on paper. They believed, and rightly so, that the AAC could acquire such works with limited resources, excel in the area and make a unique contribution to the field. The quality and character of exhibitions was increased accordingly. In 1982, having completed an enlargement of the Museum School studios and collection storage and preparation areas in 1975, a new gallery at the main facility, the 3,200 sq. ft. Rockefeller Gallery, was built and in 1985 the AAC's Decorative Arts Museum (DAM) opened. This historic Greek Revival house had been bequeathed to the City for use by the AAC and was substantially renovated to serve as a gallery for the decorative arts. The DAM became the home of a growing collection of objects in craft media. Further expansion was carried out in 1989, when the 1,300 sq. ft. Strauss Gallery was added to the west side of the Rockefeller Gallery and 2000, when more than 30,000 square feet of space and renovation of 12,000 square feet of existing space was carried out as part of an ambitious expansion plan. Visit the museum's website at ... http://www.arkarts.com

Museo de Zaragoza features "Goya and the Modern World" Posted: 29 Oct 2011 07:03 PM PDT ZARAGOZA, SPAIN - The President of the government of Aragon, Marcelino Iglesias, inaugurated today at the Museo de Zaragoza the exhibition "Goya and the Modern World" which includes 345 works of art – 138 made by the artist from Fuendetodos—in which the influence of the painter from Aragon reflects on artists from the 19th and 20th centuries. The Museo de Zaragoza will open this exhibit on Thursday, December 18, and this exhibition will be open to the public until the first week of March. The exhibition has been organized by the Government of Aragon and the Goya Foundation.

Napoleon and the Art of the Empire Style (1800–1815) at the Saint Louis Art Museum Posted: 29 Oct 2011 07:02 PM PDT St. Louis, MO - The Saint Louis Art Museum announces the June 17 opening of Symbols of Power: Napoleon and the Art of the Empire Style, 1800–1815, an exhibition featuring more than 140 extraordinary works of decorative art, including furniture, silver, bronze, porcelain, jewelry, clothing, textiles and wallpaper in addition to drawings, paintings and sculpture.  The exhibition is organized by the American Federation of Arts, New York, and Les Arts Décoratifs, Paris.  The national tour is made possible, in part, by the Joseph and Sylvia Slifka Foundation, Inc. and the Samuel H. Kress Foundation.  The exhibition is also supported by an indemnity from the Federal Council on the Arts and the Humanities.

George Eastman Museum features Roger Ballen: Photographs 1982-2009 Posted: 29 Oct 2011 07:01 PM PDT ROCHESTER, NY.- George Eastman House International Museum of Photography & Film  presents an exhibition of photographs by contemporary, and often controversial, artist Roger Ballen. The 74 black-and-white images of this mini-retrospective, titled Roger Ballen: Photographs 1982-2009 , will be on display through June 6, 2010. Eastman House will travel the exhibition worldwide following its Rochester run. Ballen is known for his thought-provoking photography and his particular attention to rich detail, photographing his human and animal subjects in complex, fictional scenes filled with symbolism. Critics have called Ballen's images powerful social statements that at the same time are disturbing psychological studies.

The Sterling and Francine Clark Art Institute shows 'The Art of the Pastel' Posted: 29 Oct 2011 07:00 PM PDT WILLIAMSTOWN, MA -  Pastel has long been embraced as an exceptionally versatile and effective drawing technique. The Art of the Pastel at the Sterling and Francine Clark Art Institute will feature eleven works by Edgar Degas, Jean-François Millet, Camille Pissarro, Mary Cassatt, and others. The pastels will be on view November 22, 2008, through February 16, 2009. The Art of the Pastel  highlights the range of styles and subjects explored by nineteenth-century artists using this delicate yet spirited technique. Included are Méry Laurent Wearing a Small Toque by Édouard Manet; Entrance of the Masked Dancers by Edgar Degas; Boulevard de Clichy, Effect of Winter Sunlight by Camille Pissarro; Portrait of Mrs. Cyrus J. Lawrence with Grandson R. Lawrence Oakley, Simone in a White Bonnet, and Child in a Red Hat by Mary Cassatt; Little Girl with a Pear by Frederick Childe Hassam; Madame Maugey-Rosengart and a Dog in an Interior by Edouard Vuillard; The Sower by Jean-François Millet; and Portrait of William W. Gilbert and Portrait of Catherine Casine Gilbert attributed to James Sharples. A favored medium for portraiture since the eighteenth century, the pastel crayon—composed of vibrant pigments and gum-based binders—produces colored lines with fluidity and flexibility, allowing artists to create quickly conceived, luminous designs which can then be manipulated through layering, smudging, and blending. The resultant image, while similar in effect to a finished oil painting, can be extremely fragile due to the powdery nature of the medium. The Clark's outstanding collection of pastels has been an important feature since the museum's founding. From Sterling and Francine Clark's purchase of Entrance of the Masked Dancers in 1927, to the addition of Pissarro's Boulevard de Clichy in 1996, the collection has expanded to include key works by prominent artists in the medium, exploring the art of the pastel as it was practiced throughout the nineteenth century. The Clark has more than 5,000 prints, drawings, and photographs, which are available for viewing in the print study room by advance appointment. To schedule an appointment, call (413) 458-0560 or email print@clarkart.edu.  About the Clark In 1950 Sterling and Francine Clark chartered the Sterling and Francine Clark Art Institute as a home for their extensive art collection. Opened to public in 1955, the Institute has built upon this extraordinary group of works to become one of the most beloved and respected art museums in the world, known for its intimate galleries and stunning natural environment. One of the few institutions in the United States that combines a public art museum with a complement of research and academic programs, including a major art history library, the Clark is now a leading international center for research and discussion on the nature of art and art history. Building upon the founders' legacy, the Institute has recently unveiled its master plan for the twenty-first century, which fosters the Clark's commitment to providing space for its expanding research and museum programs while maintaining the unique character of its beautiful rural setting. The Clark is located at 225 South Street in Williamstown, Massachusetts. The galleries are open Tuesday through Sunday, 10 am to 5 pm (daily in July and August). Admission is free November through May. Admission June 1 through October 31 is $12.50 for adults, free for children 18 and younger, members, and students with valid ID. For more information, call 413-458-2303 or visit www.clarkart.edu .

This Week in Review in Art Knowledge News Posted: 29 Oct 2011 07:00 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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