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

---

• Sue Scott Gallery Features Malcolm Morley's Monotype Prints
• Frederik Meijer Gardens & Sculpture Park Shows a Retrospective of Deborah Butterfield's Horses
• Carrie Marill's latest body of work at Lisa Sette Gallery in Scottsdale
• The Neuberger Museum of Art Presents the 'American Vanguards' Who Defined American Modernism
• East Side House Settlement to host Young Collectors Night
• The Tel-Aviv Museum of Art Displays Walid Abu Shakra's Prints
• Louisiana's Civil War Museum Battles With Budget 150 Years After The War
• Pangolin London Presents British Sculpture of the 1950s and 1960s
• Hungarian National Gallery opens Pictures & Memories of Hungarian History
• The Stux Gallery To Feature New Paintings by Aaron Johnson
• Christie's to sell the Collections of John Cage and Merce Cunningham
• Menil Collection to Explore the Human Form Dissected and Reconfigured in Art
• Our Editor Tours The Saatchi Gallery In London ~ Always Controversial - Always Cutting Edge Fine Art
• Johnen Galerie Adapts a Chamber Play to an Exhibition of Visual Art
• Vancouver Art Gallery Features "Dawn" the Artistic Process of The Group of Seven
• Frank Stella Receives the Julio González Prize for Lifetime Achievement in the Arts
• The Smithsonian American Art Museum Shows Highlights From the Koffler Collection
• Howard Hodgkin ~ New Paintings ~ at Gagosian Gallery
• SFMOMA Celebrates the Premiere of William Kentridge ~ Five Themes
• This Week in Review in Art Knowledge News

Sue Scott Gallery Features Malcolm Morley's Monotype Prints Posted: 09 Jan 2012 09:10 PM PST New York City.- The Sue Scott Gallery is proud to present "Malcolm Morley: Another Way to Make an Image, Monotypes", on view at the gallery from January 11th through February 19th 2012. Since 2006, Malcolm Morley has made over twenty-five monotypes and monoprints with One Eye Pug.  Despite being an accomplished printmaker who had made numerous other types of prints, this body of work was Morley's first foray into the monotype medium. Morley uses the monotype medium not as a staid or simplistic process of transference, but rather as an investigation of how the pressure of a press affects  imagery. In each monotype, Morley pushed experimentation, never using the exact same technique twice. In Rushing to Miami, 2006, printed with master printer Kathy Carracio, he used Mylar as the plate on which to paint the exotic and colorful kites floating above a tropical setting. The Mylar caused the watercolor to pool in areas resulting in porcelain like quality that he could not have achieved on the more porous surface of paper. After going through the press, the full, colorful image was transferred to the paper while simultaneously staining the Mylar, resulting in a ghost image on the plate that did not appear on the paper. Not for the last time, the artist blurred the line between print and original. Working with master printer Maurice Sanchez, Morley also experimented with a hydraulic press. In a progression entitled Abandon Ship, 2008, Sanchez took the plate through the press nine times, with each resulting image a lighter version of the previous one. Realizing he needed to outline the images, Morley made a drawing outlining the images in black and Sanchez ran a single lithograph over each monotype, again questioning definitions. Technically, a monoprint begins with a printed matrix off which the image is built – Morley reverses the process, by "drawing" on top of the image.Much of Morley's work is autobiographical. For example, Red Shoes with Palette, 2007 came out of his time spent volunteering at a local Boys and Girls Club. Morley instructed his students to draw a favorite item, like their tennis shoes, and felt he should do the same. Here the artist juxtaposes a messy, well-used watercolor palette next to the shoes, a reminder of the artifice of the image.Born in London in 1931, Malcolm Morley studied at the Camberwell School of Arts and Crafts and the Royal College of Art. In 1958 he moved to the United States and in 1984 he was awarded the inaugural Turner Prize for British artists. He is a member of the American Academy of Arts and Letters, American Academy of Arts and Sciences and a recipient of the Skowhegan School of Painting and Sculpture Painting Award in 1992.  Morley first achieved widespread recognition in the 1960s for his super-realist paintings and again in the eighties for his masterful NeoExpressionist works. Morley's work is in public and private collections worldwide, including the Metropolitan Museum of Art; Museum of Modern Art New York; Hirshhorn Museum and Sculpture Garden; National Gallery of Art, Washington DC; Tate, London; and Museo Nacional Centro de Arte Reina Sofia, Madrid Sue Scott founded Sue Scott Gallery in 2008, bringing 25 years of experience as a curator, writer and art consultant to the gallery. As an Adjunct Curator of Contemporary Art at the Orlando Museum of Art for nineteen years, she curated solo exhibitions of the works of Bryan Hunt, Jane Hammond, Suzanne McCelland, Katherine Bowling, Frank Moore, Kerry James Marshall, Jennifer Bartlett and Alex Katz, among others. Group exhibitions by Scott include Proof Positive: Forty Years of Printmaking at ULAE at the Corcoran Gallery of Art, Witness Theories of Seduction for Dorsky Curatorial Programs, and The Edward R. Broida Collection: A Selection of Works for the Orlando Museum of Art. In 2005, she established One Eye Pug, a publishing company specializing in contemporary monotypes. She is a co-author, along with Helaine Posner, Eleanor Heartney and Nancy Princenthal of the award-winning book After the Revolution: Women Who Transformed Contemporary Art (2007), and with One Eye Pug, co-published with Hard Press Editions, Suzanne McClelland: rock and shift (2008). Visit the gallery's website at ... http://www.suescottgallery.com

Frederik Meijer Gardens & Sculpture Park Shows a Retrospective of Deborah Butterfield's Horses Posted: 09 Jan 2012 07:10 PM PST Grand Rapids, Michigan.- The Frederik Meijer Gardens & Sculpture Park is pleased to present the landmark retrospective of Deborah Butterfield's celebrated work. "Essence: The Horses of Deborah Butterfield," on display from January 27th through April 29th, highlights the singular focus of the sculptor's work since the mid-1970s. Known for her incredible craftsmanship and creative use of materials, Butterfield is among the most respected and acclaimed artists of her generation. The exclusive exhibition traces a passion for horses through the sculptor's prolific career. With master craftsmanship and a variety of materials, Butterfield portrays the essence of the creature's spirit and energy, bringing equine sculpture into relevance again.

Carrie Marill's latest body of work at Lisa Sette Gallery in Scottsdale Posted: 09 Jan 2012 07:02 PM PST SCOTTSDALE, AZ.- Exquisitely attuned to the graphic signals of the universe, painter Carrie Marill translates the ephemera of the visual world into intriguing and sophisticated works. The artist's unflinching aesthetic curiosity threads through series inspired by such disparate influences as 18th century European landscapes and Asian textile design. Hi n Lo, Marill's latest body of work, addresses a question that struck her after a trip to New York City's Museum of Modern Art and, subsequently, the American Folk Art Museum: "Why is an Op Art piece valued as 'high' art and an intricate quilt considered 'low'?" On exhibition through January 28th at Lisa Sette Gallery.

The Neuberger Museum of Art Presents the 'American Vanguards' Who Defined American Modernism Posted: 09 Jan 2012 07:01 PM PST Purchase, New York.- The Neuberger Museum of Art of Purchase College is proud to present "American Vanguards: Graham, Davis, Gorky, De Kooning and Their Circle, 1927-1942", on view at the museum from January 29th through April 29th 2012. On view will be the work of many of the most important American artists who played a critical role in developing and defining American modernism during this vital period between two world wars. From the late 1920s to the early 1940s, many of America's most inventive and important artists, including Stuart Davis, Arshile Gorky, Willem de Kooning, Jackson Pollock, and Adolph Gottlieb, forged their identities, dramatically transforming conceptions of what a painting or sculpture could be. A group linked by friendship and common aspirations, many had shared experiences in the classes of influential Czech Cubist Jan Matulka at the Art Students League and in the Federal Art Project during the Great Depression. Most significantly, they were all closely associated with John Graham (1887-1961), the enigmatic Russian-born artist, connoisseur, and theorist. They, along with others such as Jackson Pollock and David Smith, all drawn together by their common commitment to modernism and their eagerness to exchange ideas, played a critical role in developing and defining American modernism. "American Vanguards: Graham, Davis, Gorky, de Kooning, and Their Circle, 1927-1942" showcases more than sixty works of art from these vital years by Graham and the members of his circle, providing compelling testimony to the dialogue and cross-fertilization that existed during this period in the history of American art. The high level of the work these artists made not only points ahead to their future accomplishments, but also demonstrates that the decade of the thirties, far from being solely a period of depression and retrenchment, was a time of exciting and important innovation. The exhibition sheds new light on the New York School, abstract Expressionism and the vitality of American modernism between the two world wars, providing a long overdue examination of an important and little-studied period in American art. The exhibition  was organized by the Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts. The exhibition will be presented from June 9 - August 19 at the Amon Carter Museum of American Art, Fort Worth, Texas, then travel to the Addison where it will be on view from September 21-December 31, 2012. Generous support for this exhibition and publication was provided by the Henry Luce Foundation and The Dedalus Foundation, Inc., and by an indemnity from the Federal Council on the Arts and Humanities. The exhibition is accompanied by a fully illustrated catalogue, co-published by the Addison and Yale University Press, and was curated by scholars William C. Agee, Irving Sandler, and Karen Wilkin. John Graham, Gorky and Davis were together so constantly that they were known as the "Three Musketeers." The young de Kooning, who met the trio not long after arriving in New York, joined them as d'Artagnan did Dumas' fictional heroes. De Kooning always credited the "Three Musketeers" with developing his understanding of modernism; "I was lucky enough when I came to this country," he said, "to meet the smartest guys on the scene: Gorky, Stuart Davis, and John Graham, David Smith, his wife Dorthy Dehner, Adolph Gottlieb, David Burliuk, Edgar Levy, and Matulka -- were also part of the inner circle -- a cross-section of some of the most remarkable American artists of the period. This inner sanctum of New York modernism was notably diverse. Some were European born. Others were irreducibly American, but they were all drawn together by their common commitment to modernism, their hunger for the information that Graham, who traveled frequently to Europe, could provide, and their eagerness to exchange ideas. Graham's System and Dialectics of Art, first published in 1937, seems to echo their conversations, in the form of a Socratic dialogue probing the origins of creativity, the nature of abstraction, the aims of modernism, and much more. Graham believed that the best of his American friends could hold their own with anyone and in System and Dialects of Art, he listed those he declared to be as good as their European counterparts, including Jan Matulka, David Smith, Stuart Davis, de Kooning, and Edgar Levy. Despite Graham's close links with so many key figures during the seminal years of American abstraction, little attention has been paid to these important relationships. American Vanguards assembles works by Graham and the members of his circle from the years of their association, providing compelling testimony to the dialogue and cross-fertilization, the common sources and stimuli, that existed during this vital period in the history of American art. The high level of the work these artists made during these formative years not only points ahead to their future accomplishments but also gives the lie to the persistent rumor that American art was provincial during the 1930s. It also demonstrates that the decade of the thirties, far from being solely a period of depression and retrenchment, was a time of exciting and important innovation. Initiated in 1974 with Roy R. Neuberger's donation of 108 works of art, the permanent collection of the Neuberger Museum of Art has grown to over 6000 works of uncompromised quality and variety. Featuring prestigious examples of modern, contemporary and African art, holdings include the Roy R. Neuberger Collection of American Art, the Aimee W. Hirshberg and Lawrence Gussman Collections of African Art , the Hans Richter bequest of Dada and Surrealist objects, the George and Edith Rickey Collection of Constructivist art, and American, Mexican and European master works from the collection of the late Dina and Alexander Racolin. The Neuberger Museum of Art continues to collect and exhibit its permanent collection, enacting Mr. Neuberger's commitment to supporting the work of contemporary artists who examine and expand the ideas of our day. Visit the museum's website at ... http://www.neuberger.org

East Side House Settlement to host Young Collectors Night Posted: 09 Jan 2012 06:50 PM PST NEW YORK, NY.- On Thursday, January 26th, East Side House Settlement will host the annual Young Collectors Night at the Winter Antiques Show at the Park Avenue Armory. This high-energy night attracts over 650 new collectors, young philanthropists, interior designers, and art and antiques enthusiasts. Sponsored by New York magazine, Benjamin Moore, and Elie Tahari, the evening offers guests a private viewing of one of the world's most prestigious antiques shows renowned for its unparalleled showcase of American, English, European, and Asian fine and decorative arts dating from antiquity through the 1960s. Proceeds from the event will benefit East Side House Settlement, a leading social services agency that serves young people and families in the South Bronx and surrounding communities

The Tel-Aviv Museum of Art Displays Walid Abu Shakra's Prints Posted: 09 Jan 2012 06:49 PM PST Tel-Aviv.- The Tel Aviv Museum of Art is pleased to present a new permanent exhibition "Walid Abu Shakra:Mintarat Albatten", which opened on January 5th 2012. Mintarat Al-Batten is the name of a place in Umm el-Fahem, denoting the watchman's post at Al-Batten (Arabic for the belly)—the potbelly-like summit whose slopes are now covered with the city's new residential neighborhoods. These quarters, which surround the city's old center in gradually expanding concentric circles, replace the age-old olive trees and sabra hedges, the landscapes of Walid Abu Shakra's childhood and youth, which he repeatedly revisits in his prints. In its metaphorical use in the title of the exhibition, the name "Mintarat Al-Batten" deviates from its function of indicating a specific place, reflecting a process in Abu Shakra's life and art. While returning to the views of the place and retracing them—a repetition which is bound up with the memory of the time in which the watchman's post was hidden within the thicket of trees and sabra hedges—the artist himself seems to transform into a watchman on alert at the gate.

Louisiana's Civil War Museum Battles With Budget 150 Years After The War Posted: 09 Jan 2012 06:34 PM PST NEW ORLEANS, LA - Inside Louisiana's Civil War Museum, battle flags line the walls. Uniforms, swords and long-barreled guns fill museum cases beside homespun knapsacks, dented canteens and tiny framed pictures of wives that soldiers carried into battle. In the back, there's a collection devoted to Jefferson Davis, one-time president of the Confederacy, complete with his top hat and fancy shoes at the spot where his body once lay in state. It's all housed in a little red stone building next door to the bigger and much more heavily visited Ogden Museum of Southern Art and near the National World War II Museum. Yet 150 years after the Civil War, the little museum finds itself struggling — like others both in the North and South — to make changes and stay relevant with new generations.

Pangolin London Presents British Sculpture of the 1950s and 1960s Posted: 09 Jan 2012 06:34 PM PST London.- Pangolin London is proud to present "Exorcising the Fear: British Sculpture from the 50s & 60s", on view at the gallery from January 11th through March 3rd. Taking the sixtieth anniversary year of the XXVI Venice Biennale of 1952 as its starting point, "Exorcising the Fear" will explore a pivotal point in the history of British sculpture. Returning to the essay by Herbert Read which left an indelible mark on the history of art with the phrase 'the geometry of fear', the exhibition aims to recapture the excitement and vitality of the moment when eight young British sculptors – Robert Adams, Kenneth Armitage, Reg Butler, Geoffrey Clarke, Lynn Chadwick, Bernard Meadows, Eduardo Paolozzi and William Turnbull - burst onto an international scene and jump started a chain reaction that brought about a crucial sculptural renaissance in the history of British sculpture, the impact of which can still be felt today.

Hungarian National Gallery opens Pictures & Memories of Hungarian History Posted: 09 Jan 2012 06:16 PM PST BUDAPEST.- This display presents Hungarian history through pictures and at the same time is closely linked to the reorganization of the 19th century permanent collection of the Hungarian National Gallery . Built primarily on historical paintings and portraits, the exhibition parades the finest works of Hungarian artistry through the lines of the National Anthem and Summons. The Hungarian National Gallery is the largest public collection documenting and presenting the rise and development of the fine arts in Hungary. It has operated as an independent institution since 1957. The HNG moved to its present location, the former Royal Palace of Buda, in 1975.

The Stux Gallery To Feature New Paintings by Aaron Johnson Posted: 09 Jan 2012 06:16 PM PST New York City.- The Stux Gallery is pleased to present "Freedom from Want", an exhibition of new paintings by Aaron Johnson. In paintings that are glimmering, seductive, and emanating light, Johnson's monsters are gruesome, sadistic, and spewing venom. This body of work is a bold reflection on the decaying excesses of our insatiable culture. "Freedom from Want" is on view at the gallery from September 15th through October 22nd. With obsessive enthusiasm, Johnson has delved deeper into his lexicon of Americana Grotesque and has plunged his fiendish monsters further into a theater of cosmic madness. These paintings invite us to binge upon an exquisitely detailed feast of severed heads, Uncle Sam monsters, sausage crucifixes, fried eagles, mashed guts, fuck-burgers, camel roast, mutant sea creatures, and oil oozing fresh from the rig. Lingering ghosts of a Rockwellian American idyll smile naively as the American dream boils over into an ecstatic hallucinatory nightmare. War machines, fueled by dog shit and the blood of Christ, churn across oil fields and battle fields, as the angel of death flies over with a cackle of furious laughter. As they reflect on the callous cruelty of war, the absurd intersection of religion and government, and the hell on earth that society thereby creates, these paintings come boldly forward from the artist's admiration of past masters such as Goya, Hieronymus Bosch, Dieric Bouts, and Otto Dix. These works expose a desiring machine monster that consumes perpetually until there is nothing left to do but devour itself. The color in these works emanates exuberant pleasure, if not maniacal laughter, creating a marriage of humor with the darkness of the content. The pristine surfaces resonate in glowing crystalline layers, the result of Johnson's enigmatic process. He paints in reverse on clear plastic, building up layers of acrylic that are ultimately peeled off the plastic and mounted on polyester net. The techniques combine tightly controlled meticulous details with misbehaving splashes of poured paint. The weirdness of his process and his distinctive painterly vocabulary have grown together over the years in a symbiotic relationship, where the methods and the monsters worked together to invent each other. Painting in reverse is the artist's metaphor for scrutinizing the world from the inside out to reveal what lurks beneath the surface. The peeled paint technique is like a ripping off of the skin, a cracking open of the head, a release of the demons. Aaron Johnson received his MFA from Hunter College, NY in 2005, and currently lives and works in Brooklyn. His work has been exhibited widely nationally and internationally at such venues as the Hudson Valley Center for Contemporary Art, NY; Gallery Poulsen, Copenhagen; Gallery Brandstrup, Oslo; The Running Horse Contemporary Art Space, Beirut; Leo Koenig Projekte, New York; Priska C. Juschka Fine Art, New York; and Marlborough Gallery, New York. Johnson's exhibitions have been reviewed in many publications including Art News, Beautiful Decay, Kunst International, The Art Newspaper, The Village Voice, and The New York Times. His work is in the permanent collections of The Weisman Foundation, Los Angeles and The Museum of Modern Art, New York. This is Johnson's second solo show at Stux Gallery and his fifth solo show in New York. Throughout the years the Gallery has fostered international relationships and collaborations over the years with an array of international galleries, such as Krinzinger Gallery (Vienna), Micheline Swajcer Gallery (Antwerp), Mayor Rowan Gallery (London), Roslyn Oxley 9 Gallery (Australia), Seibu Gallery (Tokyo/Oasaka), Pilar Parra (Madrid), Jacob Karpio (Costa Rica), Galerie Christian Nagel (Köln/Berlin), Gallery Terra Tokyo (Japan), Kobayashi Gallery (Japan), and many others. The aesthetic vision that binds this broad array of artists together has more to do with their deep intelligence and commitment to innovation and conceptual art, than any particular formal characteristics.  The goal of the gallery is, ultimately, to present challenging work that rewards complex, multifaceted consideration by the viewer. At it's current location since 2004 in a newly refurbished, 4,000 sq. ft. ground floor space on 25th Street, between 10th and 11th Avenues in Chelsea, the Gallery finds itself at the epicenter of New York's gallery scene. Visit the gallery's website at ... http://www.stuxgallery.com

Christie's to sell the Collections of John Cage and Merce Cunningham Posted: 09 Jan 2012 06:16 PM PST NEW YORK, NY.- On November 10, 2009 Christie's will pay tribute to two of the most influential American artists of the 20th century in its Post-War & Contemporary Art Evening Sale, offering Property from the Collection of John Cage and Merce Cunningham Sold to Benefit the Merce Cunningham Trust. The sale of Property from the Collection of John Cage and Merce Cunningham Sold to Benefit the Merce Cunningham Trust will present collectors the opportunity to acquire six significant works by the great Post-War masters Jasper Johns, Robert Rauschenberg, and Philip Guston. The six works from the Collection are expected to realize in the region of $5 million.

Menil Collection to Explore the Human Form Dissected and Reconfigured in Art Posted: 09 Jan 2012 06:16 PM PST HOUSTON, TX.- Drawn from the Menil's diverse collection of over 16,000 objects, Body in Fragments explores the manner in which the human form is dissected and reconfigured in the art of various times and places, conveying spiritual, physical, and intellectual notions of personhood. John and Dominique de Menil collected an extensive array of paintings, sculptures, and works on paper portraying the human figure in fragmented form, including Pre-Columbian pottery, medieval reliquaries, disjointed Cubist collages, and Surrealist photographs. Curated by Kristina Van Dyke, associate curator for collections and research, Body in Fragments brings together painting and sculpture that reflect the de Menils' interest in the fragmentary form, such as a disembodied arm of an Egyptian statue, and objects that exaggerate or appropriate aspects of the human anatomy, like a 15th-century European reliquary in the form of a finger.

Our Editor Tours The Saatchi Gallery In London ~ Always Controversial - Always Cutting Edge Fine Art Posted: 09 Jan 2012 06:15 PM PST The Saatchi Gallery is the product of one man's devotion to contemporary art. Charles Saatchi, one of the wealthiest advertising moguls in the world, started to collect contemporary art in 1969, amassing a huge collection over the years that followed. When the Saatchi Gallery first allowed Charles Saatchi's personal collection to be seen by the public in 1985, it occupied a disused paint factory in St John's Wood, North London with 30,000 square feet (2,800 m2) of space. Dedicated to providing an innovative forum for contemporary art, presenting work by largely unseen young artists or by international artists whose work had rarely or never been exhibited in the UK, the gallery made an immediate impact, the first exhibition featuring works by American minimalist Donald Judd, American abstract painters Brice Marden and Cy Twombly and American pop artist Andy Warhol. This was the first U.K. exhibition for Twombly and Marden. In April 2003, the gallery moved to County Hall, the Greater London Council's former headquarters on the South Bank of the Thames, occupying 40,000 square feet (3,700 m2) of the ground floor. 1,000 guests attended the launch, which included a "nude happening" of 200 naked people staged by artist Spencer Tunick. The opening exhibition included a retrospective by Damien Hirst, alongside work by other young British artists, such as Jake and Dinos Chapman and Tracey Emin alongside some longer-established artists including John Bratby, Paula Rego and Patrick Caulfield. In October 2008 the gallery moved to its current location, the 70,000 sq. ft. Duke of York Headquarters building on King's Road, Chelsea. The Duke of York's Headquarters was built in 1801 to the designs of John Sanders (architect), who also designed the Royal Military Academy Sandhurst. In 1969 it was a declared a Listed building, due to its outstanding historic or architectural special interest. The building was originally called the Royal Military Asylum and was a school for the children of soldiers' widows. In 1892 it was renamed the Duke of York's Royal Military School. In 1909, the school moved to new premises in Dover, and the Asylum building was renamed the Duke of York's Barracks. After being sold, the site was redeveloped to plans from Paul Davis and Partners as the Duke of York Square. The development includes a public square, upmarket housing and retail outlets, and part of it is the new premises for the Saatchi Gallery. The new site opened with an exhibition dedicated to new art from China. Free admission to all shows, including temporary, curated exhibitions has been enabled through the Gallery's corporate partnership with the leading contemporary art auction house Phillips de Pury & Company. You must visit the museum's website at: … http://www.saatchi-gallery.co.uk The Gallery also includes a dedicated space for Saatchi Online artists to exhibit and sell their work commission free. Corporate sponsorship and Charles Satchi's vested interest in the artworks has caused controversy over the years, the gallery (and travelling exhibitions) courted publicity and never backed away from negative publicity, if it produced headlines and promoted the art, whilst some artists complained about the (private) collection selling works that formed part of public exhibitions. However, it has certainly been extremely successful in promoting new artists and their works, with names such as Damien Hirst and Tracey Emin now extremely well known and collectable. In 2010, Charles Saatchi announced that the 70,000 sq ft gallery would be renamed MOCA London (Museum of Contemporary Art, London) when he retires, and would feature "a strong, rotating permanent collection of major installations", including 200 works (worth an estimated £25m) that would be donated to the nation. Since there is already a "Museum of Contemporary Art" in London (who are not best pleased about the appropriation of their name), this announcement continued the gallery's headline-grabbing traditions. Another news making affair was the "Sensation Show" in New York which offended Mayor Rudolph Giuliani, because of Chris Ofili's painting, Holy Virgin Mary, which incorporates elephant dung.Giuliani, who had seen the work in the catalog but not in the show, called it "sick stuff" and threatened to withdraw the annual $7 million City Hall grant from the Brooklyn Museum hosting the show, because "You don't have a right to government subsidy for desecrating somebody else's religion." John O'Connor, the Cardinal of New York, said, "one must ask if it is an attack on religion itself," and the president of America's biggest group of Orthodox Jews, Mandell Ganchrow, called it "deeply offensive". However, even without the spice of controversy, a visit to the Saatchi gallery will astonish, confound and delight, with an ever-changing selection of the best works from cutting-edge artists from around the world, as the 1.25 million visitors annually will attest to. Since the gallery exhibits work from a private collection, and the owner's tastes have changed with time, the exhibitions have changed accordingly. Initially, the gallery had a strong focus on US artists, including, Sol LeWitt, Frank Stella, Richard Serra, Jeff Koons, Philip Guston and Cindy Sherman amongst others. However, in the 1990's the focus changed to new, young British artists, and this focus has remained ever since, complimented with works by international artists. The permanent collection includes a large number of works from young British artists, including, Damien Hirst's iconic "The Physical Impossibility of Death in the Mind of Someone Living" (the famous "shark in formaldehyde"), Mark Quinn's "Self", Richard Wilson's "20:50" (the "Oil Room" installation), "Tragic Anatomies" by Jake and Dinos Chapman as well as works by Tracey Emin, Emily Prince, Jitish Kallat and Kader Attia. Works from the permanent collection have always featured in themed gallery shows. In 1998 Saatchi launched a two part exhibition entitled Neurotic Realism. Though widely attacked by critics, the exhibition included many future international stars including; Cecily Brown, Ron Mueck, Noble and Webster, Dexter Dalwood, Martin Maloney, Chantal Joffe, Michael Raedecker and David Thorpe. In 2000 Ant Noises (an anagram of "sensation"), also in two parts, tried surer ground with work by Hirst, Lucas, Saville, Whiteread, the Chapmans, Turk, Emin and Chris Ofili. During this period the Collection was based at '30 Underwood St' an artist Collective of 50 studios and four galleries, the gallery made several large philanthropic donations including 100 artworks in 1999 to the Arts Council of Great Britain Collection, which operates a "lending library" to museums and galleries around the country, with the aim of increasing awareness and promoting interest in younger artists; 40 works by young British artists through the National Arts Collection Fund, now known as The Art Fund, to eight museum collections across Britain in 2000; and 50 artworks to the Paintings in Hospitals program which provides a lending library of over 3,000 original works of art to NHS hospitals, hospices and health centers throughout England, Wales and Ireland in 2002. On view until 17 April 2011, the gallery is exhibiting "Newspeak: British Art Now, Part II". This is the second installment of the Gallery's museum-scale survey of emergent British contemporary art, providing an expansive insight into the art being made in the UK today. Far from manifesting a visual language in decline, which the Orwellian title might suggest, the exhibition celebrates a new generation of artists for whom the stimulus of our hyper-intensified, codified, contemporary world provides a radical pathway to a host of new forms and images. From sculpture and painting, to installation and photography, artists here employ a hybrid of traditional and contemporary techniques and materials to create a new language with which to articulate the wikified world around them. In this melting pot, east merges with west, celebrity with classicism, fantasy with obsessive formalism. This explosion of new and vigorous forms is an exciting indicator of the ongoing and future strength of contemporary art in Britain. The exhibition includes works by Alan Brooks, Alexander Hoda, Anna Barriball, Anne Hardy, Ansel Krut, Anthea Hamilton, Arif Ozakca, Caragh Thuring, Carla Busuttil, Caroline Achaintre, Clarisse D'Arcimoles, Dan Perfect, Dean Hughes, Dick Evans, Edward Kay, Gabriel Hartley, Gareth Cadwallader, Graham Durward, Graham Hudson, Henrijs Preiss, Idris Khan, Jaime Gili, James Howard, Jonathan Wateridge, Juliana Cerqueira Leite, Kate Groobey, Luke Gottelier, Luke Rudolf, Maaike Schoorel, Marcus Foster, Maurizio Anzeri, Mustafa Hulusi, Nicholas Hatfull, Nicholas Byrne, Nick Goss, Olivia Plender, Paul Johnson, Peter Linde Busk, Renee So, Robert Fry, Spartacus Chetwynd, Steve Bishop, Systems House, Tasha Amini, Tessa Farmer, Toby Ziegler, Tom Ellis and Ximena Garrido-Lecca. On display from 27 May until 16 October 2011, the main exhibition will be "Shape of things to come: New sculpture" and will feature works by artists David Altmejd, John Baldessari, David Batchelor, Matthew Brannon, Peter Buggenhout, Bjorn Dahlem, Berlinde De Bruyckere, Folkert De Jong. Martin Honert, Thomas Houseago, Joanna Malinowska, Kris Martin, Matthew Monahan, Anselm Reyle, Sterling Ruby, Dirk Skreber, David Thorpe, Oscar Tuazon, Rebecca Warren and Yeesookyung amongst others.

Johnen Galerie Adapts a Chamber Play to an Exhibition of Visual Art Posted: 09 Jan 2012 06:14 PM PST BERLIN.- As the first exhibition of 2010, Johnen Galerie, Berlin presents "Conversation Pieces ¬– A Chamber Play", curated by Jens Hoffmann. Adapting the structure of a three-act chamber play to an exhibition of visual art, "Conversation Pieces" presents a diverse range of artists currently or previously represented by Johnen Galerie, engaging them and their artworks in a series of intimate and dynamic conversations. While focusing on the theatrical aspects of the works, the exhibition will also reflect on the display of contemporary art and its relationship to the staged or dramatised. Starting 9 January through 17 April, 2010.

Vancouver Art Gallery Features "Dawn" the Artistic Process of The Group of Seven Posted: 09 Jan 2012 06:13 PM PST VANCOUVER, BC.- The Vancouver Art Gallery exhibition Dawn: Sketches and Paintings by the Group of Seven provides a glimpse into how Canada's renowned Group of Seven captured the nation's rugged wilderness in paint and created a revolution in Canadian art. Comprised of 50 oil sketches and 10 paintings from the Gallery's permanent collection, the exhibition presents an exciting look at works produced by the Group during their treks into the nation's backcountry alongside the full-scale paintings for which they are best known. On view from September 19, 2009 to January 17, 2010, Dawn includes works by all seven original members of the Group, including Lawren Harris, A.Y. Jackson, Franklin Carmichael, Francis Johnston, Arthur Lismer, J.E.H. MacDonald and Frederick Varley.

Frank Stella Receives the Julio González Prize for Lifetime Achievement in the Arts Posted: 09 Jan 2012 06:12 PM PST VALENCIA.- American painter Frank Stella received the Julio González Prize recognizing his work in the arts and his contributions to Modern art. This is the ninth time that the award has been given out and previous winners have been: Georg Baselitz, Cy Twombly, Eduardo Chillida, Anish Kapoor, Markus Lüpertz, Robert Rauschenberg, Anthony Caro, Pierre Soulages and Miquel Navarro. Frank Stella was born in Malden, Massachusetts. After attending high school at Phillips Academy in Andover, Massachusetts, he went on to Princeton University, where he painted, influenced by the abstract expressionism of Jackson Pollock and Franz Kline, and majored in history. Early visits to New York art galleries would prove to be an influence upon his artistic development. Stella moved to New York in 1958 after his graduation. He is one of the most well-regarded postwar American painters who still works today. Frank Stella has reinvented himself in consecutive bodies of work over the course of his five-decade career. Upon moving to New York City, he reacted against the expressive use of paint by most painters of the abstract expressionist movement, instead finding himself drawn towards the "flatter" surfaces of Barnett Newman's work and the "target" paintings of Jasper Johns. He began to produce works which emphasized the picture-as-object, rather than the picture as a representation of something, be it something in the physical world, or something in the artist's emotional world. Stella married Barbara Rose, later a well-known art critic, in 1961. Around this time he said that a picture was "a flat surface with paint on it - nothing more". This was a departure from the technique of creating a painting by first making a sketch. Many of the works are created by simply using the path of the brush stroke, very often using common house paint. This new aesthetic found expression in a series of paintings, the Black Paintings (60) in which regular bands of black paint were separated by very thin pinstripes of unpainted canvas. Die Fahne Hoch! (1959) is one such painting. It takes its name ("The Raised Banner" in English) from the first line of the Horst-Wessel-Lied, the anthem of the National Socialist German Workers Party, and Stella pointed out that it is in the same proportions as banners used by that organization. It has been suggested that the title has a double meaning, referring also to Jasper Johns' paintings of flags. In any case, its emotional coolness belies the contentiousness its title might suggest, reflecting this new direction in Stella's work. Stella's art was recognized for its innovations before he was twenty-five. In 1959, several of his paintings were included in "Three Young Americans" at the Allen Memorial Art Museum at Oberlin College, as well as in "Sixteen Americans" at the Museum of Modern Art in New York (60). Stella joined dealer Leo Castelli's stable of artists in 1959. From 1960 he began to produce paintings in aluminum and copper paint which, in their presentation of regular lines of color separated by pinstripes, are similar to his black paintings. However they use a wider range of colors, and are his first works using shaped canvases (canvases in a shape other than the traditional rectangle or square), often being in L, N, U or T-shapes. These later developed into more elaborate designs, in the Irregular Polygon series (67), for example. Also in the 1960s, Stella began to use a wider range of colors, typically arranged in straight or curved lines. Later he began his Protractor Series (71) of paintings, in which arcs, sometimes overlapping, within square borders are arranged side-by-side to produce full and half circles painted in rings of concentric color. These paintings are named after circular cities he had visited while in the Middle East earlier in the 1960s. The Irregular Polygon canvases and Protractor series further extended the concept of the shaped canvas. Stella began his extended engagement with printmaking in the mid-1960s, working first with master printer Kenneth Tyler at Gemini G.E.L. Stella produced a series of prints during the late 1960s starting with a print called Quathlamba I in 1968. Stella's abstract prints in lithography, screenprinting, etching and offset lithography (a technique he introduced) had a strong impact upon printmaking as an art. In 1967, Stella designed the set and costumes for Scramble, a dance piece by Merce Cunningham. The Museum of Modern Art in New York presented a retrospective of Stella's work in 1970, making him the youngest artist to receive one. During the following decade, Stella introduced relief into his art, which he came to call "maximalist" painting for its sculptural qualities. Ironically, the paintings that had brought him fame before 1960 had eliminated all such depth. The shaped canvases took on even less regular forms in the Eccentric Polygon series, and elements of collage were introduced, pieces of canvas being pasted onto plywood, for example. His work also became more three-dimensional to the point where he started producing large, free-standing metal pieces, which, although they are painted upon, might well be considered sculpture. After introducing wood and other materials in the Polish Village series (73), created in high relief, he began to use aluminum as the primary support for his paintings. As the 1970s and 1980s progressed, these became more elaborate and exuberant. Indeed, his earlier Minimalism [more] became baroque, marked by curving forms, Day-Glo colors, and scrawled brushstrokes. Similarly, his prints of these decades combined various printmaking and drawing techniques. In 1973, he had a print studio installed in his New York house. In 1976, Stella was commissioned by BMW to paint a BMW 3.0 CSL for the second installment in the BMW Art Car Project. He has said of this project, "The starting point for the art cars was racing livery. In the old days there used to be a tradition of identifying a car with its country by color. Now they get a number and they get advertising. It's a paint job, one way or another. The idea for mine was that it's from a drawing on graph paper. The graph paper is what it is, a graph, but when it's morphed over the car's forms it becomes interesting, and adapting the drawing to the racing car's forms is interesting. Theoretically it's like painting on a shaped canvas." From the mid-1980s to the mid-1990s, Stella created a large body of work that responded in a general way to Herman Melville's Moby-Dick. During this time, the increasingly deep relief of Stella's paintings gave way to full three-dimensionality, with sculptural forms derived from cones, pillars, French curves, waves, and decorative architectural elements. To create these works, the artist used collages or maquettes that were then enlarged and re-created with the aid of assistants, industrial metal cutters, and digital technologies. In the 1990s, Stella began making free-standing sculpture for public spaces and developing architectural projects. In 1993, for example, he created the entire decorative scheme for Toronto's Princess of Wales Theatre, which includes a 10,000-square-foot mural. His 1993 proposal for a kunsthalle and garden in Dresden did not come to fruition. In 1997, he painted and oversaw the installation of the 5,000-square-foot "Stella Project" which serves as the centerpiece of the theater and lobby of the Moores Opera House in Houston, TX. His aluminum bandshell, inspired by a folding hat from Brazil, was built in downtown Miami in 2001; a monumental Stella sculpture was installed outside the National Gallery of Art in Washington, D.C. Stella's work was included in several important exhibitions that defined 1960s art, among them the Solomon R. Guggenheim Museum's The Shaped Canvas (1965) and Systemic Painting (1966). His art has been the subject of several retrospectives in the United States, Europe, and Japan. Among the many honors he has received was an invitation from Harvard University to give the Charles Eliot Norton Lectures in 1984. Calling for a rejuvenation of abstraction by achieving the depth of baroque painting, these six talks were published by Harvard University Press in 1986 under the title Working Space. Stella continues to live and work in New York. He also remains active in protecting the rights for his fellow artists. On June 6, 2008, Stella (with Artists Rights Society president Theodore Feder; Stella is a member artist of the Artists Rights Society) published an Op-Ed for the The Art Newspaper decrying a proposed U.S. Orphan Works law which "remove(s) the penalty for copyright infringement if the creator of a work, after a diligent search, cannot be located."

The Smithsonian American Art Museum Shows Highlights From the Koffler Collection Posted: 09 Jan 2012 06:11 PM PST Washington, D.C.- The Smithsonian American Art Museum is pleased to present "Made in Chicago: The Koffler Collection", on view at the museum until January 2nd 2012. The exhibition features 25 paintings, sculpture and works on paper from 1960 to 1980, including works by Roger Brown, Leon Golub, Theodore Halkin, Vera Klement, Ellen Lanyon, Jim Nutt, Ed Paschke, Barry Tinsley and Ray Yoshida. The artworks are all by Chicago artists from the S.W. and B.M. Koffler Foundation collection, given to the Smithsonian American Art Museum in the late 1970s and early 1980s by Samuel and Blanche Koffler.

Howard Hodgkin ~ New Paintings ~ at Gagosian Gallery Posted: 09 Jan 2012 06:10 PM PST   London - Gagosian Gallery, London, will present an exhibition of new paintings by Howard Hodgkin from 3 April – 23 May 2008. It will be the artist's first show of new work in London since 1999 and will be his debut exhibition at Gagosian's spectacular Britannia Street space. The Gagosian exhibition will include twenty new paintings completed since 2006. It will be accompanied by a fully illustrated catalogue with a specially commissioned piece by Alan Hollinghurst.

SFMOMA Celebrates the Premiere of William Kentridge ~ Five Themes Posted: 09 Jan 2012 06:09 PM PST SAN FRANCISCO, CA - William Kentridge: Five Themes, a comprehensive survey of the contemporary South African artist's work, will premiere at the San Francisco Museum of Modern Art (SFMOMA) on March 14, 2009. Featuring more than 75 works in a range of media—including animated films, drawings, prints, theater models, sculptures, and books—the exhibition is co-organized by SFMOMA and the Norton Museum of Art in West Palm Beach, Florida. The San Francisco presentation, overseen by SFMOMA Curator of Media Arts Rudolf Frieling, will be on view through May 31, 2009. Curated by Mark Rosenthal, adjunct curator of contemporary art at the Norton Museum of Art, in close collaboration with the artist, the exhibition explores five primary themes that have engaged Kentridge over the past three decades. Although the exhibition highlights projects completed since 2000 (many of which have not been seen in the United States), it will also present, for the first time, Kentridge's most recent work alongside his earlier projects from the 1980s and 1990s—revealing as never before the full arc of his distinguished career. Following its debut at SFMOMA, the survey will travel to the Modern Art Museum of Fort Worth, the Norton Museum of Art, and The Museum of Modern Art in New York. Plans for the European tour—which will tentatively include Galerie nationale du Jeu de Paume in Paris, the Stedelijk Museum in Amsterdam, the Albertina Museum in Vienna, and the Israel Museum in Jerusalem—are being finalized. Accompanying the exhibition is a richly illustrated catalogue, complete with a DVD produced by the artist for this special occasion. The San Francisco presentation of William Kentridge: Five Themes is made possible by the generous support of the Koret Foundation and Doris and Donald Fisher. "William Kentridge is one of today's most influential artists, and with this exhibition, SFMOMA continues its commitment to bringing such groundbreaking artists as Olafur Eliasson, Richard Tuttle, and Jeff Wall to local and international audiences," says SFMOMA Director Neal Benezra, who cocurated the last major retrospective of the artist's work in the United States in 2001. "Although Kentridge is primarily recognized for his animated films, he has devoted most of his time to making works on paper. The drawn line is completely inseparable from his work in other media, informing everything he creates. His transformation of drawing into animated film reflects his deep interest in how content evolves from process, how meaning accrues through making." Exhibition curator Rosenthal adds, "Even as Kentridge has established his reputation as a master draftsman, printmaker, and one of the preeminent artist–filmmakers of our time, he has also expanded the traditional notion of political art, evolving the genre from a conventional depiction of horrors to a more nuanced portrayal of the psychological effects of political events upon those who observe them, whether they be perpetrators, victims, or onlookers." Born in 1955 in Johannesburg, where he continues to live and work, Kentridge has earned international acclaim for his interdisciplinary practice, which often fuses drawing, film, and theater. Known for engaging with the social landscape and political background of his native South Africa, he has produced a searing body of work that explores themes of colonial oppression and social conflict, loss and reconciliation, and the ephemeral nature of both personal and cultural memory. Kentridge first gained recognition in 1997, when his work was included in Documenta X in Kassel, Germany, and in the Johannesburg and Havana Biennials, which were followed by prominent solo exhibitions internationally. His art was widely introduced to American audiences in 2001 through a traveling retrospective—curated by Neal Benezra when he served as deputy director of the Art Institute of Chicago—which primarily included works made before 2000. William Kentridge: Five Themes brings viewers up to date on the artist's work over the past decade, exploring how his subject matter has evolved from the specific context of South Africa to more universal stories. In recent years, Kentridge has dramatically expanded both the scope of his projects (such as recent full-scale opera productions) and their thematic concerns, which now include his own studio practice, colonialism in Namibia and Ethiopia, and the cultural history of postrevolutionary Russia. His newer work is based on an intensive exploration of themes connected to his own life experience, as well as the political and social issues that most concern him. Although his hand-drawn animations are often described as films, Kentridge himself prefers to call them "drawings for projection." He makes them using a distinctive technique in which he painstakingly creates, erases, and reworks charcoal drawings that are photographed and projected as moving image. Movement is generated within the image, by the artist's hand; the camera serves merely to record its progression. As such, the animations explore a tension between material object and time-based performance, uniquely capturing the artist's working process while telling poignant and politically urgent stories. Concerning the artist's innovative film installations of the past ten years, Rudolf Frieling adds: "Kentridge has been considered primarily as an artist who draws for projections. Yet his recent installation-based films explore an expanded cinema space and question the very foundation of what it means to produce and perceive a moving image." In light of SFMOMA's history with Kentridge—in 2004 the museum acquired the artist's landmark film Tide Table (2003) and a set of related drawings—and the rich holdings of his work in private Bay Area collections, the occasion to present the first major exhibition of his work in San Francisco has particular resonance and reflects the museum's ongoing commitment to his art. In conjunction with the exhibition, SFMOMAwill bring the artist's multimedia opera The Return of Ulysses to San Francisco for performances at Project Artaud Theater from March 25 through 29, 2009. Kentridge will also present his lecture-format solo performance I am not me, the horse is not mine at SFMOMA on March 14, 2009. The Five Themes "Parcours d'Atelier: Artist in the Studio" The first section of the exhibition examines a crucial turning point in Kentridge's work, one in which his own art practice became a subject. According to the artist, many of these projects are meant to reflect the "invisible work that must be done" before beginning a drawing, film, or sculpture. This theme is epitomized by the large-scale multiscreen projection 7 Fragments for Georges Méliès (2003), an homage to the early French film director, who, like Kentridge, often combined performance with drawing. The suite of seven films—each depicting Kentridge at work in his studio or interacting with his creations—has only been shown once before in the United States and will be accompanied by a rarely seen group of related drawings, forming an intimate portrayal of the artist's process. "Thick Time: Soho and Felix" A second section of the exhibition is dedicated to Kentridge's best-known fictional characters, Soho Eckstein, a domineering industrialist and real estate developer whose troubled conscience reflects certain miens of contemporary South Africa, and his sensitive alter ego, Felix Teitlebaum, who pines for Soho's wife and often functions as a surrogate for the artist himself. The centerpiece of this section, an ongoing work entitled 9 Drawings for Projection, comprises nine short animated films: Johannesburg, 2nd Greatest City after Paris (1989), Monument (1990), Sobriety, Obesity & Growing Old (1991), Mine (1991), Felix in Exile (1994), History of the Main Complaint (1996), WEIGHING . . . and WANTING (1998), Stereoscope (1999), and Tide Table (2003). These projections, along with a key selection of related drawings, follow the lives of Soho and Felix as they struggle to navigate the political and social climate of Johannesburg during the final decade of apartheid. According to Kentridge, the Soho and Felix films were made without a script or storyboards and are largely about his own process of discovery. "Occasional and Residual Hope: Ubu and the Procession" In 1975 Kentridge acted in Ubu Rex (an adaptation of Ubu Roi, Alfred Jarry's satire about a corrupt and cowardly despot), and he subsequently devoted a large body of work to the play. He began with a series of eight etchings, collectively entitled Ubu Tells the Truth (1996), and in 1997 made an animated film of the same name, as well as a number of related drawings. These works also deal with the South African experience, specifically addressing the Truth and Reconciliation Commission hearings set up by the nation's government in 1995 to investigate human rights abuses during apartheid. Other highlights in this grouping include the film Shadow Procession (1999), in which Kentridge first utilizes techniques of shadow theater and jointed-paper figures; the multipanel collage Portage (2000); a large charcoal-and-pastel-on-paper work entitled Arc Procession (Smoke, Ashes, Fable) (1990); and some of the artist's rough-hewn bronze sculptures. "Sarastro and the Master's Voice: The Magic Flute" A selection of Kentridge's drawings, films, and theater models inspired by his 2005 production of the Mozart opera The Magic Flute for La Monnaie, the leading opera house in Belgium, will be a highlight of the exhibition. The artist's video projection Learning the Flute (2003), which started the Flute project, shifts between images of black charcoal drawings on white paper and white chalk drawings projected onto a blackboard, forming a meditation on darkness and light. Preparing the Flute (2005) was created as a large-scale maquette within which to test projections central to the production of the opera. Another theater model, Black Box/Chambre Noire (2006), which has never been seen in the United States, addresses the opera's themes, specifically through an examination of the colonial war of 1904 in German South-West Africa, and of the genocide of the Herero people. What Will Come (has already come) (2007), a consideration of colonialism in Ethiopia, presents an anamorphic film installation in which intentionally distorted images projected onto a tabletop right themselves only when reflected in a cylindrical mirror. This work was recently acquired, under the guidance of Rosenthal, by the Norton Museum of Art. "Learning from the Absurd: The Nose" The fifth section comprises a multichannel projection made in preparation for Kentridge's forthcoming staging of The Nose, a Metropolitan Opera production that will premiere in New York in March 2010. The Nose—a 1930 Dmitri Shostakovich opera based on Nikolai Gogol's absurdist short story of 1836—concerns a Russian official whose nose disappears from his face, only to turn up, in uniform, as a higher-ranking official moving in more respected circles. Kentridge's related work, I am not me, the horse is not mine (2008), on view in the United States for the first time, is a room-size installation of projected films that use Gogol's story as the basis for examining Russian modernism and the suppression of the Russian avant-garde in the 1920s and 1930s. Related Performances Acknowledging the profound importance of theatrical work in Kentridge's oeuvre, SFMOMA will bring the artist's opera The Return of Ulysses to San Francisco in conjunction with the exhibition. First performed in Brussels in 1998, Kentridge's acclaimed reinterpretation of Claudio Monteverdi's classic 1640 opera (based on Homer's epic poem) is transposed to a mid-20th-century Johannesburg setting. This limited-engagement performance features live actors and musicians, as well as 13 life-size, artisan-crafted wooden puppets and projections of Kentridge's animated charcoal drawings. The Return of Ulysses will run at Project Artaud Theater from Tuesday, March 24, through Saturday, March 28 (preview March 24, opening March 25), and is a production of Pacific Operaworks, in Seattle, incorporating puppeteers from Kentridge's longtime collaborator, the Handspring Puppet Company of Cape Town, in South Africa. Definitive Publication with Companion DVD - To coincide with the exhibition, SFMOMA and the Norton Museum of Art, in association with Yale University Press, will publish a richly illustrated catalogue (hardcover, $50). In the catalogue's principal essay, exhibition curator Mark Rosenthal presents a portrait of the artist, showing the interrelationship between aspects of Kentridge's character and the protagonists that populate his work. Carolyn Christov-Bakargiev, chief curator at the Castello di Rivoli Museum of Contemporary Art, examines the artist's themes and iconography in closer detail, addressing Kentridge's working methods as he moves freely between disciplines. International Tour Schedule: San Francisco Museum of Modern Art • March 14 through May 31, 2009  Visit : http://www.sfmoma.org/ ArtMuseum of Fort Worth • July 11 through September 27, 2009 Norton Museum of Art, West Palm Beach • November 7, 2009 through January 17, 2010 The Museum of Modern Art, New York • February 28 through May 17, 2010 Galerie nationale du Jeu de Paume, Paris • July 5 through September 26, 2010 Albertina Museum, Vienna • October 30, 2010 through January 30, 2011 Israel Museum, Jerusalem • March 5 through May 29, 2011 Stedelijk Museum, Amsterdam • July 7 through October 2, 2011.

This Week in Review in Art Knowledge News Posted: 09 Jan 2012 06:08 PM PST 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.

You are subscribed to email updates from Art News To stop receiving these emails, you may unsubscribe now.	Email delivery powered by Google
Google Inc., 20 West Kinzie, Chicago IL USA 60610