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

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• The Art Gallery of Hamilton To Present a Major Survey of William Kurelek
• Curator's Office to Present the Debut Solo Exhibition of Jonathan Monaghan
• The Halsey Institute of Contemporary Art Shows Sculptures & Paintings by Aggie Zed
• The Affordable Art Fair Lands in Los Angeles on January 18th
• Tomasso Brothers to Exhibit major pieces of Sculpture at TEFAF Maastricht
• The Israel Museum Features an Exhibition of Peter Paul Rubens
• Couturier Gallery to Display Unique "World Maps"
• MAC Exhibition Brings Together the Great Names of Belgian Contemporary Art
• Irish Museum of Modern Art shows "Morton Feldman and the Visual Arts"
• Amon Carter Museum acquires Edward Sheriff Curtis’ The North American Indian (1907–1930)
• California in Relief: A History in Wood and Linocut Prints opens at Hearst Art Gallery
• Christie's New York Latin American Art Evening Sale Realizes $11 Million Tonight
• New Arts and Literary Publication Launched by Irish Museum of Modern Art
• Marlene Dumas ~ Her Paintings Sell for Millions . . But Are you pro-Dumas or anti-Dumas?
• Mexico's INBA Celebrates Dolores Olmedo's 100th Anniversary
• The Museum of Contemporary Art in Tokyo Presents a Kohei Nawa Solo Show
• Harvard Art Museum exhibition 'Re-View' is on Long-term View
• MOLAA opens "Of Rage and Redemption ~ The Art of Oswaldo Guayasamín"
• Art Knowledge News Presents "This Week In Review"

The Art Gallery of Hamilton To Present a Major Survey of William Kurelek Posted: 12 Jan 2012 09:41 PM PST Hamilton, Ontario.- The Art Gallery of Hamilton is proud to present "William Kurelek: The Messenger" on view at the museum from January 28th through April 29th 2012. Throughout a career that spanned from mid-1950s until his death, William Kurelek (1927-1977) and his art have meant many different things to many people. The Alberta-born, Manitoba-raised artist was a painter of innocence and fun, his scenes reminiscences of a simpler and timeless past. He was also a chronicler of the experiences of various cultural groups in Canada, devoting entire series to Ukrainian, Jewish, Polish, Irish, French Canadian, and Inuit peoples. Then there is Kurelek the anguished prophet of a modern apocalypse, his art an indictment of the secular age and a testament to unwavering faith. An important and unique aspect of this exhibition for Canadian audiences will be the inclusion of several works from Kurelek's highly formative period in England from 1952 to 1959. During this time the young artist underwent psychiatric treatment and converted to Roman Catholicism, which profoundly altered his subsequent approach to life and art making. It is in consideration of these early works that the exhibition reveals Kurelek's complex psyche and the central role it played in everything he produced.  As the first large-scale survey of William Kurelek in thirty years, The Messenger seeks to bring together the most important and engaging works executed by the artist during his career. The exhibition opens at the Winnipeg Art Gallery in September 2011 and will travel to Hamilton early next year before its final showing in Victoria during the summer of 2012. This exhibition includes over 80 paintings that encompass the artist's entire practice. The works are drawn from major private, corporate, and public collections in Canada, the United States, and the United Kingdom. A major publication will be available in September 2011. The exhibition, a partnership between the Art Gallery of Greater Victoria, Art Gallery of Hamilton and the Winnipeg Art Gallery, is curated by Mary Jo Hughes, Tobi Bruce, and Andrew Kear. William Kurelek was born near Whitford, Alberta in 1927, the oldest of seven children in an Ukrainian immigrant family: Bill, John, Winn, Nancy, Sandy, Paul, Iris. His family lost their grain farm during the Great Depression and moved to a dairy farm near Stonewall, Manitoba. He developed an early interest in art which was not encouraged by his hard-working parents. He studied at the Ontario College of Art in Toronto and at the Instituto Allende in Mexico, but was primarily self-taught from books. By his mid-twenties he was living in England. In 1952, suffering from clinical depression and emotional problems he was admitted to the Maudsley Psychiatric Hospital in London. There he was treated for schizophrenia. In hospital he painted, producing "The Maze", a dark depiction of his tortured youth. His experience in the hospital was documented in the LIFE Science Library book The Mind, published in 1965. He was transferred from the Maudsley to be at Netherne Hospital from November 1953 to January 1955, to work with Edward Adamson (1911-1996), a pioneer of art therapy. At Netherne he produced two masterpieces - Where Am I? Who Am I? Why Am I? (donated to the American Visionary Arts Museum by Adamson) and I Spit On Life (still in the Adamson Collection). Originally Ukrainian Orthodox, Kurelek converted to the Roman Catholic Church in 1957. He painted a series of 160 works on the Passion of Christ, and a series of 20 depicting the Nativity as if Christ had been born in Canadian settings: an igloo, a trapper's cabin, a boxcar, a motel. He maintained a cottage near Wilno, Ontario, where he got his inspiration for a book of paintings entitled The Polish Canadians, and was a friend of the nearby Madonna House Apostolate. He returned to Toronto, writing and illustrating a series of children's books, several of which have become modern classics. In 1974 he illustrated a new edition of W.O. Mitchell's Who Has Seen The Wind. He won the Amelia Frances Howard-Gibbon Illustrator's Award for A Prairie Boy's Winter in 1974 and A Prairie Boy's Summer in 1976. In 1976, he was made a Member of the Order of Canada. He visited Ukraine in 1970 and again in 1977, publishing To My Father's Village. He died in Toronto in 1977. His archives, and a substantial body of his work, including the Passion mentioned above, are held at Niagara Falls Art Gallery. The Art Gallery of Hamilton, is located in the heart of downtown Hamilton, Ontario on King Street West and is one of Canada's oldest galleries with a collection of over 9,000 works of art. Artist William Blair Bruce, born and raised in Hamilton and successful internationally, died suddenly in 1906. In 1914, his family, including his widow, sculptor Caroline Benedicts-Bruce bequeathed 29 of his paintings to the city of Hamilton, with the understanding that a properly equipped art gallery be established to house and present the collection. Today, the William Blair Bruce memorial donation is displayed in a dramatic salon-style hanging in what is the Art Gallery of Hamilton's third home. From 1914 until 1953, the Gallery's first home was the second floor of the Hamilton Public Library building located on Main Street West near James Street. In 1947, the Gallery was a founding member of the Southern Ontario Gallery Group, now the Ontario Association of Art Galleries. In December 1953, a new purpose-built gallery was opened at Forsyth Avenue and Main Street in west Hamilton. A little over a decade later, McMaster University unveiled plans to expropriate the lands on which the Gallery was built, halting plans to expand the Gallery in this location. In 1977, the Gallery opened in its present location in the heart of the city as part of a downtown redevelopment project. In 2005, a renovated Gallery reopened, with new gold-coloured steel cladding protecting the building, a glass-enclosed front entrance on King Street, a new multi-purpose pavilion, and larger and renovated exhibition spaces.The AGH primary collection is based on Canadian historical, Canadian contemporary and European historical art. Each year, the Gallery organizes, hosts and/or circulates approximately 25-30 exhibitions throughout the world. The Art Gallery of Hamilton's collection of modern Canadian art is one of the strongest in the country, due, in no small part to the vision and efforts of Thomas Reid (T.R.) MacDonald (1908–1978), the Gallery's first full-time director and curator. MacDonald soon inaugurated the Annual Winter Exhibition at the Gallery; this yearly exhibition was held from 1948-1973. These juried exhibitions provided artists with an important exhibition venue and also brought works to Hamilton that might be acquired by the Gallery. Usually about one hundred works were featured in each exhibition, with the purchase prize (generally donated by a local patron or business) entering the AGH permanent collection. In this way, such important works as A.J. Casson's "First Snow", Lilias Torrance Newton's "Keith MacIver", and the iconic "Horse and Train" by Alex Colville. Visit the gallery's website at ... http://www.artgalleryofhamilton.com

Curator's Office to Present the Debut Solo Exhibition of Jonathan Monaghan Posted: 12 Jan 2012 09:22 PM PST Washington, D.C.- Curator's Office is delighted to present "Johnathan Monaghan: Sacrifice of the Mushroom Kings", on view from January 14th through February 18th 2012, with an opening reception on Saturday, January 14th from 6:30 to 8 pm. This is the the first debut solo exhibition of Jonathan Monaghan, a young and innovative artist working at the cutting edge of animation. The exhibition includes an 8 minute computer animated film and two prints derived from the CGI film. The artist is a self-avowed video game fanatic and was highly influenced by video games from his youth, such as Super Mario Brothers and Street Fighter. Monaghan plucks and alters the characters and environments from these games to create a new narrative. Succinctly describing the film, the artist says, "Sacrifice of the Mushroom Kings depicts a lamb and bull's journey through my own version of Super Mario's Mushroom Kingdom. The film combines elements from iconic video games with a myriad of references, such as Wall Street, the Metropolitan Club, Bizet's Carmen, and hair products. Taking a comparative mythology approach to certain aspects of contemporary culture, the film aims to mediate basic oppositions such as good and evil, life and death, and reality and fantasy."

The Halsey Institute of Contemporary Art Shows Sculptures & Paintings by Aggie Zed Posted: 12 Jan 2012 09:14 PM PST Charleston, South Carolina.– The Halsey Institute of Contemporary Art at the College of Charleston School of the Arts is pleased to present "Aggie Zed: Keeper's Keep" on view at the institute from January 20th through March 10th 2012. This exhibition is comprised of sculpture, installation, paintings, drawings, and sketchbooks that chart Aggie Zed's unique working methods in a variety of media. Born in Charleston and raised among farm animals on Sullivan's Island, South Carolina, Zed graduated from the University of South Carolina with a BFA in painting and sculpture. Shortly thereafter, she moved to Richmond and, later, Gordonsville, Virginia, where she lives and works today. Zed's studio practice is eclectic and varied. Often starting with images from her sketchbook, she may develop some of these concepts into paintings and others into sculptural tableaux or installations.

The Affordable Art Fair Lands in Los Angeles on January 18th Posted: 12 Jan 2012 08:53 PM PST Los Angeles, California.- Chosen for its vibrancy, allure, and burgeoning art scene, Los Angeles will soon play host to the Affordable Art Fair, an event that seamlessly fuses art, quality, education, and entertainment.  Founded twelve years ago by Will Ramsay, the Affordable Art Fair is an unrivaled international phenomenon; with fairs held annually in ten locations around the world. Presenting contemporary art priced from $100 - $10,000, with half of the work under $5,000, the Affordable Art Fair will present original, contemporary works to entice the entire L.A. community. After the NYC debut in 2001, the Affordable Art Fair has been limited to an east coast audience; however, in 2012, Angelenos will be able to experience the fun and unparalleled art fair for the first time—right in their own city. The Los Angeles art community epitomizes what the Affordable Art Fair brand is all about: a unique blend of quality work, accessibility, and openness. L.A. is home to a wide array of notable visual, theatrical, cinematic, and performing artists. This community of creative individuals is enthusiastic about the city's growing cultural prominence.  With the plentiful amount of fine art collectors, dealers, donors, curators, and professionals in the area, Los Angeles is one of the most vivacious and up-and-coming art cities in the country and world – and one that the Affordable Art Fair is thrilled to join. "We are excited to finally introduce the Affordable Art Fair to the west coast, and I can't think of a better city to launch in than Los Angeles," says Judith Pineiro, Director of the Affordable Art Fair US.  "We believe that our diverse appeal will attract Los Angeles residents to the Fair, and that they will respond both positively and ardently to our incomparable collection of amazing art at affordable prices." The inaugural Affordable Art Fair in Los Angeles will be at the Event Deck at L.A. from January 18th through January 22nd 2012.  An ideal venue for the Fair, L.A. LIVE is an entertainment mecca located in the heart of Downtown Los Angeles, steps away from the Staples Center, Nokia Theater, and Convention Center.  This bustling area of L.A. welcomes the opening of new galleries, restaurant, and boutiques on a weekly basis.  The Affordable Art Fair will take place under a tented 42,000 square foot space, which will create a lively yet relaxed environment. Dedicated to supporting new art collectors and engaging curious visitors, the Affordable Art Fair also incorporates educational and interactive programming into the event. As such, the Fair will welcome ArtStar.com, whom will lead informative but informal talks on buying art, caring for a collection, and more.  The Recent Graduates Exhibition curated by L.A. based art advisor Melanie Edmunds, will highlight emerging unrepresented artists that have recently completed their MFA or BFA. Also joining the Affordable Art Fair L.A. with exciting demonstrations by master printmakers is Edition One Hundred.  The Affordable Art Fair's LittleCollector Lounge will have programming curated by LittleCollector.com and aimed at the youngest members of the family, giving them a chance to participate and learn directly from a real life artist. All programs at the Fair are free with admission, and are not exclusive to VIPs—they are for all attendees.  To further promote art for all, the Fair will also offer complimentary admission on the Thursday evening of the event. Twelve years ago, Will Ramsay changed the model of the traditional art fair by creating the Affordable Art Fair, where contemporary art is accessible to all. Now in ten locations around the world, with the L.A. fair being the eleventh, Affordable Art Fair proves that you do not need to be an art expert or a billionaire to have original works of art by living artists in your home or office.  With the fair taking place in  Amsterdam (spring and fall), Bristol, Brussels, London (spring and fall), Los Angeles, Melbourne, Milan, New York (spring and fall), North London, Singapore, and Sydney, over $300 million worth of art has been sold at the fairs. The success of the brand continues with the estimated millionth visitor to the Affordable Art Fair expected in 2011. The Affordable Art Fair celebrates the idea that art should be for everyone.  The L.A. edition will showcase contemporary artwork from local, national and international galleries, priced from $100 - $10,000, with half of the work below $5,000.  The Fair will offer special programming including educational presentations, sponsored talks, curated exhibitions and hands-on children's activities.  As art tastes vary within each region, the Fair will reflect the uniqueness of Los Angeles with exhibitors specifically chosen to fit the design aesthetic and culture of California.In 1999, the first Affordable Art Fair was held in London, with the mission to make contemporary, original art accessible to a wide audience through a friendly and welcoming environment. It has always been our mission to emphasize that one need not be an expert or billionaire to own art. The Fair has since expanded to ten locations, with L.A. being the eleventh. Other locations include Amsterdam, Bristol, Brussels, London (spring and fall), Melbourne, Milan, New York (spring and fall), North London, Singapore, and Sydney. Additional Fairs will launch in Europe and the US in 2012/2013. Nearly $300 million worth of art, all priced under $10,000, has been sold at the fairs, and the success of the brand continues with the millionth visitor to an Affordable Art Fair occurring in 2011. Visit the fairs US website at ... http://www.affordableartfair.us/

Tomasso Brothers to Exhibit major pieces of Sculpture at TEFAF Maastricht Posted: 12 Jan 2012 08:28 PM PST LEEDS, UK - A spectacular bronze figure of the Farnese Bull (The Punishment of Dirce) is one of the major pieces of sculpture to be shown by Tomasso Brothers Fine Art at TEFAF Maastricht at the Maastricht Exhibition and Congress Centre (MECC) from 16 to 25 March 2012. This will be the first time that Tomasso Brothers Fine Art, the internationally-renowned dealers in European sculpture, has exhibited at TEFAF which celebrates its Silver Jubilee in 2012. Stand 165. The bronze figure by Giovanni Francesco Susini is a tour-de-force and is priced in the region of €750,000. Susini was a Florentine sculptor who trained in the workshop of Giambologna, one of the most important Mannerist sculptors in Italy , where his uncle Antonio Susini was the principal bronze-caster. Visiting Rome in 1624-26, he gained experience of classical antique statuary including, presumably, the colossal marble group of the Farnese Bull .

The Israel Museum Features an Exhibition of Peter Paul Rubens Posted: 12 Jan 2012 08:13 PM PST JERUSALEM.- Inaugurating a new series of in-depth exhibitions exploring masterpieces from its encyclopedic collections, the Israel Museum presents an exhibition that sheds new light on The Death of Adonis (ca. 1614) by Flemish Baroque master Peter Paul Rubens . On view from January 10 through May 5, 2012, Rubens, Venus, and Adonis: Anatomy of a Tragedy examines this monumental masterpiece, analyzing its iconographic sources, composition, and place within the development of Rubens' style. Twenty-five related works—including a preparatory oil sketch by Rubens as well as drawings, paintings, and prints of the same theme by Rubens and other Flemish and Italian masters of his time—are brought together to illuminate aspects of the artist's special interest in the story of Venus, the goddess of Love and Beauty, and Adonis, her human lover.

Couturier Gallery to Display Unique "World Maps" Posted: 12 Jan 2012 08:11 PM PST LOS ANGELES, CA - Maps are often deceptive, disguising more than meets the eye and manipulated for socio-political purposes.  Couturier Gallery is pleased to present World Maps,  a group exhibition including the work of four artists well known for their cartographic works: Kim Abeles,  Irene Dubrovsky,  Joyce Kozloff  and Ibrahim Miranda.  The maps of these artists reveal truths frequently obfuscated in mapping history. The works in the show examine social and political histories, issues of location and dislocation, identities, as well as chronicling historical and contemporary issues. This mixed-media show will open June 12th (and continue through July 17th ).  The opening artists' reception will take place Saturday, June 12th, 6-8 pm. Kim Abeles,one of Los Angeles 's preeminent conceptual artists, has worked for the past two decades documenting the urban experience.  Looking for Paradise, (from her Signs of Life series)  pinpoints categories of life forms in downtown Los Angeles in the form of trees.  Using a detailed aerial photograph, each piece identifies trees or structures built as homes for the nomadic homeless.  Abeles urges one to "look carefully at the city blocks with no signs of life, peculiar with their concrete landscaping. The edge of the cement world is as we remember it, and as we see it through a corrective lens."  Also included in this show is "Smog Map" a new work from her Smog Collector series, an image of the world's continents "drawn" with particulate matter (smog) collected on clear acrylic surface.  "Smog Collectors are both literal and metaphoric depictions of the current conditions of our life source.  They are reminders of our industrial decisions: the road we took that seemed so modern."  Abeles's work may be found many museum collections including the California African American Museum , Los Angeles ; California Science Center , Los Angeles ; Los Angeles County Museum of Art; Museum of Contemporary Art , Los Angeles ; and the Museum of Modern Art Library Collection , NYC. The woven maps of Irene Dubrovsky (born in Argentina , resides in Mexico City ) result in a tension between a sedentary handicraft and the sophistication of modern technology.  Dubrovsky works from images of the globe circulated by Google Earth on the net and translates them into three-dimensional paper weavings polychromed with a mixed media.  The relief surfaces she creates in the weaving process restores to the globe textures it lacks on the computer monitor while at the same time translating the satellite images to a pictorial level, or "artistic surface," that can be explored through touch.  When viewed from a distance, the weft and woof of the woven paper create line patterns suggesting longitude and latitude lines of maps.  The merging of the hand-created world maps with the technologically precise satellite photos from which the images were taken brings the world down to earth. Dubrovsky extensively throughout Latin American and most recently participated in the Biennials of Cuenca and Havana .  This is her first exhibition in the United States . Pioneering feminist artist Joyce Kozloff (based in New York City ) is most concerned with issues such as history of Western ethnocentrism, the meaning of public space and the artificial separation of the fine and applied arts.  Kozloff is fascinated with the map as metaphor and her interests include the psychology of domination, the seductions of power and the fallacies of the patriarchal and Western-centric vision of history.  Her maps, be they in the form of globes, masks or banners gloriously painted, drawn, and/or collaged are elegant commentary on very current issues including national illusions of grandeur in various periods of world history, American global dominance, and distorted views of the world in general.  Kozloff's Knowledge series, world globes covered with layers of plaster, are painted with watercolor and based on "cartographic pieces dating from first century Rome to early 17th c.  Europe and encompass the Western world's key eras of global exploration and conquest.  They reflect the dominant thinking and assumptions of the rest of the world."  Her mask series, based on the Venetian Carnival, are painted with maps of islands taken from maps down through history which here take on the feel of tattoo or body art.    Kozloff's work has been widely published and may be found in numerous museum collections including the Los Angeles County Museum of Art;  Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; Smithsonian Institution, Washington, DC; and the Whitney Museum of American Art, New York. The long maps of Ibrahim Miranda (born and lives in Havana , Cuba ) display disproportionate extensions of images beyond what is routinely depicted in maps.  Each of these maps are constructed from pre-printed geographic maps of Cuba taken from old atlases and then painted, and/or printed with lithography, silk-screened or woodblocks.  Miranda superimposes depictions of the myths, religions, customs and cultures completely neglected in the technical and scientific geographic maps.  His inspiration comes from the poetry and myths familiar to him and without irony, sarcasm or cynicism proposes alternate models for the morphology of the island.  By sometimes obscuring the shape of the island, Miranda unwittingly suggests the primary function of maps- their precision and exactitude or "correctness," – is not sufficient to identify any one place in the world and by superimposing images of world historical reference he begins to reveal the more private, unacknowledged locale.  Public collections where Miranda's work may be found include Casa de las Américas, La Habana, Cuba;  Centro Wifredo Lam, La Habana, Cuba; Museum of Modern Art, New York;  Museo Nacional de Bellas Artes, La Habana, Cuba; National Gallery of Art, Washington, D.C.;  Peter Norton Collection.  Santa Mónica, Los Angeles ;  Thyssen – Bornemisza Contemporary Art Foundation, Austria . For further information or visuals, please contact the gallery:  Couturier Gallery 166 N La Brea Ave Los Angeles, CA 90036 323-933-5557 info@couturiergallery.com  /  Website : www.couturiergallery.com/

MAC Exhibition Brings Together the Great Names of Belgian Contemporary Art Posted: 12 Jan 2012 08:10 PM PST HORNU, BELGIUM.- "À toutes les morts, égales et cachées dans la nuit" (To all the departed equal and hidden in the night) is the major summer exhibition at the MAC's (the Museum of Contemporary Art). It opens its doors to the public from 20th June to 10th October 2010. Bearing the unmistakable mark of the work of Laurent Busine, the exhibition brings together the great names of Belgian and international contemporary art, as well as little known artists and even some anonymous works.

Irish Museum of Modern Art shows "Morton Feldman and the Visual Arts" Posted: 12 Jan 2012 08:09 PM PST DUBLIN.- An exhibition featuring works by many of America's and Europe's most celebrated 20th-century artists opens to the public at the Irish Museum of Modern Art on Wednesday 31 March 2010. "Vertical Thoughts: Morton Feldman and the Visual Arts" focuses on the work of the influential American composer Morton Feldman and the many leading visual artists with whom he was closely associated, including Philip Guston, Willem de Kooning, Jackson Pollock and Mark Rothko. The exhibition, the first of its kind in Europe, marks a decisive period in the coming together of two apparently distinct art forms, reflecting IMMA's own multi-disciplinary approach to its programme. On view through 27 June, 2010.

Amon Carter Museum acquires Edward Sheriff Curtis’ The North American Indian (1907–1930) Posted: 12 Jan 2012 08:08 PM PST FORT WORTH, TX.- The Amon Carter Museum announces it has acquired a rare, complete set of Edward Sheriff Curtis' The North American Indian (1907–1930), one of the most comprehensive records of American Indian life. Although 500 sets of The North American Indian were planned, the project halted at the onset of the Great Depression. Curtis finished only 222 sets before he went bankrupt, and historians estimate that far fewer than this number exist today. The project was largely forgotten until the 1970s when a renewed interest in the history of photography encouraged scholars to take a new look at the work.

California in Relief: A History in Wood and Linocut Prints opens at Hearst Art Gallery Posted: 12 Jan 2012 08:07 PM PST MORAGA, CA.- Hearst Art Gallery at Saint Mary's College will present California in Relief: A History in Wood and Linocut Prints, on view July 25 – September 13, 2009. California in Relief presents a historical survey of relief prints in Northern California. Relief prints include, woodcuts, linocuts and wood engravings. This exhibition traces the history of one printmaking media and by doing so brings to light both long standing artistic movements; fascinating groups of artists working outside the mainstream; as well as well known artists from across the last century. Art movements that focused on relief prints over the past century continue to have esthetic heirs working today. Important and influential artists who are often overlooked in the traditional art historical narrative created powerful prints that became part of the history of California. Significant numbers of women were pioneers in all the various traditions of relief prints. Influences from Japan and Mexico played an influential role in the development of different styles. The overall diversity of voices and imagery is held together in this exhibition by the unity of the technique which imparts a distinctive graphic quality to the work of artists today as it did in 1900. The exhibition includes approximately seventy-five artists working in the media of relief prints from the early days of the 20th century to the present. Ninety prints, and books in the exhibition are divided into eight areas of focus: the Arts and Crafts movement; the Labor School; wood engraving; Asian influence; abstraction; the GI Bill and the establishment of the university print department; Latino art; and fine press print publishers. The story of the development of the relief print in California carries with it the story of California. The technique formed the basis of several distinctive art movements. And the technique was associated with several cultural movements as well. Women gained a powerful and early voice in this media, as did the Labor movement and later Latino artists. Arts and Crafts Movement: The Arts and Crafts Movement was an international style that included woodcut as one of its key media. They relied on the woodcut in the creation of color prints at a time when most printmaking was done in black and white. The local character of this movement was typified in Pedro Lemos, (1882-1954) who was director of the Stanford Museum, and William Rice, (1873 – 1963) who was an early advocate and teacher of woodcut techniques, created beautiful atmospheric landscapes in a color technique. Artists traveling through California like Gustave Baumann (1881-1971) created images of the Golden State while participating in an international movement, with an esthetic style that spanned continents. The Arts and Crafts movement may no longer be relevant as a name to many artists working in this style but clear heirs to the movement are obvious through their style and approach. Gordon Mortensen, (1938-) Andrea Rich (1954-) Japanese Influence: While the Arts and Crafts movement was influenced by Japanese art several artists went directly to the source and traveled to Japan to study the rich printmaking techniques and esthetics of that culture. Bertha Lum, (1869 – 1954) and Helen Hyde (1868 – 1919) both went to Japan in the very beginning of the century to learn techniques and gained wide recognition with their work. More recent artists from Patricia Cosper Brandes (1935 – 2005), to Micah Schwaberow (1948 -) have continued that tradition of study. Additionally, the influence of artists coming to CaCrown Point Presslifornia from Japan is seen in the work of Chiura Obata (1885 – 1975) who created a series of color woodcuts of the Sierra mountains. Wood Engravers: In the 19th century wood engraving was used as a commercial reproduction method but later wood engravers brought new forms and new artistic responses to the media, and created black and white work with beautiful tonal ranges which defined a style often associated with the Regionalist artists of the 1930s. Mabel Farmer (1903-1974) , Leon Gilmour (1907-1996) and Charles Surrendorf (1906-1979) created images that, like the Arts and Crafts artists, showed the beauty of California, but with an emphasis on the sculptural quality of the land emphasized through their black and white technique. Contemporary artists working in this technique include Richard Wagener and a student of his Toru Sugita (1964-). The Labor Movement: The Labor movement utilized woodcut for its expressive power. And in San Francisco the California Labor School became the center and inspirational force for many of these artists. At the same time Mexican muralist Diego Rivera (1886 - 1957) brought an esthetic style that was central to several artists associated with the Labor movement. His effect was critical to artists from Emmy Lou Packard (1914-1998) and Victor Arnautoff (1896-1979) who assisted Rivera on his murals, to Frank Rowe (1921-1985) who created posters with Black Panther members in the 1960s and Rachel Bell Romero (1950 - ), who did woodcuts for various political actions in the 1970s. This wealth of activity and interaction produced great stylistic and political influence that continues on to the present day in such artists as Anthony Ryan (1965 -). Abstraction: In the postwar era abstraction came to define the American art world. Abstract artists working in woodcut found a media rich in expressive form and receptive to spontaneous creation. Again in this area, as in most of the relief print traditions, women found an early and powerful role. Hildegarde Haas (1926 – 2002) and Ynez Johnston (1913-1995) were two who moved early on into abstraction, with more recent artists such as Sandy Walker (1942 - ). GI Bill Effects: After World War II art departments in Colleges and Universities around the state found themselves suddenly in need of teachers to create new classes for the GIs returning from World War II. The gap was filled with artists often from outside of California with no particular affiliation to any movement. The artists of this new academic movement were independent and individualistic often placing a great emphasis on technical proficiency. Janet Turner, Paul Feldhaus (1920 – 2005), Sylvia Solochek Walters (1938 - ) and later the technically masterful Roy Ward Ragle (1944 - ) are examples of artists of individual visions whose work developed in relation to the university setting. Latino Movement: A more recent phenomenon in relief printmaking dates from the 1980s. In the early days of the Chicano Art Movement artists worked primarily in screen print. Emmanuel Montoya (1952 -) found his way to this technique by developing connections with artists in Mexico. Several artists born in Mexico brought the traditions of relief printmaking to Northern California, including Diego Marcial Rios (1962-), Ricardo "Gato" Garcia (1965-) and Artemio Rodriguez (1972 - ). While Juan Fuentes (1950 - ), moved to the media of linocut after many years working primarily in screen print. This movement brings a new focus on the Latino vision of relief printmaking in Northern California. Fine Print Publishers: The print publishing phenomenon has principally focused its production efforts on etching however a number of relief prints have been created over the years by artists working at presses such as Crown Point Press. Important artists such as William Wiley (1937 - ), and Robert Arneson (1930-1992) created work with the help of printers at these presses. In some cases these artists never touched the wood, but created the original design. This too is a tradition with a history going back to Japan where print publishing houses for woodcut were the most common way to produce prints well into the mid- 20th century. In fact in the 1930s Chiura Obata brought his watercolor paintings of the High Sierras back to Japan to Takamitsu publishers in Tokyo to have woodcut prints created from them. Crown Point Press used the same printing company when they wanted to create prints with Wayne Thiebaud (1920 - ) from his watercolors in the 1980s. In following the various streams of artistic movements it is clear that long standing traditions are still at work, and that new traditions are being born. With this view of one media that embodies so many traditions and at the same time contains such a diverse and rich heritage the individual accomplishments of the artists stand out more clearly in relief. Visit : http://www.stmarys-ca.edu/arts/hearst-art-gallery/

Christie's New York Latin American Art Evening Sale Realizes $11 Million Tonight Posted: 12 Jan 2012 08:06 PM PST NEW YORK, NY - Christie's highly anticipated Latin American Sale totaled $11,004,350, led by strong results for Mario Carreño, Leonora Carrington, and Diego Rivera. Five new world auction records were achieved for artists Leonora Carrington, René Portocarrero, Helio Oiticica, Roberto Aizenberg, and Lygia Pape. The sale was 68% sold by lot and 77% by value. Icons of Latin American modernism led the sale tonight with strong results for the top three lots, all of which date from the 1940s. We are particularly excited about the long overdue recognition and important world auction record for Leonora Carrington, whose work surpassed the $1million dollar mark, and for the spectacular price realized for the rediscovered masterpiece Fuego en el batey by the Cuban master Mario Carreño, which became the second highest auction price achieved for the artist. In addition, a new record was set for a self-portrait by Diego Rivera," said Virgilio Garza, Head of Latin American Art at Christie's.

New Arts and Literary Publication Launched by Irish Museum of Modern Art Posted: 12 Jan 2012 08:05 PM PST DUBLIN.- A new arts and literary publication featuring contributions by Francesco Clemente, Seamus Heaney, Nalini Malani, David Mitchell, Sean Scully, Colm Tóibín and a host of other leading art world figures, will be launched by the Irish Museum of Modern Art at 6.00pm on Thursday 11 June 2009. Boulevard Magenta is the brain child of IMMA's Director, Enrique Juncosa , himself a noted poet, who has brought together a collection of works ranging across the visual arts, prose, poetry, music, film and architecture for the first issue of the biannual magazine. The launch coincides with the opening of a new exhibition at the Museum by the celebrated American artist Terry Winters, who has contributed nine drawings incorporating texts by the American writer Ben Marcus to the publication.

Marlene Dumas ~ Her Paintings Sell for Millions . . But Are you pro-Dumas or anti-Dumas? Posted: 12 Jan 2012 08:04 PM PST Amsterdam, NL - MARLENE DUMAS'S STUDIO occupies an underheated, underfurnished ground-floor apartment on the southern side of Amsterdam. She can customarily be found in her studio at 2 or 3 in the morning, and her desire to record experience in its most extreme forms — she paints birth, sex, death and violence, for starters — has failed to bring her one inch closer to observing or recording the famed Dutch light. Tellingly, she does not like to travel, even across town. For all their moral gravity, Dumas's paintings have led a separate, rather flashy existence in the more commercial precincts of the art world. As Dumas, at 54, remains in Amsterdam, her career in America has been advancing on its own. The first major survey of her art in the USA opens at the Museum of Contemporary Art in Los Angeles next week, before traveling to the Museum of Modern Art in New York in mid-December and finally ending at the Menil Collection in Houston. "Marlene Dumas: Measuring Your Own Grave," as the show is titled, might sound more like a do-it-yourself funeral than a foray into the optical pleasures of painting, but one trademark of the artist's work is her ability to conjoin nerve-racking subject matter and elegant brushwork. She is one of contemporary art's most compelling painters, taking people from newspaper photographs and turning them into agents in a psychological drama who might shut their eyes on us or look out at us with a gaze that says, "Don't go."  The facts of Dumas's biography — she grew up in South Africa under apartheid — can encourage a viewer to read her work as unadorned social commentary. Significantly, the retrospective in Los Angeles, which was organized by the curator Cornelia Butler and consists of about 70 paintings and 35 works on paper, will be arranged along loose thematic lines touching on topics like race relations and terror. Taken together, Dumas's portraits might seem to constitute the face book of a bungled imperialism. On the other hand, the figures in her paintings are pleasingly complicated — there are babies who look like dictators and brides in wedding dresses lined up like zombies — and they hark back to the days before big questions about life and death and evil gave way to the drone of gender theory and identity politics. In February 2005, at Christie's in London, "The Teacher (sub a)" (1987) — a large, horizontal group portrait that turns a sentiment-laden class picture from her own childhood into a bruising reflection on authority — sold for $3.34 million. Virtually overnight, Dumas became "the world's most expensive living female artist," as the blogs reported, a status she maintained for one year, until Louise Bourgeois sold a sculpture for $4 million and captured the top-art-girl crown. "The Teacher (sub a)," as it turns out, was purchased by the Acquavella Galleries, which occupies a stately town house on the Upper East Side of Manhattan and, three years later, still owns the painting. "We bought it for ourselves," Nick Acquavella, who is 30, told me, explaining that he and his art-dealing father attended the auction not to bid on behalf of a client but rather in the hope of adding Dumas's painting to the family collection, which abounds with Picassos, Giacomettis and other staples of European modernism. "It is difficult to find Marlene's work on the market," he said. "She is not very prolific, and most of her work is in European collections where people don't want to sell." It was announced that Dumas is leaving her longtime dealer in New York, Jack Tilton, and signing with the David Zwirner gallery. "It literally took four years before Marlene committed fully," Zwirner told me, during which time he visited her in Holland on two occasions, met her in Venice on two others and assembled an ambitious show of her older works. In the end, Dumas was probably won over less by Zwirner's charming attentions than by her affinity with the artists he represents. They include art stars like Luc Tuymans and Neo Rauch, who possess a seemingly inborn talent for depicting nightmares, particularly of the political variety, and have made European painting feel newly urgent in New York. One of Dumas's most enduring subjects is her daughter, Helena, who was born, as her father told me, "the year the wall fell in Berlin." Dumas has painted Helena from infancy, at times retrospectively from old photographs, in an intermittent series of portraits that are among her most discomfiting. "The Painter" (1994), which is owned by the Museum of Modern Art, depicts a blond toddler as a miniature stalker. The little girl faces the viewer, nude and glowering, her blue stomach looking less decorated than discolored. Her hands are stained up to the wrist — her left hand carmine red, the right venous blue — and you cannot be sure whether she has spent the previous few minutes finger painting in the playroom or dousing her hands in blood. You can see "The Painter" as Dumas's manifesto, a definitive image of ruined innocence, rendered with her customary thin, washy, my-first-draft-is-also-my-final-draft style. The painting is the anti-Cassatt, with none of the sentimentality, the softly lambent flesh, the powdery radiance you expect in a portrait of a child. The little girl, unlike the countless trophy infants and children in art history intended to plug their mothers' supposed benevolence, knows she's a morally flawed individual. Even the purest among us mess up, the picture seems to be saying. A DUMAS PAINTING is easy to recognize. It typically shows a face or a figure in dramatic close-up, isolated against a neutral ground. Put another way, the people in her pictures are not sitting in a cafe or strolling the avenue, and they seem to have sprung from some infernal realm where personal memories are constantly colliding with public traumas. Her subjects include her daughter, her mother, terrorists, drowning victims, hanging victims, Emily Dickinson, the South African poet Elisabeth Eybers and the model Naomi Campbell. In addition to her oil-on-canvas output, she is prolific on paper and specializes in inky watercolors that use a meltingly sensual style to conjure disturbing scenes, among them strippers standing with their backsides shoved at us or the impassive heads of blindfolded male prisoners who may or may not be alive. Dumas, by contrast, does not work from models, and most of the people in her pictures have already posed for someone else's lens. She is part of a generation of figurative painters who find their subjects, as if by default, in photographs culled from newspapers and magazines. Still, Dumas manages to put photography to expressionistic ends. If her point of departure is an in-focus photograph, she proves that pixels aren't everything in paintings that inhabit a realm somewhere between figuration and abstraction, between outer and inner worlds. I asked her if she saw a difference between European figurative painting and its young New York cousins, exemplified by artists like Elizabeth Peyton, with her dreamy, jewel-like portraits of rocks stars and friends. "For me, that is not cruel enough," Dumas said. "I like it a bit crueler. Francis Bacon once said that is why he went for figuration against abstraction — he didn't like Pollock as much because he said abstraction couldn't be cruel enough for him. I did get things from Francis Bacon — the fact of the figure in an abstract background. It is a figure, but where is the figure?" Over the years, Dumas's work has remained fairly consistent. Asked about the trajectory of her development, she mentioned that her handling of paint has grown more assured: she has become adept at making pictures with less and less paint. "It's almost Alex Katzy," she said of one of her recent works, referring to the New York figurative painter known for his Spartan and effortless-seeming surfaces. IN 1976, AFTER PORING OVER countless pictures in art magazines, which provided her only glimpse of the latest art coming out of New York, and earning a degree in art at the University of Cape Town, Dumas left South Africa to study abroad. She had won a two-year scholarship to Ateliers '63, a small, progressive, unaccredited art school in Haarlem, now known as de Ateliers and located in Amsterdam. Ateliers '63, one of whose founders was Jan Dibbets, the influential Dutch artist fond of measuring the movement of shadows and other fastidious calculations, was a bastion of conceptual art, and Dumas tried to play along. "I was quite fascinated by all these conceptual artists," she said. "It looked so intelligent. It looked like modern art. Who wanted to paint a naked figure?" In 1984, Dumas did something radical — she started painting heads and figures. She was hardly the only painter in the early '80s to go back to traditional figure motifs; many artists were then trying to find an alternative to the paper-white coolness of conceptual art. But unlike Francesco Clemente, Georg Baselitz and the other neo-Expressionists who were causing a sensation in New York, Dumas was in no hurry to exhibit her work in America, and she wasn't part of any group. Her first all-painting show was held in 1985, at the Galerie Paul Andriesse in Amsterdam, and it brought together nine portraits. Three of them, curiously enough, depicted women named Martha — one the artist's grandmother, another Martha Freud, the third a servant. IT HAS BEEN 18 YEARS since Dumas made her American debut at the Tilton Gallery in New York, and the critical response to her work has been divided, more or less, among those who admire her earnest theatricality and those who deplore her theatrical earnestness. An art-world blog, Anaba, has taken to listing the names of Dumas's supporters and detractors as if they were election superdelegates charged with putting an artist into office. Are you pro-Dumas or anti-Dumas? On a wall where Dumas had pinned up postcards, I noticed a reproduction of a canvas by Ode aan Coorte, a recently rediscovered 17th-century painter of miniature still lifes whose show had just opened at The Hague. It was a compelling image — red cherries and a bundle of asparagus glistening against shadow — and it seemed to say something about the Dutch temperament, with its famous affection for the everyday things of this world. This, of course, is precisely the world that Dumas has banished from her art. Her paintings can be defined in terms of what she has rejected from her surroundings. She strips away anecdotal detail — the asparagus and the tulips and the light slanting down on red bricks — until all that is left is a haunting gaze. Together her pictures have a cumulative power, and at moments they seem to stare out at us as if emblematic of everyone who has ever disappeared, and with the knowledge that one day, we, too, will be among the missing. Which is not to say that Dumas is ready to completely embrace the abyss. "I still want to try before I die to paint a tree," she said. By . . Deborah Solomon

Mexico's INBA Celebrates Dolores Olmedo's 100th Anniversary Posted: 12 Jan 2012 08:03 PM PST MEXICO CITY - The Instituto Nacional de Bellas Artes (National Institute of Fine Arts) will honor Dolores Olmedo on the centenary of her birth with the exhibition Dolores Olmedo: History of a Collection which will open at the Diego Rivera Hall in the Museo del Palacio de Bellas Artes (Museum of the Palace of Fine Arts), on December 9th, 2009.The exhibition is a coordinated effort between the Museo del Palacio de Bellas Artes and the Museo Dolores Olmedo which shows a selection from her collections that represent the labor that Dolores Olmedo undertook as an art aficionado and that allows to appreciate life of this outstanding woman in Mexico's cultural life of the 19th century.

The Museum of Contemporary Art in Tokyo Presents a Kohei Nawa Solo Show Posted: 12 Jan 2012 08:02 PM PST Tokyo.- The Museum of Contemporary Art Tokyo presents "Kohei Nawa: Synthesis" on view from June 11th through August 28th. This solo exhibition presents the work of Kohei Nawa (1975-), who develops sculpture and spatial expressions utilizing the concept of the 'Cell'. Nawa uses fluid matrials and media, such as beads, prisms, expanded polyurethane, silicone oil, etc., as metaphors for the senses and thoughts of the information society, creating equivocal expressions of the reality of the body, perception, and a sensitivity that wavers between digital and analog. In addition to his work in various categories, he is active and recognized internationally, collaborating with people in the fields of music, fashion and product design, as well as producing public art in team projects. This exhibition will explore the origins and boundaries of NAWA's synthetic interface; the interface which connects the senses and the material, our "skin", while simultaneously pondering approaches to future work.

Harvard Art Museum exhibition 'Re-View' is on Long-term View Posted: 12 Jan 2012 08:01 PM PST   Cambridge, MA - Works from the Harvard Art Museum's three museums—the Fogg Museum, Busch-Reisinger Museum, and Arthur M. Sackler Museum—will be shown together for the first time in this new exhibition. The Harvard Art Museum holds one of the country's preeminent art collections and Re-View reflects the diversity and richness of these holdings, including major and familiar works integral to the Museum's core mission of teaching and research.

MOLAA opens "Of Rage and Redemption ~ The Art of Oswaldo Guayasamín" Posted: 12 Jan 2012 08:00 PM PST LONG BEACH, CA - The Museum of Latin American Art (MOLAA) presents today Of Rage and Redemption: The Art of Oswaldo Guayasamín. The first exhibit of its kind in the United States in more than fifty years, Of Rage and Redemption: The Art of Oswaldo Guayasamín covers each of Guayasamín's major periods-his early paintings that reflect the plight of the indigenous peoples of the Andes, his more mature work that addresses human suffering in the context of war and injustice, and, finally, the paintings of his last period that embody the art-ist's hopeful affirmation of life and love. No less valid today than when he was commenting on the atrocities of World War II or the Spanish Civil War, Guayasamín's art is, in its whole, often made difficult by its violent honesty. On view 19 April through 16 August, 2009. The artist himself once observed: "My painting is to hurt, to scratch and hit inside people's hearts. To show what Man does against Man." Guayasamín's work evokes strong emo-tional responses to its subjects-the horrors of war, the injustices of inequality, discrimination, and oppression-and reflects his life-long commitment to peace and social justice. The paintings, prints, and drawings chosen for this exhibition speak to issues of war and peace, social conflict, and human compassion; they relate not only to specific realities of Latin American history, but also to political and ethical problems that the world faces today. Guayasamín has been honored with some of the top awards and prizes that any artist can receive. He won prizes at biennials in Barcelona, São Paulo, and Mexico, received the French Legion of Honor, and was recognized by UNESCO with its José Martí Prize. His art has been shown in museums across the Americas and Europe, including the Museo de Bellas Artes in Mexico, the Museo de Arte Contemporáneo de Madrid, the Musée d'Art Moderne de la Ville de Paris, the Petit Palais in Paris, the Museo de Arte Moderno de México, The Hermitage in St. Petersburg, the Altes Museum in Ber­lin, and the Musée du Luxembourg in Paris. Guayasamín, born on July 6, 1919, was the eldest of ten chil-dren in a family of modest means. His father was a taxi driver, while his mother supported the family with a small grocery store, and, contrary to his father-who opposed his son's decision to pursue a career as an artist-she constantly encouraged Guayasamín to paint. In 1932, at the age of twelve, Guayasamín was admitted to Quito's famed Escuela de Bellas Artes (School of Fine Arts), where he could pursue his passion for drawing and painting. Guayasamín's deep-rooted connection with his mother is evident in works such as Mother and Child #1, and a later work of the same title from 1989, both of which are featured in this exhibition. In 1932, Ecuador experienced a bloody four-day civil war, whose gore and casualties (one of his closest friends among them) had a profound impact on Guayasamín. We see this in many of his early paintings, such as Dead Children #11 (1942), a striking protest against violence that will remain a constant theme in his work. After graduation from the school and a brief period during which he studied architecture, Guayasamín returned his attention to pur­suing a full-time career in art, leading to a major exhibit in the city of Guayaquil. It was, in fact, this exhibition in 1942 that caught the attention of Nelson Rockefeller, the head of the U.S. State Depart­ment Office of Inter-American Affairs, who was visiting Ecuador. Rockefeller bought five paintings from this exhibition and arranged for Guayasamín to receive a State Department grant to tour the United States with his art for seven months. These travels enabled the young artist to study a wide range of work at the leading art museums of North America. Guayasamín's work was also included in "Latin American Contemporary Art," an exhibition at the Museum of Modern Art, New York, during this period, alongside works by other increasingly influential Latin American artists such as Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros. Following his tour of the United States, Guayasamín made a pro­longed visit in 1943 to Mexico, where he met the muralist José Cle­mente Orozco and kindled a lifelong friendship with the Chilean poet Pablo Neruda. Guayasamín's connection with the Mexican muralists is clearly evident, particularly in his period of work known as Hua­cayñán, or Path of Tears. Composed of a mural and 103 paintings executed between 1946 and 1952, this series of works focuses on the main ethnic groups of Latin America: the black, the Indian, the mestizo (the offspring of Spanish and Indian parents) and the mulato (the offspring of white and black parents). The Bull and the Con­dor (1957), a later work added to this period, is a good example of Guayasamín's interest in depicting conflicts that to this day are inher­ent in a society where race and ethnic origin play a prominent role. This large painting captures a dramatic moment in a festive Andean ritual. For Guayasamín, it represents the struggle between the indig­enous peoples (the condor) and their conquerors (the bull), but, in its depiction of the condor as prevailing, the long history of colonialism is reversed. Guayasamín also became the artist of preference of celebrated figures-whose portraits he painted-such as Pablo Neruda (1952), Gabriela Mistral (1956), Fidel Castro (1961, 1981, 1985, 1996), Gabriel García Márquez (1984), François Mitterrand (1984), and King Juan Carlos of Spain (1985). Guayasamín painted more than 800 portraits throughout his career. In this exhibition, besides two early sketches of himself (1942 and 1943) and his striking Self Portrait (1950), we find portrayals of the renowned Spanish guitarist Paco de Lucía (1994) and Nobel Peace Laureate and indigenous leader Rigoberta Menchú (1996). With his growing recognition, Guayasamín also began to worry about protecting his artistic legacy. Toward this end, he created the Fundación Guayasamín between 1975 and 1977. He gave the foun-dation the land for a museum and numerous paintings; over the years, he continued transferring his paintings and sculptures, as well as his archaeological and colonial art collections, to the foundation. Today, the foundation plays a major role in Ecuador's cultural life as a museum, art gallery, and comprehensive cultural center. By the mid 1980s, Guayasamín had entered La Ternura, or Ten-derness, his term for what became the final period in his work. Paintings from those years are characterized by a return to themes of maternal love and a form of humanistic hope that dwells less on the horrors of mankind's past that dominated much of his earlier work. Here we see brightly colored paintings of intertwined faces such as The Lovers and Mother and Child, both from 1989 and included in the exhibition. This period also marks Guayasamín's creation of what would become his final contribution to the art and culture of Latin America, the Capilla del Hombre (Chapel of Man), a secular chapel dedicated to the unity of Latin America and the dignity of all human-ity, that he started but never lived to see completed, as he died, in Baltimore, on March 10, 1999. Guayasamín opened the door to mankind's darkest heart, to mankind's bleakest tragedies and heart-rending moments of loss; throughout his work, he explored the disasters of war and the scan­dals of injustice; in the end, his art asserted the redemptive nature of solidarity and love. Guayasamín's art, like the man himself, was far reaching and complex: an intricate ensemble of passion, aesthetics, politics, and the talent of a true genius. --Carlos A. Jáuregui, Edward F. Fischer, and Joseph S. Mella, From the catalogue Of Rage and Redemption: The Art of Oswaldo Guayasamín. Visit : http://www.molaa.org/

Art Knowledge News Presents "This Week In Review" Posted: 12 Jan 2012 08:00 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.

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