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• Jack Rutberg Fine Arts Hosts a Survey Exhibition ~ "Hans Burkhardt: Within & Beyond the Mainstream"
• The Lasar Segall Museum in Sao Paulo Shows the Artist's Paintings
• The Camera Art of Ori Gersht at the Hirshhorn Museum and Sculpture Garden
• Woman Scribe will Write Out the Entire Text of the Torah The Contemporary Jewish Museum
• The Museum of Fine Arts of Lyon Pays Tribute to Jean Martin
• Baroque Prints by Jacques Callot at the Museum of Art in Rhode Island
• Tehran Museum Collection
• Ryan McClelland at Forster Gallery
• Pinacotheque de Paris to exhibit The Dutch Golden Age: From Rembrandt to Vermeer
• Sotheby's Zurich Sale to highlight Augusto Giacometti, Cuno Amiet, and Ernest Bieler
• Getty Center Showcases A Pivotal Photographic Works Exhibition
• The Walker Art Gallery features Paintings & Sculpture by John Kirby
• Philadelphia Museum of Art opens Major Exhibition "Cézanne & Beyond"
• Tate Movie Project "The Itch of the Golden Nit" Seen Across the UK
• Tehran Museum of Contemporary Arts To Celebrate 'Nowruz' With Exhibition Of Iranian Art
• Famous Artists Sue Famous Auction Houses Over Royalties Law
• The Martin Gropius Bau Hosts the Only European Showing of Pacific Standard Time
• Art Knowledge News Presents "This Week In Review"

Jack Rutberg Fine Arts Hosts a Survey Exhibition ~ "Hans Burkhardt: Within & Beyond the Mainstream" Posted: 09 May 2012 10:22 PM PDT Los Angeles, CA - Hans Burkhardt's (1904–1994) expansive career and influence in L.A. are the focus of a survey exhibition of paintings and drawings entitled "Hans Burkhardt: Within & Beyond the Mainstream" at Jack Rutberg Fine Arts from September 24th through December 24th. The exhibition, part of the October 1 inauguration of the Getty's initiative 'Pacific Standard Time: Art in L.A. 1945 – 1980", opens with a preview reception on Saturday, September 24th. Arriving in L.A. in 1937, following his association with Arshile Gorky, whose studio he shared in New York from 1928-37, Burkhardt represented L.A.'s earliest and most critical link to the New York School. The exhibition will also juxtapose Burkhardt's works with contemporaneous reviews and rare archival documentation spanning more than six decades. Included in the exhibition are important paintings shown in his first solo exhibition at the Stendahl Gallery, and his first museum exhibition at the Los Angeles County Museum in 1945, which the L.A. Times called an exhibition of "…dynamic power…a striking transfer of feeling into form." Following that museum exhibition, Burkhardt was both critically celebrated and "censored," as his works proved controversial in the years leading up to the McCarthy Era, when modern artists in L.A. were seen as Communist threats. Particularly controversial were his anti-war paintings and Hollywood studio strike paintings, including his "indictment" of then, Screen Actor Guild head, Ronald Reagan. "Less incendiary" subjects also proved controversial, such as his Crucifixion Series – condemned for his use of red color and abstract style, regarded as subversive; examples of which are included in the exhibition. Works of the 1950s onward were hugely influential to young artists emerging onto the scene. Artists ranging from Ed Kienholz, John Altoon and Karl Benjamin to Tony Berlant, Michael C. McMillen etc, were impacted by Burkhardt's independent and provocative works, as he received extensive critical recognition. In the 1950s alone, Burkhardt had an impressive 23 solo exhibitions including a 10 year Retrospective at the Pasadena Art Museum, as well as museums in the U.S., Mexico and the Sao Paulo Biennale. In the 1960s Burkhardt was the subject of museum retrospectives at San Diego Art Institute and San Diego Museum of Art and afforded a 30 year retrospective exhibition at the Santa Barbara Museum, San Francisco's Palace of the Legion of Honor and Los Angeles Municipal Art Gallery. Also shown in the Rutberg exhibition will be Burkhardt's profound anti-war paintings of the 1960s and 70s, reacting to the Vietnam War, prompting art historian Donald Kuspit to cite: "Burkhardt is the master - indeed the inventor of the Abstract Memento Mori." Throughout these years, Burkhardt taught at numerous schools; among them: USC, UCLA, Choinard, Otis, and CSUN where his influence was profound. The reactive and prescient nature of Burkhardt's work is evident in the exhibition, through the earliest anti-war subjects dating as early as 1938 through his final painting included in this exhibition dating 1993. His Graffiti Series of the early 1980s shows Burkhardt to have been among the earliest responses to graffiti art. In 1992 Hans Burkhardt received the American Academy's Lifetime Achievement Award. Hans Burkhardt was born in 1904 in Basel, Switzerland. He arrived in New York in 1924. When he arrived in Los Angeles in 1937, he represented the most critical link between L.A. and the New York School, as he was part of its genesis. Burkhardt lived in Los Angeles until his death in 1994. Jack Rutberg Fine Arts in Los Angeles was established in 1979 as a gallery dealing in Modern and Contemporary art. In that capacity they have acted as dealer, curator, and consultant for more than 25 years, representing a wide range of important American and European artists. Jack Rutberg hismelf has lectured extensively on a wide range of subjects related to Modern and Contemporary art in colleges and universities, including the University of California Los Angeles, California State University Northridge, Utah State University, Pierce College, Fullerton College, Orange Coast College, and Rancho Santiago College. Credited with bringing significant artists to broader public attention, Mr. Rutberg has been particularly responsible for the formidable attention afforded to the Irish contemporary painter Patrick Graham and Swiss born American painter Hans Burkhardt (1904-1994). Both artists are represented internationally by Jack Rutberg Fine Arts. Mr. Rutberg is the exclusive agent for The Hans G. & Thordis W. Burkhardt Foundation. Regarded as an authority on their works, Mr. Rutberg has on frequent occasions lectured on both artists at numerous museums. Mr. Rutberg has published extensively on the works of Hans Burkhardt. Among the many catalogues published to date on Burkhardt, Mr. Rutberg has written the catalogue raisonné, Hans Burkhardt: The War Paintings, published by Santa Susana Press, California State University Northridge. Documented are Burkhardt's paintings created in response to war, spanning the Spanish Civil War through the mid 1980's. Other publications include Hans Burkhardt: Desert Storms, Burkhardt's response to the Iraq Kuwait conflict, published in 1991, and Black Rain documenting Burkhardt's final works dating from 1993 and most recently, Hans Burkhardt: Paintings of the 1960s. In more than 29 years at its La Brea Avenue location, the Rutberg Gallery has featured exhibitions by gallery represented artists Jordi Alcaraz, Hans Burkhardt, Patrick Graham, Reuben Nakian, Ruth Weisberg, Jerome Witkin and Francisco Zuniga in addition to a wide range of solo exhibitions of major international artists: Alexander Calder, Oskar Fischinger, Sam Francis, Arshile Gorky, George Herms, Hundertwasser, Käthe Kollwitz, Georges Rouault, Edward Ruscha, Antoni Tapies, Max Weber and others. The gallery has been particularly noteworthy for its emphasis on education, presenting numerous lectures and panel discussions. Through that endeavor, Jack Rutberg Fine Arts is an important resource for established and beginning collectors, art historians, and museums internationally. Visit the gallery's website at ... http://www.jackrutbergfinearts.com/

The Lasar Segall Museum in Sao Paulo Shows the Artist's Paintings Posted: 09 May 2012 10:20 PM PDT Sao Paulo, Brazil.- The Lasar Segall Museum in Sao Paulo presents a selection of paintings by Lasar Segall until June 26th. The exhibition features 20 paintings, many of which are not usually on show. The organization of this exhibition is not only chronological, but also critical, because it shows the great changes occurring in the artistic work of Lasar Segall, from his early work to the last production of the 1950's.

The Camera Art of Ori Gersht at the Hirshhorn Museum and Sculpture Garden Posted: 09 May 2012 10:19 PM PDT   WASHINGTON, DC.- Born in Tel-Aviv, Israel in 1967, Ori Gersht now lives and works in London. He studied photography at University of Westminster, and the Royal College of Art, London and has since become one of the most significant photographers and film-makers of his generation. Gersht observes the boundaries between man and nature, focusing his lens on the liminal territory where the two meet and often clash. On exhibit at The Hirshhorn Museum 22 December through 12 April, 2009.

Woman Scribe will Write Out the Entire Text of the Torah The Contemporary Jewish Museum Posted: 09 May 2012 10:17 PM PDT SAN FRANCISCO, CA.- It begins with parchment, ink, a hand-sharpened feather quill, and a scribe who states out loud the intention to write a Torah scroll, the most holy and important object in Judaism. One year, 62 sheets, 248 columns, 10,416 lines, and finally 304,805 letters later, it is written. Starting this October, the Contemporary Jewish Museum presents As It Is Written: Project 304,805, an exhibition centered around a soferet (a professionally trained female scribe) who while on public view will write out the entire text of the Torah over the course of a full year. She will be one of the few known women to complete an entire Torah scroll, an accomplishment traditionally exclusive to men.

The Museum of Fine Arts of Lyon Pays Tribute to Jean Martin Posted: 09 May 2012 10:14 PM PDT Lyon, France.- The Museum of Fine Arts of Lyon presents " Jean Martin (1911-1996): The Expressive Years", on view at the museum through June 4th. In 2009, the museum received a donation of Martin's painting "The Blind" (1937) and a set of drawings from the years 1930-1940. Based around that donation, this new exhibition will explore the artist path of one of the major artistic figures of the inter-war period. Between 1945 and 1947, Martin presented annually at the Katia Granoff gallery in Paris, where he was based from 1946. He also produced many sets and costumes for theater productions, especially for the Hermentier Raymond, Jean-Marie Serreau and Louis Jouvet companies. In 1952, with his wife, he founded the Art Gallery & Christian Tradition in rue Saint-Sulpice, participating actively in the revival of sacred art. Jean Martin was born in the industrial district of Vaise, Lyon in 1911. A self-taught artist, he was introduced to painting by Lucien Féchant , a member of the 'Southeast' school, and befriended Jean Couty and painter Salendre George , with whom he exhibited from 1935 at the gallery of designer Andre Sornay St. Paul Chenavard, near the Museum of Fine Arts. In 1933, he participated in the Salon d'Automne where his works were praised by the poet, critic and gallery owner Marcel Michaud. During the 1930s, Martin developed a social realist painting style influenced by the German painters of the sixteenth century, particularly Matthias Grünewald , as evidenced by "The Crucified" (1937). Another influence on Martin was that of contemporary German Expressionism in its most diverse forms. Thus, "The Blind" refers to the critical political ballet "The Green Table" (1932), created by the German choreographer Kurt Jooss, who played at the Lyon Célestins theater in May 1937 or, to the uneasy atmosphere of the film Nosferatu by Friedrich Wilhelm Murnau (1922). Martin was equally attentive to contemporary Flemish expressionism and in particular the Laethem-Saint-Martin group, which he discovered through an exhibition at the Museum of Grenoble in 1927. In 1933, his meeting with Marcel Michaud proved decisive and marked the beginning of a deep friendship. During World War II, Martin continued to exhibit widely, at the Lyon Folklore Gallery and the Marseille Jouvène gallery, then owned by the Parisian dealer Jacques Tedesco, receiving critical acclaim for his works. In 1940, he worked alongside editor Marc Barbezat to create the journal 'The crossbow', for which he designed the front cover and in which would be published early writings of Jean Genet, Jean Wahl and René Tavernier. In 1943, Barbezat created Crossbow Editions, the first publication being a collection of drawings by Jean Martin. The Museum of Fine Arts of Lyon ((French) Musée des beaux-arts de Lyon) is a municipal museum of fine arts in the French city of Lyon. It is housed near place des Terreaux in a former Benedictine convent of the 17th and 18th centuries. It was restored between 1988 and 1998, and despite these important restoration works it remained open to visitors. Its collections range from ancient Egypt antiquities to the Modern art period and make the museum one of the most important in Europe. It hosts important exhibitions of art : recently there have been exhibitions of works by Georges Braque and Henri Laurens (second half of 2005), then one on the work of Théodore Géricault (April to July 2006). The Museum of Fine Arts collection is rich in works of art of all kinds dating from all periods. When we talk about the Museum of Fine Arts in Lyon, the first things that come ahead of all art lovers is probably the great diversity of its collection of paintings. Among the famous painters who are exposed are Nicolas Poussin , Charles Le Brun, Delacroix, Géricault, Edgar Degas , Paul Gauguin , Vincent Van Gogh , Rembrandt , Peter Paul Rubens , Fernand Leger , Pablo Picasso , Marc Chagall , Jean Dubuffet and many more. The museum also contains over six hundred pieces of sculpture, dating from the Middle Ages through the early twentieth century. Visit the museum's website at ... http://www.mba-lyon.fr

Baroque Prints by Jacques Callot at the Museum of Art in Rhode Island Posted: 09 May 2012 10:12 PM PDT Providence, RI.- Highlights from the Museum of Art Rhode Island School of Design extensive and superb collection of prints by the French artist Jacques Callot (1592-1635) are on view from June 17th 2011 through January 22nd 2012 in the exhibition "Jacques Callot and the Baroque Print". The exhibition explores the themes of Callot's art alongside his technical innovations in the medium of etching. "This is the first time in more than 30 years that the RISD Museum's outstanding collection of Callot's work has been on view," says the Museum's Interim Director Ann Woolsey. "Visitors will be fascinated by Callot's theatrical presentation, his mastery of intricate detail, and his serious as well as humorous subjects."

Tehran Museum Collection Posted: 09 May 2012 10:11 PM PDT THERAN.-  The Tehran Museum of Contemporary Arts is one of the most important museums of Asian modern arts. The museum was inaugurated in 1978 in Tehran and after 30 years, this museum's treasures are being publicly exhibited for the second time. Four years ago, in the period of Khatami's presidency in Iran and in the last days of the so called "reforms period", the treasures were exhibited on the walls of 9 galleries for the first time. The treasures of Tehran Museum of Contemporary Arts is one of the richest eastern modern treasures of the world which can be considered as the most important Asian museum of the world's contemporary arts.

Ryan McClelland at Forster Gallery Posted: 09 May 2012 10:08 PM PDT   LONDON - Contemporary excesses are laid bare in Ryan McClelland's sick visual taxidermy of modern life. McClelland presents everyday scenes of low-culture in his cool, stark images of the Zeitgeist. On exhibit at Forster Gallery 25 April – 24 May 2008. Private View 24 April, 6-8.30pm.

Pinacotheque de Paris to exhibit The Dutch Golden Age: From Rembrandt to Vermeer Posted: 09 May 2012 10:06 PM PDT PARIS.- For its third season, the Pinacothèque de Paris, in association with the Rijksmuseum in Amsterdam, will present one of the most interesting periods in art history: the Dutch 17th century. That period produced some of the most famous artists of all time, and above all the one whose name has remained one of the leading references for every artist for nearly four centuries: Rembrandt. The exhibition will put on an outstanding ensemble of over one hundred and thirty pieces, including about sixty paintings, thirty graphic works (drawings and water-colors) ten etchings as well as ten objects to give an extremely visual representation of that period (carved ivories, tapestries, china, wooden miniatures, silverware, glassworks and furnishings). By means of that period's works of art, it is easier to grasp how a young republic (1581) was able, thanks to its commercial successes and its tolerant approach to thinking, to become one of the most powerful commercial places in Europe at a time when other European nations were entering an endemic recession and were religiously intolerant: the new-born republic appeared as a promised land where everyone could live in peace and harmony. It was above all by means of religious forbearance that the Republic of the United Provinces (ancestor of the Netherlands) was to attract a great number of people who found there the possibility of working, thinking and of practicing their religion whereas they were persecuted for their beliefs in their countries of origin.Writers, and thinkers flocked from all over Europe to teach, publish and develop their knowledge.That part of the world thus became the centre of the world as regards knowledge. Maritime commercial power was to be rapidly associated with that powerhouse of learning. The commercial strength grew thanks to the speed of the ships that traded in the Baltic Sea. Amsterdam soon became a hegemonic commercial powerhouse far ahead of every other European seat of power. Thus Amsterdam became the leading economic place for industry, commerce and art It was thus quite naturally that the young republic also became a centre wherein culture in its broadest meaning, as much in the visual arts as in letters, was able to flourish. One of the first characteristics of the region was the growth of a new kind of patronage. It was no longer confined to the wealthy aristocratic families, as elsewhere throughout Europe, but also included newly rich businessmen, based on the recently developed maritime commerce. Born into patrician families, that middle class had been the main supporters of works of art. Later on, all those who made money commissioned works of art in their turn, thus creating a sort of competitiveness between the trade guilds and the patrician families, each one feeling the need to exhibit their social success and their economic ascension, as well as their evolving status. And so the region became the main cultural focus wherein artisans and artist's workshops could flourish. Art and culture made up a new form of economic and industrial prosperity.A form of one-upmanship in those realms was one of its consequences. Every year, new painters sprang up, bringing with them new themes or unusual subjects.Genre painting was born at that time, the description of landscapes was approached in novel ways. A generation of unprecedented wealth in the history of art sprang up, that was to be found again in Paris only at the end of the 19th century and the start of the 20th century. Some painters also acquired a specialty in very precise fields : still-lives or vanities, with Willem Claesz Heda and Pieter Claesz ; landscapes with Jan van Goyen, Jacob van Ruysdael or else Meindert Hobbema. Jan Steen or Adriaen van Ostade illustrated satires of village life, whereas Gerard Ter Borch and Pieter de Hooch gave themselves up to the comedy of manners and to the genre scenes, which included peasant festivities. Emanuel de Witte and Pieter Jansz Saenredam specialized in painting monuments,Thomas de Keyser and Frans Hals were portrait specialists and Paulus Potter specialized in animal portraits. We have to set apart individuals such as Vermeer or Rembrandt who are finally not particularly representative of that period. However, they have become its symbols. Unlike other artists, they were interested in several different fields and refused any kind of specialization. One and the other have remained the absolute models, beyond time and period, regarded for four centuries as the leading painters in the history of art. This exhibition wants above all to put forward Rembrandt's singular role as the most influential artist of his time. Rembrandt enjoyed a notoriety that gave him a very particular status and made of him the model for that period thanks to his tolerance, his modernity, his poetical realism and his emotional power, chiefly translated by his use of light. A master of chiaroscuro, Rembrandt conferred upon his models,whether simple portraits or religious scenes, an unequalled dimension, a density, a human beauty that made of him the fore-runner of modernity, an analyst of souls and consciousness three centuries ahead of his contemporaries. Visit the Pinacothèque de Paris at : http://www.pinacotheque.com/

Sotheby's Zurich Sale to highlight Augusto Giacometti, Cuno Amiet, and Ernest Bieler Posted: 09 May 2012 10:01 PM PDT ZURICH - Sotheby's spring sale of Swiss Art will take place in Zurich, at 83 Talstrasse, on Monday 8 June 2009, at 6 p.m. For this auction, Urs Lanter, specialist in charge of the sale, and his team have gathered together 117 works covering 250 years of Swiss art history. While the sale does include classical artists such as Augusto Giacometti, Cuno Amiet, Albert Anker, Ernest Biéler, Paul Camenisch or Ferdinand Hodler, this spring auction also highlights contemporary artists such as Silvia Gertsch, Xerxes Arch, Niki de Saint-Phalle, Luciano Castelli or Rémy Zaugg. All of the works in the auction will be on public view in Zurich, at 83 Talstrasse, from Friday 5 June to Sunday 7 June 2009 between 10 a.m. and 6 p.m.

Getty Center Showcases A Pivotal Photographic Works Exhibition Posted: 09 May 2012 10:00 PM PDT   Los Angeles, CA - In Focus: The Landscape, at the J. Paul Getty Museum, the Getty Center, August 26, 2008–January 11, 2009, offers an overview of the history of landscape photography from the dawn of the medium to the 20th century. Drawn exclusively from the Getty Museum's collection, the exhibition brings together the work of more than 25 innovative photographers, all of whom have left their distinctive mark on the history of the genre, including Gustave Le Gray (French, 1820–1884), Alfred Stieglitz (American, 1864–1946), and Robert Adams (American, born 1937).

The Walker Art Gallery features Paintings & Sculpture by John Kirby Posted: 09 May 2012 09:58 PM PDT LIVERPOOL, UK - From 13 January until 15 April 2012 the Walker Art Gallery hosts the first retrospective of work by the Liverpool born artist John Kirby. "The Living and the Dead: Paintings and sculpture by John Kirby" explores the themes of gender, religion, sexuality and race and Kirby's complex relationship with each of them. Comprising over 50 paintings and 10 sculptures The Living and the Dead: Paintings and sculpture by John Kirby brings together a group of work spanning over three decades, from early paintings made at the Royal College of Art in the 1980s to more recent works. Highlights in the exhibition include Lost Boys (1991), an image of fighting altar boys that references Kirby's Catholic upbringing and is one of the artist's favorite paintings and White Wedding, (2006), depicting a civil partnership. The sculptures in the exhibition are a more recent development in his artistic practice but also a continuation of it, with his ceramic sculptures of heads and figures bearing a striking similarity to the figures found in his paintings.

Philadelphia Museum of Art opens Major Exhibition "Cézanne & Beyond" Posted: 09 May 2012 09:55 PM PDT PHILADELPHIA, PA - In 1907, the French painter Paul Cézanne's posthumous retrospective astonished younger artists, accelerating the experimentation of European modernism. Cézanne (1839-1906) became for Henri Matisse "a benevolent god of painting," and for Pablo Picasso "my one and only master." Cézanne's inclusion in the Armory Show in New York in 1913 also offered American artists a new direction. Cézanne & Beyond (February 26 through May 17, 2009) will examine the seismic shift provoked by this pivotal figure, examining him as form-giver, catalyst, and touchstone for artists who followed. It will survey the development of an artistic vision that anticipated Cubism and fueled a succession of artistic movements, and will juxtapose Cézanne's achievement with works by many who were inspired directly by him, showing a fluid interchange of form and ideas. It will place his work in context with more recent artists like Ellsworth Kelly, Jasper Johns, and Brice Marden, who in quite different ways came to terms with the master of Aix-en-Provence. His profound impact on successive generations endures to the present day. The exhibition will present more than 150 works, including a large group of paintings, watercolors and drawings by Cézanne, along with those of 18 later artists. The artists included, in chronological order, are Henri Matisse, Piet Mondrian, Marsden Hartley, Fernand Léger, Pablo Picasso, Georges Braque, Charles Demuth, Max Beckmann, Liubov Popova, Giorgio Morandi, Alberto Giacometti, Arshile Gorky, Ellsworth Kelly, Jasper Johns, Brice Marden, and Jeff Wall, Sherrie Levine, and Francis Alÿs. All of the artists in the exhibition have acknowledged Cézanne's profound impact on their work. When Henri Matisse (1869-1954) donated his Cézanne painting of Three Bathers to the Petit Palais in 1936, he wrote: "in the 37 years I have owned this canvas, I have come to know it quite well, though not entirely, I hope; it has sustained me morally in the critical moments of my venture as an artist; I have drawn from it my faith and my perseverance…" Picasso (1881-1973) in his long and varied artistic career often used Cézanne as a lever in his critical shifts, from his Self-Portrait with Palette, through to the lyricism of La Rêve, and onto his later examination of bathing subjects both as painting and sculpture. Braque, who with Picasso used Cézanne as his principle touchstone early on, spent time at several of Cézanne's painting locations. For him "it was more than an influence, it was an initiation." In the United States, as modernism gathered force, members of the Stieglitz circle, especially Charles Demuth (1883-1935) and Marsden Hartley (1877-1943), became fascinated with Cézanne. Demuth's still life compositions in particular show a deep connection to Cézanne's bold late watercolors. In his autobiography, Hartley noted that Cézanne offered "ideas that were to make the world of painting over again and give modernism its next powerful start," adding that "there is no modern picture that has not somehow or other been built upon these new principles." Arshile Gorky (1904-1948) studied Cézanne closely, and the exhibition reflects his keen engagement with Cézanne's style, especially in the mid to late-1920s. Gorky affectionately referred to the French artist as "Papa Cézanne" and even in his later abstractions there is a profound sense of the lesson of Cézanne. Later, looking back on his career, Max Beckmann said: "my greatest love already in 1903 was Cézanne." He "revere[d] Cézanne as a genius" throughout his life, looking particularly at the dark, emotional early works and the heavy black outlining of some of Cézanne's figures. In Italy, Giorgio Morandi (1890-1964) first saw Cézanne images in books in 1909 and then in person in exhibitions in Venice and Rome. His path as an artist of both still lifes and landscapes was set. Alberto Giacometti (1901-1966) was introduced to Cézanne by his painter father, but had to wait until the Venice Biennale of 1920 to see his work face-to-face. For him the attraction was the sense of process rather than arrival. Cézanne is firmly linked to an existential sense of doubt and anxiety that permeates Giacometti's explorations of objects and people in space through two or three dimensions. Piet Mondrian (1872-1944), who was drawn especially to the formal structure achieved by Cézanne, brings an analysis of Cézanne to an abstract conclusion, as reflected in his own words "... that beauty in art is created not by the objects of representation, but by the relationships of line and color." "Cézanne taught me the love of form and volumes," Fernand Léger (1881-1955) once remarked, and "the power of Cézanne was such that, to find myself, I had to go to the limits of abstraction." In Russia, Liubov Popova (1889-1924) discovered Cézanne in the Moscow collections of Morosov and Shchukin and drew from him the pleasures of geometric fragmentation, which swiftly moved to pure abstraction. The exhibition places substantial emphasis on artists of the present day, including long established masters such as Kelly, Johns, Marden, and Jeff Wall (b.1946), and younger artists responding to the idea of the show such as Francis Alÿs and Sherrie Levine. Wall's magnificent light box photographs show that Cézanne's influence transcends the medium of painting. While working in an entirely different medium, the photographer Wall is a life long admirer of Cézanne either through direct quotations or more often through implied transgressive references. "Our purpose is first to display the continuing vitality of Cézanne as an artistic resource five generations on," added Rishel. "Of equal importance in our endeavor is to illustrate the unfolding reality that a different Cézanne has evolved for each generation, defined by what artists have made of him and passed along to those who came after. It is a continuing story."

Tate Movie Project "The Itch of the Golden Nit" Seen Across the UK Posted: 09 May 2012 09:51 PM PDT LONDON.- The Tate Movie Project's The Itch of the Golden Nit premiered Wednesday 29 June in Leicester Square. The film is the first of its kind – an animation made by and for children. Thousands of drawings, sound effects and story ideas by children from across the UK make up the action-packed, half hour animation as part of the Cultural Olympiad. David Walliams, Miranda Hart, Catherine Tate and Rik Mayall lead the stellar cast providing the voices for the children's characters from Evil Stella to Captain Iron Ears. Funded by Legacy Trust UK and BP, with additional support and resources from the BBC, the film has been brought together by Tate and the creative magic of Aardman Animations.The film recently won Best Content Partnership Award at the Broadcast Digital Awards.

Tehran Museum of Contemporary Arts To Celebrate 'Nowruz' With Exhibition Of Iranian Art Posted: 09 May 2012 09:48 PM PDT Tehran, Iran (Press News).- Tehran Museum of Contemporary Arts is planning to hold an exhibition of works by master Iranian artists during the Persian New Year (Nowruz) holidays. The event will display works from the museum's Iranian treasure on the theme of 'Nowruz, Spring and Nature,' Fars News Agency reported. The exhibition will kick off on March 22 as part of the programs for the International Nowruz Celebrations in Iran, announced deputy director of Tehran's Museum of Contemporary Arts Ehsan Aqaei. The exhibition will showcase works by veteran artists such as Sohrab Sepehri, Faramarz Pilaram, Reza Shahabi, Ali-Mohammad Heidarian, Mehdi Vishkaei, Ahmad Esfandiari, Davoud Emdadian, Yaqoub Emdadian, Reza Mafi, Mohammad Ehsaei, Abolqasem Saeedi, Nasrollah Afjei, Jalil Rasouli and Monir Shahroudy Farmanfarmayan.

Famous Artists Sue Famous Auction Houses Over Royalties Law Posted: 09 May 2012 09:46 PM PDT Los Angeles, CA - Famed artist New York Chuck Close, the estate of sculptor Robert Graham and other artists have launched legal action against several top auction houses, alleging they violated a California law requiring royalty payments for the sale of their artwork. Federal lawsuits filed against Sotheby's, Christie's and eBay on Tuesday are seeking class-action status, in an effort to open up the action to other artists as well, .which could total hundreds of thousands of dollars given current art prices.The lawsuits allege that the auctioneers have violated the California Resale Royalty Act, a 1977 law enacted to give visual artists a financial cut from the sale of artworks they had created but no longer own. They are seeking unspecified damages.

The Martin Gropius Bau Hosts the Only European Showing of Pacific Standard Time Posted: 09 May 2012 09:44 PM PDT Berlin.- The Martin Gropius Bau is proud to present "Pacific Standard Time: Art in Los Angeles 1950-1980", on view from March 15th through June 10th. The exhibition project "Pacific Standard Time. Art in Los Angeles 1950-1980" traces the development of the Los Angeles art scene during the post-war period, when the city on the Pacific hosted an impressively varied and versatile art scene, thus proving that it was more than Hollywood and a sprawling metropolis in the land of sunshine and palm trees. "Pacific Standard Time" features internationally esteemed artists such as John Baldessari, David Hockney, Edward Kienholz or Ed Ruscha as well as protagonists that are yet to be discovered like the abstract painters Helen Lundeberg and Karl Benjamin, the ceramicists Ken Price and John Mason, and sculptors such as De Wain Valentine. The mega show – over 60 institutions and galleries in Los Angeles were involved – is taking the two main core exhibitions of the Getty Museum and the Getty Research Institute to Europe. The sole European venue is the Martin-Gropius-Bau in Berlin. The section of the exhibition that was to be seen in Los Angeles' Getty Museum under the title of "Crosscurrents in L.A. – Painting and Sculpture, 1950-1970", presents painting and sculpture. In the second part that was to be seen in Los Angeles under the title of "Greetings from L.A. – Artists and Publics, 1950-1980", posters, artists' catalogues, postcards, invitation cards and other memorabilia are shown which offer a deeper insight into the networks of the Los Angeles art scene at that time. For Berlin the show has been supplemented to include photographs by Julius Shulman, whose architectural shots defined the image of the Californian lifestyle in the 1950s. His incomparable sensibility and intuitive feel for composition and the 'critical moment' established him as a master of his craft. The first part of the Berlin show brings together more than 70 works by over 40 artists and traces the rise of the Southern Californian art scene between 1950 and 1980. The list of names reads like a Who's Who of today's internationally esteemed artists, as people like John Baldessari, David Hockney, Edward Kienholz, Bruce Nauman or Ed Ruscha began their careers here.  The entrée into Pacific Standard Time begins with British artist David Hockney's iconic painting "A Bigger Splash" from the year 1967. It is one of the key pictures of the exhibition and stands for the hedonistic life under palm trees with permanent sunshine and never-ending parties. The exhibition is structured both chronologically and thematically, comprising six sections that reflect the entire spectrum of the art trends that sprang up simultaneously in Los Angeles. Abstract works – ceramic sculptures and paintings of bleak clarity – are to be seen in the first section. The second section shows assemblage sculptures and collages by artists like George Herms, Wallace Berman and Ed Bereal, who paved the way for this artistic approach in the 1950s, and their successors, including many African-American artists. The third section documents the rise of Los Angeles to become an important art centre, while the fourth shows paintings by internationally recognized Los Angeles artists as Richard Diebenkorn, David Hockney and Ed Ruscha. It becomes clear that Southern California was one of the leading centres for large-format pop art and abstract painting in the 1960s. The fifth section examines how, at a time when painting was growing in significance on the Atlantic Coast of the USA, artists on the West Coast were beginning to extend their notions of traditional painting and sculpture, with perceptual phenomena and the material processes of artistic production coming to the fore. Here we find works that have arisen out of a collision between art and technology, such as a sculpture by DeWain Valentine, who uses industrial materials like polyester casting resin, or a canvas by Mary Corse, into which the smallest, high-grade reflecting glass microspheres have been worked. We are also introduced to a group of artists whose works show traces of their formation, such as those of Joe Goode, Allan McCollum and Ed Moses, a casting-resin work by Peter Alexander, or a fibre-glass sculpture by Bruce Nauman. Berlin is supplementing the Getty exhibition by devoting a special room to the early international perception of art in Los Angeles. It will feature the works "Berlin Red" by Sam Francis, a 6 x 12 meter painting that was commissioned by Berlin's Neue Nationalgalerie in 1969, and "Volksempfängers" ("People's Wireless") by Edward Kienholz. As a DAAD scholar Kienholz often lived in Berlin from 1973 on. In the second part of the exhibition, elaborated by the Getty Research Institute, the Martin Gropius Bau shows over 200 objects – photographs, artists' catalogues, books, posters, postcards, invitations, letters and artworks, of which many are on public view for the first time. We are given a sense of how Californian artists, through the involvement of a wide audience, brought art into contact with the general public. We also see how intensely the international networks linking groups of artists functioned. "Greetings from L.A." begins with "Making the Scene" and describes the gallery scene in Los Angeles from the 1950s to the 1970s. We are introduced to art dealers and collectors of the kind who congregated at La Cienega Boulevard – Rolf Nelson, Riko Mizuno and Betty Asher. On this gallery-lined boulevard, which crosses the Sunset Boulevard immortalized by Ed Ruscha, the reputation of Los Angeles as a city of modern and contemporary art was made. "Public Disturbances", the second section of the show, is devoted to three important exhibitions which drew fierce criticism and even led to arrests. There were also strong differences of opinion between the Los Angeles County Museum of Art (LACMA) and the Los Angeles County Board of Supervisors over the inclusion of Kienholz's Installation "Back Seat Dodge '38" (1964) in his grand retrospective of 1966. The "Private Assembly" section of the exhibition focuses on the works created by Wallace Berman, George Herms, Charles Brittin and their circle in the 1950s and 1960s. The intimacy of these objects is explained not only by the unmistakable traces of artistic authorship they bear, but also by the fact that they were only accessible to a select, non-public audience. Mainly active outside the commercial gallery scene, this group of assemblage artists concentrated their energies on private artworks, which they handed over personally or sent by mail as a token of friendship. The fourth section, "Mass Media", introduces artists who selected the mass media as a model for their own art. Ed Ruscha, Allen Ruppersberg and Chris Burden occupied themselves with popular culture and mass production as alternative means of production and distribution.  They often exhibited anonymously, thus making the identity of artist and work secondary. The California Institute of the Arts, commonly known as "CalArts", and its predecessor, the Chouinard Art Institute, were key venues for important groups of artists, as can be seen from the works of such students as Ed Ruscha and Joe Goode, and such teachers as John Baldessari, Miriam Schapiro and Judy Chicago. Other important forums were the new art faculties that came into existence at the universities and other higher education facilities in Los Angeles County. At the campuses of Irvine or San Diego in particular there was a stimulating audience for the experiments of such artists as Martha Rosler, Barbara Smith and Eleanor Antin.  The last section, "The Art of Protest", examines how social and political developments mobilized artists to display their works in the street. In the 1960s Los Angeles became the scene of the first protests led by artists against the Vietnam War. This gave rise in 1966 to the construction of a Peace Tower at the corner of La Cienega and Sunset Boulevards. In the following decade it was feminism that moved many artists to become social activists, as can be seen from the work of Suzanne Lacy and Leslie Labowitz-Starus "In Mourning and in Rage" 1977, a highly esteemed protest performed on the steps of City Hall.  "Greetings from L.A." offers a new look at art in Southern California by showing how the artists of this region changed the conventional relations between art and public and developed alternatives for a public role of art and its place in society. The last part of the Berlin exhibition shows over 50 photographs by Julius Shulman – the most important American photographer of architecture in the post-war period. For more than thirty years he photographed Modernist houses – built by Richard Neutra, Frank Lloyd Wright, or Frank O'Gehry – thus making many of them into architectural icons. The exhibition shows some of his key works. The Martin Gropius Bau (Martin Gropius building, or MGB) is considered one of Berlin's most magnificent buildings with its combined classical and Renaissance features. A short walk from Potsdamer Platz, it doubles as one of Europe's top international exhibition and event venues. With a constant flow of half a million visitors per year and over 20 large art photography and cultural exhibitions, the MGB is an established Berlin cultural institution. First inaugurated in 1881 as a Museum for the Applied Arts, the building was designed by Martin Gropius, great uncle of Walter Gropius, founder of the Bauhaus movement and Heino Schmieden. After World War I, the building housed the Museum of Pre and Early History and the East Asian Art Collection. Damaged, like most Berlin buildings during World War II and not deemed worthy of preservation, the building was almost demolished to make way for an urban motorway were it not for the intervention of Walter Gropius. Given protected heritage site status in 1966, its reconstruction and restoration only began in 1978 when it was also renamed Martin Gropius Bau. After reconstruction of the exterior by Winnetou Kampmann, it reopened in 1981 as an exhibition venue, remaining directly adjacent to the Berlin Wall until 1990 and accessible only via a rear entrance as the main doorway remained unusuable because of its proximity to the Wall. After German reunification and the collapse of the Berlin Wall, a further spate of restoration and alteration was necessary and the Federal Government commissioned architects Hilmer, Sattler and Albrecht to carry out the work. Completed in 2000, the works included air conditioning and the redesigning of the north entrance as the main entrance to the building. The Gropius Bau hosts over 20 large art, photography and cultural exhibitions every year. Among the building's special features are its vast exhibition and reception spaces. These include the 300m north vestibule with a glass dome, the 600m Atrium on the ground floor with a surrounding gallery where vast functions for up to 750 guests can be held. Visit the MGB website at : http://www.berlinerfestspiele.de

Art Knowledge News Presents "This Week In Review" Posted: 09 May 2012 09:43 PM PDT This is a new feature for the subscribers and visitors to Art Knowledge News (AKN), that will enable you to see "thumbnail descriptions" of the last ninety (90) articles and art images that we published. This will allow you to visit any article that you may have missed ; or re-visit any article or image of particular interest. Every day the article "thumbnail images" will change. For you to see the entire last ninety images just click : here . When opened that also will allow you to change the language from English to anyone of 54 other languages, by clicking your language choice on the upper left corner of our Home Page.  You can share any article we publish with the eleven (11) social websites we offer like Twitter, Flicker, Linkedin, Facebook, etc. by one click on the image shown at the end of each opened article.  Last, but not least, you can email or print any entire article by using an icon visible to the right side of an article's headline.

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