Art Knowledge News - Keeping You in Touch with the World of Art... |
- The 54th Venice Biennale & International Art Exhibition Opens June 4th
- Stanley Spencer at Laning
- Tate Modern opens Galleries Dedicated to the Arte Povera Movement and Its Legacy
- Art Basel To Solo Young Artists
- Sotheby's London Offers the Greatest Collection of 20th-Century British Art
- Cuba's Tiny Patron Saint a Potent National Symbol
- MoMA opens NY premiere of Mark Boulos video "All that is Solid melts into Air"
- Museum of Modern Art to host a Panel Discussion on Salvador Dali and New York
- The Morikami Museum Shows Japanese Prints from the Paul & Christine Meehan Collection
- New paintings by the artist Bill Jacklin at Marlborough Gallery in NYC
- Mark Wolfe Contemporary Art shows Dennis McNulty
- Book ~ "Con Art . . Why You Ought to Sell Your Damien Hirst's While You Can."
- Now in Its 243rd Year ~ The Royal Academy of Arts Opens Annual Summer Exhibition
- Chateau de Versailles Devotes a Large Scale Exhibition Dedicated to Louis XIV
- "Global Cities" a major exhibition coming to Turbine Hall at Tate Modern
- Russian-born Artist Boris Lurie, 83, Dies in Manhattan
- The Bundeskunsthalle features Andy Warhol, Jean-Michel Basquiat & Francesco Clemente
- This Week in Review in Art Knowledge News
| The 54th Venice Biennale & International Art Exhibition Opens June 4th Posted: 26 May 2012 11:16 PM PDT  Venice.- The 54th International Art Exhibition, with the title of "ILLUMInazioni (ILLUMInations)", directed by Bice Curiger and organized by la Biennale di Venezia under the presidency of Paolo Baratta, will be opening on Friday, June 3rd, and will be accessible to the public from Saturday, June 4th to November 27th in the Giardini and the Arsenale. The preview will take place on June 1st, 2nd and 3rd. Bice Curiger is an art historian, critic and curator of international exhibitions. Her curatorial activity at Kunsthaus Zurich parallels her important work in the publishing sector. In 1984, she cofounded the prestigious art magazine "Parkett", of which she is editor-in-chief. She has been publishing director of London Tate Gallery magazine "Tate etc" since 2004. The exhibition "ILLUMInazioni" will be laid out in the Central Pavilion in the Giardini and in the Arsenale, forming a single itinerary, featuring 82 artists from all over the world, including 32 young artists born after 1975, as well as 32 women artists. The director asked four participating artists to create "parapavilions", architectural and sculptural structures erected in the Giardini and the Arsenale to house the works of other artists. As usual, the Exhibition will be paralleled by 89 National Participations, a record for the Art Biennale, housed in the historical Pavilions in the Giardini, in the Arsenale, as well as in other locations around the city. The Padiglione Italia in the Arsenale, organized by the Ministry for the Cultural Heritage and Activities together with PaBAAC – General Direction for landscape, fine arts, architecture and contemporary art, will be curated by Vittorio Sgarbi.  The countries that will be participating for the first time will be Andorra, Saudi Arabia, Bangladesh, Haiti. Other countries will be participating after a long period of absence: India (1982), Congo (1968), Iraq (1990), Zimbabwe (1990), South Africa (1995), Costa Rica (1993, afterwards with IILA), Cuba (1995, afterwards with IILA). More than 40 Collateral Events will be arranged by international organizations and institutions, which will set up their exhibitions and initiatives in various locations around the city on the occasion of the Biennale. Biennale Sessions is a programme addressed at institutions, operating in the field of research and education in the domain of arts or similar. The objective is to promote the Exhibition visit among groups of at least 50 students and teachers, who will be given support to organize their trip and stay. They will also be given the possibility to organize seminars in venues we offer them free of charge. We have contacted more than 2,000 international institutions so far, who have been invited to take part in the programme. Meetings on Art stands for a number of meetings and seminars with artists, curators, philosophers and theologians scheduled in the month of June and early in autumn. As Paolo Baratta explains, the purpose of both these projects is to "confirm the role played by la Biennale di Venezia as an institution open to knowledge and to the spirit of research".  Educational activity is also planned for 2011, addressing individuals as well as groups of students belonging to schools (regardless of any level and kind), universities and academies of fine arts, professionals, companies, experts, art lovers and families alike. Such initiatives, guided by selected operators trained by la Biennale di Venezia, aim at actively involving participants, and are divided into Guided visits and Lab Activities. The 54th Exhibition opening and award ceremony will be taking place on Friday, June 3rd in the Giardini, with the presentation of the official awards by the International Jury. Visit the biennale's website at ... http://www.labiennale.org  |
| Posted: 26 May 2012 11:12 PM PDT
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| Tate Modern opens Galleries Dedicated to the Arte Povera Movement and Its Legacy Posted: 26 May 2012 11:09 PM PDT
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| Art Basel To Solo Young Artists Posted: 26 May 2012 11:04 PM PDT  |
| Sotheby's London Offers the Greatest Collection of 20th-Century British Art Posted: 26 May 2012 10:59 PM PDT  LONDON.- Sotheby's London announced the sale of the greatest collection of 20th-Century British Art ever to come to the market: The Evill/Frost Collection, a stand-alone three-part sale which launches with an Evening Sale on Wednesday 15th. This incomparable collection comprises outstanding works of the highest calibre by Modern British masters including the most important – and largest – group of paintings by Stanley Spencer ever to come to the market, in addition to works by Lucian Freud, Henry Moore, Dame Barbara Hepworth, Graham Sutherland, Edward Burra and Patrick Heron, amongst many others. The collection – which is estimated to fetch in excess of £12 million and comprises not only 20th-century British art but also furniture and porcelain. The paintings and sculptures, collected by Wilfrid Evill between 1925 and 1960 and then vigilantly maintained by Honor Frost, represent a window for the collectors of today to look into a past world, and the dispersal of this collection offers those same collectors opportunities that appear perhaps only once in a lifetime – to acquire the very best. The collection, aside from the Spencer's which have been loaned for Stanley Spencer retrospectives, has been largely hidden from view since the 1965 Wilfrid Evill Memorial exhibition at Brighton City Art Gallery . The assemblage demonstrates an unparalleled vision of the achievements and talent of some of the most accomplished British artists in the period just before and after World War II. Wilfrid Evill and Honor Frost A discreet but widely respected connoisseur, Wilfrid Evill was a collector with a remarkable understanding of contemporary art during the inter-war period and just after. His interest in and support for British artists at this time ensured the careers of some of our most celebrated artists. Evill's choices when he held a ten-year tenure as a buyer for the Contemporary Arts Society ensured the acquisition of masterpieces for museums and galleries throughout Britain. Wilfrid Evill was a London solicitor who represented several artists including Stanley Spencer, Lucian Freud and Graham Sutherland – along with a number of other notable names such as Evelyn Waugh – but he also represented trade unions. It was with Stanley Spencer that Evill struck up a particularly strong friendship and he eventually built up the most important private collection of Spencer's work. Evill's appreciation of and support for Spencer's work led him to acquire paintings directly after their exhibition, but he also pursued works that had been bought by other collectors, waiting a number of years until they appeared for sale on the market. Notable too are the large sums he paid for works he desired. In 1937 he paid £250 to secure Workmen in the House – a considerable amount to be spent on art at the time and significantly more money than he spent for on any other work in his collection for some years. For Lucian Freud's Boy on a Sofa, for example, he paid just £18 in 1944, the details of which were rigorously archived in his ledgers. No other private lender, beyond the artist himself, was more generous than he, as was seen for the 1955 Tate Gallery retrospective of Spencer. Similarly, bequests by Wilfrid Evill of important Spencer paintings to the Fitzwilliam Museum in Cambridge immediately established their holding of the artist's work as one of the most significant outside London. When Evill died in 1963 he bequeathed his estate, together with his extraordinary collection of paintings and works of art, to his long-time ward Honor Frost. An only child, Honor lost both her parents when she was small, after which Evill took over responsibility for her upbringing and education. Both keenly intelligent, they developed over the years an extremely close relationship. A fascinating woman in her own right, Honor shared Evill's love of the arts: having studied at the Central School of Art in London, and the Ruskin School of Art in Oxford, she went on to work as a designer for the Ballet Rambert and then became director of publications at the Tate Gallery, before becoming a marine archaeologist, for which she is renowned, pioneering its pursuit as a scientific discipline. Stanley Spencer, R.A. (1891-1959) The elements of narrative, personal experience and visionary presentation make Stanley Spencer one of the most important yet elusive British artists of the twentieth century, and he is represented in the Evill/Frost Collection by a group of works that offer an opportunity to rediscover and re-engage with the artist's life and vision. Executed in 1935, Workmen in the House (est. £1.5-2.5 million**) ranks among the most important works in Stanley Spencer's oeuvre. It has featured in virtually every publication on the artist, and indeed was chosen as the cover for the important 1955 Tate retrospective of the artist's work, as well as for Evill's memorial exhibition in 1965. It thus holds a position as one of the best known yet relatively little seen of Spencer's major paintings. One of his more accessible works of this period in Spencer's career, Workmen in the House refers to an incident at Chapel View, the house Spencer lived in whilst painting the Burghclere Chapel series. The everyday setting of a smoking kitchen range becomes a springboard for the artist which allows him to address a much wider range of topics, not least the element of intrusion and disturbance of the home environment that the visit of the workmen entails. As with much of Spencer's best work, one detailed memory leads to a wider remembrance, and in a letter of 1937 he outlined how this derived from the sense of excitement that he had experienced as a small boy when familiar rooms were redecorated and the furniture moved around. Not seen in public since the Wilfrid Evill Memorial Exhibition of 1965, Patrick Heron's Table with Fishes, of 1954, is estimated at £250,000-350,000. This is a superb example of Heron's early style, drawing on the example of Braque's magisterial Atelier interiors, but employing a palette and manner entirely his own. The coloring of this painting is particularly striking, the blue, red and pink creating the space of the room, whilst the dense inky blackness of the night-time world beyond the window is remarkable. The thick handling of the paint offers a wonderful counterpoint to the delicacy of Heron's line, which winds beautifully across the image, giving enough detail to inform without ever showing too much. The guttering flame of the candle is a master-stroke, animating the entire composition with just the simplest and most minimal gesture.  Spencer's Sunflower and Dog Worship, an important work of 1937, ranks among the most extreme manifestations of Spencer's notion of universal harmony. In it, Spencer envisages a heaven-like state of all-embracing love as the two central figures, a husband and wife enclosed within their garden walls with a number of dogs (emblematic in Spencer's work of the kind of untrammeled freedom mankind is seeking), enjoy a mystical state of joy, embracing and being embraced by huge sunflowers. Spencer's more complex, narrative works such as this were less readily appreciated by the wider collecting community of the time, yet Evill belonged to a small band of collectors who saw in works such as these the "real Spencer". Sir Hugh Walpole was another collector who shared Evill's appreciation of Spencer's work and he was quick to recognize the importance of this painting, purchasing it within just two hours of its exhibition in December 1937. Disappointed at having missed it, Evill was able to buy it from Walpole some seven years later for £100. It is now estimated at £1,000,000-1,500,000. Further Highlights of the Sale Beyond the uniquely large group of works by Spencer, the sale offers paintings, drawings, watercolors and sculptures; a selection which moves through generational boundaries, and highlights different phases of Evill's collecting. Starting with the major names of the inter-war period, such as Henry Moore, Edward Burra, and Graham Sutherland, together with Spencer, William Roberts and Paul Nash, his involvement with the Contemporary Art Society gave him access to a younger generation of artists working in the post-war period. These included the young Lucian Freud, John Craxton and Patrick Heron. A stunning example of Lucian Freud's early work Boy on a Sofa (est. £400,000-600,000), drawn in 1944, demonstrates the artist's exceptional ability as a draughtsman. A composition of wonderful simplicity, the direct presentation of the sitter (Billy Lumley) and his engagement with us as a viewer is nevertheless somewhat disarming, and the setting – using the worn chaise that appears in the seminal The Painter's Room of the same year – and the clothing appear oddly out of keeping with the youth and innocence of the sitter.  Not seen in public since the Wilfrid Evill Memorial Exhibition of 1965, Patrick Heron's Table with Fishes, of 1954, is estimated at £250,000-350,000. This is a superb example of Heron's early style, drawing on the example of Braque's magisterial Atelier interiors, but employing a palette and manner entirely his own. The coloring of this painting is particularly striking, the blue, red and pink creating the space of the room, whilst the dense inky blackness of the night-time world beyond the window is remarkable. The thick handling of the paint offers a wonderful counterpoint to the delicacy of Heron's line, which winds beautifully across the image, giving enough detail to inform without ever showing too much. The guttering flame of the candle is a master-stroke, animating the entire composition with just the simplest and most minimal gesture. Henry Moore's bronze, Rocking Chair No.3 was purchased by Evill in the 1950s for £150. One of an edition of 6 casts, this important piece now comes to auction with an estimate of £800,000-1,200,000. Moore's ability to combine realism and abstraction in his sculpture works here as a perfect vehicle for a sculpture that despite its scale has both a monumentality and a real tenderness. The theme of the mother and child was a central one for Moore throughout his career and this marvelously poised sculpture captivates by its understanding of the subject and his rendering of it into sculptural forms. A rigorously urban image of life on the streets, rife with style and shrewdly observed elements of character, Edward Burra's Zoot Suits, £250,000-350,000, depicts a group of men newly arrived in London from Jamaica on the SS Empire Windrush in 1948, and who are establishing themselves within the new urban culture that was burgeoning in London. The work recalls Burra's excitement on first visiting New York in 1933 when he was particularly drawn to the energy of the Harlem Renaissance and therefore draws a parallel between the artistic and social movements present in New York in the 1930s and those emerging in London in the 1940s. Furniture & Ceramics In addition to works of art, the sale will also include a selection of furniture and ceramics, a highlight of which is a Sèvres tea service contained within a kingwood parquetry carrying box (est. £10,000-15,000), formerly in the collection of the great actor, director and theatre manager David Garrick (1717-79). Garrick visited Paris three times and on his final visit in the autumn of 1764, returning from a European tour, he purchased this Sèvres service together with its fitted box. This illustrious owner and the high quality of the set by possibly the best 18th century porcelain manufactures would have delighted Evill and met the qualifying requirements of beauty and quality that were established for choosing objects for his collection.  |
| Cuba's Tiny Patron Saint a Potent National Symbol Posted: 26 May 2012 10:56 PM PDT  EL COBRE, CUBA - She's 400 years old and stands just over a foot (35 centimeters) tall, but the petite wooden statue housed in a small-town church in eastern Cuba is among the most powerful Catholic icons in the world, and an object of pride and reverence for hundreds of thousands of island faithful. The Virgin of Charity of Cobre is also responsible, at least partially, for persuading Pope Benedict XVI to make Cuba the second stop on his Latin America tour, despite the fact this Communist-run island is the least observantly Catholic country in the region, and that it received a papal visit just 14 years ago. The Vatican has said Pope Benedict is making the trip to honor the quadricentennial of the appearance of the diminutive relic in what Catholics believe was a miracle.  |
| MoMA opens NY premiere of Mark Boulos video "All that is Solid melts into Air" Posted: 26 May 2012 10:52 PM PDT  NEW YORK, NY.- The Museum of Modern Art presents Projects 97: Mark Boulos, the New York premiere of the artist's video installation "All That Is Solid Melts into Air" (2008), on view March 19th through July 16th. In his documentary video installations, Mark Boulos (b. 1975, United States) investigates the space between abstract concepts and material reality. The two-channel video installation All That Is Solid Melts into Air juxtaposes two communities at opposite ends of the world, each struggling to control petroleum. One video depicts floor brokers in the Chicago Mercantile Exchange trading petroleum contracts during the first days of the financial crisis in 2008. The other presents footage from the artist's experience living among Nigerian fishermen, members of the militant organization Movement for the Emancipation of the Niger Delta (MEND), who live in one of the largest oil fields in the world.  |
| Museum of Modern Art to host a Panel Discussion on Salvador Dali and New York Posted: 26 May 2012 10:50 PM PDT   |
| The Morikami Museum Shows Japanese Prints from the Paul & Christine Meehan Collection Posted: 26 May 2012 10:46 PM PDT  Delray Beach, Florida.- The Morikami Museum and Japanese Gardens is proud to present "Old Techniques, New Interpretations" on view at the museum from February 7th through May 6th. This exhibition showcase more than 75 prints from the Paul and Christine Meehan Collection.Setting the scene for this exhibit, the art of Japanese woodblock prints experienced a revival in the early 20th century which inspired the development of two new printmaking movements in Japan: shin hanga (modern prints) and sosaku hanga (creative prints). In the early 20th century, Japanese woodblock print-making experienced a revival with the development of shin hanga, the 'modern print' movement, and sosaku hanga, the 'creative print' movement. While shin hanga attempted to revive the techniques and subject matter of the centuries-old ukiyo-e tradition, which had reached its apogee in the 18th and 19th centuries, sosaku hanga reacted against it. The vibrant prints of beautiful women and picturesque landscapes of ukiyo-e and, later, shin hanga were the enterprise of a guild, carried out by several different craftsmen that included the designer-artist, wood carver, colorist, printer, and publisher. In contrast, sosaku hanga artists controlled every aspect of their work from designing the image and carving the block, to inking and printing the paper. In comparison, their compositions were also much more expressive and abstract.   In the early 1950s, sosaku hanga artists began producing works that reflected a more contemporary view of the world, resulting in a postwar print revival that looked with great intellectual introspection at contemporary Western art – a blending of East and West. Throughout the decades, these artists experimented with different materials and printmaking techniques, producing highly conceptual prints that gave a definitive nod to contemporary developments in European and American painting, from the abstract aesthetics of Wassily Kandinsky (1866 – 1944) to the expressionist drip paintings of Jackson Pollock (1912 – 1956). The exhibition at the Morikami Museum features over 60 prints that celebrate over 40 years of sosaku hanga masters from Kiyoshi Saito (1907 – 1997) to Toko Shinoda (b. 1913), among many others.Since its opening in 1977, The Morikami Museum and Japanese Gardens has been a center for Japanese arts and culture in South Florida, with rotating exhibitions in its galleries, tea ceremonies performed monthly in its Seishin-an tea house, an educational outreach program with local schools and organizations, and Japanese traditional festivals celebrated for the public several times a year. The original building, named the Yamato-kan, is modeled to suggest a Japanese villa. It features a ring of exhibition rooms embracing an open-air courtyard with a dry garden of gravel, pebbles and small boulders. The Yamato-kan offers a permanent exhibit chronicling the history of the Yamato Colony, a Japanese farming community in South Florida 100 years ago. The principal museum building opened in 1993 to meet a popular demand for more programming, more versatile facilities, and to satisfy the needs of a growing community. The museum's architecture is inspired by traditional Japanese design. The building features exhibition galleries, 225-seat theater, authentic tea house with viewing gallery, library, classrooms, museum store, cafe and lakeside terrace with Japanese courtyard garden. The Morikami Museum Collection houses 5,000 Japanese art objects and artifacts, including a 500-piece collection of tea ceremony items, more than 200 textile pieces and recent fine art acquisitions. The collections of the Morikami Museum focus on objects that help generate an understanding of the culture of Japan, particularly the period during which the Yamato, Florida colonists and the museum's namesake, George Morikami, lived, i.e. mid-19th to late 20th centuries. Central to the collections are Japanese articles of daily life dating from the Meiji Period (1868-1912) to the present, including fine arts and folk arts from the same and earlier periods. The 200 acres that surround The Morikami's two museum buildings include expansive Japanese gardens with strolling paths, resting areas, tropical bonsai collection, small lakes teeming with koi and other wildlife, nature trails, pine forests and park and picnic areas. The Morikami Museum and Japanese Gardens, with its unique gardens and collections, is one of Palm Beach County's most treasured cultural attractions. Located in a tranquil natural setting, The Morikami invites visitors to explore its many facets and to discover Florida's heritage and its connection with Japan. Visit the museum's website at ... http://www.morikami.org The Morikami Museum Shows Japanese Prints from the Paul & Christine Meehan Collection  |
| New paintings by the artist Bill Jacklin at Marlborough Gallery in NYC Posted: 26 May 2012 10:44 PM PDT  NEW YORK, NY.- Marlborough Gallery announces that an exhibition of new paintings and a steel wall-hanging by the artist Bill Jacklin, entitled Bill Jacklin: Recent Work, New York, on view through the 17th of March. Jacklin, born and raised in London, has lived and worked in New York City and Rhode Island since 1985. The subjects of the 30 oils on canvas and one COR-TEN steel sculpture exhibited are taken from visual encounters specific to New York City. The scenery of New York has inspired Jacklin since his arrival in the city. His past work has explored such landmarks as Grand Central Station, 57th Street, Roseland Ballroom, and Coney Island, among others. In the majority of Jacklin's paintings, emphasis is on the essence of place, on the sensation of being in an environment rather than on the topography and details of the setting itself. In this exhibition, the multiple renderings of specific locations, such as Times Square, Little Italy, and the Rockefeller Center skating rink, allow the viewer to revisit these spaces. Yet placing these scenes in time is nearly impossible, as if it is only the memory of the location that is actually being depicted.  |
| Mark Wolfe Contemporary Art shows Dennis McNulty Posted: 26 May 2012 10:38 PM PDT San Francisco, CA - Mark Wolfe Contemporary Art is pleased to present new work by Dennis McNulty, a San Francisco-based artist whose work explores his Southern roots. McNulty comes from the barrier islands that hug the Atlantic shore, an area marked by its creole heritage. He describes these islands as "dominated by iconic Southern imagery and ideologies," and his installations recreate that atmosphere. On exhibition June 7-July 13, 2007.  |
| Book ~ "Con Art . . Why You Ought to Sell Your Damien Hirst's While You Can." Posted: 26 May 2012 10:36 PM PDT  Los Angeles Times - While the debate of art versus commerce has probably plagued creative types since shortly after someone first offered a steak in exchange for viewing a cave painting, such considerations aren't an issue once you reach the level of celebrated U.K. artist Damien Hirst.Known for such attention-grabbing works as a shark suspended in formaldehyde as well as high-profile collaborations with Blur and Eddie Izzard in the '90s, Hirst recently came under attack from critic Julian Spalding, who wrote a pointedly titled short book, "Con Art -- Why You Ought to Sell Your Damien Hirst's While You Can."  |
| Now in Its 243rd Year ~ The Royal Academy of Arts Opens Annual Summer Exhibition Posted: 26 May 2012 10:26 PM PDT  LONDON.- The Royal Academy's annual Summer Exhibition is the world's largest open submission contemporary art show. Now in its 243rd year, this exhibition continues the tradition of showcasing work by both emerging and established artists in all media including painting, sculpture, photography, printmaking, architecture and film. This year's co-ordinator is Royal Academician Christopher Le Brun. Playing a significant role is Michael Craig-Martin RA who is curating one of the largest galleries. The Architecture Room is curated by Piers Gough RA and Alan Stanton RA. The exhibition runs from Jun 07 2011 until Aug 15 2011. One of the founding principles of the Royal Academy of Arts was to 'mount an annual exhibition open to all artists of distinguished merit' to finance the training of young artists in the RA Schools. This has been held every year without interruption since 1769 and continues to play a significant part in raising funds to finance the students. The Royal Academy receives no public funding so all those who support the Summer Exhibition by submitting work, visiting it and through purchases contribute to supporting artists of the future.  The largest space in the Royal Academy features a new approach to a traditional "salon hang". This includes a mix of open submission works as well as artworks by Royal Academicians. A dense and rich visual experience is created through the presentation of works hung from dado rail to picture rail. Works on display include a large canvas by the Danish painter Per Kirkeby and Keith Tyson's apocalyptic painting Deep Impact. The Summer Exhibition attracts a high volume of entrants each year with over 12,000 entries received this year from 27 countries. The majority of works are for sale, offering visitors an unrivalled opportunity to purchase original artwork by high profile and up-and-coming artists. Michael Craig-Martin's curated room features works by newly elected and established Royal Academicians including Tacita Dean, Gary Hume, Allen Jones, Cornelia Parker, Jenny Saville and Alison Wilding. Craig-Martin has also curated the Wohl Central Hall which greets visitors on arrival with a celebration of photography. For the first time these walls are hung solely with the work of artists who use photographic media including an image by Cindy Sherman Hon RA. Following on from last year's successful BBC TWO Culture Show Special on the Summer Exhibition, the Royal Academy of Arts is working with the BBC once more. The programme will be broadcast on 16 June, 7pm.  MEMORIAL ARTIST Ben Levene RA (1938 – 2010), was born Gerald Philip Levene in 1938. He won a scholarship to the Slade School of Art in 1956 and became a visiting lecturer and tutor at the Camberwell School of Art and Royal Academy Schools. He exhibited works annually in the Summer Exhibition from 1974 onwards. His works are held in public collections including the Government Art Collection, Guildhall Art Gallery, Southampton Art Gallery and the Chantrey Bequest. Levene was elected painter Royal Academician in 1986 and lived and worked in London. ANNENBERG COURTYARD 'Coloring Book' by Jeff Koons (b.1955) will occupy the Royal Academy's Annenberg Courtyard. The colourful piece reflects Koons interest in society's obsession with infantilism and youth. Jeff Koons was elected Honorary Royal Academician in 2010. Jeff Koons' sculpture is the latest installation in the RA's programme of Sculpture in the Courtyard and follows on from Barry Flanagan's posthumous 2010 display of three hares; 'Hare and Bell' 1988, 'Nijinski Hare' 1996 and 'Large Left-Handed Drummer' 2006, Bryan Kneale's 'Triton III' (2009), Sir Anthony Caro's 'Promenade' (2008), the Chapman's 'The Meek Shall Inherit the Earth, but not the Mineral Rights' (2007), Anselm Kiefer's 'Jericho' (2007), Rodin's 'Gates of Hell' (2006) and Damien Hirst's 'Virgin Mother' (2006). PRIZES Each year, the Summer Exhibition recognises artists of exceptional merit, awarding a total of £70,000 prize money donated by commercial sponsors. Established in 1978, the Royal Academy of Arts Charles Wollaston Award is, at £25,000, one of the largest and most prestigious art prizes in Britain. Previous winners include: Yinka Shonibare (2010), Jeff Koons (2008), Gavin Turk (2007), Jake and Dinos Chapman (2003), Alan Charlton (2002), Marc Quinn (2001), Gerard Hemsworth (2000) and David Hockney (1999).  |
| Chateau de Versailles Devotes a Large Scale Exhibition Dedicated to Louis XIV Posted: 26 May 2012 10:23 PM PDT
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| "Global Cities" a major exhibition coming to Turbine Hall at Tate Modern Posted: 26 May 2012 10:21 PM PDT London - Global Cities, a major free exhibition examining recent changes in ten global cities - Cairo, Istanbul, Johannesburg, London, Los Angeles, Mexico City, Mumbai, Sao Paulo, Shanghai, and Tokyo - will be presented in a spectacular installation in the Turbine Hall at Tate Modern from 20 June-27 August 2007. Organized by Tate in association with the la Biennale di Venezia, the exhibition is sponsored by Land Securities in association with Savills and Derwent London.  |
| Russian-born Artist Boris Lurie, 83, Dies in Manhattan Posted: 26 May 2012 10:19 PM PDT
NEW YORK CITY - Russian-born artist Boris Lurie, 83, died in Manhattan due to kidney failure, reported The New York Times. He survived the Holocaust and portrayed the horrors of it in a confrontational movement he called No! Art.  |
| The Bundeskunsthalle features Andy Warhol, Jean-Michel Basquiat & Francesco Clemente Posted: 26 May 2012 09:50 PM PDT  Bonn, Germany.- The Bundeskunsthalle is pleased to present "Ménage à trois: Warhol, Basquiat, Clemente", on view at the museum through May 20th. Andy Warhol, Jean-Michel Basquiat and Francesco Clemente – three of the main protagonists of the 1980s New York art scene are presented in this major exhibition. At the heart of the show are the collaborative works by the three artists. The product of a period of intense interaction in the years between 1983 and 1985, they bear witness to the artists' mutual appreciation. To highlight the three very different artistic temperaments, the exhibition will also present a wide range of non-collaborative works by each of the artists that exemplify their individual style. Whereas Andy Warhol, one of the Pop Art's main figures, focused on the graphic and serial aspects of art, working in a clear and often seemingly detached manner, young Jean-Michel Basquiat burst upon the scene with a style that was as furious as it was expressive, a raw mix of symbols, pictograms and letters rooted in the urban graffiti idiom. The paintings by the Transavanguardia artist Francesco Clemente, on the other hand, often seem dream-like, mystical and almost surreal. The exhibition was conceived in cooperation with ARKEN Museum of Modern Art, Denmark. For Andy Warhol, the 1980s represented a re-emergence of critical and financial success, partially due to his affiliation and friendships with a number of prolific younger artists, who were dominating the "bull market" of 1980s New York art: Jean-Michel Basquiat, Julian Schnabel, David Salle and other so-called Neo-Expressionists, as well as members of the Transavantgarde movement in Europe, including Francesco Clemente and Enzo Cucchi. During this time Warhol created the Michael Jackson painting signifying his success attributed to his best-selling album Thriller. By this period, Warhol was being criticized for becoming merely a "business artist". In 1979, reviewers disliked his exhibits of portraits of 1970s personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects. They also criticized his 1980 exhibit of 10 portraits at the Jewish Museum in New York, entitled Jewish Geniuses, which Warhol – who was uninterested in Judaism and Jews – had described in his diary as "They're going to sell." In hindsight, however, some critics have come to view Warhol's superficiality and commerciality as "the most brilliant mirror of our times," contending that "Warhol had captured something irresistible about the zeitgeist of American culture in the 1970s." Warhol also had an appreciation for intense Hollywood glamour. He once said: "I love Los Angeles. I love Hollywood. They're so beautiful. Everything's plastic, but I love plastic. I want to be plastic."  Francesco Clemente has been influenced by thinkers as diverse as Gregory Bateson, William Blake, Allen Ginsberg, and J Krishnamurti, the art of Francesco Clemente is inclusive and nomadic, crossing many borders, intellectual and geographical. Dividing his time between New York and Varanasi, in India, he has adopted for his paintings a vast variety of supports and mediums, exploring, discarding, and returning to oil paint, watercolor, pastel, and printmaking. His work develops in a non linear mode, expanding and contracting in a fragmentary way, not defined by a style, but rather by his recording of the fluctuations of the self, as he experiences it. The goal is to embrace an expanded consciousness, and to witness, playfully, the survival of the ecstatic experience in a materialistic society. Following his architectural studies in Rome, Clemente travelled to Afghanistan with his friend Alighiero Boetti. Throughout the 1970s he exhibited works that reflected his interest in the contemplative traditions of India, where he lived for several years. Since 1981 he has spent his time between New York City and India, where he collaborates with local artists. He has participated in numerous collaborative projects, painting with Jean-Michel Basquiat and Andy Warhol, and illuminating poetry by Robert Creeley, Allen Ginsberg, John Wieners, Rene Ricard and Salman Rushdie. In 1976, Basquiat and friends Al Diaz and Shannon Dawson began spray-painting graffiti on buildings in Lower Manhattan, working under the pseudonym SAMO. The designs featured inscribed messages such as "Plush safe he think.. SAMO" and "SAMO as an escape clause." On December 11, 1978, the Village Voice published an article about the graffiti. The SAMO project ended with the epitaph "SAMO IS DEAD," inscribed on the walls of SoHo buildings in 1979. In 1979, Basquiat appeared on the live public-access television cable TV show TV Party hosted by Glenn O'Brien, and the two started a friendship. Basquiat made regular appearances on the show over the next few years. That same year, Basquiat formed the noise rock band Gray with Shannon Dawson, Michael Holman, Nick Taylor, Wayne Clifford and Vincent Gallo. Gray performed at nightclubs such as Max's Kansas City, CBGB, Hurrah, and the Mudd Club. In 1980, Basquiat starred in O'Brien's independent film Downtown 81, originally titled New York Beat. That same year, O'Brien introduced Basquiat to Andy Warhol, with whom he later collaborated. The film featured some of Gray's recordings on its soundtrack. Basquiat also appeared in the Blondie music video "Rapture" as a nightclub disc jockey. In June 1980, Basquiat participated in The Times Square Show, a multi-artist exhibition sponsored by Collaborative Projects Incorporated (Colab) and Fashion Moda. In 1981, Rene Ricard published "The Radiant Child" in Artforum magazine, which brought Basquiat to the attention of the art world. In late 1981, he joined the Annina Nosei gallery in SoHo. By 1982, Basquiat was showing regularly alongside other Neo-expressionist artists including Julian Schnabel, David Salle, Francesco Clemente, and Enzo Cucchi. He was represented in Los Angeles by the Larry Gagosian gallery and throughout Europe by Bruno Bischofberger. He briefly dated then-aspiring performer, Madonna, in late 1982. That same year, Basquiat also worked briefly with musician and artist David Bowie. In 1983, Basquiat produced a 12" rap single featuring hip-hop artists, Rammellzee and K-Rob. Billed as Rammellzee vs. K-Rob, the single contained two versions of the same track: The single's cover featured Basquiat's artwork making the pressing highly desirable among both record and art collectors. Basquiat often painted in expensive Armani suits and would even appear in public in the same paint-splattered suits. By 1986, Basquiat had left the Annina Nosei gallery, and was showing in the famous Mary Boone Gallery in SoHo. On February 10, 1986, he appeared on the cover of The New York Times Magazine in a feature entitled "New Art, New Money: The Marketing of an American Artist". He was a successful artist in this period, but his growing heroin addiction began to interfere with his personal relationships. When Andy Warhol died on February 22, 1987, Basquiat became increasingly isolated, and his heroin addiction and depression grew more severe. Despite an attempt at sobriety during a trip to Maui, Hawaii, Basquiat died on August 12, 1988, of a heroin overdose at his art studio in Great Jones Street in New York City's NoHo neighborhood. He was 27.  In 1992 the Bundeskunsthalle (Art and Exhibition Hall) of the Federal Republic of Germany was founded as an institution for changing exhibitions and has since then offered a varied programme of international significance. During the first eighteen years over 170 exhibitions have been organized in the areas of art, cultural history, science and technology. An exhibition on the Bronze Age is just as suited to be presented here as a retrospective on a contemporary artist. Exhibitions on architecture, design, photography are offered to the public just as those on genetic engineering or the weather. The program is directed to adults, youths and children. Guided tours, workshops for various age and interest groups are regularly organized to accompany the exhibitions. Concerts, performances, readings and conferences are held in the Forum, a space dedicated to organized events and offering seating for up to 500 persons. In the summer months, international stars give show appearances on the covered open air stage situated on the museum square. A further attraction is the roof garden, which is often the site of sculpture exhibitions. The roof garden is a place where visitors can recuperate and stroll, and in the summer a beer garden offers additional refreshment. Further attractions and stimuli are offered in the library, book store, museum shop as well as in the restaurant of the Art and Exhibition Hall. Visit the exhibition hall's website at ... http://www.bundeskunsthalle.de  |
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