Modernism focus at Vanderbilt – Nashville, TENN – 28.04.2017-17.09.2017 – 12556

Morris Davidson (American, 1898–1979), Composition with Saw, 1936. Oil on canvas, 21-1/2” x 27-1/2”. Rosenfeld/Davidson Family Collection

American Modernism at Mid-Century: The Work of Morris Davidson is the first comprehensive survey of a little-known yet important twentieth century American artist, presenting new research into the significance of his life’s work and using it as a lens to view many iterations of abstraction practiced from the 1930s through the 1970s.
Continue reading “Modernism focus at Vanderbilt – Nashville, TENN – 28.04.2017-17.09.2017 – 12556”

Next at Newcomb Museum: Contemporary art from Puerto Rico – New Orleans – 26.04.2017-09.07.2017 – 12555

Arnaldo Roche Rabell, Liars and Deceivers, 2007.

The Newcomb Art Museum of Tulane University presents Beyond the Canvas: Contemporary Art from Puerto Rico showcasing the work of Zilia Sánchez (b.1926), Julio Suárez (b.1947), Arnaldo Roche Rabell (b.1955), Pedro Vélez (b.1971), and Elsa María Meléndez (b.1974). The exhibition, on view from April 26 through July 9, coincides with the 100th anniversary of Puerto Ricans’ U.S. citizenship.

Spanning several generations, these five Puerto Rico-based artists challenge the notion of the canvas as a flat surface for painted images. Through tension-based strategies applied on the fabric—whether pulling, rubbing, folding, slashing, ripping, sewing, or warping—they lend their works a distinctive three- dimensionality. Exhibition co-curator and architect Warren James discovered this shared approach, explaining, “There is a particular way these artists in Puerto Rico are manipulating the canvas that has not been seen before.”

Their provocative treatments also allude to the island’s current socioeconomic crisis in works that suggest rupture, tension, and escape. Puerto Rico’s staggering debt, record emigration, and referendum on political status set for this June have all garnered headlines in the mainland United States. James reflects, “This is the perfect time to take the pulse of the island—to see what artists are saying with their work.” Continue reading “Next at Newcomb Museum: Contemporary art from Puerto Rico – New Orleans – 26.04.2017-09.07.2017 – 12555”

New Museum presents the first New York museum survey of the work of Italian artist Carol Rama – New York – 26.04.2017-10.09.2017 – 12554

Carol Rama, L’isola degli ochhi [The Island of Eyes], 1967. Plastic eyes, synthetic resin, and enamel on canvas, 47 1/4 x 63 in (120 x 160 cm) © Archivio Carol Rama, Turin. Photo: Gabriele Gaidano.

“Carol Rama: Antibodies” is the first New York museum survey of the work of Italian artist Carol Rama (b. 1918, Turin, Italy–d. 2015, Turin, Italy) and the largest presentation of her work in the US to date.

While Rama has been largely overlooked in contemporary art discourses, her work has proven prescient and influential for many artists working today, attaining cult status and attracting renewed interest in recent years. Rama’s exhibition at the New Museum will bring together over one hundred of her paintings, objects, and works on paper, highlighting her consistent fascination with the representation of the body. Seen together, these works present a rare opportunity to examine the ways in which Rama’s fantastical anatomies opposed the political ideology of her time and continue to speak to ideas of desire, sacrifice, repression, and liberation. “Carol Rama: Antibodies” celebrates the independence and eccentricity of this legendary artist whose work spanned half a century of contemporary art history and anticipated debates on sexuality, gender, and representation. Encompassing her entire career, the exhibition traces the development from her early erotic, harrowing depictions of “bodies without organs” through later works that invoke innards, fluids, and limbs—a miniature theater of cruelty in which metaphors of contagion and madness counteract every accepted norm. The exhibition is curated by Helga Christoffersen, Assistant Curator, and Massimiliano Gioni, Edlis Neeson Artistic Director, and is accompanied by a fully illustrated publication.

Carol Rama was an Italian artist born in 1918 in Turin, where she lived for most of her life until her death in 2015. Her work has been the subject of numerous solo exhibitions and retrospectives, including the recent traveling exhibition “The Passion According to Carol Rama” (2015–16), presented at Museu d’Art Contemporani de Barcelona; Musée d’Art Moderne de la Ville de Paris; Espoo Museum of Modern Art, Finland; the Irish Museum of Modern Art, Dublin; and Galleria Civica d’Arte Moderna e Contemporanea di Torino. Other important exhibitions include “Carol Rama: Böse Zungen,” Kunsthalle Düsseldorf (2012); “Carol Rama: L’occhio degli occhi: Opere dal 1937 al 2005,” Palazzo Ducale, Genoa (2008); “Carol Rama: Paestum,” Museo Materiali Minimi de Arte Contemporanea, Paestum, Italy (2007); “L’opera incisa 1944–2005,” Galleria Internazionale d’Arte Moderna Ca’ Pesaro, Venice (2006); “Appassionata,” Ulmer Museum, Ulm, Germany (2004–05); the traveling exhibition “Carol Rama” (2004–05), presented at Fondazione Sandretto Re Rebaudengo, Turin, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Italy, BALTIC Centre for Contemporary Art, Gateshead, UK, and Galerie im Taxispalais, Innsbruck, Austria; “Opere 1936-2000,” Palazzo Massari, Padiglione d’Arte Contemporanea, Ferrara, Italy (2000); and the traveling retrospective “Carol Rama” (1998), presented at Stedelijk Museum, Amsterdam, and the Institute of Contemporary Art Boston. In 2003 she was awarded the Golden Lion for Lifetime Achievement at the Venice Biennale.

Website : New Museum
Source : Artdaily

Cincinnati Art Museum presents More Sweetly Play the Dance by William Kentridge – Cincinnati, OH – 26.04.2017-05.11.2017 – 12553

William Kentridge, More Sweetly Play the Dance, 2015. Installation view at LUMA Arles, Parc des Ateliers, France. © William Kentridge. Courtesy of the artist and LUMA Foundation.

Contemporary South African artist William Kentridge’s More Sweetly Play the Dance makes its North American museum premiere at the Cincinnati Art Museum from April 26–November 5. The work is a loan from the LUMA Foundation.

This powerful film installation encircles the viewer with seven screens, on which a procession of travelers passes across a charcoal-drawn animated landscape. The immersive panorama hints at multiple histories, evoking a danse macabre, a jazz funeral, an exodus and a journey. Accompanied by a brass band, the film references medieval manuscripts and the storylines of refuge throughout history.

Commissioned in 2015 by the EYE Filmmuseum, the installation melds silhouettes with the artist’s distinctive animated charcoal drawings. Kentridge’s work often begins on a single piece of paper, drawing and then erasing, adding new elements, and photographing his compositions of each state. These images are connected together to create animated figures that pass from screen to screen bringing the film to life. The film is 14 minutes and will be played in a loop. Lightborne, Indyvideo and iNETronics served as key technical advisors.

Cameron Kitchin, the museum’s Louis and Louise Dieterle Nippert Director, comments, “Presenting this spectacular new work by William Kentridge is evidence of an artist in his prime. The relevance of the work to today’s civic discourse is essential and revelatory for our visitors and educators. The Cincinnati Art Museum continues its unwavering commitment to inquiries into contemporary art from all cultures.”

A third-generation South African of Lithuanian-Jewish heritage, Kentridge was born in 1955 in Johannesburg, where he still resides and has his studio. He has earned international acclaim for his interdisciplinary practice, which mingles the fields of visual art, film and theater in a series of overwhelming installations or environments used as a theatrical stage in which the viewer is enveloped by compositions consisting of moving images, music and sculptural objects.

In “A Dream of Love Reciprocated,” in 2014, Kentridge wrote, “My concern has been both with the existential solitude of the walker, and with social solitude—lines of people walking in single file from one country to another, from one life to an unknown future.”

William Kentridge: More Sweetly Play the Dance is on view in Gallery 105, between the Cincinnati Wing and the newly renovated African Gallery. William Kentridge is represented by the Marian Goodman Gallery.

Website : Cincinnati Art Museum
Source : Artdaily

First major exhibition in 20 years dedicated to Stuart Davis on view in San Francisco – 01.04.2017-06.08.2017 – 12552

Installation from ‘Stuart Davis: In Full Swing,’ de Young museum, San Francisco, 04/01/2017-08/06/2017. Image Courtesy of the Fine Arts Museums of San Francisco.

The Fine Arts Museums of San Francisco are presenting Stuart Davis: In Full Swing, the first major exhibition in 20 years dedicated to Davis (1892–1964), a key figure in the development of American Modernism. Approximately 75 works reveal Davis’s unique ability to assimilate the imagery of popular culture, the aesthetics of advertising, and the rhythms of jazz into colorful works that hum with infectious energy. Loans from the Whitney Museum of American Art, New York’s Museum of Modern Art, the Metropolitan Museum of Art, and the Hirshhorn Museum and Sculpture Garden among others, allow West Coast audiences the rare opportunity to see career-spanning works by this enterprising modern painter, who ranks with Georgia O’Keeffe and Edward Hopper as among the most important American artists of his generation.

“Stuart Davis was an artist both ahead of his time, and completely immersed in it,” says Max Hollein, director and CEO of the Fine Arts Museums of San Francisco. “His works provided comment on the times and were simultaneously a dominant force in postwar art. The de Young has always believed that artists have a duty to comment and critique our culture and we are pleased to show how one American artist responded to the tumultuous times he lived through.”

Not quite a retrospective, Stuart Davis: In Full Swing takes as its starting point Davis’s breakthrough paintings of commercial products from the early 1920s and concludes with the unfinished canvas left on his easel at his death in 1964—spanning a period of time that ranges from the jazz age to the protest era. The organization of this exhibition is unique, revealing new aspects of Davis’s practice. Related works from different periods of the artist’s career have been installed alongside one another, reflecting Davis’s tendency, beginning in the late 1930s, to appropriate and rework his own earlier compositions; this is the first major exhibition to do so. The presentation also includes Davis’s kinetic compositions, which evoke the excitement, speed, and turbulence of the age, and continue to feel fresh and resonant today. Continue reading “First major exhibition in 20 years dedicated to Stuart Davis on view in San Francisco – 01.04.2017-06.08.2017 – 12552”

35-year retrospective of painter Kerry James Marshall on view in Los Angeles – 12.03.2017-03.07.2017 – 12551

Installation view.

MOCA is presenting a 35-year retrospective of painter Kerry James Marshall, co-organized by the MCA Chicago, MOCA, and The Metropolitan Museum of Art under the leadership of MOCA’s Chief Curator Helen Molesworth. Marshall’s figurative paintings have been joyful in their consistent portrayal of African Americans. The now nearly 600 year history of painting contains remarkably few African American painters and even fewer representations of black people. Marshall, a child of the civil rights era, set out to redress this absence. “You can’t be born in Birmingham, Alabama, in 1955 and grow up in South Central [Los Angeles] near the Black Panthers headquarters,” Marshall has said, “and not feel like you’ve got some kind of social responsibility. You can’t move to Watts in 1963 and not speak about it. That determined a lot of where my work was going to go…”

This exhibition, Marshall’s first major retrospective in the United States, contains nearly 80 paintings, all of which contain images of Black subjects going about their daily business, presented with utter equality and humanity. A deeply accomplished artist, who makes ravishing paintings, Marshall’s strategy was three fold. First, as a young artist he decided to paint only black figures. He was unequivocal in his pursuit of black beauty. His figures are an unapologetic ebony black, and they occupy the paintings with a sense of authority and belonging. Second, Marshall worked to make a wide variety of images populated with black people. This led him to make exquisite portraits, lush landscape paintings, everyday domestic interiors, and paintings that depict historical events, all featuring black subjects as if their activities were completely and utterly normal. Third, Marshall concentrated on painterly mastery as a fundamental strategy. By mastering the art of representational and figurative painting, during a period when neither was in vogue, Marshall produced a body of work that bestows beauty and dignity where it had long been denied. Continue reading “35-year retrospective of painter Kerry James Marshall on view in Los Angeles – 12.03.2017-03.07.2017 – 12551”

Whitney Museum opens exhibition of works from its collection – New York – 28.04.2017-31.12.2017 – 12550

Herman Trunk, Jr., (1894 1963). Mount Vernon, 1932. Oil on canvas, 34 1/4 × 46 1/16in. (87 × 117 cm). Whitney Museum of American Art, New York; purchase 33.26. With Permission of The Herman Trunk, Jr. Foundation.

Where We Are, a new exhibition of works from the Whitney’s collection made between 1900 and 1960, went on view in the Museum’s seventh-floor Robert W. Wilson Galleries. At a time when debate continues over what it means to be American, Where We Are proposes a framework of everyday relationships, institutions, and activities that form an individual’s sense of self. Where We Are brings together some of the Whitney’s most iconic works by Louise Bourgeois, John Steuart Curry, Edward Hopper, Jasper Johns, Jacob Lawrence, and Georgia O’Keeffe with rarely exhibited works by Elizabeth Catlett, Jay DeFeo, and Ellsworth Kelly, along with recent acquisitions by James Castle, Palmer Hayden, Archibald Motley, and PaJaMa.

“Where We Are surveys six decades during which artists responded in complex and diverse ways to dramatic changes in American history and culture due to economic collapse and recovery, cycles of war and peace, and new modes of personal expression,” remarked Scott Rothkopf, the Whitney’s Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator. “For his first installation of our holdings, David Breslin, DeMartini Family Curator and Director of the Collection, has fashioned a sensitive and stirring narrative that honors individual artists’ pathbreaking approaches to depicting American life and their often complex relationship to it.”

Where We Are is organized around five themes that suggest core aspects of one’s daily existence: family and community; work; home; the spiritual; and the nation. The exhibition, as well as each of its sections, is titled after a phrase in W. H. Auden’s poem, “September 1, 1939.” Auden, who was raised in England, wrote the poem in New York City shortly after his immigration to the United States and at the very outset of World War II. The title of the poem marks the date Germany invaded Poland. While its subject is the beginning of the war, Auden’s true theme is how the shadow of a global emergency reaches into the far corners of everyday life. The poem’s tone remains mournful but concludes with the individual’s capacity to show “an affirming flame.” Where We Are shares Auden’s guarded optimism, gathering a constellation of artists whose light might lead us forward. Continue reading “Whitney Museum opens exhibition of works from its collection – New York – 28.04.2017-31.12.2017 – 12550”

The Speed Art Museum pesents “Southern Accent: Seeking the American South in Contemporary Art” – Louisville, KY – 30.04.2017-14.10.2017 – 12549

Walter Inglis Anderson Hummingbirds, c. 1955. Watercolor on paper. Image courtesy of the Walter Anderson Museum of Art, Ocean Springs, MS © Walter Inglis Anderson. Photo by Peter Paul Geoffrion.

The Speed Art Museum presents Southern Accent: Seeking the American South in Contemporary Art, the Speed’s largest and most ambitious contemporary art exhibition to date, which opens at the Speed on April 30, 2017. Co-organized with the Nasher Museum of Art at Duke University, the Speed is the second stop in this national exhibition, which opened at the Nasher in September 2016. Southern Accent will be on view at the Speed through October 14, 2017.

Southern Accent: Seeking the American South in Contemporary Art questions and explores the complex and contested space of the American South. Presenting a wide range of perspectives, from both within and outside of the region, the exhibition creates a composite portrait of southern identity through the work of 60 artists. The art reflects upon and pulls apart the dynamic nature of the South’s social, political and cultural landscape. Southern Accent includes work dating back to the 1950s, but primarily focuses on art produced within the past 30 years.

William Faulkner once suggested that the South is not so much a “geographical place” as an “emotional idea.” Southern Accent looks at the South as an open-ended question to be explored and expanded. The exhibition encompasses a broad spectrum of media and approaches, demonstrating that southerness is more of a shared sensibility than a consistent culture.

“The Speed is thrilled to host Southern Accent, which is co-curated by our own Curator of Contemporary Art, Miranda Lash,” said Ghislain d’Humieres, CEO of the Speed Art Museum. “This is a provocative and outstanding way to reimagine how we view the South in contemporary art.” Continue reading “The Speed Art Museum pesents “Southern Accent: Seeking the American South in Contemporary Art” – Louisville, KY – 30.04.2017-14.10.2017 – 12549″

Exhibition at Frist Center for the Visual Arts explores expressive potential of digital media – Nashville, TENN – 29.04.2017-08.10.2017 – 12548

Morgan Higby-Flowers. Time-Blot-Simulation 2, 2011. Digital print, 36 x 32 in. Courtesy of the artist. © Morgan Higby-Flowers.

Bringing together experimental videos and digital photographs by four artists working in the Middle Tennessee region, Pattern Recognition explores the expressive potential of digital media. In animated landscapes, geometrical compositions, and other invented scenarios, the videos show natural and computer-generated patterns that weave, ripple, and flow in alluring ways. The exhibition is on view in the Conte Community Arts Gallery, which is free to the public, from April 29 through October 8, 2017.

In their experimental works, artists McLean Fahnestock, Morgan Higby-Flowers, Joon Sung, and John Warren all manipulate viewers’ sense of time and space and resist traditional notions of linear storytelling. Each artist employs slow pacing, fluid transitions between recognizable and abstract imagery, and sound to induce feelings of reverie, pleasure, and mystery.

“The title Pattern Recognition alludes to a computer science term for the identification and organization of patterns, combining data from across the information spectrum,” says Frist Center Chief Curator Mark Scala. “While in technology the goal is to gain hard knowledge of the complex behavior of linked systems, artists in this exhibition combine and manipulate information into irrational patterns that bring to mind themes of memory, mystery, and disturbance.”

Extending the exhibition’s theme of repetition or abstraction as devices to alter perception, a selection of related music videos—produced by or for area musicians and videographers—underscore the vibrancy and collaborative spirit of our creative community. Ancient Ocean, Hammock, Okey Dokey, Sturgill Simpson, The Mute Group, Tim Chad & Sherry, Cortney Tidwell, and William Tyler are among the performers featured. These collaborations between area musicians and videographers employ marvelous, playful, and often psychedelic optics to express the underlying spirit of these songs.

McLean Fahnestock finds personal resonance in the symbolism of the ocean, its rhythms and continuity, its role in family history, and its powerful hold on the collective imagination. Her Reclamation series was inspired by the family lore surrounding her grandfather, a sea captain who collected natural specimens and cultural artifacts for the American Museum of Natural History. His ship sank off the coast of Australia in 1940, inspiring Fahnestock more than sixty years later to research his life and the circumstances of the shipwreck. Becoming fascinated with the poetry and allure of the ocean, she began a series of videos and photographs in which its wave patterns are photoshopped onto the silhouettes of sinking ships, distorting the image of a solid ship into a marker of transition—a mirror in space and a hole in time—rather than a form being reclaimed by the sea it was meant to defy. A professor of art at Austin Peay State University, Fahnestock earned her MFA in sculpture at California State University in 2008 and a BFA in sculpture from Middle Tennessee State University in 2004. Continue reading “Exhibition at Frist Center for the Visual Arts explores expressive potential of digital media – Nashville, TENN – 29.04.2017-08.10.2017 – 12548”

Contemporary Arts Museum Houston presents exhibition of works by Paul Ramírez Jonas – Houston, TX – 29.04.2017-06.08.2017 – 12547

Paul Ramírez Jonas, Hexagonal Box Kite, after Alexander Graham Bell, 1994. Kite (cotton fabric, single-use disposable camera, modified alarm clock, string, wood, and hardware) and chromogenic print Work courtesy Columbus Museum of Art, Ohio: Museum Purchase: Derby Fund Image courtesy the artist

Including works made over the past 25 years, Atlas, Plural, Monumental is artist Paul Ramírez Jonas’s first survey exhibition in the Americas. It features sculpture, photography, video, drawing, and his signature participatory works that demonstrate how Ramírez Jonas is redefining public art through an innovative practice that considers how artworks galvanize the formation of new communities.

Ramírez Jonas utilizes unlikely sources, such as scientific experiments, and treats them as “scores” that he creatively reinterprets. When his faithful reproductions of kites designed by the inventors Alexander Graham Bell and Joseph Lecornu took to the air, they carried alarm clocks Ramírez Jonas re-engineered to trigger the shutter of a single-use disposable camera. The resulting photographs—each paired with their kite—capture images of the artist on the ground. While the kites can be appreciated for their sculptural form, the photographs exhibited alongside them act as proof of their aerial capability. Ramírez Jonas’s kites prove the functionality of Graham Bell and Lecornu’s designs and simultaneously document the artist’s actions. In other instances Ramírez Jonas presents museum visitors with the opportunity to participate in his “scores.” In His Truth is Marching On (1993), the public is invited to use a mallet to tap a hanging chandelier of water-filled wine bottles, whose successive musical notes produce a rendition of the anthem, The Battle Hymn of the Republic. Continue reading “Contemporary Arts Museum Houston presents exhibition of works by Paul Ramírez Jonas – Houston, TX – 29.04.2017-06.08.2017 – 12547”

MoMA paintings featured in Pop Art exhibition at Wadsworth Atheneum Museum of Art – Hartford, CONN – 29.04.2017-13.08.2017 – 12546

Roy Lichtenstein, Girl with Ball, 1961. Oil on canvas. The Museum of Modern Art, New York, NY, Gift of Philip Johnson, 421.1981. © Estate of Roy Lichtenstein.

The Wadsworth Atheneum Museum of Art is exhibiting two special loans from the Museum of Modern Art in New York City as part of the exhibition “Hand-Painted Pop! Art and Appropriation, 1961 to Now.” Andy Warhol’s “Water Heater” and Roy Lichtenstein’s “Girl with Ball,” both painted in 1961 in New York as opening salvos in the Pop art movement, are on view alongside a selection of 14 Pop and Pop-inspired artworks belonging to the Wadsworth Atheneum and two private collections in this exploration of the development and legacy of Pop art. “Hand-Painted Pop!” is on view April 29–August 13, 2017.

Evolving alongside Abstract Expressionism, epitomized by Jackson Pollock’s signature drip process, early Pop art paintings were visibly hand-painted. “Water Heater” and “Girl with Ball” were both painted entirely by hand in 1961, before mechanical processes—particularly silkscreening—came to define the movement. Additional works by Warhol in the exhibition witness that transition: “Triple Silver Disaster” (1963) is screen printed on canvas, but still bears visible brushstrokes in the silver background; a set of silkscreened “Marilyn Monroe” (1967) prints on paper are visibly slick and use a range of vivid and unmixed colors. Continue reading “MoMA paintings featured in Pop Art exhibition at Wadsworth Atheneum Museum of Art – Hartford, CONN – 29.04.2017-13.08.2017 – 12546”

Urs Fischer presents more than 30 works installed throughout the Legion of Honor – San Franscisco, CA – 22.04.2017-02.07.2017 – 12545

Installation view of “Urs Fischer: The Public & the Private” at the Legion of Honor Image Courtesy of the Fine Arts Museums of San Francisco.

The Fine Arts Museums of San Francisco present Urs Fischer: The Public & the Private. The exhibition is the first under a new contemporary art initiative, which presents the work of living artists in dialogue with the unique histories and identities of the sites, buildings, and collections of the de Young and Legion of Honor. On the occasion of the 100th anniversary of French sculptor Auguste Rodin’s (1840-1917) death, Urs Fischer (Swiss, b.1973) has been invited to bring a contemporary perspective to our understanding and appreciation of the Museums’ permanent collection, specifically the acclaimed collection of Rodin sculptures.

“In the 100 year history of the Legion of Honor, this is the first exhibition to bring works by a contemporary artist into dialogue with a wide range of the Museum’s permanent holdings,” states Max Hollein, director and CEO of the Fine Arts Museums of San Francisco. “Urs Fischer’s extraordinary work has been celebrated and exhibited around the globe in the last two decades, but his San Francisco presentation will be one of a kind. His site-specific installation at the Legion of Honor is a unique manifestation of artistic imagination, expanded context and institutional challenge.”

In his first major exhibition in San Francisco, Fischer presents more than 30 works installed throughout the Court of Honor, rotunda and upper level galleries of the Legion of Honor. His sculptures and paintings feed off the tension between the material and digital, object and image. Drawing on traditions of Western art history and popular culture, he transforms the processes of creating and consuming artworks.

Fischer plays with the mechanisms of perception to challenge visitors’ awareness of artworks in the context of their surroundings. His layering and juxtaposition of disparate images and objects combined with a distortion of scale often lend his exhibitions the character of an uncanny illusion.

“Urs Fischer’s sprawling exhibition at the Legion of Honor offers a unique opportunity to appreciate his voracious and inventive reinterpretation of image traditions in the context of a historic collection,” says Claudia Schmuckli, curator-in-charge, contemporary art and programming, the Fine Arts Museums of San Francisco. “Whether complementing or displacing the display of the permanent collection, each intervention is carefully weighed and reveals as much about Fischer’s thinking as it does about that of artists like Rodin, with whom he enters into a conversation.”

Urs Fischer: The Public & the Private is on view from April 22 through July 2 at the Legion of Honor in Lincoln Park. The exhibition is curated by Claudia Schmuckli, the Museum’s inaugural curator-in-charge of contemporary art and programming. Continue reading “Urs Fischer presents more than 30 works installed throughout the Legion of Honor – San Franscisco, CA – 22.04.2017-02.07.2017 – 12545”

First-ever exhibition dedicated to works by the last great painter of the Baroque period – Poughkeepsie, NY – 21.04.2017-02.07.2017 – 12544

Francesco de Mura (Italian, 1696–1782), Ecce Homo, ca. 1726. Oil on canvas. Collection of Bob and Teresa Wilson, Greenville, S.C.

A first-ever exhibition of the works of Francesco de Mura makes its only northeast stop at the Frances Lehman Loeb Art Center this spring. In the Light of Naples: The Art of Francesco de Mura is on view April 21-July 2, 2017. This exhibition is free and open to the public.

Organized by the Cornell Fine Arts Museum at Rollins College, In the Light of Naples is the first monographic presentation of De Mura’s art and includes over forty loans from Italian collections as well as those from the United States including the Metropolitan Museum of Art and the National Gallery of Art. A full checklist can be found here .

“This show is historic on numerous levels,” explains James Mundy, the Anne Hendricks Bass Director of the Art Center. “Not only is this the first exhibition dedicated to De Mura, but it also signals the last manifestation of the highly evolved and refined illusionism of the late Baroque age before the advent of the revolutionary simplicity of Neo-classicism. Visitors will receive a rare treat in viewing these stunning and vibrant works.”

De Mura (1696-1782) could be termed the last great painter of the Baroque and Rococo periods. He showed extraordinary artistic talent at a young age, entering the prestigious studio of Francesco Solimena when he was just twelve years old. Active in Naples, De Mura created elaborate illusionistic palace and church decorations depicted in bursts of confectionary colors as well as smaller portraits, biblical, and historical paintings. De Mura was the court painter of the Bourbon King Charles VII of Naples who presided over the Kingdom’s Golden Age.

Yet De Mura has often been overlooked and knowledge of him severely limited. One major reason for this is that about a third of his works were destroyed in February 1944, during World War II, when Allied forces bombed Naples and the abbey church of Monte Cassino.

The more than forty paintings and drawings in this reveal much about the life of De Mura. “His essence lives in his art, and it is there we must look for him, since few of his words survive in letters and documents,” says exhibition curator Arthur R. Blumenthal, Director Emeritus of the Cornell Fine Arts Museum. “In De Mura’s art, we sense an affinity for Neapolitan light, for the city’s music and theater that pulse like a heartbeat. We also see a single-minded intensity and discipline. De Mura felt a deep respect for the long line of geniuses who preceded him—from Caravaggio to Giordano to Solimena. Thus, through this exhibition, we see how De Mura ‘lived’ his art and how he lived for his art.”

Blumenthal also notes the intense physical demands creating these works required. “We can imagine the sheer physical effort and backbreaking hours De Mura poured into his painting—something barely imaginable today. We cannot envision, without heartbreak, the wiry De Mura, sprawled on scaffolding in the abbey of Monte Cassino creating his glorious paintings, knowing that, two hundred years later, Allied bombs would destroy it all. In the Light of Naples is not only the first exhibition of De Mura’s art; it is a revelation of the broadness and fullness of his creative vision. For the first time, we see where De Mura came from, the artist he developed into, and what he left behind. We discover the soul of the man.”

Website : Frances Lehman Loeb Art Center
Source : Artdaily

Henri Cartier-Bresson’s India photos on view at the Rubin Museum – New York – 21.04.2017-04.09.2017 – 12543

Gandhi dictates a message, just after breaking his fast Birla House, Delhi, India 1948 35 x 52.5 cm. ©Henri Cartier-Bresson/Magnum Photos.

The Rubin Museum of Art will present “Henri Cartier-Bresson: India in Full Frame,” illustrating the pioneering photographer’s perspective on India in a period of political and cultural turmoil. The exhibition also coincides with the 70th anniversary of Magnum Photos, the cooperative agency co-founded by Cartier-Bresson. The exhibition features 69 photographs, selected by the artist, from his travels in India during the mid-twentieth century as well as his letters, camera, and other personal ephemera, shown in this configuration for the first time in the United States. This selection of Cartier-Bresson’s India work includes images of political leaders, refugees from India’s partition from Pakistan, and everyday people, offering insight into his deep understanding of issues that continue to resonate today.

Cartier-Bresson is best known for his “street photography” that has influenced generations of photographers and was developed during his travels around the world. His first trip to India was in 1947, when the country was undergoing a massive political transition having gained independence from Britain that year. A key set of photographs on view show Mahatma Gandhi’s final hours, and events following his assassination, which helped catapult Cartier-Bresson to international fame when they were published in LIFE Magazine and other outlets.

“Students and connoisseurs of photography are likely familiar with Cartier-Bresson’s humanist street photography that reveals a precise but sensitive geometry framed around a key instant, which he famously termed the ‘decisive moment.’ This exhibition highlights both his photographs of the everyday and many important moments in modern Indian history,” said Beth Citron, Curator of Modern and Contemporary Art at the Rubin and organizer of this exhibition. “They reflect Cartier-Bresson’s mastery of his medium, as well as his abiding interest in the people and sites of India.”

In addition to the photographs, the exhibition will delve into public perceptions of Cartier-Bresson’s work through its publication in news outlets such as LIFE Magazine. An audio tour will accompany the exhibition, and the Rubin Museum will also screen a series of four films which exemplify Henri Cartier-Bresson’s lesser-known influence on cinema, including “The Rules of the Game” and The Apu Trilogy films. Full program listings can be found at rubinmuseum.org.

“Henri Cartier-Bresson: India in Full-Frame” is organized by the Rubin Museum of Art in collaboration with Magnum Photos and the Henri Cartier-Bresson Foundation, and supported by The Robert Mapplethorpe Foundation, David Solo, an anonymous donor, and contributors to the 2017 Exhibitions Fund. The exhibition is curated by Beth Citron, and the design and installation are overseen by Fabiana Weinberg, Exhibition Designer, both of the Rubin Museum.

Website : The Rubin Museum of Art
Source : Artdaily

First major museum exhibition of Todd Webb’s photographs in New York – 20.04.2017-04.09.2017 – 12542

Todd Webb, “LaSalle Street and Amsterdam Avenue, Harlem, New York,” 1946. Courtesy Museum of the City of New York and the Todd Webb Estate.

The Museum of the City of New York presents A City Seen: Todd Webb’s Postwar New York 1945-1960, a photography exhibition highlighting Todd Webb’s personal exploration of the city that enthralled him while providing an expansive visual documentation of New York in the years following World War II. A City Seen opens to the public on Thursday, April 20 and will remain on view through Monday, September 4, 2017.

In 1946, the Museum of the City of New York was the first institution to give Todd Webb (1905-2000) a solo exhibition. Seven decades later, the Museum revisits the city as seen through the lens of a traveler who worked his way into the highest circles of mid-20th-century New York photography and recorded the city’s humanity, highlighting people and places as much as streetscapes and skyscrapers.

In 1945, 40-year-old Todd Webb (born Charles Clayton Webb, III) was discharged from the Navy and moved to New York City and began his career as a professional photographer. Before his war service, Webb tried a variety of occupations – stockbroker, prospector, office clerk at Chrysler. But a master class with Ansel Adams in Detroit persuaded him that photography was his true calling. His introduction to New York came in 1942 when a chance meeting with influential photographer, gallerist, and impresario Alfred Stieglitz encouraged Webb to return to New York after the war and spend a full year photographing his explorations of the city, its neighborhoods, and people.

“These beautiful vintage photographs have as much to tell us about postwar New York as they do about the city’s uncanny ability to attract and inspire creativity,” said Whitney Donhauser, Ronay Menschel Director of the Museum of the City of New York. “Todd Webb’s work communicates the artist’s desire to explore New York City’s streets, to experience the city for himself, and to share his vision with others through his art.” Continue reading “First major museum exhibition of Todd Webb’s photographs in New York – 20.04.2017-04.09.2017 – 12542”

Exhibition at Metropolitan Museum of Art features more than 160 ancient Chinese works of art – New York – 03.04.2017-16.07.2017 – 12541

Chariot Model (Modern Replica after Qin Originals) Qin dynasty (221–206 B.C.) Bronze with pigments, H. 59 in. (150 cm) Qin Shihuangdi Mausoleum Site Museum, Lintong Photo: Courtesy Qin Shihuangdi Mausoleum Site Museum.

A major international loan exhibition featuring more than 160 ancient Chinese works of art—including renowned terracotta army warriors—is on view at The Metropolitan Museum of Art. Synthesizing new in-depth research and archaeological discoveries of the last 50 years, the landmark exhibition Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.– A.D. 220) explores the unprecedented role of art in creating a new and lasting Chinese cultural identity. The works in the exhibition—extremely rare ceramics, metalwork, textiles, sculpture, painting, calligraphy, and architectural models—are drawn exclusively from 32 museums and archaeological institutions in the People’s Republic of China, and a majority of the works have never before been seen in the West. The exhibition also examines ancient China’s relationship with the outside world.

Thomas P. Campbell, Director of The Metropolitan Museum of Art, stated: “It is a great pleasure for us to present this magnificent assemblage of treasures from China. A project of such scale and scope could not be realized without the strong support and cooperation of lending organizations and their staffs. As the largest and most important display of Chinese art to be held in the United States in 2017, the exhibition establishes a new milestone in U.S.-China cultural exchange.”

“This exhibition is the culmination of our long history of collaboration with China that began in 1980,” said Maxwell, K. Hearn, Douglas Dillon Chairman of The Met’s Department of Asian Art. “We thank especially China’s State Council, Ministry of Culture and State Administration of Cultural Heritage, as well as both the U. S. Department of State and China’s Ministry of Foreign Affairs, for their steadfast support and guidance.”

Jason Sun, Brooke Russell Astor Curator of Chinese Art in The Met’s Department of Asian Art, stated: “The Han Empire represents the ‘classical’ era of Chinese civilization, coinciding in importance and in time with Greco-Roman civilization in the West. Like the Roman Empire, the Han state brought together people of diverse backgrounds under a centralized government that fostered a new ‘Chinese’ identity. Even today, most Chinese refer to themselves as the ‘Han people’—the single largest ethnic group in the world. Thanks to new scholarship as well as the extraordinary artifacts unearthed by archaeologists in the past 50 years, this exhibition offers many new art-historical, cultural, and political insights. I’m delighted that Age of Empires can introduce this largely unknown era of Chinese civilization to our global audience.”

The Qin and Han Dynasties
The unification of China by the short-lived Qin dynasty (221–206 B.C.) and the centuries-long Han dynasty (206 B.C.–A.D. 220) fundamentally reshaped art and culture and established political paradigms and intellectual institutions that guided dynastic rulership for the next 2,000 years. They have continued to be influential to the present day.

Introducing an era of political stability and prosperity across an area much larger than that of the Roman Empire at its peak, the Han dynasty bound together its empire through a network of roads and a centralized administrative system that promulgated a unified legal code and standardized currency, weights and measures, and, most importantly, a consistent written language. These changes—first introduced under the Qin—fostered a “golden age” in art, architecture, technology, and literature while introducing lasting changes to society, the economy, religion, and political thought.

Works in the Exhibition Continue reading “Exhibition at Metropolitan Museum of Art features more than 160 ancient Chinese works of art – New York – 03.04.2017-16.07.2017 – 12541”

deCordova shines new light on women abstract artists – Lincoln, MASS – 07.04.2017-17.09.2017 – 12540

Sharon Friedman, Tiger Lily, c.1979, acrylic on canvas, 60 ¼ x 64 ¾ inches, The Dr. Beatrice H. Barrett Collection.

DeCordova Sculpture Park and Museum is presenting the exhibition, Expanding Abstraction: New England Women Painters, 1950 to Now. The exhibition i on view in the Joyce and Edward Linde Gallery, the Dewey Family Gallery, and the Catherine S. England Photo Study Space. It opened to the public on April 7 and runs through September 17, 2017.

This exciting and timely exhibition focuses exclusively on women artists, shifting the expected male narrative of abstract painting. In addition, it expands the usual New-York-based story by looking entirely to New England. Nearly forty innovative New England women artists including Natalie Alper, Kristin Baker, Sharon Friedman, Maud Morgan, Ann Pibal, Katherine Porter, Jo Sandman, Sandi Slone, Barbara Takenaga, and Maxine Yalovitz-Blankenship, represent the rich diversity of abstract painting from 1950 to today. The selected works are mostly drawn from deCordova’s extensive holdings of work by New England artists, and exemplify the Museum’s longstanding commitment to women artists. Expanding Abstraction places the included works within the larger regional context of Boston and greater New England, as well as the evolution of abstraction over six decades.

Expanding Abstraction is accompanied by a robust slate of public programs and interactive interpretation. A large-scale timeline highlighting related organizations, events, and exhibitions within New England spans three large walls within the exhibition, along with an interactive area encouraging visitors to explore the nature of abstract painting.

Expanding Abstraction is organized by Jennifer Gross, Chief Curator and Deputy Director of Curatorial Affairs (2013–2016), and Sarah Montross, Associate Curator. Additional exhibition support was provided by Koch Curatorial Fellows Helen Lewandowski and Martina Tanga, and Curatorial Assistant Scout Hutchinson.

Website : DeCordova Sculpture Park and Museum
Source : Artdaily

Exhibition offers a new look at photographs by women – Philadelphia, PA – 08.04.2017-16.07.2017 – 12539

Ilse Bing, (American, born Germany 1899-1998), Untitled (Child Feeding Pigeons), c. 1930 1932. Gelatin silver print, Image and sheet: 6 15/16 × 8 9/16 inches. Philadelphia Museum of Art, 125th Anniversary Acquisition. The Lynne and Harold Honickman Gift of the Julien Levy Collection, 2001. Research inconclusive.

This spring, the Philadelphia Museum of Art offers visitors a new look at photographs by women in the collection. Another Way of Telling presents a wide-ranging selection of black-and-white prints by nineteenth- and twentieth-century photographers such as Berenice Abbott, Diane Arbus, Anne Brigman, Julia Margaret Cameron, and Imogen Cunningham, as well as contemporary works in color by Kelli Connell, Ann Parker, and Elaine Stocki. This exhibition features many photographs that have never been shown at the Museum, including more than twenty new additions to the collection.

Timothy Rub, the George D. Widener Director and CEO stated: “Since our photography collection was founded in 1968 by an adventurous Philadelphian, Dorothy Norman – whose gift to the Museum included a core group of photographs by women – it has grown to embrace the entire history of photography. This timely exhibition highlights the unique contributions of female photographers and celebrates the ways in which they have captured lived experience.”

The exhibition illuminates the myriad ways that women have explored ideas about individual identity in and out of the portrait studio, interrogated female roles in the domestic sphere, and disrupted perceptions of the world through street photography. From Hazel Kingsbury Strand’s documentary photographs that she made while on assignment in France with the Red Cross during World War II, to Gertrude Käsebier’s portraits of her family that challenged prevailing notions of femininity and domesticity, the presentation shows the diverse and complex ways that women have understood, seen, and recorded the world around them. Continue reading “Exhibition offers a new look at photographs by women – Philadelphia, PA – 08.04.2017-16.07.2017 – 12539”

First museum survey of paintings by American artist Maureen Gallace at MoMA PS1 – Long Island City, NY – 09.04.2017-10.09.2017 – 12538

Maureen Gallace, Summer House / Dunes, 2009.

MoMA PS1 presents the first museum survey of paintings by American artist Maureen Gallace (b. 1960). Featuring nearly 70 works spanning the artist’s career, Maureen Gallace: Clear Day will be on view from April 9 to September 10, 2017. For more than 25 years, Maureen Gallace has painted genre scenes drawn from the American landscape and still life traditions, employing subjects such as barns and cottages, the ocean in various conditions, and flowering gardens.

Gallace’s small canvases and panels most commonly depict rural pastorals and coastlines that evoke nostalgic New England. Recalling holiday cards and vacation snapshots, Gallace’s paintings quietly disturb the reassuring sentimentality of such pictures. Often lacking doors or windows, her houses may seem locked up, or disquietingly open and vulnerable to the elements. Lush gardens and yards can be obstructed by fences, and paths lead the viewer astray; infinite vistas over the ocean are stacked and collapsed into shallow compositions. From the outset of her career, Gallace has deployed a range of abstract compositional tools to frustrate the romantic enticements of her subject matter and the painterly seductions of her surfaces, giving rise to a quietly remarkable and contemporary body of work.

Maureen Gallace has exhibited widely, including solo exhibitions at Maureen Paley, London (2016); 303 Gallery, New York (2015); La Conservera, Murcia, Spain (2011); The Art Institute of Chicago (2006); Douglas Hyde Gallery, Dublin (2004); Dallas Museum of Art (2003); and Museum Schloss-Hardenberg, Velbert, Germany (1996). She has participated in group shows including September 11 at MoMA PS1 (2011) and the Whitney Biennial (2010).

Maureen Gallace: Clear Day is organized by Peter Eleey, Chief Curator, MoMA PS1 with Margaret Aldredge Diamond, Curatorial and Exhibitions Associate, MoMA PS1.

Website : MOMA PS1
Source : Artdaily

Exhibition highlights a seminal moment when art advanced our understanding of science – New York – 14.04.2017-16.07.2017- 12537

Tinamou, Helen Damrosch Tee-Van, 1923 or earlier, Guyana. 11” x 14” Watercolor on paper. Courtesy of Wildlife Conservation Society. Photo by Martin Parsekian.

The Drawing Center presents Exploratory Works: Drawings from the Department of Tropical Research Field Expeditions, an exhibition examining the images produced by the Department of Tropical Research (DTR) during their pioneering ecological expeditions to South America and the Caribbean in the first half of the 20th century. Sixty historical drawings produced by a variety of artists in collaboration with the DTR’s scientists are being exhibited for the first time, alongside two new major installations by artist Mark Dion, which recreate with great detail the DTR’s field labs for both their jungle and aquatic missions. Co-organized by Dion; historian and anthropologist Katherine McLeod; and Madeleine Thompson, institutional archivist at the Wildlife Conservation Society in New York, Exploratory Works highlights a seminal moment when art advanced our understanding of science, and in turn science trusted the intuition of the artist to show us something as-of-yet unimaginable.

The Ground-Breaking Work of the Department of Tropical Research
Led by biologist Charles William Beebe (1877–1962) of the New York Zoological Society (now the Wildlife Conservation Society), the DTR focused their studies around what today would be described as tropical rainforest and marine ecology. Throughout their expeditions, Beebe and his team of scientists worked side by side with artists to illustrate the ecosystems they researched. At a time when photographic technologies were limited, the artists of the DTR used their pens and brushes to construct visualizations of natural environments that were difficult or impossible to access. The DTR’s innovative use of drawings, sketches, paintings, cartoons, animations, and films helped make the idea of an interconnected ecosystem part of popular and scientific thought.

Under Beebe’s guidance, the DTR also instituted the revolutionary practice of hiring women as lead scientists and field artists. Through this professional platform, the DTR enabled the careers of, among others, scientists Jocelyn Crane and Gloria Hollister, and artists Else Bostelmann, Helen Tee-Van, and Isabel Cooper.

Recreating the Labs of the DTR
As part of Exploratory Works, co-organizer and artist Mark Dion constructed two installations that bring to life the interiors of the DTR’s field stations. While one of the installations develops the space of the jungle laboratories, the other looks to the oceanographic workshops. Using numerous archival images that depict the interior conditions of these labs, Dion’s installations capture the material culture of science at the time and emphasize the extraordinary situation of artists and scientists working together. Dion also produced a display cabinet with glass-covered pull out drawers, shelving, and vitrines to exhibit the rich archival material of the DTR. These reconstructions build on the foundation of installation art Dion has practiced in museums, galleries, and public institutions worldwide, as well as his keen knowledge of the history of field biology for the period and its related material culture.

Website : The Drawing Center
Source : Artdaily

Exhibition at MoMA presents more than 100 works by 50 women artists – New York – 15.04.2017-13.08.2017 – 12536

Installation view of Making Space: Women Artists and Postwar Abstraction. The Museum of Modern Art, New York, April 15-August 13, 2017. © 2017 The Museum of Modern Art. Photo: Jonathan Muzikar.

The Museum of Modern Art presents a major exhibition surveying the abstract practices of women artists between the end of World War II and the onset of the Feminist movement in the late 1960s. On view from April 15 through August 13, 2017, Making Space: Women Artists and Postwar Abstraction features approximately 100 works in a diverse range of mediums by more than 50 international artists. By bringing these works together, the exhibition spotlights the stunning achievements of women artists during a pivotal period in art history. Drawn entirely from the Museum’s collection, Making Space includes works that were acquired soon after they were made in the 1950s and 1960s, as well as many recent acquisitions—including a suite of photographs (c. 1950) by Gertrudes Altschul (Brazilian, born Germany. 1904–1962), an untitled sculpture (c.1955) by Ruth Asawa (American, 1926-2013), and an untitled work on paper (c.1968) by Alma Woodsey Thomas (American, 1891–1978)—that reflect the Museum’s ongoing efforts to improve its representation of women artists. Nearly half the works are on view at MoMA for the first time. Making Space is organized by Starr Figura, Curator, Department of Drawings and Prints, and Sarah Meister, Curator, Department of Photography, with Hillary Reder, Curatorial Assistant, Department of Drawings and Prints.

In the decades after World War II, societal shifts made it possible for larger numbers of women than ever before to pursue careers as artists. Abstraction dominated artistic practice internationally between 1945 and the late 1960s, as many artists sought a formal language that might transcend national and regional narratives—and for women artists, additionally, those relating to gender. But despite new opportunities, women often found their work dismissed in the male-dominated art world and, without the benefit of Feminist advances that would take root in the 1970s, they had few support networks.

The exhibition surveys the contributions that women made to the remarkable range of abstract styles that took hold internationally during the postwar decades. Following a trajectory that is at once loosely chronological and synchronistic, it is organized into five sections: Gestural Abstraction, Geometric Abstraction, Reductive Abstraction, Fiber and Line, and Eccentric Abstraction. Building on the legacies of modernism in the early 20th century, artists—in a period marked by recent trauma, migration, and reconstruction—found new urgency for their abstract impulses, whether in the form of existential gestures, the rationalizing order of geometry, or the disruptive potential of new materials and processes. The history traced here begins in the 1940s and 1950s, with several women who attempted to make space for themselves in the domains of painting and sculpture, as well as others who pursued independent visions through photography or works on paper. It culminates in the 1960s, with avant-garde works forged out of the traditions of weaving and craft (disciplines that had historically welcomed women), as well as new types of unorthodox objects whose very nature challenged art historical conventions and boundaries. Continue reading “Exhibition at MoMA presents more than 100 works by 50 women artists – New York – 15.04.2017-13.08.2017 – 12536”

Frédéric Bazille exhibition explores artist’s role in Impressionist movement at National Gallery of Art – Washington, DC – 09.04.2017-09.07.2017 – 12535

Frédéric Bazille, The Improvised Field Hospital, August 1865. Oil on canvas, 48 x 65 cm (18 7/8 x 25 9/16 in.). Musée d’Orsay, Paris © Musée d’Orsay, Dist. RMN-Grand Palais / Patrice Schmidt.

Frédéric Bazille (1841–1870) created paintings inspired by contemporary life that challenged the aesthetic conventions of his day and helped to lay the groundwork of impressionism. In celebration of the 175th anniversary of the artist’s birth, Frédéric Bazille and the Birth of Impressionism brings together some 75 paintings that examine Bazille as a central figure of impressionism. The National Gallery of Art, which holds the largest group of Bazille’s works outside of France, as well as important related impressionist paintings of the 1860s, is the sole American venue for the exhibition. The first major presentation of Bazille’s work in America in 25 years, the exhibition is on view in the East Building from April 9 through July 9, 2017.

Bazille was actively engaged with the most significant pictorial issues of his era—the revival of the still-life form, realist landscapes, plein-air figural painting, and the modern nude. Drawing inspiration from the vibrant cultural life of Paris as well as from his native Provence, Bazille painted with a style that was distinctly his own.

“This exhibition shows Bazille’s key role in the developments of French painting and provides new insight into this period of impressionism,” said Earl A. Powell III, director, National Gallery of Art, Washington. “The outstanding partnership between the National Gallery of Art, the Musée Fabre in Montpelier, and the Musée d’Orsay in Paris made it possible to undertake this new study of Bazille’s work. We are delighted to reveal brand-new scientific examinations that offer new analyses, identifications, dates, and attributions.”

Frédéric Bazille and the Birth of Impressionism is the most comprehensive retrospective of Bazille’s career, featuring nearly three-quarters of his artistic output. Organized thematically, this exhibition juxtaposes works by Bazille with important works by the predecessors who inspired him—Théodore Rousseau, Jean-Baptiste-Camille Corot, and Gustave Courbet—and by contemporaries such as Édouard Manet and Claude Monet with whom he was closely associated. Continue reading “Frédéric Bazille exhibition explores artist’s role in Impressionist movement at National Gallery of Art – Washington, DC – 09.04.2017-09.07.2017 – 12535”

Museum of Fine Arts, Boston, debuts Matisse in the Studio, revealing unprecedented insight into artist’s mind – Boston, MASS – 09.04.2017-09.07.2017- 12534

Henri Matisse (French, 1869–1954), Interior with an Etruscan Vase, 1940. Oil on canvas. The Cleveland Museum of Art, Cleveland. Gift of the Hanna Fund. Courtesy of The Cleveland Museum of Art © 2017 Succession H. Matisse / Artists Rights Society (ARS), New York. Courtesy, Museum of Fine Arts, Boston.

Matisse in the Studio is the first major international exhibition to examine the roles that objects from the artist’s personal collection played in his art, demonstrating their profound influence on his creative choices. Henri Matisse (1869–1954) believed that these objects were instrumental, serving both as inspiration and as a material extension of his working process. In 1951, he described them as actors: “A good actor can have a part in ten different plays; an object can play a role in ten different pictures.” The exhibition presents a selection of major works by Matisse from different periods of his career—including approximately 34 paintings, 26 drawings, 11 bronzes, seven cut-outs and three prints, and an illustrated book. The artworks are showcased alongside about 39 objects that the artist kept in his studios—many on loan from the Musée Matisse, Nice, as well as private collections—and publicly exhibited outside of France for the first time. They include a pewter jug, a chocolate maker given as a wedding present and an Andalusian vase found in Spain, as well as textiles, sculptures and masks from the various Islamic, Asian and African traditions that Matisse admired. On view at the MFA from April 9 to July 9, 2017 in the Ann and Graham Gund Gallery, Matisse in the Studio travels to the Royal Academy of Arts in London from August 5 to November 12, 2017. An illustrated catalogue, produced by MFA Publications, accompanies the exhibition with contributions by renowned Matisse scholars. The exhibition is organized by the Museum of Fine Arts, Boston, and the Royal Academy of Arts, in partnership with the Musée Matisse, Nice.

The exhibition was co-curated by Helen Burnham, Pamela and Peter Voss Curator of Prints and Drawings at the MFA; Ann Dumas, Curator of the Royal Academy of Arts; and Ellen McBreen, Associate Professor of Art History at Wheaton College and a prominent Matisse scholar.

“Matisse in the Studio offers the rare opportunity to observe the workings of a great artist’s mind. We are thrilled to be able to display so many objects from Matisse’s own collection and demonstrate their central importance to his creative process,” said Burnham.

Henri Matisse was one of the great artists of the 20th century, known for his extraordinary approach to color and composition. Born in Northern France, he studied in Paris and moved frequently during his long career, bringing his personal collection of objects with him from studio to studio, and eventually settling in Nice, in the South of France. While Matisse’s enormous impact on Modern art has been widely acknowledged, his sustained interest in the art of cultures outside of the French tradition in which he was raised has been little explored. Continue reading “Museum of Fine Arts, Boston, debuts Matisse in the Studio, revealing unprecedented insight into artist’s mind – Boston, MASS – 09.04.2017-09.07.2017- 12534”

Exhibition at The Fine Arts Museums of San Francisco celebrates ‘The Summer of Love’ – San Francisco, CA – 08.04.2017-20.08.2017 – 12533

Herb Greene, “Dead on Haight Street,” [Left to right: Jerry Garcia, Ron “Pigpen” McKernan, Phil Lesh, Bob Weir and Bob Kreutzmann], 1967 (printed 2006). Platinum print. Private collection. © Herb Greene Image Courtesy of the Fine Arts Museums of San Francisco

The Fine Arts Museums of San Francisco present The Summer of Love Experience: Art, Fashion, and Rock & Roll, an exhilarating exhibition of iconic rock posters, photographs, interactive music and light shows, costumes and textiles, ephemera, and avant-garde films at the de Young. A 50th anniversary celebration of the adventurous and colorful counterculture that blossomed in the years surrounding the legendary San Francisco summer of 1967, the exhibition presents more than 400 significant cultural artifacts of the time, including almost 150 objects from the Fine Arts Museums’ extensive permanent holdings, supplemented by key, iconic loans.

“The 1967 Summer of Love was a defining moment in San Francisco’s history,” states Max Hollein, Director and CEO of the Fine Arts Museums of San Francisco. “With the de Young’s proximity to the Haight-Ashbury district, our exhibition is the cornerstone of a city-wide celebration. The work created during this period remains a significant legacy and we are uniquely positioned to present this story in all of its controversial glory.”

In the mid-1960s, artists, activists, writers, and musicians converged on Haight-Ashbury with hopes of creating a new social paradigm. By 1967, the neighborhood would attract as many as 100,000 young people from all over the nation. The neighborhood became ground zero for their activities, and nearby Golden Gate Park their playground. Continue reading “Exhibition at The Fine Arts Museums of San Francisco celebrates ‘The Summer of Love’ – San Francisco, CA – 08.04.2017-20.08.2017 – 12533”

Major traveling exhibition of Impressionist works at Springfield Art Museum – Springfield, MO – 08.04.2017-02.07.2017 – 12531

Edward Willis Redfield (American, 1869-1965), Winter in the Valley, c. 1920s, oil on canvas, 36 x 50 inches, Museum Purchase, Reading Public Museum, Reading, Pennsylvania.

American Impressionism: The Lure of the Artists’ Colony, organized by the Reading Public Museum in Reading, PA opened at the Springfield Art Museum and will run through July 2.

This exhibit features 75 oil paintings and thirty works on paper dating to the Golden Age of American Impressionism, the 1880s through the 1940s. Arranged by the artists’ colonies that played a critical role in the development of the style, the exhibit examines work produced in Cos Cob and Old Lyme, Connecticut; Cape Cod, Cape Anne and Rockport, in Massachusetts; New Hope and Philadelphia in Pennsylvania; and Taos, New Mexico, among others.

Featured artists include William Merritt Chase, Childe Hassam, Julian Alden Weir, John Twachtman, Chauncey Ryder, as well as American expatriates Mary Cassatt and John Singer Sargent. “The exhibition provides a rare opportunity to see such a wide variety of approaches to Impressionism in America,” notes Scott Schweigert, The Reading Public Museum’s Curator of Art and Civilization. “While the exhibition includes some ‘big name’ artists, there are also some rediscoveries – lesser known painters who also embraced elements of Impressionism.”

Of particular interest to the Springfield Art Museum, is the inclusion of Philadelphia artist Mary Cable Butler. “Butler was a close friend of Museum Founder Deborah Weisel and helped write the bylaws for our Museum in the 1920s,” says Museum Director Nick Nelson. “It is like celebrating a homecoming of sorts, because the very first pieces of artwork acquired by the Museum in 1928 were two seascapes by Mary Butler.” These works are included at the entrance to the Museum’s rotating installation of its permanent collection, Creating An American Identity.

Website : Springfield Art Museum
Source : Artdaily