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”

Large-scale oil paintings by Bo Bartlett on view at the Mennello Museum of American Art – Orlando, FLA – 27.01.2017-07.05.2017 – 12532

Bo Bartlett, Lifeboat, 1998, oil on linen, 80 x 100 inches. Collection of Stacy and Jay Underwood.

The Mennello Museum of American Art is presenting the solo exhibition Bo Bartlett: American Artist. The exhibition, which runs through May 7, presents large-scale oil paintings that are figurative, psychologically imbued, beautifully rendered, and wonderfully sublime by one of the most significant American Realist painters of his generation.

Bo Bartlett is widely renowned for his multi-layered complex image making rooted in narrative, story telling, art history, literature, poetry, and every day life. Bartlett works in a long-established tradition in American painting that stretches from Thomas Eakins and Winslow Homer to Edward Hopper and Andrew Wyeth. Like these artists, Bartlett looks at America’s land and people to depict the beauty he finds in everyday life. His paintings celebrate the underlying epic nature of the commonplace and the personal significance of the extraordinary. Of Bartlett’s work, Andrew Wyeth wrote, “Bo Bartlett is very American. He is fresh, he’s gifted, and he’s what we need in this country. Bo is one of the very few I feel this strongly about.”

Additionally with references to other American giants George Caleb Bingham, Robert Henri, John Singer Sargent, Thomas Cole, and Norman Rockwell, Bartlett likewise creates an image of time, place and individuality. And to add to this lineage, Bartlett’s work stunningly communicates a command of space, grace in gesture, and power in grandeur akin to European painters of history Goya, Delacroix, and Gericault. Bartlett hones figurative expression beyond history painting and beyond imitation and exactitude to place it in a highly conceptual endurance field; to play out, witness, and remember. His protagonists are of this world, observed in time—lone, isolated, afraid, confident, determined, longing—and rendered larger than life, in a manifestly American geography, yet are distilled in a quiet anticipation. Continue reading “Large-scale oil paintings by Bo Bartlett on view at the Mennello Museum of American Art – Orlando, FLA – 27.01.2017-07.05.2017 – 12532”

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

Harn Museum of Art displays miniature works of Asian art – Gainesville, FLA – 21.03.2017-25.11.2018 – 12530


Ryuto, Japanese, 19th century. Miniature Album, 19th century. Album of 12 leaves; ink and color on paper, 1 5/8 x 3 in. (4.1 x 7.6 cm). Museum purchase, funds provided by the Kathleen M. Axline Acquisition Endowment. Photo: Randy Batista.

The Harn Museum of Art at the University of Florida is marking the five-year anniversary of the opening of the David A. Cofrin Asian Art Wing with a new exhibition titled Show Me the Mini. The exhibition features more than 100 miniature works from the Harn’s Asian art collection dating from the Neolithic period to the present. Show Me the Mini opened March 21, 2017 and is on view through Nov. 25, 2018.

The art of miniatures takes many forms and exists across time and cultures. The exhibition highlights the exquisite skills required to create these masterful works of art while addressing issues of size, scale, modeling, ownership, production, and historical and contemporary functions of miniatures. The art on view includes bronzes, ceramics, glass, jades, lacquers, paintings, portraits and woodblock prints with the majority of the objects measuring no larger than the human hand. Artists are from China, Japan, Korea, India and Southeast Asia with the earliest works created from China’s Longshan Culture (3,000-1,900 BCE) to video and sculptural works by contemporary living artists.

“We are pleased to celebrate the five-year mark of the opening of the David A. Cofrin Asian Art Wing with this exhibition,” said Harn Cofrin Curator of Asian Art Jason Steuber. “The purpose of building the wing was to provide a larger space in order to delve deeper into our Asian art collections and create unique exhibitions such as this one. The art of miniatures is often an overlooked theme in Asian art and the exhibition presents a rare opportunity to remind viewers that art comes in all shapes and sizes.”

Themes addressed in the exhibition include: perspective and scale, the five senses, collecting, multiples, religion, cricket culture, and games. A family guide and mini activity

Website : Harn Museum of Art
Source : Artdaily

Exhibition spotlights the convergence of fashion and craft in the Counterculture movement – New York – 02.03.2017-20.08.2017 – 12529

Installation view of ‘Counter-Couture: Handmade Fashion in an American Counterculture,’ 2017. Photo by Jenna Bascom. Courtesy of the Museum of Arts and Design.

The Museum of Arts and Design is presenting Counter-Couture: Handmade Fashion in an American Counterculture, on view now and running through August 20. The exhibition brings together over two dozen seminal artists working in the 1960s and ’70s who fought for change by sewing, embroidering, quilting, patch-working, and tie-dyeing their identity.

Counter-Couture takes place as part of MAD’s spring series of exhibitions, all of which focus on fashion. “This is our first season to be wholly dedicated to one of New York’s most beloved and celebrated creative fields,” said William and Mildred Lasdon Chief Curator Shannon R. Stratton. “We’ve selected a group of shows that embrace craftsmanship, cultural commentary, and critical thinking in fashion practices. In keeping with MAD’s dedication to investigating studio ‘process’ in modern and contemporary art and craft, these exhibitions highlight how fashion, as an expanded field of craft, serves as a platform for artists and designers to explore ways of making that champion artistry, expressiveness, and social responsibility—from concept to product.”

Counter-Couture: Handmade Fashion in an American Counterculture displays garments, jewelry, and accessories by American makers who crafted the very reality they craved, on the margins of society and yet at the center of an epochal shift. The works on display reflect the ethos of a generation of Counterculturists who—against the backdrop of the Vietnam War and the civil rights movement—rejected ideals of the American Dream that were rooted in consumerism and conformity, and interrogated a political establishment invested in maintaining the status quo. They embraced the vision of a new, homegrown civilization rooted in self-expression, self-reliance, an affirmative connection to nature, and ideas of love and community that deviated from the values of the traditional nuclear family. Continue reading “Exhibition spotlights the convergence of fashion and craft in the Counterculture movement – New York – 02.03.2017-20.08.2017 – 12529”

Exhibition at Pier 24 Photography examines the work of ten photographers – San Francisco – 01.04.2017-31.01.2018 – 12528

The Grain of the Present, Pier 24 Photography’s ninth exhibition, examines the work of ten photographers at the core of the Pilara Foundation collection—Robert Adams, Diane Arbus, Lewis Baltz, Bernd and Hilla Becher, Lee Friedlander, Nicholas Nixon, Stephen Shore, Henry Wessel, and Garry Winogrand—whose works share a commitment to looking at everyday life as it is. Each of these figures defined a distinctive visual language that combines formal concerns with a documentary aesthetic, and all of them participated in one of two landmark exhibitions: New Documents (1967) at the Museum of Modern Art, New York, or New Topographics (1975) at the International Museum of Photography, George Eastman House, Rochester.

Looking back, inclusion in these exhibitions can be seen as both a marker of success and a foreshadowing of the profound impact this earlier generation would have on those that followed. Although these two exhibitions were significant, most of these photographers considered the photobook as the primary vehicle for their work. At a time when photography exhibitions were few and far between, the broad accessibility of these publications introduced and educated audiences about their work. As a result, many contemporary photographers became intimately familiar with that work, drawing inspiration from it and developing practices that also value the photobook as an important means of presenting their images.

The Grain of the Present features the work of these ten groundbreaking photographers alongside six contemporary practitioners of the medium—Eamonn Doyle, LaToya Ruby Frazier, Ed Panar, Alec Soth, Awoiska van der Molen, and Vanessa Winship. This generation embodies Wessel’s notion of being “actively receptive”: rather than searching for particular subjects, they are open to photographing anything around them. Yet the contemporary works seen here do not merely mimic the celebrated visual languages of the past, but instead draw on and extend them, creating new dialects that are uniquely their own.

All of the photographers in this exhibition fall within a lineage that has been and continues to be integral to defining the medium. What connects them is not simply style, subject, or books. It is their shared belief that the appearance of the physical world and the new meaning created by transforming that world into still photographs is more compelling than any preconceived ideas they may have about it. Each photographer draws inspiration from the ordinary moments of life, often seeing what others overlook—and showing us if you look closely, you can find beauty in the smallest aspects of your surroundings. As a result, the visual language of these photographers resonates beyond each photograph’s frame, informing the way viewers engage with, experience, and perceive the world.

Website : Pier 24 Photography
Source : Artdaily

Handbag designer Judith Leiber’s life and craft explored in new exhibition – New York – 04.04.2017-06.08.2017 – 12527

Kashmiri embroidery-inspired minaudière with rhinestones, 1982. Photo by Gary Mamay; courtesy the Leiber Collection.

From April 4 through August 6, 2017, the Museum of Arts and Design presents Judith Leiber: Crafting a New York Story, an exhibition that focuses on the life and craft of America’s most enduring and iconic handbag designer, tracking her rise from patternmaker and Holocaust survivor to venerated female entrepreneur.

Including nearly one hundred handbags as well as wax models, letters, photographs, and other ephemera, the exhibition encompasses the history of Leiber’s eponymous company, which she founded in 1963 at the age of forty-two, through 2004, when she designed her last handbag. Judith Leiber: Crafting a New York Story presents the illustrious craftswoman, designer, and businesswoman behind the legendary name, while foregrounding the gendered significance of the handbag in twentieth-century Western culture, and the centrality of immigrant entrepreneurship in the fabric of New York.

“MAD is thrilled to host this timely exhibition of Judith Leiber’s work as part of our spring fashion series, The Art and Craft of Getting Dressed,” said Shannon R. Stratton, MAD’s William and Mildred Lasdon Chief Curator. “Leiber is a designer, but she is also a craftswoman. This exhibition reminds us of the skilled making and tacit knowledge that we often take for granted, but that lie at the root of the designed objects we live with.” Continue reading “Handbag designer Judith Leiber’s life and craft explored in new exhibition – New York – 04.04.2017-06.08.2017 – 12527”

Exhibition celebrates the centennial of Marcel Duchamp’s legendary “readymade” Fountain – Philadelphia, PA – 01.04.2017-03.12.2017 – 12526

Fountain
Marcel Duchamp, American (born France), 1887 – 1968
>© Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp

To celebrate the centennial of one of the greatest—and most amusing—controversies in the history of modern art, the Philadelphia Museum of Art is presenting an exhibition on Marcel Duchamp’s legendary “readymade,” Fountain. Marcel Duchamp and the Fountain Scandal focuses on the spring of 1917, when Duchamp, with the help of several friends, notoriously submitted a porcelain urinal to an unjuried exhibition held by the Society of Independent Artists in New York. Purchased from a store that sold plumbing fixtures, this object, which was titled Fountain and signed “R. Mutt” was rejected by a vote of the organizers, touching off a fierce debate. The Museum’s exhibition explores Duchamp’s staging of this controversy and highlights the radical ideas that were sparked by this crucial episode in the history of avant-garde art.

Timothy Rub, the George D. Widener Director and CEO of the Philadelphia Museum of Art, said: “One hundred years ago, Duchamp’s Fountain turned the art world upside down. As artists and critics debated whether this was art or a hoax, the artist’s designation of the porcelain urinal as a readymade changed the course of modern art. Today, young artists continue to find inspiration and sources of provocation in it, and thus it is fitting that we return to this object and consider its continuing importance a century later.”

The exhibition is presented in Gallery 182, in which many of Duchamp’s celebrated masterpieces have been displayed since 1954. It details the story of Fountain and the roles of the colorful cast of characters around it, from the celebrated photographer Alfred Stieglitz and collector Walter Arensberg to the writer and artist Beatrice Wood. The exhibition includes period photographs, publications, and numerous other readymades, all from the Museum’s unrivaled collection. It takes an especially close look at the readymades, objects that the artist chose, signed, and sometimes inscribed with mysterious phrases. Duchamp considered them his greatest achievement. Continue reading “Exhibition celebrates the centennial of Marcel Duchamp’s legendary “readymade” Fountain – Philadelphia, PA – 01.04.2017-03.12.2017 – 12526″

Exhibition devoted to Italian glass artist Lino Tagliapietra at the Morris Museum – Morristown, NJ – 12.03.2017-18.06.2017 – 12525

A solo exhibition of the work of Lino Tagliapietra  at the Morris Museum. Showcasing over thirty objects, “Lino Tagliapietra: Maestro of a Glass Renaissance” is on view from March 12 to June 18, 2017, and highlights Tagliapietra’s place in the art historical canon as both a champion of the Muranese tradition and an innovative force among contemporary artists working in glass.

Lino Tagliapietra’s career is defined by a dedication to workmanship, innovation, and collaboration. Born in 1934 on the Venetian island of Murano, Tagliapietra became an apprentice at the age of eleven and achieved the rank of master by the age of twenty-one. For more than forty-two years, he worked in and designed for the glass factories of Murano, including Vetreria Galliano Ferro, Venini & Co., and Effetre International. Since 1989, Tagliapietra has been an independent artist, exhibiting in museums around the globe and helping to create a new renaissance in studio glassmaking.

“Lino Tagliapietra: Maestro of a Glass Renaissance” showcases works from the past two decades by this world-renowned glass master. Curated with works from private and the artist’s own collections, the exhibition features Tagliapietra’s blown glass vessels, graceful aerial works for which the artist is renowned, and his newer two-dimensional fused glass panels.

“Lino Tagliapietra: Maestro of a Glass Renaissance” is being organized by the Morris Museum, in cooperation with Schantz Galleries, Stockbridge, Massachusetts, Jim Schantz and Kim Saul, owners. The exhibition is being curated by Alexandra Willis, Curator at the Morris Museum and Jim Schantz, Director of Schantz Galleries.

Website : Morris Museum
Source : Artdaily

Montclair Art Museum presents groundbreaking exhibition of Matisse and American art – Montclair,NJ – 05.02.2017-18.06.2017 – 12524

Henri Matisse (1869-1954), Pianist and Checker Players, 1924. Oil on canvas 29 x 36 3/8 in. (73.7 x 92.4 cm). National Gallery of Art, Washington, D.C. Collection of Mr. and Mrs. Paul Mellon (1985.64.25) ©2016 Succession H. Matisse / Artists Rights Society (ARS), New York.

Montclair Art Museum is presenting Matisse and American Art, the first exhibition to examine this French master’s profound impact upon the development of American modern art from 1907 to the present. Henri Matisse’s complex, multi-faceted art has provided a liberating model for American artists’ varied explorations of vibrant color, strong, fluid lines, and clear compositional structures in their pursuits of self-expression. The exhibition is organized by Dr. Gail Stavitsky, MAM chief curator, with co-curator Dr. John Cauman and consultant Lisa Mintz Messinger. MAM is the sole venue and it will be on view through June 18, 2017.

Featuring 65 paintings, archival objects, sculpture, prints, and works on paper, Matisse and American Art juxtaposes 19 works by Matisse with 44 works by American artists, including Max Weber, Alfred Maurer, Maurice Prendergast, Stuart Davis, Richard Diebenkorn, Robert Motherwell, Ellsworth Kelly, Roy Lichtenstein, Andy Warhol, Romare Bearden, John Baldessari, Sophie Matisse, Faith Ringgold, and Helen Frankenthaler. Matisse’s transformative impact on their works is revealed not only by their adaptations of his palette and pictorial structures but also through their choice and appropriation of his subject matter—still lifes, landscapes, figurative works, studio interiors, and portraits. While previous projects have illuminated Matisse’s relationship with postwar artists, this is the first exhibition to expand Matisse’s impact beyond the typical focus upon the New York School by extending it back to the beginning of the 20th century and forward to the 21st. Continue reading “Montclair Art Museum presents groundbreaking exhibition of Matisse and American art – Montclair,NJ – 05.02.2017-18.06.2017 – 12524”

Earliest photographs of eastern American landscapes featured in exhibition at the National Gallery of Art – Washington,DC – 12.03.2017-16.07.2017 – 12523

Before venturing west to capture America’s frontier in paintings and photographs, 19th-century artists explored the eastern landscape, which served as a powerful source of mythmaking for a nation finding its identity in the nineteenth century. However, with the exception of images from the Civil War, photography of the East during the period has never before been the exclusive focus of an exhibition or catalog. As the first of its kind, East of the Mississippi: Nineteenth-Century American Landscape Photography will explore this fundamental chapter in America’s photographic history through 175 photographs, including daguerreotypes, salted paper prints, albumen prints, stereo cards, and albums. On view at the National Gallery of Art, Washington, West Building from March 12 through July 16, 2017, the exhibition showcases photographers who documented the nation’s transition over the course of the century, exploring the untouched wilderness, the devastation of the Civil War, and the dramatic transformations of industrialization.

“We are delighted to present the first exhibition devoted to this foundational period in both the history of photography and of our nation,” said Earl A. Powell III, director, National Gallery of Art, Washington. “The assembling of such an extraordinary selection of photographs, many of which are rarely displayed, could not have been undertaken without the generous support of the Trellis Fund and Kate and Wes Mitchell.”

Organized chronologically and thematically, East of the Mississippi begins with some of the earliest American photographs, created shortly after news of the Frenchman Jacques-Louis-Mandé Daguerre’s invention reached eastern cities in late 1839. While Niagara Falls was already a favorite subject for paintings and prints, the first extant daguerreotypes of the natural wonder were made by British scientist Hugh Lee Pattinson in April of 1840. Soon after, dentist Samuel Bemis captured New England’s White Mountains in an extraordinary series of daguerreotypes. Continue reading “Earliest photographs of eastern American landscapes featured in exhibition at the National Gallery of Art – Washington,DC – 12.03.2017-16.07.2017 – 12523”

Exhibition celebrates 175th anniversary of Arabic studies at Yale University – New Haven, CONN – 24.02.2017-16.07.2017 – 12522

Effat Naghi (Egyptian, 1905–1994), The High Dam, 1966. Acrylic on wood. Collection of the Barjeel Art Foundation, Sharjah, United Arab Emirates. © Effat Naghi.

The Yale University Art Gallery is participating in a campus-wide, year-long celebration marking the 175th anniversary of the field of Arabic studies at Yale University, which was inaugurated in 1841 when Edward Elbridge Salisbury, b.a. 1832, became the first professor of Arabic and Sanskrit in the United States. On the occasion of this milestone anniversary, the Gallery presents Modern Art from the Middle East, a selection of paintings, sculptures, and works on paper by important Middle Eastern artists rarely exhibited in the United States. The 19 artworks on display are on loan from the Barjeel Art Foundation, an impressive collection of modern and contemporary art located in Sharjah, the United Arab Emirates. Established by Sultan Sooud Al Qassemi, the foundation promotes the art of the Middle East through international collaborations.

The Middle East encompasses countries with extremely diverse cultures. During the second half of the 20th century, following the end of the era of colonialization of the region, several of these countries saw a new generation of artists begin to explore a more modernist language in their works, creating unique styles that merge historical sources with contemporary art practice. Modern Art from the Middle East presents artworks from the 1950s to the 1980s from Egypt, Iraq, Lebanon, and Syria; these objects exemplify how the end of colonialism and the establishment of nation-states carved from the former Ottoman Empire triggered a quest for identity in the arts. The selected works chart the concurrent rise of major art centers in cities such as Baghdad, Beirut, and Cairo that furthered the propagation of the visual arts with the opening of museums and academies. Continue reading “Exhibition celebrates 175th anniversary of Arabic studies at Yale University – New Haven, CONN – 24.02.2017-16.07.2017 – 12522”

Exhibition explores the visual, verbal, and sonic experiments of the foundational decades of concrete poetry – Los Angeles – 28.03.2017-30.07.2017- 12521

Augusto de Campos (Brazilian, b. 1931) Julio Plaza (Spanish, 1938–2003), Rever (To See Again) 1964. From Poemobiles (São Paulo: Ed. de autor, 1974). Getty Research Institute, Los Angeles (92-B21581) Courtesy Augusto de Campos / Courtesy Anabela Plaza.

A concrete poem employs language, space, sound, color, and design to communicate meaning, rendering the poem a work of art. In the mid 1950’s an international movement known as concrete poetry sought to break down existing barriers between the visual arts and the written word. Concrete poets were committed to the idea that a poem was not just a column of words on a page, but a spatial construct whose design was central to its content. Employing new technologies such as magnetic tape and video, concrete poetry distinguished itself from other postwar movements by making language visible.

On view at the Getty Research Institute from March 28 through July 30, 2017 and featuring more than 100 works from leading poets in the movement, Co ncrete Poetry: Words and Sounds in Graphic Space explores the visual, verbal, and sonic experiments of the foundational decades of concrete poetry, the 1950s through the 1970s.

“Art historically, concrete poetry is a fascinating international development with antecedents in the European avant-gardes of the early 20the century. This exhibition draws from the Getty Research Institute collections, rich in visual and sound poetry as well as in artists’ books, prints, and postwar art history, and exemplifies the possibilities for deep research at the GRI,” said Thomas W. Gaehtgens, director of the Getty Research Institute. “Additionally, these rarely seen poems are remarkable when experienced in person, and we are delighted to give our audiences the opportunity to do that at the Getty.”

The exhibition centers around two seminal figures of the concrete poetry movement, Ian Hamilton Finlay (Scottish, 1925-2006) and Augusto de Campos (Brazilian, b. 1931), and also displays works by their contemporaries including Henri Chopin (French, 1922-2008), Ernst Jandl (Austrian, 1925-2000), Mary Ellen Solt (American, 1920-2007), and Emmett Williams (American,1925-2007). The concrete poetry of Finlay and Augusto took many forms in diverse media, ranging from small hand-made and screen-printed works on paper, to three-dimensional fold-outs, sculpture in glass and stone, and immersive projected digital poems. Continue reading “Exhibition explores the visual, verbal, and sonic experiments of the foundational decades of concrete poetry – Los Angeles – 28.03.2017-30.07.2017- 12521”

A survey of the Fred Wilson’s work from 1995 to present at the Neuberger Museum of Art – Purchase, NY – 19.03.2017-30.07.2017 – 12520

Fred Wilson; Snuff, 2003; painted wood, plastic hoses, fire extinguishers and metal clamps; 69 x 44 x 44 inches; © Fred Wilson, Courtesy Pace Gallery; Photograph by Ellen Labenski, Courtesy Pace Gallery

Conceptual artist Fred Wilson is primarily known for rearranging art and artifacts in museum collections to reveal the difficult topics in our culture and society that are frequently overlooked. A 1999 John D. and Catherine T. MacArthur (genius) Grant Award winner, Wilson gained critical acclaim in the early 1990s with the seminal exhibition Mining the Museum, in which he placed a whipping post in a gallery and encircled it with four ornate chairs—all from the permanent collection of the Maryland Historical Society.

Now, Wilson, who earned his B.F.A. with Purchase College’s first graduating class in 1976, is turning his eyes to his own alma mater. His show at the Neuberger Museum of Art, located on the Purchase campus, includes a survey of the artist’s work from 1995 to the present, featuring 76 pieces of his studio work. The exhibition, on view from March 19 to July 30, 2017, includes three new works by Wilson that have not been exhibited publicly before, and a site-specific installation that recontextualizes thirty-nine works from the Museum’s and the College’s collections to create an “artistic intervention” that subtly explores hidden agendas and how power is perpetuated by society’s institutions. The installation includes a display of a couple of Wilson’s own “collection projects,” put together over the artist’s career. This is the first time Wilson has exhibited together his studio work, a museum intervention, and collection projects within a museum context.

Jacqueline Shilkoff, Neuberger Museum Curator of New Media/Director of Digital Initiatives, says, “Wilson’s conceptual practice and his studio practice form a continuum. He researches process and context – how and why works of art are made and the sociopolitical environment in which they are interpreted. He investigates the dynamic between the self and society, and how societies in power dominate the historical narrative.”

Fred Wilson is organized by the Neuberger Museum of Art, Purchase College, SUNY. Generous support for this exhibition has been provided by Morgan Stanley and by ArtsWestchester with support from the Westchester County Government. Additional support has been provided by O. Anthony Maddalena, and Helen Stambler Neuberger and Jim Neuberger. Support is also provided by the Friends of the Neuberger Museum of Art and the Purchase College Foundation.

Museum Survey, 1995 to present
Wilson’s desire to reassess social and historical narratives and examine the politics of erasure and exclusion is apparent throughout his entire body of work featured in the survey, dating from the earliest work on view, “Old Salem: A Family of Strangers” (1995). The piece features 20 color photographs that document a collection of dolls, many of them depicting minorities, found in storage at the Museum of Early Southern Decorative Arts in Winston-Salem, NC. “This was a box of dolls that were gifted to the museum but would never be put on display. They were misfits,” Wilson says. “I wanted to give these characters a voice by making portraits of them. I saw their histories etched on their faces – their fear, their desires, their dignity.” Continue reading “A survey of the Fred Wilson’s work from 1995 to present at the Neuberger Museum of Art – Purchase, NY – 19.03.2017-30.07.2017 – 12520”

New work by artist Adam Pendleton brings an art of protest into the museum – Baltimore – 26.03.2017-13.08.2017 – 12519

Adam Pendleton, A Victim of American Democracy II (wall work), 2015. © Adam Pendleton, courtesy Pace Gallery.

The Baltimore Museum of Art presents Front Room: Adam Pendleton, a dramatic installation of new and recent work by the New-York based artist that examines the relationship between abstraction and representation through layered and fragmented texts and images sourced from the artist’s personal library. On view March 26–August 13, 2017, the exhibition transforms the wall adjacent to the East Lobby staircase with a monumental Wall Work by Pendleton. The Contemporary Wing’s Front Room Gallery will feature three immersive floor-to-ceiling Wall Works overlaid with paintings, collages, and silkscreens on Mylar by the artist.

“Adam Pendleton has created a compelling body of work that deeply connects our country’s past and present issues with race,” said BMA Dorothy Wagner Wallis Director Christopher Bedford. “We are extremely proud to present his new work in a way that will make an impression on everyone who encounters it.”

Pendleton (American, b. 1984) is a voracious reader who uses his personal library of words and images to disrupt and reconsider preconceived notions of history and culture as they relate to the avant-garde and current and past socio- political movements. The animating force of his work is found in Black Dada—the artist’s term for a broad conceptualization of blackness. Black Dada combines “Black,” which Pendleton describes as “an open-ended signifier” and “Dada,” a nonsense word which recalls the name of the radical artistic movement that developed in response to the horrors of World War I by producing absurdist artwork that challenged the social order. A core question the artist addresses is: What does Black Dada look like? By fragmenting, layering, and collaging materials he reveals new and unexpected relationships between the past and present, language and image, and abstraction and representation. Continue reading “New work by artist Adam Pendleton brings an art of protest into the museum – Baltimore – 26.03.2017-13.08.2017 – 12519”

Richard Deacon exhibition opens at San Diego Museum of Art – 25.03.2017-25.07.2017 – 12518

Richard Deacon, Dancing in Front of My Eyes, 2006. Wood, aluminum. Private Collection. Photograph by Jeff McClane.

The San Diego Museum of Art announces Richard Deacon: What You See Is What You Get, the renowned contemporary sculptor’s first major museum survey in the United States. On view beginning March 25, 2017, through July 25, 2017, the exhibition includes roughly 40 works from more than three decades of Richard Deacon’s oeuvre.

A self-proclaimed “fabricator,” Deacon uses everyday materials such as laminated wood, linoleum and limestone. His abstract forms, which challenge viewers’ expectations in terms of the limitations of materials and their unusual combinations, have placed him at the forefront of British sculpture since the 1980s. He was awarded the Tate’s prestigious Turner Prize in 1987, and received a major retrospective at the Tate in 2014. He exhibits frequently in Europe and worldwide, and remains a major force in the field of contemporary sculpture.

The show’s title What You See Is What You Get is a tongue-in-cheek nod to Deacon’s style – while the title of his work can appear literal, they are often meant to invoke a range of metaphors, and mythological and literary allusions. The featured works range in scale and materials, from truly monumental works such as Distance No Object, an 8-½ ft.-by-20 ft. curved cylindrical tube constructed from ten circular segments of steel, to more colorful, intimate pieces like the Some More for the Road series. Continue reading “Richard Deacon exhibition opens at San Diego Museum of Art – 25.03.2017-25.07.2017 – 12518”

The mirror art of Monir Shahroudy Farmanfarmaian in Chrysler Museum of Art’s new glass exhibition – Nordfolk, VA – 17.03.2017-30.07.2017 – 12517

Monir Sharoudy Farmanfarmaian (Iranian, b. 1924), Muqarnas One, 2012. Reverse painted glass, mirrored glass, and plastic, 81 x 114 x 80 cm. Collection of the artist © Monir Shahroudy Farmanfarmaian. Photo by Filipe Braga, © Fundação de Serralves, Porto, Portugal

Discover the geometric wonder of the art of Monir Shahroudy Farmanfarmaian. The Chrysler Museum of Art presents a selection of the acclaimed artist’s intricate mirror works and drawings in its Glass Projects Space (G. 118) from March 17 through July 30, 2017. Admission to Monir Sharoudy Farmanfarmaian: Infinite Possibility—Mirror Works and Drawings, 1974–2014 is free.

Farmanfarmaian’s art reflects a life lived between two cultures, combining the patterns and geometry found in the traditional art of her native Iran with the modern abstraction of the New York City avant-garde.

Born in Iran in 1924, Farmanfarmaian moved to New York in 1945 and studied at Cornell University and Parsons School of Design. She studied dance with Martha Graham and spent time with art scene notables Jackson Pollock, Willem de Kooning, and Larry Rivers. She made ends meet working in the Bonwit Teller advertising department alongside Andy Warhol. Continue reading “The mirror art of Monir Shahroudy Farmanfarmaian in Chrysler Museum of Art’s new glass exhibition – Nordfolk, VA – 17.03.2017-30.07.2017 – 12517”

Groundbreaking exhibition features never-before-seen photographs by Charles Sheeler – Doylestown,PA – 18.03.2017-09.07.2017 – 12516

Charles Sheeler (1883-1965), American Interior, 1934, oil on canvas, 32 ½ x 30 in. Yale University Art Gallery, Gift of Mrs. Paul Moore.

In the spring of 2017, the James A. Michener Art Museum presents Charles Sheeler: Fashion, Photography, and Sculptural Form, a groundbreaking exhibition that features never-before-seen photographs by Charles Sheeler, one of America’s most celebrated modernists. Inspired by Sheeler’s portrait and fashion work for Condé Nast from 1926 to 1931, the multimedia show features a significant display of these newly discovered photographs as well as paintings and other photographs created by Sheeler, 1920s fashion ensembles, and Sheeler-designed textiles. Evoking the exuberance, glamour, and promise of the Jazz Age, the exhibition is on view from March 18 through July 9, 2017 Continue reading “Groundbreaking exhibition features never-before-seen photographs by Charles Sheeler – Doylestown,PA – 18.03.2017-09.07.2017 – 12516”

Vanderbilt University Fine Arts Gallery celebrates the centenary of the Dada movement with exhibition – Nashville, TENN – 16.03.2017-27.05.2017-12515

Facile. Poèmes de Paul Éluard (1935), Paul Éluard (French, 1895–1952), with photographs by Man Ray (American, 1890–1976). Pascal Pia Collection. Jean and Alexander Heard Library, Vanderbilt University.

Recognizing the centenary and far-reaching importance of a pivotal modern art movement, the Vanderbilt University Fine Arts Gallery has partnered with Vanderbilt’s W. T. Bandy Center for Baudelaire and Modern French Studies to present The Dada Effect: An Anti-aesthetic and Its Influence. The exhibition opened March 16.

Dada was an artistic and literary movement that took form in New York and Europe during World War I (1914–1918). Seeking to break from tradition, artists and writers were encouraged to focus on the creative process itself rather than the end result. As early as 1915, while proto-dadaists such as Marcel Duchamp and Man Ray worked in New York forming their anti-nationalistic, anti-war, and anti-bourgeois philosophy, Zurich Dada was beginning to develop independently.

From its conception in 1916 at the Cabaret Voltaire, Dada was an international project. Hugo Ball, cofounder of Dada Zurich wrote in the first and only volume of the Cabaret Voltaire that “with the help of our French, Italian, and Russian friends” the goal of the journal and café “is to remind the world that, beyond war and nationality, there are independent men who live with other ideals.” Set against the conventional bourgeois order, these “other ideals” engendered every sort of reimagining of life, art and, in some instances, politics, emphasizing the ephemeral in each.

Both the successes and subsequent influence of Dada can be attributed to its aesthetic and ideological malleability; it did not dictate what art should be, but rather what it should not be. As conceived by Tristan Tzara in his 1918 manifesto, Dada is not another “ism,” such as Naturalism or Symbolism.

It firmly rejects any functionality, any idea of progress, or any clear political attachment. It encompasses no particular aesthetic, but rather seeks to break with all tradition and base itself on the unpredictable, on the fruits of chaos, on irony, on playfulness and humor. Though the Cabaret Voltaire was short-lived, it sent inspiration in ripples geographically – to Paris, London, Berlin, New York and Japan – and through time into the twentieth century and the present.

The Dada Effect shows how Dadaist aesthetics and ideology directly influenced modern art and literature in many subsequent movements, including Surrealism, ‘Pataphysique, and Neo-Dada.

The exhibition includes:

• Over fifty rare books and journals from the Pascal Pia Collection at Vanderbilt’s W. T. Bandy Center for Baudelaire and Modern French Studies, including the opportunity to digitally flip through a selection of them.

• Over thirty artworks by John Cage, Salvador Dalí, André Masson, Joan Miró, Robert Rauschenberg, and others from the collection of the Vanderbilt University Fine Arts Gallery.

• Works by Jean Arp, Max Ernst, Francis Picabia, Man Ray, Hans Richter, Yves Tanguy, and Carl Van Vechten on loan from Fisk University Galleries (Nashville, TN), the George Eastman Museum (Rochester, NY), Hampshire College Art Gallery (Amherst, MA), the Neuberger Museum of Art at Purchase College, SUNY (Purchase, NY), and a private collection.

• Surrealist film clips by Jean Cocteau and Man Ray.

• Recreations of the Cabaret Voltaire stage set and of Elsa Schiaparelli’s
Surrealist dresses created by students, faculty, and staff of Vanderbilt’s
Department of Theatre.

• Original Dada-inspired musical compositions by students from Vanderbilt’s Blair School of Music.

Website : Vanderbilt University Fine Arts Gallery
Source : Artdaily

The Philadelphia Museum of Art opens first major American exhibition of phulkari textiles 12.03.2017-09.07.2017 – 12514

Bagh Phulkari, 20th century. Artist/maker unknown, Punjabi. Handspun cotton plain weave (khaddar) with silk embroidery in darning, pattern darning, running, chain and cross stitches, 8 feet 3 3/4 inches × 59 1/2 inches (253.4 × 151.1 cm). The Jill and Sheldon Bonovitz Phulkari Collection.

The Philadelphia Museum of Art presents the first major American exhibition of phulkari textiles, exquisite embroideries made in Punjab, a region that comprises north central India and eastern Pakistan. This vibrant tradition, shaped by women and passed down through generations, has become a powerful symbol of Punjabi cultural identity. Phulkari: The Embroidered Textiles of Punjab from the Jill and Sheldon Bonovitz Collection celebrates the promised gift of their collection of these rare embroideries. Exhibited together with other examples from the Museum’s collection, these works span a period from the mid-nineteenth century until the Partition of India in 1947. The exhibition also includes contemporary fashion in which the creative use of phulkari embroideries suggests a powerful revival of this boldly designed and colorful textile art today.

Timothy Rub, The George D. Widener Director and CEO of the Philadelphia Museum of Art, said: “This exhibition, which examines the artistic, cultural, and political significance of phulkari, is long overdue and will certainly delight visitors who may be unfamiliar with this remarkable art form. Once again, our collection has been greatly enriched through Jill and Sheldon Bonovitz’s generosity. This promised gift has also enhanced the reputation of the institution as a premier destination for the study and appreciation of South Asia’s world-renowned textile traditions.”

The major focus of the exhibition will be on pre-Partition textiles handwoven in cotton and embroidered in lustrous Chinese silk. Some phulkaris feature animals and village scenes, while others are ornamented with elaborate geometric patterns in rich pink and gold conveying good fortune and social status. To demonstrate the continuing influence of these traditional textiles, contemporary couture created by one of India’s leading fashion designers, Manish Malhotra, will also be on display. Runway fashions from his 2013 collection celebrate the bright colors and intricate patterns found on traditional phulkaris, demonstrating their broad appeal on the international stage. In addition to high fashion, the show will include videos that examine the political and social upheaval created by the partition of the Indian subcontinent in 1947 and how it disrupted this textile tradition as well as the later revival of phulkari as a symbol of Punjabi pride.

Phulkari embroideries historically served as a significant symbol of a Punjabi woman’s material wealth and were deemed an important part of her wardrobe. They were typically worn as shawls draped over the head on special occasions such as marriages, births, and other rituals.

Dr. Cristin McKnight Sethi, co-curator of the exhibition, said: “These works serve as a way to map a family’s or a community’s history. They are canvases upon which a woman could express her desires and worldview through needle and thread. By looking closely, we can study just how deeply these makers valued their cloths and how they invested them with meaning.”

Dr. Darielle Mason, the Museum’s Stella Kramrisch Curator of Indian and Himalayan Art, notes: “Phulkari embroideries hold immense historic significance and emotional power for those of Punjabi heritage and members of the Sikh religious community who now live around the world. On a purely aesthetic level, with their almost neon colored silk threads set against deep earth toned rough cotton, phulkaris are among of the most visually stunning textile types ever created.”

Website : The Philadelphia Museum of Art
Source : Artdaily

The Hyde Collection exhibits works by American artists who found inspiration overseas – Glens Falls, NY – 28.02.2017-11.06.2017 – 12513

Thomas Moran, (American, b. England, 1837-1926), The Gates of Venice, 1888, 17 3/4 x 31 in,. etching, black ink on wove paper, The Hyde Collection, Glens Falls, New York, Gift of the Hoopes Family, 2008.18.

When Childe Hassam returned to the United States after living in Paris for three years, he brought with him an American form of Impressionism. His Hyde House favorite Geraniums is being exhibited — along with the works of other American artists who found inspiration overseas — in American Artists in Europe: Selections from the Permanent Collection, which opened Tuesday, February 28, in The Hyde Collection’s Whitney-Renz Gallery.

The featured works are drawn from the Museum’s permanent collection, highlighting American artists inspired by their travels. “Americans go as students or as established artists, but they both come back with distinctly American versions of movements they encountered in Europe,” said Jonathan Canning, Curator of The Hyde.

When, for example, Winslow Homer tired of painting Americans, he traveled overseas in 1881 in search of strong-willed women exuding natural beauty. The revered painter found his muses on the rough shores of Cullercoats, England. He came back to the States with the subjects that would come to dominate his later years, fisherfolk and the power of the sea.

Before the Civil War, America lacked the cultural equivalents of artists’ cafes, salons, and the Bohemian lifestyle that made Europe the center of Western culture. “Artists traveled wanting to see Europe’s great cities, art collections, and monuments,” Canning said. “It wasn’t until after the war that Americans started to develop art academies and cultural institutions of their own.”

American Artists in Europe: Selections from the Permanent Collection features works from Hassam; Homer, who traveled to England twice in the mid-1800s; Frank Duveneck, who traveled and taught extensively in Italy and Germany; Elihu Vedder, who found inspiration in Italy and eventually lived there permanently; and Leonard Freed, who traveled in Europe and Africa before settling in Amsterdam to photograph its Jewish community; among others.

American Artists in Europe runs through June 11 in Whitney-Renz Gallery.

Website : Hyde Collection
Source : Artdaily

Seven centuries from the Woodner Collections celebrated at National Gallery of Art – Washington, DC – 12.03.2017-16.07.2017 – 12512

Simon Bening, The Adoration of the Magi, mid-1520s. Tempera heightened with gold on vellum mounted to wood. Overall: 16.8 x 22.9 cm (6 5/8 x 9 in.). National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner.

Ian Woodner assembled an extraordinary collection of over 1,000 old master and modern drawings, making him one of the 20th century’s most important collectors. More than 150 works from his collection now reside at the National Gallery of Art in Washington. While Ian Woodner gave some works himself in the 1980s, the majority have been donated by his daughters, Dian and Andrea. His daughters have also made other gifts and have pledged works from their personal collections. The Woodner Collections: Master Drawings from Seven Centuries brings together for the first time the best of Ian Woodner’s collection with some of the works given and promised by Dian and Andrea Woodner. More than 100 major works of art are on view in the West Building of the National Gallery of Art from March 12 through July 16, 2017.

“Ian Woodner’s appreciation of a wide range of types and styles of drawings led him to form a collection of extraordinary breadth and depth that spans centuries,” said Earl A. Powell III, director, National Gallery of Art. “The Gallery is deeply grateful for the generosity of the Woodner family and the continued support of Dian and Andrea Woodner.”

The Woodner Collections includes some 100 drawings dating from the 14th to the 20th century executed by outstanding draftsmen such as Leonardo da Vinci, Albrecht Dürer, Raphael, Jean-Auguste-Dominique Ingres, Edgar Degas, and Pablo Picasso, among many others. Two highlights in the exhibition are Ian Woodner’s greatest acquisitions, known as his “crown jewels”: Giorgio Vasari’s Libro de’ Disegni (sheets probably 1480–1504 and after 1524) and A Satyr (1544/1545) by Benvenuto Cellini. Vasari’s Libro de’ Disegni consists of ten drawings by the Renaissance masters Botticelli, Filippino Lippi, and Raffaellino del Garbo arranged harmoniously on both sides of the sheet. It is widely regarded as one of the most beautiful and impressive of the few pages surviving intact. Cellini’s monumental nude is a finished study of a bronze sculpture designed to stand at the entrance to the French royal palace at Fontainebleau.

“Included in the exhibition are many impressive works by well-known artists, all acquired by the Woodner family with an intrepid spirit and exquisite taste. A visit to the exhibition will offer a remarkable journey through many facets of European draftsmanship, revealing the broadly diverse ways the artists responded to their individual worlds and expressed their unique creativity,” said Margaret Morgan Grasselli, curator and head of the department of old master drawings, National Gallery of Art.

The earliest works in the exhibition are two rare sheets from the 14th century: a page from a model book by an unknown Austrian artist, and the other, attributed to the Paduan painter Altichiero da Zevio, shows a band of knights in armor storming a medieval castle. Nearly half of the exhibition is devoted to works from the 15th and 16th centuries, including drawings by Raphael, Leonardo, and Albrecht Dürer. The most important figure in German Renaissance art, Dürer is represented by an outstanding group of five drawings: four figurative works and one vividly colored book illumination, A Pastoral Landscape with Shepherds Playing a Viola and Panpipes (1496/1497). Leonardo’s petite Grotesque Head of an Old Woman (1489/1490) is both touching and comical. The study of Eight Apostles (c. 1514), a fragment of a preparatory drawing for a tapestry cartoon, shows the classical rhythms and expressive qualities that are typical of the “divine” Raphael. By contrast, a rare study by Pieter Bruegel the Elder humorously depicts a musician tipping precariously on a three-legged stool. It combines the artist’s lively pen strokes with a keen eye for pose and expression and captures both the boisterous spirit and the clumsy charm of the peasants that populate so many of Bruegel’s compositions.

Among the small group of works by the 17th-century artists, Rembrandt’s evocative View of Houtewael near the Sint Anthoniespoort (c. 1650) demonstrates his remarkable ability to express space, light, and atmosphere with an economy of means. The 18th century is particularly rich in examples by many French and Venetian artists, including François Boucher, Giovanni Battista Tiepolo, Giovanni Battista Piranesi, and Jean-Honoré Fragonard. A more emotional tone is struck in a drawing of Satan Defying the Powers of Heaven by the Swiss-Anglo artist Henry Fuseli and in two enigmatic compositions by the great Spaniard, Francisco de Goya.

The 19th-century drawings include three elegant works by Jean-Auguste-Dominique Ingres and the eerie, powerful image Cactus Man (1881) by French symbolist Odilon Redon, one of Woodner’s favorite artists. Several works from the 20th century close the exhibition: three masterly drawings by the young Pablo Picasso, Two Fashionable Women (1900), a blue-period Head of a Woman (c. 1903), and a cubist Standing Nude (summer 1910); an imposing study of a female nude by Georges Braque (1927); and three drawings by Louise Bourgeois, including M is for Mother (1998), a drawing of a large, red letter M that conveys not only maternal comfort but also maternal control.

Born in New York City in 1903 to Polish immigrant parents, Ian Woodner studied architecture at the University of Minnesota and continued his studies with a scholarship to the Graduate School of Architecture at Harvard University. By 1944 his architectural success led him to open a real estate development firm: the Jonathan Woodner Company.

Woodner’s prosperous real estate ventures allowed him to pursue his lifelong interest in the arts, evident at an early age by the remarkable watercolors and drawings he produced. During the 1940s Woodner began to buy and sell minor impressionist paintings and Cycladic figurines, and for a short time he owned an art gallery on Madison Avenue in New York. By the mid-1950s he had developed a penchant for old master drawings, and he spent the next several decades, until his death in 1990, collecting them extensively. Woodner took advantage of several unusual opportunities that arose from the sale of important European collections, including 71 drawings from Chatsworth House in England that were auctioned by Christie’s in 1984. Upon his death, the stewardship of the collection, including more than one thousand drawings, passed to his daughters Dian and Andrea Woodner, who placed 145 works on deposit at the National Gallery of Art in 1991. Since then, they have given nearly all of those drawings to the Gallery and continue to make generous gifts of their own. They have also pledged to give works from their personal collections.

The exhibition was organized by Margaret Morgan Grasselli, curator and head of the department of old master drawings, National Gallery of Art.

Website : National Gallery of Art
Source : Artdaily

Sweeping survey of Mexican modern art at the Dallas Museum of Art – 12.03.2017-16.07.2017 – 12511

Diego Rivera, Juchitán River (Río Juchitán) Panel 4, 1953–1955. Oil on canvas on wood. Overall: 60 x 99 in. (151 x 250.8 cm) Mexico, INBA, Museo Nacional de Arte © 2017 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York

This March, the Dallas Museum of Art, in collaboration with the Mexican Secretariat of Culture, opened the exclusive U.S. presentation of México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde, a sweeping survey featuring almost 200 works of painting, sculpture, photography, drawings, and films that document the country’s artistic Renaissance during the first half of the 20th century. Curated by Agustín Arteaga, the DMA’s new Eugene McDermott Director, and the result of a combined cultural endeavor between Mexico and France, this major traveling exhibition showcases the work of titans of Mexican Modernism alongside that of lesser-known pioneers, including a number of rarely seen works by female artists, to reveal the history and development of modern Mexico and its cultural identity.

On view from March 12 through July 16, 2017, México 1900–1950 has been enhanced in Dallas by the inclusion of key works from the Museum’s own exquisite collection of Mexican art, encompassing over 1,000 works that span across three millennia. The exhibition, which premiered in October 2016 at the Grand Palais in Paris to both popular and critical acclaim, is organized by the Secretaría de Cultura/Instituto Nacional de Bellas Artes/Museo Nacional de Arte, México (MUNAL) and the Réunion des musées nationaux – Grand Palais (Rmn-GP) of France.

“The DMA has a rich history of collecting and presenting Mexican art, and this exhibition offers our visitors the opportunity to explore in-depth the diverse and vibrant voices that distinguish Mexican art during the first half of the 20th century,” said Arteaga. “México 1900–1950 showcases not only the greats of Mexican art but also those who may have been eclipsed on the international level by names like Rivera and Kahlo. The exhibition helps broaden our understanding of what modern Mexican art means, and diversify the artistic narratives attributed to the country.”

Organized thematically and presented in both English and Spanish, México 1900–1950 reveals how Mexican 20th-century art is both directly linked to the international avant-garde and distinguished by an incredible singularity, forged in part by the upheaval and transformation caused by the Mexican Revolution in the early 1900s. The exhibition begins with an introduction to the 19th-century imagery and traditions that pre-dated and, in turn, inspired Mexican Modernism, and includes work produced by Mexican artists living and working in Paris at the turn of the century. It then examines how the Revolution helped cement both a new national identity and a visual culture in Mexico, as embodied most famously by the murals of Rivera, Orozco and David Alfaro Siqueiros.

At the same time, México 1900–1950 goes beyond these mythic artists to reveal alternative narratives in Mexican art, including a significant emphasis on the work of female artists, who were supported by patrons like Dolores Olmedo and María Izquierdo. The thematic section “Strong Women” includes work by Frida Kahlo and her lesser-known but equally distinguished compatriots, including artists like Nahui Olin, photographer Tina Modotti, multidisciplinary artist Rosa Rolanda, and photographer Lola Álvarez Bravo, among others. Representing the response of Mexican artists to art movements from around the world with a cosmopolitan vision, the exhibition also features the artwork of abstract sculptor German Cueto, Manuel Rodríguez Lozano, Abraham Ángel, Roberto Montenegro and Rufino Tamayo. A final section reveals the cross-pollination specifically between American and Mexican artists and the resulting profound effect this had on art production in both countries.

The Dallas presentation, in partnership with the Latino Center for Leadership Development and with support from Patrón Tequila, gathers perhaps for the first time in decades mural-sized works by Diego Rivera, José Clemente Orozco, Rufino Tamayo, Saturnino Herrán, Miguel Covarrubias, and Roberto Montenegro. Other exhibition highlights include:

• La futbolista (The Footballer) (1926) by Ángel Zárraga

• Las soldaderas (1926) by José Clemente Orozco

• Autorretrato (el Coronelazo) (Self-Portrait (el Coronelazo)) (1945) by David Alfaro Siqueiros

• La vendedora de frutas (The Fruit Vendor) (1951) by Olga Costa

• Río Juchitán (Juchitán River) (1953–1955) by Diego Rivera

• Guitarra, canana y boz (Guitar, bandolier, and sickle) (1929) by Tina Modotti

• Las dos Fridas (The Two Fridas) )(1939) by Frida Kahlo

• La pasarela (The Walkway) (n.d.) by Gabriel Fernández Ledesma

• La Dame ovale (Green Tea) (1942) by Leonora Carrington

• El Sueño de la Malinche (The Dream of La Malinche) (1939) by Antonio Ruiz

As part of the exhibition, highlights from the DMA collection include, among others:

• Perro Itzcuintli conmigo (Itzcuintli Dog with Me) (1933) by Frida Kahlo, an oil-on-canvas self-portrait of the artist with a hairless dog, a long-term loan to the Museum, was likely painted at the artist’s home in Mexico City and completed immediately before her solo debut in New York
• Adam y Eve Mexicanos (Mexican Adam & Eve) by Alfredo Ramos Martinez, the 1933 painting by the acknowledged “Father of Mexican Modernism” combines Ramos Martinez’s nationalist technical ability with an active response to a folkloric vision of Mexico shared by Mexican artists living in Southern California;

• El Hombre (Man) by Rufino Tamayo, a portable mural of a man reaching toward a shooting star that was commissioned by the DMA in 1953 reflects the Museum’s early interest in and dedication to expanding its collection of Latin American paintings; and

• Génesis, el Don de la Vida (Genesis, the Gift of Life), the iconic 60-foot-long glass mosaic mural by Miguel Covarrubias on permanent view at the DMA; originally created for another building in Dallas in 1954, the work is based on an ancient Mexican myth that four worlds preceded the world we currently live in, and incorporates imagery from numerous historic cultures in Central and North America.

Website : Dallas Museum of Art
Source : Artdaily