Indianapolis Museum of Art engages architecture & design firm to build sustainable future – 8513

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The plan will serve as a roadmap for the next 30 years.
The Indianapolis Museum of Art announced that it has partnered with the landscape architecture and urban design studio, David Rubin LAND COLLECTIVE, to develop a Master Land Use plan for the IMA’s 152-acre campus.

The plan will serve as a roadmap for the next 30 years, addressing access, infrastructure, connectivity, space and land use needs. A major goal of the plan is to integrate the IMA’s cultural and natural resources to create a holistic campus experience.“The IMA is in the process of defining what it means to be a living museum with a combination of extraordinary assets: a great art collection, stunning gardens, renowned historic sites, a nature preserve, sculpture park, unique performance and event spaces, and even a preschool,” said Dr. Charles L. Venable, the IMA’s Melvin & Bren Simon Director and CEO. “We are almost unique nationally in having such incredible, diverse resources that enable us to deliver a one-of-a-kind experience to our guests. We are thrilled to partner with David Rubin LAND COLLECTIVE to better understand how we can unify these resources to create even more exceptional experiences for the public while building a sustainable financial future for the IMA.”

Based out of Philadelphia, David Rubin LAND COLLECTIVE has extensive experience in Indiana landscapes and has collaborated on projects for Eskenazi Health Hospital – “The Commonground”; the Indianapolis DBU Headquarters Park for Cummins, Inc.; Grand Junction Plaza for the City of Westfield; and the Kitselman Trailhead for the Cardinal Greenway, Inc. and the City of Muncie. The studio also has experience integrating art and architecture—the Eskenzai and Cummins projects both had heavy art components.

“I became a member of the IMA several years ago, long before any professional affiliation connected me to this extraordinary institution,” said David Rubin, principal at LAND COLLECTIVE. “Working on projects in and around Indianapolis, I found the museum assets and expansive gardens to be a welcome place for emotional recharge and intellectual stimulation between project meetings. This is a unique place—like no other I have found in all of my travels— with untapped resources that have the capacity to serve the breadth of the region’s population. I call it a ‘constellation of assets’—a living Jacco Olivier painting—where every citizen can find themselves enriched by ever-changing, stimulating experiences throughout the year. It is my home away from home.”

LAND COLLECTIVE has engaged a team of consultants to collaborate on the project, including the land use planning and architecture firm, Beyer Blinder Belle; historic planning and preservation consultants from PennPraxis; engineering and surveying firm, Nitsch Engineering; public space design and management firm, ETM Associates, L.L.C.; and the Indiana-based construction company, The Hagerman Group. The multifaceted team will examine the IMA’s existing challenges, such as limited parking and navigation across the campus’ diverse landscapes, and determine opportunities for growth in underutilized spaces and resources. The resulting Master Land Use plan will aim to enhance the guest experience and celebrate the landscape’s unique history while creating a sustainable, 21st century campus.

To inform the master planning process, the IMA worked with external consultants over the past year to conduct a series of studies. Studies included identifying and strategizing earned income opportunities, analyzing audience segments in the local market and assessing existing community engagement initiatives.

The project team will utilize the results of these studies, along with their own research, to develop the IMA’s Master Land Use Plan. As part of their analysis, David Rubin LAND COLLECTIVE will meet with various stakeholder groups to gather feedback and better understand their specific needs. A forum for IMA members and the local community will be held on Feb. 5 from 2-4 p.m. in The Toby.

After the research phase, the master planning team will define the vision and framework for the plan, and make their final recommendations to the IMA’s Board of Governors. The process is set to conclude in summer 2017.

Magazzino Italian Art announces official opening and inaugural presentation in June 2017 – New York – 8512

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Margherita “Christian” Stein at her home-gallery mid 1960’s Piazza San Carlo, Turin, Italy. Artworks by Jannis Kounellis, Luciano Fabro, Michelangelo Pistoletto. Photo by Mario Sarotto.

Magazzino, the new private warehouse art space in the Hudson Valley devoted to Postwar and Contemporary Italian art, will be open to the public by appointment only starting June 28, 2017, with an inaugural presentation that will pay homage to Margherita Stein. Founder of the historic Galleria Christian Stein in Turin, Italy, and one of the pioneers of the Arte Povera movement, Magazzino’s premiere presentation will continue Stein’s legacy in the United States by fostering a renewed dialogue around Postwar Italian art. Located along the Hudson River, in Cold Spring, New York, the new space will display works from the Olnick Spanu Collection, with the mission of researching and supporting further recognition of Postwar and Contemporary Italian art in the United States.The inaugural presentation will display a curated selection of works created by artists whose careers Stein fostered. Born and based in Turin, Margherita Stein assumed the alias “Christian Stein”, borrowing her husband’s first and last name in order to gain acceptance as she embarked on a career as one of the leading Italian gallerists of her time. Between 1966, when the gallery first opened, until 1999, Stein was responsible for supporting artists associated with Spatialism, the Zero Group and most significantly, Arte Povera, bringing early recognition to this movement, first in Italy and Europe, and later in the United States. Continuing this mission, Magazzino’s inaugural presentation and programming aims to further the historical dialogue and research on Italian art, both past and present.

Italian art critic and curator, Germano Celant, coined the phrase “Arte Povera” for his celebrated 1967 exhibition in Genova. Meaning “poor art” in Italian, the phrase grew out of the radical stance artists were taking in response to their dissatisfaction with the values established by political, industrial and cultural institutions. The movement features impressive sculptural installations, illustrating artists’ preoccupation with history and myth and their preference for humble, often ephemeral materials. These young Italians opposed the commercialization of the art object and aimed to eradicate the boundaries between media as well as between nature and art. Stein was active in the creation of the movement and participated in the debates these artists held on the changes that were taking place in contemporary art. Her commitment to their vision has proven to be an essential part of the history of Arte Povera. Based on Stein’s legacy, the inaugural display at Magazzino will showcase over four decades of historic works by artists including Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, and Gilberto Zorio.

“The inaugural presentation at Magazzino will not only focus on the core group of artists associated with the Arte Povera movement but will also incorporate artists from the following generation, including Marco Bagnoli, Domenico Bianchi and Remo Salvadori,” states Director Vittorio Calabrese. “The aim of the initial presentation is not solely to be a survey of Arte Povera, but rather an homage to the vision of Margherita Stein and her role in shaping and advancing these artists’ careers. Our goal is to always have one gallery dedicated to presenting temporary exhibition of contemporary art.”

Magazzino draws architectural components from an existing structure which has been repurposed within a larger design conceived and led by Spanish architect Miguel Quismondo. Quismondo has doubled the square footage of the former space by completing the original L-shape into a rectangle, leaving a courtyard in the center, and creating a dialogue between the existing and the new addition. The state of the art facility will feature more than 18,000 square feet for art display and a library, which will feature publications on Italian art and will be accessible free of charge, by appointment to residents, students and scholars.

“The project pays tribute to its name by reiterating its integrity as an industrial warehouse,” explains architect Miguel Quismondo. “The existing building has been striped to its basic components, while the addition is built with structural cast-in-place concrete and metal girders, creating a modulated repetition. The balance of natural light, the contrasting shell and versatile height of the new component establishes a harmonious dialogue between the existing and the addition.” Following the completion of Magazzino, a publication will be launched on a photographic project, documenting the construction of Magazzino from start to finish, by photographer Marco Anelli. Anelli’s works portray the workers on site through the realization of the architect’s design that transformed a space originally designed as a farmers’ warehouse—then a dairy distribution center and most recently a rugged computer factory—into a space dedicated to Italian art. Beginning in summer 2017, Magazzino will join the thriving arts scene of Hudson Valley and will feature a range of educational programming for the local community. The new art warehouse space will be available as an academic resource to those who visit, the surrounding schools and members of the local community.

$12M gift to support Welcome Center for Denver Art Museum’s revitalization of Gio Ponti building – 8511

 

Model View from North.
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The Denver Art Museum announced that Anna and John J. Sie have pledged $12 million to support the construction of a new Welcome Center as part of its North Building revitalization project. The new space will be named the Anna and John J. Sie Welcome Center. Its transparent exterior will serve as a welcoming beacon to visitors and the neighborhood, while creating a clear and accessible point of entry to the North Building.

The DAM’s North Building project was announced in December 2016 and aims to unify the museum’s campus and make key improvements to sustain its operation and relevance into the future. Designed by world-renowned Italian architect Gio Ponti and Denver-based James Sudler Associates, the North Building opened to the public in 1971 and houses the majority of the DAM’s permanent collection galleries. Its seven-story silhouette is celebrated as one of the first-ever high-rise art museums, and is the only completed building in North America designed by the Italian modernist.The new Anna and John J. Sie Welcome Center takes its inspiration from shapes and volumes originally designed by Ponti for the North Building. The elliptical two-story facility, collaboratively conceived by Fentress Architects of Denver and Machado Silvetti of Boston, will visually connect the campus. The design pays clear homage to the original Ponti architecture while taking into account the unique landscape of the Golden Triangle Neighborhood in the heart of the city. At 50,000 square feet, it will be a significant feature for the museum and will include visitor-centric amenities such as a restaurant, quick-service café, improved ticketing and orientation capabilities, as well as dynamic and flexible program spaces, state-of-the-art event space and below-grade space for art storage and the Museum’s primary conservation lab.

“Anna and I are grateful to have been part of the pioneering cable industry in this country. Having lived the American dream, we are now fortunate to be able to give back to our great state of Colorado and the city of Denver,” said John Sie. “For us, the Welcome Center sends an important message of belonging to all visitors, while also uniting the campus and giving the North Building the entrance it deserves—providing a launch pad for visitors to have a great museum experience.”

John Sie is a longtime supporter of the DAM, serving on the museum’s Board of Trustees since 2002. John and Anna Sie both emigrated to the United States—John from Shanghai, China, when he was 14 years old, and Anna from Naples, Italy, at age 11. They met in New Jersey where they raised their five children together. John was recruited to Colorado by Dr. John C. Malone in 1984 to help build Tele-Communications Inc., and with Malone’s backing John later established the Starz and Encore networks. The Sie family and its foundation have generously contributed to many important museum initiatives, most notably the Frederic C. Hamilton Building Capital Campaign, the Annual Fund Leadership Campaign, the multi-year fund to support the exhibitions and programs of the museum, and the 2011 Xu Beihong: Pioneer of Modern Chinese Painting exhibition, which brought more than 60 works by the iconic artist from China to Denver.

“We are honored and grateful to have Anna and John Sie’s generous support for this new space that provides a more welcoming connection for the campus and an open invitation for all who pass through the Golden Triangle Neighborhood each day,” said Christoph Heinrich, Frederick and Jan Mayer Director of the DAM. “John has tirelessly worked to help guide the museum in his role as a trustee, and was instrumental in ensuring the North Building continued to be vital by encouraging the breezeway across 13th Avenue to connect it with the newer Hamilton Building during that design process. We are now excited to take the next important step in the North Building’s revitalization and the completion of our campus with this support.”

The goals of the North Building project include stewardship of the building, connecting the campus and the neighborhood, and celebrating museum learning and engagement. In addition to constructing the Anna and John J. Sie Welcome Center, other projects include expanding gallery spaces for growing collections for design and Western American art, completing Ponti’s original vision for visitor access to stunning 7th-floor views, exterior site improvements, and updating DAM’s environmental spaces and technology. The North Building project is currently in the design phase. Plans call for construction to begin by the end of 2017, with project completion by the building’s 50th anniversary in 2021. More details on the design will be released as the project develops.

The Dalí Foundation acquires Salvador Dali’s ‘Figura de perfil’ – 8510

Salvador Dali’s Figura de perfil (La Hermana Ana María)
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Salvador Dali’s Figura de perfil (La Hermana Ana María) made £1,805,000 at Bonhams Impressionist and Modern Art sale on Thursday 2 March at London, New Bond Street. The work, a portrait of Dali’s sister, given to her by the artist before their relationship descended into turmoil, had been estimated at £800,000-1,200,000.

Bonhams Head of Modern and Impressionist Art, India Phillips, said, “This was an important and rare work from a pivotal period in Dali’s life and career. The painting had never appeared at auction before and I am not surprised it was so keenly fought over nor that it achieved such an impressive price.”

Figura de perfil (1925) combines two of Dali’s favoured subjects, his sister Ana María and the Cadaqués coastline that he referred to as “by far the most beautiful place in the world”. Dali painted Ana María regularly through the 1920s. She later recalled his painting ‘countless portraits of me’, noting that he ‘invariably painted me at the window’. Of those many portraits Dali chose this painting, Figura de perfil, to give to his sister.

Although Dali and his sister were on good terms when Figura de perfil was painted, they fell out over the publication of Dali’s autobiographical The Secret Life of Dali in 1942. Believing his account to be an unfair depiction of Dali family life, Ana María published a rival work: Salvador Dali as Seen by his Sister (1949).

By 1925, having already flown through Impressionism, Pointillism, Fauvism and Cubism, Dali was on the verge of entering the Surrealist phase for which he is best known. One of only a few works painted at this turning point in his career, Figura de perfil has been out of public view for nearly a century. Given by the artist to his sister, it was, in turn, presented by Ana María to the family of the present owners.

The Met receives monumental 10th-century Chinese painting ‘Riverbank’ from Oscar L. Tang – 8509

Attributed to Dong Yuan (Chinese, active 930s–960s), Riverbank. Image: 86 3/4 x 43 in. Hanging scroll; ink and color on silk. Ex coll.: C. C. Wang Family, Gift of Oscar L. Tang Family, in memory of Douglas Dillon, 2016.

Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, announced today that Oscar L. Tang has donated Riverbank, one of the most important Chinese landscape paintings in existence, to the Museum.In making the announcement, Mr. Campbell said: “For more than 25 years, Oscar Tang and his family have been extraordinarily generous supporters of The Met’s efforts to build a major collection and exhibition program of Chinese art. In addition to earlier gifts of 20 important paintings that range in date from the 11th to the 18th century, Oscar has supported several major projects, including the creation of the Frances Young Tang Gallery, the Wen C. Fong Study-Storeroom, and an endowment for a junior conservator of Chinese painting. Now, with this gift of Riverbank, he has added a uniquely important treasure to The Met’s holdings and, in the process, further enhanced the Museum’s stature as one of the preeminent collections of Chinese painting in the world.”

Mr. Tang, who is a Trustee Emeritus of the Museum and Chairman of the Department of Asian Art’s Visiting Committee, said: “For a long time, my intention has been to donate Riverbank to The Metropolitan Museum of Art. I am making this gift now as an affirmation of my belief that The Met is an ideal platform on which to showcase the richness of the art and history of my family’s heritage, and to care for what in China would be considered a ‘national treasure.'”

A rare survivor from the formative days of Chinese landscape painting, Riverbank offers a window onto the critically important 10th century, when images of nature rose to prominence, replacing pictures of the human figure as the dominant form of pictorial expression. The handful of paintings that survive from this period, along with textual evidence, indicate that it was a time of epochal transformation, when the painting of landscapes made a quantum leap in scale, sophistication, and ambition. Riverbank is one of the key pieces of evidence of this revolution.

Maxwell K. Hearn—Douglas Dillon Chairman of the Department of Asian Art and author of Along the Riverbank, the 1999 catalogue on Riverbank and 11 other works from Mr. Tang’s collection—observed: “Oscar Tang’s gift of Riverbank is the capstone of a four-decade-long effort begun in 1973 by the Department of Asian Art’s Chairman Emeritus Wen C. Fong to build up The Met’s holdings of Chinese painting. This donation, together with earlier gifts and purchases made possible by Mr. Tang, Douglas Dillon, John M. Crawford Jr., and many others, gives The Met the ability to narrate one of the great stories in Chinese art: the rise of a grand tradition of monumental landscape painting in the 10th century and its transformation into a self-expressive art form from the 11th to the 14th century.”

Monumental in scale, and the tallest of all existing early Chinese landscape paintings, this imposing mountainscape was painted in ink with light colors on silk now darkened with age. It shows in the foreground a pavilion structure at a river’s edge; a scholar wearing a cap and gown, accompanied by his wife and child and a boy servant, sits in a yoke-back chair by the railing, looking out at the gathering storm. Beyond the pavilion, great pines and deciduous trees along the riverbank bend ominously in the wind, and the water rises in choppy, netlike waves. Behind the pavilion, a steep foothill ascends leftward in a series of thrusting boulders, and to the left a waterfall rushes down to the river. A winding pathway connects the foreground with a mist-veiled river valley in the deep distance, where wild geese fly by in formation, and hills beyond the river rise and twist in tortuous formations. Scurrying along the narrow path, six travelers, one of them wearing a thatch cloak and hat, hurry back to the mountain villa. A boy on a water buffalo at water’s edge heads toward a courtyard compound, surrounded by a bamboo grove and a brushwood and bamboo fence. Inside the compound, a woman prepares a meal while another woman carries a tray of food along the covered porch. With the family residence visible behind the courtyard, the master and his family assemble in the pavilion on the riverbank—a perfect metaphor for a safe haven in a threatening world.

During the period of disunion that followed the fall of the Tang dynasty in 907 and the establishment of the Song dynasty in 960, a number of masters rose to prominence by creating images that captured something of the power and grandeur of nature. These masters tended to eschew the bright, decorative palette of Tang landscapes in favor of monochrome ink, using subtly graded washes to capture the visual effect of atmospheric mists. They also painted at large scale, enveloping the viewer’s gaze within a transporting vision of nature’s majesty. This tradition, which coalesced in the 10th and 11th centuries, has come to be known as Monumental Landscape.

Riverbank is one of the most important sources we have for this tradition’s foundation. Its landscape forms are described through subtly applied washes of diffuse ink that accumulate into alternating bands of light and dark. The softly rubbed-on texturing and absence of distinct contour lines reflects the transformation of an earlier tradition, which is preserved in paintings of the Tang dynasty. By the middle of the Northern Song dynasty in the 11th century, signature line work had become the landscape painter’s key tool in describing landscape forms and textures, replacing the softer washes of Tang. Riverbank falls in between these two traditions, placing it squarely in the momentously important 10th century.

Riverbank was the subject of controversy when it was purchased from C. C. Wang in 1997. One prominent scholar, James Cahill (1926–2014) of the University of California, Berkeley, argued that the painting was not a work of the 10th century but a forgery by the 20th-century artist Zhang Daqian (1899–1983). Out of deference to Professor Cahill’s stature and firm in the belief that the painting could withstand the scrutiny of the field, The Met’s experts convened a symposium to address the painting’s authenticity, inviting leading scholars from around the world to weigh in. The proceedings were published as Issues of Authenticity in Chinese Painting. Since that time, Professor Cahill’s minority opinion has grown increasingly marginal, and the scholarly consensus that Riverbank is indeed a masterpiece of early Chinese landscape painting has grown stronger. It was exhibited in Taipei at the National Palace Museum in 2006 alongside that museum’s 11th-century masterworks by Fan Kuan and Guo Xi, and at the Shanghai Museum in 2012. That these museums, among the most respected custodians and interpreters of Chinese painting in the field, share The Met’s belief in Riverbank’s authenticity speaks to the solidity of The Met’s dating and its acceptance among Chinese painting scholars.

The painting bears a signature of Dong Yuan (active 930s–960s), one of the leading landscape painters active at the court of the Southern Tang kingdom (937–975). Though three other early attributions to Dong Yuan survive, there is no scholarly consensus on which, if any, of these works represents the real Dong Yuan, and there is significant stylistic range even within this small corpus. Given such a limited and murky sample, it is impossible to establish the kind of certainty necessary to support a firm attribution, let alone an idea of a chronology within Dong Yuan’s oeuvre. For this reason, the Museum does not claim Riverbank to be a firmly identified work from the hand of the master, preferring instead to present it as one of a constellation of plausible attributions. The painting’s importance rests not chiefly in its relationship to Dong Yuan, but in its majesty and completeness as a monument of early landscape painting.

Sotheby’s NY Contemporary Curated acheives $26.2 million, one of its highest ever mid-season sale totals – 8505

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Gerhard Richter, Abstraktes Bild (843-4). Oil on aluminum, 21 5/8 by 18 7/8 in. 54.9 by 47.9 cm. Est. $600/800,000. Sold for $1,152,500. Photo: Sotheby’s.
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Sotheby’s spring season of Contemporary Art auctions commenced today in New York with Contemporary Curated fetching $26,187,625, well over the $16.4/23 million estimate. Coinciding with The Armory Show, the sale opened with In Its Own Light: Property from the Collection of Ed Cohen & Victoria Shaw, led by Gerhard Richter’s Abstraktes Bild (843-4) well-surpassing its high estimate of $800,000 to achieve $1.2 million. Other top prices from the esteemed New York couple’s collection of Post-War and Contemporary Art included Cecily Brown’s Bonus, and Brice Marden’s Cold Mountain Series, Zen Study 1-6 and Untitled (Window Study No. 1), all of which comfortably doubled their high estimates. In his auction debut, Croatian artist Mangelos achieved $56,250 and $16,250 for Paysage of Phoenix Renascence and Capone respectively. Ed Ruscha’s Broken Pencil emerged as an early highlight of the sale’s various-owner sequence, nearly tripling its high estimate of $450,000 to achieve $1.3 million.“We are thrilled to start our 2017 Contemporary Art auctions with an outstanding Contemporary Curated result,” commented Grégoire Billault, Head of Sotheby’s Contemporary Art Department in New York. “Coupled with the record-setting Impressionist & Modern Art sales earlier this week in London and the strong offerings at the various fairs taking place in New York, it’s clear that there is demand for great works of art at all levels that is creating momentum as we head into the London Contemporary Art sales next week and gather property for the flagship May auctions.”

Courtney Kremers, Vice President, Contemporary Art, noted: “It was an honor to work alongside Ed Cohen and Victoria Shaw for the sale of In Its Own Light, which achieved $7.2 million, far above its high estimate of $5.9 million. Their love for the arts, and the creative forces behind the masterpieces, was matched by spirited global bidding for established artists such as Gerhard Richter, John Currin and Cecily Brown, as well as for relative newcomers including Mangelos and Michael Andrews.”

Emily Kaplan, Head of Sotheby’s Contemporary Curated in New York, said: “We’re overjoyed with the stellar results from today’s sale, which demonstrate Sotheby’s strength and commitment across all parts of the Contemporary Art market. A number of highlights helped to cement the second-highest total for a Sotheby’s Contemporary Curated sale in New York; Ed Ruscha’s Broken Pencil fetched one of the highest prices for a work on paper by the artist in nearly a decade – resulting in a round of applause from the room – and setting two new auction records for female artists: Pat Steir’s The Brussels Group: Misty Mountain Waterfall and Yayoi Kusama’s Sun Green for a work on paper.

These moments, and many more from today, are a glowing representation of not only the diversity of works included in our Contemporary Curated sales, but also the range of price points, and palpable excitement in the market.”

Clark Art Institute opens new American Decorative Arts Galleries – Williamstown, MASS – U.S.A. – 8504

 

Myer Myers (American, 1723–1795), Sugar Bowl and Cover, New York, c. 1750–60. Silver. Clark Art Institute. Bequest of Henry Morris and Elizabeth H. Burrows, 2003.4.100a-b.
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The Clark Art Institute opened the Henry Morris and Elizabeth H. Burrows Gallery on Sunday, February 19. The American decorative arts gallery, housed in 3,275 square feet of newly renovated space in the Manton Research Center, contains the Clark’s important collection of early American paintings and furniture in addition to its exceptional Burrows collection of American silver. Designed by Selldorf Architects, the gallery includes new exhibition cases and an improved layout that enhance the experience of viewing the Clark’s important collection of colonial to early-nineteenth-century American art.The gallery, located in former exhibition spaces on the upper level of the Manton Research Center, features more than 300 objects, many which have been off view since 2012 and some of which have never been exhibited. Highlights of the display include an iconic portrait of George Washington (1796–1803) by Gilbert Stuart (American, 1755–1828); a beautifully scaled sugar bowl and cover (c. 1795) by Paul Revere, Jr. (American, 1735–1818), and a graceful Sheraton-style secretary (c. 1800) attributed to Nehemiah Adams (American, 1769–1840). The gallery also includes a study center containing additional displays of silver, a computer station, and a small library of books on American silver and furniture, allowing scholars and visitors to further their study of the works on view.

“The Clark’s collection of American decorative arts has been assembled largely through generous donations of important collections,” said Olivier Meslay, Felda and Dena Hardymon Director of the Clark. “We are so pleased to be able to honor the Burrowses, whose keen eyes and collecting acumen built an exemplary collection, and are indebted to them for their generosity in making such an important gift to the Clark. This new gallery, named in their honor, allows us to provide well-deserved prominence to this lesser-known facet of our collection.”

Very little of the Clark’s early American collections stems from the Institute’s founders. It has been developed over time through gifts, most significantly the 2003 Burrows bequest of more than 272 pieces of American silver. In 2001 thirty pieces of colonial and Federal furniture and small decorative arts assembled by distinguished collector George Cluett were received through a bequest from his daughter Florence Cluett Chambers. In 2010 and 2013, Phoebe Prime Swain donated twenty-eight pieces of Chinese export porcelain from the George Washington Memorial Service, each decorated with a memorial to the first president. While several museums own one or two pieces from this noted service, the Clark now has the largest holding of any public institution, featuring diverse forms such as platters, bowls, sauceboats, and custard cups.

“With the leadership of Selldorf Architects, we have converted our former temporary exhibition space into a suite of permanent collection galleries,” said Kathleen Morris. “It is exciting to see these objects, many of which were formerly in storage due to lack of space, assembled in such a warm and welcoming environment.” The reinstallation project included extensive object research conducted by Morris and Alexis Goodin. This research revealed important information about the collections. For example, a looking glass purchased by Cluett, thought to be a rare example from New York, was actually made in Bremen, Germany. Most likely made for the American market, the looking glass was the subject of an intensive research and conservation project in 2015.

The items housed in the Burrows gallery reflect how early American artists and craftsman created a new artistic identity for the fledgling nation through the creation of beautiful, but functional, objects. Their designs demonstrate a knowledge and appreciation of luxury objects being made at the time in Europe, especially in England, but also show a tendency toward a greater simplicity in form and decoration.

The Burrows collection provides a rich overview of silver production in the colonial and Federal periods. The collection is installed with three themes in mind: historic connections; the development of distinct styles in the major centers of silver production (Boston, New York, and Philadelphia); and social uses of silver for serving tea and coffee, drinking alcoholic beverages, dining, presentation, and personal use. Major silversmiths such as Paul Revere, Jr., Myer Myers (1723–1795), and the Richardson family of Philadelphia are well represented, as are many silversmiths working in smaller cities. The installation features nearly the entire Burrows collection.

The Cluett Chambers collection of furniture and decorative arts includes fine examples of case furniture, looking glasses, and clocks. Notable pieces include an imposing desk and bookcase (c. 1770) made in Massachusetts with exuberantly carved “hairy-paw” feet and some fifty-two interior drawers and pigeonhole dividers. An elegant Sheraton-style secretary (1800–1810) attributed to Nehemiah Adams represents the most expensive type of furniture sold in Salem, Massachusetts furniture shops of the time, designed to emphasize the wealth, taste, and erudition of its owner. The Cluett Chambers collection also reveals that imported goods continued to have a place even as the furniture industry in America developed—for example, the collection features looking glasses made for the American market in England and Germany, a gilded bronze clock made in Paris celebrating George Washington, and porcelain and silver imported from China.

The installation is enriched by loans from four private collections. Among these works is the portrait Catherine Couenhoven Clark (1819–1820) of Troy, New York by Ammi Phillips (American 1788–1865), which complements the Clark’s portrait Harriet Campbell (c.1815). The painting is on loan from Nathan Kernan (Couenhoven’s great-great-grandson) and Thomas Whitridge. Another loan object, an elegant pie-crust tea table, stands near a large display of silver made for serving tea and coffee. Additional loans include a mid-eighteenth-century Connecticut side chair; a high chest of drawers (c. 1780–85) attributed to Eliphalet Chapin (American, 1741–1807) and also from Connecticut; another high chest of drawers from Philadelphia of the late 1750s with carving attributed to Nicholas Bernard (American, d. 1789); and a pair of c. 1789 paintings by Christian Gullager (American, 1759–1826), Major Benjamin Shaw and Mehitable Shaw.

Asia Week New York – 09.03.2017-18.03.2017 announces largest number of exhibitions in the event’s history – 8503

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Tsukioka Yoshitoshi (1839-1892), Picture of the Great Battle of Kawanakajima and Picture of the Bloody Battle of the Brave Generals of the Takeda Clan, 1866 & 1867, woodblock print hexaptych, 14 1/8 by 59 3/4 in., 35.8 by 151.9 cm. Photo: Courtesy of Scholten Japanese Art.
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On March 9th, Asia Week New York throws open the doors to the largest number of privately curated exhibitions in the extraordinary event’s history: a total of 50! Asia Week New York is the annual 10-day presentation of treasures from all over Asia, a magnet for collectors, museum curators, designers and scholars that is certain to satisfy.From every corner of the continent of Asia comes an exquisite array of beautiful things to be seen and savored at galleries sprinkled around Manhattan beginning March 9 through March 18. In these museum-quality displays by some of the world’s most knowledgeable and discerning Asian art specialists, art lovers will be able to behold examples of painting, sculpture, bronzes, ceramics, jewelry, jade, textiles, prints and photographs gathered from all over Asia.

“In my years as Chairman of Asia Week New York never I have been prouder of this event,” says Lark Mason. “Our members are pulling out all the stops to present the best there is to offer in their respective fields. Never before has Asia Week New York offered such a large adventure to seekers of Far Eastern treasures-all on view for the first time. Adds Mason: “Connoisseurs of Asian beauty will feel as though they have traversed a continent and experienced the best it has to offer without ever leaving the island of Manhattan.”

Organized by category and region, here is a rundown of the exhibitions by the participating galleries:

ANCIENT AND/OR CONTEMPORARY CHINESE ART
Walter Arader Himalayan Art (New York)
Claiming a special place in Recent Acquisitions at 1016 Madison Avenue is an outstanding gilt lacquer Chinese sculpture that likely originated during the Reign of Kangxi (1661-1722). The work once belonged to a set of 12 retinue figures that accompanied a larger sculpture of Shri Devi Magzor Gyalmo. Four examples from this set were first published in Body, Speech, and Mind in 1998, and another suite recently sold at a European auction in 2015. The imperial set would have been very impressive in its entirety and was probably displayed at large state rituals for protection.

Ralph M. Chait Galleries (New York)
A key element in Spring Collection of Chinese Art, and standing 17 inches is a superb famille verte porcelain rouleau vase decorated with a scene from the Chinese classic Romance of the Three Kingdoms, an epic with themes of reverence for the past and loyalty to the ruler. Dating from the Kangxi period (1662-1722), the painting is of the finest quality, beautifully executed in deep and vibrant enamels — a true masterpiece in decoration and form — on view at 16 East 52nd Street, 10th Floor.

China 2000 Fine Art (New York)
Stronger Together: Two Western Artists Who Embraced the Chinese Idiom, 1556 Third Avenue, Suite 601, focuses on two Western artists: Roy Lichtenstein and Robert Rauschenberg, both of whom created final projects that re-examined their attraction to Chinese artistic expression and translated this affinity into their own unique idioms. For Rauschenberg’s Lotus V (The Lotus Series) of 2008, the last printed project he completed before his death in 2008, the artist made prints based on photographs from his trips to China between 1982 and 1985. In these works, Rauschenberg blends the traditional with the innovative, prompting the viewer to contrast a receding past with the hyper clarity that today’s technology has made possible.

Carole Davenport (New York)
Secured in a private collection since World War II, this foot-tall jizo bosatsu, made from aromatic wood (with traces of gesso, lacquer, paint and gilding), has been verified through careful research, including a Carbon 14 test, to have originated in the 9th or 10th century. It is a beautiful and serene sculpture, a protective figure to both travelers and mothers-to-be. Because Japanese works from this time are rare, to say the least, seeing one is an uncommon opportunity at THEN NOW/ Meet Hiroyuki Asano & His Sculpture in a Milieu of Classic Art, 5 East 82nd Street, Suite 2.

FitzGerald Fine Arts (New York)
In their exhibition featuring the work of artist Beili Liu, a work of blown sumi ink on canvas is noteworthy.. Titled Rise & Fall Series, Wind Drawing (Panel 1), on view at 40 Wooster Street, this large-scale triptych evokes the movement and look of wind, conjuring its life-giving energy known as prana. It is typical of the works that Liu is known for, which embody transience, fragility and the passage of time.

Nicholas Grindley (Brooklyn)
From the early Tang period (7th century) bounds a playful shaggy-haired lion-dog, his hind-quarters sticking straight up in the air, his heavy-clawed front paws folded up beneath him. This enchanting creature, which can be seen at Hazlitt, 17 East 76th Street, has a long coat that covers the whole of the body-the thick fur depicted by deep incised lines-and a wide-open teeth-bared mouth with flared nostrils and large eyes surrounded by hairy eyebrows. White slip covers most of the body.

Robert Hall Asian Art Ltd. (London)
Lu Shoukun (1919-75), one of the most influential Hong Kong Chinese artists, founded the new ink movement and was the prime driving force in the development of modern art there in the 1960s and ’70s. His work Zen Lotus, in ink on paper executed in 1974, clearly evidences his embrace of a new style, one that combined traditional Chinese and modern Western elements. On view in Chinese Paintings, Works of Art and Snuff Bottles, Gallery Vallois America, 27 East 67th Street, 3rd Floor, the painting embodies calligraphic and Abstract Expressionist features and represents an artistic and theoretic rejuvenation of classical Chinese art.

Michael C. Hughes LLC (New York)
What makes this large famille verte baluster vase particularly significant is the extraordinarily dense depiction of the flora. The painterly combination of peony, bamboo, pine, grasses and rockwork combine and mingle in a continuous design around this elegant vessel. It stands 17 inches and has handles that convey a fine naturalism, which beautifully complements the vase, which is one of the many beautiful objects on view Chinese Ceramics and Works of Art, Gallery Vallois America, 27 East 67th Street, 3rd Floor.

Andrew Kahane, Ltd. (New York)
Although black-glazed vases with russet decoration of birds or flowers of this form and from this period are well represented in public and private collections, examples with iron-oxide ‘partridge-feather’ splashes are quite rare. The 13-inch pear-shaped vase dating from the Northern Song-Jin Dynasty (12th-early 13th century) compares closely with an example of smaller size in the collection of the Minneapolis Institute of Arts, one in the Hakutsuru Art Museum, Kobe and another of later date in the Tokyo National Museum. The vase is featured at Chinese Ceramics and Works of Art, The Mark Hotel, Madison Avenue and 77th Street, Suite 1207.

Kaikodo LLC (New York)
A stand out in the exhibition, River of Stars, a poetic term in Chinese for the Milky Way, is a 15th -16th century masterwork–a bird and flower painting. The 5 by 10 foot hanging scroll, intended for display in a grand hall, was designed for maximum visual impact and can be seen in all its glory at 74 East 79th Street, Suite 14B.

Alan Kennedy (Santa Monica)
Paintings of beautiful women (meiren) are a type of genre painting that was much appreciated during the Qing Dynasty (1644-1911). Measuring 6’2″ x2’1″, this example, in ink and colors on silk, is quite rare in that the female subject of the painting represents the Chinese perception of a European lady in her native dress. The artist is unlikely to have had direct contact with a European woman and therefore probably employed a European print as the source image for the work. This unusual work of art is among Chinese and Japanese Paintings and Textiles, James Goodman Gallery, 41 East 57th Street, 8th Floor.

J.J. Lally & Co. (New York)
This rare ancient Chinese limestone stele shows the meeting of two benevolent Buddhist deities: Wenshu mounted on a lion and Puxian mounted on an elephant, with the Seven Buddhas of the Past bearing witness. A dedication inscribed on one side includes a Tang dynasty date corresponding to A.D. 742. The sculpture, formerly in the Worch Collection, brought to America in the 1940’s, is one of 23 works included in the exhibition of Buddhist Sculpture from Ancient China, 41 East 57th Street, 14th Floor.

Littleton & Hennessey (London)
Littleton & Hennessy-21 Years is the heading given to the retrospective at Daniel Crouch Rare Books, 24 East 64th Street. There, an 18th-century watermelon tourmaline conjoined ‘dragon’ vase claims significant importance because of its size, the quality of the stone and the expertise of the carving. Two-colored tourmalines of such vibrancy and clarity are incredibly hard to find, and the craftsman who fashioned this five-inch piece almost certainly worked for the Qianlong Emperor, who was known to demand for his court the most exquisite works of art in porcelain, bronze, jade and other precious stones that could possibly be achieved.

Sue Ollemans Oriental Art (London)
This alluring enameled gold ring, on display at Ancient and Modern Design in Asian Jewels, 23 East 73rd Street, 7th Floor, shows a bird with a Basra pearl hanging from its beak, standing on a green base, the shank in lal zamin enamel. The top of the Mughal creation from the 17th-18th century is screwed onto the base, leaving a small, concealed place where potions could have been hidden. This genre of jewelry was exported to Europe, where it influenced Renaissance jewelry design.

Pace Gallery (New York)
Lee Ufan’s Untitled, a painting on porcelain from 2016, radiates the artist’s mastery of the brush and is one of the many works in ceramic at this single-artist exhibition, Lee Ufan: Ceramics, 32 East 57th Street, 2nd Floor. This is the first exhibition solely of ceramics that the artist has organized in the United States. Through a career spanning five decades. Ufan’s work in sculpture, installation, painting and drawing have been the focus of major exhibitions the world over, including a retrospective at the Guggenheim Museum in 2008 and a major installation at the Palace of Versailles in 2014. His conceptual concerns embrace philosophical theories of the East and West and play off the spaces in which they are situated.

Phoenix Ancient Art (New York)
A show-stopper at The Diffusion of Buddha in Antiquity is a head of Bodhisattva, easily one of the most impressive Gandharan heads known. Dating from the 2nd to 3rd century A.D., this impressive schist sculpture is a good centerpiece for an exhibition that will circle around the different depictions of Buddha, on view at 47 East 66th Street, Ground Floor.

19th Century Rare Book & Photograph Shop (Brooklyn)
Island Pagoda is a classic image by John Thomson, one of the greatest figures in 19th-century photography in China. The site is near Fuzhou, now known as Lo-Sing, on the picturesque Min River, long celebrated for its dramatic scenery. The photograph is from Thomson’s Foochow and the River Min (1873), the most magnificent of Thomson’s photographically illustrated works. Only seven complete sets are known to survive. This and other images are being exhibited in Masterpieces of Early Chinese Photography (exhibition only-not for sale) at PRPH Books, 24 East 64th Street, 3rd Floor.

Priestly & Ferraro (London)
Bowls for tea were (and still are) items of supreme importance in China, made in a variety of methods and adorned with decorations of unending invention to best show off the tea to be drunk from them. This tea bowl was made with the glaze that resembles the fur of the hare, and the dark glaze contrasts with the pale foam of the tea that poured inside. It’s from the early Southern Song Dynasty (1127-1279) and is 4½ inches in diameter, and is one of the treasures at Chinese & Korean Ceramics & Works of Art, 3 East 66th Street, Apartment 8B.

M. Sutherland Fine Arts Ltd. (New York)
CMYK-Five Dynasties, Gu Deqian, Waterfowl and Lotuses by Yang Mian is the highlight of Guo Hua: Defining Contemporary Chinese Painting, 7 East 74th Street, 3rd Floor. This large acrylic on canvas (3 feet by 5 feet) is the product of a painstaking, multi-step process using computers to produce digitally-printed layers of stencils and paint, resulting in a unique image loosely yet recognizably based on a masterpiece of classical Chinese painting. Nevertheless, the painting is totally modern, created by Yang through inventive technical processes of his own devising. The ambiguity that results draws in the viewer and stimulates further study.

YEWN (Hong Kong)
Why is this Chinese lattice jadeite ring newsworthy? In 2011, Michelle Obama wore it when she and the President hosted a state dinner for Queen Elizabeth II and Prince Philip. It is a focal point in Have You Seen “Contemporary Chinese Fine Jewelry” Before? at the Aaron Faber Gallery, 666 Fifth Avenue (entrance at West 53rd Street). The 18-karat white gold ring is set with diamonds and shows four bats hovering above a Chinese coin. The word bat carries a witty hint of blessings since in Mandarin it shares an identical pronunciation with the word luck.

Eric Zetterquist (New York)
Making a lasting impression in Chinese and Vietnamese Ceramics with Highlights from the Brow Collection, 3 East 66th Street, No. 1B, is an irresistible parrot lamp. Originating in the Ly Dynasty (11th to 12th century) in Vietnam, the parrot-shaped oil lamp takes its style cues from Indian metalwork, as translated through the Khmer Empire. The techniques employed by the Vietnamese at the time were informed by Chinese Song Dynasty ceramics, resulting in a genre unique to Vietnam. This particular example has striking life-like modeling of the feathers and head of the parrot, and is one of the finest examples in this country.

ANCIENT/AND OR CONTEMPORARY INDIAN, HIMALAYAN AND SOUTHEAST ASIAN ART

Dr. Robert R. Bigler (Ruschlikon/Zurich, Switzerland)
Although the 9½-inch Buddha Shakyamuni evidences some wear and signs of age, the quality of its casting is unimpeachable, showing details that are exquisitely modeled. The serene expression of the figure’s countenance is striking. In the course of cleaning, an eight-character Chinese inscription was discovered on the back of the double-lotus base, indicating the name of two monks who commissioned the figure. The result of a thermoluminescence test on the work confirmed a dating to the early 14th century. This breath-taking figure is part of the special exhibition Dynasties and Identities, Tibeto-Chinese Buddhist Art of the 13th to 15th Centuries. Dickinson Roundell Inc., 19 East 66th Street.

Prahlad Bubbar (London)
A jewel-like painting of Jahangir (1569-1627), the aesthete whose legacy as Mughal Emperor of India continued well after his lifetime, takes center stage at Indian Paintings and Early Photography 1600-1880: Recent Acquisitions at Arader Galleries, 1016 Madison Avenue. The colors of the painting, dating from 1680-90 and ascribed to Usta Hasan al-Din, are ethereal, lending an atmospheric and lyrical feeling to the work, whereas the composition is clear in its beautifully traced geometric shapes, echoing the sharpness of detail typical of the finest work of Bikaner in the late 17th century.

Buddhist Art (Berlin, Germany)
Hailing originally from Eastern India, this black stone stele from the 11th century is significant both for its Buddhist motif and for its storied provenance. Pala stone sculpture invariably depicts Hindu deities with a rather stiff and motionless demeanor, whereas this Buddhist Lokesvara is just the opposite: full of life and vivacity! Seated in “royal ease” with a flowing body, a beautiful, serene face and a meditative half smile, the figure, is part of the exhibition called Serene Deities, at Arader Galleries, 29 East 72nd Street.

Carlo Cristi (Daverio, Italy)
An important, rare and very large fragment of silk samite displays a bird, possibly an eagle, holding grapes in its beak, perhaps suggesting a ritual associated with the Cult of Dionysus that diffused throughout central Asia, thanks to colonies founded by Alexander the Great. Through carbon-dating, the almost 4-by-4-foot textile, a standout element in Art of India, Tibet, Central Asian Textiles at Leslie Feely Fine Art, 33 East 68th Street, 5th Floor, has been ascertained to have originated in the 7th or 8th century, and it may have been used as a hanging decoration during ceremonies.

DAG Modern (New York)
A portrait on cement by Ramkinkar Baij (born 1922) of Rabindranath Tagore, the first non-European to win the Nobel Prize in literature, was executed in 1938. Baij has never been interested in realistic depictions; rather he strives to evoke the complexity and essence of a subject, as he has masterfully accomplished with this affecting likeness of Tagore, part of The Art of Bengal, 41 East 57th Street, Suite 708.

Oliver Forge and Brendan Lynch (London)
Made in either of the legendary courts of Bijapur or Golconda, in South India, in the late 15th or early 16th century, this lavishly decorated folio is calligraphed with the 99 names of God. An attention-grabber in Indian Court Painting, 9 East 82nd Street, Suite 1A, the page has script that has been rendered in large thulth, a magnificently dominant handwriting generally used for the grandest of Qur’ans, commissioned for use at court or as diplomatic gifts. The quality is impeccable, and there are seals on the reverse that record two previous owners, one of them a certain ’Abd al-Rahim, an officer of Ahmad Shah Bahadur (1725-75), a Mughal emperor who ruled for just six years.

Francesca Galloway (London)
Showcased in Pahari Paintings from the Eva and Konrad Seitz Collection at W.M. Brady & Co., 22 East 80th Street, is an unforgettable painting of Vishnu’s feet as objects of worship. The footprints of Vishnu (Vishnupada) are important symbols in Vaishnavism, and places where his feet came down to earth are sacred. The soles of Vishnu’s feet are decorated with gold images of his weapons and other symbols associated with the deity: lotuses, a parasol, a flag, the sun, the moon and a fish, among other things. It is a painting from the early 19th century and is exceptionally well painted.

Galerie Christophe Hioco (Paris)
Part of a triad, the standard layout of the Buddhist world, a 14th-century gilt-copper Buddha from Tibet claims a notable spot in New Acquisitions in Indian Art and Himalayan Art at Leslie Feely Fine Art, 33 East 68th Street, 5th Floor. Surrounded by two of the eight great bodhisattvas in a piece, this pieces shows off subtle muscles that seem to come to life. The work is a rare vestige of the great lamaic art of the Mongol era, and the pose of the work is evocative of a Nepalese statuette in the Metropolitan Museum of Art.

Nayef Homsi Ancient Art of Asia (New York)
An abundance of elements used to decorate the gray schist head of Prince Siddhartha as a Bodhisattva makes the 12-inch sculpture exceptionally compelling. A very elaborate turban is tied into a fan shape and held in place with large jewels and a pair of dragons, emphasizing the worldly possessions the prince will have to give up in order to become the Buddha in his simple robe. This fine 3rd-century work of art from Gandhara is a prized element in Recent Acquisitions at 7 East 75th Street, Unit 1A.

Kapoor Galleries (New York)
Occupying a prominent place in Recent Acquisitions is a very fine and important 17-inch bronze sculpture of Vishnu in yogic posture, produced in the same workshop as the version in the collection of the Norton Simon Museum. These two beautiful examples of northern Indian metalwork are derived from the historic and famous Kashmir region and date from the 10th or 11th century, and can be viewed at 34 East 67th Street, 3rd Floor.

Navin Kumar (New York)
In Vajradhara with Consort, a showpiece in Himalayan and Indian Art, 24 East 73rd Street, Suite 4F, a Tibetan painting created sometime between 1676 and 1705, Vajradhara, a deity considered to be the manifestation of phenomena and noumena, is depicted seated in the center in non-dual union with his consort Nairatmya. Surrounding them are the other Dhyana Buddhas, each in non-dual union, representing the qualities of an enlightened being. An exceptionally finely executed work, the painting was commissioned by the Mindrolling Monastery, the most revered center for esoteric teachings in the late 17th century. The inscription on the verso indicates the painting escaped the destruction of the original monastery in 1718 during the Dzungar War and passed to the hands of the fourth Mindrolling abbot, Gyurme Padmashasana (1737-1761).

Alexis Renard (Paris)
A monumental 19th-century ewer and basin, used to perform ablutions before prayers, has been decorated with a diamond pattern and gilded copper. Known as tombak, a word thought to have originated from the Malaysian word tumbaga, gilded copper was a highly sought-after technique in the Ottoman world for prestigious objects like chamfrains, shields and armor. Objects in tombak bearing diamond patterns are exceedingly rare, and this example can be seen at Tambaran Gallery, 5 East 82nd Street, Lower Level.

Samina Inc. (London)
Carved from nephrite jade, inlaid with gold and silver and set with diamonds, emeralds and rubies, this 18th-century cup is a show-stopping feature of The Jewelled Arts of India at Arader Galleries, 29 East 72nd Street. The superb quality of carving of the translucent white nephrite of this small vessel, decorated with fine kundan inlay, illustrates an extraordinary level of craftsmanship associated only with the royal workshops. It was crafted in Mughal or Deccan, India.

Runjeet Singh (Warwickshire, UK)
A wonderful khanjar, or jambiya dagger, with a pale nephrite jade hilt and scabbard mounts, attracts attention at Arms & Armor from the East, on display at Tambaran Gallery, 5 East 82nd Street, Lower Level. There is an abundance of decoration on this weapon: large flower heads and fruits in groupings of cabochon rubies and leaves of cabochon emeralds. Made in the late 17th or early 18th century in Turkey using Indian jade mounts, the dagger’s wavy snake-like blade of watered steel has traces of gold decoration at the forte as well as a gold border.

Tenzing Asian Art (San Francisco)
The subject matter may appear macabre or violent—flayed human skin—but in reality, carpets like this example were commonly used in religious ceremonies and for purifying. Made in Tibet, the carpet was made sometime in the 19th century in the Ningxia region of China, renowned for luxurious wool, and it once belonged to a very high-level Tibetan monk. It measures approximately 2½ by 5 feet and is part of Buddhist Bronzes, Paintings, and Textiles from the Himalayas at Arader Galleries, 1016 Madison Avenue.

ANCIENT AND/OR CONTEMPORARY JAPANESE ART

The Art of Japan (Medina, Washington)
Fine Japanese Prints and Paintings from 1750-1950 is an exhibition in Suite 215 of the Mark Hotel, 25 East 77th Street, and Beauty Combing Her Hair is a must-see. Dating from 1933, this image, by Torii Kotondo, elegantly conveys the quiet essence of the wonderful Japanese ethic of shibui–less is more. The beautiful woman, lost in quiet thought, arranges her hair and communicates fluently the formal simplicity of the image. This print stands as one of the finest examples of shin hanga bijin designs anywhere

BachmannEckenstein JapaneseArt (Basel, Switzerland)
In Japanese Art—Pre-Modern and Beyond at Gallery Schlesinger, 24 East 73rd Street, 2nd Floor, don’t overlook a woodblock print of a rural scene by Inui Tai (born 1929) whose over-sized hanging scrolls will be on view. No one documents the cheerfulness of everyday life, the joyful festivals (matsuri) and the emotional strengths of tradition quite like Inui. This work measures almost 3 feet by 4 feet with other hanging scrolls as large as 5 1/3 x 2 ½ feet and 6 ½ by 2 ½ feet.

Dai Ichi Arts Ltd. (New York)
In The West in the East, 18 East 64th Street, Suite 1F, a work by Miwa Ryusaku (born 1940) is singled out for special appreciation. Titled Love, this stoneware sculpture stands almost 14 inches tall. It comes in a wooden box, signed on the back by the artist.

Egenolf Gallery Japanese Prints (Burbank, CA)
A visit to Masters of the Genre: Fine 18th-20th Century Japanese Prints, Highlighting Early 20th Century Landscapes, Suite 1806 of the Carlyle Hotel, 35 East 76th Street, will reveal Fukagawa Susaki and Jûman tsubo, in which a powerful eagle soars over the wintry snow-scape of Edo Bay. This print is considered one of the three best designs from Utagawa Hiroshige’s world renowned series One Hundred Famous Views of Edo. The viewer can easily understand from this print, dated 1857, how strongly Hiroshige’s prints—through cropping and unusual angles of vision—influenced major Western artists like Van Gogh, Manet, Monet and Whistler.

Laurence Miller Gallery (New York)
Toshio Shibata’s signature focus as a photographer has always been on the manner by which contemporary municipal infrastructure weaves itself into the traditional Japanese landscape. In his picture Midori City, Gunma Prefecture of 2008, classical Japanese themes are at the fore, whereas a modern bridge in the distance is seen through a screen of cherry blossoms, long venerated by the Japanese as a symbol of the evanescence of life. Shibata frames the picture in a way that emphasizes that this scene, for all its beauty, is also a quotidian roadside moment, embodying his interest in finding beauty where most don’t think to look. These and other photographs are part of Toshio Shibata: Recent Work, 20 West 57th Street, 3rd Floor.

Joan B. Mirviss Ltd. (New York)
Eight Views of the Parlor, circa 1766, is a superb mid-size woodblock print with exceptional color, and it is of little surprise that it is by the hand of the woodblock print master of that era, Suzuki Harunobu (1725-1770). The work is from his landmark series, Zashiki hakkei, and depicts a courtesan seated on a verandah wearing a yukata (bath robe) and gazing at an unusual and expensive clock while her attendant massages her back. This extremely rare impression very nearly matches another impression in the collection of the Museum of Fine Arts, Boston and is one of the many significant works at this milestone exhibition, Timeless Elegance in Japanese Art: Celebrating 40 Years! 39 East 78th Street, 4th Floor.

Onishi Gallery (New York)
Ito Sekisui V (born in 1941) is revered as a Living National Treasure in Japan. His stoneware Mumyōi Yōhen Jar, made last year, stands as a testament as to why he has been so honored. It is a masterpiece of his craft, standing 12 inches and displaying the full range of the artist’s gifts. The word yohen means “changes in kiln,” and Ito is a wizard at manipulating colors and patterns while one of his works is firing in the hellish temperatures of a kiln. Catch sight of it as part of Japanese Art and Modern Living, Dalva Brothers, Inc., 53 East 77th Street.

Giuseppe Piva Japanese Art (Milan, Italy)
Among the riches gathered into a show titled Japanese Art and Antiques, Samurai armor bearing the crest of the Inaba family is not-to-be-missed. The imposing armor, signed by Myochin Munesada and dated 1757, is on view at Adam Williams and Moretti Gallery, 24 East 80th Street.

Scholten Japanese Art (New York)
At 145 West 58th Street, Suite 6D, a single-artist exhibition celebrates the work of Tsukioka Yoshitoshi (1839-1892), one of the last great ukiyo-e artists of the 19th century. Included in the show is a huge six-panel woodblock composed as two separate triptychs. Lined up, the triptychs illustrate a dynamic composition of a battlefield. Because the triptychs were issued six months apart, complete sets with six panels (with complementary color palettes and conditions) are rare to come across, to say the least.

Erik Thomsen (New York)
In Post-War Japanese Calligraphy, a work titled En (Cycle/Eternity), 1977, garners special notice at 23 East 67th Street, because its maker, Yuichi Inoue (1916-1985), was the most important post-war Japanese calligrapher. He managed to straddle East and West, combining two visual languages—written characters and Abstract Expressionism—to convey deeply felt inner conflicts. The strokes of his characters, sometimes so thick that they are more mass than line, explode onto the paper, and are strongly conveyed in this work.

Hiroshi Yanagi Oriental Art (Kyoto, Japan)
This 16th century sculpture depicts a standing Amida Nyorai and follows the standard iconography for such works: the hair is rendered in a snail shape and the monk’s stole wraps around the body from the left shoulder downward. The left hand is lowered, whereas the right hand is raised. The most important feature is an inscription in ink on the inside of the figure’s body that records the name of the sculptor, Daizō Kakushun Hōgen, and the year he made the work, 1512. It is part of Selections of Japanese Art at Arader Galleries, 1016 Madison Avenue.

ANCIENT AND CONTEMPORARY KOREAN ART

HK Art and Antiques LLC (New York)
Working in Seoul and Paris, Tschangyeul Kim (born 1929) is a well-known artist in Korea, the United States and France. His unique untitled oil-on-canvas painting of 1968 dates from the middle period of his career, before he started painting water drops. Acquired from a private collection in the U.S., the painting is part of an exhibition titled, Nature, Rocks, Flowers, Water and Clay at the Jason Jacques Gallery, 29 East 73rd Street.

Kang Collection Korean Art (New York)
A stunning mixed-media work by Jongsook Kim is not to be overlooked. In her Artificial Landscape series, Kim applies hundreds of shimmering crystals to the canvas by hand, a meditative process for the artist that transmits to viewers. Born and raised in South Korea and holding a doctoral degree in art from Hongik University, Kim was influenced by both traditional Korean landscape paintings and contemporary Western artists who also use crystals and other decorative materials in their works, namely the “Diamond Dust” prints of Andy Warhol, Russell Young, and Damien Hirst. Kim’s effort is a prominent part of Korean Contemporary Paintings and Decorative Traditional Arts, 9 East 82nd Street, 3rd Floor.

Tina Kim Gallery (New York)
An entire exhibition at 525 West 21st is centered on the arresting work of artist Seoyoung Chung. In pieces that explore multiple methods of practice in sculpture, installation, drawing, photography, text and video, objects not ordinarily considered sculpture reveal themselves as just that. With Table, constructed from wood in 2007, Chung isolates the moment in which such a “sculpture” emerges into the world.

ICA Miami to open new permanent home on December 1, 2017 in advance of Art Basel Miami Beach – 8502

The Institute for Contemporary Art, Miami announced  that it will open its new, permanent home on December 1, 2017, with a major group exhibition exploring the significance of the artist’s studio, from the post-war period to the present day. Encompassing some 100 works in painting, sculpture, video, and installation, The Everywhere Studio brings together over 50 artists from the past five decades to reveal the artist’s studio as a charged site that has both predicted and responded to broader social and economic changes of our time. The inaugural exhibition reflects ICA Miami’s expanded curatorial purview in its new home, which will create intergenerational dialogues between post-war and contemporary artists, and champion new narratives that provide insight into the most innovative artists working today.

Marking the most ambitious and broad-ranging survey mounted to date by ICA Miami, The Everywhere Studio will inaugurate the new museum’s special exhibition galleries on its second and third floors. The museum’s opening program will also feature installations of contemporary and post-war work on its first floor and sculpture garden, including works from the collection and newly commissioned sculptures by major international artists, as well as a signature project space dedicated to emerging artists.

“ICA Miami’s inaugural program is a reflection of our mission to advance new scholarship on contemporary art and showcase the work of the most innovative and experimental artists of our time,” said Ellen Salpeter, Director of ICA Miami. “With free general admission, the new ICA Miami enables us to deepen our relationship with audiences of all ages and backgrounds from throughout South Florida—and, with a rigorous, thought-provoking program and expanded exhibition spaces, it ensures that Miami will continue to be at the forefront of the discussion on contemporary art at the national and international levels.”

The Everywhere Studio interprets the works of post-war artists and emerging practitioners—including Bruce Nauman, Carolee Schneemann, Dieter Roth, Andy Warhol, Martin Kippenberger, Cheryl Donegan, Elaine Sturtevant, Anna Oppermann, Tetsumi Kudo, Andrea Zittel, Neïl Beloufa, and Laure Prouvost, among others—through the lens of the social and historical conditions in which they were made. Organized chronologically, the exhibition examines the changing relationships that artists have had to their sites of production. From the studio as a site of labor, to one that blurs production, performance, and spectacle, to a concept that defines the artist’s own identity, the exhibition features artists who, in response to changing socio-economic influences, represented new modes of working and living that would subsequently spread across society.

“The Everywhere Studio demonstrates how artists invent and represent ways of working, and can even be harbingers of social, industrial, and economic change. The exhibition reflects our ongoing commitment to developing new narratives of contemporary art and marks. Thanks to our new expanded home, the show also marks the first time in our history that ICA Miami will have the space to bring together historical and recent works to address key forces in contemporary artistic practice, and contemporary life and society,” said Alex Gartenfeld, Deputy Director and Chief Curator.

Designed by the Spanish firm Aranguren + Gallegos Arquitectos and located in Miami’s Design District, ICA Miami’s new 37,500-square-foot home resonates and reflects the museum’s commitment to the contemporary and to serving its community. With more than double the space for exhibition galleries, and a new 15,000-foot sculpture garden, the new building further advances the museum’s mission of providing a dynamic platform for the exchange of art and ideas. The museum will open to the public on December 1, 2017, welcoming the public in advance of Art Basel Miami Beach.

“We embarked on the construction of ICA Miami’s new home to create a vital and enduring cultural resource for our community that fosters appreciation for the work of the most innovative artists of our time,” said Irma Braman, Co-Chair of ICA Miami’s Board of Trustees. Added Co-Chair Ray Ellen Yarkin, “Located in the heart of Miami, our new museum will become an important hub for cultural dialogue and exchange within our community.”

Visitors will approach the museum from the south, encountering a dynamic façade of interlocking metal triangles and lighted panels. The northern façade, in contrast, features a curtain wall of windows that bring natural light into the museum’s galleries and allow visitors to take in views of the sculpture garden and the surrounding cityscape. The new ICA Miami creates an integrated and transparent environment in which visitors can encounter and experience the museum’s varied artistic programming.

The interior of the new museum includes 20,000 square feet of adjustable gallery spaces across three floors that respond to the diversity of artist installations, exhibitions, and performances that ICA Miami presents, as well as increased space for educational and community programming. On the ground floor, six flexible galleries will be dedicated to long-term and rotating exhibitions, the museum’s permanent collection, as well as an artist project space that will provide critical exposure for emerging and under-recognized artists. Second- and third-floor galleries will be dedicated to the museum’s special exhibition program and overlook the sculpture garden, which will showcase an annual schedule of site-specific commissions, new gifts and long-term loans, and major sculptural works by both post-war and contemporary artists.

The design and construction of the new building, along with the acquisition of land for the sculpture garden, has been funded entirely by a major capital gift from Irma and Norman Braman. The capital campaign for the new building has been additionally supported by a generous donation of land from Miami Design District Associates. The museum is in currently in the quiet phases of an operational campaign to support and ensure the long-term sustainability of the new institution.

 

Museum Folkwang launches new exhibition format 6 1/2 Weeks – 8501

 

Eliza Douglas, It Could be True, 2017. Oil paint on canvas, 210 x 180 cm. Courtesy: Air de Paris, Paris. Photo: Ivan Murzin.
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Museum Folkwang launched its new exhibition format 6 1/2 Weeks, each time showcasing a new contemporary artist. Up to six times a year, young artists are given a platform to present their latest work for a period of just 45 days. US artist Eliza Douglas kicked off the exhibition series with her show My Gleaming Soul: her first-ever museum showing.
Douglas (b. 1984) is an artist, musician, and performer, currently studying at the renowned Städelschule in Frankfurt am Main. The display Eliza Douglas – My Gleaming Soul (on show from 16 February to 2 April 2017) presents ten new works by the New York artist.
Douglas’s large-scale paintings captivate the eye through their bold style and a striking recurrent motif: the artist’s hands. Occasionally shown in combination with a pair of feet and always depicted against a white background, the naturalistically rendered hands are the pivotal subject of her vibrant paintings. Douglas combines representational and abstract painting by creating novel transitions from one to the next.
As a trope in the history of art, the artist’s own hands have long been the closely linked with the act of artistic creation. In Douglas’s work the creative hands appear to dance around the – wholly absent – body, at the end of a pair of grotesquely long arms. Douglas’s canvases provide a fresh and innovative comment on the time-honoured act of painting using paint applied with a brush. Her form of metapainting is one of the many possible answers to the question of what painting can look like in the 21st century.
With its short turn-around times and quick planning, the new exhibition format 6 1/2 Weeks aims to introduce up-and-coming artists to the public in a straightforward and comparatively spontaneous manner. The format features recent works by young artists and admission is free. The exhibition space will feature the work of six newly discovered artists a year.

8499 – Hauser & Wirth to represent the Estate of August Sander

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August Sander, Siebengebirge im Winter. Vintage gelatin silver print, 20.8 x 17.4 cm. © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; ARS, New York. Courtesy of Galerie Julian Sander, Cologne and Hauser & Wirth.
 
Hauser & Wirth announced its worldwide representation of the Estate of August Sander in collaboration with the artist’s great grandson Julian Sander of Galerie Julian Sander, Cologne. August Sander’s encyclopedic magnum opus, ‘People of the 20th Century,’ constitutes one of the most monumental endeavors in photographic history. Over the course of a career spanning six decades and tens of thousands of negatives, Sander created a nuanced sociological portrait of Germany comprising images of its populace, as well as its urban settings and dramatic landscapes. Working in a conceptually rigorous fashion, he pioneered a precise, unembellished photographic aesthetic that was formative to the establishment of the medium’s independence from painting and presaged conceptual art. Sander’s oeuvre has served as a wellspring of inspiration for modern and contemporary photographers, from Walker Evans and Diane Arbus, to Tina Barney, Rineke Dijkstra, and Bernd and Hilla Becher, and has exerted a profound influence upon new generations of visual artists across mediums.

A significant selection of photographs from Sanders’ portfolio ‘People Who Came to My Door’ forms the heart of the gallery’s group exhibition ‘Serialities,’ on view in New York from 18 February through 8 April 2017.

‘We are honored and delighted to join Julian Sander in assuming the mantle as guardians of August Sander’s illustrious legacy,’ remarked Iwan Wirth, Co-Founder and Co-President, Hauser & Wirth. ‘A decade ago, when our gallery presented the exhibition ‘Someone Else With My Fingerprints,’ it became crystal clear that Sander was not only a giant of the photographic medium, but one of the most revolutionary artists of the 20th century. His visionary approach to documenting people and places challenged accepted notions of what we are and how we live. He broadened perception. And his contributions continue to shape the way artists – including many represented by our own gallery – seek to interpret our world today.’

August Sander titled his larger effort to systematically document contemporary German society ‘People of the 20th Century,’ a project that Sarah Meister, Curator in the Department of Photography of The Museum of Modern Art in New York, has deemed, ‘the single most important body of work of the 20th century.’ Sander created portraits – or, to his mind, enabled self-portraits – of a broad cross-section of German society and categorized these portraits into archetypes: the Farmer, the Skilled Tradesman, the Woman, Classes and Professions, the Artists, the City, and the Last People, which portrayed individuals on the margins of society. His approach afforded all subjects equal dignity throughout this act of cataloguing, depicting them in a clear frontal style with extraordinary detail, their eyes boring into the camera lens and thus into the eyes and mind of the viewer.

This sober documentary aesthetic stood in stark contrast to the dominant photographic style of the day, which mimicked other art forms like painting, and to the work of Sander’s avant-garde peers in the ‘New Objectivity’ movement, who were similarly concerned with social commentary but photographed from extreme perspectives. Portraiture was August Sander’s lifelong love, and he would work on ‘People of the 20th Century’ from the early 1920s until his death, producing the bulk of the photographs during the years of the Weimar Republic. Sander also actively photographed the German streets, architecture, and landscape; the latter category dominated his practice during World War II in part because the subject matter was more acceptable to the Nazis, who con scated and destroyed his book of portraits entitled ‘Face of Our Time.’ The moral terrain into which Sander boldly forayed, exploring who can be represented and how, remains an important area of inquiry for visual art today, perhaps more timely than ever.

August Sander was born in Herdorf, a mining town east of Cologne, in 1876. While working at a local slagheap he serendipitously encountered a visiting landscape photographer. ‘My rst camera was for me the same magic box that it is for anybody coming to one for the rst time,’ Sander said. He purchased photographic equipment with nancial aid from his uncle. During his subsequent military service and in the years that followed, Sander served as an itinerant photographer’s assistant. In 1910, after working his way to being the sole proprietor of a photo studio in Linz, Sander moved to Cologne and opened a studio at 201 Dürener Strasse, where the majority of his portraits would be taken.

In the early 1920s, Sander befriended the Group of Progressive Artists in Cologne, a left-wing artist’s group spearheaded by Heinrich Hoerle and Franz Wilhelm Seiwert. It was around this time that Sander formalized the concept for his major project ‘People of the 20th Century,’ an effort to systematically document contemporary German society. He introduced the public to this project with an exhibition of approximately 100 portraits at the Kölnischer Kunstverein, which was followed by the publication of his rst book, ‘Face of Our Time,’ in 1929. ‘Face of Our Time’ included a selection of 60 portraits from ‘People of the 20th Century,’ which occupied Sander from the early 1920s until his death. The Nazi party, which had recently come to power, confiscated and destroyed Sander’s ‘Face of Our Time’ in 1936, likely because of the publication’s representation of marginalized groups and a heterogeneous German society. Around 1942, Sander left Cologne and moved to a small village in Westerwald. His studio in Cologne was destroyed in a 1944 bombing raid, but the negatives that he relocated to Westerwald – and by 1945 he had over 40,000 – survived. Unfortunately, only 11,000 of his 40,000 negatives made it to the Westerwald. Sander’s work was exhibited at the Photokina in Cologne in 1952 and included in Edward Steichen’s famous exhibition ‘The Family of Man’ at the Museum of Modern Art in New York City in 1955. In 1964, just four years after the Federal Republic of Germany awarded Sander the Order of Merit, August Sander died in Cologne.

Gunther Sander (1907 – 1987), who served as his father’s apprentice in the studio from May 1925 to April 1928 and worked with him in his photographic studio until 1936, continued to promote the work of his father after his death. Gunther organized several exhibitions and publications, including ‘Men Without Masks’ (1971, Verlag C.J. Bucher, Lucerne, Switzerland and Frankfurt am Main, Germany.) In 1984, Sander’s estate passed into the hands of his grandson, Gerd Sander. Gerd founded the August Sander Archive to organize and protect the artist’s work. In January of 1993, the August Sander Archive was acquired by Kulturstiftung der Stadtsparkasse Köln. Julian Sander follows in the footsteps of his father Gerd as a gallerist, representing the work of August Sander.

Sander has been honored with major solo exhibitions and inclusion in important group shows and public collections. Recent solo exhibitions include: ‘August Sander: Menschen des 20. Jahrhunderts, People of the 20th Century’ at the 30th São Paulo Biennial, Sao Paulo, Brazil, 2012; ‘Artists Rooms: August Sander’, Tate Modern, London, England, 2010; ‘August Sander: People of the Twentieth Century’, The Getty Center, Los Angeles CA, 2008, and ‘August Sander: People of the Twentieth Century’ which traveled from the Die Photographische Sammlung/SK Stiftung Kultur, Cologne, Germany, 2001, to the San Francisco Museum of Modern Art, San Francisco CA, 2002 – 2003, to the Metropolitan Museum of Art, New York NY, 2004. Sander is represented in the following museum collections: National Gallery of Victoria, Australia; National

Gallery of Canada, Ottowa; The National Museum of Denmark, Copenhagen; Bibliothèque nationale de France; Centre Pompidou, Paris; Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; Museum Ludwig, Cologne; Wallraf-Richartz Museum, Cologne; Museum Folkwang, Essen; Sprengel Museum, Hannover; The Walther Collection, Ulm; Museum of Contemporary Art, Tokyo; Stedelijk Museum, Amsterdam; Fotostiftung Schweiz, Winterthur; Tate Modern, London; Victoria and Albert Museum, London; Museum of Fine Arts, Boston MA; Art Institute of Chicago, Chicago IL; Museum of Contemporary Photography at Columbia College, Chicago IL; Harvard University Art Museums, Cambridge MA; Cleveland Museum of Art, Cleveland OH; Los Angeles County Museum of Art, Los Angeles CA; J. Paul Getty Museum, Los Angeles CA; Metropolitan Museum of Art, New York NY; The Museum of Modern Art, New York NY; ICP- International Center of Photography, New York NY; New York Public Library, New York NY; George Eastman House, Rochester NY; Philadelphia Museum of Art; San Francisco Museum of Modern Art, San Francisco CA; New Mexico Museum of Art, Santa Fe CA; Seattle Art Museum, Seattle WA; Milwaukee Art Museum, Milwaukee WI; Corcoran Gallery of Art, Washington, D.C.; National Gallery of Art, Washington, D.C.; and Centre Pompidou, Paris.

 
 
 
 
 
 

8498 – Asia Week New York spotlights contemporary art – 09.03.2017-18.03.2017

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Lee Ufan, Untitled, 2016. Photo: Pace Gallery.
 
When Asia Week New York launches its ten-day extravaganza, on March 9, many of the top-tier galleries will showcase contemporary work alongside classical objects, while others will be devoted solely to present-day works of art.

Among the stand-outs:

Stronger Together: Two Western Artists Who Embraced the Chinese Idiom at China 2000 Fine Art, focuses on two important western artists, Roy Lichtenstein and Robert Rauschenberg, both of whom created their final projects by re-examining an earlier fascination with Chinese artistic expression and translating this affinity into their own unique idioms.

To celebrate her exhibition entitled ThenNow, Carol Davenport will honor the renowned Japanese sculptor, Hiroyuki Asano, who has generously allowed four pieces to be shown during Asia Week New York. Asano, known for his precise forms and circular voids, brings a refined life to the soul of the stone, representing time, space, and movement through the universe. He has recently surged in popularity in the East, using his classical training in Italy and uniquely Japanese style to win numerous international sculpting awards. His works are in public and private collections around the globe, including Japan, China, Korea, Germany and the U.S. Ms. Davenport welcomes him to her gallery during Asia Week.

In River of Stars, Kaikodo LLC features five contemporary works-three in the traditional format of ink on paper and two contemporary photographs mounted as hanging scrolls. Included among these is “Sandalwood Tree,” 2013 by Luo Jianwu, a folding-fan-shaped painting, ink and color on paper. Mr. Luo Jianwu lives in Beijing and is famous for doing portraits of old trees as a way to honor their presence.

Laurence Miller Gallery presents the work of Toshio Shibata, whose signature focus is the ways in which contemporary municipal infrastructure is interwoven into the traditional Japanese landscape. Over the past thirty years Toshio Shibata has photographed man made structures in balance with nature. Elements of infrastructure were everywhere he travelled. Despite the ubiquity and commonality of the dams, sluices and irrigation canals, his pictures transform the ordinary into the lyrical, concrete and steel into abstraction, each with a uniquely Japanese perspective.

In Timeless Elegance in Japanese Art: Celebrating 40 Years, at Joan B. Mirviss Ltd., attention is given to contemporary ceramics with the major sculptural work by the master ceramist, Suzuki Osamu. Through exhaustive experimentation, Suzuki has developed his own modern take on the traditional shino (creamy white feldspathic glaze). With his noteworthy thicker walls, longer firing time and slow cooling periods his works possess an air of modernity and dynamism not found elsewhere. Works of this scale and importance by Suzuki are extremely rare to find on the market today. In 1994 he was designated as only the second Living National Treasure (LNT), for shino ware.

Hsu Kuohuang’s recent work, “Waterfall Hidden,” (Ink and colorwash on paper, 2016), will be among the contemporary works featured at M. Sutherland Fine Art, Kuohuang boldly uses splashed ink and color in an ambiguous “contemporary” view of mountains flattened out against the painting surface. It can be described as guo hua not just because of the traditional landscape theme but also because of the materials. Hsu’s adept calligraphy inscriptions show his years of writing practice, something that his Mainland artistic contemporaries were not allowed to do openly until after the Cultural Revolution. (Beginning in the late 1970’s, the ban on studying the past, such as ancient calligraphy scripts, was lifted after a hiatus of over 30 years).

At Pace Gallery, Lee Ufan:Ceramics, is the first exhibition that the artist has organized solely in this medium. With a career that spans over five decades, Lee Ufan’s Untitled 2016 radiates the artist’s mastery of the brush. Conceptual concerns that embrace philosophical theories of the East and West are expressed in the spatial play of mark making and their correspondence to the field in which they are situated. Ufan’s work in sculpture, installation, painting and drawing was part of a retrospective exhibition at the Guggenheim Museum in 2008 and more recently a major exhibition at the Palace of Versailles in 2014, among many other international museum and gallery exhibitions throughout his renowned career.

Chung Seoyoung’s large-scale sculpture East West North South, 2007 at the Tina Kim Gallery, amplifies the theatrical quality of a gallery space by confining a void territory by imposing spatial control using steel fences. Without any correspondence to the exact orientation of the gallery, the artwork distorts the viewer’s geographic bearings and holds one’s attention in a contained zone, causing us to question our own relationship with time.

Additional galleries not to be missed are: Dag Modern, Dai Ichi Arts, Ltd., FitzGerald Fine Arts, Robert Hall Asian Art,Ltd., HK Art & Antiques LLC, Kang Collection Korean Art, Onishi Gallery, Erik Thomsen, and YEWN.

Asia Week New York draws an international coterie of collectors, curators and enthusiasts from every corner of the globe. Says Lark Mason, Chairman of Asia Week New York 2017, “We are proud to present this annual event, which augments the city’s already rich cultural holdings with world-class Asian art exhibitions, many of which might be worthy of display in any one of the city’s top-tier museums.”

Asia Week New York unites an illustrious roster of international Asian art specialists-the largest number to date-with five major auction houses: Bonhams, Christie’s, Doyle, iGavel, and Sotheby’s and 15 world-renowned museums and Asian cultural institutions. All work together towards a single purpose: that of weaving Asian art into the cultural fabric of New York and beyond. For discerning, in-the-know collectors, curators, scholars and Asian art enthusiasts from all around the world, it has become an essential destination in March.”

Asia Week New York exhibitions, which are open and free to the public, will reveal the rarest and finest Asian examples of porcelain, jewelry, textiles, paintings, ceramics, sculpture, bronzes, prints, photographs and jades, representing artistry, ingenuity and imagination from every quarter and period of Asia.

To help visitors easily navigate the Asia Week New York’s activities, a comprehensive guide with maps will be available at all participating galleries and auction houses, along with select museums and cultural institutions, and online at www.AsiaWeekNY.com.

 
 
 
 

8497 – Award-winning architect Diébédo Francis Kéré to design the Serpentine Pavilion 2017

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Serpentine Pavilion 2017, Designed by Francis Kéré, Design Render, Exterior ©Kéré Architecture.

Diébédo Francis Kéré, the award-winning architect from Gando, Burkino Faso, has been commissioned to design the Serpentine Pavilion 2017, responding to the brief with a bold, innovative structure that brings his characteristic sense of light and life to the lawns of Kensington Gardens.

Kéré, who leads the Berlin-based practice Kéré Architecture, is the seventeenth architect to accept the Serpentine Galleries’ invitation to design a temporary Pavilion in its grounds. Since its launch in 2000, this annual commission of an international architect to build his or her first structure in London at the time of invitation has become one of the most anticipated events in the global cultural calendar and a leading visitor attraction during London’s summer season. Serpentine Artistic Director Hans Ulrich Obrist and CEO Yana Peel made their selection of the architect, with advisors David Adjaye and Richard Rogers.

Inspired by the tree that serves as a central meeting point for life in his home town of Gando, Francis Kéré has designed a responsive Pavilion that seeks to connect its visitors to nature – and each other. An expansive roof, supported by a central steel framework, mimics a tree’s canopy, allowing air to circulate freely while offering shelter against London rain and summer heat.

Kéré has positively embraced British climate in his design, creating a structure that engages with the ever-changing London weather in creative ways. The Pavilion has four separate entry points with an open air courtyard in the centre, where visitors can sit and relax during sunny days. In the case of rain, an oculus funnels any water that collects on the roof into a spectacular waterfall effect, before it is evacuated through a drainage system in the floor for later use in irrigating the park. Both the roof and wall system are made from wood. By day, they act as solar shading, creating pools of dappled shadows. By night, the walls become a source of illumination as small perforations twinkle with the movement and activity from inside.

As an architect, Kéré is committed to socially engaged and ecological design in his practice, as evidenced by his award-winning primary school in Burkina Faso, pioneering solo museum shows in Munich and Philadelphia, and his immersive installation in the 2014 exhibition Sensing Spaces at London’s Royal Academy.

Building on these ideas, Kéré’s Serpentine Pavilion will host a programme of events exploring questions of community and rights to the city, as well as the continuation of Park Nights, the Serpentine’s public performance series, supported by COS. Now in its third year, Build Your Own Pavilion, the digital platform and nationwide architecture campaign supported by Bloomberg Philanthropies, will invite young people to consider the relationship between architecture and public space, to ask critical questions about the future of their cities and to design the cities in which they would like to live.

Kéré’s design follows Bjarke Ingels Group (BIG), whose ‘unzipped wall’ structure was visited by more than 250,000 people in 2016, making it one of the most visited Pavilions to date. Four commissioned Summer Houses in 2016 by Kunlé Adeyemi – NLÉ (Amsterdam/Lagos), Barkow Leibinger (Berlin/New York), Yona Friedman (Paris) and Asif Khan (London), attracted almost 160,000 visitors.

Diébédo Francis Kéré, architect of the 17th Serpentine Pavilion, said: “As an architect, it is an honour to work in such a grand park, especially knowing the long history of how the gardens evolved and changed into what we see today. Every path and tree, and even the Serpentine lake, were all carefully designed. I am fascinated by how this artificial landscape offered a new way for people in the city to experience nature. In Burkina Faso, I am accustomed to being confronted with climate and natural landscape as a harsh reality. For this reason, I was interested in how my contribution to this Royal Park could not only enhance the visitor’s experience of nature, but also provoke a new way for people to connect with each other.”

Serpentine Galleries CEO, Yana Peel, and Artistic Director, Hans Ulrich Obrist, said: “We are thrilled to reveal the designs for Francis Kéré’s Pavilion, which highlight the power of simplicity by reducing architecture to its core elements, modelled in harmony with the natural context of Royal Kensington Gardens. This Pavilion will be a space of conversation, collaboration and exchange. We share Kéré’s belief that architecture, at its best, can enhance our collective creativity and push people to take the future into their own hands.”

Richard Gnodde, Vice Chairman of the Goldman Sacks Group Inc. and CEO of Goldman Sachs International, said: “We are delighted to support the Serpentine’s Summer Pavilion programme for a third year running. Francis Kéré’s design this year promises to celebrate the diversity, vibrancy and collaborative potential of communities, something we value deeply at Goldman Sachs.”

David Glover, Technical Advisor said: “The Serpentine Pavilion is about the opportunity of using everyday materials and techniques in innovative and creative ways that challenge our perception of architecture. Francis Kéré and his team have achieved this by creating a Pavilion that, through the use of colour and form, will continually morph under the influence of light, shadow, its users and the surrounding park to surprise and delight the visitor.”

The annual Serpentine Pavilion commission has become an international site for architectural experimentation, presenting projects by some of the world’s greatest architects, from Zaha Hadid in 2000 to Bjarke Ingels Group in 2016.

The brief is to design a 300-square-metre Pavilion that is used as a community hub and café by day and a forum for learning, debate and entertainment at night. Each Pavilion is sited on the Serpentine Gallery’s lawn for four months and the immediacy of the commission makes it a pioneering model worldwide.

The selection of an architect, someone who has consistently extended the boundaries of architectural practice but is yet to build a structure in London, is led by the curatorial approach that guides all Serpentine programming: introducing contemporary artists and architects to the widest public audience.

The Serpentine Pavilion is among the top ten most visited architectural and design exhibitions in the world. There is no budget for the project, which is realised through sponsorship, in-kind support and the sale of the Pavilion.

 
 

8496 – Oxford’s Bodleian launches seminal online catalogue of the complete works of William Henry Fox Talbot

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Nelson’s Column under Construction, Trafalgar Square, London, first week of April 1844. Photo: Hans P. Kraus, Jr. Fine Photographs.
 
The Bodleian Libraries have launched an innovative web-based resource that brings together the complete works of British photographic pioneer William Henry Fox Talbot, available to the public at foxtalbot.bodleian.ox.ac.uk. For the first time ever, users can discover and search through annotated digitized images of Talbot’s photographs gathered from collections around the world. The fascinating images show the emergence and development of photography while capturing moments of early Victorian life.

Importantly users can view surviving negatives alongside the prints that were made from them they are made from, making this the first online catalogue to make the connection between corresponding Talbot prints/images no matter where in the world the original print is held. This is critical since each negative and print was made by hand and each is unique. For example, users to the site can see an image of a negative held in the Smithsonian alongside salt prints made from it that are held in the J. Paul Getty Museum, the British Library and other private collections.

William Henry Fox Talbot (1800-1877), among the greatest polymaths of the Victorian age, is regarded as the British ‘father of photography’. He created some of the first photographs ever made. He also recognised that negatives, with their ability to make multiple prints on paper, would define the central path of photography right through to the digital age. During his career Talbot and his collaborators created more than 4,500 unique or distinct images; approximately 25,000 of his original negatives and multiple prints from them are known to survive worldwide and are held across a range of international institutions and private collections. These are now brought together for the first time in one place – the Talbot Catalogue Raisonné.

‘There has been nothing like this before in the history of photography,’ said Professor Larry J Schaaf, Project Director for the Talbot Catalogue Raisonné and Visiting Professor of Art at the University of Oxford. ‘This catalogue raisonné of Talbot’s work will help unlock the enormous artistic, documentary and technical information embodied in these images and allow researchers to find out even more about these works.’ Working closely with the Talbot family, Schaaf has been researching Talbot for more than four decades and has examined nearly all of Talbot’s originals held in collections worldwide.

Talbot was a scientist who then became an artist. Unlike the case with most of his peers, much of his archive survives; in addition to the 25,000 photographs there are more than 10,000 letters, hundreds of notebooks and many related physical objects. In the early 1980s, before digital projects in the humanities were common, Professor Schaaf developed the pioneering databases of Talbot’s work on which the new online catalogue is based.

The Bodleian Libraries have spent the last two years translating these images into a modern online form. The catalogue integrates the holdings of more than 100 international public and private collections including items from the British Library, the National Media Museum, New York’s Metropolitan Museum of Art, the J. Paul Getty Museum and the Smithsonian Institution, as well as smaller but significant holdings in Russia, Estonia, South Africa, Canada, France and others worldwide.

Launching with more than 1,000 images, these will be added to weekly until the entire 25,000 negatives and prints known worldwide have been published. They include:

• Beautiful early cityscapes of Oxford, London and Paris and others,

• Numerous images taken on and around the grounds of Lacock Abbey, Talbot’s family home in Wiltshire,

• Some of Talbot’s best known images such as ‘The Open Door’ and ‘The Haystack’,

• Photographs by Talbot’s close circle of family and colleagues, with whom he collaborated – Nicolaas Henneman, Calvert R Jones, George Bridges and Henry Collen, along with Talbot’s wife Constance and his mother Lady Elisabeth Feilding.

In this new catalogue raisonné, images of prints and negatives are accompanied by notes, annotations and essays, with links to relevant publications and websites. Users can search images by photographer, title, collection, provenance, date, genre, geographic location and keywords then tag, save or compare images and create, annotate and store their own collections or search results, all free of charge. Since many of these primordial images survive in a faded state, they can be enhanced for study onscreen by simple tools that magnify the images and adjust the contrast and density. Negatives lacking a print will be accompanied by a digital positive.

Importantly users can view surviving negatives alongside the prints they are made from, making this the first online catalogue to make the connection between corresponding Talbot prints/images no matter where in the world the original print is held. For example, users to the site can see an image of a negative held in the Smithsonian alongside salt prints made from it that are held in the J. Paul Getty Museum, the British Library and other private collections.

The images are accompanied by extensive cross-referencing to other sources, such as Talbot’s notebooks held in the British Library and the 10,000 Talbot letters available online at foxtalbot.dmu.ac.uk, a project at De Montfort University also directed by Professor Schaaf. In 2014, the Bodleian acquired the personal archive of Talbot, which includes original manuscripts, correspondence, family diaries and scientific instruments. The archive is also rich in physical objects depicted in Talbot’s photographs, for example the actual glassware depicted in his famous ‘Articles of Glass’ published in The Pencil of Nature.

Richard Ovenden, Bodley’s Librarian said ‘The Talbot Catalogue Raisonné exemplifies the important role of the Bodleian Libraries and cultural institutions in creating digital resources that allow unprecedented virtual access to collections. This project also demonstrates the value of working in partnership, bringing together items now dispersed from across numerous collections. We are extremely grateful to the many institutions who contributed to this exciting new research tool, without whom this project would not have been possible.’

The Talbot Catalogue Raisonné has been developed with the support of the William Talbott Hillman Foundation, The Polonsky Foundation, the Charina Endowment Fund as well as numerous private donors.

 
 
 
 

8495 – Tate offers new app to visitors – London

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Conceived with design agency Fabrique, the Tate app brings together everything visitors need to explore the galleries and learn more about the art they encounter.
 
Tate has launched a new app, designed to enable visitors to lead their own journey around the galleries on their smartphones. With support from Bloomberg Philanthropies, the app is the latest development of the Bloomberg Connects offering at Tate and provides a more bespoke, behind-the-scenes and personalised experience than a traditional museum audio-guide. A trial version of the app was released for iOS mobile devices last year, with 13,000 downloads so far, and the full version is now available for free on both iOS and Android via the Apple App Store and Google Play Store. It can be downloaded in advance of a visit or in the gallery on Tate’s free Wi-Fi.

Conceived with design agency Fabrique, the Tate app brings together everything visitors need to explore the galleries and learn more about the art they encounter at Tate Britain, Tate Modern and Tate Liverpool, with Tate St Ives to follow later this year when the gallery reopens. On opening the app, users are given three easy-to-navigate options – Art, Activity and Eat & Shop – each of which provides information about what can be seen, experienced and enjoyed in the museum that day. Over 600 iBeacons, installed throughout the buildings by digital wayfinding experts Movin, allow the app to tell visitors exactly where they are in real time. It can then help to direct them towards their favourite works of art, to a special event or performance, or simply to the nearest place to get a coffee.

Within the galleries, users are also able to access in-depth information about the collection displays through the app, including wider art movements and histories as well as individual artists and works. Over 350 audio clips from Tate’s digital archives, including specially-recorded interviews with curators and artists, are available in the palm of your hand. From modern masters like Agnes Martin and Jackson Pollock to contemporary figures like Meschac Gaba and Suzanne Lacy, visitors can now hear unique insights into Tate’s collection in the artists’ own words.

Bloomberg Philanthropies works with the museum to expand the ways in which Tate’s millions of visitors engage with arts and artists. Bloomberg Connects is Bloomberg Philanthropies programme designed to increase access to the arts. The support has enabled the Tate to create a host of ways for visitors to interact with, understand and discuss the things they see in Tate’s galleries. For exampleTate Shots, an online series of short films, has now received over 6.5 million views. Immersive ‘Explore’ spaces in Tate Modern’s Switch House provide information about the displays as part of an interactive experience, while the touchscreen Timeline of Modern Art and the Digital Drawing Bar allow visitors of all ages to learn about art and flex their creative muscles.

Kerstin Mogull, Managing Director of Tate, said ‘We are always looking for new ways to give our visitors the best experience possible. The Tate app is designed to be simple, useful and fun, putting the whole gallery in the palm of your hand for free. Our museums are becoming increasingly active spaces with even more diverse programmes, so it’s important for us to provide an easy way for everyone to get the most from Tate. This is just one of the projects we have created through the Bloomberg Connects partnership, all of which use new technologies to help people enjoy and engage with great art.’

 
 
 
 
 

8494 – Monumental Constable painting to return to Scotland to be shown alongside McTaggart masterpiece – Edinburgh

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John Constable (1776 – 1837), Salisbury Cathedral from the Meadows 1831. © Tate, London 2013. Purchased with assistance from the Heritage Lottery Fund, The Manton Foundation, Art Fund (with a contribution from the Wolfson Foundation) and Tate Members.
 
One of the greatest masterpieces of British art will go on display in Scotland for the first time in over 15 years this spring. The monumental oil painting Salisbury Cathedral from the Meadows, painted in 1831 by the great English Romantic painter John Constable (1776-1837), will be shown alongside one of the most powerful and celebrated of all Scottish landscape paintings: The Storm (1890), by William McTaggart (1835-1910).

This display is part of Aspire, a partnership programme touring Salisbury Cathedral from the Meadows, exhibited 1831, across the UK. Constable’s Salisbury Cathedral from the Meadows, was secured for the British public through the Heritage Lottery Fund, the Manton Foundation, Art Fund (with a contribution from the Wolfson Foundation) and Tate Members. Aspire is a five-year partnership project between five partner institutions supported by Art Fund, and by National Lottery players through the Heritage Lottery Fund. The tour is designed to share this remarkable painting with as wide an audience as possible and draws upon powerful connections to works in each of the five participating venues.

At 1.5m high and nearly 2m wide, Salisbury Cathedral from the Meadows is one of a series of monumental ‘six-footer’ canvases painted by the iconic artist – arguably the greatest of them all. Painted three years after the death of his beloved wife Maria, the spectacular painting is laden with personal meaning and is the work he regarded with the greatest pride, referring to it as the ‘Great Salisbury’.

The artist and his wife had visited Salisbury during their honeymoon, and it became a place of solace for Constable after Maria’s death. The painting depicts a turbulent landscape of raging, stormy clouds which reflect Constable’s state of mind: his grief at the death of Maria, as well as his concerns regarding contemporary political and social changes which he felt threatened the future of the Anglican Church and rural life. Yet a magnificent rainbow spanning the composition seems to offer a note of hope, promising that the storm will pass.

Salisbury Cathedral from the Meadows was exhibited at the Royal Academy in 1831 but met with a mixed critical reception and never found a buyer. Constable’s use of white highlights and his dramatic treatment of the sky were particularly controversial. The work remained in the artist’s studio, where he continued to retouch it, until his death six years later.

Constable’s work was a source of profound inspiration for William McTaggart, both on an artistic and personal level, and seeing these two imposing canvases side by side demonstrates the transformative influence of Constable’s work and techniques on the younger artist.

Often dubbed “the Father of Scottish Painting”, McTaggart took the chance to see Constable’s work wherever he could. He would have seen Salisbury Cathedral from the Meadows in 1857, when it was exhibited with six other Constables at the Manchester Art Treasures exhibition.

The 1880s provided McTaggart with more opportunities when 118 works by Constable went on show at the Edinburgh Museum of Science and Art (later the Royal Museum of Scotland) between 1883 and 1887. McTaggart’s style changed around that time, and it is highly likely that this resulted from his close observation of Constable’s technique through the works on display in Edinburgh. He had first tackled the subject of The Storm on a smaller scale in 1883 but witnessing Constable’s large oil sketches may have influenced his decision to paint the larger version on show here, which was to become one of his greatest pictures.

McTaggart’s energetic brush work and bold colour illustrate the elemental force of the thunderous sky, lashing wind and turbulent sea. A tiny fishing boat struggling at sea and the launching of a rescue boat from the shore poignantly convey man’s vulnerability and courage in the face of Nature’s fury. McTaggart’s depiction of the approaching storm closely recalls Constable’s ‘Great Salisbury’; like Constable, he varied his brushstrokes, in order to capture the different textures of sky, sea and land.

McTaggart certainly appreciated Constable’s insistence on painting outdoors and studying nature directly in the open air, the importance of skies in composition, of avoiding imitating other people’s work, and the value of wind, light, air, freshness and movement in landscape painting.

Tricia Allerston, Deputy Director and Chief Curator at the Scottish National Gallery, commented: “We are delighted that Constable’s ‘Great Salisbury’ is coming to Scotland. It is a landmark painting which complements and enriches the permanent displays at the Scottish National Gallery. In addition, and most excitingly, its arrival also gives us an opportunity to explore the impact of one of the most influential artists of the nineteenth century on one of Scotland’s truly important artists.”

 
 
 
 

8493 – Four films examine the lives of revered artists of the Renaissance and 20th century in theaters

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Four new feature-length films in the Exhibition on Screen series examine the lives, times, passions, practices, and creations of some of the best-known and most influential artists in the Western canon. The current season offerings examine the Renaissance masters Hieronymus Bosch and Michelangelo and modern luminaries Claude Monet and the American Impressionists. Presented in select U.S. theaters through June 2017, the films enable movie audiences to take dramatic virtual tours of blockbuster exhibitions—including the historic Bosch presentation in The Netherlands earlier this year— and major international collections, and reveal the artists’ life stories. The series is enriched by interviews with art-world experts, unprecedented behind-the-scenes access, and compelling biographical details about the artists.

The fourth season of EXHIBITION ON SCREEN comprises:

• “The Curious World of Hieronymus Bosch” now in theaters, directed by David Bickerstaff

• “I, Claude Monet” in theaters from February 21, 2017, directed by Phil Grabsky

• “The Artist’s Garden: American Impressionism” in theaters from March 21, 2017, directed by Phil Grabsky

• “Michelangelo: Love and Death” in theaters from June 13, 2017, directed by David Bickerstaff

These high-definition exhibitions on screen are being presented in select cinemas around the country through Seventh Art Productions. For a complete list of theater locations, visit the EXHIBITION ON SCREEN website (theaters and participants are subject to change). Tickets are available online here and at participating theater box offices.

Phil Grabsky, Executive Producer and Creative Director of Seventh Art Productions said, “We are delighted to present four new immersive documentary films that virtually place viewers inside blockbuster exhibitions and eminent museums around the globe. In addition to relaying fascinating stories about the artists’ lives, the films reveal the rarely seen process of conserving and displaying treasured artworks. This new season leads off with the wonderful Renaissance master Bosch whose brimming canvases have enchanted and mystified viewers for centuries. The exhibition on which the film is based was truly a once-in-a-lifetime experience that will never be replicated.”

“The Curious World of Hieronymus Bosch” is based on the critically acclaimed exhibition Jheronimus Bosch – Visions of Genius that was on view at Het Noordbrabants Museum in the Netherlands in spring 2016. Organized on the occasion of the 500th anniversary of the artist’s death, the exhibition brought an unprecedented grouping of 20 paintings and 19 drawings of Bosch’s 44 surviving paintings and drawings together for the first time to his home town of Den Bosch. The exhibition attracted almost half a million art-lovers from all over the world. The Guardian called it one of the most important exhibitions of the century.

The film allows the audience to see in detail Bosch’s extraordinary visions of saints and sinners, monstrous demons, and half-animal half-human creatures interspersed with human figures. With his unconventional and timeless creations depicting bizarre fantasies and elements of the grotesque, Surrealists considered Bosch a forerunner.

With advance filming, the documentary also offers close-up views of several of Bosch’s works that were not allowed to travel, including the spectacular Garden of Earthly Delights in the Prado’s collection in Madrid. Also chronicled is the story behind how the exhibition reprised the original form of Bosch’s famous altarpieces, long separated and divided between several museums, and new discoveries made by the Bosch Research and Conservation Project during preparations for the exhibition.

Contributors include filmmaker and artist Peter Greenway, The Times’ chief art critic Rachel Campbell-Johnston, and Charles de Mooji, director of the Het Noordbrabants Museum.

Filmed on location in Paris, London, and Normandy, “I, Claude Monet” is a cinematic engagement with the artist—considered a father of French Impressionism—who created some of the most well-known scenes in Western art. Using over 2,500 letters exclusively for the narrative, the biographic documentary reveals new insight into the man who is among the most influential painters of the late 19th and early 20th centuries.

Despite a successful and prolific career, Monet’s letters reveal that he suffered from depression, loneliness, and thoughts of suicide. It was during his time at Giverny, where he created his celebrated garden and painted the iconic water lilies series, that his humor, artistic insights, and joie de vivre are expressed.

“The Artist’s Garden: American Impressionism” is based on the acclaimed exhibition The Artist’s Garden: American Impressionism and the Garden Movement organized by the Pennsylvania Academy of the Fine Arts and presented at the Florence Griswold Museum, in Connecticut, its final venue in 2016.

The Artist’s Garden exhibition told the story of American Impressionist artists and the growing popularity of gardening as a middle-class leisure pursuit at the turn of the 20th century through paintings, sculpture, books, and stained glass. Among the artists whose works were included are: Cecilia Beaux, William Merritt Chase, Charles C. Curran, Maria Oakey Dewing, Frederick Carl Frieseke, Childe Hassam, Violet Oakley, Jane Peterson, Jessie Willcox Smith, and John H. Twachtman. Filmed in studios, gardens, and museums throughout the Eastern United States, the United Kingdom, and France, the film is designed as a feast for the eyes.

“Michelangelo: Love and Death” presents a comprehensive examination of the man—an undisputed genius of the Renaissance—who created some of the most widely recognized and admired icons of Western civilization including the David and the Sistine Chapel. Its release coincides with the exhibition at the National Gallery of London, Michelangelo and Sebastiano (March 15‒June 25, 2017).

Michelangelo’s extraordinarily broad and prolific artistic practice included painting, drawing, sculpture, architecture, and poetry and each is examined. The film chronicles the artist’s turbulent times and relationships with contemporaries like Leonardo da Vinci and his patron Lorenzo de Medici. It explores how his keen powers of observation, psychological insights, ambition, and personal intensity informed his extraordinary body of work. 

 
 
 

8492 – The biggest street art museum in the world to open at NDSM in Amsterdam, the Netherlands

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The former welding hangar (locally known as Lasloods) covers the surface of more than 7.000 m2 and is twice the size of the famous Turbine Hall of Tate Modern in London.
 
The city of Amsterdam is getting a new museum! The biggest street art museum in the world will open its doors at the NDSM docks (From Dutch: Netherlands Dock and Shipbuilding Company) situated on the north side of the river IJ, in the summer of 2018. With its impressive size and art collection the museum will put NDSM on the map as an international cultural destination.

The former welding hangar (locally known as Lasloods) covers the surface of more than 7.000 m2 and is twice the size of the famous Turbine Hall of Tate Modern in London. Curator Peter Ernst Coolen from Street Art Today is currently working on setting up the future museum together with his team. “Street art has been an inseparable part of urban life for years now. Critics consider street art one of the most significant art movements of the moment. Being made on the street, however, it is also the most perishable. The museum’s collection will not only capture an era but will present the best street art works and artists in one place making it accessible to a wide audience.

The collection was started in 2015 and now includes more than 100 works by leading street artists from all over the world, such as David Walker (UK), Cranio (BRA) and Hoxxoh (USA). All the artworks have been especially created for the museum and in format worth mentioning. “The smallest painting we show is larger than the “Night Watch”, and the largest piece so far is one by Telmo Miel. Their artwork is five meters wide and twelve meters high. These local by origin and now international street art superstars have created two works for our collection, and are now working on the third canvas. Just imagine the size of these canvases: the size of a building facade three to four floors high. Once the renovation is done, the artworks will be hanging side by side with old cranes in a monumental industrial hall 24 meters high. Mighty impressive. ”

“In the meanwhile we have signed a long-term lease agreement and are now closely working with property developer Biesterbos on defining the plan for the renovation and remodeling. The authorization request was submitted in 2016 and as soon as we get the green light, the renovation and refurbishment of this monumental building will start. We are expecting to open our doors to the public in the summer of 2018.”

The world-famous Brazilian artist Eduardo Kobra has recently painted a 24-meter high portrait of Anne Frank on the facade of the future museum. The striking and colorful artwork entitled “Let Me Be Myself” has been picked up by media and spread all over the world. Its message and the story of Anne Frank continue to be very relevant today. “Street artists are urged to reflect on the contemporary society. They have a story to tell and insights on social issues to share. These messages form the core of the museum collection. We cannot wait to show everybody the beautiful pieces. ”

 
 
 
 

8491 – Christie’s announces new Los Angeles flagship

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To design its LA arts space, located on North Camden Drive near the corner of Wilshire Boulevard, Christie’s engaged wHY, the interdisciplinary design team known for collaborating with important local cultural clients. ©wHY.

In April 2017, Christie’s, the world’s leading art business, will open a new 5,400 square foot, two-story flagship location in Beverly Hills, California. This exciting move is in response to growing demand among Los Angeles-area collectors for greater access to buying and selling opportunities, fine art advisory and appraisal services, private selling exhibitions, auction highlight tours, and art-related estate and wealth management services. A team of highly-respected specialists working across Christie’s major collecting categories will call this new flagship home, supplementing the company’s long-standing San Francisco presence, and dramatically increasing the company’s influence on the West Coast.

Guillaume Cerutti, Chief Executive Officer: “The expansion of our West Coast footprint is a key growth initiative for Christie’s in 2017. With its vibrant community of major collectors, artists, tastemakers and cultural institutions, Southern California has been an important market for Christie’s for nearly four decades and is now one of our most active regions for new buyers. With this new flagship, we are opening our doors to even greater engagement with LA’s vibrant arts community and creating a dynamic convening space for both emerging and established collectors.”

Brook Hazelton, President, Americas, added: “Between Los Angeles and San Francisco, Christie’s now leads the auction market in depth and breadth of local expertise and advisory services on the West Coast. Engaging our clients with fine art and objects  from Post-War and Contemporary art, Impressionist and Modern art, and Asian art to jewelry, watches, wine and more  is at the heart of what we do. We look forward to introducing new audiences and collectors to all that Christie’s has to offer.”

To design its LA arts space, located on North Camden Drive near the corner of Wilshire Boulevard, Christie’s engaged wHY, the interdisciplinary design team known for collaborating with important local cultural clients, such as the Marciano Art Foundation, CalArts, and Los Angeles County Museum of Art, as well as top artists and collectors. wHY’s design for Christie’s wraps the two-story, street-level space with an undulating curtain of pearlescent white aluminum, creating an elegant and timeless exterior that speaks to the history and quality of the company’s 250-year old brand.

Inside the new space, wHY designed a grand yet flexible layout for Christie’s to host exhibitions, social events, educational programming, and live-streams of auctions taking place in Christie’s salerooms worldwide. The upstairs has been designed to include private meeting areas and offices where clients and specialists can discuss appraisals, advisory projects, or buying and selling opportunities. A 1,400 square-foot addition on the second level creates a unique open space with greenery that can double as programmable outdoor event space.

The LA project mirrors Christie’s recent expansions in mainland China, where the company has been steadily increasing access to online and saleroom collecting opportunities, arts engagement and educational partnerships. In the fall of 2016, Christie’s opened a new multi-functional art space in Beijing on prestigious Jinbao Street; in 2014 Christie’s relocated its Shanghai presence to the historic Ampire building. Together, mainland China and the West Coast region of the United States account for the largest influx of new buyers at Christie’s in recent years.

 
 

8490 – New digital resource puts Sir John Soane’s Museum at the fingertips – London

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Explore Soane involves a ‘fly-through’ of the Museum’s rooms.
 
Sir John Soane’s Museum, one of London’s most unusual museums, is now more accessible than ever before thanks to a new digital resource which allows people from around the world to visit the Museum from the comfort of their own home.

The Soane, in partnership with UK-based creative studio ScanLAB Projects, have used the latest in 3D scanning technology to create a perfect online digital replica of the Museum. Through a newly-launched website – explore.soane.org – visitors can now virtually discover key rooms from the Museum, and learn more about a number of objects from the collection.

Currently two rooms can be discovered in detail on Explore Soane: the Model Room, which houses Soane’s collection of architectural models of ancient and contemporary buildings; and the Sepulchral Chamber, the centrepiece of which is a 3,500 year old sarcophagus of Egyptian King Seti I. The latest web technologies have been used to allow users to interact with these rooms in 3D, selecting objects for a closer inspection – such as cork and plaster models of the Temple of Vesta in Italy – which can be explored from all angles in unprecedented levels of detail.

Explore Soane, funded by National Lottery players through the Heritage Lottery Fund (HLF), builds upon the ethos and values of the Museum’s founder, who wanted his house and collection to inspire creativity and curiosity. This is now possible without having to physically visit the Museum. Visitors to the site are encouraged to download the 3D Models and hi-res images of objects, for their personal use – whether for academic research or to create their own artworks.

Sir John Soane’s Museum was built by distinguished 19th century architect Sir John Soane, it was a home, library and museum in one – housing his collection of artworks, sculptures, furniture and artefacts. At his death in 1837, Soane left his house and collection to the British nation, stipulating that it should be kept open and free for the public’s inspiration and education, and preserved exactly as he had arranged it. Explore Soane continues this ambition in a powerful new way.

Bruce Boucher, Director of Sir John Soane’s Museum says: “Soane built his Museum to inspire, to be an engine for the advancement of the arts and architecture. Visitors would come and see objects from around the world that they would never have been able to see otherwise. Now, thanks to the latest technology, we can extend this ethos as never before and take the Museum out to the world. Anyone with a computer or mobile device, even thousands of miles away, can explore this magnificent building and its collection for themselves. Soane would be thrilled.”

Schools worldwide are encouraged to get involved with the Soane by using the specially created online resources, allowing teachers to transport their classrooms to the London Museum.

 
 
 
 
 
 
 

8489 – Gallery 19C – Los Angeles announces sale of Cabanel masterpiece to the Musée d’Orsay

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Alexandre Cabanel’s Le Paradis Perdu, (Paradise Lost) is now in the collection of the Musée d’Orsay

Gallery 19C, a Los Angeles based gallery specializing in 19th Century European Paintings, announced today the sale of LE PARADIS PERDU, (Paradise Lost), by Alexandre Cabanel, to the Musée d’Orsay in Paris.

Eric Weider, founder of Gallery 19C, said, “We are deeply honored that Alexandre Cabanel’s masterpiece is returning to Paris where it will be on public display at the Musée d’Orsay. The great Academic painters like Cabanel deserve renewed attention and reevaluation and there is no better place in the world for this than at the Musée d’Orsay where the paintings of the 19th Century can be seen in full context.”

Alice Thomine-Berrada, Chief Curator at the Musée d’Orsay, commented, “This painting is unique and is one of Cabanel’s most dynamic compositions. Furthermore, it represents a very rare German State commission of a French painter in the 19th Century – an important statement!”

Paul Perrin, Curator of Paintings at the Musée d’Orsay, added, “Le Paradis Perdu is a true masterpiece and I am very excited we will present it in our galleries soon. It gives a better idea of Cabanel’s art and I am sure this image will become one the favorite Academic paintings of our visitors.”

Polly Sartori, Director of Gallery 19C, commented, “We are seeing a resurgence of interest in 19th Century European painting and specifically in the great Academics like Bouguereau, Gérôme, Cabanel, and Baudry. Being a new gallery with the mission to handle the very best examples of 19th Century European paintings, when almost everyone is focusing on Contemporary Art, the Musée d’Orsay’s purchase is a positive statement in support of our mission.”

LE PARADIS PERDU (Paradise Lost)
In 1867, Alexandre Cabanel sent five of his most acclaimed pictures and the massive Le Paradis Perdu (Paradise Lost) to the Exposition Universelle in Paris. This work, a new painting depicting the Biblical story of Adam and Eve, immediately earned Cabanel the highest awards and honors and solidified his place as France’s leading Academic painter of the Second Empire. Its destruction in Münich during World War II might have been one of art history’s greatest losses were it not for the numerous preparatory sketches and detailed versions that Cabanel had made. The present painting, one of Gallery 19C’s masterpieces of the advent of the Belle Epoque, is the closest to the original in size and composition and the only documented répétition of the subject in Cabanel’s expansive oeuvre.

Intended for King Maximilian II of Bavaria as part of a larger tableau of thirty decorative historical canvases for his Foundation “for the gifted,” or Maximilianeum, Paradis Perdu was to be the artist’s most important and largest commission for an institution outside of France. Cabanel had already, by the 1860s, undertaken many mural schemes, complex iconographic programs, and decorative cycles in public buildings and private residences and his prowess as a religious painter, in the tradition of the great Italian Renaissance masters, had been noted by no less influential a figure than the critic Théophile Gautier. “One can see,” wrote Gautier in 1852, “how he has eaten the bread of angels [Psalm 78: 25] and nourished himself on the marrow of lions,” (Théophile Gautier, “Beaux-Arts, Salon de 1852,” in La Presse littéraire, 16 May 1852).

The training Cabanel would have received as a young Academic painter was based, above all else, on copying canonical works by Old Master painters from the Renaissance onward and classical sculptors from the ancient world. Upon completion of hundreds of such copies, students at the Ècole were allowed to make studies from life, producing works that, ideally, combined artistic convention with originality and innovation. In Paradis Perdu, many of the compositional details are drawn from these earlier masters, and from Cabanel’s own, historically-inspired paintings, creating a uniquely self-reflexive catalogue of Renaissance and Academic figurative art. (The origins of this work, with its hierarchical arrangement of muscular figures, inspired use of chiaroscuro, and overtly narrative qualities lie with Raphael, Michelangelo, and Milton, whose Paradise Lost should, some critics believed, be read alongside Cabanel’s highly literary canvas.) Even here, however, Cabanel’s originality could not be suppressed: Rather than burdening Eve with the strictures of past religious paintings or rendering her with the dreamlike and idealized qualities of his own, earlier female protagonists, the artist infuses her instead with an element of the odalisque, bringing her effectively down to earth. The incongruity of this maneuver did not seem to trouble nineteenth-century viewers: An oil study for the figure of Eve – one of at least 35 such individual figure studies for this single composition – entered the collection of the fairly conservative Hercules Louis Dousman II of St. Louis, MO in December 1879, and her comportment as a whole had a clear influence on at least one of Cabanel’s illustrious students, Fernand Pelez (1843-1913), whose own Adam et Éve (Moulins, Musée départemental Anne de Beaujeu) was exhibited at the Paris Salon of 1876.

In Cabanel’s version of the provocative subject, Eve lies prostrate under the Tree of Life, shielding her face with her arm and contorting her body in the shameful agony of her expulsion from Eden. Such melodramatic gestures were typical of Cabanel, whose explorations into the expressive potential of body language through nineteenth-century theater and opera may be traced directly from this picture to his most famous work, The Birth of Venus of 1863, an ostensibly vastly different painting in theme and tone. (It is perhaps no coincidence, given this trajectory, that both pictures feature the same languishing model.) Adam slouches by her side, glowering outward, his hunched shoulders and darkened visage indicating his own dejection and contrition. His slightly elevated position and disengagement with Eve’s grasping hand suggest the discordance that has grown between them. To the left of this pair, God the Father and a pair of vengeful angels cascade down from the heavens, their energy reflected in the wing-like locks of hair swirling around their heads. The glistening sword of one of the angels, with its undulating blade, underscores the figures’ dynamism; it also echoes the sinuous lines of Eve and her naked body, adding emphasis to her carnal sin. The retreating Satan, seen in the lower left, seems almost an afterthought in Cabanel’s composition; clearly, it is Eve’s story that he feels must be told.

The multiple studies, sketches, and versions of Paradis Perdu that Cabanel created in his efforts to “master the human figure,” as he wrote to his brother, were considered as valuable as the finished works themselves. In 1867, the same year that Paradis Perdu was completed and exhibited, the esteemed art dealer Knoedler bought reductions of several of Cabanel’s Salon paintings for Israel Corse of New York, for an average of 10,000 francs each. (Cabanel’s main market during his lifetime, but particularly at the height of Pardis Perdu’s fame, consisted of American collectors, including William Astor, Jay Gould, William T. Walters, and William H. Vanderbilt.) Reductions also entered the US collections of Henry Gibson and John Wolfe, who were already the satisfied owners of versions of Cabanel’s Birth of Venus, H. W. Derby, Mrs. A. E. Kidd, and J. H. Warrant. (Decades later, the Dahesh and Metropolitan Museums in New York would add Cabanel reductions to their gallery walls.) So popular were these works that contemporaries noted that they were often “purchased before they leave the easel, or, indeed, before they are half finished,” (Lucy Hooper, “Art in Paris,” Art Journal [New York], n.s. 2, no. 3 [1876]: 90). That the Gallery 19C version of Paradis Perdu was not purchased before its paint had dried is evidenced by an 1889 inventory of Cabanel’s possessions at the time of his death (it is listed as no. 29), and by a contemporary photograph of Cabanel in his famed Paris studio. The painting hangs behind the artist’s desk, its prominent location on the wall suggesting the importance it held for Cabanel, and his reluctance to let it go.

The technical vocabulary surrounding the Gallery 19C version of Paradis Perdu is critical to understanding its importance. Different than a sketch, study, or reduction intended for engraving or immediate purchase, the present work is a later, nearly identical, version of the original painting, magnificent in scale and finish. As Patricia Mainardi has written: “The correct term for an artist’s later version of his own theme … was … répétition, the same [value-neutral] word used in performance for a rehearsal. In performance, we never assume that opening night is qualitatively better than later presentations – first performances are, in fact, usually weaker than subsequent ones, which gain in depth from greater experience and familiarity with the material,” (Patricia Mainardi, “The 19th-century art trade: copies, variations, replicas,” The Van Gogh Museum Journal 2000, pp. 63-4.). The present version of Paradis Perdu, then, the only such répétition recorded in the Cabanel literature, may be regarded not merely as an art historically valuable replica of a lost painting, but as a personal challenge by the artist to himself, to offer to the world what he believed to be his best performance yet.

This catalogue note was written by Emily M. Weeks, Ph.D.

 
 
 
 

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8488 – TEFAF New York Spring announces exhibitors for its debut fair

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International art fair TEFAF New York Spring has announced the 92 internationally acclaimed exhibitors participating in its debut edition, with an emphasis on modern and contemporary art & design. The Fair will take place at the Park Avenue Armory in New York City from May 4-8, 2017, with the Opening VIP Preview on May 3, 2017. The Fair is an expansion of the TEFAF portfolio, adding a new platform for today’s collectors and museums within the context of the TEFAF organization.

In addition to modern and contemporary art & design, a small number of TEFAF New York Spring dealers will exhibit jewelry, African & Oceanic art, and antiquities. The inclusion of African & Oceanic works and classical antiquities will cement the coherent aesthetic that is popular among contemporary and modern collectors.

“TEFAF is committed to a unique standard of excellence in all aspects of the art fair experience, which has made it a beloved cultural event in Europe and most recently in New York this past October. We are excited to introduce a second Fair in New York, which will focus on 20th Century and contemporary works, but also maintains the distinctive TEFAF character,” said Patrick van Maris, CEO of TEFAF. “Modern and contemporary art have long enjoyed a presence at TEFAF Maastricht, and we are looking forward to celebrating this on a larger scale in the United States.”

“The United States is recognized for the sustained vibrancy of its art market and New York is considered the global capital at its heart,” commented Michael Plummer, Managing Director of TEFAF New York. “In addition, modern and contemporary art account for the two largest segments of art sales. This, combined with the Fair’s prime location on Park Avenue and TEFAF’s reputation for excellence, has given us and our exhibitors high expectations for success.”

The Fair’s dealers will showcase their objects in the Drill Hall and rooms along the first and second floors of the Armory. Dutch architect Tom Postma will transform the Armory for the Fair, adding new design elements that reflect the spring show’s special focus.

“It is tremendously exciting for dealers in the Modern and Contemporary sector to finally have a TEFAF-quality fair here in Manhattan,” said Christophe Van de Weghe, owner of Van de Weghe Fine Art. “We expect the Park Avenue Armory will be the central meeting place for serious collectors gathering for the week’s renowned art events, especially given the high caliber of exhibitors who will be showing this May.” 

 
 
 
 

8487 – The Museum of the City of New York receives largest gift in its history – New York

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The Museum of the City of New York has received the largest gift in its 94-year history, a $10 million donation from The Thompson Family Foundation to the Museum’s endowment in support of educational activities related to New York at Its Core, the Museum’s groundbreaking permanent exhibition covering 400 years of New York City history.

New York at Its Core, which opened on November 18, 2016, is the first-ever museum exhibition to present the sweeping 400-year history of New York from a striving Dutch village to today’s “Capital of the World” – a preeminent global city facing the future in a changing world. Five years in the making and developed with an advisory group of 17 of the country’s leading scholars and historians, the exhibition has been recognized as a major intellectual and cultural achievement for the Museum. New York at Its Core is an unparalleled educational resource, allowing the Museum to offer one-of-a-kind programming for tens of thousands of parents, children, students, and educators from every neighborhood in New York City.

“With this generous donation from The Thompson Family Foundation, the Museum will be able to continue to celebrate and interpret the city and reinforce our commitment to keeping education at the heart of the Museum’s mission,” said James G. Dinan, the Museum’s Chair of the Board of Trustees. “I want to offer my gratitude to The Thompson Family Foundation for their belief in the Museum as well as all those who have helped make New York at Its Core a ‘must see’ attraction for New Yorkers, tourists, and visitors of all ages.”

“We want to thank The Thompson Family Foundation for this generous gift, which is a vote of support for the vision and hard work of our Board and our talented staff,” said Whitney Donhauser, Ronay Menschel Director of the Museum of the City of New York. “The tremendously successful opening of New York at Its Core has elevated the awareness of the Museum and reinforces the Museum’s role as an educational resource for the students, teachers, and parents of New York City.”

Alan Siegel, a director of The Thompson Family Foundation and Museum of the City of New York Trustee, said: “As young boys, Wade Thompson and I had a similar dream – being part of New York, our ‘City of Ambition’. Wade’s daughter Amanda Riegel, the President of the Foundation, the other members of the Thompson family, and I want our youth to know New York’s remarkable history, particularly the diversity of its people, so that they understand that in New York anything is possible. New York at Its Core is a fabulous tool to help achieve that goal.”

 
 

8486 – London gallery helps solve museum’s 160-year old mystery surrounding ancient Egyptian royal box

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Amenhotep II box and fragment.
 
Missing fragments of an ancient Egyptian treasure have been reunited with the rest of the remains – 160 years after the item was donated to a Scottish museum.
The move came as a result of work by noted London ancient art dealers Charles Ede, who held the fragments, and Egyptologist Tom Hardwick.

Reuniting the lost fragments with the rest of the highly decorated c.1400BC perfume box at the National Museums of Scotland has confirmed its suspected royal associations after more than a century of conjecture about its provenance.

It is thought to have been made for the granddaughter of Pharaoh Amenhotep II, who ruled from about 1427-1401 BC, during Egypt’s 18th dynasty.

Bearing the image of Bes, a creature believed to be both a symbol of good luck and help ward off evil spirits, the box is also said to bear a remarkable resemblance to those found in Tutankhamen’s tomb.

The museum’s ancient Egypt expert, Dr Margaret Maitland, believes the box is “one of the finest examples of decorative woodwork to survive from ancient Egypt”. A masterpiece of ancient Egyptian craftsmanship, the 8½in high box is constructed of cedar, ebony, ivory, copper alloy, faience and gold and is thought to have been buried with a group of ten princesses.

Such is its nature and quality that experts believe it is likely to have been used by the royal household on a daily basis.

After research by Dr Hardwick revealed the link last April, the gallery immediately contacted the museum, which was able to raise the £25,000 needed to purchase it with support from the Art Fund and the National Museums Scotland Charitable Trust.

It is thought that the box was excavated in 1857 from a tomb in modern Luxor where the mummies of Amenhotep II’s granddaughters were found.

In 1895, the surviving pieces of the box were reconstructed , with elements of its decoration being restored in the 1950s. The discovery of the additional fragments now shows that the earlier restoration was flawed and errors made.

The box will go on public display in March as part of an ancient Egypt exhibition.

 
 
 
 

8485 – Gift adds more than 1,100 artworks to the Colby College Museum of Art’s collection – Waterville, ME

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Ai Weiwei, Colored Vases, 2006-2008. Neolithic Vases (50003000BC), industrial paint, dimensions variable. Colby College Museum of Art, The Lunder Collection. © Christie’s Images Limited, 2016.

Colby College today announced that it has received another gift of more than $100 million from Peter and Paula Lunder in support of the Colby College Museum of Art. The gift will add nearly 1,150 artworks to the Museum’s collection and will launch the Lunder Institute for American Art, establishing Colby as the only liberal arts college with a world-class art museum and a global research center on American art. The gift of artworks and endowment of the Institute will make it possible for the Lunder Collection at the Colby Museum to speak to a global audience, to make Waterville, Maine a must-see arts destination, and to offer Colby students opportunities to interact with and analyze a remarkably broad and deep collection.

“The Lunders’ generosity has transformed Colby College and the arts landscape in Maine,” said Colby President David A. Greene. “Now, with this gift to significantly expand the collection and create the Lunder Institute, the Museum will become a global destination for artists, scholars, and visitors. Colby students and faculty already make use of the museum in innovative ways, and this development will expand their opportunities for research and scholarship in all disciplines. We are grateful for Peter and Paula Lunder for their tremendous commitment to Colby, the Colby Museum, and the people of Maine.”

The gift includes paintings, sculptures, photography, and works on paper, dating from a 1501 engraving by Albrecht Dürer to a 2014 aquatint by Julie Mehretu, by more than 150 artists, including Mary Cassatt, Jasper Johns, Nina Katchadourian, Jacob Lawrence, Maya Lin, Joan Mitchell, Claes Oldenburg, Betye Saar, Vincent Van Gogh, Rembrandt Van Rijn, Ai Weiwei, Fred Wilson, and James McNeill Whistler. They join the hundreds of works previously promised and given in 2007 by Peter and Paula Lunder, longtime benefactors to the College and the Museum, and bring the total number of works given by Mr. and Mrs. Lunder to more than 1,500. The Institute will be dedicated to the practice, study, and exhibition of American art, and will transform Colby’s art collection and scholarly activities by bringing together artists, curators, scholars, and students through cross-disciplinary engagement.

“For many years, we have been inspired and impressed by Colby’s teaching mission and the many ways that the Museum is deeply integrated into the curriculum to become a vibrant part of College life,” said Peter and Paula Lunder. “We are delighted that our art collection will be shared with future Colby students, the Waterville community, and visitors to Maine, and we know that Colby College will do a marvelous job enhancing the collection with their academic programs—we feel that Colby is the perfect home for our collection.”

The Lunder Institute will be integrated into the academic mission of the College and the Museum’s program and is poised to become a preeminent research center for American art. The Institute will create a unique space for scholarship, creative works, dialogue, and mentorship among visiting scholars and artists, Colby faculty and students, and the central Maine community; facilitate institutional exchange in the United States and internationally; and train future leaders in the field of American art through the Colby Museum and partner institutions around the world.

“Colby is especially interested in bringing together innovative artists and scholars to reflect on the historical and cultural parameters of ‘American art’ as an evolving field of intellectual inquiry and creative practice,” said Sharon Corwin, the Carolyn Muzzy Director and Chief Curator of the Colby College Museum of Art. “This reflection comes at a moment when the field is calling for more expansive definitions of this term, urging the world to see beyond the borders of the United States and make transnational connections across materials and methodologies. The Lunders’ generosity will enable Colby to be at the forefront of this exciting moment in the field.”

To advance critical and creative research in American art and related fields, the Institute will host a residential program for scholars and artists on campus and in downtown Waterville. Summer and academic-year residencies, ranging from several weeks to a year, will be offered to graduate students, scholars, curators, and emerging and internationally renowned artists who could develop new site-specific works on campus and in the community. These fellows will be a strong part of the intellectual and creative life of the College, working directly with faculty, students, and community members, and inspiring a dialogue between art creation and scholarship. The Institute’s activities also will include an exhibition program, a robust publication program and the organization of major multi-disciplinary symposia.