- Please Excuse Our 24 Hour Delay For Maintenance
- Moscow Museum of Modern Art (MMoMA) ~ Magnificent Gallery Spaces Displaying The Best In Modern & Contemporary Art
- Dalí Universe presents 350 Works of Art by Salvador Dalí at Shanghai Art Museum
- Camden Arts Centre hosts A Posthumous Solo Exhibition of Liz Arnold
- Art Basel 40 Celebrates the First Art Basel Weekend with Special Presentations
- Hirshhorn Museum presents Major Retrospective of Louise Bourgeois
- MoMA Displays Iconic Reproductions at NYC Subway Station
- Heckscher Museum Identity Crisis in Art
- The Hague Museum of Photography exhibits Man Ray ~ 'Unconcerned, But Not Indifferent'
- T. J. Wilcox Introduces Three New Films at Metro Pictures
- The Georgia Museum of Art Shows Watercolors From the Permanent Collection
- The Oakland Museum to Show PIXAR-25 Years of Animation
- Leslie Sacks Fine Art showcases Important Works on Paper
- Joslyn Art Museum Features Albert Paley - Contemporary American Sculptor
- Mary Frank's Wood Sculpture, Drawings & Photography at DC Moore in New York
- Art of Barcelona at the Cleveland Museum of Art
- David Zwirner Presents Solo by Marcel Dzama
- Tria Gallery to present "The Pictures"
- New Zealand's National Museum Te Papa (Our Place) ~ A Comprehensive National Museum
- Art Knowledge News Presents "This Week In Review"
Posted: 17 Nov 2011 09:34 PM PST
Posted: 17 Nov 2011 09:21 PM PST
The Moscow Museum of Modern Art (MMoMA) was inaugurated on December 15, 1999. It is situated at Petrovka, 25, near the Petrovsky Boulevard in central Moscow. The Museum's main building is the former Gubin's mansion, an imposing monument of the late 18th century neoclassical movement, designed by the noted Russian architect Matvei Kazakov. Apart from that, the Museum owns two splendid exhibition venues: a vast five-storey building in Ermolaevsky lane, and a spacious gallery in Tverskoy boulevard, both fully refurbished for hosting large-scale projects. The founder and general director of the Museum is a well-known Russian-Georgian artist Zurab Tsereteli, president of the Russian Academy of Arts. Moscow Museum of Modern Art is the first state museum in Russia that concentrates its activities exclusively on the art of the 20th and 21st centuries. Since its inauguration, the Museum has expanded its strategies and achieved a high level of public acknowledgement. Today the Museum is an energetic institution that plays an important part on the Moscow art scene. MMoMA was created with the generous support of the Moscow City Government, Moscow City Department of Culture and Yuri Luzhkov, the Mayor of Moscow. Its founding director was Zurab Tsereteli, President of the Russian Academy of Arts. His private collection of more than 2.000 works by important 20th century masters was the core of the Museum's permanent display. Later on, the Museum's keepings were enriched considerably, and now this is one of the largest and most impressive collections of modern and contemporary Russian art, which continues to grow through acquisitions and donations. The Museum's extensive exhibition strategy aims at showing the artistic process of the 20th and 21stcenturies at its maximum span and diversity. In all three buildings of the Museum, one can visit single-artist shows, group exhibitions and conceptual displays by well-known masters as well as by emerging artists or the ones that need to be rediscovered. Apart from expanding the permanent collection and organizing multiple temporary exhibitions, the Museum engages in various other activities, including research and conservation work, book publishing, and others. The Museum publishes «DI» (Dialog Iskusstv / Dialogue of Arts) magazine, heir to the authoritative «Dekorativnoe Iskusstvo» (Decorative Art). One of the Museum's priorities is to promote young and emerging artists, bringing them into contemporary artistic process. With this purpose the Museum launched a special education program — the «Independent Workshops» School of Contemporary Art. The two-year schedule includes practical activities in creative workshops, as well as lectures on contemporary art, studies of the art market and the new technologies in visual arts, and a broad spectrum of issues on today's culture. Visit The Moscow Museum of Modern Art at : http://www.mmoma.ru/en/
The Museum's permanent collection represents main stages in formation and development of the avant-garde. The majority of exhibits are by Russian artists, but the display also includes some works by renowned Western masters. For example, graphic pieces by Pablo Picasso, Fernand Léger, Joan Miró and Giorgio De Chirico are on view, along with sculptures by Salvador Dalí, Armand and Arnaldo Pomodoro, paintings by Henri Rousseau and Françoise Gillot, and istallations by Yukinori Yanaga. Within the Museum's holdings, a special emphasis is put on the assembly of Russian avant-garde. Many works have been acquired in European and American galleries and auction houses, and thus returned from abroad to form an integral part of Russian cultural legacy. The highlights include paintings and objects by Kazimir Malevich, Marc Chagall, Natalia Goncharova and Mikhail Larionov, Pavel Filonov and Wassily Kandinsky, Vladimir Tatlin and David Burliuk, as well as sculptures by Alexander Archipenko and Ossip Zadkine. Besides that, the Museum owns a unique collection of works by the famous Georgian artist Niko Pirosmani. An extensive section of the permanent display is devoted to Non-Conformist art of the 1960s-1980s. The creative activity of these masters, now well-known in Russia and abroad, was then in opposition to the official Soviet ideology. Among them are Ilya Kabakov, Anatoly Zverev, Vladimir Yakovlev, Vladimir Nemukhin, Vitaly Komar and Alexander Melamid, Oscar Rabin, Dmitry Krasnopevtsev, Leonid Schwartzman, Oleg Tselkov, and more.The Museum readily supports the newest artistic developments and fills up its collection with works by our contemporaries. Now this part of the display presents pieces by Boris Orlov, Dmitry A. Prigov, Valery Koshlyakov, Vladimir Dubossarsky and Alexander Vinogradov, Oleg Kulik, Viktor Pivovarov, Andrey Bartenev, and many others. Apart from expanding the permanent collection and organizing multiple temporary exhibitions, the Museum engages in various other activities, including research and conservation work, book publishing, and others. One of the Museum's priorities is to promote young and emerging artists, bringing them into contemporary artistic process. With this purpose the Museum launched a special education program – the "Free Studios" School of Contemporary Art. The two-year schedule includes practical activities in creative workshops, as well as lectures on contemporary art, studies of the art market and the new technologies in visual arts, and a broad spectrum of issues on today's culture. Moscow Museum of Modern Art is always open to new initiatives and ready for collaboration.
The Museum's extensive exhibition strategy aims at showing the artistic process of the 20th and 21st centuries at its maximum span and diversity. In all three buildings of the Museum, one can visit single-artist shows, group exhibitions and conceptual displays by well-known masters as well as by emerging artists or the ones that need to be rediscovered. Among the exhibitions currently showing at the Moscow Museum of Modern Art is "THEM", the third key exhibition of Viktor Pivovarov in Moscow. The first one, "Steps of a Mechanic", took place in 2004 at the Tretyakov Gallery and the Russian Museum; the second one, "Lemon Eaters", was hosted by the Moscow Museum of Modern Art (Ermolaevsky Lane building) in 2006. The new exhibition is presented at the Moscow Museum of Modern Art, in the Gogolevsky Boulevard building. As were the previous ones, this project is prepared in partnership with XL Gallery. Viktor Pivovarov (b. 1937), just like Dmitry Alexandrovich Prigov, Ilya Kabakov, Vitaly Komar and Alexander Melamid, represents the older generation of the so-called 'founding fathers' of Moscow conceptualist school and, just like Eric Bulatov and Oleg Vassiliev, Pivovarov stands well beyond its limits. Being a truly radical romantic, Viktor Pivovarov has a special place among Moscow romantic conceptualists, as Boris Groys called them. The "THEY" referred to in the titles are themes, images, heroes, and ideas born in the artist's mind; they are embodied in the creative process and continue their independent lives in the space of culture. The project displays works that the artist created during almost five years that have passed since his last Moscow show. The current exhibition comprises ten independent cycles, each having its own detached space: 'Melancholics', 'Hermits', 'The Chosen Ones, or Time of the ROSE', 'The Glassy Ones', 'The Perfect Ones', 'Handsome Men', 'Milena and the Spirits', 'Philosophers, or Russian Nights', 'Immortals'. The 2010 album entitled 'They Are Back!' concludes the exhibition. A special place in the exhibition belongs to the series of portraits entitled 'Philosophers, or Russian Nights'. The artist understands philosophy in its original meaning, as love of wisdom. That is why here, apart from portraits of the so-called 'professional' philosophers such as Alexander Pyatigorsky and Merab Mamardashvili, one can find images of poet Igor Kholin, visionary Daniil Andreev, poet and political activist Eduard Limonov, and writer Vladimir Sorokin. These are portraits of people who have created and still create the inimitable spiritual ambience of Russian and Moscow culture. Viktor Pivovarov's radical romanticism lies, apart from other things, in his firm belief in the fact that, even in the new IT civilization, ideas and images of the old classic culture are omnipresent and they are still relevant to our formation. Dmitry Shorin: Festivals - The new project «Festivals» includes about 40 paintings, the presentation of the exhibition in Moscow Museum of Modern Art March 5 to Аpril 3, 2011. Also photography and installation by Rauf Mamedov on view.
Posted: 17 Nov 2011 09:14 PM PST
SHANGHAI.- The Stratton Foundation and the Dalí Universe present an exciting exhibition dedicated to the renowned artist and master of Surrealism, Salvador Dalí. The exhibition "Salvador Dalí in Shanghai" is a rare collection of artworks that will delight and surprise. Opening July 31st and on view till the 14th of August at the Shanghai Art Museum, it continues to run throughout August at the Art Shaker.
Posted: 17 Nov 2011 09:12 PM PST
London - Camden Arts Centre presents a new solo exhibition by Liz Arnold, one of the most original painters to emerge onto the London art scene in the 1990s. It includes paintings and watercolours, some of which have never been exhibited before. Her carefully crafted canvases depict cartoon-like animals seemingly imbued with human emotions. They inhabit a world that is both fantastical and familiar. On exhibition through 19 April, 2009.
Posted: 17 Nov 2011 09:10 PM PST
BASEL.- On the Weekend of June 12 to June 14, 2009, Art 40 Basel celebrates the first Art Basel Weekend, highlighting activities at the booths of the participating galleries, specially conceived for museum professionals, curators, artists, academics, art collectors, art dealers, critics and also for the general public. Art Basel Weekend features solo shows in the booths of the galleries, special presentations of works, film programs, performances, book signings and special talks and conversations in the Art Lobby.
Posted: 17 Nov 2011 09:09 PM PST
WASHINGTON, DC - The Smithsonian's Hirshhorn Museum and Sculpture Garden will present a major retrospective of the works of Louise Bourgeois from Feb. 26 through May 17. Bourgeois, a leading figure in 20th century art, was born in Paris in 1911 and has lived in New York since 1938. The exhibition will fill the museum's second-level galleries with over 120 works, primarily sculptural pieces, along with paintings and drawings. The last venue on a five-city world tour, the presentation at the Hirshhorn has been expanded to include five more major sculptures. Among them is the large "Crouching Spider" (2003). The nearly nine-foot-tall bronze-and-steel spider has already been installed outside the museum's entrance, acting as an imposing greeter.
Posted: 17 Nov 2011 09:07 PM PST
NEW YORK, NY - MoMA Atlantic/Pacific is a large-scale installation of reproductions from The Museum of Modern Art's renowned collection of modern and contemporary art, displayed in the Atlantic Avenue/Pacific Street subway station in Brooklyn through March 15, 2009. The purpose of the underground communications campaign is to broaden awareness of MoMA's collection and convey the affordable benefits of membership to local New York audiences.
Posted: 17 Nov 2011 09:05 PM PST
HUNTINGTON, NY .- The Heckscher Museum of Art presents Identity Crisis: Authenticity, Attribution and Appropriation. This exceptional exhibition which opened on January 15, 2011 and runs through March 27, 2011, explores issues relating to the artistic use of other artists' styles and images in historical and contemporary works. Historically popular artists had followers, imitators and forgers, while more recent artists openly adopt well-known images and styles to comment on originality, authorship and culture. This exhibition presents old master and nineteenth-century works from The Heckscher Museum Permanent Collection, providing a framework for connoisseurship issues, such as authenticity and attribution. Artists to be considered include Canaletto, Jean-Baptiste-Camille Corot, Jean-Desire-Gustave Courbet, and George Inness, among others.
Contemporary appropriation artists add a new dimension to the use of adopted images, as seen in the work of such artists as Mike Bidlo, David Bierk, George Deem, Audrey Flack, Kathleen Gilje, Paul Giovanopoulos, Deborah Kass, Jiri Kolar, Sherrie Levine, Carlo Mariani, Yasumasa Morimura, Vik Muniz, Richard Pettibone, Robert Rauschenberg, Andy Warhol and others, providing an instructive and stimulating counterpoint to the issues raised by the historical works in the show.
The Heckscher Museum of Art, founded in 1920 by August Heckscher, is dedicated to furthering the appreciation and understanding of art by conserving, interpreting, refining and expanding its Permanent Collection, fostering scholarship, and presenting stimulating and inspiring exhibitions and educational programs for this and future generations. The Museum Permanent Collection contains more than 2,200 works from the early 16th century to present.
The Heckscher Museum of Art's collection spans 500 years of Western art with particular emphasis on the nineteenth and twentieth centuries. Established in 1920 with a gift from August Heckscher of 185 works, the collection now numbers more than 2100 pieces by American and European artists. American landscape painting and work by Long Island artists, past and present, are particular strengths, as is American and European modernism. Photography is a growing part of the collection.
American modernism is the focus of the Baker-Pisano Collection, which includes Georgia O'Keeffe's watercolor Machu Picchu (Peruvian Landscape), 1956 (shown in sidebar), as well as works by Oscar Bluemner, Charles Burchfield, Arthur B. Carles, Charles Demuth, Guy Pène du Bois, Rockwell Kent, Paul Manship, John Marin, Charles Sheeler, Joseph Stella, and Max Weber.
The earliest major work in the collection is Lucas Cranach the Elder's Virgin, Child, St. John the Baptist and Angels, 1534 (shown in sidebar), which was painted in the artist's native Germany. Other old master works include seventeenth-century Dutch and Italian paintings and English portraiture, including works by Beechey, D'Hondecoeter, Girardon, Largillierre, Raeburn, Verbeeck, and Verstraelen. Nineteenth-century European holdings include works by Eugène Louis Boudin, Gustave Courbet, and Jean Léon Gérôme.
The Museum has significant holdings in the work of three important Huntington artists: the American modernists Arthur Dove and his wife Helen Torr, and the Berlin Dadaist George Grosz. Except for five years spent in Dove's hometown of Geneva, N.Y., Dove and Torr lived in Huntington from 1924 until their respective deaths: Dove in 1946 and Torr in 1967. Prime examples of their work here include Dove's watercolor Boat, 1932, his oil painting Indian Summer, 1941, and Helen Torr's oil Oyster Stakes, 1929. George Grosz lived in Huntington from 1947 to 1959, the year he died. His influence was significant in the full-time reopening of The Heckscher Museum after World War II; and he taught art at the Museum through the Huntington Township Art League. The Museum's Grosz holdings comprise fifteen paintings and works on paper, including his large masterpiece Eclipse of the Sun, 1926 (shown in sidebar), an allegory about greed, power, and corruption in Germany's military-industrial complex of the 1920s. Many consider this painting to be one of the most important art works of the twentieth-century.
In photography, the Museum has extensive holdings of the work of Berenice Abbott, Larry Fink, and Eadweard Muybridge. The collection recently received an important gift of Man Ray's Electricité portfolio of 1931, consisting of ten rayographs commissioned by a Parisian electric company, the Compagnie Parisienne de Distribution d'Electricité (CPDE), to promote the domestic uses of electricity.
Posted: 17 Nov 2011 09:04 PM PST
THE HAGUE - Man Ray (1890-1976) used his camera to turn photography into an art – no mean feat for a man who tried almost all his life to avoid being described as a 'photographer'. He preferred to be identified with his work in other media: drawings, paintings and Dadaist ready-mades. The exhibition entitled Unconcerned, but not indifferent at the Hague Museum of Photography is the first exhibition to reveal Man Ray's complete creative process: from observations, ideas and sketches right through to the final works of art. It links paintings, drawings and (of course) photographs to personal objects, images and documents drawn from his estate to paint a picture of a passionate artist and – whatever his own feelings about the description – a great photographer.
Posted: 17 Nov 2011 09:02 PM PST
NEW YORK, NY.- For his May 2010 exhibition at Metro Pictures, T. J. Wilcox introduces three new films: The Heir and Astaire, L'eau de Vie, and Yours, Patsy Cline along with related, large photographic collages. One film is projected in each of the gallery rooms and the photographic pieces are mounted in strips on freestanding, hinged wood panels, or folding screens. Wilcox extends his singular method of recruiting idiosyncratic subjects for scrutiny in his art works, mining their significance, and reducing and refining each to a visual and narrative essence. The subjects are representative of his personal, varied interests and provide the base for reflection on their expanded significance.
Posted: 17 Nov 2011 08:59 PM PST
Athens, GA.- The Georgia Museum of Art presents "American Watercolors from the Permanent Collection" from May 14th until August 7th in the Lamar Dodd Gallery. This exhibition features American watercolors from the mid-19th century to the 1970s from the permanent collection of the Georgia Museum of Art. Paintings by Jasper Francis Cropsey, William Stanley Haseltine and Frederic Remington demonstrate the importance of the medium in American 19th-century art while American moderns Charles Burchfield, John Marin and Andrew Wyeth represent true masters of watercolor.
Posted: 17 Nov 2011 08:55 PM PST
OAKLAND, CA - The Oakland Museum of California (OMCA) will present PIXAR: 25 Years of Animation, a major exhibition of over 500 works by the artists at Pixar Animation Studios, including drawings, paintings, and sculptures that illustrate the creative process and craftsmanship behind Pixar's wildly successful computer-animated films. This will be a significantly enhanced presentation of the exhibition, which is returning home to Oakland after a successful worldwide tour that began at the Museum of Modern Art in New York in 2005. A number of significant works will be on public display for the first time, including art from Ratatouille, WALL•E, Up, and Pixar's latest feature film, Toy Story 3. PIXAR will also include an updated, awe-inspiring version of the Pixar Artscape, a widescreen media installation. On view from July 31, 2010 through January 9, 2011, the exhibition will be accompanied by screenings of Pixar's feature and short films; a special program of lectures, talks and workshops with Pixar artists; and a new and expanded exhibition catalogue.
Posted: 17 Nov 2011 08:53 PM PST
LOS ANGELES, CA.- This exhibition includes works by Sam Francis, Shane Guffogg, David Hockney, Wassily Kandinsky, Minjung Kim, André Masson, Henry Moore, Robert Motherwell, Jules Pascin, Pablo Picasso, Camille Pissarro, Larry Rivers, Ed Ruscha, Henri de Toulouse-Lautrec and Andy Warhol. The exhibition is generally divided between works by European masters, from impressionism through the mid twentieth century, and American masters from then onward to the present day. The schematic of the show is similarly organized, with geographically discrete groupings installed in four areas of the gallery. On exhibition at Leslie Sacks Fine Art fom 14 November through 21 December, 2009.
Posted: 17 Nov 2011 08:52 PM PST
OMAHA, NE.- Joslyn Art Museum's contemporary galleries is an exhibition celebrating Albert Paley's diverse and significant body of work, his virtuosity as a monumental sculptor, and the completion and dedication of Odyssey, Paley's gateway into Iowa on Interstate 80 at S. 24th Street in Council Bluffs, Iowa, near the Missouri River border with neighboring Omaha. Odyssey was commissioned by the Iowa West Foundation as part of their nationally acclaimed Public Art Initiative. Albert Paley: Celebrating a Contemporary American Sculptor, on view through September 26 at the Joslyn.
Albert Paley (American, born 1944) is the first metal sculptor to receive the coveted Lifetime Achievement Award from the American Institute of Architects, the AIA's highest award to a non-architect. He began his artistic career as a jeweler — one of the major goldsmiths of the studio art movement in America. Best known today for his large-scale sculpture, he has been heralded for his inventive approach to form development and metal technique. The site-specific metal assemblages Paley has created over the past three decades place him not only in the forefront of contemporary sculpture, but also in the vanguard of artists working in the new, genre-defying area that has been called "Archisculpture." His inclusion in this group is due to his skill in merging boundaries between the two disciplines and his innovative experiments with environmental and formal considerations.
Paley holds the Charlotte Fredericks Mowris Endowed Chair in the College of Imagining Arts and Sciences at Rochester Institute of Technology. Commissioned by both public institutions and private corporations, Paley has completed more than 50 site-specific works. Some notable examples are the Portal Gates for the Renwick Gallery of the Smithsonian Institution in Washington DC; Synergy, a ceremonial archway in Philadelphia; the Portal Gates for the New York State Senate Chambers in Albany; Sentinel, a monumental plaza sculpture for Rochester Institute of Technology, as well as a 65-foot sculpture for the entry court of Bausch and Lomb's headquarters in Rochester, NY. Recently completed works include three sculptures for the National Harbor development near Washington, DC; a 130-foot long archway named Animals Always for the St. Louis Zoo; a gate for the Cleveland Botanical Garden; a sculptural relief for Wellington Place, Toronto, Canada; a sculpture named Threshold for the corporate headquarters of Klein Steel, Rochester, NY; and a ceremonial entranceway called Transformation for Iowa State University in Ames, Iowa.
Paley's sculptures are in the collections of the Metropolitan Museum of Art, London's Victoria and Albert Museum, the Smithsonian's Museum of American Art, Philadelphia Museum of Art, and the Museum of Fine Arts, Boston and Houston.
Paley's Moment in Joslyn Art Museum's Sculpture Garden
Recently, Joslyn welcomed a monumental Paley work titled Moment (2009, CorTen steel with patina finish) to its campus. A long-term loan from the Gerald Peters Gallery in Santa Fe, New Mexico, the over-fourteen-foot steel sculpture is the inaugural work for Joslyn's program of changing outdoor sculpture. It arrived in Omaha after Paley's acclaimed exhibition Dialogue with Steel at Grounds for Sculpture in New Jersey and sits on the southwest corner of the Museum's grounds (just off of 24th and Dodge Streets). Moment provides visitors the opportunity to experience Paley's art, which enhances the spaces in which they are placed and, in return, are enhanced by those spaces.
The Paley exhibition at Joslyn illustrates the artist's process in conceptualizing and creating his projects through preliminary and working drawings, site plans, photographs, videos demonstrating methods and materials of construction, and maquettes (small scale models). Included will be sketches and maquettes for Odyssey, a gateway sculpture of four component parts for Council Bluffs, set to be installed this month. Other highlights are the steel and gold design study for Paley's acclaimed Good Shepherd Gate for Washington National Cathedral; drawings and the maquette for Threshold, a large-scale, bright yellow site specific work at the Klein Steel headquarters in Rochester, NY (Klein supplies most of the steel for Paley's sculptures), and Paley's plans and drawings for commissions at Naples Art Museum (Naples, FL), Cleveland (OH) Botanical Garden, The University of the South (Sewanee, TN), Charlotte (NC) Coliseum, Iowa State University (Ames), New Jersey Transit's Trenton Transit Center, and the Mayerson JCC at The Jewish Foundation of Cincinnati (OH).
Paley's Council Bluffs Bridge Project
The installation of Paley's Odyssey will create a dramatic gateway into Iowa and entrance to the city of Council Bluffs. Interstate 80 drivers will get their first glimpse of the gateway miles before they actually reach the S. 24th Street bridge. Odyssey is four distinct mixed-metal (stainless steel, weathering steel, and bronze plate) sculptures, each composed of as many as fifteen individual elements, rising some 100 feet about the interstate. The sculptures' undulating ribbons, jagged spears, and abstract shapes will reach against a backdrop of changing skies and expansive agricultural landscape, creating an experience drivers will not soon forget. Odyssey installation will be complete by the end of August.
Posted: 17 Nov 2011 08:51 PM PST
New York.- DC Moore's exhibition of Mary Frank's work, "Transformations: Wood Sculpture, 1957-1967 and Recent Photographs", features her dynamic wood sculptures, direct carvings from the 1950s and 60s that marked her emergence as one of the most innovative artists on the New York art scene. The exhibition also presents drawings from the same time, vibrant figures that both complement her sculpture and expand the range of her explorations of space, motion, and the rhythms of the human body. This is the first exhibition of these seminal works since they were originally shown over forty years ago.
Posted: 17 Nov 2011 08:45 PM PST
CLEVELAND, OHIO - The Cleveland Museum of Art (CMA) is proud to present the landmark exhibition Barcelona & Modernity: Picasso, Gaudí, Miró, Dalí, on view through January 7, 2007. Organized by the Cleveland Museum of Art and the Metropolitan Museum of Art in New York, in association with the Museu Nacional d'Art de Catalunya, in Barcelona, this is the first exhibition in North America to examine a remarkable 71-year period (1868-1939) when Barcelona transformed itself from a city of provincial culture into one of the most dynamic centers of modernist art and architecture in Europe.
Posted: 17 Nov 2011 08:43 PM PST
NEW YORK CITY - David Zwirner presents a new exhibition by Marcel Dzama. For the last decade, Canadian-born Dzama has shown extensively throughout North America and Europe. Transforming 519 West 19th Street into an odeum of imagination, Dzama's ambitious fifth solo exhibition at the gallery will include single drawings, composite drawings, costumes, dioramas, and film. Marcel Dzama is best known for his figurative compositions of pen and watercolor on manila-colored paper. Bearing a characteristic palette of muted browns, grays, greens, and reds.
Posted: 17 Nov 2011 08:42 PM PST
New York, NY: Tria Gallery presents "The Pictures," featuring photograph-based mixed media works by Chris Piazza. Also on display will be experimental films created in the 1930s through 1980s by legendary avant-garde filmmakers, Kenneth Anger, Rudy Burckhardt, Joseph Cornell, Barry Gerson and Lawrence Jordan. This exhibition will be on display from November 1 through December 21, 2007.
Posted: 17 Nov 2011 08:37 PM PST
New Zealand's national museum, Te Papa (Our Place), faces the sea in the national capital, Wellington, at the southeastern end of the North Island. It is one of the world's most comprehensive national museums and presents a vision of New Zealand's past, present and future, the strands of its nationhood, and the spirit that brings the nation together. It traces the flowering of a rich culture, the growth of a people, and the weaving of a tapestry that encompasses not only the past but the future as well. Exhibitions range from historic artifacts to modern interactive displays. A living Nature environment, Bush City, transports the visitor into a recreated habitat island which includes native trees and shrubs, a lagoon, stream and underground caves. Te Papa is on Cable Street on the Wellington waterfront, easily accessible on foot from the city's central business and retail district. The museum was designed by Ivan Mercep for Jasmax Architects. Built on a site the size of three rugby fields, it has a total floor area of 38,000 square meters. The building has its own New Zealand-invented shock absorbers which isolate Te Papa from most ground movement during an earthquake. It took four years to build. Te Papa's first predecessor was the Colonial Museum, which opened in a small wooden building in 1865. The tiny Colonial Museum opened behind Parliament Buildings shortly after Parliament moved to Wellington in 1865. In 1907, the Museum became known as the Dominion Museum. The idea of developing a public art gallery in Wellington was gathering support around this time. In 1913, the Science and Art Act provided for the establishment of the National Art Gallery in the building. But not until 1930 did the idea start to become a reality under the National Gallery and Dominion Museum Act. In 1936, a new building to house the Dominion Museum and new National Art Gallery opened in Buckle Street, Wellington. It incorporated the New Zealand Academy of Fine Arts. They sold their land and donated the proceeds to the new organization. The way the National Museum functioned was also in need of review. The Museum had been much loved for many years but no longer represented its increasingly diverse community. Society had changed, and so had views about New Zealand's history and identity. In 1988, the Government established a Project Development Board to set the scene for a new national museum. This Board consulted people nationwide, including iwi (tribal groups), about their visions for the museum. The goals for the Museum of New Zealand Te Papa Tongarewa (Te Papa) emerged. In 1992, the Museum of New Zealand Te Papa Tongarewa Act was passed. Te Papa would unite the National Museum and National Art Gallery as one entity, unite the collections of the two institutions so that New Zealand's stories could be told in an interdisciplinary way, be a partnership between Tangata Whenua (Māori, the indigenous people of New Zealand) and Tangata Tiriti (people in New Zealand by right of the Treaty of Waitangi), speak with authority, represent and appeal to New Zealand's increasingly diverse society, be a place for discussion, debate, involvement, and celebration and link the past, present, and future. On 14 February 1998, Te Papa opened in Cable Street, Wellington. Since Te Papa opened, more than 17 million people have visited the Museum. The narrative-based, interdisciplinary, and interactive approach has attracted international attention, as has the commitment to biculturalism. The Marae, Rongomaraeroa, reflects Te Papa's bicultural nature and observes Māori customs and values. It is a fully functioning marae, an inclusive place where all New Zealanders can meet, discuss, debate, and celebrate. It is also a place to welcome the living and farewell those who have passed on. The Marae is unique because the kawa (protocols) change according to the iwi (tribal group) in residence. Every few years, a different iwi works with Te Papa to develop an exhibition. Kaumātua (elders) from the iwi are in residence at the Museum throughout. They set and uphold the kawa on The Marae. The idea of the waharoa, or gateway, is particularly meaningful at Te Papa. Two important waharoa are on display , a contemporary one on The Marae and a traditional one in Wellington Foyer. The entire Museum is also a waharoa, a gateway to New Zealand's natural and cultural heritage. As well as significant collections of New Zealand art, the taonga (treasures) looked after by Te Papa comprise the largest Maori collection held by any museum in New Zealand, and number almost 17,000. These cover the broad spectrum of Maori art and culture, from the most highly revered and significant cultural heirlooms through to the most humble of day-to-day items, from very early pre-European times to today. . .Visit the museum's website at … www.tepapa.govt.nz2011-03-25
The development of the national art collection began in about 1905 under the guidance of the New Zealand Academy of Fine Arts and gathered momentum with the establishment of a National Art Gallery, housed with the Museum in a new building in Buckle Street in 1936. Artworks purchased between 1905 and 1936 formed the basis of the collection and included early New Zealand and international works with an emphasis on Britain. The proportion of local art collected by the National Art Gallery increased steadily as confidence in the significance of the art and of the Gallery itself grew. The collection now houses a broad range of predominantly New Zealand, but also international, painting, sculpture, prints, watercolors, drawings, photographs, and archival material. The strengths of the collection of early New Zealand sculpture come from the close connection between the New Zealand Academy of Fine Arts and the National Art Gallery, one of Te Papa's predecessors. Because of this association they have a strong collection of works by New Zealand artist Margaret Butler and some works by early New Zealand sculptors Francis Shurrock and William Wright. In the 1970s, the collection was developed to include New Zealand ceramics. Works by Barry Brickell, Doreen Blumhardt, Len Castle, and Anneke Boren were all purchased at this time. In addition, in 1996, all the works by New Zealand artists that had been commissioned for the 1992 Expo New Zealand in Seville were added. With the 1993 acquisition of works from the Stone Bone Shell exhibition of New Zealand jewelry, decorative arts also began to form a component of this collection. In the early 1980s, efforts were made to acquire works by significant contemporary New Zealand sculptors. As a consequence, we have a strong collection of works by Greer Twiss, Don Driver, Andrew Drummond, Neil Dawson, Christine Hellyar, and Vivian Lynn. In addition, efforts were made at this time to acquire sculptures by modern New Zealand artists who were not represented in the collection, such as Russell Clark. With a growing awareness of the cultural heritage of sculptural forms within New Zealand came a significant recognition of contemporary indigenous artists. With exhibitions specifically dedicated to contemporary Maori art, the collection gathered important examples of contemporary Maori and later Pacific work. Well-known examples here are works by Fred Graham, Para Matchitt, and Michel Tuffery. As the collection of New Zealand sculpture developed so too did the definition of sculptural form, which began to move towards incorporating installation, assemblage, site-specific works, and post-object and new media art. Because of the nature of these forms, there are only a few in the collection. There are good examples by Ralph Hotere, Pauline Rhodes, Derrick Cherrie, Billy Apple, and Jacqueline Fraser. For the opening of the new Museum and exhibition spaces, nine site-specific sculptures were commissioned, some of which now form part of the fabric of the new building. The focus of the New Zealand Prints is in the area of works created after the drawings and watercolors that recorded the eighteenth and early nineteenth century voyages of exploration in the Pacific and those that record first settlement in New Zealand. These include prints after paintings by artists such as Sidney Parkinson, Louis de Sainson, George French Angas, and Charles Decimus Barraud, and appear as both individual prints and in bound volumes. Highlights include a selection of the botanical prints of Banks' Florilegium, early imprints of the Cook folios and D'Urville folios, and lithographs by Edith Halcombe. The New Zealand print collection contains examples of 2oth century artists' prints whose work is also represented in other media, for example, woodcuts by Philip Clairmont, screen prints by Gordon Walters, etchings by Robyn Kahukiwa, and lithographs by Tony Fomison. There are also collections of work by artists whose work is primarily graphic. These include a large collection of etchings by A H McLintock and E Heber Thompson, wood engravings by Mabel Annesley and E Mervyn Taylor, and linocuts by Eileen Mayo and Stewart Maclennan. The work of contemporary printmakers such as John Drawbridge, Gordon Crook, Robin White, Kate Coolahan, Barry Cleavin, Max Hailstone, and Paul Hartigan are strongly represented. New Zealand watercolors and drawings are represented by large collections of works by a diverse group of artists including Maori and military subjects by Horatio Gordon Robley, T J Grant, and W F Gordon; landscape and early settlement works by Nicholas Chevalier, William Swainson, John Gully, and J C Richmond; and New Zealand flora and fauna by John Buchanan, Sarah Featon, and F E Clarke. The work of turn-of-the-century artist Petrus van der Velden is extensively represented by drawings and sketchbooks. Artists of the first half of the century are well represented. These artists include Raymond McIntyre, Jenny Campbell, Roland Hipkins, Mina Arndt, James Nairn, Dorothy Kate Richmond, Christopher Perkins, and John Weeks. More recent acquisitions include major works by John Pule, Tony Schuster, and William Dunning. Highlights of this collection include substantial representation of the works of Rita Angus, Frances Hodgkins, Colin McCahon, Sir Tosswill Woollaston, and John Pule.
The emphasis on local, New Zealand artists carries through into the painting collection. Over time, this collection has been shaped by Te Papa's and its predecessor's relationship with the government, the New Zealand Academy of Fine Arts, and the city of Wellington. As a consequence of these relationships, the Paintings Collection shows strengths in the work of particular New Zealand artists, in particular genres of painting (portraiture, for example, because of a quantity of 'national' portraits), and in subject matter relevant to the events and geography of Wellington city. Te Papa's collection has strengths in the work of Petrus van der Velden, in both his New Zealand and his Dutch subjects, and J M Nairn, from his time working in and around Wellington as a professional artist. In portraiture, Te Papa has a number of works by painters such as Mary Tripe, Archibald Nicoll, C F Goldie, and Gottfried Lindauer. Of early modern New Zealand painters, the collection holds good examples of works by John Weeks, Charles Tole, Russell Clark, Sir Tosswill Woollaston, and Lois White. The Rita Angus loan collection, from the Angus Estate, together with Te Papa's collection of this New Zealand painter, forms a body of many excellent works. In the late 1970s and throughout the 1980s, there was a push to strengthen the New Zealand Paintings Collection. As a result, the collection has good examples of works by many artists of this time - in particular, paintings by Jeffrey Harris, Michael Smither, PhilipTrusttum, and Gretchen Albrecht. Te Papa's collection of late modern New Zealand painters (Colin McCahon, Ralph Hotere, Tony Fomison) is a reflection of the perceived need to have a good representation of significant New Zealand painters. Te Papa also has a collection of some 600 international (mainly British) drawings and watercolors. Highlights of this collection are works by Thomas Girtin, John Sell Cotman, David Cox, Samuel Prout, and Thomas Rowlandson and a larger collection of twentieth century British paintings, that includes works by Winifred Knights, Anthony Gross, Paul Nash, David Jones, Edward Burra, and John Tunnard. There is collection of International sculpture in the collection which includes works by British and French artists, including Aime-Jules Dalou, Jacob Epstein, Auguste Rodin, Charles Wheeler, and Barbara Hepworth. This collection was extended significantly in 1983 by the bequest of Judge Julius Isaacs, which included two works by Marcel Duchamp. A small number of sculptures were purchased as illustrative examples of artistic styles and trends in international art. The international print collection includes a strong representation of German, Dutch, and Italian prints from the fifteenth to the eighteenth centuries; French prints of the nineteenth century; and twentieth century British prints. There is also a smaller group of Japanese woodblock prints. Particular highlights are large holdings of engravings and woodcuts by Albrecht Durer and etchings by Rembrandt. English satirical prints of the eighteenth and early nineteenth centuries by William Hogarth and James Gillray are well represented, as are the etchings and aquatints of James McNeill Whistler. A highlight of the collection dating from the early twentieth century is the large number of etchings, including some rare versions of prints, by Australian artist Lionel Lindsay. A large collection of linocuts by artists influenced by English artist Claude Flight, who pioneered a particular kind of linocut print, is also held. These works from the 1930s are a highlight of the extensive and comprehensive collection of twentieth century British prints. There is a collection of early twentieth century European prints by artists such as Pablo Picasso, Eric Heckel, Wassily Kandinsky, Max Ernst, and André Masson. Experimental prints by Pop artists of the 1960s and 1970s form a distinctive group within the collection and feature the work of artists such as Roy Lichtenstein, Eduardo Paolozzi, Richard Hamilton, and Robert Rauschenberg. New directions in printmaking in the 1980s by international artists are represented by, among others, Bea Maddock, William Wiley, Susan Rothenberg, George Baselitz, and Dorothea Rockburne. Photography was first collected as art for the national collection in 1976. The focus since has been primarily on New Zealand contemporary work, with some forays into collecting international photography. There are about 1700 photographs by contemporary New Zealand photographers in the collection. Large groups of work are held by artists including Laurence Aberhart, Mark Adams, Wayne Barrar, Peter Black, Glenn Busch, Anne Noble, Peter Peryer and Ans Westra. The International photography collection includes approximately 130 images by mostly American photographers acquired in the 1980s. Many of the famous names are represented, such as Edward Weston, Minor White, Walker Evans, Lee Friedlander, and Diane Arbus. The other group of international work is by photographers from the famous photo agency Magnum. This was acquired by the gift of the 1989 travelling exhibition "In our time: the world as seen by Magnum photographers". Photographers include Henri Cartier-Bresson, Eugene Smith, Elliot Erwitt, and Marc Riboud. The museum also have large collections of historical artifacts, Māori and Moriori cultural treasures, a collection of Pacific Island artifacts that reflects not only the diversity of Pacific Island cultures but also New Zealand's relationships with Pacific communities at home and abroad and a large natural history collection (that includes the world's largest giant squid). Amongst the interactive features are a virtual bungee jump and an 'earthquake room'.
On temporary exhibition at the Te Papa, you can currently see "Brian Brake: Lens On The World" (until 8 May 2011). Brian Brake (1927–1988) was New Zealand's best known photographer from the 1960s to the 1980s, though his career spanned more than 40 years. He first made his name as an international photojournalist, photographing for picture magazines such as Life, National Geographic and Paris Match. His most famous work was on the monsoon rains in India in 1960. This essay yielded the widely reproduced Monsoon girl, an image of a young woman feeling with pleasure the first rains on her face. Brake was also well known in New Zealand for his 1963 best-selling book, New Zealand, gift of the sea and, in the 1980s, for his images associated with the Te Maori exhibition. Brian Brake's early grounding in photography came about in three ways. Each activity shaped Brake's later work. The camera club period fuelled an interest in scenic and spectacular landscapes; studio portraiture influenced the way he lit his later studio photographs of museum objects; and the film experience developed his ability to create a story by assembling individual shots – a valuable skill for a photojournalist. He was involved in camera clubs in Christchurch and Wellington as a teenager, then became an assistant in a Wellington portrait studio. Finally, before going overseas in 1954, he worked as a cameraman at the National Film Unit in Wellington. Brake joined the prestigious Paris-based photo agency Magnum in 1955. This set him on course for the life of a globe-trotting photojournalist through to the early 1960s. The 1950s were the heyday of black and white magazine photojournalism. A host of large-format picture magazines such as Life, Look, Paris Match, and Illustrated provided a window on the wider world. Their success was possible mainly because television was not yet widespread, but also perhaps because relatively few people were able to travel themselves. In the 1960s, Brian Brake moved from small assignments, mostly involving black-and-white photography, to more extended picture stories – usually in color and often taking up to a year or more to shoot. This shift resulted from the close relationship he formed with the international picture magazine Life, then in an era of grand projects and big budgets. It was also a time when magazines were increasingly using color reproduction. This suited Brake well. His study of color cinematography for the National Film Unit in 1951–52 had given him greater expertise and comfort with working in color than most photographers at that time. Although Brian Brake left New Zealand in 1954 and lived overseas for most of the next two decades, he always thought of himself as a New Zealander. He began photographing the New Zealand landscape as a teenager, and returned to this theme in a 1960 photo essay on the land and its people. These photographs became New Zealand, gift of the sea, a best-selling book that struck a chord with New Zealanders looking for a more sophisticated vision of their country. When Brake returned home permanently in 1976, he continued photographing the landscape but became equally known for his images of craft objects and taonga Maori – work that contributed to a growing interest in rethinking New Zealand's collective heritage.
Posted: 17 Nov 2011 08:36 PM PST
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