- The Milwaukee Art Museum Presents "Impressionist Masterworks on Paper"
- Sotheby's NYC Auction of Latin American Art Features Major Works by Tamayo, Botero and Lam
- The Edinburgh Art Fair Celebrates its 7th Anniversary in November
- Envoy Enterprises to Features Recent Drawings by Micki Pellarno
- The Saatchi Gallery Presents "Gesamtkunstwerk: New Art from Germany"
- Frank Pictures Gallery to Open a Solo Show by Lori La Mont
- Asia House Shows the First Exhibition of Works by George Chinnery for Over 50 Years
- Elite Decorative Arts to Auction Nearly 600 Lots of Top-Quality Chinese Carvings & Works of Art
- The Georgia Museum of Art Presents the Graphic Work of Clare Leighton
- 'Strange Bodies ~ Figurative Works' from the Hirshhorn Museum Collection
- The Preus Photography Museum In Norway Is Toured By The AKN Editor
- Retrospective of Australia’s Robert Dowling at the National Gallery of Australia
- Fourth Hong Kong International Art Fair Opens & Welcomes Over 161 Galleries
- 'The Orient Expressed: Japan's Influence on Western Art, 1854-1918' On View at the Mississippi Museum of Art
- Who Was Felix Nussbaum ?
- First Solo Show in London in 5 Years for Kenneth Anger at Sprüth Magers
- Hamburger Kunsthalle presents the New Exhibition "MAN SON 1969"
- 'John Martin: Heaven & Hell' ~ Apocalyptic Visions at the Laing Gallery
- The Contemporary Arts Center New Orleans Displays Works by Tina Girourard & Robert Gordy
- This Week in Review in Art Knowledge News
Posted: 16 Nov 2011 10:49 PM PST
Milwaukee, Wisconsin.- The Milwaukee Art Museum is proud to present "Impressionism: Masterworks on Paper" on view at the museum through January 8th 2012. Organized in conjunction with the Albertina in Vienna, "Impressionism: Masterworks on Paper" is the first exhibition devoted exclusively to the significance of drawing to the Impressionist and Post-Impressionist avant-garde movements — and to the development of modern art. The exhibition makes its premiere in Milwaukee, presenting more than one hundred drawings, watercolors, and pastels by many of the greatest artists in the history of Western European art — Édouard Manet, Edgar Degas, Pierre Auguste Renoir, Paul Cézanne, Georges Seurat, Vincent Van Gogh, Henri de Toulouse-Lautrec. These artists created drawings independently of painting, as they sought to create an art that more accurately represented their times. In the process, the Impressionists and Post-Impressionists effectively elevated drawing in nineteenth-century France to a status equal with that of painting.
When the Green Bay Packers defeated the Pittsburgh Steelers in Super Bowl XLV, the Museum won a gentlemen’s wager with the Carnegie Museum of Art – the loan of Renoir’s "Bathers with Crab" from their collection for its Impressionism exhibition. Of all the Impressionists, Pierre–Auguste Renoir (1841–1919) remained committed to the human figure when others turned to landscapes. And unlike Edgar Degas who shocked critics by painting prostitutes and milliners, Renoir painted the loveliest models in the most classical way. Throughout his long career, Renoir sought the right balance of dappling light and shade (as all good Impressionists were expected to do) and feathery brushwork, without sacrificing the contours that so attracted him to the female nude. Bathers is a beautiful example of the challenges and ultimate success Renoir had with painting nudes in the Impressionist manner.
The Milwaukee Art Museum's history began in 1882 when the Milwaukee Museum of Fine Arts was founded. The museum dissolved six years later. In 1888, the Milwaukee Art Association was created by a group of German panorama artists and local businessmen; its first home was the Layton Art Gallery. In 1911, the Milwaukee Art Institute, another building constructed to hold other exhibitions and collections, was completed. The institute was built right next to the Layton Art Gallery. Alfred George Pelikan, who received his Masters in Fine Arts (MFA) from Columbia University, was the Director of the Milwaukee Art Institute from 1926 to 1942. The Milwaukee Art Center (now the Milwaukee Art Museum) was formed when the Milwaukee Art Institute and Layton Art Gallery merged their collections in 1957 and moved into a three-story building underneath the Eero Saarinen-designed Milwaukee County War Memorial. The museum is home to over 25,000 works of art. Its permanent holdings contain an important collection of Old Masters and 19th-century and 20th-century artwork, as well as some of the nation's best collections of German Expressionism, folk and Haitian art, American decorative arts, and post-1960 American art.
The museum holds a large number of works by Georgia O'Keeffe, as well as many works by the German Expressionist, Gabriele Munter. Other notable works in the collection includes Fauve paintings by Georges Braque and Maurice de Vlaminck, seminal Expressionist paintings by Ernst Ludwig Kirchner and Vassily Kandinsky, and magnificent works by Pablo Picasso and Alberto Giacometti. The MAM recently gained international recognition with the construction of the white concrete Quadracci Pavilion, designed by Santiago Calatrava (his first completed project in the United States), which opened on May 4, 2001. The pavilion was engineered by the Milwaukee-based engineering firm, Graef, while the construction manager was also Milwaukee-based, C.G. Schmidt. The structure contains a movable, wing-like brise soleil which opens up for a wingspan of 217 feet during the day, folding over the tall, arched structure at night or during inclement weather. The brise soleil has since become a symbol for the city of Milwaukee. In addition to a gallery devoted to temporary exhibits, the pavilion houses the museum's store and its restaurant, Cafe Calatrava. The pavilion received the 2004 Outstanding Structure Award from the International Association for Bridge and Structural Engineering. Visit the museum's website at ... http://mam.org
Posted: 16 Nov 2011 10:28 PM PST
New York City.- Sotheby’s November 2011 Latin American Sale will highlight a retrospective selection of works by the great Mexican painter Rufino Tamayo and the Venezuelan Kinetic artist Jesús Rafael Soto. The cover lot, Tamayo's vibrant "Watermelon Slices", 1950, headlines the selection of this artist’s work in the sale. "Watermelon Slices" epitomizes one of Tamayo's most recognized themes, which often served as a vehicle for an unparalleled use of color from this master of pigment. The reds, oranges, pinks and purples pulse throughout the composition giving the painting a mesmerizing glow. This boldness of color and the subsequent abstraction of figures is seen in the early 1928 "Frutero y Dominó" to the 1951 "Tres personajes", and "El Tragafuego", 1955.
Posted: 16 Nov 2011 09:35 PM PST
Edinburgh, Scotland.- This year sees the Edinburgh Art Fair celebrate its seventh anniversary at the Edinburgh Corn Exchange. In 2005 when the first fair took place with an impressive 50 exhibiting galleries the organisers, whilst confident that Edinburgh could sustain such an event, could not have envisaged just how successful and revered it would become on the international art scene. This year, like each of the last 6, the fair is attracting professional galleries from not only the UK but also from overseas with galleries from Ireland, Czech Republic and Canada participating. The fair is open to the public from Friday 18th to Sunday 20th November with doors opening at 11am daily and closing at 6pm Friday and Saturday and 5pm Sunday.
Posted: 16 Nov 2011 09:07 PM PST
New York City.- Envoy Enterprises is pleased to present "Revelation", a series of recent drawings by Micki Pellerano on view in the gallery space from November 17th through December 23rd. Taking his inspiration from ancient pagan or biblical stories and characters, fused with his own imagination, the artist creates new mythologies through these classically rendered drawings. In his first solo exhibition at the gallery, Pellerano confronts the comprehensive boundaries of metaphysical concepts such as eternity, existentialism, and religion. He entwines contemporary apocalyptic crises with scriptural and Neo-Platonic themes, commanding a re-examination of humanity’s existential plight. The sacred, the damned, struggle, and despair are the conceptual roots of the artist's work as well as his literal subjects.
Posted: 16 Nov 2011 09:06 PM PST
London.- On 18th November, the Saatchi Gallery will open "Gesamtkunstwerk: New Art from Germany", the gallery’s first survey of German art. The exhibition, which presents artists from or based in Germany (including Berlin, Frankfurt, Düsseldorf, Stuttgart, Bremen and Cologne), confirms Germany’s position as a powerhouse of European contemporary art. "Gesamtkunstwerk: New Art from Germany" showcases 24 artists, most of whom have been little seen in the UK, but are rapidly establishing themselves in Germany and internationally. Their work, including sculpture, painting, drawing and installation, ranges from the grotesque and macabre to the lyrical and surreal, reflecting the diversity of German art now. The exhibition will remain on display through April 30th 2012.
Posted: 16 Nov 2011 08:50 PM PST
Santa Monica, California.- Frank Pictures Gallery is delighted to present "Under the Influence", a painting show by Lori la Mont. Working exclusively in watercolor, La Mont eschews traditional watercolor techniques and styles. Her large-scale paintings are executed with incredible precision, and utilize a combination of built-up layers of bold, saturated color and meticulously rendered detail. "Under the Influence" opens on November 18th and remains on view through January 25th 2012.
Posted: 16 Nov 2011 08:28 PM PST
London.- George Chinnery is one of the British artists most neglected in his native country. Whilst there have been substantial exhibitions of his work in Lisbon (1995), Tokyo (1996), Hong Kong (2005) and recently in Macau (2010), there has been no public exhibition in Britain since the Arts Council show in 1957, and prior to that a retrospective at the Tate in 1932. Therefore the forthcoming exhibition, "The Flamboyant Mr Chinnery (1774-1852): An English Artist in India and China", on view at Asia House in London through January 21st, 2012 is long overdue and promises to surprise and delight the visitor. Among British artists Chinnery is a most unusual case. He spent the last fifty years of his life in India and on the China coast, where he died and lies buried, and almost all his best work was done in the East.
Posted: 16 Nov 2011 08:27 PM PST
Boynton beach, Florida.- Nearly 600 lots of top-quality Chinese carvings and works of art will be sold at auction Saturday, November 19th by Elite Decorative Arts, in the firm’s spacious gallery located at the Quantum Town Center in Boynton Beach, at 1034 Gateway Boulevard. The auction will have a special start time of 6 p.m. (EST), with a preview from 4-6. “We’re starting the auction in the evening rather than the early afternoon to accommodate the Chinese audience, which we expect will be substantial,” said Scott Cieckiewicz of Elite Decorative Arts. “The market for Chinese antiques is red-hot right now, not just here but around the world and especially in China, the native home of these objects, where wealth is on the rise.”
Posted: 16 Nov 2011 08:26 PM PST
Athens, Georgia.- The Georgia Museum of Art is pleased to present "Quiet Spirit, Skillful Hand: The Graphic Work of Clare Leighton" on view from November 19th through February 3rd 2012. Organized by the Mint Museum of Art in Charlotte, N.C., this exhibition includes images from the Mint’s Pratt Collection, one of the largest collections of Clare Leighton’s work in the country and spans Leighton’s career from 1923 to 1965. “Quiet Spirit, Skillful Hand: The Graphic Work of Clare Leighton” provides a full survey of Leighton’s career, from her earliest prints in the 1920s that depict the labors of the English working classes to a selection of her rarely seen watercolors. Unique to the Pratt collection is a set of 12 Wedgwood plates titled “New England Industries,” for which Leighton designed the transfer-printed images.
Among the exhibition’s highlights are the prints that resulted from Leighton’s early visits to North America, including “The Breadline, New York” and “Snow Shovellers, New York,” as well as the artist’s entire Canadian Lumber Camp series. A full-color catalogue of the exhibition will be available for sale in the Museum Shop and online.
Clare Veronica Hope Leighton (1898 - 1989) was an English/American artist, writer and illustrator, best known for her wood engravings. Clare Leighton was born in London on 12 April 1898, the daughter of Robert Leighton (1858-1934) and Marie Connor Leighton (1865-1941), both authors. Her early efforts at painting were encouraged by her parents and her uncle Jack Leighton, an artist and illustrator. In 1915, she began formal studies at the Brighton College of Art and later trained at the Slade School of Fine Art (1921-23), and the Central School of Arts and Crafts, where she studied wood engraving under Noel Rooke. During the late 1920s and 1930s, Leighton visited the United States on a number of lecture tours. In 1939, at the conclusion of a lengthy relationship with the radical journalist Henry Brailsford, she emigrated to the US and became a naturalised citizen in 1945. Over the course of a long and prolific career, she wrote and illustrated numerous books praising the virtues of the countryside and the people who worked the land. During the 1920s and 1930s, as the world around her became increasingly technological, industrial, and urban, Leighton portrayed rural working men and women.
In the 1950s she created designs for Steuben Glass, Wedgwood plates, several stained glass windows for churches in New England and for the transept windows of Worcester Cathedral, England. Leighton had two brothers, Roland and Evelyn. The older brother Roland Leighton, immortalised in Vera Brittain's memoir, Testament of Youth, was killed in action, December 1915. Evelyn became a captain in the Royal Navy and died in 1969. The best known of her books are The Farmer's Year (1933; a calendar of English husbandry), Four Hedges - A Gardener's Chronicle (1935; the development of a garden from a meadow she had bought in the Chilterns) and Tempestuous Petticoat; The story of an invincible Edwardian (1948; describing her childhood and her bohemian mother). Autobiographical text and illustrations are available in "Clare Leighton: the growth and shaping of an artist-writer", published 2009. Clare Leighton died 4th November 1989 and her ashes are buried in a cemetery in Waterbury, Connecticut.
The Georgia Museum of Art, on the campus of the University of Georgia, in Athens, is both an academic museum and, since 1982, the official art museum of the state of Georgia. The permanent collection consists of American paintings, primarily 19th- and 20th-century; American, European and Asian works on paper; the Samuel H. Kress Study Collection of Italian Renaissance paintings; and growing collections of southern decorative arts and Asian art. From the time it was opened to the public in 1948 in the basement of an old library on the university’s historic North Campus, the museum has grown consistently both in the size of its collection and in the size of its facilities. Today the museum occupies a contemporary building in the Performing and Visual Arts Complex on the university’s burgeoning east campus. There, 79,000 square feet house more than 8,000 objects in the museum’s permanent collection—a dramatic leap from the core of 100 paintings donated by the museum’s founder, Alfred Heber Holbrook.Much of the museum’s collection of American paintings was donated by Holbrook in memory of his first wife, Eva Underhill Holbrook. Included in this collection are works by such luminaries as Frank Weston Benson, William Merritt Chase, Stuart Davis, Arthur Dove, Georgia O’Keeffe, Childe Hassam, Winslow Homer, Jacob Lawrence and Theodore Robinson. Over the years it has been impossible to separate the history of the museum from the story of Holbrook’s generosity. Numerous museum exhibitions have traveled to national and international venues. When “Adriaen van Ostade: Etchings of Peasant Life in Holland’s Golden Age” was exhibited at the Rembrandt House in Amsterdam, the catalogue quickly sold out, becoming a text for the study of 17th-century Dutch printmaking in classrooms across the United States. This exhibition also reflected the importance of prints and drawings in the programming of the museum, which houses one of the finest collections of works on paper in the Southeast.
The collection includes Old Master prints, Parisian prints of the 1890s and American prints and drawings of the early 20th century. Exhibitions from international museums such as the National Gallery of Scotland, the Palazzo Venezia in Rome, the Rembrandt House and the San Carlos National Museum in Mexico City have all been displayed in the galleries of the museum over the past decade. The museum also offers traveling exhibitions formed from its permanent collection to other museums and art institutes around Georgia and the Southeast. Since the early 1970s the Friends of the Georgia Museum of Art, a support group of more than 1,200 members, have hosted fundraisers and openings for exhibitions and have sponsored exhibitions and educational programs at the museum. In April 1996, the Georgia Museum of Art opened a new building on the East Campus of the university as part of the Performing and Visual Arts Complex, which also includes the School of Music, the Performing Arts Center, and, now, the Lamar Dodd School of Art. The new building allowed for larger and more ambitious exhibitions and a new emphasis on professional practices, trends that will continue to hold true in 2011 and beyond. The museum has become a leader, in particular, among university museums, and its educational programs have been the most tangible example of the balance it strives to achieve among state, local, and university audiences as it seeks to fulfill its trifold mission of teaching, research, and service. Visit the museum's website at ... http://www.georgiamuseum.org
Posted: 16 Nov 2011 08:19 PM PST
WASHINGTON, DC.- Figurative art plays an important role in the Hirshorn’s Museum collection. “Strange Bodies,” on view from Dec. 11 to early 2010, brings together some of the most celebrated examples of figuration from the museum’s holdings to examine how and why artists depict and distort the body. Organized by associate curator Kristen Hileman and located in the lower-level galleries, the installation comprises more than 40 works, with a rotation of works occurring midway through the show. The exhibition also includes a gallery devoted to a survey of the museum’s unique, in-depth holdings of works on paper and paintings by George Grosz, which demonstrate a socially charged use of the figure.
“Strange Bodies” provides an opportunity to examine the ways in which artists have exaggerated or altered the figure in order to explore cultural and personal experiences and psychology, as well as formal qualities such as color, shape and texture. The exhibition also traces the evolution of the museum’s particular focus on collecting figuration. On view are early to mid-20th century works from the core collection Joseph H. Hirshhorn donated to the museum, including pieces by Francis Bacon, Jean Dubuffet, Alberto Giacometti, Willem de Kooning and others, which reveal the artists’ interests in dissolving or warping the human figure to heighten its expressive and emotional impact. Hirshhorn also acquired paintings by Balthus and René Magritte, which represent the human subject in a surreal way, locating the body (or its parts) in contexts that are outside of mundane occurrences, and in part, reflect the traumatic war-torn world in which their art developed.
Building on Hirshhorn’s legacy, former director James T. Demetrion brought important examples of figuration from more recent decades into the collection, including sculptures and paintings by Georg Baselitz, Sue Coe, Tony Cragg, Robert Gober, Philip Guston, Edward and Nancy Reddin Kienholz, Julian Schnabel, Paul Thek and Franz West. These works, such as Thek’s bloody, sandal-clad “Warrior’s Leg” (1966–67) made during the Vietnam War era and Coe’s “Malcolm X and the Slaughter House” (1985), often combine expressionistic and/or surrealistic impulses with social critique. The use of unorthodox materials also characterizes several of these works, as with Schnabel’s “Portrait of Andy Warhol” (1982) on velvet and the Kienholzs’ “In the Infield Was Patty Peccavi” (1981), an assemblage of found objects including furniture, a stuffed bird, photographs and electric lights.
The museum has continued to collect figurative works by artists who both participate in and challenge the tradition of figuration, such as Matthew Barney, John Currin, Ron Mueck, Dario Robleto and Yinka Shonibare. Diverse contemporary approaches to representing the human form suggest that individual identity, as well as attributes like beauty, heroism and power, is multifaceted. In Currin’s painting and Mueck’s sculpture, fleshy nudes challenge ideals of beauty, while Barney creates photographs of part-human and part-otherworldy avatars that meld the biological wit the mythological. As if to collapse many moments in the evolution of the human race and culture into a single object, Robleto created the piece “She Can’t Dream for Us All” (2005-06). He used bone dust, pulped letters written to soldiers during various wars and melted audio recordings of Sylvia Plath reading her poetry to construct a sculpturally encased cast of the archeological specimen known as “Lucy,” a distant ancestor to “Homo sapiens.”
The Smithsonian’s Hirshhorn Museum and Sculpture Garden is a leading voice for contemporary art and culture and provides a national platform for the art and artists of our time. We seek to share the transformative power of modern and contemporary art with audiences at all levels of awareness and understanding by creating meaningful, personal experiences in which art, artists, audiences and ideas converge. We enhance public understanding and appreciation of contemporary art through acquisition, exhibitions, education and public programs, conservation, and research. Visit : http://www.hirshhorn.si.edu/
Posted: 16 Nov 2011 08:18 PM PST
The Preus Museum is the national museum for photography in Norway and is situated in Horten. It was originally founded by the Preus family as a private museum, but the collection was acquired by the Norwegian government in 1995. In 2001, the museum moved to a former naval facility in Karljohansvern. The facilities have been adapted for museum use based on the work of architect Sverre Fehn. It is the National museum of photography, with a vast collection covering all aspects of the history of photography, Preus museum offers visitors many exciting experiences within the expanded field of photography: from the earliest technical and scientific experiments to contemporary photographic art that has pushed back the boundaries of what a photograph can be. The museum collection consists of Norwegian and international photographs, cameras and other artefacts illustrating the history of photography. The museum also incorporates a specialist photographic library. In 2005 the museum launched its own journal Om Fotografi (On Photography). In cooperation with the National Library of Norway, the museum is extending its Index of Photographers and Collections. The museum has defined its field of concern as the expanded field of photography. This implies that the museum approaches photography within the context of contemporary art and a broader visual culture. The museum library covers the prehistory and history of photography, photographic techniques, camera history and photography as art and documentation. The library holds some 25,000 titles, including annual publications and annually collected journals, catalogues and brochures. The extensive collection of journals encompasses 1,000 titles, of which 80 are regularly subscribed. More specifically, it means that in the future the museum will view photography in conjunction with moving pictures and new, digital technologies. A further consequence is that the museum will apply an inter-disciplinary perspective to the history of photography. The Preus Museum is one of the important collecting institutions for photography in the world and the most important in Norway. Website :_ http://www.preusmuseum.no/english/index.php
Posted: 16 Nov 2011 08:17 PM PST
CANBERRA, AU - The first retrospective of Australia’s first major colonial trained professional artist, Robert Dowling (1827–1886), opens today at the National Gallery of Australia. The exhibition will be complemented by a completely new display in the early Australian colonial gallery dedicated to Tasmanian colonial art from the late 1820s to the mid 1850s. On view 24 July through 3 October.
Posted: 16 Nov 2011 08:16 PM PST
HONG KONG.- Back for its fourth year, ART HK 11 – Hong Kong International Art Fair opens from 26 – 29 May at the Hong Kong Convention and Exhibition Centre (HKCEC). Sponsored by Deutsche Bank, ART HK 11 presents a strengthened exhibitor line-up that confirms the Fair‟s place as Asia‟s premier art fair, and firmly establishes ART HK 11 amongst the world‟s top art fairs. As part of its development and commitment to its role as the region‟s art hub, ART HK 11 introduces ASIA ONE, a new section of the fair showcasing work by Asian artists.
Posted: 16 Nov 2011 08:15 PM PST
Jackson, MS.- 'The Orient Expressed: Japan’s Influence on Western Art, 1854-1918', will be on display at the Mississippi Museum of Art through July 17, 2011. Visitors to this eleventh exhibition in 'The Annie Laurie Swaim Hearin Memorial Exhibition Series' will learn about the cultural phenomenon known as Japonisme, through the presentation of more than 200 works of art from the 19th and early 20th centuries. First identified by French art critic Philippe Burty in 1872, Japonisme became a worldwide movement that deeply impacted the visual arts. The resulting influence of these pieces on the visual and decorative arts as well as architecture, music, theater, literature, graphic design, and even fashion was overwhelming and continues to this day. According to Mississippi Museum of Art Director Betsy Bradley, “The Museum has secured works from some of the most prestigious collections in France, Belgium, and throughout the United States. With the high caliber of' The Orient Expressed', we expect to host more visitors than any other exhibition the Museum has had previously.”
Mississippians and other visitors to 'The Orient Expressed' will be inspired by the impact of Japan on the West prior to World War I through paintings, printmaking, decorative arts, graphic design, and more. The Museum is working with guest curator and scholar Gabriel P. Weisberg to put together this insightful exhibition. In addition to the exemplary Western objects that will be showcased in 'The Orient Expressed', a select group of works from the Japanese art tradition will be incorporated to clarify specific influences. Dan Piersol, the Mississippi Museum of Art’s Deputy Director for Programs, states, “All of these aspects will elucidate the impact of Japonisme, and how it hastened the development of art nouveau and symbolism during the 1890s, and the advent of modernism.” Works of art will be borrowed from major museums and private collections around the United States and abroad including Museum Dhondt-Dhaenens, Deurle, Belgium; Los Angeles County Museum of Art, California; Honolulu Academy of Arts, Hawaii; Metropolitan Museum of Art, New York, New York; New Orleans Museum of Art, Louisiana; Lauren Rogers Museum of Art, Laurel, Mississippi; and the Mississippi Museum of Art’s own collection. On view will be works by noted artists and manufacturers such as Robert Frederick Blum, Pierre Bonnard, Félix Buhot, Felix Bracquemond, Mary Cassatt, William Merritt Chase, Charles Caryl Coleman, James Sidney Ensor, Paul Gauguin, Gorham Manufacturing Company, Childe Hassam, Utagawa Hiroshige, Helen Hyde, Georges Lacombe, John La Farge, Bertha Boynton Lum, Minton and Company, Charles Sprague Pearce, Rookwood Pottery, Henry Somm, James McNeill Whistler, Alfred Stevens, Theodore Wores, Tiffany & Co., and many more. Following its presentation in Jackson, The Orient Expressed will be on view at the McNay Art Museum, San Antonio, Texas, from October 5, 2011 through January 15, 2012.
Construction is complete on the newly renovated Mississippi Museum of Art, creating a beautiful new home for the Museum and its permanent collection of art. The renovation project, which took just under a year to complete, marks a historical day for Mississippi and its artistic legacy. Although the move from the Mississippi Arts Center to the new facility is small geographically, amounting to no more than a city block, it pushes the Museum light years ahead in terms of capabilities, technology, and the overall philosophy of what an art museum means to the community. The facility’s brilliant architectural makeover reflects the museum’s mission to become a symbolic “museum without walls”—an inviting public space that offers relevant and meaningful cultural experiences to both the Jackson community and the state of Mississippi. The architecture of the Museum is a tangible manifestation of a philosophical mission. For many years, the mission of MMA was “collecting, preserving and exhibiting art,” a typical museum mission statement. However, when the board of Trustees of the Museum began to plan the building process more than five years ago, the mission was changed to “engage Mississippians in the visual arts,” a statement that focuses on community interaction and personal experience. The Architects, Glavé and Holmes in Richmond, Virginia, and Dale & Associates locally, applied this new philosophical mission to the architecture of the building, creating a sleek, open design for the once-rectangular building. The museum lobby and entryway is filled with light through the use of a large amount of glass and by raising the roof of the entryway. Museum visitors plainly see not only the entrance to the Museum but other visitors inside the building, breaking down barriers and creating a transparent front door that makes everyone feel welcome. A vibrant café with wireless Internet encourages visitors to sit and relax, and a newly-added front porch creates a welcoming and comfortable space that is, literally, the front porch of the downtown cultural district.
The Mississippi Museum of Art has been a community-supported institution for more than 100 years, and was at its former location since the late 1970s. The Museum boasts a seasoned staff of museum professionals and fiscally responsible administrators who have been managing operating budgets for over 30 years. These individuals have worked to ensure that this move is the best thing for the art of Mississippi and for the people of Mississippi. The Museum’s twenty-nine affiliate museums across the state will continue to benefit from the loan of artwork and traveling exhibitions, ensuring that even those Mississippians who cannot make the trip to Jackson can enjoy our rich cultural history. MMA will use its new and larger home to expand its programs and community outreach that are already in place. The new museum will also play a pivotal role in the revitalization of downtown Jackson. Situated between Thalia Mara Hall and the new convention center, the Museum will serve as the centerpiece of Jackson's cultural district. Visitors to the convention center will get a grand impression of Mississippi's creative heritage. And meeting goers, as well as everyday downtowners, can adjourn to the Museum for particularly inspirational coffee breaks. It sets the stage for a remarkable rebirth. Mississippi has always had an abundant supply of creative energy. The Mississippi Museum of Art will be the new fountainhead attracting people from all walks to discuss the issues and glories of the past and present, while inspiring the future. Visit the museum's website at ... www.msmuseumart.org
Posted: 16 Nov 2011 08:14 PM PST
PARIS.- Who was Felix Nussbaum? His work has only recently been rediscovered and in France, where he is not well known, his paintings have never been shown before. Through 23 January 2011, the Musée d’art et d’histoire du Judaïsme is presenting the first major retrospective of his work organised in France. Felix Nussbaum was a modern German painter, whose work was shaped by the “New Objectivity” and by contact with the European avant-garde of the first decades of the 20th century, in particular the Italian pittura metafisica and international surrealism, references that link him to some of his contemporaries: Max Beckmann, Otto Dix or John Heartfield. Felix Nussbaum’s most important and spectacular works will be presented for the first time in France; most of them are housed in a museum specially dedicated to him in his city of birth, Osnabrück in Lower Saxony. This was what he wrote in his will: “If I die, do not let my paintings follow me, but show them to men!”
Posted: 16 Nov 2011 08:13 PM PST
LONDON.- Sprüth Magers London announced an exhibition of work by the legendary filmmaker and artist Kenneth Anger, in his first solo show in London in over five years. Making films continuously since the late 1940s and considered a countercultural icon, Kenneth Anger is widely acclaimed as a pioneering and influential force in avant-garde cinema. His groundbreaking body of work has inspired cineastes, filmmakers and artists alike. Many channels of contemporary visual culture, from queer iconography to MTV, similarly owe a debt to his art. On view 19 February though 27 March, 2010.
Posted: 16 Nov 2011 08:12 PM PST
Hamburg, Germany - The Hamburger Kunsthalle presents today Man Son 1969 - The Horror of the Situation, on view through April 26, 2009. The exhibition "MAN SON 1969. The Horror of the Situation" explores the lure and danger of extremes. It takes as its starting point a series of historical events in aesthetics and politics, lifestyle and counterculture in the 1960s, the significance of which is a subject of continuing heated debate. Thirty-five international contemporary artists have been invited to look back at the events of 1969 and contribute new works that articulate the ambivalence of extremes in that era of far-reaching social transformation.
Posted: 16 Nov 2011 08:11 PM PST
Newcastle,UK - The Laing Gallery hosts a major retrospective of the works of John Martin until June 5th 2011. Part of the Great British Art Debate, 'John Martin: Heaven & Hell' is the first major exhibition of the paintings by 19th century artist John Martin for more than 40 years. His spectacular, apocalyptic works are displayed at the Laing, capturing the drama and impact which they had when they were originally displayed. The exhibition is a comprehensive display of Martin’s apocalyptic works, bringing together his finest pieces from the Laing’s own collection, Tate and galleries from the UK and abroad. John Martin's many influential works brought him huge popularity in his lifetime and his paintings have gone on to inspire film-makers, designers and artists in Europe and America.
Posted: 16 Nov 2011 08:10 PM PST
New Orleans.- The Contemporary Arts Center New Orleans is proud to present "Patterns and Prototypes: Tina Girouard and Robert Gordy", on view at the center until September 25th. Of the many art movements that took place in the United States during the latter part of the 20th century, few have consistently lacked critical and historical reassessment to the extent experienced by the Pattern and Decoration (P&D) movement that took the New York art world by storm from the mid 1970s until the early 1980s. During its heyday, such stars of the P&D movement as Robert Kushner, Kim MacConnell, Joyce Kozloff, and Robert Zakanitch promoted a freeform, sensual use of patterned motifs in their work, fusing abstraction and representation in a distinctively pleasure-based aesthetic that was embraced as a significant departure from the more conceptualized approach of Post-Minimal art and Earthworks.
Unbeknownst to most casual observers, two Louisiana artists-Tina Girouard and Robert Gordy-played a formative role in the P&D movement, and as part of its 35th Birthday program, the CAC presents "Patterns and Prototypes", an exhibition focused on early works by these two pioneering figures.
Tina Girouard was originally from Louisiana, but moved to New York in the 1960's attracted by the creative fever of the city's contemporary art movements. In New York, she met and worked with musicians Richard Landry and the Philip Glass Ensemble and performance artists such as Gordon Matta Clark, Keith Sonnier, Richard Serra, Lawrence Weiner, Laurie Anderson, Sonnier, Deborah Hay and the Natural History of the American Dancer, among others. She was an early founding participant of many cutting edge artistic developments, including, 112 Greene St., FOOD, the Clocktower and PS1, Creative Time, Performance Art and the Fabric Workshop. After a fire destroyed her building in 1979, she her main studio back to Louisiana. From her base there, she helping to promote Louisiana's culture by creating visual arts venues and an international festival. Since 1990, she has maintained a studio in Port-au-Prince, Haiti. Girouard has received numerous fellowships and grants, and her works are in museums and private collections around the world.
Louisiana artist Robert Gordy was known for his complex acrylic paintings which featured patterning and repetition, and linear shapes in a flat pictorial space in closely-keyed colors. In the early 1980s, the human head began to emerge as an important element in his paintings and in a series of monotypes created in Santa Fe. Invited to a residency at Graphicstudio in 1983, Gordy created his first etchings in aquatint. Many works make direct references to African sculpture, which Gordy collected. Gordy had solo exhibitions at the New Orleans Museum of Art, the Long Beach Museum of Art, the Phyllis Kind Gallery in New York and the Arthur Roger Gallery, New Orleans. He was included in the 1973 Whitney Biennial, and the 21st National Print Exhibition at the Brooklyn Museum, among many other exhibitions. Born in Louisiana in 1933, Gordy died in 1989.
The Contemporary Arts Center New Orleans is a multi-disciplinary arts center, dedicated to the presentation, production and promotion of the art of our time. The CAC is a cultural leader. As such, it organizes, presents and tours curated exhibitions, performances and programs by local, regional, national and international artists. It demonstrates proactive local and regional leadership by educating children and adults; cultivating and growing audiences; and initiating and encouraging collaboration among diverse artists, institutions, communities and supporters. The Contemporary Arts Center (CAC) was formed in the fall of 1976 by a passionate group of visual artists when the movement to tear down the walls between visual and performing arts was active nationwide. The CAC began as an artist-run, artist-driven community organization in the nearly empty arts district of New Orleans. As the burgeoning arts district grew, so did the CAC, evolving to meet the increasing needs of a diverse audience and artist communities. Renovated in 1990, and donated to the CAC in 1999, the CAC's building mixes the timelessness of New Orleans' historic architecture with contemporary materials and usable open spaces. Throughout the CAC's 35 years, the center has remained active in the visual and performing arts and arts education communities, continuing to represent an era of creative freedom and multi-disciplinary expression.
Today, the CAC is one out of a handful of nationwide arts organizations who have remained solvent and successful while serving a truly multi-disciplinary mission. Currently dedicating two floors, about 10,000 square feet of gallery space, on the 4-story building to rotating exhibitions throughout the year, the CAC is home to artists' bold experiments in painting, theater, photography, performance art, dance, music, video, education, and sculpture. Since 2006, the CAC has awarded $350,000 in grants to individual New Orleans' artists who were affected by Hurricane Katrina through the CAC Theatre Arts Fund and the SweetArts Katrina Fund. Offering creative outlets and opportunities, the CAC's education department successfully engages over 10,000 children and adults annually, including those with special needs and those from economically deprived backgrounds. The CAC's education and outreach projects offer intimate arts education settings where students, most for the first time, work together with artists, generating a greater impact through more personal, interactive experiences. The CAC's significance and role in the cultural community of New Orleans has and always will be cemented in its broad community-based programs and initiatives. Visit the center's website at ... http://www.cacno.org
Posted: 16 Nov 2011 08:09 PM PST
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