U.S.A. - SAN DIEGO-CALIFORNIA - Charles Reiffel: An American Post-Impressionist


Charles Reiffel, In the San Felipe Valley. Oil on canvas, 1927. Museum purchase, 1927.41

While Charles Reiffel (1862–1942) is usually considered today as a leader of the California plein-air school of painting, this exhibition celebrates his legacy as a preeminent practitioner of Post-Impressionism in America. During his lifetime, Reiffel’s work was exhibited throughout the country and won the accolades of critics, who referred to him as the “American Van Gogh”. Others judged Reiffel’s work “too modern,” favoring his more conservative contemporaries.

Charles Reiffel: An American Post-Impressionist will propose a fresh assessment of the artist, firmly establish his place in the national canon, and shed light on this splendid page in the history of American Post-Impressionism. The exhibition will include over 80 works, primarily paintings, but also works on paper, including the crayon sketches in which Reiffel pioneered his own personal technique. This show will span the entirety of Reiffel’s career, from his early travel studies to his latest San Diego subjects, and will celebrate the 150th anniversary of the artist’s birth. Charles Reiffel: An American Post-Impressionist, is organized by The San Diego Museum of Art and the San Diego History Center and will be presented concurrently at both venues.

The San Diego Museum of Art  now through 10.02.2013

Website : The San Diego Museum of Art

Website : San Diego

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This is your life.
Do what you love, and do it often.
If you don't like something, change it.
If you don't have enough time, stop watching TV.
Start doing things you love.
All emotions are beautiful.
Open your mind, arms and heart to new things
and people, we are united in our differences.
Ask the next person you see what their passion is
and share your inspiring dream with them.
Travel often.
Getting lost will help you find yourself.
Some opportunities only come once, seize them.
Life is about the people you meet
and the things you create with them.
Life is short.
Live your dream.

Vrolijk Kerstfeest en een Gelukkig Nieuwjaar
Joyeux Noël et Bonne Année
Merry Christmas and a Happy New Year
Fröhliche Weihnachten und ein Glückliches Neues Jahr

Hamelinck Lucien


U.S.A. - DURHAM-NORTH CAROLINA - Collecting Matisse and Modern Masters - The Cone Sisters of Baltimore


Henri Matisse, Striped Robe, Fruit, and Anemones, 1940. Oil on canvas, 21 5/8 x 25 5/8 inches (54.9 x 65.1 cm). The Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, BMA 1950.263. © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York.

Henri Matisse fondly called Dr. Claribel and Miss Etta Cone “my two Baltimore ladies.” The two Cone sisters began buying art directly out of the Parisian studios of avant-garde artists in 1905. At a time when critics disparaged Matisse, and Pablo Picasso was virtually unknown, the Cones followed their passions and amassed one of the world’s greatest art collections. The exhibition tells this story and features more than 50 of these masterpieces–including paintings, sculptures and works on paper by Matisse, Picasso, Gauguin, Renoir, van Gogh, Pissarro, Courbet and more–on loan from The Baltimore Museum of Art.

In addition to modern masterpieces, the exhibition includes textiles and decorative arts from Europe, Asia and Africa that the Cones collected, as well as photographs and archival materials to highlight the remarkable lives of these sisters. Also featured in the exhibition will be an interactive virtual tour of their adjoining Baltimore apartments, showing their remarkable collection as it was displayed in their home.

All works are from the collection of The Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland.

Nasher Museum of Art at Duke University   04.12.2012 - 10.02.2013

Website : Nasher Museum of Art at Duke University

Website : Durham

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Eric Staller, Untitled, date unknown. Photograph and light drawing, 15-7/8 x 19-7/8 inches. Collection of the Madison Museum of Contemporary Art. Museum Purchase Fund.

Artists throughout history have pictured reality as understood by their societies. Embedded in works of art are assumptions, varying from culture to culture, about the nature of all things. What is reality? Is it objective and understandable, or subjective and elusive? Finite and predictable, or infinite and in constant flux? Philosophers, theologians, and scientists, as well as poets and artists, have traditionally reflected on these questions. Their answers, as evidenced in Seen/Unseen, a new exhibition in MMoCA’s Henry Street Gallery from May 11, 2012, through June 16, 2013, embody particular notions of the world and the role human beings play.

Within this context, the sacred has been the most universally explored reality, and the goal of making the sacred visible has led artists to conceptualize it in both abstracted and concrete terms. Thus, Byzantine artists, in rendering their religious icons, simplified and exaggerated the natural features of holy figures. Conversely, nineteenth-century American landscape artists, proceeding from observation, saw and recorded the spiritual in the physical details of nature. In scientific and mathematical thought, also reflected in the arts, nature carries on without the intervention of the divine. As Galileo famously declared: “The book of nature is writ in number.” Magnificent as it is, it just is.

The nature of reality, in its secular as well as sacred dimensions, has been fertile ground for modern and contemporary artists. The paintings, sculpture, prints, and photographs assembled for this exhibition present a rich variety of interpretations. In Sam Francis’s Untitled Mandala (1974), concentric squares splashed with bright colors suggest a balance between underlying principles of chaos and order. Reality may be wholly subjective, a projection of mind, as evoked by Marsden Hartley’s Trees and Mountains (1932), where the artist’s brooding purples and aggressive brushwork charge nature with a dark energy that is felt more than seen. Ronald Bostrom photographs a deracinated weed in Mullen (1977). Pulled from the nurturing soil to be documented by the camera’s eye, the mullen plant nonetheless has seeds that remain viable for centuries, symbolizing for Bostrom the tenacity of all living things. From another perspective, all we know may finally be elusive, as suggested by Kenneth Josephson’s photograph New York State (1970), which questions, in plays upon representation, the ability of photography to chronicle objective reality.

Also included in the exhibition are works by Richard Anuszkiewicz, Adoph Gottlieb, Barbara Hepworth, Sol LeWitt, Richard Misrach, and Alyson Shotz, among others.

Seen/Unseen brings to a close a series of three exhibitions in MMoCA’s Henry Street Gallery that has explored the nature of self, society, and reality. This trilogy of exhibitions, drawn from the museum’s permanent collection, encompasses the fundamental character of modern and contemporary art.

Exhibitions in MMoCA’s Henry Street Gallery are generously funded through an endowment established by the Pleasant T. Rowland Foundation

MMoCA    11.05.2012 - 16.06.2013

Website : Madison Museum of Contemporary Art

Website : Madison

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U.S.A. - GREENWICH-CONNECTICUT - Face & Figure: The Sculpture of Gaston Lachaise


Gaston Lachaise (1882 – 1935)

Man Walking (Portrait of Lincoln Kirstein),
Bronze, 23 1/2 in. high.
Bruce Museum Collection 2010.01

Gaston Lachaise (American, b. France, 1882–1935) was more than a gifted sculptor of the human body, he was one of the finest portraitists of his age. Key examples of the artist’s work, many on loan from leading museums, private collections and the Lachaise Foundation, will reveal the full range of Lachaise’s vision, with special attention to the fascinating interchange between figural work and portraiture.

Gaston Lachaise was the extraordinary exception that proves the rule. In contrast to nearly every other modern artist in the early years of the twentieth century, for whom Paris was the modernist Mecca, Lachaise abandoned France for the United States. Perhaps not surprisingly, the young Parisian’s voyage to our shores was motivated by something other than pure esthetic drive: he was in passionate pursuit of a married American woman, Isabel Dutaud Nagle (1872–1957), who would become his obsession, his muse, and eventually his wife.

It is no exaggeration to say that Lachaise’s oeuvre is a sustained elaboration of his intense feeling for Nagle’s beauty. The series of great nudes that secured his reputation—standing on tip-toe, dancing, reclining, floating, and even levitating—are meditations on flesh and space in the immediate wake of Auguste Rodin’s myriad brilliant formulations. Lachaise was probably lucky to have crossed the Atlantic in what seemed to be the wrong direction in 1906 (living first in Boston and then New York), as he thereby became the leading representative of French art implanted in the New World.

"Lachaise was that singular being of today and yesterday," American painter Marsden Hartley wrote in 1939, "the worshipper of beauty . . . beauty was his meat and bread, it was his breath and music, it was the image that traversed his dreams, and troubled his sleep, it was his vital, immortal energy."

Bruce Museum   22.09.2012 - 06.01.2013

Website : Bruce Museum

Website : Greenwich

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U.S.A. - PITTSBURGH-PENNSYLVANIA - Deborah Kass, Before and Happily Ever After


Deborah Kass, Before and Happily Ever After, 1991

Deborah Kass:Before and Happily Ever After is a major mid-career retrospective of paintings, photographs and sculpture by New York artist Deborah Kass. The exhibition, featuring approximately 75 works, showcases Kass’ achievements over the course of her three-decade career. After a successful decade of showing landscapes and abstract paintings during the 1980s, Kass startled the art world by appropriating the work of Andy Warhol. Beginning in 1992, Kass presented this grouping of Warhol’s well-known celebrity paintings for a contingent of her own heroes, among them Gertrude Stein, Sandy Koufax, and Barbra Streisand (the subject of The Jewish Jackie series). Kass’ Warholesque paintings of Streisand in Yeshiva drag from the film Yentl, titled My Elvis, are an example of the artist’s genre-and gender-bending sensibility. This retrospective features Kass’ early landscapes, as well as her geometric abstractions. The Art History Paintings series presents playful quips on iconic artworks and pop culture. The exhibition concludes with the recent series, feel good paintings for feel bad times. Using nostalgia in a new way, these works incorporate lyrics borrowed from The Great American Songbook and some of the greatest hits of post war American painting. They address history, power, gender and ethnicity, which have been themes of her work for over 20 years.

The Warhol    27.10.2012 - 06.01.2013

Website : The Warhol 

Website : City of  Pittsburgh

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U.S.A. - MISSOULA-MONTANA - Selected Works from the Susan and Roy O'Connor Collection


Alfred Jensen

MAM is thrilled to host Selected Works from the Susan and Roy O'Connor Collection. This exhibition highlights a portion of the rich artistic expressions represented in this significant private collection. Susan and Roy O’Connor have graciously loaned MAM artworks from their collection for this exhibition.

The exhibition includes work by American artists Richard Diebenkorn, Robert Mapplethorpe, Robert Rauschenberg, Ed Ruscha, Philip Taaffe, Andy Warhol, and Terry Winters. It also includes sculptures by Louise Bourgeois, Ken Price, and Richard Long. The works created in the 1960-90’s fit well within the mission of the museum, “MAM strives to engage artists and audience in the creative exploration of contemporary art relevant to our community, state and region”. Viewers will discover that these artists are pioneers in the contemporary art scene in America and have had a far-reaching influence on contemporary artists throughout the region.

The O’Connors have spent a lifetime assembling this collection, but the willingness to share the works with MAM’s audience is a reflection of the confidence and power of the works. Susan O’Connor explains, “Both Roy and I lived in homes with art as children. Surrounded by impressionist paintings, African sculptures, music and rare books, we naturally were attuned to the art world wherever we lived–Hawaii; Cairns, Australia; Houston, TX; or Missoula, MT. We have made great friends with artists we have met along the way. We have become involved with art museums, served on boards, initiated and supported art projects, bought art in local galleries, visited collections and art museums and art festivals around the world. We put together a collection of paintings, drawings, and sculptures we admired, and spoke to us and were reflections of the natural world and the life of our time.

Most of the major pieces in our collection were bought in the eighties through our friends Fredericka Hunter and Ian Glennie of Texas Gallery when we lived in Houston. I had known Ian and Fredericka when we all worked at Richard Feigen Gallery in NYC in the late sixties. They introduced us to Robert Rauschenberg, Ed Ruscha, Robert Mapplethorpe, Chuck Arnoldi, Warhol and Basquiat. Rauschenberg came to my 40th birthday party and gave me a drawing of a lobster. Basquiat rented our house in Kipahulu. By getting to know these artists, we collected their newest work which had special meaning to us.”

MAM would be remiss not to acknowledge the contributions of the O’Connors in making this exhibition a reality and helping expand the audience for these important works. The exhibition includes a video interview with Susan O’Connor. Additional interpretive materials and Guide by Cell tours have been provided by Ian Glennie and Fredericka Hunter. Both Glennie and Hunter have first-hand experience in representing many of these artists and have helped in facilitating the growth of the O’Connor Collection.

Missoula Art Museum    07.09.2012 - 10.02.2013

Website : Missoula Art Museum 

Website : Missoula

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U.S.A. - ITHACA-NY - Mirror of the City: The Printed View in Italy and Beyond, 1450-1940


Giuseppe Vasi, Piazza della Rotonda, from the series Delle Magnificenze di Roma antica e moderna, hand-colored etching. Anonymous gift, 92.064.006.

Artists of the Western world have always gravitated toward cities as sources of inspiration, patronage, instruction, and fellowship. Yet it was only beginning in the seventeenth century that the city was widely explored as a subject in Western art, and in these explorations it was graphic artists who often led the way. This exhibition traces the history of the representation of cities in the graphic arts, from woodcuts and engravings of the late Middle Ages to photographs of the twentieth century. It reveals how generalized urban themes and motifs of the Middle Ages and the Renaissance evolved into more full-blown, detailed depictions of real cities, brought into focus as the artist’s true subject and no longer requiring the justification of religious or historical narrative.

By the latter seventeenth century in Italy, the urban veduta (or “view”) was emerging as an artistic genre, with recognized forms and codes, and would soon flourish in many parts of Europe, even crossing the Atlantic to the United States by the end of the eighteenth century. The encyclopedic treatment of cities in bound series of views began to privilege a booklike reading of the city and dictate specific itineraries and viewpoints for experiencing its sights. The nineteenth century brought to this realist topographical genre the aesthetic of Romanticism, with its stresses on individual genius and the unseen ideal. Photography added both a new challenge and a new opportunity, exploited in important ways in the latter nineteenth and twentieth centuries. By highlighting both the changes and the continuities in urban depiction over many centuries, we offer here a window into the larger history of Western culture, and into the history of technique and style in the graphic arts.

Johnson Museum of Art      11.08.2012 - 23.12.2012

Website : Johnson Museum of Art

Website : Ithaca

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U.S.A. - ST. LOUIS-MISSOURI - Federico Barocci: Renaissance Master


This fall, the Museum will open the first exhibition in the United States devoted to Barocci's paintings and drawings. Barocci was one of the greatest colorists ever to set brush to canvas, and is considered an important precursor of such 17th-century masters as Peter Paul Rubens.

With more than 130 spellbinding works, Federico Barocci: Renaissance Master presents a trove of exceptionally beautiful paintings and studies, many never before seen in this country. Barocci was one of the most innovative Italian artists of the second half of the sixteenth century and was highly sought by both religious and secular patrons. A major influence on European masters from the 16th to 18th centuries, Barocci's art combines the beauty of the High Renaissance and the dynamism of the Baroque.

Saint Louis Art Museum   21.10.2012 - 20.01.2013

Website : Saint Louis Art Museum

Website : Explore St. Louis

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U.S.A. - WASHINGTON-W.DC - Pissarro on Paper


A Bather, 1894
plate: 12.8 x 17.8 cm (5 1/16 x 7 in.) sheet: 15.6 x 20.2 cm (6 1/8 x 7 15/16 in.)
Shapiro/Melot 1975, no. 1
Ruth and Jacob Kainen Collection

French Impressionist painter Camille Pissarro first tried printmaking in his early thirties, and though he never stopped painting, printing became vital to his artistic enterprise. He valued the ease with which he could test new ideas, and he became increasingly innovative as he grew more comfortable with different printing techniques. The purchase of his own etching press in 1894 facilitated his efforts, which resulted in more than two hundred plates.

This installation highlights Pissarro’s spirited experimentation, as well as his gravitation—in all media—toward depicting landscape and the people who inhabited rural farms and towns. Rather than meticulously reproducing what he saw, he sought to capture the mood and essence of his subjects. On both paper and canvas, Pissarro masterfully played with surface textures and variations of compositional density to create descriptive and evocative visual imagery. His energetic methods for printmaking—dabbing, rubbing, dragging—and his range of materials for all media—palette knives, brushes of different sizes, even his bare hands—all contribute to the dynamism of his works.

National Gallery of Art   30.09.2012 - 31.03.2013

Website : National Gallery of Art

Website : Washington

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U.S.A. - MILWAUKEE-WISCONSIN - Freedom Of/For/To Photography from the Permanent Collection


In 1948 the United Nations adopted the Universal Declaration of Human Rights to guarantee respect for, and observance of, certain fundamental freedoms for all. Since then, freedom of speech and expression, freedom of religion, the right to education, the right to vote, the right to citizenship, the right to own property, and the right to work, among others, have been codified and, theoretically, protected internationally.

The word "freedom" has been essential to how Americans understand themselves and their country since its founding, but in the post 9/11 era, the term has become particularly ubiquitous. Idealized, politicized, or played for applause, "freedom" resonates with the public, despite the fact that the abstract concept has no fixed meaning.

The exhibition Freedom Of/For/To is comprised of contemporary photographs from the museum's permanent collection that explore the fluid definition of the word and elicit questions about our collective (mis)understanding of freedom at home and abroad. The photographers represented in the exhibition, including Adam Bartos, Edward Burtynsky, William Clift, Stella Johnson, Miguel Rio Branco, Irina Rozovsky, and Joel Sternfeld, offer a variety of viewpoints that encourage us to consider how we define and protect freedom in a global context.

Haggerty Museum of Art     22.08.2012 - 22.12.2012

Website : Haggerty Museum of Art

Website :  City of Milwaukee

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U.S.A. - PASADENA-CALIFORNIA - Significant Objects: The Spell of Still Life


An Arrangement of Flowers, c. 1620

Jan Brueghel the Younger
Flemish, 1601-1678
Oil on panel
21-15/16 x 16-7/8 in. (55.7 x 42.9 cm)
The Norton Simon Foundation

The classical definition of a still life—a work of art depicting inanimate, typically commonplace objects that are either natural (food, flowers or game) or man-made (glasses, books, vases and other collectibles)—conveys little about the rich associations inherent to this genre. In the academic tradition of Western art, still life occupied the lowest position in the hierarchy of the arts, which recognized history painting, portraiture and landscape painting as superior. It was disparaged critically and theoretically as mere copying that lacked artistic imagination and placed no intellectual demands on the viewer. Significant Objects: The Spell of Still Life posits that nothing could be further from the truth for this category of art, which hovers between mimesis and symbolism, and in which artistic skill and fantasy are tantamount to its success. Drawing on the spectacular resources of the Norton Simon collections, the exhibition explores the wealth of aesthetic and conceptual artistic strategies that challenge the shortsighted view of still life as simply an art of imitation. It also underscores why the still life continues to be an important vehicle of expression.

Significant Objects examines the genre from four perspectives designed to tease out the import of the still life, to identify the rich associational value of time, place or circumstance, and to encourage meaningful encounters with the objects.

The first section, Depiction & Desire, looks at the still life as a barometer of wonder and of the impulse to collect and display. Exacting portrayals of individual flowers or cubist abstractions that seize on the sensual elements of color, texture and weight are illustrative of the passion to capture, document and celebrate material pleasures and possessions through the counterfeit of the visual image. Virtuosity considers the exercise of skill and the mastery of technique as a means to create illusion and objects of imaginative, complex beauty. Still lifes rendered in oil, pastel, wood and various printing processes invite scrutiny as to how artists make the difficult look easy and where the boundaries lie between technical expertise and artistry. Decoding the Still Life approaches these arrangements as coded with meaning and allegory. From the popular and moralizing symbols embedded in 17th-century fruit and flower paintings to the political and personal meanings insinuated by 19th- and 20th-century artists, these implied secrets bring a mysterious resonance to the compositions and underscore their capacity to communicate intellectual insights. Finally, Still Life off the Table takes a liberal view of the genre, looking at radical variations that can be considered still-life related. Abstractions, assemblage and the deconstruction of the tabletop arrangement show how the genre stretches beyond the conventions of its historically conservative nature and yet is malleable enough to remain a vital instrument for provocative, contemporary innovations.

Still life occupies a special place in the Norton Simon Museum, with singular examples in a variety of media, including paintings, prints and photographs. Mr. Simon acquired his first still life in 1955. From that moment on, the genre maintained his attention much as any other he pursued, if it met his criteria for quality, rarity and beauty. Though cautious about revealing his favorite objects in the collection, Simon admitted a deep fondness for Paul Cézanne’s Tulips in a Vase, 1888–90, which is presented in the exhibition. Also included are stellar examples by the genre’s greatest practitioners: Jan Brueghel, Rembrandt and Francisco de Zurbarán, from the 17th century; Jean-Baptiste Siméon Chardin, Gustave Courbet, Henri Fantin-Latour and Vincent van Gogh, from the 18th and 19th centuries; and Pablo Picasso, Richard Diebenkorn, Imogen Cunningham, Edward Weston and George Herms, from the 20th century.

Norton Simon Museum      20.07.2012 - 21.01.2013

Website : Norton Simon Museum

Website : Pasadena

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U.S.A. - NEW HAVEN-CONNECTICUT - Art in Focus: Gazes Returned, The Technical Examination of Early English Panel Painting


Art in Focus is an academic initiative for members of the Center’s Student Guide Program through which students are introduced to every aspect of exhibition practice. Students intensify their engagement with the Center’s collections, strengthen their research skills, and test writing in new formats. Student curators select objects for exhibition, write text panels and object labels, and make decisions about installation.

The sixth exhibition in this initiative, Art in Focus: Gazes Returned, explores Tudor painting technique and examines the condition of key paintings in the Center’s collection. Works in the collection were examined using a variety of analytical techniques employed in modern conservation practice, such as x-radiography and infrared reflectography, x-ray fluorescence, and polarizing light microscopy, to determine each work’s material makeup, technique of fabrication, and subsequent physical history. Past restorations and current state, issues that affect a picture’s cosmetic appearance and art historical interpretation, are explored through a variety of didactic materials including a website, Analytic Tools and Technologies for Examining Tudor and Jacobean Painting, created in conjunction with the exhibition.

The student curators of Art in Focus: Gazes Returned are Hannah Flato (DC 2014), Ilana Harris-Babou (BR 2013), Yidan Li (CC 2014), and Yuxiu Zhong (BA 2012). The students worked under the guidance of Mark Aronson, Chief Conservator; Jessica David, Assistant Paintings Conservator; Linda Friedlaender, Curator of Education; and Jessica Dilworth, Museum Educator.

Yale Center for British Art     13.04.2012 - 09.12.2012

Website : Yale Center for British Art

Website : City of New Haven

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U.S.A.- NEW YORK CITY-NEW YORK. - Century of the Child: Growing by Design, 1900–2000


Ladislav Sutnar. Prototype for Build the Town Building Blocks. 1940–43. Painted wood, large block: 1 3/4 x 2 3/4 x 2 3/4″ (4.4 x 7 x 7 cm). The Museum of Modern Art, New York. Gift of Ctislav Sutnar and Radoslav Sutnar

MoMA’s ambitious survey of 20th century design for children is the first large-scale overview of the modernist preoccupation with children and childhood as a paradigm for progressive design thinking. The exhibition will bring together areas underrepresented in design history and often considered separately, including school architecture, clothing, playgrounds, toys and games, children’s hospitals and safety equipment, nurseries, furniture, and books.

In 1900, Swedish design reformer and social theorist Ellen Key’s book Century of the Child presaged the 20th century as a period of intensified focus and progressive thinking regarding the rights, development, and well-being of children as interests of utmost importance to all society. Taking inspiration from Key—and looking back through the 20th century 100 years after her forecast—this exhibition will examine individual and collective visions for the material world of children, from utopian dreams for the “citizens of the future” to the dark realities of political conflict and exploitation. In this period children have been central to the concerns, ambitions, and activities of modern architects and designers both famous and unsung, and working specifically for children has often provided unique freedom and creativity to the avant-garde.

MoMA    29.07.2012 - 05.11.2012

Website : MoMA

Website : New York City - N.Y.

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U.S.A. - MONTCLAIR-NEW JERSEY Patterns, Systems, Structures: Abstraction in American Art


Russell - Study for Synchromy 1988

This exhibition, curated by MAM’s Chief Curator Gail Stavitsky, is drawn entirely from the permanent collection of the Montclair Art Museum and explores the rich variety of approaches to abstraction in American art. Since the late 19th century, painters and sculptors have not always aimed to depict persons and objects representationally. Artists moved toward abstract visual expression as they experimented with unconventional materials and techniques and developed visual languages of form, color, and line that exist independently from their subjects’ natural appearance. Some artists deliberately altered appearances by stretching or bending forms, breaking up shapes, and giving objects unlikely textures or colors. Others looked to aspects of our person-made world, such as architecture, to invest their compositions with a sense of solidity, monumentality, and structure. Artists have made these transformations in an effort to communicate universal or unseen spiritual aspects of existence and of modern life that they cannot convey through representational treatments.

Montclair Art Museum  04.12.2011 - 19.05.2013

Website : Montclair Art Museum

Website : Montclair

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U.S.A. - HOUSTON-TEXAS - Unrivalled Splendor: The Kimiko and John Powers Collection of Japanese Art


Collectors Kimiko and John Powers began buying Japanese artwork in the 1960s. Over the next four decades they amassed 300 objects, building one of the largest and most comprehensive collections of Japanese art outside of Japan. The MFAH presents 85 selections from their holdings in Unrivalled Splendor: The Kimiko and John Powers Collection of Japanese Art. The last exceptional collection of Japanese art in private hands, the Powers Collection is renowned for its extraordinary scale and quality, and the exhibition provides a rare chance to see these remarkable examples in the Houston region.

Unrivalled Splendor showcases some of the earliest known examples of Buddhist art in Japan; narrative scroll paintings; beautiful examples of calligraphy; screens embellished with gold and silver; sketches; sculptures; and objects of lacquer, pearl, and silver. The wide array, from courtly to popular works of art, reveals overlapping themes in Japanese art.

These diverse and important objects tell the fascinating story of Japan's artistic development and its enduring cultural heritage. Accompanying the exhibition is an illustrated catalogue, published by the MFAH and distributed by Yale University Press.

The Museum of Fine Arts, Houston       10.06.2012 - 23.09.2012

Website : The Museum of Fine Arts, Houston

Website : Houston

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U.S.A. - HELENA-MONTANA - The Poindexter Legacy: MH AB-ex

Harold Schlotzhauer, "Wits End", 2010, digital print on bamboo mat

The Poindexter Collection has influenced a generation of Montana artists who have added their own “sense of place” and mentored new generations with distinctive Montana and Poindexter roots. This legacy is exhibited in conjunction with paintings from the Montana Historical Society’s Poindexter Collection.

Featured artists: Rudy Autio
Lela Autio
Freeman Butts
Sandra dal Poggetto
Bob DeWeese
Gennie DeWeese
Josh DeWeese
George Gogas
Paul Harris
Jerry Iverson
Terry Karson
Mary Ann Kelly
Sara Mast
Ellen Ornitz
Nan Parsons
Jim Poor
Jerry Rankin Robert Royhl
Harold Schlotzhauer
Jay Schmidt
Kathy Schmidt
Bill Stockton
Phoebe Toland
Ted Waddell
Peter Voulkos

Holter Museum of Art      22.06.2012 - 28.10.2012

Website & source : Holter Museum of Art

Website : City of Helena

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U.S.A. - FRESNO-CALIFORNIA - Renzi: Art, Life, Legacy


Renzi: Art, Life, Legacy is the retrospective exhibition of work created by the Valley's own beloved, Clement Renzi, who died in 2009. This exhibition covers a lifetime of work and will fill three of the Museum's galleries. It will include familiar and unfamiliar sculptures and many small maquettes of larger public works, along with a few rare two dimensional works created by the late artist. The exhibition is curated by Mark Rodriguez.

Fresno Art Museum      31.05.2012 - 02.09.2012

Website & source : Fresno Art Museum

Website : City of Fresno

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U.S.A. - DETROIT-MICHIGAN - Picasso and Matisse: The DIA's Prints and Drawings


Pablo Picasso (1881–1973) and Henri Matisse (1869–1954) were ground-breaking visionaries who constantly experimented with techniques and materials. This exhibition features almost all of the works by Picasso and Matisse in the museum’s prints and drawings collections, showcasing their revolutionary achievements that defined much of 20th-century art. This exhibition has been organized by the Detroit Institute of Arts.

The story of Picasso’s and Matisse’s stylistic progression and artistic range will be told through more than 100 prints and drawings, including exceptional works such as Matisse’s 1919 drawing The Plumed Hat and Picasso’s 1939 gouache The Bather by the Sea. Other highlights include Matisse’s famous series Jazz and Picasso’s etchings for the Dream and Lie of Franco, as well as many linoleum cuts by both artists. The DIA’s 13 paintings and two bronze sculptures on permanent display will be on view in the museum’s modern art galleries.

This exhibition has been organized by the Detroit Institute of Arts. Support has been provided by Comerica Bank. Additional support has been provided by the City of Detroit.

Detroit Institute of Arts     11.07.2012 - 06.01.2013

Website & source : Detroit Institute of Arts
Website :City of Detroit
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U.S.A. - DOYLESTOWN - PENNSYLVANIA - To Stir, Inform, and Inflame: The Art of Tony Auth


Tony Auth's cartoons, seemingly simple and always direct, have influenced public opinion and politicians for more than forty years. "Our job is not to amuse our readers," says Auth of a national artistic heritage of editorial cartooning that began with Benjamin Franklin in 1754. "Our mission is to stir them, inform and inflame them." Auth was a fledgling artist from California in 1971 when The Philadelphia Inquirer flew him in for a weeklong job interview as the paper's editorial cartoonist, and thus began a Pulitzer Prize-winning legacy of excellence that documents the changing political and cultural landscape of our time. This retrospective exhibition gathers together the full range of Auth's art, including drawings, paintings, sketches, and newspaper pages, as well as a selection of his award-winning children's book illustrations. From Nixon to Obama, from the energy crisis to the financial crisis, this exhibit will display more than 100 original cartoons that touched the lives of countless newspaper readers in our region and, through syndication, all over America.

The James A. Michener Art Museum    02.06.2012 - 21.10.2012

Website & source : The James A. Michener Art Museum

Website : Doylestown

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U.S.A. - FARGO-NORTH DAKOTA - Jon Offutt: Dakota Horizons


The landscapes of North Dakota are, to borrow a term, legendary. They stretch far and wide, embracing brilliant sunsets over miles of rolling hills, and have been ingrained in the state’s consciousness to the point of being captured on the State Seal. Artists have long treated the North Dakota landscape with reverence and zeal. Fargo glassblower Jon Offutt works its soft lines and deep hues into a new series of work entitled Dakota Horizons.

A special installation of these works are presented in observance of the 50th anniversary of the U.S. Studio Glass Movement. This exhibition is made possible by a grant through the Art Alliance for Contemporary Glass.

Plains Art Museum   06.04.2012 - 19.08.2012

Website & source : Plains Art Museum

Website : City of Fargo

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U.S.A. - DULUTH-MINNESOTA - Mni Sota - Reflections of Time and Place


“Minnesota” comes from the Dakota words “mni sota” which have been translated as “clouds reflecting in water,” “smoky water,” or “cloudy water,” all of which illustrate how our understanding of place has been defined by our surroundings. We use it here as an analogy to describe the innovative shifts of traditional arts throughout time to reflect the current landscape. As a culture whose arts are generally expected to evoke the past, it is not often that innovation is at the forefront of discussion regarding Native American arts. In fact, the historical objects we are so familiar with are only a snapshot of time, and represent a small fraction of the creative arts of Native peoples. Each generation’s work has built upon what has been established by the previous generations, incorporating new materials and media. Innovation is the soul of living art. Each generation, from historic times to the present, was creating contemporary art. The works included in Mni Sota illustrate the importance and necessity of both tradition and innovation in sustaining cultural continuity.

The works of these 17 artists span a wide range of practices from the very old to the very new. They provide stunning examples of the ways in which Native artists of the Minnesota region contribute to the artistic heritage of their people. These artists reflect both the unfaltering influences of change and the strength of our tribal nations. The dialog that emerges between pieces in the exhibit generally categorized as “traditional” and those categorized as “contemporary” emphasizes the dynamic nature of culture, encouraging a broader understanding of tradition. The works help us examine how these categorizing terms are associated with specific types of Native American art work, and how these associations came to be. The line that has historically existed between traditional and contemporary begins to dissolve as we recognize that innovation is and always has been a part of our traditions.

TWEED Museum of Art     29.05.2012 - 26.08.2012

Website & source : TWEED Museum of Art

Website : City of Duluth

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U.S.A. - FORT WORTH-TEXAS - American Vanguards: Graham, Davis, Gorky, de Kooning and Their Circle, 1927–1942


John Graham (1887–1961)

Table Top Still Life with Bird,, 1929
Oil on canvas
Collection of Tommy and Gill LiPuma, New York

During the early twentieth century, the enigmatic and charismatic John Graham (1886–1961) and his circle of New York artists, which included Stuart Davis, Arshile Gorky, and Willem de Kooning, forged their identities and dramatically transformed conceptions of what a painting or sculpture could be.

They, along with others in Graham’s orbit, such as Jackson Pollock and David Smith, played a critical role in developing and defining American modernism. American Vanguards showcases more than sixty works of art from this vital period that demonstrate the inter-connections, common sources, and shared stimuli among the members of Graham’s circle.

American Vanguards: Graham, Davis, Gorky, de Kooning and Their Circle, 1927–1942 was organized by the Addison Gallery of American Art, Andover, Massachusetts. Generous support for this exhibition has been provided by the Henry Luce Foundation, and by the Dedalus Foundation. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

The Fort Worth presentation of the exhibition is sponsored by Bates Container, Frost Bank, and the Arts Council of Fort Worth and Tarrant County.

Amon Carter Museum of American Art     09.06.2012 - 19.08.2012

Website & source : Amon Carter Museum of American Art

Website : Fort Worth

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U.S.A. - DENVER-COLORADO - Yves Saint Laurent: The Retrospective


A sweeping retrospective of the designer’s 40 years of creativity, Yves Saint Laurent: The Retrospective features a stunning selection of 200 haute couture garments along with numerous photographs, drawings, and films that illustrate the development of Saint Laurent's style and the historical foundations of his work. Organized thematically, the presentation melds design and art to explore the full arc of Saint Laurent’s career, from his first days at Dior in 1958 through the splendor of his evening dresses from 2002. The DAM will be the only United States venue for the exhibition

Denver Art Museum       25.03.2012 - 08.07.2012

Website & source : Denver Art Museum

Website : Denver

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U.S.A. - DALLAS-TEXAS - Flower of the Prairie: George Grosz in Dallas


In 1952 George Grosz, the expatriate German dadaist and satirist, was invited to Dallas by Leon Harris, Jr., the young vice president of the Harris and Company department store. Harris had commissioned Grosz to create a series of paintings illustrating the landscape, economy, and society of Dallas for the store’s 65th anniversary celebrations. Grosz’s series, called Impressions of Dallas, was exhibited at the Dallas Museum of Fine Arts in Fair Park in October 1952 and then in New York in 1954, but have since remained almost forgotten.

In 2012 on the 60th anniversary of the series’ first presentation at the DMFA, the Dallas Museum of Art will present Flower of the Prairie: George Grosz in Dallas. The exhibition will feature twenty works from the series, accompanied by a rich selection of historic photographs of Dallas, documenting the city as Grosz discovered it in 1952. The exhibition will also examine the context for the Impressions of Dallas series with twelve of Grosz’s works made earlier in his career, including graphic work and watercolors made in Berlin in the 1920s and early 1930s, and paintings and watercolors made in New York during the late 1930s and 1940s.

The exhibition will be accompanied by the Dallas Museum of Art's first e-catalogue, an electronic publication describing the history of Grosz’s Dallas paintings. The catalogue, featuring an essay by exhibition curator Heather MacDonald and additional contributions by Andrew Sears, will describe Grosz’s career in the postwar years, relate the history of the Impressions of Dallas commission, and offer a rich portrait of Dallas in the early 1950s. The catalogue will reproduce the Impressions of Dallas series in its entirety for the first time, and will also illustrate many other paintings, watercolors, drawings, and prints by Grosz, as well as many historic photographs of Dallas.

Flower of the Prairie: George Grosz in Dallas is organized by the Dallas Museum of Art and curated by Heather MacDonald, The Lillian and James H. Clark Associate Curator of European Art.

Dallas Museum of Art           20.05.2012 - 19.08.2012

Website : Dallas Museum of Art

Website : City of Dallas

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U.S.A. - CINCINNATI-OHIO - Old Masters to Impressionists: Three Centuries of French Painting


Claude Monet

Hartford art patron Daniel Wadsworth (1771-1848) founded the Wadsworth Atheneum to share the wonders of art with the public. America’s oldest public art museum, the Wadsworth Atheneum Museum of Art has a rich and diverse collection of European art, featuring approximately 900 paintings, 500 sculptures, 800 drawings, and 3,000 British and Continental prints. Paintings on display represent periods ranging from late medieval through the mid-twentieth century. Especially impressive are Baroque paintings, including masterworks by Caravaggio, Hals, van Dyck, and Claude Lorrain.

Nineteenth century artists, particularly those working in France, are amply featured and include significant works by Degas, Cézanne, Renoir, Monet, Manet, van Gogh, Theodore Rousseau, Courbet, Boudin, and Sisley

Taft Museum of Art        18.05.2012  -  16.09.2012

Website & source : Taft Museum of Art

Website : City of Cincinnati

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U.S.A. - COLUMBUS-OHIO - The Radical Camera: New Yorks Photo League 1936-1951


Change the world – one photograph at a time. Guided by a belief in the transformative power of photography, the Photo League took to the streets in the 1930s and 1940s to record the effects of poverty, war, racial inequality, and social injustice. Artists in the Photo League were known for capturing sharply revealing, compelling moments from everyday life. Their focus centered on New York City and its vibrant streets – a shoeshine boy, a brass band on a bustling corner, a crowded beach at Coney Island. Many of the images are beautiful, yet harbor strong social commentary on issues of class, race, and opportunity. The Radical Camera exhibition explores the fascinating blend of aesthetics and social activism at the heart of the Photo League.

The innovative contributions of the Photo League during its 15-year existence (1936–1951) were significant. As it grew, the League would mirror monumental shifts in the world starting with the Depression, through World War II and ending with the Red Scare. Born of the worker’s movement, the Photo League was an organization of young, idealistic photographers who believed in documentary photography as an expressive medium and powerful tool for exposing social problems. It was also a school with teachers such as Sid Grossman, who encouraged students to take their cameras to the streets and discover the meaning of their work as well as their relationship to it. The League had a darkroom for printing, published an acclaimed newsletter called Photo Notes, offered exhibition space, and was a place to socialize, especially among first-generation Jewish-Americans.

The first museum exhibition in three decades to comprehensively look at the Photo League, The Radical Camera reveals that the League encouraged a surprisingly broad spectrum of work throughout extraordinarily turbulent times. The organization’s members included some of the most noted photographers of the mid-20th century—W. Eugene Smith, Weegee, Lisette Model, Berenice Abbott and Aaron Siskind, to name a few. The Photo League helped validate photography as a fine art, presenting student work and guest exhibitions by established photographers such as Eugène Atget, Henri Cartier-Bresson, and Edward Weston, among others.

These affecting black and white photographs show life as it was lived mostly on the streets, sidewalks and subways of New York. Joy, playfulness, and caprice as well as poverty and hardship are in evidence. In addition to their urban focus, Leaguers photographed in rural America, and during World War II, in Latin America and Europe. The exhibition also addresses the active participation of women who found rare access and recognition at the League. The Radical Camera presents the League within a critical, historical context. Developments in photojournalism were catalyzing a new information era in which photo essays were appearing for the first time in magazines such as Life and Look.

As time went on, its social documentary roots evolved toward a more experimental approach, laying the foundation for the next generation of street photographers. One of the principal themes of the exhibition is how the League fostered a multifaceted and changing identity of documentary photography, and a move toward a more subjective, poetic reading of life.

In 1947, the League came under the pall of McCarthyism and was blacklisted for its alleged involvement with the Communist Party. Ironically, the Photo League had just begun a national campaign to broaden its base as a “Center for American Photography.” Despite the support of Ansel Adams, Beaumont and Nancy Newhall, Paul Strand and many other national figures, this vision of a national photography center could not overcome the Red Scare. As paranoia and fear spread, the Photo League was forced to disband in 1951. As ARTnews said in their review, “This long-overdue and well-deserved survey demonstrates the extent to which the Photo League influenced our understanding of documentary photography.”

The exhibition was organized by Catherine Evans, William and Sarah Ross Soter Curator of Photography, Columbus Museum of Art and Mason Klein, Curator of Fine Arts, The Jewish Museum.

Following its CMA presentation, The Radical Camera exhibition will travel to the Contemporary Jewish Museum, San Francisco, CA (November 15, 2012 – February 24, 2013); and Norton Museum of Art, West Palm Beach, FL (March 16 – June 16, 2013).

Columbus Museum of Art    19.04.2012 - 09.09.2012

Website & source : Columbus Museum of Art 

Website : City of Columbus

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U.S.A. - CHAMPAIGN-ILLINOIS - Walking in Paris: Viewing the City and Its Denizens in the 19th Century


Camille Pissarro

Statue d'Henri IV, matin, soleil d'hiver (Statue of Henri-VI, Morning, Winter Sunlight), 1900
Oil on canvas
Gift of Mr. and Mrs. Merle J. Trees

In this installation, the museum invites viewers to visit Paris through a selection of paintings, prints and photographs that evoke the voyeuristic experience of the flâneur, an idle stroller who enjoys the urban environment in all its glory and decadence. The selection of artists include Pierre Bonnard, August-Louis Lepère, Camille Pissarro, Henri de Toulouse-Lautrec, and several others.

Krannert Art Museum   22.05.2012 - 12.08.2012
Website & source : Krannert Art Museum
Website : City of Champaign
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U.S.A. - COLUMBIA-SOUTH CAROLINA - The Art of Seating: 200 Years of American Design


For millennia, humans have used chairs. The earliest surviving three-dimensional depiction of a chair is a clay model dating back to approximately 4750-4600 BCE. The oldest surviving chair is that of the ancient Egyptian princess, Sitamun, dating to approximately 1400 BCE.

In the 17th century, European immigrants to the New World brought furnishings with them, and used them as prototypes when they began producing domestically. It was not until the early-19th century that Americans began to manufacture chairs in a distinctly American style.

The Art of Seating: 200 Years of American Design is the first comprehensive exhibition of American chair design in the history of the Museum and serves as a complement and a contrast to the popular exhibition of international chair design — One Hundred Masterpieces from the Vitra Design Museum Collection — held in 1999.

Hailing from the Jacobsen Collection of American Art, the exhibition documents the rich and varied evolution of American design, illustrating the emergence of new technologies and materials, changes in consumer preferences, and social and cultural developments. Designed for function, each of these sculptural works possesses a unique story.

The earliest chairs in the exhibition, both dating to the fi rst half of the 19th century, are a diminutive Ladderback Doll's Chair and a similarly styled Rocking Arm Chair designed and made by a Shaker adherent for use in the religious community in New Lebanon, New York. Made of locally procured woods, the chairs refl ect a nascent American consciousness. The Founding Fathers encouraged the domestic manufacture of finely crafted goods using native materials and technologies as part of forging a national identity.

The 19th century was a period of rapid growth and profound change for the fledgling republic. In the decorative arts, particularly furniture, the classical infl uence of ancient Greece and Rome gradually gave way to revival styles of other eras, yet with a uniquely American aesthetic. These styles infl uenced the design and manufacture of seating furniture, which by this time was being made en mass in factories. These factories employed a variety of media and new technologies, such as steam-bent and laminated woods, which were further embellished with rich stains and exotic veneers.

Made by the American Chair Company in Troy, New York, the Centripetal Spring Arm Chair (c. 1850) perfectly illustrates the Rococo aesthetic popular at midcentury. The boldly sweeping curves of the cast iron legs and the pierced neck rest are mirrored in the rich, velvet gauffrage (embossed) upholstery that covers the back and seat. This chair was designed by Thomas E. Warren and patented by him on September 25, 1849; Warren adapted his patent the following year in designing chairs for passengers on railway cars. In both designs, the stationary seat and back assembly "float" above quadruped legs through the use of eight iron springs radially arrayed from the central support post. The Centripetal Spring Arm Chair can move laterally as well as vertically, through a subtle shift in weight of the sitter.

Fast forwarding 100 years, Charles and Ray Eames’ LCW (Lounge Chair Wood) (c. 1945) is similar to the Centripetal Arm Chair, principally in the use of laminated and molded woods. Hailed by Time magazine as the "Chair of the Century," the LCW was praised for its compact and lightweight design. This appealed to a postwar rising middle class and a subsequent Baby Boom generation, who were looking for inexpensive, yet stylish, furnishings. In contrast to the mass production of the LCW — which is still being produced today by the Herman Miller Furniture Company, a testament to its timeless design — Vivian Beer’s sinuous and sensuous chair, Current (2004), embodies the spirit of the American studio furniture movement, which peaked around 1960 but remains popular to this day. Its proponents favored the aesthetics of craft and the handmade over the machine and mass production.

Beer's work pushes the boundary between art and craft, between utilitarian object and sculptural work of art. "I wanted this chair to seem as if it had been cut and crushed out of a single sheet of metal," Beer said of Current. "At the same time I wanted it to feel as fast and clean as water in its silhouette with the power of an implied brutal forming in the background. The balance and the trickery are important."

Through the more than 40 chairs in the exhibition, visitors learn not only the unique history of each chair, but also how they refl ect the broader historic, social, economic, political and cultural context in which they were created. The Art of Seating was organized by the Museum of Contemporary Art (MOCA), Jacksonville and circulated by International Arts and Artists (IA&A) of Washington, D.C.

Columbia Museum of Art  28.04.2012 - 26.08.2012

Website & source :Columbia Museum of Art
Website : Columbia
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U.S.A. - CHICAGO-ILLINOIS - Martin Creed Plays Chicago


Work No. 845 (THINGS), 2007

Multicolored neon
6 in. (15.2 cm) high
Collection of Toby Webster, Glasgow, Scotland
Courtesy of the artist and Gavin Brown’s enterprise, New York

In works that range from intimate poetic objects to large-scale neon signs, Martin Creed (British, b. 1968) reevaluates the status of art with a generous sense of humor. As part of a yearlong residency at MCA Chicago, Creed brings his avant-garde sensibility to the building and the city. In each month of 2012, Creed unveils an artwork in a different space of the MCA, progressing upward through four floors of the building and extending his work outward to the sculpture garden and plaza and into the city of Chicago. Some works live as sculptures in the museum’s public spaces, and some projects are site specific—for instance, murals in the atrium and café. Others still, such as a work that takes the form of crumpled balls of paper placed in each of the museum’s public spaces, play with the notion of the carefully curated object. Extending his project beyond the MCA, Creed—who fronts a rock band—explores the city’s vibrant music scene as well.

The artist’s work and projects enliven the museum and the city and involve visitors in unexpected ways. As objects are presented throughout the building and city over the course of the year, Creed also gives several performances, building toward the US premiere of his first ballet, presented in the MCA’s theater in the fall of 2012. Martin Creed Plays Chicago connects this renowned artist to the MCA and the city of Chicago in ways that are as multifaceted as his practice.

Creed is one of the United Kingdom’s leading artists and winner of the 2001 Turner Prize. He lives and works in London and spends time in Alicudi, Italy. Creed’s work has been exhibited widely at a variety of international venues, including the Moscow Museum of Modern Art, New York; the Centre Pompidou–Metz, France; Tate Modern, London; and Van Abbemuseum, Eindhoven, the Netherlands.

Museum of Contemporary Art Chicago   01.01.2012 - 31.12.2012

Website & source : Museum of Contemporary Art Chicago

Website : City of Chicago

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U.S.A. - CAMBRIDGE-MASSACHUSETTS - Lyonel Feininger: Photographs, 1928–1939


Untitled (Night View of Trees and Streetlamp, Burgkühnauer Allee, Dessau), 1928, Lyonel Feininger, gelatin silver print, Gift of T. Lux Feininger, Houghton Library, Harvard University, MS Ger 146.4 (291). © 2012 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn.

One of the most versatile talents of the modern art movement in Germany, the American-born Lyonel Feininger (1871–1956) is celebrated as a master of caricature, figurative painting, and a distinctive brand of cubism, but he also created a fascinating body of photographic work that is virtually unknown. Drawn primarily from the artist’s own collection (now at Harvard University), this exhibition offers the first opportunity to consider his achievement within the medium. Focusing on the rich and productive period between 1928 and the late 1930s, when Feininger was experimenting with an array of avant-garde photographic techniques and printing his own work, these photographs range from early atmospheric night views made at the Bauhaus (where he took up the camera in 1928) to bird’s-eye views of New York City (where he settled permanently in 1937).

The Sackler Museum is the final venue for this traveling exhibition. Selected drawings and watercolors by the artist from the Art Museums’ collections will also be on view. Curated by Laura Muir, Assistant Curator of the Busch-Reisinger Museum, Division of Modern and Contemporary Art, Harvard Art Museums. Organized by the Harvard Art Museums/Busch-Reisinger Museum, in cooperation with the Kupferstichkabinett, Staatliche Museen zu Berlin; the Staatliche Graphische Sammlung München; and the J. Paul Getty Museum, Los Angeles.

Catalogue (Winner, German Photo Book Award in Gold 2012): The accompanying catalogue includes an essay by exhibition curator Laura Muir, which explores the origins of Feininger’s photographic work at the Bauhaus, its development over the next decade, and its complex and ambivalent relationship to his work in other media. Based on Feininger’s correspondence, interviews with his son T. Lux, who witnessed his father’s work firsthand, and the artist’s collection of negatives in the Busch-Reisinger Museum’s Lyonel Feininger Archive, the catalogue presents a wealth of new information that dramatically expands our view of Feininger as an artist and the history of modernist photography.

Havard Art Museums   30.03.2012 - 02.06.2012

Website & source : Harvard Art Museums

Website : City of Cambridge

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U.S.A. - BOULDER-COLORADO - Viviane Le Courtois : Edible ?


Viviane Le Courtois, Cellules 1 (detail), 2009, natural etching, 1/15

Twenty-two Years of Working With Food

Featuring the new interactive installation
The Garden of Earthy Delights
West Gallery and East Gallery

While Viviane Le Courtois has been working with food as a medium or source of inspiration since 1990, Edible? at Boulder Museum of Contemporary Art presents the first opportunity to experience a large selection from this body of work in context. In addition to the newly commissioned interactive installation The Garden of Earthy Delights, the exhibition comprises a mid-career retrospective of food-related work of the past twenty-two years by this Denver-based artist. Through sculptures, performances, videos, photos, prints, and interactive installations, Le Courtois explores the processes of consumption, focusing on the repetitive aspects of food preparation, ceremonial food offerings, and the social implications of eating.

The earliest works in the exhibition, executed in France in the 1990s before her move to the US, include an installation of chewed licorice sticks as well as photographs and video documentation of performances and sculptural work made from foraged foods, fruit peelings, and nut shells. For a series of Pickles from the early 2000s, Le Courtois filled over 200 jars with various liquids and random objects in memory of her then recently-deceased mother, who had a tendency to keep pickle jars long after the contents had been consumed.

A series of etchings employing the naturally occurring acids of the kombucha mushroom continues to fascinate Le Courtois, who has created over forty different plates since developing the process in 2004. A number of these prints, as well as the mushrooms used to create them, will be on view alongside large-scale sculptures from a series of works created from junk food such as chips, candy, and marshmallows. These include the Cheetovore, Shane The Obese Marshmallow Teenager, a group of Little Fat Kids – small figurines made from melted and cast candy, and the Venus of Consumption, a crocheted sculpture of an obese, reclining woman.

Since 2010, Le Courtois has become increasingly interested in aspects of interaction and participation and has organized a number of events for which she prepared and served meals for a large number of guests, including How to Eat An Artichoke, held at RedLine Denver in 2010, and a curry dinner for the exhibition Do It! at Rocky Mountain College of Art + Design in 2011.

The Garden of Earthy Delights, a living interactive installation created for BMoCA, is envisioned as a space for people to relax, think, and interact. Herbs such as mint, verbena, thyme, sage, and rosemary are arranged throughout the gallery in miniature gardens for consumption in tea, in reference to the ancient process of growing, collecting, and consuming plants. Every Saturday between 1pm and 3pm, the artist will tend to the plants, serve tea, and offer samples of sprouts, microgreens, and baby greens, grown inside the museum as part of the exhibition.

Viviane Le Courtois was born in France in 1969. She moved to the US in 1994 and currently lives in Denver, Colorado. She received her Diplôme National Supérieur d’Expression Plastique (MFA) in Sculpture/Installations from the International School of Art and Research in Nice, France in 1992 and an MA in Art History from the University of Denver in 2000. In 2009 Westword presented Le Courtois with the Mastermind Award in Visual Arts. She was a resident artist at RedLine Denver from 2008 to 2011. She regularly exhibits in the US and Europe and has shown her work at the Passerelle Art Center in France, Mobius in Boston, and at many venues in Colorado, including Rocky Mountain School of Art + Design, Regis University, and the Museum of Contemporary Art Denver during the 2010 Biennial of the Americas.

Boulder Museum of Contemporary Art    23.02.2012 - 17.06.2012

Website & source : Boulder Museum of Contemporary Art

Website : City of Boulder

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U.S.A. - BOSTON-MASSACHUSETTS - Silver, Salt, and Sunlight: Early Photography in Britain and France


The invention of photography in 1839 was a pivotal achievement that changed the course of cultural history. The early years of the medium were rich in experimentation. As each process and technique was invented, artists enthusiastically explored new possibilities for visual recording and expression. This exhibition celebrates the golden age of early photography in France and Britain, the two countries in which the medium was simultaneously invented.

Arranged according to theme and exploring a range of photographic approaches, “Silver, Salt, and Sunlight” features some rare early photographs from the Museum's collection. Among the photographic pioneers included are William Henry Fox Talbot, Hill and Adamson, Roger Fenton, Edouard Baldus, Gustave Le Gray, Nadar, Julia Margaret Cameron, and Francis Frith.

Museum of Fine Arts Boston     07.02.2012 - 05.08.2012

Website :Museum of Fine Arts Boston
Website : City of Boston
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U.S.A. - BIRMINGHAM-ALABAMA - Look of Love: Eye Miniatures from the Skier Collection


This stunning exhibition explores the little-known subject of “lover’s eyes,” hand-painted miniatures of single human eyes set in jewelry and given as tokens of affection or remembrance. In 1785, when the Prince of Wales secretly proposed to Mrs. Maria Fitzherbert with a miniature of his own eye, he inspired an aristocratic fad for exchanging eye portraits mounted in a wide variety of settings including brooches, rings, lockets, and toothpick cases.

With over 100 examples, the collection of Dr. and Mrs. David A. Skier of Birmingham is the largest in the world. This exhibition offers an unprecedented look at these unusual and intriguing works of art.

The exhibition is accompanied by a full color, hardbound catalogue of the same name, edited by Dr. Graham C. Boettcher, The William Cary Hulsey Curator of American Art, and published by D Giles Ltd., London. An essay by Elle Shushan sets the historical scene and examines the role of lover’s eyes in the broader context of Georgian and early Victorian portrait miniatures. Boettcher looks at the language and symbolism of these tokens and their jeweled settings. Additionally, novelist and biographer Jo Manning offers five fictional vignettes imagining the circumstances surrounding the creation of these extraordinary objects.

Visitors can also interact with the exhibition in a new way: the Museum's very first iPad app! The Look of Love app allows visitors to see these tiny, intricate objects at up to twenty times their actual size. They can also see images of the backs of objects or short videos of how the objects open. Twenty iPad devices are available for check-out and use in the Arrington Gallery, and volunteers are on hand to show how the devices and the app work.

Birmingham Museum of Art     07.02.2012 - 10.06.2012
Website : Birmingham Museum of Art
Website : City of Birmingham
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U.S.A. - BALTIMORE-MARYLAND - Embroidered Treasures: Textiles from Central Asia

Detail, Borpush or Nimsuzani. Uzbekistan. Early 20th century. The Baltimore Museum of Art: Gift of Jerry Maizlish, Sparks, Maryland, BMA 1991.446

Approximately 19 bold, colorful embroidered textiles from Central Asia are being presented for the first time at the BMA. These stunning late 19th- to early 20th-century textiles include wall hangings, covers, a wedding canopy, and saddle cover made in Afghanistan, Uzbekistan, and Tajikistan. They represent both city cultures and those of formerly nomadic peoples such as the Lakai. Primarily made of cotton with multicolored silk thread embroidery by young women and their female relatives, many of these textiles were used as part of their dowries and family treasures that were reluctantly parted with during periods of political and economic hardship.

Baltimore Museum of Art    13.11.2011 - 08.07.2012

Website : Baltimore Museum of Art

Website : City of Baltimore

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