2013-12-26

U.S.A. - LONG BEACH- CALIFORNIA - Whims and Absurdities - 12.12.2013-04.05.2014

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Whims and Absurdities is a playful look at MOLAA’s Permanent Collection. It will feature a selection of pieces from the collection by artists who employ humor, absurdity and the fantastic to tell personal, regional, and universal stories. The exhibition will be divided into four sections: Ancestral Connections investigates visual and conceptual links to the pre-Hispanic past; Myths and Mysticism explores works influenced by spirituality and superstition; Humor and Identity features both personal as well as national concerns; and Transcendent Landscapes will show expressive and dreamlike environments. Artists include Fernanda Brunet, Elsa Mora, Rodolfo Morales, Fernando de Szyzlo, and Rufino Tamayo, among others.



MOLAA - Museum of Latin Art     12.12.2013 - 04.05.2014




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2013-12-19

U.S.A. - HOUSTON-TEXAS - Outside the Lines - 31.10.2013-23.03.2014

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Dona Nelson, "Orangey," 2011. 83 x 81 inches, Acrylic mediums and dyed cheesecloth on canvas. Courtesy the artist and Thomas Erben Gallery, New York.




Presented on the occasion of the Contemporary Arts Museum Houston's 65th anniversary, Outside the Lines is a six-part exhibition series conceived as an evolving dialogue on contemporary abstraction. From recent paintings embracing more traditional definitions of abstraction to multimedia works that challenge such notions, these exhibitions showcase the Museum's commitment to chronicling shifts in contemporary art practices by presenting some of the most compelling work being made today and revisiting the historical foundations to which they speak. CAMH's director Bill Arning and full curatorial staff—Valerie Cassel Oliver and Dean Daderko—will each organize two exhibitions; these six complete visions will be mounted in two rounds. Outside the Lines will be installed in both the Brown Foundation and the Zilkha galleries, uniting the whole museum in one thematic exhibition for the first time. Constructed as a dynamic, diverse, and innovative curatorial project, Outside the Lines offers a variety of vibrant visual experiences and perspectives on abstraction in the present moment.

Hearkening back to the popular CAMH exhibition Abstract Painting, Once Removed (organized by Dana Friis-Hansen, 1998) and the curatorial experimentation in Changing Perspectives (1995), Outside the Lines opens October 31 with three presentations: UIA (Unlikely Iterations of the Abstract) organized by Arning, Black in the Abstract, Part 1: Epistrophy organized by Cassel Oliver, and Outside the Lines organized by Daderko. Staggered openings in January 2014 for the remaining three exhibitions in the series—Painting: A Love Story, Rites of Spring, and Black in the Abstract, Part 2: Hard Edges/Soft Curves—invite audiences to re-visit the evolving exhibition and consider abstract painting from multiple vantage points. Though installed in dedicated spaces, these exhibitions converse with each other. The full complement of shows will be contextualized within a single catalogue to be published in 2014.



 
Contemporary Arts Museum Houston       31.10.2013 - 23.03.2014




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2013-12-12

U.S.A. - KANSAS CITY-MISSOURI - Impressionist France -19.10.2013-09.02.2014

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Experience the pleasure and excitement of traveling through mid-19th century France. From Paris to the countryside, the top of Mont Blanc to the Mediterranean, this exhibition features approximately 125 key paintings and photographs by well-known Impressionists such as Claude Monet, Camille Pissarro and Pierre-Auguste Renoir, as well as important photographs by Gustave Le Gray and Édouard Baldus.

Impressionist France explores connections between landscape and national identity during a period in which France was being fundamentally transformed and modernized. Painters and photographers composed competing visions of France as modern and industrialized or, in equally potent terms, as rural and anti-modern.

Within this historical context key artists emerged and drew inspiration, including Monet, Pissarro and others from the Impressionist generation. It is also during this period that influential photographers, such as Le Gray, Baldus, and the Bisson frères profoundly advanced the practice of photography from amateur experimentation to artistic mastery, while also demonstrating its value as a vital documentary tool for state-sponsored agendas.

This exhibition will showcase works never before seen in the region, and include important paintings and photographs from 36 major American and European museums and several private collections.





Nelson-Atkins Museum of Art    19.10.2013 - 09.02.2014




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2013-12-05

U.S.A. - DURHAM-NORTH CAROLINA - Lines of Control: Partition as a Productive Space - 19.09.2013-02.02.2014

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Lines of Control: Partition as a Productive Space explores the creation and maintenance of borders, both physical as well as psychological, through the works of artists primarily from South Asia. These artists focus on the idea of partition as a productive space–where nations are made through forging new identities and relationships; reconfiguring memory and creative forgetting; re-writing history and the making of myths; and through the creation and patrolling of borders. Developed by the nonprofit arts organization Green Cardamom, Lines of Control: Partition as a Productive Space originated in London in 2009 as an exhibition focused on South Asian artists and the division of India in 1947. The project later expanded to a larger exhibition at the Herbert F. Johnson Museum of Art at Cornell University and the Nasher Museum of Art at Duke University, incorporating works by artists from countries such as Mexico, Lebanon, and Ireland.

The artists are Bani Abidi, Roohi Ahmed, Francis Alÿs,  Farida Batool, Adam Broomberg and Oliver Chanarin, Muhanned Cader, DAAR (Decolonizing Architecture/Art Residency), Iftikhar Dadi, Anita Dube, Taghreed Elsanhouri, Sophie Ernst, Gauri Gill, Shilpa Gupta, Zarina Hashmi, Mona Hatoum, Ahsan Jamal, Amar Kanwar, Nalini Malani, Naeem Mohaiemen, Tom Molloy, Rashid Rana, Raqs Media Collective, Jolene Rickard, Seher Shah, Surekha, Hajra Waheed and Muhammad Zeeshan.

This exhibition is co-curated by Hammad Nasar (curator and co-founder of Green Cardamom) and Iftikhar Dadi (Associate Professor of Art History and Department Chair Art at Cornell University).

Lines of Control is a Green Cardamom Project. Its presentation at the Nasher Museum of Art at Duke University has been jointly organized by Green Cardamom and the Herbert F. Johnson Museum of Art, Cornell University. Major support for the exhibition and catalogue was provided by the E. Rhodes and Leona B. Carpenter Foundation, the Jarett F. and Younghee Kim-Wait Fund for Contemporary Islamic and Middle Eastern Arts, Gandhara-Art, the Mondriaan Fund, and Ali and Amna Naqvi.

Lines of Control is made possible by the William R. Kenan, Jr. Charitable Trust, the Fenwick Foundation, and Barbara Nicholson McFadyen. Additional support is provided by the BorderWork(s) Humanities Lab at the Franklin Humanities Institute, Duke University, supported by the Humanities Writ Large grant from the Andrew W. Mellon Foundation.




Nasher Museum of Art at Duke University    19.09.2013 - 02.02.2014




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2013-11-28

U.S.A.- DULUTH-MINNESOTA - Treasures From Tweed: Transcendental Landscape Paintings - 15.03.2013-15.03.2015

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Treasures From Tweed: Transcendental Landscape Paintings


From the Hudson River Valley, to the forests of rural France, to the shores of Lake Superior, come and witness the range and variety of George Tweed's collecting style with this treasure-filled exhibition of twenty-seven 19th and early 20th century landscape paintings from the George P. Tweed Memorial Art Collection



 
Tweed Museum of Art   15.03.2013 - 15.03.2015



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2013-11-21

U.S.A. - DETROIT-MICHIGAN - Foto Europa, 1840 to the Present - 25.10.2013-27.04.2014

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Eugène Atget (French, 1857-1927), Rue des Haudriettes, 2 (Paris), 1901, albumen print. Founders Society Purchase, Acquisitions Fund. DIA no. F1983.76



Europe saw the birthplace of photography in France in 1839. Since then the continent has continued to be a center for progressive ideas and experimentation with the “foto”—photo in German. European artists and photographers have helped establish the medium as a serious form of creative expression, defining and redefining the position of photography within the larger world of art.

This exhibition features works of art from some of most Europe’s most well-known artists and photographers including Julia Margaret Cameron, Eugène Atget, HenriCartier-Bresson, Robert Frank, Christian Boltanski and Gerhard Richter among others. The exhibition also features several new acquisitions featuring work by Wolfgang Tillmans and Bernd and HIlla Becher.

Drawn mostly from the DIA’s permanent collection, Foto Europa examines aspects of the long and prestigious history of European photography primarily in France, Germany and Great Britain, regions where photographic practice has flourished.
 
 
 
 
Detroit Institute of Arts     253.10.2013 - 27.04.2014
 
 
 
 
 
 
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2013-11-14

U.S.A. - ELMHURST-ILLINOIS - Inventory_The EAM Collection - 21.09.2013-05.01.2014

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Elmhurst Art Museum presents Inventory_The EAM Collection from September 21, 2013 - January 5, 2014. Inventory_The EAM Collection unpacks the Museum's vault and fills the galleries from floor to ceiling with art and objects from its collection. Never before has the entire building been dedicated to EAM's holdings--until now. This ambitious exhibition provides unprecedented access to EAM's unique collection and includes work spanning three centuries by such notable artists as Thomas Eakins, Frederic Remington, Sonia Delaunay, Abbott Pattison, Tsuguharu Foujita, Peter Saul and EAM's own founder, Eleanor King Hookham--all ripe for interpretation and discovery.

EAM established its collection in 1981, when the Museum opened its doors in a single classroom at Eldridge School. Through a second move, the purchase of Mies van der Rohe's McCormick House and the construction of a new building in 1997, the collection has grown to encompass more than 600 objects from around the world. Focused largely on contemporary local and national artists, many who have participated in EAM exhibitions, the collection chronicles the institution's history and development.
 
After more than 30 years of amassing objects, EAM is taking stock of the collection to identify its strengths and weaknesses, compile new research and determine the future direction the collection will take. To this end, the Inventory occurs both behind the scenes and in the galleries. Objects will be loosely ordered in a way that corresponds to their time of acquisition, yet the sequence will be punctuated with special groupings distinctive to EAM's collection. Together these objects define a dynamic and evolving institution, yet individually, each tells many different stories.

EAM's Collection ranges from a Han Dynasty bronze vessel and a 19th century iron spear from the Democratic Republic of Congo to early 20th century architectural drawings by Mies van der Rohe and late 20th century paintings by self-taught artist Lee Godie. The collection includes several works from the mid-20th century, providing a context for the Museum's McCormick House, designed by Mies van der Rohe in 1952 (often referred to as the largest "work" in the collection). Mies himself is further explored through his iconic furniture designs and portraits by Hugo Weber and William S. Engdahl from Hedrich Blessing Photography. Fused glass objects by Frances and Michael Higgins, sculpture by Abbot Pattison, and prints by Richard Florsheim and Richard Koppe are among our many examples of the modernist impulse in Chicago.

Prints and drawings from the 1960s-80s by important American figures such as Peter Saul, Ellen Lanyon, Barbara Rossi, and John McCracken join those by Elmhurst favorites Sandra Jorgensen, Keith Achepohl, and EAM founder Eleanor King Hookham. Chicago painting from the 1980s and 90s forms a significant part of the collection with canvases by Phyllis Bramson, Michiko Itatani, Wesley Kimler, the Zhou Brothers and many others who are still working in Chicago. The collection is brought into the 21st century with works by Nikki Renee Anderson, Doug Fogelson, Melissa Oresky, Billy Tokyo, and many others, representing EAM's compelling exhibition program from the past decade.




Elmhurst Art Museum       21.09.2013 -05.01.2014




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2013-11-12

U.S.A. - ERIE-PENNSYLVANIA - Romantics to Moderns: British Watercolors from the collection of BNY Mellon - 19.10.2013-12.01.2014

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Turner


Romantics to Moderns is a veritable survey of British art from the late 18th to the early
20th centuries, drawn from the outstanding collection of BNY Mellon.
Highlights from the exhibit include Hampstead, 1833 by John Constable, which gives evidence of the artist’s interest and near-scientific study of clouds. An extraordinary highlight is the ethereal Barnard Castle, by J.M.W. Turner, a mature work in which he floods the smooth, shiny white paper with transparent washes.

Also on view are several large-scale watercolors, some of which are roughly two feet in length, including David Cox’s mysterious Evening. These works demonstrate the grand scale with which British artists presented their highly finished watercolors. Many early watercolors were not intended to be framed and hung on the wall, but rather to be studied in portfolios and albums, making these presentation pieces rare finds. The landscape tradition and interest in pastoral subject matter present in these works continued well into the mid-19th century. Detailed watercolors such as a farm scene by Samuel Palmer and a majestic mountain view, Ullswater at Midday, by Alfred Willim Hunt are prime examples. One of 19th century art’s most important figures, John Ruskin is represented by two watercolors, including an exuberant view of Venice.

Inspired by the wonderful art collection of collector and philanthropist Paul Mellon, BNY Mellon’s collection began in 1980. It represents more than three decades of building and refinement, begun with a core group of classic English watercolors that tell the historic story. Paul Mellon’s legacy includes generous gifts to the National Gallery of Art, the Virginia Museum of Art, as well as the establishment of the Yale Center for British Art and the London Center for British Studies in the History of Art.




Erie Art Museum      19.10.2013 - 12.01.2014




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2013-11-05

U.S.A. - CORAL GABLES-FLORIDA - Beauty Beyond Nature - The Glass Art of Paul Stankard - 02.11.2013-05.01.2014

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Beauty Beyond Nature presents more than 70 of Paul Stankard’s intricately flame-worked still-life sculptures encased in clear crystal from the Robert M. Minkoff Collection. The collection spans more than 40 years of Stankard’s career, from his earliest attempts at paperweights in 1969 to a monumental eight-inch Honeybee Swarm Orb commissioned for this exhibition in 2010.

With meticulous technical skill, Stankard creates a variety of flora, insects, figurative elements and poetry that demonstrate his acute powers of observation and artistic sense. He references the plant kingdom as his primary inspiration but does not purport to create scientifically accurate representations of individual species.
“I think of my work as referential,” states Stankard. “These are not literal flowers, though it is important to make them believable. The point of my work is not to make specimens but to evoke the experience of nature.”

Included in the exhibition are works representing all of Stankard’s design series beginning with his floral Paperweights inspired by the Victorian-age French botanical paperweights of Baccarat, St. Louis, and Clichy.
Unsatisfied with the limitations of the form, Stankard expanded his efforts into his Botanicals series. These forms are perpendicular in orientation, providing a multitude of viewing angles. In these pieces, Stankard incorporates a distinct horizon line separating the upper and lower ground elements of the floral arrangements and also introducing honey bees and mystical root people that live “hidden” in the root structure. He also began to add small words, such as “seed,” “pollen” and “decay” that suggest the life cycle of all growing things.

Furthering his experimentation, Stankard implemented a technique he calls “cloistering” where he laminates a layer of colored glass to filter or absorb light. He introduced this effect in his Columns and Cubes series. His Orbs, similar to his paperweights but larger in scale, are perfectly round spheres that provide uniform magnification of the encased elements from all angles. In his Diptychs, Triptychs and Assemblages, Stankard weaves together color and form into complex arrangements, setting up his elements in grids that intensify the effect of each. These works are a culmination of the techniques he developed in all his previous series. “I’ve enjoyed more creative freedom by suggesting untamed organic illusions rather than flawless floral arrangements. My artistic point of view takes advantage of the many hours of experimenting with process to discover a fresh beauty that builds on the paperweight aesthetic. It’s all about nature’s fecundity interpreted in glass.”

Beauty Beyond Nature: The Glass Art of Paul Stankard has been organized by Museum of Glass, Tacoma, WA and The Robert M. Minkoff Foundation, Ltd.
The presentation of Beauty Beyond Nature: The Glass Art of Paul Stankard at the Lowe Art Museum is funded in part by FUNDING ARTS NETWORK, INC.



Lowe Art Museum         02.11.2013-05.01.2014




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2013-10-29

U.S.A. - COLUMBIA-SOUTH CAROLINA - Annie Leibovitz: Pilgrimage - 04.10.2013-05.01.2014

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Annie Leibovitz, Plano, Illinois, 2011, © Annie Leibovitz



Annie Leibovitz: Pilgrimage charts a new direction for one of America’s best-known living artists. Unlike her staged and carefully lit portraits made on assignment for magazines and advertising clients, these photographs were taken simply because Leibovitz was moved by the subject. The exhibition includes 78 photographs taken between April 2009 and May 2011 while on a personal journey landing her in the homes of iconic figures, including Eleanor Roosevelt, Ralph Waldo Emerson, Louisa May Alcott, Pete Seeger and Elvis Presley and at places such as Niagara Falls, Gettysburg and the Yosemite Valley. She let her instincts and intuitions guide her to related subjects—hence the title Pilgrimage.
Annie Leibovitz: Pilgrimage took Leibovitz to places she could explore with no agenda. She wasn't on assignment. She chose the subjects simply because they meant something to her. The first place was Emily Dickinson's house in Amherst, Massachusetts, which Leibovitz visited with a small digital camera. A few months later, she went with her three young children to Niagara Falls. “That's when I started making lists,” Leibovitz said. She added the houses of Virginia Woolf and Darwin in the English countryside and Freud's final home, in London, but most of the places on the lists were American. The work became more ambitious as Leibovitz discovered that she wanted to photograph objects as well as rooms and landscapes.

"From the beginning, when I was watching my children stand mesmerized over Niagara Falls, this project was an exercise in renewal," Leibovitz said. “It taught me to see again." The pictures, although there are no people in them, are portraits of subjects that have shaped Leibovitz’s distinctly American view of her cultural inheritance.
"These pictures may surprise even those who know Leibovitz’s photography well. They are more intimate, personal and self-reflective than her widely published work, combining the emotional power of her recent black-and-white portraits of her family with an awareness of her own cultural legacy. All photographs are in a sense intimations of mortality, but the pictures of Pilgrimage make this connection explicit."


 
Columbia Museum of Art   04.10.2013 - 05.01.2014




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2013-10-22

U.S.A. - COLUMBUS-OHIO - George Bellows and the American Experience - 23.08.2013-04.01.2014

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The Columbus Museum of Art celebrates one of the city’s best loved native sons with George Bellows and the American Experience, on view August 23, 2013 – January 4, 2014. The exhibition highlights the importance of CMA’s Bellows collection, widely recognized as the best in the world, and showcases the artist’s vibrant, groundbreaking works. Bellows and the American Experience brings together more than 35 of his most stunning works from museums and private collections throughout the United States. The world of his paintings comes to life through period photographs, descriptions by his friends, thoughts from his own record book, as well as caricatures and conservation studies.
“For the past year our Bellows paintings have traveled the world as part of a major retrospective that drew crowds to the Metropolitan Museum of Art, New York, and the Royal Academy in London,” said CMA Curator of American Art Melissa Wolfe.  “We’re excited to welcome them home and to be able to celebrate the profound impact George Bellows had, and continues to have, on the art world.”
George Wesley Bellows, one of the country’s most celebrated 20th-century artists, is especially known for his controversial boxing images and evocative urban scenes. His career, although brief, was dazzling. An avid athlete, Bellows played shortstop for the Buckeyes before leaving Columbus in 1904 to study art in New York City. Within five years the young artist had taken the American art world by storm, winning every major award and rising from art student to acclaimed luminary.
He was a college dropout at 22, a member of the prestigious National Academy at 27, the country’s most important lithographer at 35, and tragically dead from a ruptured appendix at 43. In these 21 years of professional life, Bellows created an enormous body of work that conveyed his lively sense of humor, his seemingly effortless talent, and his political and social sensibilities. Bellows captured the essence of his subjects and delivered it to his viewers with perception, compassion, and, occasionally outrage.


 
Columbus Museum of Art      23.08.2013 - 04.01.2014



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2013-10-15

U.S.A. - ABINGDON- VIRGINIA - European Modern: Master Artists from the Virginia Museum of Fine Arts - 23.08.2013-05.01.2014

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Hand-selected works from the Virginia Museum of Fine Arts will travel to Abingdon for this extraordinary exhibition. Visitors will have the opportunity to delight in the drawn and painterly techniques that span generations of important European artists as they journeyed away from the defined edges of Neoclassicism and toward the uninhibited marks of the Modern Era. Artists on view include Neoclassicists, English Painters, and German Expressionists. Become acquainted with works by the famous French Impressionists such as Degas, Cezanne, Toulouse Lautrec, Van Gogh, and many other memorable names from art history.


 
William King Museum    23.08.2013 - 05.01.2014



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2013-10-08

U.S.A. - CINCINNATIC-OHIO - Telling Tales: Stories and Legends in 19th-Century American Art - 20.09.2013-12.01.2014

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William Sidney Mount (1807–1868), Farmers Bargaining (later known as Bargaining for a Horse), 1835. Oil on canvas. New-York Historical Society, Gift of the New-York Gallery of the Fine Arts, 1858.59



As an institution that has often been the site of the convergence of history, art, and politics, the Taft is an ideal place to see  an exhibition that traces the development of the emerging American spirit and its separation from European traditions. Before television and movies, art offered up riveting narratives from history, literature, daily life, and current events. Spanning from the colonial period through the Civil War, 46 paintings and 7 sculptures highlight the American fascination with narrative art. From the collection of the New-York Historical Society, the exhibition includes paintings by such giants of early 19th-century American art as Benjamin West, William Sidney Mount, and Eastman Johnson as well as others being shown for the first time in decades.

This exhibition was organized by the New-York Historical Society. The show and its accompanying publication originally appeared as Making American Taste: Narrative Art for a New Democracy.

Generous support was received from Michael Reslan, the National Endowment for the Arts through the American Recovery & Reinvestment Act, the Walter and Lucille Rubin Foundation, Richard Gilder and Lois Chiles, the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the New York Community Trust Joanne Witty and Eugene Keilin Fund, Larry K. Clark, and the Barrie A. and Deedee Wigmore Foundation.




The Taft Museum of Art     20.09.2013 - 12.01.2014



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2013-10-01

U.S.A. - CLEVELAND-OHIO - Sicily: Art and Invention Between Greece and Rome - 29.09.2013-05.01.2014

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Statue of a Youth (The Mozia Charioteer) (detail), 470–460 BC. Sikeliote (Sicilian Greek). Marble; 181 x 40 cm. Courtesy of the Servizio Parco archeologico e ambientale presso le isole dello Stagnone e delle aree archeologiche di Marsala e dei Comuni limitrofi–Museo Archeologico Baglio Anselmi. By permission of the Regione Siciliana, Assessorato dei Beni Culturali e dell’Identità Siciliana. Dipartimento dei Beni Culturali e dell’Identità Siciliana. Unauthorized reproduction prohibited.


Sicily: Art and Invention Between Greece and Rome presents masterpieces of art from ancient Sicily, an island crossroads that forged a distinctive Hellenic identity. Occupying a pivotal position in Mediterranean history, former Greek colonies such as Syracuse, Gela, Akragas, and Selinos emerged as wealthy city-states, where innovation and experimentation flourished. This exhibition celebrates Sicilian culture of the fifth to third centuries BC, when its art, architecture, theater, poetry, philosophy, and science left an original and enduring stamp on both mainland Greece and Rome. Over 150 objects bear witness to the military and athletic victories, religious and civic rituals, opulent lifestyles, and intellectual attainments that shaped the western Greek world.


 
Cleveland Museum of Art    29.09.2013 - 05.01.2014



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2013-09-24

U.S.A. - CHICAGO-iLLINOIS - MCA DNA: Warhol and Marisol - 21.09.2013-15.06.2014

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The 1960s were important years for artists and friends Andy Warhol (American, 1928–1987) and Marisol (Marisol Escobar, Venezuelan, b. 1930), and marked a formative period in the development of their individual careers. Warhol began using his celebrated silk screen techniques to produce serial paintings, often based on mass media images. Marisol made the first of many portraits and developed her signature style, wooden sculptures with flat painted surfaces and additional elements such as everyday objects or plaster castings. Both were prominent figures in New York City’s lively art scene during this time. The two attended events together and each exhibited their work in solo shows at Eleanor Ward’s Stable Gallery as they came to be identified with the rising pop art movement. Warhol and Marisol even turned to one another as occasional subjects: Marisol made a sculptural portrait of Warhol in the early 1960s, titled Andy; and around the same time, Warhol featured Marisol in some of his early, and now legendary, films.

Inspired by the multifaceted relationship of these two artists, MCA DNA: Warhol and Marisol presents a focused selection of their works, side-by-side, drawn primarily from the collection of the Museum of Contemporary Art Chicago. Key examples of Warhol’s silk screen paintings and Marisol’s wood sculptures illuminate the artists’ respective approaches to portraiture while the pairing of their work brings certain affinities into view, including a similar use of repeating figures. At the same time, their methods diverge in significant ways, perhaps most visibly in the contrast between Warhol’s overtly mechanical approach to painting and Marisol’s more handcrafted, labor-intensive techniques as a sculptor.
 
MCA DNA: Warhol and Marisol is organized by MCA Curator Lynne Warren and MCA Curatorial Assistant Karsten Lund.
 
 
 
Museum of Contemporary Art Chicago      21.09.2013 - 15.06.2014
 
 
 
 
 
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2013-09-17

U.S.A. - CHAMPAIGN-ILLINOIS - HELLO WORLD! Or: How I Learned to Stop Listening and Love the Noise - 30.08.2013-05.01.2014

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Christopher Baker
Hello World! or: How I Learned to Stop Listening and Love the Noise, 2010
Photo: Chris Houltberg
© Christopher Baker




This project is an installation comprised of thousands of unique video diaries gathered from the Internet by the artist Christopher Baker whose works engage technology and its influence on our daily lives.

In this work, each video diary consists of individuals speaking candidly to an imagined audience about their intimate experiences. The installation is arranged in a rectangular grid with 5,000 faces all speaking. It produces a singular abstract image with a multi-channel sound shifting between individuals and groups to create an immersive sound scape.

The work examines how media tools like YouTube provide a democratic and participatory platform that is accessible and yet, unsuccessful at emotionally connecting with the public. HELLO WORLD! draws our attention to how social media has become a tool for exchanging information and ideas; however, there are also limits to what can be experienced through these web-based technologies.




Krannert Art Museum    30.08.2013 - 05.01.2014



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2013-09-10

U.S.A. - BURLINGTON-VERMONT - Dorothy and Herb Vogel: Fifty Works for Fifty States - 03.09.2013-18.05.2014

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Dorothy and Herbert Vogel -- a librarian and a postal worker -- had minimal formal education in the arts and were of modest means. The Vogels began collecting in the early 1960s, guided by a strong aesthetic, a deep passion, and devoted relationships with the artists they befriended. Over the years, they almost serendipitously collected works of utmost contemporary importance and artistic value, covering every surface and wall of their tiny New York apartment. Their collection, spanning nearly five-thousand pieces by almost two-hundred artists, focuses on conceptual, minimalist, and post-minimalist art, the majority from the 1970s, '80s, and '90s.

In late 2008, Herb and Dorothy, with the assistance of the National Gallery of Art, launched the Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States program, a donation of 2,500 works to fifty museums across the country. The Fleming Museum was the Vermont recipient of this generous gift.

The works in the Vogel Collection at the Fleming Museum are varied in aesthetic sensibilities -whether figurative, sculptural, abstract, or conceptual- and make use of a wide range of media, from photography and drawings to wall-mounted sculptural pieces and maquettes. The exhibition includes work by over twenty artists, including Carel Balth, Judy Rifka, Pat Steir, and Richard Tuttle. It is a survey not only of the works themselves, but also of the important historical, yet deeply personal, contribution the Vogels have made to nurturing American art, and now to sharing it with the public.

The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States is a joint initiative of the Trustees of the Dorothy and Herbert Vogel Collection and the National Gallery of Art, with generous support from the National Endowment for the Arts and the Institute for Museum and Library Services.
 
 
 
Fleming Museum     03.09.2013 - 18.05.2014
 
 
 
 
 
 
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2013-09-03

U.S.A. - MINNEAPOLIS-MINNESOTA - The Progressive Pencil: George Elmslie's Prairie School Designs - 26.05.2013-27.10.2013

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George Grant Elmslie
American (born Scotland), 1869-1952
Sideboard, table, and four chairs, 1915
Mahogany, wood inlays, iridescent glass, leaded glass, replacement silver-plated metal rods, modern upholstery
Manufactured by John S. Bradstreet and Company, American (Minneapolis, Minnesota), c. 1899-1932
For Mrs. William H. Hanna, Chicago, Illinois
The Walter C. and Mary C. Briggs Trust Fund  2011.3.1-6





This exhibition commemorates the 100-year anniversary of the MIA's crown jewel of Prairie School architecture, the Purcell-Cutts House, through a celebration of the design work of George Grant Elmslie (1869-1952).

Having worked for Louis Sullivan (1856-1924) for nearly 20 years, Elmslie became well-versed in organic design principles, carrying them over to the Minneapolis firms of Purcell, Feick and Elmslie (1910-13) and Purcell and Elmslie (1913-21). His contributions to the integrated decorative schemes developed by the firms often included a combination of elements such as terra-cotta, stained glass, stenciling, furniture, murals, and sawed wood, to create a harmonic whole greater than the sum of its parts.

Elmslie's design drawings for the firm, rarely shown and minimally published, are delicate and beautiful studies. Most are housed in the William Gray Purcell Papers at the Northwest Architectural Archives at the University of Minnesota.

The exhibition will focus on the drawings as art objects, and as documents of the collaborative process of producing organic architecture. "The Progressive Pencil" features drawings for the Purcell-Cutts House and other notable Purcell and Elmslie projects such as the Merchants National Bank of Winona, Minnesota (1911-13), along with historic photos and selected objects. Recent MIA acquisitions by Elmslie will also be featured, including the one-of-a-kind dining room suite for Mrs. Hanna (1915) with its wealth of detail. It includes more than 25 of Elmslie's elegant design drawings, alongside photos and related objects from the MIA and local collections.



Minneapolis Institute of Arts  26.05.2013 - 27.10.2013



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2013-08-27

U.S.A. - CITY OF NEW YORK-NEW YORK - Hopper Drawing - 23.05.2013-06.10.2013

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Edward Hopper (1882–1967), Study for Nighthawks, 1941 or 1942. Fabricated chalk and charcoal on paper; 11 1/8 × 15 in. (28.3 × 38.1 cm). Whitney Museum of American Art, New York; purchase and gift of Josephine N. Hopper by exchange  2011.65



Hopper Drawing is the first major museum exhibition to focus on the drawings and creative process of Edward Hopper (1882–1967). More than anything else, Hopper’s drawings reveal the continually evolving relationship between observation and invention in the artist’s work, and his abiding interest in the spaces and motifs—the street, the movie theatre, the office, the bedroom, the road—that he would return to throughout his career as an artist. This exhibition showcases the Whitney’s unparalleled collection of Hopper’s work, which includes over 2,500 drawings bequeathed to the museum by his widow Josephine Hopper, many of which have never before been exhibited or researched. The exhibition surveys Hopper’s significant and underappreciated achievements as a draftsman, and pairs many of his greatest oil paintings, including Early Sunday Morning (1930), New York Movie (1939), Office at Night (1940), and Nighthawks (1942), with their preparatory drawings and related works. This exhibition also features groundbreaking archival research into the buildings, spaces and urban environments that inspired his work.
 
Hopper Drawing is organized by Carter E. Foster, Steven and Ann Ames Curator of Drawing.
 
 
 
Whitney Museum of American Art  23.05.2013 - 06.10.2013
 
 
 
 
 
 
 

2013-08-20

U.S.A. - MANCHESTER-NEW HAMPSHIRE - Visual Dispatches from the Vietnam War - 03.08.2013-11.11.2013

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Images:
Larry Burrows, "Farley Shouts..." Yankee Papa 13, March 31, 1965, 1965 (printed later), gelatin silver print, 20 x16 in. Larry Burrows, LIFE © Time Inc, courtesy Larry Burrows Collection.

Larry Burrows, Ammunition Airlift, Operation Pegasus, April 1968, 1968 (printed later), dye-transfer print, 20 1/2 x 29 3/4 in. Larry Burrows, LIFE © Time Inc, courtesy Larry Burrows Collection.
Don McCullin, Shell-Shocked Marine, Hue Vietnam, 1968 (printed later), gelatin silver print, 24 x 20 in. © Don McCullin, courtesy of Hamiltons Gallery, London
 
 
This exhibition presents 35 iconic photographs that brought the Vietnam War to the dinner table of every American household. Photographers Horst Faas, Henri Huet, Eddie Adams, Larry Burrows and Don McCullin provided the definitive visual record for one the most defining events in American 20th century history. They laid bare the horrors of combat with directness never before seen, causing many to question the morality of war. That these images influenced public opinion of the Vietnam War and hastened its end is a testament to the visual power and authority of the medium and the courage and artistry of their makers, many of whom died on the battlefield.
 
 
 
 
Currier Museum of Art   03.08.2013 - 11.11.2013
 
 
 
 

 
 

2013-08-13

U.S.A. - LOS ANGELES-CALIFORNIA - James Turrell: A Retrospective - 26.05.2013-06.04.2014

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James Turrell: A Retrospective explores nearly fifty years in the career of James Turrell (b. 1943, Los Angeles), a key artist in the Southern California Light and Space movement of the 1960s and 70s. The exhibition includes early geometric light projections, prints and drawings, installations exploring sensory deprivation and seemingly unmodulated fields of colored light, and recent two-dimensional work with holograms. One section is devoted to the Turrell masterwork in process, Roden Crater, a site-specific intervention into the landscape just outside Flagstaff, Arizona, presented through models, plans, photographs, and films.














LACMA  26.05.2013 - 06.04.2014



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2013-08-06

U.S.A. - MADISON-WISCONSIN - Los Grandes del Arte Moderno Mexicano - 07.06.2013-01.06.2014

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Frida Kahlo, Still Life: Pitahayas, 1938. Oil on aluminum, 10 x 14 inches / 17 x 20¾ inches (frame). Collection of the Madison Museum of Contemporary Art. Bequest of Rudolph and Louise Langer. © 2013 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York.




Los Grandes del Arte Moderno Mexicano (Masters of Mexican Modern Art) showcases the artists who, more than any others, defined Mexican Modernism in the 1920s and 1930s: Manuel Alvarez Bravo, Frida Kahlo, Leopoldo Méndez, José Clemente Orozco, Diego Rivera, David Siqueiros, and Rufino Tamayo. The paintings, prints, and photographs that comprise the exhibition are drawn from the permanent collection of the Madison Museum of Contemporary Art, which is particularly strong in twentieth-century Mexican art. In presenting Los Grandes del Arte Moderno Mexicano, the museum places these works in a world context for acknowledgment and celebration. The exhibition will be on view in MMoCA’s Henry Street Gallery from June 7, 2013, to June 2014.

Following the Mexican Revolution (1910–1920), modern art enjoyed a vital period of artistic achievement in a newly egalitarian society. Mexico City was the movement’s hub and the city played host to an international gathering of artists. Although their presence created a cosmopolitan exuberance comparable to that generated by the international avant-garde in Paris, it was the Mexican painters, muralists, photographers, poets, and printmakers who dominated the art scene. Modern art in Europe, rejecting the art of the past, was itself a revolutionary model. Mexican artists who wished to depart from the academic tradition of their colonial history enlisted modern art as a vehicle for recognizing and honoring the ideals of the Revolution.

Similar to modernist movements that arose between World Wars I and II in Germany, the Soviet
Union, and the United States, Mexican artists sought a realist art that championed social reform and national identity. 

This new artistic movement was nationalistic but tempered by Expressionism and Surrealism, which were among the most important avant-garde directions in Europe. Mexican Modernism was also characterized by a fresh expressivness and enriched by references to indigenous folk art and Pre-Columbian art.
A clear example is Leopoldo Méndez’s El Rebozo de Soledad (The Shawl of Solitude), from 1952, a woodcut by an artist esteemed as the greatest Mexican printmaker of the twentieth century. Méndez’s social agenda was to show compassion for the indigenous peoples of Mexico, but the slashes of white and emotional intensity of this print ally it to the sensibilities of expressionist movements abroad

Generous support for Los Grandes del Arte Moderno Mexicano, and all exhibitions in the Henry Street Gallery of the Madison Museum of Contemporary Art, has been provided by an endowment established by the Pleasant T. Rowland Foundation. Related education programming is made possible through a major grant from the Madison Community Foundation.



MMoCA   07.06.2013 - 01.06.2014



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2013-07-30

U.S.A. - KNOXVILLE-TENNESSEE - Thornton Dial - Thoughts on Papper - 12.07.2013-25.08.2013

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This pioneering exhibition will present an underappreciated side to the work of Thornton Dial, Sr. (b. 1928), an artist best known and celebrated for his large scale, multi-media assemblages dealing with a wide range of charged social and political themes. Since the early 1990s, Dial has also produced a rich body of lyrical works on paper, often engaged with themes of gender and human relationships. This exhibition focuses on the very earliest of those drawings, a group of 50 sheets with Dial’s characteristic and broadly coherent iconography of women, fish, birds, roosters, and tigers, rendered in a variety of media. Organized by the Ackland Art Museum, University of North Carolina.



Knoxville Museum of Art  12.07.2013 - 25.08.2013



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2013-07-23

U.S.A. - KATONAH-NEW YORK - Remix: Selections from the International Collage Center - 30.06.2013-13.10.2013

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Tony Fitzpatrick, Orange and Black Bird: Portal to the Mercy of Autumn, 2012 Mixed media on paper 10 1/2 x 7 1/2 inches
Courtesy the artist










Unlike other artistic practices, the palette of collage is infinite, utilizing sources from the quotidian to the precious. Collage is woven through the history of modern and contemporary art, and every material is permissible and ripe for reinterpretation. Collage artists reconstruct fragments from the “real” world into new realms that are simultaneously recognizable and wholly fantastical.

Remix features work created during the last 70 years by over 100 artists. It includes traditional forms of collage, and also presents unexpected approaches in a range of media. Exhibition themes include collage and the incorporation of text, collage as a form of social and political commentary, collage that challenges scale to spectacular effect, and collage in the digital age. Remix promises to expand and enrich public perceptions of this mutable medium.


 
Katonah Museum of Art    30.06.2013 - 13.10.2013



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2013-07-16

U.S.A. - KANSAS CITY-MISSOURI - Sweating Out Cubism: Abstract Expressionism and its Critics - 28.06.2013-06.12.2013

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Hans Hofmann, Rising Sun, 1958; oil on canvas, 60 x 72 inches; Collection of the Kemper Museum of Contemporary Art, Bebe and Crosby Kemper Collection, Gift of the Enid and Crosby Kemper Foundation, 2002.12



This exhibition examines the explosive, supportive, competitive, and often complex relationship between abstract expressionist painters and art critics of the mid-twentieth century and beyond. Artworks by Hans Hofmann, Willem de Kooning, Joan Mitchell, Helen Frankenthaler, and Sam Francis, among others are featured in the exhibition, culled from the Kemper Museum’s permanent collection.




Kemper Museum of Contemporary Art    28.06.2013 - 06.12.2013



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Website : Kansas City

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2013-07-09

U.S.A. - JACKSONVILLE-FLORIDA - Traces - Recent Work by Lari Gibbons - 07.05.2013 - 18.08.2013

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Lari Gibbins
Tracings I, no. 7, 2013
Letterpress
7.5 × 6 inches









Lari R. Gibbons’ meticulous renderings reflect an engagement with the natural world as it is revered and destroyed, altered by humans, and manifest in the history of art.

Gibbons is an Associate Professor at the University of North Texas, where she teaches printmaking and directs the Print Research Institute of North Texas (PRINT Press). She earned an MFA from the University of Nebraska and a BA from Grinnell College (Grinnell, Iowa). Gibbons currently serves as editor of The Mid America Print Council Journal.





 
Museum of Contemporary Art Jacksonville     07.05.2013 - 18.08.2013



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2013-07-02

U.S.A. - DALLAS-TEXAS - Hotel Texas: An Art Exhibition for the President and Mrs. John F. Kennedy - 26.05.2013 - 15.09.2013

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In commemoration of the 50th anniversary of the assassination of President John F. Kennedy, the Dallas Museum of Art will bring together the works of art installed in the president’s suite at the Hotel Texas during his fateful trip in 1963. The original installation, orchestrated by a small group of Fort Worth art collectors, was created especially for the president and first lady in celebration of their overnight visit to the city and included paintings by Vincent van Gogh, Thomas Eakins, Lyonel Feininger, Franz Kline, and Marsden Hartley, and sculptures by Pablo Picasso and Henry Moore, among others.

On view from May 26 through September 15, 2013, Hotel Texas: An Art Exhibition for the President and Mrs. John F. Kennedy will reunite the paintings, sculptures, and works on paper for the first time in their original gathering, highlighting the diverse and thoughtful installation of artworks brought together for the presidential couple. The exhibition is presented in association with the Amon Carter Museum of American Art in Fort Worth, where it will be on view October 12, 2013, through January 12, 2014. Hotel Texas: An Art Exhibition for the President and Mrs. John F. Kennedy will also reveal for the first time the complete story of the presidential Suite 850 installation, which had been overshadowed by the president’s tragic death, and examine the significance of art both to the Kennedys and to the Dallas–Fort Worth communities. Additionally, it will bring to light related materials, most of which have remained in private collections since 1963, including photographs, videos, and other archival materials, ranging from images of the suite prior to the couple’s arrival to documentation relating to the president’s assassination.

Five days prior to the presidential couple’s arrival in Fort Worth, descriptions of the presidential suite at the Hotel Texas were released to the public. Unhappy with the couple’s accommodations, Owen Day, the art critic for the Fort Worth Press, proposed the idea of the installation to prominent art collector and leader of the Fort Worth Art Association Samuel Benton Cantey III. With the support of Ruth Carter Johnson (now Ruth Carter Stevenson), board president for the Amon Carter Museum of American Art; collector Ted Weiner; and Mitchell Wilder, the Amon Carter Director, Cantey conceived a three-part exhibition that would unfold in the parlor, master bedroom, and second bedroom of Suite 850. Drawing on local private and public art collections, each room of the suite was outfitted with works of art that befitted the tastes and interests of President Kennedy and the first lady:

The Parlor featured the work of impressionist painter Claude Monet, alongside works of modern sculpture and painting, including a bronze sculpture, Angry Owl, by Picasso, 1951–53; an oil painting of Manhattan by American expressionist Lyonel Feininger, 1940; an oil on paper study by Franz Kline, 1954; and a bronze sculpture by Henry Moore, 1939–40.

The Master Bedroom, which was designated as Jacqueline Kennedy’s bedroom, was adorned with impressionist masterworks, per her well-known affinity for the genre. The room included Summer Day in the Park, 1918–23, by Maurice Brazil Prendergast; Vincent van Gogh’s Road with Peasant Shouldering a Spade, 1887; John Marin’s watercolor Sea and Rocks, 1919; and Bassin de Deauville, an oil on canvas by Raoul Dufy.

The Second Bedroom, the president’s room, featured late 19th-century and early 20th-century American art, including Thomas Eakins’ Swimming, 1884–85; Marsden Hartley’s Sombrero with Gloves, 1936; and Charles Marion Russell’s Lost in a Snowstorm, 1888; among others.

 
Hotel Texas: An Art Exhibition for the President and Mrs. John F. Kennedy is organized by the Dallas Museum of Art, in association with the Amon Carter Museum of American Art. In addition, the Sixth Floor Museum will provide films and documentation of the president’s trip to Texas in 1963. The exhibition will be accompanied by a fully illustrated catalogue, published in association with Yale University Press. It begins with an introductory essay by Olivier Meslay titled “Art Is Not a Form of Propaganda, It Is a Form of Truth,” and includes contributions from Scott Grant Barker, Texas art historian; David Lubin, Charlotte C. Weber Professor of Art at Wake Forest University and author of the much-lauded Shooting Kennedy: JFK and the Culture of Images; and Alexander Nemerov, Professor of Art and Art History at Stanford University.
 
 
 
Dallas Museum of Art    26.05.2013 - 15.09.2013
 
 
 
 
 

2013-06-25

U.S.A. - DAYTON-OHIO - Andy Warhol: Athletes & The Art of Sport

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This summer, The Dayton Art Institute will present a pair of sports-themed exhibitions, Andy Warhol: Athletes and The Art of Sport: Highlights from the Collection of the Dayton Art Institute, both on view June 22 – September 1.

Andy Warhol: Athletes
It was the mid-1970s, and Studio 54 was in full swing when art collector Richard Weisman commissioned his friend Andy Warhol to paint the portraits of several top athletes of the day. At first Warhol was unfamiliar with the sports stars but characteristic of his obsession with fame he recalled: “I really got to love the athletes because they are the really big stars.” The resulting group of ten silk-screen paintings from 1978 present some of the most influential sports stars of the era, including boxer Muhammad Ali, football’s O.J. Simpson, ice skater Dorothy Hamill, basketball’s Kareem Abdul-Jabbar, golfer Jack Nicklaus, ice hockey’s Rod Gilbert, tennis’ Chris Evert, horse racer Willie Shoemaker, baseball’s Tom Seaver and soccer’s Pelé.

The Art of Sport: Highlights from the Collection of the Dayton Art Institute
The theme of sports is ubiquitous in art, and has occupied artists from ancient times to the present. This exhibition features more than 100 examples of how that theme is manifest in some of the Dayton Art Institute’s finest treasures. The objects on display represent a wide-range of media including painting, sculpture, photography, and mixed media, and the exhibition is sure to delight sports, and art lovers of all ages.

Both exhibitions are curated by Aimee Marcereau DeGalan, Curator of Collections and Exhibitions at The Dayton Art Institute.



Dayton Art Institute     22.06.2013 - 01.09.2013



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