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



Website & source : Krannert Art Museum

Website : Champaign

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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



Website & source : Minneapolis Institute of Arts 

Website : Minneapolis

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