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



Website & source : Tweed Museum of Art

Website : Duluth

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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




Website : Elmhurst Art Museum

Website : Elmhurst

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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




Website & source : Erie Art Museum 

Website : Erie

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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




Website & source: Lowe Art Museum  

Website : Coral Gables

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