2015-09-30

2164 - 20151129 - U.S.A. - WORCESTER-MASSACHUSETTS - American Folk Art, Lovingly Collected - 15.07.2015-29.11.2015

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Portrait of the Farley Children of Groton, Zedekiah Belknap (American, 1781–1858), about 1835, oil on canvas

Explore the rich folk art tradition that flourished in the mid-19th-century in more than 40 works from an important private collection based in central Massachusetts, recognized as one of the best of its kind in existence. The exhibition features an array of paintings and furniture, many on display for the first time, with a particular emphasis on portraits of children, which illustrate the folk artists' unique approach to using color and towards the figurative treatment of their subjects.

Examined in the light of the growing economic development in New England during the 1800s, American Folk Art, Lovingly Collected showcases the work of home-grown artists, who traveled from town to town to paint portraits for rural families of their loved ones. The artists represented in the exhibition showcase a distinctive folk-art practice that grew out of a popular demand for personal keepsakes, and include John Brewster, Zedekiah Belknap, Ruth Henshaw Bascom, William Matthew Prior, and Sturtevant Hamblin, among others


 
Worcester Art Museum - American Folk Art, Lovingly Collected - 15.07.2015-29.11.2015





 


2015-09-23

2163 - 20151101 - U.S.A. - OCEANSIDE-CALIFORNIA - In the Abstract: Midcentury San Diego Painting and Sculpture - 15.08.2015-01.11.2015

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Ed Garman, Variation of a Structure No. 52, 1965, oil on canvas, 46 x 34 in. Collection of Kathryn Crane.

Abstract art is often an image or composition in which color, line, form, and texture may exist as fully independent subject matter, rather than literally depicting aspects of the natural world. From the late 1940s through the 1960s, abstraction became vital to the work of many highly regarded San Diego artists. At no time was this approach more controversial in the region, more charged with excitement and possibility, than during the mid-twentieth century.

As a starting point, In the Abstract recognizes the commitment of regional modernist pioneers such as painters Fred Hocks and Ed Garman, experimental photographer Lynn Fayman, and Harry Bertoia, the renowned sculptor, printmaker, and designer. Following these frontrunners, the exhibition pays special attention to a wave of youthful artists who came to regional prominence during the late 1950s and were, at least for a time, profoundly influenced by Abstract Expressionism. Notably, this particular group includes: John Baldessari, Don Borthwick, Jack Boyd, Don Dudley, Fred Holle, Sheldon Kirby, Karen Kozlow, Malcolm McClain, Norma McGee, Cliff McReynolds, Richard Allen Morris, Joe Nyiri, Toza Radakovich, Sarah Roberts, and Guy Williams.

The exhibition presents a lively continuum of works that can be considered abstract, from purely nonobjective works to those that deliberately modify, distort, or exaggerate subjective elements. Through a wide variety of paintings, sculpture, and works in other media, In the Abstract provides an important historical cross-section of the San Diego mid-century art community.



Oceanside Museum of Art - In the Abstract: Midcentury San Diego Painting and Sculpture - 15.08.2015 - 01.11.2015



Website & source : Oceanside Museum of Art

Website : Oceanside

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2015-09-16

2162 - U.S.A. - OMAHA-NEBRASKA - Art Seen: A Juried Exhibition of Artists from Omaha to Lincoln - 21.06.2015-11.10.2015

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Shortly after opening its doors to the public in 1931, Joslyn Art Museum began regularly staging juried exhibitions. Intended to bring the work of artists from throughout the Midwest to Omaha audiences, these exhibitions showcased painting, sculpture, graphic arts, and utilitarian design. In the 1950s, Joslyn initiated a regional biennial that continued until 1988.

Art Seen: A Juried Exhibition of Artists from Omaha to Lincoln honors Joslyn’s traditions and celebrates the vibrancy of the current artistic moment in our area. While the Museum’s programming is often national or international in scope, Art Seen provides an exciting opportunity to carefully consider our immediate context. Featuring thirty-seven artists who live and work in Nebraska’s two largest cities, this exhibition represents a broad cross-section of the artist communities that thrive in Omaha and Lincoln. Selected from a pool of more than 200 submissions by Karin Campbell, Phil Willson Curator of Contemporary Art, and Bill Arning, Director of the Contemporary Arts Museum Houston, these artists work across media to respond to issues of personal, local, and global relevance. Political concerns, such as sexual and racial identity, gender roles, and environmental change feature prominently in Art Seen. Other artists are deeply engaged with topics that originate within the art world, including the importance of the handmade in an increasingly digital world, the intersection between written language and visual art, and the ongoing relevance of abstraction in American art. Placing the work of younger artists alongside that of more established artists, this exhibition opens up the rich dialogue taking place among our creative communities to a broader public.



Joslyn Art Museum - Art Seen: A Juried Exhibition of Artists from Omaha to Lincoln - 21.06.2015-11.10.2015



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Website : Omaha

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2015-09-09

2161 - U.S.A. - OBERLIN-OHIO -Transformation: Images of Childhood and Adolescence - 12.08.2015-23.12.2015

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Sir Joshua Reynolds (English, 1723–1792)
The Strawberry Girl, 1773–77
Oil on canvas


This exhibition brings together works from the AMAM’s collection that take as their subject infants, children, and adolescents. Just as significant physical and emotional changes occur over the years spanning infancy to adolescence, artists’ representations of children have shifted dramatically over the centuries, using their subjects as illustration for a variety of ideas about family, art, and society. From formal, sacred presentations of the Holy Family to intimate portraits of beloved offspring that capture innocence and its loss, these works evoke the nostalgia and deep sentiments associated with childhood and chronicle the transformation of body and consciousness that occurs in the development toward adulthood.

Organized by Andaleeb Badiee Banta, Curator of European and American Art, and Juliet Vincente (OC 2016), Curatorial Assistant



Allen Memorial Art Museum - Transformation: Images of Childhood and Adolescence - 12.08.2015 - 23.12.2015



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Website : Oberlin

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2015-09-02

2160 - U.S.A.- OKLAHOMA CITY-OKLAHOMA - Fabergé: Jeweler to the Tsars - 20.06.2015-27.09.2015

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More than 230 rare and storied treasures created by the House of Fabergé will be celebrated in a new exhibition at the Oklahoma City Museum of Art. Fabergé: Jeweler to the Tsars will be on view from June 20 through September 27, 2015. The exhibition, drawn from the Collection of the Virginia Museum of Fine Arts, Richmond, will showcase Peter Carl Fabergé’s fine craftsmanship in pieces of jewelry and adornments once belonging to the Russian Imperial family.From dazzling Imperial Easter eggs to delicate flower ornaments and from enchanting animal sculptures to cigarette cases, photograph frames and desk clocks, Fabergé often turned the most mundane objects into miniature works of art. The vast majority of his designs were never repeated, and most pieces were made entirely by hand.  The success of his business was inextricably linked to the patronage of the Romanov dynasty and the close ties among the British, Danish and Russian royal families, who often exchanged works by Fabergé as personal gifts.

The Imperial Tsesarevich Easter Egg of 1912, which will be on view at OKCMOA, was a gift to Empress Alexandra from her husband, Emperor Nicholas II. The egg commemorates their son, Alexsei, who nearly died the previous year of hemophilia. For the shell, craftsmen joined six wedges of highly prized lapis lazuli and hid the seams with an elaborate gold filigree encasement. Inside the egg, a diamond encrusted Romanov family crest frames a two-sided portrait of the young child.

These objects were associated with refinement and luxury because the House of Fabergé was known for accepting nothing less than perfection as well as for being business savvy. Beyond the elegant showrooms in Moscow and Saint Petersburg, hundreds of the country’s finest goldsmiths, enamellers, stone carvers, gem cutters and jewelers were at work creating innovative and complex designs that could not be readily imitated.



Oklahoma City Museum of Art - Fabergé: Jeweler to the Tsars - 20.06.2015 - 27.09.2015



Website & source : Oklahoma City Museum of Art

Website : Oklahoma

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