ArtSlant - Recently added en-us 40 - The Nelson-Atkins Museum of Art - September 19th - January 11th, 2015 <p>This groundbreaking exhibition will unite the Plains Indian masterworks found in European and North American collections, from pre-contact to contemporary, ranging from a 2,000-year-old&nbsp;<em>Human Effigy</em>&nbsp;stone pipe to 18th-century painted robes to a 2011 beaded adaptation of designer shoes.</p> <p>The distinct Plains aesthetic&mdash;singular, ephemeral and materially rich&mdash;will be revealed through an array of forms and media: painting and drawing; sculptural works in stone, wood, antler and shell; porcupine quill and glass bead embroidery; feather work; painted robes depicting figures and geometric shapes; richly ornamented clothing; composite works; and ceremonial objects.&nbsp;<br /><br />Together the 140 works will reveal the accomplishments of Plains Indian artists, not only as the makers of objects that sustain tradition and embody change, but as the bearers of individual creative expression and innovation. Many nations are represented&mdash;Osage, Quapaw, Omaha, Crow, Cheyenne, Arapaho, Lakota, Blackfeet, Pawnee, Kiowa, Comanche, Mesquakie, Kansa and others. Objects will travel from France, Germany, Austria, Switzerland, Canada and the United States.</p> <p>The exhibition is being organized by Muse&eacute; du quai Branly in Paris in collaboration with The Nelson-Atkins Museum of Art, Kansas City, and The Metropolitan Museum of Art, New York. It is curated by Gaylord Torrence, one of the nation's leading scholars of Plains Indian art and the Fred and Virginia Merrill Senior Curator of American Indian Art at the Nelson-Atkins.</p> Sat, 30 Aug 2014 06:23:09 +0000 - The Nelson-Atkins Museum of Art - August 31st - February 15th, 2015 <p>Roaring lions and foliage create a dynamic pattern on this late-16th century Italian panel of woven silk, probably made to embellish a garment. The stylized, compact design of flora and fauna on an emerald green ground is derived from Islamic models.&nbsp;</p> <p>During the Renaissance, Italian ports served as important points of trade with the Middle East, and merchants throughout Europe were eager to purchase the latest goods influenced by these exotic wares.&nbsp;</p> <p>The exhibition, in Gallery P6, displays Italian, French and Spanish textiles influenced by this Middle Eastern trade and aesthetic tradition, spanning the 15th-17th centuries. Woven of sumptuous silk and exhibiting varied weaving techniques and ornamentation, these textiles were costly luxury goods and highly prized by the wealthy merchant classes.</p> <p>Some of the most popular, although still very expensive, textiles during the Renaissance were monochromatic velvets with repeating patterns used for upholstery, draperies and garments.&nbsp;These examples demonstrate the variety of cut pile designs and printing techniques used for Renaissance textile production.</p> Sat, 30 Aug 2014 06:18:15 +0000 Rebecca Niederlander - Museum of Contemporary Religious Art (MOCRA) - September 14th - December 14th <p>The&nbsp;<em>axis mundi</em>&nbsp;is a connector between heaven and earth, a point of beginning and ending. The convergence of the four compass points, it bridges the known and unknown, the experienced and the believed. The&nbsp;<em>axis mundi&nbsp;</em>is a universally shared phenomenon: Norse mythology has the cosmic ash tree Yggdrasil, which unifies the nine homeworlds, while the Bodhi Tree was the site of the Buddha&rsquo;s enlightenment. The Biblical tradition situates the Tree of Life and the Tree of Knowledge of Good and Evil in the Garden of Eden.</p> <p>The&nbsp;<em>axis mundi</em>&nbsp;serves as the unifying construct for the first site-specific installation at MOCRA, an exhibition that reflects on the communities we exist in physically and those we share existentially&mdash;our ever widening and intersecting personal and collective&nbsp;<em>axes mundi</em>&mdash;utilizing multiple elements to create an abstracted environment in which color, form and the contemplative nature of MOCRA's space work collaboratively.</p> <p><em>Axis Mundi</em>&nbsp;highlights significant architectural features of MOCRA&rsquo;s nave gallery and emphasizes the space's original purpose as a chapel for Jesuits who studied philosophy at Saint Louis University. The exhibition centers on a tall, glistening white structure that reaches from the floor to the ceiling thirty feet above, a tether signaling our globally connected existence without referencing a specific tradition. Four wall hangings from Niederlander's&nbsp;<em>Essential Drawings</em>series, imagery initiated from detailed photographs of her physical sculptures and then redefined through continued expansion and contraction, surround the suspended structure. Finally, two of the chapel&rsquo;s ten stained glass windows are exposed yet covered with translucent film so that the figural imagery of the windows is abstracted to reference the undefined and unifying light that guides humanity.</p> <p><strong>About the artist<br /></strong></p> <p>Rebecca Niederlander grew up in St. Louis but relocated to Los Angeles in 1995. Her site-specific sculptural installations are labor-intensive abstractions that use repetition and the inherent ephemeral nature of the materials to address the individual's position within the larger intergenerational community. She is also co-founder of the social practice BROODWORK, in which she curates, writes, speaks and designs actions and objects that explore the interweaving of the creative practices and family life&mdash;in particular, parenthood.&nbsp;</p> <p>Recent projects have included commissioned works for the Los Angeles International Airport and the Trajector Art Fair in Brussels, Belgium, as well as&nbsp;<em>BROODWORK: It&rsquo;s About Time</em>&nbsp;at OTIS College of Art and Design, which explored the relationship of time to the creative process and family. Niederlander is a recipient of numerous grants including the National Endowment for the Arts, the Durfee Foundation, and the Cornell University Council of Creative and Performing Arts.&nbsp;</p> Sat, 30 Aug 2014 06:12:30 +0000 Stacey Kirby - Contemporary Art Museum Raleigh - September 5th - October 26th <p><em>PARTicipate</em>&nbsp;is an exhibition of Stacey L. Kirby&rsquo;s experimental &lsquo;performative interactions.&rsquo; Kirby will transform CAM&rsquo;s Media Lab into in the&nbsp;<em>Bureau of Personal Belonging</em>&nbsp;and set the stage for participatory performance art and installation.<em>PARTicipate</em>&nbsp;offers a glimpse into Kirby&rsquo;s ongoing face-to-face dialogue with over 2000 people about belonging, identity and the validity of our voices. Visitors to the&nbsp;<em>Bureau of Personal Belonging</em>&nbsp;will transform into participants as they engage with the officer on duty (performed by Kirby herself) in such works as&nbsp;<em>The Declaration Project</em>&nbsp;and&nbsp;<em>VALIDnation</em>. Participants are encouraged to find their own voice through writing their responses to prompts on paper &ldquo;forms&rdquo; that they then submit for departmental approval, contributing to a growing archive of personal histories.</p> Sat, 30 Aug 2014 05:47:03 +0000 Ryuichi Ohira - NANZUKA - August 30th - September 27th <p>NANZUKA is pleased to announce the upcoming solo exhibition of new works by Ryuichi Ohira.<br /> This will be Ohira's first time exhibiting at NANZUKA.</p> <p>Ryuichi Ohira was born in Tokyo in 1982, was raised in Chiba prefecture, and earned his doctorate at Tokyo University of the Arts.In addition to winning the Fumio Nanjo (Mori Art Museum Director) Prize at SICF 6th in 2005 and the Ataka Prize at the 54th Tokyo University of the Arts Graduation Works Exhibition in 2006, Ohira dedicated a statue of "Kan'nagara" to ?kunitama Shrine in 2010, participated in the large-scale solo exhibition B?ken Yar? at the Tsuruoka Art Forum in 2012, and exhibited and dedicated his piece "TONGARIMARU" at Yorishiro Project 2013 held at the world heritage site Kamigamo Shrine in 2013, showcasing his works already in a variety of modes through a number of different exhibitions and projects.</p> <p>Ohira develops his works by breaking down and reassembling the non-physical, from things that affect people's automatic behaviors, to presences that have been made the subject of worship and faith from ancient times to today. His scientific review of what people perceive as the sublimity of shapes and spaces, of an unexplainable air or presence, is apparent in his works. For instance, "Belt Partition" (2005), a piece that emphasizes and reaffirms the effect of motif with a realistic replication of a partition, made out of carved and painted wood, that creates compartments and dividers;"Sanctuary" (2010), a piece in which two golden surveillance cameras carved out of wood are arranged in the manner of guardian dogs on shrine grounds, symbolically implying a sacred space; and the aforementioned piece dedicated to Kamigamo Shrine, "TONGARIMARU" (2013), in which he pursues an abstraction of the conical tatesuna (cones of sand), which are regarded as the shrine's yorishiro (a place where spirits manifest), breaking them down into two primary geometric forms―the triangle as seen from straight on and the circle as seen from above.</p> <p>This exhibition will consist of an installation of small to large, flat and three-dimensional woodcarvings and sculptures. There are some charred with abstract engravings, lines carved arbitrarily during the production process, and some charred with symbolic, figurative engravings; he adopts carbonization as a method that enables him to come and go freely between the intentional and the unintentional, without being subject to chance, daring to venture to uncontrollable realms within his work. One can sense that through these experimental works he takes on the anti-art ideas that came forth from Automatism, Dada, and Fluxus, the "sacred objects" and "secular objects" written about in Mircea Eliade's books, and Walter Benjamin's concept of "aura", and pursues the question of how the ineffable beauty and sublimity spoken of within all of these arise. Ohira presents us with the world of these pieces, burnt and blackened from his experimentation, under the guise of a "magnificent view".</p> <p>Of the exhibition, Ohira comments:<br /> There is a custom in this world to take a tree felled by, say, lightning, and make it into an icon, as a sacred tree. Humans attribute meaning to something, and try, forcibly, even, to implant a nature of continuity and law. They look for clues within an uncertain and ambiguous world. From such human instability and hope come "gods" and "religion", "sacred ground" discovered through the attribution of contrasts between spaces and places via the senses, the feeling of security that comes with the concepts of "everyone has it" and "everyone is going" created by today's commercial media, and the aspiration and longing for "high-rise city condominiums" and "supercars". Although we know what we are trying to do, we are not aware of what is driving those thoughts. Where does the sensation of experiencing a "magnificent view" come from; what makes us able to call something a "magnificent view"; and is it actually a "magnificent view"? Isn't it important that the notion of a "magnificent view" is not pressed upon us by someone, but rather that each individual finds one's own "magnificent view" from within?</p> Sat, 30 Aug 2014 05:38:48 +0000 Jodie Whalen - Artereal Gallery - September 3rd - September 27th Sat, 30 Aug 2014 05:27:27 +0000 Christopher Bucklow, Simone Douglas - Artereal Gallery - September 3rd - September 27th Sat, 30 Aug 2014 05:24:07 +0000 Stephanie Darling - Redbud Gallery - September 6th - September 28th <p>Primarily working through series of mixed media paintings, sculpture and large outdoor murals throughout urban Houston, Biomorphic is the result of her aim to absorb those transmutational qualities of decay related to the physical progression of death and the effects of scavenging within the animal kingdom into a deconstructive/reconstructive collage process analogous to the deterioration and resilience of life through death.&nbsp;</p> Sat, 30 Aug 2014 04:51:05 +0000 - The Galleries at Moore - September 13th - December 6th <p><em>do it</em>&nbsp;began in Paris in 1993 as a conversation between curator Hans Ulrich Obrist and artists Christian Boltanski and Bertrand Lavier. &nbsp;They were curious to see what would happen if they started an exhibition that could constantly generate new versions of itself. &nbsp;To test the idea, they invited twelve artists to propose artworks based on written &ldquo;scores&rdquo; or instructions that can be openly interpreted every time they are presented. &nbsp;The instructions were then translated into nine different languages and circulated internationally as a&nbsp;<a href="">book</a>.</p> <p>Since then, hundreds of artists have been invited to submit instructions, and&nbsp;<em>do it</em>&nbsp;has taken place all over the world from Austria to Australia, from Thailand to Uruguay, from Canada to Iceland, giving new meaning to the concept of an exhibition in progress. &nbsp;Each&nbsp;<em>do it</em>&nbsp;exhibition is uniquely site-specific because it engages the local community in a dialogue that responds to a set of instructions. &nbsp;As a result,&nbsp;<em>do it</em>&nbsp;is less concerned with copies, images, or reproductions of artworks, than with&nbsp;<a href="">human</a>&nbsp;interpretation. &nbsp;No two iterations of the same instructions are ever identical.</p> <p>Twenty years after its conception,&nbsp;<em>do it</em>&nbsp;has become the longest running exhibition ever.</p> Sat, 30 Aug 2014 04:42:47 +0000 Helen W. Drutt, Janet Fish, Nicole Miller - The Galleries at Moore - September 9th - November 1st <p>Focusing on the work of Moore's Visionary Woman Award recipients for 2014, this exhibition provides insight into the careers of curator and collector&nbsp;Helen W. Drutt English, painter Janet Fish and fashion designer Nicole MIller.</p> Sat, 30 Aug 2014 04:39:56 +0000 Group Show - Galerie Martin Janda - September 5th - September 26th Sat, 30 Aug 2014 04:08:14 +0000 Childe Hassam, Stuart Davis, Jackson Pollock, David Smith, Willem de Kooning - National Gallery of Art - Washington DC - September 1st - February 1st, 2015 <p>Ruth and Jacob Kainen donated more than 2,000 works, primarily prints, drawings, and rare illustrated books, to the National Gallery of Art. Ruth Cole Kainen (1922&ndash;2009) studied English at the University of Oregon and music at Yale University before working for various cultural organizations. In 1958 she settled in Washington, DC, and soon after she began to acquire art. Her marriage to Jacob Kainen (1909&ndash;2001) a decade later marked the union of two formidable collecting talents. As an artist in New York City during the 1930s, Jacob knew such key figures as Stuart Davis, Arshile Gorky, and Willem de Kooning. And as curator of graphic arts at the Smithsonian from 1942 to 1970, he made important acquisitions and wrote scholarly texts on the prints of eighteenth-century artists, including Canaletto and John Baptist Jackson, among other subjects. Together, Ruth and Jacob Kainen built a collection of impressive variety and quality.<br /><br />Two recent exhibitions at the National Gallery of Art have celebrated works from the Ruth Kainen bequest. The first featured northern mannerist prints, and the second presented German expressionist prints, drawings, and rare illustrated books. This third and final exhibition in the series presents a selection of modern American holdings&mdash;exceptional prints and drawings from the first three-quarters of the twentieth century. The first room explores the period leading up to World War II, in which many artists, such as Childe Hassam and Stuart Davis, departed from strict representation. The second room moves toward pure abstraction in the postwar period with works by Jackson Pollock, David Smith, and Willem de Kooning. This exhibition represents only a small fraction of the works donated by Ruth and Jacob Kainen, and pays tribute to their connoisseurship and generosity.</p> Sat, 30 Aug 2014 03:59:31 +0000 - National Gallery of Art - Washington DC - September 1st - February 1st, 2015 <p>The visual arts in Italy between the first stirrings of nationalistic sentiment and its corruption into Fascism&mdash;that is, during the long development of the modern Italian state&mdash;remained extraordinarily diverse and vital. While the artistic dominance of Italy in the Renaissance and Baroque eras has always been recognized, its contributions to the history of modern art are routinely neglected&mdash;in part because nineteenth and early twentieth century Italian art resists a single narrative or any simple characterization. The National Gallery of Art has in recent years begun to develop a collection of Italian prints and drawings of this period that is surpassed only by the holdings of Italy&rsquo;s principal museums.&nbsp; With some eighty works, including academic figure studies, stage designs, topographic views, experimental etchings, and avant-garde drawings and books by several of the main participants in the Futurist movement, this exhibition is the first to present the Gallery&rsquo;s effort, introducing a largely unfamiliar and greatly undervalued area of modern art.</p> Sat, 30 Aug 2014 03:55:36 +0000 Adriaan Verwée - M - Museum Leuven - August 29th - November 2nd <p>Adriaan Verw&eacute;e&rsquo;s (1975, Ghent, BE) sculptures and installations are often located at the intersection between remnants and completed works. What might an artwork be? At what point can a work be interpreted as an image? These are the central questions his works address. Verw&eacute;e combines abstract geometric structures made of wood or plaster with objects or pieces of furniture to create unique compositions. Photography is another important medium for the artist: both to capture everyday impressions and to document his modus operandi.&nbsp;</p> <p>As a result of his interest in architecture, space plays a fundamental role in Verw&eacute;e's artistic practice. His installations may be interpreted as an attempt to give form to emptiness and to create tension in a space.&nbsp;</p> <p>For his first solo exhibition at a museum, Adriaan Verw&eacute;e has created a comprehensive installation that juxtaposes both new and older works. He has thus been able to make more recent versions of existing works, bringing them closer to his new productions. This process was largely made possible by M.</p> Sat, 30 Aug 2014 03:03:22 +0000 Dario Robleto - The Menil Collection - August 16th - January 11th, 2015 <p>Dario Robleto (b. 1972) has long explored themes of the human condition including love, loss, and grief. His sculptural work, which is labor-intensive and frequently involves the transformation of materials, distills these complex and universal states into meditations on fragility and change. This site-specific project at the Menil will concern his most recent area of inquiry: the history of the human heart</p> Sat, 30 Aug 2014 02:33:43 +0000 Robert Dewaele, Virginia Ocken, Margie Schimenti - Artists Cooperative Gallery - September 2nd - September 28th Sat, 30 Aug 2014 02:11:28 +0000