ArtSlant - Current exhibits en-us 40 Wolfgang Gantner, Ali Janka, Florian Reither, Tobias Urban - 21er Haus - June 5th, 2013 - September 29th, 2013 <p>Following the intervention by Marcus Geiger (2011) and the Hans Schabus solo exhibition (2012), this year the 21er Haus is once again the venue of a site-specific show, created on the spot and occupying the entire building. It began with a solid cube, reaching up to the museum atrium's ceiling. It stood as a mass of material, a mine just waiting to be exploited. However, nothing but emptiness was extracted from it at first. The music began, and the four artists, together with a group of friends they had brought along from around the globe, started digging and quarrying, creating hollows. The holes were filled and their contents then distributed around the space in the form of sculptures.<br /> <br /> Gelatin touched down at the 21er Haus in search of lost form, negative space, and the underside of the surface. This vast titan filled the space with its lightness. Its perfect form was ruined; like some carious tooth, it was bored into and sculpted to create everything else.<br /> <br /> Imperceptibly soft, its role was to create the exhibition and it was eaten away in the process. Gelatin ripped pieces out of the giant, rather like the eagle gouging out Prometheus&rsquo; liver. Classic materials and research into simplicity resulted in sculptures and vice versa. And all this happened with the help of a confusing mass of skilled actors, many hands giving and taking.<br /> <br /> In six days, from 5 to 9 June 2013, Gelatin and their friends created the exhibition on site and before their audience, with musical accompaniment and food and drinks provided. They used the hollows dug out of the vast block as molds for sculptures, which little by little then filled the room. This six-day performance transformed the museum into a cross between a venue, studio, stage, and exhibition space. The exhibition features the sculptures created on site and what remains of their production is on show at the 21er Haus until 29 September.</p> Mon, 15 Jul 2013 22:06:43 +0000 Group Show - 21er Haus - June 21st, 2013 - November 10th, 2013 <p>Changing at regular intervals, the presentation of the collection of contemporary art at the 21er Haus gives insights into Austrian art production while simultaneously placing it in an international context. The current installation <em>The Collection #3 </em>comprises works from the 1940s to most recent positions. Works from the Belvedere&rsquo;s permanently growing holdings and from the Artothek des Bundes are complemented by national and international loans. The section <em>Freedom &ndash; Form &ndash; Abstraction</em> juxtaposes works of Austrian post-war modern art with contemporary positions, thereby demonstrating both thematic and formal similarities. In search of new identities and languages of form after World War II, artists referred to geometrical construction, reduced abstraction, and gestural painting. These formal tendencies reflected such international movements as Tachisme/Art Informel in Paris or Abstract Expressionism in New York. During the following two decades, abstraction as a genre was to develop into a global language. In the past twenty years, contemporary artists have also harked back to non-objective painting in the form of free gesture, constructivism, or monochrome reduction. In the section <em>Sign &ndash; Image &ndash; Object</em>, the focus is on the blurring of boundaries between image and sign, script and language, and object and idea. The play between signifier and signified &ndash; the form of a sign and its meaning &ndash; and their unclear statuses are also addressed by making reference to the pattern of the process of perception and the translation of what is perceived into language. Finally, <em>Body &ndash; Psyche &ndash; Performance</em> deals with social norms and their negotiation in the visual arts since the 1960s. Constructions of the self and their renderings, marked by a tensional relationship between the mind, social issues, and the act of representation as such, serve as a point of departure. Stereotypes and conventions, expressed, for example, by way of role models and their social legitimization, are primarily addressed with regard to body and gender.</p> Mon, 15 Jul 2013 21:53:35 +0000 Shaun Tan - ACMI (Australian Centre for the Moving Image) - July 16th, 2013 - January 19th, 2014 <p>Set in a city overrun by bureaucracy, Shaun Tan's picture book <em>The Lost Thing</em> tells the story of a boy who befriends a strange creature that doesn't&nbsp;appear to fit in&nbsp;any of the available pigeon holes.<br /> <br /> Melbourne-based production company Passion Pictures Australia&nbsp;invited Shaun to direct an animated version of <em>The Lost Thing</em>. Several years later, the Oscar&reg;-winning short film emerged.<br /> <br /> This exhibition features Shaun's exquisite original drawings and working sketches alongside exclusive footage of the animators and sound artists, demonstrating how the drawings were brought to life on screen with movement, sound effects, music and narration.</p> Fri, 12 Jul 2013 23:53:08 +0000 Julian Stanczak - Akron Art Museum - April 13th, 2013 - November 3rd, 2013 <p style="text-align: center;"><strong>"If you want to get into his work, guess how many colors are represented in the various pieces on display. For instance, Stanczak used simple black and white in one of his transparencies pieces called &ldquo;Intravert I.&rdquo; When studied and mused upon, a viewer can begin to see other shades &ndash; purple somehow coming through as one tone.</strong></p> <p style="text-align: center;"><strong>In his &ldquo;It&rsquo;s Not Easy Being Green,&rdquo; one might think in this grid work that there are two basic colors being employed &ndash; blue and green. On closer study, there are actually 45 different colors.</strong></p> <p style="text-align: center;"><strong>How does the artist do it? How indeed. You can see, if you look closely enough that Stanczak juxtaposes color and manipulates the closeness or distance between separations of colors. Stanczak may begin by painting a canvas black or white, or green or blue, and then applying stripes of tape (from his own tape machine) in varying distances between lines before he applies the second, or 44th color. According to him, the eye does the rest by making connections and applying some kind of order to what it is looking at.</strong>"</p> <p style="text-align: center;"><strong>-Roger Durbin, Knight Arts</strong></p> <p><em>Line Color Illusion: 40 Years of Julian Stanczak</em> showcases paintings and prints collected by the Akron Art Museum since 1970. The exhibition documents both Julian Stanczak&rsquo;s impressive career as a master of color and the museum&rsquo;s longstanding commitment to his work.</p> <p><br /> A longtime resident of Northeastern Ohio and retired Cleveland Institute of Art professor, Julian Stanczak earned international recognition as a pioneer of &ldquo;Op Art,&rdquo; a style based on optical illusion, following his first New York exhibition at Martha Jackson Gallery in 1964. Soon after, Stanczak&rsquo;s work--which he characterizes as perceptual abstraction&mdash;was included in the Museum of Modern Art&rsquo;s landmark exhibition The Responsive Eye. Stanczak has continued to draw upon his deep understanding of color theory to explore how colors interact and are perceived. While his signature motifs have evolved, his paintings and prints over the years are characterized by lines and colors that set up vibrations and create pulsating patterns.</p> <p><br /> The Akron Art Museum hosted one of the first public museum exhibitions of Julian Stanczak&rsquo;s work and acquired the painting <em>Dual Glare</em> in 1970. Since that time the museum has augmented its collection with paintings and screen prints representing the variety of materials, techniques and formal elements that Stanczak continues to explore.</p> Tue, 23 Jul 2013 07:22:20 +0000 Group Show - Akron Art Museum - July 20th, 2013 - November 3rd, 2013 <div>During the years leading up to and following World War II, many American artists worked in styles that merged influences from European Surrealism with native realist traditions.&nbsp;On the face of it, Surrealists, who explored the subconscious in search of higher realities, and realist artists, who rely on motifs drawn from the observable world, may appear to pursue conflicting styles.&nbsp;However, a number of artists practicing during this tumultuous period married aspects of both approaches to create timely and compelling images.&nbsp;</div> <div>&nbsp;</div> <div>Featuring more than 60 paintings, drawings, prints and photographs dating from 1930 to 1955 drawn from the collection of the Whitney Museum of American Art, <em>Real/Surreal </em>examines how American artists used strikingly naturalistic details to imaginative images inspired by dreams and how they introduced disconcerting undertones into compositions that featured seemingly ordinary scenes.&nbsp;The exhibition features works by both well-known artists, such as Charles Burchfield, Edward Hopper, Charles Sheeler and Grant Wood alongside engaging images by lesser-known talents, among them Francis Criss, Louis Gugliemi and Katherine Schmidt.&nbsp;</div> <div>&nbsp;</div> <div><em>Real/Surreal </em>offers viewers a journey though other realms, be it George Tooker&rsquo;s eerie subway station or Man Ray&rsquo;s pool table careening into space under pastel clouds.&nbsp;And often even ostensibly straightforward scenes, such as Edward Hopper&rsquo;s <em>Cape Cod Sunset</em>, have a disturbing quality, here conveyed by the half-drawn blinds and untrimmed grass suggesting a house that has long been abandoned.&nbsp;The exhibition also offers insights into the challenges Americans faced during this critical era, including the ravages of the Dust Bowl depicted by Joe Jones in <em>American Farm </em>and the promises and threats of technology referenced by Peter Blume in <em>Light of the World. </em></div> <div><em>&nbsp;</em></div> <div><em>&nbsp;</em>First presented as an exhibition drawn from the permanent collection at the Whitney Museum of American Art in New York in 2010, <em>Real/Surreal </em>was greeted with critical praise that inspired its tour to four additional museums nationwide.&nbsp;The Akron Art Museum showing, accompanied by significant interpretive programming, is made possible by generous support from The Henry Luce Foundation.&nbsp;</div> <div>&nbsp;</div> <div>This exhibition was organized by the Whitney Museum of American Art, New York.</div> Tue, 23 Jul 2013 07:27:51 +0000 Alison Rossiter, Minor White, Hiroshi Sugimoto, Christopher Bucklow, Adam Fuss, Margaret De Patta - Akron Art Museum - July 27th, 2013 - January 26th, 2014 <p><em>With a Trace: Photographs of Absence</em> features photographers spanning several generations who do not merely capture scenes but create distinct moments in time. Their images bear traces of human presence, the transmission of energy, atmospheric phenomena and experiments with light. Among the artists, Christopher Bucklow, Margaret De Patta, Adam Fuss, Alison Rossiter, Minor White and Hiroshi Sugimoto use a wide range of processes to render their enigmatic subjects. Primarily analog or even camera-less photographers, they highlight the versatility of non-digital photography in capturing what the eye may not see. Whether picturing a place or thing or pure abstraction, the photographs in With a Trace emanate a palpable absence, which is precisely what invites the mind to enter the scene.</p> Fri, 30 Aug 2013 06:28:00 +0000 - Akron Art Museum - August 10th, 2013 - January 5th, 2014 <p>In collaboration with Kent State University School of Architecture faculty, Akron Art Museum staff charged third-year architecture students with their first assignment based on a real-world project: create a design for the museum&rsquo;s proposed outdoor sculpture gallery. This complex challenge involved conceiving of an outdoor space to showcase contemporary sculpture, installation and multimedia work that can also accommodate concerts, parties and possibly even a caf&eacute;. The flexibility the museum seeks for the area reflects its embrace of the museum&rsquo;s role as a cultural hub.</p> Fri, 30 Aug 2013 06:25:38 +0000 Kay Field Parker - Alaska State Museum - April 5th, 2013 - October 12th, 2013 <p>Ravenstail weavings by this prolific artist woven over the last 20 years, includes robes, tunics, aprons, and other selections.</p> Thu, 09 May 2013 01:41:32 +0000 Tommy Joseph - Alaska State Museum - April 5th, 2013 - October 12th, 2013 <p>This noted artist and carver has produced a wide range of artwork including totems, house posts, masks and bentwood containers. "Rainforest Warriors" consists of Tlingit armor and clothing.</p> Thu, 09 May 2013 01:44:13 +0000 - Alaska State Museum - May 3rd, 2013 - October 12th, 2013 <p>Six individual artists from The Canvas each bring their unique perspective to the ceramic pieces encompassed in this show. The Canvas is a community outreach and day program for REACH, an independent non-profit organization serving people who experience disabilities.</p> Thu, 09 May 2013 01:46:35 +0000 Nicholas Galanin - Alaska State Museum - May 17th, 2013 - October 12th, 2013 <p>Having trained extensively in traditional as well as contemporary approaches to art, this Tlingit/Aleut multi-disciplinary artist draws on a wide range of indigenous technologies and global materials to explore his ideas.</p> Thu, 09 May 2013 01:49:04 +0000 Gottfried Helnwein - Albertina - May 25th, 2013 - October 13th, 2013 <p>Gottfried Helnwein is one of the most important internationally known Austrian artists. On the occasion of his 65th birthday, the Albertina is dedicating the first retrospective of his works in Europe to him.<br /> <br />More than 150 works from all phases of his career provide insight into Helnwein's creative work, which is characterised by a pointed dialogue with society, its bete noires and taboo subjects. He primarily became known for his hyperrealistic paintings of wounded and bandaged children. Even Disney figures take on a menacing aspect in Helnwein's works. Pain, injury and violence are recurring motifs in his unsettling and disturbing works.<br /> </p> Sun, 26 May 2013 01:02:09 +0000 Gunter Damisch - Albertina - June 19th, 2013 - September 22nd, 2013 <p>In the 1980s, Gunter Damisch (born in Steyr/Upper Austria in 1958) became known in the wake of the "Neue Wilde" or "New Wild Ones", a loose group of young artists responding to the internationally proclaimed downfall of painting with expressive, colourful pictures. Within his extensive oeuvre, Damisch has conceived a highly individual iconography and mythology that oscillates between figuration and abstraction and by which he fathoms his pictorial worlds. Since 1992 the artist has held a professorship in printmaking at the Academy of Fine Arts in Vienna. Within the framework of this exhibition, his recent production of monumental woodcuts, monotypes, and printed collages will be on public view for the first time.</p> Sun, 26 May 2013 01:06:52 +0000 Markus Lüpertz, Gerhard Richter, Anselm Kiefer, Franz Gertsch, Maria Lassnig, Florentina Pakosta, Arnulf Rainer, Robert Longo, Herbert Brandl - Albertina - July 16th, 2013 - November 17th, 2013 <p class="avtext"><strong class="avtext">The exhibition <em class="avtext">Albertina Contemporary</em> will be closed from 28 to 29 October 2013. </strong></p> <p class="avtext">The works currently on display are a selection of approximately 120 pieces from the Albertina's collection of contemporary art, with a focus on the highlights of the museum's collections. Works by Anselm Kiefer, Gerhard Richter, Markus L&uuml;pertz, Franz Gertsch, Maria Lassnig, Florentina Pakosta, Arnulf Rainer, Robert Longo and Herbert Brandl are amongst the samples at the heart of this year's exposition of contemporary artworks at the Albertina.</p> <p class="avtext">Since its foundation in 1776, art of the relevant period has always found a place at the centre of new acquisitions. In continuation of the tradition established at the very outset and observed by the collection's initiator, Albert von Sachsen-Teschen, contemporary works on paper are an essential ingredient of museum policy governing collections and exhibitions. &nbsp; The exhibition of the museum's own items of contemporary art, allowing insights into the most recent period of art history, is thus a core task for the Albertina and one which adheres closely to tradition.</p> Mon, 21 Oct 2013 21:38:40 +0000 Auguste Rodin, Stanislaus Cauer, Max Lange, Paul Sturm - Albertinum - Galerie Neue Meister (New Masters Gallery) - May 30th, 2013 - November 10th, 2013 <p>In a cabinet exhibition, the Skulpturensammlung directs its focus on the nude around 1900. On view are small-sized works from their own holdings by German and French artists such as Ernst Moritz Geyger, Aristide Maillol, Auguste Rodin and Bernhard Hoetger. Aspects of body, landscape and eroticism are illustrated in nude sculpture of classic modernism. Once presented in cases of the so-called Schaudepot, bronze and marble sculptures are now exhibited in a light setting and can be observed from all sides. Here, they enter into a dialogue with each other.</p> <p><br />In the exhibition different subject areas reveal central textual and formal appearances in nude sculpture around 1900. Auguste Rodin, for instance, who is known as the founder of modern sculpture, introduced the introverted figure in sculpture. His marble work &lsquo;Eve&rsquo; of 1881 is one example. Inspired by Rodin, sculptors such as Stanislaus Cauer, Max Lange or Paul Sturm created elegiac nudes of Art Nouveau, which seem to be isolated by space and whose meaning is incumbent upon the audience. Also the central topic of the female nude bathing or at the toilette served as a good surface onto which an idealized role model of the woman could have been projected. Works by the Frenchman Albert Bartholom&eacute; and the German Georg Kolbe give proof.</p> Mon, 09 Sep 2013 02:12:29 +0000 - Allen Memorial Art Museum - August 6th, 2013 - June 22nd, 2014 <p>In its various forms, Realism comprises an attempt to find an aesthetic that is true to life. This exhibition, drawn entirely from the AMAM&rsquo;s collection, explores the various approaches undertaken by Realist artists from the 19th to the mid-20th centuries, in the name of achieving an aesthetic that would faithfully represent the contemporary world. The Realist movement first achieved cohesion in mid-19th century France, where artists began to undermine what they perceived as the contrived artistic practices of the French Academy. Championing subjects that found inspiration in the ambient world rather than in classical tradition, these artists aimed to frankly portray France&rsquo;s natural landscape, working classes, and rural society.</p> <p>The trends first set in motion by French artists reverberated throughout the rest of Europe, reaching areas such as The Hague, where artists created naturalistic paintings of the Dutch landscape. The achievements of European Realists effectively broadened the subject matter and techniques deemed suitable for artistic representation, setting the stage for the experimental works of Impressionist and post-Impressionist artists of subsequent generations.</p> <p>Across the Atlantic, 19th-century American artists also expressed realistic tendencies, creating detailed landscape studies and minutely rendered still lifes. Later manifestations of Realism found form in the works of American Regionalist artists, who depicted everyday life in the Midwest, as well as in the works of the Ashcan School and urban realists, who recorded the gritty, often unappealing realities of American city life.</p> <p>Whether by practicing direct observation from life, depicting accessible subjects, or portraying various social realities, the artists in this exhibition shared a common goal of representing the modern world. The various techniques, subjects, and practices used reflect not only the complexity of contemporary life, but also the enormity of their artistic project.</p> Wed, 11 Sep 2013 08:40:59 +0000