ArtSlant - Current exhibits en-us 40 Robin Jones - 126 Artist-Run Gallery © Kerry Guinan - October 5th, 2013 - November 2nd, 2013 <p>Robin Jones works with a range of materials to make three dimensional objects and wall based works. He uses a variety of media; wood and bolts from DIY shops, paper, cloth etc., through which he invents and reworks a vocabulary relating to adaptable, mutable forms and structures.<br /> <br /> The objects have a certain fragile quality, they seem close to collapse, remaining upright through internal tension, but sometimes suddenly overbalancing in slapstick fashion. They are often modular structures, re-makable, the parts roughly interchangeable, made through cutting, dismembering, replacing. It is not always certain if they are complete and their orientation and position is usually not fixed or certain.<br /> <br /> The work takes in ideas around drawing as a language considered in various ways.&nbsp; Line is traced as cut and or join. Speed of line, qualities of surface and speed of surface are concerns, as is an interest in proximity, hapticity and bodily gesture. Jones attempts to explore possibilities for combining and composing, breaking up and dispersing - groups of work that may or may not evolve towards coherence.<br /> <br /> Robin Jones went to art school at LSAD, GMIT (then Galway RTC) and the Slade School of Fine Art, London<br /> He has exhibited in the Claremorris Open exhibition, Jerwood Drawing Prize, London, In the House, London, Iontas, EV+A and various other group exhibitions. Previous one-person shows include Galway Art Centre and Siamsa Tire Arts Centre, Tralee. He is curating 'Taking Note or The Curious Eye' at NUIG art gallery in November 2013<br /> </p> Thu, 03 Oct 2013 02:41:08 +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 Ursula Mayer - 21er Haus - October 13th, 2013 - January 12th, 2014 <p>BUT WE LOVED HER &ndash; the title of Ursula Mayer&rsquo;s exhibition was taken from a picture in the April 17, 2013 issue of the British daily paper The Independent, the day Margaret Thatcher was interred. The London-based artist collected all the newspaper articles in the days that followed Thatcher&rsquo;s death, programmatically positioning these four words at the forefront of her exhibition in Vienna, and in a phase of her work that foregrounds questions about the opportunities offers by neoliberal identity, about consumer culture in a post-capitalistic society, and about their precursors. Based on sources from film, philosophy, politics and culture, Ursula Mayer recombines idea-historical texts and images, developing a multi-layered mesh of autonomous statements and concepts. Her work explores strategies of cinematic image creation which cement social norms so as to expose the structure, alter, and represent exactly these conventional images through the deconstruction of the filmic language.<br /> &nbsp;<br /> The point of departure for the large institutional solo exhibition by Ursula Mayer and simultaneously the first joint exhibition project between the Ursula Blickle Stiftung and the 21er Haus is a trilogy of the films GONDA (2012), MEDEA (2013) and the 16mm double-projected Cinesexual (2013). The central characters, model Valentijn de Hingh and musician JD Samson, embody versions of such diverse figures as Ayn Rand, Margaret Thatcher, Medea and Jason, ultimately converging with Michael Snow in a Two Sides to Every Story reference, drawing all the threads together. It is a threshold situation staged to dissolve the oppositions of a binary world-view. Mayer&rsquo;s actualization of fundamental social topics spans time from the ancient migration story of Euripides&rsquo; Medea to the riots in the Arab world today, and insistently investigates the current conditio humana. It explores questions of individuality and personal freedom, of emotion and the ultimate limit state of human destructivity. The film scripts written by author and art critic Maria Fusco and film theorist Patricia MacCormick are based on original source material and pull the viewer into the sensual world of cinematic narrative while catapulting him or her instantaneously into the individualist present day. The films are transported into the exhibition space in a tableau vivant of different objects and scenarios, such as the body machines of Bruno Gironcoli which embroil beholder in the spell of its social and psychological entanglements. The hidden hints and coded clues guide his perception along a labyrinth path of sensual and intellectual seduction.</p> Mon, 30 Dec 2013 22:27:36 +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 - ACMI (Australian Centre for the Moving Image) - September 26th, 2013 - February 23rd, 2014 <p><i>Spectacle </i>is a groundbreaking and sensory exploration of music video as an art form of our time. The most comprehensive exhibition on music video presented to date, <i>Spectacle</i> features over 300 works, taking the visitor through a labyrinth of sound, movement and vision.</p> <p> </p> <p>Presented across nine thematic sections,<i> Spectacle</i> is experienced through a dynamic fusion of interactive installations, projections, videos and immersive environments, including recreated sets and original objects never before seen outside of the videos themselves.</p> <p> </p> <p>Music videos are the playground of film directors and cinematographers, who use cutting-edge special effects and visual technologies to change the way that music is promoted and consumed. This exhibition is designed to highlight the central place of these landmark music videos in popular culture.</p> <p><i>Spectacle </i>brims with music video history, from the earliest sound films of musicians such as Louis Armstrong, Bessie Smith and Cab Calloway, through to the latest online sensations.</p> <p>The exhibition<i> </i>features promotional videos for pioneers such as Bob Dylan, The Beatles, and David Bowie, innovators such as Devo, Björk, and the Beastie Boys, and icons such as Madonna, U2, and Nirvana. <i>Spectacle</i> spotlights the MTV masters who expertly used the medium to define their public identities, through to artists like OK Go, Lady Gaga and Kanye West who follow in their footsteps today.</p> <p>The music videos featured in the exhibition span the experimental and the extravagant, the political and the provocative, as well as epic productions which cross the boundary into short film, demonstrating that creative ingenuity is the key to creating a perfect marriage of sound and vision.</p> <p>Some of the world’s most innovative cinematic figures, who developed their signature style through experimentation with music video, such as Michel Gondry (The White Stripes, The Chemical Brothers), Spike Jonze (Björk, Fatboy Slim) and Mark Romanek (Lenny Kravitz, Jay Z) feature throughout <i>Spectacle</i>.</p> Sat, 15 Jun 2013 01:24:46 +0000 Jules Olitski - Adelson Galleries - October 18th, 2013 - December 22nd, 2013 <p>JULES OLITSKI&rsquo;s Late Paintings reinvestigate the color, impasto, and handling found in his earlier paintings &ndash; cultivating his previous styles and influences, and delivering his final messages to the world.</p> <p>Referred to as &ldquo;Orb&rdquo; paintings by his friend, the artist, Walter Darby Bannard, his Late Works are among the brightest and boldest within his oeuvre. The subject matter appears to transition from ethereal, earthly landscapes to cosmic playgrounds. The process includes methods that he used when creating his Spackle, Stain, and Spray paintings. To form the &ldquo;Orbs&rdquo;, Olitski piled acrylic gel often mixed with pumice and other mediums onto the canvas, then smoothed out the emulsion with his hand in a circular motion, creating the Haute P&acirc;te-material effect starkly evident in his Spackle paintings of the late 1950s. The &ldquo;Orbs&rdquo; in these Late Paintings also seem to refer back to the nebulous circles of the Stain period of the early &lsquo;60s. Olitski used a portable air blower to mix paint across the surface of the canvas, recalling his experiments with unorthodox tools in his Spray paintings of the late &lsquo;60s as well as brooms, mops and squeegees used in the &lsquo;70s and &lsquo;80s. The Late Works are often framed with a colorful outline reminiscent of the edges in many Spray paintings. The combining of these techniques, as well as the vibrant palette, culminates into something uniquely celebratory in the Late Work.</p> <p><br /> Throughout Olitski&rsquo;s career, naming a painting was significant and done after completion. Unlike many of his contemporaries, Olitski preferred not to give a painting a simple title or number. Instead, he would choose a specific reference to something he&rsquo;d read or experienced, &ldquo;something personal that maybe no one else would know.&rdquo; The Late titles often reference spiritual texts or articulate an attitude, often reinforcing Olitski&rsquo;s belief that being an artist is &ldquo;&hellip; a spiritual and a moral undertaking.&rdquo; The titles evoke hope, introspection and optimism.</p> <p><strong>Adam Adelson</strong></p> Fri, 04 Oct 2013 23:23:09 +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 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 Group Show - Albertina - September 20th, 2013 - January 12th, 2014 <p>In the autumn of 2013, the Albertina will be presenting around 160 works by Henri Matisse and the fauvists. Most of the works of the young artists, who art critics at the time compared with "fauves" ("wild animals"), are available to view for the first time ever in Vienna and Central Europe. Henri Matisse was the head and the spokesman of the fauves. Together with his group of artists, he caused a stir in 1905 at the 3rd Paris Autumn Salon. Their paintings literally roared from the walls. The public was appalled by the violent, apparently hastily applied brush strokes and the colourful, intensely luminous colours. The motif was secondary; what counted was expression. In addition to the famous paintings, the exhibit demonstrates that Matisse and the fauves also strived for expression and intensity in their bronzes, ceramics, stone sculptures and furniture. Fauvism lasted only two years, but was, as the first avant garde movement of the 20th century, of epochal significance for the development of Modernity.</p> Sat, 07 Sep 2013 00:57:32 +0000 Olga Chernysheva, Ivan Chuikov, Sergei Shestakov, Leonid Tishkov, Nikita Alexeyev - Albertina - October 12th, 2013 - December 1st, 2013 <p>The Dreaming Russia exhibit allows unique insight into contemporary Russian art. Many of the artists presented here can be seen for the first time in Austria, although they are already successful and well-known in their homeland. Contemporary art from Russia is a phenomenon that has to date received little attention in Europe. Our picture of Russian art is still primarily influenced by its avant garde. This narrowing of the European view to this small section of Russian Modernity is explained by the extraordinary impact originating from the art scene in Petrograd between 1910 and 1925.<br /><br />Thanks to a cooperative project with Gazprombank, it is now possible for the Albertina to present the current artistic work coming from Russia, which polymorphically serves all art forms: painting and photography, room installation, performance and sculpture. A strict formalism is always found behind these varied positions, which assigns a constructively precise location to each individual element, from the composition within the painting to arrangements requiring a large amount of space: a design principle rooted very deeply within the early period of the Russian avant garde. Both in its conceptual approach and in its constructive spirit, recent Russian art is characterised by the consequences of what Stalin and his doctrine of socialist realism were only able to interrupt, but not exterminate.</p> Sat, 28 Sep 2013 01:00:14 +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 Gerhard Richter - Albertinum - Galerie Neue Meister (New Masters Gallery) - September 14th, 2013 - January 5th, 2014 <p>This exhibition comprises three rooms of new works by Gerhard Richter from his current series of <em>strip pictures </em>and <em>glass objects</em>, most of which were created specifically for this show. <br /><br />For his Strips series, begun in 2011, Richter uses one of his own earlier works as point of departure and source material. He digitally dissected his 1990 <em>Abstract Painting </em>(724-4) into 4,096 sections, and mirrors, multiplies and recombines these details, finally printing them as pictures composed of horizontal stripes, in various formats up to 10 metres in length. These works bear witness to the unceasing creativity of this artist, who was born in Dresden in 1932. Using computer-controlled image-making processes to reinterpret his own abstract painting, Gerhard Richter thereby achieves surprising pictorial inventions.<br /><br />Glass has played an important role in Gerhard Richter&rsquo;s work since the 1960s. His most recent work in this medium, which is to have its first public showing in the Dresden exhibition, is a further development of his 2002/2010 sculpture, <em>9 Upright Standing Panes</em>, which will be on view concurrently in the permanent collection in the Albertinum.</p> <p>The new reverse glass paintings, now in a large format for the first time, are also the result of such observant and controlled coincidence. Richter has applied lacquer paints to a smooth surface, mixed them with a palette knife and then left them for awhile. The colours run into one another, intermingle and coalesce into fantastic structures. Finally, Richter presses a glass plate onto the damp paint, thus fixing the momentary result on the surface of the glass. The dynamics and the random nature of the merging colours play a decisive role in this creative process.</p> <p>The exhibition Gerhard Richter. Strips &amp; Glass has been organised in association with the Kunstmuseum Winterthur, where it will be on show from 18 January until 21 April 2014.</p> Tue, 10 Sep 2013 17:09:18 +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