ArtSlant - Recently added en-us 40 Leiko Ikemura - Nevada Museum of Art - August 27th - January 15th, 2017 <p style="text-align: justify;">In April 2013, a patron and staff group from the Nevada Museum of Art visited A27 Atelier Haus in Berlin, Germany. After spending a week visiting the city&rsquo;s cutting-edge contemporary galleries, museums, and alternative spaces, entering Leiko Ikemura&rsquo;s lofty, light-filled, minimalist space was an entirely different experience&mdash;like stepping into a temple dedicated to art. In her spacious studio, large scale-paintings punctuated the walls, and ceramic and bronze sculptures were elevated on low pedestals.</p> <p style="text-align: justify;">Swiss architect Philipp von Matt designed this combination studio and residence for his wife, Japanese-born artist Ikemura. This exhibition presents a selection of paintings and sculptures by this accomplished and well-established artist, with a special focus on work that addresses aspects of the natural world: landscape and the female figures and animal creatures that inhabit it. Ikemura&rsquo;s works describe conditions of loneliness, longing, and existential searching. Solitary doll-like female figures recline, dreaming with closed eyes, while a sculptural figure covers her face with her hands, a gesture of both grief and transcendence of earthly reality. Other figures sit pensively, seeming to morph into features of the landscape they inhabit, becoming indivisible from the natural world. Oval</p> <p style="text-align: justify;">&nbsp;ceramics in the form of human faces, displayed low on the ground, feature holes for their mouths, alluding to breathing and thereby existence. These works are informed by the artist&rsquo;s experiences as an expatriate, her personal relationships, and the historically significant things that have occurred in her lifetime, such as the Fukushima Daiichi nuclear disaster of 2011.</p> <p style="text-align: justify;">Born in Tsu, Japan, Ikemura left her native land at age twenty-one to escape &ldquo;the strictness of Japanese tradition.&rdquo; Beginning in the late 1970s, she pursued language studies in Spain, and attended the Academy of Fine Arts in Seville. She moved to Switzerland in the 1980s, living in Lucerne and Zurich, where she began to exhibit her work in group exhibitions. Ikemura&rsquo;s first major solo exhibition was held in Bonn in 1983, launching her career in Germany. Before long she moved to Germany permanently, settling in Cologne in 1984. By 1992, she was offered a teaching post at the Berlin University of Fine Arts, where she taught painting from 1992 to 2015.</p> <p style="text-align: justify;">Her work is documented in numerous catalogues and books, and is included in internationally prominent public collections, such as the Mus&eacute;e National d&rsquo;Art Moderne, Centre George Pompidou, Paris, France; The Kunstmuseum Basel, Basel, Switzerland; the&nbsp;Kunstmuseum Linz, Lentos, Museum of Modern Art Linz, Austria; the National Museum of Modern Art, Tokyo, Japan; and the National Museum of Contemporary Art, Osaka, Japan, among others. Ikemura&rsquo;s work has been shown in numerous exhibitions throughout Europe and Asia, however this is her first solo exhibition in the United States.</p> Sat, 02 Jul 2016 08:11:47 +0000 Galen Brown, Justin Favela, Katie Lewis, David Ryan, Brent Sommerhauser, Rachel Stiff - Nevada Museum of Art - August 5th - October 23rd <p style="text-align: justify;">Nevada Museum of Art Director of Contemporary Art Initiatives JoAnne Northrup has partnered with Las Vegas-based art advisor Michele Quinn to co-curate<em>Tilting the Basin: Contemporary Art of Nevada</em>. The exhibition bridges the divide between Northern and Southern Nevada communities and provides a wide-ranging overview and understanding of the most accomplished work being created by more than thirty artists living and working in Nevada today.</p> <p style="text-align: justify;">The first nationally significant exhibition presenting art made in Nevada occurred in 2007 with&nbsp;<em>Las Vegas Diaspora: The Emergence of Contemporary Art from the Neon Homeland</em>, on view at the Las Vegas Art Museum, which has since closed. Organized by the well-respected art critic and curator Dave Hickey, the exhibition celebrated the work of twenty-six artists, all of whom received their degrees from the University of Nevada, Las Vegas (UNLV) and studied with Hickey between 1990 and 2001 when he taught art theory and criticism in the Department of Art at UNLV.</p> <p style="text-align: justify;">Fast forward almost ten years later. After more than fifty artist studio visits in both Northern and Southern Nevada across Nevada, spanning Las Vegas to the south, Reno and Carson City in the north. Northrup and Quinn&rsquo;s research revealed that the Nevada contemporary art scene does not evidence a singular aesthetic permeating artists&rsquo; work, but rather a wide array of practices and media. Nevada artists are creating&nbsp;</p> <p style="text-align: justify;">innovative work ranging from painting, sculpture, and installation, to photography, interactive, and sound art. Their work is informed by popular culture, the natural environment, and landscape, as well as cultural identity, politics, and current events.</p> <p style="text-align: justify;"><em>Tilting the Basin: Contemporary Art of Nevada</em>&nbsp;aspires to provide contemporary dialogue aimed at enlightening our broader audiences to the richness of our entire arts community and how it can be a powerful tool in the growth of the great state of Nevada. The exhibition highlights the work of six artists in depth, showing several examples from each in a variety of media. Featured artists include Galen Brown, Justin Favela, Katie Lewis, David Ryan, Brent Sommerhauser, and Rachel Stiff. The remaining artists&rsquo; work will give visitors a wide-ranging picture of the art being created across Nevada today, including painting, sculpture, drawing, photography, mixed media, street art, installation, sound performance, fiber arts and new media. Some work, like that of Reno photographer Megan Berner, will live exclusively on social media. Berner plans to take daily photographs of the Northern Nevada sky for the eleven-week duration of the exhibition. The images will post to the Nevada Museum of Art Instagram account, allowing the community to view the body of work as it develops over time.</p> <p style="text-align: justify;">Additional collaborations and offsite installations are planned as well. Las Vegas-based artist Brent Sommerhauser will collaborate with Reno-based Holland Project and Nevada Museum of Art E.L. Cord Museum School to create small &lsquo;sketches&rsquo; in glass by layering rich color combinations of glass powder, glass strings and other glass elements over handmade glass tiles that Sommerhauser will fire on-site in his kiln. The resulting tiles will be photographed and shared on the Nevada Museum of Art Instagram account and displayed in the E.L. Cord Museum School. The combined tiles will contribute to a growing work that will serve as a participant record. Performance art elements of the show include Justin Favela&rsquo;s&nbsp;<em>Family Fiesta</em>.</p> <p style="text-align: justify;"><em>Tilting the Basin: Contemporary Art of Nevada</em>&nbsp;will be reprised in Las Vegas in 2017 at a venue to be determined. Artists chosen for the exhibition have not before had work prominently displayed at the Museum:</p> <h4 style="text-align: justify;">Las Vegas</h4> <p style="text-align: justify;">Chris Bauder</p> <p style="text-align: justify;">Mark Brandvik</p> <p style="text-align: justify;">JW Caldwell</p> <p style="text-align: justify;">Matthew Couper</p> <p style="text-align: justify;">Gig De Pio</p> <p style="text-align: justify;"><strong>Justin Favela</strong></p> <p style="text-align: justify;">Sush Machida Gaikotsu</p> <p style="text-align: justify;">Shawn Hummel</p> <p style="text-align: justify;">Wendy Kveck</p> <p style="text-align: justify;">JK Russ</p> <p style="text-align: justify;"><strong>David Ryan</strong></p> <p style="text-align: justify;">David Sanchez Burr</p> <p style="text-align: justify;">Sean Slattery</p> <p style="text-align: justify;"><strong>Brent Sommerhauser</strong></p> <p style="text-align: justify;">Brent Holmes</p> <p style="text-align: justify;">Krystal Ramirez</p> <p style="text-align: justify;"><strong>Rachel Stiff</strong></p> <h4 style="text-align: justify;">Reno/Carson</h4> <p style="text-align: justify;">Megan Berner</p> <p style="text-align: justify;">Rebekah Bogard</p> <p style="text-align: justify;"><strong>Galen Brown</strong></p> <p style="text-align: justify;">Erik Burke</p> <p style="text-align: justify;">Nate Clark</p> <p style="text-align: justify;">Tim Conder</p> <p style="text-align: justify;">Joseph DeLappe</p> <p style="text-align: justify;">Russell Dudley</p> <p style="text-align: justify;">Jeffrey Erickson</p> <p style="text-align: justify;">Jen Graham</p> <p style="text-align: justify;">Ahren Hertel</p> <p style="text-align: justify;">Katty Hoover</p> <p style="text-align: justify;">Eunkang Koh</p> <p style="text-align: justify;">Nick Larsen</p> <p style="text-align: justify;"><strong>Katie Lewis</strong></p> <p style="text-align: justify;">Sarah Lillegard</p> <p style="text-align: justify;">Omar Pierce</p> <p style="text-align: justify;"><em>Premier Sponsor:&nbsp;Stacie Mathewson and Doors to Recovery</em></p> <p style="text-align: justify;"><em>Major Sponsors: Jacqueline Black</em></p> <p style="text-align: justify;"><em>Supporting Sponsors: Maureen Mullarkey and Steve Miller; The Private Bank by Nevada State Bank</em></p> <p style="text-align: justify;"><em>Sponsors: Kathie Bartlett; Elaine Cardinale; Barbara and Tad Danz; Dolan Law; Sari and Ian Rogoff</em></p> Sat, 02 Jul 2016 08:06:33 +0000 Anthony McCall - Nevada Museum of Art - July 29th 12:00 PM - 12:45 PM <p style="text-align: justify;">Anthony McCall is a British-born, New York-based artist known for creating immersive,&nbsp;"solid light" installations, which occupy a space between sculpture, cinema and drawing.&nbsp;McCall&rsquo;s work is represented in numerous collections, including, Tate, London; Museum of Modern Art, New York; Whitney Museum of American Art, New York and&nbsp; SFMoMA, amongst others. McCall&rsquo;s new solid&nbsp;light installation is part of the Nevada Museum of Art&rsquo;s Contemporary Collection and is on view July 30&ndash;January 8. Join us as McCall discusses his newest work followed by a&nbsp;walk-through&nbsp;of the<a href="" target="_blank"> exhibition</a>.</p> <p style="text-align: justify;"><em>Support for the&nbsp;</em>Art Bite&nbsp;<em>series comes from Nevada Arts Council and Nevada Humanities.&nbsp;</em></p> Sat, 02 Jul 2016 08:00:53 +0000 Anthony McCall - Nevada Museum of Art - July 29th - January 8th, 2017 <p style="text-align: justify;">Commissioned by the Nevada Museum of Art, New York-based artist Anthony McCall has created a new immersive light installation&mdash;a compelling example of a virtual environment. British-born McCall is known for his &lsquo;solid-light&rsquo; installations. Occupying a space between sculpture, cinema and drawing, the new work will become part of the Museum&rsquo;s Contemporary Art Collection.</p> <p style="text-align: justify;">Anthony McCall (born 1940) is a British-born artist known for his &lsquo;solid-light&rsquo; installations, a series that he began in 1973 with his seminal&nbsp;Line Describing a Cone, in which a volumetric form composed of projected light slowly evolves in three-dimensional space.</p> <p style="text-align: justify;">His work&rsquo;s historical importance has been internationally recognized in such exhibitions as&nbsp;<em>Into the Light: the Projected Image in American Art</em>&nbsp;1964-77&nbsp;at the Whitney Museum of American Art, New York (2001-2);&nbsp;<em>The Expanded Screen: Actions and Installations of the Sixties and Seventies</em>&nbsp;at the Museum Moderner Kunst, Vienna, Austria (2003-4);&nbsp;<em>The Expanded Eye&nbsp;</em>at the Kunsthaus Zurich, Switzerland (2006);&nbsp;<em>Beyond Cinema: the Art of Projection</em>&nbsp;at Hamburger Bahnhof, Berlin, Germany (2006-7);&nbsp;<em>The Cinema Effect: Illusion, Reality and the Projected Image</em>&nbsp;at the Hirshhorn Museum, Washington, DC (2008);&nbsp;<em>The Geometry of Motion 1920s/1970s</em>&nbsp;at the Museum of Modern Art, New York (2008); and&nbsp;<em>On Line</em>&nbsp;at the Museum of Modern Art, New York (2010-11). McCall&rsquo;s work has also been exhibited at the Centre Georges Pompidou, Paris, France (2004); Tate Britain,&nbsp;</p> <p style="text-align: justify;">London, England (2004); Institut d&rsquo;Art Contemporain, Villeurbanne, France (2006); Mus&eacute;e de Rochechouart, France (2007); SFMoMA, San Francisco&nbsp;(2007); Serpentine Gallery, London, England (2007-8); Hangar Bicocca, Milan, Italy (2009); Moderna Museet, Stockholm, Sweden (2009); Adam Art Gallery, Wellington, New Zealand (2010); Sprueth Magers/Ambika P3, London, England (2011); the Serralves Museum of Contemporary Art, Porto, Portugal (2011); the Hamburger Bahnhof, Berlin, Germany (2012); and the Faena Arts Center, Buenos Aires, Argentina (2013).</p> <p style="text-align: justify;">McCall&rsquo;s work is represented in numerous collections, including Tate, London, England; Museum of Modern Art, New York; Museum f&uuml;r Moderne Kunst, Frankfurt, Germany; Museu d&rsquo;Art Contemporani de Barcelona, Spain; Whitney Museum of American Art, New York; SFMoMA, San Francisco; the Centre Georges Pompidou, Paris, France; the Moderna Museet, Stockholm, Sweden; and the Hirshhorn, Washington, DC.</p> <p style="text-align: justify;"><em>Major Sponsor: Art Mentor Foundation Lucerne</em></p> Sat, 02 Jul 2016 07:58:55 +0000 Ai Weiwei - Nevada Museum of Art - July 23rd - October 23rd <p style="text-align: justify;">This installation consists of a dozen gilded bronze sculptures representing the animal symbols from the traditional Chinese zodiac.&nbsp;Chinese contemporary artist Ai Weiwei drew inspiration for the twelve heads from those originally located at Yuanming Yuan (Old Summer Palace), an imperial retreat of palaces and European-style gardens built outside of Beijing in the 18th and 19th centuries by Emperor Qianlong. Designed and engineered by two European Jesuits, Giuseppe Castiglione and Michel Benoit, the heads originally functioned as an ornate fountain clock that would spout water at two-hour intervals.</p> <p style="text-align: justify;">Once accessible only to the elite of 18th-century Chinese society, the garden was destroyed and looted by Anglo-French troops in 1860 during the Second Opium War, displacing the original zodiac heads. The seven heads known to exist (Monkey, Pig, Rat, Ox, Tiger, Rabbit, and Horse) have all been returned to China.&nbsp;<em>Circle of Animals/Zodiac Heads: Gold</em>&nbsp;engages issues of looting, repatriation, and cultural heritage while expanding upon ongoing themes in Ai&rsquo;s work of the &ldquo;fake&rdquo; and &ldquo;copy&rdquo; in relation to the original.</p> Sat, 02 Jul 2016 07:55:29 +0000 Trevor Paglen - Nevada Museum of Art - April 29th - January 1st, 2018 <p style="text-align: justify;">The fourteen-foot diameter mylar balloon hanging in the Donald W. Reynolds Grand Hall is a model for a future artwork by contemporary artist Trevor Paglen. In partnership with the Nevada Museum of Art and in collaboration with aerospace engineers, Paglen proposes to launch a similar balloon into orbit as a purely artistic gesture.</p> <p style="text-align: justify;"><em>Exclusive sponsorship for this installation,&nbsp;</em><em>and lead sponsorship for the Museum&rsquo;s STEAM&nbsp;</em><em>education programs, is provided by Switch.</em></p> Sat, 02 Jul 2016 07:51:16 +0000 Anna McKee - Nevada Museum of Art - May 28th - September 18th <p style="text-align: justify;">Anna McKee&rsquo;s&nbsp;<em>Reliquary</em>&nbsp;is a sculptural installation comprised of 3,405 glass ampules that she sewed to 678 silk panels in a long hanging row creating a subtly swaying wave form. The entire piece suggests a graph. Shifting hues hint at untold levels of information and a deep measure of time. Though abstract, the installation&rsquo;s form is the expression of 68,000 years of temperature history from an ice sheet.</p> <p style="text-align: justify;">McKee collaborated with Seattle composer/sound artist Steve Peters, who created a multi-channel sound piece, taken from recordings of the reliquary ampules. Steve makes music and sound for many contexts and occasions using environmental recordings, found/natural objects, electronics, acoustic instruments, and voices. His work is often site-based, attentive to the subtle nuances of perception and place.</p> <p style="text-align: justify;">McKee&rsquo;s art practice is informed by an interest in history and environmental sciences. She seeks evidence of time and meaning in the land, especially at the intersections of human activity. Glacial ice became a metaphor for the deep memory of the natural world. Living in the Puget Sound Basin, a glacially sculpted environment has been a potent influence.</p> <p style="text-align: justify;">In 2009, McKee visited the WAIS Divide Ice Core field camp in Antarctica through the National Science Foundations Artist and Writers program. She interviewed scientists, watched ice being drilled from a two-mile deep ice sheet and spent hours drawing the white open space.</p> <p style="text-align: justify;">Time on the West Antarctic Ice Sheet was a powerful influence on her work, and for several years she gestated ideas for a larger installation. In 2012, Eric Steig, Professor of Glaciology at the University of Washington, invited her to fabricate the glass ampules for the&nbsp;<em>WAIS Reliquary</em>&nbsp;at his research lab, using surplus water samples from over three kilometers of glacier ice. He and several graduate students also shared data and insights that contributed to the design of the reliquary.&nbsp;</p> Sat, 02 Jul 2016 07:48:29 +0000 William Merritt Chase, Edward Redfield, Guy Carleton Wiggins - Nevada Museum of Art - May 14th - August 14th <p style="text-align: justify;">Around the turn of the twentieth century, it became fashionable for American Impressionist painters to gather in small, scenic towns, where they produced new work inspired by their surroundings. Known as artists&rsquo; colonies, these gathering places tended to arise in places that provided affordable living, abundant scenery for painting, and relatively easy access to large cities where artists could sell their works. This exhibition takes a close look at the way artists&rsquo; colonies across America&mdash;from Pennsylvania and Connecticut to New Mexico and California&mdash;brought together practitioners&nbsp;who shared a common aesthetic vision. Within each of these colonies, artists taught, collaborated, and escaped the daily rigors of their city studios, producing lyrical landscapes, portraits, and still-life compositions that became icons of the American Impressionist style.</p> <p style="text-align: justify;"><em>This exhibition is organized by the Reading Public Museum, Reading, Pennsylvania.</em></p> <p style="text-align: justify;"><em>Sponsorship provided by Carole Kilgore Anderson, Atlantis Casino Resort Spa, and Scientific Games.</em></p> Sat, 02 Jul 2016 07:46:59 +0000 Andy Diaz Hope, Jon Bernson - Nevada Museum of Art - January 23rd - July 24th <p style="text-align: justify;"><em>Beautification Machine</em> is an experiential artwork infused with mysticism and opacity. In the words of the artists, Diaz Hope and Bernson, <em>Beautification Machine</em> is a device used to &ldquo;neutralize the bile and fear spewed forth daily over the networks and transform polarizing media sources into vehicles of contemplation and peace.&rdquo; The work combines functions of sculpture, projection, audio processing and random chance to manipulate real-time audio and video feeds from FOX, MSNBC or any other news source, and then strip them of all rhetoric and partisanship. Beautification Machine&rsquo;s essence is antithetical&mdash; an oasis of calm created from the very thing that makes it difficult to find serenity in the modern world. The artists hope viewers will begin to break patterns of fear and paralysis instilled by the media and find ways to enact positive change. <em>Beautification Machine</em> is a humorous attempt to counteract the voices of partisan pundits, &ldquo;masquerading as news analysts,&rdquo; who subvert civil dialogue. Diaz Hope and Bernson describe &ldquo;the miracle&rdquo; of the piece as the meditative environment naturally generated by the removal of divisive elements&mdash;fear replaced by empathy, mutual understanding and a sense of calm. Diaz Hope and Bernson profess they will closely guard the secret machinations of their work for fear that the mainstream media will &ldquo;surely attempt to steal the device&rdquo; for malevolent purposes. Though transparent as whimsical exaggerations, the artists&rsquo; statements bring a humorous brand of paranoia, magical thinking, and antiauthoritarianism to the overwhelming media presence in the modern world.</p> <p>&nbsp;</p> <p>&nbsp;</p> Sat, 02 Jul 2016 07:43:15 +0000 Don Dondero - Nevada Museum of Art - January 9th - July 10th <p style="text-align: justify;">For nearly fifty years, Don Dondero was celebrated as one of Reno&rsquo;s most notable and accomplished publicity photographers. From capturing civic celebrations and commercial commissions, to significant regional events and Reno&rsquo;s illustrious celebrity nightlife, Dondero was one of northern Nevada&rsquo;s most called-upon photographers for over fifty years. Dondero loved taking pictures and rarely turned down a job.</p> <p style="text-align: justify;">Born in Ely, Nevada in 1920 and raised in Carson City, Dondero served as a lieutenant in the United States Navy in World War II before taking up photography. Upon Dondero&rsquo;s return to Reno, he picked up his first camera and never looked back. Along with his wife Liz Dondero, he built a successful photography business&mdash;focusing on freelance work, Don worked primarily out of a downtown Reno studio located above the CalNeva Casino (located at 150 N. Virginia St.) From 1973 to 1978, the Dondero family operated a popular camera shop&mdash;Parklane Cameras &mdash; located in Park Lane Mall.</p> <p style="text-align: justify;">A prolific photographer, Dondero supplied a steady stream of images to both regional and San Francisco Bay Area newspapers. As northern Nevada&rsquo;s primary&nbsp;Associated Press photographer, his work was also distributed widely&nbsp;round the world. Upon Dondero&rsquo;s passing in 2003, he left a treasure trove of visual material that documents and memorializes a bygone era&mdash;and cements his legacy as one of northern Nevada&rsquo;s most prolific and important photographers.</p> <p style="text-align: justify;"><em>The photographs on view are on loan from the private collection of Debbie Dondero and were all shot in Reno, Nevada during the 1950s. &nbsp;The exhibit was organized by guest curator Carol Buckman.</em></p> Sat, 02 Jul 2016 07:36:51 +0000 - Nevada Museum of Art - March 5th - July 3rd <p style="text-align: justify;">Much like visual art, the enduring tradition of cowboy poetry is a rich and vital form of cultural expression in the American West. This exhibition is inspired by the classic and touching poem&nbsp;<em>Equus Caballus</em>,&nbsp;written by Texas poet Joel Nelson to honor the important role and contributions horses have made to the world. The exhibition combines a unique audiovisual presentation of Nelson reciting the poem with a selection of historical and contemporary paintings, photographs, and sculptural works drawn from the permanent collection of the Nevada Museum of Art, alongside a handful of special items on loan from private collections.</p> <p style="text-align: justify;">Joel Nelson&rsquo;s poem&nbsp;<em>Equus Caballus</em>&nbsp;(the scientific or Latin name for &ldquo;horse&rdquo;)&nbsp;is especially powerful because it is one of the few poems that gives a voice to an animal whose longtime relationship to humans is emotionally layered and historically complex. Nelson&rsquo;s poem elicits a range of feelings and emotions that resonate with anyone who has spent time with horses and respects them as patient and faithful animals.</p> <p style="text-align: justify;">In many ways, the visual artworks included in this exhibition also reflect the myriad roles and relationships that horses have had&mdash;and continue to have&mdash;with humans. From artworks that relate the longtime importance of horses to indigenous people, to photographs of cowboys with their animal partners on the range, and prints and paintings that capture the stoic pride of these stately animals, visual artists using a variety of media their effort to elucidate the essence of the human relationship to the horse.</p> <p style="text-align: justify;"><em>This exhibition&nbsp;was developed jointly by the Nevada Museum of Art in collaboration with the Western Folklife Center in Elko, Nevada.</em></p> Sat, 02 Jul 2016 07:32:14 +0000 - Nevada Museum of Art - March 5th - July 3rd <p style="text-align: justify;">The Nevada Museum of Art is proud to present to our community&nbsp;<em>The Horse</em>, a comprehensive exhibition detailing the enduring bond between horses and humanity. The exhibition explores early interactions between horses and humans and portrays how horses have, over time, influenced civilization through advancements in warfare, trade, transportation, agriculture, sports, and many other facets of human life. The exhibition was created by leading scholars and scientists at the American Museum of Natural History in New York City. Dioramas, skeletal mounts, fossils, cultural artifacts from around the world, and interactive computerized modules &ndash; will draw visitors into the world of the horse as never before. An immersive multi-media experience,<em>&nbsp;The Horse</em>&nbsp;explores our history, inter-dependence, and emotional connection with this remarkable animal.</p> <p style="text-align: justify;"><em>The Horse is organized by the American Museum of Natural History, New York, in collaboration with the Abu Dhabi Authority for Culture and Heritage (ADACH); the Canadian Museum of History, Gatineau-Ottawa; The Field Museum, Chicago; and the San Diego Natural History Museum.</em></p> <p style="text-align: justify;"><em>Premiere Sponsor: Louise A. Tarble Foundation. Lead Sponsors: Barrick Gold; The Bretzlaff Foundation; Irene and J. George Drews; The Thelma B. and Thomas P. Hart Foundation; Anne Brockinton Lee and Robert M. Lee. Major Sponsors: Damonte Ranch, Perry M. DiLoreto; Deborah C. Day; Dickson Realty; Hooker&nbsp;</em><em>Creek Ranch; Nevada Arts Council; Sandy Raffealli, Raffealli Family Trust; Wells Fargo; E. L. Wiegand Foundation. Supporting Sponsors: Kathie Bartlett; Leah Elizabeth Cashman and Rhonda Cashman Evans; Marshall R. Matley Foundation; Jennifer and Jason Patterson; Gigi and Lash Turville; Whittier Trust Company of Nevada. Additional Sponsors: Answerwest; Jeanne Blach; Marc Grock; Clark J. Guild Jr. Charitable Foundation; Charlotte and Dick McConnell; Karen and Bill Prezant. Media Sponsors: Getaway Reno-Tahoe; KUNR; Lake Tahoe TV; Tahoe Quarterly; Western Art &amp; Architecture.</em></p> Sat, 02 Jul 2016 07:16:53 +0000 Beverly Rautenberg - Mass MOCA - October 7th, 2011 - November 4th, 2011 Fri, 01 Jul 2016 22:05:43 +0000 Shahzia Sikander - MAXXI - Museo nazionale delle arti del XXI secolo - June 22nd - October 23rd <p style="text-align: justify;">Shahzia Sikander observes the present through the lens of the imagination, symbols, literature and history of diverse cultural traditions. Her rich, complex oeuvre is housed for the first time in an Italian museum with this exhibition that shows the artist&rsquo;s work from 1990&rsquo;s to the present day.</p> <p style="text-align: justify;">In the exhibition the artist will create a layout specifically for the museum with over 30 works in various media and idioms, from drawing to miniatures referring to the Indo-Persian tradition and from video to digital animation. Included are works born from critical thinking and inquiry of historical, literary and political positions that delineate the inherent complexity of universal themes ranging from the pre-colonial to the post-colonial, geopolitical changes, migration, cultural quarantine and the birth of nations and religion and ultimately human identity.</p> Fri, 01 Jul 2016 18:25:35 +0000 Jennifer Allora and Guillermo Calzadilla - Art Gallery of Alberta - June 3rd - August 28th <p style="text-align: justify;"><em>Allora &amp; Calzadilla: Echo to Artifact&nbsp;</em>is the first major exhibition in Canada of the work of internationally renowned artists, Jennifer Allora and Guillermo Calzadilla. It features film, sculpture, sound pieces and performances, and new work based on the artists&rsquo; research into western Canada&rsquo;s prehistoric past. The works in the exhibition consider the nature of sound, music and the voice as a way to animate both natural forms and man-made artifacts and include the remains of dinosaurs, a piece of Hadean rock and the oldest musical instrument ever discovered.</p> <p style="text-align: justify;">The artists note: &ldquo;The exhibition bears witness to incomplete presences and resonant remainders from the past. It finds in music a measure and a reckoning with these elusive forces and the abyss that lies between.&rdquo;</p> <p style="text-align: justify;">In the summer of 2014, Allora &amp; Calzadilla made a research trip to Alberta and visited the Burgess Shale and the Royal Tyrrell Museum of Palaeontology. A main feature of the AGA exhibition is the sculptural installation,&nbsp;<em>Intervals</em>, composed of transparent acrylic lecterns and dinosaur bones. These accompany&nbsp;<em>Lifespan</em>, a live vocal performance centered on a piece of the Earth&rsquo;s mantle from the Acasta River Gneiss (NWT) and estimated to be over four billion years old.</p> <p style="text-align: justify;"><em><strong>Allora &amp; Calzadilla: Echo to Artifact&nbsp;</strong></em>also features three films:&nbsp;<em>Apotomē</em>&nbsp;(2013),<em>3</em>&nbsp;(2013) and&nbsp;<em>Raptor&rsquo;s Rapture</em>&nbsp;(2012), all of which stem from the artists&rsquo; research into specific historical artifacts and their musical affinities.&nbsp;<em>The Great Silence</em>(2014), a three-channel video installation, focuses on the world&rsquo;s largest radio telescope, which transmits and captures radio waves to and from the farthest edges of the universe. Located in Esperanza, Puerto Rico, it is also home to the last members of an endangered species of parrots.</p> <h3 style="text-align: justify;"><strong>Lifespan Live Performances</strong></h3> <p style="text-align: justify;">As part of&nbsp;<em>Allora and Calzadilla: Echo to Artifact</em>, the artwork&nbsp;<em>Lifespan</em>&nbsp;includes daily performances by three vocalists.</p> <p style="text-align: justify;"><strong>Tuesday and Friday:&nbsp;</strong>11:30 am, 12:30 pm, 1:30 pm<br /><strong>Wednesday and Thursday:&nbsp;</strong>6, 7, 8 pm<br /><strong>Saturday and Sunday:&nbsp;</strong>1, 2, 3 pm</p> <p style="text-align: justify;">Each performance lasts approximately 15 minutes.</p> <p style="text-align: justify;"><strong>About the Artists<br /></strong>Jennifer Allora (born 1974, Philadelphia) and Guillermo Calzadilla (born 1971, Havana) have collaborated&nbsp;on a conceptually rigorous body of work&nbsp;since 1995. Through a research-based approach, their work traces intersections of deep history, material culture, and politics through a wide variety of mediums, namely performance, sculpture, sound, video, and photography.</p> <p style="text-align: justify;">Their work has been exhibited and collected widely in public institutions and private collections. Recent solo exhibitions have been presented at; Dia Art Foundation, Guayanilla&ndash;Pe&ntilde;uelas, Puerto Rico (2015);&nbsp;Philadelphia Museum of Art and Fabric Workshop and Museum (2014); Trussardi Foundation, Milan (2013); Indianapolis Museum of Art (2012); the US Pavilion at the 54th Venice Biennale (2011); the Museum of Modern Art (2010);&nbsp;The National Museum of Art, Architecture and Design, Oslo (2009);&nbsp;Haus der Kunst, Munich (2008); Stedelijk Museum Amsterdam (2008); Serpentine Gallery, London (2007);&nbsp;Kunsthalle Z&uuml;rich, Zurich (2007) and&nbsp;The Renaissance Society, Chicago (2007).&nbsp;Among numerous group exhibitions, they have participated in the&nbsp;&ldquo;51st&nbsp;and&nbsp;56thVenice Biennale (2005, 2015); Documenta 13, Kassel, Germany (2012); the 5th, 7th, and 10th Gwangju Biennials, South Korea (2004, 2008, 2014); and the 24th and the 29th S&atilde;o Paulo Biennial (1998, 2010).</p> <p style="text-align: justify;">Allora and Calzadilla live and work in San Juan, Puerto Rico.</p> <p style="text-align: justify;"><em>Allora &amp; Calzadilla: Echo to Artifact</em>&nbsp;is organized by the Art Gallery of Alberta. Presented by Enbridge&nbsp;and&nbsp;United States Consulate General Calgary.</p> Fri, 01 Jul 2016 18:18:13 +0000 Group Show - Liverpool Biennial - July 9th - October 16th <p style="text-align: justify;"><span style="font-size: small;">Liverpool Biennial 2016 will unfold through the landscape of the city. It is organised as a story narrated in several episodes: fictional worlds sited in galleries, public spaces, unused buildings and online, which draw from Liverpool&rsquo;s past, present and future.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Episodes</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Liverpool Biennial 2016 is organised as a series of six episodes: fictional worlds that draw from Liverpool&rsquo;s past, present and future.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Flashback</span></h2> <p style="text-align: justify;"><span style="font-size: small;">A flashback is a way of experiencing history as it punctures the present unexpectedly. Flashbacks can rupture established narratives and provide new understandings of history. In this episode, artists interpret flashbacks through film and the exhibiting of artefacts.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Venues:&nbsp;<a href="" target="_blank">FACT</a>,&nbsp;<a href="" target="_blank">Saw Mill</a>,&nbsp;<a href="" target="_blank">Open Eye Gallery</a></span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Monuments from the future</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Artists have been asked to impersonate the role of futurologists. They are invited to imagine what Liverpool might look like in 20, 30 or 40 years, and to design a monument for these scenarios. As a result of this process a series of public art commissions will travel across time. Sculptures appear from the future but are situated in the present. Each one will mark an imagined future &ndash; an event, landscape, person or story that is yet to arrive.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Venues:&nbsp;<a href="" target="_blank">Granby Four Streets</a>,&nbsp;<a href="" target="_blank">Liverpool ONE</a>,&nbsp;<a href="" target="_blank">Clarence Dock</a>,&nbsp;<a href="" target="_blank">Liverpool&rsquo;s Commercial District</a>,&nbsp;<a href="" target="_blank">Cains Brewery</a></span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Ancient Greece</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Liverpool&rsquo;s links to the Greek world stem from the early 1800s, when architects such as John Foster and Harvey Lonsdale Elmes created Liverpool&rsquo;s neoclassical cityscape as a re-imagining of Ancient Greece: invoking its reputation as the cradle of democracy and civilisation in order to validate Liverpool&rsquo;s political and economic circumstances. In the same spirit, the Liverpool artist Samuel Austin compared Liverpool to Carthage, an ancient city renowned for its extensive trade. His watercolour,&nbsp;<em>Carthage</em>&nbsp;(1826), now on display in the Walker Art Gallery, depicts Liverpool&rsquo;s neoclassical buildings as a backdrop, blurring the boundaries of time and place between the ancient world and contemporary Liverpool. This is similar to the way the Greeks imagined and depicted their own myths, on vases and friezes: collapsing a linear notion of time and space to tell a story with multiple simultaneous aspects.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Venues:&nbsp;<a href="" target="_blank">Tate Liverpool</a>,&nbsp;<a href="" target="_blank">George&rsquo;s Dock Ventilation Tower</a></span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Software</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Software is usually considered as something functional &ndash; a series of programs, instructions or rules that direct the computer to perform specific operations &ndash; but it can also open a portal to other dimensions and imaginative worlds. The Software episode points towards this broader understanding of software beyond technical application to ideas of scores and choreographies, through which one thing affects another without practical outcome.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Venues:&nbsp;<a href="" target="_blank">Bluecoat</a>,&nbsp;<a href="" target="_blank">Exhibtion Research Centre</a>,&nbsp;<a href="" target="_blank">Online</a>,&nbsp;<a href="" target="_blank">FACT</a>,&nbsp;<a href="" target="_blank">the Oratory</a>,&nbsp;<a href="" target="_blank">ABC Cinema</a></span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Chinatown</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Liverpool&rsquo;s Chinatown has existed since the late 1890s and is the oldest in Europe. Its entrance is marked by a traditional arch imported from Shanghai. In the same way that the city&rsquo;s merchant class linked itself to Ancient Greece through neoclassical architecture, this arch links Liverpool&rsquo;s Chinese community to an image of home. But as China itself changes, this architectural symbol changes its meaning. Many now see Chinatown as a nostalgic image existing in collective memory: today, Chinatown is more dispersed, and might even exist primarily in online networks, or through economic investment. In 2015, vast cranes from China entered the mouth of the River Mersey to form part of the automated new deep water superport: Liverpool2. There are plans for the development of a &lsquo;New Chinatown&rsquo; commercial district, close to Cains Brewery in Liverpool. Throughout Liverpool Biennial 2016, echoes of these different Chinatowns resound in spaces across the city, to be encountered in everyday settings such as supermarkets, pubs and restaurants.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Venues:&nbsp;<a href="" target="_blank">Cains Brewery</a>,&nbsp;<a href="" target="_blank">pubs</a>,&nbsp;<a href="" target="_blank">restaurants</a>,&nbsp;<a href="" target="_blank">supermarkets</a></span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Children's Episode</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Artists are invited to consider children as the primary audience: sometimes making work with them, sometimes for them. Children imagine the space between fiction and reality differently, sometimes seeing it as the same thing. They experiment with the social organisation that adults construct, apparently playing along whilst inventing their own rules.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Venues:&nbsp;<a href="" target="_blank">Cains Brewery</a>,&nbsp;<a href="" target="_blank">Open Eye Gallery</a>,&nbsp;<a href="" target="_blank">Arriva city buses</a>,&nbsp;<a href="" target="_blank">ABC Cinema</a></span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong><a class="mainnavi_2 red selected" href="">Events</a></strong></span></p> <p style="text-align: justify;">&nbsp;</p> Fri, 01 Jul 2016 16:40:30 +0000