ArtSlant - Openings & events en-us 40 Frankie Gould, Margaret Humphris, Linda Jeffers, Haejung Lee - Baton Rouge Gallery - October 3rd, 2012 7:00 PM - 9:00 PM <p>Beginning September 30 and running through November 1, Baton Rouge Gallery (“BRG”) will share four unique bodies of work from artist members Frankie Gould, Margaret Humphris, Linda Jeffers and Haejung Lee. On Wednesday, October 3, the gallery will host a free “First Wednesday” Opening Reception from 7 – 9 p.m. and invites everyone to enjoy these talented artists’ work at the gallery, located inside BREC’s historic City Park.</p> <p>During the exhibition, guests will view Gould’s look at the shapes, colors and textures of fishing lures; Humphris’ symbolic look at the process by which Renaissance alchemists created gold, Jeffers’ intuitive found object compositions and Lee’s examination of her own acceptance that both her native Korea and her new American home are part of her.</p> Sun, 20 Apr 2014 09:58:03 +0000 - Centre d’Art Contemporain Genève - October 3rd, 2012 6:00 PM - 8:00 PM <h1 class="line">FOCUS SUR L'ARCHIVE DU VIDEOART FESTIVAL DE LOCARNO (1980-2001)</h1> <p>in collaboration with the Museo Cantonale d'Arte Lugano<br />Exhibition from September 13 to November 25, 2012<br />Evening of screening and discussion on November 8, 2012 at 7pm</p> <p>≈≈≈≈≈≈≈≈≈≈≈≈≈ The programme presents a selection of works taken from the archive of the VideoArt Festival of Locarno, which were earlier presented in the “Il tempo, la luce e la materia” exhibition, conceived and produced by MARCO MARIA GAZZANO (curator and former director of the Festival) at the Museo Cantonale d’Arte of Lugano in 1996. The programme proposes five chapters on various topics. Each topic is on for two weeks, and a total of 27 works are presented.</p> <p>The Programme:</p> <ul> <li>The art of composing music with video<br />13.9 -23.9.12</li> <li>Painters, poets and video in Italy <br />25.9 - 7.10.12</li> <li>Videoart in its maturity: vision, speech and myth<br />9.10 - 28.10.12</li> <li>Into 1990s: the body, the past and the digitalisation<br />30.10 - 11.11.2012</li> <li>A literary and inner journey<br />13.11 - 25.11.2012</li> </ul> Wed, 03 Oct 2012 23:34:52 +0000 Group Show - Istanbul Museum of Modern Art - October 3rd, 2012 10:00 AM - 6:00 PM <p>The gaze of the portrait’s subject reaches not only the lens of the camera but the future viewer as well. The sitter poses consciously to leave a message to the future from his/her own time. Boundless possibilities for communication and meaning arise from the relationship the subject establishes with future viewers through photograph. At the point where gazes intersect, the portrait stands at the very center of a network established between different times and spaces; each gaze opens the door for another existence. The exhibition “Gaze” does not just look at portrait photography but also traces the social and artistic transformation that has taken place from the emergence of photography to the present.</p> <p>Shedding light on the 160 years of portrait photography through the works of 52 photographers, “Gaze – Changing Face of Portrait Photography” is part of Bank of America Merrill Lynch’s art loaning programme: Art in our Communities™. This unique initiative allows museums and non-profit galleries worldwide to borrow complete or customised exhibitions at no cost. Since its launch in late 2008, more than 50 exhibitions have been loaned to museums around the world.</p> Tue, 04 Sep 2012 14:27:38 +0000 Kelly Orr - Waterstone Gallery - October 3rd, 2012 6:00 PM - 9:00 PM <p>Working through abstraction, this work echoes the landscape built and natural. It plays with it through reflection, real or imagined. It is about moving beyond abstraction, simulation, while still hanging onto a thread of experience.</p> Sun, 09 Sep 2012 00:04:05 +0000 Group Show - (e)merge art fair - October 4th, 2012 7:00 PM - 11:00 PM <p><strong>The 2012 (e)merge fair will feature art presented by an international roster of over 80 exhibitors, showing 152 artists from 24 countries. Exhibitors will exhibit new works in performance, installation, painting, sculpture, video, and other media on 3 levels of the hotel with an open, organic arrangement, throughout the hotel's public spaces.</strong></p> <p><strong>Opening Preview</strong><br /> &gt; Thursday, October 4: 7pm - 9pm <br /> + Concert by the Pool, 9 - 11pm by: <br /> Thievery Corporation with Eric Hilton<br /> <i>ticketed event</i><br /> $45 advance ($60 at the door)<br /> <br /> <strong>FAIR HOURS</strong><br /> &gt; Friday, October 5: 12pm – 7pm<br /> &gt; Saturday, October 6: 12pm – 7pm<br /> &gt; Sunday, October 7: 12pm – 5pm<br /> <br /> <strong>ADMISSION</strong><br /> $15 ($10 Seniors and Students/ valid ID)</p> <p><span style="font-size: medium;"><b>Galleries</b></span></p> <p>Amstel Gallery</p> <p>ASYMMETRIK</p> <p>Aureus Contemporary</p> <p>Bäckerstrasse 4 </p> <p>bitforms gallery</p> <p>CONNERSMITH.</p> <p>Contemporary Wing</p> <p>Corcoran College of Art + Design</p> <p>DCCAH</p> <p>Ethan Cohen Fine Arts</p> <p>Flashpoint Gallery</p> <p>Flyingrooster Contemporary Projects (FRCP)</p> <p>G Fine Art</p> <p>Goya Contemporary</p> <p>Hamiltonian Artists</p> <p>Hessman Fine Arts</p> <p>HilgerBROTKunsthalle</p> <p>Honfleur Gallery</p> <p>MICA</p> <p>Mindy Solomon Gallery</p> <p>Mixed Greens</p> <p>Nomad Gallery</p> <p>PATRAJDAS Contemporary</p> <p>Project 4</p> <p>Servando Art Gallery</p> <p>Trailer Park Proyects</p> <p>Transformer</p> <p>Washington Project for the Arts</p> <p></p> Sun, 23 Sep 2012 03:13:10 +0000 - Art Gallery of New South Wales - October 4th, 2012 10:00 AM - 5:00 PM <p>An annual exhibition of children’s art from schools throughout NSW created for the Children’s Hospital, Westmead. Children create their artworks knowing that they will be appreciated by sick children in hospital and their families.</p> <p>Operation Art is an initiative of the Children’s Hospital at Westmead in association with the NSW Department of Education and Communities in collaboration with the Art Gallery of NSW. The program is proudly supported by ANSTO.</p> Sun, 16 Sep 2012 23:13:02 +0000 Ken and Julia Yonetani - Artereal Gallery - October 4th, 2012 6:00 PM - 8:00 PM <p>Ken and Julia Yonetani are noted for their use of unusual materials like salt and sugar to make objects of exquisite beauty which underscore the impact of human activity on the environment.</p> <p>Uranium glass, which is both beautiful and radioactive, is the chosen medium for their latest exhibition, <em>Crystal Palace: The Great Exhibition of the Works of Industry of All Nuclear Nations.</em> It is a response to the recent and disastrous Fukushima Daiichi Nuclear Power Plant incident which followed a major earthquake and tsunami in Japan.</p> <p>In the exhibition, the Yonetanis focus on the phenomenon of radiation and the global proliferation of nuclear generating nations, which now number thirty-one.</p> <p>Uranium glass contains very small traces of depleted uranium, a by-product of the uranium enrichment process. It is legal, poses no known health risks and is a collectable in the antiques trade. Known also as Vaseline glass, it was widely used in the late nineteenth and early twentieth centuries to make sugar bowls, cake stands and other decorative objects.</p> <p>The form of the exhibition is derived from the famous <em>Great Exhibition of the Works of Industry of All Nations</em> of 1851 housed in The Crystal Palace, an innovative architectural and engineering structure of glass and steel constructed in Hyde Park, London. The Great Exhibition was intended as a platform for the celebration of industrialisation, and displayed key products from nations around the world. In 1936, the Crystal Palace building was completely destroyed by fire, marking in the words of Winston Churchill, “The end of an era.” The Yonetanis play with the parallel histories of nuclear power, and the rise and decline of industrial power and wealth that the Crystal Palace symbolised.</p> <p>The Yonetanis plan to construct thirty-one chandeliers in total which equals the number of countries that currently operate nuclear power stations. Each chandelier is named for one of these nations and is of a scale relative to that country’s nuclear output.  A selection of fifteen of these will be shown at Artereal.  Among the nations to be represented are France, Japan, Germany, Finland, China, Brazil, Romania, Pakistan and Armenia.  The United States of America, concurrently being shown at 4A Centre for Contemporary Asian Art, is the largest of the international operators and is represented by the biggest chandelier. Having no nuclear power station, Australia is not included, although it is a principal supplier of uranium oxide (Yellow Cake) for the nuclear industry.</p> <p>Most of the chandelier structures are antique, but the artists have reconfigured them to take ultra violet bulbs and decorated them with specially sourced uranium glass beads in lieu of traditional crystals. The glitter and appeal of the opulent chandelier-lit windows of luxury shops and residences in the luxe precinct of Sloane Square during a recent visit to London inspired the Yonetanis’ selection of the chandelier symbol. Chandeliers are not only an item of luxury but also an extravagant emblem of the allure of electricity and the seductiveness of consumerism.</p> <p>Both Yonetanis were born in Tokyo, Ken to a Japanese family and Julia to expat parents. They have been collaborating on projects since 2009 and have exhibited nationally and internationally, including the Venice Biennale in 2009 and in the United Kingdom, Finland and Germany in 2011-2012. They are recently returned from residencies in Finland and Portugal where they researched and prepared some of the objects for this exhibition.</p> <p>The <em>Crystal Palace </em>exhibition at Artereal takes place as the Yonetanis’ extremely well received solo exhibition, <em>What the Birds Knew</em>, at 4A Centre for Contemporary Asian Art is extended until November 3<sup>rd</sup> - the closing date for both shows.</p> Tue, 02 Oct 2012 22:29:01 +0000 K8 Hardy - Dallas Contemporary - October 4th, 2012 7:00 PM - 10:00 PM <p><strong>Runway Show + Haute-Inspired Soiree <br />Runway Show: 20.45 </strong>(8.45 pm)</p> Tue, 18 Sep 2012 03:11:43 +0000 Stephen Hayes - Elizabeth Leach Gallery - October 4th, 2012 6:00 PM - 8:00 PM <p>We are thrilled to present <b><i>In Valley,</i> Stephen Hayes</b>’ 14th solo exhibition at the Elizabeth Leach Gallery. For some time, the Portland based Hayes has commuted two days a week to teach drawing and painting classes at Oregon State University. On the road from Portland to Corvallis, the terrain and its natural and man made features roll by - fields of green and yellow under lush expanses of big sky, a landscape both unique and universal, haunting and familiar.  Hayes’ paintings capture the essence of this swiftly passing landscape, re-imagined from memory and infused with both the quiet melancholy of those early morning drives and a reverence for the land’s awesome beauty. On the road, Hayes says, “Thoughts creep in about the lives led in such contact with earth and the structures that inhabit those spaces often appear to me to be both poetic and majestic.”<br /> <br /> The gallery has been honored to represent Hayes for 26 years. Our show launches 13 months of activity for the artist. In 2011, Hayes was the recipient of the Hallie Ford Fellowship in the Visual Arts and January 24, 2013 marks the opening of We Tell Ourselves Stories in Order to Live at the Museum of Contemporary Craft in partnership with the Pacific Northwest College of Art, featuring Hayes’ work as well as other esteemed recipients of the fellowship. In autumn of 2013, Hayes will have a 30 year career retrospective at the Hoffman Gallery at Lewis &amp; Clark College, which will include a fully illustrated catalogue. Hayes' work will also be included in the forthcoming book Painted Landscapes: Contemporary Views by Lauren P. Della Monica, due out in early 2013. <br /> <br /> Hayes has shown his work locally and internationally, including exhibitions at the Portland Art Museum (Portland, OR), The Art Gym at Marylhurst University (Marylhurst, OR), Northwest Museum of Art and Culture (Spokane, WA), American Culture Center (Sapporo &amp; Nagoya, Japan), and The Phillips Collection (Washington, D.C.). He has had several commissions for public art projects in the region, and his works can be found in the the collections of Oregon State University (Corvallis, OR), New York Public Library (New York, NY), Portland Art Museum’s Gilkey Center for Graphic Arts (Portland, OR), University of Oregon (Eugene, OR), and the new Randall Children’s Hospital at Legacy Emmanuel (Portland, OR), as well as numerous private and public collections.  </p> Fri, 14 Sep 2012 09:46:51 +0000 MK Guth - Elizabeth Leach Gallery - October 4th, 2012 6:00 PM - 8:00 PM <p><b>MK Guth</b> is a multi-disciplinary artist whose work frequently has an element of audience participation at its heart. She appropriates archetypal characters and stories from fables and mythology in order to examine contemporary issues and concerns. In the fall of 2011, Guth was invited to be an artist in residence at The Cosmopolitan hotel in Las Vegas, Nevada. Her exhibition there was a 20-day performance in which she would invite passers by to write down their hopes and wishes on pieces of ribbon which would then be braided into her hair. She wore the ever-growing ribbons in her hair throughout the entirety of the exhibition, and toward the end her braids measured over 300 feet each in length and weighed nearly 200 pounds collectively. In the enacting of the performance Guth transformed the role of the protagonist.  Here, the Rapunzel-like Guth is not saved by a prince, but instead helps to relieve others by carrying the burden of their desires.  <b><i>Best Wishes</i></b> will include photographs and sculptures created as a result of the performance. <br /> <br /> <b>This exhibition will coincide with Guth’s exhibition when nothing else subsists, smell and taste remain, at the Art Gym at Marylhurst University (Marylhurst OR), which runs October 7 through December 9, 2012. A catalogue will accompany the exhibition.<br /> </b><br /> MK Guth lives and works in Portland, Oregon. She has received a Betty Bowen Special Recognition Award administered through Seattle Art Museum (Seattle, WA) and an Award of Merit from the Bellevue Art Museum (Bellevue, WA). Guth received a project commission from the Portland Institute for Contemporary Art (Portland, OR) and a project commission from the Melbourne International Arts Festival (Melbourne, Australia). MK Guth was featured in the 2008 Whitney Biennial at the Whitney Museum of American Art (New York, NY), and has exhibited with numerous other galleries and institutions, including the Boise Art Museum (Boise, ID), A Gentil Carioca (Rio de Janeiro, Brazil), The Melbourne International Arts Festival (Melbourne, Australia), Nottdance Festival (Nottingham, UK), Swiss Institute (New York, NY), White Columns (New York, NY), Artists Space (New York, NY), Yerba Buena Center for the Arts (San Francisco, CA), and the Henry Art Museum at the University of Washington (Seattle, WA). Guth’s videos have screened both nationally and internationally. Guth is also a member and the originator of RED SHOE DELIVERY SERVICE, a collaborative interactive video and performance project.</p> Fri, 14 Sep 2012 09:48:42 +0000 Felix Gmelin - Galerie Nordenhake - October 4th, 2012 5:00 PM - 8:00 PM <p>In Felix Gmelin's first exhibition at Galerie Nordenhake the artist presents a group of work that explores the role of language and learning in its cultural, political and historical specificity. Through a process of re-enactment and re-contextualization Gmelin draws on the legacy of 1960's activism and touches on his father's role as an educator, film-maker and intellectual radical.</p> <p>Here the exhibition explores socialization through language and can be read sequentially as a journey from boyhood through to old age via language in the form of pictograms of alphabets. The enactment of enforced didactics, from one generation to the next, is circular. In one video work Gmelin documents his own 10 year old son, David (filmed 2010), reading a political tract written by his grandfather in 1969. In another, three video monitors present an absurd remake of Gmelin's father's attempt to make objects speak, performed by three of his former students, now in their 60's, from the Berlin Film Academy - a performance Gmelin's father himself coerced the artist into as a boy. The primal grunts and sounds from the men recall a historical moment in psychoanalysis but become equally non-sense slapstick.</p> <p>The video works are juxtaposed with suits of paintings that comprise a number of illustrated alphabets from a variety of sources. "One after the other", 2012, consists of 76 paintings on polyester in the size of 38 x 29,5 cm, which scene by scene depict the ten first minutes of Hollis Frampton's 56 minute film "Zorns Lemma" from 1970, a film that follows the logic of an alphabet. "Q is for Quoit", 2012, depicts an incomplete alphabet from W. C. Kantner's 1879 illustrated self-teaching picture alphabet book for German vocabulary published in Pennsylvania in 1879.</p> <p>Gmelin seeks to investigate how his father's ideals, grounded in the thoughts of his generation, are perceived and understood now and how we, as a generation, deal with beginnings, endings and continuity in our society today.</p> <p>Born in Heidelberg, Germany, Gmelin lives and works in between Sarajevo and Stockholm. Solo exhibition venues include Stacion - Center for Contemporary Art Prishtina, Kosovo (2011), Portikus, Frankfurt and Malmö Konstmuseum, Malmö (both 2005). Gmelin's work has been featured in prominent group exhibitions including Cartier, Paris (2011), Les Jacobins, Le Printemps de Septembre, Toulouse (2010), The Power Plant, Toronto (2008), Statens Museum for Kunst, Copenhagen (2008), KW Institute for Contemporary Art, Berlin and Hartware MedienKunstVerein at Phoenix Halle Dortmund, Germany (2007-2008), La 52 Biennale di Venezia, Arsenale, Venice, curated by Robert Storr  (2007), Of Mice and Men, Berlin Biennial 4, Berlin, curated by Maurizio Cattelan, Massimiliano Gioni and Ali Subotnick (2006), The Moderna Exhibition 2006, Moderna Museet, Stockholm, (2006), MASS MoCA, North Adams, Massachusetts, USA (2006) and Delays and Revolutions, La 50 Biennale di Venezia, Italian Pavillion, Venice, curated by Francesco Bonami and Daniel Birnbaum (2003).</p> Sat, 29 Sep 2012 01:26:12 +0000 Negar Farajiani - Mariane Ibrahim Gallery - October 4th, 2012 6:00 PM - 8:00 PM <p><b>Sophisticated Game</b></p> <p>It seems that Negar Farajiani has constantly considered game as a serious matter throughout her artistic records. Remember her giant ball in Factory’s Garden Project or Apt.12, No,1 installation in which all the furniture of a living house have turned into children’s toys in a park playground. This time, too, Negar Farajiani has used a game to express the concept of identity, the game of Mix-and-Match which regarding the intended concept of the artist and employing a pun, it has transformed into a Mix-and-Unmatch game. The significance of this game and the transformation of its nature become apparent in Negar Farajiani’s works when we review our perception of the concept of identity in modern era and after that: when a gap was created in the concept of subject by Freud’s presentation or the discovery of the concept of unconscious and subsequently the subject lost its indubitable Cartesian oneness in the theories of 20<sup>th </sup>and 21<sup>th</sup> century and each time it was attacked by a new censure in a way that it is apparent identity cannot be defined or determined easily. Negar’s ingenious mind represents this puzzle in such a way that dissonant. This game is endless. The image of that playful girl concealed behind the pieces of this puzzle is never revealed to us. In another interactive work by the Artist which is in a succession of her paintings, we observe that the final image of the Artist is never obtained. But the intrigued mind of the audience persistently looks for the initial images strewed in the works while watching the paintings or playing, the images, which despite being private, imply that they are from a different world. A few puppets, music playing devices and above all, the Artist’s portraits, all mixed together in various situations. </p> <p>It is worth noting that Negar’s work is a valuable work of art from the viewpoint of the theory of Intersectionality according to which “all identities are lived and experienced as intersectional--in such a way that identity categories themselves are cut through and unstable--and that all subjects are intersectional whether or not they recognize themselves as such”. (as stated by Jasbir Puar in “<i>I would rather be a cyborg than a goddess” </i>, 2011). If we consider each of Negar’s works as a token of identity classifications (fragmentary and indeterminate at least for the artist), with a more subtle look to its constituents elements (the same initial images strewed in the works), it can be inferred that the Artist intends to foreground the fragmentary and incoherent nature of even the initial images by employing intelligently elements such as patchy cloths or lips with incomplete make-up. This is exactly the same fragmentation in fragmentation referred to in the theory of intersectionality. “The Accuser”, “The Attorney”, “the Executioner” or “the witness” each have the constituent parts of each other but it is never revealed which elements belong specifically to which artwork. The Artist even reproduces the diversity and fragmentary nature of the works via writing some letters of the title of works with capital letters. Negar’s game does not have mercy even for the words. Art for her is like a game, but this collection is maybe one of the most sophisticated one designed by her so far: Mix-but-Unmatch! </p> <p>Alireza Labeshka </p> <p>August 2012    </p> Wed, 27 Mar 2013 06:32:45 +0000 Claire Healy, Sean Cordeiro - MCA - Museum of Contemporary Art, Sydney - October 4th, 2012 10:00 AM - 5:00 PM <p>Discover Claire Healy and Sean Cordeiro’s spirit of adventure and their uncanny ability to transform the everyday into something extraordinary in this first major museum survey in Australia showcasing 20 of their most significant pieces as well as a newly-commissioned sculpture.</p> <p>Be awed and intrigued by their playful reinvention of prefabricated structures and the conversion of everyday objects into phenomenal sculptures and installations. Discover how these immense works also broach concerns relevant to people’s daily lives, such as the cost of living, problems of overpriced real-estate, the need for space, consumerism and the desire for things to be better in the future than they are today.</p> <p>Your attachment to place and property is questioned in several works looking at the concept of ‘home’ where Healy and Cordeiro have acquired, dismantled and reassembled large-scale domestic dwellings – an entire suburban house in the <em>Cordial Home Project</em> (2003), a well-loved caravan in <em>Wohnwagen (Flatpack / Past Times)</em> (2006-07), and an old Queensland farm house in <em>Not Under My Roof</em> (2008).</p> <p>Explore how the artist’s nomadic lifestyles are reflected in works referencing transportation and the practicalities of storing and moving material possessions. In <em>Par Avion</em> (2011), a Cessna 172 aeroplane is dissected into 70 small pieces which are posted to the exhibition destination and re-arranged into the shape of the original plane. The monumental <em>Life Span</em> (2009), made from a stack of 175,218 used VHS video tapes, equates the number of hours it would take to view these tapes consecutively with the average human life expectancy in 1976 (the year the VHS tape was released).</p> <p>Some installations will challenge your notions of security, such as the daring new commission <em>Stasis</em> (2012), which creates a sense of potential accident or threat, positioning a suspended light aircraft outside the MCA’s building.</p> <p>Admire the sheer scale and ambition of Healy and Cordeiro’s works in this free exhibition, while also being reminded of the wreckage and destruction that goes hand-in-hand with human aspiration.</p> Sat, 25 Aug 2012 01:03:13 +0000 Dion Beasley, Teho Ropeyarn, Justine Varga, Todd McMillan, Benjamin Foster, Kate Mitchell, Anastasia Klose - MCA - Museum of Contemporary Art, Sydney - October 4th, 2012 10:00 AM - 5:00 PM <div class="full-width two-column bodycopy"> <p>In a world of Twitter and Facebook, 24-hour news cycles and two-minute attention spans, re- imagine the world from a slower and more considered perspective in <em>Primavera 2012</em>. Enter into the imaginary territories, spiritual landscapes and private interior realms of seven young artists from around the country and explore the way art can take us to realms that exist outside of the everyday.</p> <p>Discover new artwork ranging from drawing, printmaking, film and video to performance, installation and photography in the 21st edition of Primavera, the MCA’s annual exhibition of Australian artists aged 35 years and under. Enjoy a moment to be intimate and contemplative with artworks that embrace expanded notions of self portraiture and explore the threshold between our interior self and the exterior world. <em>Primavera 2012</em> invites us into invisible worlds of memories, beliefs, thoughts and daydreams that question the alternate realities we construct and inhabit on a daily basis.</p> <p>Tennant Creek-based artist Dion Beasley’s whimsical prints and drawings tell vivid stories of the camp dogs in the remote Aboriginal communities where he grew up. Teho Ropeyarn’s large-scale black and white prints feature totemic animals and landscapes from his home community in Far North Queensland, inspired by stories passed down from Injinoo Elders.</p> <p>View the personal and whimsical photographs by Justine Varga in which she documents the minute details of her everyday environment, and Todd McMillan’s 16 mm film of a sea voyage he undertook off the coast of Tasmania to document the rare and endangered shy albatross.</p> <p>Witness artist Benjamin Foster’s attempts to teach a computer to draw just like him, and Kate Mitchell’s pile of hand-counted 11,137 unshelled peanuts, one for every day she has been alive up to the opening of the exhibition – a comic representation of her life in nuts.</p> <p>Melbourne-based artist Anastasia Klose will relocate to the MCA gallery to re-enact a two-month period of unemployment, watching television, eating junk food and dancing to music video clips in her endurance performance <em>The Re-living Room</em> (2012).</p> <p><strong>FREE ENTRY</strong><br /><br /></p> <h5>Primavera is an annual exhibition for Australian artists aged 35 years and under. The Primavera exhibition series was founded through the generous benefaction of Dr Edward Jackson AM and Mrs Cynthia Jackson AM and their family in memory of their daughter and sister Belinda.</h5> </div> Sat, 25 Aug 2012 01:11:11 +0000 Phyllis Plattner - MICA - Maryland Institute College of Art - October 4th, 2012 5:00 PM - 7:00 PM <p>Bunting Center: Pinkard Gallery, 1401 W. Mount Royal Ave.</p> <p>In Other People’s Pictures, faculty member Phyllis Plattner will exhibit paneled,<br />altarpiece-shaped paintings based on art historic imagery and photojournalism.<br />Painted in oil and gold leaf, these paintings grow out of the profound impact of<br />her experiences living for extended periods of time in foreign cultures—mainly<br />in Chiapas, Mexico and Tuscany, Italy—as well as from her horror at the<br />ubiquity of war in global history.<br />Plattner has lived on and off in Chiapas over many years and happened to<br />be there during the indigenous Zapatista uprising of 1994. In the series Legends,<br />woolen dolls made by Maya women during the Chiapas revolution represent the<br />Zapatista warriors as protagonists in the Christian narratives of Italian<br />Renaissance paintings so prevalent in Tuscany. In Chronicles of War, multiple<br />panels are assembled like Renaissance altarpieces, telling the history of human<br />violence through the accumulation of images from diverse cultures.</p> Sat, 21 Jul 2012 01:06:07 +0000 Group Show - The Honolulu Museum of Art - October 4th, 2012 10:00 AM - 4:30 PM <p>The Honolulu Museum of Art holds a remarkable collection tracing the history of the art of Hawai’i. The combining of collections with the merger last year of the Honolulu Academy of Arts and The Contemporary Museum created a strong representation of abstract art produced in Hawai’i in the last half of the 20<sup>th</sup> century.</p> <p>This exhibition presents selected works beginning with Isami Doi, who left Hawai‘i to study, live, and work in New York City and Paris in the 1920s and 1930s, absorbing the new developments in modern art. Doi returned to Hawai‘i in 1938, inspiring a younger generation of artists—such as Tadashi Sato, Satoru Abe, Bumpeo Akaji, Tetsuo Ochikubo, Harry Tsuchidana, Ralph Iwamoto, and Jerry Okimoto—who went to New York in the late 1940s, 50s and 60s, participating in the Abstract Expressionist and Minimal Art movements. Some returned to the islands, blending modernism and local cultural cues in their works, creating a new direction in the art of Hawai‘i; others remained on the mainland, but continued to exhibit in Honolulu.</p> <p>The self-taught artist John Young, born and raised in Honolulu, became known for a figurative style but especially for his vigorously painted abstractions. Other artists came to Hawai‘i in the post-WWII period to teach at the University of Hawai‘i–Mänoa—Ben Norris, Murray Turnbull, Ken Bushnell, Mamoru Sato, and Ron Kowalke made new contributions to the direction of abstract art in islands and taught a group of new talents who continue to live, work, and exhibit their work here, such as Mary Mitsuda, Alan Leitner, and Sean Browne.</p> Wed, 19 Sep 2012 04:12:58 +0000