ArtSlant - Closing soon en-us 40 Group Show - (e)merge art fair - October 4th, 2012 - October 7th, 2012 <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 03:13:08 +0000 - (e)merge art fair - October 4th, 2012 - October 7th, 2012 <p><span style="font-size: large;" size="4">2012 PANEL DISCUSSIONS:</span><br /> <br /> Performance Art: IMPACT <br /> FRIDAY, October 5th: 2pm<br /> @ Capitol Skyline Hotel - Room 1 <br /> <i>Moderator</i>: Lisa Gold, Executive Director, Washington Project for the Arts. <br /> <i>Panelists</i>: Claire Breukel (Contemporary Art curator and Writer), Adam Budak (curator of Contemporary Art, Hirshhorn Museum and Sculpture Garden), Sarah Newman (curator of contemporary art, The Corcoran Gallery of Art), Jefferson Pinder (performance artist).<br /> <br /> Art Funding: NOW <br /> SATURDAY, October 6th: 2pm<br /> @ Capitol Skyline Hotel - Room 1<br /> <i>Moderator</i>: Dorothy Kosinski, Director, The Phillips Collection, Washington, DC. <i>Panelists</i> Robert Lynch, President and CEO of Americans for the Arts; Jamie Bennett, Chief of Staff, National Endowment for the Arts.<br /> (list in formation)<br /> <br /> <br /> <span style="font-size: large;" size="4">2012 SPECIAL PROJECTS:</span><br /> <br /> ESL MUSIC: <br /> FRIDAY, October 5th + SATURDAY, October 6th:7pm-11pm. <br /> @ Capitol Skyline Hotel - Pool Deck<br /> Presenting the emerging music stage. <br /> Detailed information forthcoming.<br /> <br /> BLINK MEDIA ART:<br /> OCTOBER 4 -7th: 12pm-11pm<br /> @ Capitol Skyline Hotel - Video lounge Room 4 <br /> Presenting 5 video artists in rotation:<br /> &gt; <b>Ali Cherri</b> (1976, Lebanon) -<i> Pipe Dreams</i> 2011, 6:06<br /> &gt; <b>Johanna Reich</b> (1977, Germany) - <i>On Fire</i>, 2012, 3:20<br /> &gt; <b>Ana Esteve Reig</b> (1977, Madrid) - <i>Encierro</i>, 2010, 5:47<br /> &gt; <b>Adnan Softic </b>(1975 Bosnia Herzegowina /Germany) - <i>Ground Control</i>, 2009, 6:00<br /> &gt; <b> Elizabeth Wurst</b> (1985 Peru / Germany) - <i>You and me Every day</i>, 2011, Videoperformance, HDV, 7:45<br /> _____________________________________<br /> Blink Video is a professional website for the research of video art, performance and multimedia installations. The web platform connects galleries worldwide and makes it possible to present new media artists online. <br /> <br /> <br /> INDUSTRY GALLERY:<br /> OCTOBER 4 -7th: 12pm-11pm<br /> @ Capitol Skyline Hotel - Video Lounge/Room 4 / Pool deck.<br /> Presenting Danish designer Mathias Bengtsson's Spun Benches. <br /> _____________________________________<br /> Fabricated out of carbon fiber, these flexible, lightweight seating units are the intersection of design and technology. Bengtsson was named one of Architectural Digest's 2012 Design Innovators. Industry Gallery, Washington, DC, is the only gallery in the US devoted exclusively to 21st Century design.</p> Sun, 23 Sep 2012 03:20:24 +0000 - (e)merge art fair - October 4th, 2012 - October 7th, 2012 <p>THURSDAY, OCTOBER 4<br /> &gt; <b>Chajana denHarder</b> - <i>Singularity</i><br /> The artist explores the desire to connect/return to a singular point where there is no separation. <br /> time: 2 hours<br /> Pool, 7pm<br /> <br /> FRIDAY, OCTOBER 5<br /> &gt; <b>Andrew Wodzianski</b> - <i>Self Portrait as Ishmael</i><br /> 36 hour endurance performance replicating the survival of Herman Melville's protagonist in Moby Dick. Floating on a casket-turned-life buoy, the artist/Ishmael is left to silently contemplate the folly of man until his rescue.<br /> time: 36 hours<br /> Pool, 5am<br /> <br /> &gt; <b>Ian McDermott</b> - <i>A Brief Demonstration of Interference Theory</i><br /> The musical/sound performance will take place at four sculptures located on the ground level of the fair.<br /> time: 30 minutes<br /> Performance Area/Room 1, 12pm<br /> <br /> &gt; <b>Holly Bass</b> - <i>Come Clean</i><br /> A ritualized performance in which strangers are invited to wash the artist’s hair and engage in structured dialogue. By allowing others to wash her hair, the artist evokes the relationship between mother and child, as well as ideas of culture, <br /> identity, privacy, pleasure, renewal and surrender. <br /> time: 45 minutes<br /> Room 1, 3:30 pm<br /> <br /> &gt; <b>David B. Smith</b> - <i>Collaborative Karaoke</i><br /> Doom Trumpet, a blindfolded one-man band with multiple personalities, will invite audience members to sing - karaoke-style - to his new album with him. <br /> time: 45 minutes<br /> Performance Area/Room 1, 5:30pm<br /> <br /> SATURDAY, OCTOBER 6<br /> &gt; <b>Holly Bass</b> - <i>Come Clean</i><br /> A ritualized performance in which strangers are invited to wash the artist’s hair and engage in structured dialogue. By allowing others to wash her hair, the artist evokes the relationship between mother and child, as well as ideas of culture, <br /> identity, privacy, pleasure, renewal and surrender. <br /> time: 45 minutes<br /> Room 1, 1 pm<br /> <br /> &gt; <b>Ian McDermott</b> - <i>A Brief Demonstration of Interference Theory</i><br /> The musical/sound performance will take place at four sculptures located on the ground level of the fair.<br /> time: 30 minutes<br /> Performance Area/Room 1, 4pm<br /> <br /> &gt; <b>Andrew Wodzianski</b> - <i>Self Portrait as Ishmael</i><br /> Endurance performance replicating the survival of Herman Melville's protagonist in Moby Dick.<br /> time: culmination of 36 hour performance<br /> Pool, 5pm<br /> <br /> &gt; <b>Chajana denHarder</b> - <i>Singularity</i><br /> The artist explores the desire to connect/return to a singular point where there is no separation. <br /> time: 2 hours<br /> Pool, 5pm<br /> <br /> &gt; <b>Sheldon Scott</b> - <i>Down in the Valley</i><br /> Related to Dr. Martin Luther King Jr.’s “Letter from Birmingham Jail” – this spoken word performance confronts the idea of Civil Rights as a continuum, not a destination, championed by a new minority in each subsequent incarnation. <br /> time: 1 hour<br /> Performance Area/Room 1, 5:30 pm<br /> <br /> SUNDAY, OCTOBER 7 <br /> &gt; <b>J.J. McCracken</b> - <i>The Huntress</i><br /> The artist constructs a portrait of a woman punished for voicing political opinion in the Capitol Hill neighborhood less than two centuries ago. Through details <br /> mined from DC history, a character sketch emerges through performative gesture. <br /> time: 1hour<br /> Performance Area/Room 1, 1 pm<br /> <br /> &gt; <b>Chuckwuma Agubokwu</b> - <i> The Portrait of the Artist as a Greek Myth</i><br /> A relational, mixed-media performance consisting of an artist talk and Q &amp; A focusing on the artistexhibition at the fair last year. The work explores concepts of failure and rebirth.<br /> Performance Area/Room 1, 3pm<br /> <br /> DAILY, throughout the FAIR: <br /> &gt; <b>Mandy Cano Villalobos</b> - <i>Voces</i><br /> This is a performative installation commemorating the femicide victims of Juarez, Mexico. In this ongoing project, the artist embroiders the names of individual women into old shirts as a ritual of homage and mourning. While murders continue in Ciudad Juarez, Cano continues to sew.<br /> Pool deck, 12pm, various times<br /> <br /> &gt; <b>Katie Kehoe</b> - <i>Mary Ellen Likes Free Magazines</i><br /> Mary Ellen is a transient character, originally from Canada and has taken to flipping through free magazines to get a sense of the places she travels to. At the (e)merge Art Fair, she flips through free magazines collected in DC, reacting to the content while performing for a live and online audience.<br /> Pool deck, 12pm, various times</p> Sun, 23 Sep 2012 03:22:03 +0000 Amelie von Wulffen - Aspen Art Museum - July 27th, 2012 - October 7th, 2012 <p>Amelie von Wulffen’s paintings and drawings fuse the imaginary and the everyday, conjuring a world that is at once both winsome and poignant. The primary protagonist in these works is often the artist herself, surrounded by a web of narrative fragments, the connections between which are both highly individualized and richly suggestive. In her most recent works, von Wulffen deploys a host of painterly techniques to create works that, although they depart from the photographic collage practice for which she is best known, remain deeply referential.</p> <p>Blending abstraction and figuration, Romanticism and psychedelia, von Wulffen’s large-scale paintings wryly revisit and reprocess tactics and tropes of modern painting from German Expressionism onward, while recent series of drawings have tweaked the conventions of the children’s book, the comic strip, and the storyboard, turning these formats into vehicles for her own psychologically charged narratives. Von Wulffen’s installations often exceed the boundaries of the canvas or page, extending into the exhibition space in the form of wall paintings and furniture that conjure images of bourgeois interiors and nod to modern art’s longstanding <i>pas de deux</i> between abstraction and decoration.</p> <p>Von Wulffen’s exhibition at the Aspen Art Museum—her first solo exhibition in an American museum—will include a new body of paintings and works on paper created during her time as the AAM’s 2012 Jane and Marc Nathanson Distinguished Artist in Residence.</p> <p>Amelie von Wulffen was born in Breitenbrunn, Germany in 1966, and currently lives and works in Berlin. Her work has been exhibited internationally, including solo exhibitions at the Centre Pompidou, Paris; Kunstmuseum Basel, Museum für Gegenwartskunst, Switzerland; and Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany; among others. She has participated in numerous group exhibitions, including the 50th Venice Biennale in 2003 and the 3rd Berlin Biennale in 2004.</p> Tue, 29 May 2012 03:03:59 +0000 Lucio Fontana - Aspen Art Museum - July 27th, 2012 - October 7th, 2012 <p>One of the most innovative artists of the twentieth century, Argentine-Italian artist Lucio Fontana (1899–1968) continually challenged the boundaries of artmaking and the role of the artist, using a rich vocabulary of material, form, and action. Although best known for his <i>Concetti Spaziale</i>, the spatial environments and slashed canvases he created in the 1950s and 1960s, clay modeling and ceramics have always been central to his process. The beauty of chance and accident, evident from the start in Fontana’s use of ceramics, becomes a strong current in much of the artist’s later work, and some of his first <i>Concetti Spaziale</i> were realized in clay before canvas.</p> <p>Beginning in the 1930s, Fontana produced a body of baroque ceramic work in which he engaged the problems of both painting and sculpture in innovative and productive new ways. While ostensibly figurative, with subject matter as varied as battle scenes and flowers, these expressive works gain a raw immediacy from Fontana’s vigorous hand modeling as the clay becomes a register of the artist’s process. This direct, forceful manipulation of the purity of the surface also prefigures the violence of the <i>Concetti Spaziale</i>.</p> <p>Comprising approximately twenty works from the early 1930s through the 1960s, <i>Lucio Fontana: Ceramics</i> will be the first museum exhibition dedicated solely to the artist’s groundbreaking ceramic work. The exhibition will provide the unique opportunity to reexamine the entire career of this seminal artist through work that, though vitally important to his working methods and pivotal in his trajectory as an artist, has never been accorded the importance it deserves and has rarely been exhibited in the United States.</p> Tue, 29 May 2012 03:08:19 +0000 WILLIAM ROBINSON - AUSTRALIAN GALLERIES 35 Derby Street - September 18th, 2012 - October 7th, 2012 <p>The art of William Robinson has always been a personal exploration of his connection to his surroundings and the natural world. His multi-perspective depictions of sumptuous tropical landscapes reveal his connection to the landscape and his place within it.<br />Robinson’s current exhibition shows a shift in subject matter to a rare glimpse into his familial environment, the rainforest garden surrounding his home. “My landscapes have been produced by the experience of walking in the bush and my age has now limited its accessibility for me.” Also in this exhibition are the wonderful and revealing still life works incorporating personal items and collected objects which “provide him with the necessities for a painter’s life”.</p> Sat, 08 Sep 2012 01:20:20 +0000 - Bellevue Arts Museum - June 14th, 2012 - October 7th, 2012 <p>This exhibition showcases more than fifty quilts made throughout the American South between 1910 and the 1970s. Stunning color combinations and distinctively free patterns epitomize an artistic vision that is unique to the American folk art tradition. African American quilts, made entirely by women, are celebrated for their bold improvisation and modern take on traditional quilting patterns. Many of the quilts are made from materials that were readily available to the makers, including flour sacks, old blue jeans and work clothes. This early form of recycling and reuse was a necessity that became the foundation for unique expression. The exhibition will also explore a variety of construction techniques and quilting.</p> Sat, 19 May 2012 02:47:34 +0000 Antonio Moro, Alonso Sánchez Coello - Bilbao Fine Arts Museum - July 10th, 2012 - October 7th, 2012 <p><b>Elizabeth of Valois</b> (1546-1568), daughter of <b>Henri II of France</b> and <b>Catherine de’ Medici</b>, married Philip II by proxy in Paris on 27 June 1559. The marriage was subsequently confirmed in Guadalajara on 31 January 1560. <b>Anthonis Mor</b>’s portrait should be dated to the early months of 1560, as the painter (known in Spain as Antonio Moro) was back in the Low Countries later that same year. Although the rich robes Elizabeth is wearing might seem to suggest that this is what she wore at her betrothal, contemporary sources state that the Queen dressed in the French mode. For the occasion, however, she did wear the jewelled crucifix portrayed here. In any case, the dress was certainly one of the most magnificent items in the Queen’s wardrobe, and could well be the <i>“rich and tawny dress of crimson velvet, and embroidery and flaps for the cut part, with high bodice and tabbed sleeve, lined with reddish yellow taffeta; and the sleeves and hem in scraped white satin, and the trimming done with cut-velvet flaps” </i>which, in the inventory of Elizabeth’s possessions made after her death, was valued at the princely sum of 50,000 maravedis.</p> <p></p> <p>The <i>Elizabeth of Valois</i> in the Várez Fisa Collection is a highly representative example of Anthonis Mor’s work as a portrait artist. Mor subjected his forms to a complex process of abstraction before introducing them into a geometric schema, which explains the pronounced rigidity of the poses his subjects took in comparison with those of artists like <b>Titian</b>, with whom he is often contrasted. As is usual in Mor, the subject appears in three-quarter length with the eye closest to the spectator halfway across the panel’s width, which centres the composition and heightens the sensation of proximity. The Queen’s face is lit from the left and slightly from above, clearly outlining the nose and adding some thin, sharp shade to give the subject an aristocratic, distant air. Indeed, the hieratic attitude and seriousness the portrait conveys are quite at odds with what we know of the Queen’s character and are imperceptible in other portraits of her. Finally, the meticulous rendering of the most insignificant details of her dress suggest that, for this particular occasion, the artist followed a work procedure he had used in 1549, when he had to make a portrait of Philip II. This involved the sitter lending his jewels and robes to facilitate the artist’s work..</p> <p><br /> Text: Miguel Falomir</p> Sun, 30 Sep 2012 03:31:16 +0000 Karl Schmidt-Rottluff - Buchheim Museum - July 8th, 2012 - October 7th, 2012 <p>„Karl Schmidt-Rottluff hat nicht nur ein bedeutendes malerisches Werk hinterlassen“, so Magdalena M. Moeller, „sondern er ist auch einer der herausragenden Druckgraphiker des Expressionismus. Insbesondere sein Holzschnittschaffen liefert einen ganz entscheidenden Beitrag zur Graphik der Moderne am Beginn des 20. Jahrhunderts“. 1975 übereignete Karl Schmidt-Rottluff (1884-1976) dem <a href="" target="_blank">Brücke-Museum</a> über 200 Holzstöcke als Geschenk, welches seitdem über einen einzigartigen Schatz verfügt. Kürzlich wurden diese Holzstöcke, von denen der Künstler per Hand nur einige wenige Holzschnitte abzog, restauriert und erstmals in einer Ausstellung im Brücke-Museum präsentiert. Wir freuen uns, dass wir 30 dieser wertvollen Holzstöcke nun im Buchheim Museum zeigen können, und danken der Direktorin des Brücke-Museums, Frau Prof. Dr. Magdalena M. Moeller, an dieser Stelle sehr herzlich für ihr überaus freundliches Entgegenkommen!</p> <p>Die ausgewählten Holzstöcke aus dem Brücke-Museum und die dazugehörigen Holzschnitte, also die Abzüge vom Druckstock auf Papier, stammen aus dem Zeitraum von 1905 bis 1920. Damit kann Schmidt-Rottluffs künstlerische Entwicklung und seine unterschiedliche Handhabung der Holzschnitttechnik während der Jahre, in denen er Mitglied der Künstlergruppe „Brücke“ (1905 – 1913) war, bis in die Zeit nach dem Ersten Weltkrieg, in nuce verfolgt werden: Frühe Arbeiten, wie der unter dem Eindruck von Jugendstil und Japonismus stehende Holzschnitt „Bäume im Winter“ sowie „Liegender Akt“ (1906) repräsentieren eine Phase des Experimentierens, in der Schmidt-Rottluff die Ausdrucksmöglichkeiten der Holzschnitttechnik erprobte, aber bereits erkannte, dass er im Holzschnitt „das seiner Persönlichkeit und Formauffassung entsprechende Ausdrucksmittel gefunden“ (Magdalene Schlösser) hatte. Doch erst 1910, nachdem er 1909 mit ungestümen, kurzen und schnellen Schnitten das Holz bearbeitete, beruhigt sich seine Bildsprache. In Arbeiten wie „Haus hinter Bäumen“ (1911) und „Abendunterhaltung“ (1911) hat er die kleinteilige Arbeitsweise überwunden, konzentriert sich auf großflächige Wirkungen und lässt die Ästhetik des Holzes sprechen. Der Farbholzschnitt „Die Bucht“ (1913), der auf einen Aufenthalt in Nidden an der Kurischen Nehrung (Ostpreußen) zurückgeht, dokumentiert Schmidt-Rottluffs Auseinandersetzung mit Kubismus und Futurismus. – Die Auswahl präsentiert viele bekannte Blätter, zum Teil auch aus unserer Sammlung, die nun mit den Holzstöcken – vereinzelt wirken sie wie Flachreliefs - verglichen werden können.</p> <p>Im Hinblick auf herausragende Gemälde des Buchheim Museums, insbesondere Karl Schmidt-Rottluffs „Norwegische Landschaft“ (1911) und „Nehrungslandschaft“ (1913), die im großen Expressionistensaal zu sehen sind, sei abschließend auf die Bedeutung des Holzschnittes im Kontext des gesamten Schaffens hingewiesen: „Die Druckgraphik, insbesondere der Holzschnitt,“ so Christiane Remm im Katalog, „erfüllt bei Schmidt-Rottluff, wie bei den anderen Brücke-Künstlern auch, verschiedene Funktionen. Sie sind sowohl eigenständige Kunstwerke, können aber im Arbeitsverlauf vorbereitende und abschließende Bedeutung haben. Das druckgraphische Schaffen, der Vorgang des Schneidens und die vollendete Formulierung eines Motivs im Druck stehen in wechselvollen Beziehungen zu anderen Bildmedien, beispielsweise der Zeichnung, dem Aquarell und dem Gemälde. (...) Mit ihrer relativ radikalen material- und technikbedingten Spröde, Reduzierung und prägnanten Struktur erreichen die Holzschnitte direkter und nachhaltiger die letzte Stufe der bildlichen Ausformung und konnten so für Bildlösungen in der Malerei vorbildlich sein.“</p> Sat, 15 Sep 2012 02:17:29 +0000 Erich Heckel, Ernst Ludwig Kirchner - Buchheim Museum - July 8th, 2012 - October 7th, 2012 <p>Dass in der Sammlung Buchheim immer wieder Neues entdeckt werden kann, das belegt diese Ausstellung mit drei Gemälden und einer Gruppe von Skizzen von Ernst Ludwig Kirchner (1880-1938) aufs Beste.</p> <p>Die Gemälde von Erich Heckel (1883-1970), Kirchner und Max Pechstein (1881-1955) befinden sich alle auf den Rückseiten von Bildern, die in den Sammlungen hängen. Dass sich auf mancher Verso-Seite herausragende Gemälde verbergen, das beweist nicht nur unser „Schlafender Pechstein“, den Buchheim, zu großen Teilen übermalt, auf einer Rückseite entdeckte, sondern nun auch Erich Heckels Gemälde „Akte im Zimmer“ (1909/1910), die Rückseite von Heckels „Am Waldteich“ (1911), die nun erstmals zugänglich ist und betrachtet werden kann. Die in leuchtenden Farben gemalte Komposition steht noch unter dem Eindruck von Heckels Italienreise im Frühjahr 1909, die seine Palette merklich aufhellte.</p> <p>Ebenso eindrucksvoll ist eine zweite Entdeckung: ein Konvolut von Skizzen von Ernst Ludwig Kirchner, die Buchheim über Jahrzehnte in seinem Schreibtisch barg. Nur wenige „Eingeweihte“ wussten von der Existenz der kleinformatigen Blätter, die verschiedenen Skizzenbüchern von Kirchner entnommen wurden und aus dem Nachlass der Weberin Lise Gujer stammen, die nach Kirchners Entwürfen Bildteppiche fertigte.</p> <p>Überraschend dabei ist, dass die Skizzen in wesentlichen Zügen Kirchners künstlerische Entwicklung von 1909 bis Mitte der 1930er Jahre dokumentieren und zentrale Themen und Motive seines Schaffens aufgreifen. Nur Kirchners Aufenthalte in Fehmarn sind nicht repräsentiert. Dafür springt ergänzend das Gemälde „Vier Badende“ (1913), die Rückseite von „Stilleben mit Maske“ ein, das vom Badeleben auf der Ostseeinsel inspiriert ist. - Kirchner bezeichnete seine raschen Notationen, die er rastlos und überall, intuitiv zu Papier brachte, als Schlüssel zu seinem Schaffen. Insgesamt sind 11.000 Skizzen von ihm bekannt.</p> <p>Die größte Entdeckung in diesem Konvolut sind Skizzen aus der Berliner Zeit, die in Zusammenhang mit den berühmten Berliner Straßenszenen stehen, dem Höhepunkt von Kirchners Oeuvre. Recherchen ergaben überdies, dass einige der Skizzen Vorarbeiten für Holzschnitte, Gemälde oder Bildteppiche sind. Ein Motiv taucht auf einer Künstlerpostkarte des Altonaer Museums in Hamburg auf, die Kirchner aus Berlin zu Erich Heckel nach Dresden schickte.</p> <p>Die Ausstellung wurde von Clelia Segieth kuratiert.</p> Sat, 15 Sep 2012 02:37:11 +0000 - Denver Art Museum - July 15th, 2012 - October 7th, 2012 <p>An exhibition that will change how travelers view airports and their design,<em> Now Boarding: Fentress Airports + the Architecture of Flight</em> takes visitors on a journey through the history of airports aided by film, digital art, animation, models, drawings, photographs, and full-scale architectural elements. Visitors will travel through six airports designed by Denver-based Fentress architects: Denver International Airport, South Korea's Incheon International Airport, Seattle-Tacoma International Airport, Mineta San Jose International Airport, Raleigh-Durham International Airport, and Los Angeles International Airport.</p> Thu, 31 May 2012 00:19:15 +0000 Jesse Jones - Dublin City Gallery The Hugh Lane - July 5th, 2012 - October 7th, 2012 <p><strong>The Trilogy of Dust</strong><br />The Trilogy of Dust consists of a collection of three films made by artist Jesse Jones over the past three years; <em>Mahogany </em>2009, <em>The Predicament of Man </em>2010 and <em>Against the Realm of the Absolute </em>2011. The Trilogy of Dust depicts a narrative arch that shifts from Brechtian alienation to the cognitive estrangement of Science fiction. Each film is connected through a series of desert, dust and ash landscapes, from the desert of central Australia to a manufactured desert of post industrial detritus. Each of these stark landscapes forms an eerie stage to speculations on social and economic collapse and their repercussions for human existence.</p> <p>The work of Jesse Jones (born 1978, Dublin, lives in Dublin) primarily takes the form of short films, works which renegotiate the material and ideological structures of cinema. They are concerned with how cultural artefacts can be restaged to reveal embedded histories of dissent - and their contemporary relevance. The artist isolates forms and subjects that can be utilised as tools, both in re-imagining and in directly intervening in the public sphere.</p> <p><strong><em>Mahogany </em></strong>2009 (35 mins 16mm)<br />Re-scripted from the final scene of Bertolt Brecht and Kurt Weill's 1927 opera The Rise and Fall of the City of Mahagonny. Jones's film tells the story of a city outside of society, whose inhabitants are offered a space of 'infinite freedom' as long as they pay enough money. This freedom manifests itself in an excessive indulgence of pleasures. Mahogany, shot in the Australian outback, restages this fictitious city in the wake of its collapse, as a dialogue between the city's architect Begbick, and a Whisper Choir made up of its inhabitants. With the suspension of time, and setting the action in the void of the desert, the video takes the allegorical geographical location and historical moment as a starting point for a critique of present political conditions. Whilst Brecht intended Mahagonny to be a criticism of the false freedoms of the Weimar Republic, Jesse Jones tests the marginality of political gesture and the crisis of forms of viable political action in contemporary post-utopian society.</p> <p><strong><em>The Predicament of Man </em></strong>2010 (3 mins 16mm and digital mixed media)<br />Using footage shot in an opal mine in Cobber Pedy, Australia, intercut with over a thousand still images that appear momentarily on screen, Jones subliminally contrasts the desolate landscape with flashes of often recognisable 20/21st century icons and events. The Predicament of Man creates an uneasy and foreboding slippage in time that hints at an apocalyptic future. Its title is borrowed from an essay in Limits to Growth, by the economic think tank; The Club of Rome in 1972. The Predicament of Man examines the consequences of exponential growth theories of late capitalism and how they may not only over stretch our resources carrying capacities, but also our sensory capacity to perceive reality itself.</p> <p><strong><em>Against The Realm of the Absolute</em></strong> 2011 (12mins 16mm )<br />Commissioned by Collective gallery Edinburgh, set in a distant future in which a great plague has wiped out the male population of the world. Adapted in part, from Joanna's Russ's iconic separatist feminist Sci-Fi novel from 1975, The Female Man. Against the Realm of the Absolute seeks to investigate the multiple narratives of Feminism and how it is inevitably tied to a critic of Capitalism itself. Filmed in the ash lagoons of Cockenzie power station and made in collaboration with a feminist megaphone choir formed by Jones in Edinburgh in 2011, Against The Realm of the Absolute attempts to attend to the multiple possible dytopic future crisis we might face and how, through this very act of fictional speculation, we may in turn open up critiques of our present reality.</p> Fri, 01 Jun 2012 22:10:38 +0000 Amaru, Group Show - Galeria Artium - September 25th, 2012 - October 7th, 2012 <p><strong>P A R E S&nbsp;</strong><br /><span style="font-size: x-small;">PROYECTO APECH</span><br /><br />en Galer&iacute;a Artium, Alonso de C&oacute;rdova 3102, Vitacura &ndash; Chile<br /><br />Asociaci&oacute;n de Pintores y Escultores de Chile APECH y con el auspicio del Consejo Nacional de la Cultura y las Artes y Galeria ARTIUM, realizaron una convocatoria para participar en la exposici&oacute;n colectiva &ldquo;PARES&rdquo;. Esta convocatoria consisti&oacute; en que un artista invito a un par (artista y/o alumno) a realizar una obra en conjunto, en la cual &eacute;l defin&iacute;a la avenencia o cercan&iacute;a que les permitir&iacute;a crear con toda libertad un trabajo donde dialoguen en t&eacute;rminos pl&aacute;sticos; la propuesta pod&iacute;a ser una obra &uacute;nica o por separada, d&iacute;ptico, tr&iacute;pticos quedando al criterio y disposici&oacute;n de los autores, con la &uacute;nica condici&oacute;n que las dimensiones no superen los 100 x 70 cms. (ya sea vertical u horizontal)</p> <div class="text_exposed_show">En la muestra participan m&aacute;s de 100 artistas de diferentes generaciones, disciplinas y/o tendencias, algunos trabajaron con sus parejas, colegas, alumnos, maestros etc.</div> <div class="text_exposed_show" style="text-align: center;"><img src="" alt="" /></div> Tue, 12 Aug 2014 14:50:38 +0000 Sharon Engelstein - Grounds For Sculpture - May 11th, 2012 - October 7th, 2012 Fri, 06 Mar 2015 17:06:37 +0000 Danila Vassilieff - Heidi Museum of Modern Art - April 21st, 2012 - October 7th, 2012 <p>This exhibition presents the best of Danila Vassilieff's achievements and settles the vital questions of the profound influence and key position of this Russian émigré artist in the history of Australian art.</p> <p>Comprising key paintings from the mid-1930s to mid-1940s, a selection of works on paper, and a major representation of sculpture, the exhibition is supported by substantial archival material.</p> <p>This project will highlight Vassilieff’s role in redirecting modern Australia art toward the expressive figurative tradition of Russian folk art and the artistic accomplishments of designers for the Ballets Russes. It will also provide ground-breaking evidence of Vassilieff’s contribution to Sidney Nolan’s celebrated Ned Kelly series.</p> Thu, 21 Nov 2013 04:59:57 +0000 Queen Sonja, Kjell Nupen, Ørnulf Opdahl - Henie Onstad Art Centre - June 14th, 2012 - October 7th, 2012 <p>Some fifty-odd new pictures on the theme of “Landscape and Space” from the collection of H.M. Queen Sonja form the substance of a major exhibition at Henie Onstad Art Centre. Also on show will be “Three Journeys. Three Landscapes”, a portfolio of twenty-four intaglio prints by H.M. Queen Sonja, Kjell Nupen and Ørnulf Opdahl.</p> <p>There has often been a close linkage between the events of Queen Sonja’s life and the pictures she has bought. Her purchases are often characterized by a spontaneous enthusiasm for a passing situation. From an early age her interest has been drawn in particular to new and contemporary art. Henie Onstad Art Centre hosted an exhibition of H.M. Queen Sonja’s art collection in 2001. In the ten years since that event, her collection has grown. This new presentation contains works most of which will be new to the public – some fifty pictures on the theme of landscape and space.</p> <p>THREE JOURNEYS. THREE LANDSCAPES</p> <p>H.M. Queen Sonja initiated this project in January 2011, together with the artists Kjell Nupen and Ørnulf Opdahl, and the director of Atelje Larsen in Helsingborg, Ole Larsen. The aims of the foundation are to stimulate interest in and to inspire the development of paper-based art, primarily by providing scholarships to young artists from the Nordic countries. The foundation is funded from the sale of print portfolios. The scholarship will be awarded every other year, starting in 2012.</p> <p>In this portfolio of twenty-four intaglio prints, H.M. Queen Sonja, together with the two established artists Kjell Nupen and Ørnulf Opdahl, has experimented with various techniques and forms of expression.</p> <p>For Kjell Nupen and Ørnulf Opdahl, the works in the portfolio represent an enduring preoccupation with certain techniques and with landscape as a subject. Landscape is also the theme of the works by Queen Sonja, all of which are based on photographs she took on Svalbard. The photographs were first transferred onto polymer plates and then engraved by the Queen herself.</p> <p>For the Queen, the project is a response to a longstanding desire to found a scholarship fund for young artists. Many artists have expressed a wish to see the project established on a level that would allow the works involved to be shown to a broader public. The portfolio of prints will therefore be the central attraction of a major exhibition marking the 40th anniversary of Atelje Larsen at Dunkers Kulturhus in Helsingborg in November 2011. On 14 June 2012, the portfolio will be put on show at Henie Onstad Art Centre. After that, the prints will tour to a number of smaller exhibition venues around the country. A wide-ranging book will be produced in connection with the presentation of the portfolio in Norway. This will provide both an introduction to the fascinating world of printmaking and an account of how this project took shape.</p> <p>Responsible for the exhibition is art historian and director emeritus at Henie Onstad Art Centre, Karin Hellandsjø.</p> Wed, 02 May 2012 03:58:19 +0000