ArtSlant - Recently added en-us 40 David Hartt - Carnegie Museum of Art - May 17th - August 11th <p class="intro"><em>David Hartt: Stray Light</em> presents color photographs, sculptures, and a video installation by Chicago-based Canadian artist David Hartt (b. 1967) reflecting on the iconic headquarters of the Johnson Publishing Company in downtown Chicago.</p> <p>The 11-story Modernist building, home to <em>Jet </em>and <em>Ebony</em> magazines starting in 1971, was heralded as the first major downtown Chicago building designed by an African-American architect since the 18th century.&nbsp;Granted unprecedented access to film and photograph in this John Moutoussamy&ndash;designed building, Hartt beautifully and earnestly records the time-capsule nature of the space, which meticulously retains Arthur Elrod&rsquo;s original 1971 interior design. The building was purpose-built as the headquarters of this important publishing company, and its interior is a clear and exuberant expression of Black taste, resolutely modern, colorful, and complex, a pure expression of founder John Johnson&rsquo;s vision of what a leading Black-owned business can be. <br /><br />Hartt&rsquo;s film and photographs are intimate portraits of the dreams and ideals of the Johnson family&rsquo;s business, which continues to exert a force in American culture, as well as a kind of elegant forensic investigation into the power of cultural icons. &ldquo;Stray Light&rdquo; is a term used to refer to unpredictable light within a controlled environment, a fitting metaphor for this outside observer let into this inner sanctum of African American cultural history. Hartt&rsquo;s works raise questions about the commingling of the personal and the public, the narratives and ideologies that underlie the Johnson firm, and their lasting impact today. Further, the project is also an elegy, or at least examination, of the pervasive cultural condition of our transition to digital culture, away from the dominance of print media our lives. The physical&mdash;the site of the building and also paper itself&mdash;is replaced and decentralized. Hartt&rsquo;s project became even more poignant with the unexpected news that the building was sold in late 2010 and the company was relocating to another site.</p> Wed, 16 Apr 2014 08:42:37 +0000 Melissa Catanese, Ed Panar - Carnegie Museum of Art - May 3rd - July 28th <p>The photobook is a thriving medium for encountering a group of images, and the preferred presentation of many photographers. This form of publishing responds to the basic structure of photographic production, and is growing despite digital distribution of images. Melissa Catanese and Ed Panar know this terrain well. Catanese and Panar are both artists, and owners of <strong>Spaces Corners</strong>, a Pittsburgh bookshop dedicated to photography books. As part of the Hillman Photography Initiative, a living laboratory for exploring the rapidly changing field of photography, Catanese and Panar were invited to the museum as artists in residence. Their installation, called <em>The Sandbox</em> transforms the museum&rsquo;s Coatroom Gallery into a playful hybrid space for encounters with the photobook: part reading room, part bookshop, part library, part event space. Encounter a rotating selection of photobooks and intimate events emphasizing contemporary trends that give the medium its character.</p> Wed, 16 Apr 2014 08:39:08 +0000 Margaret Barnaby, Elroy Juan, Mary Mitsuda - The Honolulu Museum of Art at First Hawaiian Center - April 25th - August 22nd <h3 class="BodyA">Moment: Paintings by Mary Mitsuda</h3> <p>Born and raised in Honolulu, Mary Mitsuda&rsquo;s works have been widely exhibited in Hawaiʻi and are included in many public, private and corporate collections including the Four Seasons Wailea, Ritz Carlton, Hawai&lsquo;i State Foundation on Culture and the Arts, and the Honolulu Museum of Art.</p> <p>Her acrylic-on-canvas and panel paintings explore the visual effects achieved through the juxtaposition of carefully controlled horizontal lines with the spontaneity of dripped and scraped surfaces. In works such as Pi&ntilde;ata and Vapor Trails, brushes laden with paint are dragged along a horizontal straight edge, leaving traces of its path as drips, both large and small, fall in vertical lines below. Some paint drips continue to the bottom of the canvas, while others converge and join with other drips, the whole orchestrated to include marks planned and accidental.</p> <p>As in the ʻĀina series, many of her works incorporate multiple thin layers of paint so that underlying textures are visible through the translucent surfaces, creating a sense of geologic stratification and suggesting different ways of interpreting what is seen. While gazing at Mitsuda&rsquo;s paintings, one can often find recognizable imagery such as flowers, plants, landscapes, and crumpled paper/icebergs, but often the abstract marks are left for the viewer to interpret.</p> <p>She often thinks of her works as portraits or biographies of single moments examined from different perspectives&mdash;full of systems, patterns, and anomalies created from individual marks that are similar, yet varied.</p> <p>&ldquo;The moment I am interested in is the cusp, the transition between the rise and fall in a cycle,&rdquo; says Mitsuda. &ldquo;It&rsquo;s generally a quiet moment and when we are aware of being at that balance point, our vision seems to widen and also deepen. We reconnect with very elemental memories.</p> <p>I hope that, in passing by, people hear something in the painting, something in the voice of it that makes them pause, lean in for a closer listen and look.&rdquo;</p> <h3>Hue Wai Pawehe: New Art from Ancient Techniques by Elroy Juan</h3> <p>Elroy Juan was born on the Hamakua Coast of Hawai&lsquo;i Island, where he still lives and farms. His mother was of Hawaiian descent, and an accomplished lei maker, while his father made woven throw nets and bamboo baskets. Juan began collaborating with Georgia Sartoris in 1992 in perfecting methods for growing and dyeing the hue wai pawehe (decorated Hawaiian water gourd).</p> <p>In traditional Hawaiian culture, gourds were used in many ways, including as containers to hold liquids. Juan grows his ipu in a form that can hold water. To create the patterns, he incises the skin of a mature gourd with a design, then dyes it with a mixture made from leaves, roots and bark. The gourds are filled with dye or immersed in a vat until the desired effect is achieved.&nbsp;&nbsp;</p> <p>Concepts for the individual designs arise from observing the ipu while it grows, and by holding it once it is harvested. When beginning a design, Juan often thinks of forms of water, such as rain on a window, or the surface of the ocean. The designs are related to traditional Hawaiian forms but are unique to the artist and the ipu.</p> <p>Juan first showed his hue wai pawehe at Bishop Museum in 2008. HeHe has also exhibited at the Festival of Pacific Arts in New Caledonia and his work is in the collection of the Bishop Museum, the Hawai&lsquo;i State Foundation on Culture and the Arts, the Royal Hawaiian Hotel, the Moana Hotel and Qantas Airlines.</p> <h3>Mostly 'Alalā: Prints by Margaret Barnaby</h3> <p>Growing up in New England, Margaret Barnaby saw a lot of crows. &ldquo;They&rsquo;re big and busy and loud, and it&rsquo;s a bird you see easily and often,&rdquo; she says. When she moved to Volcano, Hawai&lsquo;i Island, from New York in 1998, she learned about the severely endangered native Hawaiian corvid, the &lsquo;alala. And it is the absence of crows on Hawai&lsquo;i Island that sparked her interest in the &lsquo;alala.</p> <p>&ldquo;Due to the aggressive captive breeding program in Volcano, there are now around 100 birds,&rdquo; explains the studio art jeweler-turned-woodblock printmaker. &ldquo;I use the &lsquo;alala as a symbol of what is best and worst about people. We are the reason that these birds and plants are in trouble, and we have the power to protect them. Of course, it doesn&rsquo;t hurt that a big black bird has a lot of graphic punch&hellip;.In the Hawaiian language the word &lsquo;alala is synonymous for the bird and for loud crying. Maybe the voice of the &lsquo;alala in my prints can move people to be more aware and caring about the world in which we live.&rdquo;</p> <p>She creates the woodblock prints by carving six or more plywood plates by hand. Each plate contains part of the image, and can be used to print one or more colors. The plates are inked using brayers and rollers with oil-based lithography inks and printed on an etching press in succession to build the final picture. Barnaby prints small variable editions that often take more than a month to complete.</p> <p>Barnaby spends considerable time planning the composition of each print. She desires an activated surface so that the viewer&rsquo;s attention moves around the image of the birds as they might appear in their native Hawaiian habitat.</p> Wed, 16 Apr 2014 08:31:57 +0000 - The Honolulu Museum of Art - May 15th - July 13th <p>During the late Meiji period (1868-1912) in Japan, popular fiction, particularly romance novels that highlighted the plights and tribulations of female protagonists, enjoyed enormous commercial success. <em>Kuchi-e </em>(Japanese woodblock prints produced as frontispieces for these texts) is a genre of Japanese art that, thanks to collector Philip Roach (b. 1934), has finally begun to receive the art historical recognition it deserves.</p> <p>The production of <em>kuchi-e</em> prints coincides with the Russo-Japanese War (1904-1905), and this rotation focuses on prints that depict female reactions to that war&mdash;their anxieties about loved ones in danger and their mourning of those who died. <em>Kuchi-e</em> artists such as Mizuno Toshikata (1866-1908), whose work is featured in the alcove of the Japan Gallery, also published large-scale depictions of battles from the Sino-Japanese war (1894-1895). When paired, these two portrayals of war&mdash;one from the battlefield and the other from the home front&mdash;reveal how popular art in early 20th-century Japan functioned as propaganda to fuel public support of military campaigns. Also on display in this rotation are several novels within which the <em>kuchi-e</em> frontispieces were originally published.</p> Wed, 16 Apr 2014 08:25:24 +0000 Darius Homayounpour - The Honolulu Museum of Art - May 9th - August 3rd <p>Honolulu artist Darius Homayounpour is best known as an indigo dyer for fine art as well as craft work. Formerly the assistant to the curator of textiles at the Honolulu Museum of Art from 1996 to 2010, he has long interpreted historic textile forms and structures using various materials and methods, including handmade paper, hand-woven cloth, shibori, and metals, especially chased silver. This installation represents his translation of the traditionally two-dimensional cloth-based quilt form into a three-dimensional metal structure, exploring ideas of absorption and reflection of light, the layering of thin metallic sheets and air, as well as the inherent disparity between the familiar comfort of the cloth quilt and its hard-edged metallic version.</p> Wed, 16 Apr 2014 08:22:03 +0000 Andrew Binkley - The Honolulu Museum of Art Spalding House - April 12th - May 18th <p>The museum&rsquo;s Orvis Artist in Residence program at Spalding House continues with O&lsquo;ahu-based artist Andrew Binkley. On weekends from April 12 to May 18, visitors will be able to see the artist at work on his installation <em>A Space Between,</em> as well as join in.</p> <p>Binkley invites visitors to help him&mdash;they can choose to either look for cracks in the floor of the outdoor Surface Gallery or paint the cracks. Depending on what they choose, Binkley will give them a shovel or a cup of gold paint and a brush. Binkley describes the work as, &ldquo;an invitation for an intimate connection with the grounds of Spalding House while encouraging a shift in how we perceive the overlooked aspects of history, fragility and change.&rdquo;</p> <p>The project is rooted in the ancient Japanese art form of <em>kintsugi </em>(golden joinery), where if a treasured tea bowl breaks, rather than throwing it away, the pieces are mended back together and the remaining fracture is dusted with gold. The act of doing this highlights the cracks and transforms it from being a rejected trace of the &ldquo;imperfect&rdquo; and the ephemeral, to a mark that is accepted, appreciated, and cherished.</p> <p>The history of how these cracks developed hover over the work, as do the connotations of gold in this context. As both a symbol of honoring and adornment, revealing a value under the surface, it also holds with it the issues of funding, or lack thereof, in the realms of art and culture and what is deemed of value to preserve and promote. A pathway will be revealed by clearing a line of gravel in the direction from Spalding House to the Honolulu Museum of Art, thereby connecting the two museum spaces together.</p> <p><em>A Space Between</em> also works with transforming the fractures from being a split or separation into a path of connection; bridging the past, present and future through the acts of discovery and appreciation. The cracks are a record of time; a record of the results of conditions coming together, just as the gold paint is a record of the results of people coming together. This project creates both a connection to the place within each individual, but also a connection with each other as a group. It deals with the spirit of service and offering, and the spirit of acceptance and appreciation for both history and the fleeting moment at hand.</p> <p>The project connects with two museum exhibitions&mdash;<em>Light from Shadow: Gold in Japanese Art,</em> on view at the Beretania Street location through June 1, and <em>Come Undone: The Art of Entropy and Decay</em>, on view at Spalding House through July 6. And during May, Binkley will expand <em>A Space Between</em> and connect it to a yet-to-be-announced exhibition in Kaka&rsquo;ako dealing with the area&rsquo;s history, water, land and people.</p> <p>After attending art school, Binkley moved to China, which led to his being ordained as a Buddhist monk in Thailand and living the monastic life there for two years. In 2002 he moved to Hawai&lsquo;i and has been practicing art ever since.</p> Wed, 16 Apr 2014 08:17:22 +0000 - NGV (National Gallery Victoria) The Ian Potter Centre - May 9th - August 31st <p><em>Fashion Detective</em> takes a selection of miscellaneous garments and accessories as the starting point for a series of investigations. Using material evidence and commissioned fictions as alternate interpretative strategies, the exhibition is an encounter with the art of detection.<br /> <br /> Any museum archive contains a large number of works which remain unattributed &ndash; makers unknown. Anonymous and sometimes inscrutable, these objects have the capacity to incite our curiosity at a time when the world is ordered by brands and logos. Within fashion especially, the contrast between today&rsquo;s superstar couturiers and global luxury labels and the nameless dressmakers and tailors of earlier centuries, could not be greater.<br /> <br /> From fakes and forgeries to poisonous dyes, concealed clues and mysterious marks to missing persons, <em>Fashion Detective</em> offers a number of cases for close examination. Each suggests a specific path of analysis that encourages us to think differently about what we see and what we know.<br /> <br /> Scrutinising fragments of information, <em>Fashion Detective</em> also puts some of Australia&rsquo;s best crime writers on the case. Speculating on the evidence at hand, a series of new short fictions based around the works on display will introduce plots, characters and narrative to the exhibition in order to reveal fashion&rsquo;s countless contexts.<br /> <br /> Featuring approximately 60 garments and accessories <em>Fashion Detective</em> juxtaposes the testimony of curators, conservators and writers, and acknowledges the interdependence of story and object as well as the public fascination with the social life of clothes.</p> Wed, 16 Apr 2014 08:08:24 +0000 David McDiarmid - NGV (National Gallery Victoria) The Ian Potter Centre - May 9th - August 31st <p><em>I never saw art as being a safe thing. I know that exists but that's not something that involves me.</em> David McDiarmid, 1993<br /> <br /> Defying classification, the work of David McDiarmid encompasses the complex and interconnected histories of art, craft, fashion, music, sex, gay liberation and identity politics; happily residing in the spaces between high and low art, popular culture and community engagement. At once kaleidoscopic, celebratory and darkly humorous in tone, the artist&rsquo;s idiosyncratic, highly personal and at times, confessional work highlights the redefinition and deconstruction of identities &ndash; "from camp to gay to queer" &ndash; drawing on the experiences of a life intensely lived in Melbourne, Sydney and New York. Charting the shifts in politics and individual and community expression that unfold across the decades of the 1970s, 80s and 90s, this exhibition also reveals McDiarmid&rsquo;s artistic and grassroots political response to the impact of HIV / AIDS during the 1980s and beyond, for which he is best known internationally.</p> Wed, 16 Apr 2014 08:04:47 +0000 Inge King - NGV (National Gallery Victoria) The Ian Potter Centre - May 1st - August 31st <p>Now in her 98th year, Inge King is one of our most senior artists. This exhibition will present the most complete survey of Inge&rsquo;s remarkable career to date.<br /> <br /> Since arriving in Australia in 1951, Inge King has been a major contributor to the development of abstract sculpture in this country. She has exhibited her work consistently in solo exhibitions and has participated in many group exhibitions. Her work is held in all major national collections and through her numerous public commissions she has become one of Australia&rsquo;s best known and most prominent sculptors.<br /> <br /> Inge and her late husband, Australian painter and printmaker Grahame King, built their home and studio in the outer Melbourne suburb of Warrandyte in 1952. Designed by Robin Boyd, the building served as a creative haven where Inge and Grahame could work and support each other&rsquo;s art practices. Their careers were inextricably interwoven from when they met in 1948 at the Abbey Arts Centre in Hertfordshire, UK, continuing until Grahame&rsquo;s death in 2008.<br /> <br /> This major survey of Inge King&rsquo;s work will be installed in the foyer spaces over three levels at NGV Australia and will include work produced over an extraordinary period of almost 70 years. In addition to sculptures from the NGV and other public and private collections, the exhibition will include many works drawn from Inge&rsquo;s personal collection. It will present her recent sculptures alongside many of her early works, some of which have never been on public display.<br /> <br /> The exhibition will celebrate Inge King&rsquo;s outstanding contribution to Australian art. With the inclusion of some of Grahame&rsquo;s work it will also recognise the unique and significant artistic collaboration that existed between the two of them.</p> Wed, 16 Apr 2014 08:01:18 +0000 Colleen Choquette-Raphael, Antonio da Correggio, Tiziano Vecellio, Jacopo Tintoretto, the Carracci, Nicolas Poussin, Giovanni Battista Tiepolo - NGV (National Gallery of Victoria) International - May 16th - August 31st <p>The holdings of Italian art in the Museo Nacional del Prado, Madrid are unique and unrivalled in museums outside Italy.&nbsp; Drawn from its magnificent collection, this exhibition of over 70 paintings and 30 drawings presents a rich selection of works spanning 300 years of Italian art, from the early sixteenth to the eighteenth centuries.<br /> <br /> More than 70 artists are represented including Raphael, Correggio, Titian, Tintoretto, the Carracci, Poussin and Tiepolo.&nbsp; The exhibition reflects the taste of the Spanish Royal Court whose Kings and Courtiers avidly collected Italian art.&nbsp; Successive rulers also commissioned works directly from the artists in Italy or enticed them to Spain to work in the Royal Household.&nbsp; Many of these works are at the heart of the Prado&rsquo;s collection and have never before left Spain.</p> Wed, 16 Apr 2014 07:55:46 +0000 - Fukuoka Asian Art Museum (FAAM) - April 3rd - August 19th <p>This exhibition ahead of &ldquo;The 5th Fukuoka Asian Art Triennale (FT5)&rdquo; presents a snapshot of FAAM&rsquo;s four triennale shows to date, from FT1 (1999) to FT4 (2009). Focusing on various works from each show, the exhibition includes records on the exhibition spaces and performances along with print articles. Throughout, the exhibition will updates on FT5 as preparations unfold. (*The exhibition is divided into two parts, with FT1 and FT2 highlights displayed until 3 June, and FT3 and FT4 highlights shown after 5 June)</p> Wed, 16 Apr 2014 07:22:52 +0000 - Fukuoka Asian Art Museum (FAAM) - April 24th - August 19th <p>From natural resources to chemical materials, human-beings have discovered and processed various raw materials throughout their history. Metal, one of these, has revolutionized our lifestyle. In this exhibition, many artworks made from metals, such as iron, bronze, and stainless steel will be brought together to be shown. Metal is usually over looked in our everyday live, so let&rsquo;s take this chance and search for the ideas behind these artworks.</p> Wed, 16 Apr 2014 07:19:48 +0000 Etan Pavavalung - Taipei Fine Arts Museum - March 29th - May 18th <p>A typhoon scourged an indigenous community in the mountains and forced its people to relocate afoot another hill. Amidst the rebuilding efforts, artist Etan Pavavalung creates a new style nurtured by his native culture. A dialogue is formed between visual art, ecology, theology and the lost ancient wisdom of the mountains. A primitive power exudes from the layered patterns engraved in his prints, as they help build dreams, mend souls and propagate beauty recalling the innocence of unspoiled homeland.<br /> <br /> Nature has taken her revenge upon destruction caused by human advancement and greed. We are forced to reflect on how we brought ourselves into this predicament. It is high time to re-learn how to live in harmony with the land, so that she will once again bathe us in her fragrant winds.</p> Wed, 16 Apr 2014 07:13:53 +0000 Liu Chih-Hung - Taipei Fine Arts Museum - March 29th - May 18th <p>For four years, Liu Chih-Hung has engaged in his Drawing &amp; Sketch project: In the Moment, maintaining an uninterrupted pace of creativity that has become a habit as natural as breathing.<br /> <br /> The Roman poet Marcus Valerius Martialis wrote, &ldquo;He lives two lives who relives his past with pleasure.&rdquo;<br /> <br /> In early 2010 Liu Chih-Hung began the first part of his project, The Elapsed Time, attempting to capture and re-express many significant moments from life experiences of the past, depicting recollected images in paint. Released from late 2010 through early 2011, The Other Side introduced rapidly produced paintings with a solid tonality and amassed more images of moments in life. His Guang Wu of 2013 was a realistic portrayal of a year in military service, documenting many moments of army life and many strange experiences. Liu continues his four-year project with his current solo exhibition. Short Fiction serves as a concluding segment, presenting a complete thread of time reflecting his own experiences, memories and images.</p> Wed, 16 Apr 2014 07:10:49 +0000 - Taipei Fine Arts Museum - April 12th - May 18th <p>The finalists are: C.J.S Architecture-Art Studio / Atelier Orogen /&nbsp;Mezz Studio / Gizmo co- / GT Consulting Planners / ROEWU architecture / Double A / R Studio / Book Site- Binding Architecture</p> <p>Trends in early twenty-first century architecture tend to no longer adhere to architectural principles. Rather, site-specific installations and experimental visions help us to understand or re-see the reality of architecture. As architecture critic Aaron Betsky has said, the challenge &ldquo;is to collect and encourage experimentation, not by presenting existing buildings, but through seductive images.&rdquo; With its 2014 inaugural call for entries exhibition Program X-site, the Taipei Fine Arts Museum intends to expand its artistic domain into the field of architectural installation. The program sets the outdoor public square adjacent to the museum's main entrance as its site for imaginative reflection and creativity. By extending architectural art from the building's interior out into public space, the program liberates the positions of architect, artist and curator, while promoting discussions about urban living and planning, including the use of mobility and temporal architectural installations to explore temporary interventions as a means of driving urban development.</p> <p>The exhibition Finalists for Program X-site 2014: Nine Ways to Imagine the Space presents proposals submitted by nine teams of finalists and provides an opportunity to review their concepts, backgrounds, materials, technologies and artistic concepts. Items such as models, blueprints, text, animations and installations are included. It is hoped that this exhibition can advance contemporary architecture and the understanding of alternative architecture in Taiwan, generate enthusiasm for architecture and express gratitude to those who generously spent time preparing proposals for the exhibition competition.</p> <p>Recyclable packaging, wooden pallets, work lamps, wood and transparent materials are used for the exhibition venue design as a symbol of the move towards environmental progressivism in contemporary architecture and to promote the concept of sustainability.</p> Wed, 16 Apr 2014 07:07:40 +0000 - Freer Gallery of Art (A Smithsonian Institution) - March 8th - September 14th <p>The waters that surround the islands of Japan and flow from its mountain ranges to form rivers and lakes host&nbsp;plants and animals that have sustained human life&nbsp;since prehistoric times. This exhibition features a selection of prints, paintings, illustrated books, and ceramics that depict Japanese appreciation for the beauty and variety of fish and other species. A highlight is the&nbsp;public debut of the &ldquo;large fish&rdquo; series&mdash;twenty woodblock prints by Hiroshige (1797&ndash;1858) gifted to the Freer by John Fuegi and Jo Francis.</p> Wed, 16 Apr 2014 00:06:55 +0000