ArtSlant - Recently added en-us 40 Hooshang Khorasani - Attleboro Arts Museum - April 1st - May 9th <p style="margin: 0in 0in 0pt;"><span style="font-family: Times New Roman; font-size: medium;">Two Native American portraits from Hooshang Khorasani's personal collection are on display at the Attleboro, Massachusetts, Arts Museum in the show "Art Unites Communities" from April 11 to May 9.</span></p> <p style="margin: 0in 0in 0pt;"><span style="font-family: Times New Roman; font-size: medium;">&nbsp;</span></p> <p style="margin: 0in 0in 0pt;"><span style="font-family: Times New Roman; font-size: medium;">"It has long been understood that visual art can transcend cultural boundaries and is in fact a universal form of human expression," a statement from museum officials said. "In 'Art Unites Communities' artists from all corners present their work side-by-side to honor the unifying force of visual creativity."</span></p> <p style="margin: 0in 0in 0pt;"><span style="font-family: Times New Roman; font-size: medium;">&nbsp;</span></p> <p style="margin: 0in 0in 0pt;"><span style="font-family: Times New Roman; font-size: medium;">The collection of visual and folk artists' work will celebrate heritage, cultural experience, native language and points of view. Selected work will be displayed as one community of visual expressions, museum officials said.</span></p> <p style="margin: 0in 0in 0pt;"><span style="font-family: Times New Roman; font-size: medium;">&nbsp;</span></p> <p style="margin: 0in 0in 0pt;"><span style="font-family: Times New Roman; font-size: medium;">In connection with the show, a mask-making workshop will be held May 2 at 1:30 p.m., facilitated by artist Sandy Coleman. It's open to adults and teens 14 years and older. Please RSVP by April 29 if interested in attending.</span></p> <p style="margin: 0in 0in 0pt;"><span style="font-family: Times New Roman; font-size: medium;">&nbsp;</span></p> <p style="margin: 0in 0in 0pt;"><span style="font-family: Times New Roman; font-size: medium;">Hooshang's paintings in the show are "Buffalo Hump, Comanche," 26x33 inches, and "Big Tree, Young Kiowa Chief," 24x29 inches. Both are acrylic-mixed media on paper.</span></p> <p style="margin: 0in 0in 0pt;"><span style="font-family: Times New Roman; font-size: medium;">&nbsp;</span></p> <p style="margin: 0in 0in 0pt;"><span style="font-family: Times New Roman; font-size: medium;">The works are part of a series of Native American portraits that Hooshang painted after traveling throughout the West and Southwest and after a study of their lifestyle and history. </span></p> <p style="margin: 0in 0in 0pt;"><span style="font-family: Times New Roman; font-size: medium;">&nbsp;</span></p> <p style="margin: 0in 0in 0pt;"><span style="font-family: Times New Roman; font-size: medium;">Limited-edition prints from the Native American series are available from Hooshang Studio, 1001 Cedar Creek Road, Ruston.</span></p> Thu, 16 Apr 2015 18:02:37 +0000 Joep van Liefland - Galerie Gebr. Lehmann, Dresden - May 9th - July 31st Thu, 16 Apr 2015 09:43:46 +0000 - Grounds For Sculpture - July 11th - August 23rd <p style="text-align: justify;">An annual event at Grounds For Sculpture, this year&rsquo;s Members&rsquo; Musings will be the sixth exhibition exclusively featuring artwork by members ofGrounds For Sculpture. In addition to supporting the arts, many GFS members are gifted artists themselves. This exhibition showcases the diversity of the organization&rsquo;s membership through theirvaried artistic creations and unique inspirations.</p> <p style="text-align: justify;">ELIGIBILITY<br />The Grounds For Sculpture member exhibition is open to current and new members, whose membership must be valid on May 15, 2015. Members employed by Grounds For Sculpture, members who volunteer for Grounds For Sculpture, or members who have work in the collection are not eligible to participate.<br /><br />JUROR<br />This is a juried exhibition. This year&rsquo;s juror is Dej&aacute;y B. Duckett, the Associate Director &amp; Associate Curator at the Arthur Ross Gallery at the University of Pennsylvania. Her interests include African American and international contemporary art in all media, with a particular focus on ecology, and collaborative site-specific projects. At the Arthur Ross Gallery, Dej&aacute;y has organized exhibitions and programs including, Henrique Oliveira: Adenocalcinoma Poliresidual (2014); William H.Johnson: An American Modern (2014); In Material: Lucy Arai, Sonya Clark, Mi-Kyoung Lee, and Cynthia Schira (2012); Jacob Lawrence and the Urban Experience (2010), and Darkwater: A Recital in Four Dominions, Terry Adkins after W.E.B Du Bois (2003). Prior to the Arthur Ross Gallery, she was Gallery Coordinator for Nexus Contemporary Art Center (Now Atlanta Contemporary Art Center), where she co-curated the 1995 Atlanta Biennial. From 1996-98, she was Associate Curator for the City of Atlanta&rsquo;s Bureau of Cultural Affairs, City Gallery East. After returning to Philadelphia in1999, Dej&aacute;y curated Women on the Verge at the African American Museum in Philadelphia. She has worked on independent projects as well as written and edited numerous gallery brochures and publications. Dej&aacute;y earned her B.A. in 1994 in Art History from Spelman College, and an M.A. in Museum Studies from Seton Hall University in 2001, focusing her research on the changing role of the culturally specific museum in the 21st Century.<br /><br />ENTRY REQUIREMENTS<br />Members may submit up to two works per person. 2-D, 3-D, and multi-media works will be accepted, however photography will not be accepted for this exhibition. Photographers are encouraged to submit to the annual Focus on Sculpture exhibition. Accepted works will be on display in the Education Gallery from July 11 &ndash; August 23, 2015. Framed works should be no larger than 40 inches in any one direction. 3-D works should not be larger than 30 inches in height, width or depth. Paintings should either be framed or have a finished edge. All works on paper must be framed professionally behind plexi or glass, matted, and have a black wood ormetal frame, with hanging wire attached. Any work that does not meet these requirements will not be eligible for selection.</p> Wed, 15 Apr 2015 18:20:37 +0000 - Grounds For Sculpture - September 19th - November 1st <p style="text-align: justify;">Through images created by Princeton Photography Club members, view the transformation of our site from the barren New Jersey State Fairgrounds into the lush 42-acre sculpture park that GFS is today. Included in the exhibit are newspaper articles from the Hamilton Historical Society, memorabilia from the New Jersey State Fairgrounds, and historic GFS photographs.</p> Wed, 15 Apr 2015 18:17:06 +0000 - Grounds For Sculpture - May 9th - June 21st <p style="text-align: justify;">This spring, we&rsquo;re pleased to exhibit artwork from the talented students at Bear Tavern Elementary School in nearby Hopewell Valley Regional School District. The multimedia exhibition pairs artwork inspired by explorations at GFS with selected student writings. Come see how a range of media can be used to interpret a single subject, and how expressive young artists can be.</p> Wed, 15 Apr 2015 18:15:09 +0000 Lauren Clay - Grounds For Sculpture - May 9th - June 21st <p style="text-align: justify;">The DAB Mezzanine Gallery will feature the sculptural installations of Lauren Clay.&nbsp; Clay works primarily in paper, attracted to its ephemeral qualities, which she hand-dyes, cuts, and reassembles into carefully constructed three dimensional forms. This exhibition will feature a series of works that are both playful and symbolic. Also included in the exhibition is a series of work that reference the great American sculptor David Smith.</p> Wed, 15 Apr 2015 17:56:34 +0000 Jonas Stirner - Grounds For Sculpture - May 9th - June 21st <p style="text-align: justify;">This exhibition, on view on the Museum Mezzanine, reveals that the artist is a powerful and inventive metal sculptor who also served as one of Robert Rauschenberg&rsquo;s assistants for 15 years at the renowned artist&rsquo;s Captiva Island studio.</p> Wed, 15 Apr 2015 17:52:12 +0000 Karl Stirner - Grounds For Sculpture - May 9th - June 21st <p style="text-align: justify;">The Museum Building will host the powerful steel sculptures of Pennsylvania-based sculptor Karl Stirner and his son, Florida-based sculptor Jonas Stirner.&nbsp;&nbsp;<em>Karl Stirner: Decades in Steel</em>&nbsp;explores the artist&rsquo;s legendary welded and manipulated industrial forms which are often inspired by the huge sections of steel Stirner reclaims from steel manufacturing yards.&nbsp; His sculptures have influenced generations of sculptors including his son Jonas, whose works will be on view on the Museum Mezzanine.</p> Wed, 15 Apr 2015 17:49:18 +0000 Robert Lobe - Grounds For Sculpture - April 11th - January 17th, 2016 <p style="text-align: justify;">New Jersey/New York based artist Robert Lobe has been selected to exhibit a collection of his textured and patinated aluminum wall reliefs, made by hammering sheets of aluminum over natural forms in a technique similar to the tradition of repouss&eacute;.&nbsp; The exhibition will also feature three wall sculptures that incorporate the noted paintings of New York based painter Kathleen Gilje in a series titled&nbsp;<em>Forest Projects</em>:&nbsp; Robert Lobe and Kathleen Gilje.&nbsp; This exhibition will be on view in the West Gallery from April 11, 2015 &ndash; January 17, 2016.</p> Wed, 15 Apr 2015 17:42:59 +0000 Jae Ko - Grounds For Sculpture - March 28th - February 7th, 2016 <p style="text-align: justify;">This season, we are pleased to present the work of Korean-born artist, Jae Ko. Her exhibition, entitled&nbsp;<em>Selections</em>, includes a major new commissioned installation in the East Gallery. Spanning more than 80 feet,&nbsp;<em>Force of Nature, 白 Shiro&nbsp;</em>transforms over 20,000 pounds of varying shades of white recycled Kraft paper into her largest and most ambitious piece to date. Inspired by the natural world, Ko states, "In my culture Shiro 白, means white, pure and clear, very glacier like. The installation is really a glacier cut or sliced to expose the ancient layers within it."<br /><br />Ko's exhibition continues in the Domestic Arts Building, where her bold use of black and red stained paper serves as a primal counterpoint to the East Gallery.&nbsp;<em>Force of Nature, 白 Shiro&nbsp;</em>opens to the public on March 28. The full exhibition,&nbsp;<em>Selections</em>, opens to the public on May 9. The exhibition is made possible in part through awards from the&nbsp;<a href="" target="_blank"><strong>National Endowment for the Arts</strong></a>&nbsp;and&nbsp;<a href="" target="_blank"><strong>Bank of America</strong></a>.</p> Wed, 15 Apr 2015 17:40:21 +0000 Eila Maaret Forsström - Galleria Heino - May 23rd - June 18th Wed, 15 Apr 2015 17:26:39 +0000 Sari Kemppinen - Galleria Heino - May 23rd - June 18th Wed, 15 Apr 2015 17:26:23 +0000 Petri Ala-Maunus - Galleria Heino - April 18th - May 17th <p style="text-align: justify;">Petri Ala-Maunus is known for his outrageously romantic large-scale landscapes that transport the viewer, with effortless ease, to his mountainous fantasy lands. With Ala-Maunus&acute;s landscapes, the "truth" lies as far as the mind can carry you.</p> <p style="text-align: justify;">In Hinterland, Ala-Maunus continues to explore his idiosyncratic style, creating landscapes imbued with a shimmery darkness; stormy seas, impenetrable deciduous forests, mountain ranges viewed from on high and magical moon-lit skies. Some of the works are so enormous and full of detail that, in order to make sense of them, you are forced to traverse the painting from side to side, pull away to a distance and get back up close again.</p> <p style="text-align: justify;">The works undeniably call to mind the Romantic era in the Nordic countries, Europe as well as the US. Ala-Maunus himself has stressed the visual association with the artists of the 19th century Hudson River School, whose works featured dramatic natural elements, such as rugged mountain ridges and steep water falls. Ala-Maunus&acute;s enthusiasm for these kitschy landscapes can also be traced back to the wall displays at the&nbsp;<em>Happy Pizza</em>&nbsp;pizzeria in Tampere, Finland. The posters adorning the restaurant also depict escapist landscapes rendered in a fast food restaurant aesthetic.</p> <p style="text-align: justify;">While the Romantic landscapes invariably depicted tiny human beings and the ruins of their culture set amidst magnificent expanses of nature, Ala-Maunus&acute;s works are entirely devoid of any pictorial references to people or culture. His are natural landscapes, untouched by the era of man.</p> <p style="text-align: justify;">This is precisely why the title of the exhibition, Hinterland, is so thought provoking. The term hinterland, also known as the outback, the wilderness or the backwater, usually refers to an area located on the outskirts of human habitation that nevertheless forms an intrinsic part of a city or a similar economic entity. Ala-Maunus, however, appears to employ the term literally. It is as if he is seeking to emphasise that, in the back of beyond, there remains a place entirely untouched by human hand.</p> <p style="text-align: justify;">Hinterland is Ala-Maunus&acute;s magical imaginary world, which he now tackles with more boldness than before. In his new works, Ala-Maunus sets about dismantling the illusion of an ideal landscape by assigning primacy to the act of painting - the landscapes are covered, enclosed and blended in the abstract medium of pigment, the drips on painted surface emphasising the paint&acute;s own movement.</p> <p style="text-align: justify;">Ala-Maunus&acute;s Hinterland operates on two levels, both of which are equally artificial; between the notion of the untouched landscape and the abstract painted finish. In this, he continues a long and unbroken tradition, which Robert Rosenblom in his 1961 article The Abstract Sublime, insightfully extended to cover abstract painting.[1]</p> <p style="text-align: justify;">The abstractions in Ala-Maunus&acute;s Hinterland works are also possessed of the same "molten paths of energy, [that locate] us once more on a near-hysterical brink of sublime chaos", Rosenblom saw in the works of William Turner. With Ala-Maunus, that energy is found in the act of painting and in the earth&acute;s gravity that pulls on the paint, causing it to drip downwards.</p> <p style="text-align: justify;"><em>Hanna Johansson</em></p> <div> <div id="ftn1"> <p style="text-align: justify;">[1] Rosenblum, Robert 1961. The Abstract Sublime.&nbsp;<em>ARTnews</em>, February 1961.</p> <hr /> <p style="text-align: justify;">Petri Ala-Maunus on tullut tutuksi ylti&ouml;romanttisista suurikokoisista maisemamaalauksista, joiden teht&auml;v&auml; on liu&acute;uttaa katsoja keve&auml;sti vuoristoisiin pilvilinnoihin. Ala-Maunuksen maisemien "totuus" on niin kaukana kuin mieli jaksaa kantaa.</p> <p style="text-align: justify;">Hinterland n&auml;yttelyss&auml; Ala-Maunus jatkaa tunnistettavalla tyylill&auml;&auml;n ja maalaa h&auml;m&auml;r&auml;&auml; hohtavia maisemia myrsky&auml;vist&auml; merist&auml;, l&auml;pip&auml;&auml;sem&auml;tt&ouml;mist&auml; lehtimetsist&auml;, taivaalta n&auml;hdyist&auml; vuoristoista ja satumaisista kuutamotaivaista. Osa maalauksista on niin suuria ja niin t&auml;ynn&auml; yksityiskohtia, ett&auml; niiden hahmottamiseksi on k&auml;velt&auml;v&auml; edestakaisin; peruutettava kauas ja palattava taas aivan l&auml;helle.</p> <p style="text-align: justify;">Maalaukset tuovat eitt&auml;m&auml;tt&auml; mieleen romantiikan ajan maisemataiteen niin Pohjoismaissa, Euroopassa kuin Yhdysvalloissa. Ala-Maunus korostaa teosten visuaalista yhteytt&auml; 1800-luvulla toimineeseen Hudson-joen koulukuntaan (Hudson River School), joiden maalauksissa yhdistyv&auml;t dramaattiset luonnonelementit: ter&auml;v&auml;reunaiset vuoret ja jyrk&auml;t vesiputoukset. Innoitus n&auml;ihin kitschi&auml; kosiskeleviin maisemiin on perua my&ouml;s Tampereen Hatanp&auml;&auml;ss&auml; sijaitsevan&nbsp;<em>Happy Pizza</em>&nbsp;-ravintolan sein&auml;julisteista. Niiss&auml; kuvataan niin ik&auml;&auml;n eskapistisia maisemia pikaruokalatyylill&auml;.</p> <p style="text-align: justify;">Siin&auml; miss&auml; romantiikan maisemissa kuvattiin poikkeuksetta pikkuruisia ihmisi&auml; ja heid&auml;n kulttuurinsa raunioita osana valtavaa luontoa, ovat Ala-Maunuksen maalaukset poikkeuksetta ilman pienint&auml;k&auml;&auml;n kuvallista viittausta ihmisiin tai kulttuuriin. Ne ovat ihmisen ajan ulottumattomia luonnonmaisemia.</p> <p style="text-align: justify;">Juuri t&auml;m&auml;n vuoksi n&auml;yttelyn nimi Hinterland pist&auml;&auml; ajatukset liikkeelle. Hinterland, takamaa, syd&auml;nmaa, er&auml;maa, viittaa tyypillisesti ihmisasutuksen laidalla sijaitsevaan, mutta kaupunkiin tai muuhun talousalueeseen kiinte&auml;sti kuuluvaan hy&ouml;dynnett&auml;v&auml;&auml;n alueeseen. Ala-Maunuksen maalauksissa termi on otettu kirjaimellisesti. Aivan kuin Ala-Maunus haluaisi korostaa, ett&auml; olisi olemassa paikka, kaiken takana, johon ihminen ei ole kajonnut eik&auml; k&auml;ynyt.</p> <p style="text-align: justify;">Hinterland on Ala-Maunuksen mielikuvien maaginen maailma, johon h&auml;n on nyt k&auml;ynyt k&auml;siksi aiempaa rohkeammin. Uusissa maalauksissaan Ala-Maunus rikkoo ideaalimaiseman illuusion antamalla maalaustapahtumalle ylivallan kun maisemat peittyv&auml;t, sulkeutuvat tai sulautuvat abstraktiin maaliaineeseen, jonka valumaj&auml;ljet maalauksen pinnalla korostavat maalin omaa liikett&auml;.</p> <p style="text-align: justify;">Ala-Maunuksen Hinterlandissa liikutaan kahdella tasolla, joista molemmat lienev&auml;t viime k&auml;dess&auml; yht&auml; lailla tehtyj&auml;: koskemattoman maiseman idean ja abstraktin maalauspinnan v&auml;lill&auml;. T&auml;ss&auml; h&auml;n jatkaa pitk&auml;&auml; katkeamatonta maalaustaiteen traditiota, jonka Robert Rosenblum vuonna 1961 k&auml;&auml;nsi oivaltavasti koskemaan my&ouml;s abstraktia maalaustaidetta tekstiss&auml;&auml;n "The Abstract Sublime".[1]</p> <p style="text-align: justify;">Hinterland maalauksien abstraktioissa on n&auml;it&auml; "sulavien energioiden polkuja, jotka paikantavat meid&auml;t katsojat j&auml;lleen l&auml;hes hysteerisen ylev&auml;n kaaoksen reunalle", kuten Rosenblumin mukaan William Turnerin maalauksissa tapahtuu. Ala-Maunuksella tuo energia on kuitenkin sijoitettu maalaustapahtumaan ja maalia alasp&auml;in valuttavaan maan vetovoimaan.</p> <p style="text-align: justify;"><em>Hanna Johansson</em></p> <div> <div id="ftn1"> <p style="text-align: justify;">[1] Rosenblum, Robert 1961. The Abstract Sublime.&nbsp;<em>ARTnews</em>, February 1961.</p> </div> </div> <br /> <p>&nbsp;</p> </div> </div> Wed, 15 Apr 2015 17:09:16 +0000 Group Show - LENTOS Kunstmuseum Linz - March 13th - June 7th <h1 class="box_header box_bottom">LOVE &amp; LOSS<br />Fashion and Mortality</h1> <p class="date"><strong>13 March to 7 June 2015</strong></p> <p>In the 1980s new content and a revolutionary new aesthetic made their first appearance in the world of Western fashion. Features such as the search for authenticity, melancholy as a pervasive attitude, and bold formal experiments had been exclusively reserved to the fine arts until then. Now they were taken up by fashion. Martin Margiela, Rei Kawakubo and other outstanding designers subjected the concept of beauty in fashion to a radical makeover, where deformation and wear and tear become exciting stylistic devices. The torn jeans that are a staple of mainstream fashion these days first saw the light of day in designs by Maison Martin Margiela and Comme des Gar&ccedil;ons. Fashion becomes a mirror in which we come face to face with our own mortality. It emphasizes the traces of time, praises transience and flirts with death.</p> <p>A great number of exhibits on loan from international museums and studios substantiate moments between the 1980s and today, in which fashion and the art inspired each other. The exhibition celebrates beauty and the abyss, poetical moments and black humour. It presents fashion designers together with exponents of the visual arts, High Fashion and Street Fashion, photographs, videos, sculptures and installations. The majority of exhibits has never before been seen in Austria.&nbsp;&nbsp;<br /><br />Curator: Ursula Guttmann</p> <p>(Text from Lento Kunstmuseum -&nbsp;</p> Wed, 15 Apr 2015 16:15:03 +0000 Miwa Matreyek - ICA (The Institute of Contemporary Art - Boston) - April 17th 8:00 PM - 9:00 PM <p style="text-align: justify;">&nbsp;&ldquo;Magical&hellip;the sheer breadth of the imagery&hellip;is unlike anything you've seen before.&rdquo; &mdash;&nbsp;<em>Los Angeles Times&nbsp; &nbsp;</em></p> <p style="text-align: justify;">A newcomer to Boston, LA-based multimedia artist Miwa Matreyek combines animation, video installation, and performance for one-of-a-kind experiences that have appeared at international art centers and festivals including Sundance Film Festival. These two pieces combine stunningly lovely imagery with inventive movement and shadow play for works that are,&nbsp;as she says, &ldquo;at once semi-scientific (like flipping through a children&rsquo;s encyclopedia), emotional, and dream-like, rich in&nbsp;surrealism, metaphor, and fantasy.&rdquo;</p> <p style="text-align: justify;">Appropriate for all ages.</p> <p style="text-align: justify;"><em>Funded in part by the Expeditions program of&nbsp;the New England Foundation for the Arts, made possible with funding from the National Endowment for the Arts, with additional support from the six&nbsp;New England state arts agencies.<br /></em></p> Wed, 15 Apr 2015 15:16:20 +0000 Ian Schneller, Andrew Bird - ICA (The Institute of Contemporary Art - Boston) - February 4th - May 10th <h3 style="text-align: justify;">"Deliciously sensual...Sonic Arboretum will take you somewhere else."&nbsp;&mdash;&nbsp;<em>The Boston Globe</em></h3> <p style="text-align: justify;"><br />Sculptor/instrument-maker Ian Schneller and composer/violinist Andrew Bird share a fascination with sound and its interaction with the natural world.</p> <p style="text-align: justify;">Since 2010, the duo has collaboratively produced Sonic Arboretum, an installation of over 30 colorful horn speakers made from recycled newsprint, dryer lint, baking soda, and shellac and powered by custom-made tube amplifiers. Through the speakers, Bird plays an original, 50-minute composition,<em>Echolocations: Canyon</em>, which he recorded by whistling and playing his violin in a canyon to experiment with the site's reverberations.</p> Wed, 15 Apr 2015 15:05:17 +0000