ArtSlant - Current exhibits http://www.artslant.com/ew/Events/show en-us 40 Paul Kelly, Meghan Gordon, Samuel Messer, Sharli Powers, Mary Hackett, Maurice Freedman - ACME Fine Art - April 13th, 2013 - May 25th, 2013 <p>A six-artist group exhibition featuring artists who work now or have worked in Provincetown will open on Saturday 13 April, 2013 at ACME Fine Art in Boston. A reception from 2:00 to 4:00 p.m. will mark the occasion. The exhibition will be on view through 25 May, 2013 at the gallery and on-line at www.acmefineart.com. </p> <p>The exhibition features classic paintings by twentieth century modern artists who practiced in Provincetown as well as cutting edge contemporary artwork created specifically for this exhibition by artists who have been fellows at the Fine Arts Work Center in Provincetown. </p> <p>The six artists included in this distinguished group are:</p> <p>Maurice Freedman was very much a "mid-century modern" artist. Freedman's brilliantly colorful paintings of interior scenes at once visually recall his study with Max Beckman during the first half of the twentieth century and at the same time illuminate his own personal outward-looking experiences in both Provincetown and his studio in New York. His work expressively captures both time and space.</p> <p>Mary Hackett was a self-taught painter and longtime resident of Provincetown. Her scenes of everyday life contain numerous symbolic and memory-laden objects placed in an often naïvely constructed space that together create an autobiographical narrative that is so compelling that Hackett has developed a formidable cult following among those fortunate enough to know and collect her rare creations.  </p> <p>Sharli Powers Land was a fellow at the Fine Arts Work Center in 1969-'70. Her boldly evocative paintings have an uncanny appeal with a dynamic composition and a palette that is downright explosive. Land's interior views capture a sense of place while often making reference to a place in time through the incorporation of formal references to her contemporaries such as Mary Hackett and Myron Stout.</p> <p>Samuel Messer was a fellow at the Fine Arts Work Center in 1981. Messer is currently Associate Dean of the Art program at Yale University. His interior portraits are wildly expressive paeans to his subject. They convey an all-encompassing vision of their sitter through the loosely rendered likeness that is central to the composition and through the complex interior environment created by Messer. </p> <p>Meghan Gordon was a recent fellow at the Fine Arts Work Center. Gordon's artwork relies heavily on art-historical research. She creates paintings/drawings, objects, film, and installations that create an alternative art history that actively engages and challenges the observer. The interior is consistently a crucial theme and component of Gordon's artistry.</p> <p>Paul Kelly is a contemporary artist living in Provincetown whose subject matter is most often Cape related. Kelly's paintings have an elegantly edited quality both in palette and in composition. The resultant views appear both true to their location and completely abstract, simultaneously. Like Freedman, this artist is interested in the view through the opening; however, in Kelly's interiors all but the essential has been eliminated.</p> <p></p> <p>Beyond the obvious links having to do with the outer Cape, the <em>INTERIORS</em> exhibition will explore common threads in the genre as evidenced in the works by these six important 20th and 21st century artists. Some of the common threads are: visual and formal interests in the relationships between inside and out vis-à-vis the notion of containment, the use of personal objects as symbols and the meanings associated with them, the manipulation of perspective to enhance a sense of space and volume, the introduction of historical references and the connections such references make with the observer, and how the introduction of the figure -portrait or self-portrait- animates the interior. </p> Fri, 05 Apr 2013 22:52:32 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Warwick Thornton - ACMI (Australian Centre for the Moving Image) - February 5th, 2013 - June 23rd, 2013 <p>Opening today at the Australian Centre for the Moving Image (ACMI) is <i>Warwick Thornton: Mother Courage</i>, a striking video and sculptural installation from lauded Australian filmmaker Warwick Thornton. Thornton is an Alice Springs based filmmaker and artist whose film <i>Samson &amp; Delilah</i> (2009) won the Camera d’Or for best first feature at the 2009 Cannes Film Festival. </p> <p>Commissioned by ACMI for the ACMI Commissions Series, <i>Warwick Thornton: Mother Courage</i> is a two-channel video and sound installation presented inside a dilapidated campervan. Inspired by Bertolt Brecht's 1939 play <i>Mother Courage and Her Children</i>, Thornton has translated the play’s underlying theme of survival to an Australian context. Whereas Brecht's Mother Courage drags around a cart, plying her wares on the battlefields of an endless war, Thornton's Mother Courage is an elderly and impoverished Aboriginal painter who makes and sells her art from the back of a van.  Surrounded by paint pots, utensils and bedding, the resourceful woman (played by artist Grace Rubuntja) applies herself to her dot painting, while her bored grandson sits listening to loud Aboriginal rock music that blares from a radio. The artist and her grandson are physically confined to the cramped space of the campervan, and yet the work invites the viewer to place the pair in a much larger context that acknowledges the influence of culture and tradition, but also the impact of colonisation.</p> <p><i>Mother Courage </i>made its international debut last year in Kassel, Germany at the prestigious art festival dOCUMENTA (13). Here <i>Mother Courage</i> was constantly on the move, roving from gallery to gallery and visible to queues of exhibition visitors around the city. At ACMI, the work finds new meaning within the rarefied confines of the museum, cutting against the grain of the white cube/black box experience offered by Gallery 2.</p> <p> </p> Tue, 05 Feb 2013 05:55:44 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Harry Bertoia - Adelson Galleries - April 5th, 2013 - May 12th, 2013 <p>Adelson Galleries Boston is pleased to exhibit the monotypes and sculpture of Harry Bertoia (1915-1978).</p> <p>The Italian-born artist moved to the United States at age 15 with his father, and enrolled in the Detroit Society of Arts and Crafts. By 1937, he was awarded a scholarship to the Cranbrook Academy of Art in Bloomfield, MI, where he studied under many famous artists and designers, such as Walter Gropius. The experience was a turning point in Bertoia’s life, and allowed him to experiment with new forms of artwork. He began producing a variety of sculpture as well as one-of-a-kind monotypes (or monoprints), whereby he would ink glass, press rice paper onto it, and then etch designs with tools or his fingers on the backside of the paper. Each “print” is unique, and of the many that he made, no two are alike. In 1943, Bertoia exhibited 19 of these monotypes at the Guggenheim Museum of Non-Objective Art in a group show, alongside works by Moholy-Nagy and others. Bertoia continued making monotypes until the end of his life – he could produce them quickly and they were instrumental as preliminary drawings for all of his designs.</p> <p>Harry Bertoia was an intuitive creator. In the 1950s, he became well known for his innovative chair designs at Knoll Furniture. Following his success in furniture design, architects all over the country commissioned large-scale sculpture by Bertoia, such as the altar in the MIT chapel. By the 1960s, he began pioneering “tonal,” or sound sculpture. Since his childhood, Harry was envious of his father and brother’s musical abilities, so he decided to create an instrument that anyone could play. These “tonal” sculptures, also known as Sonambients, produce a Zen-like, sometimes haunting, chime when touched. He fabricated gongs as well as “singing bars” – varying in size from six inches to twenty feet. None were cast in editions; thus, like his monotypes, each piece is unique. He created these sculptures to contribute his visions of the world to humanity; unfortunately, the creation of the sculptures came with a price. The toxic fumes from welding the beryllium copper in his sculptures catalyzed his lung cancer and inevitably ended his life at 63 years old. Although he saw the end of his life come quickly, he accepted it gracefully, and remarked, “Man is not important. Humanity is what counts, to which, I feel, I have given my contribution” (October 9, 1978).</p> <p>The monotypes in the exhibition are gathered from the estate of the artist and show the range of his creative process. The sculptures that we have on display are a small but exemplary sampling of his work. Our exhibition focuses on the relationships between his monotypes and sculpture. Since each monotype acted as a source of inspiration for his sculpture, the viewer has the opportunity to trace the mental process of the artist from initial design to final creation.</p> <p>Adam Adelson</p> <p><em>Director</em></p> Sat, 23 Mar 2013 01:17:35 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Harry Seidler - AIA Houston Chapter - April 4th, 2013 - May 31st, 2013 <p><em><strong>Architecture, Art and Collaborative Design </strong></em>is a traveling exhibition celebrating the ninetieth anniversary of the birth of Harry Seidler, the leading Australian architect of the twentieth century. The exhibition traces Austrian-born Seidler’s key role in bringing Bauhaus principles to Australia and identifies his distinctive place and hand within and beyond modernist design methodology. The fifteen featured projects—five houses and five towers in Sydney, and five major commissions beyond Sydney—focus on Seidler’s lifelong creative collaborations, a pursuit he directly inherited from Bauhaus founder Walter Gropius, with progressive artistic visionaries: architects Marcel Breuer and Oscar Niemeyer, engineer Pier Luigi Nervi, photographer Max Dupain, and artists Josef Albers, Alexander Calder, Norman Carlberg, Sol LeWitt, Charles Perry, Frank Stella, and Lin Utzon.</p> <p>The exhibition was developed by curator Vladimir Belogolovsky of Intercontinental Curatorial Project in New York with Penelope Seidler and Harry Seidler &amp; Associates in Sydney and sponsored by Seidler Architectural Foundation. Seidler’s work is presented through architectural models, sculpture maquettes, photographs, films, correspondence, books, scrapbooks, periodicals, drawings, and original sketches—provided by the architect’s family, Historic Houses Trust of New South Wales, The Josef &amp; Anni Albers Foundation, The Marcel Breuer Digital Archive at Syracuse University, and the private archives of artists Norman Carlberg, Charles Perry, and Lin Utzon.</p> <p></p> <p>HarrySeidler: Lifework book by curator Vladimir Belogolovsky with additional texts by Chris Abel, Norman Foster, Kenneth Frampton, and Oscar Niemeyer will be designed by Massimo Vignelli and published by Rizzoli in March 2014.</p> <p><br /> Vladimir Belogolovsky: “I would draw attention to two reasons why Seidler is important and why he will always be important. First, it is his love for architecture, his position on following his convictions to which he was always true and a mission to make the world a better place where architecture is a big part of it. He was a real crusader and not just for his own work but for what he believed – whether voicing his support for Jørn Utzon’s Opera House in Sydney or protesting against unfitting addition to Marcel Breuer’s Whitney Museum in New York by Michael Graves. And second, I think is really important, particularly today when so many architects are entrenched with their ambitions compromised and scaled down. It is the importance of inspiration. Seidler’s vision was grand and he drew his inspiration from a multitude of sources – art, geometry, history, and so on. I would particularly stress the importance of art as an endless source of creative inspiration for architecture.” </p> <p>New York-based <em><strong>INTERCONTINENTAL CURATORIAL PROJECT</strong></em> promotes the role of architecture as the vital part of contemporary culture and life. The Project collaborates with museums, universities, publishers, architects, and curators on organizing, curating, and designing exhibitions worldwide. The company’s founder curator Vladimir Belogolovsky is the American correspondent for the Russian architectural journal TATLIN and author of books Felix Novikov, Green House, and Soviet Modernism: 1955-1985. He has curated exhibitions for Russian Pavilion at the 11th Architecture Venice Biennale; architect Ángel Fernández Alba’s retrospective at the Royal Botanical Gardens in Madrid, Spain; the Green House exhibition at the Manezh Central Exhibition Hall at Moscow’s Zodchestvo-2009 International Architectural Festival, as well as traveling exhibitions Colombia: Transformed and Harry Seidler: Architecture, Art and Collaborative Design among others. He has presented leading Russian architects at the Center for Architecture in New York and has given lectures at universities and architectural centers in Australia, Austria, China, Estonia, Hong Kong, Latvia, Malaysia, New Zealand, Spain, Russia, and the United States. He is currently working on a book, Harry Seidler: Lifework (Rizzoli with Massimo Vignelli) to be released in 2014.</p> Fri, 05 Apr 2013 23:37:08 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Danny Lyon - Akron Art Museum - January 26th, 2013 - June 21st, 2013 <p>This exhibition presents a dramatic inside look at 1960s biker counterculture. From 1963 – 1967 Danny Lyon not only captured the bikers in photographs, but immersed himself in the lifestyle. Lyon joined the Chicago Outlaw Motorcycle Club, making him a pioneer of the new form of photojournalism where the artist was personally involved with the subject. This series was featured in Lyon’s defining first photography book and became one of the most important and influential documentary series of the late 20th century. This exhibition is drawn exclusively from the museum’s extensive holdings of Lyon’s work.</p> Mon, 28 Jan 2013 22:48:19 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Duncan Tonatiuh - Akron Art Museum - February 9th, 2013 - August 4th, 2013 <p>The museum is collaborating with Leggett Elementary, King Elementary, Glover Elementary and The Lippman School to celebrate the power of picture book storytelling and promote visual literacy. Leggett second and third grade students will create collaborative classroom picture books to be displayed in The Mary S. and David C. Corbin Foundation Gallery. The student artists will also meet and work with children's book author and illustrator Duncan Tonatiuh, who will create a large-scale mural for the exhibition depicting a contemporary interpretation of Ezra Jack Keat's classic <em>The Snowy Day</em>.</p> Mon, 28 Jan 2013 22:51:17 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Julian Stanczak - Akron Art Museum - April 13th, 2013 - November 3rd, 2013 <p style="text-align: center;"><strong>"If you want to get into his work, guess how many colors are represented in the various pieces on display. For instance, Stanczak used simple black and white in one of his transparencies pieces called &ldquo;Intravert I.&rdquo; When studied and mused upon, a viewer can begin to see other shades &ndash; purple somehow coming through as one tone.</strong></p> <p style="text-align: center;"><strong>In his &ldquo;It&rsquo;s Not Easy Being Green,&rdquo; one might think in this grid work that there are two basic colors being employed &ndash; blue and green. On closer study, there are actually 45 different colors.</strong></p> <p style="text-align: center;"><strong>How does the artist do it? How indeed. You can see, if you look closely enough that Stanczak juxtaposes color and manipulates the closeness or distance between separations of colors. Stanczak may begin by painting a canvas black or white, or green or blue, and then applying stripes of tape (from his own tape machine) in varying distances between lines before he applies the second, or 44th color. According to him, the eye does the rest by making connections and applying some kind of order to what it is looking at.</strong>"</p> <p style="text-align: center;"><strong>-Roger Durbin, Knight Arts</strong></p> <p><em>Line Color Illusion: 40 Years of Julian Stanczak</em> showcases paintings and prints collected by the Akron Art Museum since 1970. The exhibition documents both Julian Stanczak&rsquo;s impressive career as a master of color and the museum&rsquo;s longstanding commitment to his work.</p> <p><br /> A longtime resident of Northeastern Ohio and retired Cleveland Institute of Art professor, Julian Stanczak earned international recognition as a pioneer of &ldquo;Op Art,&rdquo; a style based on optical illusion, following his first New York exhibition at Martha Jackson Gallery in 1964. Soon after, Stanczak&rsquo;s work--which he characterizes as perceptual abstraction&mdash;was included in the Museum of Modern Art&rsquo;s landmark exhibition The Responsive Eye. Stanczak has continued to draw upon his deep understanding of color theory to explore how colors interact and are perceived. While his signature motifs have evolved, his paintings and prints over the years are characterized by lines and colors that set up vibrations and create pulsating patterns.</p> <p><br /> The Akron Art Museum hosted one of the first public museum exhibitions of Julian Stanczak&rsquo;s work and acquired the painting <em>Dual Glare</em> in 1970. Since that time the museum has augmented its collection with paintings and screen prints representing the variety of materials, techniques and formal elements that Stanczak continues to explore.</p> Tue, 23 Jul 2013 07:22:20 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Kay Field Parker - Alaska State Museum - April 5th, 2013 - October 12th, 2013 <p>Ravenstail weavings by this prolific artist woven over the last 20 years, includes robes, tunics, aprons, and other selections.</p> Thu, 09 May 2013 01:41:32 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Tommy Joseph - Alaska State Museum - April 5th, 2013 - October 12th, 2013 <p>This noted artist and carver has produced a wide range of artwork including totems, house posts, masks and bentwood containers. "Rainforest Warriors" consists of Tlingit armor and clothing.</p> Thu, 09 May 2013 01:44:13 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Max Ernst - Albertina - January 23rd, 2013 - May 5th, 2013 <p class="avtext"><em class="avtext">“Before he descends, a diver never knows what he will bring back up.”</em> (Max Ernst)</p> <p class="avtext"><br />The Albertina will devote an exhibition - his first retrospective in Austria - to Max Ernst, the great pictorial inventor. Presenting a selection of 180 paintings, collages, and sculptures, as well as relevant examples of illustrated books and documents, the exhibition will assemble works related to all of the artist’s periods, discoveries, and techniques, thereby introducing his life and œuvre within a both biographic and historical context.</p> <p class="avtext">Together with Matisse, Picasso, Beckmann, Kandinsky, and Warhol, Max Ernst no doubt numbers among the leading figures of 20th-century art history. An early protagonist of Dadaism, a pioneer of Surrealism, and the inventor of such sophisticated techniques as collage, frottage, grattage, decalcomania, and oscillation, he withdraws his work from catchy definition. His inventiveness when it comes to handling pictorial and inspirational techniques, the breaks between his countless work phases, and his switching back and forth between themes cause irritation. Yet what remains a constant is his consistence in terms of contradiction.<br />Max Ernst was a restless personality who always strove for freedom. Torn between the realization of his personal aims in life and the social and political obstacles during a turbulent period, he nevertheless always looked ahead: a “flight into the future”. A misunderstood and revolting artist, he had moved from Cologne to Paris in 1922, where he joined the circle of the Surrealists; he was detained as hostile alien twice, attempted to get away, and was released thanks to lucky “coincidences”. In 1941 he escaped into American exile<br />Remembrance, discovery, recycling, and collage were the combined motor that drove him in his work.  Under these aspects, the exhibition positions Max Ernst’s œuvre between references to the past, contemporary political events, and a prophetic and visionary perspective of the future. He who attested to himself a “virginity complex” in the face of empty canvases went always in search of means that would allow him to augment the hallucinatory capacities of his mind, so that visions would arise automatically in order to “rid him of his blindness”.</p> Sat, 19 Jan 2013 04:06:14 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Lewis Baltz - Albertina - March 1st, 2013 - June 2nd, 2013 <p class="avtext">The landscape photographs by the US-American Lewis Baltz are characterized by deserted and frequently devastated peripheries. In 1970s, he revolutionized fine-art photography with motifs that had previously not been thought worth depicting, such as industrial buildings, suburban housing developments, and wasteland. <br /><br />From March 2013, the Albertina will dedicate an exhibition comprising as many as several hundreds of photographs to this artist, who was born in Newport Beach, California, in 1945. On display will be, among other works, the famous series <em class="avtext">The Tract Houses</em> (1971) and <em class="avtext">The New Industrial Parks Near Irvine</em> (1973-75), through which Baltz fundamentally reformed the genre of landscape photography, thereby addressing the disastrous impact of technology on society in the twentieth century. <br /><br />Baltz’s imagery reveals itself as thoroughly innovative: in formally rigid photographs, such as in the series <em class="avtext">The Prototype Works</em> (1967-76), the artist has defamiliarized architectural motifs to such an extent that they turn into almost abstract forms and surfaces. This utterly precise language of form, by which Baltz focuses on the materiality and surface textures of the objects depicted, demonstrates the influence of Minimal Art on his work. With their allusions to further artistic movements, such as Conceptual Art and Land Art, Baltz’s photographs turn out to be a play with citations and references that is to be analyzed in this exhibition. <br /><br />The show will highlight outstanding works by Lewis Baltz, which apart from the aforementioned examples will include the series <em class="avtext">Candlestick Point</em> (1987-89) and the colour photographs of <em class="avtext">Sites of Technology</em> (1989-91). The Albertina seizes this exhibition as an opportunity to display exceptional photographs from its own holdings in the form of the two series <em class="avtext">The New Industrial Parks Near Irvine</em> and <em class="avtext">The Prototype Works</em>. Further excellent works by such artists as Robert Smithson, Ed Ruscha, Bernd &amp; Hilla Becher, and Donald Judd will visualize artistic influences that proved to be crucial for Lewis Baltz’s work. This contextualization is meant to present the complexity of Lewis Baltz’s œuvre on the one hand and pay tribute to one of the most important photographers of the second half of the twentieth century on the other. </p> <p class="avtext"> </p> Sun, 26 May 2013 00:48:20 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Hieronymus Bosch, Pieter Bruegel the Elder, Maarten van Heemskerck, Hendrick Goltzius, Rembrandt van Rijn, Anton van Dyck, Peter Paul Rubens - Albertina - March 14th, 2013 - June 30th, 2013 <p class="avtext">The graphic collection of the Albertina houses an internationally important inventory of Dutch drawings. Its scope and quality make it possible to present Dutch drawing art in all of its thematic, technical and stylistic diversity. A top-class selection of 170 works is presented in the Albertina.</p> <p class="avtext">Highlights of the exhibition are larger groups of works from Hieronymus Bosch, Pieter Bruegel the Elder, Maarten van Heemskerck, Hendrick Goltzius, Rembrandt, Anton van Dyck and Peter Paul Rubens.  </p> <p class="avtext"> </p> Sun, 26 May 2013 00:53:10 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Antoine Roegiers - Albertina - March 14th, 2013 - June 30th, 2013 <p class="avtext">Last year the Albertina began inviting artists at irregular intervals to take part in interventions in and at the palace. This new series will be continued this year.</p> <p>Following the first intervention by Markus Hofer, it will be possible as of 14 March to view the works of the Belgian artist Antoine Roegiers on the theme of Brueghel's "The Seven Deadly Sins" in the exhibit <a target="_blank" href="http://main.jart?rel=en&amp;content-id=1202307119323&amp;ausstellungen_id=1304426266799" class="avtext"> </a><span class="avtext"><em class="avtext">Bosch Brueghel Rubens Rembrandt</em> </span>.</p> Sun, 26 May 2013 00:57:26 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Maerten van Heemskerck, Barthel Bruyn the Elder, Mariotto di Nardo, Neri di Bicci, Apollonio di Giovanni, Jacopo Ligozzi - Allen Memorial Art Museum - August 28th, 2012 - June 30th, 2013 <p></p> <p><em>Religion, Ritual and Performance in the Renaissance</em> brings together more than 80 works, sacred and secular, spanning the late thirteenth to early seventeenth centuries, from both Northern and Southern Europe. The objects—which include paintings, sculptures, and decorative arts—are from the collections of the AMAM and Yale University Art Gallery.</p> <p>The exhibition was made possible by a generous grant from the Andrew W. Mellon Foundation, as part of a collection-sharing initiative. It presents works used in private devotion, public worship, religious processions, and other rites and rituals, such as marriages, alongside those of a more secular nature, including portraits and chests, which nevertheless perform functions related to self-fashioning and display. Among the many exceptional works in the exhibition are two portable altarpieces that would have been used in private devotion: one, a painted triptych (the earliest on view, from ca. 1280-90), is discreet and intimate, while the other, a lapis lazuli- and coral-encrusted work complete with its case (one of the latest works, from 1608), is a masterpiece of craftsmanship. The exhibition allows the AMAM to supplement its rich Renaissance collection with superb paintings from Yale by Taddeo and Agnolo Gaddi, Sano di Pietro, Ridolfo Ghirlandaio, Lucas van Leyden, and Jacopo Tintoretto, among many others, as well as sculptures from France, Germany, and Italy.</p> <p>An exciting aspect of the exhibition is the opportunity it presents to see works by Apollonio di Giovanni, Neri di Bicci, Mariotto di Nardo, and Barthel Bruyn the Elder from both the AMAM and YUAG collections. Also reunited are six enigmatic paintings from a series of twelve by Maerten van Heemskerck. A very large early fifteenth-century Florentine altarpiece is seen in its full glory, emphasizing the fragmentary nature of so many other Renaissance paintings whose original surrounding works have been lost. The exhibition will be used extensively in teaching, research, and public programs during the 2012-13 academic year.</p> Sun, 09 Sep 2012 00:59:28 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Audrey Flack, Ana Mendieta, Holly Wright, Jackie Winsor, Alison Saar, José Bedia, Joseph Beuys, Dennis Oppenheim, Louise Bourgeois - Allen Memorial Art Museum - August 28th, 2012 - June 30th, 2013 <p>As in earlier periods, the art of the 20th and 21st centuries engages in a dialogue with the important themes of religion, ritual, and performance. Works from the AMAM collection by artists from diverse backgrounds and artistic approaches reflect a broad array of responses to these concepts. Examples by artists such as Louise Bourgeois and photographer Holly Wright address religion, ranging from the Christian tradition to other beliefs from around the world. Other artists like Jackie Winsor employ the idea of ritual as an art-making strategy, while Alison Saar and José Bedia present it as a subject. Ephemeral performance art is documented in works by artists including Joseph Beuys, Dennis Oppenheim, and Ana Mendieta.</p> Sun, 09 Sep 2012 01:05:14 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Allen Memorial Art Museum - September 6th, 2012 - June 30th, 2013 <p>This exhibition brings together exquisite examples of Muslim figurative and non-figurative art.  Illustrated manuscripts and calligraphic samples from regions ranging from North Africa in the West to the Persian Plateau in the East will allow visitors to examine and take pleasure in some of the diverse aesthetic traditions of the Muslim world. This exhibition coincides with Professor Esra Akin-Kivanc’s courses “Visual Cultures of the Muslim World” and “Approaches to Islamic Art and Architecture.”</p> Sun, 09 Sep 2012 01:20:38 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list