ArtSlant - Recently added en-us 40 - Virginia Museum of Fine Arts - October 22nd - December 31st, 2018 <h2 style="text-align: justify;"><span style="font-size: small;">See Faberg&eacute; and Russian Decorative Arts Collection Like Never Before</span></h2> <p style="text-align: justify;"><span style="font-size: small;">After an international tour, VMFA&rsquo;s renowned collection of Faberg&eacute; returns to the museum this fall. Five new galleries have been prepared to showcase 280 Faberg&eacute; objects and other Russian decorative arts. The galleries feature both innovative displays and a range of interactive components designed to inform, engage, and delight.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Since 1947, when Lillian Thomas Pratt donated a large selection of Faberg&eacute; objects to the museum, they have continued to enchant visitors. This spectacular Faberg&eacute; collection&mdash;the largest public collection outside of Russia&mdash;includes five of the 52 Russian imperial Easter eggs created by the St. Petersburg firm led by jeweler Karl Faberg&eacute; (1846&ndash;1920).</span></p> <h2><span style="font-size: small;">&ldquo;The largest public collection outside of Russia&hellip;&rdquo;</span></h2> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Organized by material, the galleries feature gold and silver objects, jewelry, enamels, hardstones, and icons. The central domed gallery showcases the imperial Easter eggs and is designed to allow visitors to view each egg from every angle.</span></p> Fri, 21 Oct 2016 10:43:09 +0000 Jasper Johns, Edvard Munch - Virginia Museum of Fine Arts - November 12th - February 20th, 2017 <p style="text-align: justify;">At a crossroads in the middle of his career, preeminent American artist Jasper Johns found his way forward in part by looking to the work of Norwegian Expressionist painter Edvard Munch. This November, VMFA presents a groundbreaking exhibition that examines how Johns mined Munch&rsquo;s work in the late 1970s and early 1980s as he moved away from abstract painting towards a more open expression of love, sex, loss, and death.</p> <p style="text-align: justify;"><em>Jasper Johns and Edvard Munch: Love, Loss, and the Cycle of Life</em> assembles more than 120 paintings, drawings, and prints in once-in-a-lifetime combinations to trace the route Johns traveled in relation to Munch&rsquo;s work.&nbsp;Organized by the Virginia Museum of Fine Arts in partnership with the Munch Museum in Oslo, the exhibition was conceived and organized by John B. Ravenal, Executive Director of deCordova Sculpture Park and Museum and former Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the VMFA.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>Curator John Ravenal talks about the exhibition &ldquo;Jasper Johns &amp; Edvard Munch&rdquo;, which premiered in Oslo and comes to at VMFA November 12, 2016 through February 20, 2017.</em></p> <p style="text-align: justify;">Among the notable firsts, this will be the first time in 20 years that all four of Johns&rsquo;s <em>Seasons</em> paintings and all three of his <em>Between the Clock and the Bed</em> paintings will be displayed together in the U.S.&mdash;and perhaps the only time the latter three paintings will be exhibited alongside their inspiration, Munch&rsquo;s <em>Self-Portrait Between the Clock and the Bed</em>, as well as the actual bedspread from Munch&rsquo;s home.</p> <p style="text-align: justify;">&ldquo;This exhibition offers a detailed understanding of when and how the Norwegian expressionist art of Munch entered into the American modernist art of Johns,&rdquo; says Ravenal. &ldquo;It also proposes a greater role for Munch than previously thought in the great shift that occurred in Johns&rsquo;s work of the early 1980s. After a decade making some of the defining abstract paintings of late 20th-century art, he returned to figurative imagery and a deeper engagement with human existence. Munch&rsquo;s signature themes of love, loss, sex, and death may have gained increasing meaning for Johns as he passed the milestone of age fifty and as the AIDS crisis worsened.&rdquo;</p> <h2 style="text-align: justify;"><strong>About the Artists</strong></h2> <p style="text-align: justify;"><strong>Edvard Munch</strong> (1863&ndash;1944) is one of early modern art&rsquo;s most important figures. He was active through more than 60 years, from his debut in the 1880s until his death in 1944. Munch&rsquo;s brooding, emotional, and intensely personal art inspired the Expressionist movement in the early 1900s. And his continual experimentation in painting, prints, drawing, sculpture, photography, and film have given him a unique position in the history of Norwegian and international art.</p> <p style="text-align: justify;"><strong>Jasper Johns</strong>&nbsp;(born 1930) burst onto the New York art world in the mid-1950s. The work he created led American art away from abstraction and personal expression and towards a more objective art that featured recognizable images such as targets, maps, and the American flag&ndash;&ldquo;things the mind already knows,&rdquo; as he describe them. Over the course of six decades, Johns&rsquo;s art evolved toward more personal imagery, inspired in part by his interest in Munch.</p> <p style="text-align: justify;">The list below represents sponsors of <em>Jasper Johns and Edvard Munch: Love, Loss, and the Cycle of Life</em> as of May 2016. For further information about sponsoring this exhibition or making a gift to the <a href="">VMFA Exhibition Fund</a>, please contact Jayne Shaw, Director of Development, at 804.340.5529 or <a href=""></a>.</p> <p style="text-align: justify;">Presented by</p> <p><img class="aligncenter wp-image-3514 size-full" src="" alt="" width="300" height="98" /> </p> Fri, 21 Oct 2016 10:42:39 +0000 Charles Meryon, John Taylor Arms - Virginia Museum of Fine Arts - September 24th - January 29th, 2017 <p style="text-align: justify;"><span style="font-size: small;">This exhibition brings together the work of Charles Meryon and John Taylor Arms, printmakers who revered the art and architecture of medieval Europe.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Meryon, a champion of the Etching Revival in France, became renowned for <em>Etchings of Paris (Eaux-fortes sur Paris)</em> (1850-54), a series depicting the city&rsquo;s medieval buildings and streets during a period of grand-scale urban renovation. Meryon&rsquo;s views of the Ile de la Cit&eacute; and bridges stretching across the Seine often include fantastical and macabre details: gargoyles perched on Notre-Dame, flocks of menacing birds, and historic monuments looming over minutely-drawn figures, alive and dead. Meryon produced prints in multiple states, meticulously altering their composition and tone&mdash;even as his mental state sharply and tragically declined.</span> </p> <p style="text-align: justify;"><span style="font-size: small;">In the early 20th century, American printmaker John Taylor Arms praised Meryon&rsquo;s series as &ldquo;a monument unique in its sensitive, imaginative, and deeply spiritual expression of architectural form and meaning&rdquo;&mdash;his 1923 etching <em>The Thinker (Le Penseur)</em> reinterprets Meryon&rsquo;s iconic grotesque subject. Trained as an architect, Arms found artistic inspiration in Europe&rsquo;s diverse and regionally distinctive architectural styles, especially enduring Gothic structures encountered during his extensive travels. In the United States, the Gothic Revival skyscrapers of New York City fascinated him. This exhibition presents Arms&rsquo;s views of Paris, Venice, Stockholm, New York, and beyond&ndash;including the recent VMFA acquisition <em>An American Cathedral (The Woolworth Building)</em>&mdash;all of which he rendered with laborious precision.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Remnants and Revivals</em> celebrates the technical prowess of these leading etchers whose varied lines capture the glory of the Gothic and its architectural nuances: hard, exact incisions give form to Manhattan skyscrapers; ragged, expressive drypoint scratches lend texture to ancient, porous limestone; and fine, undulating grooves enhance rivers with a surface that reflects the cities, old and new, through which they flow. Selections for this exhibition highlight both artists&rsquo; devotion to craftsmanship by the range of colored papers and inks represented and that each of the impressions from Meryon&rsquo;s <em>Etchings of Paris</em> is a rare, unpublished artist&rsquo;s proof.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Cocurated by Kristie Couser, Curatorial Assistant for the Mellon Collections, and Christopher Oliver, Assistant Curator of American Art, this exhibition is largely drawn from the Frank Raysor Collection, a generous, ongoing promised gift to the museum.</span></p> Fri, 21 Oct 2016 10:30:41 +0000 - Virginia Museum of Fine Arts - October 20th - October 23rd <div class="copy-paste-block" style="text-align: justify;">Presented by The Council of the Virginia Museum of Fine Arts,&nbsp;with floral designs by The Garden Club of Virginia, Virginia&nbsp;Federation of Garden Clubs, and Garden Clubs of Virginia.&nbsp;Proceeds will support re-installation of VMFA&rsquo;s internationally acclaimed Faberg&eacute; Collection that has been traveling the globe since 2012. </div> Fri, 21 Oct 2016 10:26:48 +0000 Group Show - Tel-Aviv Museum of Art - December 1st - December 31st <p style="text-align: justify;">The exhibition marks 70 years since the establishment of Hamidrasha Faculty of Arts and runs an &ldquo;art school&rdquo; at the Helena Rubinstein Pavilion for Contemporary Art for one month. This is an attempt to rethink the role and significance of an art school (and museum) in the early 21st century, using installations, performances, activities and meetings; all participating artists are teachers and alumni of Hamidrasha.</p> <p style="text-align: justify;">The exhibition is held in collaboration with Hamidrasha Faculty of Arts, Beit Berl College; sponsored by The Jacob and Malka Goldfarb Charitable Foundation; with the assistance of Peilim Investment Portfolio Management; and supported by<br /> Adv. Tal Band, Prof. Yosef and Geulah Gorny and Stefanie Seltzer</p> <hr /> <p style="text-align: right;">התערוכה מציינת 70 שנה להקמתה של המדרשה לאמנות ומפעילה "בית ספר לאמנות" בביתן הלנה רובינשטיין למשך חודש. זהו ניסיון לחשוב מחדש על תפקידו ועל חשיבותו של בית הספר לאמנות (ושל המוזיאון) בראשית המאה ה&ndash;21, באמצעות מיצבים, מיצגים, פעילויות ומפגשים,<br /> בהשתתפות אמנים רבים, כולם בוגרי המדרשה ומורים בה.<br /> &nbsp;<br /> <br /> בין המשתתפים: אורית אדר בכר, בועז ארד, אניסה אשקר, דגנית ברסט, ציבי גבע, יונתן גולד, גדעון גכטמן, אפרת גל&ndash;נור, קרן גלר, יאיר גרבוז, נועה גרוס, בן הגרי, מיכל היימן, דור זליכה לוי, ראפת חטאב, שחר יהלום, עפרי כנעני, רועי מנחם מרקוביץ', מיכל נאמן, אורי נועם, מירי סגל, עינת עמיר, עלמה פוגל, אהד פישוף, תום פניני, אלונה פרידברג, גבי קלזמר, אנג'לה קליין, עומר קריגר, רועי רוזן, הלל רומן, ליאור שביל, דינה שנהב<br /> <br /> <br /> התערוכה בשיתוף הפקולטה לאמנויות &mdash; המדרשה, המכללה האקדמית בית ברל; בחסות הקרן על שם מלכה וג'ייקוב גולדפרב; בסיוע פעילים ניהול תיקי השקעות; ובתמיכת עו"ד טל בנד, פרופ' יוסף וגאולה גורני וסטפני זלצר</p> Fri, 21 Oct 2016 10:06:40 +0000 Giovanni Battista Piranesi, Chiharu Shiota - Tel-Aviv Museum of Art - December 16th - May 6th, 2017 <div class="txt" style="width: 71%; text-align: justify;">The exhibition juxtaposes Giovanni Battista Piranesi&rsquo;s series of prints &ldquo;Carceri d&rsquo;invenzione,&rdquo; from ca. 1761, with Japanese artist Chiharu Shiota&rsquo;s 2012 installation Stairway: a web of black threads featuring a staircase. Shiota's heaped yarns create hatches and spaces reminiscent of etching and of Piranesi&rsquo;s architectural fantasy spaces. The culture-dependent prisons of passion and nightmares exist in the artists&rsquo; imagination and incarcerate dreams and memories.&nbsp; With heartfelt thanks to Ms. Ingrid Flick, without whose support this exhibition and catalogue would not have been possible<br /> <p style="text-align: right;"><img src="" alt="" width="44" height="43" /></p> <hr /> <div class="txt" style="width: 71%;"> <p style="text-align: right;">התערוכה מפגישה את סדרת התחריטים "בתי הכלא של הדמיון" מ&ndash;1761 בקירוב של האמן האיטלקי ג' בטיסטה פיראנזי (1720-1778) עם המיצב גרם מדרגות מ&ndash;2012 של האמנית היפנית צ'יהארו שיוטה, שהוא מארג של חוטי צמר שחורים וגרם מדרגות משתרג בתוכם. צִברי החוטים של שיוטה מייצרים קווקווים ונפחים המזכירים את טכניקת התחריט ואת חללי הפנטזיות האדריכליות של פיראנזי. בתי הכלא &mdash; תלויי התרבות &mdash; של התשוקות והסיוטים מתקיימים בדמיונם של היוצרים וכולאים חלומות וזיכרונות.<br /> <br /> <br /> באדיבות סטודיו צ'יהארו שיוטה<br /> תודה מיוחדת לגברת אינגריד פליק, שללא תמיכתה לא היו התערוכה והקטלוג מתממשים</p> <p><img src="" alt="" width="44" height="43" /></p> </div> </div> Fri, 21 Oct 2016 09:58:23 +0000 Shai Yehezkelli - Tel-Aviv Museum of Art - November 30th - March 25th, 2017 <p style="text-align: justify;">The exhibition features contemporary, Israeli, Mediterranean paintings that shift between the abstract and the figurative, the comic and the tragic, the political and the theological. Shai Yehezkelli constructs a rich, complex set of symbols based on religious signifiers, with a mixture of medieval Christian visual terminology and ram horns (shofarot) hovering over the Al-Aqsa mosque providing a background to the portrait of the artist, presented as ridiculous, weak and neurotic.<br /> <br /> The exhibition and the catalogue were made possible thanks to the Bruce &amp; Ruth Rappaport Foundation<br /> The catalogue was produced with the support of the Israel Lottery Council<br /> for Culture &amp; Arts<br /> <img src="" alt="" width="280" height="57" /></p> <hr /> <p style="text-align: right;">התערוכה מציגה ציור עכשווי, ישראלי וים תיכוני, הנע בין המופשט לפיגורטיבי, בין הקומי לטרגי ובין הפוליטי לתיאולוגי. בציוריו בונה יחזקאלי מערכת סמלים עשירה ומורכבת המבוססת על מסמנים דתיים. טרמינולוגיה ויזואלית&ndash;נוצרית של ימי הביניים ושופרים המרחפים מעל מסגד אל&ndash;אקצא משמשים בערבוביה ומהווים רקע לדיוקנו של האמן, המוצג כנלעג, חלש ונוירוטי.<br /> <br /> <br /> <br /> התערוכה והקטלוג התאפשרו הודות לתרומתה של קרן ברוך ורות רפפורט<br /> הקטלוג הודפס בסיוע מועצת הפיס <br /> לתרבות ולאמנות<br /> <br /> <img style="float: right;" src="" alt="" width="280" height="57" /></p> Fri, 21 Oct 2016 09:56:11 +0000 Ibrahim Mahama - Tel-Aviv Museum of Art - December 9th - April 22nd, 2017 <p style="text-align: justify;">The raw materials with which Ibrahim Mahama (b. Ghana, 1987) creates his large, site-specific installations are jute sacks used for transporting cocoa, coffee or coal. Made in India or Bangladesh, they are however stamped with &ldquo;Produced in Ghana.&rdquo; By using these sacks, bearing the vestiges of the wanderings of products and materials, Mahama elucidates how capital and power move to and from Africa, interchanging significance, value and statue.<br /> <br /> The installation was made possible thanks to the generosity of Jill and Jay Bernstein<br /> Supported by Outset Contemporary Art Fund<br /> <img src="" alt="" width="69" height="36" /></p> <hr /> <p style="text-align: right;">ומרי הגלם שאתם עובד איברהים מהמה (Mahama, נ' גאנה, 1987) הם שקי יוטה המשמשים לנשיאת קקאו או קפה ולאחר בלותם גם לנשיאת פחם. השקים עצמם מיוצרים בהודו או בבנגלדש אך מוטבעת עליהם חותמת "תוצרת גאנה". בעצם השימוש בשקים המכילים את עקבות נדודיהם של מוצרים ושל חומרים, מהמה מאיר את האופן שבו הון וכוח עבודה נעים מאפריקה ואל אפריקה, ומחליפים משמעות, ערך ומעמד. יריעות השקים משמשות אותו ליצירת מיצבים גדולים המותאמים לאדריכלות ולסביבה שבתוכן הוא פועל.<br />&nbsp;</p> <p style="text-align: right;"><br /> הפרויקט התאפשר הודות לנדיבותם <br /> של ג'יל וג'יי ברנסטיין<br /> בתמיכת קרן אאוטסט לאמנות עכשווית<br /> <br /> <img src="" alt="" width="69" height="36" /></p> <p>&nbsp;</p> Fri, 21 Oct 2016 09:52:38 +0000 Yair Garbuz - Tel-Aviv Museum of Art - November 30th - May 6th, 2017 <div class="txt"> <p style="text-align: justify;">Yair Garbuz' third solo exhibition at the Museum (1973, 1983) features works from the past five years. Once again his paintings turn out to be a comical, at times grotesque theatrical show, maybe even a circus or a carnival. Their humor is twofold: both visual and linguistic. More than ever, these new paintings display the artist's virtuosity and his ease with the Hebrew language and painting styles alike.</p> <p style="text-align: justify;"><br /> The exhibition and the catalogue were made possible thanks to the Bruce &amp; Ruth Rappaport Foundation</p> <p><img src="" alt="" width="260" height="73" /></p> <hr /> <p style="text-align: right;">ני ציירים היא תערוכת היחיד השלישית של יאיר גרבוז במוזיאון תל אביב לאמנות (1973, 1983), והיא מציגה ציורים מחמש השנים האחרונות. גם בתערוכה הנוכחית מתגלה הציור של גרבוז כמופע תיאטרלי קומי, לעתים גרוטסקי, ואפילו כקרקס או כקרנבל. ההומור של הציורים הוא כפול: ויזואלי ולשוני. הציורים החדשים מראים, אולי יותר מתמיד, את הווירטואוזיות של גרבוז ואת החופש שלו לשחק, בשפה העברית ובסגנונות שונים של ציור.<br />&nbsp;</p> <p style="text-align: right;"><br /> התערוכה והקטלוג התאפשרו הודות<br /> לקרן ברוך ורות רפפורט</p> <p><img style="float: right;" src="" alt="" width="260" height="73" /></p> </div> <p>&nbsp;</p> Fri, 21 Oct 2016 09:50:32 +0000 - Tel-Aviv Museum of Art - December 9th - April 22nd, 2017 <p style="text-align: justify;">This large-scale group exhibition presents art being made today in, or about, Africa, from an Afro-futurist perspective that challenges traditional divisions: fantasy, imagination and cosmology, usually associated with past mythology, are incarnated into science fiction and futurist representation. The various narratives span between colonialism and its ramifications to a re-examination of the African body, landscape and culture&mdash;through utterances that shatter the usual distinction between truth and fiction, between myth and science, between technology and spirituality.<br /> <br /> <br /> Catalogue courtesy of Naomi <br /> and David Kolitz<br /> Exhibition courtesy of Barbara Toll /<br /> The Evelyn Toll Family Foundation <br /> Luciana Kaplun&rsquo;s work supported by Outset Contemporary Art Fund and <br /> Tel Aviv Arts Council</p> Fri, 21 Oct 2016 09:48:11 +0000 Gustav Klimt - Tel-Aviv Museum of Art - November 14th - February 14th, 2017 Fri, 21 Oct 2016 09:46:32 +0000