ArtSlant - Recently added en-us 40 - Cornell Fine Arts Museum - September 17th - January 4th, 2015 <p><em>Conversations: Selections from the Permanent Collection</em>, aims to inspire dialogues about works of art created during disparate time periods and among various cultures. To draw new relationships, the collection&rsquo;s favorites are brought together under four broad thematic categories:&nbsp;<em>Religion Redefined</em>,&nbsp;<em>Gesture and Pose</em>,&nbsp;<em>A Sense of Place</em>, and<em>&nbsp;History and Myth</em>. The four groupings outlined here suggest some universal themes that have persisted throughout the history of art.</p> <p><em>Religion Redefined</em>&nbsp;includes traditional religious imagery as well as more contemporary art that relies upon and questions conventional religious symbols and concepts. For centuries religious art has been commissioned for shrines, tombs, churches, and domestic spaces in diverse societies. The persistent effects of religion are reflected in twentieth-century art, too.</p> <p>The section of&nbsp;<em>Gesture and Pose</em>&nbsp;presents historical portraiture and demonstrates how the movement of an arm or the positioning of a figural form can have dramatic consequences for a given composition and its interpretation.</p> <p><em>A Sense of Place</em>&nbsp;examines the fundamental ways in which various sites have inspired generations of artists. Both urban and rural environments are represented here and singular works offer opportunities to look at the roles of foreign locales and famous locations as catalysts for creative production.</p> <p>Lastly,&nbsp;<em>History and Myth</em>&nbsp;implies that these two broad categories are inherently intertwined and the specific works on display are expressions of that fact.</p> <p>While these sections help to map the permanent collection, they are fluid, and certain works could find a home in multiple categories.</p> Sat, 20 Sep 2014 10:59:29 +0000 Group Show - Cornell Fine Arts Museum - September 17th - January 4th, 2015 <p><em>Fractured Narratives: a strategy to engage</em>&nbsp;is the first exhibition inspired by the Alfond Collection of Contemporary Art at Rollins College. The exhibition features work by established and emerging artists who address contemporary global issues such as privacy, modern warfare, the environment, and freedom of expression.&nbsp;<em>Fractured Narratives</em>&nbsp;aims to provoke critical dialogue and reflection by engaging visitors with the challenging ambiguities of complex narratives. The selected works offer diverse and nuanced considerations of the changing political, cultural, psychological, and social context of the past 10 years.</p> <p>Co-curated by Cornell Fine Arts Museum Curator Amy Galpin and independent curator Abigail Ross Goodman, the exhibition features film, photography, painting, sculpture, and sound by 14 artists from around the world: Dawoud Bey, Omer Fast, Eric Gottesman, Jenny Holzer, Alfredo Jaar, Amar Kanwar, William Kentridge, An-My L&ecirc;, Maya Lin, Goshka Macuga, &ldquo;Moris&rdquo; Israel Moreno, Rivane Neuenschwander, Trevor Paglen, and Martha Rosler.</p> <p>Exhibition highlights include&nbsp;<em>Muxima</em>&nbsp;(2005), a video work by Alfredo Jaar, featuring fragmented vignettes of landmines, the AIDS crisis, and remnants of colonialism in Angola; Jenny Holzer&rsquo;s large-scale color-blocked painting&nbsp;<em>Water-board 14 U.S. government document</em>(2010), which depicts a redacted, confidential U.S. government document; Omer Fast&rsquo;s film&nbsp;<em>5000 Feet Is the Best</em>&nbsp;(2011), which grapples with drone warfare; An-My L&ecirc;&rsquo;s photographic depictions of war and military culture that play with fact and fiction; and photographs and a film by Eric Gottesman that are inspired by his exploration of the dissident Ethiopian novel Oromaye.</p> Sat, 20 Sep 2014 10:54:28 +0000 David Casini - Galerie Plutschow & Felchlin - August 29th - October 4th <p style="text-align: justify;"><span style="font-size: small;"><strong>Galerie Plutschow &amp; Felchlin</strong>&nbsp;presents&nbsp;<strong>Light, measured. One soon gets used to it</strong>, the first solo show in Zurich of Italian artist&nbsp;<strong>David Casini</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The works by David Casini are reinterpretations of a synthesized and regenerated reality which includes new spatial dimensions and symbols. They present a plainly elastic perception of time that appears primed for unexpected backward and forward leaps. This malleable time trait, particularly well-suited for recovering artisanal styles and materials from past epochs, lends itself to the forming of futuristic visions with a scientific, or more precisely, alchemic accent.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The artist gathers objects with which he puts together and creates works bearing deep symbolic implications, owing both to the material used and the final composition, with the influence of his own personal imagination.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Casini&rsquo;s body of work appears charged with an entirely new energy, one that enables unmistakably heterogeneous elements to coexist and become new symbols. Similar to a collector, the artist imprisons his finds according to curious geometries, resulting in delicate, almost impalpable, equilibriums. </span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span><br /><span style="font-size: small;">The main protagonist of these geometries is brass, a material chosen by the artist for its elegantly retro preciousness. Like a musical score, the slender metal staves confer order to space: the full and the empty, the pauses and the choruses are all represented by light colored objects, as well as by organic and geologic entities that give rise to a harmonious listening experience for the eyes only.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The show&rsquo;s accelerations and temporal inversions make simultaneous art references to the Renaissance (David by Michelangelo), the Modern (Fausto Melotti) and the Contemporary; all enclosed in a microcosm that draws the spectator to carefully observe details, quickly becoming absorbed in something familiar.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Italian landscape, especially the artist&rsquo;s native Tuscan background, is here reinterpreted and exalted through manual skill and the pursuit of a historic, almost extinct artisanal tradition. One example is the slabs, in stone from the Arno River, which form the base and backdrop of each case.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Although Casini's sculptures are articulated, emptiness is still the essential requisite that allows a more intimate observation of the elements and an exact reading of his musical score.&nbsp;</span></p> <hr /> <div style="text-align: justify;"><span style="font-size: small;"><em>La&nbsp;<strong>Galerie Plutschow &amp; Felchlin</strong>&nbsp;presenta&nbsp;<strong>Leggero, misurato. Ci si abitua presto</strong>,&nbsp;la prima mostra personale di&nbsp;<strong>David Casini</strong>&nbsp;nella citt&agrave; di Zurigo.</em></span></div> <div style="text-align: justify;"><br /><span style="font-size: small;"><em>Nei lavori di David Casini &egrave; evidente la presenza di una percezione elastica del&nbsp;tempo che appare pronto a slanci inaspettati in avanti come indietro, atti a&nbsp;recuperare stili artigianali e materiali di epoche passate per visioni futuristiche&nbsp;dall&rsquo;accento scientifico, o per meglio dire alchemico.&nbsp;&nbsp;</em></span></div> <div style="text-align: justify;"><em style="font-size: small;">&nbsp;</em></div> <div style="text-align: justify;"><em style="font-size: small;">L&rsquo;opera risulta caricata di una energia del tutto nuova capace di far coesistere&nbsp;elementi eterogenei molto diversi tra loro che insieme danno origine a nuove&nbsp;simbologie. Come un collezionista, l&rsquo;artista imprigiona i reperti che raccoglie&nbsp;secondo curiose geometrie, in equilibri delicati, quasi impalpabili.</em></div> <div style="text-align: justify;"><em style="font-size: small;">&nbsp;</em></div> <div style="text-align: justify;"><span style="font-size: small;"><em>Protagonista delle geometrie &egrave; soprattutto l&rsquo;ottone, materiale scelto dall&rsquo;artista&nbsp;per la sua preziosit&agrave; elegantemente retr&ograve;. Come una partitura le sottili&nbsp;strutture in metallo scandiscono lo spazio: i pieni e i vuoti, le pause e i ritorni&nbsp;rappresentati da lievi oggetti colorati e da entit&agrave; organiche o geologiche, che&nbsp;danno vita ad un&rsquo;esecuzione armonica ascoltabile solo attraverso la visione.</em></span></div> <div style="text-align: justify;"><span style="font-size: small;"><em>&nbsp;</em></span></div> <div style="text-align: justify;"><span style="font-size: small;"><em>Le accelerazioni e le inversioni temporali della mostra riuniscono insieme&nbsp;riferimenti all&rsquo;arte antica (il David di Michelangelo), moderna (Fausto Melotti)&nbsp;e contemporanea, il tutto inglobato in un microcosmo che attira lo spettatore&nbsp;verso un&rsquo;attenta osservazione dei suoi dettagli, un&rsquo;appropriazione visiva che lo&nbsp;rende in breve tempo familiare.</em></span></div> <div style="text-align: justify;"><span style="font-size: small;"><em>&nbsp;</em></span></div> <div style="text-align: justify;"><span style="font-size: small;"><em>Il paesaggio italiano, e in particolare quello toscano, di cui l&rsquo;artista &egrave; originario,&nbsp;viene reinterpretato, esaltato attraverso la manualit&agrave; e la ricerca di un&nbsp;artigianato storico quasi in via di estinzione, come quello della lavorazione delle&nbsp;lastre di pietra del fiume Arno, che fanno da base e sfondo alle teche.</em></span></div> <div style="text-align: justify;"><span style="font-size: small;"><em>&nbsp;</em></span></div> <div style="text-align: justify;"><span style="font-size: small;"><em>Le sculture di Casini sono articolate ma nello stesso tempo il vuoto &egrave; l&rsquo;elemento&nbsp;essenziale per consentire una pi&ugrave; intima osservazione degli elementi, per una&nbsp;lettura esatta della partitura.</em></span></div> <p>&nbsp;</p> Sat, 20 Sep 2014 10:43:19 +0000 Fritz Wotruba - 21er Haus - May 14th - November 9th <p>Eine Ausstellung der Fritz Wotruba Privatstiftung</p> <p>Fritz Wotruba (1907&ndash;1975) z&auml;hlt zu den prominentesten Bildhauern des 20. Jahrhunderts in Europa und gilt als &bdquo;Klassiker&ldquo; der modernen Skulptur. Die Ausstellung konzentriert sich auf rund 60 Zeichnungen und einige bedeutende Steinskulpturen aus der Zeit von 1925 bis 1975. Sie m&ouml;chte verdeutlichen, wie sehr der Bildhauer in seinen Zeichnungen jenen Prozess der Reduktion des menschlichen K&ouml;rpers vorbereitete, der sich in den Skulpturen oft erst sp&auml;ter auswirkte. Die Zeichnungen haben in vielen F&auml;llen als autonome Werke zu gelten, die in ihrer h&auml;ufig ungesch&ouml;nten R&uuml;cksichtslosigkeit den K&uuml;nstler auf der H&ouml;he seiner sch&ouml;pferischen M&ouml;glichkeiten zeigen. Sie umkreisen und verdichten Wotrubas Vorstellung von Figur und bilden f&uuml;r ihn eine unersch&ouml;pfliche Quelle der Inspiration, aus der es ihm gelingt, die Spontaneit&auml;t und Ungez&uuml;geltheit der Idee in die Skulptur einflie&szlig;en zu lassen.</p> <p>Aus Anlass des 450. Todestags Michelangelo Buonarrotis thematisiert die Ausstellung auch Wotrubas lebenslange Auseinandersetzung mit dem Bildhauergenius und zeigt den 1975 entstandenen grafischen Zyklus&nbsp;<em>Hommage &agrave; Michelangelo</em>. Wotruba f&uuml;hrt in diesen 26 Zeichnungen einen imagin&auml;ren Dialog mit dem verehrten Meister und reflektiert &uuml;ber den bildhauerischen Sch&ouml;pfungsprozess. Dieser wenige Wochen vor Wotrubas Tod entstandene letzte Werkkomplex darf als sein k&uuml;nstlerisches Verm&auml;chtnis gelten.</p> Sat, 20 Sep 2014 10:30:18 +0000 Peter Baum - 21er Haus - May 21st - October 19th <p>Als Peter Baum 1974 die Leitung der Neuen Galerie der Stadt Linz &uuml;bernahm, war er gerade einmal 34 Jahre alt und damit der j&uuml;ngste Museumsdirektor in &Ouml;sterreich. Genau 30 Jahre sp&auml;ter, im Jahr 2004, ging der 1939 geborene Wiener als Gr&uuml;ndungsdirektor des von ihm entscheidend gepr&auml;gten Kunstmuseums LENTOS in den Ruhestand und kehrte in seine Geburtsstadt zur&uuml;ck.</p> <p>Von 1962 bis 1973 war Baum als Kunstkritiker und Kulturjournalist in Wien t&auml;tig und organisierte Ausstellungen f&uuml;r die Galerie auf der Stubenbastei sowie f&uuml;r die Galerie am Schottenring. Mit der Er&ouml;ffnung des Museums des 20. Jahrhunderts unter Werner Hofmann im Jahr 1962 wurde der von Karl Schwanzer adaptierte ehemalige &Ouml;sterreichpavillon der Weltausstellung in Br&uuml;ssel zum Ma&szlig;stab f&uuml;r bildende Kunst. So wie Otto Mauer ab 1955 in der von ihm geleiteten Galerie St. Stephan sorgten Hofmann und nach ihm Alfred Schmeller nicht nur f&uuml;r die &Ouml;ffnung und den internationalen Anschluss der &ouml;sterreichischen Szene, sondern auch f&uuml;r deren vitale Durchmischung mit einem zunehmend pluralistisch expandierenden Angebot.</p> <p>F&uuml;r Fotografie interessierte sich Peter Baum von klein auf. In seiner Schulzeit etwa fotografierte er u. a. bekannte Burgschauspieler wie Attila H&ouml;rbiger, Josef Meinrad und Judith Holzmeister. Sp&auml;ter, im Rahmen seiner journalistischen T&auml;tigkeit und in vielen von ihm verfassten Ausstellungsberichten f&uuml;r &ouml;sterreichische Tageszeitungen, wurden Peter Baums K&uuml;nstlerportr&auml;ts und Reportage Fotos regelm&auml;&szlig;ig ver&ouml;ffentlicht. Eine markante Auswahl der zwischen 1962 und 1973 anl&auml;sslich von Pressekonferenzen und Er&ouml;ffnungen im 20er Haus entstandenen Fotografien hat der inzwischen 75-j&auml;hrige Zeitzeuge j&uuml;ngst dem Belvedere in Form einer Schenkung &uuml;berlassen. &Uuml;ber ihre kunstimmanenten Qualit&auml;ten hinaus sind diese Bilddokumente inzwischen auch historisch wertvoll geworden.</p> <div class="elReadMoreLinkWrapper elReadMoreLinkWrapperOpened">&nbsp;</div> Sat, 20 Sep 2014 10:26:02 +0000 Group Show - 21er Haus - June 15th - October 5th <p>Im Sommer 2014 feiert die Sammlung Titze ihre Ausstellungspremiere in gleich zwei H&auml;usern des Belvedere: im 21er Haus sowie im Winterpalais, das erst k&uuml;rzlich als neue Dependance des Museums der &Ouml;ffentlichkeit zug&auml;nglich gemacht wurde. Dem prunkvollen Ambiente der ehemaligen Residenz des Prinzen Eugen von Savoyen entsprechend werden dort nicht nur historische, insbesondere barocke Exponate gezeigt, sondern in Kombination mit zeitgen&ouml;ssischer Kunst auch neue Perspektiven er&ouml;ffnet. Zum Auftakt dieser spannungsvollen Gegen&uuml;berstellungen ist es gelungen, Anne und Wolfgang Titze f&uuml;r die erstmalige Pr&auml;sentation ihrer umfangreichen Sammlung internationaler Gegenwartskunst zu gewinnen.</p> <p>Die &ouml;sterreichisch-franz&ouml;sische Sammlung umfasst Schl&uuml;sselwerke der Minimal Art, etwa die erste Neonr&ouml;hren-Arbeit von Dan Flavin, eine Bodenarbeit von Carl Andre, spezifische Wandobjekte von Donald Judd, ein Felt-Piece von Robert Morris, modulare Gitterobjekte von Sol LeWitt, als auch Reliefs von Fred Sandback. Wegbereiter der Minimalisten sind mit Positionen wie Agnes Martin, Frank Stella und Robert Ryman ebenso vertreten wie deren europ&auml;ische Zeitgenossen Piero Manzoni, Giulio Paolini und Lucio Fontana. Stilbildende Protagonisten der deutschen Nachkriegskunst wie Gerhard Richter, Georg Baselitz, G&uuml;nther Uecker und Anselm Kiefer treffen in der Ausstellung auf die Shooting Stars der amerikanischen Szene, etwa Sterling Ruby, Wade Guyton, Kelley Walker, Seth Price und Christopher Wool. Internationale Ausnahmek&uuml;nstler wie Olafur Eliasson, Matthew Barney, Anish Kapoor, Yayoi Kusama, Sarah Lucas, Gabriel Orozco und Jeff Wall spiegeln die Vielfalt einer globalisierten Kunstwelt wider. In einem reizvollen Zusammenspiel mit dem historischen Interieur des Innenstadtpalais und der luftigen Atmosph&auml;re des 21er Haus lassen sich j&uuml;ngste Tendenzen und ihre Wurzeln in Malerei, Skulptur, Grafik sowie Fotografie nachvollziehen und den Ausstellungsbesuch zu einer besonderen Begegnung mit einer au&szlig;ergew&ouml;hnlichen Sammlung werden.</p> Sat, 20 Sep 2014 10:20:35 +0000 - 21er Haus - June 21st - September 28th <p>Der Tiefhof vor dem Museum des 21er Haus ist Schauplatz einer ungew&ouml;hnlichen Architekturpr&auml;sentation. Ein Pavillon aus filigran wirkenden gedrehten Aluminiumst&auml;ben schraubt sich dort aus der Tiefe in die H&ouml;he und empf&auml;ngt den Betrachter am Eingang des Museums.</p> <p>Die Konstruktion des Pavillons entstand als StudentInnenprojekt am Lehrstuhl f&uuml;r Architekturtheorie unter der Leitung von soma architecture. Kristina Schinegger (soma) und Stefan Rutzinger (soma) hatten die konzeptionelle Basis dieser experimentellen Bauweise geliefert, die auf der Analyse unterschiedlicher Materialien und deren statischen Eigenschaften als tragende Strukturen basiert. Mit seiner operativen Formlosigkeit erweitert der Entwurf aus Aluminium die Vorstellung von tempor&auml;rer Pr&auml;sentation und ist begehbare Skulptur und Ausstellungsarchitektur zugleich, da der Pavillon als Display f&uuml;r 21 innovative Architekturprojekte aus &Ouml;sterreich und Schweden dient. Die von D&ouml;rte Kuhlmann, der Leiterin der Abteilung Architekturtheorie an der TU Wien, und den KuratorInnen der TU Wien ausgesuchten Projekte machen deutlich, wie sich die Architektur durch die heutige Freizeitkultur tief greifend ver&auml;ndert. Entstanden ist so ein weiterer Ort des Aufenthaltes im Au&szlig;enraum des Museums, der die Besucher zu entspannter Benutzung und Erkundung einl&auml;dt.</p> <p>Die architektonische Intervention kn&uuml;pft an eine Tradition an, die dem 21er Haus durch seine Geschichte eingeschrieben ist. Wurde das Geb&auml;ude ja urspr&uuml;nglich ebenfalls als tempor&auml;rer Ausstellungsraum f&uuml;r die Weltausstellung in Br&uuml;ssel 1958 konzipiert. F&uuml;r den avantgardistischen und technisch innovativen Entwurf erhielt der Architekt Karl Schwanzer damals den Grand Prix d&rsquo;Architecture. Der Wertsch&auml;tzung von zukunftsweisender Architektur ist es zu verdanken, dass der Expo-Pavillon nach &Ouml;sterreich &uuml;berf&uuml;hrt und dort seit 1962 als zeitgen&ouml;ssisches Museum genutzt wird. In diesem Zusammenhang versteht sich das 21er Haus auch weiterhin als Ort f&uuml;r vordenkerische Vorhaben.</p> Sat, 20 Sep 2014 10:07:40 +0000 Group Show - 21er Haus - September 19th - January 11th, 2015 <p><strong>Mit Werken aus der Sammlung des Belvedere und der Sigmund Freud Museum Contemporary Art Collection</strong><br /><br />Die Rauminstallation&nbsp;<em>Zero &amp; Not</em>&nbsp;des amerikanischen Konzeptk&uuml;nstlers Joseph Kosuth wurde anl&auml;sslich des 50. Todestages Sigmund Freuds im Jahr 1989 in der Berggasse 19 realisiert. Mit dieser Arbeit wurde ein Grundstein f&uuml;r die zeitgen&ouml;ssische Kunstsammlung des Sigmund Freud Museums gelegt, in der heute herausragende internationale Positionen vertreten sind.</p> <p>25 Jahre sp&auml;ter &ndash; zum 75. Todestag des Begr&uuml;nders der Psychoanalyse &ndash; entwickelt das 21er Haus gemeinsam mit Joseph Kosuth eine Ausstellung, die, basierend auf&nbsp;<em>Zero &amp; Not</em>, wesentliche freudbezogene Arbeiten des K&uuml;nstlers in Kombination mit der Contemporary Art Collection des Sigmund Freud Museums, einer Auswahl aus der Sammlung des Belvedere sowie einer Reihe rezenter Werke zum Thema Kunst und Psychoanalyse zeigt.</p> <p>In ihrem k&uuml;nstlerisch-kuratorischen Zugang manifestiert sich die Ausstellung als raumgreifende Installation Kosuths und kn&uuml;pft damit an seine bedeutenden Projekte&nbsp;<em>Wittgenstein &ndash; Das Spiel des Unsagbaren</em>&nbsp;in der Wiener Secession (1989) und&nbsp;<em>A Play of the Unmentionable</em>&nbsp;im Brooklyn Museum of Art (1990) an.</p> Sat, 20 Sep 2014 10:01:50 +0000 Markéta Luskačová - Leica Gallery Prague - September 12th - November 2nd <p>This retrospective comprises fifty years of work by Mark&eacute;ta Luskačov&aacute; (b. 1944), an icon of Czech photography, whose importance has for many years extended well beyond the boundaries of her native land. Her photographs have more than just a&nbsp;documentary value; they also contain striking ethical messages. In her work, she has devoted herself to documenting religious pilgrimages in the countryside, life at street markets in London, and endangered minorities in Great Britain. As part of her more recent photographic projects from the Czech milieu, Mark&eacute;ta Luskačov&aacute; has documented country carnivals, mainly in Roztoky near Prague.</p> Sat, 20 Sep 2014 05:52:45 +0000 - Milwaukee Art Museum - October 2nd - January 4th, 2015 <p>Bellini. Botticelli. Titian.&nbsp;<em>Of Heaven and Earth: 500 Years of Italian Painting from Glasgow Museums</em>&nbsp;celebrates the richness of Italy&rsquo;s artistic legacy. It features religious paintings of the late Middle Ages and Renaissance, along with secular Neoclassical and genre paintings of the nineteenth century&mdash;with the principal artistic centers, such as Bologna, Florence, Milan, Naples, Rome, and Venice, represented. Milwaukee is the only Midwest stop on the tour of this rare exhibition.</p> <div id="feature" class="half"> <div id="slideshow"> <div class="cycle-slideshow" data-cycle-pause-on-hover="true" data-cycle-speed="1000" data-cycle-timeout="6000">&nbsp;</div> </div> </div> <p>Opening with some of the earliest and most refined examples of Italian painting, including Sandro Botticelli&rsquo;s stunning&nbsp;<em>Annunciation</em>, the exhibition unfolds chronologically. The High Renaissance is next, with its emphasis on naturalism and rationality, the most familiar qualities of Italian painting. This section contains rare early work by Titian. Subsequently, visitors will experience the dramatic Baroque era, in which a premium was placed on communicating deep, often religious feeling through engaging and visually dynamic paintings. Highlights include works by Domenichino, Antiveduto Gramatica, and Salvator Rosa. The fourth section covers the increasing rise of secular painting in the eighteenth century, and Francesco Guardi represents this best: his exquisite Venetian cityscape beautifully captures the atmosphere, light, and essence of that remarkable city. Lastly, the degree to which Italian artists remained engaged with the latest avant-garde developments in European art is emphasized. Antonio Mancini&rsquo;s strikingly modern painting, for example, betrays the unmistakable influence of Manet.</p> <p><em>Of Heaven and Earth</em>&nbsp;provides an exquisite and culturally complex view of the visual arts in Italy, and is an extraordinary opportunity to see the riches of Glasgow&rsquo;s outstanding collection.</p> Sat, 20 Sep 2014 05:18:15 +0000 H. C. Westermann, Jack Kirby, Karl Wirsum, William Copley, Christina Ramberg, Gary Panter, Elizabeth Murray - RISD Museum - September 19th - January 4th, 2015 <p>What Nerve! Alternative Figures in American Art, 1960 to the Presentproposes an alternate history of figurative painting, sculpture, and vernacular image-making from 1960 to the present that has been largely overlooked and undervalued. At the heart of&nbsp;What Nerve!&nbsp;are four mini-exhibitions based on crucial shows, spaces, and groups in Chicago (the Hairy Who), San Francisco (Funk), Ann Arbor (Destroy All Monsters), and Providence (Forcefield)&mdash;places outside the artistic focal point of New York. These moments are linked together by six influential or intersecting artists: H. C. Westermann, Jack Kirby, William Copley, Christina Ramberg, Gary Panter, and Elizabeth Murray.</p> <p>All of these artists ran against the modernist grain and its emphasis on theory. Rather than distancing their art through irony or institutional critique, the artists in&nbsp;What Nerve!&nbsp;seized imagery and ideas from vernacular sources as diverse as comics and pottery, pulling and reshaping material from their environments to tackle a variety of subjects with equal doses of satire and sincerity.&nbsp;What Nerve!&nbsp;looks at their distinctive idioms, shown in works that are often earnest, sometimes narrative, frequently transgressive, and always individualistic.&nbsp;<br /><br /><br />What Nerve!&nbsp;includes<br />Explicit sexual imagery&nbsp;Parent/adult discretion is advised<br />Flashing lights&nbsp;Exercise appropriate caution<br />Fragile and exposed works of art&nbsp;Please do not touch</p> Sat, 20 Sep 2014 05:05:47 +0000 HELENE SCHJERFBECK - Schirn Kunsthalle Frankfurt - October 2nd - January 11th, 2015 <p>In the fall and winter of 2014, the SCHIRN will present the most important Finnish artist of the first half of the twentieth century &ndash; Helene Schjerfbeck (1862&ndash;1946) &ndash; in a solo exhibition. Schjerfbeck&rsquo;s works bear witness to impressive intensity. While her painterly oeuvre attracts a great deal of attention in Scandinavia, she is largely unknown abroad. The exhibition will concentrate on aspects of motif repetition and the manner of employing visual sources that permeates Schjerfbeck&rsquo;s entire body of work and comes to bear in realistically painted works of the end of the nineteenth century as well as those of her late phase characterized by an abstract and simplified formal language. Within this context, the striking self-portraits the artist produced from the 1880s until her death in 1946 play a pivotal role, as do the works in which she re-uses her own motifs or appropriates those she finds in prominent works by other artists such as El Greco or Hans Holbein. Organized in collaboration with the Ateneum, Finland&rsquo;s national art museum, the show will assemble more than eighty works from that museum&rsquo;s holdings as well as from numerous other public and private collections.&nbsp;</p> Sat, 20 Sep 2014 04:40:22 +0000 Andreas Schulze - Schirn Kunsthalle Frankfurt - September 18th - January 11th, 2015 <p>Tables, chairs, wing-backs, pot plants, porcelain, colorful blankets, half-timbered-house beams, buttons, and peas &ndash; these are, alongside amorphous and spiral-shaped forms, the protagonists of Andreas Schulze&rsquo;s deserted, unreal pictorial worlds. Born in Hanover in 1955, Andreas Schulze ranks among his generation&rsquo;s most interesting and original artists. Though his paintings from the 1980s on may often comprise things known or even familiar to us, their combination and the artist&rsquo;s manner of painting deprive the objects of their conventional function to such a degree that they come to lead a life of their own, recurring as bizarre, surreal elements in the painter&rsquo;s pictures ever so often. The room-spanning temporary wall painting &ldquo;Pea Roads&rdquo;, which Schulze specially develops for the Rotunda of the Schirn Kunsthalle Frankfurt, extends across both floors of the building. The Rotunda appears as the ideal location for Schulze&rsquo;s work, which oscillates between inside and outside with its window vistas and interiors. The peas lending the work its title become a structural element in Schulze&rsquo;s large-format work. Positioned against an abstract background, they form multi-lane roads, that glow in the dark, leading from one floor to the other. With the exhibition &ldquo;Pea Roads&rdquo;, the Schirn presents Andreas Schulze, who is highly appreciated as an artist by colleagues and insiders, to a wider public in the freely accessible Rotunda.<br /><strong><br /></strong></p> Sat, 20 Sep 2014 04:35:50 +0000 - Museu d’Art Contemporani de Barcelona (MACBA) - September 19th - April 12th, 2015 <p>The Philippe M&eacute;aille Collection stands out as a remarkable representation of one the most complex and belligerent practices of the second half of the twentieth century. Largely associated with Conceptual Art, Art &amp; Language challenges the existing vocabulary of art history by refusing affiliation to any artistic identity. Since the mid sixties Art &amp; Language&rsquo;s initial development was based on assimilating critical and dissenting practices that relied on a discursive, conversational and language-based perspective that continues through to the present. In that sense, the works by Art &amp; Language the Philippe M&eacute;aille Collection may come across as a contingent history of the collective, yet this is the most adequate form of encapsulating what is often referred as a &lsquo;radically uncompleted, radically inconclusive&rsquo; practice.<br /><br />Many individuals have been associated with Art &amp; Language. They include Terry Atkinson, David Bainbridge, Michael Baldwin, Ian Burn, Charles Harrison, Joseph Kosuth, Philip Pilkington, Mel Ramsden and Dave Rushton. Since 1977, the practice of Art &amp; Language has been in the hands of Baldwin and Ramsden, becoming self-observing and indeed essayistic. Whereas the publication&nbsp;<em>Art-Language</em>&nbsp;provided an access to the multi-theoretical field in which Art &amp; Language evolved through the sixties, seventies and eighties, allowing their readers to become empowered, the most recent positions adopted by the artists contaminate the perception of their own collective past. In turn, the Philippe M&eacute;aille Collection is further affected by the archaeological perspective with which the Collection was assembled. Many of the works can be found in the form of card files, manuscripts, typescripts, layouts and final prints. All in all Art &amp; Language remains a contested space, with no privileged point of view to describe its achievements.<br /><br />M&eacute;aille&rsquo;s consistent recollection and gathering of early works by Art &amp; Language gives us full access to a fascinating period in which the analytical philosophy, that of language and of scientific knowledge provided the tools to dismantle the notion of art and art object. These early works include many not seen since their first exhibitions:&nbsp;<em>Paintings</em>&nbsp;(1966),&nbsp;<em>Frameworks</em>(1966&ndash;67),&nbsp;<em>Study for the Air-Conditioning Show</em>&nbsp;(1967) recently installed at the Hayward Gallery in London and at the Pompidou Centre,&nbsp;<em>Guaranteed Paintings</em>&nbsp;(1967),&nbsp;<em>Secret Paintings</em>&nbsp;(1967&ndash;68) and&nbsp;<em>100% Abstract</em>&nbsp;(1968). In parallel, the Collection of Philippe M&eacute;aille has accumulated a vast number of documents that track the massive discursive output that has characterised Art &amp; Language since its inception.<br /><br />The exhibition will feature an extensive selection of works by Art &amp; Language from the Philippe M&eacute;aille Collection and will be accompanied by a publication, with essays by Carles Guerra and Matthew Jesse Jackson, and an interview with Michael Baldwin, Mel Ramsden and Philippe M&eacute;aille.&nbsp;</p> Sat, 20 Sep 2014 04:24:29 +0000 Joey Holder - The Royal Standard - September 26th - October 26th <p>Thinking about how nature is &lsquo;networked&rsquo; through it&rsquo;s food webs and environment, Holder connects forms which have emerged through our human taste, culture and industrial processes to investigate complex digital systems that dissolve notions of the &lsquo;natural&rsquo; and the &lsquo;artificial&rsquo;. GM products, virtual biology and aquatic creatures are incorporated into an extended virtual web challenging our perception of evolution, adaptation and change.</p> <p>Joey Holder&nbsp;is an artist interested in the structures and hierarchies of the technological and natural world and how these systems are constantly abstracted. Mixing elements of biology, nanotechnology and natural history against computer program interfaces, screen savers and measuring devices, she sees no object or substance in any fixed state or with any permanent definition, identity or order; everything is transforming and morphing into something else; everything is a mutant and a hybrid.</p> Sat, 20 Sep 2014 04:16:58 +0000 BARBARA KLEMM / STEFAN MOSES - MKM Museum Küppersmühle für Moderne Kunst - October 24th - January 18th, 2015 <p>With<strong>&nbsp;Barbara Klemm and Stefan Moses</strong>, the Foundation for Art and Culture is showcasing the works of two acclaimed photographers in the MKM Museum K&uuml;ppersm&uuml;hle, who over the past decades have - each in their own distinct fashion - chronicled political and current events and life in Germany and elsewhere with their camera. For forty years Barbara Klemm (*1939) travelled the world's continents for the distinguished German daily the &ldquo;Frankfurter Allgemeine Zeitung&rdquo;, which she helped to shape with her photographs. By virtue of his reportages for the weekly German news magazine &ldquo;Stern&rdquo;, Stefan Moses (*1928) has found a keen resonance with a broad audience. Distinguishing both artists is the intense focus they place on the individual. On show in the MKM are some 200 of their works.<br /><br />Whilst on her assignments, Barbara Klemm consistently demonstrated her unerring ability to distil an entire story into one single shot &ndash; with a virtually unparalleled intensity and clarity. The overwhelming majority of her photographs depict people and the lives they lead. Eschewing any hint of sensationalism, her images appear so natural and unobtrusive that one is frequently left wondering how she succeeds in remaining so inconspicuous with her camera. Lying at the heart of this exhibition in Duisburg is an extensive series of artists' portraits, including several artists whose works are represented in the Str&ouml;her Collection in the MKM: Joseph Beuys, Candida H&ouml;fer, Anselm Kiefer, Imi Knoebel, Gerhard Richter, Emil Schumacher und Walter St&ouml;hrer. This is augmented by a further group of works featuring &ldquo;People in Museums&rdquo; and &ldquo;Art Works&rdquo;.<br /><br />Stefan Moses&rsquo; enduring theme over the past half a century has been Germany and the German people. His striking series on emigrants comprises over 100 portraits of prominent figures who were forced to flee their native country in 1933 to escape the terror of the National Socialist regime. This series of works is complemented by photos of people captured either shortly before or after the fall of the Wall on his several journeys through the former GDR. Frequently shot in front of a grey cloth, these studies of individuals and groups of people are juxtaposed with snap shots taken by Stefan Moses - almost in passing, as it were: Slogans daubed on walls, overpainted posters and signposts, or the direct statements of ordinary citizens who experienced both the demise of an historic era and the dawning of a new future.</p> Sat, 20 Sep 2014 04:01:19 +0000