ArtSlant - Openings & events en-us 40 - Ashmolean Museum - April 15th, 2014 10:00 AM - 6:00 PM <p>Christopher Gandy spent over 30 years in diplomatic posts in the Middle East. He developed a strong appreciation for the art and architecture of the region which fuelled his subsequent passion for collecting Islamic art during his retirement.</p> <p>After his death in 2009 the Ashmolean received a major bequest of over 130 objects from his collection. This display of some of its highlights celebrates the breadth of Christopher Gandy&rsquo;s interests as a collector.</p> Fri, 28 Mar 2014 23:40:15 +0000 - Hickory Museum of Art - April 15th, 2014 5:30 PM - 7:00 PM <p>This annual event started by the Museum&rsquo;s founder and first director Paul Whitener provides an opportunity for local middle and high school students from Hickory and Catawba County schools to exhibit in the Museum. Sponsored by the Hickory Rotary Club, of which our founder Paul Whitener was a long-time member.</p> Mon, 14 Apr 2014 00:42:54 +0000 Marianna Felix Miri - Mercedes Viegas Arte Contemporânea - April 15th, 2014 7:00 PM - 10:00 PM <p>A galeria Mercedes Viegas Arte Contempor&acirc;nea, abre na 3a feira, dia 15&nbsp;de&nbsp;abril de 2014, para convidados, a exposi&ccedil;&atilde;o&nbsp; individual, da artista brasileira, Mariana Felix, com obras in&eacute;ditas.&nbsp;Nascida&nbsp;no L&iacute;bano&nbsp;em 1972,&nbsp;Miri, como e chamada no meio art&iacute;stico, mostrara varias esculturas em pequeno formato, moldadas em terra cota.&nbsp;&nbsp;</p> <p class="s10">Sua facilidade de propor alguma coisa de irredutivelmente humano e aberto, vem de sua experi&ecirc;ncia de vida em v&aacute;rias culturas. Nota-se tamb&eacute;m, de modo claro, como&nbsp;Mir&igrave;&nbsp;se inscreve em sua &eacute;poca e responde a seu modo &agrave;s indaga&ccedil;&otilde;es de nosso tempo, sem ret&oacute;rica nem efeitos.</p> <p>Ela se&nbsp;inspira&nbsp;em Giacometti, Moore,&nbsp;Brancusi, assim como Thomas&nbsp;Sch&uuml;tte&nbsp;e Leonilson.&nbsp;Em obras como&nbsp;v&ecirc;nus&nbsp;de&nbsp;Brassempouoy, e em outras&nbsp;v&ecirc;nus pre&nbsp;hist&oacute;ricas, cujo despudor parece evidente. Essas refer&ecirc;ncias importantes indicam, o&nbsp;onirismo&nbsp;da forma, a abertura da obra para interpreta&ccedil;&otilde;es m&uacute;ltiplas, for&ccedil;osamente subjetivas, mas, sobretudo, o sil&ecirc;ncio que as rodeia.</p> <p>O&nbsp;percurso da artista anuncia sua experi&ecirc;ncia em diferentes culturas e modos de vida: L&iacute;bano, Brasil, Estados Unidos, Fran&ccedil;a. Da&iacute; surge talvez sua facilidade em propor alguma coisa de irredutivelmente humano e aberto. Nota-se tamb&eacute;m, de modo claro, como&nbsp;Mir&igrave;&nbsp;se inscreve em sua &eacute;poca, responde a seu modo &agrave;s indaga&ccedil;&otilde;es de nosso tempo, sem ret&oacute;rica nem efeitos: O que &eacute; que &eacute; estar junto? O que &eacute; que &eacute; travar conhecimento, amar? Ser&aacute; que a solid&atilde;o nos impede de participar do mundo?</p> <p>Segundo Miri: "...Meus trabalhos falam do corpo humano como instrumento de prazer e de sofrimento pessoal, bem como de relacionamento com o mundo exterior. Exploram inclusive a possibilidade on&iacute;rica da metamorfose rumo ao bestial. Pesquiso&nbsp;constantemente&nbsp;os elementos que alimentam ou distorcem a harmonia gerando um universo inquietante, enigm&aacute;tico e l&uacute;dico.&rdquo;</p> <p>&nbsp;Mariana Felix se formou em Comunica&ccedil;&atilde;o Visual (1992-96) Faculdade da Cidade, Rio de Janeiro, Brasil. Comunica&ccedil;&atilde;o Visual (1992-96) Faculdade da Cidade, Rio de Janeiro, Brasil * &Eacute;cole Nationale des Beaux Arts Paris, France (1999);&nbsp; Escola de Artes Visuais do Parque Lage, Rio de Janeiro&nbsp; Art Institute de Chicago•"London 94"- History of Art •Est&eacute;tica na Arte contempor&acirc;nea com o filosofo Gerd Bornhein.</p> <p>Entre suas exposi&ccedil;&otilde;es est&atilde;o:2007 Cariocavideo,Centro Cultural "Oi futuro" Rio de Janeiro RJ&bull; 2006 Multiplicidade, Centro Cultural "Oi futuro" Rio de Janeiro RJ&bull; 2006_&Eacute;pouvantable, Parc Champagne/Reims,Fran&ccedil;a &bull; 2006_Durexvideo/Cariocavideo, Teatro Acad&eacute;mico de Gil Vicente / Coimbra, Portugal &bull; 2005_ Galerie J. de la Fontaine e galerie Scamaroni / Charleville, Fran&ccedil;a &bull; 2005 _ Salon de Montrouge / Montrouge, Fran&ccedil;a &bull; 2004_ Posi&ccedil;&atilde;o 2004 - Galerie do EAV / Rio de Janeiro,Brasil &bull; 2003_Changing Channels/ Berlin, Alemanha &bull; 2003_Halles Boulingrin/ Champagne, Fran&ccedil;a &bull; 2002_ Obras Recentes do MAC /Niteroi, Brasil &bull; 2001 - 10 d 2001 - Galerie do EAV/ Rio de Janeiro,Brasil &bull; 1999_Galerie Gauche - &Eacute;cole Nationale des Beaux-Arts de Paris, / Paris, Fran&ccedil;a &bull; 1999_Aquisi&ccedil;oes Recentes -MAC Paran&aacute; / Curitiba,Brasil &bull; 1999_ 2&deg; Premio de Jovem Revela&ccedil;ao de Americana / S&atilde;o Paulo,Brasil &bull; 1998_**55&ordm; Sal&atilde;o Paranaense , Casa Andrade Muricy (trabalho premiado)/Parana,Brasil &bull; 1998_ Aquisi&ccedil;&otilde;es Recentes-Museu de Arte Contempor&atilde;nea do Paran&aacute;/Brasil &bull; 1999_Festa da Carne, Casa de Cultura Laurinda Santos Lobo/Rio de Janeiro, Brasil &bull; 1998_&raquo;O ovo&raquo;, Escola de Artes Visuais do Parque Lage /Rio de Janeiro,Brasil &bull; 1998_Secrel/marte, Espa&ccedil;o cultural dos Correios /Rio de Janeiro,Brasil &bull; 1998_Projeto Universidarte,Universidade Est&aacute;cio de S&aacute;/Rio de Janeiro,Brasil &bull; 1996_Metamorfoto -Galeria Delfim / Rio de Janeiro, Brasil.</p> Thu, 10 Apr 2014 01:23:24 +0000 Beatriz Franco - Mercedes Viegas Arte Contemporânea - April 15th, 2014 7:00 PM - 10:00 PM Thu, 10 Apr 2014 01:26:17 +0000 William Hogarth, Joshua Reynolds‎, Thomas Gainsborough, Wright of Derby, George Stubbs, Henry Fuseli, John Constable, JWM Turner - Museo del Corso - April 15th, 2014 10:00 AM - 8:00 PM <p>Promoted by Fondazione Roma and organised by Fondazione Roma-Arte-Musei, the exhibition Hogarth, Reynolds, Turner. English Painting Towards Modernity will be held in Palazzo Sciarra from the 15th April to the 20th July 2014.<br /> <br /> The exhibition curated by Carolina Brooks and Valter Curzi intends to offer to the public a comprehensive overview of the social and artistic development that took place during the XVIII century in step with the hegemony gained by Great Britain at the historical, political and economic level. <br /> <br /> For this purpose a corpus of over one hundred works belonging to prestigious institutions such as the <strong>British Museum</strong>, the <strong>Tate Gallery</strong>, the <strong>Victoria &amp; Albert Museum</strong>, the <strong>Royal Academy</strong>, the <strong>National Portrait Gallery</strong>, the <strong>Museum of London</strong> and the <strong>Uffizi Gallery</strong> has been formed and is accompanied by a nucleus of works from the important American collection belonging to the <strong>Yale Centre of British Art</strong>. <br /> <br /> During the eighteenth century England became an authentic international power, leader of the Industrial Revolution and of the domination of the sea routes, and thus raised the issue of establishing its own artistic school for the first time.<br /> <br /> The economic development lead by Great Britain created a new middle-class which included professionals, industrialists, merchants, scientists and philosophers who, having found that visible arts considerably affirmed their new social status, became patrons of those masters who over the century contributed to the definition of a domestic school.<br /> <br /> The exhibition is divided into seven sections featuring a selection of works by the most significant English painters, for the purpose of documenting the portrait and landscape genres that found more fortune during this century, creating a figurative language capable of interpreting modernity which, in the nineteenth century, became a reference throughout Europe. <br /> <br /> Visitors may admire artists such as <strong>Hogarth, Reynolds, Gainsborough, Wright of Derby, Stubbs, F&uuml;ssli, Constable</strong> and <strong>Turner</strong>. Their works offer a significant cross-section of the peculiarity and originality of English art, an exhibition of which has not been held in Rome since 1966.</p> Mon, 17 Mar 2014 00:15:39 +0000 Sharon Lockhart - Bonniers Konsthall - April 16th, 2014 12:00 PM - 7:00 PM <p style="text-align: justify;">Bonniers Konsthall is proud to present the first large-scale solo exhibition in Scandinavia of American artist Sharon Lockhart. For the past two decades, Lockhart has portrayed individuals and their communities, showing aspects of their everyday lives in moving and still photography. She belongs to a generation of artists who, during the 1990s, turned their attention to the everyday, to the subjective, the human. Lockhart is also an artist who draws inspiration from the filmic and, in turn, her work has had a great impact on the development of film as a means of expression in the visual arts. Borrowing working methodology from documentary photography and film, as well as ethnology and anthropology, Lockhart combines these aspects with a distinct, minimalist aesthetic. Lockhart&rsquo;s work inhabits the middle ground between the photographic and the filmic, and emphasises the relationship both maintain to time and space. Her photographs are meticulously staged, as if they were frozen, documentary theatre pieces, while the slower pace maintained in her films remind one of still photography. Sharon Lockhart&rsquo;s artistic working methods have influenced many of her contemporary colleagues &ndash; Swedish counterparts include acclaimed artists such as Ann-Sofi Sid&eacute;n, Johanna Billing and Annika Eriksson.</p> <p style="text-align: justify;">In her practice, Lockhart often illuminates the forgotten and the overlooked. Her working process involves long periods of research in a given location, where she familiarizes herself with the local community, often forging deep friendships and initiating a strong collaboration. She has worked together with factory workers in Maine, a female clam digger in a male-dominated profession, Japanese schoolgirls, and children living in former Eastern-block Ł&oacute;dź, Poland. Her meticulous fieldwork is then transformed into poetic tableaux of still and moving imagery.</p> <h3 style="text-align: justify;">Milena, Milena &ndash; an exhibition trilogy</h3> <p style="text-align: justify;"><em>Milena, Milena</em> is the second exhibition in a trilogy based on Lockhart&rsquo;s portrait of Polish teenager Milena &ndash; a story about the difficulty of leaving childhood behind and facing adulthood. Sharon Lockhart first met Milena in 2009 in Ł&oacute;dź, Poland, while filming <em>Podw&oacute;rka</em>. Literally translated as &lsquo;courtyard&rsquo; from Polish, <em>Podw&oacute;rka</em> displays six different courtyards in Ł&oacute;dź and the children that live and play there. It was in one of these courtyards where Lockhart met and befriended then nine-year-old Milena. Lockhart gravitated towards Milena&rsquo;s strong personality, and the two soon developed a friendship through the act of play. When Lockhart was invited to stage an exhibition in Warsaw a few years later, she rekindled her friendship with Milena, and discovered Milena&rsquo;s profound desire to write an autobiography about her life. Triggering an on-going collaboration between Lockhart and Milena, the imagined autobiography has been the impetus through which the two have explored artistic expression together.</p> <p style="text-align: justify;">This exhibition at Bonniers Konsthall features a specially commissioned, monumental stained glass portrait of Milena. The image captures Milena&rsquo;s face, illuminated by a sparkler held in one hand, as she playfully spells out the letters of her name against the black backdrop of the night sky. The genesis for this piece was derived in part from Lockhart and Milena&rsquo;s participation in a stained glass workshop in rural Poland. The piece connects an intimate moment to Poland&rsquo;s rich cultural tradition of stained glass, a common, familiar and iconic art form that adorns the countless churches throughout the country&rsquo;s landscape. The idea for the piece was born out of a desire to create a tribute to Milena that is both personal and deeply rooted in Polish history and tradition. For the construction of this work, Lockhart enlisted master Polish glass painter Piotr Ostrowski, who interpreted the artist&rsquo;s snapshots of Milena using 14<sup>th</sup> century glass-making techniques.</p> <p style="text-align: justify;">A driving force for the project has been the theoretical writing of Polish-Jewish educator, children&rsquo;s author and pediatrician Janusz Korczak (1878&ndash;1942), which Lockhart will include in the exhibition with a conceptual display of <em>How to Love a Child</em> in Braille. A legend of his own time, Korczak experimented with the methods of institutional education, based on the developmental enhancement of a child&rsquo;s inborn abilities. representative of the social pedagogy approach and a pioneer of children&rsquo;s rights, he envisioned a future in which children structured their own world and became experts in their own matters. He crystallised his knowledge of child psychology, while learning to &ldquo;(speak) not to the children but with the children&rdquo;.</p> <p style="text-align: justify;"><em>Milena,</em><em> Milena</em> was curated by Polish curator Adam Budak, along with Bonniers Konsthall&rsquo;s Camilla Larsson, following Budak&rsquo;s curation of the first iteration of the exhibition at the CCA Warsaw. The exhibition tripdyche <em>Milena, Milena</em> includes a series of&nbsp;strategically selected&nbsp;identifications that claim the biographical dimension of Sharon Lockhart&rsquo;s oeuvre. Thus the three exhibitions operate as actual portraits as well as projections. As such, the exhibition is framed by two works of a strong biographical&nbsp;component: it opens with&nbsp;the cinematic&nbsp;<em>Double Tide</em> (2009)&mdash;filmed in Maine, USA, where Lockhart spent her childhood&mdash;and&nbsp;concludes with&nbsp;the&nbsp;rarely exhibited series&nbsp;<em>Untitled Studies</em> (1993&ndash;ongoing), Lockhart&rsquo;s photographic diary, composed of re-photographed snapshots found in her own family album. At the center of the exhibition&rsquo;s narrative is Milena, an enigmatic figure who remains disquietly absent, distilling the different threads of identification in her very non-presence.</p> <p style="text-align: justify;">The third installation of <em>Milena,</em><em> Milena</em> will be shown in early 2015 at Kunstmuseum Luzern in Switzerland. The exhibition architecture is created by Sharon Lockhart&rsquo;s long-term collaborators, Los Angeles-based architectural firm Escher GuneWardena. A catalogue, published by Silvana Editoriale, will accompany the exhibition.</p> Wed, 16 Apr 2014 08:53:09 +0000 - Hickory Museum of Art - April 16th, 2014 6:00 PM - 8:00 PM <p>A selection of works acquired by the Museum in 2013 and 2014.</p> Wed, 16 Apr 2014 23:05:10 +0000 Mieko Yuki - Ippodo Gallery, Tokyo - April 16th, 2014 6:00 PM - 8:00 PM <p>New works of ceramic figures ' KARASU '<br /> <br /> "I have feared crows since childhood and yet been captivated by their strange beauty. <br /> With the passing of years, I find myself increasingly attracted by the sharpness of their jet-black forms and the indomitable, determination they display in their lives. <br /> Bravo to the much-despised crow!"<br /> <br /> - Mieko Yuki</p> <p>Born in Tokyo in 1943, actress, potter. <br /> With a diplomat father and artist mother, she spent her childhood in the U.K., Turkey, Ceylon, Sweden, etc. <br /> A member of Britain's Royal Ballet, she left to join the Haiyuza Yoseijo (Actors Theater Training Academy), then moved on to the 'Kumo' theatrical company.<br /> In addition to a varied acting career on television, movies and stage, in 1984 she took up pottery. <br /> Her ceramic works are to be found in the Chicago Park Hyatt Hotel (U.S.A.), Shinjuku Park Hyatt Hotel (Tokyo), 'Children Art House' at Sekigahara Menard Land, Hotel Mori no Kaze Oshuku in Kenji World and restaurants and salons throughout Japan.</p> Thu, 17 Apr 2014 01:03:46 +0000 Group Show - Museum of Contemporary Art of Georgia - April 16th, 2014 6:30 PM - 8:30 PM <p>Suite Works is an exhibition which features a selection of work by current artists and designers work within the MOCA GA/TULA Art Complex at 75 Bennett Street. The exhibition demonstrates a diversity of mediums and approaches to design, fine arts, and craft art.</p> Fri, 09 May 2014 23:03:54 +0000 Andrea Heller - Scheublein + Bak - April 16th, 2014 6:00 PM - 8:00 PM <p><strong>"Die Meise benutzt die Haare des M&auml;dchens, um damit ihr Nest zu polstern"<br /><br /></strong></p> <p>A child carries a bird&rsquo;s nest in his hands whose inside is bolstered with hair. The sensitivity applied to build the nest is quite remarkable. It is not just a simple nest but a cosy villa for the offspring. Whether &ldquo;prestige&rdquo; respectively &ldquo;status&rdquo; - as for humans - were a major impetus cannot be answered easily.</p> <p>At the time when the H&uuml;rlimann-Villa was built in 1897/1898, status as well as &ldquo;building a nest&rdquo; most likely had been important incentives for the builder and the architect. Pomp, style and size of the villa still remind us of the time of creation; the portraits of all six children of the family have been immortalized at the fa&ccedil;ade of the house. Private life was covered in a prestigious package just like personal thoughts are visualized in an artwork.</p> <p>In her first solo exhibition at SCHEUBLEIN + BAK, Andrea Heller presents a new body of work, including watercolour and ink drawings on paper, objects made out of different materials (amongst others mouth blown glass) and text pieces.</p> <p>These text works derive from the artist&rsquo;s own collection of citations (private text messages, newspaper, internet) as for example the title of this exhibition. The citations do not reveal their sources and therefore leave behind their original context. Thereby they are becoming general statements and are reflecting our complex ever changing private everyday life - between virtuality and reality, respectively public and private.</p> <p>Andrea Heller (*1975) studied Fine Arts at the Hochschule f&uuml;r Bildende K&uuml;nste in Hamburg as well as at the Z&uuml;rcher Hochschule der K&uuml;nste in Zurich. Between 2004 and 2006 she had been awarded with a studio scholarship at the Stiftung Binz 39 as well as a studio by the city of Zurich in the Cit&eacute; des Arts in Paris. In 2011 she was invited for a solo exhibition at the Helmhaus Zurich, which was accompanied by her first monograph &ldquo;Die Wurzeln sind die B&auml;ume der Kartoffeln&rdquo; (ed. Patrick Frey). The artist lives and works in Paris and Zurich.</p> Sun, 20 Apr 2014 00:39:04 +0000 Olav Christopher Jenssen, Paul Klee, Jonathan Lasker, Brice Marden, Henri Michaux, Mark Tobey, Cy Twombly, Christopher Wool - Zentrum Paul Klee - April 16th, 2014 10:00 AM - 5:00 PM <div class="kmb_txt_paragraph"> <p style="text-align: justify;">Based on Paul Klee&rsquo;s pictorial thinking, the Zentrum Paul Klee is organising an exhibition on the meaning of script, sign and line in the artistic process. Writing transfers not only content but is also form. Its structure, horizontally or vertically placed lines, as well as its letters, correspond to certain norms. At the same time writing is determined by the individual, spontaneous gesture of the author. It consequently unites concept and spontaneity and is therefore interesting with regard to the artistic process. For the exhibition other important artists of the 20th century besides Klee have been selected who in their different ways take up the aspects of script, symbol and line and therefore also examine the tension between concept and spontaneity.</p> </div> <p style="text-align: justify;">The exhibition examines the significance of handwriting and writing as well as &laquo;scriptive&raquo; signs in artistic practice. Departing from Paul Klee&rsquo;s interest in handwriting and calligraphy, it will examine the nature of writing more closely. Writing adheres to specific rules in order to be decipherable, but is simultaneously also the expression of an individual sensibility. As handwriting unites both concept and gesture, it will serve here as a model for the artistic process. The artists selected for the exhibition not only employ writing as pictorial element, but also locate their artistic practice between the two poles of spontaneity and the conceptual. In statements about their work they have repeatedly emphasized the importance of process and movement. The spectrum spanning the gestural through to the conceptual, ranges from the gestural &laquo;scription&raquo; of Henri Michaux, Mark Tobey, and Cy Twombly, to Paul Klee, Brice Marden, and Olav Christopher Jenssen, to the conceptual painting of Jonathan Lasker and word paintings by Christopher Wool.</p> Thu, 24 Jul 2014 15:48:29 +0000 - Daum Museum of Contemporary Art - April 17th, 2014 7:00 PM - 9:00 PM <p>This annual exhibition is a State Fair Community College tradition dating back to 1969. It is open to all students currently taking studio art classes at the college. Each year, some 50 students exhibit close to 100 artworks in a variety of media. An invited juror designates works of high merit for public recognition.</p> Mon, 14 Apr 2014 00:01:20 +0000 Carla Fernandez - Isabella Stewart Gardner Museum - April 17th, 2014 6:00 PM - 8:00 PM <p><em>Carla Fern&aacute;ndez: The Barefoot Designer: A Passion for Radical Design and Community</em> will explore the traditions and techniques of indigenous Mexican artisans and how they can be applied to modern fashion and styles.</p> <p>Carla Fern&aacute;ndez has gained international recognition for her extraordinary approach to documenting and preserving the rich textile heritage of Mexico's indigenous communities by transforming it into beautiful contemporary clothing, and proving tradition is anything but static.</p> <p>This first-ever fashion exhibition at the Gardner Museum explores the development of a new language in visual design that Fern&aacute;ndez has built over two decades. She uses a method called "the Square Root" based on the Mexican tradition of making clothing from squares and rectangles. This process emphasizes forms of fabric and delicate, thoughtful construction based on whole fabric, as opposed to cutting in curves and molding to the body.</p> <p><em>The Barefoot Designer</em> is multi-faceted exhibition consisting of garments, textiles, drawings, photographs, performance, video, workshops and source materials demonstrating Fern&aacute;ndez's multi-layered design process. A key component of that process is her design workshop Taller Flora, a mobile laboratory that collaborates with Mexico's indigenous communities, a sustainable business model based on close collaboration with and recognition of local knowledge and talent. During her career, Fern&aacute;ndez has worked with many indigenous communities throughout Mexico. The exhibition will highlight the styles and techniques of five states: Chiapas, Yucatan, Campeche, the State of Mexico and Mexico City.</p> <p>Mobility and collaboration can be seen and felt throughout the exhibition: in its installation, multiple films and monthly dance performances, as well as workshops for the public. The garments and mannequins are positioned on life-sized, mobile displays. Fern&aacute;ndez has also activated the garments through a live and filmed dance performance by dancers Raushan Mitchell and Silas Reiner, bringing to life the notion of "clothing as canvas." The exhibition will include short process videos of weavers, embroiderers, and carpenters by photographer and filmmaker Ramiro Chaves, as well as fashion films produced by Chaves and Pedro Torres in New York City, Boston and Mexico City. A series of fashion photos by photographer Graciela Iturbide will be on view. A large workshop table adds a hands-on visitor experience to the exhibition, with a variety of workshops scheduled. Fern&aacute;ndez will run a two-day clothing workshop as well as workshops with the Gardner's School and Community Partnership Programs.</p> <p>"I want people to understand that you can find happiness many different ways, and one way is by creating goods by hand and making things unique to the artist," Fern&aacute;ndez said. "Discovering the process helps people to understand how these different worlds work, because you fall in love with the artisan, and then you fall in love with the piece. You can create a whole economy based on the artists, and how their work is made."</p> Sat, 19 Apr 2014 23:41:02 +0000 Isabelle Cornaro - M - Museum Leuven - April 17th, 2014 7:30 PM - 9:30 PM <p>In the spring of 2014 M - Museum Leuven is mounting Belgium&rsquo;s first solo exhibition of work by the French artist Isabelle Cornaro (&deg;1974), who lives and works in Paris. In 2010 she won the Prix Fondation d'entreprise Ricard. Her oeuvre manifests an interest in the way our perception of reality is dictated historically and culturally. Cornaro&rsquo;s initial training as an art historian specializing in sixteenth and seventeenth-century Western art has influenced her original visual language. For example, there is a strong association between her work and forms and compositions from the past, ranging from the baroque or classicism to modernistic abstraction.</p> <p>In her sculptures and installations Isabelle Cornaro plays with the aesthetics of both ordinary everyday objects and objets d&rsquo;art by integrating them formally or conceptually into a new context. For instance, she might group these objects round a specific theme or arrange them according to visual techniques such as scale, perspective lines or light and shadow effects, thereby calling into question our conventional view of these objects and the way we look at her work. Her videos, high reliefs and murals are a continuation of this study of observation and perception. Moreover, they underline her great sensitivity to texture, material and colour.</p> Fri, 28 Mar 2014 23:52:20 +0000 - Museum of Fine Arts Boston - April 17th, 2014 10:00 AM - 9:45 PM <p>Design drawings are among the hidden treasures of the MFA&rsquo;s collection, and this exhibition displays nearly 30 works on paper, each representing a different artist, architect, or designer in an alphabet of design from the 16th through the 20th centuries. A is for Ashbee: a design for a ring by the Arts and Crafts designer and social reformer C. R. Ashbee; L is for La Farge: a design for stained glass by the artist and designer John La Farge; and R is for Rossi: an architectural model by the renowned 20th-century Italian architect Aldo Rossi. The surprising juxtaposition of unrelated but visually compelling designs for architecture, theater, stained glass, furniture, jewelry and silver, and textiles&mdash;many of which are rarely, if ever, on view&mdash;presents an opportunity for visitors to engage with questions surrounding design, from technical to artistic.</p> Fri, 11 Apr 2014 21:46:32 +0000 Alfred Stieglitz, Edward Steichen, Frederick H. Evans, Alvin Langdon Coburn, F. Holland Day, Gertrude Käsebier, Clarence H. White - Museum of Fine Arts Boston - April 17th, 2014 10:00 AM - 9:45 PM <h2 class="tagline">Photography focused on high art ideals at the turn of the 20th century</h2> <p>Photographers known as the Pictorialists, who worked around 1900, were part of the first international movement in the history of the medium. Their mission was to prove the artistic merit of photography by strengthening its connections with the fine arts. To this end they made images that sought to represent truth and beauty; that were atmospheric; that had poetic, literary, or spiritual value; and that emphasized the role of the photographer as a craftsman. Figures such as Alfred Stieglitz, Edward Steichen, Frederick H. Evans, Alvin Langdon Coburn, Gertrude K&auml;sebier, and Clarence H. White made spectacular images influenced by current art trends, including Impressionism, Symbolism, and the Arts and Crafts movement.The Pictorialists primarily utilized two printing processes: platinum, with its extraordinary tonal richness, and gum bichromate, a labor-intensive process that involved hand coating papers with carefully prepared emulsions and pigments. They often presented their images by mounting them on papers that were specially lined or colored, like fine art drawings, and they sometimes showed them in specially designed frames.</p> <p class="additional-item">This exhibition celebrates the MFA&rsquo;s recent acquisition of four major works related to the Boston leader of the movement, F. Holland Day. His <em>The Seven Last Words </em>(1898), purchased in 2013, is a centerpiece of the show and was recently called &ldquo;an important touchstone of Modernist photography,&rdquo; by <em>The New York Times. </em>Day daringly styled himself in this series as Christ wearing a crown of thorns. The other three photographs&mdash;portraits of Day by Edward Steichen, James Craig Annan, and Clarence H. White&mdash;are also included. A small number of significant loans from private collections are also on view.</p> Fri, 11 Apr 2014 21:50:39 +0000