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Robin Jones works with a range of materials to make three di mensional objects and wall based works. He uses a variety of media\; wood a nd bolts from DIY shops\, paper\, cloth etc.\, through which he invents and reworks a vocabulary relating to adaptable\, mutable forms and structures.

The objects have a certain fragile quality\, they seem close to collapse\, remaining upright through internal tension\, but sometimes su ddenly overbalancing in slapstick fashion. They are often modular structure s\, re-makable\, the parts roughly interchangeable\, made through cutting\, dismembering\, replacing. It is not always certain if they are complete an d their orientation and position is usually not fixed or certain.

The work takes in ideas around drawing as a language considered in vari ous ways. \; Line is traced as cut and or join. Speed of line\, qualiti es of surface and speed of surface are concerns\, as is an interest in prox imity\, hapticity and bodily gesture. Jones attempts to explore possibiliti es for combining and composing\, breaking up and dispersing - groups of wor k that may or may not evolve towards coherence.

Robin Jones we nt to art school at LSAD\, GMIT (then Galway RTC) and the Slade School of F ine Art\, London
He has exhibited in the Claremorris Open exhibition\ , Jerwood Drawing Prize\, London\, In the House\, London\, Iontas\, EV+A an d various other group exhibitions. Previous one-person shows include Galway Art Centre and Siamsa Tire Arts Centre\, Tralee. He is curating 'Taking No te or The Curious Eye' at NUIG art gallery in November 2013

DTEND:20131102 DTSTAMP:20140827T210415 DTSTART:20131005 GEO:53.2705588;-9.0566677 LOCATION:126\, Artist-run Gallery\,4 Commerce House Flood Street \nGalway City \, SEQUENCE:0 SUMMARY:I am shapeful and gracely\, a creature of the air I'd say\, Robin J ones UID:300232 END:VEVENT BEGIN:VEVENT DTEND:20131004T200000 DTSTAMP:20140827T210415 DTSTART:20131004T180000 GEO:53.2705588;-9.0566677 LOCATION:126\, Artist-run Gallery\,4 Commerce House Flood Street \nGalway City \, SEQUENCE:0 SUMMARY:I am shapeful and gracely\, a creature of the air I'd say\, Robin J ones UID:300233 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Changing at regular intervals\, the presentation of the coll ection of contemporary art at the 21er Haus gives insights into Austrian ar t production while simultaneously placing it in an international context. T he current installation The Collection #3 comprises works from the 1940s to most recent positions. Works from the Belvedere&rsquo\;s permanen tly growing holdings and from the Artothek des Bundes are complemented by n ational and international loans. The section Freedom &ndash\; Form &nda sh\; Abstraction juxtaposes works of Austrian post-war modern art with contemporary positions\, thereby demonstrating both thematic and formal si milarities. In search of new identities and languages of form after World W ar II\, artists referred to geometrical construction\, reduced abstraction\ , and gestural painting. These formal tendencies reflected such internation al movements as Tachisme/Art Informel in Paris or Abstract Expressionism in New York. During the following two decades\, abstraction as a genre was to develop into a global language. In the past twenty years\, contemporary ar tists have also harked back to non-objective painting in the form of free g esture\, constructivism\, or monochrome reduction. In the section Sign &ndash\; Image &ndash\; Object\, the focus is on the blurring of bound aries between image and sign\, script and language\, and object and idea. T he play between signifier and signified &ndash\; the form of a sign and its meaning &ndash\; and their unclear statuses are also addressed by making r eference to the pattern of the process of perception and the translation of what is perceived into language. Finally\, Body &ndash\; Psyche &ndash \; Performance deals with social norms and their negotiation in the vi sual arts since the 1960s. Constructions of the self and their renderings\, marked by a tensional relationship between the mind\, social issues\, and the act of representation as such\, serve as a point of departure. Stereoty pes and conventions\, expressed\, for example\, by way of role models and t heir social legitimization\, are primarily addressed with regard to body an d gender.

DTEND:20131110 DTSTAMP:20140827T210415 DTSTART:20130621 GEO:48.1941134;16.3953555 LOCATION:21er Haus\,Schweizergarten\, Arsenalstraße 1 \nVienna\, 1030 SEQUENCE:0 SUMMARY: The Collection #3\, Marc Adrian\, Josef Albers\, Nikolas Gambaroff \, Martin Arnold\, Richard Artschwager\, Joannis Avramidis\, Josef Bauer\, Herbert Bayer\, Martin Beck\, Linda Bilda\, Mel Bochner\, Andy Boot\, Marce l Broodthaers\, Gunter Brus\, Jean-Marc Bustamante\, Gerard Byrne\, Adriana Czernin\, Carola Dertnig\, Heinrich Dunst\, Valie Export\, Ei Arakawa\, Jo hann Fruhmann\, Gelatin\, Roland Goeschl\, Franz Graf\, Ilse Haider\, Jenny Holzer\, Lisa Holzer\, Judith Hopf\, Damien Hirst\, Anna Jermolaewa\, H+H JOOS\, Birgit Jurgenssen\, Johanna Kandl\, Michael Kienzer\, Kiki Kogelnik\ , Peter Kogler\, Joseph Kosuth\, Richard Kriesche\, Elke Silvia Krystufek\, Hans Kupelwieser\, Maria Lassnig\, Thomas Locher\, Sarah Lucas\, Paul McCa rthy\, Josef Mikl\, Otto Muehl\, Oswald Oberhuber\, Silke Otto-Knapp\, Mich ael Part\, Helga Philipp\, Rudolf Polanszky\, Arnulf Rainer\, Lois Renner\, Gerwald Rockenschaub\, Anja Ronacher\, Dieter Roth\, Gerhard Rühm\, Allen Ruppersberg\, Peter Sandbichler\, Stefan Sandner\, Markus Schinwald\, Stefa nie Seibold\, Cindy Sherman\, Daniel Spoerri\, Curt Stenvert\, Josef Herman n Stiegler\, Rudolf Stingel\, Josef Strau\, Thaddeus Strode\, Rosemarie Tro ckel\, Walter Vopava\, Martin Walde\, Peter Weibel\, Lawrence Weiner\, Fran z West\, Sue Williams\, Erwin Wurm\, Gregor Zivic\, Heimo Zobernig\, Leo Zo gmayer\, Michael Franz\, Nadim Vardag UID:286591 END:VEVENT BEGIN:VEVENT DESCRIPTION:

BUT WE LOVED HER &ndash\; the title of Ursula Mayer&rsquo\;s exhibition was taken from a picture in the April 17\, 2013 issue of the Br itish daily paper The Independent\, the day Margaret Thatcher was interred. The London-based artist collected all the newspaper articles in the days t hat followed Thatcher&rsquo\;s death\, programmatically positioning these f our words at the forefront of her exhibition in Vienna\, and in a phase of her work that foregrounds questions about the opportunities offers by neoli beral identity\, about consumer culture in a post-capitalistic society\, an d about their precursors. Based on sources from film\, philosophy\, politic s and culture\, Ursula Mayer recombines idea-historical texts and images\, developing a multi-layered mesh of autonomous statements and concepts. Her work explores strategies of cinematic image creation which cement social no rms so as to expose the structure\, alter\, and represent exactly these con ventional images through the deconstruction of the filmic language.
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The point of departure for the large institutional solo exhibi tion by Ursula Mayer and simultaneously the first joint exhibition project between the Ursula Blickle Stiftung and the 21er Haus is a trilogy of the f ilms GONDA (2012)\, MEDEA (2013) and the 16mm double-projected Cinesexual ( 2013). The central characters\, model Valentijn de Hingh and musician JD Sa mson\, embody versions of such diverse figures as Ayn Rand\, Margaret Thatc her\, Medea and Jason\, ultimately converging with Michael Snow in a Two Si des to Every Story reference\, drawing all the threads together. It is a th reshold situation staged to dissolve the oppositions of a binary world-view . Mayer&rsquo\;s actualization of fundamental social topics spans time from the ancient migration story of Euripides&rsquo\; Medea to the riots in the Arab world today\, and insistently investigates the current conditio human a. It explores questions of individuality and personal freedom\, of emotion and the ultimate limit state of human destructivity. The film scripts writ ten by author and art critic Maria Fusco and film theorist Patricia MacCorm ick are based on original source material and pull the viewer into the sens ual world of cinematic narrative while catapulting him or her instantaneous ly into the individualist present day. The films are transported into the e xhibition space in a tableau vivant of different objects and scenarios\, su ch as the body machines of Bruno Gironcoli which embroil beholder in the sp ell of its social and psychological entanglements. The hidden hints and cod ed clues guide his perception along a labyrinth path of sensual and intelle ctual seduction.

DTEND:20140112 DTSTAMP:20140827T210415 DTSTART:20131013 GEO:48.1941134;16.3953555 LOCATION:21er Haus\,Schweizergarten\, Arsenalstraße 1 \nVienna\, 1030 SEQUENCE:0 SUMMARY:BUT WE LOVED HER\, Ursula Mayer UID:313326 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Liz is a Melbourne based visual artist who has exhibited her work in several galleries in the Melbourne district and South Eastern subu rbs. Her latest works include a range of vibrant paintings\, drypoint etchi ngs and ceramics highlighting the issue of superficial beauty through femal e portraits accessorised with creatures of nature. This explores the demand of contemporary aesthetics and the impact it has on animal habitats and th e natural environment.

DTEND:20131103 DTSTAMP:20140827T210415 DTSTART:20131016 GEO:-37.8067559;144.982801 LOCATION:69 Smith Street Gallery\,69 Smith St Fitzroy\nMelbourne\, 3066 SEQUENCE:0 SUMMARY:Endangered Beauty \, Liz Millson UID:302711 END:VEVENT BEGIN:VEVENT DTEND:20131019T180000 DTSTAMP:20140827T210415 DTSTART:20131019T160000 GEO:-37.8067559;144.982801 LOCATION:69 Smith Street Gallery\,69 Smith St Fitzroy\nMelbourne\, 3066 SEQUENCE:0 SUMMARY:Endangered Beauty \, Liz Millson UID:302712 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Painting these Russian dolls unleashed a cast of characters that continues to grow\, from demure princesses to an accident prone butche r. They may be alter-egos of mine\, but do I want to go there? As well as t he dolls (really ...a misnomer if ever there was one\, these are not for ch ildren!)\, there will be some 2D work\, some prints\, and maybe a painting or two.

The company are hand painted with acrylics on wood\, with a protective coat of varnish. The prints are layered monotypes\, using stencils and acrylics.

DTEND:20131103 DTSTAMP:20140827T210415 DTSTART:20131016 GEO:-37.8067559;144.982801 LOCATION:69 Smith Street Gallery\,69 Smith St Fitzroy\nMelbourne\, 3066 SEQUENCE:0 SUMMARY:The Company you keep \, Amanda Croatto UID:302713 END:VEVENT BEGIN:VEVENT DTEND:20131019T180000 DTSTAMP:20140827T210415 DTSTART:20131019T160000 GEO:-37.8067559;144.982801 LOCATION:69 Smith Street Gallery\,69 Smith St Fitzroy\nMelbourne\, 3066 SEQUENCE:0 SUMMARY:The Company you keep \, Amanda Croatto UID:302714 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Consume me brings together familiar celebrities but at the s ame time obfuscates them into ambiguous shapes and blurs. Celebrity identit ies become unidentifiable\; they are glamorous\, entrancing images that dan ce just beyond the grasp of recognition.

Barnett&rsquo\;s art practice investigates the meaning of celebrity culture and societies relat ionship to it. &lsquo\;I am compelled by the encompassing\, invasive and in escapable figures of modern media&rsquo\;. Barnett creates miniature dioram as using cut out images from gossip magazines. Here they are assembled and photographed\, to then be translated into oil paintings\, occupying a vibra nt and hyper-coloured agora.

DTEND:20131103 DTSTAMP:20140827T210415 DTSTART:20131016 GEO:-37.8067559;144.982801 LOCATION:69 Smith Street Gallery\,69 Smith St Fitzroy\nMelbourne\, 3066 SEQUENCE:0 SUMMARY:Consume Me \, Monique Barnett UID:302715 END:VEVENT BEGIN:VEVENT DTEND:20131019T180000 DTSTAMP:20140827T210415 DTSTART:20131019T160000 GEO:-37.8067559;144.982801 LOCATION:69 Smith Street Gallery\,69 Smith St Fitzroy\nMelbourne\, 3066 SEQUENCE:0 SUMMARY:Consume Me \, Monique Barnett UID:302716 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Set in a city overrun by bureaucracy\, Shaun Tan's picture b ook The Lost Thing tells the story of a boy who befriends a strang e creature that doesn't \;appear to fit in \;any of the available p igeon holes.

Melbourne-based production company Passion Pictur es Australia \;invited Shaun to direct an animated version of The L ost Thing. Several years later\, the Oscar®\;-winning short film em erged.

This exhibition features Shaun's exquisite original dra wings and working sketches alongside exclusive footage of the animators and sound artists\, demonstrating how the drawings were brought to life on scr een with movement\, sound effects\, music and narration.

DTEND:20140119 DTSTAMP:20140827T210415 DTSTART:20130716 GEO:-37.814107;144.96328 LOCATION:ACMI (Australian Centre for the Moving Image)\,Federation Square\, Flinders Street \nMelbourne\, Victoria SEQUENCE:0 SUMMARY: The Lost Thing: From book to film \, Shaun Tan UID:286317 END:VEVENT BEGIN:VEVENT DTEND:20130716T180000 DTSTAMP:20140827T210415 DTSTART:20130716T100000 GEO:-37.814107;144.96328 LOCATION:ACMI (Australian Centre for the Moving Image)\,Federation Square\, Flinders Street \nMelbourne\, Victoria SEQUENCE:0 SUMMARY: The Lost Thing: From book to film \, Shaun Tan UID:286318 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Spectacle is a groundbreaking and sensory exploration of music video as an art form of our time. The most comprehensive exhibiti on on music video presented to date\, Spectacle features over 300 wo rks\, taking the visitor through a labyrinth of sound\, movement and vision .

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Presented across nine thematic sections\, Spectacle< /i> is experienced through a dynamic fusion of interactive installations\, projections\, videos and immersive environments\, including recreated sets and original objects never before seen outside of the videos themselves.

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Music videos are the playground of film directors and cinem atographers\, who use cutting-edge special effects and visual technologies to change the way that music is promoted and consumed. This exhibition is d esigned to highlight the central place of these landmark music videos in po pular culture.

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Spectacle brims with music video history\, fr om the earliest sound films of musicians such as Louis Armstrong\, Bessie S mith and Cab Calloway\, through to the latest online sensations.

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Th e exhibition features promotional videos for pioneers such as Bob Dy lan\, The Beatles\, and David Bowie\, innovators such as Devo\, Björk\, and the Beastie Boys\, and icons such as Madonna\, U2\, and Nirvana. Specta cle spotlights the MTV masters who expertly used the medium to define t heir public identities\, through to artists like OK Go\, Lady Gaga and Kany e West who follow in their footsteps today.

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The music videos featur ed in the exhibition span the experimental and the extravagant\, the politi cal and the provocative\, as well as epic productions which cross the bound ary into short film\, demonstrating that creative ingenuity is the key to c reating a perfect marriage of sound and vision.

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Some of the world’s most innovative cinematic figures\, who developed their signature style th rough experimentation with music video\, such as Michel Gondry (The White S tripes\, The Chemical Brothers)\, Spike Jonze (Björk\, Fatboy Slim) and Mar k Romanek (Lenny Kravitz\, Jay Z) feature throughout Spectacle.

DTEND:20140223 DTSTAMP:20140827T210415 DTSTART:20130926 GEO:-37.814107;144.96328 LOCATION:ACMI (Australian Centre for the Moving Image)\,Federation Square\, Flinders Street \nMelbourne\, Victoria SEQUENCE:0 SUMMARY:Spectacle: The Music Video Exhibition UID:282258 END:VEVENT BEGIN:VEVENT DTEND:20130926T180000 DTSTAMP:20140827T210415 DTSTART:20130926T100000 GEO:-37.814107;144.96328 LOCATION:ACMI (Australian Centre for the Moving Image)\,Federation Square\, Flinders Street \nMelbourne\, Victoria SEQUENCE:0 SUMMARY:Spectacle: The Music Video Exhibition UID:282259 END:VEVENT BEGIN:VEVENT DESCRIPTION:

JULES OLITSKI&rsquo\;s Late Paintings reinvestigate the colo r\, impasto\, and handling found in his earlier paintings &ndash\; cultivat ing his previous styles and influences\, and delivering his final messages to the world.

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Referred to as &ldquo\;Orb&rdquo\; paintings by his f riend\, the artist\, Walter Darby Bannard\, his Late Works are among the br ightest and boldest within his oeuvre. The subject matter appears to transi tion from ethereal\, earthly landscapes to cosmic playgrounds. The process includes methods that he used when creating his Spackle\, Stain\, and Spray paintings. To form the &ldquo\;Orbs&rdquo\;\, Olitski piled acrylic gel of ten mixed with pumice and other mediums onto the canvas\, then smoothed out the emulsion with his hand in a circular motion\, creating the Haute P&aci rc\;te-material effect starkly evident in his Spackle paintings of the late 1950s. The &ldquo\;Orbs&rdquo\; in these Late Paintings also seem to refer back to the nebulous circles of the Stain period of the early &lsquo\;60s. Olitski used a portable air blower to mix paint across the surface of the canvas\, recalling his experiments with unorthodox tools in his Spray paint ings of the late &lsquo\;60s as well as brooms\, mops and squeegees used in the &lsquo\;70s and &lsquo\;80s. The Late Works are often framed with a co lorful outline reminiscent of the edges in many Spray paintings. The combin ing of these techniques\, as well as the vibrant palette\, culminates into something uniquely celebratory in the Late Work.

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Throughout Olitski&rsquo\;s career\, naming a painting was significant and done after completion. Unlike many of his contemporaries\, Olitski preferred not to gi ve a painting a simple title or number. Instead\, he would choose a specifi c reference to something he&rsquo\;d read or experienced\, &ldquo\;somethin g personal that maybe no one else would know.&rdquo\; The Late titles often reference spiritual texts or articulate an attitude\, often reinforcing Ol itski&rsquo\;s belief that being an artist is &ldquo\;&hellip\; a spiritual and a moral undertaking.&rdquo\; The titles evoke hope\, introspection and optimism.

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Adam Adelson

DTEND:20131222 DTSTAMP:20140827T210415 DTSTART:20131018 GEO:42.3418101;-71.0664013 LOCATION:Adelson Galleries\,520 Harrison Avenue \n Boston \, MA 02118 SEQUENCE:0 SUMMARY:OLITSKI IN THE XXI CENTURY\, Jules Olitski UID:300611 END:VEVENT BEGIN:VEVENT DTEND:20131018T200000 DTSTAMP:20140827T210415 DTSTART:20131018T170000 GEO:42.3418101;-71.0664013 LOCATION:Adelson Galleries\,520 Harrison Avenue \n Boston \, MA 02118 SEQUENCE:0 SUMMARY:OLITSKI IN THE XXI CENTURY\, Jules Olitski UID:300612 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"If you want to get int o 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 someho w coming through as one tone.

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In his &ldquo\;It&rsquo\;s Not Easy Being Green\,&rdquo\; one migh t think in this grid work that there are two basic colors being employed &n dash\; blue and green. On closer study\, there are actually 45 different co lors.

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How does the ar tist do it? How indeed. You can see\, if you look closely enough that Stanc zak juxtaposes color and manipulates the closeness or distance between sepa rations 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 ma chine) 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."

\n< p style="text-align: center\;">-Roger Durbin\, Knight Arts

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Line Color Illusion: 40 Years of Julian Stanczak showcase s paintings and prints collected by the Akron Art Museum since 1970. The ex hibition documents both Julian Stanczak&rsquo\;s impressive career as a mas ter of color and the museum&rsquo\;s longstanding commitment to his work.\n


A longtime resident of Northeastern Ohio and retired Clevelan d Institute of Art professor\, Julian Stanczak earned international recogni tion as a pioneer of &ldquo\;Op Art\,&rdquo\; a style based on optical illu sion\, following his first New York exhibition at Martha Jackson Gallery in 1964. Soon after\, Stanczak&rsquo\;s work--which he characterizes as perce ptual 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 vib rations and create pulsating patterns.

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The Akron Art Museum hosted one of the first public museum exhibitions of Julian Stanczak&rsquo\ ;s work and acquired the painting Dual Glare in 1970. Since that t ime the museum has augmented its collection with paintings and screen print s representing the variety of materials\, techniques and formal elements th at Stanczak continues to explore.

DTEND:20131103 DTSTAMP:20140827T210415 DTSTART:20130413 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:Line Color Illusion\, Julian Stanczak UID:287630 END:VEVENT BEGIN:VEVENT DESCRIPTION:
During the years leading up to and following World War II\ , many American artists worked in styles that merged influences from Europe an Surrealism with native realist traditions. \;On the face of it\, Sur realists\, who explored the subconscious in search of higher realities\, an d realist artists\, who rely on motifs drawn from the observable world\, ma y appear to pursue conflicting styles. \;However\, a number of artists practicing during this tumultuous period married aspects of both approaches to create timely and compelling images. \;
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Featuring more than 60 paintings\, drawings\, prints and photographs d ating from 1930 to 1955 drawn from the collection of the Whitney Museum of American Art\, Real/Surreal examines how American artists used str ikingly naturalistic details to imaginative images inspired by dreams and h ow they introduced disconcerting undertones into compositions that featured seemingly ordinary scenes. \;The exhibition features works by both wel l-known artists\, such as Charles Burchfield\, Edward Hopper\, Charles Shee ler and Grant Wood alongside engaging images by lesser-known talents\, amon g them Francis Criss\, Louis Gugliemi and Katherine Schmidt. \;
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Real/Surreal offers viewers a journey tho ugh other realms\, be it George Tooker&rsquo\;s eerie subway station or Man Ray&rsquo\;s pool table careening into space under pastel clouds. \;An d often even ostensibly straightforward scenes\, such as Edward Hopper&rsqu o\;s Cape Cod Sunset\, have a disturbing quality\, here conveyed b y the half-drawn blinds and untrimmed grass suggesting a house that has lon g been abandoned. \;The exhibition also offers insights into the challe nges Americans faced during this critical era\, including the ravages of th e Dust Bowl depicted by Joe Jones in American Farm and the promise s and threats of technology referenced by Peter Blume in Light of the W orld.
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 \;First presented as an exhibition drawn from the permanent collection at the Whitn ey Museum of American Art in New York in 2010\, Real/Surreal was g reeted with critical praise that inspired its tour to four additional museu ms nationwide. \;The Akron Art Museum showing\, accompanied by signific ant interpretive programming\, is made possible by generous support from Th e Henry Luce Foundation. \;
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This exhibi tion was organized by the Whitney Museum of American Art\, New York.
DTEND:20131103 DTSTAMP:20140827T210415 DTSTART:20130720 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:Real/Surreal\, Charles Burchfield\, Edward Hopper\, Charles Sheeler \, Grant Wood\, Francis Criss\, Louis Gugliemi\, Peter Blume\, Joe Jones\, Man Ray\, George Tooker\, Katherine Schmidt UID:287631 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With a Trace: Photographs of Absence features photo graphers spanning several generations who do not merely capture scenes but create distinct moments in time. Their images bear traces of human presence \, the transmission of energy\, atmospheric phenomena and experiments with light. Among the artists\, Christopher Bucklow\, Margaret De Patta\, Adam F uss\, Alison Rossiter\, Minor White and Hiroshi Sugimoto use a wide range o f processes to render their enigmatic subjects. Primarily analog or even ca mera-less photographers\, they highlight the versatility of non-digital pho tography in capturing what the eye may not see. Whether picturing a place o r thing or pure abstraction\, the photographs in With a Trace emanate a pal pable absence\, which is precisely what invites the mind to enter the scene .

DTEND:20140126 DTSTAMP:20140827T210415 DTSTART:20130727 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:With a Trace: Photographs of Absence\, Alison Rossiter\, Minor Whit e\, Hiroshi Sugimoto\, Christopher Bucklow\, Adam Fuss\, Margaret De Patta UID:293754 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In collaboration with Kent State University School of Archit ecture faculty\, Akron Art Museum staff charged third-year architecture stu dents with their first assignment based on a real-world project: create a d esign for the museum&rsquo\;s proposed outdoor sculpture gallery. This comp lex challenge involved conceiving of an outdoor space to showcase contempor ary sculpture\, installation and multimedia work that can also accommodate concerts\, parties and possibly even a café\;. The flexibility the mu seum seeks for the area reflects its embrace of the museum&rsquo\;s role as a cultural hub.

DTEND:20140105 DTSTAMP:20140827T210415 DTSTART:20130810 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:Envisioning an Outdoor Sculpture Space: A Project with Kent State U niversity UID:293753 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition Albertina Contemporary will be closed from 28 to 29 Octobe r 2013.

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The works currently on display are a selection of approximately 120 pieces from the Albertina's collection of contemporary art\, with a focus on the highlights of the museum's collecti ons. Works by Anselm Kiefer\, Gerhard Richter\, Markus Lü\;pertz\, Fran z Gertsch\, Maria Lassnig\, Florentina Pakosta\, Arnulf Rainer\, Robert Lon go and Herbert Brandl are amongst the samples at the heart of this year's e xposition of contemporary artworks at the Albertina.

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Since its foundation in 1776\, art of the relevant period has always found a place at the centre of new acquisitions. In continuation of the traditio n established at the very outset and observed by the collection's initiator \, Albert von Sachsen-Teschen\, contemporary works on paper are an essentia l ingredient of museum policy governing collections and exhibitions.  \ ; The exhibition of the museum's own items of contemporary art\, allowing i nsights into the most recent period of art history\, is thus a core task fo r the Albertina and one which adheres closely to tradition.

DTEND:20131117 DTSTAMP:20140827T210415 DTSTART:20130716 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Albertina Contemporary\, Markus Lüpertz\, Gerhard Richter\, Anselm Kiefer\, Franz Gertsch\, Maria Lassnig\, Florentina Pakosta\, Arnulf Rainer \, Robert Longo\, Herbert Brandl UID:295259 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the autumn of 2013\, the Albertina will be presenting aro und 160 works by Henri Matisse and the fauvists. Most of the works of the y oung artists\, who art critics at the time compared with "fauves" ("wild an imals")\, are available to view for the first time ever in Vienna and Centr al Europe. Henri Matisse was the head and the spokesman of the fauves. Toge ther with his group of artists\, he caused a stir in 1905 at the 3rd Paris Autumn Salon. Their paintings literally roared from the walls. The public w as appalled by the violent\, apparently hastily applied brush strokes and t he colourful\, intensely luminous colours. The motif was secondary\; what c ounted was expression. In addition to the famous paintings\, the exhibit de monstrates that Matisse and the fauves also strived for expression and inte nsity in their bronzes\, ceramics\, stone sculptures and furniture. Fauvism lasted only two years\, but was\, as the first avant garde movement of the 20th century\, of epochal significance for the development of Modernity. DTEND:20140112 DTSTAMP:20140827T210415 DTSTART:20130920 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Matisse and the Fauves\, André Derain\, Henri Matisse\, Georges Rou ault\, Albert Marquet\, Maurice de Vlaminck\, Georges Braque\, Robert Delau nay\, Kees van Dongen\, Raoul Dufy\, Henri Manguin\, Louis Valtat UID:295262 END:VEVENT BEGIN:VEVENT DTEND:20130920T180000 DTSTAMP:20140827T210415 DTSTART:20130920T100000 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Matisse and the Fauves\, Georges Braque\, Maurice de Vlaminck\, Rob ert Delaunay\, André Derain\, Raoul Dufy\, Henri Manguin\, Albert Marquet\, Henri Matisse\, Georges Rouault\, Louis Valtat\, Kees van Dongen UID:295263 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Dreaming Russia exhibit allows unique insight into conte mporary Russian art. Many of the artists presented here can be seen for the first time in Austria\, although they are already successful and well-know n in their homeland. Contemporary art from Russia is a phenomenon that has to date received little attention in Europe. Our picture of Russian art is still primarily influenced by its avant garde. This narrowing of the Europe an view to this small section of Russian Modernity is explained by the extr aordinary impact originating from the art scene in Petrograd between 1910 a nd 1925.

Thanks to a cooperative project with Gazprombank\, it i s now possible for the Albertina to present the current artistic work comin g from Russia\, which polymorphically serves all art forms: painting and ph otography\, room installation\, performance and sculpture. A strict formali sm is always found behind these varied positions\, which assigns a construc tively precise location to each individual element\, from the composition w ithin the painting to arrangements requiring a large amount of space: a des ign principle rooted very deeply within the early period of the Russian ava nt garde. Both in its conceptual approach and in its constructive spirit\, recent Russian art is characterised by the consequences of what Stalin and his doctrine of socialist realism were only able to interrupt\, but not ext erminate.

DTEND:20131201 DTSTAMP:20140827T210415 DTSTART:20131012 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Dreaming Russia\, Olga Chernysheva\, Ivan Chuikov\, Sergei Shestako v\, Leonid Tishkov\, Nikita Alexeyev UID:299074 END:VEVENT BEGIN:VEVENT DTEND:20131012T180000 DTSTAMP:20140827T210415 DTSTART:20131012T100000 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Dreaming Russia\, Nikita Alexeyev\, Olga Chernysheva\, Ivan Chuikov \, Sergei Shestakov\, Leonid Tishkov UID:299075 END:VEVENT END:VCALENDAR