Elements is a show of new works by Keiko Murakami. The artis t is exploring a number of new directions in these works. Conceptually\, th e works explore the possibilities offered by random layering and repetition as well as the possible creation of new different works from the represent ation of the same elements in different configurations. She is weaving toge ther what may appear to be random thoughts\, feelings\, experiences into ne w more sculptural forms of printmaking. An element is small amount of a qua lity or feeling\, it can take the form of line\, streak\, or trace\, be a f ace or surface or a dot or spot.
The works take random elements and l ayer and weave them to create either three dimensional works or lines of pr ints that are displayed in such a way as to control the viewers gaze and fo rce them to interact with the work in order to view it. This draws the view er into the work and makes them part of the work itself.

Keik o has an extensive history of exhibiting in both solo and group shows here in Australia and internationally. Her practice has involved both etching an d linocut printmaking displayed using conventional methods. These new works however make a radical departure from the conservative traditions of print making towards more sculptural use of the medium

DTEND:20130519 DTSTAMP:20160726T141044 DTSTART:20130501 GEO:-37.8067255;144.9829432 LOCATION:69 Smith Street Gallery\,69 Smith St. Fitzroy\nMelbourne\, 3066 SEQUENCE:0 SUMMARY:Elements \, Keiko Murakami UID:274798 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Books have always been a central part of my life. “The Art o f Reading” has been inspired by this passion\, and apprehension about the t hreat imposed on traditional media by the digital revolution. A home withou t books feels like a very sterile place.

Reading books is not enough for me—I want to own and savour my favourites. I love to rearrange t hem\, sometimes by size or subject matter. My own large\, eclectic collecti on has become a safety hazard as it spreads through my apartment.

My paintings observe readers and books in different settings. They seek to emphasise an easy familiarity – an association between old friends. Rep roducing photographs of real life situations in an abstract and figurative style distorts the characters and creates an evocative atmosphere bonding b ooks to readers.

DTEND:20130519 DTSTAMP:20160726T141044 DTSTART:20130501 GEO:-37.8067255;144.9829432 LOCATION:69 Smith Street Gallery\,69 Smith St. Fitzroy\nMelbourne\, 3066 SEQUENCE:0 SUMMARY:The Art of Reading \, Rita Zammit UID:274799 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bob Dylan\, “I think of a hero as someone who understands th e degree of responsibility that comes with his freedom”. A group of dedicat ed photographers from the 69 Smith Street photography group have been given the freedom to create works that interpret and explore the music\, lyrics\ , life and art of Bob Dylan.

DTEND:20130519 DTSTAMP:20160726T141044 DTSTART:20130501 GEO:-37.8067255;144.9829432 LOCATION:69 Smith Street Gallery\,69 Smith St. Fitzroy\nMelbourne\, 3066 SEQUENCE:0 SUMMARY:Are You Ready\, Karena Goldfinch\, Antony Dimmock\, Margot Sharman\ , Andrew Maclean\, Darron Davies\, Jillian Russell\, Marg Thomson\, Jenny G ibson\, Veronica Hodgkinson\, Maree Quinn UID:274800 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A six-artist group exhibition featuring artists who work now or have worked in Provincetown will open on Saturday 13 April\, 2013 at AC ME Fine Art in Boston. A reception from 2:00 to 4:00 p.m. will mark the occ asion. The exhibition will be on view through 25 May\, 2013 at the gallery and on-line at 


The exhibition features classi c paintings by twentieth century modern artists who practiced in Provinceto wn as well as cutting edge contemporary artwork created specifically for th is exhibition by artists who have been fellows at the Fine Arts Work Center in Provincetown. 


The six artists included in this distinguished g roup are:


Maurice Freedman was very much a "mid-century modern" art ist. Freedman's brilliantly colorful paintings of interior scenes at once v isually recall his study with Max Beckman during the first half of the twen tieth century and at the same time illuminate his own personal outward-look ing experiences in both Provincetown and his studio in New York. His work e xpressively captures both time and space.


Mary Hackett was a self-t aught painter and longtime resident of Provincetown. Her scenes of everyday life contain numerous symbolic and memory-laden objects placed in an often naïvely constructed space that together create an autobiographical narrati ve that is so compelling that Hackett has developed a formidable cult follo wing among those fortunate enough to know and collect her rare creations.  


Sharli Powers Land was a fellow at the Fine Arts Work Center in 19 69-'70. Her boldly evocative paintings have an uncanny appeal with a dynami c composition and a palette that is downright explosive. Land's interior vi ews capture a sense of place while often making reference to a place in tim e through the incorporation of formal references to her contemporaries such as Mary Hackett and Myron Stout.


Samuel Messer was a fellow at the Fine Arts Work Center in 1981. Messer is currently Associate Dean of the A rt program at Yale University. His interior portraits are wildly expressive paeans to his subject. They convey an all-encompassing vision of their sit ter through the loosely rendered likeness that is central to the compositio n and through the complex interior environment created by Messer. 


Meghan Gordon was a recent fellow at the Fine Arts Work Center. Gordon's ar twork relies heavily on art-historical research. She creates paintings/draw ings\, objects\, film\, and installations that create an alternative art hi story that actively engages and challenges the observer. The interior is co nsistently a crucial theme and component of Gordon's artistry.


Paul Kelly is a contemporary artist living in Provincetown whose subject matter is most often Cape related. Kelly's paintings have an elegantly edited qua lity both in palette and in composition. The resultant views appear both tr ue to their location and completely abstract\, simultaneously. Like Freedma n\, this artist is interested in the view through the opening\; however\, i n Kelly's interiors all but the essential has been eliminated.



Beyond the obvious links having to do with the outer Cape\, the IN TERIORS exhibition will explore common threads in the genre as evidenc ed in the works by these six important 20th and 21st century artists. Some of the common threads are: visual and formal interests in the relationships between inside and out vis-à-vis the notion of containment\, the use of pe rsonal objects as symbols and the meanings associated with them\, the manip ulation of perspective to enhance a sense of space and volume\, the introdu ction of historical references and the connections such references make wit h the observer\, and how the introduction of the figure -portrait or self-p ortrait- animates the interior. 

DTEND:20130525 DTSTAMP:20160726T141044 DTSTART:20130413 GEO:42.3422888;-71.0640456 LOCATION:ACME Fine Art\,1 Thayer Street \nBoston\, Massachusetts 02118 SEQUENCE:0 SUMMARY:INTERIORS \, Paul Kelly\, Meghan Gordon\, Samuel Messer\, Sharli Po wers\, Mary Hackett\, Maurice Freedman UID:269899 END:VEVENT BEGIN:VEVENT DTEND:20130413T160000 DTSTAMP:20160726T141044 DTSTART:20130413T140000 GEO:42.3422888;-71.0640456 LOCATION:ACME Fine Art\,1 Thayer Street \nBoston\, Massachusetts 02118 SEQUENCE:0 SUMMARY:INTERIORS \, Maurice Freedman\, Meghan Gordon\, Mary Hackett\, Paul Kelly\, Samuel Messer\, Sharli Powers UID:269900 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Opening today at the Australian Centre for the Moving Image (ACMI) is Warwick Thornton: Mother Courage\, a striking video and sc ulptural installation from lauded Australian filmmaker Warwick Thornton. Th ornton is an Alice Springs based filmmaker and artist whose film Samson &\; Delilah (2009) won the Camera d’Or for best first feature at the 2009 Cannes Film Festival. 


Commissioned by ACMI for the ACMI Comm issions Series\, Warwick Thornton: Mother Courage is a two-channel v ideo and sound installation presented inside a dilapidated campervan. Inspi red by Bertolt Brecht's 1939 play Mother Courage and Her Children\, Thornton has translated the play’s underlying theme of survival to an Austr alian context. Whereas Brecht's Mother Courage drags around a cart\, plying her wares on the battlefields of an endless war\, Thornton's Mother Courag e is an elderly and impoverished Aboriginal painter who makes and sells her art from the back of a van.  Surrounded by paint pots\, utensils and beddi ng\, the resourceful woman (played by artist Grace Rubuntja) applies hersel f to her dot painting\, while her bored grandson sits listening to loud Abo riginal rock music that blares from a radio. The artist and her grandson ar e physically confined to the cramped space of the campervan\, and yet the w ork invites the viewer to place the pair in a much larger context that ackn owledges the influence of culture and tradition\, but also the impact of co lonisation.


Mother Courage made its international debut last year in Kassel\, Germany at the prestigious art festival dOCUMENTA (13). H ere Mother Courage was constantly on the move\, roving from gallery to gallery and visible to queues of exhibition visitors around the city. At ACMI\, the work finds new meaning within the rarefied confines of the muse um\, cutting against the grain of the white cube/black box experience offer ed by Gallery 2.



DTEND:20130623 DTSTAMP:20160726T141044 DTSTART:20130205 GEO:-37.814107;144.96328 LOCATION:ACMI (Australian Centre for the Moving Image)\,Federation Square\, Flinders Street \nMelbourne\, Victoria SEQUENCE:0 SUMMARY: MOTHER COURAGE\, Warwick Thornton UID:258935 END:VEVENT BEGIN:VEVENT DTEND:20130205T180000 DTSTAMP:20160726T141044 DTSTART:20130205T100000 GEO:-37.814107;144.96328 LOCATION:ACMI (Australian Centre for the Moving Image)\,Federation Square\, Flinders Street \nMelbourne\, Victoria SEQUENCE:0 SUMMARY: MOTHER COURAGE\, Warwick Thornton UID:258936 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Direct from the Victoria and Albert Museum in London\, H ollywood Costume explores the central role costume design plays in cin ema storytelling. Bringing together the most iconic costumes from a century of filmmaking\, this is a once-in-a-lifetime opportunity to see the clothe s worn by unforgettable and beloved characters in films from The Wizard of Oz (1939) to Titanic (1997)\, Ben-Hur (1959) to James Bond (2007).

This groundbreaking exhibition uni tes classics from the Golden Age of cinema\, including Scarlett O'Hara's gr een 'curtain' dress designed by Walter Plunkett for Gone with the Wind< /em> (1939) and the 'little black dress' designed by Hubert De Givenchy for Holly Golightly in Breakfast at Tiffany's (1961) with costumes fr om the latest Hollywood releases including Consolata Boyle's outfits for Me ryl Streep in The Iron Lady (2011) and Lindy Hemming's high-tech B atman suit for Christian Bale in The Dark Knight Rises (2012).

Hollywood Costume illuminates the costume designer's cre ative process from script to screen and reveals the collaborative dialogue that leads to the development of authentic screen characters.

DTEND:20130818 DTSTAMP:20160726T141044 DTSTART:20130424 GEO:-37.814107;144.96328 LOCATION:ACMI (Australian Centre for the Moving Image)\,Federation Square\, Flinders Street \nMelbourne\, Victoria SEQUENCE:0 SUMMARY:Hollywood Costume UID:261827 END:VEVENT BEGIN:VEVENT DTEND:20130424T180000 DTSTAMP:20160726T141044 DTSTART:20130424T100000 GEO:-37.814107;144.96328 LOCATION:ACMI (Australian Centre for the Moving Image)\,Federation Square\, Flinders Street \nMelbourne\, Victoria SEQUENCE:0 SUMMARY:Hollywood Costume UID:261828 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Adelson Galleries Boston is pleased to exhibit the monotypes and sculpture of Harry Bertoia (1915-1978).


The Italian-born artis t moved to the United States at age 15 with his father\, and enrolled in th e Detroit Society of Arts and Crafts. By 1937\, he was awarded a scholarshi p to the Cranbrook Academy of Art in Bloomfield\, MI\, where he studied und er many famous artists and designers\, such as Walter Gropius. The experien ce was a turning point in Bertoia’s life\, and allowed him to experiment wi th new forms of artwork. He began producing a variety of sculpture as well as one-of-a-kind monotypes (or monoprints)\, whereby he would ink glass\, p ress rice paper onto it\, and then etch designs with tools or his fingers o n the backside of the paper. Each “print” is unique\, and of the many that he made\, no two are alike. In 1943\, Bertoia exhibited 19 of these monotyp es at the Guggenheim Museum of Non-Objective Art in a group show\, alongsid e works by Moholy-Nagy and others. Bertoia continued making monotypes until the end of his life – he could produce them quickly and they were instrume ntal as preliminary drawings for all of his designs.


Harry Bertoia was an intuitive creator. In the 1950s\, he became well known for his innov ative chair designs at Knoll Furniture. Following his success in furniture design\, architects all over the country commissioned large-scale sculpture by Bertoia\, such as the altar in the MIT chapel. By the 1960s\, he began pioneering “tonal\,” or sound sculpture. Since his childhood\, Harry was en vious of his father and brother’s musical abilities\, so he decided to crea te an instrument that anyone could play. These “tonal” sculptures\, also kn own as Sonambients\, produce a Zen-like\, sometimes haunting\, chime when t ouched. He fabricated gongs as well as “singing bars” – varying in size fro m six inches to twenty feet. None were cast in editions\; thus\, like his m onotypes\, each piece is unique. He created these sculptures to contribute his visions of the world to humanity\; unfortunately\, the creation of the sculptures came with a price. The toxic fumes from welding the beryllium co pper in his sculptures catalyzed his lung cancer and inevitably ended his l ife at 63 years old. Although he saw the end of his life come quickly\, he accepted it gracefully\, and remarked\, “Man is not important. Humanity is what counts\, to which\, I feel\, I have given my contribution” (October 9\ , 1978).


The monotypes in the exhibition are gathered from the esta te of the artist and show the range of his creative process. The sculptures that we have on display are a small but exemplary sampling of his work. Ou r exhibition focuses on the relationships between his monotypes and sculptu re. Since each monotype acted as a source of inspiration for his sculpture\ , the viewer has the opportunity to trace the mental process of the artist from initial design to final creation.


Adam Adelson


Dir ector

DTEND:20130512 DTSTAMP:20160726T141044 DTSTART:20130405 GEO:42.3418101;-71.0664013 LOCATION:Adelson Galleries\,520 Harrison Avenue \n Boston \, MA 02118 SEQUENCE:0 SUMMARY: Monotypes and Sculpture\, Harry Bertoia UID:267463 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Architecture\, Art and Collaborative Design is a traveling exhibition celebrating the ninetieth anniversary o f the birth of Harry Seidler\, the leading Australian architect of the twen tieth century. The exhibition traces Austrian-born Seidler’s key role in br inging Bauhaus principles to Australia and identifies his distinctive place and hand within and beyond modernist design methodology. The fifteen featu red projects—five houses and five towers in Sydney\, and five major commiss ions beyond Sydney—focus on Seidler’s lifelong creative collaborations\, a pursuit he directly inherited from Bauhaus founder Walter Gropius\, with pr ogressive artistic visionaries: architects Marcel Breuer and Oscar Niemeyer \, engineer Pier Luigi Nervi\, photographer Max Dupain\, and artists Josef Albers\, Alexander Calder\, Norman Carlberg\, Sol LeWitt\, Charles Perry\, Frank Stella\, and Lin Utzon.


The exhibition was developed by curat or Vladimir Belogolovsky of Intercontinental Curatorial Project in New York with Penelope Seidler and Harry Seidler &\; Associates in Sydney and sp onsored by Seidler Architectural Foundation. Seidler’s work is presented th rough architectural models\, sculpture maquettes\, photographs\, films\, co rrespondence\, books\, scrapbooks\, periodicals\, drawings\, and original s ketches—provided by the architect’s family\, Historic Houses Trust of New S outh Wales\, The Josef &\; Anni Albers Foundation\, The Marcel Breuer Di gital Archive at Syracuse University\, and the private archives of artists Norman Carlberg\, Charles Perry\, and Lin Utzon.



HarrySeid ler: Lifework book by curator Vladimir Belogolovsky with additional texts b y Chris Abel\, Norman Foster\, Kenneth Frampton\, and Oscar Niemeyer will b e designed by Massimo Vignelli and published by Rizzoli in March 2014.

\ n

Vladimir Belogolovsky: “I would draw attention to two reasons wh y Seidler is important and why he will always be important. First\, it is h is love for architecture\, his position on following his convictions to whi ch he was always true and a mission to make the world a better place where architecture is a big part of it. He was a real crusader and not just for h is own work but for what he believed – whether voicing his support for Jørn Utzon’s Opera House in Sydney or protesting against unfitting addition to Marcel Breuer’s Whitney Museum in New York by Michael Graves. And second\, I think is really important\, particularly today when so many architects ar e entrenched with their ambitions compromised and scaled down. It is the im portance of inspiration. Seidler’s vision was grand and he drew his inspira tion from a multitude of sources – art\, geometry\, history\, and so on. I would particularly stress the importance of art as an endless source of cre ative inspiration for architecture.” 


New York-based IN TERCONTINENTAL CURATORIAL PROJECT promotes the role of archit ecture as the vital part of contemporary culture and life. The Project coll aborates with museums\, universities\, publishers\, architects\, and curato rs on organizing\, curating\, and designing exhibitions worldwide. The comp any’s founder curator Vladimir Belogolovsky is the American correspondent f or the Russian architectural journal TATLIN and author of books Felix Novik ov\, Green House\, and Soviet Modernism: 1955-1985. He has curated exhibiti ons for Russian Pavilion at the 11th Architecture Venice Biennale\; archite ct Ángel Fernández Alba’s retrospective at the Royal Botanical Gardens in M adrid\, Spain\; the Green House exhibition at the Manezh Central Exhibition Hall at Moscow’s Zodchestvo-2009 International Architectural Festival\, as well as traveling exhibitions Colombia: Transformed and Harry Seidler: Arc hitecture\, Art and Collaborative Design among others. He has presented lea ding Russian architects at the Center for Architecture in New York and has given lectures at universities and architectural centers in Australia\, Aus tria\, China\, Estonia\, Hong Kong\, Latvia\, Malaysia\, New Zealand\, Spai n\, Russia\, and the United States. He is currently working on a book\, Har ry Seidler: Lifework (Rizzoli with Massimo Vignelli) to be released in 2014 .

DTEND:20130531 DTSTAMP:20160726T141044 DTSTART:20130404 GEO:29.7628028;-95.3690073 LOCATION:AIA Houston Chapter\,315 Capitol\, Suite 120 \nHouston\, TX 77002 SEQUENCE:0 SUMMARY:Architecture\, Art and Collaborative Design\, Harry Seidler UID:269909 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition presents a dramatic inside look at 1960s bik er counterculture. From 1963 – 1967 Danny Lyon not only captured the bikers in photographs\, but immersed himself in the lifestyle. Lyon joined the Ch icago Outlaw Motorcycle Club\, making him a pioneer of the new form of phot ojournalism where the artist was personally involved with the subject. This series was featured in Lyon’s defining first photography book and became o ne of the most important and influential documentary series of the late 20t h century. This exhibition is drawn exclusively from the museum’s extensive holdings of Lyon’s work.

DTEND:20130621 DTSTAMP:20160726T141044 DTSTART:20130126 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:The Bikeriders\, Danny Lyon UID:257595 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The museum is collaborating with Leggett Elementary\, King E lementary\, Glover Elementary and The Lippman School to celebrate the power of picture book storytelling and promote visual literacy. Leggett second a nd third grade students will create collaborative classroom picture books t o be displayed in The Mary S. and David C. Corbin Foundation Gallery. The s tudent artists will also meet and work with children's book author and illu strator Duncan Tonatiuh\, who will create a large-scale mural for the exhib ition depicting a contemporary interpretation of Ezra Jack Keat's classic < em>The Snowy Day.

DTEND:20130804 DTSTAMP:20160726T141044 DTSTART:20130209 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:Draw Me a Story\, Duncan Tonatiuh UID:257596 END:VEVENT BEGIN:VEVENT DTEND:20130209T170000 DTSTAMP:20160726T141044 DTSTART:20130209T110000 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:Draw Me a Story\, Duncan Tonatiuh UID:257597 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.


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.


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


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.


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:20160726T141044 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:

Ravenstail weavings by this prolific artist woven over the l ast 20 years\, includes robes\, tunics\, aprons\, and other selections.

DTEND:20131012 DTSTAMP:20160726T141044 DTSTART:20130405 GEO:58.3002019;-134.4157953 LOCATION:Alaska State Museum\,395 Whittier Street \nJuneau\, Alaska 99801 SEQUENCE:0 SUMMARY: "Playing with Lightning"\, Kay Field Parker UID:276036 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This noted artist and carver has produced a wide range of ar twork including totems\, house posts\, masks and bentwood containers. "Rain forest Warriors" consists of Tlingit armor and clothing.

DTEND:20131012 DTSTAMP:20160726T141044 DTSTART:20130405 GEO:58.3002019;-134.4157953 LOCATION:Alaska State Museum\,395 Whittier Street \nJuneau\, Alaska 99801 SEQUENCE:0 SUMMARY: "Rainforest Warriors"\, Tommy Joseph UID:276037 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Six individual artists from The Canvas each bring their uniq ue perspective to the ceramic pieces encompassed in this show. The Canvas i s a community outreach and day program for REACH\, an independent non-profi t organization serving people who experience disabilities.

DTEND:20131012 DTSTAMP:20160726T141044 DTSTART:20130503 GEO:58.3002019;-134.4157953 LOCATION:Alaska State Museum\,395 Whittier Street \nJuneau\, Alaska 99801 SEQUENCE:0 SUMMARY:The Canvas at REACH artists exhibition: "Fish in the Water. Bird in the Tree. Vase by the Wall." UID:276038 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The landscape photographs by the US-American Lewis Baltz are characterized by deserted and frequently devastated periphe ries. In 1970s\, he revolutionized fine-art photography with motifs that ha d previously not been thought worth depicting\, such as industrial building s\, suburban housing developments\, and wasteland.

From March 2 013\, the Albertina will dedicate an exhibition comprising as many as sever al hundreds of photographs to this artist\, who was born in Newport Beach\, California\, in 1945. On display will be\, among other works\, the famous series The Tract Houses (1971) and The New Industrial Parks Near Irvine (1973-75)\, through which Balt z fundamentally reformed the genre of landscape photography\, thereby addre ssing the disastrous impact of technology on society in the twentieth centu ry.

Baltz’s imagery reveals itself as thoroughly innovative: in formally rigid photographs\, such as in the series The Prototype Works (1967-76)\, the artist has defamiliarized architectura l motifs to such an extent that they turn into almost abstract forms and su rfaces. This utterly precise language of form\, by which Baltz focuses on t he materiality and surface textures of the objects depicted\, demonstrates the influence of Minimal Art on his work. With their allusions to further a rtistic movements\, such as Conceptual Art and Land Art\, Baltz’s photograp hs turn out to be a play with citations and references that is to be analyz ed in this exhibition.

The show will highlight outstanding work s by Lewis Baltz\, which apart from the aforementioned examples will includ e the series Candlestick Point (1987-89) and the co lour photographs of Sites of Technology (1989-91). The Albertina seizes this exhibition as an opportunity to display exception al photographs from its own holdings in the form of the two series The New Industrial Parks Near Irvine and The Prototype Works. Further excellent works by such artists as Rober t Smithson\, Ed Ruscha\, Bernd &\; Hilla Becher\, and Donald Judd will v isualize artistic influences that proved to be crucial for Lewis Baltz’s wo rk. This contextualization is meant to present the complexity of Lewis Balt z’s œuvre on the one hand and pay tribute to one of the most important phot ographers of the second half of the twentieth century on the other. 

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DTEND:20130602 DTSTAMP:20160726T141044 DTSTART:20130301 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Solo Exhibition\, Lewis Baltz UID:278932 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The graphic collection of the Albertina house s an internationally important inventory of Dutch drawings. Its scope and q uality make it possible to present Dutch drawing art in all of its thematic \, technical and stylistic diversity. A top-class selection of 170 works is presented in the Albertina.


Highlights of the exhib ition are larger groups of works from Hieronymus Bosch\, Pieter Bruegel the Elder\, Maarten van Heemskerck\, Hendrick Goltzius\, Rembrandt\, Anton van Dyck and Peter Paul Rubens.  



DTEND:20130630 DTSTAMP:20160726T141044 DTSTART:20130314 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Bosch Bruegel Rubens Rembrandt\, Hieronymus Bosch\, Pieter Bruegel the Elder\, Maarten van Heemskerck\, Hendrick Goltzius\, Rembrandt van Rijn \, Anton van Dyck\, Peter Paul Rubens UID:278933 END:VEVENT END:VCALENDAR