Following the intervention by Marcus Geiger (2011) and the H ans Schabus solo exhibition (2012)\, this year the 21er Haus is once again the venue of a site-specific show\, created on the spot and occupying the e ntire building. It began with a solid cube\, reaching up to the museum atri um's ceiling. It stood as a mass of material\, a mine just waiting to be ex ploited. However\, nothing but emptiness was extracted from it at first. Th e music began\, and the four artists\, together with a group of friends the y had brought along from around the globe\, started digging and quarrying\, creating hollows. The holes were filled and their contents then distribute d around the space in the form of sculptures.

Gelatin touched down at the 21er Haus in search of lost form\, negative space\, and the und erside of the surface. This vast titan filled the space with its lightness. Its perfect form was ruined\; like some carious tooth\, it was bored into and sculpted to create everything else.

Imperceptibly soft\, i ts role was to create the exhibition and it was eaten away in the process. Gelatin ripped pieces out of the giant\, rather like the eagle gouging out Prometheus&rsquo\; liver. Classic materials and research into simplicity re sulted in sculptures and vice versa. And all this happened with the help of a confusing mass of skilled actors\, many hands giving and taking.
< br /> In six days\, from 5 to 9 June 2013\, Gelatin and their friends creat ed the exhibition on site and before their audience\, with musical accompan iment and food and drinks provided. They used the hollows dug out of the va st block as molds for sculptures\, which little by little then filled the r oom. This six-day performance transformed the museum into a cross between a venue\, studio\, stage\, and exhibition space. The exhibition features the sculptures created on site and what remains of their production is on show at the 21er Haus until 29 September.

DTEND:20130929 DTSTAMP:20151005T171502 DTSTART:20130605 GEO:48.1941134;16.3953555 LOCATION:21er Haus\,Schweizergarten\, Arsenalstraße 1 \nVienna\, 1030 SEQUENCE:0 SUMMARY:Gelatin - Hole\, Wolfgang Gantner\, Ali Janka\, Florian Reither\, T obias Urban UID:286593 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:20151005T171502 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:

Andy Coolquitt collects things from the streets. Some are al ready somebody-mades\, others raw material for further sculptural processin g. These discrete objects question authorship and their own status. And wha t was public before\, is now problematizing exhibition practice.
&nbs p\;
Andy Coolquitt is currently an artist-in-residence at 21er Haus. He was born in Texas in 1964\, and lives in Austin. Coolquitt is perhaps mo st widely known for a house\, a performance/studio/domestic space that bega n as his master's thesis project at the University of Texas at Austin in 19 94\, and continues to the present day. Recent exhibitions include attainabl e excellence at Blaffer Museum\, Houston\; chair w/paintings at Lisa Cooley \, New York\; + at Locust Projects\, Miami\; Everyday Abstract - Abstract E veryday at James Cohan Gallery\, New York\; Wirtreffen uns am Abend at Gale rie Kamm\, Berlin\; Sculpture is three-dimensional artwork&hellip\; at Gale rie Johann Koenig\, Berlin\; dwelling at Marianne Boesky Gallery\, New York \; and Real Estate at Zero\, Milan.

DTEND:20130818 DTSTAMP:20151005T171502 DTSTART:20130703 GEO:48.1941134;16.3953555 LOCATION:21er Haus\,Schweizergarten\, Arsenalstraße 1 \nVienna\, 1030 SEQUENCE:0 SUMMARY:21er Raum\, Andy Coolquitt UID:286589 END:VEVENT BEGIN:VEVENT DESCRIPTION:

AcA Main Gallery- Group exhibition of 15 local and national artists:

Brad Benischek
Steven Collier
Lynda Frese
Amy Guidry
Kathryn Hunter
Heather Ryan Kelley
Soph ie Lvoff
Shawne Major
Esko Mannikko
James McGarrell
Aaron McNamee
Lavar Munroe
Stephanie Patton
Pat Phillips
Jim Richard
Amie Rogers

Next opening reception J une 8th\, 6-9pm (in conjunction with Artwalk)
Closing reception July 13th\, 6-9pm

DTEND:20130713 DTSTAMP:20151005T171502 DTSTART:20130511 GEO:30.223753;-92.019167 LOCATION:Acadiana Center for the Arts\,101 W. Vermilion St. \nLafayette\, L ouisiana 70501 SEQUENCE:0 SUMMARY:1000 Words\, Amy Guidry\, Group Exhibition UID:278203 END:VEVENT BEGIN:VEVENT DTEND:20130608T210000 DTSTAMP:20151005T171502 DTSTART:20130608T180000 GEO:30.223753;-92.019167 LOCATION:Acadiana Center for the Arts\,101 W. Vermilion St. \nLafayette\, L ouisiana 70501 SEQUENCE:0 SUMMARY:1000 Words\, Group Exhibition\, Amy Guidry UID:278204 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This year ACME Fine Art will open the gallery's much-anticip ated annual Summer Salon exhibition in new digs at 450 Harrison Avenue\, Su ite 308 in Boston's South End. The opening will coincide with SoWa's First Friday events on Friday the 5th of July\, and the gallery will be open from 3:00 to 8:00 on that evening. The exhibition will be on view through Satur day 17 August.


This year's Summer Salon will feature a var iety of summer-themed artworks created during the twentieth century at New England's renowned summer art colonies\, as well as a selection of Gallery Director David Cowan's personal favorite works reprised from gallery and mu seum exhibitions of the 2012/2013 season. Highlights will include a very ra re\, early watercolor of the Provincetown waterfront by Edwin Dickinson\, a mid-career gem titled Polynesian I (small version) by Hans Hofman n\, an important oil painting titled Seaside Holiday by Kenneth St ubbs that was featured in the recent Tides of Provincetown exhibit ion mounted by the New Britain Museum of American Art\, and an oil painting by Dorothy Eisner from her celebrated Croquet Series that was created on C ranberry Island\, Maine during the 1970s. Other artists whose artwork will form a part of the exhibition include: Michael Loew\, Charles Littler\, Myr na Harrison\, Haynes Ownby\, George Lloyd\, William Freed\, Lillian Orlowsk y\, Maurice Freedman\, Panos Ghikas\, Daniel Brustlein\, and Jack Tworkov.   


Timed to coincide with what promises to be a blockbuster exhibiti on titled Pioneers of Provincetown that is being mounted this summ er by the Provincetown Art Association and Museum\, this year's Summer Salon will also include a number of significant artworks by artists wh o will be featured in the PAAM exhibition. The theme of the PAAM exhibition is "the genesis of the Figurative Expressionist Movement in Provincetown." In concert with this\, ACME Fine Art will feature Figurative Expressionist works by such pioneers of that movement as Jan Muller\, Lester Johnson\, T ony Vevers\, Jay Milder\, and George McNeil.

DTEND:20130817 DTSTAMP:20151005T171502 DTSTART:20130705 GEO:42.3422888;-71.0640456 LOCATION:ACME Fine Art\,1 Thayer Street \nBoston\, Massachusetts 02118 SEQUENCE:0 SUMMARY:SUMMER SALON \, Edwin Dickinson\, Hans Hofmann\, Kenneth Stubbs\, D orothy Eisner\, Michael Loew\, Charles Littler\, Myrna Harrison\, Haynes Ow nby\, George Lloyd\, William Freed\, Lillian Orlowsky\, Maurice Freedman\, Panos Ghikas\, Daniel Brustlein\, Jack Tworkov UID:284267 END:VEVENT BEGIN:VEVENT DTEND:20130705T200000 DTSTAMP:20151005T171502 DTSTART:20130705T150000 GEO:42.3422888;-71.0640456 LOCATION:ACME Fine Art\,1 Thayer Street \nBoston\, Massachusetts 02118 SEQUENCE:0 SUMMARY:SUMMER SALON \, Daniel Brustlein\, Edwin Dickinson\, Dorothy Eisner \, William Freed\, Maurice Freedman\, Panos Ghikas\, Myrna Harrison\, Hans Hofmann\, Charles Littler\, George Lloyd\, Michael Loew\, Lillian Orlowsky\ , Haynes Ownby\, Kenneth Stubbs\, Jack Tworkov UID:284268 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:20151005T171502 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:20151005T171502 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:

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:20151005T171502 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:20151005T171502 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:20151005T171502 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:20151005T171502 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:20151005T171502 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:20151005T171502 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:

Having trained extensively in traditional as well as contemp orary approaches to art\, this Tlingit/Aleut multi-disciplinary artist draw s on a wide range of indigenous technologies and global materials to explor e his ideas.

DTEND:20131012 DTSTAMP:20151005T171502 DTSTART:20130517 GEO:58.3002019;-134.4157953 LOCATION:Alaska State Museum\,395 Whittier Street \nJuneau\, Alaska 99801 SEQUENCE:0 SUMMARY: "The State of Being\, Displaced"\, Nicholas Galanin UID:276039 END:VEVENT BEGIN:VEVENT DTEND:20130517T173000 DTSTAMP:20151005T171502 DTSTART:20130517T083000 GEO:58.3002019;-134.4157953 LOCATION:Alaska State Museum\,395 Whittier Street \nJuneau\, Alaska 99801 SEQUENCE:0 SUMMARY: "The State of Being\, Displaced"\, Nicholas Galanin UID:276040 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gottfried Helnwein is one of the most important internationa lly known Austrian artists. On the occasion of his 65th birthday\, the Albe rtina is dedicating the first retrospective of his works in Europe to him.< br /> 
More than 150 works from all phases of his career provide insig ht into Helnwein's creative work\, which is characterised by a pointed dial ogue with society\, its bete noires and taboo subjects. He primarily became known for his hyperrealistic paintings of wounded and bandaged children. E ven Disney figures take on a menacing aspect in Helnwein's works. Pain\, in jury and violence are recurring motifs in his unsettling and disturbing wor ks.

DTEND:20131013 DTSTAMP:20151005T171502 DTSTART:20130525 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Retrospective\, Gottfried Helnwein UID:278935 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the 1980s\, Gunter Damisch (born in Steyr/Upper Austria i n 1958) became known in the wake of the "Neue Wilde" or "New Wild Ones"\, a loose group of young artists responding to the internationally proclaimed downfall of painting with expressive\, colourful pictures. Within his exten sive oeuvre\, Damisch has conceived a highly individual iconography and myt hology that oscillates between figuration and abstraction and by which he f athoms his pictorial worlds. Since 1992 the artist has held a professorship in printmaking at the Academy of Fine Arts in Vienna. Within the framework of this exhibition\, his recent production of monumental woodcuts\, monoty pes\, and printed collages will be on public view for the first time.

DTEND:20130922 DTSTAMP:20151005T171502 DTSTART:20130619 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Macro Micro\, Gunter Damisch UID:278937 END:VEVENT BEGIN:VEVENT DTEND:20130619T210000 DTSTAMP:20151005T171502 DTSTART:20130619T100000 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Macro Micro\, Gunter Damisch UID:278938 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In a cabinet exhibition\, the Skulpturensammlung directs its focus on the nude around 1900. On view are small-sized works from their ow n holdings by German and French artists such as Ernst Moritz Geyger\, Arist ide Maillol\, Auguste Rodin and Bernhard Hoetger. Aspects of body\, landsca pe and eroticism are illustrated in nude sculpture of classic modernism. On ce presented in cases of the so-called Schaudepot\, bronze and marble sculp tures are now exhibited in a light setting and can be observed from all sid es. Here\, they enter into a dialogue with each other.


In the exhibition different subject areas reveal central textual and formal appea rances in nude sculpture around 1900. Auguste Rodin\, for instance\, who is known as the founder of modern sculpture\, introduced the introverted figu re in sculpture. His marble work &lsquo\;Eve&rsquo\; of 1881 is one example . Inspired by Rodin\, sculptors such as Stanislaus Cauer\, Max Lange or Pau l Sturm created elegiac nudes of Art Nouveau\, which seem to be isolated by space and whose meaning is incumbent upon the audience. Also the central t opic of the female nude bathing or at the toilette served as a good surface onto which an idealized role model of the woman could have been projected. Works by the Frenchman Albert Bartholomé\; and the German Georg Kolb e give proof.

DTEND:20131110 DTSTAMP:20151005T171502 DTSTART:20130530 GEO:51.0515749;13.7450004 LOCATION:Albertinum - Galerie Neue Meister (New Masters Gallery)\,Tzschirne rplatz 2 \nDresden \, D - 01067 SEQUENCE:0 SUMMARY:The Nude around 1900. Body\, Landscape\, Eroticism\, Auguste Rodin\ , Stanislaus Cauer\, Max Lange\, Paul Sturm UID:295598 END:VEVENT BEGIN:VEVENT DESCRIPTION:

John James Audubon is known for his remarka ble studies of American birds depicted in their natural habitats. His The B irds of North America (1827-1839)\, in which he identified 25 new species a nd a number of new sub-species\, is considered to be one of the finest orni thological works ever completed. However\, his studies of mammals are less well-known.


Twelve folio engravings by this great ornithologist\, naturalist and painter are on display within the Museum unt il 28 October.


John James Audubon’s exotic and oft en romanticised life has been widely chronicled\; searching ‘Audubon’ on th e internet produces over ten million hits. Born Jean-Jacques in Haiti in 17 85\, he was the illegitimate son of Captain Jean Audubon and his French-Cre ole mistress. He was raised in France\, received some naval training\, lear ned to love nature and wildlife\, and began to draw. To escape conscription into Napoleon’s army the eighteen year old Audubon was sent to America to manage his father’s new estate\, Mill Grove\, near Philadelphia. Although A udubon returned to France he finally settled in America in 1806.


His earliest studies of birds date back to 1804 but work for his epic The Birds of America demanded a more peripatetic way of life and in 1820 Audubon began his travels\, supporting himself as a portrait painte r and drawing master. His aim was to represent the authentic colours and de tails characteristics of each species life-size. He collected his own speci mens\, usually by shooting them\, in order to record the colours before the faded. Wiring the birds in life-like positions\, he transcribed their outl ines as accurate pencil drawings.


John James Audubon changed foreve r the way in which nature is illustrated. His painstakingly executed\, life -size images underscore his genius and confirm his place as one of the grea t American artists of the 19th century.

DTEND:20131028 DTSTAMP:20151005T171502 DTSTART:20130310 GEO:51.3753603;-2.3113128 LOCATION:American Museum in Britain\,Claverton Manor \n Bath \, BA2 7BD SEQUENCE:0 SUMMARY: Fur and Feather\, John James Audubon UID:258941 END:VEVENT BEGIN:VEVENT DTEND:20130310T170000 DTSTAMP:20151005T171502 DTSTART:20130310T120000 GEO:51.3753603;-2.3113128 LOCATION:American Museum in Britain\,Claverton Manor \n Bath \, BA2 7BD SEQUENCE:0 SUMMARY: Fur and Feather\, John James Audubon UID:258942 END:VEVENT END:VCALENDAR