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An exhibition by the Fritz Wot ruba Private Foundation

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Fritz Wotruba (1907&ndash\;1975) numbers among the most prominent sculptors in
20t h-century Europe and is considered a classic of modern sculpture. The focus of the exhibition is on about 50 drawings and several important s tone sculptures made between 1925 and 1975. The show is to illustrate how t he sculptor prepared the process of the reduction of the human body in his drawings &ndash\; a process that frequently only came to bear on his sculpt ures later on. In many cases\, the drawings must thus be seen as autonomous works\, which\, in their relentless straightforwardness\, show the artist at the acme of his creative potentials. They revolve around and condense Wo truba&rsquo\;s notions of the figure and provide an inexhaustible source of inspiration for him\, thanks to which he manages to translate the spontane ity and unrestrained quality of his ideas into the sculptures.

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To mark the 450th anniversary of Michelangelo Buo narroti&rsquo\;s death\, this exhibition addresses Wotruba&rsquo\;s lifelon g fascination with this genius of sculpture and showcases his graphic serie s Homage à\; Michelangelo of 1975. In these 26 drawings Wotr uba conducts an imaginary dialogue with the esteemed master and reflects on the creative process behind sculpture. This last sequence of works\, creat ed just a few weeks before Wotruba&rsquo\;s death\, can be deemed his artis tic legacy.

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Eine Ausstellung der Fritz Wotruba Privatstift ung

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Fritz Wotruba (1907&ndash\;1975) zä\;hlt zu den prominentesten Bildhauern des 20. Jahrhunderts in Europa und gilt als &bdquo\;Klassiker&ldquo\; der modernen Skulptur. Die Ausstell ung konzentriert sich auf rund 60 Zeichnungen und einige bedeutende Steinsk ulpturen aus der Zeit von 1925 bis 1975. Sie mö\;chte verdeutlichen\, w ie sehr der Bildhauer in seinen Zeichnungen jenen Prozess der Reduktion des menschlichen Kö\;rpers vorbereitete\, der sich in den Skulpturen oft e rst spä\;ter auswirkte. Die Zeichnungen haben in vielen Fä\;llen al s autonome Werke zu gelten\, die in ihrer hä\;ufig ungeschö\;nten R ü\;cksichtslosigkeit den Kü\;nstler auf der Hö\;he seiner sch&o uml\;pferischen Mö\;glichkeiten zeigen. Sie umkreisen und verdichten Wo trubas Vorstellung von Figur und bilden fü\;r ihn eine unerschö\;pf liche Quelle der Inspiration\, aus der es ihm gelingt\, die Spontaneitä \;t und Ungezü\;geltheit der Idee in die Skulptur einfließ\;en zu lassen.

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Aus Anlass des 450. Todestags Michelangelo Buonarrotis thematisiert die Ausstellung auch Wotrubas lebens lange Auseinandersetzung mit dem Bildhauergenius und zeigt den 1975 entstan denen grafischen Zyklus \;Hommage à\; Michelangelo. Wotr uba fü\;hrt in diesen 26 Zeichnungen einen imaginä\;ren Dialog mit dem verehrten Meister und reflektiert ü\;ber den bildhauerischen Sch&ou ml\;pfungsprozess. Dieser wenige Wochen vor Wotrubas Tod entstandene letzte Werkkomplex darf als sein kü\;nstlerisches Vermä\;chtnis gelten. DTEND:20141109 DTSTAMP:20140922T130602 DTSTART:20140514 GEO:48.1941134;16.3953555 LOCATION:21er Haus\,Schweizergarten\, Arsenalstraße 1 \nVienna\, 1030 SEQUENCE:0 SUMMARY:Hommage à Michelangelo\, Fritz Wotruba UID:357400 END:VEVENT BEGIN:VEVENT DESCRIPTION:

When Peter Baum was appointed director of the Neue Galerie der Stadt Linz in 1974\, he was just thirty-fo ur\, making him the youngest museum director in Austria. In 2004\, exactly thirty years later\, Baum retired as founding director of its successor ins titution\, Kunstmuseum LENTOS\, on which he had exerted such a profound inf luence\, and returned to his birthplace Vienna.

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Between 1962 and 1973\, Baum had worked as an art critic and cul tural journalist in Vienna\, organizing exhibitions for the Galerie auf der Stubenbastei and Galerie am Schottenring. With the opening of the Museum o f the Twentieth Century under Director Werner Hofmann in 1962\, a new stand ard was set in art. This museum was housed in the former Austrian Pavilion from the Brussels Expo\, adapted by Karl Schwanzer\, the building that is n ow the 21er Haus. In the same way as Otto Mauer at the Galerie St. Stephan from 1955\, Hofmann and his successor Alfred Schmeller not only opened up A ustria to the international art world but also incorporated the lively\, ex panding plurality of the art scene.

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E ver since childhood Peter Baum had been interested in photography. In his s chool days he photographed well-known personalities\, such as Burgtheater a ctors and actresses Attila Hö\;rbiger\, Josef Meinrad\, and Judith Holz meister. Later on\, while working as a journalist\, Peter Baum&rsquo\;s por trayals of artists and reportage photos were regularly published in many of his exhibition reviews for Austrian daily newspapers. Baum\, now seventy-f ive\, recently gave the Belvedere a striking selection of photographs he to ok between 1962 and 1973 at 20er Haus press conferences and openings. Not o nly are these works of art in their own right\, but these pictorial documen ts have now also gained historical significance.

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Als Peter Baum 1974 die Leitung der Neuen Galerie der Stadt Linz ü\;bernahm\, wa r er gerade einmal 34 Jahre alt und damit der jü\;ngste Museumsdirektor in Ö\;sterreich. Genau 30 Jahre spä\;ter\, im Jahr 2004\, ging der 1939 geborene Wiener als Grü\;ndungsdirektor des von ihm entscheidend geprä\;gten Kunstmuseums LENTOS in den Ruhestand und kehrte in seine Ge burtsstadt zurü\;ck.

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Von 1962 bis 1973 war Baum als Kunstkritiker und Kulturjournalist in Wien tä\;tig u nd organisierte Ausstellungen fü\;r die Galerie auf der Stubenbastei so wie fü\;r die Galerie am Schottenring. Mit der Erö\;ffnung des Muse ums des 20. Jahrhunderts unter Werner Hofmann im Jahr 1962 wurde der von Ka rl Schwanzer adaptierte ehemalige Ö\;sterreichpavillon der Weltausstell ung in Brü\;ssel zum Maß\;stab fü\;r bildende Kunst. So wie Ot to Mauer ab 1955 in der von ihm geleiteten Galerie St. Stephan sorgten Hofm ann und nach ihm Alfred Schmeller nicht nur fü\;r die Ö\;ffnung und den internationalen Anschluss der ö\;sterreichischen Szene\, sondern a uch fü\;r deren vitale Durchmischung mit einem zunehmend pluralistisch expandierenden Angebot.

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Fü\;r Fot ografie interessierte sich Peter Baum von klein auf. In seiner Schulzeit et wa fotografierte er u. a. bekannte Burgschauspieler wie Attila Hö\;rbig er\, Josef Meinrad und Judith Holzmeister. Spä\;ter\, im Rahmen seiner journalistischen Tä\;tigkeit und in vielen von ihm verfassten Ausstellu ngsberichten fü\;r ö\;sterreichische Tageszeitungen\, wurden Peter Baums Kü\;nstlerporträ\;ts und Reportage Fotos regelmä\;ß\ ;ig verö\;ffentlicht. Eine markante Auswahl der zwischen 1962 und 1973 anlä\;sslich von Pressekonferenzen und Erö\;ffnungen im 20er Haus e ntstandenen Fotografien hat der inzwischen 75-jä\;hrige Zeitzeuge j&uum l\;ngst dem Belvedere in Form einer Schenkung ü\;berlassen. Ü\;ber ihre kunstimmanenten Qualitä\;ten hinaus sind diese Bilddokumente inzwi schen auch historisch wertvoll geworden.

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DTEND:20141019 DTSTAMP:20140922T130602 DTSTART:20140521 GEO:48.1941134;16.3953555 LOCATION:21er Haus\,Schweizergarten\, Arsenalstraße 1 \nVienna\, 1030 SEQUENCE:0 SUMMARY:Fotografien\, Peter Baum UID:357399 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the summer of 2014 the Titz e collection is celebrating its exhibition premiere at two of the Belvedere &rsquo\;s museums: the 21er Haus and the Winter Palace. Prince Eugene of Sa voy&rsquo\;s former residence\, which was just recently opened to the publi c\, is not only to be a magnificent setting for historical\, particularly b aroque exhibits\, but combinations with contemporary art shall also reveal new perspectives. Launching this exciting juxtaposition\, the Belvedere has the honor of staging this first presentation of Anne and Wolfgang Titze&rs quo\;s wide-ranging collection of international contemporary art.

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The Austro-French collection includes key work s of Minimal art\, such as Dan Flavin&rsquo\;s first work using neon tubes\ , a floor piece by Carl Andre\, specific wall objects by Donald Judd\, a felt piece by Robert Morris\, modular grids by Sol LeWitt\, and reli efs by Fred Sandback. Pioneers of Minimalism like Agnes Martin\, Frank Stel la\, and Robert Ryman are represented as are their European contemporaries Piero Manzoni\, Giulio Paolini\, and Lucio Fontana. Influential protagonist s of German post-war art\, such as Gerhard Richter\, Georg Baselitz\, G&uum l\;nther Uecker\, and Anselm Kiefer meet shooting stars of the American art scene including Sterling Ruby\, Wade Guyton\, Kelley Walker\, Seth Price\, and Christopher Wool. World-renowned artists such as Olafur Eliasson\, Mat thew Barney\, Anish Kapoor\, Yayoi Kusama\, Sarah Lucas\, Gabriel Orozco\, and Jeff Wall demonstrate the variety of the globalized art world. Displaye d in a scintillating interaction with the historical interior of the inner- city palace and the airy atmosphere of the 21er Haus\, visitors can appreci ate both the most recent trends and their origins in painting\, sculpture\, graphic art\, and photography at exhibitions that promise a memorable enco unter with an exceptional collection.

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Im Sommer 2014 feier t die Sammlung Titze ihre Ausstellungspremiere in gleich zwei Hä\;usern des Belvedere: im 21er Haus sowie im Winterpalais\, das erst kü\;rzlic h als neue Dependance des Museums der Ö\;ffentlichkeit zugä\;nglich gemacht wurde. Dem prunkvollen Ambiente der ehemaligen Residenz des Prinze n Eugen von Savoyen entsprechend werden dort nicht nur historische\, insbes ondere barocke Exponate gezeigt\, sondern in Kombination mit zeitgenö\; ssischer Kunst auch neue Perspektiven erö\;ffnet. Zum Auftakt dieser sp annungsvollen Gegenü\;berstellungen ist es gelungen\, Anne und Wolfgang Titze fü\;r die erstmalige Prä\;sentation ihrer umfangreichen Samm lung internationaler Gegenwartskunst zu gewinnen.

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Die ö\;sterreichisch-franzö\;sische Sammlung umfasst S chlü\;sselwerke der Minimal Art\, etwa die erste Neonrö\;hren-Arbei t von Dan Flavin\, eine Bodenarbeit von Carl Andre\, spezifische Wandobjekt e von Donald Judd\, ein Felt-Piece von Robert Morris\, modulare Gitterobjek te von Sol LeWitt\, als auch Reliefs von Fred Sandback. Wegbereiter der Min imalisten sind mit Positionen wie Agnes Martin\, Frank Stella und Robert Ry man ebenso vertreten wie deren europä\;ische Zeitgenossen Piero Manzoni \, Giulio Paolini und Lucio Fontana. Stilbildende Protagonisten der deutsch en Nachkriegskunst wie Gerhard Richter\, Georg Baselitz\, Gü\;nther Uec ker und Anselm Kiefer treffen in der Ausstellung auf die Shooting Stars der amerikanischen Szene\, etwa Sterling Ruby\, Wade Guyton\, Kelley Walker\, Seth Price und Christopher Wool. Internationale Ausnahmekü\;nstler wie Olafur Eliasson\, Matthew Barney\, Anish Kapoor\, Yayoi Kusama\, Sarah Luca s\, Gabriel Orozco und Jeff Wall spiegeln die Vielfalt einer globalisierten Kunstwelt wider. In einem reizvollen Zusammenspiel mit dem historischen In terieur des Innenstadtpalais und der luftigen Atmosphä\;re des 21er Hau s lassen sich jü\;ngste Tendenzen und ihre Wurzeln in Malerei\, Skulptu r\, Grafik sowie Fotografie nachvollziehen und den Ausstellungsbesuch zu ei ner besonderen Begegnung mit einer auß\;ergewö\;hnlichen Sammlung werden.

DTEND:20141005 DTSTAMP:20140922T130602 DTSTART:20140615 GEO:48.1941134;16.3953555 LOCATION:21er Haus\,Schweizergarten\, Arsenalstraße 1 \nVienna\, 1030 SEQUENCE:0 SUMMARY:Love Story \, Marina Abramovic\, David Altmejd\, Carl Andre\, Matth ew Barney\, Georg Baselitz\, Valérie Belin\, Larry Bell\, Matthew Brannon\, James Lee Byars\, John Chamberlain\, Nigel Cooke\, Richard Deacon\, Thomas Demand\, Nathalie Djurberg\, Hans Berg\, Olafur Eliasson\, Dan Flavin\, Lu cio Fontana\, Barnaby Furnas\, Adrian Ghenie\, Antony Gormley\, Rodney Grah am\, Kevin Francis Gray\, Andreas Gursky\, Wade Guyton\, Guyton/Walker\, Eb erhard Havekost\, Thomas Helbig\, Gregor Hildebrandt\, Shirazeh Houshiary\, Nathan Hylden\, Kathleen Jacobs\, Donald Judd\, Anish Kapoor\, Jacob Kassa y\, Anselm Kiefer\, Yayoi Kusama\, Claude Leveque\, Sherrie Levine\, Sol Le Witt\, Robert Longo\, Sarah Lucas\, Robert Mangold\, Piero Manzoni\, Christ ian Marclay\, Agnes Martin\, John McCracken\, Adam McEwen\, Julie Mehretu\, Mario Merz\, Matthew Monahan\, Robert Morris\, Gabriel Orozco\, Damián Ort ega\, Giulio Paolini\, Adam Pendleton\, Joyce Pensato\, Grayson Perry\, Pao la Pivi\, Jaume Plensa\, Seth Price\, Rashid Rana\, Gerhard Richter\, Charl es Ross\, Sterling Ruby\, Robert Ryman\, Fred Sandback\, Wilhelm Sasnal\, T homas Scheibitz\, Sean Scully\, Dirk Skreber\, Tony Smith\, Peter Stauss\, Frank Stella\, Rudolf Stingel\, Wolfgang Tillmans\, Günther Uecker\, Bernar Venet\, Kelley Walker\, Jeff Wall\, Rebecca Warren\, Lawrence Weiner\, Rac hel Whiteread\, Christopher Williams\, Christopher Wool\, Erwin Wurm\, Lisa Yuskavage\, Toby Ziegler\, Thomas Zipp\, Heimo Zobernig UID:357397 END:VEVENT BEGIN:VEVENT DESCRIPTION:

From 21 June 2014\, the 21er H aus and the Vienna University of Technology are presenting a sculptural pav ilion in the lower-level courtyard in front of the museum. The idea was dev eloped at the department for architectural theory\, headed by Professor Kuh lmann\, together with architects from the practice SOMA. This experimental construction is based on the scientific analysis of various materials and t heir static qualities as supporting structures. In its operational formless ness\, the aluminum design expands on the notion of temporary presentation and is both a sculpture that can be walked into and the architecture of an exhibition.

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For this pavilion will fe ature displays of twenty-one architectural projects from Austria and Sweden \, selected by the curatorial team Mathias Mitteregger\, Ana Simionovici\, and Oliver Schü\;rer. All of these projects clearly demonstrate how tod ay&rsquo\;s culture of recreation is fundamentally altering architecture. A further space is thus created outside the museum in which visitors are inv ited to relax\, appreciate\, and explore.

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This architectural intervention picks up on a tradition at the very co re of the 21er Haus and its story. After all\, this building\, originally d esigned for the 1958 World&rsquo\;s Fair in Brussels\, started off as a tem porary exhibition space itself. At the time\, architect Karl Schwanzer was awarded the Grand Prix d&rsquo\;Architecture for his avant-garde and techni cally innovative design. And it was thanks to the appreciation of groundbre aking architecture that the Expo Pavilion was then transferred to Austria w here\, since 1962\, it has been a museum of contemporary art. In this conte xt\, the 21er Haus continues to see itself as a place for pioneering projec ts.

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Der Tiefhof vor dem Museum des 21er Haus ist Schauplat z einer ungewö\;hnlichen Architekturprä\;sentation. Ein Pavillon au s filigran wirkenden gedrehten Aluminiumstä\;ben schraubt sich dort aus der Tiefe in die Hö\;he und empfä\;ngt den Betrachter am Eingang d es Museums.

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Die Konstruktion des Pavi llons entstand als StudentInnenprojekt am Lehrstuhl fü\;r Architekturth eorie unter der Leitung von soma architecture. Kristina Schinegger (soma) u nd Stefan Rutzinger (soma) hatten die konzeptionelle Basis dieser experimen tellen Bauweise geliefert\, die auf der Analyse unterschiedlicher Materiali en und deren statischen Eigenschaften als tragende Strukturen basiert. Mit seiner operativen Formlosigkeit erweitert der Entwurf aus Aluminium die Vor stellung von temporä\;rer Prä\;sentation und ist begehbare Skulptur und Ausstellungsarchitektur zugleich\, da der Pavillon als Display fü\ ;r 21 innovative Architekturprojekte aus Ö\;sterreich und Schweden dien t. Die von Dö\;rte Kuhlmann\, der Leiterin der Abteilung Architekturthe orie an der TU Wien\, und den KuratorInnen der TU Wien ausgesuchten Projekt e machen deutlich\, wie sich die Architektur durch die heutige Freizeitkult ur tief greifend verä\;ndert. Entstanden ist so ein weiterer Ort des Au fenthaltes im Auß\;enraum des Museums\, der die Besucher zu entspannte r Benutzung und Erkundung einlä\;dt.

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Die architektonische Intervention knü\;pft an eine Tradition an\, d ie dem 21er Haus durch seine Geschichte eingeschrieben ist. Wurde das Geb&a uml\;ude ja ursprü\;nglich ebenfalls als temporä\;rer Ausstellungsr aum fü\;r die Weltausstellung in Brü\;ssel 1958 konzipiert. Fü\ ;r den avantgardistischen und technisch innovativen Entwurf erhielt der Arc hitekt Karl Schwanzer damals den Grand Prix d&rsquo\;Architecture. Der Wert schä\;tzung von zukunftsweisender Architektur ist es zu verdanken\, das s der Expo-Pavillon nach Ö\;sterreich ü\;berfü\;hrt und dort se it 1962 als zeitgenö\;ssisches Museum genutzt wird. In diesem Zusammenh ang versteht sich das 21er Haus auch weiterhin als Ort fü\;r vordenkeri sche Vorhaben.

DTEND:20140928 DTSTAMP:20140922T130602 DTSTART:20140621 GEO:48.1941134;16.3953555 LOCATION:21er Haus\,Schweizergarten\, Arsenalstraße 1 \nVienna\, 1030 SEQUENCE:0 SUMMARY:The Art of ReCreation - Ein Pavillon für Freizeit und Architektur UID:357393 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jay Lagemann likes to work with many different materials\, t rying to use the ones that will best help him actualize his vision for a pi ece. These include wood\, steel\, copper\, clay\, plaster\, cement\, fiberg lass and resins. Many of his pieces are cast in bronze and stainless steel. He plays with video and music.

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Jay attended Princeton University\, concentrating in mathematics and art graduating Magna Cum Lauda and Phi Be tta Kappa. After receiving his PhD in mathematical logic from MIT\, he real ized he didn't want to spend his time working motionless inside four walls. He has travelled all over the world and has sailed yachts across the north and south Atlantic\, as well as has played with dolphins and windsurfed in the large waves on Maui. It is no surprise then that when his love of art compelled him to make sculpture\, he worked to capture the joy and essence of movement in dance\, play\, and work\, as well as in abstract forms.

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He is perhaps best known for the seventeen-foot tall Swordfish Harpoone r that stands amidst the dunes in Menemsha\, on Martha&rsquo\;s Vineyard\, that was commissioned for Chilmark's tri-centennial in 1994. Responding to requests for a personal-sized version of the Swordfish Harpooner\, Jay atte nded workshops at the Johnson Atelier and Foundry in New Jersey. There\, he learned to work in the bronze medium and completed the casting of a protot ype that was used to produce the edition of bronze Harpooner sculptures\, a ll signed and numbered. Jay now works with A.R.T. Foundry in Lancaster\, PA \, and the TMC Foundry in Thailand. On Martha's Vineyard\, where Jay lives\ , his outdoor pieces are shown at the Granary\, Field\, and Featherson Gall eries\, as well as his Wild Island Sculpture Garden on his eight-acre famil y compound. In 2013\, Jay installed six large pieces on location in Beverly Hills\, CA\, including a large cast stainless steel Swinging Jenny. The se cond cast in this edition will be in The Language of Motion show. We will a lso be showing Jay's new life-sized bronze\, The Dance\, inspired by the Ma tisse painting\, which was commissioned for a new house being built in Chil mark\, MA.

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Jay and his wife\, Marianne Neill\, have made Martha's V ineyard their home since 1976. They live in the house they built\, which Ja y considers his largest sculpture\, surrounded by family and art\, enjoying the many advantages of life on the Vineyard\, while surfing\, biking\, hik ing\, playing with his grandchildren and working in his studio.

DTEND:20140831 DTSTAMP:20140922T130602 DTSTART:20140531 GEO:38.772175;-76.074147 LOCATION:Academy Art Museum\,106 South Street \nEaston \, MD 21601 SEQUENCE:0 SUMMARY:THE LANGUAGE OF MOTION\, Jay Lagemann UID:348089 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Museum is pleased to present its Annual Members&rsquo\; Exhibition. This exceptional tradition represents the best of the region&rs quo\;s artists and offers an opportunity to view the creative talents of co lleagues and friends. Each Museum member will have the opportunity to show one piece. It should be noted that in the last five years\, several members have been offered one-person exhibitions in the Selections Gallery followi ng the Annual Members&rsquo\; Exhibition.

DTEND:20140907 DTSTAMP:20140922T130602 DTSTART:20140726 GEO:38.772175;-76.074147 LOCATION:Academy Art Museum\,106 South Street \nEaston \, MD 21601 SEQUENCE:0 SUMMARY:THE ANNUAL MEMBERS' EXHIBITION UID:348090 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This year&rsquo\;s Summer Salon will feature a variety of su mmer-themed artworks created during the twentieth century at New England&rs quo\;s renowned summer art colonies\, as well as a selection of important w orks reprised from gallery and museum exhibitions of the 2013/2014 season. Highlights will include a beautifully expressive\, fully abstract oil on pa per by Hans Hofmann\, a monumental canvas by contemporary painter Pat Lipsk y\, and an important oil painting from the mid-1960s held over from our cri tically acclaimed recent exhibition of works by Jack Tworkov. Other artists whose artwork will form a part of the exhibition include: Edwin Dickinson\ , Michael Loew\, George McNeil\, Charles Littler\, Kenneth Stubbs\, Dorothy Eisner\, Maurice Freedman\, Hayes Ownby\, Panos Ghikas\, William Freed\, L illian Orlowsky\, Sharli Powers Land\, Philip Malicoat\, Daniel Brustlein\, Robert Beauchamp\,Tony Vevers\, and Lester Johnson. Sculpture by Gilbert F ranklin\, Ilya and Resia Schor\, and paintings by contemporary artists\, Ro se Basile\, Myrna Harrison and George Lloyd will round out the exhibition.< /p> DTEND:20140816 DTSTAMP:20140922T130602 DTSTART:20140711 GEO:42.3422888;-71.0640456 LOCATION:ACME Fine Art\,1 Thayer Street \nBoston\, Massachusetts 02118 SEQUENCE:0 SUMMARY:SUMMER SALON 2014\, George McNeil\, Michael Loew\, Edwin Dickinson\ , George Lloyd\, Myrna Harrison\, Rose Basile\, Resia Schor\, Ilya Schor\, Gilbert Franklin\, Pat Lipsky\, Hans Hofmann\, Jack Tworkov\, Daniel Brustl ein\, Philip Malicoat\, Sharli Powers Land\, Lillian Orlowsky\, William Fre ed\, Panos Ghikas\, Hayes Ownby\, Maurice Freedman\, Dorothy Eisner\, Kenne th Stubbs\, Charles Littler\, Robert Beauchamp\, Tony Vevers\, Lester Johns on UID:345674 END:VEVENT BEGIN:VEVENT DTEND:20140711T200000 DTSTAMP:20140922T130602 DTSTART:20140711T170000 GEO:42.3422888;-71.0640456 LOCATION:ACME Fine Art\,1 Thayer Street \nBoston\, Massachusetts 02118 SEQUENCE:0 SUMMARY:SUMMER SALON 2014\, Rose Basile\, Robert Beauchamp\, Daniel Brustle in\, Edwin Dickinson\, Dorothy Eisner\, Gilbert Franklin\, William Freed\, Maurice Freedman\, Panos Ghikas\, Myrna Harrison\, Hans Hofmann\, Lester Jo hnson\, Sharli Powers Land\, Pat Lipsky\, Charles Littler\, George Lloyd\, Michael Loew\, Philip Malicoat\, George McNeil\, Lillian Orlowsky\, Hayes O wnby\, Ilya Schor\, Resia Schor\, Kenneth Stubbs\, Jack Tworkov\, Tony Veve rs UID:345675 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In a world premiere event\, the studio that brought you the animated classics Shrek\, Madagascar and Kung Fu Pand a is offering unprecedented access to its extraordinary archive in DreamWorks Animation: The Exhibition.

DreamWorks Ani mation: The Exhibition is ACMI's largest ever exhibition\, featuring o ver 400 items including\, never-seen-before concept drawings\, interviews\, models and original artworks\, \;and interactive experiences for child ren and adults. Visitors will lose themselves in the extraordinary worlds c reated by DreamWorks' award-winning artists and travel with beloved charact ers\, from original sketches through to grumpy ogres\, friendly dragons and Kung Fu-fighting pandas.

Curated in collaboration with DreamW orks Animation\, and commemorating its 20th anniversary\, DreamWorks An imation: The Exhibition is the studio's first ever large-scale interna tional exhibition.

DTEND:20141026 DTSTAMP:20140922T130602 DTSTART:20140410 GEO:-37.814107;144.96328 LOCATION:ACMI (Australian Centre for the Moving Image)\,Federation Square\, Flinders Street \nMelbourne\, Victoria SEQUENCE:0 SUMMARY:DreamWorks Animation: The Exhibition UID:326039 END:VEVENT BEGIN:VEVENT DTEND:20140410T180000 DTSTAMP:20140922T130602 DTSTART:20140410T100000 GEO:-37.814107;144.96328 LOCATION:ACMI (Australian Centre for the Moving Image)\,Federation Square\, Flinders Street \nMelbourne\, Victoria SEQUENCE:0 SUMMARY:DreamWorks Animation: The Exhibition UID:326040 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Covering 25 years of Tony Fehe r&rsquo\;s art\, the exhibition will feature the range of everyday material s Feher employs\, from bottles filled with colored water to marbles and pen nies\, Styrofoam blocks\, soft drink crates\, plastic bags\, paper cups and various packing materials. Although Feher's materials can be seen as banal &mdash\;even throwaway&mdash\;they are chosen specifically for their distin ct visual and structural qualities as well as for their connection to peopl e. Feher stacks\, arranges\, dangles and aligns his materials to form fluid lines\, thoughtful rhythms and bursts of color and light. His art enables us to observe and appreciate the beauty and poetry in the ordinary objects that surround us or simply look at things anew.

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Tony Feher has been organized by the Blaffer Art Museum at t he University of Houston.
Its presentation at the Akron Art Museum i s generously supported by the John L. and James S. Knight Foundation\, Toby Devan Lewis and the Ohio Arts Council.

DTEND:20140817 DTSTAMP:20140922T130602 DTSTART:20140412 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:Solo Exhibition\, Tony Feher UID:330484 END:VEVENT BEGIN:VEVENT DTEND:20140412T170000 DTSTAMP:20140922T130602 DTSTART:20140412T110000 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:Solo Exhibition\, Tony Feher UID:330485 END:VEVENT BEGIN:VEVENT DESCRIPTION:

From the early 20th century\, when Pablo Picasso and Georges Braque introduced words into their Cubist still life paintings and collage s\, artists have incorporated language into their images. Language in A rt explores the variety of ways contemporary artists utilize words in artworks from the Akron Art Museum collection.

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While Shusaku Arakaw a surrounds a poem by his wife with directional lines to explore relationsh ips between time and space\, Lesley Dill associates Emily Dickinson&rsquo\; s poetry with the human form in an innovative lithograph printed on organza . Kristen Cliffel frosts sumptuous ceramic cupcakes with questions regardin g society&rsquo\;s expectations of women and Sophie Calle creates an imagin ative illustrated narrative from photographs and notes she recorded while w orking as a chambermaid in a Venice hotel.

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The exhibition also feat ures sculptures\, prints and photographs by Robert Arneson\, Vernon Fisher\ , Ed Ruscha\, Lorna Simpson\, Carrie Mae Weems and William T. Wiley.

DTEND:20140914 DTSTAMP:20140922T130602 DTSTART:20140412 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:Akron Art Museum\, Shusaku Arakawa\, Lesley Dill\, Kristen Cliffel\ , Sophie Calle\, Robert Arneson\, Vernon Fisher\, Ed Ruscha\, Lorna Simpson \, Carrie Mae Weems\, William T. Wiley UID:337493 END:VEVENT BEGIN:VEVENT DESCRIPTION:

From the early 20th century\, when Pablo Picasso and Georges Braque introduced words into their Cubist still life paintings and collage s\, artists have incorporated language into their images. \;Languag e in Art \;explores the variety of ways contemporary artists utili ze words in artworks from the Akron Art Museum collection.

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While Sh usaku Arakawa surrounds a poem by his wife with directional lines to explor e relationships between time and space\, Lesley Dill associates Emily Dicki nson&rsquo\;s poetry with the human form in an innovative lithograph printe d on organza. Kristen Cliffel frosts sumptuous ceramic cupcakes with questi ons regarding society&rsquo\;s expectations of women and Sophie Calle creat es an imaginative illustrated narrative from photographs and notes she reco rded while working as a chambermaid in a Venice hotel.

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The exhibiti on also features sculptures\, prints and photographs by Robert Arneson\, Ve rnon Fisher\, Ed Ruscha\, Lorna Simpson\, Carrie Mae Weems and William T. W iley.

DTEND:20140914 DTSTAMP:20140922T130602 DTSTART:20140412 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:Language in Art\, Lesley Dill\, Kristen Cliffel\, Sophie Calle\, Sh usaku\, Arakawa Robert Arneson\, Vernon Fisher\, Ed Ruscha\, Lorna Simpson\ , Carrie Mae Weems\, William T. Wiley UID:345588 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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When La Wilson enrolled in a two-year adult art class with Leroy Flint at the Akron Art Institute s oon after she settled in Hudson\, Ohio\, \; she could have hardly imagi ned its impact. Both Wilson and art in northeastern Ohio have been vastly e nriched by her idiosyncratic artworks that have been embraced by critics an d collectors nearby and around the country.

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Wilson started exhibiti ng paintings and drawings at the Akron Art Museum&rsquo\;s annual May Show in 1957. Two years later her pen and ink drawing Things as They Are won an award and entered the collection. By the late 1960s\, Wilson was making eni gmatic constructions using an array of found materials that she collected f or their appeal and &ldquo\;without judgment.&rdquo\; Over the years\, Wils on proceeded to position blocks of type\, stamps\, pastels\, crepe paper\, fishing lures\, plastic forks\, coins\, rosaries\, airplanes\, toy guns and a myriad of other materials into boxes or frames creating elegant composit ions that evoke delight\, nostalgia and sometimes even a dark edge. Wilson comments that her constructions evolve from a &ldquo\;stream of consciousne ss\,&rdquo\; noting that the objects either &ldquo\;click almost instantly& rdquo\; or &ldquo\;take forever to work.&rdquo\;

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La Wilson: Obj ects Transformed\, which features a selection of the remarkable artwor k the artist has created over a half century from the Akron Art Museum and Northeast Ohio collections\, is organized by the Akron Art Museum.

\n DTEND:20140921 DTSTAMP:20140922T130602 DTSTART:20140510 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY: Objects Transformed\, La Wilson UID:337494 END:VEVENT BEGIN:VEVENT DESCRIPTION:

At first glance the photographs of O. Winston Link seem to b e simply an extensive project that documents the end of steam locomotives. As we examine the breadth of Link&rsquo\;s output\, the images also draw us in with the drama of cinematic lighting\, lyrical landscapes and sentiment al views that could be illustrations by Norman Rockwell. For example\, the ingenious composition of Hot Shot Eastbound\, Iaeger\, West Virginia captur es the end of an era going by in a puff of smoke in the distance while the new automobile culture consumes the foreground.

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Featuring photograp hs from the museum&rsquo\;s collection and several loaned works\, the exhib ition will examine Link&rsquo\;s technical accomplishments and innovations as a photographer as well as his in-depth documentation of a quickly fading mode of transportation and way of life in rural America.

DTEND:20141109 DTSTAMP:20140922T130602 DTSTART:20140607 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:Along the Tracks\, O. Winston Link UID:345583 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Closure Notice: The Alaska State Museum at 395 Whittier Stre et will close its doors following the Final Friday event on February 28\, 2 014. Expected reopening in the new State Library\, Archives and Museum (SLA M) building will take place in April 2016. The new 118\,000 square-foot fac ility\, located at 395 Whittier Street\, will feature a gift store\, cafete ria\, auditorium\, classroom\, reading room\, museum galleries\, research r oom\, historical library\, and state archives all under one roof.

DTEND:20160401 DTSTAMP:20140922T130602 DTSTART:20140329 GEO:58.3002019;-134.4157953 LOCATION:Alaska State Museum\,395 Whittier Street \nJuneau\, Alaska 99801 SEQUENCE:0 SUMMARY:Gallery Renovation UID:335170 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Michelangelo Antonioni's 1966 cult film Blow-Up and its various references to photography are th e focus of the Albertina photo exhibit of the same name. For the first time \, photographs classified according to thematic emphases will be shown whic h have proven to be characteristic for Antonioni's film in various respects \, and which also illustrate important artistic positions in the history of photography and art.
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Blow-Up o ccupies a unique position\, not only in the history of film\, but also in t he history of photography. There is hardly another feature film that has sh own the diverse areas of photography in such a differentiated fashion\, and which attempts to fathom them in such a detailed and timeless manner. The photographic spectrum in Blow-Up is accordingly bro ad\, extending from fashion photography through social reporting and pop ar t to abstract photography. The Blow-Up exhibit pres ents these diverse themes and their relation to one another in several chap ters. In addition to film stills\, both works that can actually be seen in Blow-Up and photographs illuminating the cultural and artistic context of t he film production\, London of the Swinging Sixties\, will be shown. Among the exhibited photographers are thus found such central artists as David Ba iley\, Terence Donovan\, Richard Hamilton\, John Hilliard\, Don McCullin\, Ian Stephenson\, John Stezaker and many more.

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In addition to this\, the famous photos from Blow-Up of a pair of lovers in a park\, taken secretly by the protagonist of Ant onioni's story\, can also be viewed. The protagonist believes that he has " documented" a murder by chance with these images. However\, the photos turn out to provide only ambivalent evidence\, because even enlargements or blo w-ups of these photos don't reveal the presumed corpse. This cinematic stud y of the representation of images and their ambivalence has since provided the artistic basis for the works of a variety of contemporary photographers \, which demonstrates that Blow-Up has retained its cultural relevance since its creation in 1966.

DTEND:20140817 DTSTAMP:20140922T130602 DTSTART:20140430 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Blow-Up\, David Bailey\, Terence Donovan\, Richard Hamilton\, John Hilliard\, David Montgomery\, Don McCullin\, Ian Stephenson\, John Stezaker UID:333012 END:VEVENT BEGIN:VEVENT DTEND:20140430T210000 DTSTAMP:20140922T130602 DTSTART:20140430T100000 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Blow-Up\, David Bailey\, Terence Donovan\, Richard Hamilton\, John Hilliard\, Don McCullin\, David Montgomery\, Ian Stephenson\, John Stezaker UID:333013 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alex Katz (*1927 in New York) is one of the m ost important American artists of our time. He is a central figure of the A merican self-reflexive painting tradition\, for which the assonance of rati onality\, sensuality and abstraction is characteristic. The artist depicts seemingly dispassionate motifs from the life of the New York intellectual a nd art scene and the well situated leisure society in an iconic fashion in monumental formats. Another focus is on the representation of simultaneousl y immediate and unapproachable natural idylls of Maine in the north-eastern United States. On the occasion of his most recent gift of 60 works\, the A lbertina is presenting its entire collection of drawings and cards\, as wel l as a selection of the paintings of Alex Katz.

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Metr o sketches of the 1940s\, landscapes sketches from 1950 to the present\, pa rty sketches from the 1960s and 1970s\, as well as beach sketches of the 19 90s make clear that Alex Katz is already thinking like a painter while obse rving "in front of the motif". He grapples optically with the reality\, wor ks out the mood of the place and the light and records the fashionable perf ection and the gestures of the figures typical of the time.

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One can ultimately call the large-format\, and in themselves comple te "Finished Drawings" "paintings in black and white". In the around 20 por trait drawings of New York "Professional People" created between 1980 and 2 000\, Alex Katz achieves a long-distance effect of the light\, the valeur a nd the volumes of these flatly structured compositions that does not need t o hide itself behind the paintings. He consciously chooses techniques that force him to a reduction down to a few details and surfaces. The resonance of the empty paper space of these drawings can be compared with that of the monochrome areas of the paintings.

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Around a dozen c ards\, giant sheets of packing paper\, with the help of which Alex Katz tra nsfers the outlines of his motifs to the empty canvas\, are impressive witn esses to their one-time function as work materials. Here is where the artis t pursues the reduction of the motif to its outline to the greatest extent.

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In his paintings\, Alex Katz achieves this "cool" a esthetic of an immediate present\, which he has found in the observation of light and surfaces while drawing. The liveliness of the expressive line of the previous drawings is maintained\, reduced and perfected by the various transfer techniques\, in the gestural painting style of the paintings.

DTEND:20140928 DTSTAMP:20140922T130602 DTSTART:20140528 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Drawings\, Cartoons\, Paintings\, Alex Katz UID:337923 END:VEVENT BEGIN:VEVENT DTEND:20140528T210000 DTSTAMP:20140922T130602 DTSTART:20140528T100000 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Drawings\, Cartoons\, Paintings\, Alex Katz UID:337924 END:VEVENT END:VCALENDAR