ArtSlant - Recently added en-us 40 - Mingei International Museum - San Diego - February 7th, 2015 - July 5th, 2015 <h2 style="text-align: justify;">From the Collection of Deborah Neff</h2> <p style="text-align: justify;">This exhibition presents over 100 unique handmade African-American dolls made between 1850 and 1940. Faithful yet stylized representations of young and old African Americans, the dolls portray playful boys and girls, finely dressed gentlemen and elegant young ladies, distinguished older men and stately, determined women of mature years. The dolls are believed to have been created by African Americans for children that they knew‒members of their own families and communities as well as white children in their charge. Embroidered, stitched and painted faces express a variety of emotions&ndash;surprise, puzzlement, contentment and joy.</p> <p style="text-align: justify;">The dolls featured are constructed from a variety of materials. A number of dolls are simply presented, while others wear elaborate clothing, including undergarments, coats, hats, shoes and accessories. Many were made of leftover materials, including precious bits of lace, ribbon and selvage. Sock dolls were created with mended stockings stuffed with wool or raw cotton. Several dolls have delicate paper clothing, teeth and eyes; others have a small piece of wood or leather inserted under the fabric to form a nose. Topsy-turvy dolls reveal a black doll on one side and a white doll on the other, providing two dolls to play with instead of one. Some dolls have heads made from coconut shells, leather-wrapped heads and limbs, or make use of manufactured doll parts; others use bottles as the foundations of the dolls&rsquo; bodies.</p> <p style="text-align: justify;"><em><strong>BLACK DOLLS</strong></em>&nbsp;also includes rare nineteenth- and twentieth-century photographs of dolls, clutched by their young owners, or posed alone; these provide a fascinating yet somewhat mysterious context for these handmade and cherished companions.</p> <p style="text-align: justify;"><em><strong>BLACK DOLLS</strong></em> is part of the <a href="" target="_blank">AMERICAN ICONS</a> Exhibition Series. Beginning in June 2014 and throughout 2015 Mingei International Museum will mount a series of exhibitions to celebrate the imagination, inspiration and innovation of Americans who have for more than three centuries created stunning works of folk art, craft and design &ndash; our shared American Icons. <a href="" target="_blank">AMERICAN ICONS</a> is generously sponsored by <strong><a href="" target="_blank">Just Folk</a></strong>.</p> <p><img class=" wp-image-115711 alignleft" src="" alt="logo_address" width="644" height="322" /></p> <p>&nbsp;</p> Sat, 20 Dec 2014 18:16:37 +0000 Young-Il Ahn - Long Beach Museum of Art - February 19th, 2015 - April 12th, 2015 <p style="text-align: justify;"><em>A Memoir of Water: Works by Young-Il Ahn</em> features 31 large-scale abstractions that examine the seemingly endless portrayals of the element. Due to the transformative experience of being lost at sea and his mastery of the medium, Young-Il Ahn skillfully and methodically paints portraits of the ocean in an array of colors and textures that has led him to develop his work into a profoundly contemporary aesthetic. His dexterity with the oil medium borders on the unconvincing and must be experienced in person to be fully understood. His practice is meticulous and encourages a meditative state during the creative process. Before he begins his daily painting, Ahn plays the piano, clarinet and cello, which fulfills his long-standing love affair with music. Each layer, each color, each stroke of the palate knife is deliberately applied while in a state of utter concentration. Astonishingly, Ahn knows what the finished painting will look like before he even begins to paint.</p> Sat, 20 Dec 2014 18:12:51 +0000 Lisa Bartleson - Lancaster Museum of Art and History - January 24th, 2015 - March 22nd, 2015 Sat, 20 Dec 2014 18:09:31 +0000 Eric Johnson - Lancaster Museum of Art and History - January 24th, 2015 - March 22nd, 2015 Sat, 20 Dec 2014 18:09:17 +0000 Craig Kauffman, Tony Delap, DeWain Valentine, Tom Jenkins, John Paul Jones - Lancaster Museum of Art and History - January 24th, 2015 - March 22nd, 2015 Sat, 20 Dec 2014 18:08:23 +0000 Andrew Benson - Lancaster Museum of Art and History - January 24th, 2015 - March 22nd, 2015 Sat, 20 Dec 2014 18:08:06 +0000 Charles Dickson - Lancaster Museum of Art and History - January 24th, 2015 - March 22nd, 2015 Sat, 20 Dec 2014 18:07:27 +0000 Jennifer Faist - Lancaster Museum of Art and History - January 24th, 2015 - March 15th, 2015 Sat, 20 Dec 2014 18:06:52 +0000 R. Nelson Parrish - Lancaster Museum of Art and History - January 24th, 2015 - March 22nd, 2015 Sat, 20 Dec 2014 18:06:07 +0000 Robert Henri - Laguna Art Museum - February 22nd, 2015 - May 31st, 2015 <p style="text-align: justify;">The legendary American painter Robert Henri made his first plans to visit California just over a century ago.&nbsp; &ldquo;Westward Ho!&rdquo; he exclaimed in 1914 in a letter to his former student, Alice Klauber, who lived in San Diego. &nbsp;Henri&rsquo;s eagerness was rooted in his quest for new settings and fresh subjects. &ldquo;I am now quite convinced that San Diego is one of the most interesting and beautiful places in the world and we shall head that way and will not be convinced otherwise until we have seen the place and have been turned away,&rdquo; he wrote. &nbsp;Henri arrived in June and spent most of the latter part of 1914 living in an Irving Gill-designed cottage above La Jolla Cove.&nbsp; During these months the New York artist gave demonstrations to local artist groups, sent canvases to exhibitions in Los Angeles, New York, and San Francisco, helped Klauber conceive of a complex fine art program for the Panama-California Exposition then being planned for 1915 in the city&rsquo;s Balboa Park, wrote numerous letters to acquaintances in New York, and scripted theoretical texts about his aims for portraiture and exhibition practice.&nbsp; He also painted portraits of the local population, as well as at least one view of the Pacific Ocean swells outside his front door. &nbsp;After a busy summer and fall, he returned to New York in October of that year.<br /> .<br /> Although Henri subsequently became a frequent visitor to Santa Fe, New Mexico, he chose not to return to Southern California until the summer of 1922, and then he stopped only briefly.&nbsp; He came just once more to the West Coast, in January of1925.&nbsp; On both of these latter occasions he remained in Los Angeles, painting portrait commissions for the families of local business leaders and some Hollywood celebrities.&nbsp; The artist&rsquo;s choice of sitters in LA sharply contrasts with his San Diego focus.&nbsp; A decade earlier his subjects amounted to a remarkable cross-section of the region&rsquo;s ethnic diversity. In La Jolla, Chinese-Americans, Mexican-Americans, Native American, and African-Americans had all sat for brightly colored portraits.<br /> .<br /> While there are numerous studies of the artist&rsquo;s peripatetic nature&mdash;recent exhibitions have considered his travels in Spain, Ireland, and France, as well as New York, Santa Fe, and Maine&mdash;Henri&rsquo;s interest in Southern California has never been fully evaluated. The small and choice exhibition <em>Robert Henri&rsquo;s California: Realism, Race, and Region 1914-1925</em>, consisting of a dozen outstanding examples of his work in the state, corrects this historical oversight.&nbsp; The exhibition and its catalogue bring together for the first time a number of the works that Henri produced during his sojourns in San Diego and Los Angeles.&nbsp; As statements of his complex realist ideas, the paintings relate a fascinating story of his shifting concerns as an artist and the developing face of the region.<br /> .<br /> The authors of the lavishly illustrated catalogue that accompanies the exhibition are the exhibition&rsquo;s guest curator, Derrick Cartwright, a distinguished scholar of American art, and the Henri authority Valerie Leeds. Their essays will challenge prevailing accounts of Henri&rsquo;s career, looking carefully at his motivations for working in Southern California while comparing the works he made there to his broader oeuvre.&nbsp; A close analysis of how Henri&rsquo;s painting changed as a result of his California travels will reveal the lasting impact of the experience.&nbsp; Both exhibition and catalogue will be enhanced by rare documentation, including selections from Henri&rsquo;s own illustrated correspondence, photographic snapshots of his time in the region, and other period texts.&nbsp; It is a unique opportunity to assess an acknowledged master of modern American art in new terms and with important insights into his legacy for California art history.<br /> <strong>.<br /> Exhibition dates</strong>:<br /> San Jose Museum of Art, September 18, 2014 to January 18, 2015<br /> Laguna Art Museum, February 22 to May 31, 2015<br /> .<br /> Support for <em>Robert Henri&rsquo;s California: Realism, Race, and Region, 1914-1925</em> is provided by Karen and Robert Hoehn and Laura and Louis Rohl.</p> Sat, 20 Dec 2014 18:02:03 +0000 - Laguna Art Museum - February 22nd, 2015 - May 31st, 2015 <p style="text-align: justify;">Most of the leading California artists of the second half of the twentieth century, from Wayne Thiebaud to David Hockney and Ed Ruscha, were both painters and printmakers. Printmaking flourished thanks to the establishment of print workshops where artists could benefit from the technical know-how and inventiveness of expert printers. The most notable were Tamarind Lithography Workshop in Los Angeles, founded in 1960; Crown Point Press in San Francisco, founded in 1962; Gemini G. E. L. in Los Angeles, founded in 1966; and Cirrus Editions, also in Los Angeles, founded in 1970. Drawn from the museum&rsquo;s own print holdings and some local private collections, this exhibition is an anthology of outstanding works by California printmakers of the period. For those unfamiliar with printmaking processes, it also serves as an introduction to the various techniques involved&mdash;lithography, screenprinting, etching, and so on. The main printmaking terms are briefly explained in a glossary available in the galleries</p> Sat, 20 Dec 2014 18:00:10 +0000 Peter Alexander, Larry Bell, Billy Al Bengston, Laddie John Dill, Craig Kauffman, Ed Moses, Eric Orr, Ed Ruscha - Laguna Art Museum - February 22nd, 2015 - May 31st, 2015 <p style="text-align: justify;">During 1988 and 1989, eight Los Angeles-based artists were each invited to spend two weeks in Barcelona and create colorful etchings and lithographs at the well-known print workshop Pol&iacute;grafa Obra Gr&aacute;fica. The artists were Peter Alexander, Larry Bell, Billy Al Bengston, Laddie John Dill, Craig Kauffman, Ed Moses, Eric Orr, and Ed Ruscha. Part of the wave of print workshops that collaborated with artists and enabled printmaking to flourish in the latter half of the twentieth century, Pol&iacute;grafa Obra Gr&aacute;fica was founded in 1964 by Manuel de Muga. By the 1970s, the workshop was able to facilitate etchings, lithographs, and woodcuts. Artists such as Francis Bacon, Robert Motherwell, Max Ernst, Helen Frankenthaler, Christo, John Cage, Kenneth Noland, Alex Katz, and many others were also invited to create print editions.<br /> .<br /> Generously gifted to the museum by Ed Moses and his family, the Barcelona Portfolio is displayed in its entirety of sixteen prints.</p> Sat, 20 Dec 2014 17:59:18 +0000 - Laguna Art Museum - January 31st, 2015 - February 6th, 2015 <p style="text-align: justify;">During the Art Auction Preview Week, Laguna Art Museum is open and free to the public to view the works featured in Art Auction 2015. You are invited to view and bid on the auction items from Saturday, January 31 through Friday, February 6 at Laguna Art Museum. To ensure that you are the winning bidder, join us for <a href="" target="_blank">Art Auction 2015: California Cool</a>&nbsp;on Saturday, February 7 (6:00-10:00 p.m.).&nbsp; If you are unable to attend the art auction, absentee bids can be made in person at the museum during Art Auction Preview Week, on the museum&rsquo;s <a href="" target="_blank">online auction gallery</a>, or by calling 949.494.8971 x219.</p> <p style="text-align: justify;">Saturday, January 31&nbsp; | 11:00 a.m.-5:00 p.m.<br /> Sunday, February 1&nbsp; | 11:00 a.m.-5:00 p.m.<br /> Monday, February 2&nbsp; | 11:00 a.m.-5:00 p.m.<br /> Tuesday, February 3&nbsp; | 11:00 a.m.-5:00 p.m.<br /> Wednesday, February 4 | CLOSED<br /> Thursday, February 5 | 11:00 a.m.-9:00 p.m.<br /> Friday, February 6 | 11:00 a.m.-5:00 p.m.</p> Sat, 20 Dec 2014 17:56:28 +0000 - LACMA - Los Angeles County Museum of Art - February 17th, 2015 7:30 PM - 8:30 PM <p style="text-align: justify;">As a curator, Carolyn Christov-Bakargiev has worked with artist Pierre Huyghe on multiple occasions: as artistic director of&nbsp;dOCUMENTA (13) (2009&ndash;12); as the artistic director of the 16th Biennale of Sydney (2008); and as chief curator&nbsp;at Castello di Rivoli Museum for Contemporary Art, Turin (2002&ndash;8, interim director, 2009). On the occasion of&nbsp;<em>Pierre Huyghe: Float at Castello di Rivoli</em> in 2004, Skira published an exhibition catalogue authored by Christov-Bakargiev.</p> <p style="text-align: justify;">Carolyn Christov-Bakargie&nbsp;currently serves as Edith Kreeger Wolf Distinguished Visiting Professor in Art Theory and Practice at&nbsp;Northwestern University, Evanston, Illinois, and is the curator of <em>Saltwater: A Theory of Thought Forms&mdash;The 14th Istanbul&nbsp;</em><em>Biennial</em>&nbsp;(September 5&ndash;October 31, 2015). She is guest scholar at the Getty Research Institute, Los Angeles, for&nbsp;the 2014&ndash;15 academic year.</p> Sat, 20 Dec 2014 17:51:26 +0000 Rebecca Allen - LACMA - Los Angeles County Museum of Art - January 22nd, 2015 7:00 PM - 8:00 PM <p style="text-align: justify;">Join media artist Rebecca Allen and interactive media pioneer Scott Fisher for a conversation about the artistic potential of virtual environments and realities. Formerly within the reach of only large labs serving research and industry, virtual-reality technology is now available to individuals with the advent of small, inexpensive development kits. Beyond the immediate entertainment applications associated with these new devices, what can they offer artists?</p> <p style="text-align: justify;">Rebecca Allen is a media artist and professor and founding chair of the UCLA Department of Design Media Arts. Scott Fisher is professor and founding chair of the Interactive Media Division and associate dean of research at the USC School of Cinematic Arts.</p> Sat, 20 Dec 2014 17:49:19 +0000 christine corday - LACMA - Los Angeles County Museum of Art - January 20th, 2015 7:30 PM - 8:30 PM <p style="text-align: justify;">Artist Christine Corday talks with CEO and Wallis Annenberg Director Michael Govan about her installation&nbsp;<a href="" target="_blank"><em>Christine Corday: Protoist Series, Selected Forms</em></a>, on view in the museum&rsquo;s BP Grand Entrance. Following a brief discussion at the installation site, Corday and Govan discuss her trajectory from the paintbrush to a plasma torch. Corday uses &ldquo;protoist&rdquo; to refer to forms that transition in and out of a solid state and are both sensory perception and definition.</p> Sat, 20 Dec 2014 17:47:19 +0000