ArtSlant - Recently added en-us 40 - Mingei International Museum - San Diego - April 18th - August 16th <p style="text-align: justify;">Organized by the American Folk Art Museum, an exhibition of over 100 outstanding works of art from its collection will be on view in New York City from May 14 &ndash; August 17, 2014. <em><strong>SELF-TAUGHT GENIUS &ndash; Treasures from the American Folk Art Museum</strong></em> will then travel across the country, and Mingei International Museum will be the only west coast museum to show the exhibition.</p> <p style="text-align: justify;">The exhibition will feature masterpieces in a variety of forms including textiles and needlework, ceramics, sculptural and carved figures, drawings, paintings, furniture, and much more, dating from the 18th century to the present. Rare treasures reflecting highly personal narratives, these works have been omitted from many presentations of American art, yet they offer crucial commentary within the ongoing national conversation. <strong><em>SELF-TAUGHT GENIUS</em></strong> reveals the challenges and triumphs of America as it emerged and enhances an understanding of our evolving national identity. Select objects from Mingei&rsquo;s collection of American folk art will be included in its presentation in San Diego.</p> <p style="text-align: justify;"><em><strong>SELF-TAUGHT GENIUS</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. AMERICAN ICONS is generously sponsored by <strong><a href="" target="_blank">Just Folk</a></strong>.</p> Sat, 31 Jan 2015 08:19:39 +0000 Alice Hudson - Mingei International Museum - San Diego - December 19th, 2014 - December 5th <p style="text-align: justify;">Alice Hudson was a lifelong, dedicated artist who delved into the world of the imagination, creating small human and animal figures&mdash;and, indeed, a world to astonish and delight. <em>Procession</em>, made by Hudson over more than 25 years until late in her life, for her daughter, Elizabeth, who collaborated with Hudson on various creations. Elizabeth Bronson has kindly offered as a loan to Mingei International Museum.</p> <p style="text-align: justify;">This work, never before shown publicly in its completed form, adds a touch of the fanciful and fantastic to the Museum&rsquo;s 2015 series of exhibitions, <em>AMERICAN ICONS</em>, and serves as a memorial to Hudson.</p> <p style="text-align: justify;">Adjacent to Procession, one can find <em>A Palace for Wednesday</em>, Hudson&rsquo;s beloved work, which has been a treasure of Mingei&rsquo;s collection since 1999 and which recently was rehoused in the Museum&rsquo;s expanded Doll and Toy Gallery.</p> Sat, 31 Jan 2015 08:17:29 +0000 Alexej Jawlensky - Long Beach Museum of Art - February 19th - April 12th <p style="text-align: justify;">The Milton Wichner Collection at the Long Beach Museum of Art illuminates a significant aspect of art history in Southern California. In the 1930s and &lsquo;40s, Southern California became a creative refuge for European artists fleeing the ravages of World War II. Milton Wichner arrived in Los Angeles in 1936 to set up his law practice. His interest in European modern abstraction was intensified upon meeting Galka Scheyer, a representative of the artists Oskar Fischinger, Laszlo Moholy-Nagy, Wassily Kandinsky, Lyonel Feininger, and Alexej Jawlensky. At Scheyer&rsquo;s exhibitions, Wichner saw contemporary European Modernists paintings on the west coast for the first time. Scheyer&rsquo;s efforts to interest Southern Californians in this work met with minimal success at the time, but Wichner was convinced and was especially enthusiastic about the colorful work of Jawlensky. With this exhibition, the Museum welcomes back five striking paintings by Jawlensky that have been on loan to the Getty Museum since 2011.</p> Sat, 31 Jan 2015 08:12:24 +0000 - Long Beach Museum of Art - February 19th - April 12th <p style="text-align: justify;">Color is a powerful tool in the artist&rsquo;s repertoire, but what happens when artists eliminate color and depend upon the stark contrast of black and white to convey all of their visual expression? Over the last two years, the Museum has presented first <em>Seeing Red </em>followed by the <em>Many Moods of Blue, </em>both drawn from the Museum&rsquo;s permanent collection. <em>Presence and Absence: Black and White </em>explores the permanent collection through black and white in many different media and formats including paintings, glass, and ceramics. Color, when it appears at all, becomes a nearly fleeting, subtle accent.</p> <p style="text-align: justify;">This selection of artworks offers an eloquent argument for the evocative presence of black and/or white. Rather than the distraction of color, the eye rests on the shapes and forms for the aesthetic experience of the work. The selected artworks may be either completely black or completely white, or play with the contrast of the two. The overall impact is simultaneously restrained, refined, energetic, and elegant.</p> Sat, 31 Jan 2015 08:11:04 +0000 Claire Falkenstein, Frank E. Cummings - Long Beach Museum of Art - October 30th, 2014 - May 31st <p style="text-align: justify;"><em>Small Treasures</em> features rarely seen objects in ceramic, glass, metal and wood in the Kitty Rosenbaum Gallery on the second floor of the Museum. There are two necklaces and small sculptures by Claire Falkenstein, and a necklace by Frank E. Cummings among the small pieces.</p> Sat, 31 Jan 2015 08:09:07 +0000 - Lancaster Museum of Art and History - April 2nd - April 26th Sat, 31 Jan 2015 08:06:59 +0000 - Lancaster Museum of Art and History - April 2nd - April 26th Sat, 31 Jan 2015 08:06:54 +0000 - LACMA - Los Angeles County Museum of Art - May 10th - August 2nd <p style="text-align: justify;">Drawing practices in Los Angeles varied tremendously during the 1960s and 1970s. Culled from LACMA&rsquo;s collection and select local holdings, <em>Drawing in L.A.: The 1960s and 1970s</em> features work by nearly 50 artists who approach drawing in numerous media and styles.&nbsp;Works range in technique from charcoal and ink to collage and xerography, and encompass realism, conceptual drawings and abstraction. The exhibition includes drawings by well known artists, and others who have long been neglected.</p> <p style="text-align: justify;">The exhibition provides a unique opportunity to see the wide variety of drawings that were being made in Los Angeles at an exciting time in the city's artistic history. The companion exhibition <a href="" target="_blank"><em>Ed Moses: Drawings from the 1960s and 1970s</em></a>&nbsp;features the work of a significant figure in contemporary art in Los Angeles.</p> Sat, 31 Jan 2015 07:54:02 +0000 Ed Moses - LACMA - Los Angeles County Museum of Art - May 10th - August 2nd <p style="text-align: justify;">Ed Moses has been a significant figure in contemporary art in Los Angeles since his first solo exhibition at Ferus Gallery in 1958. Since the very beginning, drawing has been central to Moses&rsquo;s practice. From his large, all-over graphite drawings of roses from the 1960s to his signature diagonal grids of the 1970s and beyond, Moses&rsquo;s work has always been grounded in graphic experimentation.</p> <p style="text-align: justify;">The first museum presentation of the artist&rsquo;s drawings since 1976,&nbsp;<em>Ed Moses: Drawings from the 1960s and 70s</em>&nbsp;is comprised of approximately 100 works from LACMA&rsquo;s collection, the artist&rsquo;s own holdings, and those of other museums and private collections.&nbsp;</p> <p style="text-align: justify;">Complementing&nbsp;<em>Ed Moses</em>&nbsp;is&nbsp;<a href="" target="_blank"><em>Drawing in L.A.: The 1960s and 1970s</em></a>, which features drawings from LACMA&rsquo;s collection by other Los Angeles&ndash;based artists.</p> Sat, 31 Jan 2015 07:56:11 +0000 - LACMA - Los Angeles County Museum of Art - October 25th, 2014 - October 25th <div class="field field-name-field-description field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">Long before the boundaries of India were delineated on a map, they were understood to encompass a vast sacred geography. The features of this landscape marked the abodes and activities of gods, the paths of spiritual teachers, and places associated with epic and religious texts. Over the course of several millennia, circuits of pilgrimage linked these various sites, reinforcing for India&rsquo;s inhabitants the concept of a unified land. <em>Landscapes of Devotion: Visualizing Sacred Sites in India</em> explores the various ways in which this sacred geography was imagined and documented in the 18th and 19th centuries.</p> <p style="text-align: justify;">The exhibition consists of Indian courtly and temple paintings and colonial-era photographs drawn from LACMA&rsquo;s collection. A considerable number of paintings depict Krishna in his north Indian homeland of Braj, and Shiva in the Himalayas, showing just how very closely the two regions are identified with these Hindu gods. Along with other paintings, which address India&rsquo;s sacralized landscape from diverse perspectives, they provide a glimpse into the extraordinary creativity and stylistic range of Indian pictorial traditions. The photographs in the exhibition correlate in subject matter with several of the paintings. They suggest the visual appeal of India to late 19th-century British photographers, who pursued their own kind of pilgrimage as they documented its sacred places and practices.</p> </div> </div> </div> Sat, 31 Jan 2015 07:49:14 +0000 Henry Chapman Ford, Alexander Harmer, Edwin Deakin, William Wendt, Charles Rollo Peters, William Hahn - Irvine Museum - January 24th - May 21st <p style="text-align: justify;">The Irvine Museum presents <em>CALIFORNIA: This Golden Land of Promise</em>, an exhibition that displays paintings dealing with our state's remarkable history.&nbsp; Many of the paintings feature our historic Spanish missions as well as our beautiful landscape. <br /> <br /> From the 1540s, California was a distant colony of Spain, somewhat isolated from the mother country until the missions were built.&nbsp; Although the missions in Baja California are older, the first mission in what is now the State of California was founded in San Diego in 1769.&nbsp; For the next fifty years, 21 missions were founded throughout California, stretching as far north as Sonoma County.&nbsp; They were all connected by El Camino Real, the Royal Road or the King&rsquo;s Highway, which today approximates Highway 101.<br /> <br /> In 1821, Mexico declared its independence from Spain and claimed California as a province.&nbsp; In the early 1830s, a series of laws secularized the missions, thus taking them and their vast land holdings away from the Catholic Church, and through the land grant system, were given to large cattle ranchos.<br /> <br /> The Rancho Period, lasting until the American conquest of California in 1848, was characterized by vast ranchos in Southern California, some comprising over 100,000 acres or more.&nbsp; At this time, California's main product was cattle, not for the meat but for the hides, horns and fat, which was turned into tallow.<br /> <br /> By 1850, when California became the 31st State of the Union, most missions were abandoned and in ruins.&nbsp; Through an executive order, President Lincoln returned what was left of the mission buildings to the church.&nbsp; It was not until the 1890s, when artists began to portray the missions as relics of California&rsquo;s romantic past that a serious effort was made to preserve and restore them.<br /> <br /> The earliest views of the California missions in our exhibition are selections from a set of etchings by Henry Chapman Ford (1828-1894), published in 1883.&nbsp; The oldest painting on display is the courtyard of the Mission San Juan Capistrano, painted by Alexander Harmer (1856-1925) in 1886.&nbsp; At the time, what is now one of the most beautiful gardens in California is shown as a dry, dusty yard, with just a few geraniums growing against the pillars of the arcade.<br /> <br /> <em>CALIFORNIA: This Golden Land of Promise</em> is accompanied by two informative and fully illustrated books on the remarkable history of our Golden State: <em><a href="" target="_blank"><span style="text-decoration: underline;">California, This Golden Land of Promise</span></a></em>, published in 2001, and <em><a href="" target="_blank"><span style="text-decoration: underline;">Romance of the Bells: The California Missions in Art</span></a></em> published in 1995.</p> Sat, 31 Jan 2015 07:40:29 +0000 Nancy Rubins - Hammer Museum - February 25th 7:30 PM - 8:30 PM <div id="c8939" class="csc-default csc-typography"> <p style="text-align: justify;"><span style="font-size: small;"><strong>Nancy Rubins </strong>transforms industrial, manufactured objects&mdash;such as mattresses, appliances, and boats&mdash; into the building blocks of her physically commanding monumental sculptures. Her solo exhibitions include those hosted by Museum of Contemporary Art, San Diego; MoMA, New York; ARTPACE, San Antonio; Miami Art Museum; SculptureCenter, Long Island City, New York; Lincoln Center, New York; and Navy Pier, Chicago.</span></p> </div> <div id="c8075" class="csc-default csc-typography"> <h1 class="tx-t3site-header-style-default" style="text-align: justify;"><span style="font-size: small;">Biography</span></h1> <p style="text-align: justify;"><span style="font-size: small;">Nancy Rubins was born in Naples, Texas, raised in Tullahoma, Tennessee, and studied at the Maryland Institute, College of Art, Baltimore (BFA, 1974) and the University of California, Davis (MFA, 1976). She currently lives and works in Topanga Canyon, California. Her work is part of numerous public collections, including The Museum of Modern Art, New York; Whitney Museum of American Art, New York; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, San Diego; and FRAC Bourgogne, Dijon, France. Her solo museum exhibitions include those hosted by Museum of Contemporary Art, San Diego (1994); The Museum of Modern Art, New York (1995); ARTPACE, San Antonio (1997); Miami Art Museum (1999); Fonds regional d'art contemporain de Bourgogne, France (2005); SculptureCenter, Long Island City, New York (2006); Lincoln Center, New York (2006); and Navy Pier, Chicago (2013). Rubins&rsquo; large scale, outdoor sculptures are on permanent display at institutions throughout the world, including the Museum of Contemporary Art, Los Angeles, Albright Knox Art Gallery, Buffalo, and l'Universit&eacute; Paris Diderot, Paris.</span></p> </div> Sat, 31 Jan 2015 07:37:37 +0000 Charles Gaines - Hammer Museum - February 7th - May 24th <div id="c7568" class="csc-default csc-typography"> <p class="p1" style="text-align: justify;">Highly regarded as both a leading practitioner of conceptualism and an influential educator&nbsp;at the California Institute of the Arts, Los Angeles-based artist&nbsp;<strong>Charles Gaines</strong> is celebrated for&nbsp;his photographs, drawings, and works on paper that investigate how rules-based procedures&nbsp;construct order and meaning. Working serially in progressive and densely layered bodies of&nbsp;works, Gaines explores the interplay between objectivity and interpretation, the systematic&nbsp;and the poetic. His groundbreaking work of this period serves as a critical bridge between the&nbsp;first generation conceptualists of the 1960s and 1970s and those artists of later generations&nbsp;exploring the limits of subjectivity and language. <em style="font-size: 1em; line-height: 1.555;">Charles Gaines: Gridwork 1974&ndash;1989</em> is the&nbsp;first museum survey of the early work of a career that now spans four decades and includes&nbsp;rare and never-before-seen works, some of which were presumed lost.</p> <p style="text-align: justify;"><em>Charles Gaines: Gridwork 1974-1989</em>&nbsp;is organized by The Studio Museum in Harlem and curated by Naima J. Keith, associate curator. The Hammer's presentation is organized by Anne Ellegood, senior curator, and Jamillah James, assistant curator.</p> <p style="text-align: justify;">Charles Gaines (b. 1944) received his MFA from the Rochester Institute of Technology in 1967. Over the course of his career, he has been represented by Leo Castelli Gallery and John Weber Gallery, New York; Margo Leavin Gallery, Los Angeles; Young Hoffman, Chicago; Richard Heller, San Francisco; and Galerie Lavignes-Bastille, Paris. He is currently represented by Susanne Vielmetter Los Angeles Projects and Paula Cooper Gallery, New York. In 2013, he received a John Simon Guggenheim Memorial Foundation Fellowship and presented a critically acclaimed solo exhibition,&nbsp;<em>Notes on Social Justice</em>, at Paula Cooper Gallery, New York. In 2012, Gaines was the subject of a mid-career survey at the Pomona College Museum of Art and the Pitzer College Art Gallery in Claremont, California. His works are in the collections of the Hammer Museum, Los Angeles; Museum of Contemporary Art, Los Angeles; the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; Los Angeles County Museum of Art, Los Angeles, Lentos Museum, Linz, Austria; Galerie der Stadt Esslingen, Esslingen, Germany; and Villa Merkel, Esslingen, Germany. Gaines&rsquo;s work has been featured in recent major group exhibitions including&nbsp;<em>Blues for Smoke</em>&nbsp;(Museum of Contemporary Art, Los Angeles, 2012) and&nbsp;<em>Now Dig This! Art and Black Los Angeles 1960&ndash;1980&nbsp;</em>(Hammer Museum, Los Angeles, 2011). He has participated in the 2014 Montreal Biennial and the 2007 Venice Biennale, as well as group exhibitions at the Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Hammer Museum, Los Angeles; Lentos Museum; Deichtorhallen; Kunsthalle Basel; Contemporary Art Museum, Houston; and REDCAT Gallery. Gaines has published several essays on contemporary art, including &ldquo;Theater of Refusal: Black Art and Mainstream Criticism&rdquo; (University of California, Irvine, 1993) and &ldquo;The New Cosmopolitanism&rdquo; (California State University, Fullerton, 2008). He currently resides in Los Angeles and has been full-time faculty in the School of Art at the California Institute of the Arts since 1989.</p> <div id="c7569" class="csc-default csc-typography"> <p class="small" style="text-align: justify;">The organization of <em>Charles Gaines: Gridwork 1974-1989</em> is made possible by a grant from The Andy Warhol Foundation for the Visual Arts. The Hammer Museum's presentation is generously supported by Heidi and Erik Murkoff.</p> <p class="small" style="text-align: justify;"><em>Charles Gaines: Gridwork 1974-1989</em> is presented in conjunction with <em>Charles Gaines: Librettos: Manuel de Falla/Stokely Carmichael</em> at Art + Practice, a new art and social services non-profit in Leimert Park.</p> </div> </div> Sat, 31 Jan 2015 07:34:02 +0000 Group Show - Hammer Museum - February 7th - May 31st <div id="c7636" class="csc-default csc-typography"> <p style="text-align: justify;">The technique known as frottage, from the French verb <em>frotter</em>, meaning &ldquo;to rub,&rdquo; is an automatic drawing method developed by the artist Max Ernst. It involves rendering an image by placing a sheet of paper over an object or dimensional surface and rubbing it with a marking agent such as graphite or wax crayon. This relatively simple procedure&mdash;which combines elements of drawing, printmaking, and sculpture&mdash;generates sophisticated and unexpected compositions that capture both the indexical and the more elusive properties of objects. The French poet and painter Henri Michaux coined the term <em>apparitions</em> for his frottages: images that are dictated by chance as much as by choice and that emerge onto the surface of the paper. A favored technique among surrealist draftsmen, frottage continued to be explored throughout the twentieth century and remains an experimental practice in studios today.</p> <p style="text-align: justify;"><em>Apparitions: Frottages and Rubbings from 1860 to Now</em> is the first museum exhibition to explore both the historical roots and the contemporary impact of this technique. It will feature key examples of the technique by artists from various periods and regions, from historical figures like the Czech surrealists Jindřich &Scaron;týrský and Toyen, to post&ndash;World War II artists such as Alighiero Boetti and Roy Lichtenstein, to contemporary artists of different generations, including Anna Barriball, Jennifer Bornstein, Morgan Fisher, Simryn Gill, Matt Mullican, Ruben Ochoa, Gabriel Orozco, and Jack Whitten. The presentation will shed light on artists little known outside their countries of origin, such as Geta Brǎtescu from Romania and Eva Kmentov&aacute; from the Czech Republic. Acknowledging the convention of rubbing for anthropological and scientific purposes, the exhibition will also present important historical precursors, including a remarkable group of nineteenth-century rubbings of brass funerary plaques. This eclectic yet singularly focused selection will demonstrate the multifaceted ways in which frottage transcends the traditional boundaries of draftsmanship.</p> <p style="text-align: justify;">Curated by Allegra Pesenti, curator at large, Menil Drawing Institute, and former curator of the UCLA Grunwald Center for the Graphic Arts, <em>Apparitions: Frottages and Rubbings from 1860 to Now</em> will include approximately one hundred works on paper by fifty artists. It will be on view at the Hammer Museum from February 8 to May 31, 2015, and at the Menil Collection in Houston from September 11, 2015, to January 3, 2016.</p> <div id="c9287" class="csc-default csc-typography"> <p class="small" style="text-align: justify;"><em>Apparitions: Frottages and Rubbings from 1860 to Now</em> is co-organized by the Hammer Museum, Los Angeles, and The Menil Collection, Houston.</p> <p class="small" style="text-align: justify;">The exhibition is curated by Allegra Pesenti, curator at large, Menil Drawing Institute and former curator of the Grunwald Center for the Graphic Arts, with Leslie Cozzi, curatorial associate.</p> <p class="p1 small" style="text-align: justify;">The Hammer Museum&rsquo;s presentation is made possible by Alice and Nahum Lainer.&nbsp;</p> <p class="p1 small" style="text-align: justify;">Major support is provided by the LLWW Foundation. Generous funding is also provided by Dana Delany, Margo Leavin, Alisa and Kevin Ratner, Jennifer Simchowitz, and Helen and Sam Zell.</p> </div> </div> Sat, 31 Jan 2015 07:31:04 +0000 - Hammer Museum - February 20th - May 24th <div id="c8187" class="csc-default csc-typography"> <p class="p1" style="text-align: justify;">British designer Thomas Heatherwick has been hailed as a genius for the uniquely inventive nature of his work. Trained at London's Royal College of Art, Heatherwick's practice encompasses projects ranging in scale from very small to monumental, from products to public sculpture to architecture.</p> <p class="p1" style="text-align: justify;"><em>Provocations: The Architecture and Design of Heatherwick Studio</em>&nbsp;examines the astonishing range of&nbsp;the studio&rsquo;s practice by focusing on the design concepts behind small&nbsp;products such as the handbag designed for Longchamp and his&nbsp;rotation-molded "Spun" chairs, as well as large public and private architectural projects in the U.K., U.S.,&nbsp;Abu Dhabi, South Africa, Singapore, and&nbsp;China. These include&nbsp;the U.K. Pavilion&mdash;known as the Seed Cathedral at the 2010&nbsp;World Expo; a new distillery for Bombay Sapphire gin; a&nbsp;Learning Hub for Nanyang Technological University in Singapore; and&nbsp;a contemporary art museum created within a historic grain silo, among many other exciting projects. Heatherwick Studio is recognized for&nbsp;its inventive approach to design, often combining novel engineering with new materials and innovative technology to create unusual, often sculptural, building forms.</p> <p style="text-align: justify;">Organized by the Nasher Sculpture Center, Dallas, <em>Provocations</em> is curated by Brooke Hodge, deputy director of Cooper Hewitt, Smithsonian Design Museum. The Hammer&rsquo;s presentation is overseen by curator Aram Moshayedi.</p> </div> Sat, 31 Jan 2015 07:27:28 +0000 Lily van der Stokker - Hammer Museum - February 7th - May 17th <div id="c8327" class="csc-default csc-typography"> <p style="text-align: justify;">Dutch artist <strong>Lily van der Stokker</strong> has been making bold, colorful large-scale wall paintings for more than twenty years. The artist applies colors ranging from soft pastels to bright fluorescents&mdash;sometimes in playful and visually arresting plaid patterns or all-over flower motifs&mdash;to amorphous soft-edged forms that inhabit the space like friendly oversized visitors. Witty texts added alongside van der Stokker&rsquo;s forms complicate their first impression as the cartoony doodles of an adolescent or mere decorative ornamentation. Invoking the platitudes of polite society with expressions like &ldquo;Best regards&rdquo; or &ldquo;Wonderful&rdquo; or touching upon the realities that impact all our lives, from love to money to aging, with phrases like &ldquo;Transfer the money to me&rdquo; or &ldquo;Only yelling older women in here, nothing to sell,&rdquo; van der Stokker makes evident the power dynamics at work within seemingly innocuous spaces. Van der Stokker argues for the role of pleasure in aesthetic experience, finding alliances between beauty and intellect, playfulness and criticality.</p> <p style="text-align: justify;"><em>Hammer Projects: Lily van der Stokker</em> is organized by senior curator, Anne Ellegood with MacKenzie Stevens, curatorial assistant.</p> </div> Sat, 31 Jan 2015 07:25:36 +0000