ArtSlant - Recently added en-us 40 - Fisher Landau Center for Art - July 30th - January 4th, 2016 Mon, 29 Jun 2015 18:14:50 +0000 La Monte Young, Marian Zazeela, Jung Hee Choi - Dia Art Foundation - June 16th - October 24th <p style="text-align: justify;">Today, Dia Art Foundation announced the acquisition of a unique version of La Monte Young and Marian Zazeela&rsquo;s <em>Dream House</em>, titled <em>Dia 15 VI 13 545 West 22 Street Dream House</em>. Young and Zazeela created this new iteration in collaboration with their disciple, artist and musician Jung Hee Choi. In honor of this historic acquisition, Dia will present the unique version at Dia:Chelsea at 545 West 22nd Street from June 16 to October 24, 2015. As a long-time supporter of Young and Zazeela&rsquo;s work, Dia presented <em>Dream House</em> at 6 Harrison Street in New York City from 1979 to 1985 and has supported and hosted numerous concerts and recordings of Young and Zazeela&rsquo;s exceptional work. This acquisition demonstrates Dia&rsquo;s strong commitment to fostering in-depth and long-term relationships with artists. <br /><br /> <em> Dia 15 VI 13 545 West 22 Street Dream House </em>will debut with a special series of Just Alap Raga Ensemble concerts on June 13, 19, and 27 with vocals by Young, Zazeela, and Choi and Naren Budhkar on the tabla. An ongoing series of scheduled performances will be held between June and October. <br /><br /> &ldquo;<em>Dream House</em> is a landmark contribution to the history of sound and light, a truly immersive experience, and one of the most important manifestations of Young and Zazeela&rsquo;s collaborations,&rdquo; said Jessica Morgan, Director, Dia Art Foundation. &ldquo;Since 2015 marks Young&rsquo;s 80th birthday, Zazeela&rsquo;s 75th birthday, and the 40th anniversary of the Dream Festival supported by Dia, it is the ideal moment to add this unique sound-and-light installation to Dia&rsquo;s collection and ensure its vitality far into the future. We are thrilled to activate Dia&rsquo;s space in Chelsea this summer by presenting <em>Dream House </em>with a full program of performances.&rdquo; <br /><br /> The version of <em>Dream House</em> at Dia:Chelsea will incorporate a newly designed, site-specific sound-and-light environment that was conceived for Dia by Young, Zazeela, and Choi. The work will include a new configuration of its traditional elements&mdash;Young&rsquo;s sine-wave sound environment and Zazeela&rsquo;s light environment&mdash;and will incorporate a new version of Choi&rsquo;s installation <em>Ahata Anahata, Manifest Unmanifest IX </em>. <br /><br /> Young, a crucial figure in the historical emergence of Minimalist music, is among the most influential representatives of the American avant-garde. He began using sustained tones and expanded concepts of time in the 1950s and formulated the <em>Dream House</em> concept with Zazeela in 1962. Together, they have developed numerous sound-and-light installations and performances, among which <em>Dream House</em> stands as the essential environment for their time-based performances. <br /><br /> <em>Dream House</em> has been described as &ldquo;a time installation measured by a continuous frequency environment in sound and light, in which a work would be played continuously and ultimately exist in time as a living organism with a life and tradition of its own.&rdquo; Understood as a durational work to be experienced several times over a lifetime, the first presentations of Dream House took place at Heiner Friedrich Gallery in Munich in 1969, Metropolitan Museum of Art in New York in 1971, and the yearlong presentation of <em>Dream House</em> at Documenta 5 in Kassel, Germany, in 1972. The 1979&ndash;85 iteration <em>Dream House</em> at 6 Harrison Street in New York, commissioned by Dia, was followed by MELA Foundation&rsquo;s long-term <em>Dream House</em> that opened in 1993 and continues to operate at 275 Church Street in New York today. Dia&rsquo;s acquisition of the artists&rsquo; <em>Dia 15 VI 13 545 West 22 Street Dream House</em> will ensure the conservation and future presentations of this momentous installation. <br /><br /> <strong>About the Artists</strong> <br /> La Monte Young (b. 1935, Bern, Idaho) began playing saxophone at age seven and pursued music studies in the 1950s with such recognized figures as Richard Maxfield, Leonard Stein, and Karlheinz Stockhausen. At Yoko Ono&rsquo;s studio, Young directed the first loft concert series from 1960 to 1961. As a founding member of the Fluxus movement, he edited <em>An Anthology of Chance Operations</em> in 1963 and orchestrated many of the movement&rsquo;s key events during the 1960s. In 1962, Young began collaborating with artist Marian Zazeela, featuring her light installations, sculptures, and calligraphic creations in his durational sound environments. They became disciples of master Kirana singer Pandit Pran Nath in 1970 and their works have addressed both Western traditions and Indian classical music ever since. Young is credited to be the founder of Minimalist music and is a historical reference for sustained-tone and drone-based compositions, such as <em>The Well-Tuned Piano</em> that is widely regarded as one of the major piano works of the twentieth century. Artists and musicians including John Cale, Walter De Maria, Brian Eno, Yoko Ono, Lou Reed, Terry Riley, and Andy Warhol have acknowledged Young&rsquo;s enormous impact. And together with his ensembles (from the Theater of Eternal Music to the Forever Bad Blues Band to the recent Just Alap Raga Ensemble), Young has influenced art-rock bands like the Velvet Underground, Faust, and many others. <br /><br /> Marian Zazeela (b. 1940, New York City) studied painting and calligraphy and has been working with light as a medium since the early 1960s. Her light installations and projection series have been widely shown throughout the United States and Europe. Since 1962, they have become an integral part of Dream House and the Theater of Eternal Music. Like Young, Zazeela has been a disciple of Pandit Pran Nath since 1970 and has devoted the last several decades to the performance of Indian classical music as part of their Just Alap Raga Ensemble. Typically taking the form of light environments and also performances, Zazeela&rsquo;s works have been credited with influencing Andy Warhol&rsquo;s <em>Exploding Plastic Inevitable</em> and have been the object of group and solo presentations at Dia, Centre Pompidou in Paris, and most recently at the Kunst im Regenbogenstadl Dream House in Polling, Germany, where a retrospective of her drawings was organized. <br /><br /> Jung Hee Choi (b. 1969, Seoul, Korea) has collaborated with La Monte Young and Marian Zazeela since 1999. Choi&rsquo;s work has been presented in Asia, Europe, and North America at such venues as FRAC Franche-Comt&eacute; in Besan&ccedil;on, France; Berliner Festspiele in Berlin, Germany; the Solomon R. Guggenheim Museum and the MELA Foundation <em>Dream House</em>, New York; the FRESH Festival in Bangkok; and the Korea Experimental Arts Festival in Seoul. Choi is also a founding producer and director of Mantra TV&mdash;a cable and webcast vehicle for advanced arts in New York and Korea&mdash;where she worked from 1998 to 2006. Commissioned by MELA Foundation, her performance and installation with video and sound, titled <em>RICE</em>, was presented at the ongoing installation of <em>Dream House</em> at 275 Church Street in New York in 2003. In 2006 she received the Experimental Television Center&rsquo;s Finishing Funds Award, supported by the Electronic Media and Film Program, New York State Council on the Arts, and in 2015 she received a project grants award from New Music USA. As disciples of the classical Kirana vocal tradition, Young, Zazeela, and Choi founded the Just Alap Raga Ensemble in 2002. Choi has performed as vocalist in every concert ever since, including those at the MELA Foundation <em>Dream House</em>; the five-concert Pandit Pran Nath Memorial Tribute Tour in Berlin, Karlsruhe, and Polling, Germany, in 2012; the Yoko Ono Courage Award ceremony; the Guggenheim&rsquo;s The Third Mind Live concert series in 2009; and the Merce Cunningham Memorial celebration in 2009. Her work is in the collection of FRAC Franche-Comt&eacute;.</p> Mon, 29 Jun 2015 18:09:31 +0000 Jenny Fine - Childrens Museum of the Arts - May 14th - September 6th <p style="text-align: justify;">The photographs on view were made in collaboration with students grades Pre-K to 12th at The Wellington School in Columbus, OH. Continuing her interest in storytelling, she shared her process of image making with the students at Wellington. The students were asked to think about a family narrative and develop those narratives into images, then create characters, design costumes, and construct backdrops and props for the photographs. Through a series of local field trips the students enacted these collective narratives for the camera.</p> <p style="text-align: justify;"><strong>In the Pepperman Family Fine Arts Studio</strong></p> Mon, 29 Jun 2015 17:44:22 +0000 Meghan Boody, Joe Fig, Julie Heffernan, Gail Leboff, Ethan Murrow, Virginia Wagner - Childrens Museum of the Arts - May 14th - September 6th <div> <p>The Children&rsquo;s Museum of the Arts is pleased to&nbsp;announce <em>Far, Far Away&hellip;</em>, on view in the Cynthia C. Wainwright Gallery. <em>Far, Far&nbsp;Away&hellip;</em> is an exhibition that considers the possibility of alternate worlds, dreamscapes&nbsp;and imagined landscapes- places where adventures occur and fantasy takes over.</p> <p>Artworks featured in this exhibition will captivate and inspire us by evoking dreams of places that may only exist in our imaginations. In practice, many of these works highlight the artist&rsquo;s process of manipulation. At the heart, these works celebrate storytelling and the power of visual art to weave a tale without using any text at all. Some works consist of dream-like fantasies filled with details and discoveries, while others address issues of youthful turmoil, awkward transitions between childhood and adulthood, or of ever- changing identity or illusion. Audiences are urged to fill in the blanks for themselves, identify with the familiar and non-familiar, and venture into the unknown, all before returning home safely. Please join us as we transport you into a world of transformation where anything is possible.<em>&nbsp;</em><em>&nbsp;</em></p> </div> <div>&nbsp;</div> <div> <p><em>This exhibition is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.</em></p> <p><em><strong>In the Cynthia C. Wainwright Gallery.</strong><br /></em></p> </div> <p><a href=""><img class="alignnone size-full wp-image-8223" src="" alt="dca" width="100" height="49" /></a></p> Mon, 29 Jun 2015 17:39:40 +0000 Francisco Oller - Brooklyn Museum of Art - October 2nd - January 3rd, 2016 <p style="text-align: justify;">The painter Francisco Oller contributed greatly to the development of modern art in both Europe and the Caribbean and revolutionized the school of painting in his native Puerto Rico.</p> <p style="text-align: justify;">Oller emerged from the small art world of San Juan in the 1840s, spending twenty years in Madrid and Paris, where he was inspired by the art of Gustave Courbet and joined the avant-garde circles of such artists as Paul C&eacute;zanne, Camille Pissarro, and Claude Monet. While European Romanticism, Realism, and Impressionism formed a critical jumping-off point for Oller&rsquo;s aesthetic, his most important source of inspiration was Puerto Rico, where he painted tropical landscapes, still lifes with indigenous fruits and vegetables, and portraits of distinguished artists and intellectuals.</p> <p style="text-align: justify;">This is the first U.S. exhibition to present Oller&rsquo;s work within both its New and Old World contexts.</p> <p style="text-align: justify;"><em>Impressionism and the Caribbean: Francisco Oller and His Transatlantic World</em> is organized by Richard Aste, Curator of European Art, Brooklyn Museum, and Edward J. Sullivan, Helen Gould Sheppard Professor of the History of Art, New York University.</p> <p style="text-align: justify;">Edward J. Sullivan's book <em>From San Juan to Paris and Back: Francisco Oller and Caribbean Arts in the Era of Impressionism</em> (2014) accompanies the exhibition.</p> <p style="text-align: justify;">Generous support for this exhibition is provided by the National Endowment for the Arts and Christie's. Additional support is provided by Carmen Ana Unanue, Salom&eacute; Galib and Duane McLaughlin, Julius Leiman-Carbia and Kyle T. Smith, Dr. Blas Reyes and Dr. Hilda Capo, and the Norman and Arline Feinberg Exhibition Fund.</p> <p style="text-align: justify;"><a href="" target="_blank"><img src="" alt="" /></a></p> <p><a href="" target="_blank"><img src="" alt="" /></a></p> <p>&nbsp;</p> Mon, 29 Jun 2015 17:36:14 +0000 Faile - Brooklyn Museum of Art - July 10th - October 4th <p style="text-align: justify;">FAILE, a Brooklyn-based collaboration between artists Patrick McNeil and Patrick Miller, raises questions about our relationship to consumer culture, religious traditions, and the urban environment by blurring the boundaries between fine art, street art, and popular culture.</p> <p style="text-align: justify;">The works on view include multimedia installations, large-scale paintings, and sculptures that appropriate imagery from a wide variety of sources, including American quilts, folk and Native American art, religious architecture, pulp magazines, comic books, sci-fi movie posters, adult entertainment advertisements, and storefront typography.</p> <p style="text-align: justify;">The exhibition includes <em>The FAILE &amp; B&Auml;ST Deluxx Fluxx Arcade</em>, an interactive environment created in collaboration with Brooklyn artist B&auml;st that includes video games, pinball machines, and foosball tables that are simultaneously sculptures and functioning games. The installation is a nostalgic nod to video arcades and punk rock and graffiti culture.</p> <p style="text-align: justify;">Also on view is FAILE&rsquo;s <em>Temple</em>, a life-size structure reminiscent of a ruined religious temple. Made of iron, ceramic reliefs, and painted ceramics, and incorporating prayer wheels and popular-culture imagery, <em>Temple</em> imagines a reaction against commercial development and consumer greed.</p> <p style="text-align: justify;"><em>FAILE: Savage/Sacred Young Minds</em> is organized by Sharon Matt Atkins, Vice Director for Exhibitions and Collections Management, Brooklyn Museum.</p> <p style="text-align: justify;">This exhibition is supported by Allouche Gallery, The Dean Collection, and Geoff Hargadon and Patricia LaValley.</p> Mon, 29 Jun 2015 17:34:28 +0000 - Brooklyn Museum of Art - July 10th - October 4th <p style="text-align: justify;">From their modest origins in the mid-nineteenth century to high-end sneakers created in the past decade, sneakers have become a global obsession. <em>The Rise</em> <em>of Sneaker Culture</em> is the first exhibition to explore the complex social history and cultural significance of the footwear now worn by billions of people throughout the world.</p> <p style="text-align: justify;">The exhibition, which includes approximately 150 pairs of sneakers, looks at the evolution of the sneaker from its beginnings to its current role as status symbol and urban icon. Included are works from the archives of manufacturers such as Adidas, Converse, Nike, Puma, and Reebok as well as private collectors such as hip-hop legend Darryl "DMC" McDaniels, sneaker guru Bobbito Garcia, and Dee Wells of Obsessive Sneaker Disorder. Also featured are sneakers by Prada and other major fashion design houses and designers, as well as those made in collaboration with artists including Damien Hirst and Kehinde Wiley. Film footage, interactive media, photographic images, and design drawings contextualize the sneakers and explore the social history, technical innovations, fashion trends, and marketing campaigns that have shaped sneaker culture over the past two centuries.</p> <p style="text-align: justify;"><em>The Rise of Sneaker Culture</em> is organized by the American Federation of Arts and the Bata Shoe Museum, Toronto. It is curated by Elizabeth Semmelhack, Senior Curator, Bata Shoe Museum.</p> <p style="text-align: justify;">The Brooklyn presentation is organized by Lisa Small, Curator of Exhibitions, Brooklyn Museum.</p> <p style="text-align: justify;">A fully illustrated catalogue, co-published by the AFA in partnership with the Bata Shoe Museum and Rizzoli, accompanies the exhibition.</p> <p style="text-align: justify;">Generous support for the national tour of the exhibition is provided by Macy's.</p> <p><a href="" target="_blank"><img src="" alt="" /></a>&nbsp;&nbsp; <a href="" target="_blank"><img src="" alt="" /></a>&nbsp;&nbsp;&nbsp; <a href="" target="_blank"><img src="" alt="" /></a></p> <p>&nbsp;</p> Mon, 29 Jun 2015 17:32:11 +0000 Kara Walker - Brooklyn Museum of Art - May 2nd - October 18th <p style="text-align: justify;"><em>Kara Walker: "African Boy Attendant Curio (Bananas)"</em> presents a new resin-cast version of one of the sculptures that accompanied <em>A Subtlety</em>, Walker&rsquo;s 2014 project at the Domino Sugar Refinery in Williamsburg, Brooklyn. At Domino, a nearly forty-foot-tall sugar-coated sculpture of a black woman, a hybrid sphinx-mammy, was accompanied by attendants made out of sugar and corn syrup that melted dramatically over time. In this installation, a permanent version of one attendant, a black boy carrying a bushel of bananas, is presented alongside sugar-related objects from our collection.</p> <p style="text-align: justify;">Together with sugar bowls and other items, the figure highlights the impact on material culture of the triangular trade between Europe, Africa, and the Americas, and the enslaved people whose bodies and labor were the foundation of the sugar industry.</p> <p style="text-align: justify;"><em>Kara Walker: "African Boy Attendant Curio (Bananas)" </em>is organized by Rujeko Hockley, Assistant Curator of Contemporary Art, Brooklyn Museum.</p> <p style="text-align: justify;">Generous support for this exhibition is provided by the FUNd.</p> Mon, 29 Jun 2015 17:29:39 +0000 KAWS - Brooklyn Museum of Art - June 10th - December 6th <p style="text-align: justify;">Brooklyn-based artist KAWS straddles the line between fine art and popular culture in his large-scale sculptures and brightly colored paintings, thoughtfully playing with imagery associated with consumer products and global brands.</p> <p style="text-align: justify;"><em>ALONG THE WAY</em>, KAWS's colossal eighteen-foot-high wood sculpture, greets visitors in our Martha A. and Robert S. Rubin Pavilion and Lobby. Portraying a pair of gigantic figures with their heads lowered and with one arm around each other in a gentle embrace, the sculpture alludes to familiar childhood toys and cartoon characters while at the same time transforming their identities with a radical shift in scale, presenting them as monumental cultural presences.</p> <p style="text-align: justify;">The exhibition also includes the paintings <em>GLASS SMILE</em> (2012) and <em>SHOULD I BE ATTACKING</em> (2013).</p> <p style="text-align: justify;"><em>KAWS: "<em>ALONG THE WAY</em>"</em> is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum.</p> <p style="text-align: justify;">This exhibition is made possible with the generous support of the Mary Boone Gallery.</p> Mon, 29 Jun 2015 17:26:02 +0000 - Asia Society Museum - September 11th - January 3rd, 2016 <p style="text-align: justify;">This exhibition of more than 100 gold objects focuses on the wealth of the golden age of Butuan (pronounced <em>boot&rsquo; wan</em>), a polity on the southern Philippine island of Mindanao that rose to commercial prominence in the tenth century and declined in the thirteenth century. Works from ancient polities beyond Butuan, such as those on the islands of the Visayas and Luzon, bear witness to the early use of gold throughout the Philippines. A selection of the most extraordinary objects from a 1981 discovery&mdash;now in the collection of the Ayala Museum in Makati City and on view in the United States for the first time&mdash;forms the core of &ldquo;Philippine Gold: Treasures of Forgotten Kingdoms.&rdquo; The exhibition also includes a few important loans from public and private collections including the Central Bank of the Philippines. Featuring spectacular gold necklaces, chains, waistbands, bangles, ritual bowls, implements, and ceremonial weapons, the exhibition showcases the rich artistry and material wealth of Butuan and related island polities.</p> <p style="text-align: justify;"><em>Philippine Gold: Treasures of Forgotten Kingdoms</em> is organized by Asia Society, New York, and Ayala Museum, Philippines. The exhibition is cocurated by Florina H. Capistrano-Baker, Consulting Curator, Ayala Museum, and Adriana Proser, John H. Foster Senior Curator for Traditional Asian Art, Asia Society.</p> Mon, 29 Jun 2015 17:19:05 +0000 William Joyce - Arkell Museum - September 26th - January 3rd, 2016 <p style="text-align: justify;">William Joyce has world-wide recognition as an author, illustrator filmmaker and pioneer in the animation industry. Books published by Simon &amp; Schuster include The Fantastic Flying Books of Mr. Morris Lessmore, The Guardians of Childhood book series: The Man in the Moon, The Sandman: Story of Sanderson Mansnoozie, Nicholas St. North and the Battle of the Nightmare King, E. Aster Bunnymund and the Warrior Eggs at the Earth&rsquo;s Core! and Toothania: Queen of the Tooth Fairy Armies. His latest books are <cite>Billy's Booger,The Mischievians and Sandman and the War of Dreams.</cite></p> <p style="text-align: justify;">Joyce co-founded Moonbot Studios a transmedia storytelling company specializing in books, apps, film and video games. Named by Newsweek magazine as &ldquo;One of the 100 people to watch in the new millennium&rdquo;, William has been involved in the world of digital animation from its full-scale inception at Pixar Animation. His projects have been produced by nearly every major film studio including Disney, Twentieth Century Fox and DreamWorks Animation. His feature films include Epic, Rise of the Guardians, Robots and Meet the Robinsons. His television series include George Shrinks and Rolie Polie Olie for which he won three Emmy Awards. In 2012, he won an Academy Award for The Fantastic Flying Books of Mr. Morris Lessmore, an animated short film about the curative powers of story.</p> <p style="text-align: justify;">(Exhibition developed by the National Center for Children&rsquo;s Illustrated Literature, Abilene, Texas)</p> Mon, 29 Jun 2015 17:08:15 +0000 Lorraine O'Grady - Studio Museum in Harlem - July 16th - October 25th <p style="text-align: justify;">Over the course of more than three decades, artist and cultural critic <strong>Lorraine O&rsquo;Grady</strong> has won acclaim for her installations, performances and texts addressing the subjects of diaspora, hybridity and black female subjectivity. Born in Boston in 1934 and trained at Wellesley College and the Iowa Writers&rsquo; Workshop as an economist, literary critic and fiction writer, O&rsquo;Grady had careers as a U.S. government intelligence analyst, a translator and a rock music critic before turning her attention to the art world in 1980.</p> <p style="text-align: justify;">In her landmark performance <em>Art Is&hellip;</em>, O&rsquo;Grady entered her own float in the September 1983 African-American Day Parade, riding up Harlem&rsquo;s Adam Clayton Powell Jr. Boulevard (Seventh Avenue) with fifteen collaborators dressed in white. Displayed on top of the float was an enormous, ornate gilded frame, while the words &ldquo;Art Is&hellip;&rdquo; were emblazoned on the float&rsquo;s decorative skirt. At various points along the route, O&rsquo;Grady and her collaborators jumped off the float and held up empty, gilded picture frames, inviting people to pose in them. The joyful responses turned parade onlookers into participants, affirmed the readiness of Harlem&rsquo;s residents to see themselves as works of art, and created an irreplaceable record of the people and places of Harlem some thirty years ago. These color slides were taken by various people who witnessed the performance, and were later collected by O&rsquo;Grady to compose the series. The forty images on view capture the energy and spirit of the original performance.</p> <p style="text-align: justify;"><em>Lorraine O'Grady: Art Is...</em> is organized by Amanda Hunt, Assistant Curator. </p> <p>&nbsp;</p> Mon, 29 Jun 2015 16:31:45 +0000 Alberto Burri - Solomon R. Guggenheim Museum - October 9th - January 6th, 2016 <p style="text-align: justify;">This major retrospective exhibition&mdash;the first in the United States in more than 35 years and the most comprehensive ever mounted&mdash;showcases the pioneering work of Italian artist <a href="" target="_blank">Alberto Burri</a> (1915&ndash;1995). Exploring the beauty and complexity of Burri&rsquo;s process-based works, the exhibition positions the artist as a central and singular protagonist of post&ndash;World War II art. Burri is best known for his series of&nbsp;<em>Sacchi</em>&nbsp;(sacks) made of stitched and patched remnants of torn burlap bags, often combined with fragments of discarded clothing. Far less familiar to American audiences are his other series, which this exhibition represents in depth: <em>Catrami</em> (tars), <em>Muffe</em> (molds), <em>Gobbi</em> (hunchbacks), <em>Bianchi</em> (whites), <em>Legni</em>&nbsp;(woods),&nbsp;<em>Ferri</em>&nbsp;(irons), <em>Combustioni plastiche</em> (plastic combustions), <em>Cretti</em>, and <em>Cellotex</em>&nbsp;works.</p> <p style="text-align: justify;">Burri&rsquo;s work both demolished and reconfigured the Western pictorial tradition, while reconceptualizing modernist collage. Using unconventional materials, he moved beyond the painted surfaces and mark making of American&nbsp;Abstract Expressionism and European Art Informel. Burri&rsquo;s unprecedented approaches to manipulating humble substances&mdash;and his abject picture-objects&mdash;also profoundly influenced Arte Povera, Neo-Dada, and Process art. <em>Alberto Burri: The Trauma of Painting</em> is organized by Emily Braun, Distinguished Professor, Hunter College and the Graduate Center, and Guest Curator, Solomon R. Guggenheim Museum, with support from Megan Fontanella, Associate Curator, Collections and Provenance, Solomon R. Guggenheim Museum.</p> <p class="caption" style="text-align: justify;"><em>Alberto Burri: The Trauma of Painting</em> is made possible by <img src="" alt="" width="66" height="18" /></p> <p class="caption" style="text-align: justify;">Support is also provided by The Andy Warhol Foundation for the Visual Arts.</p> <p class="caption" style="text-align: justify;">The Leadership Committee for the exhibition, chaired by Pilar Crespi Robert and Stephen Robert, Trustee, is gratefully acknowledged for its generosity, with special thanks to Leonard and Judy Lauder and Maurice Kanbar as well as to Luxembourg &amp; Dayan, Richard Roth Foundation, Alice and Thomas Tisch, Isabella Del Frate Rayburn, Sigifredo di Canossa, Dominique L&eacute;vy, Daniela Memmo d'Amelio, Mitchell-Innes &amp; Nash, ROBILANT+VOENA, Alberto and Stefania Sabbadini, Sperone Westwater, Samir Traboulsi, Alberto and Gioietta Vitale, Baroness Mariuccia Zerilli-Marimo, and those who wish to remain anonymous.</p> <p class="caption" style="text-align: justify;">Additional funding is provided by Mapei Group, E. L. Wiegand Foundation, Mondriaan Fund, the Italian Cultural Institute of New York, La FondazioneNY, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.</p> Mon, 29 Jun 2015 16:28:44 +0000 Doris Salcedo - Solomon R. Guggenheim Museum - June 30th 11:00 AM - 5:30 PM <div id="information" class="cal_event_description ui-tabs-panel ui-widget-content ui-corner-bottom"> <p style="text-align: justify;">Shown daily on loop while the exhibition <em>Doris Salcedo </em>is on view, this video documents Doris Salcedo&rsquo;s site-specific works and ephemeral public projects, which have formed a central aspect of her artistic production over the past 15 years. Salcedo&rsquo;s interventions in the public sphere reflect her desire to engage communities through acts of collective mourning and remembrance, exploring the shared expression of private pain.</p> <p style="text-align: justify;">Digital color video with sound, 25 min.</p> <p style="text-align: justify;">Produced by the Museum of Contemporary Art Chicago.</p> <p style="text-align: justify;">This documentary was made possible by generous support from the Stefan Edlis and Gael Neeson Foundation.</p> </div> Mon, 29 Jun 2015 16:26:03 +0000 Doris Salcedo - Solomon R. Guggenheim Museum - June 26th - October 12th <p style="text-align: justify;">This major retrospective will survey the searing, deeply poetic work of <a href="" target="_blank">Doris Salcedo</a> (b. 1958, Bogot&aacute;, Colombia). Over the past three decades, Salcedo's practice has addressed the traumatic history of modern-day Colombia, as well as wider legacies of suffering stemming from colonialism, racism, and other forms of social injustice. Originating in lengthy research processes during which the artist solicits testimonies from the victims of violent oppression, her sculptures and installations eschew the direct representation of atrocities in favor of open-ended confluences of forms that are fashioned from evocative materials and intensely laborious techniques. Many of her works transmute intimate domestic objects into subtly charged vessels freighted with memories and narratives, paradoxically conjuring that which is tragically absent. The Guggenheim&rsquo;s presentation of&nbsp;<em>Doris Salcedo</em>&nbsp;will occupy four levels of the museum&rsquo;s Tower galleries. It will feature the artist&rsquo;s most significant series from the late 1980s to the present, as well as a video documenting her remarkable site-specific public projects and architectural interventions.</p> <p class="caption" style="text-align: justify;"><em>Doris Salcedo</em>&nbsp;is organized by the Museum of Contemporary Art Chicago.</p> <p class="caption" style="text-align: justify;">This exhibition is supported in part by the Juliet Lea Hillman Simonds Foundation.</p> <p class="caption" style="text-align: justify;">The Leadership Committee for <em>Doris Salcedo</em> is gratefully acknowledged for its support, with special thanks to Chair Tiqui Atencio Demirdjian, as well as to Peter Brandt, Stefan Edlis and Gael Neeson, The Diane and Bruce Halle Foundation, Jill and Peter Kraus, Becky and Jimmy Mayer, Cindy and Howard Rachofsky, Anna Marie and Robert F. Shapiro, Jerome and Ellen Stern, the Walentas Family Foundation, Marilyn and Larry Fields, and those who wish to remain anonymous.</p> <p class="caption" style="text-align: justify;">Additional funding is provided by the Ministry of Foreign Affairs, Embassy of Colombia.</p> Mon, 29 Jun 2015 16:24:23 +0000 - Rubin Museum of Art - October 23rd - March 27th, 2017 <p style="text-align: justify;">This exhibition reflects on Sacred Spaces by focusing on devotional activities in awe-inspiring places. In particular, the exhibition presents three distinct but related environments shaped by acts of veneration. What spaces are sacred to you?</p> <p style="text-align: justify;">The Tibetan Buddhist Shrine Room provides an immersive experience inspired by a traditional shrine that would be used for offering, devotion, prayer, and contemplation. Art and ritual objects are presented as they would be in an elaborate private household shrine. The new fourth-floor installation of the Shrine Room will more than double the visitor capacity of its current location.</p> <p style="text-align: justify;">As atmospheric context for the shrine, visitors are transported to the Himalayas by gazing at a panoramic photograph taken in Mustang, Nepal, by Jaroslav Poncar. This impressive vista evokes the high mountainous landscape in which Tibetan Buddhism developed and still flourishes. According to Himalayan cultures, the landscape is animated and full of life and power. The forces of the ground, water, rocks, mountains, and trees all require acts of devotion to fend off dangers and invite blessings.</p> <p style="text-align: justify;">Visitors are also invited to contemplate a video installation created by Deidi von Schaewen. The work documents a Jain communal ritual in which a massive stone sculpture is anointed every twelve years in Shravanabelgola, Karnataka, India. Devotees pour various offering substances over the figure during the course of four days. The twelve-minute two-channel video installation of this sacred rite presents a mesmerizing display of devotional acts such as ablutions, blessings, and prayers.</p> Mon, 29 Jun 2015 16:11:07 +0000