ArtSlant - Recently added en-us 40 Debra Drexler, Peggy Cyphers, Ford Crull - Van Der Plas Gallery - November 12th - December 14th <p>Van Der Plas Gallery is pleased to announce Red, Yellow and Orange: a three-person exhibit of abstract paintings by Ford Crull, Peggy Cyphers and Debra Drexler. Landscapes, figures and forms emerge and dissolve; sending messages from the unconscious, of spirituality and healing. American painting has always had a long-standing preoccupation with the sublime, defining the American character based on its relationship to the country&rsquo;s wild, beautiful landscape. In New York today, there is a Renaissance of abstract painting, as painters reinterpret and reinvent the paradigms that have shaped the field. The work of Crull, Cyphers and Drexler represents the best of contemporary abstraction: which is skilled and confident while demonstrating courage and invention.&nbsp; The contemporary sublime puts us in touch with what is elementally human, by erasing personal boundaries and supplanting surety with uncertainty and awe. The work of Crull, Cyphers and Drexler assert the primacy of painting by offering an unabashedly transcendent experience through the medium of paint. &nbsp;Archetypes of shadow and light reveal themselves, red, yellow and orange reflected in the water of life.</p> <p>Ford Crull continues to explore the expressive power of personal and cultural symbols in a series of densely painted and vividly colored compositions&ldquo;Ambiguity of the image forces the viewer into a more intensive study of the work, so that the deeper layers of reality are unveiled&hellip;This is the real pleasure of my painting: to present a tableau of associations, an unceasing unfolding of meanings, to offer a glimpse of a more universal state of consciousness, unbound by the limitations of time and convention.&rdquo;. Ford Crull was raised in Seattle, where he graduated from the University of Washington. His work is in the collections of the Metropolitan Museum of Art, the National Gallery, Dayton Art Institute, and the Brooklyn Museum. His paintings were included in the important 1989 Moscow exhibition, &ldquo;Painting After the Death of Painting,&rdquo; curated by Donald Kuspit. Recent exhibitions have included shows in Shanghai, London, Milan, and Seattle.</p> <p>Peggy Cyphers grew up in Baltimore and Chesapeake Beach, Maryland and has been inspired by the spectacular Miocene fossil deposits, Calvert Cliffs and aquatic life of the Bay since childhood.&nbsp; Cyphers&rsquo; 30 solo and 180 group exhibitions have been reviewed in New York Times, Artforum, Art in America, Brooklyn Rail, Chicago Tribune, San Francisco Chronicle, etc.&nbsp; Grants include National Endowment for the Arts, Peter S. Reed Foundation, Elizabeth Foundation, National Studio Award PS.1, Pratt Institute.&nbsp; Residency awards include Yaddo, Art Omi, Tong Xian Art Beijing, Santa Fe Art Institute, ISCP, Triangle &amp; Clocktower/P.S.1. Cyphers&rsquo; inventive and combinatory approaches to paint, silkscreen and sand have develop into pictures that explore the &ldquo;politics of progress&rdquo; as it impacts on cultural evolution and the natural world. &nbsp;Spatial compositions defy gravity and orientation and envision transcendent spaces of expansive consciousness while glorifying the naturalist&rsquo;s direct encounter with water, sky, earth, and all creatures.</p> <p>Debra Drexler translates the inner experience into outer form through a vigorous athletic painterly process. Drexler&rsquo;s large-scale canvases are imbued with light and color recalling the Hawaiian landscape. Drexler maintains studios in both New York and Oahu, and her work is informed by her unique bi-coastal experience. Drexler has had 28 solo and group exhibits at galleries and museums in New York, Hawai&rsquo;i, Australia, Berlin and across the states including Honolulu Museum, Vanderbilt University and Maui Arts and Cultural Center. &nbsp;Recent New York solo exhibits include: Pool Art Fair, Chelsea Hotel &nbsp;Blue Mountain Gallery, HP Garcia Gallery and Java Studios Gallery. In addition, Drexler has exhibited in group shows in New York including The Drawing Center, Denise Bibro Gallery, Exit Art, Art Finance Partners, and Stephan Stoyanov Gallery, and Sideshow Gallery. Reviews include <em>Artweek, New York Arts Magazine, </em>and<em> New Art Examiner. </em>Debra Drexler is a Professor of Painting at the University of Hawai&rsquo;i.</p> <p>&nbsp;</p> Mon, 20 Oct 2014 22:46:47 +0000 Péter Forgács - Museum of the City of New York - October 22nd - March 22nd, 2015 <h2 class="page-blurb" style="text-align: justify;"><span style="font-size: small;">Co-presented by the YIVO Institute for Jewish Research</span></h2> <p style="text-align: justify;"><em>Letters to Afar: Installation by P&eacute;ter Forg&aacute;cs and The Klezmatics</em> is an immersive video art installation based on home movies made by New York City&rsquo;s Jewish immigrants who traveled back to visit Poland during the 1920s and 30s. The films document poignant family reunions and everyday life in small towns in the years before the Second World War, capturing a culture on the brink.</p> <p style="text-align: justify;">The installation was created by Hungarian artist P&eacute;ter Forg&aacute;cs, under a commission by the Museum of the History of Polish Jews in Warsaw and the YIVO Institute for Jewish Research. With a haunting soundtrack by the New York-based band The Klezmatics, these &ldquo;letters&rdquo; bring to life a lost world in startling and moving detail.</p> <p style="text-align: justify;"><strong>The exhibition is made possible with generous support from:</strong></p> <p style="text-align: justify;"><strong>The Kronhill Pletka Foundation<br />Righteous Persons Foundation<br />Seedlings Foundation<br />Sigmund Rolat</strong></p> <p style="text-align: justify;">Additional support is provided by New York City Department of Cultural Affairs.</p> <p style="text-align: justify;"><a href="" target="_blank"><img src="" alt="" width="160" height="74" /></a></p> <p>&nbsp;</p> Mon, 20 Oct 2014 03:26:31 +0000 Jeff Chien-Hsing Liao - Museum of the City of New York - October 15th - February 15th, 2015 <p style="text-align: justify;"><em>Jeff Chien-Hsing Liao's New York: Assembled Realities</em> features more than 40 works by this Taiwanese artist, who came to New York at 18 to study photography. Pushing the boundaries of traditional documentary photography, Liao (b. 1977) creates large-scale panoramas by combining multiple exposures of the same location taken over the course of several hours. The resulting composite photographs are often fantastical; complex, hyper-real views that no single shot&mdash;or the eye&mdash;could capture. Liao has spent the past decade honing his distinctive style, making images of his adopted city from the Grand Concourse to Coney Island, the old Shea Stadium to the 72nd Street Subway.</p> Mon, 20 Oct 2014 03:20:47 +0000 - The Jewish Museum - October 31st - April 19th, 2015 <p style="text-align: justify;">The Jewish Museum&rsquo;s exhibition series bringing site-specific works of art to the Museum&rsquo;s main lobby continues this fall with artist Willem de Rooij&rsquo;s&nbsp;<em>Bouquet XI</em>&nbsp;(2014), a monumental floral sculpture. Born in Holland and based in Berlin, de Rooij is collaborating with floral designer Bella Meyer, granddaughter of Marc Chagall, to realize <em>Bouquet XI</em>&rsquo;s composition. The species of flowers, all native to the Middle East region, as well as the composition are carefully researched and brought together, so that every stem provokes physical effect as equally as conceptual meaning.</p> <div class="details"> <div class="copy"> <div class="description"> <p style="text-align: justify;"><em>Using Walls, Floors, and Ceilings: Willem de Rooij</em>&nbsp;is organized by Jens Hoffmann, Deputy Director, Exhibitions and Public Programs, and Kelly Taxter, Assistant Curator.</p> <h5 style="text-align: justify;"><em>Using Walls, Floors and Ceilings: Willem de Rooij </em>is made possible by the generous support of Wendy Fisher and the Mondriaan Fund.</h5> <p style="text-align: justify;"><img style="height: 45px; width: 30px;" src="" alt="" /></p> </div> </div> </div> <p>&nbsp;</p> Mon, 20 Oct 2014 03:17:13 +0000 - The Jewish Museum - October 31st - March 22nd, 2015 <p style="text-align: justify;">As a businesswoman and arts patron, Helena Rubinstein helped break down the status quo of taste by blurring the boundaries between commerce, art, fashion, beauty, and design. Her innovative business and style helped usher in a modern notion of beauty, democratized and accessible to all.<em>&nbsp;Beauty Is Power</em>, the first museum exhibition to focus on the cosmetics entrepreneur, will reunite selections from Rubinstein&rsquo;s famed collection, including works by Picasso, Matisse, Mir&oacute;, Kahlo, and Nadelman, as well as her iconic collection of African and Oceanic sculpture, miniature period rooms, jewelry, and fashion.</p> <div class="details"> <div class="copy"> <div class="description"> <p style="text-align: justify;">Helena Rubinstein rose from modest beginnings in small town Jewish Poland. Born in 1872, she came of age during a period when social reforms were beginning to challenge conventions &mdash; whether domestic, economic, or sartorial. By her death at ninety-two in 1965, Rubinstein was in her seventh decade of business. Her cosmetics empire extended to four continents, and she had become a global icon of female entrepreneurship, as well as a leader in art, fashion, and philanthropy. She was arguably the first modern self-made woman magnate.</p> <p style="text-align: justify;">At the turn of the century the use of cosmetics &ndash; associated with the painted faces of actresses and prostitutes &ndash; was widely frowned upon by the middle class. A model of independence, Rubinstein rejected this, producing and marketing the means for ordinary women to transform themselves. Her business challenged the myth of beauty and taste as inborn, or something to which only the wealthy were entitled.</p> <p style="text-align: justify;">As young women began to join the work force, they had money to spend. The fashion and interior decoration industries flourished, and art and culture began to adapt to modern feminine sensibilities.&nbsp;</p> <p style="text-align: justify;">And feminine taste included makeup; if latter-day feminist debates have focused on cosmetics as objectifying women, they were seen in the early twentieth century as a means of asserting female autonomy. By encouraging women to define themselves as self-expressive individuals, Rubinstein contributed to their empowerment.</p> <p style="text-align: justify;">Today we take that subjectivity for granted, but the sense of individuality Rubinstein fostered was new and profound. She advocated exceptionality in a world that discouraged nonconformity. She offered women the ideal of self-invention &ndash; a fundamental principle of modernity. One&rsquo;s identity, she asserted, is a matter of choice.</p> <p style="text-align: justify;">Mason Klein&nbsp;<br /> Curator</p> <p style="text-align: justify;"><a href=";q=%23BeautyIsPower&amp;src=typd">#BeautyIsPower</a></p> <p style="text-align: justify;">The exhibition is organized by Mason Klein, Curator, with Rebecca Shaykin, Leon Levy Assistant Curator.</p> <h5 style="text-align: justify;"><strong><em>Helena Rubinstein: Beauty Is Power</em> is made possible by The Jerome L. Greene Foundation.</strong></h5> <h5 style="text-align: justify;">Major support is also provided by the Eugene M. and Emily Grant Family&nbsp;Foundation and The David Berg Foundation. Additional generous support is&nbsp;provided by the Leon Levy Foundation, The Horace W. Goldsmith Foundation,&nbsp;The Helena Rubinstein Fund/The Roy and Niuta Titus Foundation, the Helena&nbsp;Rubinstein Philanthropic Fund at The Miami Foundation, and Ealan and Melinda&nbsp;Wingate.<br /> <br /> The catalogue is funded through the Dorot Publication Fund and a gift from&nbsp;Helena Rubinstein, L&rsquo;Or&eacute;al Luxe.</h5> <p><img style="height: 48px; width: 577px;" src="" alt="" /></p> </div> </div> </div> <p>&nbsp;</p> Mon, 20 Oct 2014 03:17:31 +0000 Ho Tzu Nyen, Chulyarnnon Siriphol, Mahardika Yudha, Charles Lim - The Jewish Museum - September 29th - October 30th <div class="copy"> <div class="description"> <p style="text-align: justify;">Although I was invited to curate a selection of films and videos from Singapore, I found the constraint of national boundaries too restrictive. In Southeast Asia the connections and relationships among countries and cultural traditions are complex. To reflect this, I have selected works from Singapore, Indonesia, and Thailand.&nbsp;</p> <p style="text-align: justify;">These relationships are not always direct, but delicate, tangential: moments of near contact or close encounter. Films and videos from these three countries yield coordinates that structure the themes of origin and repetition, layer and flow, hierarchy and horizon. They take us to moments of epiphany and memory, charged with frenetic energy and yet contemplative, too.&nbsp;</p> <p style="text-align: justify;">A turning point in film and video in Southeast Asia occurred at the end of the Cold War: &nbsp;the moving image emerged as a medium for the rechanneling of a range of expressive forms (oral, visual, literary) in authoritarian political environments. Its animating impulse is less conceptual reflexivity than social urgency.&nbsp;</p> <p style="text-align: justify;">These artists offer means of reflecting on Southeast Asia, alluding to psychogeography, genealogies of conflict, and the basis of the creative drive in situations of discipline, defiance, confrontation, and self-consciousness. They reveal a keen interest in the poetics and politics of place and initiate us into the dense historical lifeworld of the region.&nbsp;</p> <p style="text-align: justify;">Patrick D. Flores<br /> Curator</p> <p style="text-align: justify;">Patrick D. Flores (b. Iloilo City, 1969) is curator of the Vargas Museum in Manila and professor of art studies at the University of the Philippines, where he was department chair from 1997 to 2003. He is adjunct curator at the National Art Gallery, Singapore.</p> </div> </div> Mon, 20 Oct 2014 03:06:33 +0000 Mary Ellen Bartley - Guild Hall - November 1st 2:00 PM - 3:00 PM <p style="text-align: justify;">Mary Ellen Bartley will take visitors through her exhibition&nbsp;<em>Leaning Above the Page</em>, which features 19 photographic meditations selected from five different ongoing series: <em>Standing Open, Paperbacks, Sea Change, Blue Books, and Push 2 Stops</em>. Her solo exhibition is the result of receiving Top Honors in the 2012 Artists Members Exhibition from Lilly Wei, independent Curator, Essayist and Critic for <em>Art in America</em> who was the juror for Guild Hall&rsquo;s 74<sup>th</sup>Artist Members Exhibition that included entries from more than 450 artists. Ms. Bartley had the unprecedented distinction of receiving Best Photograph in the four previous Artist Members Shows.</p> <p style="text-align: justify;"><br /> </p> <div style="text-align: justify;"><a style="color: #d27920;" href="" target="_blank">Read a profile of Mary Ellen Bartley: &ldquo;A Thousand Words Are Worth a Picture&rdquo; by Jennifer Landes, The East Hampton Star</a></div> Mon, 20 Oct 2014 02:39:29 +0000 Group Show - Guild Hall - October 25th - January 4th, 2015 <p style="text-align: justify;">In 1931, when Mrs. Lorenzo E. Woodhouse dedicated Guild Hall as a cultural center for the community,&nbsp;<em>The New York Times&nbsp;</em>noted that Howard Russell Butler&rsquo;s portrait of Thomas Moran on exhibit was not a loan but an acquisition. &ldquo;It marks the beginning of a permanent collection which is proposed to build up in Guild Hall,&rdquo; the newspaper explained. </p> <p style="text-align: justify;">From the beginning more than 83&nbsp;years ago, the holdings have grown significantly in size and scope. In the early 1960&rsquo;s, the collection began to focus on the artists who have lived and worked in the region, including some of the country&rsquo;s most celebrated painters, sculptors, photographers and graphic artists. In 1973, the museum received the distinction of being accredited by the American Alliance of Museums, and it was reaccredited in 2010.&nbsp;Today, the holdings of 19th, 20th and 21<sup>st</sup> century art number some 2,200 objects, and the museum continues to acquire works by donation and acquisition.&nbsp;This exhibition will focus on the works that have entered the collection from 2010-2014. </p> <p style="text-align: justify;">With its close proximity to New York City, the East End&nbsp;became a popular tourist destination with the onset of the Long Island Railroad in the late 19th century. The L.I.R.R. was very active in marketing the charms of the region by distributing thousands of brochures and leaflets. In the 1870s, Hudson River School painters portrayed the white sand beaches of eastern Long Island. Winslow Homer came to visit in 1872, and,&nbsp; in 1878, a group of New York artists known as the Tile Club traveled to the East End and visited several of its small villages, including East Hampton. Thomas Moran and his family settled permanently in 1884. His home and studio became the center of life for artists who visited the village. In the teens, twenties and thirties, many artists, including Guy Pene du Bois and George Bellows, visited the area. Later after WWII, the Surrealists, aided by artist and philanthropist Gerald Murphy, were welcomed guests. They were followed by the Abstract Expressionist artists Jackson Pollock, Lee Krasner and Willem de Kooning; Pop artists Roy Lichtenstein, James Rosenquist and Andy Warhol; Photorealists Audrey Flack and Chuck Close; 80&rsquo;s and 90&rsquo;s Neo-expressionist artists Eric Fischl, David Salle; as well as many contemporary artists, such as Ross Bleckner, Cindy Sherman and Richard Prince. These artist-residents continue to make the East End the country&rsquo;s foremost art colony.&nbsp;</p> Mon, 20 Oct 2014 02:37:38 +0000 Mary Ellen Bartley - Guild Hall - October 25th - January 4th, 2015 <p style="color: #000000; text-align: justify;">Features 19 photographic meditations selected from five different ongoing series: <em>Standing Open, Paperbacks, Sea Change, Blue Books, and Push 2 Stops</em>. This solo exhibition is the result of Ms. Bartley receiving Top Honors in the 2012 Artists Members Exhibition from Lilly Wei, independent Curator, Essayist and Critic for <em>Art in America,</em> who was the juror for Guild Hall&rsquo;s 74<sup>th</sup>Artist Members Exhibition that included entries from more than 450 artists. Previously, Ms. Bartley had the unprecedented distinction of receiving the Artist Member Show&rsquo;s Best Photograph award for four years in a row. Three of those pieces will be in this solo show.</p> <p style="text-align: justify;">&nbsp;</p> <p style="color: #000000; text-align: justify;"><a style="color: #d27920;" href="" target="_blank">Read a profile of Mary Ellen Bartley: &ldquo;A Thousand Words Are Worth a Picture&rdquo; by Jennifer Landes, The East Hampton Star</a></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>This exhibition is sponsored in part by The Drawing Room, East Hampton.</em></p> Mon, 20 Oct 2014 02:35:09 +0000 Group Show - Fisher Landau Center for Art - October 11th - January 25th, 2015 <p style="text-align: justify;">We're excited to announce that &ldquo;LITERARY DEVICES&rdquo; will open to the public on Saturday, October 11th &amp; will be on view through January 25th, 2015. The exhibition includes over 100 artworks by 40 artists &amp; will occupy all three floors of the Center.</p> Mon, 20 Oct 2014 02:31:16 +0000 - Dia:Beacon, Riggio Galleries - January 10th, 2015 2:00 PM - 3:00 PM <p style="text-align: justify;">Stephen Hoban is the Publications Manager at Dia Art Foundation. Previously he was the Associate Director for Publishing at the Solomon R. Guggenheim Museum, New York, and an editor of <em>The Highlights</em>, an online arts journal. He holds an MPhil in Classics from the University of Oxford. He lives in New York.</p> Mon, 20 Oct 2014 02:25:49 +0000 Group Show - Childrens Museum of the Arts - September 18th - January 11th, 2015 <p style="text-align: justify;">CMA&nbsp;is pleased to announce our fall exhibition,&nbsp;<em>Drawn to Language, </em>on view in the Cynthia C. Wainwright Gallery. <em>Drawn to Language&nbsp;</em>is an&nbsp;exhibition that &nbsp;brings together emerging and mid-career artists whose work relates to the material qualities of language.</p> <p style="text-align: justify;">In <em>Drawn to Language,</em> words are given visual form.&nbsp;Letters, words, or phrases are transcribed, visualized, verbalized, symbolized, morphed into patterns, scrambled, or even erased. While the works in the exhibition vary conceptually &ndash; from amusing to political to philosophical &ndash; each work is defined by its use of words to create an image, a deeper meaning, or both.</p> <p style="text-align: justify;">Visual artists have long been interested in the intersection between art and language. From ancient calligraphy to illuminated manuscripts, some of our oldest surviving texts are an amalgamation of these two forms of communication. Visual artists can be &ldquo;drawn to language&rdquo; in a variety of ways.&nbsp;Whether used for additional emphasis, to define pure meaning, to further a narrative, or simply to make a joke, <em>language</em> is an increasingly important element in visual art.&nbsp; The artists in this exhibition use new materials, processes and techniques to entice the viewer to examine language in new ways.</p> <p style="text-align: justify;">This exhibition is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.</p> Mon, 20 Oct 2014 02:17:26 +0000 Chitra Ganesh - Brooklyn Museum of Art - December 12th - July 12th, 2015 <p style="text-align: justify;">Exploring ideas of femininity, empowerment, and multiplicity, Brooklyn-based artist Chitra Ganesh draws inspiration from the Museum&rsquo;s encyclopedic collection, including representations of the goddess Kali, to create a site-specific multimedia installation for the Herstory Gallery.<br /> <br /> <em>Chitra Ganesh: Eyes of Time</em> centers on a monumental mural that takes Kali, the Hindu goddess of destruction and rebirth, and other figures from Judy&rsquo;s Chicago&rsquo;s <em>The Dinner Party </em>as starting points for portraying female power and plurality. The artist expands on this theme by showcasing works from our Egyptian, Indian, and Contemporary collections.<br /> <br /> For more than a decade, Ganesh has used the iconography of mythology, literature, and popular culture to bring to light feminist and queer narratives. One of her first major works, <em>Tales of Amnesia</em> (2002)&mdash;a zine inspired by Indian comic books that the Museum acquired out of our 2004 exhibition <em>Open House: Working in Brooklyn</em>&mdash;is also on view.<br /> <br /> <em>Chitra Ganesh: Eyes of Time</em> is organized by Saisha Grayson, Assistant Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum.<br /> <br /> This exhibition has been made possible by the Elizabeth A. Sackler Foundation.</p> <p style="text-align: justify;"><strong>Elizabeth A. Sackler Center for Feminist Art, Herstory Gallery, 4th Floor</strong></p> Mon, 20 Oct 2014 02:13:32 +0000 Judith Scott - Brooklyn Museum of Art - October 24th - March 29th, 2015 <p style="text-align: justify;">Judith Scott&rsquo;s work is celebrated for its astonishing visual complexity. In a career spanning just seventeen years, Scott developed a unique and idiosyncratic method to produce a body of work of remarkable originality. Often working for weeks or months on individual pieces, she used yarn, thread, fabric, and other fibers to envelop found objects into fastidiously woven, wrapped, and bundled structures.</p> <p style="text-align: justify;">Born in Columbus, Ohio, with Down syndrome, Scott (1943&ndash;2005) was also largely deaf and did not speak. After thirty-five years living within an institutional setting&nbsp; for people with disabilities, she was introduced in 1987 to Creative Growth Art Center&mdash;a visionary studio art program founded more than forty years ago in Oakland, California, to foster and serve a community of artists with developmental and physical disabilities.</p> <p style="text-align: justify;">As the first comprehensive U.S. survey of Scott&rsquo;s work, this retrospective exhibition includes an overview of three-dimensional objects spanning the artist&rsquo;s career as well as a selection of works on paper.</p> <p style="text-align: justify;"><em>Judith Scott&mdash;Bound and Unbound </em>is organized by Catherine J. Morris, Sackler Family Curator for the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, and Matthew Higgs, artist and Director/Chief Curator of White Columns, New York. The accompanying catalogue is published by the Brooklyn Museum and Prestel.</p> <p style="text-align: justify;">This exhibition is made possible by the Elizabeth A. Sackler Foundation. Additional generous support has been provided by the Helene Zucker Seeman Memorial Exhibition Fund and Deedie Rose.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Elizabeth A. Sackler Center for Feminist Art, 4th Floor</strong></p> Mon, 20 Oct 2014 02:11:44 +0000 - Brooklyn Museum of Art - September 29th - November 16th <p style="text-align: justify;">After a decade of success as an abstract artist, Judy Chicago&rsquo;s introduction to the women&rsquo;s movement in 1969 began a new phase of her career. <em>Judy Chicago&rsquo;s Feminist Pedagogy and Alternative Spaces</em> explores the pioneering educational programs and forums she helped create during this period, achievements that have become an indelible part of her legacy, encouraging subsequent generations to make and encounter art in ways that are both personal and political.</p> <p style="text-align: justify;">Bringing together photographs, books, prints, and a documentary film, the exhibition highlights the many projects that Chicago initiated in the early 1970s and which set the stage for her most famous collaborative undertaking, <em>The Dinner Party</em> (1974&ndash;79), on view in the adjacent gallery. These include the groundbreaking Feminist Art Program, Womanhouse, the Women&rsquo;s Building, and the Feminist Studio Workshop, all of which helped build support structures for feminist artists and audiences.</p> <p style="text-align: justify;">This installation is drawn from the survey exhibition <em>Chicago in L.A.: Judy Chicago&rsquo;s Early Work, 1963&ndash;74</em>, organized by Catherine J. Morris, Sackler Family Curator, with Saisha Grayson, Assistant Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum. <em>Chicago in L.A.</em> was on view April 24&ndash;September 28, 2014.</p> <p style="text-align: justify;">This exhibition is made possible by the Elizabeth A. Sackler Foundation.</p> <p style="text-align: justify;"><strong>Elizabeth A. Sackler Center for Feminist Art, Herstory Gallery, 4th Floor</strong></p> Mon, 20 Oct 2014 02:08:38 +0000 - Asia Society Museum - August 12th - January 4th, 2015 <p style="text-align: justify;">The three ceramics on view in the Asia Society Visitor Center come from the Asia Society Museum Collection of Asian and Asian American art.</p> <p style="text-align: justify;">By the early sixth century, craftsmen had already been creating ceramic vessels in Korea for 7,500 years. It was during the Three Kingdoms period (57 BCE&ndash;668 CE) that Koreans first produced gray stoneware, which potters threw on a wheel and fired at a high temperature. It was not until the production of highly refined glazed stoneware during the Goryeo dynasty (918&ndash;1392), however, that Korean ceramics became internationally renowned for their extraordinary craftsmanship. The elegant &ldquo;kingfisher&rdquo; blue prunus vase (<em>maebyong</em>) shown here showcases the glaze for which Goryeo ceramics have been prized for centuries.</p> <p style="text-align: justify;">During the Joseon dynasty (1392&ndash;1910), as tastes shifted, underglaze cobalt blue porcelains became popular in Korea. Symbols of longevity were common, including the pine tree, crane, and moon. The seemingly casual rendering and airy placement of these motifs on ceramics has a particularly Korean sensibility.</p> <p style="text-align: justify;">The installation coincides with the exhibition <a href="" target="_blank"><em>Nam June Paik: Becoming Robot</em></a>, on view in the second and third floor galleries from September 5, 2014, through January 4, 2015.</p> Sun, 19 Oct 2014 09:59:09 +0000