May 13
The Index
90 result(s)
- Eirik Johnson - Sawdust Mountain - Aperturehighlight
1- Cover
2- Stacked logs in Weyerhaeuser sort yard, Cosmopolis, Washington
3- Adult books, firewood, and truck for sale, Port Angeles, Washington
4- Rogue River, Oregon
All visuals are taken from Eirik Johnson's book Sawdust Mountain (Aperture/Henry Art Gallery, 2009)
The rural dream of the woodman's cabin is fast dissolving into a mountain of sawdust.
A native of the Pacific North-West, photographer Eirik Johnson roamed the region for four years. He wandered along the banks of rivers Hoh, Siuslaw, Sol Duc, Elwha; near small towns heavily dependent on the wood and fish trades - Sappho, Aberdeen, Arlington, South Bend; he roved across the whole of Oregon and Washington State, through the clearings left by dozens of trees freshly cut, the abandoned offices of logging companies and the old dams, timeworn, obsolete, sublime, that will keep blocking for a few more years the passage of a half-million fish towards one of North America's most important fluvial ecosystems.
Far from the mythology of the settler, isolated in the heart of an awesome wilderness, yet free to extract from it the natural resources necessary to his survival and subsequent prosperity, and bequeathing this legacy to the ensuing generations, Eirik Johnson's world is a breathless one, asphyxiated by the ravenous appetite of the civilized world. His pictures resist the temptation of sophistication. An approach whose results, raw and seemingly unmanufactured, sometimes recall Joel Sternfeld's recent Oxbow Archive (2008). This mimetic photography, exquisitely attuned to the environment it picks up, lets us feel the damp cold that pervades the landscapes we visit. It is our task to distance ourselves, and build our panorama of the earnest Northwest from the pieces Johnson entrusts to us.
Eirik Johnson, Sawdust Mountain, Aperture/Henry Art Gallery, 2009
The book's page on www.aperture.org- Sweet Toof - Sartorial Arthighlight
1- Undertakers I and II, 2008, oil on canvas, 153 x 40 cm each
2- Ruff Neck I, 2008, oil on canvas, 40 x 40 cm
3- Brick Lane Black Out, 2008, oil on canvas, 61 x 61 cm
4- Rush Hour, 2008, oil on canvas, 115 x 135 cm
5- Dig It, 2008, oil on canvas, 168 x 122 cm (detail)
6- Chain Reaction, 2008, oil on canvas, 136 x 184 cm
7- Crucifix, 2008, oil on canvas
8- Laying Low, 2008, oil on canvas, 80 x 220 cm
9- Studio Crit, 2008, oil on canvas, 92 x 61 cm
All images courtesy Sartorial Art Gallery & the artist
Life is eating us...
Sweet Toof
January 13 through February 4, 09
Sartorial Art Gallery, London
- La Sombra - Museo Thyssen-Bornemiszahighlight
1- Bildnis des Dr. Haustein, Christian Schad, 1928, oil on linen, 80,5 x 55 cm, Museo Thyssen-Bornemisza, Madrid
2- Die grosse Schatten, Heinrich Wilhelm Tischbein, c. 1805, watercolor, 36,7 x 23,4 cm, Landesmuseum für Kunst und Kulturgeschichte, Oldenburg
3- Deux femmes sous la lampe, Edouard Vuillard, 1892, oil on linen mounted on panel, 33 x 41,5 cm, Centre Pompidou, Paris. Musée National d'Art Moderne / Centre de Création Industrielle. Legs Georges Grammont 1959 pour le Musée de l'Annonciade à Saint-Tropez
The projected shadow, from XVIIth-century Tenebrist painters down to Christian Boltanski's contemporary installations. It's the ambiguous and dramatic antagonist of Baroque art, of Romanticism, Impressionism, Symbolism, the tell-tale reflection of Murnau's movies, a vector for the Surrealists' projections, and the friend of photographers, Man Ray or André Kertész. A friend of the Chic Cityrats, as well.
The Shadow
February 10 through May 17, 09
Museo Thyssen-Bornemisza, Madrid / Fundación Caja Madrid
- Fraktur mon Amour - Princeton Architectural Press
- Section: Art
- Published in: December 08
- City: -
- Episode: -
- Brand: Princeton Architectural Press
- Category: Art
1- Cover
2 à 6- Interior views from Fraktur mon Amour
All images courtesy of Princeton Architectural Press, 2008
Fraktur mon Amour is the fruit of an obsession - that of Berlin-based graphic designer Judith Schalansky for the Fraktur typeface, also known as Blackletter or Gothic. Widely used in the Middle-Ages, superseded by the Antiqua during the Renaissance, banned by the Nazis as a Jewish production before being banned outright as a Nazi production, the Fraktur has today been restored to its former glory. The present book is a staggering ode to Fraktur in all guises, a compilation of 300 sets among the most striking, accompanied by a wealthy tribute of graphic creations. A black-and-pink Bible for all worshippers of typegraphy.
Fraktur mon Amour, ed. Judith Schalansky, Princeton Architectural Press, hardcover, 684 pages, 300 complete character sets, comes with a CD containing 137 fonts intended for private or limited commercial use, $75/£45, 2008
- Ena Swansea - Mudam Luxembourghighlight
- Section: Episodes
- Published in: December 08
- City: -
- Episode: #19 A Nightmare Before Christmas
- Brand: -
- Category: Art
1- Ena Swansea, a night to remember, 2004
Oil on graphite on linen, 290 x 183 cm
Collection Falckenberg, Hamburg2- Ena Swansea, demands, 2008
Oil on graphite on linen, 214 x 427 cm
Collection Falckenberg, Hamburg
© Photo: Christopher Burke3- Ena Swansea, identity, 2006
Oil on graphite on linen, 152 x 244 cm
Collection Melva Bucksbaum and Raymond LearsyInterminable parades wail away rhythmically in the electric night. Ena Swansea's graphite nightmares haunt the calm Grand Duchy's nights; like a black pencil line binding New York to Luxembourg.
Ena Swansea
October 11, 08 through February 2, 09
Mudam Luxembourg
- Forecast - Princeton Architectural Press
- Section: Art
- Published in: December 08
- City: -
- Episode: -
- Brand: Princeton Architectural Press
- Category: Art
1- Couverture
2- p. 43
3- pp. 56-57
4- pp. 166-167
5- pp. 22-23
from Forecast
All images courtesy of Princeton Architectural Press, 2008
Forecast is the latest issue of Nozone, an editorial UFO that gravitates between magazine, art book, and pamphlet. The theme, to cut a long story short: as is announced by climatologists, sociologists, economists, and the whole crowd of people whose job it is to try to foresee stuff of any kind, the sky will soon be falling on our heads. A state of affairs that has the merit of keeping graphic artists and illustrators busy. If there had to be only one thing left to bear witness to our species' sojourn on Earth, it would have to be Forecast: it shall prove that, in spite of our recklessness, we had at least a notion of what we were getting ourselves into - and that, after all, Man wasn't just good at destroying planets.
Forecast - Nozone X, ed. Nicholas Blechman, Princeton Architectural Press, paperback, 168 pages, 170 2-color illustrations, $24.95/£14.95, 2008
- Seascapes: Tryon & Sugimoto - Arthur M. Sackler Gallery
1- Dwight William Tryon (1849-1925), A Misty Morning, United States, 1915
Pastel on cardboard, 7 5/8 x 11 5/8 in
Freer Gallery or Art: Gift of Charles Lang Freer, F1916.125a-b
2- Dwight William Tryon, The Sea: Evening, United States, 1915
Oil on canvas, 30 x 47 15/16 in
Freer Gallery or Art: Gift of Charles Lang Freer, F1907.151a-b
3- Dwight William Tryon, Moonlit Sea, United States, 1915Pastel on cardboard, 7 1/8 x 11 1/2 in
Freer Gallery or Art: Gift of Charles Lang Freer, F1916.121a-b
4- Hiroshi Sugimoto (born 1948), Black Sea / Ozuluce
Japan, Heisei period, 1991
Gelatin silver print on paper, 19 3/16 x 23 11/16 in
Arthur M. Sackler Gallery: Purchase, S1994.8
5- Hiroshi Sugimoto, Sea of Japan / Oki II
Japan, Showa era, 1987
Gelatin silver print on paper, 18 11/16 x 23 11/16 in
Arthur M. Sackler Gallery: Purchase, S1995.93
6- Hiroshi Sugimoto, Tyrrhenian Sea / Scilla
Japan, Heisei period, 1993
Gelatin silver print on paper, 19 1/4 x 23 11/16 in
Arthur M. Sackler Gallery: Purchase, S1994.6
22 American pastels from the early XXth century meet 6 Japanese photographs from the end of the XXth century. Correspondences arise, like waves roll on the shore.
Seascapes: Tryon & Sugimoto
July 12, 08 through January 25, 09
Arthur M. Sackler Gallery
- Kate Street: Little Death - Nettie Horn Gallery
- Section: Episodes
- Published in: December 08
- City: -
- Episode: #19 A Nightmare Before Christmas
- Brand: -
- Category: Art
1- Orchis Polydactylus, 2008, pen on paper, 84 x 60 cm
2- Story of Orchis in three parts, 2008, watercolor and pen on paper, (3) x 114 x 84 cm
3- Birds and the Bees, 2008, wood, expanding foam, wire, resin, artificial flowers, acrylic, oil paint, taxidermy crows, bird bones, sculpey, pipe cleaners, varnish, 125 x 120 x 50 cm
All images Courtesy the artist and Nettie Horn Gallery
The forests said: "we're out of Christmas trees this year. Instead we're sending these funereal wreaths - and wish you a sappy new year." Kate Street is the witch that carried this invitation to die - from love.
Kate Street: Little Death
November 21 through December 21, 08
Nettie Horn Gallery, London
- Susanna Majurihighlight
- Section: Episodes
- Published in: December 08
- City: -
- Episode: #19 A Nightmare Before Christmas
- Brand: -
- Category: Art
1- Emilia, 2008, C-print on diasec, 90 x 135 cm
edition of 5 + 2 AP, Courtesy Galerie Adler, Frankfurt
2- Waterhouse, 2007, C-print on diasec, 60 x 100 cm
edition of 5 + 2 AP, Courtesy Galerie Adler, Frankfurt
3- Farevel Kanal (Farewell Channel), 2005
C-print on diasec, 120 x 80 cm, edition of 5 + 2 APCourtesy Galerie Adler, Frankfurt
4- Mykines, 2007, C-print on diasec, 70 x 105 cm
edition of 5 + 2 AP, Courtesy Galerie Adler, Frankfurt
5- Save, 2007, C-print on diasec, 90 x 135 cm,
edition of 5 + 2 AP, Courtesy Galerie Adler, Frankfurt
6- Grø, 2008, C-print on diasec, 100 x 150 cm
edition of 5 + 2 AP, Courtesy Galerie Adler, Frankfurt
7- Saviour, 2008, C-print on Diasec, 90 x 135 cm
edition of 5 + 2 AP
8- Prairie, 2008, C-print on Diasec, 90 x 135 cm
edition of 5 + 2 AP
The Finnish art of drowning (in icy waters).
Finnish artist Susanna Majuri is represented by the Adler Gallery, Frankfurt & New York, www.galerieadler.com
Susanna Majuri's work is shown as part of the exhibition Rose Boréal, Photographies from the Taïk Gallery and the Helsinki School for Art and Design, dedicated to 14 young Finnish artists
October, 23 through January 11, 09
Palais des Beaux-Arts de Lille
Exhibition's page on www.pba-lille.fr (only available in French)
then as part of a group show at the National Museum of Photography of the Royal Library of Copenhagen, Denmark, early 09
- The Infinite Landscape - University of Michigan
1- Michael Kenna, Filey Early Warning Station, 1981
Sepia and selenium-toned gelatin silver print
Museum purchase, 1989/2.162- Brett Weston, Landscape, Germany
from the portfolio Brett Weston Europe, 1960
Gelatin silver print
Museum purchase, 1978/2.343- Ansel Adams, Maroon Bells, near Aspen, Colorado
from Portfolio VI, 1951
Gelatin silver print
Museum purchase, 1974/1.1274- Franco Fontana, Paessaggio Baia Delle Zagare
1983, cibachrome print
Gift of Clayton E. Wilhite, 1987/1.273.6Gather together inside the same room the best landscape photographers since photography was born, from Steichen or Fox Talbot down to Michael Kenna, not to forget Brett Weston or Ansel Adams. What could go wrong?
Nothing, judging from the power of the pictures the UMMA drew from its own collection, to exhibit until the early days of next year.
The Infinite Landscape: Master Photographers from the UMMA Collection
September 20, 08 through January 3, 09
University of Michigan Museum of Art, Ann Arbor, MI
- Eero Saarinen: Shaping the Future - Minneapolis Institute of Arts + Walker Art Center
1- TWA Terminal, New York International (now John F. Kennedy International) Airport, New York, circa 1962. Photographer Balthazar Korab.
© Balthazar Korab Ltd.
2- Dulles International Airport Terminal, Chantilly, Virginia, circa 1963.
Photographer Balthazar Korab. © Balthazar Korab Ltd.
3- General Motors Technical Center, Warren, Michigan, 1948-56.
Photographer Ezra Stoller. © Ezra Stoller / ESTO.
4- Miller House, Columbus, Indiana, circa 1957.
Photographer Ezra Stoller. © Ezra Stoller / ESTO.
5- Deere and Company Administrative Center, Moline, Illinois, circa 1963. Photographer Harold Corsini. Courtesy Eero Sarinen Collection.
Manuscripts and Archives, Yale University.
A milestone architecture retrospective. However famous it may be, Eero Saarinen's work retains its hold upon us. Even better: fifty years after their edification, his creations still embody the future of the discipline.
Eero Saarinen: Shaping the Future
September 13, 08 through January 4, 09
Minneapolis Institute of Arts + Walker Art Center
- Maïssa Toulet: cabinets de curiosités, monstres et prodigeshighlight
- Section: Episodes
- Published in: November 08
- City: -
- Episode: #19 A Nightmare Before Christmas
- Brand: Maïssa Toulet
- Category: Indoor + Outdoor Design - Art
1- Piège à rongeurs
2- Rat-coléoptère
3- Femme-espadon ailée
4- Les os sur la peauMaïssa Toulet has us bewitched. Soon she will come and tell you more - and maybe cast a spell or two.
- Michael Wolf - The Transparent City - Aperturehighlight
1- tc88
2- tc118
3- tc31
Michael Wolf, from The Transparent City (Aperture, November 08)
Michael Wolf was offered the opportunity to live out in Chicago the fantasy of billions of city-dwellers: spying with a powerful telephoto lens the mysterious life of the people who live in the building across the street. A sentimental affair, a conspiracy - why not a murder, even? Michael Wolf saw none of that.
To tell the truth, voyeurism was only one of the aspects his project involved. Commissioned in 2007 by the Chicago Museum of Contemporary Photography, Wolf's work bears on the influence of architecture upon the social, professional, and private lives of downtown dwellers. The artist was riding Chicago's aerial train in 2005 when he first thought of photographing the city and its architectural clashes. For in Chicago, a neo-gothic building can stand next to an ultra-modern, glass-clad highrise, level differences can reach tens of floors, and one is often greeted by the surprising sight of private homes where offices are expected, and vice-versa.
These pictures, collected inside The Transparent City, are a counterpart to Architecture of Density (2004), Wolf's recent work on the city of Hong Kong. The terrifying linearity of the Asian metropolis gives way to more varied urban panoramas spanning different depths. But the same care for graphic composition crops up, as well as the sense of oppression crafted by removing the horizon line.
The long November nights on the roofs of Chicago did not turn Wolf into a witness of shady goings-on. Instead, they leave behind the image of a giant termitary ploughing away in monotonous routine, a world where solitude is palpable, nestled in office meetings and listless nights spent before a computer or television screen. This emptiness strengthens the sensation of vertigo induced by these distressingly beautiful pictures.
In this environment of white collars and undershirts, imagination has precious little to go on. Unless, of course, it is all happening behind the closed doors of corridors the camera cannot reach, behind the pulled-down blinds, or inside the darkened spaces of this city - opaque.
Michael Wolf, The Transparent City, Aperture, New York, publication November 2008
See The Transparent City on www.photomichaelwolf.com
Buy The Transparent City on www.aperture.org
Michael Wolf exhibits his work at the Chicago Museum of Contemporary Photography, November 14, 08 through January 31, 09
See the exhibition's page on www.mocp.org
- Hank Willis Thomas - Pitch Blackness - Aperturehighlight
1- Winter in America, Two Guns
2- Branded, Priceless #1, 2004
3- Branded, A Bullet with His Name on It, 2004
4- Studio X, In Loving Memory of, 2007
5- Book Cover
Hank Willis Thomas, in Pitch Blackness, Aperture, October 08
© Hank Willis ThomasSongha died.
This promising young man, aged 27, was starting to blossom into the person his family had invested so much time and energy into allowing him to become. Pitch Blackness invites us into his childhood, in the middle of family reunions, or at his grandma's, amidst his college friends, in parties with his pal Hank, the same Hank who created this photographic Requiem... Little by little, we get to know him. Ties grow.
Then, Songha died.
He was robbed on a parking lot, then executed by gangsters although he did not resist. His face looks composed on the autopsy picture.
Hank Willis Thomas exposes the event, transcribing it into a comic strip with GI Joe's reprising the role of all protagonists. He also exposes the conditions that surround it, by stripping the text from ads addressed to the African-American market, thus revealing their underlying currents, or by introducing Black characters inside the familiar advertisement campaigns he subverts. The ironic and jarring messages make you laugh, but rage roars beneath every montage. The photographer's ambiguity towards his own community is palpable, as early as the book's title; Pitch Blackness - it's the darkness of being Black.
Naturally, when oneself is a young man of 27 who feels like he hasn't yet lived a minute of his life, the trajectory documented by Hank Willis Thomas strikes even deeper. As one Mr. Obama has shown recently, there are several ways of being Black, and several ways of being White, and a lot of hues in-between. More importantly, you don't have to be a believer to believe in sympathy.
Hank Willis Thomas, Pitch Blackness, Aperture, October 08
- A.J. Fosik: Stiff Meat - Galerie L.J. Beaubourg (part II)
1 à 6- A.J. Fosik's work for the show
You can see more works by AJ Fosik here
Chic Cityrats (CCr): Who is A.J. Fosik and where does he live?
A.J. Fosik (AJF): AJ Fosik is a giant, he blocks out the sun. His enormous moustache is as black as coal and absorbs all the light around his head except for the the two burning hot orange embers where his eyes should be, his gaze makes children and tyrants weep. He lives in the hearts of those who smash mediocrity in the face with the hammer of their own screaming, raging, existence... and Philadelphia, he also lives in Philadelphia.
CCr: How and why did you adopt the medium of three-dimensional painted sculpture?
AJF: As far as I can tell, the idea was thrust forward from deep within the blackest depths of my psyche in a last ditch effort to prevent me from pushing paper around a desk for forty years in name of making another man wealthy.CCr: Why the folk (in your works)?
AJF: The "folk" is a language that doesn't take much effort to understand, like a drunk balling his fist.CCr: Why the animals (in your works)? Many species make an apparition (bear, horse, feline): what are their respective roles?
AJF: I don't ever consider the species of animals in my work, I make animal abstractions, existential fetishes. I make little reminders to cast off everything that is unimportant and rage against the black abyss.CCr: You come from Detroit. What's your take on that place? Close to South Park's depiction of it as Hell on earth? Or a paradise? Or something else entirely?
AJF: Detroit is a rusting post-industrial hulk, an oily cesspool that every once and a while produces a beautiful flower. Then that flower usually gets shot over some sneakers or a corner dispute. I do honestly recommend that everyone vacations there a least once, mostly as a preventative measure against a terrifying future.CCr: How does your current line of work relate to what you did before (street art, signposting...)?
AJF: This is an exact breakdown of how my life and work has changed since I've stopped doing street art...
I now have 10% less fingertips, I've seen 2% more of the world. I have 0% more trust and respect for police, I invest 21% of my income in machines that alter wood. I believe 33% more in sacrificing everything in the pursuit of creativity. The soles of my shoes last 9.8% longer. I know 11% more people in the flesh who I used to only know as writing on a wall, I'm kicking life in the nuts 13% harder, I have a blood alcohol level of 0.2%.
A.J. Fosik: Stiff Meat
September 6 through October 1, 08
Galerie L.J. Beaubourg, Paris
- Georgine Ingold - Guillaume Daeppen Gallery, Basel
1- Selfportrait #12, 2008, 16.5" x 22.8", oil on canvas
2- Selfportrait #16, 2008, 16.5" x 22.8", oil on canvas
3- Selfportrait #13, 2008, 16.5" x 22.8", oil on canvas
4- Selfportrait #11, 2008, 13" x 29.5", oil on canvas
Is it the carefully studied composition that catches our attention? Or the mysterious backdrops, sun-bathed exteriors or oppressive interiors plunged in half-light? Or the figures that people the images, idle and motionless, or attending to unfathomable occupations? A peculiar dramatic tension permeates the work of Swiss artist Georgine Ingold.
Yet her paintings do not tell stories. They are not narratives - instead they function as epiphanies, episodes of truth that unfold in the precise instant she's painting.
Although they are systematically entitled Selfportrait, the works in her latest series never show the artist's face. In fact, the characters inhabiting them seem to ignore her presence completely. Georgine Ingold doesn't represent herself. She represents female silhouettes, whose presence fragments as one draws nearer the painting, as the world goes to pieces within an impressionist painting seen up-close. And just as with the impressionists, the pieces assemble into deeply meaningful images. Self-portraits then, that are way more revealing than a simple reflection from the mirror.
Comprehension of this work suddenly condenses when one finds out that Ingold actually paints movie stills. Isabella Rossellini in Blue Velvet (1986), Meryl Streep in The Bridges of Madison County (1995): the artist isolates one frame from the flow of images, the tenth of a second when the presence of these women onscreen expresses an aspect of her own personality. In doing so she converts the cinematographic snapshots she's immortalizing into something profoundly painterly.
Georgine Ingold - Selfportrait
August 23 through September 20, 08
- Nathan Coley - De La Warr Pavilion + Haunch of Venisonhighlight
- Section: Episodes
- Published in: September 08
- City: -
- Episode: #17 The Wild Frontier
- Brand: -
- Category: Art
1 to 3- Palace, 2008, installation view, Haunch of Venison Berlin
4- Give Up the Good Book, Pick Up a Good Gun, 2008, powder-coated aluminium and fluorescent lamps, 160 x 74 x 8 cm
5- What Jackson Said to Andy (All Artists Are Either Cowboys or Indians), 2008, powder-coated aluminium and fluorescent lamps, 78 x 113 x 8 cm
All images © Nathan Coley, 2008, courtesy Haunch of Venison
Nathan Coley exhibits a fake saloon front, 80% of the real-life size. On its panels, he replaced the customary inscriptions and adverts by the words Wealth, Belief, Land, Mind, Life - the five rights of man under Islam.
Nathan Coley
July 26 through September 21, 08
De La Warr Pavilion
Exhibition's page on www.dlwp.com- Zhou Jun - Bird's Nest Project
1- Zhou Jun (b. 1965), Bird’s Nest No. 3, 2006
Photograph, 50 x 76 cm, 120 x 186 cm (20" x 30", 47" x 73")2- Zhou Jun, China Central Television, 2008
Photograph, 200 x 120 cm, 300 x 120 cm (79" x 112", 118" x 112")Why do Beijing's new constructions, erected for the Olympics, drape themselves in red on Zhou Jun's black and white photographs?
Perhaps because red, just like these Olympics, is associated in China with a ceremonial event, the radical power of a Communist government - and shed blood.
Zhou Jun – Bird’s Nest ProjectAugust 7 through 29, 08
Rossi & Rossi Ltd gallery, London
- A.J. Fosik: Stiff Meat - Galerie L.J. Beaubourghighlight
1- A.J. Fosik, Each Morning Takes Figuring Out How to Live All Over Again (2007)
Mixed media, 82" x 78" x 16"
2- A.J. Fosik, Speak my Language (2007)
Mixed media, 38" x 35" x 12"
3 and 4- A.J. Fosik, Fossickers Friend (2005)
Mixed media, 40" x 20" x 8"Rooooaaarrrr! (more on that later...)
A.J. Fosik: Stiff Meat
September 6 through October 1, 08
Galerie L.J. Beaubourg, Paris
- Meet The Made - Mattress Factory, Pittsburgh
1 and 2- Lauren Frances Adams & Jake Peterson
Space Invaders (Rat King), 20083- Betsy James DiSalvo
The Productivity Paradoxand the Cupcake Robot, 2008
4 to 6- Stuart O. Anderson & Shaun Slifer
Enoch’s Hammer, 20087 and 8- Adam Shreckhise
Empathy Implant, 2008The Meet the Made exhibition puts a large part of Pittsburgh's former mattress factory at the disposal of 17 artists, the creators of a dozen works that explore the relationship between contemporary culture and robotics.
Equipped with night-vision goggles, one discovers Space Invaders (Rat King) (2008), inspired to Lauren Frances Adams and Jake Peterson by the cryptozoological myth of the rat kings, creatures supposedly formed when several rats become inextricably entangled by their tails. The installation confronts the exploitation of the natural world with "technology gone awry". The elements forming the system all pull in opposite directions, as would the autonomous rats in a rat king, although they all derive power from the same source.
Betsy James diSalvo's Cupcake Robot (2008) claims it can produce personalized cakes for every visitor, based on a personality quizz. However, as with many machines supposed to improve housewives' lives, it's incapable of fulfilling its professed function, and Betsy herself, an emblem of the frustrated housekeeper, has to make up for it failings.
Anderson and Slifer's Enoch Hammer (2008) refers to the violent Luddite riots that broke in Great-Britain in 1811-12. The hammer, a symbol of this first workers' protest against the mechanization of industry, is deprived of all power and relevance by this reliquary-like installation, watched over by two security cameras.
As to Adam Shreckhise's Empathy Implant (2008), it's difficult to determine whether it's used to endow the robot it equips with empathy, or the humans around it.
For the bold, it's possible to get hypnotized by a professional and join the ranks of the Human to Robot Army imagined by John Peña, Jon Rubin and Brett Yasko. In response to a definite word, and for a brief interval of time, the volunteers will start behaving like robots. Post-cyberpunk...
Meet the Made
July 11 through August 31, 08
Mattress Factory, Pittsburgh
- Jack Kilby - Meadows Museum, Dallas
1- Jack Kilby (1923-2005), Big Rig (ca. 1970), Kilby negative, modern inkjet carbon-pigment print by Gary McCoy, 16 x 20 inches
2- Jack Kilby, Main Place (1970), gelatin silver print, 16 x 20 inches
3- Jack Kilby, Alfred (ca. 1970), Kilby negative, modern inkjet carbon-pigment print by Gary McCoy, 16 x 20 inches
4- Jack Kilby, Construction Overpass (ca. 1966), gelatin silver print, 16 x 20 inches
5- Squire Haskins photo, Jack Kilby and the Integrated Circuit (ca. 1960), gelatin silver print, 8 x 10 inches
All images: Jack Kilby Photograph Collection
DeGolyer Library, Southern Methodist UniversityExactly 50 years ago, Jack Kilby (1923-2005) introduced a group of Texas Instruments engineers to his prototype for the first integrated circuit microchip, which ushered in the electronic era. Without Kilby's invention, and the miniaturization of calculators it enabled (incidentally Kilby produced the first portable calculator in 1967) you wouldn't be reading these lines - personal computers wouldn't exist. Man wouldn't have walked on the Moon either.
Parallel to his brilliant engineering career, during which he held 60 patents and was eventually awarded the Nobel Prize for Physics, the humble genius entertained a mistress: photography. Wandering with his Hasselblad, he captured, always in black and white, street scenes, landscapes, a lot of architecture and workshop scenes, a few portraits. His pictures exhibit the meticulousness and the sense of composition that characterize a fine electronics specialist, as well as a taste for abstract structures delineated by metal and stone, and an eye trained to detect the beauty of visual repetition and serial products. Kilby will live ever after as one of the founding fathers of the electronic age, but the exhibition at the Meadows Museum reveals a nuanced sensitivity, a sense of humor and an engaging perspective on the world. All analogic qualities?
Jack Kilby - The Eye of Genius
Photographs by the Inventor of the Microchip
July 12 through September 21, 08
Meadows Museum, Southern Methodist University, Dallas
- Room for Thought - San Francisco Moma
1 to 4- Alexander Hahn, Luminous Point (still), 2006-7
Interactive single-channel color video projection with sound, dimensions variable
Produced with support from sitemapping, a project of the Swiss Federal Office of Culture and the Experimental Television Center’s Finishing Funds Program, which is supported by the New York State Council on the Arts and MediaThe foundation inc. Courtesy the artist; © 2008 Alexander Hahn
5 and 6- Yves Netzhammer, Furniture of Proportions (preparatory sketch), 2008
Mixed media and three-channel color video installation with sound, 35:42 min. loop, soundtrack by Bernd Schurer
Courtesy the artist and Galerie Anita Beckers, Frankfurt, Germany
© 2008 Yves Netzhammer
7- Yves Netzhammer, Furniture of Proportions (video still), 2008
Courtesy the artist and Galerie Anita Beckers, Frankfurt, Germany
© 2008 Yves Netzhammer
The San Francisco MoMA exhibits two premiering new-media installations, the work of Swiss artists Alexander Hahn (born 1954) and Yves Netzhammer (born 1970). Two projections of their mental panoramas.
In Luminous Point (2006), Hahn re-built a domestic environment, that of his own flat in the Lower East Side, from photographs and images he created. The spectator moves inside it using a remote controller, and is confronted with enigmatic elements: a Zeppelin from the 1900's, Assyrian mosaics, historical frescoes... One moment a room looks lived in, the next it seems to have long fallen into disuse, and in the bathroom the tub fills and empties, as if under the influence of a mysterious presence. It is possible to exit the apartment and leave for one of the destinations filmed by Hahn: one can roam the adjoining streets, follow an animal's track into the woods, explore a salt mine in Poland... This environment, naturally, stands first and foremost for the inside of the artist's mind.
Yves Netzhammer, for his part, shows Furniture of Proportions (2008), a complex installation mixing animation, wall drawings and props, whose image is chanelled through a series of sculpted tubular shapes and cast onto surrounding walls or mirrored surfaces. A manner of grasping the baroque fluidity of the creative process.
Room for Thought: Alexander Hahn and Yves Netzhammer
San Francisco Museum of Modern Art
July 10 through October 5, 08- Vom Elch bis zum Pudu - Landesmuseum Joanneumhighlight
1- Installation view at the Jagdmuseum Schloss Stainz
2- Marianne Merz, Alces a.gigas
3- Marianne Merz, Megaceros bibernicus
4- Marianne Merz, Cervus eldi
Photos: Landesmuseum Joanneum (1: Nicolas Lackner)
From the Canadian moose or the giant stag with antlers 3.5m wide that disappeared during the Ice Age, down to Latin America's Pudu or the 6 hands (60 cm) high Muntiak from South-East Asia, all members of the cervidae family interest the Landesmuseum Joanneum. All of the human approaches to it, too. Hunting trophy, cave painting or advertising icon, the many faces of the animal in contemporary culture are represented. One can even smile back at a great taxidermized moose.
Hirsche Weltweit. Vom Elch bis zum PuduLandesmuseum Joanneaum, Jagdmuseum Schloss Stainz, Austria
June 30, 08 through February 1, 09
Exhibition page on www.museum-joanneum.at (in German)
- Polar Attractions - Peabody-Essex Museum
1- Antarctica LVI, 2007, John Paul Caponigro, photograph
2- Floral Passage, 2007, Kenojuak Ashevak
3- Autumn on Taiga, 2002, Subhankar Banerjee, photograph
4- Iceberg, 2008, Mary Edna Fraser, batik
5- Penguin, 1992, Michael LaFosse, origami
6- Drawing on seal gut, Godelieva Aluska-Barr, mixed media"Frail beauty": it's Nature's motto these days. Polar Attractions applies it to the Arctic and Antarctic sides of the Earth. Immaculate panoramas of blank ice and motley woods of the Great North, a painting of an iceberg made from polar ice, an origami penguin... More good reasons to save the planet.
Polar AttractionsPeabody-Essex Museum, Salem, Massachussetts
June 28, 08 through June 7, 09
- Vilhelm Hammershoi: The Poetry of Silence - Royal Academy of Artshighlight
1- Vilhelm Hammershøi, A Wing of Christiansborg Castle. Late Autumn, 1890-92, Oil on canvas, 115,5 x 147,5 cm, Statens Museum for Kunst, Copenhagen, Photo SMK, Copenhagen
2- Vilhelm Hammershøi, From the British Museum. Winter, 1906, Oil on canvas, 51,9 x 45,3 cm, Fuglsang Kunstmuseum, Denmark, Photo Hans Petersen
3- Vilhelm Hammershøi, Interior with Woman at Piano, Strandgade 30, 1901, Oil on canvas, 55,9 x 45,1 cm, Private collection, Photo Maurice Aeschimann
4- Vilhelm Hammershøi, Sunbeams or Sunshine. Dust Motes Dancing in the Sunbeams, 1900, Oil on canvas, 70 x 59 cm, Ordrupgaard, Copenhagen, Photo Pernille KlempThis exhibition was organised by the Royal Academy of Arts, London and the National Museum of Western Art and NIKKEI, Tokyo
The melancholy works of Danish painter Vilhelm Hammershøi (1964-1916) possess that mysterious presence distinctive of the best Symbolist pictures. Their rigorous yet lyrical geometry, their minimalist yet expressive palette arrest one's gaze and hold it. A form of hypnosis. Sometimes compared to Whistler stylistically, Hammershøi, despite his numerous stays in London, exhibits a character at odds with the dandy extravagance of that other imported Englishman. His intimate œuvre reaches its climax in peaceful interior views, whose calm verges on a disquieting stillness. The artist's closed spaces are, in turn, utterly empty, or inhabited by the lonely, ghostly presence of his wife, her back turned towards the beholder.
Vilhelm Hammershøi: The Poetry of SilenceJune 28 through September 7, 08
Royal Academy of Arts, London
- Mario Ybarra Jr. - The Black Squirrel Societyhighlight
1- Mario Ybarra Jr, Black Squirrel Society Large, 2008, acrylic on canvas, 18 panels, each: 20 x 16 inches, LM11391
2- Mario Ybarra Jr, Black Squirrel Down, 2008, acrylic on canvas, 8 panels,
each: 16 x 20 inches
3 and 4- Installation views at Lehmann Maupin Gallery
It's a weird gang, Mario Ybarra Jr's. As its name indicates, membership in the Black Squirrel Society is open exclusively to black individuals of the nut-eating species. Ybarra Jr created a mythology for his organization: commemorative flags and banners, propaganda music, T-shirts, posters and drawings celebrating the clan and its legacy - a long history strewn with great victories and homeric defeats, as well as daily routines and rites of passage. In short, a tradition.
The artist adopted a similar approach for his 2006 installation at the Serpentine Gallery in London, featuring peacocks (The Peacock Doesn't See its Own Ass/Let's Twitch Again: Operation Bird Watching in London). But the Black Quirrel Society is here to stay, and it will only fade back into anonymity after the show to reemerge some time from now, unpredictably, somewhere else within the country, as part of another shock maneuver orchestrated by Mario Ybarra Jr.
Mario Ybarra Jr: The Black Squirrel Society
June 24 through August 8, 08
Lehmann Maupin Gallery, New York
- Space is the Place - Hudson River Museum
1- Jane and Louise Wilson, Service Module, Mir, 2000, chromogenic print mounted on aluminum, 71 x 71 in. (180.3 x 180.3 cm), Courtesy 303 Gallery, New York
2- Adam Ross, The City at the Edge of Time, 02, 2004, oil, alkyd and acrylic on canvas, 48 x 50 in. (121.9 x 127 cm), Courtesy the artist and Kevin Bruk Gallery, Miami
3- Lia Halloran, Up, Down, Left, Right, 2003-04, oil and Flashe on canvas-wrapped panel, 72 x 48 in. (182.9 x 121.9 cm), The Speyer Family Collection, New York
4- Aleksandra Mir, First Woman on the Moon, 1999, single-channel video with sound, 12 mins., Collection of the artistThe infinite immobility of the void suddenly got animated. The travelling exhibition Space is the Place shows the multitude of faces, the moving set of values, the wealth of visions engendered by space exploration in the minds of artists in the last fifty years.
Painting, sculpture, video or sound installations, photography, performance are all represented: after all space, lest we forget, is all around us.
Be it gender inequalities, brought out by Aleksandra Mir's video First Woman on the Moon (1999) shot exactly thirty years after a man first laid foot on the moon, or the formidable liberation of the body in a zero-gravity environment as revealed by the performance of the MIR group, which comes at the cost of terrifying frailty inches from the murderous void, the show conveys the notion that space is not a frozen, objective place, rather the opposite: a different place for each one of us, and a canvas bearing the projection of very human affects.
The British Wilson twins gained access to disused facilities, once part of the Soviet space program. They photographed the desolation that enwraps the vast hangars and the rooms of the former training center - piles of dusty space suits, empty lockers... Their work underlines the painful impression of vanity that creeps even into such a transcendent enterprise as cosmic exploration.
Space is the Place
June 21 through September 7, 08
Hudson River Museum, Yonkers
- Joanne Greenbaum - Abteiberg Museumhighlight
1- Exhibition view, 3rd floor
Joanne Greenbaum, "Painting"
Photo: Stefan Altenburger, Zürich
2- Joanne Greenbaum, Style Star (2005)
Oil on canvas, 70 x 75 in
Photo : Adam Reich, New York
3- Joanne Greenbaum, Untitled (2007)Oil, vinyl, acrylic on canvas, 100 x 80 in
Photo : Adam Reich, New York
4- Joanne Greenbaum, Untitled (2006)
Oil on canvas, 77.99 x 77.99 in
Photo : Adam Reich, New York
5- Exhibition view, 1st floor
Joanne Greenbaum, "Painting"
Photo: Stefan Altenburger, Zürich
Joanne Greenbaum composes her painted surfaces in the manner of a graphic designer. On her large canvases, one-colored areas clash with complex, irregular, barely legible patterns. Structures, almost architectures, are drawn by the line that winds its long way and blends into different colors, different levels. Reliefs emerge from the drawn shapes as impossible monuments. The raw canvas appears here and there, lending its texture to Joanne Greenbaum's cartographies - but what land do they map?
Joanne Greenbaum, "Paintings"
June 15 through August 24, 08
Abteiberg Museum, in cooperation with Haus Konstruktiv Zürich
Exhibition's page on www.abteiberginfo.de (in German)
- Nature as Artifice - Kröller-Müller Museumhighlight
1- Edwin Zwakman, Pylon, 2007
© Kröller-Müller Museum, Otterlo
2- Edwin Zwakman, Fly-Over, c-print, 300x120 cm, 1996
Courtesy Galerie Akinci, Amsterdam
© Kröller-Müller Museum, Otterlo
3- Gerko de Ruijter, Untitled, Goeree, 2007
Courtesy : MKGalerie.nl, Rotterdam/Berlin© Kröller-Müller Museum, Otterlo
4- Marnix Goossens, Plassenweg, c-print, 2000
From the series Regarding Nature (2000)
© Kröller-Müller Museum, Otterlo
5- Theo Baart, 1996, photo from the seriesby Cary Markerink/Theo Baart,
Snelweg>Highways in The Netherlands (1999)
© Kröller-Müller Museum, Otterlo
6- Cary Markerink, A4 Schiphol, 1996
From the series by Cary Markerink/Theo Baart,Snelweg>Highways in The Netherlands (1999)
© Kröller-Müller Museum, Otterlo
7- Bas Princen, Dam, c-print, 2000
From the series Artificial Arcadia (2004)
© Kröller-Müller Museum, OtterloNature as artifice, or what became of the idyllic Dutch landscapes of classical Flemish painting - and the modern beauty of pylons, dams, intensive farming, and the lights on the highway.
Nature as Artifice: new Dutch landscape in photographyand video art
June 12 through September 28, 08Kröller-Müller Museum, Otterlo, Netherlands
Current exhibitions page on www.kmm.nl- Ambroise Tézenas - The Hutongs of Beijinghighlight
1- November 2004. The last inhabited house in the razed quarter east of Chongwenmen Neidajie
2- November 2003. An abandoned hutong in a quarter about to be demolished south of Zhusikou Dongdajie
3- October 2003. An inhabited hutong around the Drum tower, Dong Cheung district
4- October 2001. An area partially razed to make way for a large avenue at the crossing of Jinyu Hutong and Donsi Nandajie, east of the Novotel Peace Beijing
5- November 2002. Residential flats on Dongsahuan Beilu, 3rd ring road
6- November 2005. 2nd ring road at the top of Xizhimen
China, China, China, all we hear about is China, especially as the Olympics draw closer. Tibet is focalizing international attention, but the Chinese politics over there are only one facet of a development plan that is changing the inside of the "great red dragon" lightning-quick. Frenchman Ambroise Tézenas took himself to Beijing to photograph the urbanistic transition through which entire neighborhoods of Hutongs, small houses for the working-class, are demolished to make room for large, ultra-modern infrastructures.
Ambroise Tézenas - The Hutongs of Beijing
June 7 through September 28, 08
Kunsthal Rotterdam
- Jitish Kallat - Cenotaph (A Deed of Transfer)
Jitish Kallat
Cenotaph (A Deed of Transfer), 2007
Lenticular prints
20 parts, each 44.5 cm x 66 cmCopyright Jitish Kallat 2008
Courtesy Haunch of Venison
In the Indian town of Mumbai, Jitish Kallat witnessed a scene of extreme violence: a demolition drive on makeshift homes, some of them occupied for many years, along a large wall on the edge of railroad tracks. A few weeks later, the urban architecture had started to reappropriate the wall these tiny homes had leant on. Movie posters and advertising bills covered fresh traces of domestic occupation - electric wires, clothes, calendars and holy pictures, paint... Jitish Kallat's lenticular pictures bring out the marks stamped by brutal demolition and the pathetic remains of a bygone life.
Jitish Kallat - Universal Recipient
May 31 through August 2, 08
Haunch of Venison Galerie, Zürich
- Lilly Otasevic - Portals and Bioscapeshighlight
1- Cocoon, 2008, steel,
w 45.72 x h 40 cm, depth 22.22 cm
2- Portal, 2008, steel,
h 78.74 x w 78.74 cm, depth 15.24 cm
3- Crystal Portal, 2008, mixed media with home-grown crystals and Swarovski crystals, diam 36.2 x depth 12.7 cm
4- Redscape, 2008, steel, wood, diam 40.64 x depth 15.24 cm
5- Ripple II, 2008, steel, diam 61 x depth 10 cm
All works by Lilly Otasevic
Photography Dragan Gavrilovic
You'll have to cross the vortex, then the portals, without cutting yourself on the edges of the crystals that have colonized them; on the other side, the waves, the nests, the cocoons are all of metal, and the plants themselves grow on aluminum.
Works from the exhibition Portals and Bioscapes, available for viewing at Xexe Gallery, Toronto
- Contes Russes - SMALL&CO Galleryhighlight
1- Dasha Yastrebova, Ghost, 2007, color photograph, Lambda print, 28 x 41 cm (11" x 16")
2- Marcin Sobolev, Blue Cat, 2008, indian ink, acrylic and lacquer on hand- moulded resin, h 40 cm (16")A ghost photographed, a young woman naked, her transparent belly revealing a golden fish, a matryoshka doll with the face of a blue cat, a mother hugging her dead child...
For its summer show, the SMALL&CO gallery gathers young Russian artists around the notion of the tale. As its director Liza Fetissova writes, "for a Russian, a traditional tale is a story heard in childhood that follows him or her forever: through the characters carved in wood at the playground, through the first books, through cartoons, jokes and expressions, dramas and ballets. Russian artists cannot escape a tale."
The folkloric themes, stamped in the collective unconscious, are thus exhibited in broad daylight. Photography, sculpture, painting, but also graffiti, embroidery or drawing, take up these motifs with a fully contemporary immediacy, irony and visual style.
Contes Russes
June 19 through August 20, 08
SMALL&CO Gallery
1, avenue Trudaine Paris 9°
01 45 26 04 60
For more information on the young Russian artists represented by RussianTeaRoom, visit russiantearoom.fr
- Tomorrow Always Belongs To Us - Göteborgs Konsthall
1- Henrik Eriksson (1976, SE), Center of the World 5, drawing on polyester, 2007, Courtesy the artist & Angelika Knäpper Gallery, www.henrikeriksson.com
2- Christina Malbek (1971, DK), Into, airbrush on canvas, 197 x 300 cm, 2007, www.christinamalbek.com
3- Sigga Björg Sigurdardóttir (1977, IS), Demon Darling, drawing on paper, 2007. Courtesy the artist & Galerie Adler, Frankfurt and New York
4- Carl Hammoud (1976, SE), Revolution, oil on canvas, 69 x 96 cm,2007, www.carlhammoud.com
5- Carl Hammoud (1976, SE), Land, oil on canvas, 121 x 121 cm, 2007
6- Hannaleena Heiska (1973, FI), That Darkness Shall Be Eternal, oil on Mdf-board, 2007, artist's portfolio
7- Marc Strömberg, graphic design of the Exhibition, Marc Strömberg's websiteEleven hot young artists that came from the cold: Iceland, Norway, Sweden, Denmark, and Finland. They are gathered in Göteborg around the medium of painting, but they won't do as they're told: beside the oils on canvas or paper, one finds drawings, performance, digital graphic design... All were born in the 70's or even the 80's, and judging from the quality of the exhibited works, the Konsthall's words stand true: the future belongs to them.
Tomorrow Always Belongs to Us
June 5 through September 28, 08
Göteborgs Konsthall
+46 31 368 34 50
www.konsthallen.goteborg.se- Anish Kapoor
Anish Kapoor, exhibition view at Gladstone Gallery,
530 West 21 Street, New York
Photo by David Regen
Copyright Anish Kapoor
Courtesy Gladstone Gallery, New YorkAnish Kapoor
May 12 through August 15, 08, Gladstone gallery, New York
- Treescape - NGA Canberra
1- Patrick Collins
(b. 1942, London, EnglandLives in Australia since 1966)
Curtain call, 2003Ceramic, earthenware, tin-glazed
Maiolica in-glaze painting
h 118 x w 85.5 x d 16 cm2- Laurel Nannup
(b. 1943, Australia)The lollie tree, 2001
Print, relief
Technique: woodcut,printed in black ink,
from one block
58.2 h x 58.5 w cm
Gordon Darling AustralasianPrint Fund 2006
It's summer, so the National Gallery in Canberra offers to climb up the trees.
Treescape is a panorama of the history of trees in art since 1850. The pictorialist photographs by John Kauffman (1864-1942), influenced by the blurry atmospheric effects found in etching, are succeeded by the black and white pictures of Ansel Adams (1902-1984), works of exceptional precision in which the barks are often featured close up.
More contemporary, Sally Smart's installation Family tree house (shadows and symptoms), created between 1999 and 2002, fills up an entire wall in one of the rooms. Hundreds of pieces of felt make up the shape of a life-sized tree inhabited by strange creatures and hybrid, unidentifiable objects - as the shadows that lurk within all family trees.
The Australian NGA does not forget the fauna that people the boughs; possums and bats carved in bark, ceramic koalas, green frogs and birds, all show up at some point.
Now let's get to Australia!
Treescape, April 12 through August 30, 08
National Gallery of Australia, Canberra
- Gérard Deschamps - Jeux d'Eau
1- Char à voiles Oiseau des Sables, JRD, France, c. 1930-1950, painted metal, cloth and painted plaster (acquired in 1990, inv. 990.246)
2- Polly, mechanical swimming doll, Italy, c. 1950-1960, mechanical toy, plastic (acquired in 1991, inv. 991.282)
3- Requin longimane, China, 1989, plastic (gift from Monica Burckhardt, inv. 989.863.A)
4- Poissons rouges, Petitcollin, France, c. 1920-1930, painted celluloid (gift from Chambre syndicale des industries du jouet, 1979, inv. 46839.C)
The Musée des Arts Décoratifs' toys collection has been growing steadily since 1905. It re-opened in 2006 and since then shares some its treasures twice a year. For this summer session revolving around Water Games, the museum invited Gérard Deschamps, a prominent figure of the New Realism movement. Opposite windows filled with classic and contemporary toys, he created about twenty Pneumostructures, compositions that oscillate between the childish, the absurd and the fantastic, built from elements associated with aquatic leisure.
Gérard Deschamps, Jeux d'Eau, June 5 through November 16, 08
Musée des Arts Décoratifs107, rue de Rivoli Paris 1er
+33 1 44 55 57 50
Exhibition page sur www.lesartsdecoratifs.fr- Wait for Walk
1- 54th St & 5th Ave, NYC 2005
2- Centre & Canal, NYC 2005
3- 50st St & 5th Ave - 2, NYC 2005
In Florian Böhm's photographs shot from carefully selected spots in New York, the studied framing and lighting turn the anonymous passers-by into such figures as people classical crowd paintings. The clever staging reveals the romance buried in the random ebb and flow of the street.
Florian Böhm, "Wait for Walk"
Young Gallery, Brussels, May 30 through September 4, 08
- Les Fauves Hongrois - Musée Céret
1- Géza Bornemisza, Rue du village, 1911, oil on canvas,
63,5 x 70 cm, Jill A Wiltse and H. Kirk Brown III collection, Denver, Colorado
2- Sándor Ziffer, Paysage d’hiver à la barrière, early 1910's, oil on canvas, 91,5 x 109,3 cm, Hungarian National Galleries collection
3- Vilmos Perlrott Csaba, Rue à Nagybánya, 1909, oil on canvas, 40 x 40 cm, Haas Collection
4- Sándor Ziffer, Vieux pont à Nagybánya, 1908, oil on canvas, 50,5 x 65 cm, Lorenz Czell collectionSet up in collaboration with the Musée des Beaux-Arts de Dijon and the Musée Matisse de Cateau-Cambrésis, the Fauves Hongrois exhibition, presented at the Musée d'Art Moderne de Céret, relies on the 2006 major retrospective at the Hungarian National Gallery in Budapest: Hungarian Fauves, from Paris to Nagybánya, 1904-1914. A selection of 110 paintings and 49 drawings, about half of the 2006 exhibition, draws the portrait of Hungarian fauvism, astride between national tradition and references to the Parisian avant-garde. The exhibition also examines the specifics of the various centers of Hungarian fauvism: Paris, Budapest, and Nagybánya, a tumultuous colony of artists in Transylvania. The works gathered, very rarely shown outside of Hungarian museums and collections, are signed by artists who went mostly unrecognized on the international scene, such as Géza Bornemisza, Béla Czóbel, Sándor Ziffer, Jozsef Rippl-Ronai, Vilmos Perlrott Csaba...
Fauves Hongrois, 1904-1914
June 22 through October 12, 08
Musée d'Art Moderne de Céret
8, Boulevard Maréchal Joffre
66403 Céret Cedex – France
+ 33 (0)4 68 87 27 76
Exhibition page on www.musee-ceret.com (in French only)- Jewgeni Chaldej - The Important Moment
1- Budapest, Januar 1945, jüdisches Paar
2- 1941, Rußwolke, verbrannte Gebäude / black clouds, burnt buildings
Jewgeni Chaldej (1917-1997) is sometimes nicknamed the Soviet Robert Capa. Just like his American counterpart, he didn't photograph the war as a reporter, but rather as a soldier among soldiers, who shot with his camera instead of a rifle. His pictures do not document the Allied landing or the combat on the Atlantic front, but rather the awful conflict between Germany and the U.S.S.R.
Thus on display is the disaster at Murmansk, a town made of wood, burnt to ashes within 24 hours by 350 incendiary bombs dropped by the Luftwaffe.
In Budapest, after the city was liberated, a Jewish couple still wears the yellow star sewn into their clothes.
Elsewhere, German civilians committed suicide before the Allies marched in; a soldier is planting a flag with the hammer and sickle on top of the Reichstag. Stalin, clad in radiant white, sits as if enthroned at the Potsdam conference of 1945, and we can glimpse into the glacial eyes of Hermann Göring at his Nüremberg trial.
The exhibition at the Berlin museum Martin-Gropius-Bau will later travel towards Kiev, in the Ukraine, Chaldej's native country. Free works are shown alongside commissioned series - an opposition that lies at the root of the work as a news photographer. Part of this show's interest is in studying the way Chaldej managed to juggle both polarities.
Jewgeni Chaldej, The Important Moment
Martin-Gropius-Bau, Berlin, May 9 through July 28, 08
- Affordable Art Fair - Paris
1- Willy Rojas, Courtesy of Villa del Arte, Barcelone
2- Patricia Erbelding, Courtesy of Elsa Lorente, Vienne
3- Christophe Goyon, Courtesy of Arlev’Art, Paris
4- Jonathan Stewardson, Courtesy of David Lilford fine art ltd, Canterbury
It's the first edition of the Affordable Art Fair in Paris. The idea, already well established in London where the fair exists since 1999, is quickly gaining ground all over Europe. It's a simple one, really: selling art cheaper. The selected galleries (about 100), the amount of artists exhibited (more than 300), the offer of buying advice, and the relaxed atmosphere, combine to turn the AAF into an important event. Window shoppers are welcome, as are novices who'd like to start an art collection; and you can bet you'll come across many a seasoned buyer, who'll come to discover, perhaps, one of tomorrow's big names, before the others and for only 100 to 5.000€.
Affordable Art Fair, May 29 through June 1, 08
Espace Champerret
2, place de la Porte Champerret
75017 Paris
- Newer Topographicshighlight
1- Eric Curry, Airstream Trailer: Home on the Range, 2007, archival inkjet print, 40” x 60”, courtesy of the artist
2- Eric Curry, Cropduster and Blooming Trees, 2007, archival inkjet print, 40” x 60”, courtesy of the artist
3- Eric Curry, DC-3: Workhorse, 2007, archival inkjet print, 40” x 60”, courtesy of the artist
4- Eric Curry, Corvette: A Coke and A Smile, 2007, archival inkjet print, 40 x 60", courtesy of the artist
5- Jeremy Kidd, Exploratorium 1, 2005, chromogenic print on aluminum panel, 30” x 84”, courtesy of the artist
6- Jeremy Kidd LACMA 1, chromogenic print on aluminum panel, 53,5 x 108", courtesy of the artist
7- Jeremy Kidd Chrysler 2, 2006, chromogenic print on aluminum panel, 36” x 108”, courtesy of the artistNewer Topographics echoes a key exhibition in American photography history: New Topographics: Photographs of a Man-Altered Landscape, that took place in 1975 at the George Eastman House (Rochester, NY), one of the world's oldest photography musems. Back then, the photographers wanted to distance themselves from a romantic tradition perceived as oppressive in landscape photography, and advocated a detachment and coolness that left little room for emotions.
Newer Topographics stems from the opposite impulse. Jeremy Kidd and Eric Curry, with their special effects, saturated colors and unlikely sceneries, re-interpret their environment with great passion.
Jeremy Kidd is fascinated by the magnitude of contemporary urban architecture. He deems it worthy to sustain the comparison with the rocks and canyons of Western America, and depicts it with a majesty that borders on the epic. Made from an assembly of digital photographs "developed" with the help of Photoshop, his landscapes are manipulated, dramatized, anthropomorphic. With their distorsions and aberrations, these giant panoramas are almost expressionistic in the way they transcribe Jeremy Kidd's impressions when faced with the sublime right in the heart of the city.
As to Eric Curry, he manipulates his photographs digitally to better glorify his culture. He picks his subjects among the symbols of the American spirit: there is the Corvette, the jet fighter, the telescope, the tank, the monster truck... So many emblematic objects, which he stages with immense meticulousness in images saturated with bright colors and artificial lighting, and filled with elements that feel more real than life itself. Eric Curry's photographs open up on a kind of hyperreality. Almost myth.
Newer Topographics - Photographs of Digitally Altered Urban Landscapes, UCR California Museum of Photography
Eric Curry - American Pride and Passion, April 26 through July 05, 08
Jeremy Kidd - Hyper Architectural Typologies, April 26 through July 05, 08- Grace Westonhighlight
1- Bliss
2- Don't Pet the Bee
3- Heartworms: Seven Deadly Sins
4- Winter Thaw
5- Winter Wish, Winter Dream
6- Free to Go
7- First Impressions
In her little girl's room, Grace Weston eluded the gravity of childhood by creating little dioramas populated with her toys and random objects - cardboard, shoe boxes, stuffed animals, crepe paper...
Today, in her Portland studio, Grace Weston still constructs the scenes she catches on film. Dreams and disquiet merge. Imagination is the queen of her colorful fictions, and dark humor their disturbing prince. Under its influence, Grace Weston's surrealist stories take on their full dimension.
- PEZ™ by Atypykhighlight
- Episode: #15 Wonderland
- Brand: Atypyk
- Category: Indoor + Outdoor Design - Art
1 to 6- Hand-transformed PEZ™, by Atypyk
Editions of 1
After the Lieu Unique gallery in Nantes, on the west coast of France, the designers form Atypyk will be taking their PEZ™ to Vien's Museumsquartier in June. It tickles and it's sweet - like all good candy.
- Le Livre de la Chasse
1- Care of Sick and Injured Dogs
2- Dog and Huntsman Tracking in Copse3- Hunting Party Pursuing Stag
Gaston Phoebus (1331–1391),
Le Livre de la chasse,
France, Paris, ca. 1407
The Morgan Library & Museum;MS M.1044
Bequest of Clara S. Peck, 1983
Image courtesy of Faksimile Verlag Luzern, www.faksimile.chIn his treatise Le Livre de la chasse, Gaston Phoebus, a medieval authority on the question of hunting, reviews the various stages that comprise this sport, then a privilege of the aristocracy: the grooming of the dogs, the gathering of the hunters, the tracking, the pursuit, and the eventual slaying. The original is supposed to have been a commission from Philip the Bold. The Morgan holds one of the two most beautiful editions of the treatise, probably a copy ordered by Philip's son, John the Fearless. The library takes advantage of the fabrication of a facsimile, a process which implies the unbounding of the book, to exhibit nearly fifty colorful illuminations, which reveal in vivid, fascinating detail the practices of medieval hunters. The tone swings between cruelty and dainty genre scenes.
Exhibition Illuminating the Medieval Hunt
April 18 through August 10, 08
The Morgan Library & Museum, New York
- Urban Seenhighlight
1- Stephen Etnier (United States, 1903-1984), Union Station, Portland, Maine, 1968
Oil on masonite, 22 1/16 x 36 1/8 inches, Portland Museum of Art, Maine.Anonymous gift
2- Robert Solotaire (United States, 1930), View from the 11th Floor-Night, October 1978
Oil on masonite, 25 3/4 x 37 5/8 inches, Portland Museum of Art, Maine.Gift of the artist
3- Robert Solotaire (United States, 1930), View from the 11th Floor of the Holiday Inn, April 10, 1979
Oil on masonite, 26 x 36 inches, Portland Museum of Art, Maine.Gift of Chip and Susan in memory of their parents, Chuck and Jane Kaufmann
4- Phil Barter (United States, 1939), B & M Baked Bean Factory, Making Beans, 1987
Oil on board, 26 1/16 x 38 1/8 inches, Portland Museum of Art, Maine.Gift of Joanna D. and Henry L. McCorckle
5- John Dowell (United States, 1941), Portland II, 2005
Epson ink jet print, 28 1/2 x 22 3/4 inches, Portland Museum of Art, Maine.Museum purchase with support from the Photography Fund
More than 25 paintings, prints, pastels and photographs, most of them views of Portland, evince the long-standing interest of artists for the city- especially the American city. Its geometrical softness and hospitable indifference are as tangible in the era of satellite imagery as they were in the 1930's.
Exhibition Urban Seen, at the Portland Museum of Art
March 2 through August 17, 08
Current exhibitions page on www.portlandmuseum.org
Video coverage of the show by WCSH 6 Portland (Windows Media Player required)
- Promenons-nous dans le boishighlight
Klaus Haapaniemi (born 1970)
Siili Plate, ceramic, 2007
Editor : Iittala, Finlande
Le Design Finlandais
Promenons-nous dans le bois,
May 29 through August 31, 08
Musée des Arts Décoratifs107, rue de Rivoli Paris 1°
+33 1 44 55 57 50
www.lesartsdecoratifs.fr-
- Poof and the Lost Foresthighlight
Anne Kristoff
Seek, Redwood Forest near Ferndale CA, 2002 (shot on film)
This work's page on www.poofny.etsy.com-
- Around the Maple: Conversations with Tara Hoganhighlight
1- Tara Hogan, The Peacock and Juno, pencil, ink, and collage on 1" cradled, maple board, dimensions: 10"x10", $375
2- Tara Hogan, Fine Feathers do Not Make Fine Birds, pencil, ink, and collage on 1" cradled, maple board, dimensions: 10"x10", $375
3- Tara Hogan, Conversations with Polar Bears, pencil, ink, and collage on 1" cradled, maple board, dimensions:10"x10", $425
4- Tara Hogan, Conversations with a Carrot, pencil, ink, and collage on 1" cradled, maple board, dimensions: 10"x10", $425
- Eden in Palermohighlight
- Episode: #13 In Bloom
- Brand: -
- Category: Indoor + Outdoor Design - Art
Francesco Simeti, Plastic Eden, wallpaper, height 3 m, 2008
Exhibition Francesco Simeti, Plastic Eden, 8 March to 10 April 08
at the gallery Francesco Pantaleone Arte Contemporanea
Via Garraffello, 25 - 90133 Palermo
Information: +39 091 33 24 82 / +39 339 8464500
Exhibition page on www.fpac.it- Midnight in the Garden of Sarah Joneshighlight
1- The Rose Gardens (display: III / white) (I)
lambda print mounted on aluminium
152 x 122 cm, 20072- The Rose Gardens (display: I) (III)
lambda print mounted on aluminium
152 x 122 cm, 20073- Wild Rose : Blue Flower (I)
lambda print mounted on aluminium
122 x 122 cm, 2007Exhibition Sarah Jones
19 January through 24 February 08
Maureen Paley Gallery
21 Herald Street, London
+44 (0)20 7729 4112
www.maureenpaley.com- Michaela Math and the Consequence of Lighthighlight
1 & 2- Michaela Math, what comes along with light, 2007, ink on paper, 31 x 44 cm
3- Michaela Math, landscape, 2007, graphite on canvas, 120 x 100 cmExhibition "along with light", Objekte und Installationen von Michaela Math und Anne Schneider, 23 May through 13 July 08
Dortmunder Kunstverein, Hansastrasse 2-4, 44137 Dortmund
+ 49 (0)2 31 – 57 87 36
www.michaelamath.com
www.dortmunder-kunstverein.de
- Shi Guorui: Negative Cityhighlight
1- Shi Guorui, San Francisco, 19 October 2006, unique camera obscura silver gelatin print, 135.2 x 254.3 cm, courtesy of Chinese Contemporary Gallery, New York/ Beijing
2- Shi Guorui, New Shanghai, 14 September 2007, unique camera obscura silver gelatin print, 135.8 x 351.7 cm, courtesy of Chinese Contemporary Gallery, New York/ Beijing
Exhibition Uncanny Perceptions, 1 December 07 through 28 February 08, simultaneously in Beijing and New York
Chinese Contemporary New York, 535 W. 24th St., New York, NY 10011,
+1 212 366 0966
Chinese Contemporary Beijing, Factory 798 Beijing No 4 Jiu Xian Qiao Lu, Chaoyang District, Beijing, +86 10 8456 2421
Exhibition page on www.chinesecontemporary.com- Ewoud van Rijn: Hell and High Water in Rotterdam
1- "The Muse's Imperative" series: Renaissance..., synthetic polymer paint, 200 x 150 cm, 2006
2- "Venture" series: Island of the Dead Painter, synthetic polymer paint, 140 x 110 cm, 2005
3- "Venture" series: Fate, synthetic polymer paint, 150 x 110 cm, 2005
Exhibition Ewoud van Rijn, Through Hell and High Water, Museum Boijmans van Beuningen, 16 February to 18 May 08
Museum Boijmans Van Beuningen, Museumpark 18-20, NL_3015 CX Rotterdam
+31 (0)10 – 44.19.400
Exhibition page on www.boijmans.nl
Photos: Bob Goedewaagen- Sarkis' Mystical Landscape
Images from the Landscape Forever installation by Sarkis, at the Museum Boijmans van Beuningen, 16 February to 25 May 08
Museum Boijmans Van Beuningen, Museumpark 18-20, NL_3015 CX Rotterdam
+31 (0)10 – 44.19.400
Exhibition page on www.boijmans.nl- Olphaert den Otter: A Bitter Haven
1- Shelter van Olphaert (Olphaert’s shelter), 2006
Tempera on paper, 61 x 46 cm
Artist's collection, Rotterdam
After: Olphaert den Otter, Shelter, 19992- De buitenplaats (The Outpost), 2007
Tempera on cloth panel, 153 x 306 cm
Artist's collection, Rotterdam3- Geen aanbidding van Mostaert (No adoration by Mostaert), 2005
Tempera on paper, 61 x 46 cm
Collection Jan Geleijnse
After: Jan Mostaert, The Adoration of the Magi, c. 1515-1520, Rijksmuseum, Amsterdam4- Geen geboorte (#1) van Petrus Christus (No birth by Petrus Christus), 2004
Tempera on paper, 61 x 46 cm
Collection Museum Boijmans Van Beuningen, Rotterdam
After: Petrus Christus, De geboorte (The Birth), 1452, Groeningemuseum, Brugge5- Vernielde kamer van Wall (Destroyed room by Wall), 2006
Tempera on paper, 61 x 46 cm
After: Jeff Wall, The Destroyed Room, 1978, installation at the Nova Gallery, Vancouver, now in The National Gallery of Canada, OttawaExhibition Olphaert den Otter, Museum Boijmans van Beuningen, 16 February to 18 May 08
Museum Boijmans Van Beuningen, Museumpark 18-20, NL_3015 CX Rotterdam
+31 (0)10 – 44.19.400
Exhibition page on www.boijmans.nl- Worlds Away: Visions of Suburbia
1- Angela Strassheim, Untitled (Elsa), 2004, c-print, 30 x 40 in., Courtesy the artist and Marvelli Gallery, NY
2- Benjamin Edwards, Immersion, 2004, acrylic, texture media and landscaping foam on canvas, 75 x 125 in., Courtesy Greenberg Van Doren Gallery, NY
3- Paho Mann, Re-inhabited Circle K’s (Phoenix), 2004–2006, 20 x 24 in., 1 of 16, Courtesy the artist
4- Greg Stimac, Mowing the Lawn (Chandler, AZ), 2005/2006, inkjet print, 41 x 30 in., Courtesy the artist
Exhibition Worlds Away: New Suburban Landscapes, 16 February to 17 August 08
Walker Art Center, 1750 Hennepin Avenue, Minneapolis
Information: +1 612 375 7600
Exhibition page on www.walkerart.org- Maine Natural
1- Sarah Crisp (United States, born 1958), Untitled, 2008, mixed media and encaustic, 36 x 36 in., lent by the artist
2- Susan Amons (United States, born 1954), Sunset Night Herons, 29\007, monotype with pastel on paper, 35 x 52 in., lent by the artist
Exhibition New Natural History, February 23 through May 11, 2008
Portland Museum of Art, 7 Congress Square, Portland, Maine 04101
Information: +1 (207) 775-6148
Exhibitions page on http://www.portlandmuseum.org- Motion. Pictures.
1- Installation view of Anthony McCall’s You and I, Horizontal, 2005, at Institut d’Art Contemporain, Villeurbanne, France, 2006. Image courtesy the artist. Photo by Blaise Adilon
2 & 3- Stills from Michael Bell-Smith’s Up and Away, 2006, from the Hirshhorn Museum and Sculpture Garden’s collection. Image courtesy the artist and Foxy Production, New York
4- Still from Kelly Richardson’s Exiles of the Shattered Star, 2006, from the Hirshhorn Museum and Sculpture Garden’s collection. Image courtesy the artist
Exhibition The Cinema Effect: Illusion, Reality, and the Moving Image, Part I: Dreams
Hirshhorn Museum and Sculpture Garden, 14 February to 11 May 08
Independence Avenue at Seventh Street, South Washington
Information: +1 202 633 1000
Exhibition page on http://hirschhorn.si.edu- Kara Walker: Heart of Darknesshighlight
1- Kara Walker, A Work on Progress, 1998
Cut paper and adhesive on wall, 69 x 80 inches
Photo by Dave Sweeney/The Walker Art Center, installation view at The Walker Art Center
Courtesy of Sikkema Jenkins & Co.2- Kara Walker, Gone, An Historical Romance of a Civil War as it Occurred between the Dusky Thighs of One Young Negress and Her Heart (detail), 1994
Cut paper and adhesive on wall, 156 x 600 inches
Photo by Gene Pittman/The Walker Art Center, installation view at The Walker Art Center
Courtesy of Sikkema Jenkins & Co.Exhibition Kara Walker: My Complement, My Enemy, My Oppressor, My Love
11 October through 3 February 08 at the Whitney Museum of American Art
Exhibition page on www.whitney.org
2 March to 8 June 08 at the Hammer Museum
Exhibition page on www.hammer.ucla.edu- Northern Elegies
1- Elger Esser, Ameland-Pier X, chromogenic print, face-mounted to acrylic, AP 1/1, edition of 7, 182 x 238 cm, Courtesy Elger Esser
© VG Bild-Kunst, Bonn 20082- Thomas Flechtner (né en 1961), Glaspass (Walks #10), 2001, tirage chromogénique, édition 3/3, 220 x 179.7 cm
© VG Bild-Kunst, Bonn 2007, 2001 Thomas Flechtner3- Olafur Eliasson,
The glacier series, 1999, 42 tirages chromogéniques, édition 4/6, 31.1 x 47.3 cm (chacun); 235.9 x 393.1 cm (ensemble), Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee, 2000.69
© Olafur EliassonExhibition True North, 2 February to 14 April 08
Deutsche Guggenheim Berlin, Unter den Liden 13/15, 10117 Berlin
+49 (0)30 20 20 930
www.deutsche-guggenheim-berlin.de- Secrets of the Soul in Winnipeg
1- Diana Thorneycroft, Auditions for Eternal Youth, 2007, digital photograph
2- Dave Wityk, BDI, 2007, digital photograph
3- Krisjanis Kaktins-Gorsline, sunup, 2006, oil on birch
4- KC Adams, Circuit City II, 2007, digital ink jet prints
Exhibition Subconscious City, 8 February to 11 May 08
Winnipeg Art Gallery, 300 Memorial Boulevard, Winnipeg, Manitoba, Canada
+1 (204) 786-6641
Exhibition page on www.wag.mb.ca- Secrets of the Soul in New York
1- Bradley Castellanos, No Such Thing, 2007, 62,5 x 80 cm, oil, photo collage and resin on panel
2- Jeffrey Beebe, I Transfer a Misery, 2007, 112 x 106,2 cm, mixed media on paper
Exhibition Nightmares and Dreamscapes, 8 February to 29 March 08
Alberto Peola Arte Contemporanea Gallery, via della Rocca 29, 10123 Torino - Italy
+39 01 18 12 44 60
www.albertopeola.com- The Avant-Garde of Interior Decoration, 1850-1910
1- François Garas (Saint-Julien-en-Jarez, Loire, France, 1866 - ?, circa 1925), Intérieur d'artiste, coupe transversale sur le cabinet de travail, 1896.
Pencil, feather and ink, watercolor and gouache, 62 x 47 cm, Paris, collection musée d'Orsay
© Photo Patrice Schmidt, Paris, musée d'Orsay2- Antoine Zoegger (Wissembourg, France, 1829 – Paris, France, 1885), Projet de chambre à coucher mauresque, vue de face et de profil.
Circa 1875. Pencil, feather and ink, watercolor and gouache, 19,6 x 44 cm, Paris, collection musée d'Orsay
© Photo Patrice Schmidt, Paris, musée d'Orsay3- Marcel Kammerer (Vienne, Autriche, 1878 – Québec, Canada, 1969), Projet pour le vestibule du Grand Hôtel Wiesler à Graz, Autriche, 1908
Pencil, feather and ink, watercolor and gouache, on tracing paper, 37 x 35 cm, Paris, collection musée d'Orsay
© Photo Patrice Schmidt, Paris, musée d'OrsayExhibition Decorative artist and art lover. Drawings for interior decorative works
Musée d'Orsay, 12 February to 4 May 08
Musée d'Orsay, 1, rue de la Légion d'Honneur Paris 7°, +33 1 40 49 48 14
Exhibition page on www.musee-orsay.fr
- The Belle Epoque of Autochromes
1- Léon Gimpel, Tube de néon raréfié illuminé par le passage d’un courant à haute fréquence. Coloration rouge obtenue par absorption de l’azote au moyen de charbon et du froid obtenu grâce à l’air liquide, 5 January 1911, autochrome, 9 x 12 cm, Collection SFP
© Cliché Patrice Schmidt, Paris, musée d'Orsay2- Léon Gimpel, Première Exposition internationale de locomotion aérienne, 30 September 1909, autochrome, 9 x 12 cm, Collection SFP
© Cliché Patrice Schmidt, Paris, musée d'Orsay3- Léon Gimpel, Enseigne lumineuse. Photo Muguet, 28 November 1925, autochrome, 9 x 12 cm, Collection SFP
© Cliché Patrice Schmidt, Paris, musée d'Orsay4- Léon Gimpel, L’Avenue du Bois le dimanche matin, 7 May 1910, autochrome, 9 x 12 cm, Collection SFP
© Cliché Patrice Schmidt, Paris, musée d'OrsayExhibition Léon Gimpel (1873-1948). The audacious work of a photographer
Musée d'Orsay, Galerie de photographie, 12 February to 27 April 08
Musée d'Orsay, 1, rue de la Légion d'Honneur Paris 7° +33 1 40 49 48 14
Exhibition page on www.musee-orsay.fr- Cabinets' Curiosities
Photo: Nash Baker
Exhibition Charlie Roberts, MAMBO JAMBO: Cabinet of the Cosmos, 2008, 24 January to 2 March 2008
Commission, Rice University Art Gallery, 6100 Main Street Houston, Texas 77005
+1 (713) 348-6069
Exhibition page on www.ricegallery.edu- The Dissected Book
Georgia Russell pour David Hicks, 2007
Exhibition The Dissected Book, from 18 January to 30 March 2008
David Hicks France, 12, rue de Tournon Paris 6°, +33 1 55 42 82 82-
- L.M. Dixon: One Night in Miami
1- Lawrence Murray Dixon, Architect (American, 1901-1949)
Photograph by Samuel H. Gottscho (American, 1879-1971)
The Raleigh Hotel – View of the Facade, built 1940, 1773 Collins Avenue, Miami Beach
Vintage black and white photograph, 1999.003.036
Gift of Richard B. Dixon2- Lawrence Murray Dixon, The Tides Hotel – Night View of the Facade, built 1936, 1220 Ocean Drive, Miami Beach
Vintage black and white photograph
Bass Museum of Art3- Lawrence Murray Dixon, The Victor Hotel – View Facing Ocean Drive, built 1937, 1144 Ocean Drive, Miami Beach
Vintage black and white photograph, 1999.002.064
Gift of Lawrence M. Dixon, Jr.4- Lawrence Murray Dixon (photo Samuel H. Gottscho), The Atlantis Hotel - Main Entrance with Two Driveways, built 1935–1936 – demolished 1973, 2600 Block Collins Avenue, Miami Beach
Vintage black and white photograph, 1.008.88.001
Bass Museum of Art5- The Atlantis Hotel – Axial View from the Lounge toward the Lobby
Vintage black and white photograph, 1999.002.069
Gift of Lawrence M. Dixon, Jr.Exhibition Lawrence Murray Dixon: Art Deco Master, Bass Museum of Art, January 18 to 11 May 2008
Bass Museum of Art, 2121 Park Avenue, Miami Beach, Florida
Information: +1 305 673 530
Exhibitions schedule at www.bassmuseum.org- Steichen: the Condé Nast Years
1- Edward Steichen, Actress Joan Bennett, 1928
Courtesy Condé Nast Archive, New York
© 1928 Condé Nast Publications2- Edward Steichen, Actor Gary Cooper, 1930
Courtesy Collection Matthieu Humery, France
© 1930 Condé Nast PublicationsExhibition Edward Steichen. In High Fashion, 11 January to 30 March 2008
Kunsthaus Zürich, Heimplatz 1, CH 8001 Zurich
Exhibition page on www.kunsthaus.ch- Memento Ivory
1 to 3- Memento mori from a string of prayer beads, with the inscription: 'AINSI SERONS NOUS WI OU DEMAIN' (So shall we be, today or tomorrow), South Netherlands, c. 1500-1525, height: 6.6 cm
4- Ivory comb, 15th century, Journey to the Fountain of Youth, 15.2 x 16.8 cm
5- Ivory mirror case with scenes of love and ladies hunting, 14th century, height 13.7 cm
Exhibition Medieval Ivories from the Thomson Collection, 10 January to 9 March 2008
The Courtauld Gallery, Somerset House, Strand, London WC2R 0RN
Information: +44 (0)20 7848 2526
Exhibition page on www.courtauld.ac.uk- Miami Beach: Fashion's In
1- Miles Aldridge, So Poetic, 2006
2- Elaine Constantine, Girls on Bike, 1997
Sales-exhibition In Fashion '07, 2 to 9 December 2007, Art Basel, Miami Beach
200 works signed by the most influential fashion photographers of the last 20 years
Surfcomber Hotel, 1717 Collins Avenue, Miami Beach, +1 305 532 7715
www.artphotoexpo.com- Candida Romero, Bookscribbler
Candida Romero, Créez, Le Père Goriot, Malaisie
Gouache on book coversCandida Romero exhibition, from 18 to 23 December 07, on the occasion of the release of her book IN FOLIO, 15€, at Gourcuff Gradenigo
Gourcuff Gradenigo, 19, rue des Saints-Pères, Paris 6°- Miami: Drafting Paradise
1- Igor B. Polevitzky, Architect
Frank and Bun, photograph of rendering
Courtesy of the Historical Museum of Southern Florida2- Igor B. Polevitzky, Architect
The General Tire, photograph of rendering
Courtesy of the Historical Museum of Southern Florida3- Norman M. Giller & Associates, Architects
Driftwood Motel, Sunny Isles, 1951, photographic reproduction
Courtesy of Giller & Giller, Inc, Architects4- Norman M. Giller & Associates, Architects
Thunderbird Motel Lobby, Sunny Isles, 1954, photographic reproduction
Courtesy of Giller & Giller, Inc, ArchitectsExhibition Promises of Paradise: Staging Mid-Century Miami, Bass Museum of Art, 5 December to 13 April 2008
Bass Museum of Art, 2121 Park Avenue, Miami Beach, Florida
Information: +1 305 673 530
Exhibitions schedule at www.bassmuseum.org- Edward Hopper's suspended American beauty,
1- House by the Railroad, oil on canvas, 24 x 29 in (61 x 73,7 cm), 1925
The Museum of Modern Art, New York2- Office at night, oil on canvas, 22 3/16 x 25 1/8 in (56,4 x 63,8 cm), 1940
Walker Art Center, MinneapolisWalter Wells, Silent Theater: The Art of Edward Hopper
240 pp., 170 color illustrations, 50 B & W illustrations, hardback, 69,95 €- Roberto de Vicq: The Facts in the Case of Edgar Allan Poehighlight
- Section: Episodes
- Published in: November 07
- City: -
- Episode: #10 Clue
- Brand: Roberto de Vicq
- Category: Books etc. - Art
"Edgar Allan Poe", from Men of Letters and People of Substance, by Roberto de Vicq de Cumptich, David Godline Books, $14,95
www.devicq.com- Oudry and the Painted Menagerie
- Section: Episodes
- Published in: October 07
- City: -
- Episode: #09 The Hunting Season (guns not included)
- Brand: -
- Category: Art
1- Jean-Baptiste Oudry, Demoiselle Crane, Toucan, and Tufted Crane, 1745, oil on canvas, 130 x 160 cm (51 3/16 x 63 in.)
Staatliches Museum Schwerin, Schwerin, Germany, G 8712- Jean-Baptiste Oudry, Cassowary, 1745, oil on canvas, 162 x 127.5 cm (63 3/4 x 50 3/16 in.)
Staatliches Museum Schwerin, Schwerin, Germany, G 559Exhibition Oudry’s Painted Menagerie: Portraits of Exotic Animals in Eighteenth-Century Europe, 7 October through 24 February 08
Museum of Fine Arts 1001 Bissonnet Street, Houston, TX 77005, +1 713.639.7300
Exhibition page on www.mfah.org
Staatliches Museum Schwerin, Dresden, 12 April through 27 July 08- Floats Very Slowly, Lying in Her Long Veils...
- Section: Episodes
- Published in: October 07
- City: -
- Episode: #09 The Hunting Season (guns not included)
- Brand: -
- Category: Art
1- Sir John Everett Millais, Dew-Drenched Furze, 1889 - 1890, © Sir Geoffroy Millais
2- Sir John Everett Millais, Ophelia, 1851-1852, © Tate
Millais exhibition, 26 September 2007 through 13 January 08
Tate Britain, Millbank, London SW1P 4RG
www.tate.org.uk
Millais will also travel to the Van Gogh Museum, Amsterdam from 15 February through 18 May 08, and two venues in Japan: Kitakyushu Municipal Museum of Art from 7 June through 17 August 08, and The Bunkamura Museum of Art, 30 August through 26 October 08.- The Silences of Hélène Schjerfbeck
1- Maria, oil on canvas, 57 x 73 cm, 1909
Amos Anderson Art Museum Collection, Helsinki2- Green apple and champagne glass, oil on canvas, 40.5 x 33 cm, 1934
Ateneum Art Museum Collection, HelsinkiExhibition Hélène Schjerfbeck (1862-1946), 20 October to 13 January 2008
Musée d'Art Moderne de la Ville de Paris 11, avenue du Président Wilson Paris 16° +33 1 53 67 40 00- Alfred Kubin and the Fantastic Landhighlight
Alfred Kubin, Fantastic Animal, 1903-1904, feather, wash-drawing, crachis, ink, watercolor on Cadastre paper, Oö. Landesmuseum, Linz
Exhibition Alfred Kubin (1877-1859) : Souvenirs d'un pays à moitié oublié (Remembrances from a Half-Forgotten Land), Musée d'Art Moderne de la Ville de Paris, 20 October to 13 January 08
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- Hunting in Parishighlight
- Section: Episodes
- Published in: October 07
- City: -
- Episode: #09 The Hunting Season (guns not included)
- Brand: -
- Category: Art
1- Vues du parc de Bel-Val, © Fondation de la Maison de la Chasse et de la Nature
2- Karen Knorr, The Chase Museum, 2006, photograph © Karen Knorr
Fondation Musée de la Chasse et de la Nature 60, rue des Archives Paris 3°
+33 1 42 77 45 70
www.chassenature.org
www.karenknorr.com- South of Eden
1- Michael O’Brien, Gatorfest Queen, 1990, photographie chromogénique
The Museum of Fine
Arts, Houston, don du Texas Monthly et de l'artiste,
2000.391, © Michael O’Brien2- Sally Gall, North Boulevard, gelatin silver photograph, 1986, printed 1990
The Museum of Fine Arts, Houston
Gift of Penelope Dixon and Michael Ball in honor of Joan Morgenstern, 99.549
© Sally Gall3- Ann Stautberg, 10-2-95, A.M., Texas Coast, gelatin silver photograph with applied color, 1996
The Museum of Fine Arts, Houston
Gift of Claude and Susan Albritton, Andre and Sylvia Crispin, and Joan Morgenstern, with additional funds provided by Clinton T. Willour, 97.63
© Ann StautbergExhibition Houston Wilderness: A Collaboration, 22 September 07 to 6 January 08
The Museum of Fine Arts, 1001 Bissonnet Street Houston, TX, +1 713.639.7300
Exhibition page on www.mfah.org- Fragonard and Cupid's Paintbrush
1- Jeune fille délivrant un oiseau de sa cage, Grasse, Parfumerie Fragonard, private collection, photo Jean-Jacques L'Héritier
2- La Petite Sultane, Ball State University Museum of Art, E. Arthur Ball Collection, gift of the Ball Brothers Foundation, 1995, © Trustees of Ball State University, photo Steven J. Talley
Exhibition Fragonard, Les Plaisirs d'un siècle, from 3 October 07 to 13 January 08
Musée Jacquemart-André 158, boulevard Haussman Paris 8° +33 1 45 62 11 59To Fragonard, any subject was interesting as long as one could derive pleasure from it: the pleasure of painting it, that of watching it, and the pleasure of imagination. From the court to the rustic countryside, from aristocratic libertinage to the heroes of mythology, from a modern sultana to the ancient poets; and sometimes, these all went together. The exhibition at the Musée Jacquemart-André is the ideal promenade to prepare an afternoon siesta with one's lover.
- On the Sunny Side
Carl Larsson, Crayfishing, watercolor, 32 x 43 cm, ca. 1895, Swedish National Museum, Stockholm
Exhibition Swedish Turn-of-the-Century Art: A Summertime Treat, until 17 August 2007
National Museum, Södra Blasieholmshamnen, Stockholm, +46 8-5195 4300
www.nationalmuseum.seThe Swedish National Museum of Arts is rearranging its XIXth-century section to accomodate the taste of the public for turn-of-the-century painting. Hannah Pauli, Anders Zorn, Carl Fredrik Hill, Gustaf Cederström, and many contemporaries will therefore enjoy the spotlight. Among them Carl Larsson stands tall. He has often been introduced as a champion of the affluent middle-class family and its untainted happiness. His biographer, however, described him as "a volcano at boiling point (...) a restless mind (...) desperate sometimes to the point of flinging his palette against the walls, other times enthusiastic, with a wide smile on his face and an air of mischief (...) or, moody and solitary, convinced that inner peace can only be achieved through utter submission to fate." (Georg Nordensvan, quoted by Bo Lindwal in Carl Larsson, Aquarelles, Bibliothèque de l'Image). Above, one from the 26 watercolors in his series "A Home".
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- Vesuvius in Dallas
1- The Cupid Vendor, Castellammare di Stabia, Villa Arianna, Museo Archeologico Nazionale di Napoli
2- Medea, Castellammare di Stabia, Villa Arianna, Museo Archeologico Nazionale di Napoli
Exhibition From the Ashes of Vesuvius, In Stabiano: Exploring the Ancient Seaside Villas of the Roman Elite, 8 July to 7 October 2007, Dallas Museum of Art, 1717 North Harwood Street, Dallas, Texas 75201
Exhibition page on http://dallasmuseumofart.orgWhen the Vesuvius froze Pompeii under a deluge of burning dust on August 24th, 79 A.D., the eruption also engulfed the glamorous villas of Stabiae, a seaside resort where the Neapolitan elite converged in the summer. The travelling exhibition From the Ashes of Vesuvius is spending the season at the Dallas Museum of Art. It gathers 72 objects found on the site, which tell the story of four of these palaces. Among them is the Villa Carmiano, where nine prestigious guests could recline comfortably at dinner in the triclinium, a three-couch room reconstructed for the exhibition. The perfect decor for a last supper.
- Caesar to Superman
1- Steel cylinder decorated with floral motifs, h 6 m x d 6 m
2- Roman sculptures from the museum's collection on a background of spray-painted wooden panels, each side 1 meter
Exhibition Erik A. Frandsen - The Real. Unnaturalism, 27 April to 5 August 07
Ny Carlsberg Glyptotek, Dantes Plads 7, Copenhague, +45 33 41 81 41
www.glyptoteket.dkDanish artist Erik Frandsen created for Copenhagen's Glyptotek this very contemporary staging of the museum's collection of ancient art. Colored paving and a monumental steel piece enlighten the hieratic statues with their bold tones, shapes, and motifs. Under the same impulse, Frandsen had a set of mosaics crafted in Pietrasanta as they were crafted two thousand years ago; but he borrowed their subjects from Marvel or Disney. The conversation works just fine.
- Willy Maywald's Golden Years
1- Modèle de Jacques Fath, automne-hiver Paris 1955
Collection Association Willy Maywald
© Association Willy Maywald - ADAGP2- L'Escalier du Pavillon de la Suisse, Paris, Exposition Universelle de 1937
Collection musée Carnavalet
© Association Willy Maywald - ADAGPExhibition Willy Maywald, Le Pari(s) de la création, Photographies 1931-1955
Musée Carnavalet, 25 April to 30 September 07
23, rue de Sévigné Paris 3°, +33 1 44 59 58 58When Madam is ready, we'll drive to the harbor. Dear Willy comes along. Yesterday at his place the afternoon was delightful. All the beautiful people from theater and fashion were rubbing elbows. We even stumbled upon Monsieur Christian Dior; once more our Willy photographed his entire collection this season, with his distinctive elegance - so composed.
Do you remember his pictures of the Swiss pavilion at the Universal Exhibition? It felt like being on board a huge liner.- Boat Pieces
Andy Warhol, Do It Yourself (Sailboats), 1962, acrylic, pencil, Letraset on linen, 183 x 254 cm
Daros Collection, Switzerland, copyright Warhol Estate, Pittsburgh
Photograph Peter SchälchliExhibition Sea-pieces, From Max Beckmann to Gerhard Richter, 8 June to 16 September 07
Hamburger Kunsthalle, Glockengiesserwall, 20095 Hamburg, +40 428 131 200
www.hamburger-kunsthalle.deIn 2005, the first Sea Pieces exhibition put together by the Hamburg Kunsthalle aroused so many maritime vocations that several thousand visitors left Germany within the space of a few months. In their mind, at least. This summer the museum is having a second go, this time centered on modern artists: Max Beckmann, Otto Dix, Max Ernst, Paul Klee, as well as photographers, sculptors, and video artists from the XXth and XXIst centuries. Or how the sea has inspired our contemporaries with its stories of "beautiful women, container ships and monster waves."
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- On Holiday with Greta Garbo
Martin Munkacsi, “Greta Garbo” on vacation, ca. 1932, Courtesy Ullstein Bild
© Joan MunkacsiExhibition Martin Munkacsi: Think While You Shoot
San Francisco Museum of Modern Art, 12 May to 16 September 07
151 Third Street (between Mission and Howard Streets) San Francisco, CA 94103, +1 415 357 4000
Exhibition page on www.sfmoma.orgPosterity may have forgotten Hungarian artist Martin Munkacsi, but he was a pioneer of modern photography and an inspiration for Richard Avedon and Henri Cartier-Bresson. His work for Harpers's Bazaar, where he was hired in 1934, brought fashion photography into the modern era. His models were more than just mannequins, as he took them out of the studios to capture them in movement, swimming, running or driving fast cars. His pictures are the emblem for a new lifestyle.
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- Unreal Shoreshighlight
1- Net Markers, Japon 2006 Copyright © David Burdeny
2- Eight Piles, Columbia River, WA 2003 Copyright © David Burdeny
3- Vanish, Port Townsend, Washington 2004 Copyright © David BurdenyExhibition David Burdeny, "Shorelines", 27 April to 26 May 2007
Young Gallery, avenue Louise 75b, Bruxelles (place Wiltcher's - Hôtel Conrad) +32 2 374 07 04, Tuesday to Saturday 11 a.m.-6.30 p.m.
www.younggalleryphoto.com
Catalogue "Shorelines" by David Burdeny, text Anthony Collins, 28x28 cm, 48 pages, 50 €
Limited edition pack, 60 ex., includes the book and a numbered, autographed offprint, 18x18 cmFrom Japan to Canada, from France to the US, the shorelines of the entire globe mingle in David Burdeny's black and white photographs. For long minutes he lets his camera drink the dark twilight, the milky stillness of unruffled water. On his film a click engraves unmoving landscapes. Burdeny found them set in stone, serene, majestic as statues. A photographic dive into the limbo.
- The Cloud Chamber of Tavares Strachan
1- Glo-Our Rain Maker, installation view, 2006
Photo Hermann Feldhaus - Courtesy Ronald Feldman Fine Arts and Pierogi Gallery2- Glo-Our Rain Maker, Cumulonimbus (Calvus) I, 2006 Photo Hermann Feldhaus - Courtesy Ronald Feldman Fine Arts and Pierogi Gallery
3- Glo-Our Rain Maker (detail of dust), 2006 Photo Hermann Feldhaus - Courtesy Ronald Feldman Fine Arts and Pierogi Gallery
www.feldmangallery.com
www.pierogi2000.com
www.hkw.deThe Bahamean artist Tavares Strachan likes to build works of art that address environmental issues. After exhibiting a monumental cube of Alaskan ice in the Bahamas on the hottest day of the year, he settled simultaneously in two New York galleries last fall, and turned them into cloud factories. A part of the Haus der Kulturen der Welt in Berlin will undergo the same transformation next August.
Using a computer, some electronics, and the pressure inside glass spheres, he reproduces the formation of clouds from New York's water and silicon dust. These artificial clouds live for only ten to fifteen minutes. Enigmatic photographs, included in the same exhibition space, illustrate different stages of the process. For now these clouds-to-be slumber somewhere between Europe and America, safe in the contorted pipes and stills of Strachan's, a modern alchemist.
