El Museu Europeu virtual és el resultat de la col·laboració entre 27 museus europeus. La pàgina web permet ofereix una visió en 3D de les principals obres d’art, de manera que es pot rotar la imatge per tal d’obtenir un punt de vista que sovint ni els mateixos museus permeten. Les obres es poden buscar per cronologia, per àrea geogràfica, per rutes turístiques o per gènere artístic, entre d’altres.

Saint Apollonia by artist James Christensen

          Οnce upon a time, the boundless imagination of master storyteller James C. Christensen created a series of paintings under the guise of an obscure (and fictitious) 15th century Flemish painter. This enigmatic collection became known as “Saints and Angels” for its similarities to the devotional art of that era, as well as its portrayals of largely forgotten Christian saints. . . . fine art collectors have contributed to the sell-out of previous limited editions from Saints and Angels including Isabella, Angel with Epaulet and Madonna with Two Angels.

Saint Apollonia is the perfect complement to any of the releases from this series of elegant yet powerful women or a lovely and affordable start to a James C. Christensen collection of art for your home. Apollonia is the patron saint of dentists and those suffering toothaches. When heathens in Alexandria revolted against the Christians in 249, Apollonia was beaten and her teeth were pulled because she would not recant her Christian beliefs.

Artist James Christensen

Christensen was born in 1942 and raised in Culver City, California. He studied painting at Brigham Young University and, for a while, the University of California at Los Angeles before finishing his formal education at BYU. Since then, he has had one-man shows in the West and the Northeast, and his work is prized in collections throughout the U.S. and Europe…. more

View more  art by artist James Christensen

© Rollie LaMarche – Picture This! Framing and Gallery  Are you looking for other art?

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Stampfli & Turci are very pleased to present a new series entitled “Retrospective”, by British fine art photographer Ian Talbot, in which he looks back at his previous work.

With quotes from Johns, W.H.Fox Talbot, Sugimoto, Sudek, Armani, Kafka … punctuating the chapters, this retrospective offers a privileged glimpse into the personal centers of the creative process of this distinguished artist.

Right Eye : Fingering The Edge

© Ian Talbot

“Seeing a thing can sometimes trigger the mind to make another thing” Jasper Johns, 1982

This image is a part of an extended self portrait project.

On the surface it is “just” a more or less moodily lit close up of my right eye. However, on closer examination and with a small effort of will to see it as being my LEFT eye instead, it takes on an altogether different appearance… animal like and disturbing. Of course, in the context of being a “self portrait” one could think that the image is intended to express an animal or sinister side to one’s nature. That may well be a possible “effect” but the intent and thinking behind this image was somewhat more prosaic, albeit more complex and layered in meaning.

For some time I had been studying intensely the work of Jasper Johns for a projected series of works some loosely, others more tightly, based on the motifs and concerns of his later pieces. So when it came to embarking on my “self portrait” project Johns was still very much on my mind. In 1989 he executed a curious work entitled “Montez Singing” in which he used a device, largely derived from his reading of certain works by Picasso, of allowing the features of the face to float freely, as it were, within the confines of his canvas. The ensuing result was lips, eyes etc, coming to rest at or near the edges of the canvas with seemingly no relation to the face as a complete entity. It was this canvas that first sparked a thought to isolate just one eye in a close up self portrait of my own.

Previous to the “Montez” canvas Johns had executed the piece “Cups 4 Picasso”, a 1972 lithograph which was Johns’s contribution to a portfolio honouring Picasso’s ninetieth birthday. In this work Johns had used the device of the famous “ambiguous figure” of the goblet that can also (or rather alternatively) be seen as two faces at will, as it were. The use of the term “at will” is true but ambiguous as once one has settled on seeing it one way it requires an effort of will to “see” the alternative view.

Immediately I saw the first image I made of my own eye I knew that I could achieve something of the same sort of effect with my own image. There was no real great trick to it… a handheld camera and macro lens, all it required was to get the lighting, framing and angle right! It took a while…

As a sort of incidental “by the way”, in actual fact the resulting image (and this has been confirmed by quite a few viewers) has a slightly greater tendency to be read at first sight as of a left eye, the “disturbing” reading if you like. The simple device of giving it the correct title of “Right Eye”, however, effectively sets up the duality or oscillation of the possible interpretations.

Ian Talbot

Text & image © Ian Talbot

• You can see the complete set at Ian Talbot’s website : Fingering The Edge :Identikit

Next week
Three Squares 01 : Formal Concerns

Stampfli & Turci – Art Dealers

Disclaimer & Copyright

This past year has been life-changing for me.  I quit a part-time Art teaching  job and became fully self-employed as an artist/sculptor in April.  The last time I worked as a full-time artist was a couple of decades ago!  Determined to make it work I pushed the PR and extended my sculpting arms in all directions.  Now, 7 months on, with a 1st prize behind me, exhibitions in wonderful public spaces, quality commissions, an Artist-in-residence post, great articles featuring my work (including Somerset Life) and ideas for an exciting  new series of work, I am looking forward to the next 12 months (b……s to the recession!)

Below is a recent image of my work currently on exhibition at the Winter Sculpture Exhibition at RHS Garden Rosemoor, Great Torrington, Devon EX38 8PH (running from 27th November – 28th February ‘10).  More images to follow…   Please visit if you can!

Steel Man being installed at Winter Sculpture Exhibition, RHS Garden Rosemoor

I am soon off to gather inspiration in Mombasa:-)  Also hoping to catch Anish Kapoor’s Exhibition at the RA – he’s one of my heroes..

HAPPY CHRISTMAS!

If you have not seen the movie Lady Jane, I highly recommend it. Fantastic movie and insight into the execution of Lady Jane. They found a piece of art of her they thought was destroyed.

Delaroche work ruined in war rescued for show | Reuters.

MFA, MFA!

School of Art MFA Candidate KENSUKE YAMADA will present his Thesis Exhibition in the GALLERY of VISUAL ARTS beginning with an opening reception on Thursday, December 3rd from 5-7pm.  The exhibition will run until the 17th.

The University of Montana School of Art and Gallery of Visual Arts are honored to present the MFA Thesis Exhibition of Kensuke Yamada entitled Empathetic.  The exhibit will be on display in the Gallery of Visual Arts, located on the first floor of the Social Science Building, December 3-17, and will open with a reception December 3, 5-7 pm.  The public is welcome and there is no admission charge.

Kensuke Yamada creates larger than life ceramic figures that convey common universal attributes. These figures portray multiple emotions and often express the artist’s sense of humor. The placement of these towering figures in relation to one another, as well as their interaction with viewers creates a powerful dialogue. Yamada is interested in creating a narrative through the emotional relationship that occurs between his figures and the viewer.

Kensuke Yamada was born in Kamakura, Kanagawa, Japan.  His work has been exhibited in the Northwest region in January 2010 he will be an artist in residence at the Archie Bray Foundation in Helena, MT.

For more information please contact Cathryn Mallory, Director, Gallery of Visual Arts, The University of Montana, 243-2813.

FIRST FRIDAY:

Meet Missoulian Donna Loos at MAM’s First Friday

Donna Loos: Silhouette Series

December 4, 2009 – March 28, 2010

Artist Reception and Gallery Talk: December 4, 5-8 PM

The Missoula Art Museum is proud to present this exciting body of work produced by Missoula artist Donna Loos. She states of the series, “I tried to keep a blank mind and to paint unconsciously or subconsciously, or rather, to paint the negative space around a shape. I left the shape dark, and then studied the composition for awhile, looking for shapes as I would look for shapes in a summer cloud. Later I understood that I had painted my autobiography.”

Loos was born in Wyoming, one of eight children of a homesteader mother and Metis father. She began teaching art in the Billings Public Schools system in the early 1960’s while simultaneously carving out a reputation as a prolific and exhibiting artist. In addition to these accomplishments, Loos has held state-level positions in the Montana Art Educators Association, The Montana Institute of the Arts, and the Montana Institute of the Arts Foundation.

Donna Loos: Silhouette Series is scheduled to run through March 28th in the Lynda M. Frost Contemporary American Indian Art Gallery. This gallery is dedicated to honoring the creative cultural contributions of American Indian people to contemporary art, and to ensure that Indian artists will always have a place to celebrate that contribution.

Contact:  For more information please contact the Missoula Art Museum at 406-728-0447, visit the MAM website at www.missoulaartmuseum,org or contact Stephen Glueckert, Exhibitions Curator, stevegl@missoulaartmuseum.org, 406.728.0447 x226.

About MAM: FREE EXPRESSION / FREE ADMISSION. MAM educates, challenges and inspires the community through contemporary art. MAM preserves our emerging cultural heritage through the development and conservation of its art collection. Founded in 1975 and accredited by the American Association of Museums since 1987, MAM showcases diverse and thought-provoking contemporary artwork from local and international artists. Gallery Hours: Wed-Fri, 10AM-5PM, Sat, 10AM-3PM. Office hours: Mon-Fri, 9AM-5PM.

MAM / 335 North Pattee, Missoula, MT 59802 / t: 406.728.0447 / missoulaartmuseum.org / museum@missoulaartmuseum.org

ART SALE:

Support the School of Art students and get yourself some reasonably priced art in the process!  The Annual Art Annex Holiday Show and Sale presented by UMECA (University of Montana Emerging Ceramic Artists) and SSA (Sculpture Students Association) will be Thurs, Fri and Sat December 10, 11, and 12th.
Hours:
Thurs Dec. 10 4pm -7pm, Awards presented at 5pm
Friday 9am-7pm
Saturday 9am-5pm

VIDEO UPDATE:

Take a look at the video from our most recent STEAMROLLER PRINT PROJECT:

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The School  of Art’s Division of Printmaking has its own blog!  Click HERE to take a look at student work and to learn more about the processes and possibilities.

If you have an exhibition or other info to share, send us a note HERE and it will be considered.  In the meantime, get busy and make some art!

Back to my old familiar spot again, my friends.  I am in the process, as we speak, of polishing up the finishing details of a new website format, which will go live either tomorrow or Tuesday.  BluDomain is the designer of the basic template and host of the site, and I am very impressed with the services they offer.  Their package is fully editable and fairly easy to use.

Not to worry, however.  There will be a link on the site to this blog!  So when you enter the URL with which you are familiar (debi-peralta.com), you will be taken to the splash introduction to my new website.   There you will see a link to my website, a link to my blog here, and a link to my WordPress fan page.

When you enter the website, you will be able to sit back and enjoy a slideshow which has a streaming audio feature.  Not to worry, for work-safe -concerned users, floating your cursor over the audio feature shows you options to turn off the audio.  The menu will direct you to a galleries page page (which to start has three sub-galleries, but more will come), an about page, contact page where visitors can leave comments or make inquiries, and a link to my collection at Fine Art America.

I am extremely impressed with the clean, professional format, and I hope you enjoy it as well.

Stay tuned!

Thanks to JAHF for pointing me to this Japan Times article on a new exhibition at the Miho Museum in Shigaraki, featuring the newly discovered Whale & Elephant Screens which I discussed some months ago.

Along with this pair of folding screens, the exhibit showcases many of Jakuchû’s other works, and addresses a renewed understanding of his biography and personality. Though generally seen as someone incompetent or uninterested in business (Jakuchû had taken over his family’s greengrocer stand at the age of 23), new research apparently has revealed that, for a brief time, he was actually extremely involved in local business politics, giving up painting for a time in order to serve as the Nishiki district representative. There was a conflict with the wholesalers of the Gojô district, which ended apparently in the revocation of the Nishiki market’s license and its closure by the shogunate; Jakuchû is said to have played an integral role in negotiations for its reopening.

We are given a glimpse into another side of this most intriguing figure…

I wish I was going to have a chance to see the exhibit myself, but perhaps you will, dear reader.

“Jakuchu Wonderland” at the Miho Museum, Shigaraki, Shiga Prefecture; runs till Dec. 13; open 10 a.m.-5 p.m; admission ¥1,000. For more information, visit www.miho.or.jp.

ArtAge is a contemporary art magazine with a world view of the visual arts and associated media, literature, performing arts, and film. Executive Editor is Jerry Harris, sculptor, writer, and social critic.

Copyright, 2009, by Jerry Harris

Self-Portrait of a writer, collage by Jerry Harris

Oh! China Baby

Yue Minjun

Yue Minjun, Holding Head

Just 25 years ago, Made in China meant for many in America, something cheap, and not well made. Oh! Things have changed. We are in debt to them, and they in turn are on the way to super power status. Their artists are catching up to international art too. Yue Minjun is a leading Chinese artist. He paints an esoteric view of the world called Cynical Realism. Even in a Communist country, artists find ways of “sneaking” in ideas pass the censors, something that even Michelangelo did. Yue Minjun’s work follows an artistic trend that evolved as an aftermath of the 1989 student demonstrations in Tiananmen square. His humor and cynicism portrays strong and vibrant colors, putting the centrality of the individual on display. In a one party regime, he and others of the Chinese avant -garde reflect this new temperament onto the canvas, while generating great international interest in contemporary Chinese art.

GONE BUT NOT FORGOTTEN

EUGENE MARTIN

Eugene Martin, graphite pencil drawing

Eugene Martin, Janus, collage and mixed media

The output of the painter Eugene Martin (1938-2005) now on display (November-December, 2009) at the Cajun Spice gallery, Lafayette, La is just amazing. Martin spent his final days in his studio  in Lafayette with his wife, the biologist, Suzanne Fredericq. He left over 5,000 paintings, collages, and pen and ink drawings. A quiet man who was born in Washington, D.C., he was not into the pomp and glamour of the art world. He just wanted to paint, and that is what he did. His work evokes the lyricism of Miro and the biomorphism of the European surrealists. As a colorist, his paintings beam with the light of Matisse, and his fluid use of color makes him a brilliant and original draughtsman.

LOST IN SAN FRANCISCO

John Romig, 4th Street Studio, San Francisco

Tango, Elizabeth Dante, Varnish Gallery, San Francisco

It is almost impossible to get lost in The Big Peach, San Francisco. The art is always fruity, but one can get lost in the small jungle of art galleries throughout the city. If there is a “school” of painting and sculpture that typifies San Francisco, it is its relatedness to gaudy, sloppy, and unimaginative art, and on the other hand, there are the old-established art galleries on Sutter and Geary streets, downtown. They show the same work that one might find in the upper east side of New York City. There has never been a big local art scene in this city by the bay. Of course they have SFMOMA, and venues like the Yerba Buena Art Center, but that is about it. Yet, I will always leave my heart in San Francisco. Perhaps art becomes this way when the only people who can afford to live there are the dot comers and rich people. Putting romanticism aside, and the old hippie days, this is no town to be poor in.

BALTHUS-THAT DIRTY OLD PAINTER

Balthus

Balthus

Balthasar Klossowski (b. 1908. d. 2001), better known as Balthus. He was a controversial Polish-French painter. As the writer Edna Ferber said, “Writers should be read and not seen.” Turning that around, Balthus insisted that his paintings should be seen and not read about. In Christian, fundamentalist America, his art would probably be called the work of a dirty old man. Well, we will leave them with Thomas Kinkade. Was the French-Pole a voyeur? Who knows? I don’t think that we, in America, could produce such a talent, or even a Francis Bacon. This kind of work would shock the average American. Balthus is primarily classical, but very modern. There is no doubt that his little girls are very erotic, and if he lived on my block, here in California, the mob would be out, yet he insisted that his work was not erotic. Well, you be the judge.

SOL Le WITT (1928-2007)

SOL LE WITT- THE MINIMALIST’S GOD

Now, as in the 60’s, Sol Le Witt was, and still is the God of the minimalist and conceptual art movement, especially in America where he was born. Although he, and Donald Judd, or “Donald Dudd,” as he was called in certain art schools in London, supposedly they took sculpture off its precious pedestal. The duo reigned  supreme in the 60’s, 70’s, and 80’s. Le Witt is definitely an interesting artist, but no God, for we have enough of them. In 2006, Le Witt’s “Drawing series,” were displayed at Dia.Beacon. He drew directly on the walls using graphite, colored pencil, crayon, and chalk–something that we all used as children. This is good, but let’s leave God out of it. Peace in the art world–never.

Bio Mean, collage by Jerry Harris

AESTHETICA-FILM. MUSIC. LITERATURE. DESIGN. VIDEO.

Here in our aesthetica section we will dig into the worlds of film, video, music, and literature. Checking out Pop Life, and Art In The Material World. No boundaries here.

CONVERSATIONS FROM THE CRYPT: TALKING WITH ANDY WARHOL TODAY

Readers might want to know how I managed to get this interview from Andy. Well, we have a special relationship: We are both from the “burgh,” Pittsburgh, Pa. JH: Well, Andy, I was surprise to see you on my recent visit to the Warhol Museum in Pittsburgh, and here I thought you were dead.

AW: Oh! That was my last joke on the New York City art world. Actually I have a secret studio in the museum, and now I am home again with the steel workers, people who know bullshit when they see it. It feels great to be back to my roots.

JH: You are still The King of Pop Art? How does it feel?

AW: It feels just like it did 20 years ago–dead. Even the money is worthless, but it was fun.

JH: You were friends with the painter Jean Michel Basquait? What are your thoughts on his work and life?

AW: Basquait was a great painter, but he, like myself was too much into drugs, and as you can see, we both look like that character from “Tales from the Crypt.” He did warn me about that crazy bitch who shot me, but I didn’t take heed, too much coke, and I don’t mean the cola.

JH: I always wondered why you didn’t start with Heinz ‘57 ketchup instead of the Campbell’s

soup cans. HJ Heinz is headquartered  in our great town of Pittsburgh?

AW: Well, cans are more durable than glass, plus New Yorkers don’t want to be associated with Pittsburgh. The necks of the bottles are too phallic for American art.

JH: Do you believe that you are one of America’s great artists?

AW: It is all hype and money. As the young black rappers say, “Don’t believe the hype.” Now it is all five minutes of fame, and then you are back into Koonsvile, Jeff Koons, a so-called disciple of mine. He laughs all the way to the bank as I did. America has never produced great art. Paint the dollar and you will be on safe ground.

JH: Conceptual art seems to be the rage today in America. What are your thoughts on it?

AW: It’s theater, and not very good theater, but I like it. I only feel sorry for the real actors. I guess one has to make a buck. I do like Kara Walker and her installations. Black artists will survive, but at what cost? When you reach the top, like Obama, you wonder if it is all worth it. Black people are becoming whiter, and white people are becoming blacker. Well, I am off to the crypt. There is nothing like solitude and loving your Polaroid camera.

Henry Miller The Old Man and Sex

While Ernest  Hemingway was on his way to write The Old Man and The Sea,there was Henry Miller in Paris, France, eking out a living while writing Tropic of Cancer– the book that flayed literature in 1934. He was not a man of Paris in the roaring ’20s. He did not hang out with Gertrude Stein, and the Picasso crown. He was an American bum. The whore houses interested him. The French language intrigued him.  He felt the need to master it.  I discovered him in a small used book store in Stockholm, Sweden.  I certainly did not read him at San Francisco State University. I took him home and I was shocked. Who was this American that I was never told about in the halls of academia? I absorbed him. I ate him. As a struggling young writer, he released the word in me. Until I absorbed all of his writings, I can honestly say that I did not think white American writers could write. He was a white Negro to me. And the man suffered, and was hated in his own country for many years. Why? The Puritans of America looked at him as a dirty old man, and maybe he was. After he won his case against the United States government in Miller vs. The United States, he alone opened up freedom of speech in the USA. There are feminists who will never love him, but what they don’t understand is that his books are not about sex; they are about diving into the waters of creation. There is not one 20th century American writer who is not influence by Henry Miller, and he was turned on by Celine. Miller is one of the great prose writers out there.

]]> http://weekfiftytwo.com/2009/11/20/jeanne-claude-1935-2009/ Fri, 20 Nov 2009 19:55:01 +0000 Sarah Baker-Hansen http://weekfiftytwo.com/2009/11/20/jeanne-claude-1935-2009/

Jeanne-Claude was – and will probably remain – the most difficult interview I have ever done.

She and her husband, Christo, came to Omaha’s Kaneko last September to give an art talk about their two yet unfinished projects, “Over the River” and the “Mastaba.” The event, which I was writing about for the Omaha Reader and blogged about here, marked the end of my time working with them; I remember what happened before that much more than I remember anything they said that night.

I was meant to interview Christo, but it became clear right away that it was Jeanne-Claude who ran the show. She didn’t have a cell phone and if she did, she never gave out the number. She didn’t have an e-mail. She did, however, have an assistant and a fax machine, and that’s how she did business. She was the only subject that gave me a “reading assignment” before agreeing to work with me. Before I said a word on the day of the interview, she asked me if I did my homework.

Many people I’ve interviewed have asked me to fax them the finished story before it runs. Jeanne-Claude was the only one who got her way.

It’s easy to say someone is a difficult subject. Jeanne-Claude was. But she was also powerful. She loved her husband deeply and relished telling the story of how they met, and of how they were born on the same day in 1935.  She seemed a reluctant fashionista, with her fiery orange hair, slim denim jeans and anorak jackets. She loved art. She also wanted things to be right, and that explained her drive toward complete control when it came to working with reporters.

Jeanne-Claude, Collaborator with Christo, dies at 74, via the New York Times.

Thanks to Chris Machian of Minorwhite Studios for allowing Week Fifty Two to publish some of its photos of Christo and Jeanne-Claude during their visit to Omaha last September.

The Museum of Modern Art MoMA, New York

The Joan and Preston Robert Tisch Gallery, sixth floor



Bauhaus 1919–1933: Workshops for Modernity
November 8, 2009 > January 25, 2010

The Museum of Modern Art presents Bauhaus 1919–1933: Workshops for Modernity from November 8, 2009, to January 25, 2010. The Bauhaus school in Germany—the most famous and influential school of avant-garde art in the twentieth century—brought together artists, architects, and designers in an extraordinary conversation about the nature of art in the modern age.

Oskar Schlemmer

Oskar Schlemmer
Bauhaus Stairway, 1932
63 7/8 x 45″ (162.3 x 114.3 cm)
© The Museum of Modern Art, New York. Gift of Philip Johnson

Aiming to rethink the very form of contemporary life, the students and faculty of the Bauhaus made the school the venue for a dazzling array of experiments in the visual arts that had a transformative effect on the 1920s and 1930s. The effects are still felt in our contemporary visual world. The exhibition brings together over 400 works that reflect the extraordinarily broad range of the school’s production, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater and costume design, painting, and sculpture. It includes works by famous faculty members and well-known students including Anni Albers, Josef Albers, Herbert Bayer, Marianne Brandt, Marcel Breuer, Lyonel Feininger, Walter Gropius, Vasily Kandinsky, Paul Klee, László Moholy-Nagy, Lucia Moholy, Lilly Reich, Oskar Schlemmer, and Gunta Stölzl, as well as less well-known, but equally innovative, artists.

Bauhaus 1919–1933: Workshops for Modernity opens 80 years after the founding of MoMA, and 90 years after the establishment of the Bauhaus. It brings together a rich group of approximately 150 rarely seen works of art from the three German Bauhaus collections—Bauhaus-Archiv Berlin, Stiftung Bauhaus Dessau, and Klassik Stiftung Weimar—and over 80 works from MoMA’s own collection to form the foundation of the exhibition. In addition, major loans come from The Josef and Anni Albers Foundation; the Centre Pompidou, Musée national d’art moderne/Centre de création industrielle; the Harvard Art Museum/Busch-Reisinger Museum; The Metropolitan Museum of Art; and numerous other public and private collections in the United States and Europe.

In popular discussion, the Bauhaus is often used as shorthand for a timeless style of international modernism. In contrast, Bauhaus 1919–1933: Workshops for Modernit looks at the Bauhaus as a radically new school deeply in tune with its historical moment from 1919 to 1933. These were the exact years of the tumultuous tenure of the Weimar Republic. The school was led by three different directors—Walter Gropius (1919–1928), Hannes Meyer (1928–1930), and Ludwig Mies van der Rohe (1930–1933)—each one of the 20th century’s most important architectural minds, but each quite distinct in outlook and philosophy.

Herbert Bayer

Herbert Bayer
Design for a multimedia building. 1924
Gouache, cut-and-pasted photomechanical elements, charcoal, ink, and pencil on paper.
21 1/2 x 18 7/16″ (54.6 x 46.8 cm)
Harvard Art Museum, Busch-Reisinger Museum. Gift of the artist
Photo: Imaging Department © President and Fellows of Harvard College
© 2009 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

Walter Gropius

Walter Gropius
Törten housing estate, Dessau. 1926–28
Row houses, isometric. 1926–28
Ink, spatter paint, and gouache, on paperboard. 34 15/16 x 42 1/4” (88.8 x 107.3 cm)
Harvard Art Museum, Busch-Reisinger Museum. Gift of Walter Gropius
Photo: Katya Kallsen © President and Fellows of Harvard College
© 2009 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

The school also occupied homes in three cities with distinct cultural and political climates: founded in 1919 in Weimar, the city of Goethe and Schiller, the school was later forced by local political opposition to depart for the industrialized city of Dessau in 1925, where it moved into the internationally acclaimed buildings Gropius designed for the school. In 1932, after the National Socialist-dominated local government closed the school in Dessau, a small core of students and faculty tried to hold on in an abandoned telephone factory in Berlin, but the institution was closed in less than a year.

The exhibition is organized in loose chronological order, with sections dedicated to the Weimar, Dessau, and Berlin years. This historical grounding demonstrates the degree to which the school functioned as a cultural think tank for trying times; its diverse faculty of prominent artists, designs, and architecture engaged in a 14-year conversation about the nature of art in the age of technology, industrial production, and global communication.

The exhibition installation focuses on the productive interrelations among diverse mediums, mixing works from the school’s different workshops to trace formal and conceptual ideas as they manifest in objects made of different materials and for different purposes. The focus on cross-pollination makes the show pertinent as a re-evaluation of the Bauhaus in its time, with resonance for our own. The color palette used in the exhibition comes from those that Gropius used in houses he designed for himself and the Bauhaus masters in Dessau in 1925. Along with the standard Bauhaus colors of white, black, and gray, unexpected colors such as gold, pink, and tangerine are used.

Erich Mrozek

Erich Mrozek
Design for a poster for Internationale Hygiene Austellung (International hygiene exhibition), Dresden. 1930
Gouache on paper. 16 1/2 x 23 3/8″ (41.9 x 59.4 cm)
Collection Merrill C. Berman. Photo: Jim Frank
© All rights reserved

Marcel Breuer

Marcel Breuer
Wassily Chair, 1927 28
28 1/4 x 30 3/4 x 28″ (71.8 x 78.1 x 71.1 cm)
©The Museum of Modern Art, New York. Gift of Herbert Bayer

A full range of historical work is presented in the exhibition, including such Bauhaus icons as Marcel Breuer’s tubular steel furniture and László Moholy-Nagy’s oblique angle photographs, as well as works that counter expectations, like Lothar Schreyer’s design for a coffin (1920) or Kurt Kranz’s project for an abstract cinema (c. 1930).

Among the many other objects in the exhibition are rare textiles by Anni Albers woven in the Bauhaus period (most seen today are rewoven later) and others by Gunta Stölzl; important paintings by Vasily Kandinsky (including On White II and Black Form, both from 1923), Paul Klee (such as Fire in the Evening and Highway and Byroads, both from 1929), and Oskar Schlemmer (Bauhaus Stairway, from 1932); graphic designs by Herbert Bayer and Joost Schmidt; a superb range of photographs, including a selection of Lucia Moholy’s close-up photographic portraits; stained glass windows by Josef Albers; a tea set by Marianne Brandt; and marionettes by Kurt Schmidt from the 1923 Bauhaus production of The Adventures of the Little Hunchback directed by Schlemmer.

Also included is Marcel Breuer’s ―African‖ Chair (1921), created in collaboration with the weaver Gunta Stölzl. Made of painted wood with a colorful woven textile, this chair embodies the spirit of the early Bauhaus in its romantic experimentalism. The chair was presumed lost for the past 80 years—the only documentation available was a black-and-white photograph—until 2004, when its owners offered the chair to the Bauhaus-Archiv in Berlin. This is the chair’s first appearance outside of Germany.

Paul Klee

Paul Klee
Fire in the Evening, 1929
13 3/8 x 13 1/4″ (33.8 x 33.3 cm)
The Museum of Modern Art, New York. Mr. and Mrs. Joachim Jean Aberbach Fund
© 2009 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

Marcel Breuer

Marcel Breuer with textile by Gunta Stölzl
“African” or “Romantic” chair. 1921
Oak and cherrywood painted with water-soluble color, and brocade of gold, hemp, wool, cotton, silk, and other fabric threads, interwoven by various techniques with twined hemp ground.
70 5/8 x 25 9/16 x 26 7/16″ (179.4 x 65 x 67.1 cm)
© Bauhaus-Archiv Berlin. Acquired with funds provided by Ernst von Siemens Kunststiftung. Photo: Hartwig Klappert

This exhibition was organized in cooperation with Bauhaus-Archiv/Museum für Gestaltung, Berlin; Stiftung Bauhaus Dessau; Klassik Stiftung Weimar; and the German Federal Cultural Foundation. A version of the show was presented at Martin-Gropius-Bau in Berlin from July 22 to October 4, 2009. The New York and Berlin exhibitions share a core group of loans, but have distinct curatorial perspectives.

Courtesy The Museum of Modern Art
Images © Their respective owners. All rights reserved

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This is a vintage Dec. 2001 Art News Magazine. On the cover are motorcycles from the Guggenheim Museum in Las Vegas “The Art of the Motorcycle” exhibition.

2001 December Art News Magazine – Modern Masters & Motorcycles available at www.DadsVintageAds.com in the “ Motorcycle Gifts & Collectibles ” category

Search our Magazine Back Issue Index for old Motorcycle Magazine Back Issues for sale.

To search our full inventory of Vintage Motorcycle Advertisements, Articles, and Road Tests CLICK HERE.

Jeanne-Claude, artist and wife of Christo, has died. Their creative collaboration produced over 50 years of “wrapping” projects, such as the Reichstag in Berlin (1995) and more recently “The Gates” in Central Park in New York (2005). The couple had been working toward completing “Over The River” and “The Masteba“.

via the LA Times

Kunst Haus Wien – Museum Hundertwasser

Annie Leibovitz : A Photographer’s Life 1990 – 2005
30 October 2009 – 31 January 2010

The exhibition “Annie Leibovitz −A Photographer’s Life 1990−2005″ at KUNST HAUS WIEN offers an unusual glimpse of the oeuvre of one of the best-known portrait photographers of our time. In addition to her portraits of famous personages, which have long since become icons of photographic art, the more than 150 works on display include photographs from Leibovitz’s private life that have never been exhibited before. The result is a unique chronology, a composite of family album, diary and assignment work. The exhibition was organised by the Brooklyn Museum, New York and is being sponsored by American Express.

Annie Leibovitz

Annie Leibovitz
Mikhail Baryshnikov and Rob Besserer, Cumberland Island, Georgia, 1990
Photograph © Annie Leibovitz
From Annie Leibovitz: A Photographer’s Life, 1990 – 2005

Annie Leibovitz’s photographs for magazines have chronicled American popular culture since the 1970s. Accordingly, her world-famous portraits of artists and politicians form an important part of the exhibition: Mikhail Baryshnikov on the shore of Long Island, William S. Burroughs in Kansas, a heavily pregnant Demi Moore, Bill Clinton in the Oval Office, portraits of Agnes Martin, Mick Jagger, Mathew Barney, Chuck Close, Robert de Niro and Scarlett Johansson.

Annie Leibovitz was born in 1949 in Westport, Connecticut. Today she lives in New York with her daughters Sarah, Susan und Samuelle. Numerous photo series show scenes from the photographer’s private life: Her parents and her yearly growing circle of relatives are featured in sequences taken during family gatherings and jaunts to the seaside. The births of her three daughters appear alongside the illness and death of Leibovitz’s father. Photographs of travels to Venice, Berlin, Kyoto and Cairo focus on Leibovitz’s family and close friends. These highly personal works, which have the character of candid snapshots, contrast biographically and artistically with lesser known landscape photography by Annie Leibovitz, for example in Monument Valley in the USA or Wadi Rum in the Jordanian desert, and reportages such as the one of the siege of Sarajevo.

The photographer sees her work, which has been displayed in numerous museums throughout the world, as a unified whole: “I don’t have two lives,” Leibovitz says. “This is one life, and the personal pictures and the assignment work are all part of it.” The exhibition can be read both as a very personal, even intimate chronology of one of the most celebrated photographers of our time and as the story of her development. Leibovitz herself says: “I have no single favourite photograph. What means the most to me is my work as a whole.”

Franz Patay, Director of KUNST HAUS WIEN, points out the longtime connections between Annie Leibovitz and KUNST HAUS WIEN: “This exhibition follows up on a presentation of works by Annie Leibovitz from the years 1970 to 1990 that was shown at KUNST HAUS WIEN in 1993. We are happy to enjoy such continuity in our cooperation, as a consequence of which we, as the only venue in Central Europe, are privileged to present this important exhibition.”

Courtesy Kunsthaus Wien – Museum Hundertwasser
Photograph © Annie Leibovitz

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Out of the Dust by artist Daniel Smith

Out of the Dust, Daniel Smith newest fine art edition, is a gem of North America’s giant icons. You can almost smell the animal and feel the dry heat in this image. “My paintings are a reflection of many years of field work combined with a passion for the natural world,” says the artist. “My objective is to share my passion through a scientifically accurate realistic painting while maintaining artistic integrity.”

Artist Daniel Smith

Artist Daniel Smith had yet another stellar year in 2009. He enjoyed a two week research safari to Kenya last summer and in September, both of his entries to the Jackson Hole Art Auction sold. Also in September, Dan was included in the Eiteljorg Museum’s Quest for the West Art Show and Sale, an invitational exhibition featuring 50 of the country’s outstanding artists. There he won the Harrison Eiteljorg Purchase Award for Stillwater Crossing, a face-to-face with a buffalo in mid-stream— watch for the fine art edition of this painting in 2010.

View more Limited Editions by artist Daniel Smith

© Rollie LaMarche – Picture This! Framing and Gallery. Are you looking for more art?

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Albertina, Vienna

Impressionism – Painting Light
September 11, 2009 > January 10, 2010

Comprising 193 works, the exhibition Impressionism. Painting Light unfolds the mesmerizing world of Impressionist and Post-Impressionist painting and is the most comprehensive show on the subject ever presented in Austria.

Paul Cézanne

Paul Cézanne
Portrait of a Farmer, 1905/06
© Museo Thyssen-Bornemisza, Madrid

In addition to 75 paintings from the Wallraf-Richartz-Museum & Fondation Corboud in Cologne, the show will include an enriching range of superb works from the Albertina and the Batliner Collection as well as loans from private collections and international museums.

56 historical objects, painting utensils and gadgets will convey an idea of an artist’s daily routine, of how he approached his motifs and prepared and executed his paintings. Didactic materials such as an installation for the explanation of optical phenomena or x-ray and infrared pictures will allow the visitor to literally grasp the genesis of Impressionist works.

The focus of this extraordinary and ambitious exhibition will be on the results of a five-year research project which has provided new, fascinating insights into the development of Impressionism and its techniques and modes of painting.

Edgar Degas

Edgar Degas
Interior at Schloss Ménil-Hubert, 1892
Private collection, Switzerland
© All rights reserved

Paul Cézanne

Paul Gauguin
Breton Boy, 1889
Wallraf-Richartz-Museum & Fondation Corboud, Köln
© RBA, Köln

Equal importance has been granted to the history and the technology of art. This approach has yielded fresh answers to such questions as “What is an impression?”, “Inside or outside?”, or “When is a painting finished?” – answers permitting to retell the story of Impressionism from a new perspective based on exemplary works by Courbet, Caillebotte, Manet, Monet, Renoir, Cézanne, Pissarro, Signac and Van Gogh.

Courtesy The Albertina, Vienna
Images © Their respective owners. All rights reserved

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SINGAPORE AND HONG KONG’S COMPETING ART MARKET

Singapore’s art scene has grown rapidly since its 1989 government mandate to recognize the “importance of culture and the art.” Thriving to a point that, according to The Wall Street Journal, Hong Kong–Asia’s epicenter of art–is beginning to take its competitor seriously.

Hong Kong’s challenging art scene

Today’s numbers would suggest that Hong Kong has nothing to worry about for competition.  Hong Kong is currently the third-largest auction market in the world with both Christie’s and Sotheby’s in its territory, and has set aside close to US$3 billion in order to create a much needed world class arts and culture development known as West Kowloon Cultural District. The project, however, has been slow to start and left many frustrated.

“The Hong Kong government first hit upon the idea in 1998 of building an integrated arts and culture neighborhood on 40 hectares of reclaimed land in the West Kowloon district. After many fits and starts, planning for the project recently picked up some momentum…Nevertheless, even if it all goes as planned, the first phase won’t be open until 2016.”

One of the proposed models for the West Kowoon Cultural Centre

The West Kowloon project has been “frustrating and painful,” says Asia Art Archive’s Ms. Hsu, who is also on the advisory panel for the museum at the new West Kowloon development. “For the public it has looked like the government is stalling, but it gives me a lot of hope. The government is very concerned about getting it right.’”

Singapore makes its move

The time spent behind making Hong Kong’s “necessary cultural move” may eventually result in Singapore gaining ground in the market by the country’s pushing ahead with so many art-hub projects of their own.

“It [Singapore] invested more than US$1 billion in infrastructure, including several museums and a 4,000-seat complex of theaters, studios and concert halls called the Esplanade, which opened in 2002, and spiced up its arts programming with diversity and a regional flavor.”

The Esplanade, Singapore

The benefits of Singapore’s art initiatives are already apparent. According to Singapore’s National Arts Council “between 1997 and 2007, the ‘vibrancy’ of the local art scene, measured by the number of performances and exhibition days, quadruped to more than 26,000.”

However, Singapore is still missing a key ingredient to perhaps prosper further: a big art-auction market like Hong Kong’s.

“Some smaller art-auction houses hold sales in Singapore, but the big ones — Christie’s and Sotheby’s — have pulled out and moved their Southeast Asian art auctions to Hong Kong, the former British colony that is home to seven million people and became a Chinese territory in 1997.”

For a city, having the ingredients for a thriving art market creates a virtuous circle. The powerful marketing machines of the big auction houses, including public previews of coming sales, raises awareness and appreciation of art in the community. All this encourages local artists to create more art. And that momentum, in turn, contributes to the development of a city’s broader cultural scene, including music, theater and design.”

Singapore looks ahead

The relationship between big art-auction markets and a thriving art scene can be so entangled that it would appear difficult to navigate a new course in order to adequately compete. Singapore, it seems, is trying anyways.

“Undaunted, Singapore is diligently pushing ahead and has opened several museums and other arts venues while Hong Kong has dithered on the construction of West Kowloon. Christie’s also recently picked Singapore to be the site of a global fine-arts storage facility to open in a duty-free zone in January.”

Related Posts

• ARTSingapore 2009 Fair-new photography fair, high value sales and gallerists pick top fairs in Asia today- October 2009
• New auction houses with new strategies open in Singapore art market – October 2009
• Liquidity propels prices, Chinese Political Pop is back- Sothebys Contemporary Asian Art Auction 2009 Hong Kong- October 2009

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RM/KCE

We’re taking a field trip on Wednesday (11-18) and Thursday (11-19) of this week!

It’s a research trip, which means that you will be drawing and taking notes in your sketchbook on artists and art works that you find interesting and inspirational for your final project.

Bring your sketchbook and a pencil and meet at the entrance of the Fine Arts Center in Colorado Springs at 9:45 am or 1:40pm depending on your class.   Make sure you see me at the entrance to be marked present and meet again 15 minutes before class ends in the entrance to meet with your car pool.  We will arrange rides Monday and Tuesday in class.

Here’s a Google Map of directions from school.

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ARTIST LECTURE:

The School of Art invites all members of the community to attend a lecture by our Visiting Professor Karina Hean. Karina will speak at 7pm on Monday, November 16th in Liberal Arts room 11.  The title of the lecture is “Gathering Place” and it will include slides of Karina’s work.  his event is free and open to students, the public and everyone who wishes to attend.

Artnet will be featuring a special sale of 375 photographs until November 19th. It may be your chance to fetch a Cecil Beaton or a Doisneau for $500. The auction includes portraits of some of the most unforgettable faces of the 20th-21st century by legendary photographers. Bert Stern figures with Marilyn Monroe luminous portraits from the “Last Sitting”.

Yousuf Karsh – Georgia O’Keefe – circa 1956

Centre Pompidou, Paris

Galery 1 – Level 6



Pierre Soulages
14 October 2009 > 8 March 2010,

With this major retrospective, the Centre Pompidou celebrates the work of Pierre Soulages, indisputably the greatest living French painter.

Pierre Soulages

Pierre Soulages
Peinture 260 x 202 cm, 19 juin 1963
Huile sur toile
Collection Centre Pompidou, Musée national d’art moderne,
Diffusion RMN
© Adagp, Paris 2009

The Centre Pompidou staged its first major exhibition of Soulages’s work in 1979, which followed another held at the Musée National d’Art Moderne in 1967, before the Centre opened. Looking back over more than 60 years of activity, this autumn’s exhibition will offer a new reading of the artist’s work, with an emphasis on recent developments in his painting.

The exhibition will bring together more than a hundred major pieces produced between 1946 and the present, from the tremendous walnut-stain works of 1947-1949 to the paintings of the recent years – many of the latter here exhibited for the first time – testimony to the dynamism and diversity of a body of work characterised by ceaseless development.

The opening section of the exhibition will focus on the first, foundational period of Soulages’s work, with a substantial group of works on paper and tar on glass works, followed by a representative selection of paintings from 1950 to 1970, the best-known period of the artist’s career.

In 1979, Pierre Soulages, who had already been painting for three decades, embarked on a new phase with works he called Outrenoir [Ultra-Black], based on the light reflected from a surface entirely covered in black. Using only the latter and working on the relation between black and light, Soulages constructed a pictorial space that – despite his reliance on one single colour – stands opposed to the monochrome in the development of modern art. The exhibition will thoroughly explore this “other painting” in all its diversity.

Pierre Soulages

Pierre Soulages
Peinture 222 x 314 cm, 24 février 2008
Diptyque (2 éléments de 222 x 157 cm, superposés)
Acrylique/toile
Collection particulière
Archives Pierre Soulages, Paris
(photo Georges Poncet)
© Adagp, Paris 2009

In the concluding section, the recent large multi-panelled paintings will be displayed hanging freely within the exhibition space.

To accompany this major retrospective a substantial catalogue is to be published by Éditions du Centre Pompidou, who in January 2010 will also organise (in collaboration with the Université François-Rabelais, Tours, and the INHA) a colloquium under the direction of Éric de Chassey.

Centre Pompidou
Images © ADAGP, Paris 2009. All rights reserved.

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