• September 18, 2017 11:59 AM
    Zeitz MOCAA is the world’s largest museum dedicated to contemporary art from Africa and its diaspora. From preserving the historic architectural legacy of what was once the tallest building in South Africa, to developing a sustainable not-for-profit public cultural institution that preserves, develops and enhances creativity, Zeitz MOCAA aspires to contribute to a stronger, wider appreciation of Africa’s cultural heritage. The museum’s founding art collection, the Zeitz Collection, is on long-term loan, and forms the basis of the extensive art on display at the newly opened museum. The development includes 6,000 square metres of exhibition space in 100 galleries, a rooftop sculpture garden, state of the art storage and conservation areas, a bookshop, a restaurant and bar, and various reading rooms.
  • September 15, 2017 02:07 PM
    The Museum of Modern Art of São Paulo presents the 35th Panorama of Brazilian art, its traditional biennale exhibition, which offers a reading of the current state of art in Brazil.
  • September 13, 2017 03:40 PM
    Items: Is Fashion Modern? explores the present, past—and sometimes the future—of 111 items of clothing and accessories that have had a strong impact on the world in the 20th and 21st centuries—and continue to hold currency today. Among them are pieces as well-known and transformative as the Levi’s 501s, the Breton shirt, and the Little Black Dress, and as ancient and culturally charged as the sari, the pearl necklace, the kippah, and the keffiyeh. Items will also invite some designers, engineers, and manufacturers to respond to some of these indispensable items with pioneering materials, approaches, and techniques—extending this conversation into the near and distant futures, and connecting the history of these garments with their present recombination and use. Driven first and foremost by objects, not designers, the exhibition considers the many relationships between fashion and functionality, culture, aesthetics, politics, labor, identity, economy, and technology.Nervous System (Jessica Rosenkrantz and Jesse Louis-Rosenberg). Kinematics Dress. (2014). Laser-sintered nylon. (Image courtesy of Steve Marsel. The Museum of Modern Art, New York. Committee on Architecture and Design Funds)
  • Kerry James Marshall
    September 5, 2017 01:57 PM
    Founded in 1968, The Studio Museum in Harlem is internationally known for its catalytic role in championing the works of artists of African descent. In a unique institutional collaboration, CMOA and the Studio Museum present a group exhibition with works by 40 artists, 20 from each of the collections. Responding to a tumultuous and deeply divided moment in our nation’s history, the curators have mined these collections to offer a metaphoric picture of America today. Spanning nearly 100 years—from 1920s photographs by James VanDerZee to recent works by Kerry James Marshall, Ellen Gallagher, and Collier Schorr—20/20 provides a critical opportunity to prompt conversations about the necessity of art during times of social and political transformation.20/20 draws together works from these important collections in dialogue. The exhibition unfolds through a thematic exploration of the foundations of our national condition, ultimately championing the critical role of art in political and individual expression. The first section of the exhibition, titled “A More Perfect Union,” presents a group of works that consider the formation of our democracy and shifting notions of national identity.The following two sections of the exhibition—“Working Thought” and “American Landscape”—expand on this by mapping contemporary American experience as a product of historical inheritances. “Working Thought” considers the basis of the national economy and the labor needed to sustain it, with works by Melvin Edwards, David Hammons, Kara Walker, Nari Ward, and others.In turn, “American Landscape” considers the effects of our national economy on lived experience through artworks that document or express the built environment, past and present. The photographs of LaToya Ruby Frazier and Zoe Strauss record the effects of industry and dispossession on marginalized communities, while more abstract works by Mark Bradford, Abigail DeVille, and Kori Newkirk make use of everyday and found materials to reclaim and reinvent our perspective on natural and urban landscapes.At the center of 20/20, a section titled “Documenting Black Life” is dedicated to the work of Charles “Teenie” Harris and James VanDerZee. These two prolific photographers working in the post–World War I era captured daily life of the black middle class. VanDerZee and Harris depict Harlem and Pittsburgh, respectively, both destinations of the Great Migration, as bustling, vibrant communities.The final two sections of 20/20—“Shrine for the Spirit” and “Forms of Resistance”—map a spectrum of artistic response to more current conditions. Works by Edgar Arceneaux, Barbara Chase-Riboud, Ben Jones, Quentin Morris, and Thaddeus Mosley offer quiet, sublime moments of spirituality and introspection, while more directly political gestures by Lorraine O’Grady, Howardena Pindell, and Lorna Simpson explore the power of language, identity, and performance as instruments of institutional critique. This final gallery also showcases CMOA’s newly acquired work from 2016, Untitled (Gallery), by Kerry James Marshall, whose practice challenges art history by reinserting the black figure emphatically into the canon of Western painting.Taken together, the artworks in this unprecedented collaboration offer multiple pathways for reflection and interpretation, allowing visitors to meditate on the long, complex history of our country.This exhibition is organized by Carnegie Museum of Art in partnership with The Studio Museum in Harlem and curated by Eric Crosby, Richard Armstrong Curator of Modern and Contemporary Art at Carnegie Museum of Art, and Amanda Hunt, former Associate Curator, The Studio Museum in Harlem, and now Director of Education and Public Programs, Museum of Contemporary Art, Los Angeles.(Photo: Kerry James Marshall, “Untitled (Gallery),” 2016, Acrylic on PVC panel, 60 ½ x 48 ½ in., Carnegie Museum of Art, The Henry L. Hillman Fund, ©Kerry James Marshall, Courtesy the artist and David Zwirner, London)
  • hfiaminghi.jpg
    August 21, 2017 06:05 AM
    Combining art historical and scientific analysis, experts from the Getty Conservation Institute and Getty Research Institute have collaborated with the Colección Patricia Phelps de Cisneros to examine the formal strategies and material choices of avant-garde painters and sculptors associated with the Concrete art movement in Argentina and Brazil. These works of geometric abstraction, created between 1946 and 1962, are presented alongside information on the way artists pioneered new techniques and materials.This exhibition is part of Pacific Standard Time: LA/LA, a far reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles, taking place from September 2017 through January 2018 at more than 70 cultural institutions across Southern California. Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America.
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    August 21, 2017 04:26 AM
    “Home is approached as an indicator of diverse identities and a vehicle for self-expression, and neighborhood as a micro-universe exemplifying some of the challenges we face in terms of co-existence today” - Curators Elmgreen and Dragset
  • Barkley Hendricks, Icon For My Man Superman (Superman Never Saved Any Black People-Bobby Seale).jpg
    August 16, 2017 12:19 PM
    Visitors to Tate Modern's Soul of a Nation: Art in the Age of Black Power are confronted with three questions in the introductory wall text: How should an artist respond to political and cultural changes? Is there such a thing as 'Black art' or a 'Black aesthetic'? And is it more effective for an artist to create legible images or make abstract work when trying to communicate a message? A journey around the exhibition seeks to investigate these questions. Situated as they were in the peak of Cold War America (1963 — late 1980s) the artists featured in Soul of a Nation were calling for a radical redefinition of Black America in opposition to a hostile state. In fact, works are often seen as vestiges of a past political movement and therefore overlooked by many as having true art historical value. What is most clearly projected in this exhibition is the strong sense of urgency these artists had to create art that resonated with their lived experiences. SoulOfANation_1.jpgThe exhibition begins with the Spiral Group: a New York art collective incepted in 1963 by Romare Bearden, Charles Alston, Norman Lewis, and Hale Woodruff. The Spiral Group galvanized their brushes and pens as a source of dissidence during the years of the Civil Rights movement. The group began as an organizational body, sorting out logistics for the busing people to the 1963 March on Washington, where Martin Luther King Jr. gave his iconic 'I Have a Dream' speech. Later, the group took a visual pivot, although each artist kept his or her own unique stance. These artists focused on abstracting colour, often emphasising paint hues while deliberately avoiding blending or graduating the pigment. Norman Lewis' America the Beautiful, with its medley of white strokes against a slick black background; is an abstracted reference to the condition of blackness in a white nation-state. Only until one examines the canvas closer does one see the faint crosses and pointed white hats peeking out of the darkness, to suggest a nightmarish scene of a covert Klu Klux Klan gathering.SoulOfANation_2.jpgAs one meanders through the exhibition, the abstraction of the earlier period becomes complicated with moments of figural depictions. The works by the art collective, AfriCOBRA (African Commune of Bad Relevant Artists) exemplify this movement toward the figurative. AfriCOBRA was founded in Chicago in 1968 by Jeff Donaldson, Wadsworth Jarrell, Jae Jarrell, Barbara Jones-Hogu and Gerald Williams. Their works centre around liberation and freedom, most evident in Wardworth Jarrell's Revolutionary (1972) which is truly a burst of colour. Revolutionary is motley of almost psychedelic shapes that form a figure of a man shouting into a microphone. The work’s power comes from its desire to highlight the black figure, showing black bodies in power, not subjugation. SoulOfANation_3.jpgAs a Black American, so much of what I see myself as today, comes from the philosophical legacy of the Civil Rights movement and the Black Power Movement. I remember learning about these topics in the American school system. Although a perplexing notion for my nine-year-old self, I recall how unilateral the discussion was — only discussing what was said to be 'non-violent' solutions and its supposed success. Generally, we learned to shame ‘black power’, and reject anything that would disprove the idea of post-Civil Rights Movement as post-racial.SoulOfANation_4.jpgHyperaware of my own ethnicity at Tate Modern, the exhibition's potential to uplift Black American history and art remains elusive to those that need it the most. I was left disappointed that images of powerful black bodies in American visual culture as well as art history are still rarities. Soul of a Nation is a great homage to Black American art and its existence as a significant piece of world history. Particularly in the scope of the fine arts, black artists have been disregarded by many major American institutions until recently. In 1970, Melvin Edwards became the first Black American sculptor to have a solo exhibition at the Whitney, and as late as 2014, artist Carrie Mae Weems became the first African American woman to have a retrospective at the Guggenheim Museum. Even famed member of the Spiral Group, Norman Lewis, didn't have his first retrospective until 2015 at the Pennsylvania Academy of the Fine Arts, thirty years after the artist's death.Although these grandiose questions cannot be resolved in just one exhibition, the show provides fodder for understanding the artistic ramifications of one of the most enigmatic yet misunderstood activist slogans of the past century: black power.
  • Tony Matelli, 'Fucked (Couple),' 2005
    July 13, 2017 02:24 PM
    Boy in cramped conditions, Bjørn Nørgaard’s Hesteofringen (The Horse Sacrifice) in new set-up, and a Lamborghini whose paintwork you are allowed to scratch. New exhibition at ARoS featuring works from the collection wants to direct focus on contemporary society and challenge our ideas about Europe.The exhibition No Man Is an Island – The Satanic Verses presents works from the ARoS collection as well as a series of distinctive works on loan. The exhibition features carefully selected installations by a number of international artists. No Man Is an Island – The Satanic Verses may be seen as a follow-up to Out of the Darkness, which was the first exhibition curated by Erlend G. Høyersten, museum director.Aspects highlighted include people’s right to differ, Europe on the move, and how our view of humanity and sets of values – as individuals and as groups – are being challenged. While these themes are directly reflected in the exhibition title, the latter also alludes to literature and Salman Rushdie’s The Satanic Verses, now a symbol of the clash between free thinking and orthodoxy.Read prologue to the exhibition by director Erlend G. Høyersten.THE GALLERY AND THE ARTISTSThe scenography in the gallery has been toned down, allowing the individual work to unfold and to interact with other works. The exhibition will feature works by e.g. Ron Mueck, Tony Matelli, Bjørn Nørgaard, Andy Warhol, Shirin Neshat, Edward Kienholz, Rose Eken, and selected young artists, who have shown in the series ARoS FOCUS//NEW NORDIC during the past two years.List of artists and works:Edward Kienholz (1927 – 1994), Sawdy nr. 46, 1971Gardar Eide Einarsson (1976), Untitled (Flagwaste), 2015E.B. Itso (1977), Clandestine Boat Cemetery, 2015Jani Leinonen (1978), Beggars’ Signs, 2009-2015Shirin Neshat (1957), Zarin, 2005 (20:30 min.)Elmgreen & Dragset (1961, 1969), Welcome, 2014Ron Mueck (1958), Boy, 1999Hanne Nielsen & Birgit Johnsen (1959, 1958), Camp Kitchen, 2014Rose Eken (1976), Tableau, 2015Bjørn Nørgaard (1947), Hesteofringen, 1970Tony Matelli (1971), Fucked (Couple), 2005Andy Warhol (1928 – 1987) Electric Chair, 1971Andy Warhol (1928 – 1987), Marilyn, 1964Leonard Rickhard (1945) Scene etter solnedgang, 2008-09Superflex, Bankrupt Banks, August 23, 2013, 2013Dolk (1979), Low Key, 2016Tracey Moffat, (1960), Revolution, 2008Nick Theobald (1986), Nothing Left to Offer, 2014Thorbjørn Lausten, (1945), Lysskulptur uden titel, 1985Gilbert & George (1943, 1942), Resting, 1991Wes Lang (1971), This Noble One, 2014The exhibition was conceived after an idea by Erlend G. Høyersten and is co-curated by Erik Nørager Pedersen and Pernille Taagaard Dinesen.
  • David Hockney, 'A Bigger Splash', 1967. David Hockney Collection Tate, London
    July 10, 2017 02:19 PM
    In collaboration with London’s Tate Britain and the Metropolitan Museum of New York, the Centre Pompidou presents the most comprehensive retrospective ever devoted to the work of David Hockney. The exhibition celebrates the artist’s 80th birthday, retracing his entire career through more than 160 works (paintings, photographs, engravings, video installations, drawings and printed works), including his most iconic paintings (swimming pools, double portraits and monumental landscapes) and some of his most recent creations.It focuses in particular on Hockney’s interest in modern technologies for the production and reproduction of visual images. Moved by a constant concern to ensure a wide circulation for his work, he has successively taken up the camera, the fax machine, the computer, the printer, and most recently the iPad. For him, artistic creation is an act of sharing.Edited by Didier Ottinger, curator of the exhibition, a 320-page catalogue with 300 illustrations will be published by the Centre Pompidou. This will include essays by Didier Ottinger, Chris Stephens, Marco Livingstone, Andrew Wilson, Ian Alteveer and Jean Frémon, and also an extensive chronology. The exhibition opens with paintings of Hockney’s youth, produced while at art college in his native Bradford. Images of an industrial England, they testify to the influence of the gritty social realism of his teachers, members of the so-called Kitchen Sink School. At the Bradford School of Art and the Royal College of Art in London, Hockney discovered and assimilated the English take on Abstract Expressionism represented by Alan Davie. In Jean Dubuffet he found a style (informed by graffiti, naïve art...) that corresponded to his quest for an expressive and accessible art, and in Francis Bacon the boldness to explicitly thematise the subject of homosexuality. His discovery of Picasso, finally, convinced him that an artist should not limit himself to a single style: he called one of his early exhibitions “Demonstrations of Versatility”.In 1964, he discovered the West Coast of the United States, where he became the painter of a sunny and hedonistic California, his Bigger Splash (1967) acquiring an iconic status. It was there, too, that he embarked on the large double portraits that celebrate the realism and perspectival vision of the photography he also assiduously engaged in. In the United States, where he now lived, Hockney was confronted by the critical ascendancy of abstract formalism (Minimal Art, Colour Field Painting...). To the Minimalist grid, he responded by painting building facades and geometrically mowed lawns, and to “stain colour field painting” (which used dilute paint to stain the canvas itself) with a series of works on paper depicting the water of a swimming pool under different lights.In his costumes and stage designs for opera Hockney took his distance from a photographic realism whose possibilities he now felt he had exhausted. Abandoning the classical perspective associated with the camera (“the perspective of a paralysed Cyclops”, he once said), he experimented with different ways of constructing space.Looking again at Cubism, which sought to synthetically represent the vision of a viewer who moved in relation to the subject, Hockney used a Polaroid camera to produce what he called “joiners”, representations of the subject through multiple images joined together. Systematising this “polyfocal” vision, he created Pearblossom Highway from more than a hundred photos taken from different points of view. Searching for new principles for the pictorial representation of space, Hockney found inspiration in the Chinese scroll paintings that render the visual perceptions of a viewer in movement. Combined with the multiple viewpoints of Cubist space, this allowed him to produce Nichols Canyon, a representation of his car journey from the city of Los Angeles to his studio in the hills.In 1997, Hockney returned to Northern England and the countryside of his childhood. His landscapes reflect his complex reconsideration of the question of space in painting. Using high-definition cameras, he also brought movement to the Cubist space of his Polaroid “joiners”, juxtaposing video screens to compose a cycle of four seasons – a subject that since the Renaissance has evoked the inexorable passage of time.In the 1980s, Hockney began to explore the new, digital graphics tools available for the computer, producing new kinds of images. The computer was followed by the smartphone, and then the iPad, which he has used to create ever more sophisticated drawings, circulated among his friends by means of the Web.
  • Orensanz for Radical Women.jpg
    July 10, 2017 10:55 AM
    Part of Pacific Standard Time: LA/LA, this exhibition reappraises the contribution of Latin American women artists and those of Latino and Chicano heritage in the United States to contemporary art. In a way that no other exhibition has done previously, Radical Women: Latin American Art, 1960–1985 gives visibility to the artistic practices of women artists working in Latin America and US-born women artists of Latino heritage between 1960 and 1985—a key period in Latin American history and in the development of contemporary art. Fifteen countries are represented in the exhibition by more than one hundred artists, with 260 works in photography, video, and other experimental mediums. Among the women included are emblematic figures such as Lygia Clark, Ana Mendieta, and Marta Minujín alongside lesser-known names such as the Cuban-born abstract artist Zilia Sánchez, the Colombian sculptor Feliza Bursztyn, and the Brazilian video artist Leticia Parente. The artists featured in Radical Women have made extraordinary contributions to the field of contemporary art, but little scholarly attention has been devoted to situating their work within the social, cultural, and political contexts in which it was made. This groundbreaking exhibition constitutes the first genealogy of feminist and radical art practices in Latin America and their influence internationally, thereby addressing an art historical vacuum. Radical Women will also include a national and international tour, and a scholarly publication.
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