Things to do this week in NYC Jul 7-Jul 14: MuseumsJuly 7, 2012 - by CG Directory Editor
Some of the world's most impressive museums and exhibits are in New York?including the Whitney, the Guggenheim, the Museum of Modern Art (MoMA), and (of course) the Metropolitan Museum of Art. One of the great things to do in NYC is to visit these spectacular collections. Whether you're a native New Yorker or here on vacation, NYC's museums have something new and interesting to offer everybody! Here is a list of what's going on this week at museums throughout New York City.
Ship-Shape: Nautical Scale Models - Intrepid Sea, Air & Space Museum
"Ship-Shape: Nautical Scale Models," a new exhibition that examines the detailed process of building model ships at the Intrepid Sea, Air & Space Museum and will be on display through Sunday, July 8, 2012. The exhibition consists of dozens of artifacts including model ships, vintage toy ships, a variety of antique model kit boxes, a mock-up of a modeler's workbench showing the building of a model ship being made in progress and illustrations that demonstrate how models are constructed. Among the highlights of the exhibit are models of the Battleship New Jersey, which served during WWII, the Korean War and Vietnam, and USS Constitution, the oldest commissioned vessel afloat in the world. The model USS New Jersey measures 112" W x 25" H x 15" D and the model USS Constitution measures 57" W x 43"H x 22" D. A modeler's workbench offers a peek at the tools of the trade, while World War II nautical toys illustrate children's fascination with ships. From wartime cardboard models to ships in bottles, the exhibit highlights the dexterity, ingenuity and artistry embodied in these popular collectors' items. "Ship-Shape: Nautical Scale Models" is made possible through the support of the Susan and Elihu Rose Foundation and will be on display through Sunday, July 8, 2012. The exhibit is free with museum admission. For more information, visit www.intrepidmuseum.org.
Keith Haring: 1978-1982 - Brooklyn Museum
Keith Haring: 1978-1982 is the first large-scale exhibition to explore the early career of one of the best-known American artists of the twentieth century. Tracing the development of Haring's extraordinary visual vocabulary, the exhibition includes 155 works on paper, numerous experimental videos, and over 150 archival objects, including rarely seen sketchbooks, journals, exhibition flyers, posters, subway drawings, and documentary photographs. The exhibition chronicles the period in Haring's career from his arrival in New York City through the years when he started his studio practice and began making public and political art on the city streets. Immersing himself in New York's downtown culture, he quickly became a fixture on the artistic scene, befriending other artists such as Jean-Michel Basquiat and Kenny Scharf, as well as many of the most innovative cultural figures of the period. The critical role that these relationships played in Haring's development as a public artist and facilitator of group exhibitions and performances will also be explored. Pieces on view will include a number of very early works never before seen in public; seven video pieces, including Haring Paints Himself into a Corner (his first video piece) and Tribute to Gloria Vanderbilt; and collages created from cut-up fragments of his own writing, history textbooks, and newspapers.
Women in Aviation: World War II - Intrepid Sea, Air & Space Museum
In 1910, Raymonde de Laroche of France became the first woman to earn a solo pilot's license. Just three decades after de Laroche earned her license, the world was engulfed in a terrible war. Aviation promised to play a critical role in the conflict. Seeing an opportunity to contribute their talents, female pilots lobbied their governments for a chance to serve. Women in Aviation: World War II examines the wartime contributions of these pioneering women. American women took to the skies under the auspices of the Women Airforce Service Pilots, the Civil Air Patrol and aircraft manufacturing companies such as Grumman. Female pilots ferried airplanes from base to base. They tested powerful warplanes fresh off the assembly line and flew patrol missions around the country. Behind the scenes, female engineers helped produce rugged warplanes. More than many women, female pilots challenged traditional ideas of what a woman could accomplish. At war's end, society expected women to return to their quiet lives as wives and homemakers, and most women who hoped to continue their flying careers found little opportunity. Decades passed before America's female aviators received formal recognition for their wartime service. Women in Aviation: World War II features original artifacts including flight suits and gear, uniforms, pilot log books, archival materials and photographs. Vintage film footage shows women breaking records, winning air races, and training to serve their country. The exhibition, opening on March 1st and running through July 8th, is free with general admission and will be located in the Hangar 2 Gallery.
Byzantium and Islam - Age of Transition - Metropolitan Museum of Art
The Eastern Mediterranean, from Syria across North Africa, comprised the wealthy southern provinces of the Byzantine Empire at the start of the seventh century. By that century's end, the region was central to the emerging Islamic world. This exhibition will be the first to display the complex character of the region and its exceptional art and culture during the era of transition -- from its role as part of the Byzantine state to its evolving position in the developing Islamic world. The dialogue between established Byzantine and evolving Islamic styles and culture will be shown through images of authority, religion, and especially commerce. Iconoclasm as it emerged during that period among the Christian, Jewish, and Islamic communities of the region will be addressed.
Casting the Divine - The Rubin Museum
A group of 104 sculptures on long-term loan to the Rubin Museum of Art will be exhibited together for the first time in the United States. A selection of the works was previously exhibited at the Ashmolean Museum in Oxford, in the United Kingdom, in 1999. The collection is known as the Nyingjei Lam Collection, which means "path of compassion."
Storied Past: Four Centuries of French Drawings from the Blanton Museum of Art - Grey Art Gallery at NYU
Throughout history, artists have sought new ways to tell stories through visual means. Comprised of works from collections at the Blanton Museum of Art at The University of Texas at Austin, Storied Past presents French perspectives on dramatic narrative from the 16th through 19th centuries. Biblical, historical, mythological, and contemporary characters abound in drawings by artists such as Jacques Callot, François Boucher, Théodore Rousseau, Jean-Louis Forain and Théophile Alexandre Steinlen. Featuring more than fifty works, the exhibition reveals the expressive and technical range of French drawing through preliminary sketches, figure studies, and finished compositions—executed in a variety of media on paper. Tracing shifts in the history of French drawing, Storied Past explores the role of the Academy, the influence of Italian art, and the development of distinctive tastes in style and subject matter. In the 17th and 18th centuries, French artists flocked to Rome, a mecca of artistic experimentation and patronage. Italy's allure permeates much of the subject matter and aesthetics on view in Storied Past. Classical iconography proliferates: Venus and Cupid luxuriate among river gods; Neptune commands the seas; and Hercules arrives triumphantly at Mount Olympus. In the 19th century—a time of great industrial, political, and artistic transformation—many artists abandoned idealism and classicism for realist approaches. Scenes of everyday life took prece- dence over the previously popular religious and heroic themes. The "storied past" of the show's title refers not only to the narrative subjects favored by French artists and their patrons, but also to the individual histories of the works on view: The exhibition labels present curators and conservators' analyses of the works' techniques, materials, and provenance. By illuminating the narratives of the drawings as well as in their subject matter, Storied Past offers insight into the fundamental relationship between the visual arts and storytelling.
The Greatest Grid: The Master Plan of Manhattan, 1811-2011 - Museum of the City of New York
The Greatest Grid: The Master Plan of Manhattan, 1811-2011 celebrates the 200th anniversary of the Commissioners' Plan of 1811, the foundational document that established Manhattan's famous street grid. Featuring an original hand-drawn map of New York's planned streets and avenues prepared by the Commission in 1811, as well as other rare historic maps, photographs and prints of the evolution of the city's streets, and original manuscripts and publications that document the city's physical growth, the exhibition examines the grid's initial design, implementation, and evolution. The Greatest Grid traces the enduring influence of the 1811 plan as the grid has become a defining feature of the city, shaping its institutions and public life. The exhibition is accompanied by a book of the same name, edited by Hilary Ballon of NYU, who also curated the exhibition, and co-published by the Museum and Columbia University Press.
Projects 97: Mark Boulos - Museum of Modern Art (MoMA)
Boulos's installation All that Is Solid Melts into Air (2008), comprised of two large-scale videos, presents two communities on opposite ends of the world, each locked in a struggle to control oil. Oil surrounds us on a daily basis, and yet we are scarcely aware of its source or presence; when refined into products, petroleum gives no clue as to its origin or its physical form. Boulos's installation, however, begins to make visible the mechanisms of this process of abstraction, and the political conditions that these objects conceal. In one video, Boulos shows traders in the Chicago Mercantile Exchange on the first day of the 2008 credit crisis. In the other video, Boulos presents footage of his experience living with Nigerian fishermen -- members of the militant group Movement for the Emancipation of the Niger Delta, which opposes through violent means the exploitation of people and devastation of the environment in one of the largest oil fields in the world. The individuals in these two landscapes are connected through a desire to control petroleum, which vanishes into thin air, in the first instance through financial speculation, and in the second through corporate regulation of Nigerian mines. All that Is Solid Melts into Air provokes timely questions about the ongoing fight over natural resources, and the power of social mechanisms, such as financial derivatives, to shape the lives of individuals and communities while obfuscating their very connection to those affected. Mark Boulos (American, b. 1975) is an artist and filmmaker who lives and works in Amsterdam and London. He studied visual art at the Rijksakademie in Holland as a Fulbright Scholar, documentary filmmaking at the National Film and Television School in England, and philosophy at Swarthmore College and Deep Springs College.
Kehinde Wiley / The World Stage: Israel - The Jewish Museum
One of the most significant young artists today, Kehinde Wiley is known for vibrant, large-scale paintings of young urban men, rendered in the self-confident, empowered poses typical of classical European portrait painting. Part of a new series exploring the global diaspora, the works in The World Stage: Israel are based on photographs the artist took of men of diverse religions and ethnicities living in Israel. The detailed decorative backgrounds are based on Jewish ceremonial art. The exhibition includes 14 paintings and a selection of textiles and papercuts chosen by the artist from The Jewish Museum's collection.
Antico: The Golden Age of Renaissance Bronzes - Frick Collection
Antico: The Golden Age of Renaissance Bronzes is the first monographic exhibition in the United States dedicated to Pier Jacopo Alari de Bonacolsi, known as Antico (c. 1455-1528). As sculptor to the Gonzaga courts at Mantua and in northern Italy, Antico earned his name, "the antique one," for his creation in the classical style of statuettes, reliefs, and busts that are distinguished by their opulence and beauty. Using inventive and highly refined techniques, Antico lavishly gilded, silvered, and patinated his works, elevating his bronze sculptures to the status of the ancient precious objects that were avidly collected by his Gonzaga patrons. Splendid and timeless, Antico's works represent a sophisticated court style and have always been exclusive and rare. Today fewer than fifty of his bronzes are known. Dispersed among museums in Europe and America, nearly forty of them will come together in this unprecedented presentation. The exhibition aims to shed light on the master's transformative contribution to this art form, incorporating the results of newly performed technical research to answer questions about the dating of Antico's works, his technique, and his development as an innovative artist. Jointly organized by the National Gallery of Art and The Frick Collection, the exhibition opened in the fall of 2011 in Washington, D.C., before traveling to New York City the following spring. The exhibition is curated by Eleonora Luciano, Associate Curator of Sculpture at the National Gallery of Art, in collaboration with Denise Allen, Curator at The Frick Collection. The accompanying catalogue is written by an international team of scholars including Eleonora Luciano, Denise Allen, and Claudia Kryza-Gersch, Curator of Italian Sculpture at the Kunsthistorisches Museum, Vienna. It will be the first independent monograph in English to focus on the artist and the first comprehensive presentation of his works in color.
The Printed Image in China, 8th-21st Century - Metropolitan Museum of Art
China invented both paper and printing and this exhibition presents an outstanding survey of the art of Chinese printing from the time of its inception around the early eighth century through its burgeoning as an artistic medium during the seventeenth century and its continued vitality as a medium for both popular culture and political commentary during the twentieth century. The exhibition will consist of approximately 136 prints drawn from the encyclopedic holdings of the British Museum.
Foreclosed: Rehousing the American Dream - Museum of Modern Art (MoMA)
Foreclosed: Rehousing the American Dream is an exploration of new architectural possibilities for cities and suburbs in the aftermath of the recent foreclosure crisis. During summer 2011, five interdisciplinary teams of architects, urban planners, ecologists, engineers, and landscape designers worked in public workshops at MoMA PS1 to envision new housing and transportation infrastructures that could catalyze urban transformation, particularly in the country's suburbs. Responding to The Buell Hypothesis, a research report prepared by the Buell Center at Columbia University, teams -- lead by MOS, Visible Weather, Studio Gang, WORKac, and Zago Architecture -- focused on a specific location within one of five "megaregions" across the country to come up with inventive solutions for the future of American suburbs. This installation presents the proposals developed during the architects-in-residence program, including a wide array of models, renderings, animations, and analytical materials.
Isa Genzken - Rose II - New Museum
Standing twenty-eight feet tall, acclaimed German artist Isa Genzken's Rose II (2007) is the second sculpture to be presented as part of the New Museum's ongoing Fa�ade Sculpture Program since the building's completion in December 2007. This is Isa Genzken's first public artwork in the United States. A crucial figure in Post-war contemporary art, Genzken is a sculptor whose work re-imagines architecture, assemblage, and installation, giving form to new plastic environments and precarious structures. The artist represented Germany at the 2007 Venice Biennale and has shown her work in leading museums across Europe. She was among a group of prominent international artists featured in the exhibition "Unmonumental," the survey that inaugurated the New Museum's SANAA building. Rose II was originally created in 1993 and reprised in 2007. It is the culmination of a practice that explores the way we perceive objects and images through our senses; the implications of scale; and the integration of architecture, nature, and mass culture. Although Genzken is a longtime resident of Berlin, she has had a forty-year love affair with New York City, which began when she first visited as a student. Looking back on that experience, she has commented, "To me, New York had a direct link with sculpture� (It) is a city of incredible stability and solidity." The installation of Rose II can be seen as a tribute to a place Genzken continues to love. .
The Dawn of Egyptian Art - Metropolitan Museum of Art
During the Predynastic and Early Dynastic Periods (ca. 4000-2650 B.C.), people living in the Nile Valley began recording their beliefs through paintings, sculptures, and reliefs made for their shrines and tombs. These works of art capture the evolving world view of these early Egyptians. Images of people, animals, and landscapes, some of which give rise to hieroglyphs, include forms and iconography that remained in use throughout the art of Pharaonic Egypt. This exhibition brings together some 175 objects gathered from the Metropolitan Museum's important collection of early art and from the collections of twelve other museums in the U.S. and Europe to illustrate the origins and early development of ancient Egyptian art.
Revolutionary Ink: The Paintings of Wu Guanzhong - Asia Society and Museum
Wu Guanzhong (1919-2010) stands as one of the most important artists of 20th-century China. He was highly prolific both in oil and ink painting and is well known for his eloquent writings on art and creativity. For this exhibition, over 50 paintings spanning the mid-1970s to 2004 have been selected that focus on his best works in the medium of ink. Revolutionary Ink: The Paintings of Wu Guanzhong is organized by Asia Society in collaboration with the Shanghai Art Museum, to which the artist gave many of his works. The exhibition traces the development of Wu's work, and emphasizes his radical individual approach to the medium of ink painting and how it went against the trend at a time when most artists were looking to Western art as a model. The inclusion of a Chinese hanging scroll painting from the 15th century illustrates the long tradition of ink painting in China. The exhibition shows Wu's legacy as a modern master who pushes the boundaries of our understanding of how a traditional medium of ink can be made new for a new century. The exhibition is curated by Melissa Chiu of Asia Society and Lu Huan of Shanghai Art Museum. It is accompanied by a fully illustrated catalogue, with an essay by leading Chinese and American scholars as well as essays by the artist translated for the first time into English. Revolutionary Ink: The Paintings of Wu Guanzhong is organized by Asia Society Museum and the Shanghai Art Museum, one of China's leading cultural institutions. The museum has been the main venue of the international Shanghai Biennale exhibition since 1996 and draws global attention to a city that has become one of the country's most important art centers.
stillspotting nyc: staten island - Off-site
stillspotting nyc: staten island July 14–15, July 21–22, July 28–29, and August 4–5, 2012, 12-5pm For the Guggenheim Museum’s off-site architecture and urban studies exhibition stillspotting nyc: staten island, sound artist Justin Bennett and poet Matthea Harvey present Telettrofono, an audio walking tour that braids history with fantasy along and around the waterfront. In a 90-minute soundwalk beginning at a stillspotting nyc kiosk located at the Staten Island Ferry Terminal in St. George, visitors will discover the true story of Antonio Meucci, the unacknowledged inventor of the first telephone (1871), and the hidden story of Meucci’s wife Esterre, who was rumored to be a mermaid who left the water for land due to her love for sound. Admission: $12, $10 members, free children 12 and under. Advance registration strongly recommended. Website: http://stillspotting.guggenheim.org/
Let My People Go! The Soviet Jewry Movement, 1967-1989 - Museum of Jewish Heritage - A Living Memorial to the Holocaust
This exhibition tells the story of Jews in the former Soviet Union who wanted to emigrate but were denied permission to leave. Visitors will learn about their efforts to maintain a Jewish identity, their struggles with Soviet authorities, and the worldwide support they received. This traveling exhibition is organized and circulated by the State of Israel�Ministry of Public Diplomacy and Diaspora Affairs and Beit Hatfutsot, the Museum of the Jewish People, Tel Aviv. It is part of the original exhibition Jews of Struggle: The Jewish National Movement in the USSR, 1967�1989, curated by Beit Hatfutsot in 2007. It was initiated by the Remember and Save Association and its director Aba Taratuta. The exhibition has been adapted for American audiences in cooperation with the Museum of Jewish Heritage - A Living Memorial to the Holocaust.
9 Scripts from a Nation at War - Museum of Modern Art (MoMA)
9 Scripts from a Nation at War (2007), a 10-channel video installation recently acquired by MoMA, marks the first work for which artists Andrea Geyer, Sharon Hayes, Ashley Hunt, Katya Sander, and David Thorne have collaborated. The work responds to knowledge production and communication in the context of the Iraq war since the initial invasion by U.S. military forces in March 2003. The 10 videos comprising the large-scale, spatial installation cast inquiry into the position of the individual amidst roles constructed by war. Each video stages the speaking of a script from the following perspectives: citizen, blogger, correspondent, veteran, student, actor, interviewer, lawyer, detainee, and source. The scripts are enacted by both actors and non-actors, some speaking their own words, some reciting the words of others. Displayed as projections and seated viewing stations in a circuitous, non-narrative structure, the performative videos create a charged environment questioning the implications of war on individual and collective subjectivity.
P.S. Art 2012 - Celebrating the Creative Spirit of New York City Kids - Metropolitan Museum of Art
This year marks the tenth anniversary of P.S. Art, an annual juried exhibition of talented young artists from New York City's public schools. This selection showcases the creativity of seventy-six K through 12 students from all five boroughs and includes paintings, prints, sculptures, mixed-media works, collages, and drawings. Each piece represents a unique expression of imagination and ability.
Beyond Planet Earth: The Future of Space Exploration - American Museum of Natural History
Beyond Planet Earth launches visitors into the exciting future of space exploration as it boldly speculates on humanity's next steps in our solar system and beyond. The exhibition features a full-sized re-creation of a lunar habitat, a model of an elevator reaching up into space, a walk-through diorama of the Martian surface, and challenging interactive simulations. See authentic equipment and models of historic spacecraft from select voyages in the past. Learn about robotic missions that are currently headed deeper and deeper into our own solar system, and what they might reveal. Understand why geologists are so interested in specimens from moons and other planets and what we can learn from them. And explore some possible spectacular missions of the future: mining the Moon, landing on and deflecting a potentially deadly asteroid, or traveling to Mars - and perhaps even establishing colonies there. Is it possible within our lifetime? Will we discover evidence of life, past or present, on another planet? Find out what experts think the future will hold for us beyond planet Earth. Gallery 3, third floor
Rachel Kneebone: Regarding Rodin - Brooklyn Museum
Rachel Kneebone: Regarding Rodin features fifteen iconic works by nineteenth-century French master Auguste Rodin, selected from the Museum's collection by British artist Rachel Kneebone and shown alongside eight of her own large-scale porcelain sculptures. The exhibition, Kneebone's first major museum presentation, will highlight the artists' shared interest in the representation of mourning, ecstasy, death, and vitality in figurative sculpture. The pairing also offers a visual comparison of the two sculptors' materials and processes. Kneebone's intricately wrought artworks, simultaneously pristine and agitated, contain allusions to Michelangelo, Gianlorenzo Bernini, and Louise Bourgeois. Integrating recognizable human forms with odd mutations, they provide a stark contrast to Rodin's dark, more-concrete, yet equally animated bronzes. Whereas Rodin cast his sculpture, Kneebone creates unique artworks that she fires in a small kiln in her studio, often in sections to be assembled later. The centerpiece of the exhibition, The Descent (2008), is Kneebone's largest work to date. It was inspired by Dante Alighieri's Divine Comedy, as was Rodin's masterpiece The Gates of Hell (1880–1917). The London-based Kneebone was born in 1973 in Oxfordshire, England, and Rodin (1840–1917) was born in Paris. Rachel Kneebone: Regarding Rodin was organized by Catherine Morris, Curator of the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum. This exhibition is made possible by the Elizabeth A. Sackler Foundation, with additional support provided by Lisa and Dick Cashin.
Industry.Cinema: An Installation by Caroline Martel - Museum of the Moving Image
Apart from the familiar world of feature films, there exists a lesser-known world of industrial films, instructional and informational sponsored short films that were shown in schools, at corporate events, in the workplace, and at commercial theaters before features. Documentary filmmaker Caroline Martel's installation INDUSTRY/CINEMA takes an illuminating journey through film history by juxtaposing industrial images with those from popular or canonical films made between 1903 and 1991. With headphones and channel switches, visitors can toggle back and forth between the soundtracks. Images and sounds comment on each other, often in surprising ways, allowing for a singular interactive experience. Scenes from films by Thomas Edison, Charles Chaplin, François Truffaut, and Stanley Kubrick are shown alongside such archival gems as How Business Girls Keep Well, Along These Lines, and The Speech Chain, an AT&T film with a computer singing "Daisy Bell," which was sung by the computer HAL in 2001: A Space Odyssey.
Swept Away - Dust, Ashes, and Dirt in Contemporary Art and Design - Museum of Arts & Design
MAD has explored the intersection of traditional or unusual materials and techniques as viewed through the lens of contemporary art and design in a series of exhibitions that include Radical Lace and Subversive Knitting; Second Lives: Remixing the Ordinary; Slash: Paper Under the Knife; Dead or Alive: Nature Becomes Art; and Otherworldly: Optical Delusions and Small Realities. The next investigation into unusual mediums features an international group of artists whose major materials are dust, ashes, dirt, and sand. Swept Away: Dust, Ashes, and Dirt in Contemporary Art and Design will highlight works that deal with issues such as the ephemeral nature of art and life, the quality and content of memory, issues of loss and disintegration, and the detritus of human existence. Sculptures made from ash by Chinese artist Zhang Huan, life-size sculptures of unfired dirt by American artist James Croak, and works created from city smog by American artist Kim Abeles, among others, illustrate the transformative potential of humble, overlooked, and discarded materials.
Newspaper Fiction: The New York Journalism of Djuna Barnes - Brooklyn Museum
Newspaper Fiction: The New York Journalism of Djuna Barnes, 1913-1919 is an exploration of the early journalistic career of American writer and women's rights advocate Djuna Barnes (1892-1982). Though best known for her modernist novels and plays, including Nightwood (1936) and The Antiphon (1958), Barnes spent the period between 1913 and her departure for Europe in 1921 living in New York's Greenwich Village and working as a writer and illustrator for publications including the Brooklyn Daily Eagle and Vanity Fair. The product of an unconventional household, she developed an outsider's perspective on "normal" life that served her as an artist, and a liberal sexuality that fit in perfectly with the bohemian lifestyle of Greenwich Village and, later, the lesbian expatriate community in Paris. She used journalism as a means to understand New York City's people and places, and as an excuse to push boundaries and explore society's margins. On view will be forty-five objects, including documentary photographs, drawings, works on paper, and Barnes's stories in newsprint, including eight illustrations she composed to accompany her newspaper columns. Her work suggests a proto-feminist sensibility, emphasizing politics as something experienced on an individual, emotional level.
Gold, Jasper, and Carnelian: Johann Christian Neuber at the Saxon Court - Frick Collection
Johann Christian Neuber was one of Dresden's most famous goldsmiths. Sometime before 1775 he was named court jeweler to Friedrich Augustus III, elector of Saxony, and in 1785 he was appointed Curator of the Grunes Gewolbe (Green Vault), the magnificent royal collection of Augustus the Strong, the founder of the Meissen Porcelain Manufactory. For more than thirty years, Neuber created small gold boxes, chatelaines, and watchcases decorated with local semiprecious stones such as agate, jasper, and carnelian. He fashioned enchanting landscapes, complex floral designs, and geometric patterns with tiny cut stones, often incorporating Meissen porcelain plaques, cameos, and miniatures. These one-of-a-kind objects, which reflect the Saxon court's interest in both luxury items and the natural sciences, remain prized treasures today, but have never before been shown together in a monographic exhibition. The exhibition aims to shed light on the master's transformative contribution to this art form, incorporating the results of newly performed technical research to answer questions about the dating of Antico's works, his technique, and his development as an innovative artist. Jointly organized by the National Gallery of Art and The Frick Collection, the exhibition opened in the fall of 2011 in Washington, D.C., before traveling to New York City the following spring. The exhibition is curated by Eleonora Luciano, Associate Curator of Sculpture at the National Gallery of Art, in collaboration with Denise Allen, Curator at The Frick Collection. The accompanying catalogue is written by an international team of scholars including Eleonora Luciano, Denise Allen, and Claudia Kryza-Gersch, Curator of Italian Sculpture at the Kunsthistorisches Museum, Vienna. It will be the first independent monograph in English to focus on the artist and the first comprehensive presentation of his works in color.
Spies in the House of Art - Photography, Film, and Video - Metropolitan Museum of Art
Artists are the secret constituency of museums, inspired and challenged not only by the objects and collections they display but also by the spaces in which they are shown and the authority they represent. Most artists aspire to see their works in museums, even if they joke among themselves about how museums are mausoleums, places where art goes to die. In telling stories about how and why art gets made, museums provide a ready-made foil for artists to react against and clarify their own positions. This selection of photography, film, and video from the permanent collection surveys the various ways museums inspire the making of works of art. A museum can be the setting for a new work or provide the raw material for creations that build upon a previous aesthetic experience. The camera can highlight the estrangement of objects from their original functions, unlock from a straitlaced decorousness of display the desires -- libidinal or otherwise -- that engendered the objects in the first place, or make visible the imaginative projection that underlies much looking at art. At a time when the automatic reflex of a technologically harried and distracted museum visitor may be to point and shoot, capture and move on, these works suggest the benefit of stepping back, reflecting, and lingering. In an unprecedented commingling of old and new works, Andrea Fraser's video Museum Highlights: A Gallery Talk (1989) will be exhibited alongside paintings by William-Adolphe Bouguereau, Alexandre Cabanel, and Franz Xaver Winterhalter in Gallery 809 within the Galleries of Nineteenth-Century, Modern, and Contemporary Art, around the corner from the main installation. A complementary installation of a dozen photographs from the medium's beginnings to the early 1970s will be on view through May 6 in Gallery 850.
Playing House - Brooklyn Museum
Playing House is the first in a series of installations that aim to engage visitors with the Brooklyn Museum's period rooms. Artists Betty Woodman, Anne Chu, Ann Agee, and Mary Lucier have been invited to place site-specific artwork in eight of the Museum's historic rooms, which have been interpreted by curators over the years to illustrate how Americans of various times, economic levels, and locations lived. The artists were asked to consider these factors when developing their ideas. The project originated with Woodman's observation that although being an artist means confronting the art of the past, no one can enter the past -- except through "make believe," or "playing house," by which the past can be appropriated. Chu created magical birds and flowers out of textiles, feathers, paper, and metal, unexpectedly bringing nature and the outside world into the rooms. Lucier, who is descended from Dutch and Huguenot settlers, created videos that evoke memories of place and where we come from. Agee transformed the strict social order and luxury of the Milligan rooms into an artisan's workshop, and Woodman created table settings and "carpets" incorporating painting and ceramics. Playing House occupies the Cupola House Dining Room, the Russell Parlor, the Cane Acres Plantation Dining Room, the Worsham-Rockefeller Moorish Smoking Room, the Schenck Houses, the Weil-Worgelt Study, and the Milligan Parlor and Library. The installation is organized by Barry R. Harwood, Curator of Decorative Arts, and Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum.
Sanford Biggers and Jennifer Zackin: a small world... - The Jewish Museum
In the collaborative video a small world..., artists Sanford Biggers and Jennifer Zackin juxtapose home movies of their families -- one African American and one Jewish American --- to explore the intersections of middle-class life across racial lines. Originally recorded in silent super-8 film, the video shows the artists as children growing up in New York and Los Angeles in the 1970s. Typical family events and holidays -- birthdays, Hanukkah, Christmas, barbecues, family trips to Disneyland, playtime in the backyard -- are shown simultaneously, drawing attention to similarities of class while recognizing differences of ethnicity.
The Parade: Nathalie Djurberg with Music by Hans Berg - New Museum
"The Parade: Nathalie Djurberg with Music by Hans Berg" is Djurberg's most ambitious multimedia installation to date. Originally organized by the Walker Art Center, Minneapolis, Djurberg will adapt this spectacular installation for the New Museum's 'Studio 231' space. In the hands of Swedish artist Nathalie Djurberg, animation becomes a medium for transgressive and nightmarish allegories of desire and malcontent. Since 2001, she has honed a distinctive style of filmmaking, using the pliability of clay to dramatize our most primal urges -- jealousy, revenge, greed, submission, and gluttony. Set to music and sound effects by her collaborator, Hans Berg, Djurberg's videos plumb the dark recesses of the mind, drawing sometimes disturbing connections between human psychology and animal behavior. Increasingly, the artists' interdisciplinary collaborations have blurred the cinematic, the sculptural, and the performative in immersive environments that pair moving images and musical compositions with related set pieces. For her new work, The Parade (2011), Djurberg has created five captivating animations and an unnerving menagerie of more than eighty freestanding bird sculptures. Drawing on avian physiology, rituals of mating and territorial display, and the social phenomenon of flocking, she has assembled a fantastical procession of species all fashioned from modest materials such as clay, wire, and painted canvas. These hybrid, sometimes monstrous forms speak to the artist's recurring interest in physical and psychological transformation, as well as pageantry, perversion, and abjection. In the accompanying claymation videos, humans and animals alike act out upsetting scenarios of torture, humiliation, and masquerade, further mining the interplay of brutality and guilt at the heart of Djurberg's work. Berg's eerie film scores -- composed of elements both found and invented -- suffuse the entire installation, merging to form a unified soundscape. With these films, both artists have begun to conceive narrative in spatial terms as aspects of character, setting, sound, and action migrate from one story to the next across the exhibition space. Born in Lysekil, Sweden, in 1978, Nathalie Djurberg received her MFA from Malm� Art Academy in 2002, and since that time she has exhibited widely in solo and group exhibitions around the world. Most notably, in 2009 she presented her installation The Experiment in the exhibition "Making Worlds" at the 53rd Venice Biennale, for which she was awarded the prestigious Silver Lion for Promising Young Artist. In 2008, Djurberg participated in the New Museum's "After Nature" exhibition curated by Massimiliano Gioni. She currently lives and works in Berlin with Hans Berg. Hans Berg was born in Rattvik, Sweden, in 1978. He is a Berlin-based electronic music producer and self-taught musician. He began playing the drums in punk and rock bands at the age of fourteen. By fifteen, Berg started creating electronic music -- which he has made ever since -- when he purchased his first synthesizer and sampler. Berg and Djurberg met in Berlin in 2004. Since then, he has composed the music for all of her films and installations. The exhibition is curated by Eric Crosby and Dean Otto for the Walker Art Center and organized at the New Museum by Gary Carrion-Murayari, Curator.
Heinrich Kuehn and His American Circle: Alfred Stieglitz and Edward Steichen - Neue Galerie
The Neue Galerie New York will present "Heinrich Kuehn and His American Circle: Alfred Stieglitz and Edward Steichen," an exhibition focusing on the luminous work of this important Austrian photographer. The organizing curator for the project is Dr. Monika Faber, a distinguished scholar of photography. "Heinrich Kuehn and His American Circle" aims to situate Kuehn with regard to both the Viennese avant-garde and the international development of photography as an art form. It explores the close friendship among Kuehn and major American photographers Alfred Stieglitz and Edward Steichen. The early pictorial work of photographer Heinrich Kuehn (1866-1944) was highly influential in turn-of-the-century circles; his work was exhibited at the Vienna Secession. Gradually, Kuehn incorporated the influence of his peers, and moved in the direction of Modernist photography. He was also among the first important photographers to create color images. Photographic prints and autochromes by Kuehn will be included in the exhibition.
Ecstatic Alphabets/Heaps of Language - Museum of Modern Art (MoMA)
Ecstatic Alphabets/Heaps of Language is a group exhibition that brings together 12 contemporary artists and artists' groups working in all mediums including painting, sculpture, film, video, audio, and design, all of whom concentrate on the material qualities of language -- visual, aural, and beyond. The work that these artists create belongs to a distinguished history of poem/objects, and concrete language experiments that dates to the beginnings of modernism, and includes both the Dada and Futurist moments as well as the recrudescence of Neo-Dada in the late 1950s, and international literary movements like concrete and sound poetry in Europe, Latin America, and the United States. Like visual artists who experimented with abstract forms with the goal of arriving at a non-metaphoric artwork that was itself and nothing else, artists working with words in the late 1950s and 1960s used language as a medium; letters, words, and texts were dissected, displayed as objects, or arranged so that form and content were combined. The works in Ecstatic Alphabets represent a radical updating of the possibilities inherent in the relationship between art and language. In this exhibition, the letter, the word and the phrase are seen and experienced, and not necessarily read. Physicalized, transcribed into sounds, symbols, pictures or patterns, scrambled, or negated, language is freed from the page as well as from its received meanings, received forms, and, in some cases, the duties of communication altogether. Working with language has also created an opportunity for artists to move more freely among disciplines, and this exhibition includes work in a range of mediums by artists who are also poets, writers, performers, and graphic designers. Like earlier experiments in this vein, many of these recent works have an abiding connection to poetry, which runs like a subtheme through the exhibition, adding the ecstatic element to each works' alphabetic plainness. The exhibition is divided into two sections, with the first featuring an abbreviated timeline of language in modern art culled primarily from drawings, sculptures, prints, books, and sound works from MoMA's collection. Artists in this historical section of the exhibition include: Carl Andre, Marcel Broodthaers, Henri Chopin, Marcel Duchamp, Ian Hamilton Finlay, John Giorno, Kitasono Katue, Ferdinand Kriwet, Liliane Lijn, Filippo Tommaso Marinetti, Bruce Nauman, Lawrence Weiner, and others. Artists in the contemporary section of the exhibition include: Ei Arakawa/Nikolas Gambaroff, Tauba Auerbach, Dexter Sinister (David Reinfurt and Stuart Bailey), Trisha Donnelly, Shannon Ebner, Paul Elliman, Experimental Jetset, Sharon Hayes, Karl Holmqvist, Paulina Olowska, Adam Pendleton, and Nora Schultz. The exhibition is accompanied by a publication designed and produced by Dexter Sinister.
Gustav Klimt: 150th Anniversary Celebration - Neue Galerie
Throughout 2012, Austria is celebrating the 150th birthday of Gustav Klimt with exhibitions devoted to his work. Several Viennese museums, including the Albertina, the Belvedere, the Kunsthistorisches, the Leopold, and the Wien Museum, are honoring different aspects of Klimt�s extraordinary legacy. The Neue Galerie is joining in these celebrations with a special summer 2012 installation of his work.
Tibet House US Presents: Mystic Nostalgia - Tibet House US Gallery
Tibet House US will present its next art exhibition entitled Mystic Nostalgia, featuring the gorgeous and imaginative paintings of Brazilian artist Tiffani Gyatso. This incredible body of work will be on display at the Tibet House US Gallery from June 14 – August 29, 2012, beginning with a special opening reception on June 14, 2012, from 6-8pm. Gyatso’s colorful and emotive paintings fuse traditional Tibetan imagery with her own contemporary style inspired by her own spiritual search. Mystic Nostalgia reflects the internal process to understand those things in life that we do not yet have answers for, and sometimes cannot even articulate or name – the mystic unknown. Captivating in its beauty and imagination, the exhibition reflects the spiritual journey and its pilgrimages through the inner places of love, heartbreak, fortitude and trust. “These paintings took birth from an inner process of trying to find answers for those things with no name,” says Gyatso. Though her work is rooted in sacred iconography from Tibet, Gyatso also paints images that are abstract, inspired by inner gods and demons. Gyatso suggests that most of her paintings “come from a broken heart trying to deal with illusions and passions, basing thought on the Buddhist dharma teachings, adopting a vision of spiritual practice through all that happens in the deep turmoil of samsara - the continuous cycle of birth, life, death and rebirth.”
On Paper: Impressionist, Modern, and Post-War Masters - Hammer Galleries
On Paper features an international selection of artists including over forty significant pastels, gouaches, pencil drawings and collages from Impressionist, Modern and Post War Masters. Beginning with drawings from the Impressionist era, the exhibition includes several exceptional works by Honoré Daumier, Pierre-Auguste Renoir from and Mary Cassatt. Continuing into the twentieth century, On Paper showcases important works by Modern Masters such as Alexander Calder, Marc Chagall, Henri Matisse, Joan Miró and Kees van Dongen, as well as Surrealist works by Paul Delvaux and Yves Tanguy. The exhibition also features several works on paper by Pop Art icons Andy Warhol and Tom Wesselmann, as well as three lyrical watercolors by the Abstract Expressionist artist Sam Francis. A selection of seven drawings by Pablo Picasso ranging in date from 1905 to 1972, traces Picasso's career as a master draftsman. Picasso's extraordinary 1932 work on paper titled Le joueur de clarinette is inspired by Picasso's young mistress, Marie-Thérèse Walter and is an exhibition highlight. Picasso's association with Marie-Thérèse began in 1927 when she was still a teenager living with her mother. Many years later she told Life magazine, "I was seventeen years old. I was an innocent young girl. I knew nothing—neither of life or of Picasso. Nothing. I had gone to do some shopping at the Galeries Lafayette, and Picasso saw me leaving the Metro. He simply took me by the arm and said: 'I am Picasso! You and I are going to do great things together." In addition to their On Paper exhibition, Hammer Galleries will have a selection of major oil paintings by Picasso, Chagall, Legér and Miró on display as well as mobiles by Alexander Calder and sculpture by Jean Dubuffet. To celebrate the opening of their latest exhibition titled On Paper, Hammer Galleries has launched an interactive Virtual Tour which highlights the exhibition and their Park Avenue gallery space. Hammer Galleries' Virtual Tour simulates a real time viewing of their On Paper exhibition as it provides viewers with a 360 degree panoramic view of the gallery. With interactive capabilities, the tour gives the option to pan to different sections of the gallery and the ability to click on individual images of artworks. Full-screen shots of artworks with their corresponding details appear once artworks have been selected, allowing for their thorough examination. The Virtual Tour of On Paper is easily accessible on a computer, iPad or iPhone by clicking on the following link: http://vtg.virtualtourgallery.com/vtg-0137/#p=scene_view1
Lobby-for-the-Time-Being - Bronx Museum of The Arts
Expanding on his playful, ongoing exploration of architecture, the Bronx-born conceptual artist Vito Acconci, in collaboration with a team of architects and media artists, has radically transformed the Bronx Museum North Wing Lobby through a series of interventions built with Corian. A smooth, hard material that is not quite translucent and not quite opaque, Corian© is used by the Acconci Studio as if it were a pliable soft fabric: cut open and slit into strips, pulled and stretched, pitted and gouged, rolled and curved, and braided and knotted, making it behave almost as if it were an organism. Through this series of operations, the slick material often associated with kitchen countertops is transformed into a lace-like surface on which images and shadows cast by the audience are projected.
...As Apple Pie - Whitney Museum of American Art
Images, like words, can trigger a cultural or emotional response to a shared national ethos. Artists have employed images-sometimes straightforwardly, often obliquely-in order to comment on a country, its people, its political or social goals, and its self-image. This exhibition explores this phenomenon through a rotating installation, drawn from the Whitney's collection, of works on paper by a diverse group of artists including William N. Copley, Edward Hopper, Jasper Johns, Elizabeth "Grandma" Layton, Willard Midgette, LeRoy Neiman, Joseph Pennell, Charles Ray, Jaune Quickto- See Smith, and Stow Wengenroth.
Action: Sex and the Moving Image - Museum of Sex
We live in a highly visual culture: we are presented with representational impressions and images hundreds, if not thousands, of times each day, often to the point of sensory overload. The impact of these visual images resonates in every facet of our lives, contributing to how we interact with and interpret the world around us; it shapes our opinions, creative output and desires. Images also clearly serve as a driving force behind our decisions about what to buy, what to believe, what to value, where to go and which people and relationships are worth our time and energy. The most widely=used, persuasive images of all are indisputably those pertaining to sex. Sexual and sensual imagery abounds in commercials, music videos, television shows, mainstream film and on the web. Ignoring the intriguing, suggestive and titillating influence of these images is nearly impossible...but, more importantly, why should we? Sex in and on film directly propelled the development of private video technology for the masses, including VCR and DVD players; and, within the past few decades the Internet has made sexual imagery more instantaneously-accessible than ever. No matter how much it is discussed, denounced and demonized, however, images of sex - in films, on television sets, on computer screens and now on mobile devices ? are an increasing everyday facet of modern culture. Sex, nudity, and even innuendo have always been highly contentious topics of public discourse and debate. In fact, throughout the history of the "moving image" legislation has not only dictated what filmmakers could legally create, but also mandated what people were "allowed" to see. Those deeming subject matter as obscene or immoral have edited, censored, banned and even destroyed films with sexual content. Action: Sex and the Moving Image surveys the controversial history of sex and the moving image over more than 150 years, featuring everything from the subtle sexual metaphors in mainstream films like Dracula (1931) to the unsimulated sex scenes in independently-funded films like Sweet Sweetback's Baadasssss Song (1971), from the "sexploitation" films of the 1950s to the "porno chic" era that made Deep Throat (1972) and Debbie Does Dallas (1978) legendary, from the emergence/acceptance of same-sex pornography to contemporary celebrity "home-made" porn such as One Night in Paris (2004). Using multiple screens and light-boxes, this exhibition exposes the most influential and provocative sexual images caught on cinematic camera.
F*ck Art - A Street Art Occupation - Museum of Sex
In response to the growing anti-institution sentiment pervasive in our culture, the Museum of Sex has engaged a group of 20 select street artists to occupy the third floor gallery at the Museum of Sex. Showcasing work that pushes the boundaries of our relationship to sexuality in public space, F*CK ART invites a dialogue around the power of visual provocation in the urban environment. This installation is a combination of existing pieces and site-specific works created for the run of the show.
Activist New York - Museum of the City of New York
Guest curator Steven Jaffe will lead a tour of the inaugural exhibition in the new Puffin Foundation Gallery. From the 17th century diary of John Bowne, which details his fight for religious freedom, to vintage footage of settlement house workers in the 1920s, to movies of residents in the South Bronx fihgting for housing in the 1970s, Dr. Jaffe will trace how citizens organizing to claim their human rights have shaped the destiny of the city.
Weegee: Murder Is My Business - International Center of Photography
For an intense decade between 1935 and 1946, Weegee (1899-1968) was one of the most relentlessly inventive figures in American photography. His graphically dramatic and often lurid photographs of New York crimes and news events set the standard for what has become known as tabloid journalism. Freelancing for a variety of New York newspapers and photo agencies, and later working as a stringer for the short-lived liberal daily PM (1940-48), Weegee established a way of combining photographs and texts that was distinctly different from that promoted by other picture magazines, such as LIFE. Utilizing other distribution venues, Weegee also wrote extensively (including his autobiographical Naked City, published in 1945) and organized his own exhibitions at the Photo League. This exhibition draws upon the extensive Weegee Archive at ICP and includes environmental recreations of Weegee's apartment and exhibitions. The exhibition is organized by ICP Chief Curator Brian Wallis.
BE SURE! BE SAFE! GET VACCINATED! Smallpox, Vaccination and Civil Liberties in New York - New-York Historical Society
The eradication of smallpox, variola major, from the world is one of the great triumphs of modern medicine. For centuries, this highly contagious, disfiguring lethal disease swept through communities, often killing nearly a quarter of its victims and leaving many of the rest blind and deeply scarred. There is still not any known cure for the disease, but the last naturally occurring case of smallpox in the world appeared in 1977. "Get Vaccinated!" -- part of a slogan from an incredibly successful 1947 campaign requesting voluntary vaccination (when five million New Yorkers were vaccinated in two weeks) -- traces the history of smallpox and efforts to manage it in the crowded environs of the nation's largest city. The exhibition begins with the use of inoculation (the introduction of matter from a pustule on the body of smallpox sufferer), in the eighteenth century, and George Washington's dramatic decision to inoculate his troops during the Revolutionary War, amid rumors that the British were intentionally infecting rebel populations. Themes emphasized in Get Vaccinated! include the history of vaccination itself, the painful conflict between the need to manage disease in an urban environment and the rights of individuals to resist government interference in their private lives, the growing effectiveness of public relations campaigns in promoting public health initiatives, bioterrorism and the political and economic impact of all epidemics in the city, including cholera, typhus, yellow fever, and AIDS.
Jubilation/Rumination: Life, Real and Imagined - American Folk Art Museum
Life is not lived in black and white: reality may have the tinge of dreams and dreams an air of reality. This provocative tension exists between the experiential nature of early American folk art and the fantastical imagery it often displays—between what is real and what is imagined. The same is true of the work of contemporary self-taught artists, which may introduce unique—and sometimes puzzling—expressions that illuminate the iconoclastic nature that is the flip side of the collective American psyche. The viewer is placed in the peculiar but exhilarating position of deciding for him- or herself whether the artwork expresses a disjuncture with reality or an uninhibited embracing of interior life. After all, what is more true, the picture that looks real or the picture that feels real; the observer or the observed? These perceptions shift as new scholarship emerges. Often, real-life roots are discovered for even arcane and esoteric imagery that has already influenced our response to an artist and his work: does this disappoint or satisfy the viewer? Diminish or enhance the creativity of the artist? One need only contemplate the culture- and memory-driven gestures of Martín Ramírez, the impressionistic nineteenth-century portraits by Dr. and Mrs. Shute, and minimalist mid-twentieth-century soot drawings by James Castle to render these distinctions immaterial. Instead the viewer is urged to enjoy the permeable fluidity between art and imagination, dream and belief. Stacy C. Hollander Senior Curator
Christer Stromholm: Les Amies de Place Blanche - International Center of Photography
Christer Stromholm (1918-2002) was one of the great photographers of the twentieth century, but he is little known outside of his native Sweden. This exhibition presents his most powerful and acclaimed body of work: Les Amies de la Place Blanche, a documentation of transsexual street hustlers in Paris in the 1960s. Arriving in Paris in the late 1950s, Stromholm settled in Place Blanche in the heart of the city's red-light district. There, he befriended and photographed young transsexuals struggling to live as women and to raise money for sex-change operations. Str?mholm's surprisingly intimate portraits and lush Brassa-like night scenes form a magnificent, dark, and at times quite moving photo album, a vibrant tribute to these girls, the "girlfriends of La Place Blanche." The photographs were first published in Sweden in 1983, and the book quickly sold out, becoming a cult classic; it is being reissued in French and English this year. Stromholm's photo-essay raises profound issues about sexuality and gender; as he wrote in 1983, "It was thenoand still is-about obtaining the freedom to choose one's own life and identity." This exhibition, the first presentation of Stromholm's work in an American museum, is organized by ICP Curatorial Assistant Pauline Vermare.
A Short History of Photography: From the ICP Collection Honoring Willis E. Hartshorn, Ehrenkranz Director - International Center of Photography
In honor of its Ehrenkranz Director Willis Hartshorn, the International Center of Photography presents an engaging survey of its vast and unique collection of photographs. Founded in 1975, as part of the original concept for the Center, the photograph collection at ICP now contains well over 100,000 photographs, ranging from the 1840s to the present. This provocative selection by ICP Chief Curator Brian Wallis is an investigation of the aesthetics and uses of photographic images, and includes well-loved classics as well as little-known works by anonymous photographers. One of the hallmarks of the collection is a focus on alternative histories of photography, including marginalized social practices of photography as well as popular and nonart approaches to the medium. Eugene Atget, W. Eugene Smith, Cindy Sherman, Walker Evans, and Andre Kertesz are among the photographers included in this wide-ranging exhibition.
President in Petticoats! Civil War Propaganda in Photographs - International Center of Photography
As the American Civil War ground to a dispiriting and unheroic end after the surrender of General Robert E. Lee's rebel forces and the shocking assassination of President Abraham Lincoln in mid-April 1865, Jefferson Davis, President of the Confederate States, became a political fugitive. At dawn on May 10, 1865, a contingent of Michigan cavalry captured Davis in a makeshift camp outside Irwinville, Georgia. In his haste to flee, Davis grabbed his wife's overcoat rather than his own. News reports immediately circulated that Davis had been apprehended in women's clothes and that he was attempting to disguise himself as a woman. Northern artists and caricaturists seized upon these rumors of cowardly escape and created wildly inventive images, some using photomontage, to sensationalize the political story. Photographers circulated and even pirated dozens of fanciful photographic cards; many used a photographic portrait of Davis on a hand-drawn body in a woman's dress, hat, and crinoline, but wearing his own boots, the detail that supposedly betrayed him to his captors. The exhibition is organized by Assistant Curator of Collections Erin Barnett.
Beer Here: Brewing New York's History - New-York Historical Society
To consider the fascinating yet largely anonymous legacy of beer brewing in New York City, the New-York Historical Society presents Beer Here: Brewing New York's History. This exhibit surveys the social, economic, political, and technological history of the production and consumption of beer, ale, and porter in the city from the seventeenth century to the present. In the past three decades, New York City has become an important center of craft and home beer brewing. While this phenomenon began only after President Jimmy Carter signed into law an act that legalized home-brewing, the growth of New York's present beer industry also marks the resurgence of a long-standing tradition known to few outside the world of beer aficionados. Beer has been brewed in New York City and State since the days of its earliest European settlement, when it was a vital source of nourishment and tax revenues. Brewing continued locally and statewide throughout the eighteenth and early nineteenth centuries, and for much of the nineteenth century New York State was home to one of the country's largest brewing industries. Early nineteenth-century development of New York State's hop farming industry was vital to this growth, and from the 1840s through the 1880s the state was the largest producer of hops in the United States. Exhibit sections explore such topics as: the nutritional properties of colonial beer and early New York brewers in the age of revolution; infrastructure innovations and the importance of access to clean water; large-scale brewing in nineteenth-century New York and the influence of immigration; the influence of temperance and impact of prohibition; bottling, canning, refrigeration and other technological advances; and the state of the city's breweries in the age of mass production. Featured artifacts and documents include: a 1779 account book from a New York City brewer who sold beer and ale to both the British and patriot sides; sections of early nineteenth-century wooden pipes from one of the city's first water systems; a bronze medal that commemorates an 1855 New York State temperance law; beer trays from a variety of late nineteenth-century brewers; sign from the campaign to repeal prohibition; and a selection of advertisements from Piels, Rheingold and Schaefer, beloved hometown brewers. The exhibit concludes with a beer hall that features a selection of favorite New York City and State artisanal beers. The beer hall hours are: Tuesday-Thursday and Saturdays: 2pm-6pm Fridays: 2pm-8pm Sundays: 2pm-5pm
Taryn Simon: A Living Man Declared Dead and Other Chapters I-XVIII - Museum of Modern Art (MoMA)
This exhibition is the U.S. premiere of Taryn Simon's (b. 1975, New York) photographic project A Living Man Declared Dead and Other Chapters I-XVIII. The work was produced over a four-year period (2008-11), during which the artist travelled around the world researching and documenting bloodlines and their related stories. In each of the 18 "chapters" that make up the work, external forces of territory, power, circumstance, or religion collide with the internal forces of psychological and physical inheritance. The subjects Simon documents include victims of genocide in Bosnia, test rabbits infected with a lethal disease in Australia, the first woman to hijack an aircraft, and the living dead in India. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate. Simon's project is divided into 18 chapters, nine of which will be presented at MoMA. Each chapter is comprised of three segments: one of a large portrait series depicting bloodline members (portrait panel); a second featuring text (annotation panel); and a third containing photographic evidence (footnote panel). A Living Man Declared Dead and Other Chapters I-XVIII exploits photography's capacity to at once probe complex narratives in contemporary politics and organize this material according to classification processes characteristic of the archive, a system that connects identity, lineage, history, and memory.
Bellini, Titian, and Lotto North Italian Paintings from the Accademia Carrara, Bergamo - Metropolitan Museum of Art
The Accademia Carrara, Bergamo, is a jewel among Italian museums and a haven for art lovers. Founded at the end of the eighteenth century by Count Giacomo Carrara and housed in a beautiful Neoclassical building, it contains a range of masterpieces dating from the fourteenth to the nineteenth century. At its core is a group of outstanding pictures from the Renaissance. Because of closure for restoration, it has been possible for the museum to lend to The Metropolitan Museum of Art fifteen masterpieces by Venetian and north Italian painters of the fifteenth and sixteenth centuries, including works by Bellini, Titian, and Lorenzo Lotto.
Ellsworth Kelly Plant Drawings - Metropolitan Museum of Art
One of the foremost artists of our day, Ellsworth Kelly (American, b. 1923) may be best known for his rigorous abstract painting, but he has made figurative drawings throughout his career, creating an extraordinary body of work that now spans six decades. There has never been a major museum exhibition dedicated exclusively to the plant drawings. The selection of approximately eighty drawings begins in 1948 during Kelly's early sojourn in Paris and continues throughout his travels to his most recent work made in upstate New York.
Dürer and Beyond: Central European Drawings in The Metropolitan Museum of Art, 1400-1700 presents a selection of 100 works from the Museum's outstanding holdings of German, Swiss, Austrian, and early Bohemian drawings. Works by later 16th– and 17th–century artists are balanced by a group of drawings from the early 16th century, including an exceptional double-sided self-portrait by Albrecht Dürer. In addition to drawings by other major artists such as Martin Schongauer, Albrecht Altdorfer, Urs Graf, Hans Holbein the Elder, Joseph Heintz the Elder, Wenzel Hollar, and Joachim von Sandrart the Elder, the exhibition highlights works by lesser-known, but equally fascinating, draftsmen of the 15th to 17th century. The selection of drawings in the exhibition is enhanced by comparative material, including prints, illustrated books, paintings, glass roundels, and decorative objects also from the Museum's collection, as well as by loans from the Pierpont Morgan Library and private collections. The exhibition will be featured on the Museum's website at www.metmuseum.org.
Illuminated - The Rubin Museum
Gold, silver, and other precious materials were often used to adorn objects of religious devotion, especially the sacred books of the living traditions of Buddhism, Hinduism, Jainism, Christianity, and Islam. Materials used to produce them have always been of the best quality worthy of sacred texts, and their effectiveness often rested on the measure of their lavish production. Specifically, the exhibition Illuminated: The Art of Sacred Books explores the aesthetic and technological approaches used in creating and adorning sacred books from a variety of cultures and presents Tibetan sacred books in a broad cross-cultural context. Among featured objects are several never before displayed illuminated Tibetan manuscript pages and complete books dating as early as the 13th century written in gold and silver on dark blue and black paper of various sizes in the traditional Tibetan book format. Through an in-depth examination of the comparable attitudes found in the presented objects, the exhibition provides new insights into what is known as the culture of the book. Other highlights from the exhibition include a bifolio of the famous "Blue Qur'an," written in gold on indigo colored velum in Tunisia between the 9th and 10th centuries; a Japanese Buddhist Sutra scroll written in gold on indigo paper in 1720; medieval Gospels written in gold letters on blue and purple parchment; illuminated pages of Jain Sutras; and illustrated Indian Hindu classics. In addition to these various lavishly decorated books of different faiths, created in diverse formats and materials, the exhibition also includes adorned book covers that are painted, carved from wood, and made of leather or silver repouss� as well as other objects, designated as sacred and recognized for their value as both art and devotional objects.
New Practices New York 2012 - Center for Architecture
New Practices New York, a biennial competition since 2006, serves as the preeminent platform in New York City to recognize and promote new and innovative architecture and design firms. The juried portfolio competition is sponsored by the New Practices Committee of the AIA New York Chapter and honors firms that have utilized unique and innovative strategies, both for the projects they undertake and for the practices they have established. Seven promising and pioneering new architecture and design firms working in New York were chosen as the New Practices New York 2012 competition winners. To qualify for the competition, practices had to be founded since 2006 and be located within the five boroughs of New York City. This is the second year that the New Practices New York competition has been open to multidisciplinary firms, widening the field of entrants to designers and young professionals in the process of becoming licensed architects. The distinguished panel of jurors selected the competition's winners from fifty-one entries. The New Practices New York 2012 competition winners are: ABRUZZO BODZIAK ARCHITECTS; Christian Wassmann; formlessfinder; HOLLER architecture; The Living; MARC FORNES & THEVERYMANY; and SLO Architecture.
Naked before the Camera - Metropolitan Museum of Art
Since the beginning of art and in every medium, depicting the human body has been among the artist's greatest challenges and supreme achievements, as can so easily be seen by Museum visitors walking through the galleries of Greek and Roman statuary, African and Oceanic art, Old Master paintings, or Indian sculpture. Tapping veins of mythology, carnal desire, hero worship, and aesthetic pleasure, depictions of the nude have also triggered impassioned discussions of sin and sexuality, cultural identity, and canons of beauty. Controversies are often aroused even more intensely when the artist's chosen medium is photography, with its accuracy and specificity -- when a real person stood naked before the camera -- rather than traditional media where more generalized and idealized forms prevail. In the medium's early days -- particularly in France, where Victorian notions of propriety held less sway than in England and America, and where life drawing was a central part of artistic training -- photographs proved to be a cheap and easy substitute for the live model. While serving painters and sculptors, many nineteenth-century photographic nudes were also intended as works of art in their own right. Still others bore the title "artist's study" merely to evade government censors and legitimize images that were, in fact, more likely intended to stir a gentleman's loins than to enhance his aesthetic endeavors. Outside the realms of art and erotica, photographic nudes were made to aid the study of anatomy, movement, forensics, and ethnography. In twentieth-century art, the body became a vehicle for surreal and modernist manipulation and for intimate odes to beauty or poems to a muse. Beginning with the sexual revolution of the 1960s, nudity and its representation took on new meanings -- as declarations of freedom from societal strictures, as assertions of individual identity, as explorations of sexuality and gender roles, and as responses to AIDS. Naked before the Camera surveys the history of this subject and examines some of the motivations and meanings that underlie its expression.
Museum as Hub: Carlos Motta: We Who Feel Differently - New Museum
"Museum as Hub: Carlos Motta: We Who Feel Differently" is a multipart project that explores the idea of sexual and gender "difference" after four decades of Lesbian, Gay, Bisexual, Trans, Intersex, Queer, and Questioning politics. Through an exhibition, series of events, and an opening symposium, the project seeks to invigorate discussion around a queer "We" that looks beyond tolerance or assimilation toward a concept of equality that provides for greater personal freedom. The project draws from Motta's evolving database documentary wewhofeeldifferently.info, which proposes "difference" as a profound mode of possibility for both solidarity and self-determination.
Sharon Hayes: There's So Much I Want to Say to You - Whitney Museum of American Art
Sharon Hayes (b. 1970) is a New York–based artist whose work in photography, film, video, sound, and performance examines the nexus between politics, history, speech, and desire. This exhibition, conceived by Hayes for the Whitney's third floor galleries, brings together existing pieces and newly commissioned works, all of which articulate forms of what Hayes calls "speech acts." The works are presented within an environment designed by Hayes in collaboration with artist Andrea Geyer.
Ellsworth Kelly: Sculpture - Morgan Library & Museum
As part of its summer program of sculpture exhibitions in the Gilbert Court, the Morgan will present three major sculptures by renowned abstract artist Ellsworth Kelly. Spare and elegant, Kelly's free-standing totemic forms -- one in bronze, the other two in mahogany and redwood -- exude the same quiet and spectacular beauty as his better-known, brightly colored paintings. The exhibition will also include a group of models and drawings that reveal the artist's process.
Raw Cooked: Ulrike Muller - Brooklyn Museum
The fifth exhibition in the Raw/Cooked series presents the work of Sunset Park-based artist Ulrike Muller. With the goal of starting a conversation on the lesbian feminist movement and examining the visibility of queer bodies within mainstream culture and the Museum, Muller orchestrated a collaborative drawing project based on the inventory list of the feminist T-shirt collection at the Lesbian Herstory Archives in Park Slope, Brooklyn. She distributed textual T-shirt descriptions to feminists, queer artists, and other interested New Yorkers, and asked that they translate these texts into new images. Her exhibition includes one hundred drawings from this project. Additionally, she used symbolic lesbian, feminist, and queer terms from the inventory as search criteria to mine the Museum's online collection. Through the display of approximately one hundred of the collaborative drawings and nearly twenty-five Museum collection objects in the Luce Center for American Art's Elevator Lobby and elsewhere in the Museum, Muller creates a visual dialogue among contemporary queer culture, the Museum, and the history of feminist activism. Muller graduated from the Academy of Fine Arts, Vienna. She was recommended for Raw/Cooked by advisory board member Amy Sillman. Raw/Cooked is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum.
Highlights from the Collection - Noguchi Museum
Complimenting the Noguchi Museum's permanently installed lower levels, selections from the Museum's Collections, including examples of Noguchi's steel sculptures and a number of collaborative stage sets, are now on view in the upstairs galleries.
Printers, Monks, & Craftsmen - Bookmaking in the Age of Gutenberg - Museum of Biblical Art
This exhibition looks at the transitional period in hand press bookmaking through 14 Bibles printed between 1455 and 1525. Early printed books initially looked to manuscripts to inform page design, typeface, binding, and decorative embellishment. As the era progressed, printers and other craftsmen involved in the production of a printed volume began to experiment with the possibilities handpress production afforded to create innovative, elegant books. Focusing on Gothic bindings and the structure of a selection of books drawn from the Rare Bible Collection @ MOBIA, conservator Clare Manias explores regional differences in the volumes' styles, production, and form illustrating that printed books have stories to tell and are much more than what's between the covers.
The Adoration of the Magi by Bartolo di Fredi - A Masterpiece Reconstructed - Museum of Biblical Art
Illustrating one of the most celebrated Renaissance themes, Bartolo di Fredi's (c. 1330-1410) Adoration of the Magi will be reunited in this groundbreaking exhibition. The three known surviving panels of this Siense master's unrivaled altarpiece are considered by many to be among Bartolo's finest works. Composed of a monumental central panel depicting a tender visit of the Magi to the Christ Child, his Crucifixion and the mourning it brings, "Adoration of the Magi" by Bartolo di Fredi: A Masterpiece Reconstructed permits an in-depth study of this oft-depicted Christian narrative. The three altarpiece panels will be on loan from the Pinacoteca of Siena, the Lindenau-Museum in Altenburg Germany, and the University of Virginia Art Museum, the first venue for the exhibition. At the Museum of Biblical Art, Bartolo's altarpiece will be displayed alongside a magnificent version of the Adoration of the Magi which he completed as a standalone work in c. 1390, on loan from The Robert Lehman Collection at the Metropolitan Museum of Art, as well as Bartolo's depiction of the Adoration of the Shepherds dating to c. 1374, on loan from The Cloisters. Both paintings will enhance the detailed examination of this master's grand altarpiece.
Making American Taste: Narrative Art for a New Democracy - New-York Historical Society
Making American Taste features fifty-five works from the New-York Historical Society's collection that cast new light on both the history of American art and the formation of American cultural ideals during a crucial period from the 1830s to the late 1860s. By integrating history, literary and religious subjects with now better-known examples of rural and domestic genre, the exhibition explores the broad range of styles and narrative themes that appealed to nineteenth-century Americans seeking cultural refinement.
Art of Another Kind: International Abstraction and the Guggenheim, 1949-1960 - Solomon R. Guggenheim Museum
Pioneering artists in the post-World War II era alternatively embraced artistic freedom and gesture-based styles, nontraditional materials and counter-cultural references. Featuring nearly 100 works by Louise Bourgeois, Alberto Burri, Asger Jorn, Willem de Kooning, Jackson Pollock, Pierre Soulages, Antoni Tàpies, and Zao Wou-Ki, among others, this collection-based exhibition explores the affinities and differences between artists working continents apart in a period of great transition and rapid creative development.
ReDraw - The Capital Plan for 35 Wooster St - The Drawing Center
In December 2010, The Drawing Center launched ReDraw: The Capital Plan for 35 Wooster Street with the purchase of a 2,000-square-foot unit on the second floor of 35 Wooster Street, which will replace its leased space at 40 Wooster Street. Plans for the new space have been designed by Claire Weisz and WXY Architecture + Urban Design, an internationally-recognized New York–based firm. ReDraw's architectural program addresses specific exhibition, educational, and operational requirements, reinforcing The Drawing Center's mission to present the highest-quality cultural programming in galleries proportioned to facilitate a meaningful viewer experience—attributes that have made the institution one of the most respected, beloved, and distinctive non-profits in New York City. The building project will connect the existing ground floor space to the newly-acquired second floor space and the lower level of the building. A new bookstore and a sky-lit Drawing Room gallery will join the existing visitor services desk and Main Gallery on the ground floor level. Offices and administrative spaces will move to the second floor, and the renovated lower level will accommodate a new education room, a Viewing Program meeting room, and the experimental Lab gallery, which will feature an audio and video media system for exhibitions and public programs. Integrating these spaces into one building will provide The Drawing Center with 50% more contiguous programmatic space. The Drawing Center has suspended on-site programming as construction takes place.
Edouard Vuillard: A Painter and His Muses, 1890-1940 - The Jewish Museum
This exhibition features key works in various media by Edouard Vuillard, the twentieth-century master whose unique blend of tradition and modernity evokes the refined and sophisticated society of his patrons, many of whom were Jewish.
Stories in Sterling: Four Centuries of Silver in New York - New-York Historical Society
The New-York Historical Society will present Stories in Sterling: Four Centuries of Silver in New York, an exhibition highlighting the histories of 150 notable examples of silver from its collection. Made across the span of four centuries, the objects in the exhibition tell a diversity of stories: many speak to individual accomplishment and family pride, while a few have unsettling ties or backgrounds. The silver, ranging from simple spoons to extravagant trophies, culled from a trove of over 3,000 objects, includes powerful eyewitness artifacts linked to significant moments in the history of New York and the United States.
Churchill: The Power of Words - Morgan Library & Museum
Sir Winston Churchill's impact upon the twentieth century is difficult to overestimate. A master orator and writer, Churchill's use of spoken and written words will be explored in this exhibition that covers more than a half century of his life?from Victorian childhood letters to his parents, to Cold War correspondence with President Eisenhower, and featuring some of his most famous wartime oratory. Drawn from the Churchill Archives Centre, Cambridge, the presentation uses drafts, speaking notes, personal and official correspondence, public statements, and recordings from some of his most compelling speeches and broadcasts as lenses to examine the main events in Churchill's life. Of particular focus will be Churchill's lifelong relationship with the United States, homeland of his Brooklyn-born mother, from first visit in 1895 to award of Honorary Citizenship in 1963; and the ways in which he used the written and spoken word to develop, complement and advance his political career.
Renaissance Venice: Drawings from the Morgan - Morgan Library and Museum
Featuring some seventy masterpieces of drawings, books, maps, and letters from the Morgan's rich holdings, the exhibition Renaissance Venice: Drawings from the Morgan chronicles the artistic production of the city of Venice and its territories during the republic's Golden Age, the sixteenth century. The exhibition features striking examples by great masters of the period, including Paris Bordone, Vittore Carpaccio, Lorenzo Lotto, Jacopo Tintoretto, Titian, and Paolo Veronese. Offering compelling insights into contemporary art, religion, and culture, Renaissance Venice addresses topics such as the portrait in Venetian art, Venice and the landscape tradition, religious and civic life, artistic innovations in printmaking and drawing, book publishing and cartography, and the role of foreign artists in the city. This is the first presentation and study of these drawings as a group and the first show in the United States on this theme.
Space, Light, Structure - The Jewelry of Margaret de Patta - Museum of Arts & Design
SPACE-LIGHT-STRUCTURE: THE JEWELRY OF MARGARET DE PATTA is the first comprehensive retrospective of the life and work of Margaret De Patta (1903-1964), a pioneer in American studio jewelry whose modernist creations remain as fresh and vital today as when they were initially conceived in the mid-twentieth century. Featuring De Patta's most spectacular brooches, pendants, and rings, Space, Light, Structure explores the major contributions of this groundbreaking San Francisco artist and sheds new light on her radical design philosophy. In 1939, De Patta began her search for new techniques that would allow her to take advantage of the inherent refractory properties of transparent and semi-transparent crystals. Her innovative "opticuts" revolutionized contemporary jewelry by transforming stones into brilliant, transparent spatial objects that, to this day, remain unsurpassed in concept, form, and execution. Growing out of her passion for modern architecture-and signaling a radical departure from the conventional perception of jewelry as mere body ornament- the compositions of her "wearable miniature sculptures" exhibit a dynamic equilibrium in which cantilevered, linear elements are counter-balanced against more compact, denser forms. The exhibition also illuminates the critical influence of De Patta's mentor, L�szl� Moholy-Nagy, the renowned artist with whom she studied in 1941-42. The Constructivist concepts championed by this former Bauhaus master and co-founder of the Chicago Bauhaus are manifest in De Patta's manipulation of space and light as well as through her incorporation of kinetic elements, space-defining steel screens, "opticut" rutilated crystals, and "floating" tension-mounted stones. Several equilibrium studies and photograms by Moholy-Nagy will underscore the enduring formal strength and visual excitement of the jewelry De Patta produced following the tenets she absorbed from him. Important works by other leading international protagonists of Constructivism, including El Lissitzky Alexander Archipenko, and Gy�rgy Kepes, will also be included in order to contextualize De Patta and her work. Drawn from important museum, gallery, and private collections in the United States and Canada, as well as from the De Patta Archives in California, the exhibition also presents never-before-shown examples of the artist's flatware, ceramics, and designs for interior spaces, in addition to travel diaries of her trips to Mexico, Japan, and the 1939 New York World's Fair.
Stories in Sterling: Four Centuries of Silver in New York - New-York Historical Society
Stories in Sterling: Four Centuries of Silver in New York, highlights the histories of 150 notable examples of silver from the New-York Historical Society's collection. Made across the span of four centuries, the objects in the exhibition tell a diversity of stories: many speak to individual accomplishment and family pride, while a few have unsettling ties or backgrounds. The silver, ranging from simple spoons to extravagant trophies, culled from a trove of over 3,000 objects, includes powerful eyewitness artifacts linked to significant moments in the history of New York and the United States.
Electric Currents, 1900-1940 - Museum of Modern Art (MoMA)
Electricity -- a source of clean, efficient power and brilliant, reliable light -- epitomized the very spirit of modernism in the early 20th century. After decades of research and competitive experimentation following the development of the first arc lamps and incandescent filament bulbs in the mid-19th century, electricity began to transform every aspect of modern life. Electric light -- first in city streets and then in homes -- brought a revolutionary innovation to daily existence, literally redefining day and night. This installation features a dozen posters from MoMA's collection used in this period to promote electricity, which offered staggering possibilities for progress but was not universally welcomed. In creating graphics for industry leaders like AEG and Bosch, modern designers were inspired by the beauty of the bulb itself and the splendor of electric light, which are both rendered with exquisite power in Jacques Nathan-Garamond's poster of c. 1938, which pulsates in 2-D. The installation highlights a selection of Lester Beall's equally vibrant posters for the Rural Electrification Administration, which used bold, patriotic graphics to foster public awareness of the benefits of electricity in America's homes and farms during the Great Depression.
The Rylands Haggadah Medieval Jewish Art in Context - Metropolitan Museum of Art
From the calling of Moses to the crossing of the Red Sea, the drama of the ancient Israelites' exodus from Egypt is presented in The Rylands Haggadah. This is the third in a series of installations focusing on one masterwork of Hebrew manuscript illumination from a national or international collection. This spring, the featured work comes from the John Rylands University Library in Manchester, England. Each month, the Haggadah will be open to a different page, affording visitors the exceptional opportunity to follow the artist's telling of the Exodus story. Works of art from the Museum's own collection, made for Christian use but depicting the saga of the Hebrew people, will suggest the larger, medieval context of biblical storytelling in which the Haggadah was created. The previous installations featured the Washington Haggadah (on view April 5-July 4, 2011) and Lisbon's Hebrew Bible (on view November 22, 2011-January 16, 2012).
This installation of Italian illuminations from the Robert Lehman Collection, featuring examples by leading masters from the early fourteenth to the early sixteenth century, highlights the achievements of this art form and its close ties to painting during the Italian Renaissance. The majority of the parchment leaves and cuttings, decorated in jewel-toned palettes and gold, are initials that have been excised from choir books. Approaching the scale of small panel paintings, the Florentine and Sienese initials reflect the colossal size of these books, which enabled a large group of clergy to read the text and music at a distance. Two Northern Italian leaves, not created as part of manuscripts but as independent paintings on parchment, also blur the boundaries between the two art forms. In fact, nearly all of the illuminators represented worked in both media; paintings by three of them (Lorenzo Monaco, Sano di Pietro, and the Osservanza Master) are displayed nearby in the Lehman galleries, highlighting Robert Lehman's view of his miniatures as an extension of his paintings collection.
Pictures from the Moon: Artists' Holograms 1969-2008 - New Museum
In conjunction with the Museum-wide summer exhibition "Ghosts in the Machine," the New Museum will present "Pictures from the Moon" in the Lobby Gallery, which will feature a focused selection of holograms from the 1960s to the present by several leading, contemporary artists. The 1960s ushered in new technologies and new frontiers for image production. The development of laser technology in 1962 enabled the creation of holograms that displayed three-dimensional images on a two-dimensional surface. Artists were drawn to holography, hailed as a medium of the future that turned space inside out, for its spatial, volumetric, and sequential qualities, and to the creative possibilities it offered in contrast to photography, film, and early video. "Pictures from the Moon"-its title inspired by photographs of earth taken by astronauts on the first mission to the moon that also expanded our way of seeing-celebrates an alternative history of virtually unknown images by artists experimenting on the edge of visual technology. One of the earliest pioneers in the holographic medium is Bruce Nauman, whose holograms from the late 1960s furthered the physical manipulations and explorations of the body as a medium that he was conducting at the time. Nauman produced two sets of holograms between 1968 and 1969. The second set displays his body compressed, coerced, and contorted into the picture plane. "Pictures from the Moon" will include Nauman�s Hologram H from the "Second Hologram Series: Full Figure Poses (A-J)" (1969), marking one of the first times this work has been shown in New York. A surprising number of established artists soon followed with experimentations in holography that have continued over the last four decades. Artists as diverse as Louise Bourgeois, Eric Orr, Ed Ruscha, and James Turrell have all made holographic works that draw on the medium�s ability to replicate three-dimensionality and deep space to expand upon themes they so successfully mined in other formats. The haunting, domestic objects and sinister interiors that define Bourgeois's work appear wholly present in her untitled holograms from 1998. In Ed Ruscha's series of holograms produced the same year, the phrase "The End" floats at various depths in the picture plane, set against animated lines scratched into a celluloid surface, and offering a new twist on the interplay between text, landscape, and spatial representation for which Ruscha is known. Eric Orr and James Turrell, in whose works light and space function as artistic mediums, both created holograms that synthesize color, shape, illumination, and form. Turrell, who has made an extensive body of holographic work and who continues to work in the medium pushing it forward into challenging new realms, produced the largest and most recent hologram in the exhibition. In this current age of techno-dependency, "Pictures from the Moon" offers a view of the persistent attempts by artists to wrest something more from technology than that for which it was invented. As advancements in 3-D technologies are demonstrated in new formats of television and film production, the enduring hologram continues to mesmerize by expanding the artistic and visual fields that lay before our eyes.
Yayoi Kusama - Whitney Museum of American Art
Well known for her use of dense patterns of polka dots and nets, as well as her intense, large-scale environments, Yayoi Kusama works in a variety of media, including painting, drawing, sculpture, film, performance, and immersive installation. Born in Japan in 1929, Kusama came to the United States in 1957 and quickly found herself at the epicenter of the New York avant-garde. After achieving fame through groundbreaking exhibitions and art "happenings," she returned to her native country in 1973 and is now one of Japan's most prominent contemporary artists. This retrospective features works spanning Kusama's career.
Alighiero Boetti: Game Plan - Museum of Modern Art (MoMA)
This retrospective, organized in collaboration with the Museo Reina Sofia in Madrid and the Tate Modern in London, will be the largest presentation outside of Italy of works by Italian artist Alighiero Boetti (1940-1994) to date. Working in his hometown of Turin in the early 1960s amidst a close community of artists that included Luciano Fabro, Mario Merz, Giulio Paolini, and Michelangelo Pistoletto, among others, Boetti established himself as one of the leading artists of the Arte Povera movement. Organized chronologically, the exhibition will span Boetti's entire career beginning with his sculptural works, or objects as he preferred to call them, comprised of everyday materials including wood, cardboard, and aluminum. Brought together (many for the first time since Boetti's seminal exhibition at Galleria Christian Stein in Turin in 1967) and installed in a dense configuration inspired by the original clustered presentation, these early works convey the material experiments of the period as well as notions of measurement and chance that Boetti would play with and revise throughout his career. While Boetti is often chiefly affiliated with the Arte Povera moment, Alighiero Boetti: Game Plan will consider Boetti beyond these brief years. In 1969 Boetti began exploring notions of duality and multiplicity, order and disorder, travel and geography, and he initiated postal and map works imagining distant places. For the work Viaggi Postali, begun the summer of 1969, Boetti sent envelopes to friends, family, and fellow artists but used imaginary addresses, forwarding each returned envelope to yet another non-existent place. Boetti thus created imaginary journeys for the people he admired. In other conceptual, mail art-related works made throughout the 1970s, Boetti would use different stamps and arrange them in permutations on the envelopes to compose his art, and send postcards picturing a monument in his hometown from places around the world. The exhibition brings together these and other works related to travel, geography, and mapping, many of which relate to his extensive travels to Afghanistan, where he operated the One Hotel (archival material from which will be on view) from 1971 until the Soviet invasion in 1979. During this period, Boetti began working with local artisans to produce embroideries such as the Mappas (maps), Arazzi (word squares), and Tuttos (literally, "Everything"), important examples of which will be included in the galleries and the Marron Atrium. An important aspect of Boetti's oeuvre is drawing, which runs as a constant throughout his work. A monumental Biro (ball point pen) drawing from 1973, spelling out the title "Mettere a mondo il mondo (Bringing the world into the world)" points to some of Boetti's ideas about art making that were fundamental to his practice: that the artist, rather than inventing, simply brings what already exists in the world into the work; and that everything in the world is potentially useful for the artist. This exhibition will celebrate the material diversity, conceptual complexity, and visual beauty of Boetti's work, bringing together his ideas about order and disorder, non-invention, and the way in which the work addresses the whole world, travel, and time, proving him to be one of the most important and influential international artists of his generation.
Rineke Dijkstra - A Retrospective - Solomon R. Guggenheim Museum
This comprehensive mid-career survey features over 70 color photographs and five video installations by the Dutch artist Rineke Dijkstra. Rineke Dijkstra is organized by the Solomon R. Guggenheim Museum and the San Francisco Museum of Modern Art.
Hollywood directors John Ford, George Stevens, and Samuel Fuller entertained audiences with American cinema classics like The Grapes of Wrath, Shane, and The Big Red One. But their most important contribution to history was their work in the U.S. Armed Forces and Secret Services, filming the realities of war and the liberation of Nazi concentration camps. Their documentation provides an essential visual record of WWII. Filming the Camps presents rare footage of the liberation of Dachau with detailed directors' notes, narratives describing burials at Falkenau, and the documentary produced as evidence at the Nuremberg trials, among other historic material. Now, for the first time in the U.S., this material is being made available to a general audience.
Modernist Art from India - Approaching Abstraction - The Rubin Museum
Approaching Abstraction is the second exhibition of a three-part series, titled Modernist Art from India, that examines art from post-independence and post-Partition India. Building on the explorations between abstraction and figuration begun in The Body Unbound, the exhibition distinguishes abstraction in modernist Indian art from abstraction in Euro-American modernism and shows the independent trajectory of abstraction in post-Independence India.
Changing Hands: Art Without Reservation 3 - Museum of Arts & Design
Changing Hands: Art Without Reservation 3/Contemporary Native North American Art from the Northeast and Southeast concludes a cycle of exhibitions organized over the past decade by the Museum of Arts and Design. Curated by Ellen Taubman and David McFadden, these exhibitions have presented a diverse panoply of new work by Native American, First Nations, Métís and Inuit artists from the continental United States, the Pacific rim, and Canada. Representing both established and emerging artists, the series has laid bare the new vitality and spirit of experimentation that has come to the forefront among the art practices of Native artists working today. All three Changing Hands exhibitions have focused on art that points toward the future, presenting works by contemporary artists who embrace and take inspiration from cultural traditions while also expressing contemporary creativity and innovation. They have sought to transcend ethnographic and anthropological interpretations, challenge preconceived notions and stereotypes of Indigenous art and artists, and ultimately to effect a reevaluation of present-day Native art in an international arena.
Capital of Capital - Museum of the City of New York
Capital of Capital: New York's Banks and the Creation of a Global Economy explores how the economic dynamo that is New York was made possible in great measure by its innovative and controversial banking sector. Tracing the trajectory of the city's banks from the founding of the Bank of New York by Alexander Hamilton in 1784 to their primacy in today's nation and world, the exhibition utilizes rare historical objects and images, including banking instruments, architectural renderings, and advertisements, to tell a fascinating saga of growth, innovation, and, at times, unintended consequences. In so doing, it also reveals how New York City's particular circumstances-geography, human capital, and political alignments-helped make finance a major component not only of Gotham's economy but also of its identity
Signs & Symbols - Whitney Museum of American Art
Drawn from the Museum's deep holdings of paintings, sculpture, drawings, prints, and photographs, Signs & Symbols sheds new light on the development of American abstraction during the critical postwar period of the mid-1940s to the end of the 1950s. Many artists active in this period who are often overlooked -- Will Barnet, Forrest Bess, Charles Seliger, and Mark Tobey, among others -- developed abstract work that remains distinct from many of the concerns associated with the canonized Abstract Expressionists, including large-scale canvases and gestural brushwork. Instead, the exhibition presents a more nuanced narrative, focused on the figurative and calligraphic "signs and symbols" present in much of the highly controlled work from this period and included in this show. In many cases, this work drew inspiration from specifically American sources and sought to foster a national aesthetic distinct from European Surrealism and Cubism. These investigations formed an important foundation for a future generation of artists--including Jasper Johns and Roy Lichtenstein--who later incorporated highly individualized systems of signs into their own work while embracing distinctly American subject matter.
Oskar Fischinger: Space Light Art - A Film Environment - Whitney Museum of American Art
This exhibition presents one of the first multimedia projections ever made: Oskar Fischinger's Raumlichtkunst (Space Light Art), a re-creation of his multiple-screen film events, first shown in Germany in 1926, and recently restored by the Center for Visual Music in Los Angeles. Radical in format, its display of abstract shapes and colors produces, according to Fischinger, "an intoxication by light from a thousand sources."
The Harlem Edge Cultivating Connections - Center for Architecture
The Emerging New York Architects (ENYA) Committee of the AIA NY Chapter is proud to announce the winners of its fifth biennial design ideas competition, The Harlem Edge | Cultivating Connections. One hundred seventy-eight (178) teams and individuals registered for the competition and more than ninety-eight (98) entries from sixteen (16) countries were submitted for judging. The winning entries will be exhibited at the Center for Architecture, 536 LaGuardia Place, New York, NY, this July and be published in a competition catalog. In coordination with the exhibition, ENYA will be hosting a symposium to discuss design issues related to the winning entries and possibilities for the future development of the site and its neighboring community. Congratulations to the winners: ENYA Prize, $5000: Sym'bio'pia Ting Chin and Yan Wang, Linearscape Architecture, New York, NY, USA 2nd Prize, $2500: The Hudson Exchange Eliza Higgins, Cyrus Patell, Chris Starkey, and Andrea Vittadini, Brooklyn, NY, USA 3rd Prize, $1000: Harlem Harvest Ryan Doyle, Guido Elgueta, and Tyler Caine, Brooklyn, NY, USA Student Prize, $1000: Stairway to Harlem Daniel Mowery, Student of Architecture, University of Virginia, USA Honorable Mentions: Continuum, by Nasiq Khan, and Scott Brandi, Bayside, NY, USA Subaqueous Promenade, by Doyoung Oh, and Jaemin Ha, London, United Kingdom/Boston, MA, USA New Marine Transfer Station, by Yashar Ghasemkhani, Arash Mesbah, and Pooneh Sadrimanesh, New York, NY, USA Land Over Water Agro-Pavilion, by Michael C. Kilroy, and Jonathan Sampson, Students of Architecture, University of New Mexico, USA Greenhouse Transformer, by Dongwoo Yim, and Rafael Luna, PRAUD, Boston, MA, USA
Tomas Saraceno on the Roof: Cloud City - Metropolitan Museum of Art
Artist Tomas Saraceno (born in Tucuman, Argentina, in 1973) will create a constellation of large, interconnected modules constructed with transparent and reflective materials for the Museum's Iris and B. Gerald Cantor Roof Garden. Visitors may enter and walk through these habitat-like, modular structures grouped in a nonlinear configuration. Over the past decade, Saraceno has established a practice of constructing habitable networks based upon complex geometries and interconnectivity that merge art, architecture, and science. The interdisciplinary project "Cloud Cities/Air Port City" is rooted in the artist's investigation of expanding the ways in which we inhabit and experience our environment.
A Stately Presence: The NYPD's Mounted Unit - New York City Police Museum
New York City police have used horse-mounted officers since at least 1858, with the opening of Central Park. Since its formal organization in 1871, the Mounted Unit has evolved into one of the NYPD's most visible and elite police units. This exciting exhibit will explore their fascinating history and continuing day-to-day operations. Through artifacts that include saddles, harnesses and uniforms, paintings, video, and historic photographs, the exhibit will delve into the lives and work of the officers known by their nickname, "10-foot cops."
Robert Wilson/Philip Glass: Einstein on the Beach - Morgan Library & Museum
Reuniting the score and designs from Philip Glass and Robert Wilson's Einstein on the Beach, this exhibition focuses on the opera's premiere performances in 1976. Visitors will enter a gallery awash in blue light, reminiscent of the opera's stage lighting, where they will encounter Glass's entire never-before-displayed autograph manuscript, as well as Wilson's storyboard, thirteen leaves encompassing 113 scene designs. Footage from the New York rehearsal, and 1976 productions in Paris, Brussels, and Venice will run continuously in the gallery; the documentary "Einstein on the Beach: The Changing Image of Opera," about the 1984 production at BAM, will be screened in the Morgan's Gilder Lehrman Hall throughout the exhibition.
Universe of Desire - Museum of Sex
Type. Swipe. Search. Upload. Download. Post. Stream. These are the new verbs of desire. Our most intimate thoughts, fantasies, and urges are now transmitted via electronic devices to rapt audiences all over the world. These transmissions�from sexts to webcam masturbation feeds-are anonymous yet personal, individual yet collective, everywhere and nowhere, and they are contributing to the largest sexual record to date. In short, desire has gone viral. But what does this mean? And what does it reveal about us? This exhibition explores these very questions through a lens of digital experience by examining what we are searching for, how we do it and what we leave behind on these electronic devices. In piecing this together, we begin to expose staggering truths about who we are and how we interact in this ever-changing world of modern sexuality. "As human behavior becomes more clickable than physical, we can-t help but wonder what this means for our most basic, biological impulse: sex." says Mark Snyder, Director of Exhibitions and Co-Curator of "Universe of Desire." The exhibition explores this very question by examining what we actually search for on the internet and what we leave behind. Neuroscientists Ogi Ogas and Sai Gaddam, authors of the best-selling book, A Billion Wicked Thoughts, provide much of the inspiration for "Universe of Desire." Ogas and Gaddam gathered and coded 400 million internet searches, 55 million of which (or roughly 13 percent) proved to be searches for some kind of erotic content. The findings mined from analyzing the internet habits of tens of millions of people worldwide will be on display in "Universe of Desire." These anonymous searches bring to question our identity by revealing both the expected "kinks" and "squicks" (squirm-inducing kinks), as well as the broad categories of shared desire that account for 80 percent of internet searches, including "cheating partners", "youth", "mature" and various genitalia. Confronted with this research we begin to see just how similar and different we all are as humans. Supporting this content is a variety of media that amplifies and humanizes the scientific findings of A Billion Wicked Thoughts. Showcasing artifacts from Science, Culture, Art and Technology, Universe of Desire explores the virtual cataloging of our sexual wants, infatuations and yearnings by walking patrons through the kind of sex we, as humans, look up on the internet. Photographer Natacha Merritt, author of Digital Diaries, has documented herself digitally for the last 14 years. As one of the first photographers to capture erotic imagery in a digital medium, a selection of this pioneering artist's work is exhibited for the first time in its chronology, offering a visual timeline as example of photographic evolution, serving both as record and expression of our sexual desires through the last decade. Further exploring the relationship between digital imagery and sexual fantasy, visitors to "Universe of Desire" are invited to engage with a series of video and interactive experiences. Highlights include a digital mirror created by Kevin Bleich and Gabriela Guti�rrez which literally deconstructs patrons into pixels, and projects avatars of their "digital selves" onto the walls of the gallery, while an interactive video collage from Johnny Woods lures visitors into a virtual romp of sexual artifacts designed to stimulate, provoke and delight audiences.
Beauties of the Gilded Age: Peter Marie's Miniatures of Society Women - New-York Historical Society
Between 1889 and 1903, New York socialite Peter Marie (1825-1903) commissioned portrait miniatures of women whom he believed epitomized female beauty. His collection of nearly 300 watercolor-on-ivory miniatures stands today as a vivid document of New York�s Gilded Age aristocracy. Beauties of the Gilded Age presents likenesses of many prominent women of the era, including legendary socialite Edith Minturn, athlete Edith Hope Goddard, and social activist Emeline Winthrop. The fragile and rarely exhibited portraits will be displayed in four-month rotations in a special new gallery designed for intimate viewing.
Checks & Balances - Presidents and American Finance - Museum of American Finance
The US federal government was born of a fiscal crisis produced by the inability of the national and state governments to repay the heavy debts incurred winning independence from England. By luck, pluck and a sprinkling of genius, the new nation averted disaster and soon became one of the most creditworthy in history, able to fund global wars, massive territorial acquisitions and scientific and engineering feats of historic importance and unprecedented scale. Today, however, serious fiscal crisis looms again. The causes and consequences of the current economic crisis are hotly debated, but almost everyone agrees there is no easy fix at hand. Simply put, it has become too difficult to increase taxes or reduce expenditures, and solutions acceptable to both major political parties are in short supply. But the government has faced similar impasses in the past and has managed, with firm leadership, to persevere. This exhibit brings attention to the budget issues that faced five of our greatest Presidents: George Washington, Andrew Jackson, Abraham Lincoln, Woodrow Wilson and Franklin D. Roosevelt. It details how they handled those issues, sometimes with spectacular success and other times with controversial or mixed results. The exhibit also shows how each President's life experiences, including personal wealth, may have influenced decisions on important issues like the rate and type of taxation and the acceptable extent of government borrowing. In and of itself, knowledge of the past cannot improve the future, but retracing past glories and disappointments is often the best place to start.
Kandinsky 1911-1913 - Solomon R. Guggenheim Museum
Perhaps more than any other 20th-century painter, Vasily Kandinsky (b. 1866, Moscow; d. 1944, Neuilly-sur-Seine, France) has been closely linked to the history of the Guggenheim Museum. Hilla Rebay?artist, art advisor, and the museum's first director?promoted nonobjective painting above all other forms of abstraction. She was particularly inspired by the work and writing of Kandinsky, a pioneer of abstraction, who believed that the task of the painter was to convey his own inner world, rather than imitate the natural world. The museum's holdings have grown to include more than 150 works by Kandinsky, and focused exhibitions of his works are presented in the Kandinsky Gallery on Annex Level 3. The current installation, Kandinsky 1911?1913, highlights paintings completed at the moment the artist made great strides toward complete abstraction and published his aesthetic treatise, On the Spiritual in Art (1911, though dated 1912). Also featured are paintings by Robert Delaunay and Franz Marc that were exhibited alongside the work of Kandinsky and others in the landmark 1912 Der Blaue Reiter (The Blue Rider) exhibition held at the Moderne Galerie Heinrich Thannhauser in Munich.
Masterworks - The Rubin Museum
Masterworks: Jewels of the Collection displays some of the museum's most stunning works of art. The stylistic diversity and relationships between various strands of Himalayan and neighboring cultural and artistic traditions are represented by important works of art spanning a period of over one thousand years. In addition to a wide range of Buddhist and Hindu deities rendered in all major media, Masterworks also highlights the museum's most notable recent acquisitions, all of which have rarely or never been exhibited. Life-size facsimiles of an entire sequence of murals from the Lukhang, the Dalai Lamas' Secret Temple near the Potala Palace in Lhasa, Tibet, provide an exceptional opportunity for viewing Himalayan art at its most lavish. The original eighteenth-century wall paintings--inaccessible to the public until the late twentieth century--uniquely depict the most esoteric of meditation and yoga practices in vivid color and detail. Created with new photographic methods by Thomas Laird and Clint Clemens, this display of large-format, high resolution pigment prints allows for even better access to the paintings than is possible in the temple itself. Their presentation at the Rubin marks the first showing in the world of prints created using this technology and also provides the first-ever opportunity outside Tibet to view full-size Tibetan murals in their relationship to portable art from the region.
Emma Lazarus: Poet of Exiles - Museum of Jewish Heritage - A Living Memorial to the Holocaust
A new exhibition held in conjunction with the 125th anniversary of the dedication of the Statue of Liberty. Known for more than a century as the author of the lines "Give me your tired, your poor, your huddled masses yearning to breathe free...," the poet Emma Lazarus gave voice to the Statue of Liberty and generations of newcomers to America. However, few people know her fascinating story, her Sephardic background, her American roots, and her work for Jewish causes and a Jewish homeland. Learn how Emma Lazarus' journey inspired her to craft an enduring message on exile, refuge, and the promise of America.
Creatures of Light: Nature's Bioluminescence - American Museum of Natural History
The perpetually dark deep ocean comprises the vast majority of the planet's habitable environments where approximately 90 percent of the organisms are bioluminescent and provide the only source of light. Many of these environments are threatened habitats where organisms are in danger of disappearing, some before they have been discovered and studied. Creatures of Light introduces visitors to the astonishing variety of bioluminescent creatures; explores the different ways in which organisms glow, as well as explains the physics and chemistry of natural light; reveals how the ability to glow can be advantageous; and considers how scientists study -- and use -- bioluminescence. Visitors enter the exhibition through a forest of bioluminescent mushrooms surrounding a large-scale mushroom at the center. One section evokes a New England meadow on a summer night and highlights how fireflies use patterns of flashing light to communicate and attract mates; another invites visitors to peer into Waitomo Cave of New Zealand and learn how glowworms attract prey. The exhibition includes live flashlight fish that harbor bioluminescent bacteria. Creatures of Light also features an interactive environment that introduces visitors to the brilliant light displays of Mosquito Bay in Vieques, Puerto Rico, where high concentrations of microscopic dinoflagellates, a type of plankton, create a glowing, luminescent halo around anything that moves through the bay; and a large interactive image of the Bloody Bay coral wall in the Cayman Islands. A "deep sea theater" reveals the amazing diversity of living light that marine biologists have captured on camera including anglerfishes waving bioluminescent "lures" to attract prey and jellyfishes that light up like a flashing pinwheel when threatened.
Colors of the Universe - Chinese Hardstone Carving - Metropolitan Museum of Art
Stone carving is one of the oldest arts in China, its beginnings dating back to remote antiquity. Although jade, the mineral nephrite, was held in the highest esteem, all stones that could achieve a luster after polishing, be it agate, turquoise, malachite, chalcedony, quartz, jasper, or lapis lazuli, were also appreciated. Stone carving experienced an efflorescence during the Qing dynasty (1644-1911), when an abundant supply of raw materials, exceptionally accomplished craftsmen, and, in particular, keen imperial patronage contributed to the creation of numerous superb works.
Ada Bobonis: Stages, Mountains, Water - Queens Museum of Art
Ada Bobonis' site-specific installation entitled Stages, Mountains, Water transforms the Museum's second floor gallery space into an invigorating chromatic environment evoking the Caribbean landscape. Geometric compositions in hues of blue and green are either painted on the wall or adhered to the glass railing facade in the form of translucent color film. Alluding to horizons and vistas, expansive bodies of land and water, the work takes its inspiration from the Panama Canal, one of the icons of 19th century aspirations for the New World. The construction of the Panama Canal (1880 - 1914) was a historical triumph of international ambition at the turn of the century. Upon completion, the 51-mile-long ship canal connected the Atlantic Ocean to the Pacific Ocean by cutting across the Isthmus of Panama, and has since become a key conduit for global maritime trade. The area's topography is characterized by vast mountain vistas, the Gatun Lake, and the presence of the Panama Canal Locks (long vertical barriers of different sizes controlling the passage of over-sized ships), and is a spectacular fusion of the natural world and man's interventions upon it. Stages, Mountains, Water deftly renders the peculiar landscape of the Panama Canal in a minimal composition of color and shapes. While the color-treated glass railing facade creates an evocative aquatic effect, the "cloud of blades" overhead – clustered sculptural cutouts spanning the gallery's ceiling - symbolizes man's forceful intercession in the natural landscape that profoundly altered the location. The installation further brings the view of Flushing Meadows Corona Park and the Unisphere, a 140-foot-high steel representation of Earth built as an emblem for the 1964 World's Fair, into the gallery space itself. Separated by exactly half a century, the Panama Canal and the Unisphere - both products of the state-of-the-art engineering of their time - echo each other with the timeless human aspiration for exploration they embody, whether by taming the power of the oceans or spanning the infinite reaches of outer space.
Designing Nature - The Rinpa Aesthetic in Japanese Art - Metropolitan Museum of Art
"Rinpa" is a modern term that refers to a distinctive style of Japanese pictorial and applied arts that arose in the early seventeenth century and has continued through modern times. Literally meaning "school of Korin," Rinpa derives its name from Ogata Korin (1658-1716), a celebrated painter from Kyoto. It embraces art marked by a bold, graphic abbreviation of natural motifs, frequent reference to traditional court literature and poetry, the lavish use of expensive mineral and metallic pigments, incorporation of calligraphy into painting compositions, and innovative experimentation with new brush techniques. The exhibition will feature more than one hundred brilliantly executed works of art created in Japan by the Rinpa-school artists. It will be held in two rotations, the first opening on May 26, 2012; the second on September 12, 2012. Highlighting the school's most prominent proponents, this two-part presentation will trace the development of the Rinpa aesthetic and will demonstrate how its style continued to influence artists throughout the nineteenth and twentieth centuries. Comprising more than fifty works from the Museum's own holdings supplemented by forty-five loans from public and private collections on the east coast, the exhibition will include many masters' renowned works in a variety of media: painting, textiles, lacquerware, and ceramics.
Candid - The Rubin Museum
Homai Vyarawalla (1913-2012) was India's first female photojournalist. This exhibition, the first on Vyarawalla outside of India, will present her photography from the late 1930s to 1970, and narrate her extraordinary life with a biographical film and ephemera from her career. From early in her career, Homai Vyarawalla documented key events from the generation around Independence, including the historic meeting of Gandhi and the Congress Committee on the 1947 plan for partition, and she recorded the visits to India of world leaders and dignitaries including Queen Elizabeth, Jacqueline Kennedy, Ho Chi Minh, and Zhou Enlai. She was revered in India and her recent death at age 98 generated tributes around the world. The exhibition is presented in collaboration with the Alkazi Foundation for the Arts in New Delhi.
Born Out of Necessity - Museum of Modern Art (MoMA)
Showcasing objects that adhere to the traditional view of design as a tool for problem-solving, Born out of Necessity offers close examination of the problems themselves -- whether urgent, foreseen, or imagined. From objects that respond to pressing needs in developing countries to new solutions that are tailored to the urban environment, the exhibition examines how design intervenes across a range of experiences, including medical emergencies and natural disasters. Other objects demonstrate how products created to address specific challenges for people with disabilities can provide solutions that improve everyone's life. Drawing on the narrative power of design, Born out of Necessity addresses a host of complex cultural developments, such as the need to incorporate environmental responsibility in everyday life, our attempts to marry ancient religious beliefs with contemporary mores, and the desire to anticipate and prevent technological and ecological quagmires.
The Shaping of New Visions: Photography, Film, Photobook - Museum of Modern Art (MoMA)
This exhibition, covering the period from 1910 to today, offers a critical reassessment of photography's role in the avant-garde and neo-avant-garde movements -- with a special emphasis on the medium's relation to Dada, Bauhaus, Surrealism, Constructivism, New Objectivity, Conceptual, and Post-Conceptual art -- and in the development of contemporary artistic practices. The shaping of what came to be known as "New Vision" photography bore the obvious influence of "lens-based" and "time-based" works. El Lissitzky best summarized its ethos: "The new world will not need little pictures," he wrote in The Conquest of Art (1922). "If it needs a mirror, it has the photograph and the cinema." Bringing together over 250 works from MoMA's collection, the exhibition features major projects by Man Ray, Laszlo Moholy-Nagy, Aleksandr Rodchenko, Germaine Krull, Gerhard Ruhm, Helen Levitt, Daido Moriyama, Robert Heinecken, Ed Ruscha, Martha Rosler, Bernd and Hilla Becher, Philip-Lorca DiCorcia, and Walid Raad, among others. Photographic history is presented as a multivalent history of distinct "new visions," rooted in unconventional and innovative exercises that range from photograms and photomontages to experimental films and photobooks.
This exhibition highlights the nearly fifty-year career of ceramicist Edward Lycett (American, 1833-1910), creative director of the Faience Manufacturing Company from 1884 to 1890. The range of works illustrates Lycett's talent and adaptability to stylistic changes in the late nineteenth and early twentieth centuries, as well as his vision for Faience, a company based in Greenpoint, Brooklyn, that earned acclaim for producing ornamental wares that introduced a new standard of excellence in American ceramics. These bold and eclectic pieces synthesized Japanese, Chinese, and Islamic influences characteristic of the Aesthetic movement and were sold in the United States' foremost art ware emporiums, including Tiffany & Company. Among the ceramics on view are 39 Faience pieces, including a number of large-scale vases. Also on view are Lycett's formula books, family photographs, and other ephemera; rare examples of ceramic works by his three sons; and other Brooklyn-made ceramics from the Museum�s collection.
Gateway to Himalayan Art - The Rubin Museum
Marking the first in a series of yearly rotations, nearly twenty works of art add new dimensions and context to Gateway to Himalayan Art. Visitors will notice a greater emphasis on Hindu works, with beautiful examples from India and Nepal ranging from 12th to 19th centuries, as well as intricately-detailed thangka paintings, manuscript pages, and textiles. In every iteration, Gateway acquaints new and long-time friends of the museum with the principal concepts of Himalayan art, including important deities and symbols, the materials and techniques used in creating works of art, and the purposes and functions of these works in their sacred and secular contexts. And don't forget to pick up your Gateway Looking Guide to help you identify important figures and symbols throughout the museum. It's yours to keep.
Contemporary Art from the Collection - Museum of Modern Art (MoMA)
Reinstalled to continue the historical sequence found on MoMA's fifth (1880-1940) and fourth (1940-1980) floors, the galleries on the second floor will begin with art of the early 1980s and extend to the present moment, interweaving works in all mediums. Individual galleries will focus on particular topics, ranging from specific locales that nourished influential groups of artists to key strategies shared by diverse practitioners of the same generation. Others will display a single significant installation or artist's project. Like the fifth- and fourth-floor galleries, the second-floor galleries will be periodically reinstalled to reflect the depth and richness of the Museum's collection, and to allow for varying approaches to the wide variety of art produced during the last 30 years. Featured artists include Ashley Bickerton, Felix Gonzalez-Torres, Keith Haring, Martin Kippenberger, Steve McQueen, Senga Nengudi, Doris Salcedo, Rirkrit Tiravanija, and Rosemarie Trockel.