5
   

Upcoming Gallery and Museum Shows, continuing thread

 
 
farmerman
 
  1  
Reply Sun 24 Oct, 2010 07:22 am
@ossobuco,
His works look like encaustics. IS that his medium? Im not bowled over by it. Too Baconesque with all the reds
ossobuco
 
  1  
Reply Sun 24 Oct, 2010 11:26 am
@farmerman,
I dunno, I think when I knew him he was primarily using oils. I like his (more) figurative word better. Am scanning an old catalog photo now, but it might come out too large to post. He was one of those teachers who worked to help with whatever media the students were interested in.
ossobuco
 
  1  
Reply Sun 24 Oct, 2010 11:38 am
@ossobuco,
The scan didn't work, oh well.

Look at this site, in the categories "figurescapes" and "early works"..
http://www.samamato.net/gallery.html

Hmm, I like a lot of those, especially in the figurescapes series.
farmerman
 
  1  
Reply Sun 24 Oct, 2010 05:33 pm
@ossobuco,
I do like his early stuff. It looks like its layered according to the color values . Sorta like Du Champ
0 Replies
 
ossobuco
 
  1  
Reply Sun 24 Oct, 2010 05:40 pm
His photo here is interesting to me. I remember him as moving around the room, talking, gesturing - not incessantly, but as needed, sometimes to the class at large, mostly to each person re what they were working on, their ideas, his comments. Yikes, that was 35 years ago.
ossobuco
 
  1  
Reply Sun 24 Oct, 2010 05:57 pm
@ossobuco,
Meantime, John Baldessari's show is starting now at the Metropolitan. Interesting guy. I had an artist friend who studied with him, again, long ago. He was another whose students weren't copiers of him. Eventually a lot of them were well known.

http://www.nytimes.com/2010/10/22/arts/design/22baldessari.html?_r=1&sq=baldessari&st=cse&scp=1&pagewanted=all

I haven't read that review yet.. I did read the New Yorker on him just this morning, but that piece is by subscription only, or library. Might still be on the newstands, but I doubt it. Here's the abstract -
http://www.newyorker.com/reporting/2010/10/18/101018fa_fact_tomkins
I liked the Ny'er article a lot.

Oh, yea, and he lives in Venice in a california bungalow. I knew I liked the guy. Before that, he had a studio on Main St., Santa Monica. We had our land arch studio along there. See, six degrees of separation..
0 Replies
 
tsarstepan
 
  1  
Reply Tue 26 Oct, 2010 03:30 am
Quote:
Jocelyn Hobbie
10/18/10
KS ART
SEP 23 – NOV 6, 2010
by cassandra lange

http://www.artinamericamagazine.com/files/2010/10/13/img-hobbie1_153952985853.jpg_standalone.jpg

"Entre Nous" is Jocelyn Hobbie's first solo exhibition in New York in four years; preceding and overlapping Halloween, it's an appropriate prelude to traditions, high art and folk, of the grotesque.


http://www.artinamericamagazine.com/reviews/jocelyn-hobbie/

I'll be visiting this exhibit after work today.
0 Replies
 
tsarstepan
 
  1  
Reply Fri 29 Oct, 2010 04:30 am
If I could find my way down to Alberta, Canada I would love to peruse the following exhibit (recommended by the great Ms. Margaret Atwood):
Quote:
The Crooked Trees of Alticane: a Saskatchewan wonder
McMullen Gallery
University of Alberta,
Edmonton, Alberta
October 31 - December 24, 2010

http://i52.tinypic.com/nx76dt.jpg

“What first struck me was the brilliance of Ken Dalgarno's palette, the raw, visceral wealth of it. This is the sort of chromatic bang that you don't get in Nature. I'll tell you right away, if you didn't know it already: Saskatchewan skies, whether at dawn, midday or dusk, are not like Dalgarno paints them. But what his brush accurately captures is how they feel. That is the great appeal of these paintings: they are the best of both worlds, charged with the radiance of abstraction but also conveying the content of figuration. They are intensely physical paintings, nearly shocking in their vividness, yet their tone is quietly elegiac.

My immediate thought was, I want to live with these. My great luck is that I now have two hanging on my walls, lighting up my house.”

Yann Martel
ManBooker Prize winner for “Life of Pi”
ossobuco
 
  1  
Reply Fri 29 Oct, 2010 06:29 pm
@tsarstepan,
Very van Gogh-ian (well, to me, which doesn't mean I wouldn't like them in person. Probably not, though.
tsarstepan
 
  1  
Reply Fri 29 Oct, 2010 06:35 pm
@ossobuco,
Van Gogh-ian is a fair assessment.
ossobuco
 
  1  
Reply Fri 29 Oct, 2010 07:15 pm
@tsarstepan,
My teacher insisted it was Van Gock (simplified to the american ear), thus the label is not un-euphonious. Van Go-ian sounds just wrong.
0 Replies
 
ossobuco
 
  1  
Reply Fri 29 Oct, 2010 07:24 pm
I had a short van goghian period in which I painted a massive painting of my husband. Something like 5 x 6 feet. I cringe. I'll dig it up a photo and scan it. My worst memory of it is that I killed his nose somehow.
It doesn't exist any more, becoming instead a painting of Nadia Comaneci, if I remember the sequence. Or maybe not. We all used to reuse rejected paintings for paintover, back then, given the price of materials.
0 Replies
 
ossobuco
 
  2  
Reply Wed 3 Nov, 2010 08:53 pm
Ooh, Eggleston.. at the LA County Museum of Art -

Eggleston

http://www.visualartsource.com/E-Announcements/2010/1110/lacma1110/Eggleston1110a.jpg
William Eggleston, "Untitled," from Los Alamos, 1965–68 and 1972–74
(printed 2003), Private Collection, © Eggleston Artistic Trust,
Courtesy Cheim & Read, New
tsarstepan
 
  1  
Reply Wed 3 Nov, 2010 09:07 pm
@ossobuco,
William Eggleston always has a good eye for capturing vibrant colors from everyday life.
ossobuco
 
  1  
Reply Wed 3 Nov, 2010 09:29 pm
@tsarstepan,
and, not phony seeming.
0 Replies
 
ossobuco
 
  1  
Reply Fri 5 Nov, 2010 01:35 pm
2 for 1 - Martine Franck at husband Henri Cartier-Bresson's SF MOMA retrospective
http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2010/11/04/DDNM1G43MB.DTL&feed=rss.entertainment
credit - Mike Kepka / The Chronicle
http://imgs.sfgate.com/c/pictures/2010/10/29/ba-ov_bresson_0502465832.jpg

Promoting a show by her late husband, Henri Cartier-Bresson, Martine Franck photographs another photographer.

One of her own photos - her images not at the SF MOMA show; just adding this in case some don't know about Martine Frank

http://www.claude-bernard.com/upload/140505170549Martine%20FRANCK%20Biblio%20Clamart.jpg
GALERIE CLAUDE BERNARD
7-9, rue des Beaux Arts 75006 Paris


Art Review: Henri Cartier- Bresson
http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2010/10/29/DD361G3RSV.DTL&feed=rss.entertainment

http://imgs.sfgate.com/c/pictures/2010/10/29/dd-bresson30_ph_0502471488.jpg
The exhibition at San Francisco Museum of Modern Art includes "Shanghai" (1948), gelatin silver print.
Photo: henri cartier-bresson / s.f.museum of modern art
0 Replies
 
tsarstepan
 
  1  
Reply Tue 9 Nov, 2010 09:25 pm
Torontoians! I missed out on the Tim Burton exhibit! Don't miss out on it yourself!

Quote:
Art and film brought together in new tower for Toronto
MoMA's Tim Burton retrospective is set to open at the new gallery in November

By David D’Arcy


http://www.theartnewspaper.com/articles/Art-and-film-brought-together-in-new-tower-for-Toronto/21744
farmerman
 
  2  
Reply Tue 9 Nov, 2010 11:00 pm
@tsarstepan,
This past weekend I spent a few hours at the SMith College art gallery in NOrthampton MAss. The show included some new works and a nice little rollout of works of the permanent collection of 20th century artists. Lots of lesser known works by Klimt, Hopper, Hassam,Trashcanists, . However The gallery needs to rethink its lighting. In an effort to make sure that the works are protected from UV, they lost a lot pf natural light on cloudy days. I give the show an A- but the gallery a C-.
ossobuco
 
  1  
Reply Wed 10 Nov, 2010 10:38 am
@farmerman,
Here's an expensive fix for that..

http://ewweb.com/mag/electric_getty_center_makes/
0 Replies
 
ossobuco
 
  1  
Reply Fri 12 Nov, 2010 05:13 pm
@ossobuco,
Reminder, per request, Tsar -
plus, there's more to go with it, re music and so on -
http://www.artnexus.net/PressReleases_View.aspx?DocumentID=22207



ossobuco wrote:

If I were in New York City, I'd be going to see this show:
http://www.artnexus.net/PressReleases_View.aspx?DocumentID=22057



Press Release
PINTA NY 2010



VIP Opening:
Thursday, November 11th 6:30pm - 9:00pm
By invitation only.

Dates
Friday, November 12th 2:00pm - 8:00pm
Saturday, November 13th 12:00pm - 8:00pm
Sunday, November 14th 12:00pm - 7:00pm

Location:
Pier 92
Twelfth Avenue at 55th Street
New York City, NY 10019

Ph (305) 373-8110
Fax (305) 373-8114
Email: [email protected]

www.pintaart.com


http://www.artnexus.net/images/content/webimages/2010/u0013719big.jpg

Luiz Sacilotto, Untitled, 90s
oil on canvas, 23.6 x 23.6 inches.
Courtesy of Galeri
Berenice Arvani, Sao Paulo.




PINTA, the unique Latin American Modern and Contemporary Art Fair in New York, opens on November 12th at its new premises on Pier 92 at the Hudson River.

After three successful editions in New York and a first in London last June, PINTA consolidates its position as a leading art fair in two world capitals, establishing new strategies in the Latin American art market and its diffusion, and becoming an essential part of the art world calendar.

This year, three sections will be presented at PINTA NY: the Galleries space, the Solo Exhibitions space, and the Art Projects Space, with selections by curator Pablo Leon de la Barra. 50 select art galleries from the United States, Europe, and Latin America will present museum-quality works representative of abstract, concrete, neo-concrete, kinetic and conceptual art, as well as of other contemporary art movements, in a renewed space for a wider public.

On November 10th, as part of the joint collaboration with the Americas Society, and its Direction of Visual Art leaded by Gabriela Rangel, PINTA has invited renowned Mexican visual artist Pablo Vargas Lugo to discuss his work with the public in a special panel discussion and dialogue with Yasmil Raymond, curator at DIA Art Foundation. Vargas Lugo has exhibited extensively in venues such as the Blanton Museum of Art; the Los Angeles County Museum of Art (LACMA); the Museo Carrillo Gil; the Centro de Arte Reina Sofia, Madrid; and the Museum of Modern Art (MoMA) PS1.

PINTA NY 2010 has organized a first-rate academic program with the generous support of MBA LAZARD, sponsors of PINTA's exclusive, state-of-the-art auditorium for special conferences and gatherings. PINTA NY's new location also boasts VIP lounges, as well as improved restaurant amenities to offer visitors an enhanced and more enjoyable experience during the three-day event.

PINTA and its one-of-a-kind, strategic alliance with museums for the acquisition of art

As part of a strategy to help museums acquire Latin American art for their collections, PINTA has created The PINTA Museum Acquisitions Program to contribute funds to major museums committed to Latin American art. The PINTA Museum Acquisitions Program has been a decisive factor in the significant global re-reading of Latin American art, to which PINTA has contributed greatly since its first NY edition in 2007.

This unique approach creates an incentive for institutional commitment toward the acquisition of works exhibited in participating galleries at the fair. In this way, during the celebration of PINTA, museums committed to modern and contemporary Latin American art are given the opportunity to enrich their collections with new works. To this date, PINTA has facilitated $250,000 through its network of sponsor friends to activate a matching funds system. Invited museums match the contributions made through PINTA in order to purchase works of Latin American art during the editions of the fair.

In the previous edition of PINTA NY, the Museo del Barrio of New York added to its collection works by Carlos Karcamo, Fanny Sanin and Milagros de la Torre; the Museum of Fine Arts, Boston acquired works by Liliana Porter; the Museo Tamayo also chose a piece by this artist and a work by David Lamelas; likewise, the Harvard Art Museums enhanced its collection with a work by Victor Grippo; the Pinacoteca Sao Paulo acquired a piece by Hermelindo Fiamminghi; the Tate Modern chose Horacio Zabala; and the Museum of Fine Arts, Houston purchased a work by Pedro Costigliolo. Other institutions like the Museum of Modern Art (MoMA), New York have lent their support to this fair, which has redefined the vision of Latin American art, and have acquired important works in its previous editions.

At the recent debut of PINTA LONDON, the prestigious institutions that participated in the PINTA Museum Acquisitions Program included: the Tate Modern; the University of Essex Collection of Latin American Art; the Centre Georges Pompidou, Paris; the Museo Nacional Centro de Arte Reina Sofía, Madrid; the Museo de Arte Contemporáneo de Barcelona (MACBA); and the Middlesbrough Institute of Modern Art (MIMA), England. The result was that Latin American art experienced a unique moment in Europe, with artists, curators, institutions, collectors, and galleries participating, dialoguing, exchanging opinions, and viewing and reviewing the latest tendencies.

This year, PINTA NY has invited the Museo del Barrio of New York; the Harvard Art Museum; the Los Angeles County Museum of Art (LACMA); the Museum of Latin American Art (MOLAA), Long Beach; the Philadelphia Museum of Art; and the Bronx Museum of the Arts, to participate in the fair.

Beyond the significance of their acquisitions in the inevitable process of the globalization of Latin American art, the PINTA Museum Acquisitions Program represents both an opportunity and a welcome challenge for participating galleries. To participate in PINTA NY means to play a decisive role in the transformation of the way of looking at modern and contemporary Latin American art, and in the expansion of its market.





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