Upcoming Gallery and Museum Shows, continuing thread

http://www.boston.com/ae/theater_arts/articles/2011/04/08/dale_chihuly_exhibit_at_mfa_is_a_glass_spectacular/

And here I thought I was one of the four or five people on earth who don't get the whole Chiluly thing.. (we've talked about him before on a2k).


Just read about a new museum I'd love to visit, no matter what the show would be at the time.

Museum puts Belgium's Antwerp on cultural map
By RAF CASERT, Associated Press
Thursday, May 12, 2011

Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/n/a/2011/05/12/international/i025459D84.DTL#ixzz1MLshM7Ht


caption - A general view of the MAS Museum in Antwerp, Belgium, on Wednesday, May 4, 2011. A new iconic building is rising on Europe's cultural horizon. The rusty sandstone-and-glass MAS museum towers over the old port of Antwerp and is supposed to become an international attraction in itself. Stunning from the outside it also has superb art inside, all linked to the centuries-old tradition of one of the world's biggest ports.

slide show -
http://www.sfgate.com/cgi-bin/object/article?f=/n/a/2011/05/12/international/i025459D84.DTL&object=

Ah, to be in San Francisco in the springtime -


The Steins Collect' review: SFMOMA show
Kenneth Baker, Chronicle Art Critic
Saturday, May 21, 2011


"Head of a Sleeping Woman, (Study for 'Nude With Drapery')" (1907) oil on canvas by Pablo Picasso.
Photo: unknown / s. f. museum of modern art

Clip/
What nerve they had!

Barely out of their 20s, Gertrude Stein and her brother Leo, expatriate Americans who had grown up in Oakland, began buying work by several of the most radical artists then working in Paris. Their older brother Michael and his wife, Sarah, soon followed their example, no less daringly.

"The Steins Collect: Matisse, Picasso and the Parisian Avant-Garde," which opens today at the San Francisco Museum of Modern Art, breathtakingly unfolds the record of the family's taste in early 20th century modernism.

The show's wealth of documentary material includes the catalog of the 1970-71 exhibition "Four Americans in Paris: The Collections of Gertrude Stein and Her Family," forerunner of the present project and a rudimentary template for it.

The Museum of Modern Art in New York organized "Four Americans" - and sent a version of the show to the San Francisco Museum of Art, as SFMOMA called itself then - shortly after acquiring several works from Gertrude's estate after the 1967 death of her companion of 36 years, Alice B. Toklas. Visitors to SFMOMA who happened to see "Four Americans" in New York will remember a grand experience, but "The Steins Collect" expands all of its dimensions, like a mansion built around a cottage.

Picasso and Matisse tower over everyone else here, but outstanding works by others do crop up.

The first room, dedicated to Leo's self-education as a collector, includes Cézanne's "Five Apples" (1877-78), in whose tiny dimensions his concentration feels explosively compressed. In a later room, which dramatizes the divergence of Gertrude's taste from Leo's, Juan Gris' "Flowers" (1914) proves that Picasso's Cubism had in it implicit graces unexploited even by him.

Mural-scale enlargements of historical photos in several rooms show us paintings in the exhibition as the Steins lived with them. The example most striking to me: a shot of Gertrude's atelier at 27 Rue de Fleurus showing a row of small proto-Cubist Picasso female heads. Several of them hang here, foreshadowing, as grimaces do a sneeze, the epochal novelty of his 1908 "Demoiselles d'Avignon." That picture's ringing absence from the exhibition raises again the question why Gertrude did not buy it when no one else would.

"The Steins Collect" tells the complicated story of Leo taking the lead as a bohemian in Paris, of Gertrude joining him, and their collecting taste evolving in tandem until a breach occurred over Picasso's breakthrough into Cubism.

Meanwhile, Michael and Sarah Stein, who relocated from France to Palo Alto in 1935, championed Matisse above all his contemporaries. They influenced several American friends abroad and in the Bay Area to acquire pieces by Matisse, leading to major gifts and bequests of the artist's work to SFMOMA, including his painted portraits of Michael and Sarah.

Each of these topic areas gets a gallery to itself.
End Clip/

The Steins Collect: Matisse, Picasso and the Parisian Avant-Garde: Paintings, sculpture, works on paper and ephemera. Through Sept. 6. $7-$25, general admission included. San Francisco Museum of Modern Art, 151 Third St. (415) 357-4000. www.sfmoma.org.

Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/05/20/DD6K1JHR08.DTL#ixzz1N0nIryMI

I've been seeing this exhibit advertised in a couple of magazines I read on a very regular basis.

Didn't know what to make of it until now. Now I have a reason to visit the International Center for Photography for the first time ever.


http://flavorwire.com/181793/flavorpills-10-most-anticipated-summer-art-exhibits/2#post_body



http://www.icp.org/museum/exhibitions/elliott-erwitt-personal-best

I managed to write my college seminar paper on the Morgan Library and never actually visited the place. Now I have a MUST GO reason to finally do so:
The Morgan Library and Museum: Lists: To-dos, Illustrated Inventories, Collected Thoughts, and Other Artists’ Enumerations from the Smithsonian’s Archives of American Art
June 3 – October 2, 2011




http://www.themorgan.org/exhibitions/exhibition.asp?id=53

No way that I could get to the Venice Biennial, let alone for this exhibit which ended yesterday. Just wanted to lament missing it:
http://artupdate.com/venice-biennale-2011/events/afternoon-tea-works-on-paper/
Afternoon Tea: Works on Paper

Free cake and tea and art? What's not to love??

Erwitt, good.

I have posted probably too much re magnum.











erwitt

I'm duh, but remember some architecture spots on it..

We liked to have a look at the special exhibition in the Albuquerque museum ...



A New Light on Tiffany: Clara Driscoll and the Tiffany Girls


... liked the PEM in Salem/MA very much, but didn't have a look at there (much praised and visited) special exhibition (because we get all that here in Europe, too - and don't like it very much): Golden: Dutch and Flemish Masterworks from the Rose-Marie and Eijk van Otterloo Collection

Here's one I'd see if I were in Los Angeles -

http://www.lacma.org/art/exhibition/contested-visions-spanish-colonial-world


Contested Visions in the Spanish Colonial World
Resnick Pavilion
November 6, 2011–January 29, 2012


from VisualArtSource.com -

Attributed to Antonio Rodríguez, Portrait of Moctezuma II (Retrato de Moctezuma II), 1680–1691, Firenze, Palazzo Pitti, Museo degli Argenti, photo courtesy Museo degli Argenti, Palazzo Pitti, Polo Muselae Fiorentino. Su concessione del Ministero per i Beni e le Attività Cultural


The Los Angeles County Museum of Art (LACMA), in partnership with the Instituto Nacional de Antropología e Historia (INAH), Mexico, presents Contested Visions in the Spanish Colonial World, the first exhibition in the United States to examine the significance of indigenous peoples and cultures within the complex social and artistic landscape of colonial Latin America.

The exhibition offers a comparative view of Mexico and Peru, the two principal viceroyalties of Spanish America, from the fifteenth to the nineteenth centuries, and includes a selection of approximately 200 works of art, including paintings, sculptures, codices, manuscripts, queros (ceremonial drinking vessels), featherworks, and other extraordinary objects.

“This exhibition, which brings together a remarkable group of artworks from Mexico and Peru (two areas which were much larger than the countries known by those names today), provides a unique opportunity to examine the connection between ancient and colonial artistic traditions,” said Ilona Katzew, exhibition curator and department head of Latin American art.

“By taking into consideration the pre-Columbian (Inca and Aztec) origins of these two regions and their continuities and ruptures over time, Contested Visions greatly enriches our understanding of how art and power intersected in the Spanish colonial world.”

Learn more: www.lacma.org/art/exhibition/contested-visions-spanish-colonial-world

If you're in LA, here is an incredible kinetic sculpture that appeals both to the geeks and to the sentimentalists:
http://www.autoviva.com/news/kinectic_sculpture_creates_cityscape_with_1_200_ho/1511

Well, not for me. A friend knows Chris (but so what?). Well, that via the friend I opened my brain to get him, somewhat. A good thing re breaking my early walls.

Crap, maybe I'll look at that again, tomorrow.

I saw the original Keinholz - fitting that LACMA would do this.

We are in Berlin/Potsdam since 10 days (and will stay for a cople more9.
Thus, we have had the time to visit some museums/exhibitions without spending most of the time queuing up at the ticket offices and being pushed through the exhibition without being able to see a lot

There's really a "must" until September 2012: the 360° panorama of Pergamon (webside)

Two official photos to give a visual idea:


The viewing platform is fixed on cargo containers in the 'Panorama of the Antique City' at the Pergamon Museum. The 360 degree round image is a representation of the antique Pergamon. The reconstruction is based on the current state of archaeological research.

Photographing is strictly forbidden inside this special exhibition - so don't look at the following pics!

I'd missed those pictures, Walter. mmmm, very interesting.


Here's some work that I'm somewhat surprised I like. I get a lot of art announcements from the site VOS, and save some but not many over all to a email storage folder. I'd go see the show if I were in LA now.

Well, I like the first two paintings in this announcement, anyway - sorry re the long URL, but it seems to work.

http://campaign.r20.constantcontact.com/render?llr=vw5hhvcab&v=001PAHSyKgq2IqF0eGpohY49PIOrowC1mYx5ExM_eOFESpPlzM7OcUruuo_jQXBxXNE-GDlOxRdjhz-u52g3W4lW_k8Twy5g1VChB6ZijzLwC1cKoEQX0D2mzMUCWYOCitSR6h_CLevEkY%3D


Cleve Gray, "Perne #11," 1978, acrylic on canvas, 57 x 65 inches


Cleve Gray, "Vernal," 1963, oil on linen, 81 x 55 inches

The announcement -

Diane Rosenstein is pleased to announce Cleve Gray: The Connecticut Paintings, the inaugural exhibition in her new gallery - Diane Rosenstein Fine Art - in Beverly Hills.

Cleve Gray: The Connecticut Paintings is the first major exhibition of Gray's work in Los Angeles, and includes fifteen paintings dating from 1963: his breakthrough into color-based gestural expressionism. During this period Gray developed a lasting friendship with Barnett Newman and experienced an artistic metamorphosis, dissolving earlier Cubist compositions in a sea of distilled color. Here he has infused the ethos of Abstract Expressionism with the discretion of Chinese art, creating work that speaks to the supremacy of redemptive content.

Also on view are a series of watercolors, dating from 1967. These works are mystical abstractions, revealing Gray's inclinations toward Chinese landscape painting.

“Above all else, Cleve Gray is a painter whose work exemplifies his belief that art in its highest form is visual philosophy.” (John Yau)

Cleve Gray exhibited at Staempfli; then at Betty Parsons Gallery (New York) from 1970-1983. His paintings are in over 40 Museums and Public Collections, including the Albright-Knox Art Gallery, The Brooklyn Museum, The Corcoran Gallery of Art, the Solomon R. Guggenheim Museum, The Smithsonian, The Jewish Museum, The Metropolitan Museum of Art, The Museum of Fine Arts (Boston), The Museum of Fine Arts (Houston), The Museum of Modern Art, The Newark Museum, The Phillips Collection, and the Whitney Museum of American Art.

ABOUT THE ARTIST
Cleve Gray was born in New York in 1918. In 1940 he graduated from Princeton, and wrote his thesis on Chinese landscape painting under the tutelage of George Rowley. In 1957 he married Francine du Plessix, who became well known as a novelist and essayist. He also wrote frequently about art and was a contributing editor for Art in America. Cleve Gray died in 2004 at the home in Warren, Connecticut where he had lived since 1949.

ABOUT THE GALLERY
Diane Rosenstein Fine Art (DRFA) is a new contemporary gallery located at 9399 Wilshire Boulevard in Beverly Hills. Built in 2010 by Pritzker Prize-winning architect Richard Meier, DRFA has 4,000 square feet of exhibition space on the ground floor level. DRFA is located on the northeast corner of Wilshire Boulevard and Canon Drive, and is the first new art gallery in Beverly Hills in a decade, joining the ranks of Gagosian and Ace Gallery.

Exhibition plans for Diane Rosenstein Fine Art (DRFA) include alternating 20th Century Post-War historical exhibitions with presentations of Mid-Career and Emerging Artists from Los Angeles.

Diane Rosenstein has previously been a curator, private art dealer, and art consultant to residential and corporate collections. Recently, she curated the exhibition “Farrah Karapetian: Accessory to Protest” at LeadApron in West Hollywood from December 2011 – February 2012.

Cleve Gray: The Connecticut Paintings will be on view from April 12 – June 10th from 11:00 A.M. to 6:00 P.M. at 9399 Wilshire Boulevard, Beverly Hills. For further information, please contact DRFA via email [email protected]

Oh, wow.

http://www.guardian.co.uk/culture/2013/apr/05/rijksmuseum-reopens-long-refurbishment-rethink

Only Rembrandt's Night Watch stays in same spot as display of museum's treasures completely reorganised in €375m overhaul

Charlotte Higgins in Amsterdam
The Guardian, Friday 5 April 2013 16.55 BST

I'm thrilled to read about this.

Oh, man, here's a show I'd like to, feel I need to, dearly wish to, see (too bad, can't go there now):

http://blogs.laweekly.com/arts/2013/06/moca_new_sculpturalism.php

MOCA's Controversial L.A. Architecture Exhibit Is Sprawling, Confusing and Beautiful
By Tibby Rothman Fri., Jun. 21 2013 at 10:00 AM Write Comment
Categories: Architecture, Art, Museums

There's a show in the Brandywine Museum until Sept. It is about 50 views of the Island of Monhegan Me. by Jamie Wyeth and Rockwell Kent. Apparently the Dupont family has a large cache of Rockwell Kent paintings and loaned them to this show. Thee are paintings that have not been shown since the 1950's

We've seen quite a few (nearly all) exhibitions in Thuringia and Saxony about and related to Henry van de Velde (anniversary celebrations marking 150 years since his birth).

One of the best was the Schulenburg Mansion, especially, because we had a long talk (and some coffee and cake) with the owners.



I've noticed similar in the Newport cottages: rich people in the early 1900's wanted the most modern installations, but didn't really trust them.

The door lamp at the entrance works with electricity .... and natural gas


Another interesting (IMO) detail are the rounded edges on the steps in the servant's staircase (hint: easy cleaning):


The 'official' staicase is differnet, though


Unfortunately, I couldn't make photos in the Weimar exhibition.
(We'll see a bit more of van de Velde in August, in Belgium and France.)