Tag: abstraction

American Modern: Hopper to O’Keeffe – New York – NY

 Edward Hopper. House by the Railroad. 1925. Oil on canvas, 24 x 29" (61 x 73.7 cm). The Museum of Modern Art, New York. Given anonymously. Digital Image © The Museum of Modern Art, New York, Digital Imaging Studio

Edward Hopper. House by the Railroad. 1925. Oil on canvas, 24 x 29″ (61 x 73.7 cm). The Museum of Modern Art, New York. Given anonymously. Digital Image © The Museum of Modern Art, New York, Digital Imaging Studio


Until January 26, 2014 – Museum of Modern Art – MoMA

American Modern: Hopper to O’Keeffe takes a fresh look at the Museum’s holdings of American art made between 1915 and 1950, and considers the cultural preoccupations of a rapidly changing American society in the first half of the 20th century.

Florine Stettheimer - Family Portrait, II - Oil on canvas 46 1/4 x 64 5/8" (117.4 x 164 cm)  -  1933 - The Museum of Modern Art

Florine Stettheimer – Family Portrait, II – Oil on canvas 46 1/4 x 64 5/8″ (117.4 x 164 cm) – 1933 – The Museum of Modern Art

American Modern includes paintings, drawings, prints, photographs, and sculptures by more than 50 artists, bringing together some of the Museum’s most celebrated masterworks, including pieces by Charles Burchfield, Stuart Davis, Edward Hopper, Georgia O’Keeffe, Charles Sheeler, Florine Stettheimer, Alfred Stieglitz, and Andrew Wyeth.

Andrew Wyeth - 1948 - Christina's World - Tempera on gessoed panel - 81.9 cm × 121.3 cm (32¼ in × 47¾ in) - Museum of Modern Art, New York City

Andrew Wyeth – 1948 – Christina’s World – Tempera on gessoed panel – 81.9 cm × 121.3 cm (32¼ in × 47¾ in) – Museum of Modern Art, New York City

Contextualizing these works across mediums and amid lesser-seen but revelatory compositions, American Modern offers these artists’ views of the United States in a period of radical transformation, expressed in a variety of visual styles, artistic movements, and personal visions.

Georgia O'Keeffe (American, 1887–1986) - Abstraction Blue - 1927 - Oil on canvas - 40 1/4 x 30" (102.1 x 76 cm) - Copyright:© 2013 The Georgia O'Keeffe Foundation / Artists Rights Society (ARS), New York

Georgia O’Keeffe (American, 1887–1986) – Abstraction Blue – 1927 – Oil on canvas – 40 1/4 x 30″ (102.1 x 76 cm) – Copyright:© 2013 The Georgia O’Keeffe Foundation / Artists Rights Society (ARS), New York

The selection of more than 100 works is organized thematically, depicting such subjects as urban and rural landscapes, scenes of industry, still-life compositions, and portraiture. Far from an encyclopedic view of American art of the period, the exhibition is a focused look at the strengths and surprises of MoMA’s collection in an area that has played a major role in the institution’s history.

Museum of Modern Art  – New York


Joan Miró: The Ladder of Escape – Washington D.C.

Joan Miro - Self-Portrait, 1937-1938-February 23, 1960, oil and pencil on canvas, Collection of Emilio Fernández, on loan to the Fundació Joan Miró, Barcelona


Until August 12, 2012 – National Gallery of Art

When you hear the name Joan Miró (1893-1983), what springs to mind? Playful shapes in red, blue, and black, floating free of gravity? Stick figures, naked and distorted? Cursive letters moving across barely brushed canvases? Suns, stars, and flowers? Fields of color?

But there is another Miró – not Miró the childlike inventor, the daring Surrealist, the poet of few words, or the lyrical abstractionist (although they are all here), but rather Miró the artist of his times. In his 90 years, he lived through two world wars, the Spanish Civil War, and the rise and fall of Francisco Franco, the dictator who ruled Spain from 1939 to 1975. Through it all, he remained deeply tied to his homeland of Catalonia in northeastern Spain, a region with a distinct culture and proud spirit.

Joan Miro - Dog Barking at the Moon, 1926, oil on canvas, Philadelphia Museum of Art, A.E. Gallatin Collection, 1952


T
his exhibition traces the arc of Miró’s career while drawing out his political and cultural commitments. The first two rooms explore his early work, rooted in Catalonia and then transformed in the 1920s under the influence of Paris and the surrealists. A large middle section is devoted to the terrible years of the Spanish Civil War (1936-1939) and its repressive aftermath, when Miró developed his mature vocabulary. The last two rooms cover the final decade of Franco’s rule, when Miró turned to making monumental paintings, both calm and explosive.

Joan Miró - Toward the Rainbow, March 11, 1941, gouache and oil wash on paper, Lent by The Metropolitan Museum of Art, Jacques and Natasha Gelman Collection, 1998

The story that unfolds is a complex one. Was Miró an activist, a fantasist, or both? Did his art emerge despite or because of difficult times? Miró always kept a figurative “ladder of escape” – one of his favorite images – with him, and he would scale it to flee from harsh conditions into the freedom of his imagination. Yet his ladder was firmly planted on the ground, and he often climbed down to decry oppression. These two impulses, however different, were resolved in Miró’s powerfully simple definition of an artist as “one who, amidst the silence of others, uses his voice to say something.”

This exhibition was organized by Tate Modern, London, in collaboration with Fundació Joan Miró, Barcelona, and in association with the National Gallery of Art, Washington.


ReFocus: Art of the ‘60s – Jacksonville – Florida

Roy Lichtenstein - Crak!, 1963-4 Silkscreen © Estate of Roy Lichtenstein - Private Collection


From January 28 to April 8, 2012 – Museum of Comtemporary Art – Jacksonville

ReFocus: Art of the 1960s delves into one of the seminal and radical periods of contemporary art. The arts—literature, art, dance, and theater—went through a fascinating period of growth and change during the 1960s. New, experimental art forms like pop art and happenings drew new public attention to artistic expression. Trends in the arts reflected both the turbulent social and political trends of the time and the influence of artists and writers of an earlier generation.

Jack Wolfe -Havana, 1961, Oil on canvas Collection of Jon and Molly Ott.


B
y the 1960s, America had been involved in some sort of military conflict for nearly three decades, and it affected how artists saw the world. The civil rights movement and the sexual revolution helped to expand participation in the arts, and these new participants brought fresh insights to the art they practiced. Join MOCA as it explores major movements of the decade: Pop Art, Op Art, Performance Art, Minimalism, Color Field Painting, Action Painting and Post-Painterly Abstraction. Experience master works by artists that defined a generation: Andy Warhol, Roy Lichtenstein, Willem de Kooning, Mark Rothko, Jasper Johns, and Robert Rauschenberg.

Museum Hours


My Mirrored Realm–Huang Ying Solo Exhibition – Beijing – China

Huang-Ying-My-Mirrored-Realm-Metamorphosi-No_1-2011-383x598


December 31, 2011 to January 16 , 2012 – Today Art Museum

Huang Ying always uses body and its images as the tool and carrier of her art. After her paintings got recognized, she devoted two years to art making with videos. Her creations, which combine scene shooting and post production, enable her to create her “virtual reflection of reality” freely.
The art of Huang Ying is a process of self-exploration. In this show, Huang Ying will use video to show us the possibility of multi-existence between the self and the environment. She puts the body in a virtual reality she created, and tries to establish and secure the existence of self in a world where the self has vanished. The reality her works depict is more like a retreat from the real world, a place of happiness and peace. However, this imagined place is a surreal, lonelier and more merciless world. This demonstrates the artists’ reflection on the reality of our commercial society, which is full of deceiving, cheating, eagerness for money and profit, and materialism.
In the world of Huang, the body has no particular identification, but rather is abstract and metaphysical. One will not resist or comply when he encounters the reality, but rather look for a subtle balance in the endless conflict between him and the environment, and even invade or infiltrate into the reality. All these interaction, adaptability and abstraction of the encounter between the individual and the environment reflect Huang’s eastern aesthetics which is explicit in her works. However she abandoned the traditional forms in her works, which is always associated with eastern aesthetics, and utilized various kinds of modern art languages and methods, such as cinematic methods, montage, narrative suspension, collage and synthesis methods and 3-D technologies, thus changed our perception of specific space and time, and achieved a unique combination of Chinese aesthetics and modern languages.
Huang Ying’s self-exploration is purposing a question: what on earth is the relationship between man and nature, and between man and the real world? This relationship broadens the concept of “body” from natural body to social body, scientific body, and moral body, thereby showing us the fact that the situation of an individual actually reflects the situation of the mankind.

Museum Hours


Sara VanDerBeek, Solo Show – Los Angeles – California

Sara VanDerBeek Western Costume, Aurora 2011 Digital C-print. 20 x 16 in. (50.8 x 40.6 cm). Courtesy the artist and Metro Pictures, New York.


September 10, 2011 to January 8, 2012 – The Hammer Museum

For the past several years, Sara VanDerBeek has explored the relationship between photographic imagery and sculptural forms. Working with a large archive of historical and personal images, she builds photographic assemblages in her studio and captures them in singular images. Recently, she has been shooting photos in American cities that carry particular personal, historical, or political meaning for her, including Detroit and Baltimore. Invited by the Hammer to participate in our Artist Residency Program, VanDerBeek spent several weeks in Los Angeles over the past year. The works included in her Hammer Project have grown out this residency and offer a particular view into our city. In the past, VanDerBeek’s sculptures have been built in order to be photographed, and for the first time, she will be presenting sculptures in the gallery alongside her photographs. Additionally, she has designed an installation within which the works will be presented—part stage-set, part studio, part imagined space. Resisting the iconic or spectacular, the works in the exhibition distill VanDerBeek’s experiences of Los Angeles and operate in the boundary between abstraction and representation. While touching upon various locations and attributes that define our city—from the diverse landscape to the region’s indigenous people, from Hollywood to community theater—the sculptures and photographs are primarily concerned with movement, materialty, and mark-making.

Sara VanDerBeek was born in Baltimore in 1976 and lives in New York City. She received her BFA from Cooper Union School of Art and Science in New York City in 1998. VanDerBeek has had one-person exhibitions at The Whitney Museum of American Art, New York (2010); Altman Siegel, San Francisco (2010): The Approach, London (2008); and D’Amelio Terras, New York (2006). Her work has been included in numerous group exhibitions, including The Anxiety of Photography, Aspen Arts Museum, Aspen; Knight’s Move, SculptureCenter, Long Island City; Image Transfer, Pictures in a Remix Culture, Henry Art Gallery, Seattle; Haunted: Contemporary Photography/Video/Performance at the Solomon R. Guggenheim Museum, New York; New Photography 2009 at the Museum of Modern Art, New York; Amazement Park: Stan, Sara and Johannes VanDerBeek, The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs; The Reach of Realism, Museum of Contemporary Art, North Miami; and The Library of Babel / In and Out of Place, Zabludowicz Collection, London.

Museum Hours


Eli Bornowsky: Walking, Square, Cylinder, Plane – Vancouver – British Colombia – Canada

Theory (Plain), 2010.Oil on canvas, 78" x 60"Courtesy the artist


November 26 – January 22, 2011 – The Western Front

Walking, Square, Cylinder, Plane features a new body of paintings that have come out of Eli Bornowsky’s dedicated studio practice in the past six months. Compared to his previous works, a turn can be seen in the artist’s output. The newer works have expanded in size and visual vocabulary. Previously, Bornowsky’s canvases assumed a relatively polite size and played on the repetition of similar geometric motifs, most notably the circle, with slight and energetic variations in size, texture and colouring. What connects his older and newer work is an obvious concern with the optical movement that each image is able to create in the eyes of its viewer.

These paintings by Bornowsky have grown not only in noticeable size, but also in terms of their demanding presence. The larger paintings ask for a lot of attention, as a play between several visual vocabularies takes place. Drawing from his early education as an illustrator, a field of black and white scribbled abstraction is a constant visual ground in each work in the exhibition. Noticeably in each painting, a confidently coloured stripe, approximately one quarter of the width of the canvas, vertically stretches across either the left or right hand side or horizontally along the bottom field. A third and more varied motif of a figure rests between or on top of these compositions. A cartoon like purple foot, an irregular and textured shape or a small box containing its own miniature landscape, are just some of the figures that seem to offer concrete positioning for the eye. Each large canvas is crowned with an accompanying smaller canvas, which is positioned in no repeatable method, except to say that they rest above. These smaller canvases recall Bornowsky’s older works, both in size and content, but they further obfuscate the visual conversation that happens throughout each painting. The companion canvases introduce a sensation of both belonging and foreignness. They are a curious and constant reminder for you to go back, look again and once more negotiate the multiple grounds and fields that each work contains.

Gallery Hours


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