7 LATINO ART EXHIBITS TO SEE NOW BEFORE THEY CLOSE!
7 LATINO ART EXHIBITS TO SEE NOW BEFORE THEY CLOSE!Por Alex Guerrero.
Estas 7 exhibiciones cierran pronto y deben estar en tu lista de 'Must do!'. Las muestras nos llevan desde Pablo Picasso y su relación personal con sus esculturas, hasta la Antarctica, una muestra con un llamado ecológico y social. Entre ellas tenemos la obra visionaria del modernismo abstracto del Maestro uruguayo Torres García; además, Concrete Cuba mostrando el trabajo de Los 10, un grupo de artistas concretistas cubanos del siglo 20.
También tenemos la obra de la escritora, artista y activista cubana Coco Fusco y la también artista cubana Diana Fonseca Quiñones. Cada una de estas exhibiciones debe estar en tu lista de prioridades si estas por NYC!.
Estos listados pasarán pronto a ser contenido exclusivo para subscriptores. Te invito pues a subscribirte a nuestra mailing list (aquí) para que no pierdas acceso a este material en el futuro. Y por favor compártelo!. Siempre se te agradece.
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| Foto de Alex Guerrero ®2016 |
2 - Joaquín Torres-García: The Arcadian Modern > Una retrospectiva que busca re-examinar el trabajo Pictográfico-Constructivista y de Abstracción Sintética del influyente artista uruguayo. En el Museo de Arte Moderno. Hasta Febrero 15 > @MuseumModernArt
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5- La obra de la artista cubana Coco Fusco se presenta en la Galería Alexander Gray de Chelsea hasta el 6 de Febrero. Analizando la censura sistemática de la revolución cubana a través de videos y una instalación con documentos oficiales imponiendo un listado de libros prohibidos. Una mirada profunda de las políticas de identidad, poder militar y raza antes, durante y post revolución > @agreyassociates.
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7- La muestra One After Another de Saul Sánchez se presenta en la Galería Praxis hasta el 20 de Febrero. Explorando la dialéctica del Construtivismo alrededor de la forma y la superficie, en este caso, concentrándose en el lienzo y en las lineas rectas, horizontales y verticales, que forman un cuadrado > @PraxisNYC
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Comparte! Visítanos en www.LatinoEvents.me y síguenos en Twitter @LatinoEvents para mantenerte informado de lo mejor de nuestra cultura!
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5 TOP LATINO EXHIBITS TO SEE IN NYC, AHORA!
Estas 5 exhibiciones presentan diversas facetas de nuestro acervo cultural que va desde las esculturas de Pablo Picasso a Antarctica, una muestra con sentido ecológico y social. Entre ellas tenemos la obra visionaria del modernismo abstracto del Maestro uruguayo Torres García; la muestra Boundless Reality sobre los exploradores que recorrieron Latinoamérica durante el siglo 19; y Concrete Cuba mostrando el trabajo de Los 10, un grupo de artistas concretistas cubanos del siglo 20. Cada una de estas exhibiciones debe estar en tu lista de prioridades si estas por NYC!.
Estos listados pasarán pronto a ser contenido exclusivo para subscriptores. Te invito pues a subscribirte a nuestra mailing list (aquí) para que no pierdas acceso a este material en el futuro. Y por favor compártelo!. Siempre se te agradece.
No te pierdas estas 5 exhibiciones:
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| Foto de Alex Guerrero ®2016 |
2- Picasso Sculpture: Su trabajo tridimensional. Más allá de la imagen de Picasso como el pintor por antonomasia, esta muestra nos da un entendimiento más completo de su diversidad y poder creativo. En el Museo de Arte Moderno. Hasta Febrero 7 > @MuseumModernArt
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TOP 10 LATINO ART EXHIBITS TO SEE IN NYC NOW!
Cada una de estas exhibiciones debe estar en tu lista de prioridades este otoño-invierno si estas por NYC!. O síguenos en twiter @LatinoEvents y te las mostramos!. Estos listados pasarán pronto a ser contenido exclusivo para subscriptores. Les invito pues a subscribirse a nuestra mailing list (aquí) para que no pierdan acceso a este material.
Incorporo algunos comentarios de las muestras que he podido ver hasta ahora. Disfruten!.
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| Foto de Alex Guerrero ®2015 |
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| Foto de Alex Guerrero ®2015 |
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| Foto de Alex Guerrero ®2015 |
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| Foto de Alex Guerrero ®2015 |
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| Foto de Alex Guerrero ®2015 |
Visítanos en www.LatinoEvents.me y Síguenos en Twitter @LatinoEvents para mantenerte informado de lo mejor de nuestra cultura!
TOP 5 UPCOMING LATINO ART EXHIBITS IN NYC
El otoño ya no se ve tan lejano en Nueva York. Y tampoco la oportunidad de ver estas 5 fantásticas nuevas exhibiciones a partir de septiembre.
2- Impressionism & the Caribbean: Francisco Oller & His Transatlantic World > La muestra del artista de Puerto Rico abre en el Museo de Brooklyn el 2 Octubre > @brooklynmuseum
LAST CHANCE! > 5 TOP ART EXHIBITS
Este fin de semana es, literalmente, la última oportunidad de ver algunas de los mejores muestras de arte centradas en talento latino con temas tan importantes como el cambio climático, la influencia del arte en la arquitectura y diseño de América Latina y la primera retrospectiva de la artista venezolana Marisol.
El Greco y la celebración de los 400 años de su genio también está en Nueva York, asi como también Francisco de Goya, Pablo Picasso, Juan Gris, Salvador Dalí y Paul Cézanne. Todos ellos han dominado el escenario artístico neoyorquino desde comienzos del otoño y seguirán haciéndolo hasta mediados de Enero y comienzos de Febrero. Por ahora, no se pierdan la oportunidad de disfrutar de cerca las obras maestras que cierran este fin de semana, Enero 11.
Aqui les va la lista:
En NYC:
1- GENESIS > Sebastian Salgado's Photograhs: Awe Inspiring Call to Arms: Let's reverse the damage to our planet! > El Centro Internacional de Fotografía @ICPhotog @SSalgadoGenesis
2- MARISOL: Sculptures & Works on Paper > Disfruta las magníficas esculturas de la artista venezolana: Magritte IV, Picasso, El Funeral, Mi Mama y Yo! > El Museo del Barrio @elmuseo
3- BEYOND THE SUPERSQUARE > Influencia del arte popular en el diseño y la arquitectura en America Latina > El Bronx Museum @BronxMuseum
4- IN PRINT / IMPRINT > WORKS FROM THE PERMANENT COLLECTION > @BronxMuseum
En Miami:
1- Jardim Botânico > Vean la vibrante obra de la brasileña Beatriz Milhazes > Pérez Museum of Art @pamm
Para mas eventos, síguenos en twitter > @LatinoEvents
NY ESSENTIALS: TOP ART SPRING 2013 UPDATED!
PRIMAVERA!!!!!!! y Top Art es la perfecta combinación para una temporada plena en Nueva York. Aqui les tengo las recomendaciones actualizadas para el resto de la temporada: La Biblioteca Pública de NYC presenta Back Tomorrow en honor a Federico García Lorca y su Poeta en Nueva York; Velasquez en todo su gloria se presenta en el Museo Metropolitano; La relación entre Solar y Borges se analiza en la Americas Society y Superreal continua en El Museo del Barrio.
LO NUEVO
In June 1929, at a time when young writers and painters dreamed of living in Paris, Federico García Lorca (1898–1936), Spain’s greatest modern poet and playwright, broke boldly with tradition and sailed for New York. His nine months here, followed by three months in Havana, changed his vision of poetry, the theater, and the social role of the artist.
Lorca came to New York to study English but devoted himself instead to writing Poet in New York, a howl of protest against racial bigotry, mindless consumption, and the adoration of technology. “What we call civilization, he called slime and wire,” the critic V. S. Pritchett once wrote. But Lorca’s book reaches beyond New York—“this maddening, boisterous Babel”—into the depths of the psyche, in a search for wholeness and redemption.
In 1936, the poet left the manuscript of Poet in New York on the desk of his Madrid publisher with a note saying he would be “back tomorrow,” probably to discuss final details. He never returned. Weeks later, at the outbreak of the Spanish Civil War, he was brutally murdered by fascist elements in Granada, his body thrown into an unmarked mass grave. The book was published posthumously in 1940, but the manuscript mysteriously disappeared, lost to scholars for decades. The Fundación Federico García Lorca in Madrid and The New York Public Library exhibit it now for the first time, together with drawings, photographs, letters, and mementos—traces of a Poet in New York . . . and of New York in a poet.
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Rendering of the Seagream Building in Alexandre Arrechea's
2013 No Limits series for Park Avenue Malls. |
* Velázquez's Portrait of Francesco I d'Este > A Masterpiece from the Galleria Estense, Modena > April 16–July 14 > Met Museum > Velazquez.
This will be the first solo exhibition in New York dedicated to painter, writer, and occultist Xul Solar, born Oscar Agustín Alejandro Schulz Solari (1887-1963). The show will offer an in-depth examination of the public and private aspects of Solar's long friendship and vigorous exchange of ideas with famed writer and fellow Argentine Jorge Luis Borges. The central concept of the exhibition will explore how a friendship—a private, intimate affair—can affect public cultural and intellectual discourse. Solar and Borges' influences on each other led to groundbreaking artistic work produced by them individually and collaboratively. The exhibition will feature a selection of Xul Solar's exquisite early paintings as well as collaborative publications, translations, objects, and artistic interventions in books by the two friends. Public programs will include cross-disciplinary events and a panel discussion featuring Maria Kodama, Sergio Baur, Patricia Artundo, and Silvia Molloy, as well as poetry readings by Lila Zemborain and Cecilia Vicuña. Americas Society will also produce a fully illustrated publication to accompany the exhibition.
Solar and Borges met in 1924 after both had independently traveled throughout Europe where they spent a decade after World War I, and returned to Buenos Aires just when a literary and artistic avant-garde movement was beginning to take hold. They were part of the circle of writers and artists associated with the avant-garde magazine Martin Fierro, which was active until 1927. The martinfierristas were part of the Argentine generation whose artistic and political efforts were focused on defining and exploring their national identity through cosmopolitan means. They embraced a universal identity linked to Europe, but also sought to establish a uniquely Argentine national identity grounded in the rural mythology of the gauchos, the iconic Argentine cattlemen. These concepts are central to Borges' early work. Solar's paintings include a number of nationalist symbols dating back to pre-Hispanic times as well as words from two languages he invented to be Argentine, yet universal. Another major theme in Solar’s work is spiritualism and fantasy. He developed a method of painting with watercolors and crayons which he used to create colorful and fantastical works that blended metaphysical ideas about the invisible world with his interests in constructing a national identity and reinventing language.
The sowing hands don’t try to control the shapes that they create, they become guardians of their quiet growth through the darning, allowing chance to intervene in the process.
ALSO: TIMETRACES > Esteban Pastorino > Mayo 16 - Junio 22.
Pastorino’s photos display the coexistence of technique, the conjuring-up of childhood, the doubt regarding the veracity of the original subject and a call to reflection on the scenery that surrounds us. Ultimately, they stand as a proposal to distort the representation based on cameras and lenses which provide a high level of hyperrealism and manage to achieve a high level of fiction. Every attempt to encompass and unveil what the human eye cannot see, drives us further away from reality. Thus, the stereoscopic techniques turn landscapes into unreal sceneries in which the first aspect that becomes visible is their theatricality. From this viewpoint, Pastorino’s work is in line with the perception of reality as an imitation upheld by postmodernism, maintains the allure of images and allows us to go a step beyond mere technical spectacularity, setting us into that territory of artifice, dreams and visions cherished by the Baroque. It even gives a twist to the famous statement by the American photographer Gary Winogrand, which has become a motto for many artists: “I photograph to see what the world looks like in photographs”. Pastorino seems to follow Oscar Wilde’s words, “The true mystery of the world is the visible, not the invisible”, down to the smallest detail. A suitable point of view or the right equipment will suffice to represent it as something alien to our inertial perception of things.
Paris, 1931
Oil and charcoal on canvas, 111 x 81 cm
Private collection © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York
Photo: Béatrice Hatala
NY ESSENTIALS : TOP ART SPRING 2013
PRIMAVERA!!!!!!! y Top Art es la perfecta combinación para una temporada plena en Nueva York. Aqui les tengo las recomendaciones actualizadas para el resto de la temporada: Velasquez en todo su gloria se presenta en el Museo Metropolitano; La relación entre Solar y Borges se analiza en la Americas Society y Superreal continua en El Museo del Barrio.
El Museo del Bronx celebra sus 40 años de fundado con Honey, I Rearranged The Collection; American Legends: From Calder tO’Keeffe sigue en el Whitney y las fotografías de CHIM aún se pueden ver en el ICP. En el Guggenheim sigue Gutai y en el Frick veremos a Piero della Francesca, figura fundacional del Renacimiento. La Galería Magnan Metz presenta a Alexandre Arrechea al aire libre, en el Mall de la Park Avenue.
También siguen: Picasso Black and White, presentando una faceta poco conocida del maestro español, se encuentra ahora en Houston; El icónico The Scream de Edvard Munch en el MoMA y Manolo Valdés sigue en el Jardín Botánico.
LO NUEVO
* Velázquez's Portrait of Francesco I d'Este > A Masterpiece from the Galleria Estense, Modena > April 16–July 14 > Met Museum > Velazquez.
Velázquez (Diego Rodríguez de Silva y Velázquez) (Spanish, 1599–1660). Duke Francesco I d'Este, 1638. Oil on canvas. Galleria Estense, Modena © su concessione del Ministero per i Beni e le Attività Culturali.
Among the most distinctive portraits by Diego Velázquez is one he painted of Francesco I d'Este (1610–58), the Duke of Modena, during the duke's visit to Madrid in 1638 to secure the support of Philip IV. The duke is shown in armor, wearing a red sash, his head turned toward the viewer. It is a work that conveys a quality of arrogance and sensuality, and is a high watermark in the history of baroque portraiture, while also illustrating the importance of Velázquez's portraits to Spanish diplomacy. In 1843 the painting was acquired by the Galleria Estense—one of the most prestigious of Italy's regional museums—in Modena, Italy, and it has never before been lent to an institution in the United States. This special, three-month loan coincides with the re-installation of the Metropolitan's collection of Old Master paintings. It not only makes accessible to an American public one of the least known of Velázquez's works, but also calls attention to the severe damage suffered throughout the Italian region of Emilia Romagna after a devastating earthquake in May 2012. The Galleria Estense has been temporarily closed due to the damage it sustained.
* Xul Solar and Jorge Luis Borges: The Art of Friendship > Abril 18 - Julio 20 > Americas Society Gallery > ASG.
This will be the first solo exhibition in New York dedicated to painter, writer, and occultist Xul Solar, born Oscar Agustín Alejandro Schulz Solari (1887-1963). The show will offer an in-depth examination of the public and private aspects of Solar's long friendship and vigorous exchange of ideas with famed writer and fellow Argentine Jorge Luis Borges. The central concept of the exhibition will explore how a friendship—a private, intimate affair—can affect public cultural and intellectual discourse. Solar and Borges' influences on each other led to groundbreaking artistic work produced by them individually and collaboratively. The exhibition will feature a selection of Xul Solar's exquisite early paintings as well as collaborative publications, translations, objects, and artistic interventions in books by the two friends. Public programs will include cross-disciplinary events and a panel discussion featuring Maria Kodama, Sergio Baur, Patricia Artundo, and Silvia Molloy, as well as poetry readings by Lila Zemborain and Cecilia Vicuña. Americas Society will also produce a fully illustrated publication to accompany the exhibition.
Solar and Borges met in 1924 after both had independently traveled throughout Europe where they spent a decade after World War I, and returned to Buenos Aires just when a literary and artistic avant-garde movement was beginning to take hold. They were part of the circle of writers and artists associated with the avant-garde magazine Martin Fierro, which was active until 1927. The martinfierristas were part of the Argentine generation whose artistic and political efforts were focused on defining and exploring their national identity through cosmopolitan means. They embraced a universal identity linked to Europe, but also sought to establish a uniquely Argentine national identity grounded in the rural mythology of the gauchos, the iconic Argentine cattlemen. These concepts are central to Borges' early work. Solar's paintings include a number of nationalist symbols dating back to pre-Hispanic times as well as words from two languages he invented to be Argentine, yet universal. Another major theme in Solar’s work is spiritualism and fantasy. He developed a method of painting with watercolors and crayons which he used to create colorful and fantastical works that blended metaphysical ideas about the invisible world with his interests in constructing a national identity and reinventing language.
* Darned Bodies : Josefina Concha > Hasta Mayo 11 > Galería Praxis Art > Concha.
Nature is the main source of inspiration: its resemblance to the human body, the exuberance of color and form, the vulnerability of live matter, the visual and symbolic richness of the elements, these are the subjects which inspire this body of work. By accumulation and saturation, the thread acquires volume, giving birth to tridimensional forms and infinite shades of color.
The sowing hands don’t try to control the shapes that they create, they become guardians of their quiet growth through the darning, allowing chance to intervene in the process.
* superreal: alternative realities in photography and video > Museo de El Barrio > Hasta Mayo 19 > superreal.
This exhibition explores the layered meanings and interpretations of the real as it is represented in photography and video art. Drawing on the presentation of the landscape, the human figure, the world of architecture, various objects and natural phenomena, these images explore alternative realities despite their use of the photographic or video image, traditionally understood as a reflection of actuality. superreal features works that challenge the notion of the camera’s lens as presenting visual accuracy and explores the subversion of narrative form, the creation of a parallel reality, surreal or super-real encounters with objects, people and environments. Partial, hidden, or enigmatic meanings are explored by the artists gathered here. Iconic works by significant photographers and video artists are included along with newer works by younger artists. The incisive points of view and varied methodologies seen here allow the artists to create works that explore the limits of narrative form and its relationship to reality. The works, ranging in dates from the early 1960s to the present, reveal the various ways in which the real is emphasized and subverted, revealed and obscured.
Foto: Betsabee Romero (Mexico, 1963)Ayate con Perro (Ayate fabric with dog), 2005. Chromogenic print, 22 x 40 in. El Museo del Barrio, Gift of the artist and Ramis Barquet
* 200 Años de Identidad: Visión del Arte Iberoamericano > Hasta Abril 24 > Instituto Cervantes > 200.
El presente proyecto expositivo tiene como finalidad integrar la Cultura Iberoamericana en un solo lenguaje, destacando la identidad cultural. Una integración de España y las diversas culturas Hispanoamericanas. La presente muestra de arte esta conformada por un representante de cada país que gozando de prestigio y trayectoria artística, representará en el Bicentenario del tribunal Supremo de España.
* ALEXANDRE ARRECHEA : NO LIMITS > Park Avenue Malls > Hasta Junio 9.
Rendering of the Seagream Building in Alexandre Arrechea's
2013 No Limits series for Park Avenue Malls.
Playing on the idea of elastic architecture as a metaphor for the challenges and opportunities of shifting conditions and new realities, No Limits will present 10 massive sculptures embodying New York's most prominent buildings. Iconic landmarks represented will include: the Chrysler Building, Citicorp Center, Empire State Building, Flatiron building, Helmsley Building, MetLife Building, Metropolitan Life Insurance Company Tower, Seagram Building, Sherry Netherland, and US Courthouse. The sculptures, which will appear to roll, wind, and spin their way down Park Avenue from 53rd to 67th Street, will reach towering heights of up to 20 feet.
Throughout his work, artist Alexandre Arrechea uses sculpture, watercolor and video to ponder the idea of destabilizing traditional concepts held about icons and their function in society. The art is meant to create a dialogue with the public that raises questions of control, power, surveillance and one's role within these categories. Through iconic architectural buildings and urban spaces, Arrechea plays and entices the viewer to explore this concept.
ALSO: Sofia Maldonado : World Crisis > Magnan Metz Gallery > Abril 25 - Junio 1.
* Raw/Cooked: Marela Zacarias > Brooklyn Museum > Hasta Abril 28 > Zacarias.
The second season of Raw/Cooked presents a series of four exhibitions by under-the-radar Brooklyn artists who have been invited by the Brooklyn Museum with support from Bloomberg to show their first major museum exhibitions. The artists are given the opportunity to work with the Museum’s collection and to display in spaces of their choosing, however unconventional.
The four artists in the series were recommended by an advisory board of well-known Brooklyn artists, including Michael Joo, Paul Ramírez Jonas, Amy Sillman, and Mickalene Thomas, each of whom proposed several promising artists. Brooklyn Museum curator Eugenie Tsai made the final selections.
The seventh exhibition in the Raw/Cooked series, titledSupple Beat, presents the work of Gowanus-based artist Marela Zacarias. Recommended by Ramírez Jonas, Zacarias has created four site-specific sculptural works inspired by the Williamsburg Murals, uniting her interests in abstract forms, the history of objects, and urban renewal. Her large-scale pieces appear to be climbing the walls of the Museum’s first-floor lobby and Great Hall, interacting with the architecture as if they were murals come to life. Zacarias draws on the concept of resilience implied by the Williamsburg Murals and explores the idea of bouncing back from adversity, relating to the history of the public housing project for which the murals were commissioned and the history of the works themselves. She constructs her unique sculptural forms from window screens and joint compound, which she then paints with original patterns. In Supple Beat, Zacarias’s patterns are inspired by the related murals’ unique color palettes and geometric forms. Born and raised in Mexico City, Zacarias has painted more than thirty large-scale public murals. She holds an MFA from Hunter College.
Foto: Marela Zacarias at work on 163–213 Manhattan. Photo courtesy of Pierce Jackson, 2013
* HONEY, I REARRANGED THE COLLECTION > Celebrating 40 years > Hasta Junio 2 > BRONX.
Created in 1986, the Bronx Museum Permanent Collection has assembled over the years a remarkable group of artworks that convey not only personal narratives but also incisive insights onto contemporary life. For this exhibition, we took inspiration from Allen Ruppersberg's ongoing series Honey, I rearranged the Collection initiated in 2000 and that puts in check the role of institutions, curators and collectors as the bearers of tradition and arbiters of taste. Overlaying different traditions, styles, and narratives, Honey, I rearranged the Collection presents an idea of museum as a restless play of combination.
Honey, I Rearranged the Collection features artworks from the 40th Anniversary's 40 Years, 40 Gifts campaign, which has received support from Ford Foundation and the Jacques and Natasha Gelman Trust, as well as individual funders.
* Gutai: Splendid Playground > Hasta Mayo 8 > Guggenheim Museum > GUTAI.
Yoshihara Jirō. Circle, 1971. Oil on canvas 182 x 182 cm.
The Miyagi Prefectural Museum of Art, Sendai, Japan
Gutai: Splendid Playground, a retrospective of the Gutai Art Association (1954–72), the radically inventive and influential Japanese artistic collective whose innovative and playful approaches to installation and performance yielded one of the most important international avant-garde movements to emerge after World War II. Based on fifteen years of research, Gutai: Splendid Playground provides a critical examination of both iconic and lesser-known examples of the collective's dynamic output over its two decade history and explores the full spectrum of Gutai’s creative production: painting, performance, installation art, sound art, experimental film, kinetic art, light art, and environment art. Gutai: Splendid Playground is the first North American museum exhibition devoted to the Gutai group and offers a comprehensive interpretation of the convention-defying movement.
The exhibition also includes documentary films of the group’s historic outdoor exhibitions and stage events and offers a focus on their eponymous journal as a platform for international artistic exchange. A centerpiece of Gutai: Splendid Playground is a site-specific commission of Work (Water)(1956/2011) by the late Motonaga Sadamasa. Prior to his death in 2011, Motonaga reimagined his iconic early Gutai outdoor installation, made of plastic tubes filled with colored water, for the Guggenheim rotunda.
* Piero della Francesca in America > Hasta Mayo 19 > The Frick Collection > PIERO.
Piero della Francesca (c. 1411/13–1492), Madonna and Child Attended by Angels, c. 1470s, oil (and tempera?) on wood transferred from panel, The Sterling and Francine Clark Art Institute.
Revered in his own time as a "monarch" of painting, Piero della Francesca (1411/13–1492) is acknowledged today as a founding figure of the Italian Renaissance. The Frick Collection will present the first monographic exhibition in the United States dedicated to the artist. It brings together seven works by Piero della Francesca, including six panels from the Sant'Agostino altarpiece — the largest number from this masterwork ever reassembled. They will be joined by the Virgin and Child Enthroned with Attendant Angels, his only intact altarpiece in this country. Piero della Francesca in America is organized by guest curator and former Andrew W. Mellon Fellow Nathaniel Silver. The related catalogue will include essays by James Banker, Professor Emeritus, North Carolina State University; Machtelt Israëls, Guest Researcher, University of Amsterdam; Elena Squillantini, masters candidate, Università degli Studi di Firenze; and Giacomo Guazzini, doctoral candidate, Scuola Normale Superiore di Pisa.
Exclusive to the Frick, where it will be shown in the Oval Room, this important exhibition will also be accompanied by a rich and varied schedule of lectures, gallery talks, and seminars.
* We Went Back: Photographs from Europe 1933–1956 by Chim > Hasta Mayo 5 > ICP > CHIM.
Chim, [Children playing on Omaha Beach, Normandy, France], 1947. © Chim (David Seymour), Magnum Photos.
This retrospective exhibition traces the development of Chim's career as an intellectually engaged photojournalist, placing his life and work in the broader context of 1930s–50s photography and European politics. Born Dawid Szymin in Warsaw, Chim (who after WWII published under the name David Seymour) began his career in 1933 photographing for leftist magazines in Paris. In 1936, along with his friends Robert Capa and Gerda Taro, Chim traveled to Spain to photograph the civil war in support of the Republican side, publishing regularly in all the major European and American picture magazines. Chim was an astute observer of 20th-century European political affairs, workers' rights, and culture, from the beginnings of the antifascist struggle to the rebuilding of countries ravaged by World War II. The exhibition will showcase over 120 mainly vintage black-and white and color prints, publications in which his work originally appeared, contact sheets, and personal material. The exhibition is organized by ICP Curator Cynthia Young.
+ ALSO at ICP: Roman Vishniac Rediscovered.
Roman Vishniac Rediscovered brings together four decades of work by an extraordinarily versatile and innovative photographer for the first time. Vishniac (1897–1990) created the most widely recognized and reproduced photographic record of Jewish life in Eastern Europe between the two World Wars.
* American Legends: From Calder to O’Keeffe > Ongoing > Whitney Museum > LEGENDS.
Stuart Davis (1894–1964), Owh! in San Paõ, 1951. Oil on canvas, 52 1/4 × 41 3/4 in. (132.7 × 106 cm). Whitney Museum of American Art, New York; purchase 52.2. © Estate of Stuart Davis / Licensed by VAGA, New York, NY.
American Legends: From Calder to O’Keeffe showcases the Whitney’s deep holdings of artwork from the first half of the twentieth century by the eighteen leading artists: Oscar Bluemner, Charles Burchfield, Paul Cadmus, Alexander Calder, Joseph Cornell, Ralston Crawford, Stuart Davis, Arthur Dove, Charles Demuth, Marsden Hartley, Edward Hopper, Gaston Lachaise, Jacob Lawrence, John Marin, Reginald Marsh, Elie Nadelman, Georgia O’Keeffe, and Joseph Stella. Organized as one- and two-artist presentations, this exhibition provides a survey of each artist’s work across a range of mediums.American Legends is organized by Barbara Haskell, Curator.
ON VIEW NOW
As part of this rotating exhibition, works by these artists are on view at the Museum through May 2013: Oscar Bluemner, Charles Burchfield, Paul Cadmus, Alexander Calder, Joseph Cornell, Ralston Crawford, Stuart Davis, Charles Demuth, Marsden Hartley, Edward Hopper, Jacob Lawrence, Reginald Marsh, Elie Nadelman, Georgia O’Keeffe, and Joseph Stella.
MORE EXHIBITS
* Manolo Valdés : Monumental Sculptures > Hasta Mayo 23, 2013 >> The New York Botanical Garden > VALDES.
Drawing inspiration from the natural landscape of the Botanical Garden, seven towering sculptures by acclaimed Spanish artist Manolo Valdés showcase the relationship between art and nature. The sculptures have been sited to take maximum advantage of the Garden's dramatic views with special attention given to the visual impact of the changing seasons. The artist has designed the installation to include surprising changes in the visual character of the sculptures throughout the seasons.
* The Scream de Edvard Munch > MoMA > Hasta Abril 29 > Munch.
Edvard Munch. The Scream. Pastel on board. 1895. © 2012 The Munch Museum/The Munch-Ellingsen Group/Artists Rights Society (ARS), New York.
Edvard Munch’s iconic The Scream (1895) is among the most celebrated and recognized images in art history. Of the four versions of The Scream made by Munch between 1893 and 1910, this pastel-on-board from 1895 is the only one remaining in private hands; the three other versions are in the collections of museums in Norway. The Scream is being lent by a private collector.
A haunting rendition of a hairless figure on a bridge under a yellow-orange sky, The Scream has captured the popular imagination since the time of its making. The image was originally conceived by Munch as part of his epic Frieze of Life series, which explored the progression of modern life by focusing on the themes of love, angst, and death. Especially concerned with the expressive representation of emotions and personal relationships, Munch was associated with the international development of Symbolism during the 1890s and recognized as a precursor of 20th-century Expressionism.
* HISPANIC SOCIETY >> Vision of Spain de Joaquín Sorolla > Permanent collection on view > Audubon Terrace > The Hispanic Society of America.
Vision of Spain. Detail. Joaquín Sorolla.
* Picasso Black and White > Hasta Mayo 17 > Museum of Fine Arts, Houston, Texas. > B&W.
Marie-Thérèse, Face and Profile (Marie-Thérèse, face et profil)
Paris, 1931
Oil and charcoal on canvas, 111 x 81 cm
Private collection © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York
Photo: Béatrice Hatala
Picasso Black and White, the first major exhibition to focus on the artist’s lifelong exploration of a black-and-white palette throughout his career, will be presented at Museum of Fine Arts, Houston. The exhibition features 118 paintings, sculptures, and works on paper from 1904 to 1971, and will offer new and striking insights into Picasso’s vision and working methods. This chronological presentation includes significant loans—many of which have not been exhibited or published before—drawn from museum, private, and public collections across Europe and the United States, including numerous works from the Picasso family.
