Art Knowledge News - Keeping You in Touch with the World of Art...

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• The Schirn Kunsthalle Shows a Comprehensive Solo Exhibition of Francesco Clemente <#1>
• The Museum Boijmans Van Beuningen Exhibits "Van Gogh & Roulin" <#2>
• Boris Krasnov's Giant Russian Dolls at Afimall City in Moscow <#3>
• Peninsula Fine Arts Center Shows Gloria Coker Solo Exhibition <#4>
• Dutch National Rijksmuseum Museum Renovation in Full Swing ~ to Reopen in 2013 <#5>
• The Montreal Museum of Fine Arts Opens the First International Exhibition Devoted to Jean Paul Gaultier <#6>
• The New Mexico Museum of Art Shows The Prints of Gustave Baumann <#7>
• SCOPE Basel 2011 Returns with Its Cutting Edge Contemporary Art <#8>
• ZKM Center for Art and Media in Karlsruhe Celebrates 'Car Culture' <#9>
• The Irvine Museum Shows Works by California's Bohemian Club Painters <#10>
• Images from Final Roll of Kodachrome Donated to George Eastman House <#11>
• The Dallas Art Museum ~ A Texan 'Round-Up' Of Fine Art <#12>
• Loss of Control: Crossing the Boundaries to Art from Félicien Rops to the Present <#13>
• Tate Liverpool to display Sculpture from the Tate Collection <#14>
• Radford U. Art Museum Show <#15>
• International Group Exhibition at the Irish Museum of Modern Art <#16>
• Portraits & Still Lifes by Vera Mercer at Kommunale Galerie in Berlin <#17>
• Schirn Kunsthalle in Frankfurt Celebrates 25th Anniversary With An Exhibition of "Surreal Objects ~ Three Dimensional Works From Dali to Man Ray" <#18>
• The Fundacion Juan March opens 'Conceptual Art in Moscow, 1960-1990' <#19>
• Art Knowledge News Presents "This Week In Review" <#20>

Frankfurt.- The Schirn Kunsthalle is  pleased to present a comprehensive solo exhibition, with monumental works by the  Italian painter Francesco Clemente. "Francisco  Clemente: Palimpsest" is on view now and remains on exhibit through September  4th. Francesco Clemente, born in 1952 in Naples, has pioneered an extraordinary  pictorial language that draws on a variety of timeless symbols, myths,  cultures, and philosophies. Frequently charged with eroticism, his oeuvre also  has a profound religious quality. The variety of mediums which he employs and  the subject matter of his work are deeply informed by Clemente’s nomadic  artistic life. Since the 1970s he has continually travelled between Italy and  India, adding New York City to his preferred places of residency since 1980.  This exhibition at the Schirn Kunsthalle is the first comprehensive showing of  his paintings and drawings in Germany in more than a quarter century. The  exhibition brings together some forty works made between 1978 and  2011.

Taking as its starting point Clemente’s early works on paper, the show also  includes both large format paintings and more recent, spectacular monumental  watercolours. Conceptualized in close cooperation with the artist, the  exhibition brings to light for the first time the close resemblance of  Clemente’s aesthetic to the manner in which references are actualized in a  palimpsest: effacement, partial erasure, and superimposition of writing  surfaces. In so doing it reveals a concern at the centre of his oeuvre:  Clemente’s conviction in his role as an artist as a kind of universal  witness of consciousness. Realized in a variety of media such as pastel, fresco,  oil, gouache and watercolor, Clemente’s work interweaves traditional likenesses  and narratives with more personal motifs and stories. In his paintings forms and  lines seem to emerge and recede forming multilayered records of experience. This  aesthetic is quite similar to the technique of the palimpsest, employed in  Antiquity and the Middle Ages. Applied on used scrolls of parchment, it involved  scraping, erasing and washing the older manuscripts to yield a clean sheet for  reuse, although in fact traces of the original texts often remained  visible. The similarity of his method of working to a palimpsest is far from  coincidental. Instead such a technique points back to the origins of his  artistic inclinations. As Clemente recently put it: “The original impulse in my  life as an artist was to write and to break from writing into image.” His  concern with language was already evident at the young age of twelve, when a  collection of his poems, Castelli di Sabbia was published. Thereafter he studied  Greek and Latin in high school, before moving to Rome in 1970, where he  increasingly came to believe that art was the “last oral tradition alive in the  West.” It was then that he first saw it as his task to make work that had a  political consciousness was the call of the day.

Since then he has single-mindedly pursued giving form to images that might  help bring about an increased awareness of the need to break with established   notion of Self in order to expand awareness. It was this goal and his deep  interest in philosophy and spirituality that led Clemente to India for the first  time in 1973. He would spend more than half of the 1970s, at irregular  intervals, particularly in the southern city of Madras on the east coast,  present-day Chennai. He lived a simple life with actress Alba Primiceri, whom he  met in 1974 and married soon after. It wasn’t long before he had set up a  studio, begun to collaborate with local artists and exchange ideas with members  of the Theosophical Society there. In the late 1970s art critics increasingly  linked his work the so-called “Italian Transavantgarde.” Although the “group,”  which also included painters Sandro Chia, Enzo Cucchi and Mimmo Paladino,  attracted a great deal of international attention, Clemente soon disassociated  his work from theirs. Clemente visited New York for the first time in 1980. Soon  after arriving he not only began to collaborate with such writers as Allen Ginsberg and Robert Creeley, but the contemporary  composer Morton Feldman. In 1981 – at the same time  the so-called death of painting was being fervently proclaimed – Clemente  decided to explore even more intensively the possibilities of this medium. Part  of this activity resulted in his collaborations with Jean-Michel Basquiat and Andy  Warhol.

His non-conventional techniques of painting as well as his openness to  collaborating with other artists contributed to Clemente rapidly becoming a  rising star of the international art scene. His works were exhibited both at  documenta 7 in Kassel (1982) and the Venice Biennial (1988, 1993 and 1995). Solo  shows were held at such renowned institutions as the Nationalgalerie Berlin  (1984), Kestnergesellschaft in Hanover (1984/85), Centre  Georges Pompidou, Paris (1994), Solomon R. Guggenheim  Museum, New York (1999), and MADRE Museum, Naples (2009). The exhibition  “Francesco Clemente. Palimpsest” at Schirn Kunsthalle is divided into three  distinct gallery spaces. The first section is dedicated to three monumental  watercolors, collectively entitled “A History of the Heart in Three Rainbows”  (2009), each measuring over 18 meters long and 185 centimeters high. With their  scroll-like format and fluid, metamorphosing forms, the works, appear to be  almost natural, powerful palimpsests of the human spirit – landscapes, as it  were, of spiritual evolution. These large format watercolors, composed of  constantly changing layers of color, evoke various states of consciousness,  which ebb away only to then take on new dimensions. For the second gallery space  the artist has created a series of large, semi-abstract photographic images  transformed into a kind of “wallpaper.” Applied directly to the walls of the  Schirn rotunda and extending more than fourteen meters in length, it  features fragments of letters, objects, works and snapshots from his Broadway  studio in New York City. This “wallpaper” evokes the poetic and culturally  eclectic context from which Clemente’s art continues to emerge. In the third and  last gallery space visitors encounter some thirty of Clemente’s key works from  1978 to 2011.

More or less installed chronologically, they unfold as a kind of painted  palimpsest. At once epigrammatic and expansive, these works attest to the  artists’ continual processing of visual information in which some forms survive,  while others die out. Following the September 11, 2001 attack on the Twin Towers  in New York City, a site just a few blocks from Clemente’s studio, he  increasingly felt the urgency to continue making art that might help building  bridges between people and worlds. Such works as “For an History of Women”  (2009) and “Camouflage Paradise” (2010) push even further to the limit the  possibilities of using “contemplative languages still alive in spite of the  onslaught perpetrated by industrial society.” Their expanding and contracting  sequential like forms, articulate to his growing conviction in his role as an  artist as a kind of universal witness of consciousness. Far more than a mere  collagist, over the past 40 years Clemente has been steadily pioneering a new  kind of history painting with a quiet, yet insistent mediative power.

The Schirn Kunsthalle Frankfurt is one of Germany’s most renowned  exhibition institutions. Since its founding in 1986, the Schirn has mounted  approximately 180 exhibitions, including major survey shows devoted to the  Vienna Jugendstil, Expressionism, Dada, and Surrealism, to women Impressionists,  to subjects such as “shopping — a century of art and consumer culture,” the  visual art of the Stalin era, new Romanticism in contemporary art, and the  influence of Charles Darwin’s theories on the art of the nineteenth and  twentieth centuries. Large solo exhibitions have featured artists such as  Wassily Kandinsky, Alberto Giacometti, Henri Matisse,  Julian Schnabel, James Ensor, James Lee Byars, Yves Klein,  Peter Doig, Lászlo Moholy-Nagy, and Georges  Seurat. And artists such as Thomas Hirschhorn, Ayse Erkmen, Carsten  Nicolai, Jan De Cock, Jonathan Meese, John Bock, Michael Sailstorfer, Terence  Koh, Aleksandra Mir, Eberhard Havekost, and Mike Bouchet have developed new  exhibitions for the Schirn. The Schirn Kunsthalle Frankfurt showcases highly  charged themes and topical aspects of artists’ oeuvres with an incisive voice  and from a contemporary standpoint. As a site of discoveries, the Schirn offers  its visitors an original, sensory exhibition experience as well as active  participation in cultural discourse. Visit the kunsthalle's website at  ... http://www.schirn.de <http://www.schirn.de/>

The Museum Boijmans Van Beuningen Exhibits "Van Gogh & Roulin" <http://feedproxy.google.com/~r/artknowledge/~3/aGwOw2JvOYY/17_06_2011_01_01_08_the_museum_boijmans_van_beuningen_exhibits_van_gogh_and_roulin.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 10:33 PM PDT

Rotterdam. - The Museum Boijmans Van  Beuningen offers a rare opportunity to see Vincent van Gogh's portraits  of Joseph Roulin and his son Armand Roulin reunited. The paintings will be on  view in the same gallery until September 4th. ‘Unutterably luminous and  consoling’, is how Van Gogh described those portraits he thought the best. That  is how he had experienced the old masters and that is what he aspired to  himself. In the exhibition "Van Gogh & Roulin", one of the masterpieces from  the collection of Museum Boijmans Van Beuningen, Van Gogh’s Portrait of Armand  Roulin, will be temporarily reunited with the portrait of Armand’s father Joseph  Roulin, the postmaster whom Vincent Van Gogh befriended.

Boris Krasnov's Giant Russian Dolls at Afimall City in Moscow <http://feedproxy.google.com/~r/artknowledge/~3/JqTod1zARbg/16_06_2011_23_56_18_boris_krasnovs_giant_russian_dolls_at_afimall_city_in_moscow.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 09:56 PM PDT

Moscow.- Moscow is currently hosting an exhibition of giant Russian  Dolls, designed by scenographer Boris  Krasnov. Ranging in height from 6-13m (19-42ft), each matryoshka (to give it its Russian  name) repeats the shape of the famous and beloved Russian nesting dolls - a  symbol of Russian culture. The dolls were created for, and represented Russia at  the Russian National  Exhibition in Paris in 2010. the dolls are curently on view at the Afimall City complex in  Moscow.

Peninsula Fine Arts Center Shows Gloria Coker Solo Exhibition <http://feedproxy.google.com/~r/artknowledge/~3/9mF2xlLC8ag/17_06_2011_01_15_36_peninsula_fine_arts_center_shows_gloria_coker_solo_exhibition.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 09:55 PM PDT

Newport News, VA.- Peninsula Fine Arts  Center presents the artwork of Gloria Coker in  "Joie de Vivre", an exhibition opening June 18th and continuing through July  10th. A “Meet the Artist” reception from 2 to 4 pm, Sunday, June 19th is free  and open to the public. Recognition for her artistic achievements is impressive.  An article about her work has appeared in American Artist  Watercolor. Her art has appeared on posters and brochure covers for  Hampton Bay Days, Norfolk’s Harborfest and both the Virginia and the Buffalo  symphonies.

Dutch National Rijksmuseum Museum Renovation in Full Swing ~ to Reopen in 2013 <http://feedproxy.google.com/~r/artknowledge/~3/wMBbNLSuDd4/16_06_2011_23_24_18_dutch_national_rijksmuseum_museum_renovation_in_full_swing_to_reopen_in_2013.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 09:24 PM PDT

AMSTERDAM (AP).- Rembrandt's "Night Watch" and other famed works by Dutch masters will  return to their permanent home by 2013, as a radical decade-long renovation of  the national Rijksmuseum nears completion. A sneak  preview showed the 19th-century museum both modernized and closer to its  original plan. Its red-brick exterior, reminiscent of a fairy-tale castle,  remains intact. Inside, maze-like corridors have been scrapped in favor of large  spaces and high ceilings, with a central "gallery of honor" restored to its  initial appearance, evoking the vault of a gothic cathedral.  

The Montreal Museum of Fine Arts Opens the First International Exhibition Devoted to Jean Paul Gaultier <http://feedproxy.google.com/~r/artknowledge/~3/WqlcP4bhZpQ/16_06_2011_22_53_45_the_montreal_museum_of_fine_arts_opens_the_first_international_exhibition_devoted_to_jean_paul_gaultier.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 08:53 PM PDT

Montreal.- The Montreal  Museum of Fine Arts is proud to have developed and produced the first  international exhibition devoted to the celebrated couturier Jean Paul Gaultier. "The Fashion  World of Jean Paul Gaultier: From the Sidewalk to the Catwalk" will be on view  at the museum from June 17th through October 2nd. Gaultier launched his first  prêt-à-porter collection in 1976 and founded his own couture house in 1997.  Dubbed fashion’s enfant terrible by the press from the time of his first runway  shows in the 1970s, Jean Paul Gaultier is indisputably one of the most important  fashion designers of recent decades.

The New Mexico Museum of Art Shows The Prints of Gustave Baumann <http://feedproxy.google.com/~r/artknowledge/~3/lxJ-orE69yQ/16_06_2011_22_38_09_the_new_mexico_museum_of_art_shows_the_prints_of_gustave_baumann.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 08:38 PM PDT

Santa Fe, NM - The New  Mexico Museum of Art is presenting two exhibitions this summer  celebrating Gustave Baumann,  his prodigious creativity, and his love for New Mexico. On view through  September 2nd in the Governor’s Gallery at the New  Mexico State Capitol is "Gustave Baumann: Painter, Printmaker, and Puppeteer",  and opening July 1st at the New Mexico Museum of Art is "The Prints of Gustave  Baumann". Both exhibitions were curated by Merry Scully, curator of the  Governor’s Gallery. "The Prints of Gustave Baumann", will remain on display at  the museum until December. Gustave Baumann lived in Santa Fe until his death in  1971. Many of Baumann’s most popular prints depict the Southwestern landscape  and regional traditions of his beloved New Mexico.

SCOPE Basel 2011 Returns with Its Cutting Edge Contemporary Art <http://feedproxy.google.com/~r/artknowledge/~3/Ba5IEFGEFXE/16_06_2011_22_30_39_scope_basel_2011_returns_with_its_cutting_edge_contemporary_art.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 08:30 PM PDT

BASEL.- SCOPE, the art show that has established its name by  curating cutting edge contemporary art from around the world, proudly returns to  Basel for the fifth year. Running concurrent with Art Basel for the next three  years, SCOPE returns to its high profile venue in  historic Kaserne just blocks from Art Basel 42.  Located in the heart of the city, SCOPE Basel’s new home, a pavilion offering  over 5,000 m², will provide the real opportunity for gallerists, collectors,  curators, artists, critics and art lovers alike to experience a view of the  contemporary art market available nowhere else. The fair opens to Press and  VIP’s on Wednesday, June 15 with the FirstView benefit.

ZKM Center for Art and Media in Karlsruhe Celebrates 'Car Culture' <http://feedproxy.google.com/~r/artknowledge/~3/Lyp_SKp5_UU/16_06_2011_23_15_28_zkm_center_for_art_and_media_in_karlsruhe_celebrates_car_culture.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 08:29 PM PDT

KARLSRUHE, GERMANY - The technologies of the 20th and 21st  centuries facilitate new forms of independence from place. With Media of  Mobility, the exhibition “CAR CULTURE” takes up the theme of mobility in a  twofold sense: the material mobility of the body, cars and machines, stands  juxtaposed to the immaterial mobility of signals, telegraphy, television, radio,  telephone and Internet. The exhibiton 'CAR CULTURE Media of technology', is  on exhibit from 18 June  until 08 January 2012 at ZMK.

The Irvine Museum Shows Works by California's Bohemian Club Painters <http://feedproxy.google.com/~r/artknowledge/~3/LHhd0_UH7UI/16_06_2011_21_47_35_the_irvine_museum_shows_works_by_californias_bohemian_club_painters.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 07:46 PM PDT

Irvine, CA.- The Irvine  Museum is pleased to present "California Rhapsody" from June 18th through  November 3rd. The artists in this exhibition were all early members of the  remarkable Bohemian club. In 1872, a number of San Francisco painters, writers,  musicians and actors joined together as a group and formed the Bohemian Club. The club began to  thrive. In April 1874, Henry  Edwards, president of the Bohemian Club, reported that this "association  of talent, which from small beginnings has, in the brief space of two years,  made for itself a shining mark upon the literary and artistic records not only  of California, but of America at large."

Images from Final Roll of Kodachrome Donated to George Eastman House <http://feedproxy.google.com/~r/artknowledge/~3/qLOLtFv6jkc/16_06_2011_23_41_53_images_from_final_roll_of_kodachrome_donated_to_george_eastman_house.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 07:45 PM PDT

ROCHESTER, NY.- When Kodak announced in  2009 it would no longer produce Kodachrome film, company officials announced two  ways the famed film would be celebrated: 1) National Geographic photographer  Steve McCurry would be given the last roll off the  Kodak production line and 2) the images from that historic roll would be donated  to the archives at George Eastman House International Museum  of Photography and Film. McCurry today donated photographs from that  final role to George Eastman House during a press conference in the museum.  Eastman House will present a display of projected images beginning July 9 and  will mount an international tour of the photographs in 2012.  

McCurry’s historic journey took him in 2010 to his hometown of  New York City to western India and finally to Parsons, Kansas. That final stop  was to the last lab in existence to process Kodachrome, which would close at the  end of 2010, but not before developing his precious roll.

“I don't think  there's ever been, in the history of photography, a better film, a better way to  actually look at the world than with Kodachrome,”  McCurry said. “This was the only way I shot for decades.”

McCurry spoke  at Eastman House , sharing the 31 photographs he captured from the 36-frame roll  – some frames were duplicate images -- and telling stories of his travels and  his fears the roll would be harmed by airport security scanners. He and Eastman  House officials also talked about the celebration of Kodachrome, a color film  process that lasted longer than any other.

“We celebrate Kodachrome at  George Eastman House,” said Dr. Anthony Bannon, the Ron and Donna Fielding  Director. “It was the world's first commercially successful color film, extolled  since the Great Depression for its sharpness, archival durability, and vibrant  yet realistic hues.”

The subjects he shot on the last roll include Robert DeNiro and photographer Elliott  Erwitt, plus unknown people in various parks in New York City; McCurry in  his hotel room in Parsons awaiting film processing; and in India – where McCurry  noted “color is important culturally” and where he used Kodachrome's magic to  subtly render contrast and color harmony in depictions of Bollywood luminaries in Mumbai and the Rubari tribe in  Rajasthan on the verge of extinction.

“I thought, ‘What better way to  honor the memory of Kodachrome than to try and photograph iconic places and  people?’ It's in (my) DNA to want to tell stories where the action is, that shed  light on the human condition,” McCurry said. He planned the trip, which he calls  “a six-week odyssey,” for nine months. A crew from the National Geographic  Channel followed him on his journey. That special has not aired yet in the  United States but debuted this spring on European television.

Kodachrome  was produced for 74 years, from 1935 to 2009, in a wide variety of formats,  including 35mm slide film and 8mm movie film. McCurry used Kodachrome for his  well-known 1984 portrait of Sharbat Gula, the “Afghan Girl,” for National  Geographic magazine. It also was used in 1953 for the official moving footage of  the coronation of Her Majesty Queen Elizabeth the  Second.

Kodachrome is appreciated in the archival and professional  market for its dark-storage longevity, with colors remaining intact for decades.  As digital photography reduced the demand for all varieties of film in the first  decade of the 21st century, Kodachrome sales also declined. On June 22, 2009,  Kodak announced the end of Kodachrome production.

Kodachrome was  invented in the early 1930s by two professional musicians, Leopold Godowsky Jr.  and Leopold Mannes. A known comment in relation to these two men is “Kodachrome  was made by God and Man.” Godowsky’s early papers are held in the archives at  Eastman House, as are many varieties of Kodachrome film in original boxes from  several decades as well as moving footage, slides, and photographs, including  the documentation of Sir Edmund Hillary’s history  ascent of Mt. Everest.

“It's definitely the end of an era,” he said of  Kodachrome. “It has such a wonderful color palette...a poetic look, not  particularly garish or cartoonish, but wonderful, true colors that were vibrant,  but true to what you were shooting. It was the gold standard of imagery.”

About Kodachrome

Kodachrome was the first  commercially successful color film. Kodachrome was the trademarked brand name of  a type of color reversal film manufactured by Eastman Kodak Company from 1935 to  2009. It used a subtractive method -- in contrast to earlier additive  “screenplate” methods such as autochrome and Dufaycolor -- and remained the  oldest brand of color film.

Kodachrome film was manufactured for 74  years in various formats to suit still and motion picture cameras, including  8mm, Super 8, 16mm, and 35mm for movies and 35mm, 120, 110, 126, 828 and large  format for still photography. For many years it was used for professional color  photography, especially for images intended for publication in print media. The  film was sold with processing included in the purchase price except in the  United States, where a 1954 legal ruling ended that practice.

Kodachrome  was first sold in 1935 as 16 mm movie film. In 1936 it was made available in 8  mm movie film, and slide film in both 35mm and 828 formats. Kodachrome would  eventually be produced in a wide variety of film formats including 120 and 4x5,  and in ISO/ASA values ranging from 8 to 200. Each of these formats was  discontinued one by one through the last decade of the 20th century and the  first decade of the 21st century.

Unlike transparency and negative color  films with dye couplers incorporated into the emulsion layers, Kodachrome had  none. The dye couplers were added during processing. Without couplers, the  emulsion layers were thinner, causing less light scattering and allowing the  film to record a sharper image. A Kodachrome slide is discernible by an  easily-visible relief image on the emulsion side of the film. Kodachrome had a  dynamic range of around eight stops.

Kodachrome required complex  processing that could not practicably be carried out by amateurs. After labs  around the world closed, Kodak subcontracted in recent years the processing work  to Dwayne's Photo, an independent facility in Kansas, which was the world's last  Kodachrome pressing facility. Dwayne's announced in late 2010 that it would  process all Kodachrome rolls received at the lab by Dec, 30, 2010, after which  further processing would cease. Due to high demand, the processing continued  into January 2011, and then the world's last K-14 processing machine was taken  out of service.

Proof of its affect on popular culture, Kodachrome was  the subject of Paul Simon's song “Kodachrome,” and  Kodachrome Basin State Park in Utah was named for it, becoming the only park  named for a brand of film.

<http://www.artknowledgenews.com/>

The Dallas Art Museum ~ A Texan 'Round-Up' Of Fine Art <http://feedproxy.google.com/~r/artknowledge/~3/zjNbOsP7Ayw/2011_03_27_23_14_29_the_dallas_art_museum_a_texan_round_up_of_fine_art.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 07:22 PM PDT

The Dallas Museum of Art (DMA) is located in the Arts District of downtown Dallas, Texas. In 1984, the museum moved from its previous location in Fair Park to the Arts District, Dallas, Texas. The new building was designed by Edward Larrabee Barnes, the 2007 winner of the American Institute of Architects Gold Medal. The Dallas Museum of Art collection is made up of more than 28,000 objects, dating from the third millennium BC to the present day. The museum’s library contains over 50,000 volumes available to curators and the general public. The Dallas Museum of Art's history began with the establishment in 1903 of the Dallas Art Association, which initially exhibited paintings in the Dallas Public Library. The Museum’s collections started growing from that moment on, and it soon became necessary to find a permanent home. The museum, renamed the Dallas Museum of Fine Arts in 1932, relocated to a new art deco facility within Fair Park in 1936, on the occasion of the Texas Centennial Exposition. This new facility was designed by a consortium of Dallas architects in consultation with Paul Cret of Philadelphia. In 1943 Jerry Bywaters became the director of the DMFA and under his tenure, impressionist, abstract, and contemporary masterpieces were acquired and the Texas identity of the museum was emphasized. In 1963 the Dallas Museum of Fine Arts merged with the Dallas Museum of Contemporary Art. The permanent collections of the two museums were then housed within the DMFA facility, which suddenly held significant works by Paul Gauguin, Odilon Redon, Henri Matisse, Piet Mondrian, Gerald Murphy, and Francis Bacon. By the late 1970s, the greatly enlarged permanent collection and the ambitious exhibition program fostered a need for a new museum facility. The museum moved once again, to its current venue, at the northern edge of the city’s business district (the now designated Dallas Arts District). The $54 million dollar facility, designed by New York architect Edward Larrabee Barnes, gave the museum a new 370,000-square-foot facility when it opened in January 1984 (the museum’s Sculpture Garden opened a year before in October 1983). At the same time the name was changed to the Dallas Museum of Art. In 1985 the new decorative arts wing, built to house 1,400 objects from the Wendy and Emery Reves Collection, opened. In 1991, construction began on the addition of the Nancy and Jake L. Hamon Building, designed by Edward Larrabee Barnes. When this opened in 1993 the museum gained an extra 140,000 square feet. In 2003, the Dallas Museum of Art marked its 100th birthday on January 19, and celebrated by remaining open for 100 continuous hours with 45,000 visitors in attendance. The museum collects, preserves, presents, and interprets works of art of the highest quality from diverse cultures and many centuries, including contemporary. As well as its galleries and library, the Dallas Museum of Art contains a café, museum shop and a unique 12,000-square-foot learning environment, the Center for Creative Connections. Visit the museum’s website at … www.dallasmuseumofart.org <http://www.dallasmuseumofart.org>
Loss of Control: Crossing the Boundaries to Art from Félicien Rops to the Present <http://feedproxy.google.com/~r/artknowledge/~3/i2dA2vdPXUg/martaherfordmuseumlosscontrolhtml.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 07:21 PM PDT  HERFORD, GERMANY.- In his extensive farewell exhibition at the Marta Herford Museum, founding director Jan Hoet presents a multiplicity of artistic perspectives and aspects on the theme of loss of control: “Loss of Control: Crossing the boundaries to art from Félicien Rops to the present. Obsession, sexuality, madness and death – the continuing exchange between art and life is the theme of the exhibition LOSS OF CONTROL.  After an eight-year engagement as the inspirational founding director of the Marta Herford museum, Jan Hoet is saying farewell with a show comprising over 400 works. All the pieces speak about the artistic search for authentic means of expression above and beyond societal norms, and convey in unprecedented depth the varying aspects of loss of control, boundary crossing, and madness.


Tate Liverpool to display Sculpture from the Tate Collection <http://feedproxy.google.com/~r/artknowledge/~3/eXbs-Dw_9SI/Sculpture_from_the_Tate_Collection.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 07:20 PM PDT Liverpool, UK - - Leading cultural figures from  different disciplines will be bringing their own unique vision to bear on  sculpture from the Tate Collection for DLA Piper Series: This is  Sculpture, sponsored by DLA Piper. Transforming the first and second floor  galleries are artist Michael Craig-Martin; designer Wayne Hemingway and his son  Jack; and artist, director and writer Tim Etchells. From 1 May 2009 the  co-curators present dedicated displays of sculpture which have been selected in  conjunction with Tate Liverpool curators. The displays feature  masterpieces from the Tate Collection by artists such as Pablo Picasso, Fernand  Léger, Henry Moore and Barbara Hepworth, alongside recent acquisitions of  contemporary art by Sarah Lucas, Jim Lambie and Terence Koh, among others.  
 

Radford U. Art Museum Show <http://feedproxy.google.com/~r/artknowledge/~3/R15yhm-oBJ0/radford_u_art_museum_show.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 07:19 PM PDT

RADFORD, VA.- Community leaders and officials from the        Virginia Museum of Fine Arts (VMFA) and Radford        University gathered on Thursday evening, Jan. 20, for a preview event        celebrating the opening of “Van Gogh, Lichtenstein, Whistler: Masterpieces        of World Art from the Virginia Museum of Fine Arts,” an exhibition        commemorating the museum’s 75th anniversary. Supported by Altria Group,        the special exhibition is open to the public and is featured in the Radford University Art Museum, located in the        Covington Center for Visual and Performing Arts, from Jan. 21 - March 4,        2011. Admission is free.


International Group Exhibition at the Irish Museum of Modern Art <http://feedproxy.google.com/~r/artknowledge/~3/2zbhChnOwno/Irish_Museum_of_Modern_Art.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 07:18 PM PDT Dublin, Ireland - An exhibition by 20 leading international artists based on the physical and conceptual processes involved in making and exhibiting art opens to the public at the Irish Museum of Modern Art on Thursday 30 November 2006.  All Hawaii Entrées/Lunar Reggae comprises works in a wide variety of media by such cutting-edge artists as Doug Aitken, Douglas Gordon, Liam Gillick, Dominique Gonzalez-Foerster, Carsten Höller and Sarah Lucas, many being shown for the first time in Ireland.  All of the artists involved have participated in researching and developing the exhibition, whose title is an anagram of the Irish and English for “new galleries”, the building in which it is being held.   The exhibition is curated by the French artist Philippe Parreno, director of the recent much-acclaimed film on the French soccer star Zinedine Zidane, and Rachael Thomas, Head of Exhibitions at IMMA.
Portraits & Still Lifes by Vera Mercer at Kommunale Galerie in Berlin <http://feedproxy.google.com/~r/artknowledge/~3/ZC6VqtIucbI/2010_03_07_21_25_23_portraits_and_still_lifes_by_vera_mercer_at_kommunale_galerie_in_berlin.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 07:17 PM PDT  BERLIN.- The photographic work of Vera Mercer has remained relatively unknown until now. Born in 1936 in Berlin as Vera Mertz, she received Swiss citizenship following her marriage in 1958 to Daniel Spoerri.  In the same year, the couple moved to Paris, where they became part of an artistic avant-garde that would become known as the "Nouveaux Réalistes". In the following years, Vera Mercer, who was trained in modern dance and a self-taught photographer, portrayed visual artists such as Marcel Duchamp and Robert Filliou, Niki de Saint-Phalle and Jean Tinguely as well as Daniel Spoerri time and again. Mercer's friendship with Swiss painter and sculptor Eva Aeppli, who was Tinguely's partner in the early 1960s, led to a systematic, decades-long documentation of Aeppli's work, two publications as well as the founding of a small Eva Aeppli-Museum including her "Garden of the Zodiac" in Omaha, Nebraska. According to Mercer, no other artist has influenced her more than Aeppli.

Schirn Kunsthalle in Frankfurt Celebrates 25th Anniversary With An Exhibition of "Surreal Objects ~ Three Dimensional Works From Dali to Man Ray" <http://feedproxy.google.com/~r/artknowledge/~3/3yR88wdgsWU/dali_poupee_at_schirn_kunsthalle.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 07:16 PM PDT

Frankfurt,  Germany -  “Beautiful as the chance encounter of a sewing machine and an  umbrella on an autopsy table” – this famous description by the poet Comte de  Lautréamont captures a central dimension of Surrealist art theory. The interplay  of opposites and the shift of reality that hints at the unconscious and  dreamlike particularly manifest themselves in the Surrealists’ strange and  bizarre objects and sculptures. On the occasion of its twenty-fifth anniversary,  the Schirn presents an exhibition that focuses exclusively on the Surrealists’  three-dimensional production which has never been on display in its full range  before. Comprising about 180 works by 51 artists, the show with its  international loans, on exhibit from February 11 until May 29, 2011, will  include items by both very popular artists like Duchamp, Magritte, Dalí, Picasso, and Man Ray, and many others whose astounding and fascinating  achievements still wait to be discovered by a wider public. Many of the  three-dimensional works from the Surrealist period from 1925 to 1945 do not  strike us as historical at all today, but rather present themselves as  surprisingly fresh and contemporary.

The Fundacion Juan March opens 'Conceptual Art in Moscow, 1960-1990' <http://feedproxy.google.com/~r/artknowledge/~3/O0RmGXIQthE/Fundacion_Juan_March.html?utm_source=feedburner_medium=email> Posted: 16 Jun 2011 07:15 PM PDT  

MADRID - The Fundacion Juan March in Madrid  presents today Total Enlightenment: Conceptual Art in Moscow,  1960-1990. Imagine a place where the dream of a modern utopia actually  existed. A place with no distinctions between high and mass culture. Imagine  contemporary artists working in a world in which, officially, there was neither  an art market nor galleries, neither critics nor collectors, neither art  publications nor any institutions other than those of the State. A world  without an audience. On view until 1 November, 2008.