This week’s Friday exhibition is “Spectator Sports” at the Museum of Contemporary Photography at Columbia College in Chicago. Curated by Allison Grant, the exhibition is on view through July 3. Grant’s essay is available here.
Katja Sutke, from the series Supernatural, Beijing, 2012.
Susken Rosenthal, Portugal-Greece, Final Match 2004 Series EURO 2004 in Portugal, 2006-10.
Charlie White, The Americans: U.S. Gymnastic Team, 2005.
This week’s Friday exhibition is “Charles Burchfield: Oh My Heavens” at the Burchfield Penney Art Center in Buffalo through August 4. The exhibition, curated by Tullis Johnson, Alana Ryder and Kevin Williams, includes Burchfield paintings and sketches that feature the skies above and the idea of heaven. About 20 images of works in the show are available here.
Charles Burchfield, Landscape with Grey Clouds (Heat Lightning), ca. 1962.
Charles Burchfield, Genesis, 1924.
Charles Burchfield, Cain and Abel, 1926.
Charles Burchfield, Untitled (Haloed Moon over Treetops), 1917.
Charles Burchfield, Orion and the Moon, 1917.
This week’s Friday exhibition is “1913: The Year of Modernism” at the Princeton University Art Museum. It’s on view through June 23. The exhibition celebrates the centennial of the large-scale introduction of modernism to American audiences at the 1913 Armory Show. PUAM has launched an information-filled, image-rich website for the exhibition. It will be hosting a symposium on French modernism on April 19-20.
Man Ray, Mime, plate 1 from Revolving Doors, 1926. Collection of the Graphic Arts Division, Department of Rare Books and Special Collections, Princeton University Library. See the entire series of collages at PUAM’s website.
Chaim Soutine, Hanging Turkey, ca. 1926.
Max Beckmann, The Draftsman in Society, 1922. Collection of the Princeton University Art Museum.
Sonia Delaunay, “Sonia Delaunay: ses peintures, ses objects, ses tissus simultanés, ses modes / preface d’André Lhote; poèmes de Cendrars, Delteil, Tzara, Soupault,” Paris: 1925. Collection of the Graphic Arts Division, Department of Rare Books and Special Collections, Princeton University Library.
Guillaume Apollinaire, Calligrammes: poèmes de la paix et de la guerre, Paris: 1918. Collection of the Graphic Arts Division, Department of Rare Books and Special Collections, Princeton University Library.
This week’s Friday exhibition is “Color Rush: 75 Years of Color Photography in America” at the Milwaukee Art Museum. Curated by Lisa Hostetler and Katherine Bussard, the show examines the history of color photography in the U.S. between 1907-1981. It’s on view through May 19.
Paul Outerbridge, Avocado Pears, 1936. Collection of the Museum of Modern Art, New York.
Edward Steichen, Bouquet of Flowers, January 8, 1940. Collection of the George Eastman House, Rochester, NY.
Jack Delano, At the Vermont state fair, Rutland [man and truck], 1941. Collection of the Library of Congress, Washington.
Ansel Adams, Zabriskie Point, Death Valley, CA, ca. 1959. Collection of the George Eastman House, Rochester, NY.
Joel Meyerowitz, Red Interior, Provincetown, 1977. Collection of the Milwaukee Art Museum.
Yesterday the Los Angeles County Museum of Art announced that it is expanding the number of high-resolution, public domain images of art in its collection from 2,000 to ~20,000. (The museum also uploaded smaller versions of 60,000 other works in its collection.)
This is a big deal: There’s no particularly good reason that a museum should control the image of an artwork that is not eligible for copyright protections. So why is LACMA making all of these publication-quality JPEGs available for free? “As Michael Govan often says, it’s because our mission is to care for and share those works of art with the broadest possible public,” the museum said on its blog yesterday. Along with the Walters Art Museum, the Yale Center for British Art and the National Gallery of Art, LACMA has been a leader in placing images of its art in the public domain. (I wrote about the issue in my Modern Painters column back in September, 2011. Download the entire issue here. My piece is on pages 34-35.)
The interwebs love LACMA’s expanded program: The museum posted the news on its Tumblr yesterday afternoon and this morning the news was on Tumblr Radar (and had been liked or re-blogged 3,187 times). In celebration, her are examples of big, free images on LACMA’s website. Go download ‘em and start a t-shirt business, an iPad backgrounds store, drop them into the book you’re writing or…
Gerrit von Honthorst, The Mocking of Christ, ca. 1617-20. Collection of the Los Angeles County Museum of Art.
Rustam Rescues Bizhan from the Pit, Page from a Manuscript of the Shahnama (Book of Kings), Iran, Khurasan, 1570-1580. Collection of the Los Angeles County Museum of Art.
Alexander Hesler, Abraham Lincoln, 1860 (printed 1870s-80s). Collection of the Los Angeles County Museum of Art.
Hiroshige, Rough Seas at Shichiri Beach in Sagami Province from “Thirty-Six Views of Mount Fuji,” ca. 1851-52. Collection of the Los Angeles County Museum of Art.
Manuel de Arellano, Virgin of Guadalupe and the Apparitions to Juan Diego, 1691. Collection of the Los Angeles County Museum of Art. (LACMA has also made available six details from this painting.)
This week’s Friday exhibition is the Gary Simmons “Focus” exhibition at the Modern Art Museum of Fort Worth. It was curated by Andrea Karnes and is on view through March 14.
Simmons is the guest on the second segment of this week’s Modern Art Notes Podcast.
Gary Simmons, Subtlety of a Train Wreck, 1998.
Gary Simmons, Starlite Theater, 2010.
Gary Simmons, In This Corner, 2012.
Gary Simmons, Senator Drive-By, 2010.
This week’s Friday exhibition is “Big Pictures,” which opens Tuesday at the Amon Carter Museum. The show, substantially drawn from the Carter’s collection, spotlights the long-standing importance of print-size to photographers. The show was organized by Katherine Siegwarth, the Carter’s Luce Curatorial Fellow for Photographs. The show goes back to the 1860s to demonstrate that size in photography pre-dates the ‘Big Germans’ and that photographers have almost always wanted to make their prints bigger. ”Big Pictures” runs through April 21. Siegwarth was the guest on the second segment of this week’s MAN Podcast.
William Henry Jackson, Mariposa Grove, Big Trees. ca. 1880. Collection of the Amon Carter Museum of American Art, Fort Worth. [24 x 30 inches.]
William Henry Jackson, Hotel del Monte, Monterey, ca. 1889. Collection of the Amon Carter Museum of American Art, Fort Worth. [24 x 30 inches.]
Mitch Epstein, Weeping Beech, Brooklyn Botanic Garden, Brooklyn, 2011. Collection of the Amon Carter Museum of American Art, Fort Worth. [68 x 55 inches.]
Richard Misrach, Untitled #394-03 from the series “On the Beach,” 2003. [70 x 78 inches.]
Katy Grannan, Anonymous, LA, from the series “Boulevard,” 2009. [55 x 41 inches.]
This week’s Friday exhibition is “George Bellows and New York, 1900-1930″ at the Toledo Museum of Art. The show, which takes Toledo’s Bellows as its starting point and surrounds it with other artists’ takes on early 20th-century New York, is on view through April 21. It was selected by art history students at the University of Michigan and was timed to coincide with the ongoing George Bellows retrospective, which is now at the Metropolitan Museum of Art.
George Bellows, The Bridge, Blackwell’s Island, 1909. Collection of the Toledo Museum of Art.
Rudolph Ruzicka, Peck Slip, 1919. Collection of the Toledo Museum of Art.
John Sloan, Barber Shop, 1915. Collection of the Toledo Museum of Art.
Childe Hassam, Fifth Avenue, Noon, 1916. Collection of the Toledo Museum of Art.
John Sloan, Movies, 1913. Collection of the Toledo Museum of Art.
This week’s Friday exhibition is “Painter Painter” at the Walker Art Center. Curated by Eric Crosby and Bartholomew Ryan, the exhibition examines developments in abstract painting as seen through the work of 15 artists. The exhibition is on view through October 27. In lieu of a traditional catalogue, the Walker has created a website for the show called “Painter Painter Studio Sessions.” The first two posts are online now, with many more to come.
Alex Olson, Proposal 3, 2012.
Rosy Keyser, Big Sugar Sea Wall, 2012.
Dianna Molzan, Untitled, 2013.
Katy Moran, Joe’s in Town, 2012.
Lesley Vance, Untitled, 2012.
This week’s Friday exhibition is a book: “Hassel Smith: Paintings 1937-1997.” It was edited by Petra Giloy-Hirtz and includes contributions from Allan Temko, Peter Selz, Susan Landauer, Paul J. Karlstrom and Robert C. Morgan. It was published by Prestel. Giloy-Hirtz discusses the book on this week’s Modern Art Notes Podcast.
Smith was among the painters who emerged in post-World War II San Francisco, a group that included Clyfford Still, Richard Diebenkorn, Elmer Bischoff, Joan Brown, Jay DeFeo, David Park and Frank Lobdell. (And unlike them, Smith was an early explorer of assemblage, producing eye-catching mixed-media works as early as 1943.)
Despite producing a substantial and significant body of work, Smith has never quite received the attention the other Bay Area-based artists have. (It probably didn’t help that Smith was a prodigious drinker or that he gave up California for England in the 1960s.) That’s too bad: His abstractions of the late 1950s and 1960s are smartly composed and his palette was rich and varied, his hard-edge, paint-by-numbers-referencing abstractions are seductively catchy and his 1980s abstractions are lush and mature. Smith’s is a significant oeuvre that’s only now beginning to receive the attention it merits.
Hassel Smith, Bird Lover, 1957. Collection of the San Jose Museum of Art.
Hassel Smith, Psychoseismorama II, 1960. Collection of the Hirshhorn Museum and Sculpture Garden, Washington.
Hassel Smith, Untitled, 1963.
Hassel Smith, Untitled, 1988-93.
Hassel Smith, Untitled, 1990-94.
