This week’s Friday exhibition is “Nam June Paik: Global Visionary” at the Smithsonian American Art Museum. The exhibition was curated by John Hanhardt and is on view through Aug. 11.
Tyler Green Modern Art Notes
Archive for the ‘Friday exhibition’ Category
This week’s Friday exhibition is “Irving Penn: Underfoot” at the Art Institute of Chicago. The exhibition includes all of Penn’s close-up photographs of the Manhattan pavement, pictures which sometimes reveal abstractions — and which sometimes seem to reveal faces? The entire series is on the Art Institute’s website. “Irving Penn: Underfoot” is on view through May 12.
Unfortunately, the AIC has moved to make both exhibitions and art from its collection (such as all of the Penns in this exhibition) less accessible to the public: The AIC has just announced it is raising its admission fee to $18-23, further restricting access to its collections. When museums are for the upper-middle-class and up, as the AIC increasingly is, art loses.
Irving Penn, Underfoot VIII, New York, 2000.
Irving Penn, Underfoot V, New York, 2000-01.
Irving Penn, Underfoot XIV, New York, 2000.
Irving Penn, Underfoot XXII, New York, 2000.
Irving Penn, Underfoot XXXIII, New York, 2000.
This week’s Friday exhibition is “Societe Anonyme: Modernism for America” at the Yale University Art Gallery. It’s on view through July 14.
Marsden Hartley, Rubber Plant, 1920.
This week’s Friday exhibition is “FREE!LOVE!TOOL!BOX,” Nayland Blake’s solo exhibition at the Yerba Buena Center for the Arts in San Francisco. The show is on view through January 27.
Blake started out as a performance artist in the Bay Area in the 1980s, often examining queer lifestyles through is work. The YBCA show is something of a return to that period.
The show is a little difficult to see or experience via images, so don’t miss the links below the JPEGs.
Nayland Blake’s re-creation of Chuck Arnett’s 1962 mural for the Tool Box. (Read more about this piece here.)
This week’s Friday exhibition is “After Photoshop: Manipulated Photography in the Digital Age” at the Metropolitan Museum of Art. It’s a companion exhibit to “Faking It: Manipulated Photography Before Photoshop,” which was featured on Episode No. 51 of The Modern Art Notes Podcast.
Bradley Rubenstein, Untitled (Girl with Puppy Dog Eyes), 1996. Collection of the Metropolitan Museum of Art, New York.
Filip Dujardin, Untitled, 2009. Collection of the Metropolitan Museum of Art, New York.
Kelli Connell, The Valley, 2006. Collection of the Metropolitan Museum of Art, New York.
Beate Gutschow, LS #3, 1999. Collection of the Metropolitan Museum of Art, New York.
Nancy Davenport, Bombardment, 2001. Collection of the Metropolitan Museum of Art.
Today’s Friday exhibition is “A Strange And Fearful Interest: Death, Mourning and Memory in the American Civil War,” a show of more than 200 pictures and other objects from the Huntington’s famed Civil War-related collections. It was curated by the Huntington’s Jennifer Watts and is on view through Jan. 14, 2013. (Watts was a guest on this week’s Modern Art Notes Podcast. Download the show directly, download/subscribe via iTunes.)
The exhibition is stuffed with still-shocking battlefield pictures, rare pictures of Southern troops and of black troops and remarkable photographs of Abraham Lincoln’s funeral train. Many of them are available on the Huntington’s exhibition website in zoom-in-on-able high-resolution.
Unidentified photographer, U.S. Colored Troops, Camp William Penn, Philadelphia, c. 1863. Collection of The Huntington Library, Art Collection and Botanical Gardens.
Jay Dearborn Edwards, Scrapbook 2, page 2 – Photographs by J.D. Edwards depicting Confederate soldiers drilling and at rest near Pensacola, Florida, and environs (detail), c. 1861. Collection of The Huntington Library, Art Collection and Botanical Gardens.
Andrew J. Russell, Soldiers’ Burying Ground, Alexandria, Va., May 1863, 1863. Collection of The Huntington Library, Art Collection and Botanical Gardens.
Ridgway Glover, Dispersing the Crowd at Sixth and Chestnut, Philadelphia, 1865. Collection of The Huntington Library, Art Collection and Botanical Gardens.
Alexander Gardner, Lewis Payne [aka Lewis Powell], One of the Lincoln Conspirators, April 27, 1865. Printed 1890. Collection of The Huntington Library, Art Collection and Botanical Gardens.
Alexander Gardner, Adjusting the Ropes (top); The Drop (bottom) [Execution of the Lincoln Conspirators], July 7, 1865. Collection of The Huntington Library, Art Collection and Botanical Gardens.
This week’s Friday exhibition is “Federico Barocci: Renaissance Master” at the Saint Louis Art Museum. Barocci was a key hinge between the Renaissance and the Baroque. The exhibition includes nearly 130 works, including works on paper and major paintings, many never before seen in the United States. The exhibition was curated by SLAM’s Judith W. Mann, The National Gallery’s Carol Plazzotta, Babette Bohn and is accompanies by a catalogue from Yale University Press.
This week’s Modern Art Notes Podcast features two veterans of abstract painting: Jonathan Lasker and Shirley Kaneda. They’re part of the exhibition “Conceptual Abstraction” at the Hunter College Art Galleries in New York. The exhibition takes as its jumping-off point a 1991 show of the same title at Sidney Janis Gallery, a show that aimed to introduce a new generation of abstract painters to New York. The show at Hunter reunites the same 20 painters and includes one work from around 1991 with one recent painting. The show was organized by Pepe Karmel and Joachim Pissarro and will remain on view through November 10th. (Painter Valerie Jaudon has posted the catalogue for the exhibition on her website.)
Here are the ‘more recent’ works by five other painters in the show:
Lydia Dona, Urban Injuries, 2010-11.
Valerie Jaudon, Topos, 2009.
David Reed, #576, 2007.
Philip Taaffe, Flowering Loculus, 2010-11.
This week’s Friday exhibition is “A Strange Magic: Gustave Moreau’s Salome” at the Hammer Museum. The show examines Salome Dancing before Herod (1874-76), one of the most famous paintings in the Hammer’s collection, through 50 paintings, drawings and studies related to the Hammer painting, all from the Gustave Moreau Museum in Paris. The exhibition is on view through December 9.
This week’s Friday exhibition is “Shipwreck! Winslow Homer and ‘The Life Line,’” at the Philadelphia Museum of Art. The exhibition takes the PMA’s famous Homer painting as a, er, jumping-off point and uses it as a gateway to explore late 19th-century art about shipwrecks and rescues, the kinds of events that would have been all-too-common to seaside communities. The exhibition is on view through Dec. 16.
At the bottom of the post I’ve added one piece from the collection of the Modern Art Museum of Fort Worth, an example of how artists today continue to be motivated by Homer’s painting.
Henry Edward Dawe, They’re Saved! They’re Saved!, 1832. Collection of the Philadelphia Museum of Art.
After Edwin Landseer by Currier & Ives, He is Saved, c. 1866-72. Collection of the Philadelphia Museum of Art.