Made in Mexico: The Rebozo in Art, Culture & Fashion Fashion and Textile Museum, South London, 6 June – 31 August. (Closed Mondays, nearest tube station London Bridge).
The first-ever exhibition in the UK on the rebozo – the classic Mexican shawl made famous in 20th-century culture by Frida Kahlo. ‘Made in Mexico’ explores the key role textiles have played in promoting Mexican culture worldwide from the 17th century to the present day. Rebozos on display include major loans from: the Franz Mayer Museum, Mexico City; the Museum of Textiles, Oaxaca; the British Museum and rebozos from private collections that have never before been shown in public. Contemporary Mexican and UK artists, photographers, fashion and textile designers – including Francisco Toledo, Graciela Iturbide, Carla Fernandez, Zandra Rhodes and Kaffe Fassett – also present new work created in response to the rebozo and Mexican textiles. Entry ticket £8.
Chillida On Miró, London
Chillida on Miró, Ordovas Gallery, Savile Row, London, 5 June – 26 July
Display focusing on the close friendship between Eduardo Chillida and Joan Miró, which flourished during summers spent with their families at St Paul de Vence. Among the highlights are a major Miró canvas from 1945, Femme dans la nuit, that has not been exhibited in the UK for 50 years, and an unseen drawing by Miró given to Chillida in 1971. The seven sculptures by Chillida range from a monumental two-metre high work to two small terracotta figures gifted to Miró. Miró’s work is viewed through Chillida’s eyes and letters between the two artists and poetry sent to each other are published in the accompanying catalogue.
Medieval Hispanic Research Seminar, 24th Colloquium, London, 26-27 June 2014
Medieval Hispanic Research Seminar
LAWS BUILDING, QUEEN MARY, UNIVERSITY OF LONDON
PROGRAMME AND ABSTRACTS
Includes papers on Hispanic art.
Magistri Cataloniae, Barcelona, 7-8 November 2014
I simposi Magistri Cataloniae: artista anònim, artista amb signatura: Identitat, estatus i rol de l’artista en l’art medieval. (Part of the research project Artistas, patronos y público: Cataluña y el Mediterráneo: Siglos XI-XV.)
Barcelona, Departament d’Art i de Musicologia, Universitat Autònoma de Barcelona, 7-8 November 2014.
More information about the Magistri Cataloniae project.
ARTES AGM and Lecture: National Gallery and Courtauld Institute of Art, London, 10 July 2014
PROGRAMME
11:00 Meet in Room 63, National Gallery
Nicola Jennings (Courtauld Institute): Bartolomé Bermejo’s St Michael
Juan de Flandes’ Christ Appearing to the Virgin
Michael Sittow ‘sThe Ascension
12:00 AGM (Sainsbury Wing Conference Room)
13:00 Lunch
14:00 East Wing: Room 30
Peter Schade (Head of Framing): Recent framing projects (incl. Valdes Leal)
Larry Keith (Head of Conservation and Keeper): Restoration of Velázquez’s Christ in the House of Martha and Mary
Xavier Bray: Goya’s Portrait of Andres del Peral (Room 39)
Marjorie Trusted: Velázquez’s St John on Patmos and Immaculate Conception
Letizia Treves (Head of Curatorial Department and Curator of Italian and Spanish Paintings 1600-1800): Zurbarán’s two paintings of Saint Francis in Meditation, and display plans Room 30
Susan Wilson: Zurbarán’s St Margaret of Antioch (Room 30)
Xanthe Brook: Murillo’s portraits
16:00 End
Closing Lecture: Ronda Kasl (Metropolitan Museum of Art, New York), The Sum of Virtues: Sovereignty and Salvation at the Cartuja de Miraflores
17:00-1800, Courtauld Institute of Art, Somerset House, Strand
Followed by a drinks reception
CFP: Early Modern Hybridity and Globalization: Artistic and Architectural Exchange in the Iberian World
CFP: Early Modern Hybridity and Globalization: Artistic and Architectural Exchange in the Iberian World, Renaissance Society of America conference, Berlin 2015
Scholarship has accepted “hybridity” as a term referring to cultural cross-fertilization in the early modern globalized society. This panel will examine ideas of exchange in artistic and architectural design in the Iberian world of the period. We will explore Spain and Portugal and their wider imperial dominions as points for cultural exchange. We welcome proposals that explore the impact of cultural encounters on art and architecture. We seek papers that examine Iberian encounters in Europe, including the Peninsula itself, as well as those in the wider world, from the South-East Asia to the Americas. We are particularly interested in research that deals with the way in which communities – artists, patrons, collectors and audiences – negotiated global/transoceanic trends and symbols of local identity in the production of art and architecture. Papers will explore artistic and architectural design that embodies hybridity, rather than for example collections of exotica.
Please send your proposals, an abstract of no more than 150 words, and a short CV, no longer than one side of an A4 sheet of paper, to the co-chairs, Laura Fernández-González, University of Edinburgh (laura.fernandez-gonzalez@ed.ac.uk / laura.fernandezgonzalez@gmail.com), and Marjorie Trusted, Victoria & Albert Museum (m.trusted@vam.ac.uk) before 2 June 2014.
Link:
http://www.rsa.org/blogpost/1134779/187566/Early-Modern-Hybridity-and-Globalization-Artistic-and-Architectural-Exchange-in-the-Iberian-World
Andrew W. Mellon Fellowships for the Santiago Cathedral Project: Deadline, 6 June 2014
Andrew W. Mellon Fellowships for the Santiago Cathedral Project
The Complutense Foundation and the Barrié Foundation, in collaboration with the Santiago Cathedral Foundation, the Real Colegio Complutense at Harvard and the Spanish Cultural Heritage Institute (IPCE), are pleased to announce a program of fellowships, generously funded by The Andrew W. Mellon Foundation, to support research in the context of the Santiago Cathedral Project.
Sponsored by the Barrié Foundation, the Santiago Cathedral Project is one the most ambitious projects of historical research and conservation currently under way in a major monument in Europe, focusing specifically on the 12th-century western narthex of the Cathedral of Santiago de Compostela (Spain), also known as the Pórtico de la Gloria (Portal of Glory).
Andrew W. Mellon Fellowships, Spring 2014
Deadline: June 2, 2014
Further information: www.programacatedral.com
Frida Kahlo, Rome
Frida Kahlo, Scudiere del Quirinale, Rome, 20 March – 13 July 2014. Exhibition incorporating major paintings by Kahlo alongside photographs of the artist (taken mainly in the 1940s) and focussing especially on the theme of ‘self-depiction’ both in the form of traditional self-portraits and in the development of the Kahlo iconography and ‘legend’. Both the exhibition and the accompanying catalogue are by Helga Prignitz-Poda, one of the three authors of the Kahlo catalogue raisonne published in 1988.
America Latina: Photographs 1960-2013, Paris and Puebla
America Latina: Photographs 1960-2013. Shown first at the Fondation Cartier pour l’Art Contemporain, Paris, 19 November 2013 – 6 April 2014 this exhibition moves to the Museo Amparo, Puebla, Mexico, 14 June – 29 September 2014. Brings together works by 70 artists from eleven countries, ranging from documentary photographers to contemporary artists who manipulate/modify the photographic image.
Sorolla, Dallas, San Diego and Madrid
Sorolla and America, Meadows Museum, Southern Methodist University, Dallas, 13 December 2013 – 19 April 2014; touring to San Diego Museum of Art, 30 May – 26 August and finally Fundación MAPFRE, Madrid, 23 September 2014 – 11 January 2015. Exhibition curated by the artist’s great-grandaughter Blanca Pons-Sorolla , presenting over 100 paintings, oil sketches and drawings, by Joaquín Sorolla y Bastida (1863-1923) covering his early socially realistic themes as well as his better known landscapes and beach scenes. Exhibition focuses on key American collectors Archer Huntington and Thomas Fortune Ryan and the impact on the artist and American cultural society of the exhibitions he held in the States in 1909 and 1911. Accompanied by bilingual English/Spanish editions of the catalogue.
The exhibition and its catalogue (by the artist’s great granddaughter and Mark Roglan, Director of the Dallas Museum) have received an enthusiastic and thoughtful review by Richard Brettell in April’s edition of The Burlington Magazine (pp 267-269), which makes interesting comparisons with other recent Sorolla exhibitions over the last decade.
ARTES 