Tag Archives: New York

Online Resources from the Solomon R. Guggenheim Museum and MoMA

Since 2016, MoMA and the Guggenheim Museum have worked on digitising exhibition catalogues and other material related to their displays and collections.

MoMA’s ‘Exhibition History‘ page offers access to photographs, interpretation, checklists and other material for 4,918 exhibitions from the museum’s founding in 1929 to the present. ARTES members may be particularly interested to discover a 1931 exhibition dedicated to Diego Rivera, the show American Sources of Modern Art (Aztec, Mayan, Incan) of 1933, the ground-breaking Cubism and Abstract Art of 1936, the 1939 show Picasso: Forty years of his art and exhibitions dedicated to the Brazilian artist Candido Portinari and to Joan Miró in 1940. The archive offers a way to explore the museum’s history during its closure for refurbishment and redisplay (re-opens October 21).

On archive.org, art lovers and researchers can read and download more than 200 catalogues published by the Guggenheim Museum. Highlights include the exhibition Tauromaquia (Collezione Peggy Guggenheim, Venice, 1985), Berriaren tradizioa: Guggenheim bildumako maisulanak, 1945–1990 (Museo de Bellas Artes de Bilbao, 1995), and The Aztec Empire (Solomon R. Guggenheim Museum, New York, 2004).

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Featured Exhibition: Surrealism in Mexico, Di Donna Galleries, New York, 28 June 2019

Di Donna Galleries in New York announced its exhibition Surrealism in Mexico, on view until 28 June, 2019, which explores the creative moment that emerged between 1940 and 1955 as an international community of artists fled World War II in Europe and settled in Mexico. The exhibition features paintings, sculptures, drawings, photographs, and collages by artists including Lola Álvarez Bravo, Leonora Carrington, Esteban Francés, Gunther Gerzso, Kati Horna, Frida Kahlo, Agustín Lazo, Matta, Gordon Onslow Ford, Wolfgang Paalen, Alice Rahon, Bridget Bate Tichenor, and Remedios Varo, with loans from distinguished private collections, corporate collections, and non-profit foundations in Mexico, the United States, and Europe.

Featured Exhibitions: Lucio Fontana. On the Threshold, Met Breuer/Lucio Fontana: Spatial Environment (1968), El Museo del Barrio, New York, until 14 April 2019

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Spatial Concept, The Bread (Concetto Spaziale, Il Pane) Lucio Fontana (Italian, 1899–1968) | Fondazione Lucio Fontana, Milan

The first major survey of Lucio Fontana (1899–1968) in the United States in more than forty years, this exhibition will reexamine the career of one of the most innovative artists of the twentieth century. The Argentine-Italian artist is widely known for his Cuts series, slashed paintings that became symbols of the postwar era. The exhibition will present extraordinary examples of this iconic body of work. It will also explore Fontana’s beginnings as a sculptor, including his exquisite work in ceramic, as well as his pioneering environments, contextualizing the radical gesture of his Cuts as part of the artist’s broader search to integrate the space of art and the space of the viewer.

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Another striking work by Fontana will is on show at El Museo del Barrio during the run of the Met exhibition. Presented at Documenta 4 in Kassel, Germany, in 1968, Spatial Environment [Ambiente Spaziale] is an immersive, all-white, labyrinthine work of art conceived in relation to the artist’s innovative Spatialism movement.

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Images: Lucio Fontana, Ambiente spaziale in Documenta 4, a Kassel, 1968/2017, installation view at Pirelli, HangarBicocca, Milan, 2017. Courtesy Pirelli, HangarBicocca, Milan. ©Fondazione Lucio Fontana | Photo: Lorenzo Palmieri

Opens Today: Frida Kahlo: Appearances Can Be Deceiving, Brooklyn Museum of Art, New York, until 12 May 2019

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Nickolas Muray (American, born Hungary, 1892–1965). Frida in New York, 1946; printed 2006. Carbon pigment print, image: 14 x 11 in. (35.6 x 27.9 cm). Brooklyn Museum; Emily Winthrop Miles Fund, 2010.80. © Nickolas Muray Photo Archives. (Photo: Brooklyn Museum)

Mexican artist Frida Kahlo’s unique and immediately recognizable style was an integral part of her identity. Kahlo came to define herself through her ethnicity, disability, and politics, all of which were at the heart of her work. Frida Kahlo: Appearances Can Be Deceiving is the largest U.S. exhibition in ten years devoted to the iconic painter and the first in the United States to display a collection of her clothing and other personal possessions, which were rediscovered and inventoried in 2004 after being locked away since Kahlo’s death, in 1954. They are displayed alongside important paintings, drawings, and photographs from the celebrated Jacques and Natasha Gelman Collection of 20th Century Mexican Art, as well as related historical film and ephemera. To highlight the collecting interests of Kahlo and her husband, muralist Diego Rivera, works from the museum’s extensive holdings of Mesoamerican art are also included.

 

Kahlo’s personal artifacts—which range from noteworthy examples of Kahlo’s Tehuana clothing, contemporary and pre-Colonial jewelry, and some of the many hand-painted corsets and prosthetics used by the artist during her lifetime—had been stored in the Casa Azul (Blue House), the longtime Mexico City home of Kahlo and Rivera, who had stipulated that their possessions not be disclosed until 15 years after Rivera’s death. The objects shed new light on how Kahlo crafted her appearance and shaped her personal and public identity to reflect her cultural heritage and political beliefs, while also addressing and incorporating her physical disabilities.

Frida Kahlo: Appearances Can Be Deceiving is based on an exhibition at the V&A London curated by Claire Wilcox and Circe Henestrosa, with Gannit Ankori as curatorial advisor. Their continued participation has been essential to presenting the Brooklyn exhibition, which is organized by Catherine Morris, Sackler Senior Curator for the Elizabeth A. Sackler Center for Feminist Art, and Lisa Small, Senior Curator, European Art, Brooklyn Museum, in collaboration with the Banco de México Diego Rivera and Frida Kahlo Museums Trust, and The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and The Vergel Foundation.

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Opens Today: Raúl de Nieves: Fina, Cleveland Museum of Art @ Transformer Station, Cleveland, until 28 April 2018

stacks-image-f3e15d7Raúl de Nieves: Fina, the first solo museum exhibition by Raúl de Nieves (b. 1983, Michoacán, Mexico), will feature new work in a site-specific installation developed for the Cleveland Museum of Art at the Transformer Station. Narrative facets of the installation will be informed by de Nieves’s experience of Mexican cultural traditions, considered through the lens of this moment in history. These will unfold in relation to the particular architecture of the Transformer Station. As a whole, the installation will be characterized by the artist’s ongoing interest in transforming humble materials into spectacular objects that alter the spaces around them.

De Nieves, who lives in New York, traces his artistic practice back to his childhood in Mexico: at school and alongside family members, he learned traditional Latin American sewing and beadwork that now permeate his art in multiple ways. At the age of nine de Nieves migrated to San Diego with his mother and two brothers. Later he moved to San Francisco and finally to New York, where his multimedia practice, including painting, sculpture, and performance, has taken shape. De Nieves has presented solo projects and performances at The Kitchen and the Watermill Center, New York (both 2017), and the Institute of Contemporary Art, Philadelphia (2016). He has participated in major contemporary art surveys, including Documenta 14 (2018), the 2017 Whitney Biennial, and Greater New York at MoMA/PS1 (2015). His work is part of the Swiss Institute for Contemporary Art’s inaugural exhibition in its new building that opened in New York in summer 2018.

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CFP: Visualizing Scientific Thinking and Religion in the Early Modern Iberian World, CAA 107th Annual Conference, New York, February 13–16, 2019

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Fray Bernadino de Sahagún, The Florentine Codex, 1540–85

Chairs: Brendan C. McMahon (bcmcmaho@umich.edu), Emily Floyd (emilycfloyd@gmail.com)

In recent years, the consideration of visual and material sources has greatly enriched the study of a wide range of scientific practices in the early modern period. As scholars have moved away from characterizing “art” and “science” as discrete categories, they have increasingly turned to paintings, prints, and other forms of artistic production as a means to explore how early modern actors came to understand their experiences of the natural world. While the vast majority of these studies focus on the visual and material culture of Protestant Northern Europe, a small but growing number investigate similar trends in Spain and the Spanish Americas. Yet even as scholars have turned to instances where visual thinking formed a central component of scientific practices in this region, they have been more tentative to consider how religion, and particularly Catholicism, shaped such practices in this context.
This session seeks papers that consider the intersections of visual production, scientific thinking, and religion in the early modern Iberian world, investigating such themes as:
• Material culture, techne, and artisanal epistemologies
• The mobilization of indigenous American and creole systems of natural knowledge
• The Catholic Enlightenment
• Healing, disease, and visual production
• Visual and material culture, theology, and natural philosophical argument
• Epistemic images in the early modern Iberian world
To submit a proposal, please email a 250-word abstract, CV, and proposal form to bcmcmaho@umich.edu and emilycfloyd@gmail.com by Monday August 6, 2018.

Featured Exhibition: Painted in Mexico, 1700–1790: Pinxit Mexici, Metropolitan Museum of Art, New York, until 22 July 2018

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Juan Patricio Morlete Ruiz (Mexican, 1713–1772). Portrait of Doña Tomasa Durán López de Cárdenas (detail), c. 1762. Galería Coloniart, Collection of Felipe Siegel, Anna and Andrés Siegel, Mexico City. Photo © Rafael Doniz

The vitality and inventiveness of artists in eighteenth-century New Spain (Mexico) is the focus of Pinxit Mexici, an exhibition which presents some 110 works of art (primarily paintings), many of which are unpublished and newly restored. The exhibition surveys the most important artists and stylistic developments of the period and highlights the emergence of new pictorial genres and subjects. It is the first major exhibition devoted to this neglected topic.

The exhibition is divided in thematic sections: Great Masters; Masters Storytellers and the Art of Expression; Noble Pursuits and the Academy; Paintings of the Land; The Power of Portraiture; The Allegorical World; Imagining the Sacred.

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