#walter's international wax museum

[fitsofgloom]

Wax Simulacra

[l2fmpnathan]

Ruth Roots

ANDREW KREPS GALLERY22 CORTLANDT ALLEYNEW YORK, NY 10013TEL (212) 741-8849FAX (212)741-8863WWW.

ANDREWKREPS.COMRUTH ROOT Born 1967, Chicago, IL. Currently lives and works in New York City.

Education2003Yaddo1994 Skowhegan School of Painting and Sculpture1993 MFA, The School of the Art Institute of Chicago 1990Brown UniversityAwards1996 National Endowment for the Arts, Mid-Atlantic Grant in Painting1996 New York Foundation for the Arts Fellowship in Painting Solo Exhibitions2019Forum, Carnegie Museum of Art, Pittsburgh, PA2017356 Mission, Los Angeles, CA2016Marta Carvery Gallery, Madrid2015Old, Odd & Oval, The Aldrich Contemporary Art Museum, Ridgefield, CT Andrew Kreps Gallery, Nailery Nikolaus Ruziicka, Salzburg, Austria2014The Dartmouth Experiment, Dartmouth College, Hanover, NH2011The Suburban, Oak Park, IL2009Galerie Nikolaus Ruziicka, Salzburg, Austria Maureen Paley Gallery, London2008Gallery Minmi, Tokyo2007Andrew Kreps Gallery, New Yorkdale Marta Carvery, Madrid2005Galerie Nikolaus Ruzicska, Salzburg, Austria2004Maureen Paley Interim Art, LondonGaleria Marta Carvery, Madrid2003 Andrew Kreps Gallery, New York2001 Andrew Kreps Gallery, New York2000Galleria Franco Nero, Turin, Italy1999Andrew Kreps Gallery, New YorkMuseumExhibitions2018Inherent Structure, Wexner Centerport the Arts, Columbus, OH Surface/Depth, Museum of Arts and Design, New York, NY2015New York Painting, Kunst museum Bonn, Bonn, Germany2008Unique Act, Dublin City Gallery, The Hugh Lane,Dublin2007Don’t Look.

Contemporary Drawings from an Alumna’s Collection Martina Yamen, class of 1958, Davis Museum at Wellesley College, Wellesley, MA2005Extreme Abstraction, curated by Claire Schneider and Louis Gracchus, Albright Knox Art Gallery, Buffalo, NY2004City Maps, ArtPlace, San Antonio and TX.

ANDREW KREPS GALLERY22 CORTLANDT ALLEYNEW YORK, NY 10013TEL (212) 741-8849FAX (212)741-8863WWW.ANDREWKREPS.COM2003Permanent Collection On View, Los Angeles County Museum of Art, Los Angeles The ContemporaryArtProject Collection, Seattle Art Museum, Seattle, WA2002Emotional Rescue: The ContemporaryArtProject Collection, Curated by Linda Farris, Seattle Art Museum, Seattle, WAS am collect –contemporary art project, Seattle Art Museum, Seattle, WA2000Greater New York, Duplex solo installation, Curated by Klaus Eisenach and Laura Hauptman, PS1 Contemporary Art Centre, New York Group Exhibitions2019Painters Reply: Experimental Painting in the 1970s and now, curated by Alex Glauber and Alex Logsdail,Lisson Gallery, New York, NY2018Twist,fused/Jessica Silverman Gallery, San Francisco, CA2018 Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, New York, NY 2017Man Alive, Mariana Mercier, Brussels2016Looking Back, The 10thWhite Columns Annual –Selected by Matthew Higgs, White Columns, New York Life Eraser, Brand New Gallery, Milan Shapeshifters, Luring Augustine, New York The Congregation, Jack Hanley Gallery, New York 2014Les Plaisirs Démodé (The Old-Fashioned Way), Galerie Nikolaus Ruziicka, Salzburg, Austria2013Wit, The Painting Centre, New York2012To the Venetians II: Chris Martin, Matt Rich and Ruth Root, curated by Carrie Moyer and Dennis Congdon, RISD Painting Department Providence, RI2011-12The Indiscipline of Painting, Tate St. Ives, Cornwall, UK, touring to the Mead Gallery, University of Warwick, UK2009Trail Blazers in the 21st Century, The David and Ruth Robinson Eisenberg Gallery, New Brunswick, NJ Print, Mushroom Works, Newark upon Tyne, United Kingdom2008Take Me There Show Me The Way, Haunch of Venison, New York David Reed Studio, New York Gallery Minmi, Japan2007 NE integrity, Derek Eller Gallery, New York Bushels, Bundles & Barrels, Superfund Investment Centre, New York The Painting Show-Slipping Abstraction, Mead Gallery, Coventry, United Kingdom2006Untitled (for H.C. Westermann), The Contemporary Museum, Honolulu, HI Ruth Root, Alex Brown, Cameron Martin, Sally Ross, Gallery Minmi, Tokyoite is, “what is it”, Andrew Kreps Gallery, New York2005The Early Show, White Columns, New York Trade, White Columns, New York2004Painting & Sculpture, Mark Moore Gallery, Santa Monica, CA2003Greetings from New York: A Painting Showalterian Thaddaeus Ropak, Salzburg, Austria20thAnniversary, Welcome Home, Gavin Brown’s Enterprise, New York2002Jump, Curated by Ross Nether, The Painting Centre, New York-Beam, Cynthia Brogan Gallery, New York Inheriting Matisse: The Decorative Contour in Contemporary Art, Curated by MichelleGrabner, Rocket Gallery, London Acme Gallery, Los Angeles Abstract Redux, Danes Gallery and New York.

ANDREW KREPS GALLERY22 CORTLANDT ALLEYNEW YORK, NY 10013TEL (212) 741-8849FAX (212)741-8863WWW.

ANDREWKREPS.COMState of the Gallery, Andrew Kreps Gallery, New York2001The Approximative, Galerie Ghislaine Huss not, Paris Painting show, Curated by Laura Owens, Chicago Project Room, Los Angeles2000 Fuel Serve, Curated by Kenny Schachter, Kenny Schachter/Rove, New York Salty Salute, Westing Art Space, Toronto Perfidy -Exhausted Embrace, Curated by Martyn Simpson and Daniel Sturgis, Convent Sainte Marie de La Tourette, Evreux, FranceKosmobiologie, Curated by Nancy Chaykin, Bellwether Gallery, Brooklyn, NY1999Fifteen, Deutsche Bank, Curated by Walter Robinson, New York Free Coke, Greene Naftali Gallery, New York1998Home and Away, Curated by Kirsty Bell, Gavin Brown’s Enterprise, New York Son-of-a-Gusto, Curated by Nina Bovisa, Clementine Gallery, New York Cambio, Part 2, Curated by Kenny Schachter, Museo Universitario Del Choop, Mexico City Sassy Nuggets, Andrew Kreps Gallery, New York New Museum Benefit Auction, Pierogi 2000 Portfolios, New York Superfreaks: Part II, Odyssey, Greene Naftali Gallery, New York1997Cambio, Curated by Kenny Schachter, 526 West 26th St., New York Wrong Place, Right Time, Curated by Giovanni Garcia-Fenech, Temporary Space, New York Vague Pop, Curated by Giovanni Garcia-Fenech, View room, New York1996The Experimenters, Curated by Kenny Schachter, Lombard-Fried Fine Arts, New York Taking Stock, Curated by Kenny Schachter, 25 Broad Street, New York Texas Meets New York, Curated by Kenny Schachter, Arlington Museum of Art, Arlington, Texas Bump, The Greene County Council on the Arts, Catskill, NY The Death of the Death of Painting, Curated by Kenny Schachter, New York1995Lookin’ Good, Feeling’ Good, 450 Gallery, New York Eat or Be Eaten/ Painting, Not Painting, Anderson Gallery, Buffalo, NYX-Sightings, Anderson Gallery, Buffalo, NY1994Crash, Thread Waxing Space, New YorkBibliography2017Gerwin, Daniel.

“Ruth Root” Artform, September2016 Hodari, Susan. “

Painting Overtakes Pixels in Aldrich Museum Exhibition.”

The New York Times, 18 February2015Biswas, Allie. “

Ruth Root: ‘I love to see how artists create such a joy from colour’ “Studio International, December 17. Campbell, Andriana.

“Ruth Root.” Artforum.com, 13 July Pfeiffer, Produce. “Ruth Root.” Artform, October Vogel, Wendy. “The Lookout: Ruth Root” Art in America Online, 2 July Vogel, Wendy. “Ruth Root” Art in America, September Hawley, Anthony. “Ruth Root” The Brooklyn Rail, 8 September Yau, John. “Two Ways of Making Painting in the 21stCentury” Hyperallergic, 19 July The New Yorker, 27 JulySchwendener, Martha.

“Review: Ruth Root, Minimal and Opulent, at Andrew Kreps Gallery, The New York Times, 2July2009James, Nicholas, “Between Painting and Sculpture,” artslant.com, 25 January 2009.

ANDREW KREPS GALLERY22 CORTLANDT ALLEYNEW YORK, NY 10013TEL (212) 741-8849FAX (212)741-8863WWW.ANDREWKREPS.COMNickas, Bob.

“Colour and Structure.” Painting Abstraction: New Elements in Abstract Painting. London, UK. Phaedo Press. 2009Carrier, David. "Ruth Root.” aruspices 24/24 Fall -Winter2008McKeon, Belinda.

“Taking Root on Gallery Walls.” The Irish Times, March 11Maine, Stephen.

"Brand Boosters.” The New York Sun, March 6Ruth Root. The New Yorker, March 3Rosenberg, Karen.

"Ruth Root. “The New York Times, February 222007 “The Painting Show -Abstracts at Warwick University Mead Gallery.”24 Hour Museum.org. Kmart 15 Jannuzzi, Waldemar.”

The pleasures of undescriptive colour. “Times Online, February 182005Huntington, Richard. "A sampling of all things abstract—old and new.

“The Buffalo News, August 13 Flynn, Barbara. “Exhibition round-up: New York. “Artform. 546Rimanelli, David. "Greater New York 2005.” Artforum,MayColes, Alex. "Ruth Root.

“Modern Painters, May, p.112.De Chasse, Eric. "Painting (Cont'd).” art press, n310, March 2004Campagnola, Sonia.

"Ruth Root. “Flash Art, Summer Pozuelo, Abel H., "Ruth Rote Cultural, May Carpio, Francisco. "Ruth Root. “

ABC Cultural, June Pardo, Taneal. "Ruth Root. “Exit Express, June Boyce, Roger. “Ruth Root at Andrew Kreps Gallery.”

Art in America, February 2003Richard, Frances “Ruth Root: Andrew Kreps Gallery.”

Artforum,September Kerr, Merrily. “New York New York: Art Fragments from the Big Apple. “Flash Art, July-September Burton, Johanna. “Ruth Root. “Time Out New York, May 15-22“Ruth Root.”

www.flavorpill.com,May 10Smith, Roberta. “Ruth Root. “The New York Times, May 92002Pagel, David. “

Some Things Old, Some Things Mewls Angeles Times, May 102001Isé, Claudine. “Coughlan, Reeder, Root, Weatherford.” Team Celeste, September/October Schmirler, Sarah. “Gallery Beat. “

Art on Paper,July-AugustJohnson, Ken. “Ruth Root. “The New York Times, April 27Mahoney, Robert. “Ruth Root. “Time Out New York, May 10-17Naves, Mario. “These Paintings Are Watching You. “

The New York Observer, May 7Wehr, Anne. “Cigarette break. “Time Out New York, April 19-262000Cibulski, Dana Mouton. “New York. “Art Papers Magazine, November / December Conti, Tatiana. “Ruth Root. “Team Celeste, November Adult, Gary Michael. “Salty Salute at the West Wing Art Space.” The Globe and Mail, September 30Orange, Mark. “Greater New York.” Untitled,AutumnKino, Carol. “The Emergent Factor. “Art in America, July Hunt, David. “Symbiology. “Time Out New York, July 27Shave, Stuart. “Man Made.” idrapril Sumpter, Helen. “Ruth Root.” Hot Tickets, March Cook, Mark. “Ruth Root. “The Big Issue, March Cotter, Holland.

“New York Contemporary, Defined 150 Ways. “The New York Times, March 6Turner, Grady. “Beautiful Dreamers. “Flash Art, January-February 1999Cotter, Holland. “Ruth Root.”

Art in Review, The New York Times, March Pinchbeck, Daniel. “Ruth Root. “The Newspaper of New York and March.

ANDREW KREPS GALLERY22 CORTLANDT ALLEYNEW YORK, NY 10013TEL (212) 741-8849FAX (212)741-8863WWW.ANDREWKREPS.COMSchmerler, Sarah. “Ruth Root.” Time Out New York, March Sapid, Sue. “Met Life.” The Village Voice, March Turner, Grady.

“Son of a Gusto.” Flash Art, January1995“Eclectic Exhibition Opens at the Anderson Gallery. “Metro Weekend, November Huntington, Richard. “The Expected and Unexpected -A Fun Mix from Near and Far.”

The Buffalo News, July Huntington, Richard. “Nasty at Times. “The Buffalo News, December Victor, Mathieu. “Eat or Be Eaten.” Artvoice, NovemberCatalogues2015Smith-Stewart, Amy. Ruth Root: Old, Odd, and Oval.

The Aldrich Contemporary Art Museum. Ridgefield, CT2014Artist-in-Residence Spring 2014: Ruth Root Paintings. Jaffe-Frieda Gallery, Hopkins Centre for the Arts, Dartmouth College.

Hanover, NH2005Schneider, Claire and Gracchus, Louis. Extreme Abstraction. Albright Knox Gallery. Buffalo, NY. The Buffalo Fine Arts Academy Reddy Young, Tara.2002Sam Collects Contemporary Art Projects.

Seattle Art Museum. Seattle, WA2001Dailey, Meghan and Gingers, Alison M. The Approximative. Mink Ranch Productions. Paris, France2000Groom, Simon. Perfidy: Surviving Modernism.

Kettle’s Yard. Cambridge, UK1999European Galleries. Art Forum Berlin. Berlin, Germany Swenson, Susan (ed.). Pierogi Press. vol. 3, New York, NY1997Schachter, Kenny. Cambio. Mexican Cultural Institute of New York.

New York, NYLectures2001Conversations with Contemporary Artists, MoMA, New York, NY Public Collections Austin Museum of Art, Austin, TX Bard College, Annandale-on-Hudson, NY Carnegie Museum of Art, Pittsburgh, Hirschhorn Museum and Sculpture Garden, Washington D.C.Institute of Contemporary Art, Boston, MA Los Angeles County Museum of Art, Los Angeles, CA Whitney Museum of American Art, New York and NY.

[simon-martin]

THE DEGAS & THE SPHINX: for me one of the fascinating things about artworks in museums is not just what they represent and how they fit into wider art history, but the back story of who owned them and how. This Impressionist drawing by Edgar Degas ‘Femme se peignant’ c.1887-90 is one of the stars of ‘Degas to Picasso: International Modern Masters’ which opens at @pallanthousegallery today. It was in private ownership until it came to us in 2016 through the Acceptance in Lieu scheme from the estate of Stephen Brod. It once belonged to the American socialite Gladys Deacon, Duchess of Marlborough - the subject of a new biography by @hugovickers entitled ‘The Sphinx’ (after a statue of her at Blenheim Palace, which also has her distinctive eyes painted on the soffit of a portico - see pics here.) She was an art lover and painted by Giovanni Boldini and Sargent, and was friends with the sculptor Rodin, the painter Claude Monet and the novelist Marcel Proust, who confessed to a friend: ‘I never saw a girl with so much beauty, such magnificent intelligence, such goodness and charm.’ We assumed she had bought the drawing in 1918 from the sale of Degas’ collection by the dealer Durand-Ruel. But in fact Hugo recently found a will which revealed it was bequeathed to her in 1927 by her close friend the American lawyer and tennis champion Walter Berry, together with a Toulouse-Lautrec, a Gauguin and $20,000. She had attended the sale with Berry and they were clearly very close (he was also declared by novelist Edith Wharton to be the love of her life). Interestingly the Degas can be seen hanging in a photo of her London home Marlborough House (which features Lytton Strachey and Chips Channon). There’s so much to say about Gladys: that her father shot her mother’s lover, her rivalry with Consuelo Vanderbilt, her botched facelift that left paraffin wax slipping down her face, and her ending up in an asylum - but best to read Hugo’s book! #edgardegas #gladysdeacon #blenheimpalace #hugovickers #degastopicasso @blenheimpalace @claudia_rosencrantz (at Pallant House Gallery) https://www.instagram.com/p/CIaQISfF7tZ/?igshid=1t31taeo38u0l

[micaramel]

Artist: Isaac Julien

Venue: Jessica Silverman, San Francisco

Exhibition Title: Isaac Julien’s America

Date: March 15 – April 25, 2020

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of the artist, Victoria Miro, London and Jessica Silverman Gallery, San Francisco

Press Release:

Jessica Silverman Gallery is pleased to present Isaac Julien’s America, a solo show of new and historic works about the struggle for freedom and equality in a globalized world. The show is inspired by three pioneers: Frederick Douglass, an ex-slave, orator and the most photographed man of the nineteenth century; Matthew Henson, the African-American explorer who discovered the North Pole; and Angela Davis, the radical feminist and former Black Panther turned social justice activist. The photographic works in the exhibition interrogate and “creolize” the genres of portraiture, landscape, costume drama and Blaxploitation film. Together, they explore an imaginary country with expansive borders, a cluster of historical subcultures that are united by their desire for pride and self-possession, a diaspora vision that seeks to infiltrate contemporary America’s sense of itself.

Julien’s perspective on America has its roots in long personal letters written by his grandfather, who lived in Brooklyn, NY, to his mother, who resides in London, England. Throughout his childhood, Julien’s St Lucian parents regularly discussed the prospect of re-uniting with family and pursuing a better life by migrating to North America. However, the artist didn’t end up stepping foot on American soil (or meeting a grandparent) until he was 24 years old when he attended an independent film conference in Manhattan. Since 1984, Julien has lived in the US on and off and, in 1989, set Looking for Langston in Harlem.

Lessons of the Hour* (2019) re-imagines significant moments in the life and work of Frederick Douglass. Created in consultation with Professor Celeste-Marie Bernier, the work is informed by three prophetic speeches by Douglass – “What to the Slave is the 4th of July?,” “Lecture on Pictures” and his final talk, “Lessons of the Hour.” Shot in Washington, D.C., England and Scotland, Lessons of the Hour has an intriguingly ambiguous geography and features a range of historical figures committed to human rights, including: J.P. Ball, the African-American photographer; Anna Murray and Helen Pitts, Douglass’ wives; Anna and Ellen Richardson, the English Quaker sisters who purchased Douglass’s freedom; and Susan B. Anthony, the suffragist who was his longtime friend.

Isaac Julien’s America features large scale color photographs from Lessons of the Hour and small black-and-white tintypes, titled Lyrics of Sunshine and Shadow after a poem by Paul Laurence Dunbar, one of the first African-American writers to acquire an international reputation, who Douglass once described as “the most promising colored man in America.” Lessons of the Hour is also comprised of a ten-screen film installation, which premiered at Memorial Art Gallery in Rochester, New York, and will open at the McEvoy Foundation for the Arts in San Francisco on May 29th.

Julien’s Baltimore (2003) was shot outside in the city’s streets and inside three of its museums – the National Great Blacks in Wax Museum, the Peabody Library and the Walters Art Museum. These works pay homage to the style, language and iconography of 1970s Blaxploitation films (particularly Melvin Van Peebles’ 1971 classic, Sweet Sweetback’s Badassss Song) and offer surreal allegories of race, class and cultural history. The project bears witness to Julien’s desire to “put the future, the past, and the present in the same time frame” and to see beauty in Afrocentric culture.

One of the Baltimore photographs features a waxwork of Ida B. Wells, a journalist and black suffragette who led an anti-lynching crusade in the 1890s, which has been transported two miles from the Great Blacks in Wax Museum to one of the Baroque rooms of the Walters Art Museum. Julien creates an amusingly unconventional image wherein the viewer looks over the shoulder of Ida, whose gaze is directed at a painting of the naked white torso of Saint Paul the Hermit.

True North (2004) is a mediation on the sublimity of diaspora, loosely inspired by the story of the black American explorer, Matthew Henson, who went to the North Pole with Robert Peary and four Inuit and later wrote an account of his experience. In this body of work, black faces are set against white snow in the midst of a vast landscape and an endless journey. The trek is both existential, universally human as well as political and community-specific. Sisyphus, who can never escape Hades, meets the slave, who has a chance of fleeing the South. Or the Book of Job meets Booker T. Washington’s Up from Slavery (1901). In many cases, the role of the intrepid explorer is occupied by an Amazonian beauty or noble warrior, a gender shift that begs many questions.

Evoking different times and spaces, Isaac Julien’s America probes the symbiotic relations between identity and land, blood and country, growth and travel. Ever hopeful and constructively critical, Julien focusses on the positive lessons relevant to our hour.

Isaac Julien (b. 1960, London UK) splits his time between London, England, and Santa Cruz, California. He has had many solo shows at museums, including: the Museum of Modern Art, NY; Museo Universitario Arte Contemporáneo, Mexico City; Centre Pompidou, Paris; Moderna Museet, Stockholm; Museum of Contemporary Art, San Diego; Institute of Contemporary Art, Boston; Art Institute of Chicago; Milwaukee Art Museum; Bass Museum of Art, Miami; Saint Louis Art Museum; Kestnergesellschaft, Hannover; SESC Pompeia, São Paulo; and the Aspen Art Museum. Julien was awarded the title Commander of the Most Excellent Order of the British Empire (CBE) in the Queen’s Birthday Honors, 2017. Julien is Distinguished Professor of the Arts at the University of California, Santa Cruz, where he and Professor of the Arts Mark Nash teach within the Isaac Julien Lab.

*Lessons of the Hour was commissioned by the Memorial Art Gallery of the University of Rochester with the partnership of the Virginia Museum of Fine Arts, Richmond.

Link: Isaac Julien at Jessica Silverman

from Contemporary Art Daily https://bit.ly/2yl6hBe

[arthisour-blog]

The Beheading of Saint Paul Vincenzo Foggini, Alessandro Algardi (after)originally modelled 1643-1647; this example before 1753 From the collection of Los Angeles County Museum of Art Details Title: The Beheading of Saint Paul Creator: Vincenzo Foggini, Alessandro Algardi (after) Location: Italy Physical Dimensions: Diameter: 19 in. (48.26 cm); Depth: 1 3/4 in. (4.45 cm) Medium: Wax on plaster base-layer Object Classification: Sculpture Full Title: The Beheading of Saint Paul Curatorial Area: European Sculpture Credit Line: Purchased with funds provided by Neal Castleman and Ellen Hoffman-Castleman by exchange, Mr. and Mrs. Walter Zifkin, Suzanne Deal Booth and David G. Booth, and Mr. and Mrs. Alexander L. Cappello Chronology: 1751-1800, 1701-1750 Artwork Accession Number: M.2001.149

Los Angeles County Museum of Art Los Angeles, United States

The Los Angeles County Museum of Art (LACMA) is the largest art museum in the western United States. A museum of international stature as well as a vital part of Southern California, LACMA shares its vast collections through exhibitions, public programs, and research facilities that attract over a million visitors annually. LACMA’s collections encompass the geographic world and virtually the entire history of art. Among the museum’s special strengths are its holdings of Asian art, housed in part in the Bruce Goff-designed Pavilion for Japanese Art; Latin American art, ranging from pre-Columbian masterpieces to works by leading modern and contemporary artists including Diego Rivera, Frida Kahlo, and Jose Clemente Orozco; and Islamic art, of which LACMA hosts one of the most significant collections in the world.

Alessandro Algardi Jul 31, 1598 – Jun 10, 1654

Alessandro Algardi was an Italian high-Baroque sculptor active almost exclusively in Rome, where for the latter decades of his life, he was, along with Francesco Borromini and Pietro da Cortona, one of the major rivals of Gian Lorenzo Bernini.

The Beheading of Saint Paul Vincenzo Foggini, Alessandro Algardi 1643-1647 was originally published on HiSoUR Art Collection

[nofomoartworld]

Hyperallergic: Art Movements

Opening of “Monument,” a temporary art installation by Manaf Halbouni on the historical Neumarkt in Dresden, in front of the Church of Our Lady, Tuesday 7th of February (photo by David Brandt, courtesy Kunsthaus Dresden)

Art Movements is a weekly collection of news, developments, and stirrings in the art world.

Around 150 anti-immigration protesters gathered in Dresden to disrupt the unveiling of Manaf Halbouni‘s “Monument,” a public sculpture dedicated to the people of Aleppo. The sculpture, which consists of three upturned buses fastened together with wire, refers to a photograph of a barricade built on the streets of Aleppo in 2015. According to Christiane Mennicke-Schwarz, the artistic director of the Dresden Kunsthaus, the opening was disrupted by chants of “traitors” and “get lost.”

Sotheby’s filed a second lawsuit over the sale of a group of Old Master paintings that it believes to be forgeries. The auction house filed a lawsuit against art dealer Mark Weiss and collector David Kowitz in order to recover the profits of the 2011 private sale of “Portrait of a Man,” which Sotheby’s attributed to Frans Hals at the time. In a statement, Weiss said that he “intends to contest the claim vigorously.”

The Louvre Museum was reopened less than 24-hours after a man attacked a French soldier with a machete. An Egyptian Interior Ministry official identified the attacker as 28-year-old Abdullah Reda Refaie al-Hamahmy.

German prosecutors announced that a 36-year-old Tunisian man arrested on terrorism charges is also being held for his suspected involvement in the 2015 attack on the Bardo Museum in Tunis.

The Bombay High Court rejected Chintan Upadhyay‘s bail application. The artist stands accused of murdering his wife Hema and her lawyer Haresh Bhambani.

Pontormo, “Portrait of a Young Man in a Red Cap” (1530) (courtesy DCMS)

American hedge fund manager Tom Hill rejected a £30.7 million ($38.4 million) matching offer from London’s National Gallery for the purchase of Pontormo’s “Portrait of a Young Man in a Red Cap” (1530), a decision he attributes to the fall in the pound’s value. The UK government is likely to refuse a permanent export licence as a result. An export bar was placed on the work in 2015.

Hundreds of artists, dealers, critics, and curators signed an open letter opposing President Donald Trump’s executive order banning non-US citizens from seven Muslim-majority countries.

A report by Bloomberg identified Oprah Winfrey as the former owner of Gustav Klimt’s “Portrait of Adele Bloch-Bauer II” (1912). The work was privately sold to an Asian buyer last year for a reported $150 million. An unnamed source told Bloomberg that it was Winfrey who purchased the work at Christie’s for $87.9 million in 2006.

The New Art Dealers Alliance announced that it will donate half the ticket proceeds from its upcoming New York fair to the American Civil Liberties Union.

Tracey Emin and gallerist Xavier Hufkens are two of five benefactors funding a four-year scholarship for three Syrian refugees at Bard College Berlin. The scholarships are part of the Program for International Education and Social Change.

A book of Tahitian photographs taken by Jules Agostini is thought to contain images of Paul Gauguin and his mistress Pahura. Two albums of Agostini’s photographs — a friend of the artist — were sold at auction in July 2015, one of which was acquired by art dealer Daniel Blau.

A group photograph by Jules Agostini allegedly showing Gauguin in Tahiti (© Daniel Blau, Munich)

Archaeologists discovered a cave in the Judean desert that is thought to have housed a collection of Dead Sea scrolls.

The FBI repatriated Franse Verzijl’s “Young Man as Bacchus” to the Max and Iris Stern Foundation.

A search of the State Hermitage Museum’s Staraya Derevnya restoration and repository center by the Federal Security Service (FSB) was part of an investigation into “operational procedures” according to the museum’s director, Mikhail Piotrovsky. As noted by the Art Newspaper, the FSB’s search coincided with Piotrovsky’s criticism of the Russian government’s decision to transfer control of St Isaac’s Cathedral from museum officials to the Russian Orthodox Church.

A portrait of Queen Elizabeth II by photographer David Bailey was reissued to mark the monarch’s sapphire jubilee.

Attendance to the UK’s major museums and galleries fell by almost 1.4 million last year according to a report by the Department of Culture, Media and Sport — the first decline in almost a decade.

A collection of water-damaged recordings of Bob Marley‘s concerts were restored following a $31,200 project. The 13 tapes — two of which were blank and one ruined — were discovered in the basement of a run-down hotel in Kensal Rise, London.

Transactions

Jacob Lawrence, “Builders #1” (1968), gouache and tempera on paper, 29 x 21 1/2 in, Colby College Museum of Art, the Lunder Collection (photo by Peter Siegel, Pillar Digital Imaging LLC. © 2017 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society, ARS, New York)

Peter and Paula Lunder donated over 1,100 artworks to the Colby Colby College Museum of Art.

The Canadian government allocated $5.1 million from the Canada Cultural Spaces Fund to the Museum of Contemporary Art Toronto Canada.

Jeanne and Michael L. Klein donated 28 video works to the Blanton Museum of Art. The gift includes works by Tania Bruguera, Isaac Julien, Pipilotti Rist, and Javier Téllez.

The Andrew W. Mellon Foundation donated $400,000 toward the Museum of Contemporary Art, Denver‘s “Animating Museums” program.

MCH group acquired a 25.1% stake in art.fair International, the organizer of Art Düsseldorf. The Swiss conglomerate acquired 60.3% of the shares in Seventh Plane Pvt. Ltd in New Delhi, the organizer of the India Art Fair, last September.

The Columbia Museum of Art acquired works by Bing Davis, Renée Cox, Michaela Pilar Brown, and Colin Quashie — all of whom took part in the museum’s 2016 exhibition REMIX: Themes and Variations in African-American Art.

Renée Cox, “Liberation of Aunt Jemima and Uncle Ben” (1998), dye destruction print, Diasec mounted, 8 1/2 x 61 1/2 in, museum purchase (courtesy Columbia Museum of Art)

Transitions

Peter Keller was appointed director general of the International Council of Museums.

Manuel de Santaren was appointed president of the Cisneros Fontanals Art Foundation.

Jock Reynolds will stand down as the director of the Yale Art Gallery next year.

The New York Times reported that Michelle D. Gavin stepped down as the director of The Africa Center over three months ago.

Karen Hindsbo was appointed director of Norway’s National Museum.

Laurel Ptak was appointed executive director of Art in General.

Silvia Filippini Fantoni was appointed director of programs and audience engagement at the North Carolina Museum of Art.

Dirk Boll was appointed president, Christie’s Europe, Middle East, Russia and India. Bertold Müeller was appointed managing director, Christie‘s Continental Europe, Middle East, Russia and India.

Sotheby’s appointed Adam Chinn as its chief operating officer.

Harry Dalmeny was appointed UK chairman of Sotheby’s.

Gabriel Pérez-Barreiro was appointed curator of the 2018 São Paulo Biennial.

Jen Graves resigned as art critic for The Stranger.

The 2017 Spring/Break Art Show will take place over two floors at 4 Times Square.

Tim Youd is now represented by the Cristin Tierney Gallery.

Washburn Gallery will vacate its space at 20 West 57th Street amid speculation that the building will be demolished for redevelopment.

Christie’s announced that it will open a new, 5,400-square-foot space in Beverly Hills, California.

Accolades

Hans Haacke, “Gift Horse” (2014), horse: bronze with black patina and wax finish stainless steel fasteners and supports, bow: 5mm flexible LED display stainless steel armature polycarbonate face, 15 ft 3 in x 14 ft 1 in x 5 ft 5 in (© Hans Haacke / Artists Rights Society, ARS, New York, photo by Hans Haacke, courtesy the artist and Paula Cooper Gallery, New York)

Hans Haacke was awarded the 2017 Roswitha Haftmann Prize.

Günter Herzog was awarded the 2017 Art Cologne Prize.

Opportunities

The Lower East Side Printshop is accepting applications for its one-year, Keyholder Residency program. Emerging artists have until March 1 to apply.

Obituaries

Marta Becket (1924–2017), dancer. Founder of the Amargosa Opera House.

Annette Cravens (unconfirmed–2017), artist and arts patron.

Henry-Louis de la Grange (1924–2017), musicologist and critic. Biographer of Gustav Mahler.

Buchi Emecheta (1944–2017), writer.

Gwendolyn Gillen (1941–2017), sculptor.

Walter Hautzig (1921–2017), pianist.

Dame Jennifer Jenkins (1921–2017), former chair of the National Trust.

William Melvin Kelley (1937–2017), novelist.

Harry Matthews (1930–2017), writer.

Howard Frank Mosher (1942–2017), novelist.

David Shepard (1940–2017), film preservationist.

Rob Stewart (1979–2017), filmmaker. Best known for Sharkwater (2006).

Tzvetan Todorov (1939–2017), literary theorist and historian.

The post Art Movements appeared first on Hyperallergic.

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Black History Month Events | Baltimore

There is no better time to explore Baltimore’s African American history than in February, when the city – an epicenter of black culture and heritage – hosts an array of events and exhibitions in honor of Black History Month. Even though I am an Atlanta based blogger I am aware that a large portion of my audience is in Baltimore so I am happy to share this list of Black History Month events happening in Baltimore!

Black History Month Events | Baltimore

A highlight of Baltimore’s Black History Month events will be Visit Baltimore’s inaugural Legends & Legacies Jubilee on February 18 from 12 to 4 p.m. at the Baltimore Visitor Center. The free family-friendly event celebrates Baltimore’s African American heritage and culture, while encouraging inclusivity and community engagement. The city’s top cultural attractions – the Maryland Zoo, National Aquarium, National Great Blacks In Wax Museum, Port Discovery Museum, The Reginald F. Lewis Museum, The Walters Art Museum and The Maryland Historical Society – will be present and offer experiential activities, such as exploring the Civil Rights movement through story-telling. Attendees can also enjoy food, music and historical reenactors.

Those looking to delve into Baltimore’s black history year-round can take advantage of the Legends and Legacies Heritage Pass, which offers reduced admission to the city’s most popular African American attractions. Guests who visit The National Great Blacks In Wax Museum, The Reginald F. Lewis Museum and the Frederick Douglass-Isaac Myers Maritime Park with the pass save 20% on ticket prices.

Black History Month events and exhibits in Baltimore include:

Every Saturday and Sunday in February, Historic Ships in Baltimore will offer its To Catch a Thief Tour, aboard the USS Constellation. Shortly before the Civil War, the ship fought against the international slave trade, and even pursued and captured the slave ship Cora, rescuing more than 700 captive Africans. The tour is available for all visitors and is included in regular admission to Historic Ships.

Frederick Douglass-Isaac Myers Maritime Park, an educational and national heritage site that highlights African American maritime history, will offer free tours every Saturday in February, from noon to 4 p.m.

Baltimore Black Memorabilia Fine Art & Crafts Show will be held at Reginald F. Lewis Museum on Saturday, February 11 from 10 a.m. to 5 p.m. The show will feature black memorabilia, fine art and crafts, as well as a book signing by Ilyasah Al-Shabazz, Malcolm X’s daughter.

Baltimore artists and entrepreneurs will participate in a discussion about the intersection between black artists and black-owned businesses at the Baltimore Museum of Art on Saturday, February 11 from 12 to 5 p.m. In addition to the panel, attendees are invited to a networking reception, vendor fair and free creative business skills workshop. Tickets must be reserved at www.artbma.org.

Kids can learn about the history of slavery during an interactive Tea and Tour at Mount Clare Museum House with American Girl Doll Addy Walker on February 25. The character of Addy was an enslaved girl who sought freedom with her mother in Philadelphia, and attending children ages 4 to 12 will learn about the difficult decisions Addy had to make, as well as her adjustment from slavery to freedom.

On display through February 28 is the “Makers of the Railroad: African Americans on the B&O” exhibit at B&O Railroad Museum. The exhibition explores the history of African Americans who served as porters, waiters, chefs and innovators on the railroad.

“Sons: Seeing the Modern African American Male” at the Reginald F. Lewis Museum is a photographic examination of African American men and how they’re perceived. Black History Month is a timely reason to visit the exhibit, which invites visitors to compare their perceptions to reality and learn of some of the challenges facing African American men today.

If you are a Baltimore resident please don’t let this be your only resource for Black History Month activities.  There were too many to list so these are just highlights.  No matter what city you are in with just a little bit of research you can find events and activities that are there just for you!  Happy Black History Month!

How do you celebrate Black History Month?

The post Black History Month Events | Baltimore appeared first on The Sistah Cafe.

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Artist: Arthur Ou

Venue: Brennan & Griffin, New York

Exhibition Title: A Day of Times

Date: October 27 – December 10, 2017

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Brennan & Griffin, New York

Press Release:

When we think about the future of the world, we always have in mind its being at the place where it would be if it continued to move as we see it moving now. We do not realize that it moves not in a straight line, but in a curve, and that its direction constantly changes. – Ludwig Wittgenstein, from “Culture and Value,” 1929

Brennan & Griffin is pleased to present A Day of Times, a solo exhibition of a new series by Arthur Ou. This is the artist’s third exhibition at the gallery.

Over the course of a day, from dawn until dusk, on October 21st, 2016, Ou made a sequence of exposures from a particular vantage point overlooking the Point Reyes coast in California. These 8×10 inch negatives were then used to produce a series of large scale analog prints that Ou hand tints with waxed pigment. The gradiated palette sits upon the surface like a thin veil, generating a play between color and surface, texture and light, depth and flatness. Each print is a unique work, extending the relationship between photography to the process of painting and drawing.

Arthur Ou (born 1974, Taipei, Taiwan) lives and works in Queens, New York. Ou’s work has been considered in the New York Times, Artforum, The New Yorker, Art in America, Aperture andBlindspot. He is featured in Charlotte Cotton’s seminal book about Contemporary Photography, Photography is Magic, and Walter Benn Michael’s recently published The Beauty of a Social Problem: Photography, Autonomy, Economy. Recent exhibitions include, The Queens International at the Queens Museum, 99¢ at the Museum of Contemporary Art Detroit, curated by Jens Hoffmann, and Astoria, at the Grazer Kunstverein, organized by Trisha Donnelly.

如果我們想到世界的未來，我們通常會想到它將會達到的地點如果它繼續走向我們所看到的方向。但我們沒有意識到它不是以直線移動，而是以曲線移動，並且其方向不斷的變化。 路德維希·維特根斯坦，1929

Brennan & Griffin畫廊很高興介紹歐宗翰的個展：“一天的時刻“。這是歐先生在本畫廊第三次的個人發表。

在一天的過程中，從黎明到黃昏，在2016年10月21日，歐宗翰在加州的雷耶斯角的一個特定高處位置做了一程序的曝光 。然後使用這些8×10英寸的底片從暗房製作一系列大模擬的照片。接著歐宗翰在照片上手工著顏料，漸變的顏色在照片表面上像一層淡薄的紗幕。這特殊的做���產生的質量在顏色和表面、紋理和光線、深度和平面度之間產生一個對比。每張作品都是獨一的，延伸了攝影與繪畫和油畫過程的關係。

歐宗翰1974年出生在台北台灣，現居住於紐約。2000年耶魯藝術學院獲得碩士。現時為紐約帕森藝術學校攝影系副教授。歐宗翰曾參與多個國際性展覽，包括參加2006台北雙年展、2012韓國大邱攝影雙年展、及2015新西蘭攝影節展。

Link: Arthur Ou at Brennan & Griffin

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