Sometimes the best shows are not on Manhattan, but not too far away. Like this show in the
Neuberger Museum of Art in Purchase NY that’s on now. There are more than sixty works of art from America’s most inventive artists between late 1920s and early 1940s American Vanguards, a group including Stuart Davis, Willem de Kooning, Jackson Pollock and Adolph Gottlieb, combined their identities and shared aspirations by friendship. They had a new idea about what a painting or sculpture could be.

In the 1920s through 1940s, the enigmatic and charismatic John Graham (1886–1961) and his circle of New York artists, which included Stuart Davis, Arshile Gorky, and Willem de Kooning, helped redefine ideas of what painting and sculpture could be. They, along with others in Graham’s orbit, such as Jackson Pollock and David Smith, played a critical role in developing and defining American modernism.

American Vanguards showcases more than sixty works of art from this vital period that demonstrate the inter-connections, common sources, and shared stimuli among the members of Graham’s circle.

This exhibition, curated by notable scholars William C. Agee, Irving Sandler, and Karen Wilkin, will be accompanied by a fully illustrated catalogue co-published by the Addison and Yale University Press. This critical reconsideration sheds new light on the New York School, Abstract Expressionism, and the vitality of American modernism between the two world wars.

The exhibit will be open from January 29–April 29, 2012. Neuberger Museum of Art is located just 45 min. from Manhattan (or 10 min from White Plains) on Purchase College, State University of New York, 735 Anderson Hill Road, Purchase, NY.

Be sure to check out the museum’s associated programs. This is a great museum with lots of going-ons.

Contemporary Art :: Fine Art :: Top Artists :: Art Reviews, Art Fairs & Exhibitions. Copyright , e ART FAIR .com, All Rights Reserved.

The Contemporary Artists’ Books Conference is a dynamic, two-day event focused on emerging practices and debates within art-book culture. For the first time, the Conference will be free and open to the public.

Six ninety-minute panel sessions will be held, covering such topics as the state of artists’ books criticism, new pedagogical approaches and audiences, artists’ books in Latin America, and samizdat as a model for radical distribution. This year’s keynote speaker is artist Tauba Auerbach, who will discuss artists’ books as a central part of her practice, including her recent oversized pop-up books.

The regular sessions will be followed on Friday, September 30, by an hour-long pecha kucha, or lightning round, in which invited guests will each present for five minutes, discussing one or more artists’ books, zines, or multiples; and on Saturday, October 1, by a reception and book launch for Adventures (see below), the new publication that benefits the conference.

The Conference is organized by the CABC Committee, a national group of art library professionals (listed below). Funding for the Conference is supported by generous donations from David Teiger and from Philip Aarons and Shelley Fox Aarons.

In conjunction with the Conference:

Adventures, a new publication to benefit the Conference

Bringing together language-based artworks, poetry, and image-text dialogues, Adventures will pay homage to assembling practices developed by mid-twentieth century artists’ periodicals. Adventures is edited by David Senior and will include contributions from Alejandro Cesarco, Eve Fowler, Dora Garcia, William E. Jones, MPA, Carl Pope, Scott Reeder, Paul Mpagi Sepuya, among many others. Artist and designer Aaron Flint Jamison coordinated production of the edition at YU, Portland, OR. Sales will support the Contemporary Artists’ Books Conference, which for the first time will offer free admission to all visitors. For more information, call (212) 925-0325 or write shannon@printedmatter.org.

Loose Leaf: Publications as Assemblage, related exhibition

Semina, the art and literary journal published by artist Wallace Berman from 1955–1964, will be proudly featured alongside a number of other assembled magazines from the 1960–70s as part of “Loose Leaf.” This special exhibition will examine an era during which the composition of printed matter was performed, transmitted, and scrambled, generating new possibilities for published artworks. “Loose Leaf” is organized by David Senior, Museum of Modern Art Library.

CABC COMMITTEE:
Kate Adler
AA Bronson, NY Art Book Fair
Stephen Bury, Frick Art Reference Library
Matthew Carson, International Center for Photography Library
Deirdre Donohue, International Center for Photography Library
Ryan Evans, Museum of Modern Art Library
Ryan Haley, New York Public Library
Milan Hughston, Museum of Modern Art Library
Deirdre Lawrence, Brooklyn Museum Library
James Mitchell
Rachael Morrison, Museum of Modern Art Library
Faith Pleasanton
Sara Rubinow, Pratt Institute
Lori Salmon, Museum of Modern Art Library
David Senior, Museum of Modern Art Library
Jennifer Tobias, Museum of Modern Art Library
Tony White, Indiana University Library

About the NY Art Book Fair

Printed Matter, Inc. presents the sixth annual NY Art Book Fair, from September 30 to October 2, 2011, at MoMA PS1, Long Island City, Queens. A preview will be held on the evening of Thursday, September 29th. Free and open to the public, and featuring more than 200 exhibitors, the NY Art Book Fair is the world’s premier event for artists’ books, contemporary art catalogs and monographs, art periodicals, and artist zines. Exhibitors include international presses, booksellers, antiquarian dealers, artists and independent publishers from twenty-one countries.

Hours

Preview: Thursday, September 29, 6 pm–9 pm
Friday, September 30, 11 am–7 pm
Saturday, October 1, 11 am–7 pm
Sunday, October 2, 11 am–7 pm

Printed Matter, Inc.

Printed Matter, Inc. is an independent 501(c)3 non-profit organization founded in 1976 by artists and art workers with the mission to foster the appreciation, dissemination, and understanding of artists’ books and other artists’ publications.

Support

Printed Matter, Inc. has received support, in part, through grants from the National Endowment for the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs, The Morris B. and Edith S. Cartin Family Foundation, the Foundation for Contemporary Arts, The ERSTE Foundation, Furthermore: a program of the J.M. Kaplan Fund, The Gesso Foundation, The Horace W. Goldsmith Foundation, the Schoenstadt Family Foundation, Shapco Printing, Inc., the Andy Warhol Foundation for the Visual Arts, and individuals worldwide.

www.nyartbookfair.com/conference
www.printedmatter.org

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Once construction on the new wing is completed, visitors will be able to see many pieces of art that have been in storage. Such pieces include Pereda and Zurbarán, among so many others, which will add to the beautiful display available to art lovers.

Even now, the art available makes a visit to the Prado Museum well worth it. In addition to the family Spanish artists mentioned above, art lovers can find works by the German, Italians, French, Flemish and Dutch. Many were acquired by conquest during the time period when Spain was a leading ruler of Europe. Regardless of how they were acquired, though, this art portrays the timeless beauty artists can achieve in any era.

Upon arrival at the Prado Museum, you will walk through the Goya entrance on the ground floor. Allow yourself time to enjoy the works of La Anunciación of la Virgen María and Fra Angelico as well as some Italian masterpieces nearby.

As you continue, you will see works by Bosch, including Seven Deadly Sins, Garden of Earthly Delights and many more. Possibly the first surrealist, Bosch’s art is far ahead of his time. His 16th century paintings are easily considered a result of a “vivid imagination.”

Making your way to the second floor, you will find 17th century works by Rubens and van Dyck, such as Garden of Love and Three Graces. Nearby, you will find painter Murillo’s three Immaculate Conceptions noted to be the highlights of this collection.

Without question, the works of Spanish artists El Greco and Goya are the main attractions of the museum. Though born in Crete, El Greco lived a fair amount of time in Toledo, Spain where he produced his famous John the Baptist, The Resurrection and The Adoration of the Shepherds.

Numerous works of Goya are also on display portraying the range of styles he used throughout the years. His Saturn Devouring One of His Sons which possibly represents his striking style during his later years. The clothed Maja and Naked Maja are also highlights of Goya’s collection found in the museum, attracting many visitors every year.

Museo del Prado is one of Madrid’s most popular tourist sites. When you visit Madrid, Spain, do visit this impressive museo del Prado. It is after all one of Madrid’s most visited tourist destinations. Even if you are staying in a nearby beach resort, a short trip to Madrid will definitely be worth it to see works by famous Spanish masters.

The museum is housed in a 19th century building which was completed in 1819. The museum is also surrounded by beautiful gardens and one can enjoying the lovely grounds after visiting to the museum.

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The Art Basel ~ Art Film Program – Highlights

One of my favorite programs of Art Basel, the Art Film Program, will be on all week long. The Art Film program at Art 42 Basel features a varied program of films by and about artists, screened at the Stadtkino Basel.

The nightly program from Tuesday to Sunday, curated by film scholar Marc Glöde (Berlin), presents films by artists including Jennifer Bornstein, Anna Gaskell, Anthony McCall, Nathalie Djurberg, Agnieszka Polska, Huang Ran, Lawrence Weiner and Sam Samore.

On Wednesday evening, This Brunner, the Zurich film connaisseur, will present the Swiss premiere of the feature-length 3D documentary film’The Cave of Forgotten Dreams’ (2010) by Werner Herzog.

Another highlight will be the Swiss premiere of Lawrence Weiner’s film ‘Dirty Eyes’ (2010) on Friday, followed by a conversation with Lawrence Weiner.

See the Art Basel 42 detailed, day-by-day art film program overview below.

About Art Basel

The premier annual art show, Art Basel feels like the summer reunion of the international artworld scene.  300+ galleries from 35 countries showcase contemporary art work by 2,500+ interesting artists of the 20th and 21st centuries. Founded by a group of local gallerists, the first Art Basel took place in 1970 and the event has long ranked as the most prestigious annual art show worldwide.

::

Art Film | Program Overview

TUESDAY | June 14
8pm | Stadtkino Basel | Landscapes of/for Theatricality | The screening is followed by a conversation with Huang Ran
10pm | Stadtkino Basel | Animated Worlds

WEDNESDAY | June 15
8pm | Cinema Rex | The Cave of Forgotten Dreams by Werner Herzog | 3D projection | Swiss Premiere | The screening is followed by a conversation with Harald Floss, Professor and Author, and Film Historian Marcy Goldberg.

THURSDAY | June 16
10pm | Stadtkino Basel | Landscapes of/for Theatricality | The screening is followed by a conversation with Anna Gaskell.

FRIDAY | June 17
8pm | Stadtkino Basel | Dirty Eyes by Lawrence Weiner | Swiss Premiere | The screening is followed by a conversation with Lawrence Weiner.
10pm | Stadtkino Basel | Animated Worlds

SATURDAY | June 18
11am | Cinema Rex | The Cave of Forgotten Dreams by Werner Herzog | 3D projection
8pm | Stadtkino Basel | Hallucinations/Paradise by Sam Samore | European Premiere | The screening is followed by a conversation with Sam Samore.
10pm | Stadtkino Basel | Dirty Eyes by Lawrence Weiner | The screening is followed by a conversation with Lawrence Weiner.

SUNDAY | June 19
11am | Stadtkino Basel | Hallucinations/Paradise by Sam Samore

  ::

(image source: Galleri Bo Bjerggaard)

::

Art Film | Program Details
The Cave of Forgotten Dreams | 2010 | by Werner Herzog | 3D projection | Swiss Premiere, Running Time 95′
Since the Chauvet Cave’s discovery in 1994, access has been extremely restricted due to concerns that overexposure, even to human breath, could damage the priceless drawings. Only a small number of researchers have ever seen the art in person. Legendary film director Werner Herzog gains exclusive permission to film inside the Chauvet Caves of southern France, capturing the oldest known pictorial creations of humankind. Putting 3D technology to profound use, he takes us back over 30,000 years in time.
Curated by This Brunner

The screening on June 15 is followed by a conversation with Harald Floss, Professor and Author, and Film Historian Marcy Goldberg.
The screening on June 18 is followed by a conversation with Jürgen Wertheimer, Professor and Author, and Film Historian Marcy Goldberg.

Landscapes of/for Theatricality | Curated by Marc Glöde, Running Time 59′
The program addresses questions relating to theatricality in the landscape and the theatricality of the landscape. The screened works alternate between performances in landscapes and processes in which landscapes themselves become performative, raising questions about the relationship between body, image, and space.
Anna Gaskell | SOSW Ballet, 2011, 27’04” | Galerie Gisela Capitain
Chen Quilin | Garden, 2011, 14’36” | Long March Space
Huang Ran | Blithe Tragedy, 2010, 14’52” | Long March Space
Elina Brotherus | Bright, bright day, 2010, 2’19” | gb agency
Jennifer Bornstein | Frauenkörperbewegungsbilder, 2011, 5’15” | greengrassi
Anthony McCall | Landscape for Fire, 1972, 7’05” | Galerie Thomas Zander, Sprüth Magers
Anthony McCall | Landscape for White Squares, 1972, 1’45” | Galerie Thomas Zander
Anthony McCall | Earthwork, 1972, 1’45” | Galerie Thomas Zander
The screening on Tuesday, June 14, is followed by a conversation with Huang Ran.
The screening on Thursday, June 16, is followed by a conversation with Anna Gaskell.

Animated Worlds | Curated by Marc Glöde, Running Time 35′
This program brings together some of the most interesting new and historical trends in animated film. A cross-section of works ranging from clay animation to the latest developments in CAD demonstrates the diversity and aesthetic scope of the medium.
Keiichi Tanaami | Good-Bye Marilyn, 1971, 4’25” | Nanzuka Underground
Per Dybvig | Hunter Hare Dog, 2009-2010, 6’51” | Christine König Galerie
Magnus Wallin | Elements, 2011, 5′ | Galerie Nordenhake, Elastic Gallery
Agnieszka Polska | The Forgetting of Proper Names, 2009, 3’45” | ak Branicka foundation
Józef Robakowski | The Dynamic Rectangle, 1971, 3′ | ak Branicka foundation
Józef Robakowski | Attention: Light!, 2004, 5′ | ak Branicka foundation
Nathalie Djurberg | Untitled, 2010, 6′ 05”, Music by Hans Berg | Gió Marconi Gallery

Dirty Eyes | 2010 | by Lawrence Weiner | Swiss Premiere | Konrad Fischer Galerie, Mai 36 Galerie, Running Time 49′
Lawrence Weiner’s latest film, ‘Dirty Eyes,’ probes cinematic conditions per se. In conjunction with the conceptual text pieces that typify his work, cinematic images transmute into questions about the specific conditions of looking and seeing.
Curated by Marc Glöde
Both screenings are followed by a conversation with Lawrence Weiner and Art Film curator Marc Glöde.

Hallucinations/Paradise | 2010 | by Sam Samore | European Premiere | Galerie Gisela Capitain, Galerie Rodolphe Janssen, Running Time 70′
In his most recent film the American artist Sam Samore tells the story of three couples who have moved from other cities to Shanghai. Oscillating between reality and fiction, the story is told in a non-linear way and reminds the viewer of fragmented fairy tales or dream sequences. Samore describes ‘Hallucinations/Paradise’ as ‘a fable about everyday life, madness, love and Shanghai.’
Curated by Marc Glöde
The screening on Saturday, June 18, is followed by a conversation with Sam Samore and Art Film curator Marc Glöde.

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1. MA Curatorial & Critical Studies;  Frankfurt, Germany

2. Gwangji Bienanale Int’l Curator Course, China

3. MFA Graduate Programs, Maryland Institute College of Art, US

The opportunities to study art are as diverse as art itself.

::  Details   ::

1. Goethe University Frankfurt / The State Academy of Fine Arts – Staedelschule

Two-year Master of Arts Program by Goethe University Frankfurt and the State Academy of Fine Arts – Staedelschule – in cooperation with Staedel Museum, Liebieghaus Skulpturensammlung, the MMK Museum fuer Moderne Kunst Frankfurt, the Historisches Museum Frankfurt and the Weltkulturen Museum Frankfurt am  Main

Start: Winter Semester (Wintersemester) 2011/12

Application deadline: May 31, 2011
www.kuratierenundkritik.net

Master of Arts Program in Curatorial and Critical Studies

Conception:

The main focus of this Master of Arts Program Curatorial Studies – Theorie – Geschichte – Kritik is the scholarly examination of the complex tasks of curating and art criticism, with an emphasis on their theoretical and practical application. It is the aim of this program to combine an object-related approach with theoretical expertise. While other programs have primarily focused on contemporary art, here the examination of curating and art criticism includes earlier periods and different fields of cultural studies as well.

In a globalized art world, and in response to developments within contemporary art, the presentation of art and art historical objects has become a complex challenge, which necessitates the consideration of art historical as well as cultural, social, political and philosophical aspects. Museums and other art institutions have to face the task of rephrasing the notion of the public realm. The repercussions apply not only to institutions directly involved with contemporary art. In fact, the shift is as fundamental as to be of concern to the operations of traditional art historical, ethnological and historical collections.

Program description:

The Master’s study program provides prospective curators, exhibition organizers and art critics with a theoretical and practical basis for their future occupation. Already during their master’s program, students have the opportunity to combine academic expertise with curatorial skills and practical knowledge. The Frankfurt program of study features a cooperation—unique in Germany—of committed university departments, outstanding museums and an internationally renowned academy of fine arts.

Program structure:

During the first year students are in constant contact with the cooperating museums. University seminars provide an opportunity for the participants to extend their expertise. Furthermore, criteria and categories of art criticism as well as academic principles of art theory and aesthetics will be discussed.

A course module on the history of the museum and exhibitions complements the program. A two-month-long internship, preferably resulting in the collaboration on an exhibition project, offers insight into the curatorial departments of a museum or exhibition institution. Fundamental to the second year is the development of the master’s thesis, and in-depth work on object-related approaches combined with theoretical inquiry.

Exams:

The master’s thesis consists of the theoretical and methodical substantiation of a curatorial and critical project, yet there is no set format. A scholarly text is obligatory in each case. One part of the master’s thesis may be submitted in a different format, for example an exhibition concept or a documentation of an exhibition.

The degree "Master of Arts" (MA) is being jointly awarded by Goethe-University and the Staedelschule; respective competencies acquired will be certified by a "Diploma supplement".

The Master of Arts Program Curatorial Studies – Theorie –Geschichte –Kritik creates the opportunity for admission to a subject-specific doctorate.

Teaching Staff and Lecturers:

Staff includes university teachers at Goethe-University and the Staedelschule as well as directors and curators of the Staedel Museum, Liebieghaus Skulpturensammlung, the MMK Museum fuer Moderne Kunst Frankfurt, the Historisches Museum Frankfurt, the Museum der Weltkulturen and the Portikus. Additional experts will be brought in for individual events and projects. The program is taught in German and English. Proficiency in English is expected.

Number of Students:

Annual admission of between 12 and 15 students ensures a small and intensive research experience in specially arranged seminars and events.

Application requirements:

Bachelor’s degree or equivalent degree with a minimum of 6 semesters, with at least 120 CPs in art history, archaeology, art education, philosophy, ethnology or history. Fine art graduates may also apply.

Applications must be sent in by August 31, 2010 (postmark), and include a single-page statement of purpose (SoP), résumé (CV) as well as copies of relevant certificates, to the following address:

Kunstgeschichtliches Institut der Goethe-Universitaet, Studiengang Curatorial Studies – Theorie – Geschichte – Kritik, Senckenberganlage 31, 60325 Frankfurt. Please also send your application via email to the following address: kuratierenundkritik@kunst.uni-frankfurt.de. Further information on the program and the application process is available on our website.

2.

Gwangju Biennale

Call for Applications: The 3rd Gwangju Biennale International Curator Course

August 8–September 3, 2011

Application deadline: May 17, 2011

http://www.gb.or.kr

? Hosted by the Gwangju Biennale Foundation & the Metropolitan City of Gwangju
? Chaired by Yongwoo Lee (Executive Vice President, Gwangju Biennale)
? Directed by Co-Directors, 2011 Gwangju Design Biennale (Ai Weiwei, Seung H-sang) 
Co-Artistic Directors, 2012 Gwangju Biennale (Nancy Adajania, Wassan Al-Khudhairi, Mami Kataoka, Sunjung Kim, Carol Yinghua Lu)
? Visiting Professor: Ute Meta Bauer (Associate Professor & Director of Program in Art, Culture, and Technology at MIT’s School of Architecture and Planning)
? Sponsored by Chosun University

The Gwangju Biennale hosts its third edition of International Curator Course. The course, which has attracted much attention from young curators across the globe since its inception in 2009, takes place in parallel with the Gwangju Biennale and the Gwangju Design Biennale.

The visiting professor for this year’s course will be Ute Meta Bauer, an internationally acclaimed curator and professor at MIT’s School of Architecture and Planning. She was co-curator of Documenta11 (2002), artistic director of the 3rd Berlin Biennale (2004), and founding director of the Office for Contemporary Art Norway (2002–2005.) Her exhibitions include Architectures of Discourse at the Fundació Antoni Tàpies in Barcelona (2001), First Story – Women Building / New Narratives for 21 Century, a main exhibition for the European Cultural Capital Porto 2001 and the Mobile_Transborder Archive for InSite05, Tijuana /San Diego. Most recently she served as the director of SITAC VI What’s left…What remains? SITAC VI (Mexico City 2008.) The first visiting professor was Barbara Vanderlinden, founder and artistic director of the Brussels Biennial, followed by Dan Cameron, artistic director of Prospect New Orleans Biennial.

This year, the course will include practice in preparation of the 4th Gwangju Design Biennale, which will start on September 2. The key subject of the course is the Exhibition as Communicative Space and will include: discussions about criticism and analysis of comprehensive phenomenon of how contemporary art, design, architecture, sound and performance, and publications as dominant art forms of visual culture adapt, co-exist, and conflict with market system; the course will reflect upon creative responses to conflict and crisis versus problems of value judgment on today’s market-led cultural phenomenon and cultural movement, and the role of curator as a cultural translator and mediator between the two; and exploration of alternatives for ecological health of increasingly globalized art and culture.

The course consists of special lectures by visiting professor Bauer along with discussions and practices under the guidance of artistic directors and curators of 2011 Gwangju Design Biennale as well as 2012 Gwangju Biennale. Co-Directors of 2011 Gwangju Design Biennale, Co-Artistic Directors of 2012 Gwangju Biennale, Prof. Maurizio Bortolotti of NABA, Milan, and Nader Tehrani, architect and Head of Department of Architecture at MIT who participates in 2011 Gwangju Design Biennale will join the lectures and seminars.

The course will be delivered in English. Participants will have the opportunity to take part in the process of installation and preparation for the biennale as assistants of artistic directors and curators. They will make group presentations in the final week before guests including biennale participating artists and curators. Visits to museums, galleries, and artists’ studios in Gwangju and Seoul are also scheduled.

The Gwangju Biennale will grant tuition and accommodation to participants during the entire course in Gwangju. Participants will be responsible for their roundtrip airfares to Gwangju and living expenses during their stay in Gwangju. Since the course aims to give young curators opportunities to receive in-depth training, an age restriction has been set at 35 and under.

The application must include:

1. Application form (download from http:// www.gb.or.kr)
2. Curriculum Vitae
3. Motivational statement illustrating the applicant’s interests and explaining the reason for application (1,000 words max.)
4. A copy of the most relevant published texts and reports of realized curatorial projects.

Send your application by email: curatorcourse@gb.or.kr

3. Maryland Institute College of Art

Graduate Programs at MICA Provide Cutting-edge Approaches to Art & Design

New MPS in Information Visualization

http://www.mica.edu

For over a decade, MICA has created robust educational programs that balance fine arts with design and electronic arts. This trend continues as the college offers an expanded array of graduate offerings, launching six new and innovative programs in 2011. MICA is also developing additional programs for 2012, including a MPS in Information Visualization, the first professional degree of its kind offered by an art college.

New Graduate Programs at MICA

The MFA in Curatorial Practice, the first such MFA in the country, prepares students to expand the definition of the practice and bring new audiences to visual art through a variety of curatorial projects.

The MFA in Community Arts program allows artists to use their artmaking in support of community development and investigate the relationship of the citizen artist to community building.

MFA in Illustration Practice candidates elevate their artistic and business abilities, blend media within new cultural contexts, and integrate research and critical analysis into their work.

MA in Social Design candidates explore the belief that social change can happen through design by participating in collaborative projects supporting a range of community-defined objectives.

The unique MPS in the Business of Art and Design provides a comprehensive, highly concentrated education in business management specifically for artists, designers, and related professions.

The Post-Baccalaureate Certificate in Graphic Design offers students an intensive immersion in the practice, preparing them for advancing their careers and applying to competitive MFA programs.

In Development for 2012

The MPS in Information Visualization, the first such program offered by an art college, will allow artists and designers to translate their existing skills to the visualization industry and related fields. The program is designed for artists and designers as well as professionals in fields where the access to and management of large amounts of complex data through visualization is essential—including architecture, urban planning, homeland security, strategic planning, health, social networks and more.

Additional Graduate Programming at MICA

• Graphic Design (MFA)
• Hoffberger School of Painting (MFA)
• Mount Royal School of Art  (Multidisciplinary MFA)
• Photographic & Electronic Media (MFA)
• Rinehart School of Sculpture (MFA)
• Studio Art (Summer Low-Residency MFA)
• Art Education (Online/Low-Residency MA)
• Community Arts (MA)
• Teaching (MAT)

Post-Baccalaureate Certificate in Fine Arts

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The Dalí’ Museum, A New Era

In line with Dali’s amazing sense of lines and space, the museum is an  amazing structure in about itself. The ceremony was symbolic of one of the surrealist’s works – and of the birth of a new era for the museum. The $35 million project, on the waterfront just south of Mahaffey Theatre, will contain 66,540-square-feet of exhibit and meeting space. The design features a glass sculpture that flows along the south side of the building. Architect Yann Weymouth said he tried to create an abstract expression of Dali’s style.

Dalí’ Museum Collection

With oils spanning from 1917 through 1970, the collection provides an excellent overview of Dalí’s major themes and symbols. Characterized by its diversity, it includes the Impressionist and Cubist styles of his early period, abstract work from his transition to Surrealism, the famous surrealist canvases for which he is best known, and examples of his preoccupation with religion and science during his classic period.

The 68,000 square feet structure houses the biggest collection of Salvador Dalí’s artwork outside Spain:

a. 2140 pieces of Dalí’s work

    b. 96 oil paintings

    c. Eight master works (measuring over 5′)

It is already called one of the most acclaimed collections of a single modern artist in the world.  The core collection was donated by Cleveland industrialist, A. Reynolds Morse and his wife Eleanor. It represents the culmination of a 45-year friendship between the Morses and Dalí and his wife, Gala. The old Dali museum first opened on March 7, 1982.

A Highlight-  The Curator’s Choice

Le désir hyperrationnel

1984

Pâte de verre and bronze 249/300

This most elegant of Dalí’s Surrealist objects, Le désir hyperrationnel (The hyperrational desire)- utilizes the Venus de Milo, the most famous antiquity in the Louvre. In 1936, Dali created the Venus de Milo with Drawers by cutting six drawers into the famous statue. By perforating the Venus, Dalí engages in the defacement of a classic symbol and demonstrates his preoccupation with Sigmund Freud’s psychoanalytic theories.
Dalí’s later interpretations are based on his obsession with modern physics and contemporary scientific discoveries. In this new version, Venus’s head and abdomen are "dematerialized" from the body to an adjacent pedestal demonstrating the dissolution of gravity and the divisibility of matter.

Dalí’ Museum Mission

The Museum aims to regularly change exhibitions showcasing the large and varied permanent collection and frequently incorporate historical and contemporary art borrowed from top worldwide museums and collections. A specialized schedule of films, lectures, music series, adult and family friendly tours, and education programs for all ages are developed for each new exhibition.

Photo: HOK/Moris Moreno

The new Dali Museum Opening

Salvador Dali look-alike burst from a giant egg today as part of an elaborate groundbreaking for the city’s new Salvador Dali Museum.

photo/info: www.salvadordalimuseum.org

Reference:

Some of Dali’s Most Famous Works of Art

Dream Caused by the Fligh… Salvador Dali Buy From Art.com

Soft Watch at the Moment of First Exp… Salvador Dal?? Buy From Art.com

Rose Medidative, c.1958 Salvador Dal?? Buy From Art.com

More on Dali/Surrealism

Salvador Dali: Art Surrealism at its Best and Weirdest

Rene Magritte’s Surrealism Meticulous Witty Illusions

Francis Bacon: Painting Sale

Contemporary Art :: Fine Art :: Top Artists :: Art Reviews, Art Fairs & Exhibitions. Copyright , e ART FAIR .com, All Rights Reserved.

Art Basel Miami Beach is seen as one of the more important cultural events in the US, where works from artists represented by the major galleries of the world are shown. Besides the exhibition at the Miami Beach Convention Center, further cultural activities are programmed in other spaces of the locality. Such is the case of Art Public, in which works are sited in the public streets, parks, and corners of Miami Beach.

Art Public, curated this year for the second time by Patrick Charpenel of Guadalajara, Mexico, features 9 projects by internationally renowned artists from seven countries. The projects will be installed in the outdoor public spaces of Miami Beach, within close proximity to the Oceanfront area and the Miami Beach Convention Center.

The 2010 edition of Art Public will present works that engage directly with the viewer, interrupting the daily routine of passersby in poetic and surprising ways. Most of the works are site-specific and commissioned for Art Basel Miami Beach, including the projects by François Bucher and Minerva Cuevas; Fyodor Pavlov Andreevich will present a new site-specific performance.

One of the nine exihibitions will be of the art by Andrea Bowers. Andrea is an artist who works in Los Angeles. Her sign piece, ‘Educate, Agitate, Organize’ based on the iconic American labor slogan, was originally chosen as a gesture of solidarity towards the University of California teachers and students who were facing extreme budget cuts. The slogan also acts as a mantra for her artistic practice. With this work Bowers argues that radical education is intimately connected to active citizenry. Also the artist’s sign is a reminder that art works have historically functioned as agents for social change, and that social movements have always relied on graphic and aesthetic imagery to agitate, educate and organize.

2010 Art Projects at Public Art, Art Basel Miami Beach

Andrea Bowers: Educate, Agitate, Organize, 2010 / Andrew Kreps Gallery, New York
François Bucher: The Man Who Disappeared, 2010 / Proyectos Monclova, México
John Chamberlain: Piquanteagle, 2009 / Anthony Meier Fine Arts, San Francisco
Carlos Cruz-Diez: Color Aditivo, 1975-2010 / Sicardi Gallery, Houston
Minerva Cuevas: Atlas (Homage to Jean Vigo), 2010 / kurimanzutto, México D.F.
Runa Islam: Magical Consciousness, 2010 / White Cube, London
Marco Maggi: Global Myopia, 2010 / Josée Bienvenu Gallery, New York
Jorge Méndez Blake: There is no Easy Way from the Earth to the Stars, 2010 /
OMR, México, Meessen De Clercq, Bruxelles
Fyodor Pavlov Andreevich: The Great Vodka River, 2010 / Galeria Luciana Brito, São Paulo

A detailed description of each project: www.artbasel.com/public

Contemporary Art :: Fine Art :: Top Artists :: Art Reviews, Art Fairs & Exhibitions. Copyright , e ART FAIR .com, All Rights Reserved.

and has been sub-divided into four evenings with different themes.

On Saturday evening, This Brunner, the Zurich film connaisseur, will present “Women Without Men” (2009) by Shirin Neshat which won the Golden Lion of the 2009 Venice Filmfestival. The evening will be followed by a Q&A with Shirin Neshat, moderated by the Swiss filmmaker Samir.

(Image: Art Basel 41)

ART BASEL ~ 41 ART FILMS ~ PROGRAM DETAILS

Tuesday, June 1

5, 10 p.m.:

And This Is How The Story Goes…

Total running time approximately 78 minutes, curated by Marc Glöde
Second screening, Wednesday, June 16, 10 a.m.
Telling stories – weird, smart, abstract, straightforward, complicated… it is the neverending fascination for the filmic narrative that connects this diverse corpus of films. In the range of different formats these works unfold the question “What is narration?”
Michaela Meise “Lettre to the Eltern” 2010 / 18’35" (Johann König)
Rä di Martino “August 2008” 2009 / 5′ (Monitor)
Guy Ben-Ner “If only it was as easy to banish hunger by rubbing the belly as it is to masturbate” 2009 / 16’30" (Konrad Fischer Galerie)
Mario Pfeifer “Untitled (Two Guys)” 2008 / 7’30" (Koch Oberhuber Wolff)
Korpys/Löffler “Stadt von Morgen” 2007 / 16’30" (Meyer Riegger)
Sean Snyder “Casio, Seiko, Sheraton, Toyota, Mars” 2004/2005 / 13’09" (Galerie Neu)
Sean Snyder “Afghanistan” 2009 / 2’10" (Galerie Neu)

Wednesday, June 16, 10 p.m.:

 Reference Points

Total running time approximately 71 minutes, curated by Marc Glöde
Second screening, Thursday, June 17, 10 a.m.
Relating to different dynamics of the world is one of the crucial interests in new film positions. This program brings together some of the most remarkable works that ask questions about the relation to the medium, about iconic figures, about historical aspects or just about the self.
Clemens von Wedemeyer “Found Footage (the Fourth Wall Project)” 2009 / 31′ (Galerie Jocelyn Wolff)
Ryan Gander “Basquiat” 2008 / 5’30" (gb agency)
Laurent Grasso “Satellite” 2006 / 9’50" (Sean Kelly Gallery)
Jeanne Faust “Reconstructing Damon Albarn in Kinshasa” 2010 / 9′ (Meyer Riegger)
Alexandra Leykauf “uit de bibliotheek van Wolfgang Frommelt” 2009 / 10’40" (Sassa Trülzsch)
Isabell Heimerdinger “Good Friends” 2010 / 4’30" (Mehdi Chouakri)

Thursday, June 17, 10 p.m.:

Focus Japan

Total running time approximately 61 minutes, curated by Marc Glöde in cooperation with Taka Ishii Gallery and Galerie Daniel Buchholz
Second screening, Friday, June 18, 10 a.m.
This program introduces the historical Japanese film avant-garde movement of Jikken Kobo/Experimental Workshop (1951–1958). The program subsequently presents contemporary films by both Japanese and European artists in an attempt to consider the relationship and mutual influence of a lesser-known Japanese post-war aesthetic on a present generation of artists.
Katsuhiro Yamaguchi / Toshio Matsumoto “The Silver Wheel” 1955 / 11’57"
(National Film Center, The National Museum of Modern Art, Tokio)
Kiyoji Otsuji “Kinecalligraph” 1955/86 / 4’26" (Taka Ishii Gallery)
Takashi Ishida “Wall of the Sean” 2007 / 12′ (Taka Ishii Gallery)
Cerith Wyn Evans “Still Life with Phrenology Head” 1979 / 14′
(Taka Ishii Gallery and Galerie Daniel Buchholz)
Ei Arakawa “Peaceboat Revisiting MRTA” 2009 / 3’26" (Taka Ishii Gallery)
Florian Pumhösl “EI335721443JP” 2010 / 15’10" (Galerie Daniel Buchholz)
The screening is followed by a Q&A with Japanese art critic Minoru Shimizu and Art Film curator Marc Glöde.
Friday, June 18, 10 p.m.: Dark, Blurred And Diffused
Total running time approximately 73 minutes, curated by Marc Glöde
Second screening, Saturday, June 19, 10 a.m.
Dark spaces and diffused atmospheres shape the works that this program brings together. From historical works to new approaches, these films lead us into spaces that range from the uncanny and the irritating to the abstract and the archival.
Gerhard Richter “Volker Bradke” 1966 / 14’32" (Gerhard Richter Archiv Dresden)
Cerith Wyn Evans “I’ve been fooled by love” 2009 / 8’21" (Galerie Neu)
Tobias Zielony “Big Sexyland” 2008 / 3’10" (Koch Oberhuber Wolff)
Tobias Zielony “The Deboard” 2008 / 7’23" (Koch Oberhuber Wolff)
Gabriele Zimmermann and Helmut Nothelfer “US-Waffenschau in Berlin-West, Flughafen Tempelhof” 1972 / 7’18" (Galerie Thomas Zander)
Michael Wutz “Tales, Lies and Exaggerations” 2010 / 9′ (Aurel Scheibler)
Amy Granat “Untitled (Sabotage)” 2007 / 8’56" (Galerie Eva Presenhuber)
Hans Op de Beek “Extensions” 2009 / 10’58" (Galerie Krinzinger)
Joachim Koester “To navigate, in a genuine way, in the unknown necessitates an attitude of daring, but not one of recklessness (movements generated from the Magical Passes of Carlos Castaneda)” 2009 / 3’30" (Jan Mot)

ART FILMS, ART BASEL HIGHLIGHT

Saturday, June 19, 8 p.m.:

Women Without Men

Video clip (not suitable for children)

Running time 99 minutes, curated by This Brunner
Second screening, Sunday, June 20, 10 a.m.

Against the tumultuous backdrop of Iran’s 1953 CIA-backed coup d’état, the destinies of four women converge in a beautiful orchard, where they find independence, solace and companionship.

Acclaimed video artist Shirin Neshat makes her directorial debut with this incisive and sumptuously filmed reflection on the pivotal moment in history that directly led to the Islamic revolution and the Iran we know today.

Shirin Neshat “Women Without Men” 2009 / 99′ (Coproduction Office)
The screening is followed by a Q&A with Shirin Neshat, moderated by the Swiss filmmaker Samir.

Part allegory, part historical drama, Women Without Men chronicles the lives of five women living in Tehran during the British- and American-backed coup of the democratically elected government in 1953. Among them are Munis, a woman struggling against the restrictions of her fundamentalist brother; Farrokhlaqa, an upper-class wife frustrated with her passionless marriage to a general; Zarin, a young sex trade worker who becomes overwhelmed by her conditions; Mahdokht, who is struggling with the loss of her virginity; and Faezeh, a women obsessed with marrying her friend Munis’ brother. Though the women’s daily lives are depicted with a grainy realism, the film eventually gives way to saturated colours and fantastical panoramas as each of the protagonists finds her way to an enchanted garden without men.

http://www.artbasel.com/

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The show is called ‘ANDY WARHOL. CARS’, and holds works by Warhol, Fleury, Longo and Szarek.

The Albertina expains:

“CARS presents works from the Daimler Collection, by artists Andy Warhol, Robert Longo, Sylvie Fleury, and Vincent Szarek. Common to all of the works is their examination of the history, the types, or the design of the Mercedes-Benz car.

The core of the exhibit are the thirty-five silkscreen paintings of Andy Warhol’s (1928-1987) series CARS, which employ eight selected types of Mercedes to document the history of the automobile. This important late series by Warhol remained unfinished and after around twenty years is being shown again complete.

Joining this series are drawings and airbrushed paintings by Robert Longo (*1953). Videos by Sylvie Fleury (*1961) blend the myth of the legendary Mercedes-Benz automobile with some of the most contemporary ideas from the art and fashion worlds. Vincent Szarek (*1973) uses design elements from the Mercedes-Benz SLR as the starting point for his group of sculptures, which were digitally developed as a modern form of drawing, rendered with 3D programs. “

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