Displaying items by tag: acrylic

The Clay Studio celebrates the 10th anniversary of "Small Favors," an exhibition that challenges artists to work in a different scale. This exhibition provides high-quality artworks at an accessible price to art enthusiasts of all ages, and runs from April 3 – 26, 2015.

Since 2006, The Clay Studio has held "Small Favors" annually as a way to engage artists in new and exciting ways by providing a 4” acrylic cube that places a limitation in scale that must be rigorously adhered to (or creatively worked around). For some, the work created is similar to the artists’ normal body of work, although at a reduced scale.

The New York School artist Robert Motherwell could be ponderous in oil on canvas. But on paper, he was lighter and looser, to judge from the Kasmin Gallery’s career-spanning mini-survey of Mr. Motherwell’s drawings and collages (organized with the artist’s Dedalus Foundation). Working with ink, charcoal, acrylic and assorted labels and wrapping papers, Mr. Motherwell offset strong colors and muscular gestures with the suggestion of chance and accident.

The show includes notable works from every phase of Mr. Motherwell’s long career, from the loopy 1951 ink drawing “Fowl” to the vibrant mixed-media piece “The Red and Black No. 24” of 1987-88.

It was recently revealed that a Joan Miró (1893-1983) painting, which was damaged while on view at the Tate Modern in London, cost British taxpayers $326,000 to repair. Part of the museum’s retrospective of the Spanish modern artist, Painting on White Background for the Cell of a Recluse I (1968), was damaged when a visitor placed both hands against the work to steady himself after tripping and falling in the museum.

A white canvas sliced by a delicately wavering gray line, Cell of a Recluse I is one of five rare triptychs by Miró, which were exhibited together for the first time during the Tate retrospective in 2011. The work was immediately repaired after the incident, which left the acrylic on canvas painting with dents and markings. Cell of a Recluse I was on loan to the Tate from Barcelona’s Joan Miró Foundation and the British government paid the Foundation over $300,000 to cover the repair costs for the painting and to account for any loss in the work’s value due to the incident.

The Tate has recently been responsible for a string of damaged artworks including Mark Rothko’s (1903-1970) Black on Maroon (1958), which was defaced by a visitor, an early work by Roy Lichtenstein (1923-1977) titled Whaam! (1963), which was also marred by a museum patron, and a portrait of Margaret Thatcher by Helmut Newton (1920-2004), which was damaged when a staff member slipped and cracked the photograph’s glass frame.

The traveling exhibition, Andy Warhol: 15 Minutes Eternal, marks the 25^th anniversary of Andy Warhol’s (1928-1987) death. The tribute to the pioneering pop artist features over 300 works including paintings, photographs, screen-prints, sculptures, and films and presents Warhol’s famous Campbell’s soup cans as well as his iconic portraits of Jackie Kennedy, Elizabeth Taylor, Marilyn Monroe, and Mao Zedong.

15 Minutes Eternal, the largest traveling exhibition of Warhol’s work to date, has already been on display in Singapore and is currently on view at the Hong Kong Museum of Art through March 31, 2013. However, a few changes will have to be made before the works appear in Beijing next year as China’s Ministry of Culture has requested that the 10 Mao paintings be left out of the Beijing leg of the tour. Created in 1972 after Richard Nixon made his historic visit to China, the Mao portraits were made by applying acrylic and silkscreen-ink to canvas and went on to become some of Warhol’s best-known works.

The 26-month Asian tour has already been a success with 175,000 people visiting the exhibition in Singapore. Officials hope that the absence of the Mao paintings will not affect attendance in Beijing. The last stop on the tour is Tokyo, where the exhibition will be on view from February 1, 2014 to May 6, 2014.