Displaying items by tag: Exhibition

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.

For most people, Canaletto is the artist who depicted Venice – the painter of some of the best known and most beautiful views of his home city. But for nearly ten years he was an adopted English artist chronicling a society which, unlike Venice, was changing at an unimaginable pace.

A new exhibition opening to the public on Saturday will for the first time bring together paintings Canaletto produced in Britain. Unlike previous shows, it will examine his stay between 1746 and 1755 in a social as well as an art history context.

“He is painting a new, vibrant and confident Britain,” said the show’s curator, Steven Parissien. “Things are looking good in Britain and it often takes an outsider to see it.

Someone apparently unfamiliar with the term “Romantic art” asked a Yale curator if Yale’s big, new exhibition would be ready for Valentine’s Day.

That’s curator humor, delivered politely of course, during the Wednesday preview of this beefy show, the first joint exhibition by the Yale University Art Gallery and the Yale Center for British Art called, “The Critique of Reason: Romantic Art 1760-1860.”

Amy Meyers, director of the Yale Center for British Art, said artwork often has been lent from one side of Chapel Street to the other in past cooperation between the gallery and the Brit center, but never with the opportunity to bring the two collections together in this way, to examine this important period’s art in such context.

With a $200,000 donation, the Helen Frankenthaler Foundation will be the lead foundation donor for the US pavilion at the 56th Venice Biennale.

Last week, curator Okwui Enwezor announced the 136 artists and collectives included in the “All the World's Futures," the Biennale's main exhibition.

The gift was announced by the MIT List Visual Arts Center, the organizer of the US pavilion, which will feature an immersive multimedia installation from veteran video and performance artist Joan Jonas, inspired by the work of writer Halldór Laxness as well as other literary sources.

A sweeping reinstallation of The Museum of Modern Art’s contemporary collection presents a wide range of artistic approaches to the political, social, and cultural flux that have shaped the current global landscape. "Scenes for a New Heritage: Contemporary Art from the Collection," on view from March 8, 2015, through March 2016, features video, installation, sculpture, drawing, prints, and photography created in the past three decades by more than 30 international artists, with more than half of the works on view for the first time. "Scenes for a New Heritage" is organized by Quentin Bajac, the Joel and Anne Ehrenkranz Chief Curator of Photography; Eva Respini, Curator, Department of Photography; Ana Janevski, Associate Curator, Department of Media and Performance Art; and Sarah Suzuki, Associate Curator, Department of Drawings and Prints; with Katerina Stathopoulou, Curatorial Assistant, Department of Photography.

The last 30 years have seen remarkable societal and cultural change, as major shifts in geopolitical dynamics destabilized the established world order, new economies emerged to challenge those long dominant, and the Internet radically altered the ways in which we access and generate information.

“The Plains Indians: Artists of the Earth and Sky,” one of the greatest exhibitions of American Indian art you may ever see, opened Monday at the Metropolitan Museum of Art. The show was originated by the Musée du Quai Branly in Paris and the Nelson-Atkins Museum of Art (where I saw it) in Kansas City, Mo., and organized by the inestimable Gaylord Torrence, the Nelson-Atkins’s curator in the field and also the orchestrator of its acclaimed permanent collection galleries.

An Oscar Murillo canvas was taken from the exhibition “Forever Now: Painting in an Atemporal World" at MoMA last week by a visitor, a MoMA representative has officially confirmed.

"Last week, one was removed by a visitor," press director Margaret Doyle told artnet News in an email.

Doyle further claimed that MoMA security identified the visitor and it was "quickly returned without incident or damage to the work" and that all eight of the canvases by Murillo in the show "are on view in the galleries."

Marc Chagall's drafts for the famous stained-glass windows at the St. Stephen Church in Mainz, Germany, designed in 1982 will go on display in the city next week before joining the permanent collection of the Diözesanmuseum (Diocesan Museum) in Tübingen, "Art Magazin" reports.

The hand-sketched plans for the magnificent blue windows were purchased for €70,000 ($78,000) by a group of local businessmen and the chairman of the Board of Trustees of the St. Stephan Church. The plans became available after they failed to sell at a Sotheby's auction in New York last year.

Most of us think of the High Line as something of a weird, wonderful urban park. But Cecilia Alemani, the curator and director of High Line Art, hastens to correct us, because it is so much more: “The High Line is both a promenade and an observatory: a place removed only 30 feet from the hustle of Manhattan streets, yet with this small distance the park allows its visitors space for respite and reflection,” she said. On Friday morning, High Line Art announced its newest open-air exhibition "Panorama," an art installation meant to bring together “humankind and nature” and entice viewers to reflect on their relationship to the outdoors.