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"Forbidden Games” is an exhibition of 167 of the 178 photographs David Raymond donated and sold to the Cleveland Museum of Art in 2007. The show, which runs through Jan. 11, 2015, includes works taken from 1920 through the 1940s by such major surrealist and modernist photographers as Man Ray, Bill Brandt, Brassaï and Hans Bellmer, as well as many less well known, such as Dora Maar, Marcel G. Lefrancq and George Hugnet. There are also works by photographers not ordinarily identified with either tendency who nonetheless occasionally took pictures that could be so considered. The images Mr. Raymond assembled make a grand introduction to important aspects of art photography between the end of the First World War and mid-century.

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The Phillips Collection wants to share its vast collection of scholarship, photographs and interviews with preeminent African-American artist Jacob Lawrence by creating a special website devoted to his life and work. But it needs the public to chip in to pay for it.

Phillips’ officials have raised $80,000 of the $125,000 required for what they are calling a “robust microsite” featuring images of all 60 panels of Lawrence’s masterwork, “The Migration Series,” as well as unpublished interviews conducted by Phillips curators in 1992 and 2000, just before his death.

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Wednesday, 05 November 2014 11:42

Hammer Museum Pays Tribute to Robert Heinecken

It's not the sort of thing you generally see in a museum: a comfortable easy chair, a working TV set turned to an afternoon talk show on which "Keeping Up With the Kardashians" mom Kris Jenner is making salsa.

But this unlikely arrangement is, in fact, a work of art, on view as part of the Hammer Museum's Robert Heinecken retrospective, "Object Matter." The longtime L.A. artist, who passed away in 2006, was known for his pioneering use of found photographs in sculptural assemblages and vast wall installations. He was also known for undertaking guerrilla actions, such as surreptitiously printing images into new editions of "Time" magazine and then returning the copies to the newsstand. (San Francisco's Museum of Modern Art has an example.)

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Tate Britain is presenting a photography exhibition the result of which is an unique collaboration between the artist Nick Waplington and the acclaimed fashion designer Alexander McQueen. This well timed exhibition will reveal McQueen’s working practice through a selection of over 130 large and small scale photographs, including images never seen before. The exhibition is timed to coincide with the Victoria and Albert Museum’s "Alexander McQueen: Savage Beauty" fashion exhibition.

Waplington photographed McQueen’s idiosyncratic creative journey as he prepared and presented his final Autumn/Winter collection, The Horn of Plenty, in 2009.

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On Tuesday, October 28, the Francis Bacon MB Art Foundation was inaugurated by Prince Albert of Monaco. The opening of the private non-profit institute coincided with the 105th anniversary of the birth of the postwar British artist. Located in Monaco, the foundation brings together over 2,000 Bacon-related items, including artworks, photographs, works on paper, and working documents, as well as examples of the artist’s furniture and rug designs from his early career. Some of these objects have never been publicly displayed.

The Francis Bacon MB Art Foundation was established by the Lebanese-born Swiss property developer Majid Boustany to promote a deeper understanding of the work and life of Bacon worldwide.

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There is very little about Picasso that John Richardson, his longtime biographer, doesn’t already know. As a friend of Picasso’s during the 1950s, while the artist was living in the south of France, Mr. Richardson saw more than most.

He can reveal juicy snippets about Picasso’s sexual escapades and recall many of his personal quirks: How Picasso would rub a concoction of oil heated with sticks of lavender into his scalp to make his hair grow; his passion for salt cod purée; his loathing of classical music. Mr. Richardson can also describe in riveting detail Picasso’s methods of painting, sculpting and drawing.

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Paris’ Picasso Museum will reopen on Saturday, October 25, following a turbulent renovation and expansion. The institution closed in 2009 for what was expected to be a two-year refurbishment, but once underway, the scope of the project expanded. Five years later and $27 million over budget, the renovation is finally complete.

The Picasso Museum, which is housed in a 17th-century Baroque mansion in Paris’ historic Marais quarter, first opened to the public in 1985. The majority of its collection, which features around 5,000 paintings, drawings, sculptures, ceramics, photographs, and documents, was left to the French state by the Picasso family after the artist’s death in 1973.

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In photographic wanderings around New York City, Paul Strand sometimes used a fake lens so his subjects wouldn’t know their pictures were being taken.

Partly by this means, he brought greater spontaneity and realism into the photographer’s worldview circa World War I, leading an art form that had recently imitated painting into the modern age on its own terms.

Until his death in 1976, Strand, whom the Philadelphia Museum of Art regards as “one of the greatest photographers in the history of the medium,” produced work infused with left-of-center social views and curiosity about people and localities all over the globe.

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Robert Winthrop Chanler lived big, painted big, loved big and was just plain big, 6-foot-4, 200-plus pounds, with a giant crown of shaggy hair. Despite all that, he remains an elusive figure among New York artists of the early 20th century. He is known for his serene fauvist-style paintings and fantastical scenes of forest and marine wildlife, but many of his works are lost; some are documented only through old photographs. 

A conference this month at the Vizcaya Museum and Gardens in Miami, the setting of one of his most outlandish masterworks, may answer some questions.

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The Gerhard Richter show inaugurating Marian Goodman’s heavily anticipated London gallery is nothing short of superb. Curated by the artist, it showcases Richter’s recent experiments with abstraction, while subtly inscribing these within the history of his practice. The exhibition is not—as some might have feared—the “greatest hits” of an auction favorite. It represents a thoughtful presentation of an artistic mind at work. And it shows that mind as alert to the yet-untapped potential of the pictorial medium as when Richter first rose to fame a half-century ago.

Spread over two floors of the Victorian-era warehouse—tastefully refurbished by David Adjaye Associates—the exhibition features three bodies of work: “Strip,” “Flow,” and a series of painted photographs, which Richter initiated in 1986.

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