Displaying items by tag: largescale

For its third edition (though the first to take place in March), Art Basel Hong Kong has racked up 231 galleries hailing from 37 countries — over half of them with spaces in Asia and Asia-Pacific. New additions include Paris’s kamel mennour, Zurich’s Mai 36 Galerie, Berlin’s Mehdi Chouakri, and New York’s Andrea Rosen Gallery, among others. Running from March 15 to 17, 2015, the fair will consist of five sections: “Galleries,” featuring 177 of the exhibitors; “Insights,” dedicated to 34 galleries with Asia-Pacific spaces; “Discoveries,” featuring one- and two-person emerging artist showcases from 20 galleries; “Encounters,” for large-scale sculpture; and the “Film” section, which debuted last year, and will be curated again by Li Zhenhua.

The Corning Museum of Glass and Corning Incorporated (NYSE: GLW) announced today the launch of a new artist residency program, which will support artists in adapting specialty glass materials for the creation of new work. The first artist selected for this unique collaboration is American sculptor Albert Paley, who is best known for his large-scale works in metal.

Corning Incorporated, which has developed and patented more than 150 specialty glass formulations, will provide the resident artist with access to specialty glass, as well as access to staff with technical expertise in glass formulation, melting, and forming.

The inaugural installation of a biennial art exhibition, performances by Ronald K. Brown’s Evidence dance company, and a screening of Gia Coppola’s film “Palo Alto,” with a live performance of its score by Devonté Hynes are among the highlights of the fall season at BRIC House, the multimedia arts center in Brooklyn.

The art exhibition, BRIC Biennial: Volume 1, Downtown Edition, will include works by more than two dozen artists, including pieces built of found objects (particularly copies of The Village Voice) by Scherezade Garcia, paintings by Vince Contarino and large-scale works on paper by Ruby Onyinyechi Amanze. The exhibition opens on Sept. 20 and is to run through Dec. 14.

The National Gallery of Art in Washington, D.C. has unveiled a permanent and public home for a glass and stone mosaic designed by Marc Chagall. ‘Orphée,’ which was donated to the museum by the late collector Evelyn Stefansson Nef, will reside in the National Gallery’s Sculpture Garden.

The mosaic, which was a special gift from Chagall to Nef and her husband, John, spent over 40 years in the couple’s garden in Georgetown. The work was donated to the museum in 2009 as part of a major bequest of over 100 works from the Nef’s collection of 19th- and 20th-century artworks. Measuring around 10’ x 17’, the mosaic depicts various figures from Greek mythology.    

The work was one of the first large-scale outdoor Chagall mosaics to be installed in the United States and during the spring of 2010, a team of conservators, curators, art handlers, designers and masons spent five weeks removing the mosaic from the Nef’s garden wall. Over the next three and a half years, conservators, gallery masons, designers and Italian mosaic experts cleaned the glass and stone, repaired the mosaic’s structural reinforcement, and painstakingly re-installed the work in the National Gallery’s Sculpture Garden.

The Walker Art Center in Minneapolis, MN presents Claes Oldenburg: The Sixties, the largest exhibition to date to focus on the American sculptor’s early works. The exhibition brings together nearly 300 pieces spanning Oldenburg’s formative years and is divided by body of work including The Streets, which features a graffiti-inspired installation focused on the underbelly of urban life; The Store, which includes Oldenburg’s celebrated sculptures of food and everyday objects; and The Home, which is devoted to sculptures of large-scale domestic objects.

The Sixties was previously on view at the Museum Ludwig in Cologne, Germany the Guggenheim Museum in Bilbao, Spain and the Museum of Modern Art in New York. Many of the key works, including Shoestring Potatoes Spilling from a Bag (1966), Upside Down City (1962) and Geometric Mouse—Scale A (1969/1971) are from the Walker’s own collection. Sketches, snapshots, home movies and slide projections that give visitors a glimpse into the mind, heart and creative process of the profoundly unique artist accompany the show.

Claes Oldenburg: The Sixties will be on view at the Walker Art Center through January 12, 2014.

The San Francisco Museum of Modern Art presents 8 large-scale steel sculptures by Mark di Suvero (b. 1933) at historic Crissy Field for a free, yearlong exhibition. Organized in partnership with the National Park Service and the Golden Gate National Parks, the exhibition kicks off an extensive program of off-site exhibitions that SFMOMA will offer while the museum is undergoing a massive renovation and expansion. The museum is slated to re-open in early 2016.

Mark di Suvero at Crissy Field spans 5 decades of the artist’s career and coincides with di Suvero’s 80^th birthday. The exhibition, which includes one never-before-seen sculpture, is the largest survey of the artist’s work ever presented on the west coast. Crissy Field offers striking views of the Golden Gate Bridge, which has long been a source of inspiration for di Suvero who immigrated to San Francisco from Shanghai as a child.

Mark di Suvero at Crissy Field will be on view through May 26, 2014.

The Art Institute of Chicago announced that they have acquired Thomas Hart Benton’s (1889-1975) Cotton Pickers (1945), a critical example of American Regionalism, a realist modern art movement that gained popularity during the 1930s. Regionalist artists forsook urban life in favor of creating scenes of everyday rural life in America. Benton was a pioneer of the movement and is considered a pivotal figure in American art.

Cotton Pickers is a rare example of Benton’s large-scale paintings and it is the first oil painting by the artist to enter the museum’s collection. It will bolster the Art Institute’s world-renowned collection of paintings from the period, which includes Grant Wood’s (1891-1942) iconic painting American Gothic (1930) and John Steuart Curry’s (1897-1946) Hogs and Rattlesnakes (1930). The addition of Cotton Pickers helps the Art Institute tell the story of Regionalism more fully. Judith Barter, the Field-McCormick Chair and Curator in the American Art Department, considers the painting one of the museum’s most important acquisitions in the last several decades.

Cotton Pickers will be exhibited alongside American Gothic and Hogs and Rattlesnakes.

Bulgarian-born artist, Christo, is best known for his large-scale artworks that transform their environments. Working with his late wife, Jeanne-Claude, Christo draped Berlin’s parliament building, the Reichstag, in metallic-colored fabric (1995); completely wrapped Paris’ oldest bridge, the Pont Neuf, in 450,000-square-feet of golden material (1985); and surrounded 11 islands in Florida’s Biscayne Bay in pink fabric (1983).

The artist’s next endeavor is expected to be the world’s biggest permanent sculpture and will cost approximately $340 million, making it the most expensive as well. The structure, which will be built in the desert of Al Gharbia, 100 miles from Abu Dhabi, is a flat-topped pyramid that will stand 492 feet tall. The sculpture, titled The Mastaba, will be made out of 410,000 oil barrels painted in various colors inspired by the yellow and red sands of the desert, which will create the effect of an Islamic mosaic.

Christo and Jeanne-Claude conceived the idea for The Mastaba over 30 years ago, but were derailed by the Iran-Iraq war, among other things. Working with Sheikh Hamdan bin Zayed al-Nahyan, the representative of Abu Dhabi’s crown prince, Christo financed the project through sales of his own works and funds from various investors.

The Mastaba, which will take about 30 months to complete, will be Jean-Claude and Christo’s only permanent large-scale work.