Getty Research Institute announces the acquisition of a rare portfolio of prints by Bauhaus masters

Lyonel Feininger (American, 1871–1956), Villa on the Shore, 1921. Woodcut. Sheet: 32.2 x 43 cm (12 11/16 x 16 15/16 in.). Mat: 56.5 x 45 cm (22 1/4 x 17 11/16 in.). The Getty Research Institute © 2012 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. 




LOS ANGELES, CA.- The Getty Research Institute announced the acquisition of an extremely rare complete portfolio of prints issued by the Weimar Bauhaus in 1921. This set of fourteen prints, created by the early masters of the Bauhaus during the school’s Weimar period, represents the beginning of a mission to integrate avant-garde design with industry and craft in an attempt to foster a modern, utopian way of life. The portfolio, formally titled Bauhaus Drucke: Neue Europäische Graphik I: Erste Mappe: Meister des Staatlichen Bauhauses in Weimar (1921–22) includes fourteen works by seven artists: Lyonel Feininger (1871–1956), Johannes Itten (1888–1967), Paul Klee (1879–1940), Gerhard Marcks (1889–1981), George Muche (1895–1987), Oskar Schlemmer (1888–1943), and Lothar Schreyer (1886–1966). Eight of the fourteen prints will be featured in the upcoming exhibition The Getty Research Institute: Recent Print Acquisitions on view at the GRI April 7 through September 2, 2012. “This outstanding set of early Bauhaus prints exemplifies the early innovation of one of the most important and deeply influential movements in 20th century art and design, “ said Thomas Gaehtgens, director of the Getty Research Institute. “Acquiring this rare, important portfolio is part of the Getty Research Institute’s commitment to building a collection of art and archival material that work together to illuminate the history of printmaking.” In 1921 the Bauhaus began issuing a series of print portfolios under the title Bauhaus Drucke: Neue Europäische Graphik with three goals: to give students printmaking experience; to raise money for the school; and, via the work of its masters, students and international avant-garde artists, to illustrate the Bauhaus’s artistic philosophies. However, the program was not a financial success and in 1924, after five portfolios had been issued, the school discontinued the series. The set newly acquired by the GRI is the first of this series. The GRI already owns the complete third portfolio, Bauhaus Drucke: Neue Europäische Graphik III: Dritte Mappe: Deutsche Künstler (1921) as well as an extensive collection of archival material and artworks related to the Bauhaus. Complete editions of any of the Bauhaus print portfolios are extremely rare—the first portfolio especially so—and each print in the set stands alone as a unique work of art. The techniques represented in the pristinely well-preserved portfolio include etching, lithograph, and woodcut, printed on different paper, including some colored pages, each with titles designed by Feininger. The prints are housed in the original binder, and each is signed by the artist. “In all of these prints, complex design and sometimes whimsical themes underscore the theoretical and creative foundations of the Bauhaus’s pedagogical program. The mix of techniques and styles in this Bauhaus Drucke mirrors the inclination toward both craft and industry that was especially prevalent during the Bauhaus’ early Weimar period,” said Louis Marchesano, curator of prints and drawings at the Getty Research Institute. This portfolio will be an integral part of an extensive collection of material at the GRI relating to the Bauhaus. Key items in the collection include: Bauhaus correspondence from 1923–1933; Bauhaus student work, 1919–1933; a Bauhaus typography collection, 1919–1937; letters of Walter Gropius, Hannes Meyer, and László Moholy-Nagy, amongst other affiliated faculty (including the papers of Kandinsky); sixty newspaper clippings relating to the Bauhaus, ca. 1920–1932; 182 photographs of Bauhaus students, teachers, and exhibits, 1919–1933; and 14 postcards about the Bauhaus from 1922–1926. The collection includes works of art made during the Bauhaus period by Itten, Schlemmer, and Schreyer as well as Farkas Molnar, Josef Hartwig, Albert Flocon, Curt Corrinth, and Friedl Dicker. Additionally, the J. Paul Getty Museum houses an extensive collection of Bauhaus photography, including work by Moholy-Nagy, Lucia Moholy, Erich Consemüller, Walter Peterhans, T. Lux Feininger, Edmund Collein, and Irene Bayer-Hecht. Photographs by Lyonel Feininger, as well as those by other masters and students at the Bauhaus are currently included in the exhibition Lyonel Feininger: Photographs, 1928–1939, on view through March 11, 2012 at the Getty Museum.

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A new app from the Vatican "brings to life" Giordano Bruno's execution on Campo de' Fiori

The Vatican Secret Archives unveils the summary of the trial of Giordano Bruno.


 ROME.- On the occasion of the anniversary of the death of Giordano Bruno, burned alive at the stake on piazza Campo de’ Fiori, in Rome, on February 17, 1600, for his convictions, which were judged heretical by the Tribunal of the Roman Inquisition, the Vatican Secret Archives unveils the summary of the trial of Giordano Bruno, the 17th document on display at the Capitoline Museums in the Lux in Arcana: The Vatican Secret Archives Reveals Itself exhibition. The document, online as of today at www.luxinarcana.org, is extremely significant because the records of the proceedings of Giordano Bruno’s trial are lost. They may have been destroyed together with the records of other Inquisition trials some time before the Roman archives that had been taken to Paris by order of Napoleon in 1801, were returned to the Holy See, between 1815 and 1817. This summary – all that remains of the Inquisition’s file on Bruno – contains extensive quotations from the court records. Thanks to the technological partnership with Accenture, the global management, consulting, technology and outsourcing company, as of February 29th, when the exhibition opens, a sophisticated app that was developed specifically for the Vatican Secret Archives on this occasion will make it possible, for example, to focus your tablet or smartphone on the statue of Giordano Bruno at Campo de’ Fiori and see his pyre burst into flame on your device’s display, to open the documents related to the trial of the Dominican friar and philosopher, and to call up videos with further information on his life and his ideas. The app that Accenture developed also makes it possible to explore all the documents in the exhibition with multimedia in-depth contents, thereby heightening the cultural and emotional experience of the event. The eagerly awaited Lux in Arcana: The Vatican Secret Archives Reveals Itself exhibition was conceived to celebrate the Fourth Centenary of the foundation of the Vatican Secret Archives, in collaboration with Roma Capitale, the Rome City Department for Cultural Policies and the Historic Centre-Cultural Heritage Superintendency, and Zètema Progetto Cultura; and organized by Alessandra Gonzato, Marco Maiorino, Pier Paolo Piergentili and Gianni Venditti. It will open to the public at 5:30 pm on Wednesday, February 29, 2012. On the first day, the Capitoline Museums will extend the opening hours to 9:30 pm. The exhibition will be open through September 9, 2012. An unprecedented historic event which will convey outside the Vatican walls, for the first time ever, codices and parchments, files, registers and manuscripts covering a span of time from the 8th century A.D. to the 20th, selected from among the treasures that the Vatican Secret Archives has preserved and protected for centuries. The exhibition catalogue is published by Palombi Editori in two versions, Italian and English (29.7 x 21 cm., 224 pages, full colour, 14 euros). The documents revealed to date are online at www.luxinarcana.org, together with information and the people concerned and “curiosities” about the Vatican Secret Archives.

More Information: http://www.artdaily.org/index.asp?int_sec=11&int_new=53708&int_modo=1[/url]
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Largest collection of authentic Rembrandt paintings opens at Cleveland Museum of Art

A portion of the 1637 Rembrandt painting 'Portrait of an Old Woman with a Book' is seen at the preview opening of the Cleveland Museum of Art's 'Rembrandt in America' exhibition in Cleveland. The exhibit combines 30 works by the 17th century Dutch master himself, and more than 20 others by his studio and followers. It is the first-ever Rembrandt paintings exhibition in Cleveland. AP Photo/Amy Sancetta. 


CLEVELAND, OH.- Beginning Sunday, February 19, the Cleveland Museum of Art presents Rembrandt in America, the largest collection of authentic Rembrandt paintings assembled in the United States in a century and the first major exhibition to explore how the desire for Rembrandt paintings by American collectors has fueled research about the artist’s work. Rembrandt in America is complemented by an extensive program schedule, including a Rembrandt print exhibition with works from The Morgan Library and Museum in New York City, lectures and gallery talks, and a conservation workshop. Rembrandt in America will be on view at the Cleveland Museum of Art from February 19 through May 28, 2012. Rembrandt in America Rembrandt in America considers the history of Rembrandt collecting in the United States, beginning when wealthy Americans cultivated a passion for collecting European Old Masters. The groundbreaking exhibition contains over 50 works, with about 30 autograph paintings by Rembrandt van Rijn. While the primary focus of Rembrandt in America is on the history of Rembrandt collecting and connoisseurship as it relates to his works residing in America, the show also explores his work across various genres, his artistic evolution, and his influence on other artists of the day. Included in the exhibition are a number of important portraits from Rembrandt’s early career in Amsterdam as the city’s most sought-after portrait painter, as well as character studies, historical and biblical scenes, and three of his most celebrated self-portraits. Additional works on view in the exhibition were thought to be by the renowned Dutch artist when they entered American collections, but their attributions can no longer be maintained. Rembrandt in America therefore also offers a survey of Rembrandt as a painter and as a master, including works produced by his studio and a broader network of adapters, followers, and copyists. EXHIBITION Rembrandt Prints from The Morgan Library & Museum runs concurrently with Rembrandt in America and is installed in the museum’s Prints and Drawings Gallery. This exhibition displays 60 Rembrandt etchings, exploring the artist’s long and prolific career as a printmaker. From about 1626 to about 1661, Rembrandt executed some 370 prints that demonstrate that he was not only a gifted painter and superb draftsman but also an extremely experimental and original printmaker. Unlike his predecessors, who sought to achieve a standardized representation of the printed image with little variation from impression to impression, Rembrandt was inclined to experiment. By varying the support and how the plate was inked, he achieved an array of effects so that impressions from the same plate differ significantly. Rembrandt’s prints cover a wide range of subjects, including Old and New Testament narratives, landscapes, portraits and self-portraits, nudes, and scenes from daily life. He sometimes returned to the same theme, allowing for a comparison of a subject executed decades apart, illustrating his artistic development and experimental advances. Rembrandt’s prints are some of the best ever made—evidence of a genius who exploited technical means for expressive purposes. Rembrandt Prints from The Morgan Library & Museum is curated by Jane Glaubinger, Cleveland Museum of Art, curator of prints.

More Information: http://www.artdaily.org/index.asp?int_sec=11&int_new=53692&int_modo=1[/url]
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Museum of Fine Arts, Boston to launch its first online catalogue, Paintings of the Americas

Childe Hassam, Boston Common at Twilight, 1885–86. Oil on canvas. Museum of Fine Arts, Boston. Gift of Miss Maud E. Appleton. Photograph © Museum of Fine Arts, Boston. 


BOSTON.- Just in time for Presidents’ Day, the Museum of Fine Arts, Boston, will debut on February 20 its first online catalogue, Paintings of the Americas. The free digital publication, available here, will feature a selection of more than 400 paintings from its collection of nearly 2,000 (including new acquisitions) created by artists from the 17th through the 20th centuries. The online catalogue was produced to complement the Museum’s Art of the Americas Wing. This is the first publication in a generation to document the MFA’s world-renowned holdings of American paintings, along with those that represent the broader spectrum of the Americas. With its elegant design, ease of use, and access to a wide range of information, Paintings of the Americas tells a compelling story through a chronological exploration of diverse works from North, Central, and South America. It also showcases masterworks by John Singleton Copley, Mary Cassatt, John Singer Sargent, Thomas Eakins, Winslow Homer, Georgia O’Keeffe, and Wifredo Lam. Support for this publication was provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Ann and William Elfers Publication Fund, the Wyeth Foundation for American Art, and the Vance Wall Foundation. “We are especially pleased to introduce to our online visitors—including families, students, and museum lovers—a new way to experience for free one of the world’s finest collections of American paintings in a format that will be regularly added to and updated as new information is entered into our database,” said Malcolm Rogers, Ann and Graham Gund Director of the Museum. In 2000, the MFA was one of only a few museums in the world to make its collection available online, and today, the majority of its 450,000 works can be viewed on the web. Now, with the new online catalogue, readers using a personal computer or tablet, such as an iPad, will be able to dig deeper into information about 425 paintings by browsing artwork by chapter, title, and artist; bookmarking favorites; reading essays; and enjoying interviews with curators and conservators. The catalogue’s online format will allow content to be regularly updated and, in the future, the number of paintings featured will expand, as will the range of scholarly background information. Beginning with a Director’s Foreword by Malcolm Rogers and an introduction by Elliot Bostwick Davis, the John Moors Cabot Chair of the Art of the Americas Department, the catalogue is organized into 12 chapters,with headings written by Erica E. Hirshler, the MFA’s Croll Senior Curator of American Paintings. It will highlight works that reflect the broader definition of the art of our nation and the Americas by incorporating a greater number of paintings by women, indigenous artists, artists of color, Latin American artists, and self-taught artists. A selection of newly acquired works by African American artists from the John Axelrod Collection also will be showcased in the online publication. “Complementing the opening of the Museum’s Art of the Americas Wing, the online catalogue represents painters from the colonial Americas, the United States, and those from North, Central, and South America. As in our galleries, we hope visitors to the publication will discover a range of artistic expression that derives inspiration from a variety of cultures, periods, and styles found around the world and closer to home,” said Davis, who oversaw the creation of the catalogue led by Karen E. Quinn, the MFA’s Kristin and Roger Servison Curator of Paintings, and Erica E. Hirshler. Recent scholarship, innovative design, and the latest digital publishing technology will bring the Museum’s works to audiences as never before—completely for free. "We are committed to publishing the MFA’s collections by the best means available, whether the delivery ‘device’ has printed pages or a touch screen. This type of catalogue is well-suited to the digital realm. It represents a true marriage of traditional museum publishing and all the scholarship behind it, and the accessibility and connectivity made possible by the web," said Emiko Usui, Director of MFA Publications. MFA Publications, the publishing imprint of the MFA, offers a wide variety of scholarly and general-interest books on the visual arts, including essays, biographies, and exhibition and collections catalogues. Paintings from the Americas is one example of the innovative ways MFA Publications shares works from the Museum’s collection with readers. Another is the creation of e-books, such as Sargent’s Daughters: The Biography of a Painting (2009) by Erica E. Hirshler, Croll Senior Curator of Paintings in the Art of the Americas at the MFA, which explores the genesis of one of the Museum’s great iconic works, The Daughters of Edward Darley Boit (1882) by John Singer Sargent. The book can be downloaded from a variety of e-book retailers, including Amazon, Barnes & Noble, and iBooks. Additionally, beginning this summer, MFA Publications will provide to online visitors at www.mfa.org/publications several downloadable PDFs of select out-of-print publications, such as Sargent’s Murals, originally published in 1999. Written by Carol Troyen, Pamela Hatchfield, and Lydia Vagts, the book celebrates the famous murals Sargent created for the MFA’s rotunda and colonnade in the early 20th century, and the subsequent restoration process that was undertaken by the MFA in 1999. Included among upcoming publications is a printed catalogue and an e-book version to complement Sargent’s Watercolors (title TBD), an exhibition jointly sponsored by the MFA and Brooklyn Museum, which will open at the MFA in the fall of 2013. Produced by MFA Publications, the catalogue will feature a lead essay by Erica E. Hirshler, which places Sargent’s watercolors in the context of his own works in oil and in relationship to 20th-century watercolor practice. Other contributors are Antoinette Owen, Senior Paper Conservator at the Brooklyn Museum, and Annette Manick, Head Conservator, MFA, Boston; Richard Ormond, Director, John Singer Sargent Catalogue Raisonné; Teresa A. Carbone, Andrew W. Mellon Curator of American Art and Karen Sherry, Associate Curator of American Art. 

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Roy Lichtenstein's Landscapes in the Chinese Style on view at Gagosian in New York

ROY LICHTENSTEIN
Landscape with Grass, 1996
Oil on magna on canvas
110 x 38 inches  (279.4 x 96.5 cm)

© Estate of Roy Lichtenstein

Download Press Release PDF (126 Kb)

Opening reception: Thursday, March 1st, from 6 to 8 pm


I think (the Chinese landscapes) impress people with having somewhat the same kind of mystery (historical) Chinese paintings have, but in my mind it's a sort of pseudo-contemplative or mechanical subtlety...I'm not seriously doing a kind of Zen-like salute to the beauty of nature. It's really supposed to look like a printed version.
—Roy Lichtenstein

Gagosian Gallery is pleased to present an exhibition of Roy Lichtenstein's Landscapes in the Chinese Style.

Throughout his prodigious career Lichtenstein mined antecedent imagery, taking inspiration from a diverse array of sources, from comic strips and advertising slogans to classical architecture and the art of the European Modernists. Captivated by traditional Chinese painting, in particular from the Song Dynasty (960–1279 AD), he considered how to craft the delicate, ethereal atmosphere so implicit to theLandscapes in the Chinese Style. The monochromatic prints of Edgar Degas, featured in an exhibition at the Metropolitan Museum, New York in 1994, provided inspiration. He was struck by his predecessor's ability to suggest the features of a landscape with just a few strategic swathes of gray, allowing a nebulous shape to stand in for exacting form. Lichtenstein also visited exhibitions of East Asian Art in New York, Washington and Boston, and perused the exhibition catalogues—which may partly account for his emphasis on the secondary nature of the source imagery, deriving from reproductions of original works rather than from the works themselves.

Lichtenstein re-interpreted traditional scenes and motifs using his own established methods and materials. Carefully stylized, his Chinese landscapes are formed with "Benday dots" (painted meticulously by hand to mimic printing) and block contours, rendered in hard, vivid color, with all traces of the hand removed. Consistent with his entire oeuvre, the Chinese landscapes play with American tendency towards stereotypes and clichés by incorporating the elements of Asian culture most familiar to Western viewers-a crooked bonsai tree, a pointed coolie hat, and so on. However, the overt irony of his earlier Pop works cedes to aestheticism and formal delicacy: rather than mimicking the arbitrary techniques of commercial illustration, the dots appear in cloud-like patches that express the effervescence of space and form, as in the dreamy, abstract Landscape with Boat (1996). As if submitting to the intrinsic serenity of his source material, Landscapes in the Chinese Style reflect on the harmony and balance of historical imagemaking through an unmistakable and edgy lexicon of modern visual effects.

A fully illustrated catalogue will accompany the exhibition, featuring essays by Berlin -based Lichtenstein specialist Karen Bandlow-Bata and Carol Yinghua Lu, a Chinese writer based in Beiijing.

Roy Lichtenstein was born in 1923 in New York, where he died in 1997. His work has been exhibited extensively worldwide. Recent retrospective surveys include "All About Art," Louisiana Museum, Humelbaek (2003, traveled to Hayward Gallery, London, Museo Reina Sofia, Madrid, and San Francisco Museum of Modern Art through 2005); "Classic of the New," Kunsthaus Bregenz (2005); and "Roy Lichtenstein: Meditations on Art," Museo Triennale, Milan (2010, traveled to Museum Ludwig Cologne). A major retrospective organized by the Art Institute of Chicago and Tate Modern, London opens in May 2012.

For further information please contact the gallery atnewyork@gagosian.com or at +.212.741.1111.

ROY LICHTENSTEIN

LANDSCAPES IN THE CHINESE STYLE
MARCH 1 - APRIL 7, 2012

555 West 24th Street
New York, NY 10011
T. 212.741.1111 F. 212.741.9611
newyork@gagosian.com
Hours: Tue-Sat 10-6
Gallery Information
Gallery Map

• ABOUT EXHIBITION
• VIEW IMAGES
• ARTIST INFO

fonte http://www.gagosian.com/exhibitions/roy-lichtenstein--march-01-2012

AMIZADE - arte postal- data limite - até 15 de junho!!!

Vera SimonMar 2, 2012 06:42 PM

A data limite passou para 15.06.12

uma vez que a exposição do material 

recebido, ficou marcada para 07.06.12

à 30.08.12, 

no MAC-Cascavel-PR-Brasil.

Participem!

AMIZADE - arte postal

 

Apoio: Prefeitura Municipal de Cascavel, Secretaria de Cultura, e Museu de Artes de Cascavel (PR, Brasil).

Arte Postal by Vera Simon, tem por finalidade, além de criar uma proximidade entre artistas de lugares muito distantes, expandir este sentimento tão escasso e necessário nos dias de hoje: a Amizade.

A intenção, também, é trazer esta forma de se relacionar e de divulgar arte, para o interior (Cascavel/PR/Brasil). Mostrar aqui, numa cidade pequena, esta atividade que está sendo retomada, e que, para a maioria das pessoas ainda é desconhecida.

É uma forma de nos exprimir e participar, sem juri, sem seleção e com a certeza que nossa arte será apreciada.

---Como Participar---

Como Participar - How to Participate:

-------------------------------------------------------------------------------------------------------

Arte Postal by Vera Simon

Tema: Amizade.

Dimensões: 15cmX10cm a 25cmX35cm.

Técnica: Qualquer uma.

Data limite de inscrição: 30/01/2012.

Enviar p/:

Vera Simon
Rua Salgado Filho-1192, Vila Tolentino,
Cascavel-PR-Brasil,
85 802-150.

Todos os postais recebidos farão parte de uma exposição no Museu de Artes de Cascavel em 2012 (data a ser fixada).

Todos os postais serão permanentemente exibidos no blogartepostalbyverasimon.blogspot.com

Todos terão em retorno uma arte postal de Vera Simon.

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Mail Art by Vera Simon, aims, and creates proximity between artists from distant places, to expand this feeling so scarce and necessary nowadays: Friendship.

The intention, also, is to disseminate art to the interior (Cascavel/PR/Brazil). Show here, a small town, that this activity is being revived. Activity that, for most people is still unknown.

It is a way to express ourselves and participate, without jury, without selection and with the certainty that our art will be appreciated.

---How to Participate---
 Mail Art by Vera Simon

Theme: Friendship.

Dimensions: 15cmX10cm a 25cmX35cm.

Technique: Any.

Deadline for application: 30/01/2012.

Send to:

Vera Simon
Rua Salgado Filho-1192, Vila Tolentino,
Cascavel-PR-Brazil
85802-150.

All received postcards will be part of an exhibition at the Museum of Art in Cascavel/PR/Brazil in 2012 (date to be fixed).

All cards will be permanently displayed on the blog artepostalbyverasimon.blogspot.com

Everyone will receive in exchange a mail art by Vera Simon

convocatória - Arte Postal – MAPAS DE INFLUÊNCIAS

Arte Postal – Mapas de Influências

convocatória

Tema: MAPAS DE INFLUÊNCIAS

A participação está aberta a todos

Formato Postal: 10 X 15 cm

apenas postais em gravura - técnica livre: xilogravura, calcogravuras, fotogravura, litogravura, etc.

Mande quantos cartões quiser!

Sem júri – Todos os trabalhos serão expostos na Oficina Oswald de Andrade e publicados no blog

http://mapasdeinfluencias.wordpress.com/

Encaminharemos aos artistas participantes um dos cartões postais recebidos pelo projeto. Serão reenviados aos artistas, aleatoriamente, com uma identificação do Projeto Mapas de Influências, certificando e agradecendo pela participação e apoio.

DATA LIMITE:

10 de agosto de 2012

Enviar para:

arte postal – MAPAS DE INFLUÊNCIAS 

Ponto Gráfico Ateliê

Caixa Postal 17002

CEP 02340-970

São Paulo - SP - BRASIL

Mais detalhes poderão ser encontrados no blog:

http://mapasdeinfluencias.wordpress.com/

dúvidas escrevam para:

mapasdeinfluencias@gmail.com

fonte: http://mapasdeinfluencias.wordpress.com/arte-postal/convocatori-arte-postal/

spreekwoorden - grupo palavra & imagem

exposição do grupo Palavra & Imagem entre os dia 5 e 31 da março na Galeria em frente a biblioteca Nadir Kfouri da PUC-SP.
catálogo Virtual : http://cargocollective.com/spreekwoorden.


tiagogomes.art@gmail.com
www.tiagogomes.com.br

exhibition of collage and paper-based works

Group exhibition of collage and paper-based works opens at Stephen Haller Gallery

Installation view of Paper Rocks Sccissors at Stephen Haller Gallery. Installation view of Paper Rocks Sccissors at Stephen Haller Gallery.

NEW YORK, NY.- Stephen Haller Gallery announces Paper Rocks Sccissors: a group exhibition of collage and paper-based works from gallery and guest artists opened February 23rd and running through March 31st. Each artist brings a unique and diverse practice to these works: torn, cut, bent, pierced, incised. The exhibition includes works from a multi-generational selection of artists: from the young art sensations the Oakes Twins – Ryan and Trevor, to rare early collage works from the estate of Larry Zox. In the catalogue to Zox’s seminal Whitney Museum exhibition curator James Monte wrote that these earliest collage works are “extremely graphic and take advantage of spatial jumps alternately back into an illusionary picture plane and forward into the viewer’s space.” This is also true of the Michel Alexis pieces in the exhibition made of incised rice paper, oil paint, and mixed media on canvas. Ryan and Trevor Oakes’ concave sculptural drawings are a fascinating exploration of perception. Their work is also currently on view in The Periphery of Perception at Rensselaer Polytechnic Institute as part of their EMPAC artist residency. The main gallery features Nobu Fukui’s monumental Superman is Alive! This iconic work is meticulously hand cut with densely packed imagery suggesting both frenzy and containment. Fukui’s is a painstaking process of cutting and layering, painting and placing image upon image. Whether it is the riot of color that is characteristic of the Fukui’s, the innovation in the sculpture/ drawings by the Oakes, the graphic quality of the Zox or Alexis, the layering of materials in the Doug and Mike Starns, the piercing in the work of Tracey Emin, the frank separation of papers in the Linda Stojak, the subtle minimalist construction of the Robert Courtright, or the nearly imperceptible layering in Johnnie Winona Ross’s chine colle – the work of these artists prompts the viewer to engage along with the artists in investigating notions of perception. http://www.artdaily.org/index.asp?int_sec=2&int_new=53812

CAIXA CULTURAL apresenta a exposição "Salvage - o requinte do resto"

9º Salão de Artes Plásticas da Academia Brasileira do Meio Ambiente

A Presidente da ACADEMIA BRASILEIRA DO MEIO AMBIENTE, Comendadora Dra NILZA ATHAYDE LIEH, tem o prazer de convidá-lo para participar do 9º Salão de Artes Plásticas da Academia Brasileira do Meio Ambiente, que se realizará no Museu Histórico do Exército e Forte de Copacabana. no período de 28 de MARÇO a 12 de ABRIL de 2012 em comemoração ao Dia do Meio Ambiente. 
Para que o Salão tenha sucesso é fundamental sua participação, assim encaminhamos o Regulamento abaixo com as datas previstas, esperando contar com sua presença, prestigiando e abrilhantando as comemorações do Meio Ambiente.

REGULAMENTO DO 9º SALÃO DE ARTES DA ABMA - 2012

TEMA LIVRE e a Valorização do MEIO AMBIENTE NO MUNDO.
O Salão está aberto a todos os Artistas Plásticos de toda e qualquer parte do território nacional, civis ou militares, na modalidade de PINTURA (ACADÊMICA, CONTEMPORÂNEA OU DECORATIVA) - ARTE NO PAPEL (DESENHO, AQUARELA, GUACHE, NANQIM) - ESCULTURA, INSTALAÇÃO e OUTROS. 
As telas deverão ter a medida máxima de 1.00m x 1.00m, com ou sem moldura e devem estar com arame para serem penduradas. As Esculturas ou similar, com altura máxima de 0.80cm.
INSCRIÇÃO E ENTREGA DAS OBRAS: Será feita no período de 21 a 24 de Março de 2012 – de 4ª à 6ª feira de 10 às 16 horas - Sábado – 24 de Março de 10 às 14hs - no Forte de Copacabana - Posto 6 – RJ.
Taxa de Inscrição: R$ 120,00 (Cento e vinte reais) p/ uma (01) Obra e R$ 180,00 (cento e oitenta reais) p/ duas (02) obras. 
Artistas de outros Estados, enviar as Obras até o dia 23 de março , acompanhadas do pagamento com cheque nominal à Vera Figueiredo ou quantia correspondente ou recibo de depósito bancário efetuado no Banco do Brasil, conta corrente nº 83.499-8 - Agência 3094-5 de Vera Figueredo / Elza Figueiredo para : Rua Visconde de Abaeté, 103 - casa – Vila Isabel – RJ - CEP: 20551-080
JULGAMENTO: Será feito em seção reservada, com Membros do meio Artístico e Cultural, sendo conferidos os seguintes Prêmios: Troféu Destaque - Troféu Criatividade – Medalhas de Ouro, Prata, Bronze e Menções Honrosas, Premiação da ALAP e do MHEx e Forte de Copacabana na categoria Ouro, Prata e Bronze. Todos os artistas receberão o Certificado de Participação.
EXPOSIÇÃO: Estará aberta ao público de 28 de março a 12 de abril / 2012, de 3ª feira à Domingo, de 10 às 18hs.
PREMIAÇÃO: Será no dia 09 de ABRIL 2 ª Feira , às 17 horas , no Auditório Santa Bárbara, seguido de Coquetel no Salão de Exposições Temporárias do Museu Histórico do Exército e Forte de Copacabana.
As Obras serão RETIRADAS dias 13, 14 e 16 de ABRIL, no mesmo horário, IMPRETERIVELMENTE. Após este prazo sem justificativa, serão enviadas ao acervo do Forte de Copacabana .
MAIORES INFORMAÇÕES: Vera Figueredo - Cel. (21) 9966-3547 - Email: verafigueredo@uol.com.br
Atenciosamente

Com. Vera Figueredo, Curadora do Salão de Artes

PROGRAMAÇÃO APBA – Associação Paulista de Belas Artes

PARTICIPE DO 70º. SALÃO LIVRE

(Comemorativo dos 70 anos da APBA)

Inscrições e entrega dos trabalhos: 22 de fevereiro

a 13 de março de 2012, na sede da APBA

Rua Conselheiro Crispiniano, 53 – 13º. Andar – Centro São Paulo – SP

Tel.: (11) 3105.1660

WORKSHOP - AQUARELA

Tema: “A figura humana – Distorção”

(com modelo vivo

Orientador: Luiz Zeminian

Dia 21 de março – quarta-feira – período: manhã e tarde

Faça sua inscrição. Vagas limitadas!

secretaria@apba.com.br

 

Fonte: Divulgação APBA 

técnicas de douramento - Regina Gierlemger

Luz Desenho - o lápis da natureza e a imagem impressa

cianótipo sobre tecido de algodão | Benedito Viçó

Em março tem curso novo no Piratininga!

A proposta do curso é desenvolver a prática de algumas técnicas antigas de impressão fotográfica, a partir das intersecções, semelhanças e disparidades que propiciaram o encontro da gravura com a fotografia. 

Neste primeiro módulo serão abordadas desde as invenções mecânicas para copiar a natureza ao êxito da fixação e reprodução da imagem, com a prática das seguintes técnicas: 
- perfis de silhueta 
- desenhos fotogênicos 
- cliché-verre 
- cianotipia 
- van dyke brown 

Coordenação: Atelier Estrela Brasil Oriente
 
Sábados das 13hs às 17hs  
Início: 10 de março 
Até: 26 de maio 
Valor: R$310,00 por mês 
10 vagas (mínimo 5 pessoas)

Arte Papo com Ulysses de Paula

Série Sonhos - Alçapão ou Diários de Verão, Xilogravura de Fio, 2008 a 2010.

Arte Papo com Ulysses de Paula Quinta-feira, dia 08 de março, às 19:30, Entrada gratuita Mestrando em Artes Visuais pela ECA-USP, com orientação do artista Claudio Mubarac, trabalha com gravura em metal, xilogravuras, pinturas, objetos e ilustrações. Realiza, por procedimentos antigos de talha e impressão, uma ampla rede de imagens (memórias e outras recordações de família), sonhos associados à paisagem do cais de Santos, da Serra do Mar e da extinta Casa de Detenção do Carandiru, dando origem a uma série de álbuns de gravura confeccionados em madeiras encontradas nas ruas, formando verdadeiras relíquias dos lugares por onde o artista passou. Atualmente ministra aulas de gravura no Ateliê Piratininga. Mais informações: http://atelierpiratininga.blogspot.com http://plataformaulyssesboscolo.blogspot.com/ Próximos encontros: Quinta, 12 de abril: Sergio Niculitcheff Quinta, 10 de maio: Renata Pedrosa Quinta, 14 de junho: Lia Chaia

SEMINÁRIO TRANSMUSEU - MAM SP

http://www.mam.org.br/

A transformação contínua dos museus diante dos desafios da arte contemporânea

07, 08 e 09 MAR 2012
Auditório Lina Bo Bardi
Entrada franca. Sujeito a lotação do auditório

Para se inscrever, ligue para (11) 5085-1313 ou escreva para educativo@mam.org.br

O seminário visa a mapear os desafios atuais dos museus de arte contemporânea, abordando tais instituições em sua complexidade organizacional. A amplitude de possibilidades de constituição de uma obra de arte contemporânea leva os museus a ela dedicados a enfrentar novas situações de concepção do espaço expositivo, mediação educativa, armazenagem e conservação de acervo, formação de público e política de parcerias institucionais.

Ao constituir um amplo painel de temas por meio de seis mesas-redondas, o seminário abrirá a discussão para profissionais de diferentes áreas, que terão a oportunidade de debater sobre práticas museológicas e situações específicas.

PROGRAMAÇÃO

07 MAR (QUA)

:: MESA 1 – 10H30 :: [ESPAÇOS MUSEOLÓGICOS]

Esta mesa-redonda abordará a visão de arquitetos sobre espaços expositivos e mobiliário de exposição para a produção contemporânea, que em princípio pode se apresentar sob qualquer forma material (ou mesmo imaterial).

Convidados

André Vainer (Brasil) - Arquiteto, professor no Estúdio Vertical na Escola da Cidade desde 2004. Trabalhou ainda estudante com Lina Bo Bardi de quem tornou-se estreito colaborador por aproximadamente doze anos. Em seu escritório, que manteve por mais de trinta anos com Guilherme Paoliello, realizou projetos em diversas áreas: urbanizações, edificações, reformas e recuperações, interiores, mobiliário, paisagismo, cenografia, instalações e exposições.

Guilherme Wisnik (Brasil) - Arquiteto e ensaísta, professor da Escola da Cidade, formado pela FAU-USP, mestre em história social pela FFLCH-USP, doutorando pela FAU-USP. Autor de Lucio Costa (Cosac Naify, 2001), Caetano Veloso (Publifolha, 2005) e Estado crítico: à deriva nas cidades (Publifolha, 2009) e organizador do volume 54 da revista espanhola 2G (Gustavo Gili, 2010) sobre a obra de Vilanova Artigas. Colaborador do jornal Folha de S. Paulo e curador do projeto de arte pública Margem (2010), pelo Itaú Cultural.

Mediação

Lauro Cavalcanti (Brasil) - Arquiteto, antropólogo e escritor. Integra o Conselho Consultivo do MAM-SP. Conselheiro da Casa Lucio Costa e da Fundação Oscar Niemeyer, membro do conselho editorial do IPHAN, diretor do Paço Imperial e professor da Escola Superior de Desenho Industrial (ESDI/UERJ).

:: MESA 2  - 14H30 :: [PLATAFORMAS DE CURADORIA]

Esta mesa-redonda abordará os desafios para exibição da arte contemporânea do ponto de vista de um artista que trabalha com a história dos espaços expositivos e do ponto de vista de um curador de uma instituição inserida num parque público.

Convidados

Nicolás Guagnini (Argentina) - Artista, começou sua trajetória na Argentina. Em 1997 radicou-se em Nova York, onde, em 2005, fundou com outros artistas, historiadores de arte e curadores, a Orchard, uma galeria cooperativa. Exibiu sua obra em vários lugares do mundo.

Paul Nesbitt (Escócia) - Diretor da Inverleith House no Royal Botanic Garden de Edinburgo, concebeu e apresentou exposições de alguns dos principais artistas contemporâneos do mundo. Como artista e ecólogo vegetal, tem um interesse profissional na relação entre arte, ciência e o mundo natural. Ele também é guitarrista e se apresentou com Douglas Gordon e o grupo de arte Chicks on Speed.

Mediação

Felipe Chaimovich (Brasil) - Curador do MAM-SP, doutor em filosofia pela Universidade de São Paulo e professor do artes plásticas na FAAP, membro da Associação Brasileira de Críticos de Arte e do Comitê Brasileiro de História da Arte.

08 MAR (QUI)

:: MESA 3  - 10H30 :: [GESTÃO DE ACERVOS]

A problemática da preservação da obra de arte contemporânea é discutida entre conservadores de coleções museológicas e restauradores de instituições e particulares. Esses profissionais necessitam da orientação do artista como executor do trabalho. O artista colabora com a preservação da obra apresentando para a instituição esquemas de montagem e entrevistas, métodos que auxiliam a conservação do trabalho tanto na reserva técnica quanto no espaço expositivo. Esses documentos envolvem não só o conservador e o restaurador, mas também o setor curatorial e o setor educativo.

Convidados

Humberto Farias de Carvalho (Brasil) - Mestre em história e crítica da arte pelo PPGAV-EBA/UFRJ, conservador e restaurador associado ao Centro de Conservação de Bens Culturais. Professor da PUC-SP e da UFRJ, membro da diretoria da ABRACOR como colaborador internacional, do Conselho Cultural do Instituto Brasil Estados Unidos e pesquisador de conservação de arte contemporânea.

Isis Baldini (Brasil) - Conservadora-restauradora de obras de arte em suporte de papel, doutora pela ECA-USP, com tese em conservação de obras contemporâneas, especialista em gestão e políticas culturais pela Fundación Universitat de Girona, Espanha, e em tecnologia do papel pela Faculdade Oswaldo Cruz. Com curso na Itália e estágio na Itália e Espanha, atua na área desde 1982. Professora do curso de conservação e restauração de material gráfico, do SENAI.

Marcelo Cidade (Brasil) - Formado em artes plásticas pela FAAP, em São Paulo, cidade onde vive e trabalha. Dentre as exposições individuais estão Avant-gard is not dead, Galeria Vermelho, São Paulo, 2010; Vamos falar senhor fantasma, Fundação Serralves, Portugal, 2009 e Norms Patterns Systems, Galerie Motte et Rouart, França, 2009.

Mediação

Lívia Lira (Brasil) - Bacharel em educação artística pela Universidade São Judas Tadeu com licenciatura em artes plásticas pela Belas Artes. Coordenadora do Setor de Documentação e Conservação do Acervo do MAM-SP, membro do Comitê Brasileiro do ICOM, atualmente faz o curso técnico de conservação e restauro no centro técnico Templo da Arte.

:: MESA 4 – 14H30 :: [CONEXÕES E DIVERSIDADE]

Esta mesa-redonda abordará os desafios de democratização das instituições de arte contemporânea por meio de setores dedicados à mediação educativa e ao atendimento ao público diverso. Considerando o potencial da arte contemporânea para desencadear reflexões críticas acerca dos valores estabelecidos e inspirar novas possibilidades, os museus têm a sua área de atuação ampliada, podendo inspirar significativas transformações sociais.

Convidados

Ronald Ligtenberg (Holanda) - Professor de Imagineering (imaginação + engenharia) no ECHS – Eurocollege, diretor da SkyWay Foundation, promove uma consultoria de marcas sensoriais. Ligtenberg se autodenomina um possibilitador: tornando o impossível possível. Em setembro de 2011 o MAM acolheu o evento Sencity, que leva a música para a comunidade surda, realizado simultaneamente em Roterdã e São Paulo.

Sangeeta Isvaran (Índia) - Dançarina, coreógrafa, pesquisadora e ativista social. Mestre em artes da performance pela Sarojini Naidu School of Arts and Communication. Vem de Chennai, Índia.

Mediação

Daina Leyton (Brasil) - Coordenadora da área Educativa e de Acessibilidade do MAM-SP. Psicóloga formada pela PUC-SP, atua desde 2000 na coordenação e gestão de projetos culturais e sociais, constituição de redes e conexões de diferentes linguagens, trabalhando com educação, promoção de cultura e saúde para o público diverso.

09 MAR (SEX)

:: MESA 5  - 10H30 :: [ACERVO E SEUS "DESPOJOS": O ARQUIVO PERFORMATIVO]

Recentemente muito se tem discutido a função dos acervos e arquivos nos museus e instituições culturais. Esses setores passaram a ser entendidos não apenas como depositários de obras ou documentos, mas como irradiadores de conhecimento e "modos de operar", com a capacidade de ensinar tanto ao próprio museu, de maneira particular, como ao sistema da cultura como um todo. O que resta depois que a obra de arte entra para o acervo da instituição, e como se posicionar para que ela se mantenha viva e operante, dentro e fora do contexto museológico?

Convidadas

Carla Zaccagnini (Brasil) - Artista plástica e mestre em poéticas visuais pela ECA-USP. Realizou, entre outras, as seguintes mostras individuais: Plano de falla (Ignacio Liprandi, Buenos Aires, 2011), Imposible pero necesario (Joan Prats, Barcelona, 2010); no. it is opposition. (AGYU, Toronto, 2008) e Bifurcações e encruzilhadas (Galeria Vermelho, São Paulo, 2008).

Magali Arriola (México) - Curadora freelancer e crítica de arte. Arriola organizou a exposição Coartadas/Alibis no Centre Culturel du Mexique em Paris. Catherine David convidou-a para fazer uma nova versão da exposição para Witte de With. Publicou artigos em várias revistas, entre elas Curare, Art Nexus, Parachute e Reforma.

Mediação

Fernando Oliva (Brasil) - Curador, professor na Faculdade de Artes Plásticas da FAAP e na Faculdade Santa Marcelina, Integra a Comissão de Programação do Festival Internacional de Arte Contemporânea Videobrasil e editou a publicação de ensaios Caderno Videobrasil “Turista/Motorista” (2010). Foi diretor de curadoria e programação do Centro Cultural São Paulo (2009/2010).

:: MESA 6  - 14h30 :: [ECONOMIA CRIATIVA]

Esta mesa-redonda abordará alternativas ao financiamento via leis de incentivo, visando a discutir iniciativas brasileiras e internacionais para tornar uma instituição cultural sustentável por meio de patentes e iniciativas inovadoras.

Convidadas

Ana Carla Fonseca Reis (Brasil) - Fundadora da empresa Garimpo de Soluções, administradora, economista e autora do livro Economia da cultura e desenvolvimento sustentável, entre outros.

Cláudia Sousa Leitão (Brasil) - Secretária da Economia Criativa do Ministério da Cultura, foi diretora regional do Senac-CE nos anos de 2001 e 2002 e Secretária da Cultura do Estado do Ceará no período de 2003 a 2006. É consultora nas áreas de cultura, criatividade e desenvolvimento.

Mediação

Felipe Chaimovich (Brasil) - Curador do MAM-SP, doutor em filosofia pela Universidade de São Paulo e professor do artes plásticas na FAAP, membro da Associação Brasileira de Críticos de Arte e do Comitê Brasileiro de História da Arte

Fonte: Fórum Permanente