12th Gielniak Graphic Arts Competition

http://www.muzeumkarkonoskie.pl/index.php?page=xii-konkurs-graficzny-im-jozefa-gielniak-angl

12th Gielniak Graphic Arts Competition

Karkonoskie Museum in Jelenia Góra announces 12th Gielniak Graphic Arts Competition. The Competition aims to commemorate an outstanding Polish graphic artist - Józef Gielniak. It involves exclusively relief print technique. The Competition will be followed by an exhibition of chosen works, accompanied by a catalogue.
Below You will find Competition Rules and Submission Form. Shall You have any questions, do not hesitate to contact us.

Competition Rules

Submission Form

CONTACTSekretariat Konkursu
Muzeum Karkonoskie w Jeleniej Górze
ul. Jana Matejki 28
58-500 Jelenia Góra
telefon:             75 64 550 79      
e-mail: konkurs.gielniak@gmail.com
PAYMENT DETAILSNumber of bank account: 69 1090 1926 0000 0001 1874 4449 
SWIFT code for international bank transfers: WBKPPLPP
Muzeum Karkonoskie w Jeleniej Górze
ul. Jana Matejki 28
58-500 Jelenia Góra
postscript: "Konkurs Gielniak, imię i nazwisko uczestnika"

oficinas de abril no MAM- SPaulo

Família MAM

GRATUITO

SÁBADOS 15H

Programação educativa aberta ao público durante as exposições Wolfgang Tillmans e German Lorca: acontece ou faz acontecer?

ABRIL

Oficina de cianotipia

07/04

Visita mediada + experiência poética

14/04

Visita mediada + experiência poética

21/04

Oficina de fotograma

28/04

MAIO

Visita mediada + experiência poética

12/05

Narração de história

13/05

Narração de história para surdos e ouvintes

26/05

Atividades gratuitas, distribuição de senhas com trinta minutos de antecedência, crianças a partir de quatro anos com seus acompanhantes. Vagas limitadas.

Para mais informações ligue para (11) 5085-1313 ou escreva para educativo@mam.org.br

CENTRO CULTURAL SÃO PAULO - CCSP

PROGRAMAÇÃO

CENTRO CULTURAL SÃO PAULO - CCSP

r. Vergueiro, 1.000, Paraíso, tel. (11) 3397-4002

www.centrocultural.sp.gov.br

Artes plásticas

sem necessidade de inscrição
Modelo vivo
com: Vera França e Pedro Paulo Cândido
Ateliê de desenho a partir da observação da figura humana, no qual atores-modelos oferecem um conjunto de performances contextualizadas com a programação do CCSP. O participante deverá trazer seu próprio material (só será permitido o uso de material seco).

(60 vagas) - período da oficina: dias 30/3, 13, 20 e 27/4, sextas, das 14h às 17h (só será permitida a entrada até 30 minutos após o início da atividade) - Praça Mário Chamie (Praça das Bibliotecas)
Avisos: No dia 6/4, não haverá oficina em função do feriado da Semana Santa.

Gibiteca Henfil

inscrições abertas a partir de 1º/5
Oficina de HQs e fanzines
com: Edson Pelicer (educador, quadrinhista, ilustrador, artista plástico e educador social) 
Nos meses de maio, junho e julho, Edson Pelicer trará sua experiência no estudo, prática e ensino de histórias em quadrinhos à Gibiteca Henfil. Com aulas práticas e teóricas visando o exercício do desenho, da redação e da arte sequencial, os encontros oferecerão também recursos que possibilitem a fusão das HQs com outras formas de expressão artística, como música, poesia, haicai, entre outras, estabelecendo relações com animação e cinema. Desse processo resultará a confecção e publicação de um fanzine em comemoração aos 30 anos do CCSP, cuja produção privilegiará o processo de criação artística e autoral de tiras, caricaturas, charges, ilustrações, histórias em quadrinhos, capas, prefácios, posfácios e editoriais.

(20 vagas) - Público: interessados em geral a partir de 10 anos - inscrições: de 1º a 16/5, comparecer à Gibiteca Henfil (de terça a sexta, das 10h às 19h30; sábados, domingos e feriado, das 10h às 17h30) com um desenho autoral contendo nome, e-mail e telefone para contato - seleção: caso o número de inscritos exceda o número de vagas, serão consideradas como critérios de seleção a ordem de inscrição e a avaliação do desenho. A lista dos selecionados será divulgada nesta página a partir do dia 17/5 - período da oficina: de 19/5 a 7/7, sábados, das 10h às 13h - Gibiteca Henfil

Aviso: O participante deverá trazer lápis HB, borracha branca, bloco de papel sulfite A4, régua e canetas pretas.

Fonte: Centro Cultural São Paulo 

Del Pilar Sallum ministra oficina gratuita sobre processo criativo

Del Pilar Sallum ministra oficina gratuita sobre processo criativo

 

A artista Del Pilar Sallum ministra a Oficina de Processo Criativo: Acompanhamento de Produção Artística de 16/04 a 11/06/12, às 14h, sempre às segundas-feiras, na Oficina Cultural Hilda Hilst. A atividade, destinada a iniciantes e interessados em artes visuais, aborda questões práticas e teóricas sobre o processo criativo na produção artística, por meio da análise de trabalhos de artistas contemporâneos e dos próprios participantes, e também em visitas a galerias de arte. Os interessados devem ter 18 anos ou mais e enviar currículo e carta de interesse entre 02/04 e 09/04/12 para campinas@oficinasculturais.com.br. O curso é gratuito e disponibiliza 20 vagas. - Mais informações: Oficina Cultural Hilda Hilst – Cambuí: r. Ferreira Penteado, 1.203, tel. (19) 3294-2212 | 3236-0046.ampinas@oficinasculturais.org.br

Fonte: Mapa das Artes 

Museu Berardo chega ao 'Art Project' da Google

Museu Berardo

O projeto online de acesso a museus de todo o mundo do Google vai ser ampliado a 151 novos parceiros de 40 países, incluindo Portugal, com o Museu Coleção Berardo, e obras do pintor português Amadeo de Souza Cardoso.

O projeto permite aos utilizadores da Internet desfrutar de centenas de obras de artistas representados em museus de todo o mundo, como o Metropolitan e o MoMA, em Nova Iorque, o Hermitage, em São Petersburgo, a Tate Britain e a National Gallery, em Londres, o Museu Rainha Sofia, em Madrid, ou a GaleriaUffizi, em Florença, e o Museu Van Gogh, em Amsterdão.

Esta iniciativa da Google permite viajar pelos museus em todo o mundo, visitar as salas e apreciar as obras de arte em detalhe para conhecer as coleções de pintura, escultura, fotografia ou artes decorativas.

De acordo com os responsáveis pelo projeto, os utilizadores poderão pesquisar conteúdos em função do nome do artista, da obra, do tipo de arte, do museu, da cidade ou da coleção que querem ver.

“O Google está empenhado em trazer para o mundo online todos os tipos de cultura e torná-los acessíveis em todo o mundo. O Art Project demonstra como a Internet ajuda a difundir o conhecimento”, sublinha Amit Sood, responsável pelo projeto do Google num comunicado sobre a expansão desta área.

Fonte: Artcapital e Touch of Class - links Maria Pinto

Nota da Maria Pinto:

Lembrando que aqui no Brasil temos:

http://www.googleartproject.com/collection/museu-de-arte-moderna-de-sao-paulo/ - o MAM - Museu de Arte Moderna de São Paulo

http://www.googleartproject.com/collection/pinacoteca-do-estado-de-sao-paulo/ - a Pinacoteca do Estado de Sçao Paulo

Ai Weiwei desafia governo instalando 5 câmaras em casa

O artista plástico chinês Ai Weiwei anunciou hoje ter instalado cinco câmaras web na sua casa, em Pequim, para evidenciar a “permanente vigilância” a que está sujeito desde que foi detido, há um ano.

“Na minha vida há tanta vigilância: o meu telefone, o meu computador (...) Sou seguido todos os dias, há câmaras de vigilância em frente da minha casa”, disse Ai Weiwei à agência France Presse. “Por isso, pensei: porque não colocar algumas câmaras para as pessoas poderem ver tudo o que faço?! ... Posso fazer isso e espero que a outra parte (a polícia) também mostre alguma transparência”, acrescentou. As imagens das câmaras web instaladas por Ai Weiwei, uma das quais sobre a sua cama, estão acessíveis em http://weiweicam.com

Ai Weiwei foi detido no dia 3 de abril de 2011 no aeroporto de Pequim, quando pretendia embarcar para Hong Kong, e posteriormente acusado de evasão fiscal. Na mesma altura, foram detidos dezenas de outros ativistas chineses, numa drástica resposta das autoridades. Ai Weiwei, 54 anos, é um dos mais conhecidos artistas chineses, eleito pela revista britânica Art Review como “a personalidade mais importante da arte internacional em 2011”.

Fonte: ArteCapital e Touch of Class

APÓS GAGOSIAN, DAMIEN HIRST NO TATE MODERN

O artista britânico Damien Hirst posar para os fotógrafos ao lado da peça de 1991 "The Physical Impossibility of Death in the Mind of Someone Living" o tubarão-tigre preservado em formol em uma vitrine, durante uma pré-visualização

Os visitantes poderão conferir uma variedade de trabalho de Damien Hirst no Art Bad Boy. A exposição contará com 14 salas com manchas de cores vibrantes, e lembretes contundentes de morte.

"As pessoas não gostam de arte contemporânea", disse Hirst essa semana aos repórteres. " Você pega um táxi e taxista chega para mim e diz: 'O que você faz não é arte, amigo`.

A exposição acontece no Tate Modern, em Londres e contará com mais de 70 obras de Hirst, incluindo a importante peça de 1991 "The Physical Impossibility of Death in the Mind of Someone Living", onde um tubarão-tigre preservado em formol em uma vitrine fica exposto durante a exposição que vai até dia 09 de setembro de 2012.

Fonte: Artdaily e Touch of Class

Recent pen, ink, and graphite drawings by Martin Wilner More Information: http://www.artdaily.org/index.asp?int_sec=2&int_new=54596[/url] Copyright © artdaily.org

NEW YORK, NY.- Sperone Westwater presents an exhibition of recent pen, ink, and graphite drawings by Martin Wilner, the artist’s second solo show at the gallery. In his now decade-long body of work, Making History, Wilner creates highly-detailed diaristic drawings based on the monthly calendar. On the verso of each drawing are descriptive texts or images that are integral to the work. Wilner blends elements of cartoon, cartography, text, micrography, and music in an evolving process that transforms news events of compelling personal interest into drawing. Each work coalesces into its own mysterious narrative of the artist’s daily life. Making History 2010 consists of a suite of 12 double-sided drawings focused on the visual dimension of music in concert with text, cartography and representational drawing. The drawings proceed through a series of single step variations from one month to the next. Using media sources selected daily, Wilner developed systems of encoding narrative into musical scores. The results are visual nocturnes based on everyday events that transcend their mundane and often troubling sources in the pursuit of something more lyrical. Making History 2011 consists of 12 double-sided drawings that conclude the first decade of this project. Each work consists of three concentric drawing elements from Wilner’s visual vocabulary, which each share the element of micrographic writing. The drawings vary by rotation from month to month with the last month, December, produced by the results of a children’s game of chance. In describing his rule-based process Wilner notes: The seeming restrictiveness of limits thus allows in an apparently counterintuitive way for evolving creativity. Work becomes play and vice versa. For some, yesterday’s news is tomorrow’s fish-&-chips paper. I prefer a more alchemical solution in which yesterday’s coal can become tomorrow’s diamond. Through this endless process of limits and transformations, perhaps that is possible. That is the wager of my daily work. (Cartin and Wilner, “The Wager of My Daily Work,” 2012) In April 2011, Wilner incorporates text, portraits and music in a work focused on justice and its miscarriages. In following this thematic thread Wilner taps into a larger zeitgeist, confirmed uncannily by the May 1, 2011 assassination of Osama Bin Laden, an act of justice laden with uncertainty. Also presented are recent works from Wilner’s other ongoing project, Journal of Evidence Weekly, an observational documentation of every trip the artist has made on the subways of New York since 1998. In contract to the classically composed Making History series, Journal of Evidence Weekly comes across more like improvisational jazz. In Making History vs. Journal of Evidence Weekly, focusing on the months of August and September 2010, the formal structures of the lunar calendar in the former work, meet the free form subterranean antics in the latter. Martin Wilner was born in 1959 and resides in New York City. His work has been exhibited in numerous institutions, including the University Art Museum at Albany (2007), the DeCordova Museum (2008), and the Jewish Museum (2009). His work will also be exhibited at The Morgan Library and Museum in New York in the summer of 2012. Wilner’s work is in many important collections including the Los Angeles County Museum of Art, the Whitney Museum of American Art, the Morgan Library and Museum, the Jewish Museum, and the Vassar Art Library.

More Information: http://www.artdaily.org/index.asp?int_sec=2&int_new=54596[/url]
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Christie's announces one of the most important works by Yves Klein ever to be offered More Information: http://artdaily.com/index.asp?int_sec=2&int_new=54582[/url] Copyright © artdaily.org

Yves Klein (1928-1962), FC 1 (Fire-Color 1) detail, dry pigment and synthetic resin on panel. Executed in 1962. Estimate: $30 – 40 million. Photo: Christie's Images Ltd 2012.

NEW YORK, NY.- Fifty years after the artist's death, Christie's announced the upcoming auction of Yves Klein's legendary Fire-Color Painting FC 1, as the highlight of the Post War and Contemporary Art Evening Sale on May 8. Executed a few weeks before his premature death, at the age of 34, FC 1 is widely acclaimed as his ultimate masterpiece. One of the most important works of Post-War European art to come to the market, FC1 acquired an iconic status soon after the release of Klein's movie, La Revolution Bleue, where the celebrated recording of the painting's creation inscribed FC 1 in the 20th Century collective memory. With the creation of FC 1, Klein pushed the concept of the heroic artist to a new level. As an alchemist manipulating the highly volatile elements of gas and fire, Klein created a work that represents the epitome of what he called "dangerous paintings¡", where Klein risked his life and the life of his models. Privately owned, FC 1 has been featured prominently in all of his major retrospectives, including those held at the Guggenheim Museum in New York and the Hirshhorn Museum in Washington DC. A portion of the proceeds of the sale will be donated to OCEANA, the largest international organization working solely to protect the world's oceans. "Oceana is very grateful to be a part of this opportunity, and it is beautiful to see that fifty years after his death, Yves Klein is now giving back to the oceans through his work" commented Andy Sharpless, Oceana CEO. "Now the oceans are in trouble. People everywhere are stepping up to restore and protect them. This partnership with Christie's is a perfect example of the kind of creative thinking that helps produce the policy changes that will save the oceans." Untitled (FC 1) “Yves Klein‟s FC 1 is to Europe what Pollock‟s NUMBER ONE is to America. It is the ultimate heroic work fusing all of the elements that Klein learnt to master over his short and intense career. FC1 perfectly embodies Klein‟s obsession with the irreconcilable concept of presence and absence, life and death; this painting took an enormous emotional and physical toll on the artist. FC1 was Klein‟s last, but perhaps most poignant feat as an artist, and is expected to break the record for any Post War European work of art.” stated Loic Gouzer, International Specialist, Post-War and Contemporary Art. “This painting, which for me is his absolute masterpiece, came close to not existing. The session was over; he had exhausted all his strength and was sitting down wiping off his sweat and trying to resume his normal breathing. In the left-hand corner of the studio I pointed out a panel which Yves had forgotten. The fire had to be rekindled and the models watched, fascinated as we all were, as Yves completed this masterpiece, arguably the greatest of his career and I am convinced of the 20th Century. I felt guilty about this for years afterwards, I should have told him to stop. I felt responsible for what happened a few weeks later.” (Yves Klein died in June 1962 at the age of 34) wrote Rotraut Klein-Moquay in March 2012, in a personal account to Loic Gouzer. “The feeling was even stronger when we worked at the „Gaz de France‟; the atelier was cold, huge, and draughty, bitter winter in Paris. The hard physical conditions in close contact with the primeval elements, fire and water, turned the experience into a veritable rite of passage. I feel that these experiences were somehow crucial in my development as someone involved in creation.” remembers Elena Palumbo-Mosca, Yves Klein’s favorite model. FC 1 depicts the ethereal images of two female figures seemingly dancing or rising amid the fiery blue, gold and red flame-licked surface. The bodies hover on the borderline of abstraction, between the realms of the material and the immaterial. For Klein, this was the pictorial expression of the auspicious moment of transcendence or transmutation, seen as a kind of ritualistic and celestial dance of figures into an abstract realm. Indeed, in FC 1 the demonstrably joyous physical essences of the youthful figures seem like angels in the fiery void, at the very same time that their immutable imprints remain materially assertive on the shimmering surface of the picture. The Place of FC 1 in Klein’s Career The idea of performance became increasingly central during Klein’s tragically brief 7 year career, during which he strived to liberate the senses from their earthly limits in order to intensify our experience of life. From the grand curtains that draped the entrance to his early exhibitions at the Galerie Iris Clert in Paris, to the grand performances of his Anthropometry works, the idea of spectacle became more and more important. This level of theatricality intensified beginning in March 1961 with the creation of his Fire paintings, for which he was permitted to use the equipment in the testing center of Gaz de France at the Plaine Saint-Denis. Klein ensured that TV crews, press photographers and reporters were present to capture the event. In the first Fire paintings, Klein attempted only to capture traces of the flame itself. Soon, he began to attempt to capture a similar momentary trace of what he believed to be the indestructible essence of human life in a number of Fire paintings that made use of his “Anthropometric” technique of capturing the imprints and silhouettes of the nude human form. Klein went on to the Fire-Color series in autumn 1961, spraying and blowing blue and pink pigment onto the gold surface of the specially fabricated fire-resistant board that he had used for the Fire paintings. FC 1 is the only work in Klein’s Fire-Color series to incorporate the “Anthropometric” outlines of bodies. The Making of FC 1 Rotraut Klein-Moquay remembers: “Yves had received the panels which he had carefully framed. They were enormous and very heavy. Their transportation had to be organized, the models hired: Elena, Gilles; the photographers: Pierre Joly and Véra Cardot, the cameraman, the artist Alex Kosta as the fireman, and some assistants for the handling. The setting in that industrial warehouse was surreal; the cold, the water, and the noise of the flame-thrower which Yves manipulated with apparent ease, even though it weighed over eighty pounds.” For FC 1, Klein hired two models to act as his “brushes.” In the first step of the creative process, the models were doused with water and under Klein’s direction pressed themselves onto the large sheet of specially treated cardboard. Once the models had left their positions, Klein, using a large torch-like device, directed an intense flame toward the board, charring parts of the surface. Where the models had pressed against the surface, the moisture-soaked cardboard resisted the scorching effect of the flames, leaving ghostly apparitions of the bodies hovering on the picture plane. Klein also used water to create pictorial effects, interweaving splashes, spots and drips in the layers of the image. For the next step, the models coated themselves lightly with a subtle pink paint, which left delicate impressions of their breasts and thighs as they pressed against the surface of the board. Finally, Klein instructed the models to apply a thicker coat of his IKB pigment to leave a last impression on the surface, while he enhanced their silhouettes by spraying both pink and blue pigment onto the work with an airbrush. In this way, the work was created without any direct touch from the artist. Since the era of the cave painters, artistic practice had always been defined by the act of making a mark on a surface. The Meaning of FC 1 FC 1 represents the pinnacle of Yves Klein’s career, both chronologically and spiritually. As Pierre Restany, the critical authority on Yves Klein and Post war European art, noted that Fire-Color painting constitutes "the culmination of Yves Klein's artistic practice and the pure classicism of his pictorial style." By placing the sensual apparitions of the female body among the flame bursts and smoke shadows, Klein combined life and death in a way that speaks to the fragility of life but also to its permanence. On the one hand, there is a clear sense of the destructive power of the flame. On the other, the presence of the female forms hints at the eternal power of life that transcends all things. All of the forms are surrounded in the mystical trinity of colors that held special significance for the deeply religious Klein, symbolizing the Father/Sun (gold), the Son/water (blue) and the Holy Spirit/ Divine Blood (red). Klein set daily life into the context of the spiritual realm he called the void; a void marked by the primal, eruptive, apocalyptic and eternal forces of life-giving and life-consuming energy. As he stated, “The void has always been my main preoccupation, and I firmly believe that fires burn in the heart of the void as in the heart of man.”

More Information: http://artdaily.com/index.asp?int_sec=2&int_new=54582[/url]
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programação Abr/Jun Oficina Cultural Oswald de Andrade

ARTES PLÁSTICAS

OFICINA DE GRAVURA EM METAL
Coordenação: Maura de Andrade.
17/4 a 26/6 – terças-feiras – 18h30 às 21h30.
Público: estudantes de artes visuais, artistas plásticos e interessados com conhecimento prévio.
Inscrições: 2 a 12/4.
Seleção: carta de interesse.
20 vagas.

Atividade que visa desenvolver técnicas de gravura em metal a partir de fundamentos teóricos e da exploração prática de interações de procedimentos diretos – ponta-seca, buril, roulette, berceau – e indiretos – água-tinta e água-forte.

Maura de Andrade é graduada pelo Centro Universitário Belas Artes e mestranda na ECA-USP em Poéticas Visuais, com orientação de Claudio Mubarac. Em 2010 foi premiada na Bienal de Gravura de Santo André e seus trabalhos fazem parte de acervos nacionais e internacionais.

OFICINA DE DESENHO E PINTURA
Coordenação: Hélio Schonmann.
25/04 a 04/07 – quartas-feiras – 18h30 às 21h30.
Público: estudantes de artes visuais, artistas plásticos e demais interessados.
Inscrições: 2 a 20/4.
Seleção: primeiros inscritos.
20 vagas.

Oficina focada na prática de desenho e pintura e na reflexão sobre essas linguagens e seus desdobramentos no cotidiano da cidade. O trabalho parte da complexidade plástica e simbólica do espaço urbano como estímulo para a produção realizada em aula.

Hélio Schonmann é artista plástico e professor. Frequentou os ateliês de Raphael Galvez, Antônio Cabral e Antonio Carelli, bem como o Ateliê de Livre Criação em Artes Plásticas do Museu Lasar Segall, onde posteriormente se tornou orientador. É autor do projeto "Itinerância SP" e participa do Coletivo Água Branca, que realiza projetos de arte pública coletiva na cidade de São Paulo.

GRUPO DE ESTUDOS PARA JOVENS ARTISTAS
Coordenação: Bruno Moreschi e Márcia Moraes.
26/04 a 05/07 – quintas-feiras - 18h30 às 21h30.
Público: estudantes de artes visuais e jovens artistas em processo de formação, a partir de 18 anos.
Inscrições: 2 a 20/4.
Seleção: portfólio (entregue em CD na Oficina Cultural ou enviado para o e-mail: nucleojovensartistas@gmail.com).
15 vagas.

No Grupo de Estudos, os jovens artistas poderão apresentar seus trabalhos e analisar, em conjunto, as obras dos demais participantes, compartilhando experiências e referências que possam enriquecer suas produções artísticas.

Bruno Moreschi é jornalista formado na Universidade Federal de Santa Catarina, artista plástico e crítico de arte. Escreve para publicações como "Piauí" e "Bravo!".

Márcia Moraes é mestre em Artes Plásticas pela Unicamp. Realizou exposições individuais no Centro Universitário Maria Antonia, em 2009, e na Galeria Leme, em 2010. Recentemente, fez residência artística na cidade de La Roche-en-Brenil, França. 

WORKSHOP DE GRAVURA: PUBLICAÇÃO DE ARTISTA
Coordenação: Cleiri Cardoso.
4 a 27/6 – segundas e quartas-feiras – 18h30 às 21h30.
Público: estudantes de artes visuais, artistas plásticos e demais interessados.
Inscrições: 2 a 31/5.
Seleção: primeiros inscritos.
20 vagas.

Atividade que visa estimular experimentos com gravura em relevo – carimbos, xilogravura e linoleogravura – objetivando a criação e edição de uma publicação de arte elaborada coletivamente, considerando o formato livro como suporte.

Cleiri Cardoso é artista visual e educadora, licenciada em Artes Visuais pela FAP-PR e mestranda em Poéticas Visuais pela ECA-USP. Pesquisa e desenvolve trabalhos sobre a imagem impressa, publicações e livros de artista. Orientou atividades no ateliê de gravura do Sesc Pompeia de 2006 a 2010 e atualmente ministra cursos relacionados aos meios de reprodução de imagens.

http://www.oficinasculturais.org.br/programacao/capital-abril-junho-2012/oswald-de-andrade.php

"Mata Atlantica" - Aaron Morse

"Mata Atlantica" by Los Angeles based artist Aaron Morse on view at Country Club Aaron Morse, Mata Atlantica (#2), 2012. Acrylic on canvas, 46 x 59 inches. Photo: Courtesy Country Club. 


CHICAGO, IL.- Country Club presents the exhibition Mata Atlantica by Los Angeles based artist Aaron Morse. This is Morse’s first exhibition in Chicago and is presented in collaboration with Andrew Rafacz Gallery. The exhibition’s title, as well as a recent group of paintings by the artist, is taken from a Portuguese book on the Brazilian rainforest. The resulting "jungle" paintings are imagined from different vantage points. For example, one painting shows the landscape as far beneath us, as if from an airplane, with smoke and fires faintly visible far away. Another picture has us back on the ground in a thick forest setting with a series of vignettes of hidden animals and human interactions that may or may not be geographically or historically accurate. These are painted in a hazy, loose style as if they were something dreamed: Fitzcarraldo meets Rousseau. In a series of new aerial landscapes, Morse experiments with setting and a change in perspective offered by great heights and distance. Far off cities, deserts, watersheds, mountains, and coastlines are created by many layers of atmospheric stains, drips, spills, and frottage techniques. The scale is pleasantly confusing; How high up are we, at what angle do we view the topography below? Though visually these works resemble abstract expressionist paintings, Morse considers them stylized representations of online maps or aerial photography and consistent with his more narrative work. They represent the same pictorial world, just from different points of view. Mesoamerican artifacts and visuals are mined in two La Salle Codex watercolors. Though Robert de La Salle was a 17th century explorer, here it refers to the street in West Adams, Los Angeles where the artist lives and works. These lost language, warrior-charts are reminiscent of hieroglyphics and Marvel comics; their details and meaning enigmatic and now nearly abstract. Morse continues his preoccupation with figures and action in the landscape, and also with the malleability of historical and illustrated imagery. Subtle decisions of scale, composition, color and materials allow for a complex re-imagining of pictorial information from our culture into the painted form, colorful pictures that read fast and slow. Aaron Morse is a Los Angeles based artist whose works explore historical imagery and the manner in which those images are shaped and manipulated over the course of time. His works are included in the collections of the Whitney Museum of American Art, New York; Los Angeles County Museum of Art; and the Museum of Modern Art, New York. 

More Information: http://www.artdaily.org/index.asp?int_sec=2&int_new=54562[/url]
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Portrait of the Artist as a Young Man

The exhibition was organized by the Rijksmuseum, in association with
The Metropolitan Museum of Art and the Sterling and Francine Clark Art Institute.

Rembrandt and Degas

Portrait of the Artist as a Young Man

February 23–May 20, 2012

Gallery 955

Self-portraits made by Rembrandt van Rijn (1606–1669) and Edgar Degas (1834–1917) at the start of their illustrious careers are seen side by side, for the first time, in an exhibition that highlights the Dutch master's guiding influence on the young French Impressionist and offers an intimate look at their unique kinship.

Images, from left to right: Rembrandt van Rijn, Sheet of Studies with Self-Portrait (detail), 1630–34. Etching, 2nd State. Rijksmuseum, Amsterdam; Edgar Degas, Self-Portrait (detail), ca. 1855–57. Red chalk on laid paper. National Gallery of Art, Washington, Woodner Collection 1991

Related Events

Films:Rembrandt: Self-Portrait of 1660 (1976) andDegas in the Metropolitan (1978)

April 5, 2012 | Free with Museum admission

Membership Events:Saturday Seminar—Here's Looking at You! Portraiture from the Early Renaissance to the Early Modern Era

April 14, 2012 | Fee: $700 for the eight-session seminar

Membership Events:Monday at the Met—Here's Looking at You! Portraiture from the Early Renaissance to the Early Modern Era

April 16, 2012 | Fee: $1,600 for the eight-session seminar