Nana Shiomi - xilogravura - impressão japonesa

Printmaker - Nana Shiomi

Continuing with our 'British printmakers' theme; here is a demonstration video(s) featuring printmaker Nana Shiomi. She combines woodblock relief and intaglio to make some outstanding prints. Not to be missed and of particular interest to me is her registration technique which uses the traditional kento but with a twist.

Make sure to visit her website for a wealth of information about her works, technique and printmaking background.





Excerpt from YouTube:
"Nana Shiomi is an extraordinary artist-printmaker who studied at the Royal College of Art from 1989-1991 and subsequently has gone on to a strong career exhibiting her own work and teaching.

She demonstrates her unique combination relief/intaglio water-based woodcut printmaking, rooted in the traditional methods of Japanese ukiyoe woodblock printmaking. These two videos are excerpts from her demonstration where we were fortunate enough to spend an afternoon watching her work at Double Elephant Print Workshop in Exeter, Devon. This was during the period that she had a show at The Brook Gallery in Budleigh Salterton, Devon."

www.nanashiomi.com

conexões visuais Brasil Portugal

voos de ontem = Fernando Torres

Setembro na Casa Franca-Brasil

EXPOSIÇÃO

Composta por cinco obras inéditas no Brasil -- ou "situações", como prefere o artista -- a mostra Cromática questiona o que de fato está em jogo quando nos encontramos diante de uma obra de arte pela primeira vez.  Visitação 16 de agosto até 21 de outubroMesa-Redonda quinta-feira, 18 de outubro, às 17h Com o artista Waltercio Caldas e o crítico de arte Lorenzo Mammì agendamento de grupos projetos.assist@casafrancabrasil.rj.gov.br

PROJETO COFRE

Valendo-se da metáfora do "valor" econômico, a sóbria videoinstalação de Analu Cunha propõe ao visitante uma reflexão sobre as ambiguidades de nossa própria vida privada, sobre o que decidimos exibir a esmo ou trancar num cofre. Visitação 16 de agosto a 21 de outubro de 2012

AO AR LIVRE

Curadoria: Fernando Cocchiarale Um inflável penetrável com um volume de aproximadamente 68 metros cúbicos relaciona a cidade do Rio de Janeiro com o Porto e o mar e também com a própria história da Casa França Brasil.  Inauguração 15 de setembro, às 16hVisitação 16 de setembro até 21 de outubro Mesa-Redonda quarta-feira, 10 de outubro de 2012, às 18h30 com a artista Suzana Queiroga e o crítico Fernando Cocchiarale

Rio Art Rio 2012 Pier Mauá, armazens 2, 3, 4 e 5 13 a 16 de setembroAngelo Venosa Curadoria: Lígia Canongia MAM Rio, até 23 de setembro Antony Gormley | Corpos presentes Curadoria: Marcello Dantas CCBB Rio, até 30 de setembro Brígida Baltar | O amor do pássaro rebelde Curadoria: Marcelo Campos EAV Parque Lage, até 28 de outubro GIL 70 Curadoria: André Valias Centro Cultural Correios, até 28 de outubro São Paulo Opavivará + Chef Léo Filho | Encontros de Arte e Gastronomia MAM São Paulo, de 03 a 08 de setembroParque Industrial (Coletiva) Curadoria: Julieta González Galeria Luisa Strina, até 03 de novembro Lygia Clark: Uma retrospectiva Curadoria Felipe Scovino e Paulo Sergio Duarte Itaú Cultural, até 11 de novembro XXX Bienal de São Paulo Curadoria Luis Pérez-Oramas Parque do Ibirapuera, até 9 de dezembro

Andy Valmorbida presents exhibition by one of the pioneers of the New York street art movement

Checkpoint Charlie, 2012. Spray paint & acrylic on wood, 48 x 60 in.

NEW YORK, NY.- Andy Valmorbida presents FUTURE SHOCK, the first New York solo exhibition of new paintings by FUTURA in over a decade, curated by Nemo Librizzi. The exhibition opens at 560 Washington Street, New York City on Thursday, September 6, 2012 from 6 PM – 9 PM, in collaboration with Bombardier Aerospace, RVCA Artist Network Program and VistaJet. FUTURA, born Leonard Hilton McGurr, is widely known as one of the pioneers of the New York street art movement. Working in a time before hip hop became a commodity, he was “bombing” subway cars while simultaneously exhibiting internationally. He has continued to transcend mediums, walls and facets of popular culture for over 30 years. FUTURA’s paintings depict intangible objects and symbols developed over time to form his own alphabet. Vibrant and rhythmic, his canvases are reflective of the aggressive and contemplative manner in which he both works and lives. With his new series of work, the evolution of FUTURA’s language is illuminated. Using large scale wooden boards and canvases, he applies layers of both acrylic and spray paint, creating dynamic abstract compositions. Though avoiding the inclusion of literal objects, singular images repeat throughout the work – such as a reappearing long grouping of gridded, perpendicular lines – a subtle nod to architecture. This approach, while referencing traditional abstraction, harkens back inversely to FUTURA’s beginnings using the city as a moving canvas. FUTURA lives and works in New York City. In 1979, together with influential graffiti artist ALI, he started the famous crew “Soul Artists of Zoo York.” FUTURA made the transition from subway car to canvas in 1980. He toured with The Clash in 1981, painting live on stage and in 1982 he toured with Afrika Bamaataa during the first hip hop tour in Europe. His work has been included in various museum exhibitions, “New York / New Wave,” at PS1 (1981), “Coming from the Subway” Groninger Museum (1992) “Beautiful Losers” (2004) and “Art in the Streets,” at MOCA (2011). Various galleries have exhibited his work including Fun Gallery, Tony Shafrazi Gallery, Robert Fraser Gallery, Galerie du Jour Agnès B, Sidney Janis and Galerie Jerome de Noirmont. He has collaborated with such companies as Nike, Bathing Ape, Zoo York, and Maharishi. FUTURA’s new book, published by Rizzoli, will come out in 2014. Nemo Librizzi is an artist and filmmaker from New York City. Growing up in a fine art background, his childhood was devoted to tagging subway trains. He knew it was just a matter of time before the art establishment accepted graffiti as an important new phase in the western tradition. Decades later, he saw that the greatest talents of this culture were still being labeled by critics as "street artists" as if it were some criminal accusation. If the movement were to be properly represented, he felt he would have to join in the effort. This is his first curatorial undertaking to this end. In 1982 he befriended FUTURA at the FUN Gallery, and has watched his art evolve over the years and relates, "if Futura was at the forefront of the culture then, in developing his own signature system of symbols, he is even more significant now that his work has left language behind and plunged completely into the abstract." Andy Valmorbida is an art entrepreneur and a pioneer of the “pop-up” gallery model. Since 2006, he has created 23 pop-up exhibitions in cities around the world including: New York City; Cannes; Los Angeles; London; Milan; Moscow; Florence; Southampton; Miami; and Melbourne, with upcoming exhibitions in Hong Kong, Vienna and Sao Paulo. He is a member of the Serpentine Gallery’s council in London.

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Bridget Riley wins Sikkens Prize 2012

Bridget Riley. Photo: Andrew Lamb ® Bridget Riley 2012. Courtesy Karsten Schubert, London.

Bridget Riley's assistants paint her work Arcadia 1 (the coloured painting) directly on to the wall at the National Gallery. Photograph: The National Gallery

SASSENHEIM.- Bridget Riley (GB, 1931) is the first female artist in the history of the Sikkens Prize to receive the award. This grand old lady of British art will receive this prestigious colour prize for the way in which she has enriched her work with colour. The purity, subtlety and precision of her use of colour have led to a sensational oeuvre from which a new generation of artists is drawing inspiration. At the same time she has demonstrated her ability to appeal to a broad public with her abstract work. The prize will be presented in the Gemeentemuseum in The Hague on 28 October 2012. The laudation will be delivered by John Elderfield, emeritus curator at large of the Museum of Modern Art in New York. During the presentation of the award, the neuroscientist Dick Swaab will deliver the Mondrian Lecture 2012. The event will also mark the opening of an exhibition of work by Bridget Riley in the Gemeentemuseum, including as a highlight a mural almost 20 metres long and 4 metres high. Sikkens Prize 2012: Bridget Riley Bridget Riley is one of the most prominent artists of today. She studied at Goldsmith College London (1949-1952) and the Royal College of Art (1952-1955). She already made a name for herself in the 1960s with her black and white paintings that investigated the dynamic effects of optical phenomena. Riley began to experiment with colour in 1967, and since then she has been investigating perception through colour and form. Her work has been shown in international solo and group exhibitions since the early 1960s, from The Responsive Eye in the MoMA in 1965 to the solo exhibition New Paintings and Related Work in the National Gallery in 2011. Bridget Riley has received numerous distinctions and prizes, including the international prize for painting at the 1968 Venice Biennale, the Kaiserring of the city of Goslar in 2009, and recently the 12th Rubens Prize from the city of Siegen. Mondrian Lecture 2012: Dick Swaab Dick Swaab will deliver the Mondrian Lecture 2012. This lecture is a contribution to the debate on the cultural significance of colour. The doctor and emeritus professor of neurobiology at the University of Amsterdam (AMC) Dick Swaab was director of the Netherlands Institute for Neuroscience from 1978 to 2005 and founder and director of the Netherlands Brain Bank until 2005. He wrote the monograph The Human Hypothalamus in Handbook of Clinical Neurology and the bestseller Wij zijn ons brein. Van baarmoeder tot Alzheimer [We are our brains. From the womb to Alzheimer’s] (Contact, 2010) on how the brain works. The book has been translated into German, Italian, Chinese and other languages. Sikkens Foundation The Sikkens Prize is awarded every two years by the Sikkens Foundation, an independent cultural foundation whose objective is to promote social, cultural and scientific developments in society in which colour plays a specific role. The first Sikkens Prize was awarded to Gerrit Rietveld in 1960. Other award winners have included Le Corbusier, the hippies, Donald Judd and the HEMA retail chain for their pioneering work in the field of the application of colour. The first Mondrian Lecture was delivered in 1979. Among those who have given it are Walter Lewin, Umberto Eco, Simon Schama, Donald Judd, Rem Koolhaas, Artangel and Charles Jencks. 

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Vik Muniz - Centro de Arte Contemporáneo de Málaga

“Most of what I do combines an approach typical of Pop Art regarding the subject with a painterly viewpoint with respect to procedures and materials.” 

MALAGA.- The Centro de Arte Contemporáneo de Málaga is presenting the exhibition Vik Muniz. It offers an overview of the artist’s most characteristic work and will be the largest retrospective on Muniz to be shown to date in Europe. Curated by Fernando Francés, it includes both the artist’s depictions of everyday scenes, faces of celebrities and anonymous individuals as well as Muniz’s selection of famous works of traditional art that he represents in a very different way, recording them in photographic portraits. Vik Muniz plays with the viewer’s imagination and makes use of highly unconventional materials in his work. Leonardo da Vinci’s Mona Lisa and Caravaggio’s Head of Medusa are seen here as never before. The exhibition comprises more than 100 photographs. Since the late 1980s Vik Muniz has lived and worked in New York. In the words of Vik Muniz (born Sao Paulo, 1961): “Most of what I do combines an approach typical of Pop Art regarding the subject with a painterly viewpoint with respect to procedures and materials.” Muniz began his career as a sculptor but the need to use photography for documentation when creating his works led him to change his medium of artistic expression. Moving continually between different disciplines such as drawing and sculpture, the artist transmits the unease that he feels by confronting the thin line that divides fiction from reality. His reproductions of great works of traditional art, faces of celebrities and those of anonymous individuals in everyday scenes, all depicted with unconventional materials, make him a unique figure on the contemporary art scene. For Fernando Francés, director of the CAC Málaga: “When looking closely at the world of Vik Muniz we feel the need to seek out recognisable elements in order to reconstruct the reality that this Brazilian artist evokes in his works. This is a reality that combines elements habitually found in Arte Povera and Pop Art and in collage and installation but less so in photography. This is not, however, an easy game. One has to be aware that Vik Muniz gives out deceptive signals in all his works. He invites the viewer to be led along by the appearance of an image that seems direct and immediate at first sight, especially from a certain distance, but which, when one gets closer, can be described as an illusion or trick. But by then it’s too late. The work has entrapped the viewer and the surprise consists in the realisation of the existence of a net that captures the gaze, which cannot resist it.” This “game” means that with Vik Muniz’s work all the context, the environment and way in which it reaches the public must be borne in mind. The artist has depicted celebrated icons of contemporary art and traditional works with a different gaze and one that can deceive the viewer. From a certain distance the image represents works of art or faces of well known figures but as we get closer we discover the material from which these images are made and the reflected details, and while on occasions the work does not faithfully reproduce the original, the viewer recognises it perfectly with the added element of realising what it is made of. One such example is Narcissus (2006), Caravaggio’s original composition but now recreated using rubbish and old junk. Muniz controls optical illusion with unparalleled skill. His work reveals a new approach and another way of interpreting art, while an element of social critique is also present in his work. His materials are not chosen at random or because they fit well into the final result visually. By reproducing faces of Hollywood stars from diamonds (Elizabeth Taylor, 2004) he reveals the aim of making specific celebrities eternal. A similar intent is evident when he works with sugar (Valentina, The Fastest, 1996), with child workers on plantations or when depicting Brazilian celebrities who appear in gossip magazines, including himself (Self Portrait, 2003) using pieces of paper from those magazines. The use of dust that has collected in museum galleries, tomato sauce and chocolate are other devices that become contextualised in a specific manner in his works. Vik Muniz’s work has involved a major project of visual research. This has been done with both completed series and also with open ones which the artist has not known how to end. During his researches Muniz aims to find signs of identity that coincide with the various viewpoints that he brings to his work. Living on the edge of a very large city has made him develop his particular way of understanding art. He channels his creativity by making his own toys and illustrating the subjects that he was taught at school. Muniz’s ability to draw earned him a grant aged fourteen to study this discipline. Unable to study psychology, he gained a degree in Communication Studies specialising in advertising and his first work was undertaken within that field. Although this was a somewhat frustrating experience he was able to purchase his ticket to travel to the USA where he developed his artistic abilities in the context of 1980s New York. In the present exhibition at the CAC Málaga the artist has grouped together part of his extensive oeuvre in series, inviting the viewer to be led along by the illusion that his images evoke. These works are displayed in the principal gallery and part of the space devoted to permanent displays, making this one of the most important exhibitions of Muniz’s work to have taken place in Spain to date. In 2010 Muniz was involved in the making of the documentary Waste Land, directed by Lucy Walker, in which he focused on the world’s largest rubbish dump, Jardim Gramacho, on the outskirts of Rio de Janeiro. The film was nominated for Best Documentary at the Academy Awards. Over the past decade, notable solo exhibitions of Vik Muniz’s work have included: Beyond the Boundary between Celebrated Painting and Photo at the Jeonbuk Museum of Art, Gana Art Center, Seoul (2011); Vik Muniz at the Nichido Contemporary Art, Tokyo (2010); Vik Muniz at the Museum of Modern Art (MAM) in Rio de Janeiro (2009); Artists’ Choice: Vik Muniz, Rebus, at the MoMA, New York (2008); Vik Muniz Reflex, Museum of Contemporary Art, Montreal, Quebec, Canada (2007); Vik Muniz Reflex. Seattle Art Museum, Washington (2006); Vik Muniz, Pennsylvania Academy of Fine Art, Philadelphia (2005); Diamond Divas and Caviar Monsters, Fundación Telefónica, Madrid (2004); Contemporánea, Santiago de Compostela; the Museum of Contemporary Art, Rome (both 2003); Model Pictures, the Menil Collection, Houston; Laberints, Espao 13, Fundació Joan Miró, Barcelona (both 2002); The Things Themselves: Pictures of Dust by Vik Muniz, Whitney Museum of American Art, New York; and the Museu de Arte Moderna, Rio de Janeiro (both 2001).

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Will McCarthy: Paintings and Monotypes

Beginning Fall

 

You are cordially invited to attend 

the opening reception for 

 

Will McCarthy: Paintings and Monotypes

Sunday, September 16, 2012

2 - 5 pm

    

in the Grace Ross Shanley Gallery

 

at the Center for Contemporary Printmaking 

Please join us!

Refreshments will be served

 

    Mathews Park, 299 West Ave., Norwalk CT 06850  

                203-899-7999       | info@contemprints.org  

   www.contemprints.org 

The Center for Contemporary Printmaking is a 501(c)(3) organization. All proceeds from this event support our educational and community programs.

  

Programa Cultural das Empresas Eletrobras

Inscrições abertas para o Programa Cultural das Empresas Eletrobras

Redação | terça-feira, 4 setembro 2012Sem Comentários

17

O Programa Cultural das Empresas Eletrobras está com inscrições abertas para sua edição de 2013. As empresas Eletrobras vão investir R$ 13,3 milhões, contemplando três segmentos: teatro, audiovisual e patrimônio imaterial.

Como na edição de 2012, serão apoiados projetos nas áreas de produção de teatro adulto (inéditos); produção de teatro infanto-juvenil (inéditos); circulação de espetáculos teatrais (não inéditos); festivais de teatro; produção de filmes de longa-metragem; festivais de cinema e fomento ao patrimônio imaterial.

Na edição passada, 55 projetos foram contemplados, sendo 33% na região Nordeste, 43% no Sudeste, 13% no Sul e no Centro-Oeste e 11% no Norte. A ideia é seguir com o processo de descentralização, propiciando a todas as regiões brasileiras o acesso à cultura.

Desde a edição de 2010, quando o programa foi unificado para todas as empresas Eletrobras, já foram investidos R$ 50,3 milhões, o que faz da Eletrobras uma das maiores incentivadores da cultura nacional, em especial do teatro.

As inscrições devem ser realizadas no hotsite do Programa Cultural das Empresas Eletrobras, até 3 de outubro de 2012 (o prazo se encerra às 8h, horário de Brasília). O período de seleção será até 3 de dezembro. Os resultados serão divulgados no dia 4 de dezembro de 2012, com contratações a partir de 10 de janeiro de 2013.

*Com informações do site da Eletrobras

http://www.culturaemercado.com.br/editais/inscricoes-abertas-para-o-programa-cultural-das-empresas-eletrobras/

3ª exposição de Washi-ê

SAM Art Projects

De 5 a 30 de setembro, o Museu Brasileiro de Escultura - MuBE vai

sediar exposição inédita com obras dos artistas plásticos contemplados

pelo clamado prêmio internacional SAM Art Projects, voltado à arte

contemporânea. Entre os trabalhos expostos estão filmes, instalações, fotografias, vídeos, esculturas e

objetos garimpados.

O SAM Art Projects tem como objetivo encorajar todas as formas artísticas que estimulam a criação

contemporânea plástica e visual e favorecer os intercâmbios culturais entre a Europa e outros países.

Concebido e criado em abril 2009, o projeto é uma iniciativa privada financiada exclusivamente por

Sandra e Amaury Mulliez.

Endereço: Av. Europa, 218, São Paulo. De terça a domingo, das 10h às 19h. Entrada gratuita. Mais

informações: 11 2594. 2601 - mube@mube.art.br

http://mubevirtual.com.br/blog/

Woodcut Printing 1450-1520

Uploaded by vamuseum on Nov 23, 2009

The invention of printing allowed books and images to become household objects. Both could be reproduced quickly and in large numbers, whereas before this revolutionary technology they could only be drawn, painted or written by hand.

This film focuses on woodcut printing. Printmaker and artist Anne Desmet was commissioned by the V&A to make a copy of sheet of playing cards in the Museums collections. The orginal sheet of cards was printed onto paper with a woodblock. The sheet was then hand-coloured using stencils.

The use of woodblocks to print text had been known in the East since the 8th century. In Europe the technique was first applied to textiles, but shortly after 1400 it was adopted also for images.

Thomas Bewick and woodblock engraving

Thomas Bewick and woodblock engraving

Found this neat video from the Natural History Museum in London England featuring Beckwith and his work.

"Wood-block printing using engraved boxwood revolutionised the illustration of natural history in the early 19th century. The work of Thomas Bewick showed how detailed and accurate images could be printed more cheaply than ever before."

Find out more about the Images of Nature gallery at the Museum:http://www.nhm.ac.uk/visit-us/galleries/blue-zone/images-nature-gallery/index

se o vídeo não abrir clicando sobre a imagem:

http://youtu.be/-2drmxm0wWo

Fábrica Braço de Prata - exposições em setembro - Lisboa

INAUGURAÇÃO DAS EXPOSIÇÕES

quarta - 5 de setembro - 19h00

ANNA STANKIEWICZ “Ternura das Coisas” - Exposição/Instalação de Pintura Pintar é penetrar a idea de viajar entre as culturas, é seguir a imaginação e os sonhos. LER ++ RITA MELO “Pinturas (Ultra) passadas”  - Exposição de Pintura A exposição individual que Rita Melo apresenta na Fábrica Braço de Prata, intitulada Pinturas (Ultra) Passadas , mostra-nos uma nova realidade na pintura contemporânea portuguesa, com as influências inevitáveis da crescente globalização. LER ++ SOUL CAPTAINS (APRESENTAM) “The War of Art”- Exposição/Instalação de “Mixed media art” 5 ARTISTAS  5 BRIEFINGS LER ++ FERNANDO ARANDA “Caminhante da Terra. Percursos entre o Espaço Geográfico e a Paisagem”- Exposição de Pintura, Gravura e Fotografia O artista plástico Fernando Aranda oferece-nos, através de uma viagem a quatro lugares distintos em diferentes latitudes do planeta, a Cordilheira Central dos Andes vista desde a montanha Machu Picchu no Peru, o Vale de Mafra em Portugal, a Cordilheira dos Himalaias desde as encostas da montanha Anapurna no Nepal, e as margens do rio Daksina em Ananda Nagar, India. LER ++

HORÁRIO quarta e quinta | 20h00 às 02h00 sexta e sábado | 20h00 às 04h00 Programa completo do mês  INFORMAÇÕES CONCERTOS: fabrica@bracodeprata.com EVENTOS E JANTARES: bar@bracodeprata.com LIVRARIA: livraria@bracodeprata.com EXPOSIÇÕES: exposicoes@bracodeprata.com

Adriana Varejão

Adriana Varejão, Entrance Figure III, 2005. Oil on canvas, 200 x 200cm. Collection Adriana Varejão, Rio de Janeiro. Courtesy the artist, Lehmann Maupin Gallery, New York and MAM, São Paulo.



SAO PAULO.- Adriana Varejão, one of the most acclaimed contemporary artists of her generation, is being honored with an important retrospective at the Museum of Modern Art, São Paulo, Brazil, from 4 September through 16 December 2012. Curated by Adriano Pedrosa, Varejão’s long-time collaborator, Histories at the Margins features 42 works created over two decades, including early paintings such as Milagre dos Peixes (1991) as well as newly created works for the exhibition, among them a large-scale polyptych composed of 54 panels entitled Carnívoras. Histories at the Margins presents works that have never before been exhibited in Brazil, on loan from renowned collections including Fundació “La Caixa” (Barcelona), Solomon R. Guggenheim (New York), and Tate Modern (London), which is lending Azulejaria Verde em Carne Viva (2000). A major work entitled Parede com Incisões à la Fontana (2000), created as a direct engagement with and response to the work of Lucio Fontana, is also on view. Both paintings mentioned above illustrate an important theme in Varejão’s art; they interact uniquely with the Baroque legacy of Minas Gerais, the barroco mineiro. Varejão developed a fertile dialogue with the style when she was first introduced to baroque masters such as Aleijadinho during a trip to Ouro Preto (Minas Gerais) early in her career, in 1986. Adriana Varejão’s Rio de Janeiro-based production is particularly rich in historical and artistic references. One such example on view in the exhibition is Reflexo de sonhos no sonho de outro espelho (Estudo sobre o Tiradentes de Pedro Américo), from 1998, arguably one of her most expressive works. The installation, composed of 21 paintings, is a re-reading of Pedro Américo’s (1843-1905) iconic Tiradentes Esquartejado. Varejão created the work for the São Paulo Bienal in 1998, curated by Paulo Herkenhoff and considered to be one of the country’s most successful biennials. Histories at the Margins brings Reflexo de sonhos back to the public for the first time in nearly fifteen years. Along with the series Extirpação do Mal, shown at the 1994 Bienal, these works serve as documentation of her participation in Brazil´s most important contemporary art event. These examples are a good illustration of the concept Pedrosa introduces in this first comprehensive show of Varejão’s work. Histories at the Margins evokes, in its Portuguese title (Histórias às Margens), not only historical traditions but stories, as Pedrosa defines it, “the marginal histories and stories often forgotten or relegated to the margins by historic tradition, irrespective of whether they refer to Brazil, Portugal, China, art itself, the Baroque, colonization. Varejão researches these histories, rescues and interweaves them in her paintings.” Many of the paintings Varejão has created especially for this exhibition are significant examples of such interweavings. For instance, a large-scale painting of Guanabara Bay rendered in a style that recalls Chinese antiquities echoes back to a series Varejão began in 1992, when, impressed by the influence that Chinese art exerted over the Brazilian baroque, she spent three months in China. Varejão found inspiration in Song Dynasty ceramics and developed an interest in craquelature. The effect is present in many of her works and is quite noticeable in the exhibition’s largest painting, the new Carnívoras, composed of 54 panels, each measuring one square meter. Carnivorous plants from various places around the world are painted in red over canvases with surfaces that allude to the texture of Azulejo tile art. This polyptych is Varejão´s return to the poetics of a work conceived for the 2003 MAM-SP Panorama of Brazilian Art, in which she created larger-than-life tiles decorated with hallucinogenic plants. These ceramic tile creations can be seen currently, along with other works by Varejão, in a permanent pavilion dedicated to her work at the Inhotim Contemporary Art Institute, at Brumadinho, Minas Gerais. The visual concept of Histories at the Margins was conceived by architect and designer Rodrigo Cerviño Lopez, who was responsible for designing the pavilion at Inhotim and Varejão’s studio in Rio de Janeiro. Cerviño Lopez has also designed the exhibition catalogue, in which each work is accompanied by a text by Pedrosa, highlighting the wealth of references Varejão imbues in each piece. On noting, for example, that Varejão’s most recent works suggest large ceramic dishes, Pedrosa points out her interest in the extravagant work of Portuguese ceramics artist Rafael Bordalo Pinheiro (1846-1905), which inspired four works selected for this exhibition. “I have always been driven by curiosity in my work. Now, for example, I am so involved with Bordalo Pinheiro’s art that apart from reading everything I can find about him, I went to Portugal several times to see his ceramics and a few rare pieces hidden away in private collections. Research is the most enjoyable part of my work,” said Varejão Adriana Varejão, born in Ipanema, Rio de Janeiro in 1964, embarked on her career as an artist in the mid-1980s, studying at the Escola de Artes Visuais do Parque Lage. Varejão was the recipient of the 9th National Salon of Fine Arts Prize, and in 2011, she was bestowed with Brazil’s prestigious Cultural Merit Order Award. Varejão’s first of many solo exhibitions was held in 1988. Her work has been presented around the world, including Japan, the Netherlands, Sweden, the United Kingdom, and the United States, as well as in major exhibitions such as Chambre d’échos / Câmara de ecos that opened at the Paris Cartier Foundation in 2005 and traveled to Portugal and Spain. Varejão has participated in over one hundred group exhibitions, among them the 1994 and 1998 São Paulo Biennials, as well as the Biennials of Johannesburg (1995), Liverpool (2000, 2006), Sydney (2001), Prague (2003), Santa Fé (2004), the MERCOSUR (2005), Bucharest (2008) and Istanbul (2011). The artist is represented by Lehmann Maupin, New York; Victoria Miro, London; and Fortes Vilaca, São Paulo. In addition to a permanent exhibition housed in a dedicated pavilion at the Contemporary Art Center in Inhotim (Brumadinho, Minas Gerais, Brazil), Varejão’s work is also present in a number of collections, such as the Hara Museum (Tokyo), Tate Modern (London), Solomon R. Guggenheim (New York), and Stedelijk Museum (Amsterdam), among others. Apart from being listed in various catalogues and key publications such as Vitamin P and Fresh Cream (Phaidon) and Women Artists in the 20th and 21st Century (Taschen), Varejão’s work is the subject of a book of collected essays entitled Entre Mares e Carnes, ed. Cobogó (2009). Art historian and critic Carol Armstrong recently published an eight-page essay on Varejão’s work in the January 2012 edition of ArtForum magazine. 

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Highlights from the Kramarsky Collection kick off 2012-13 exhibition schedule at the Zimmerli Art Museum

Sol LeWitt (1928-2007), W, 1995. Relief print on hand-dyed, handmade Twinrocker paper. Published by Two Palms, New York. Collection of Sally and Wynn Kramarsky, New York© Estate of Sol LeWitt.

Jasper Johns (born 1930), No, 1964. Graphite, charcoal and gouache and liquid graphite on paper. The Museum of Modern Art, New York, Fractional and promised gift of Sally and Wynn Kramarsky Art © Jasper Johns/Licensed by VAGA, New York

NEW BRUNSWICK, NJ.- This fall the Zimmerli Art Museum at Rutgers explores how artists since 1960 have upended expectations associated with language and artmaking—and, in the process, transformed the art of drawing. On view from Tuesday, September 4, 2012 through Sunday, January 6, 2013, Art=Text=Art: Works by Contemporary Artists features more than 100 works on paper, borrowed primarily from the nation’s foremost drawing collectors, Wynn and Sally Kramarsky. The 48 American artists in Art=Text=Art include such now-iconic figures as Trisha Brown, Dan Flavin, Jasper Johns, Sol LeWitt, Ed Ruscha, Richard Serra, Cy Twombly, and Lawrence Weiner, as well as innovative artists at earlier points in their careers. Works range from a spare poem typed by Carl Andre onto an ordinary 8 1/2 by 11 piece of paper in 1960 to a large-scale landscape design that Alice Aycock created in 1986—which on closer scrutiny reveals itself to be a fanciful topiary labyrinth using ancient and modern letterforms of languages ranging from Arabic to Sanskrit. “Over the course of more than 60 years of studying an extraordinary spectrum of American drawings, the Kramarskys have always shown an intuitive attraction to the intimate processes and experimentation that are inherent in the act of drawing. This exhibition reveals their keen ‘eye,’ and passion for contemporary art,” says Suzanne Delehanty, director of the Zimmerli. “Art=Text=Art features absolutely seminal pieces that are essential to understanding contemporary art and relationships between art and language,” she continues. “Given the depth of academic resources at Rutgers, this exhibition will spark connections for students through campus-wide discussions and classes in both the humanities and sciences. The Zimmerli will also offer drawings programs for community audiences of all ages to fulfill the museum’s and university’s public service mission.” “I hope viewers will pause in the exhibition to puzzle out how words have a visual appearance apart from their powerful verbal meanings, how illegibility can often be more eloquent than literal interpretation, or how all data visualization is never a given, but must be constructed,” remarks Marilyn Symmes, the Zimmerli’s Curator of Prints and Drawings and Director of the Morse Research Center for Graphic Arts, who oversaw the museum’s presentation of the Art=Text=Art exhibition. Art=Text=Art: Works by Contemporary Artists was organized by the University of Richmond Museums, Virginia, and curated by N. Elizabeth Schlatter, Deputy Director and Curator of Exhibitions, University of Richmond Museums, with Rachel Nackman, Curator, Kramarsky Collection, New York. The presentation at the Zimmerli has been expanded to include a dozen additional works from the Kramarsky Collection, as well as loans of eight drawings that the Kramarskys have donated to the Museum of Modern Art (MoMA), New York, and the Yale University Art Gallery, New Haven. The Exhibition Art=Text=Art begins with key examples of modern and contemporary text art of the 1960s by William Anastasi, Andre, LeWitt, Weiner, and Mel Bochner, pioneers of Conceptualism and Minimalism. The exhibition continues with later works by these and many other compelling artists as they explored form, function, and multiple interpretations of language. Bochner is represented by key drawings about systems of measurement and three important print series, notably If the Color Changes…(2003), inspired by a quotation about color by the Austrian-British philosopher Ludwig Wittgenstein. In The Location of Geometric Figures (A Blue Square, Red Circle, Yellow Triangle, and Black Parallelogram) (1976), LeWitt presents an elegant drawing of linear shapes: within each one, he has hand-written a verbal description for how to draw its shape. This text serves as both a rational explanation of the drawing, as well as tonal shading for each geometric figure. Jasper Johns’s deep preoccupation with the dual meanings of marks—whether letters or numbers—is reflected in four works in the exhibition, including No (1964), a powerful drawing with remarkable gray tones that subtly puns on the the sound and meaning of the words “know” and the drawing’s title, the word of refusal. Richard Serra’s landmark Verb List (1967-68) presents columns of infinitives across two sheets, emphasizing these phrases as “actions to relate to oneself, material, place and process”—and serving as the artist’s manifesto. John Waters’s 35 Days (2003), in which the filmmaker makes eloquent art out of his daily "to do" lists, and Ray Johnson’s unique collaged artist's book, BOO[K] (ca. 1955), are among a number of works that demonstrate how artists expanded the definition of drawing by adapting everyday activities and non-traditional materials. Johnson, a pioneer of mail art, even used the postal system for art distribution outside the conventions of the commercial gallery world. Also on display is Johnson’s 20-year mail art exchange with Wynn Kramarsky, a correspondence that began in 1974 and juxtaposes words and images in ways that are simultaneously insightful and perplexing, playful and serious. The breadth of this survey is suggested by the inclusion of works as varied as Mark Lombardi’s incredibly complex diagrammatic drawings, mapping secretive financial and political relationships; Jill Baroff’s compelling drawing of concentric circles, wherein the lines indicate tide levels recorded within a precise timeframe; and Christine Hiebert’s deft gestural drawings taking formal inspiration from a series of authentic cattle brands. Jane Hammond’s Scrapbook (2003) offers various images as a puzzle to decipher, while her striking printed collage Four Ways to Blue (2006) was inspired, in part, by Vladimir Nabokov’s writings about butterflies. The most recent drawing in Art=Text=Art is Nancy Haynes’s QR for WK by NH (2012), a patterned drawing that actually functions as a digital quick response code for the exhibition’s online catalogue, www.artequalstext.com. This free online catalogue features essays and images of each work in the exhibition, works of fiction, and sound pieces by more than 35 guest contributors, including a national roster of artists, writers, curators and critics, as well as graduate student arts writers.

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