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Culturekiosque Travel Tips  •  Art and Archaeology: Current Listings • Page 2

Events in Spain

Pablo Picasso:<EM>Woman with Yellow Hair (Femme aux cheveux jaunes),</EM> December 27, 1931Oil and Ripolin (est.) on canvas100 x 81.1 cmSolomon R. Guggenheim Museum, New YorkThannhauser Collection, Gift, Justin K. Thannhauser 78.2514.59© Sucesión Pablo Picasso. VEGAP, Bilbao, 2018Photo: © Solomon R. Guggenheim Foundation, New York (SRGF)
Pablo Picasso:
Woman with Yellow Hair (Femme aux cheveux jaunes), December 27, 1931
Oil and Ripolin (est.) on canvas
100 x 81.1 cm
Solomon R. Guggenheim Museum, New York
Thannhauser Collection, Gift, Justin K. Thannhauser 78.2514.59
© Sucesión Pablo Picasso. VEGAP, Bilbao, 2018
Photo: © Solomon R. Guggenheim Foundation, New York (SRGF)
Van Gogh to Picasso: The Thannhauser Legacy
BILBAO  •  Guggenheim Bilbao Museo  •  21 September 2018 - 24 March 2019
 

 The Guggenheim Museum Bilbao presents Van Gogh to Picasso: The Thannhauser Legacy , featuring the celebrated Thannhauser Collection gifted to the Solomon R. Guggenheim Foundation, and marking the first time the majority of the collection as such leaves New York to be exhibited elsewhere. The show includes some fifty works by a number of the most well recognized Impressionists, Post-Impressionists, and modern masters, such as Paul Cézanne, Edgar Degas, Édouard Manet, Pablo Picasso, and Vincent van Gogh. The Thannhauser Collection is a bequest of nineteenth- and early-twentieth-century art given to the Solomon R. Guggenheim Foundation by Justin K. and Hilde Thannhauser. Justin K. Thannhauser was the son of the German Jewish art dealer Heinrich Thannhauser, who founded the Moderne Galerie in Munich in 1909.

After retiring from a distinguished career as a dealer of modern art in Europe and the United States, in 1963 Justin K. Thannhauser (1892–1976) announced a bequest of essential works from his private art collection—spanning some one hundred years—to the Solomon R. Guggenheim Foundation in New York. Hilde Thannhauser (1919–1991), Justin’s widow, subsequently made additional gifts to the institution in 1984 and 1991.



Guggenheim Bilbao Museo Web Site


Contact: Guggenheim Bilbao Museo
Avenida Abandoibarra, 2
48009 Bilbao
Tel: (34) 944 35 90 00

Events in Switzerland

Sam Gilliam: <EM>Idylls I</EM> (1970)Photo by Thomas Clark
Sam Gilliam: Idylls I (1970)
Photo by Thomas Clark
The Music of Color: Sam Gilliam, 1967-1973
BASEL  •  Kunstmuseum Basel  •  9 June - 30 September 2018
 

Sam Gilliam (b. Tupelo, Mississippi, 1933) is one of America’s most prominent abstract painters. Works by the artist, who has lived and worked in Washington, D.C., since 1962, are held by numerous museums including the Art Institute of Chicago, the MoMA (New York), the National Gallery of Art, and the Whitney Museum of Art. The Music of Color is his first solo exhibition in Europe. The show puts the focus on the years between 1967 and 1973, the period of the greatest radicalism in Gilliam’s oeuvre. His Yves Klein Blue, which harks back to his experimental early work, was presented at the 57th Venice Biennale in 2017.

In 1967, Gilliam began work on a series of what came to be known as beveled-edge paintings: he poured acrylic paint directly onto the unprimed canvas, which he folded and crumpled while the paint was still wet. He then stretched the canvas over a chamfered frame, lending the painting a spatial and object-like quality. Gilliam’s signature creative achievement is the drape paintings series, begun in 1968, for which he applied the same procedure as in the beveled-edge paintings but then released the canvas from the stretcher frame. Unlike easel paintings, which usually function independently of their context, the drape paintings evince a performative aspect and interact with their respective settings; they can be installed in a variety of ways depending on the spatial context.

Gilliam strove to blur the widely accepted boundary between painting and sculpture even as prominent contemporaries such as Donald Judd sought to reaffirm it. The paintings he created between 1967 and 1973 stand out for their monumentality and forceful use of color. The canvas becomes a medium that records traces of the production process and exhibits its own physicality. At a time when painting seemed to be in decline, Gilliam breathed new life into it; jazz was an important source of inspiration for his expressive and energetic style.

The Music of Color also probes the political and historical dimension of Gilliam’s oeuvre. While the artist himself rarely comments on political issues, the works in his Martin Luther King series and Jail Jungle reflect the 1968 race riots and the highly polarized debate over black art and abstract painting in 1960s and 1970s America.

The Kunstmuseum Basel presents 45 outstanding works from public and private collections in Europe and the United States.



Kunstmuseum Basel Website


Contact: Kunstmuseum Basel
St. Alban-Rheinweg 60
CH-4010 Basel

Tel: (41) 61 206 62 62

Theaster Gates: Black Madonna
Theaster Gates: Black Madonna
Theaster Gates: Black Madonna
BASEL  •  Kunstmuseum Basel  •  9 June - 21 October 2018
 

The creative practice of the American artist Theaster Gates (b. 1973) ranges from urban interventions and performance pieces to pottery. He is the lead singer of the band The Black Monks of Mississippi and has been appointed the first distinguished visiting artist and director of artist initiatives at the Lunder Institute for American Art, which is part of the Colby College Museum of Art. An urban planner by training, he rose to renown with Dorchester Projects, an urban redevelopment endeavor on Chicago’s impoverished South Side that he has described as «real estate art». His work continually aims to bridge the gulf between art and society and establish cultural communities as a way of initiating social, political, architectural, and urban change. At the 2013 Art Basel, he presented 100 marble slabs from the bathrooms of a bank building slated for demolition that he had inscribed with the words «In Art We Trust»; transformed into bank bonds, they helped raise funding for the Stony Island Arts Bank cultural center. Since then Gates has widely been recognized as a leading voice in contemporary art.

The artist sees himself as a collector of collections and archives, especially of America’s black culture. He is especially interested in forgotten objects, images, and themes, which he integrates into his own creative practice. As a collector of marginalized and obscure archives, Gates will join the Kunstmuseum Basel in a critical engagement with the museum’s Eurocentric collection that will broach fundamental questions concerning its spatial and organizational structures.

In his exhibition at the Kunstmuseum Basel, which will be spread out across two of the museum’s venues, Gates will explore the cult of the Black Madonna, examining both its significance in the history of religion and its aesthetic and metaphorical tenor.



Kunstmuseum Basel Website


Contact: Kunstmuseum Basel
St. Alban-Rheinweg 60
CH-4010 Basel

Tel: (41) 61 206 62 62

Events in United States

Glenn Ligon: What We Said The Last Time
NEW YORK  •  Luhring Augustine  •  27 February - 2 April 2016
 

Luhring Augustine presents What We Said The Last Time, an exhibition of new work by Glenn Ligon, and Entanglements, a curatorial project by the artist. A companion exhibition entitled We Need To Wake Up Cause That’s What Time It Is opened at Luhring Augustine Bushwick on January 16th and remains on view through 17 April 2016. 

What We Said The Last Time features a suite of seventeen inkjet prints that document the paint-spattered pages of the artist’s well-worn copy of James Baldwin’s seminal 1953 essay “Stranger in the Village.” Written during a stay in a remote Swiss mountain hamlet, Baldwin’s text examines complex and urgent questions around blackness, culture, and history. Since 1996, Ligon has used the essay as the basis of his “Stranger” series, including prints, drawings, and dense paintings made with oil stick and often coal dust that oscillate between legibility and obscurity. While creating these canvases, Ligon kept pages of Baldwin’s essay on his studio table for reference, and over the years they became covered with random smudges of black paint, oil stains, and fingerprints. Intrigued by this accumulation of marks, Ligon transformed the book pages into a suite of large-scale prints, using the full text of the essay for the first time in his career. The resulting work is a palimpsest of accumulated personal histories that suggests Ligon’s long engagement with Baldwin’s essay, as well as a new strategy in his ongoing exploration of the interplay between language and abstraction.

Also on view is Entanglements, a curatorial project by Ligon that examines how artists use the studio as a base from which to engage momentous cultural shifts and political events in both direct and oblique ways.  Key to the exhibition is Bruce Nauman’s Violin Tuned D.E.A.D. (1968), a video that presents the artist repetitively playing a single note on a violin with his back to the camera. While discussions of Nauman’s video works from this period have focused on issues of performativity, endurance, and the body, Ligon was interested in how Nauman’s discordant note can be heard as a soundtrack to the war in Vietnam or the brutal violence faced by civil rights workers. While not directly commenting on these issues, the ominous soundscape of Violin Tuned D.E.A.D. nevertheless suggests Nauman’s engagement with that turbulent moment in American history and served as a point of departure for Ligon to consider other works in which the artist’s studio has acted as a conduit for contemporary events. Ligon’s selections posit new identities, conversations or modes of sociability as a response to pressing social and political issues.  Entanglements features artworks and ephemera by Felix Gonzalez-Torres, David Hammons, On Kawara, Glenn Ligon, Bruce Nauman, Adrian Piper, Bob Thompson, Lynette Yiadom-Boakye, and Andy Warhol. 

Glenn Ligon lives and works in New York.



Luhring Augustine Website


Contact: Luhring Augustine
531 West 24th Street
New York, NY 10011
Tel: (1) 212 206 91 00

Lola Álvarez Bravo, Untitled, 1954.Gelatin silver print. Center for Creative PhotographyUniversity of Arizona: Lola Álvarez Bravo Archive 93.6.70 © 1995 Center for Creative Photography, The University of Arizona Foundation.
Lola Álvarez Bravo, Untitled, 1954.
Gelatin silver print. Center for Creative Photography
University of Arizona: Lola Álvarez Bravo Archive 93.6.70
© 1995 Center for Creative Photography, The University of Arizona Foundation.
Lola Álvarez Bravo: Picturing Mexico
ST. LOUIS, MISSOURI  •  Pulitzer Arts Foundation  •  14 September 2018 - 16 February 2019
 
The Pulitzer Arts Foundation explores the career of pioneering Mexican photographer Lola Álvarez Bravo (1903 – 1993) with an exhibition of images that she considered to be her personal photography. Lola Álvarez Bravo: Picturing Mexico presents nearly 50 photographs and photomontages spanning Álvarez Bravo’s fivedecade career. Together, these illuminate the ways in which her modernist aesthetic, with meticulous attention to pattern, light, and composition, contributed to her depictions of Mexico’s diverse inhabitants and landscapes as she traveled the country documenting life in the years following the Mexican Revolution (ca. 1910– 1920).

Pulitzer Arts Foundation Website


Contact: Pulitzer Arts Foundation
3716 Washington Boulevard
St. Louis, MO 63108
Tel: (1) 314 754 18 50

<P>Pope L.: <EM>Semen Pictures</EM>:Fashioned from Fashion Fastened with Pigment and Use2005-07Transparency in light box18 1/2 by 17 1/2 by 5 in.&nbsp; 47 by 44.5 by 12.7 cm.</P>

Pope L.: Semen Pictures:
Fashioned from Fashion Fastened with Pigment and Use
2005-07
Transparency in light box
18 1/2 by 17 1/2 by 5 in.  47 by 44.5 by 12.7 cm.

Pope. L.: One thing after another (part two)
NEW YORK  •  Mitchell-Innes & Nash  •  13 September - 27 October 2018
 

Mitchell-Innes & Nash announces One thing after another (part two), a solo exhibition of new and retro work by Pope.L. This is the artist’s fifth solo exhibition with the gallery and the first in New York since he was awarded the Bucksbaum Award from the Whitney Museum of American Art in 2017. One thing after another (part two) elliptically follows Pope.L’s similarly titled exhibition at La Panacée in Montepellier— the artist’s first major solo museum show in France.

Pope.L’s practice often focuses on the uncertain but productive space between differences in language, class, race, and gender to create works that simultaneously enlist, mock and re-write convention. For Pope.L this gap is where ignorance interacts with hubris to create fresh tensions around authenticity, self and icon. The works on view in One thing after another (part two) are, as the artist notes, “a disgustingly neat pile of doubt, experiment, and denial shoved up hot against claim, leap, gambit, and caesura---your basic scrabbling about in the dark…”

The exhibition features a dozen large Re-Photo collages, in which the artist has manipulated images of parts, mostly body parts, combining them with fragments from various print media to create “figural encounters” that have been scanned, re-printed and flattened into single large planes of paper. The Re-Photos originated out of Pope.L’s desire to betray the artist’s hand while simultaneously creating images highly suggestive of the body. The works display a hopped-up mechanical puppet-like feel yet function as a kind of tired but comic modernist chest-beating cum self-obliteration and dis-recognition. Pope.L says of these pieces: “What's key is the body that can't hold itself together; its wholeness is a cartoon."

The Re-Photo collages are accompanied by a set of wall-mounted acrylic boxes, retro works, filled with bags of fertilizer and paint, each bag plastered with a photocopied image of a smiling Martin Luther King Jr. Titled Rebuilding the Monument, the pieces project a sad, humorous, highly irreverent sense of derogation in their staging of an esteemed historical figure’s image. The works function as anti-monuments, bringing into question representation's take on Martin Luther King Jr., while at the same time putting in relief the artist’s modus of figural obliteration and authenticity.



Mitchell-Innes & Nash Website


Contact:

Mitchell-Innes & Nash
534 W 26TH STREET
New York, NY 10001

 


Tel: (1) 212-744 74 00

<EM>Ntozakhe II,</EM> Parktown, 2016.© Zanele Muholi.Courtesy of Stevenson, Cape Town/Johannesburgand Yancey Richardson, New York
Ntozakhe II, Parktown, 2016.
© Zanele Muholi.
Courtesy of Stevenson, Cape Town/Johannesburg
and Yancey Richardson, New York
Zanele Muholi: Somnyama Ngonyama, Hail The Dark Lioness
ATLANTA, GEORGIA  •  Spelman College Museum of Fine Art  •  14 September - 8 December 2018
 

Spelman College Museum of Fine Art is presenting the United States premiere of Zanele Muholi: Somnyama Ngonyama, Hail The Dark Lioness, an internationally touring exhibition organized by Autograph, London and curated by Renée Mussai. In more than 70 photographs, visual activist Zanele Muholi (South African, b. 1972), whose pronouns are they, them, and their, uses their body as a canvas to confront the politics of race and representation in the visual archive. In Somnyama Ngonyama, which translates to Hail The Dark Lioness in isiZulu, one of the official languages of South Africa, Muholi playfully employs the conventions of classical painting, fashion photography, and the familiar tropes of ethnographic imagery to rearticulate contemporary identity politics.



Spelman College Museum of Fine Art Website


Contact: Spelman College Museum of Fine Art
350 Spelman Lane, S.W.
Atlanta, GA 30314-4399
Tel: (1) 404-681-3643

A Universal History of Infamy: Those of This America
LOS ANGELES  •  Charles White Elementary School Gallery  •  27 January - 6 October 2018
 
 

As part of the multisite project A Universal History of Infamy, LACMA presents an exhibition curated by artist and educator Vincent Ramos at the museum's satellite gallery within Charles White Elementary School. By displaying works by contemporary Latino artists, writers, and activists exploring loss, resilience, and the political potential of poetic expression alongside several pieces from LACMA’s collection, Ramos exposes a shared impulse across generations to use art as a powerful method of resistance.

Artists in the exhibition include Isabel Avila, Raul Baltazar, Roberto Chavez, Victor Estrada, Carlee Fernandez, Devyn Galindo, Héctor García, Jacinta González, Raul Guerrero, Fred Lonidier, Maria de Los Angeles, Yvette Mayorga, Delilah Montoya, Jorge Orozco Gonzalez, Monique Prieto, Betsabeé Romero, Peter Saul, Fritz Scholder, Rufino Tamayo, Teresita de la Torre, Patricia Valencia, Linda Vallejo, Emmett Walsh, and Max Yavno.

Contributing writers: Rocio Carlos, Sesshu Foster, Carribean Fragoza, and Stephanie Guerrero.



The Los Angeles County Museum of Art Website


Contact:

Charles White Elementary School Gallery 
2401 Wilshire Boulevard
Los Angeles, California 90057


Tel: (1) 323 857-6000

The Fabric of Felicity
MOSCOW  •  Garage Museum of Contemporary Art  •  12 September 2018 - 27 January 2019
 
 

Garage Museum of Contemporary Art presents The Fabric of Felicity, an international project showcasing clothes in art outside the context of the fashion industry. The exhibition spans five continents and features over forty artists, including representatives of historical avant-gardes, members of the Soviet and Brazilian underground art scenes, and new generation artists from Russia, Japan, USA, Zimbabwe, and other countries.

Artists

Narda Alvarado (Bolivia), Taslima Akhter (Bangladesh), Kader Attia (France), Firelei Baez (Dominican Republic/USA), Zarina Bhimji (Uganda/Great Britain), Anastasia Bogomolova (Russia), Huguette Caland (Lebanon/USA), Olga Chernysheva (Russia), Alice Creischer & Andreas Siekmann (Germany), Jimmy De Sana (USA), Sonia Delaunay (France), Hans Ejkelboom (Netherlands), Marie Louise Ekman (Sweden), Hamid El-Kanbouhi (Morocco/Netherlands), Carlos Noronha Feio (Portugal), Alexandra Galkina (Russia), Rimma and Valeriy Gerlovin (Russia/USA), Goldin + Senneby (Sweden), Candida Höfer (Germany), Zhanna Kadyrova (Ukraine), Hayv Kahraman (Iraq/USA), Farrah Karapetian (USA), Shifra Kazhdan & Ksenia Peretrukhina (Russia), Ali Kazma (Turkey), Sharon Kivland (Great Britain), Katalin Ladik (Serbia/Hungary), Lydia Masterkova (Russia), Moataz Nasr (Egypt), Yoko Ono (Japan/USA), Lygia Pape (Brazil), Liubov Popova (Russia), Athi-Patra Ruga (South Africa), Bella Rune (Sweden), Sergey Sapozhnikov (Russia), Beverly Semmes (USA), Kamruzzaman Shadhin (Bangladesh), Vladislav Shapovalov (Russia/Italy), Varvara Stepanova (Russia), Günta Stölzl (Germany), Yuichiro Tamura (Japan), Pedro Valtierra (Mexico), Portia Zvavahera (Zimbabwe), and others.



Garage Museum of Contemporary Art


Contact: Garage Museum of Contemporary Art
9/32 Krymsky Val st., 119049
Moscow, Russia
Tel: 7 495 645-05-20

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