Apr. 26–Jun. 7, 2019
Have you ever glimpsed a movement out of the corner of your eye and turned to find nothing there? Have you ever bolted up the basement steps convinced that something was down there with you? Seeing Shadows attempts to visualize these sensations as photographic objects. Derived from Brandreth’s love for horror and the macabre, and from the histories of photography and film, these unique handmade works are at once seductive and utterly uncanny.
Continue reading “EXHIBITION: Mana BSMT Presents: N. M. Brandreth’s Phantasmagoria’s Seeing Shadows”
Watercolor Rediscovered: Whistler in the Nineteenth Century
Exhibition: May 18, 2019–October 6, 2019
Freer Gallery of Art, galleries 10 and 11
James McNeill Whistler reinvented himself as an artist in the 1880s and painted his way into posterity with the help of watercolor. Beginning in 1881, he created a profusion of small, marketable works over the next fifteen years. “I have done delightful things,” he confided, “and have a wonderful game to play.” For Whistler, the word “game” referred to the watercolors themselves and to his plans for selling them.
Museum founder Charles Lang Freer amassed the world’s largest collection of Whistler’s watercolors, with more than fifty seascapes, nocturnes, interior views, and street scenes. His vast collection also included prints, drawings, pastels, and oil paintings by the artist. Due to Freer’s will, these works have never left the museum, and the fragile watercolors have rarely been displayed. Recent research conducted by museum curators, scientists, and conservators now shines new light on Whistler’s materials, techniques, and artistic genius, as seen in this first major exhibition of his watercolors at the Freer Gallery since the 1930s.
In conjunction with the opening of Whistler in Watercolor, explore the development of watercolor in the Victorian era and James McNeill Whistler’s contributions to the genre at an event on Sunday, May 19, 2019, 2pm.
Continue reading “PANEL AND EXHIBITION: Watercolor Rediscovered: Whistler in the Nineteenth Century”
Presented by the Center for the History of Collecting, Frick Art Reference Library, The Frick Collection, NY
Thursday, May 23, 2019, 2 – 7 p.m.
More information: https://www.frick.org/research/center/symposia
This half-day symposium focuses on collecting site-specific, large-scale, and light-based works by artists including, among others, Walter de Maria, Nancy Holt, Robert Smithson, Michelle Stuart, and James Turrell. A panel of scholars, curators, collectors, an artist, and a conservator explores related challenges of installation, maintenance, preservation, and ultimate stewardship. Virginia Dwan, Suzaan Boettger, Jarl Mohn, Jessica Morgan, Leonard Riggio, and Michelle Stuart are among the participants. Sponsorship from the Robert H. Smith Family Foundation and Northern Trust has made this event possible.
Continue reading “SYMPOSIUM: Collecting the “Uncollectible”: Earth and Site-Specific Sculpture”
A group exhibition by SciArt Center at the New York Hall of Science
September 10th, 2019 – January 10th, 2020
Deadline to submit: June 3rd, 11:59pm EST
The weather is ever-present, often dramatic, and always uncontrollable. SciArt welcomes submissions surrounding the topics of studying, understanding, and experiencing the weather.
Continue reading “CFP: “Weather the Weather,” a group exhibition by SciArt Center”
This interview with Janet Echelman is from the Washington Post’s series of conversations with artists about how they create. The interview includes images of her wonderfully crafted art. For those who don’t know her, her transformative public sculptures soar and ripple. For the past 20 years she has designed projects scaled to big city buildings made with braided fiber and projected light.
Here’s the link.
For centuries, artists and scientists have wrestled with how to convey three-dimensional objects on the page. Using some of the Bodleian Libraries’ finest books, manuscripts, prints and drawings, Thinking 3D tells the story of the development of three-dimensional communication over the last 500 years.
The exhibition shows how new techniques, developed from the Renaissance onwards, revolutionized the way that ideas in the fields of anatomy, architecture, astronomy and geometry were relayed and ultimately how this has influenced how we perceive the world today. Timed to celebrate the 500th anniversary of the death of Leonardo da Vinci, the exhibition shows how Leonardo and his contemporaries made great strides in the realistic depiction of 3D forms. Thinking 3D explores technological advances up to the present day including 3D modelling, photography and stereoscopy; and also highlights the works of modern practitioners and researchers in Oxford.
The exhibition will be accompanied by a range of other exhibitions and events across Oxford in 2019 as part of the Thinking 3D research project.
For more information, see: https://www.bodleian.ox.ac.uk/news/2019/mar-5
Myrrh (AKA Trudy Myrrh Reagan), with her bright circular abstractions, “portholes into the unknown,” interprets a dozen different realms of science. In her new book, Essential Mysteries in Art and Science, she elaborates on the science behind the paintings in a dozen well- researched essays about these realms.
The friendly aspect of this book is its visual appearance. The first section is an art book, presenting Myrrh’s Essential Mysteries series of vivid paintings. The second section is a charming personal account of the artist’s encounter with science, illustrated with her other science-related works, together with many small illustrations that support points in the essays.
This has been Myrrh’s 50-year project. She began as a “newbie” married to a physicist, picking out patterns in nature to use in her work. She soon fastened onto the powerful ideas in science, those that define the outlines of the cosmos in which we live. “As I changed, so did science,” she says halfway through the book. It includes several sections on the explosion of interest, beginning in the late 1980s, in complex, dynamic, and chaotic phenomena. As well, she explores questions under investigation and those that are simply enigmas. In an age where cultural ideas and branches of sciences themselves are silos that do not communicate well, hers is an account that gracefully relates them all.
$45.00 + tax and shipping, available at www.myrrh- art.com/gift shop or directly from the artist at firstname.lastname@example.org.
In my 2007 Leonardo review of Rosalind Krauss’ book Perpetual Inventory I characterized her essay on William Kentridge as the most compelling in the book . Krauss introduced him as a South African artist whose animated films pursue the problems of apartheid and spoke about how he creatively mixed film, drawing, and erasure with highly charged ideas. She also spoke about how his peripatetic approach, improvisational process (fortuna), and his use of erasure spoke of a creative practice that combines drawing and seeing with making and assessing. Krauss concluded that regardless of whether Kentridge’s drawings for projection come together in a series that examines apartheid, capitalist greed, eros, memory, or whatever, his process is not based primarily on the theme of the series. Rather, in her view, and I share her view to some degree, the works result through the dictates of his creative process. William Kentridge: Process as Metaphor and Other Doubtful Enterprises by Leora Maltz-Leca sees his philosophical relationship to the work as more important than his creative practice per se. Therefore, one intriguing question on my mind as I wrote this review is why Maltz-Leca, and indeed Kentridge himself as relayed in this book through a number of interviews, did not change my mind.
Continue reading “Book Review of William Kentridge: Process as Metaphor and Other Doubtful Enterprises”
New research in the archives has made it possible to pinpoint the exact location of Johannes Vermeer’s world-famous ‘The Little Street’. The Rijksmuseum has an exhibition on the discovery.