Arts Summary

June 11, 2019

Natalia Goncharova at Tate Modern, June 6 – September 8, 2019

“Tate Modern presents the UK’s first ever retrospective of the Russian avant-garde artist Natalia Goncharova. This exhibition is a sweeping survey of a pioneering and radical figure, celebrated during her lifetime as a leading modernist artist. Throughout her varied career she challenged the limits of artistic, social and gender conventions, from parading through the streets of Moscow displaying futurist body art and scandalising newspapers of the day, to creating internationally acclaimed designs for fashion and the theatre.

Goncharova’s artistic output traces, influences and transcends the art movements of the 20th century. Born in 1881, she was inspired by the traditional customs and cultures of her native Central Russia – inspirations that pervade her life’s work. By the age of 32, she had already established herself as a leader of the Moscow avant-garde and was the subject of the first monographic exhibition ever staged by a Russian modernist artist. Arriving in Paris in 1914 at the invitation of Sergei Diaghilev, Goncharova was feted for her vibrant costume and set designs for the Ballets Russes.

The exhibition gathers together over 170 international loans which rarely travel, including from Russia’s State Tretyakov Gallery which houses the largest collection of Goncharova works in the world. At the heart of the show is a room evoking Goncharova’s remarkable 1913 retrospective that was held at the Mikhailova Art Salon in Moscow, which originally featured some 800 works.” — Tate Modern

Natalia Goncharova (1881- 1962) . Cyclist, 1913.  Oil paint on canvas,  780 x 1050mm.  State Russian Museum © ADAGP, Paris and DACS, London 2019

Natalia Goncharova (1881- 1962). Peasant Woman from Tula Province, 1910. Oil paint on canvas, 1035 x 730 mm. State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina 1989

Natalia Goncharova (1881- 1962). Peasant woman. Costume design for Le Coq d’Or, 1937. Watercolour, bronze paint and graphite on paper, 455 x 300 mm. State Tretyakov Gallery, Moscow. Presented by E. Kurnan 1983 © ADAGP, Paris and DACS, London 2019

Natalia Goncharova (1881- 1962. ).  Self-Portrait with Yellow Lilies, 1907-1908.  Oil paint on canvas , 775 x 582 mm . State Tretyakov Gallery, Moscow. Purchased 1927 © ADAGP, Paris and DACS, London 2019

Natalia Goncharova (1881- 1962). Linen, 1913 . Oil paint on canvas , 956 x 838 mm.  Tate. Presented by Eugène Mollo and the artist 1953 © ADAGP, Paris and DACS, London 2019

Natalia Goncharova (1881- 1962). Peasants Picking Apples, 1911. Oil paint on canvas, 1045 x 980 mm. State Tretyakov Gallery, Moscow. Received from the Museum of Artistic Culture 1929 © ADAGP, Paris and DACS, London 2019

Natalia Goncharova (1881- 1962). Harvest: The Phoenix, 1911. Oil paint on canvas, 920 x 975 mm. State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989 © ADAGP, Paris and DACS, London 2019

Natalia Goncharova (1881- 1962). Orange Seller, 1916. Oil paint on canvas, 1310 x 970 mm. Museum Ludwig  © ADAGP, Paris and DACS, London 2019

Natalia Goncharova (1881- 1962). Theatre costume for Sadko in Sadko, 1916. 1850 x 850 x 650 mm. Victoria and Albert Museum, London. Given by the British Theatre Museum Association © ADAGP, Paris and DACS, London 2019

Natalia Goncharova is curated by Natalia Sidlina, Curator of International Art, and Matthew Gale, Head of Displays, with Katy Wan, Assistant Curator, Tate Modern. Exhibition is organised by Tate Modern in collaboration with Palazzo Strozzi, Florence where it will open on 28 September 2019 and the Ateneum Art Museum, Helsinki where it will open on 21 February 2020.

Images courtesy Tate Modern.

June 10, 2019

Brazilian Modern: The Living Art of Roberto Burle Marx at New York Botanical Garden (NYBG), June 8 – September 29, 2019

“The New York Botanical Garden (NYBG) presents Brazilian Modern: The Living Art of Roberto Burle Marx, celebrating influential Brazilian modernist artist, landscape architect, and plant explorer and conservationist Roberto Burle Marx. NYBG’s largest botanical exhibition ever, it is also the first to combine a horticultural tribute to Burle Marx’s design work, featuring lush gardens, with a curated gallery of his vibrant paintings, drawings, and textiles, revealing deep connections between his artistic practice and his commitment to environmental conservation. Engaging public programming showcases the sights and sounds of Brazil and its lively contributions to music and dance evoking Rio de Janeiro, the ‘Cidade Maravilhosa’ (‘Wonderful City’) that Roberto Burle Marx called home and inspired his life and work.

Burle Marx (1909–94) was a principal figure in the modernist art and garden movement in Latin America during the second half of the 20th century. His powerful modernist vision produced thousands of gardens and landscapes, including the famous curving mosaic walkways at Copacabana Beach in Rio.” — NYBG

Photographs by Corrado Serra.

June 4, 2019

Alvin Ailey American Dance Theater at the David H. Koch Theater, Lincoln Center, June 12 – 16, 2019

“Concluding a joyous 60th Anniversary celebration that reached from coast to coast, Alvin Ailey American Dance Theater returns to Lincoln Center for the Performing Arts for seven performances at the David H. Koch Theater June 12 – 16, 2019. Helmed by Artistic Director Robert Battle, the season features the world premiere of Ounce of Faith by Darrell Grand Moultrie as well as recent premieres by some of today’s most revered choreographers, Ronald K. Brown’s The Call, Jawole Willa Jo Zollar’s Shelter, and Rennie Harris’ Lazarus. The engagement also includes several rarely seen works by Alvin Ailey, an Ailey Spirit Gala benefit celebrating The Ailey School’s 50th Anniversary, and a special evening honoring the legendary Carmen de Lavallade. Alvin Ailey’s must-see masterpiece Revelations is the uplifting finale of each performance.

Each performance culminates with Alvin Ailey’s American masterpiece Revelations. Since its creation in 1960, Revelations has been seen by more audiences around the world than any other modern work, inspiring generations through its powerful storytelling and soul-stirring spirituals. Springing from Ailey’s childhood memories of growing up in the south and attending services at Mount Olive Baptist Church in Texas, Revelations pays homage to the rich African-American cultural heritage and explores the emotional spectrum of the human condition.” — AAADT

Alvin Ailey American Dance Theater in Ronald K. Brown’s The Call. Photo by Paul Kolnik.

AAADT’s Jacqueline Green and Solomon Dumas in Ronald K. Brown’s The Call. Photo by Paul Kolnik.

Alvin Ailey American Dance Theater in Jawole Willa Jo Zollar’s Shelter. Photo by Paul Kolnik.

Alvin Ailey American Dance Theater in Jawole Willa Jo Zollar’s Shelter. Photo by Paul Kolnik.

Alvin Ailey American Dance Theater in Rennie Harris’ Lazarus. Photo by Paul Kolnik.

Alvin Ailey American Dance Theater in Rennie Harris’ Lazarus. Photo by Paul Kolnik.

Alvin Ailey American Dance Theater in Alvin Ailey’s Revelations. Photo by Paul Kolnik.

Alvin Ailey American Dance Theater in Alvin Ailey’s Revelations. Photo by Paul Kolnik.

Carmen de Lavallade and Alvin Ailey at Jacobs Pillow in 1961. Photo by John Lindquist. Courtesy of Ailey Archives.

Alvin Ailey and Carmen de Lavallade. Photo by Jack Mitchell. (©) Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution.

Title Image: Alvin Ailey American Dance Theater’s Jacquelin Harris and Chalvar Monteiro. Photo by Andrew Eccles.

Images courtesy Alvin Ailey American Dance Theater.

June 3, 2019

Cut: Abstraction in the United States from the 1970s to the Present & Spheres of Meaning: An Exhibition of Artists’ Books at Patricia & Phillip Frost Art Museum FIU, through August 25, 2019

The Patricia & Phillip Frost Art Museum FIU, part of Florida International University, kicks off the summer of art in Miami with two original new exhibitions. CUT: Abstraction in the United States from 1970s to the Present examines a multigenerational group of artists who challenge painting surfaces by making cuts, carvings and indentions. Spheres of Meaning: An Exhibition of Artists’ Books presents more than 30 works ranging from manipulated texts to new narrative forms. CUT features more than 20 artworks by leading abstract artists, including Al Loving, Elizabeth Murray and Jack Whitten, alongside younger artists such as Clara Varas, Maria de los Angeles Rodriguez Jimenez, Loriel Beltran, and Alejandro Contreras. Spheres of Meaning: An Exhibition of Artists’ Books celebrates artists’ books by creatives who are either living in Miami or have called Miami home, including Purvis Young, Margarita Cano, Lydia Rubio, Diego Gutierrez, Carlos Macia, Jeannette Stargala, and Rosemarie Chiarlone. The show presents a range of artists’ books, from manipulated texts to new narrative forms, and books as sculpture.

Cut: Abstraction in the United States from the 1970s to the Present, June 1, 2019 – August 25, 2019

Sam Gilliam, b.1933, Tupelo, Mississippi, lives and works in Washington, D.C. Of Yellow and Gingers, 1979. Acrylic on Canvas, 80 x 300 inches overall. Collection of Jumaane and Lauren N’Nmandi.

Clara Varas, Crescent (Pink and Yellow), 2017. Oil, latex, spray on wood and linen, 26 × 26 inches. Courtesy of the artist and Spinello Projects.

Nanette Carter, b. 1954, Columbus, Ohio, lives and works in New York City, New York. Cantilevered #1, 2015. Oil on Mylar, 64 x 64 inches. Collection of Jumaane and Lauren N’Nmandi.

Jack Whitten. E-Stamp IV (Five Spirals: For Al Loving), 2007. Acrylic on canvas, 48 x 48 inches. The Alfond Collection of Contemporary Art, Cornell Fine Arts Museum, Rollins College © Jack Whitten Estate Image. Courtesy the Jack Whitten Estate and Hauser & Wirth.

Jack Whitten. Untitled II, 1974-75. Acrylic on canvas, 41 51/64 x 41 51/64 inches. The Alfond Collection of Contemporary Art, Cornell Fine Arts Museum, Rollins College © Jack Whitten Estate Image. Courtesy the Jack Whitten Estate and Hauser & Wirth.

Jeffrey Gibson, b. 1972, Colorado Springs, Colorado, lives and works in Hudson, New York. Study #1 (Stop and Start), 2011-12. Acrylic and graphite on paper, 11 x 9 inches. Courtesy of the artist; Sikkema Jenkins & Co., New York; Kavi Gupta, Chicago; and Roberts Projects, Los Angeles.

Jeffrey Gibson, b. 1972, Colorado Springs, Colorado, lives and works in Hudson, New York Study #2 (The sun always comes out), 2011-12. Acrylic and graphite on paper, 7 ½ x 11 inches. Courtesy of the artist; Sikkema Jenkins & Co., New York; Kavi Gupta, Chicago; and Roberts Projects, Los Angeles.

Ed Clark, b. 1926, New Orleans, Louisiana, lives and works in New York City, New York. China Series, 1999. Acrylic on canvas, Chinese rice paper collage, 60 x 80 inches. Collection of Jumaane and Lauren N’Nmandi.

Howardena Pindell, b. 1943, Philadelphia, Pennsylvania, lives and works in New York, New York. Untitled #21, 2003. Mixed media, 7 x 9 ½ x ½ inches. Collection of Jacqueline Bradley and Clarence Otis.

Roberto Jamora, b. 1987, Annapolis, Maryland, lives and works in Richmond, Virginia. Joan Carries All of This at the Women’s March (In Conversation with Joan Ariete-Hein), 2018. Oil and beeswax on canvas, 36 x 44 inches. Courtesy of the artist and Page Bond Gallery

Spheres of Meaning: An Exhibition of Artists’ Books, June 8, 2019 – August 25, 2019

Lisa Haque, lives and works in Miami, Florida. Milk Teeth, 2018. Text on air-dried handmade kozo paper, gouache drawings based on microscopic teeth anatomy, 8 x 10 ½ inches. Courtesy of the artist.

Lisa Haque, lives and works in Miami, Florida Dua, 2019. Cotton and kozo, 18 x 13 ½ x 2 inches. Courtesy of the artist.

Jeannette Stargala, b. Germany, lives and works in Miami, Florida. The Fleetingness of the Color Red, 2017. 35 monoprints on Bristol, Manila Hemp, Glassine, Assagami and Tengucho paper, 26 ½ x 19 x 1 3/8 inches. Courtesy of the artist.

Donna Ruff, b. 1947, Chicago, Illinois, lives and works in Miami, Florida. Relief and Rescue, 2006. Altered book, 14 x 10 x 1 inches. Courtesy of the artist.

Donna Ruff, b. 1947, Chicago, Illinois, lives and works in Miami, Florida. Fourth Estate, 2019. Papier Mâché from The Financial Times, linen twine, flax, sage, 12 x 48 x 13 inches. Courtesy of the artist.

Rosemarie Chiarlone, two titles/two spools: Wander, (2019), and Exit, (2019). Both are vintage spools, industrial felt, cotton thread, deer tan cow hide. Courtesy of the artist. Based on Susan Weiner’s Poems, Wander and Exit.

Rosemarie Chiarlone, b. 1951, Philadelphia, Pennsylvania, lives and works in Miami, Florida. Rupture Unseen, 2019. Folded paper and perforated paper, 108 x 169 x 16 inches. Courtesy of the artist.

Diego Gutierrez, b. 1982, Los Angeles, California, lives and works in Miami, Florida. Number 4, Miami Beach (detail), 2019. Mixed media, 20 ½ x 25 inches. Courtesy of the artist.

Onajide Shabaka, b. 1948, Cincinnati, Ohio, lives and works in Miami, Florida. Dictionary, pg. 9 © 1991. Spiral bound photobook, silver gelatin prints, collage, 18 pages 5 x 8 inches. Courtesy of the artist.

Cut and Spheres of Meaning are curated by Dr. Amy Galpin, Chief Curator, Patricia & Phillip Frost Art Museum FIU.

Images courtesy Patricia & Phillip Frost Art Museum FIU.

June 2, 2019

A Lasting Memento: John Thomson’s Photographs Along the River Min at Peabody Essex Museum (PEM), June 1, 2019 – May 17, 2020

“The Peabody Essex Museum (PEM) presents a voyage into 19th-century China through one of PEM’s photographic treasures, John Thomson’s rare album Foochow and the River Min. More than forty striking landscapes, city views, and portrait studies are on view, captured by Thomson as he traveled in the Fujian province in Southeast China from 1870 to 1871. These prints are complemented by a selection of photographs by contemporary artist Luo Dan, who was inspired by Thomson to undertake his own journey in southwestern China in 2010.

From 1870 to 1871, Scottish-born photographer John Thomson traveled 160 miles up the River Min to document the area in and around the city of Fuzhou (Foochow), one of the most picturesque regions in China. Thomson gathered eighty photographs from this voyage into an album titled Foochow and the River Min which was sold by advance subscription to the foreign residents of Fuzhou — tea planters, merchants, missionaries and government officials — who wanted a way to share their experiences with friends and family back home. Of the 46 copies originally published, fewer than 10 survive today and PEM is privileged to own two of them, both of which are featured in the exhibition.” — Peabody Essex Museum

John Thomson, Yen Ping Rapid, 1870-1871. Carbon print. Gift of the Estate of Mrs. Anthony Rives. © Peabody Essex Museum. Photography by Ken Sawyer.

John Thomson, A Wreck in the Rapids, 1870-1871. Carbon print. Gift of the Estate of Mrs. Anthony Rives. © Peabody Essex Museum. Photography by Ken Sawyer.

John Thomson, A Rapid Boat, 1870-1871. Carbon print. Gift of the Estate of Mrs. Anthony Rives. © Peabody Essex Museum. Photography by Ken Sawyer.

John Thomson, A Rustic Bridge, 1870-1871. Carbon print. Gift of the Estate of Mrs. Anthony Rives. © Peabody Essex Museum. Photography by Ken Sawyer.

John Thomson, A Small Temple at Ku-Shan, 1870-1871. Carbon print. Gift of the Estate of Mrs. Anthony Rives. © Peabody Essex Museum. Photography by Ken Sawyer.

John Thomson, Road to the Plantation, 1870-1871. Carbon print. Gift of the Estate of Mrs. Anthony Rives. © Peabody Essex Museum. Photography by Ken Sawyer.

John Thomson, Coolies, 1870-1871. Carbon print. Gift of the Estate of Mrs. Anthony Rives. © Peabody Essex Museum. Photography by Ken Sawyer.

John Thomson, Mode of Dressing the Hair, 1870-1871. Carbon print. Gift of the Estate of Mrs. Anthony Rives. © Peabody Essex Museum. Photography by Ken Sawyer.

John Thomson, The Upper Bridge, 1870-1871. Carbon print. Gift of the Estate of Mrs. Anthony Rives. © Peabody Essex Museum. Photography by Ken Sawyer.

John Thomson, A Rapid Boat, 1870-1871. Carbon print. Gift of the Estate of Mrs. Anthony Rives. © Peabody Essex Museum. Photography by Ken Sawyer.

John Thomson, Pagoda Island, 1870-1871. Carbon print. Gift of the Estate of Mrs. Anthony Rives. © Peabody Essex Museum. .

“Many people have a conception of China as very industrialized and modern, even sterile, but these photographs complicate that notion and reveal the country’s incredible beauty and geographic diversity,” says Sarah Kennel, PEM’s Byrne Family Curator of Photography. “The roots of China’s rapid modernization go back to the 19th-century and are part of a larger history of maritime culture, trade, and globalization that are also entwined with PEM’s origin story. This exhibition affirms how photography can bring us back to another place in time and can change the way we see the world.”

A Lasting Memento: John Thomson’s Photographs Along the River Min is organized by the Peabody Essex Museum.

Images courtesy Peabody Essex Museum.

May 31, 2019

Mid-Century Master: The Photography of Alfred Eisenstaedt at Hillwood Estate Museum & Gardens, June 8, 2019 – January 12, 2020

“The special exhibition Mid-Century Master: The Photography of Alfred Eisenstaedt, on view at Hillwood Estate, Museum & Gardens will feature nearly 50 works from photographer Alfred Eisenstaedt, focusing on his timeless images of life in the mid-20^thcentury and the era’s most celebrated figures, including Hillwood founder Marjorie Merriweather Post.

A pioneer of the candid style, Eisenstaedt was renowned for his ability to capture his subjects in unguarded moments. According to Eisenstaedt, “it’s more important to click with people than to click the shutter,” reflecting his unobtrusive, relaxed approach to working with celebrities and dignitaries. His famous informal portraits featured world leaders, politicians, philanthropists, scientists, artists, actors, writers, and more. When he photographed Marjorie Post for the November 5, 1965 issue of LIFE he cemented her place among the most notable people of the 20^th century.

‘Marjorie was already well-known as a social figure, businesswoman, and philanthropist when the LIFEissue hit the stands,’ explained Hillwood executive director Kate Markert. ‘But this eighteen-page spread, capturing her in genuine moments, really showcased her generous spirit and gracious way of life.’ Featuring her life in and about her three properties at the time—Hillwood, Camp Topridge, and Mar-a-Lago—the piece brought an abundance of fan letters to Post’s various addresses as the public discovered Post to be both exquisite and approachable. Mid-Century Master will present images from this issue along with other Eisenstaedt photos that documented the personalities, events, and experiences of the time.” — Hillwood Estate Museum

Alfred Eisenstaedt (1898-1995). Headwaiter Renée Breguet of Grand Hotel St. Moritz serving cocktails on ice rink. Saint Moritz, 1932 Photo-gelatin silver © The Picture Collection Inc. All Rights Reserved.

Alfred Eisenstaedt (1898-1995). Marjorie Merriweather Post, heiress and founder of General Foods, chatting with her schnauzer, who is posing in his canopied bed once bused by Belgian royalty, at her 25-acre Hillwood Estate. Washington, DC 1964 © The Picture Collection Inc. All Rights Reserved.

“Though lesser-known among modern photographers, Alfred Eisenstaedt was behind the lens of some of the most memorable photos of the 20th century,” said Megan Martinelli, assistant curator of apparel, jewelry, and accessories at Hillwood and curator of the exhibition. “His masterful ability to capture the essence of a fleeting moment left an indelible mark on the field of photojournalism. Mid-Century Masterwill display the legendary work of Eisenstaedt, offering an exploration into life during the mid-20th century and his role in documenting not only Marjorie Post’s lifestyle but also the collective zeitgeist of the last century.”

Images courtesy Hillwood Estate Museum & Gardens.

May 31, 2019

Elective Affinities: Edmund de Waal at The Frick Collection May 30 – November 17, 2019

“The Frick Collection presents a temporary installation of site- specific works by sculptor Edmund de Waal—a rich juxtaposition of nine objects displayed in the main galleries of the museum, alongside works from the permanent collection. Acclaimed as both an artist and writer, de Waal is known for his awarding-winning family memoir The Hare with Amber Eyes (2010), as well as installations of porcelain vessels housed in minimal structures, often created in response to collections and archives or the history of a specific place, such as Waddesdon Manor and Chatsworth House, both in England. His approach is particularly suited to the Frick, and this project marks the first such installation by the artist in the United States. The presentation, curated by Charlotte Vignon, the Frick’s Curator of Decorative Arts, is the latest in a series of collaborations with de Waal and The Frick Collection.” — The Frick Collection

Vignon comments, “I am deeply grateful to Edmund for conceiving such a beautiful and insightful presentation, one that embodies his profound understanding of art, architectural spaces, and the history of collecting. It is a wonderful culmination of his long and close relationship with the Frick.”

De Waal adds, “My hope is that people will understand that this installation is a result of a lifetime-long love affair with this collection, that it’s an attempt to be in real conversation with art, with spaces, with how light changes within a building, with how you move through spaces. If that works, I’m happy.”

Edmund de Waal (b.1964), that pause of space, 2019, porcelain, gold, alabaster, aluminum, and plexiglass, on view in the North Hall, 22 13/16 × 29 15/16 × 11 inches, © Edmund de Waal. Courtesy the artist and The Frick Collection; photo: Christopher Burke

Edmund de Waal (b.1964), from darkness to darkness, 2019, porcelain, steel, and plexiglass, on view in the West Gallery, 33 7/16 × 65 3/4 × 18 7/8 inches, © Edmund de Waal. Courtesy the artist and The Frick Collection; photo: Christopher Burke

Edmund de Waal (b.1964), on an archaic torso of Apollo, 2019, porcelain, steel, gold, alabaster, aluminum, and plexiglass, on view in the Fragonard Room, 22 7/16 × 17 5/16 × 11 13/16 inches, © Edmund de Waal. Courtesy the artist and The Frick Collection; photo: Christopher Burke

Edmund de Waal (b.1964), on living in an old country I (one of a set), 2019, porcelain, steel, gold, alabaster, aluminum, and plexiglass, on view in the Dining Room, 23 5/8 × 35 7/16 × 12 5/8 inches, © Edmund de Waal. Courtesy the artist and The Frick Collection; photo: Christopher Burke

Edmund de Waal (b.1964), an annunciation, 2019, porcelain, steel, gold, alabaster, aluminum, and plexiglass, on view in the Anteroom, 17 5/16 × 22 13/16 × 8 11/16 inches, © Edmund de Waal. Courtesy the artist and The Frick Collection; photo: Christopher Burke

Edmund de Waal (b.1964), an alchemy, 2019, porcelain, steel, gold, and plexiglass, on view in the Library, 18 1/8 × 21 5/8 × 16 9/16 inches, © Edmund de Waal. Courtesy the artist and The Frick Collection; photo: Christopher Burke

Edmund de Waal (b.1964), The Temptation of Christ on the Mountain, I, 2019, porcelain, steel, gold, alabaster, aluminum, and plexiglass, on view in the Enamels Room, 23 1/4 × 16 9/16 × 8 1/4 inches, © Edmund de Waal. Courtesy the artist and The Frick Collection; photo: Christopher Burke

Edmund de Waal (b.1964), sub silentio, porcelain, steel, and plexiglass, on view in the Living Hall, Two of: 24 × 4 3/4 × 4 3/4 inches, One of: 22 7/16 × 4 3/4 × 4 3/4 inches, Two of: 21 5/8 × 6 5/16 × 6 5/16 inches, © Edmund de Waal. Courtesy the artist and The Frick Collection; photo: Christopher Burke

Edmund de Waal (b.1964), steel light I-V, 2019, porcelain, steel, and gold, on view in the West Vestibule, 14 3/16 × 6 5/16 × 7 1/16 inches, © Edmund de Waal. Courtesy the artist and The Frick Collection; photo: Christopher Burke

May 29, 2019

Whitney Biennial 2019 at Whitney Museum of American Art, May 17 – September 22, 2019

“The Whitney Biennial is an unmissable event for anyone interested in finding out what’s happening in art today. Curators Jane Panetta and Rujeko Hockley have been visiting artists over the past year in search of the most important and relevant work. Featuring seventy-five artists and collectives working in painting, sculpture, installation, film and video, photography, performance, and sound, the 2019 Biennial takes the pulse of the contemporary artistic moment. Introduced by the Museum’s founder Gertrude Vanderbilt Whitney in 1932, the Biennial is the longest-running exhibition in the country to chart the latest developments in American art.” — Whitney Museum of American Art

“It’s a snapshot of contemporary art making in the United States today.”—Jane Panetta, 2019 Biennial co-curator

Installation views of Whitney Biennial 2019. Photographs by Corrado Serra.

The 2019 Whitney Biennial was organized by Jane Panetta, associate curator, and Rujeko Hockley, assistant curator, with Ramsay Kolber, curatorial project assistant.

May 28, 2019

Fra Angelico and the Rise of the Florentine Renaissance at Museo Nacional del Prado, Madrid, May 28 – September 15, 2019

“Fra Angelico and the Rise of the Florentine Renaissance, an exhibition sponsored by the Fundación Amigos del Museo del Prado, analyses the artistic importance of the early Florentine Renaissance between approximately 1420 to 1430, with a particular focus on the figure of Fra Angelico, one of the great masters of this period.

The exhibition, which includes 82 works loaned by more than 40 institutions in Europe and America, centres on The Annunciation in the collection of the Museo del Prado, which is now presented in all its splendour following its recent restoration. Shown alongside it are The Virgin of the Pomegranate, which recently entered the Museum’s collection, and an extensive group of works by the artist and by other painters of this period such as Masaccio, Masolino and Filippo Lippi, as well as sculptors including Donatello and Ghiberti.” — Museo Nacional del Prado

FRA ANGELICO. Annunciation and Expulsion of Adam and Eve from Eden, c. 1425–26. Tempera and gold on panel, 190.3 x 191.5 cm. © Museo Nacional del Prado, Madrid

FRA ANGELICO. Virgin of the Pomegranate, c. 1424–25. Tempera and gold on panel, 87 × 59 cm. © Museo Nacional del Prado, Madrid. Adquired in 2016 with the collaboration of Fundación Amigos del Museo del Prado

FRA ANGELICO. Eighteen Blessed of the Dominican Order Panels from the San Domenico High Altarpiece in Fiesole, c. 1419 and c. 1421–22. Tempera and gold on panel. © The National Gallery, London. Bought, 1860

FRA ANGELICO. Virgin and Child, with Four Angels, c. 1417–19. Tempera and gold on panel, 81 x 51 cm. © The State Hermitage Museum, Saint Petersburg

FRA ANGELICO. Coronation of the Virgin, with the Adoration of the Christ Child and Six Angels, c. 1429-31. Tempera and gold on panel, 77 x 43 cm. © Polo Museale della Toscana, Museo di San Marco, Florence

PAOLO UCCELLO. Annunciation, c. 1424-25. Tempera and gold on panel, 65 x 48 cm. University of Oxford, © The Ashmolean Museum, Oxford. Fox-Strangways Gift, 1850

DONATELLO. Virgin of the Pomegranate, c. 1420–25. Polychromed terracotta, 90 x 64 x 28 cm. © Musei Civici Fiorentini, Museo Stefano Bardini, Florence

Exhibition was curated by Carl Brandon Strehlke, Curator Emeritus at the Philadelphia Museum of Art and a renowned expert on Fra Angelico and other Florentine Renaissance painters.

Images courtesy Museo Nacional del Prado.

May 26, 2019

Artistic License: Six Takes on the Guggenheim Collection at Solomon R. Guggenheim Museum, May 24, 2019 – January 12, 2020

“The Solomon R. Guggenheim Museum presents Artistic License: Six Takes on the Guggenheim Collection, the first artist-curated exhibition ever mounted at the museum. This full-rotunda presentation celebrates the Guggenheim’s extensive collection of twentieth-century modern and contemporary artworks, with an exhibition selected by six contemporary artists, all of whom have contributed to shaping the Guggenheim’s history with their own pivotal solo shows. Curated by Cai Guo-Qiang, Paul Chan, Jenny Holzer, Julie Mehretu, Richard Prince, and Carrie Mae Weems, the presentation brings together collection highlights and rarely seen works from the turn of the century to 1980. On view during the 60th anniversary of the Guggenheim’s iconic Frank Lloyd Wright–designed building, Artistic License honors the museum’s artist-centric ethos and commitment to art as a force for upending expectations and expanding perspectives. This exhibition offers a critical examination of the Guggenheim’s collection on the occasion of a significant milestone in its history.” — Guggenheim Museum

ROTUNDA LEVEL 1: CAI GUO-QIANG

Joan Miró. Prades, the Village (Prades, el poble), summer 1917. Oil on canvas, 65 x 72.6 cm. Solomon R. Guggenheim Museum, New York 69.1894 © 2019 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris

Hilla Rebay. The Dog (Le chien), n.d. Paper collage, 34.9 x 43.7 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, By gift 41.576 © 2019 The Hilla von Rebay Foundation

ROTUNDA LEVEL 2: PAUL CHAN

Lawrence Weiner. TO THE SEA ON THE SEA FROM THE SEA AT THE SEA BORDERING THE SEA, 1970. Language + the materials referred to, dimensions variable. Solomon R. Guggenheim Museum, New York, Panza Collection, Gift 92.4189 © 2019 Lawrence Weiner / Artists Rights Society (ARS), New York

Laurie Simmons. First Bathroom/Woman Kneeling, 1978. Silver dye bleach print, 8.9 x 12.7 cm. Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the International Director’s Council 2015.37 © Laurie Simmons

ROTUNDA LEVEL 3: RICHARD PRINCE

Georges Mathieu. Untitled, 1959. Oil on canvas, 96.5 x 161.3 cm. Solomon R. Guggenheim Museum, New York, Gift, Mr. and Mrs. Samuel A. Seaver 79.2628 © 2019 Artists Rights Society (ARS), New York / ADAGP, Paris

ROTUNDA LEVEL 4: JULIE MEHRETU

Francis Bacon. Three Studies for a Crucifixion, March 1962. Oil with sand on canvas, three panels, 198.1 x 144.8 cm each. Solomon R. Guggenheim Museum, New York 64.1700 © 2019 The Estate of Francis Bacon. All rights reserved / Artists Rights Society (ARS), New York/DACS, London

Romare Bearden. Evening 9:10, 461 Lenox Avenue, 1964. Gelatin silver print (photostat) on fiberboard, 68.9 x 90.3 cm. Edition 2/6 (full edition unrealized). Solomon R. Guggenheim Museum, New York, Purchased through prior gift of Julian J. Aberbach and Joachim J. Aberbach, Dr. and Mrs. Samuel S. Mandel, and Mr. and Mrs. Nathan L. Halpern, with additional funds contributed by the Photography Council 2017.76 © Romare Bearden Foundation. Courtesy of DC Moore Gallery, New York

ROTUNDA LEVEL 5: CARRIE MAE WEEMS

Joseph Beuys. Virgin (Jungfrau), April 4, 1979. Chalk on blackboard, chalk and soap bar on wood table, wood chair, electrical cable, socket, and lightbulb, dimensions variable. Solomon R. Guggenheim Museum, New York 94.4265 © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

ROTUNDA LEVEL 6: JENNY HOLZER

Louise Nevelson. Luminous Zag: Night, 1971. Painted wood, 304.8 x 490.2 x 27.3 cm overall. Solomon R. Guggenheim Museum, New York, Gift, Mr. and Mrs. Sidney Singer 77.2325 © 2019 Estate of Louise Nevelson/Artists Rights Society (ARS), New York

Adrian Piper. The Mythic Being: Smoke, 1974. Gelatin silver print, 20.3 x 25.4 cm. Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Photography Council and the International Director’s Council 2017.38 © Adrian Piper

INSTALLATION VIEW OF COLLECTION IN STORAGE

Works from the Guggenheim Museum’s collection in storage, by (clockwise from top left) Jean Dubuffet, Martin Barré, Wifredo Lam, Willem de Kooning, David Hammons, Paul Wonner, Cecilia Vicuña, and Maria Helena Vieira da Silva. Barré, Dubuffet, Lam, and Vieira da Silva © 2019 Artists Rights Society (ARS), New York/ADAGP, Paris; De Kooning © 2019 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York; Hammons © David Hammons; Vicuña © Cecilia Vicuña; Wonner © Estate of Paul Wonner and William Theophilius Brown, Crocker Art Museum, Sacramento. Photo: David M. Heald

Artistic License is organized with the artists by Nancy Spector, Artistic Director and Jennifer and David Stockman Chief Curator, supported by Ylinka Barotto, Assistant Curator, with Tracey Bashkoff, Director of Collections and Senior Curator, and Joan Young, Director, Curatorial Affairs.

Images courtesy Solomon R. Guggenheim Museum.

May 22, 2019

Joana Vasconcelos: ‘What are you hiding? May you find what you are looking for’ at San Clemente Palace Kempinski, Venice, through November 1, 2019

“Continuing MGM’s mission to support art and culture, new and recent works by internationally renowned Portuguese artist Joana Vasconcelos are on show for the first time in Venice. The exhibition, curated by Nina Moaddel, takes place on Isola di San Clemente where the works are exhibited across the Palace Kempinski gardens and in the San Clemente church. Vasconcelos’ largest Valkyrie piece was shown in Valkyrie Octopus at MGM MACAU in 2015; the Venice exhibition therefore marks a continuation of this relationship, bringing a part of the East meets West cultural tastes between Macau, China and Portugal to new audiences in Venice.

The exhibition’s title – ‘What are you hiding? May you find what you are looking for’ – is a response to the 58th Venice Biennale’s title as selected by curator Ralph Rugoff, ‘May you live in interesting times’. Vasconcelos’ works contain references both to the popular culture of her home country and to theoretical debates in contemporary art, especially those concerned with fostering viewers’ interpretation of artworks. Whilst seemingly a blessing, the expression ‘May you live in interesting times’ has an ironic edge, playing on the illusion that you will be happy when you reach your goals and dreams. Similarly Vasconcelos’ works play with the viewers perception through a sharp sense of humour that shuns dogmatism and at the same time explores issues of identity, migration and the exploitation of women.” — MGM

Joana Vasconcelos. I’ll be Your Mirror #1 (2019) in the garden of San Clemente Palace Kempinski, Venice

Joana Vasconcelos. Front: Betty Boop PA (2019). Back: I’ll be Your Mirror #1 (2019) in the garden of San Clemente Palace Kempinski, Venice

Joana Vasconcelos. Betty Boop PA (2019) in the garden of San Clemente Palace Kempinski, Venice

Joana Vasconcelos, Madragoa (2015-2019) in San Clemente Church, Venice

Joana Vasconcelos, Madragoa (2015-2019) in San Clemente Church, Venice

Installation view: Joana Vasconcelos: Valkyrie Octopus at MGM MACAU, 2015. The work Madragoa is pictured on the left. Credit: Luis Vasconcelos.

Installation view: Joana Vasconcelos: Valkyrie Octopus at MGM MACAU, 2015.

Title Image: Joana Vasconcelos, I’ll Be Your Mirror #1 (2018) Bronze, mirrors 356 x 682 x 537 cm. Edition of 7 + 1 AP. Collection of the artist. Credit: Luis Vasconcelos ©Unidade Infinita Projectos_

Images courtesy MGM.

May 19, 2019

Martin Puryear: Liberty/Libertà at United States Pavilion, Giardini della Biennale, Venice, May 11 – November 24, 2019

“The United States Pavilion at the 58th International Art Exhibition, La Biennale di Venezia, presents new and recent work by Martin Puryear, an artist recognized for a fiercely independent sculptural language ascending from his long-term scrutiny of national and international sources and for an exacting practice that foregrounds technique, materiality, and meaning in sculpture. Martin Puryear: Liberty/Libertà meditates on a theme that has remained central to Puryear’s work over the course of his more-than-fifty-year career. Featuring recent sculptures and new works, including a monumental installation in the Pavilion’s forecourt, the exhibition explores ongoing issues related to liberty and its inherent complexities in American and global societies.” — Madison Square Park Conservancy

“For more than five decades, Martin Puryear has created a body of work distinguished by a complex visual vocabulary and deeply considered meaning. His exacting method and nuance have influenced generations of artists in the U.S. and internationally,” said Rapaport, Deputy Director and Martin Friedman Senior Curator at Madison Square Park Conservancy. “When Puryear learned that he would represent our country at the Venice Biennale, his response was that he would do so both as an artist and as a citizen. This position is not a discovery for those who know Puryear and his sculpture. His enduring approach has galvanized his work throughout his prolific career: issues of democracy, identity, and liberty have long propelled him. Madison Square Park Conservancy is proud to partner with Puryear and bring our expertise and experience as an institution dedicated to public art to the U.S. Pavilion, which provides a critical spotlight on one of the most significant and influential artists working today.”

Installation view Martin Puryear: Liberty/Libertà, La Biennale di Venezia, U.S. Pavilion, Venice, Italy, 2019. Left: Big Phrygian (2010-14), Glenstone Museum, Potomac, Maryland. Photo: Joshua White – JWPictures.com

Installation view Martin Puryear: Liberty/Libertà, La Biennale di Venezia, U.S. Pavilion, Venice, Italy, 2019. Front: New Voortrekker, 2018. Back: Hibernian Testosterone, 2018. Photo: Joshua White – JWPictures.com

Installation view Martin Puryear: Liberty/Libertà, La Biennale di Venezia, U.S. Pavilion, Venice, Italy, 2019. Front: Detail of A Column for Sally Hemings, 2019. Back: Cloister-Redoubt or Cloistered Doubt?, 2019. Photo: Joshua White – JWPictures.com

Installation view Martin Puryear: Liberty/Libertà, La Biennale di Venezia, U.S. Pavilion, Venice, Italy, 2019. Left: Tabernacle, 2019. Right: Aso Oke, 2019. Photo: Joshua White – JWPictures.com

Swallowed Sun (Monstrance and Volute), 2019. Southern yellow pine, steel, polyester, canvas, rope. Two parts, (a) 22 ft. 8 in. × 44 ft. × 1 ft., (b) 21 ft. × 7 ft. 9 in. × 23 ft. 3 in., overall 22 ft. 8 in. × 44 ft. × 24 ft. 3 in. Photo: Joshua White – JWPictures.com

Martin Puryear: Liberty/Libertà was organized by Madison Square Park Conservancy, New York; commissioned and curated by Brooke Kamin Rapaport, Deputy Director and Martin Friedman Senior Curator at the Conservancy; and presented by the U.S. Department of State’s Bureau of Educational and Cultural Affairs and the U.S. Mission to Italy,

Exhibition design by Tod Williams Billie Tsien Architects. Julia Friedman, Senior Curatorial Manager, and Tom Reidy, Senior Project Manager, both of Madison Square Park Conservancy, have contributed to all aspects of exhibition organization and installation.

Images courtesy Madison Square Park Conservancy.