exhibits Modern Times: American Art 1910–1950 April 18—September 3, 2018 The early twentieth century was a time of great social, artistic, and technological change— from jazz and the jitterbug to assembly lines and skylines. In response to the change, artists began to employ a revolutionary language of shapes and colors. This exhibit at the Philadelphia Museum of Art includes the works of Georgia O’Keeffe, Marsden Hartley, Jacob Lawrence, and others depicting how they challenged convention and forged bold new styles to fit the times. Tudors to Windsors: British Royal Portraits from Holbein to Warhol October 7—February 3, 2019 The Museum of Fine Arts, Houston is hosting Tudors to Windsors: British Royal Portraits from Holbein to Patrick Demarchelier, Princess Diana, 1990, platinum print, Demarchelier Studio.
Warhol. The show will shed new light on changing ideas of monarchy and nationhood in Britain. Features will include portraits of British royalty spanning 500 years, by artists such as Hans Holbein, Sir Joshua Reynolds, Annie Leibovitz and Andy Warhol. Tudors to Windsors addresses the kings, queens, princes, and princesses who have graced the British crown. The MFAH is the only U.S. venue to host this unprecedented exhibition, part of a major partnership with the National Portrait Gallery in London. Nearly 150 objects—most never before seen outside of England—tell the story of Britain’s monarchy through masterworks of painting, sculpture, and photography. The exhibit explores four royal
dynasties: the House of Tudor (1485–1603), the House of Stuart (1603–1714), the House of Hanover (1714–1901), and the present-day House of Windsor. Some of the many works on view include portraits of King Henry VIII, Queen Elizabeth I, King George I, Queen Victoria, Queen Elizabeth II, Princess Diana, and Prince William. John Grade: Middle Fork Ongoing The Seattle Art Museum is exhibiting John Grade’s large-scale sculpture, Middle Fork. It echoes the contours of a 140-year-old Western Hemlock tree located in the Cascade Mountains east of Seattle. The artist and a cadre of volunteers began by making a full plaster cast of the living tree. They then used this mold to recreate the tree’s form out of thousands of pieces of reclaimed old-growth cedar. Middle Fork was conceived and fabricated at MadArt Studio and made its Seattle debut there in January 2015. The
Middle Fork, 2014–2017, John Grade, American, b. 1970, cedar and waterproof glue, 105 ft. long x 30 ft. diameter, Seattle Art Museum Commission, Photo: Ben Benschneider.
original work was 40-feet long and will more than double in length for its installation in the Brotman Forum at the Seattle Art Museum.
Something on the Eight Ball. Stuart Davis, American, 1892 - 1964 © Estate of Stuart Davis / Licensed by VAGA, New York. In 1954 Stuart Davis explained the title of this kinetic painting in a letter to Henry Clifford, a Philadelphia Museum of Art curator: “’Something on the Eight Ball’ is a switch on the usual phrase ‘behind the eight ball.’ I used it without knowledge of hearing it before in a conversation with some jazz musicians [and] it got a laugh, causing me to remember it.” Shorter Oxford English Dictionary, 2012.
people leave on their surroundings. Orosi (2016), conceived in sculpted steel, displays the network of a narrow alley shared between an abandoned freemason temple, a tangerine farm
Brody Albert: Strata June 17—October 7, 2018 Brody Albert: Strata presents unseen sites, both intimate and public, throughout California and the communities that inhabit them. Brody Albert, based in Los Angeles, displays three works, expanding beyond the gallery walls of the PMCA Project Room and into the Museum’s lobby and stairwell. Smog rubbed from the walls of a freeway tunnel, the crushed remains of a fire escape, and accumulated paper waste spun into a nest are the results of unnoticed exchanges between people, environment, and industry. Albert’s sculptural installations examine this type of interplay and the marks that ArtDiction | 14| July/August 2018
Brody Albert, Wasp Nest (Mr. Horsepower), 2016. Xerox paper, steel. 66 x 24 x 11 inches. Image courtesy of Jeff McLane.
in Orosi, CA, and the truck drivers who dispense the food. Wasp Nest (Mr. Horsepower) (2016) reflects the labored process of wasps building a structure to draw a parallel with the built and shifting infrastructure of Californian cities. 110 at I-5 (2017) is a life-sized re-creation on the gallery walls and
