Nยบ7 EN / MAR 2014
FREE MONTHLY MAGAZINE
Anka Zhuravleva:
Pictures Made of Sound and Stories
Technical File • • • • • • • • • • • • • • • • • • • • •
Line & Stylish, Art Magazine Nr Registo ERC – 126385/ ERC Registration nr - 126385 Proprietário/Owner: José Eduardo de Almeida e Silva Editor/Publisher: José Eduardo de Almeida e Silva NIF: 179208586 Periodicidade/Periodicity: Mensal/Monthly Morada da Redacção/Editorial Address: Urbanização do Lidador Rua 17, nr 106 4470-709 – Maia Portugal Contacto/Contact : +351 926493792 Director Geral/Director in Chief: Eduardo Silva Director Adjunto/Vice-director: Isabel Gore Editor / Editor in Chief: Eduardo Silva Redacção/ Editorial Staff: José Eduardo Silva Isabel Pereira Coutinho Luís Peixoto Director Técnico/ Art and Web Director: Luís Peixoto Photografia/Photography: Anka Zhuravleva © Courtesy (Courtesy) Anka Zhuravleva Axelle Fine Arts Galerie © Axelle Fine Arts Galeire Belvedere © Belvedere, Vienna. © Rijksmuseum Amsterdam. ©Photo: Oskar Schmidt, © Belvedere, Vienna. © Belvedere, Vienna. Guggenheim Museum © Carrie Mae Weems. © Carrie Mae Weems Courtesy the artist and Jack Shainman Gallery, New York © Copyright President & Fellows of Harvard College, 1977. All rights reserved. Digital image © 2012, MoMA, N.Y. ©Robert Gerhardt ©Collection of Rodney M. Miller © The Art Institute of Chicago Museu Nacional de Arte Antiga © Madrid, Museo National del Prado NSU Museum of Art Fort Lauderdale ©Museum of Art | Fort Lauderdale,ova Southeastern University; The Golda and Meyer Marks Cobra Collection The Metropolitan Museum of Art © The Metropolitan Museum of Art, New York (46.122.3),cat. no. 16. - (2005.100.358) cat. no.62 - (2007.167).
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cat. no. 104 ©Harris Brisbane Dick Fund, 1946. © The AIA/AAF Collection, Prints and Photographs Division, Library of Congress, Washington D.C.cat. no. 41 © Gilman Collection, Purchase, Mr. and Mrs. Henry R. Kravis Gift, 2005 © Musée Carnavalet, Paris.© Musée Carnavalet / Roger- Viollet .cat. no. 54 © Purchase, Alfred Stieglitz Society Gifts, 2007 ©Gilman Collection, Purchase, Alfred Stieglitz Society Gifts, 2005 ©The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1986 ©Collection W. Bruce and Delaney H. Lundberg .cat. no. 99 ©Musée Carnavalet, Paris.© Musée Carnavalet / Roger- Viollet .cat. no. 94 - no. 92 ©Chancellor Robert R Livingston Masonic Library of Grand Lodge, New York Image: Courtesy of Chancellor Robert R Livingston Masonic Library of Grand Lodge New York ©The Metropolitan Museum of Art, Edward S. Harkness Gift, 1926 (26.7.1399) ©The Metropolitan Museum of Art, Gift of Hadji Mohammed Mohassib, 1914 (14.8) © The Metropolitan Museum of Art, Fletcher Fund and The Guide Foundation Inc. Gift, 1966 (66.99.55) © The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1937 (37.45.3(49) © The Metropolitan Museum of Art, Gift of J. Pierpont Morgan, 1906 (07.225.291) © The Metropolitan Museum of Art, The Edgar J. Kaufmann Charitable Foundation Gift, 1968 (68.97.4-.6) © The Metropolitan Museum of Art, Harris Brisbane Dick Fund and Joseph Pulitzer Bequest, 1971 (1971.513.56) ©The Metropolitan Museum of Art, Rogers Fund, 1948 (48.81) ©The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1941 (41.72(1.67) Thomas Dood © Courtesy (Courtesy) Thomas Dodd Philadelphia Museum of Art © National Museum of Korea, Seoul.
Line and Stylish March Issue focuses on photography, more than the previous editions. However, at the beginning it wasn’t our intention to highlight photography but it happened, what makes us wonder about the growing importance of photography in contemporary art. Something so natural that almost nobody remembers the discussions which involved those who defend photography and those who see it just as a technical tool to reproduce the reality as it looks. A century later, it seems completely nonsense to deny the status of art just because photography doesn’t work without a technical component. If you stop for a moment and think, you realize that the same happens with the major arts. So the problem was quite different and it was lost in the history of the human mentality. What photography brought to art, was a way to make it affordable to much more people, because there’s not an exclusive piece but several ones. The capital sin of photography was to spread art to the common people, but this subject will be discussed in a special issue of Line and Stylish. For now, we will leave you with the photography of Anka Zhuravleva, Carrie Mae Weems at the Solomon R. Guggenheim Museum, Charles Marville at The Metropolitan Museum of Art and with Thomas Dodd’s first book. José Eduardo Silva Director in Chief Cover: Anka Zhuravleva “Porto in My Head”
Courtesy: Anka Zhuravleva 3
ÍNDEX 6.
WINTER PALACE
76.
SPIRIT OF
88.
THOMAS
PRINCE EUGENE OF SAVOY
28.
CHARLES MARVILLE
Artist of the
Photographer of Paris
42.
ANKA ZHURAVLEVA
100 .
ARTS AND CULT JOSEON DI
1392 – 1
60. RUBENS, BRUEGHEL, LORRAIN
THE NORDIC LANDSACPE OF MUSEO DEL PRADO
4
118.
HOLLIS D
Solo Exib
COBRA
128.
“CLEOPATRA’S NEEDLE”
DODD
146.
CARRIE MAE WEEMS
e month
TURES OF THE INASTY
Three Decades of Photography and Video
164.
MARCH HIGHLIGHTS
1910
DUNLAP
bition
info@lineandstylish.com +351 926 493 792 5
WINTER PALACE
PRINCE EUGENE OF SAVOY - 350 YEARS 18 October 2013 to 27 April 2014
The Winter Palace as the Belvedere’s new exhibition venue in Vienna’s city centre.
Winter Palace
© Belvedere, Viena 6
Originally built as a lavish stately residence for Prince Eugene of Savoy, then acquired in 1752 by Empress Maria Theresa before being used for the Court Treasury and later as the Ministry of Finance, this Baroque jewel in downtown Vienna has finally been restored to a centre of art and culture. With the opening of the Belvedere’s new – and fourth – exhibition venue, the principal rooms of Prince Eugene’s state apartments will be accessible to the public from 18 October 2013 on. Building on the historical legacy and far-reaching impact of the cosmopolitan prince, a further important art hub is to be established in Vienna’s city centre that will be fed by interactions between the town and the garden palace – the Winter Palace and the Belvedere: they have now been reunited after more than 260 years. Following the first exhibition, held in commemoration of the original owner’s 350th birthday, the primary objective will be to create an artistic dialogue between cultural heritage and contemporary art – an approach that has already been successfully implemented by important art institutions around the globe and at the Belvedere Palace itself. Along these lines, the staterooms in Vienna’s Himmelpfortgasse will become the place of an artistic encounter between baroque setting, the Belvedere’s collections, and contemporary art. The envisaged presentations will be developed in direct reference to the site and will result in inspiring new artworks created in situ whose relevance will not least be based on the unique ambience and history of the place.Vital starting points will be the city palace’s architecture and the former collections of the prince, as well as those of the Belvedere. 7
Winter Palace.Ceremonial Staircase
Photo: Oskar Schmidt, Š Belvedere, Vienna
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Marking the 350th birthday of Prince Eugene of Savoy, the opening exhibition at the Winter Palace, an internationally acclaimed Baroque landmark, focuses on the cosmopolitan’s biography, the architectural history of the palace, and the military achievements of its former owner. Selected objects from various genres blend in with and enhance the existing structure of the staterooms. While the show illustrates Prince Eugene’s personal career and family background, the section on the building’s history sheds light on the original appearance of the palace’s interior.
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PRINCE EUGENE OF SAVOY
Cartouche with Prince Eugene’s Coat of Arms, replica from the 19th century Wood, carved and gilt.,68 cm © Belvedere, Vienna 10
General, Philosopher, Art Connoisseur After a meteoric rise to power and a dazzling career as a general, Prince Eugene of Savoy (1663–1736), Italian by descent and French by birth, became one of the most influential Austrians and had a lasting impact on the country’s fortunes and its art and cultural history. As a diplomat and advisor to emperors Leopold I, Joseph I, and Charles VI, he travelled through Europe from one theatre of war to the next, playing a decisive role in determining the future of the House of Habsburg. Prince Eugene, the offspring of an Italian noble family, grew up in France and later lived in the region that is modern-day Austria, so that he can be regarded as a truly international or even supranational personality. Travels and military campaigns took him to many countries, and he was always receptive to these different cultures. Diplomats and many other illustrious personalities socialized at his palaces, which resulted in a vibrant exchange among nations in terms of politics, culture, and art. Prince Eugene’s collections clearly reflect these intentions: they encompass paintings by Dutch, Italian, and French masters, precious manuscripts and books, oriental fabrics, Chinese porcelain, and animals and plants from several continents. The prince was able to acquire this wide array of precious objects with the help of an international network of agents and friends, who were well informed about his interests.
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THE STATEROOMS IN THE WINTER PALACE Blue Room
Winter Palace. A glimpse of the Blue Room Photo: Oskar Schmidt, Š Belvedere, Vienna
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In Prince Eugene’s days, the so-called State Bedroom was considered the enfilade’s most outstanding room. The green velvet trellis along the walls was interrupted by wide borders embroidered with grotesque motifs. This most spacious stateroom also contained a magnificent bed, which did not serve as a place to sleep, but was used in ceremonies. The central ceiling fresco by Louis Dorigny features the Marriage of Hercules and Hebe and is surrounded by illusionistic architecture painted by Marcantonio Chiarini.
Winter Palace, Blue Room
Exhibition view Prince Eugene of Savoy - 350 YEARS Belvedere, Viena 13
THE STATEROOMS IN THE WINTER PALACE Red Room
Winter Palace, Red Room
Exhibition view Prince Eugene of Savoy - 350 YEARS © Belvedere, Viena 14
This stateroom, once used as Audience Chamber, was decorated with trellises of red velvet. One of its eye-catchers was a hot air stove representing the Fight of Hercules against Ladon, the Hesperides’ dragon, now installed in SchÜnbrunn palace. The ceiling fresco by Andrea Lanzani, depicting the Admission of Hercules to Olympus, has survived in its entirety.
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THE STATEROOMS IN THE WINTER PALACE Yellow Room
Winter Palace.Yellow Room
Photo: Oskar Schmidt, Š Belvedere, Vienna
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The Yellow Room and the adjacent room originally accommodated the prince’s picture gallery. A long hall stretching out over five window bays, it contained paintings by such artists as Anthony van Dyck, Peter Paul Rubens, and Guido Reni, as well as two lacquer cabinets. When the room was divided during the reconstruction begun in 1752, an intermediate ceiling was installed, which still conceals a ceiling fresco by Louis Dorigny depicting the Rape of Orithyia by Boreas.
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Library Rooms
Winter Palace, Hall of Battle Paintings
Exhibition view Prince Eugene of Savoy - 350 YEARS Š Belvedere, Viena 18
Altogether three library rooms, including the so-called Hall of Battle Paintings, highlighting seven oil paintings depicting the military commander’s victorious battles, accommodated major parts of Prince Eugene’s extensive book collection. After Prince Eugene’s death, Emperor Charles VI acquired his books, manuscripts, and prints for the Court Library.
Jacob van Schuppen
The Painter of Battle Scenes Jacques-Ignace Parrocel, c. 1716 Oil on canvas. 135 x 114.5 cm © Belvedere, Vienna 19
GOLD CABINET
The magnificent Gold Cabinet’s original carved ceiling has been completely preserved. According to the period’s taste, the walls were covered with mirrors and brackets on which Asian porcelain was presented. Parts of the decoration were transferred to the Lower Belvedere and used for the latter’s Gold Cabinet. The empty surfaces were subsequently decorated with specially created paintings by Franz Caspar Sambach and Franz Zogelmann.
Winter Palace, Gold Cabinet
Exhibition view Prince Eugene of Savoy - 350 YEARS © Belvedere, Vienna 20
Winter Palace.Detail Gold Cabinet Š Belvedere, Vienna 21
CHAPEL
Winter Palace.Chapel
Photo: Oskar Schmidt, Š Belvedere, Vienna 22
The small chapel is an addition dating from the reconstruction started in 1752. The wall paintings are particularly interesting, as they seem to be by the hand of a yet unidentified painter from the circle of the Vienna Academy. Prince Eugene’s own small chapel used to be installed in the rear section of the State Bedroom, but has not survived. It is believed that both the altar and the parquet flooring come from this original chapel.
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THE HISTORY OF THE WINTER PALACE The Winter Palace was built on a total of four plots in Vienna’s Himmelpfortgasse, formerly known as Trabothen-Gasse. First building phase (1696–1698) - Second building phase (1708–1711) Third building phase (1723–1724).
Johann Adam Delsenbach The Winter Palace of Prince Eugene of Savoy in Himmelpfortgasse, undated Colored engraving, 25.5 x 41.2 cm © Belvedere, Vienna 24
Carl Moll Interior at the Winter Palace of Prince Eugene of Savoy (1663–1736) on Himmelpfortgasse, 1907/1908 Oil on canvas,120 x 120 cm Š Belvedere, Vienna 25
The Winter Palace since 1752 In 1752, Empress Maria Theresa acquired not only the Winter Palace, but also the Belvedere and the palaces of Hof and Niederweiden. Following several renovations and adaptations, the Winter Palace accommodated the Imperial Chamber for Minting and Mining, the Supreme Judicial Authority, and finally the Court Treasury, the institution preceding the Ministry of Finance. Then, starting in 1841, a further period of adaptations culminated in the establishment of the Imperial and Royal Ministry of Finance at this location in 1848. Major restoration work was undertaken between 1888 and 1890, followed by smaller adaptations in the years 1913 and 1928. From 1945 to 1947, damage from the Second World War was repaired, and between 1967 and 1973 the staterooms underwent a thorough renovation.
Belvedere Prinz Eugen-StraĂ&#x;e 27, 1030 Vienna Austria 26
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Charles Marville: Photographer of Paris January 29 - May 4, 2014 THE METROPOLITAN MUSEUM OF ART
Widely acknowledged as one of the most talented photographers of the 19th century, Charles Marville (French, 1813–1879) was commissioned by the city of Paris to document both the picturesque, medieval streets of old Paris and the broad boulevards and grand public structures that Baron Georges-Eugène Haussmann built in their place for Emperor Napoleon III. Charles Marville: Photographer of Paris at The Metropolitan Museum of Art presents a selection of around 100 of his photographs. The exhibition is made possible in part by Jennifer S. and Philip F. Maritz. The exhibition was organized by the National Gallery of Art, Washington, in association with The Metropolitan Museum of Art, New York.
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Charles Marville (French, 1813–1879). Man Reclining beneath a Chestnut Tree -ca. 1853
Salted paper print from paper negative,20.9 x 16.2 cm (8 1/4 x 6 3/8 in.) Harris Brisbane Dick Fund, 1946 The Metropolitan Museum of Art, New York (46.122.3),cat. no. 16 29
Charles Marville (French, 1813–1879). Spire of Notre Dame, Viollet-le-Duc, Architect ,1859–60
Albumen silver print from glass negative, 49.5 x 36.5 cm (19 1/2 x 14 3/8 in.) The AIA/AAF Collection, Prints and Photographs Division, Library of Congress, Washington D.C.cat. no. 41 30
Charles Marville (French, 1813–1879). Rue Estienne from the rue Boucher (First Arrondissement),1862–65 Albumen silver print from glass negative,34.3 x 27.1 cm (13 1/2 x 10 11/16 in.) Gilman Collection, Purchase, Mr. and Mrs. Henry R. Kravis Gift, 2005 The Metropolitan Museum of Art, New York (2005.100.358) 31
Marville achieved moderate success as an illustrator of books and magazines early in his career. It was not until 1850 that he shifted course and took up photography—a medium that had been introduced just 11 years earlier. His poetic urban views, detailed architectural studies, and picturesque landscapes quickly garnered praise. Although he made photographs throughout France, Germany, and Italy, it was his native city— especially its monuments, churches, bridges, and gardens—that provided the artist with his greatest and most enduring source of inspiration. By the end of the 1850s, Marville had established a reputation as an accomplished and versatile photographer. From 1862, as official photographer for the city of Paris, he documented aspects of the radical modernization program that had been launched by Emperor Napoleon III and his chief urban planner, Baron GeorgesEugène Haussmann. In this capacity, Marville photographed the city’s oldest quarters, and especially the narrow, winding streets slated for demolition. Even as he recorded the disappearance of Old Paris, Marville turned his camera on the new city that had begun to emerge. Many of his photographs celebrate its glamour and comforts, while other views of the city’s desolate outskirts attest to the unsettling social and physical changes wrought by rapid modernization.
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Charles Marville (French, 1813–1879). Banks of the Bièvre River at the Bottom of the rue des Gobelins (Fifth Arrondissement),ca. 1862 Albumen print from collodion negative.27.5 x 36.8 cm (10 13/16 x 14 1/2 in.) Musée Carnavalet, Paris.© Musée Carnavalet / Roger-Viollet.cat. no. 54 33
Charles Marville (French, 1813–1879). Passage Saint-Guillaume toward the rue Richilieu (First Arrondissement),1863–65
Albumen silver print from glass negative,31.91 x 27.62 cm (12 9/16 x 10 7/8 in.) Joy of Giving Something, Inc.cat. no. 60 34
Charles Marville (French, 1813–1879). Arts et Métiers (Ancien Modèle) ,1864
Albumen silver print from glass negative,36.6 x 24.1 cm (14 7/16 x 9 1/2 in.) Purchase, Alfred Stieglitz Society Gifts, 2007 The Metropolitan Museum of Art, New York (2007.167).cat. no. 104 35
Charles Marville (French, 1813–1879). Cour Saint-Guillaume (Ninth Arrondissement),1866–67
Albumen silver print from glass negative,34.2 x 27.2 cm (13 7/16 x 10 11/16 in.) Gilman Collection, Purchase, Alfred Stieglitz Society Gifts, 2005 The Metropolitan Museum of Art, New York (2005.100.378).cat. no. 62 36
Charles Marville (French, 1813–1879). Rue de Constantine (Fourth Arrondissement),1866
Albumen silver print from glass negative, 27.3 x 36.8 cm (10 3/4 x 14 1/2 in.) The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1986 The Metropolitan Museum of Art, New York (1986.1141).cat. no. 56 37
Charles Marville (French, 1813–1879). Lamppost, Entrance to the École des Beaux-Arts.ca. 1870 Albumen silver print from glass negative.35.6 x 25.4 cm (14 x 10 in.) Collection W. Bruce and Delaney H. Lundberg.cat. no. 99 38
Charles Marville (French, 1813–1879). Urinal, Jennings System, plateau de l’Ambigu,1876
Albumen silver print from glass negative,26.7 × 36.4 cm (10 1/2 × 14 5/16 in.) Musée Carnavalet, Paris.© Musée Carnavalet / Roger-Viollet.cat. no. 94 39
Charles Marville (French, 1813–1879). Top of the rue Champlain, View to the Right (Twentieth Arrondissement),1877–78
Albumen silver print from glass negative,26 x 36.6 cm (10 1/4 x 14 7/16 in.) Musée Carnavalet, Paris,© Musée Carnavalet / Roger-Viollet.cat. no. 92 40
Haussmann not only redrew the map of Paris, he transformed the urban experience by commissioning and installing tens of thousands of pieces of street furniture, kiosks, Morris columns for posting advertisements, pissoirs, garden gates, and, above all, some twenty thousand gas lamps. By the time he stepped down as prefect in 1870, Paris was no longer a place where residents dared to go out at night only if accompanied by armed men carrying lanterns. Taken as a whole, Marville’s photographs of Paris stand as one of the earliest and most powerful explorations of urban transformation on a grand scale. By the time of his death, Marville had fallen into relative obscurity, with much of his work stored in municipal or state archives. This exhibition, which marks the bicentennial of Marville’s birth, explores the full trajectory of the artist’s photographic career and brings to light the extraordinary beauty and historical significance of his art.
The Metropolitan Museum of Art 1000 Fifth Avenue New York, New York 10028-0198 41
Anka Zhuravleva (BORN ANNA BELOVA) Anka was born on December 4, 1980, in Moscow. She spent her childhood with books on art and her mothers’ drawing tools, covering acres of paper with her drawings. In 1997 she entered the Moscow Architectural Institute deciding to follow in her mothers’ footsteps. But at the end of 1997 her mother was diagnosed with cancer and died in less than a year. Then her father died in 1999. After that Anka’s life changed dramatically. In attempt to keep sane, she plunged into an alternative lifestyle – working as a tattoo artist, singing in a rock-band, sometimes looking for escape in alcohol. In order to make a living while studying, Anka worked at several modelling agencies. Thanks to the drawing lessons she wasn’t afraid to pose nude, and her photos appeared in the Playboy and XXL magazines and at the Playboy 1999 photo exhibition. But she was not looking for a modelling career – it was just a way to make some money.
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Anka Zhuravleva “Modern Margarita”
Courtesy: Anka Zhuravleva 43
In 2001 Anka was working in the post-production department at the Mosfilm Studios.That same winter one of her colleagues invited her to spend a week-end in Saint-Petersburg with his friend, composer and musician Alexander Zhuravlev. In less than a month Anka said farewell to Moscow, her friends, her Mosfilm career and with Alexander in moved to Saint-Petersburg. Living with her loved one healed her soul, and she regained the urge for painting. She made several graphic works and ventured into other areas of visual arts. In 2002 Gavriil Lubnin, the famous painter and her husband’s friend, showed her the oil painting technique, which she experimented with for the following several years. During that period she made just a few works because each one required unleashing of a serious emotional charge. All those paintings were different as if created by different people. Anka’s first exhibition took place on a local TV channel live on the air - the studio was decorated with her works. Several exhibitions followed. Private collections in Russia and abroad feature her paintings and sketches. In 2006 Anka noticed that her inspiration often came from photos and decided to take up photography. Since that time Anka took part in numerous projects - magazine’s publications and covers, book and CD covers, exhibitions. She engages digital photo art and analogue film photography as well. In 2013 Anka and her husband moved to live in Porto, Portugal. www.anka-zhuravleva.com 44
Anka Zhuravleva “ 5 o’clock”
Courtesy: Anka Zhuravleva 45
Pictures Made of S Editorial Po Anka Zhuravleva’s photographic work develops from two main pillars; the feminine figure and a narrative composition, which means that each picture is designed to tell a story. The combination of these two primordial elements leads the viewer to take part in an action that the artist only created the starting point. Reason why Anka’s work can’t be seen as cinematic, but rather closer to literature or music. The magical world to each photo seems able to carry us; it is the result of a strange kind of communication between the artist, the artwork and the viewer. This situation makes that Anka Zhuravleva’s photography must be regarded as a universal case of success because it isn’t an auto biographical moment or fragments of a given fiction what we are seeing, but archetypal spots crystallized in photos, something that allows everyone to see them as their own story. This is one of the reasons why Anka’s works are so popular and spread worldwide, especially her series “Distorted Gravity”. Other reason, not so obvious, is her deeply knowledge of fine art, classical composition and full control of the photographic 46
Sound and Stories oint of View techniques. Finally the third reason; female characters all of them boasting a peculiar beauty far from the commercial stereotype or the 21st century popular imagination. This is why female images play a decisive role in Zhuravleva’s art, they are the doors through which all the creative process begins. Anka is that kind of photographer that makes photography a superior expression of art, even when she manipulates the original image. Here the main concern of the artist is to communicate with the viewer, something that she does with mastery, sometimes with irony, sometimes with wariness, but always with talent and sense of balance. Zhuravleva’s raw material and the main source of inspiration are her own dreams, fears, pleasures, hopes, memories and all these feelings that she has the ability to manipulate in a way to produce a universal language which can be easily understood by everyone. So, as we said before, the great quality of Anka Zhuravleva’s artwork lies not only in the artistic skills showed, but also in her dramatic capacity to put the viewer in the center of the action.
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Anka Zh “Nika’s Slee
Courtesy: Ank 48
huravleva epy Flight�
ka Zhuravleva 49
Anka Zh “Porto in M
Courtesy: Ank 50
huravleva My Head�
ka Zhuravleva 51
Anka Zh “Paper
Courtesy: Ank 52
huravleva Ships�
ka Zhuravleva 53
Anka Zhuravleva “Portrait of Kate”
Courtesy: Anka Zhuravleva 54
Anka Zhuravleva “Portrait of Olga”
Courtesy: Anka Zhuravleva 55
Anka Zh “Siberian
Courtesy: Ank 56
huravleva Portrait�
ka Zhuravleva 57
Anka Zhuravleva “Some Books Can Fly You Away” Courtesy: Anka Zhuravleva 58
Anka Zhuravleva “Viana Story”
Courtesy: Anka Zhuravleva 59
FIRST EXHIBITION OF MUSE
“RUBENS, BRUEGHEL, LORRAIN. THE NOR December 3 –
LISBOA, MUSEU NACIO (LISBON, THE NATIONAL M
The National Museum of Ancient A receives the first exhibition in Portuga the The Museo del Prado, the most im the most important in the world.Fro 2014, The National Museum of Ancien public collection of Portugal, from 12t 57 landscapes of the great masters of th from a historic agreement signed betw objective of executation joint projects collections.
With “RUBENS, BRUEGHEL, LORRA del Prado starts a new path in the pr associating itself with the producer, organizing events are widely recognize diffusers and an increase of effectiven
In the second half of the 16th centur the subject matter used by the artist Netherlands, that Italians, at that time the 17th century, painters and coll characteristic motifs of history painti 60
EO DEL PRADO IN PORTUGAL
RDIC LANDSACPE OF MUSEO DEL PRADO” March 30,2014
ONAL DE ARTE ANTIGA MUSEUM OF ANCIENT ART)
Art (Museu Nacional de Arte Antiga) al comprised exclusively of works from mportant spanish museum and one of om December 30, 2013, to March 30, nt Art which owns the most important th century to 19th century, will exhibit he 17th century. This show is the result ween the two museums, which has the s that promote the knowledge of both
AIN, The Nordic landscape of Museo roduction of their major exhibitions, whose rigor and professionalism in ed, allowing an optimization of circuits ness in relation to national tourism.
ry, it’s possible to observe a change in ts of northern Europe, especially the e, designated by “Nordic”. Throughout lectors withdraw from their heroic, ing, approaching to everyday themes, 61
which began to consider worthy of be we find the landscape, which becomes
This exhibition is divided into nine types of landscape that emerged in F Mountain: crossroads”, “The Woods as S woods and enchanted forest, encounter “ Life in the Field “, In the Garden of th “,” Water Landscape: sea, beaches, har “Distant Lands “and also” In Italy, The L
The most outstanding Nordic lands comprise this show, with such impo by Tobias Verhaecht, “ Countrylif Elements”,“Country Wedding” by Jan B Saint Hubert”, painted in collabora Gypsies” and “The Arch Shooting” by D of Aire-sur-la-Lys” de Peeter Snayers, a
62
eing represented. Among these issues, an independent pictorial genre.
e nucleus, corresponding to different Flanders and in the Netherlands: “The Scenario: life in the woods, the biblical r of travelers “,” Rubens and Landscape”, he Palace “, “ Ice and Snow Landscapes rbors and rivers “,” Exotic Landscapes, Light is Painted”.
scape’s Masters of the 17th century ortant works as “Alpine Landscape”, fe”, “The Abundance and the Four Brueghel the Elder and “The Vision of ation with Rubens, “Landscape with David Teniers, or “The Dramatic Siege and “Woods” by Simon de Vlieger.
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PETER PAUL RUBENS e JA “Visão de Santo Huberto” (T
c. 1617 Oil on canvas © Madrid, Museu N
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AN BRUEGHEL, O VELHO The Vision of Saint Hubert)
7-1620 s,63 x 100 cm Nacional do Prado
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DAVID TENIE “Paisagem com Ciganos” (
c. 1641 Oil on canvas, © Madrid, Museu N
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ERS, O JOVEM (Landscape with Gypsies)
1-1645 ,177 x 239 cm Nacional do Prado
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JAN BRUEGH “Boda Campestre” (C
c. 1621 Oil on canvas © Madrid, Museu N
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HEL, O VELHO Country Wedding)
1-1623 s,84 x 126 cm Nacional do Prado
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The two most characteristic typo artists from northern Europe landscape - are represented, amon “The Port of Amsterdam in Winte Sea Port or a Landing Port in Braz lands, to which maritime comme Finally, Rubens, the great mas the superb painting “Atlanta and Calydon”
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ologies of landscapes painted by the winter landscape and water ng others, by the delicate painting er” by Hendrick Jacobsz. “A Dutch zil” de Jan Peeters, allude to distant erce brought the Dutch. ster of Nordic landscape, with d Meleager Hunting the Boar of
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PETER PAU “Atlanta and Meleager Hun
c. 1635 Oil on canvas, © Madrid, Museu N
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UL RUBENS nting the Boar of Calydon�
5-1636 ,160 x 260 cm Nacional do Prado
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The exhibition ends with some of King Philip IV of Spain to Claude the Palace Bom Retiro in Madrid. in Rome the so called Italianizing
Museu Nacional Rua das Jan Lisb 74
f the landscapes commissioned by Lorrain and Jan Both, to decorate . Two young painters who started g landscape.
l de Arte Antiga nelas Verdes boa 75
SPIRIT OF COBRA
NSU MUSEUM OF ART FORT LAUDERDALE November 8, 2013 – May 18, 2014
All under Director and Chief Curator Bonnie Clearwater’s new leadership
NSU Museum of Art Fort Lauderdale presents Spirit of Cobra, a major exhibition exploring the roots and inspiration of the European avant-garde Cobra movement Spirit of Cobra highlights the unique meeting of young artists who came together from several European countries in the aftermath of World War II to create a living art, based on spontaneity, experimentation, socialist politics, and exuberant optimism. The exhibition is presented in collaboration with the Cobra Museum of Modern Art in the Netherlands, and is the first of three major exhibitions that will focus specifically on this influential movement that helped inspire the development of European post-war, avant-garde art. This trio of exhibitions represents the museum’s ongoing commitment to Cobra scholarship, and also highlights new Director and Chief curator Bonnie Clearwater’s commitment to integrate education into exhibition programming, as well as thorough scholarship of underexplored art historical subjects and movements.
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Karel Appel Un Des Deux Freres, 1964
Oil on canvas,39 ¼ in x 31 ¼ in Museum of Art | Fort Lauderdale, Nova Southeastern University; The Golda and Meyer Marks Cobra Collection, M-143 77
“The Cobra movement’s legacy continues to influence artists today, such as Albert Oehlen and Rita Ackermann,” notes Clearwater. “Yet, Cobra art is under-recognized in the United States and is often misunderstood. This exhibition will shed new light on its significance.” As the largest and most comprehensive collection of Cobra art in the United States, NSU Museum of Art is strategically collaborating with the Cobra Museum of Art to ensure that the legacy of this importmant movement in art history is kept alive. Spirit of Cobra features paintings, drawings, watercolors, sculpture, and mixed media works drawn from the permanent collections of the two museums along with other works lent by leading public and private collections. Highlights of the exhibition include: Karel Appel, Pierre Alechinsky, Constant, Corneille, Christian Dotremont, Egill Jacobsen, Asger Jorn, and Carl-Henning Pedersen, many of which have never been publicly displayed.
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Theo Wolvecamp Abstract, 1949
Oil on canvas,50 in x 38 in Museum of Art | Fort Lauderdale, Nova Southeastern University;The Golda and Meyer Marks Cobra Collection, M-79.37 79
Henry H Little Cond
Oil on canvas Museum of Art | Fort Lauderdale, Nova Sou Marks Cobra Co 80
Heerup ductor, 1948
s,43 in x 53 in utheastern University; The Golda and Meyer ollection, M-357 81
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Shinkichi Tajiri Warrior, 1923
Welded copper, 26 in x 12 in Museum of Art | Fort Lauderdale, Nova Southeastern University;The Golda and Meyer Marks Cobra Collection, M-79.35 83
Cons Wild We
Oil on canvas Museum of Art | Fort Lauderdale, Nova Sou Marks Cobra Col 84
stant est, 1962
s,19 in x 43 in utheastern University; The Golda and Meyer llection, M-79.20 85
Cobra originated in Paris and its followers actively worked together in a group experiment that formally lasted between 1948 through 1951. The Cobra artists, whose collective name is an acronym of Copenhagen, Brussels and Amsterdam, the home cities of its founders, emerged on the scene with expressionistic works rich in color and spontaneous play of line and material. The artists sought creativity outside the mainstream art world and were greatly inspired by folk and tribal art, forms of primitive art, and Scandinavian mythology. They considered geometric abstraction too inhuman and formal, surrealism too academic, and socialist realism too dogmatic. Their aim was an art for and by everyone, regardless of class, race, or education level. Spirit of Cobra is co-organized by NSU Museum of Art Fort Lauderdale and the Cobra Museum of Modern Art in Amstelveen, Netherlands, and is curated by Brenda Zwart and Katja Weitering. The exhibition is supported through a grant from the John S. and James L. Knight Foundation, as part of its Knight Arts Challenge with additional funding provided by Linda J. Marks and Stephen R. Marks, and Daniel and Jan Lewis, and David and Francie Horvitz Family Foundation.
NSU Museum of Art Fort Lauderdale One East Las Olas Boulevard Fort Lauderdale, FL 33301 86
Asger Jorn Untitled, circa 1941
Oil on wood (barrel) Museum of Art | Fort Lauderdale, Nova Southeastern University; The Golda and Meyer Marks Cobra Collection, M-227 87
ARTIST OF THE MONTH
Thomas Dodd
“The Photographic Art of Thomas Dodd� is the debut hardcover art book by Atlanta GA-based photographer/artist Thomas Dodd. In addition to featuring the best images from his career as an image-maker, the book also has written contributions from artists such as Steven Kenny, Richard T Scott and Steven DaLuz - all of whom write a few words about Dodd and his art. There are also quotes and short writings from Dodd interspersed throughout the book which shed light on his influences and motivations. You can order a copy here at his online store: https://thomasdodd.bigcartel.com/product/hardcover-signed-book-the-art-of-thomas-dodd http://www.facebook.com/ThomasDoddPhotography
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Thomas Dodd Photo:Courtesy Thomas Dodd 89
Thoma Book C
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Thoma “The Photographic A
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Thoma “Behind T
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Thomas Dodd “Expecting to Fly”
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Arts and Cultures of The Joseon Dinasty, 1392 – 1910 Philadelphia Museum of Art March 2 - May 26, 2014
The National Museum of Korea, Seoul, the Philadelphia Museum of Art, the Los Angeles County Museum of Art (LACMA), and the Museum of Fine Arts, Houston (MFAH), are organizing the first comprehensive survey in the United States devoted to the art of the celebrated Joseon dynasty (1392–1910), an era that profoundly shaped the culture of Korea in ways that continue to resonate today. The exhibition will be presented first in Philadelphia (March 2–May 26, 2014) before traveling to Los Angeles (June 29–September 28, 2014) and Houston (November 2, 2014–January 11, 2015). More than 150 works will be on view, including a number of designated National Treasures that will be entirely new to American audiences. The works range from the courtly arts of ceremonial screen painting and calligraphy to scenes that vividly illustrate life across the social classes. Also displayed will be ritual vessels, outstanding examples of Korean ceramics, and works that illustrate the dynamic encounters between the “Hermit Kingdom” and the West at the end of the nineteenth century. A range of illustrated books, metalwork, sculpture, lacquer, furniture, costumes, textiles, and photographs have been selected to demonstrate the breadth and scope of the artistic achievement of the Joseon dynasty. 100
Portrait of Sim Deuk-gyeong, (1629–1710), 1710.
Hanging scroll; ink and colors on silk, 34 1/2 × 63 1/8 inches (87.7 × 160.3 cm). Yun Duseo Korean, 1668–1715. National Museum of Korea, Seoul. Treasure No. 1488. MFAH Only. 8 × 34 1/2 inches (160.3 × 87.7 cm). Korea (National Museum of Korea, Seoul). Treasure No. 1488. 101
Sun, Moon, an Artist/make
Joseon Dynasty (1392-1910), 19th century, E 217 7/16 inches (210 Ă— 552 102
nd Five Peaks er unknown
Eight-fold screen; colors on paper, 82 11/16 Ă— 2.3 cm),Private Collection. 103
TreasuresfromKorea:ArtsandCultureoftheJoseonDynasty, 1392–1910 will comprise works drawn primarily from the collection of the National Museum of Korea, supplemented by loans from public and private collections in Korea and the United States. It is part of an unprecedented cultural exchange conceived to foster greater understanding and friendship between the people of the United States and Korea. A reciprocal survey of American art from the collections of the Philadelphia Museum of Art, LACMA, and MFAH recently traveled to the National Museum of Korea and the Daejeon Museum of Art to introduce Korean audiences to American art and culture. The exhibition will be organized around five key themes that will illuminate the artistic accomplishments and dynamics of Korean cultural life under the world’s longestruling Confucian dynasty, which saw the succession of twenty-seven kings over 518 years. The period is a subject of deep fascination because it continues to influence modern Korean manners, norms, and societal attitudes. The exhibition will also shed light on the external influences that exerted a profound effect on Korea’s culture. These include the adoption of the Chinese writing system in the second century BCE, the spread of Buddhism, and the introduction of Confucian values that would impose strict moral codes and standards. As the founding philosophy of the Joseon dynasty, Confucianism provides a unifying perspective for the artistic styles of the dynasty as these evolved over time. 104
Śākyamuni Assembly, 1653.
Hanging scroll; colors on hemp, 39 3/16 × 25 7/16 feet (12 × 7.8 m). Hwaeomsa, Gurye. National Treasure No. 301. 105
Scholar’s Accoutrem
Ten-fold screen colors on silk, 78 1/4 x 154 3 panel: 77 15/16 x 15 1/2 inches (198 x 39.3 cm On 106
ments, 19th century.
3/4 x 4 3/4 inches (198.8 x 393 x 12 cm), each m). National Museum of Korea, Seoul. PMA nly. 107
Royal Protocol for the Royal We
Book; ink and colors on paper, 18 9/16 Ă— Museum of Korea, 108
edding of Queen Jeongsun, 1759
13 5/16 inches (47.1 x 33.8 cm). National Seoul. PMA Only. 109
Seal of King Yeongjo
Gilt metal plate, 3 1/16 × 3 7/8 × 3 7/8 inc Museum of K 110
o (1694-1776), 1890.
ches (7.8 × 9.8 × 9.8 cm). National Palace Korea, Seoul. 111
The Pilgrim’s P
Printed book; ink on paper, 9 1/2 x 6 15/1 Museum 112
Progress, 1895.
16 inches (24.2 x 17.7 cm). Hwabong Book m,Seoul. 113
Ten Longevity Sym
Ten-fold screen; colors on paper, 98 7/16 Collection. 114
mbols, 18th century.
× 231 1/8 inches (250 × 587 cm). Private PMA Only 115
Karma Mirror and Stand, 19th century
Wood with painted decoration, 38 11/16 x 14 5/16 inches (98.2 x 36.4 cm). National Museum of Korea, Seoul. 116
The exhibition’s five sections focus on the role of the king and his royal court in establishing distinctive art and culture throughout Korea; the taste for simplicity assiduously cultivated at this time and its embodiment in ceramics and other media; the strict hierarchies that defined the social distinctions of class and gender; the production of ritual implements in metal and ceramics that gave expression to ancestral worship; the suppression and persistence of Buddhism under Confucian rule; and the direct encounter with Western civilization beginning in the late nineteenth century as seen from internal and external points of view. Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392–1910 is organized by Hyunsoo Woo, The Maxine and Howard Lewis Associate Curator of Korean Art, Philadelphia Museum of Art, in close consultation with curators of the National Museum of Korea, the Los Angeles County Museum of Art, and the Museum of Fine Arts, Houston.
Philadelphia Museum of Art 2600 Benjamin Franklin Parkway Philadelphia, PA 19130 215-763-8100 117
HOLLIS DUNLAP
Solo Exibition
March 15 – April 12, 2014
Axelle Fine Arts Galerie
This spring, Axelle Fine Arts will host a solo exhibition for American figurative painter, Hollis Dunlap. Born in Vermont in 1977, Dunlap is known for his Works in oil characterized by aesthetic beauty and softness mingled with technical accuracy and stark realism. Dunlap was interested in art from an early age; as a child and young man, he constantly created interested in art from an early age; as a child and young man, he constantly created works in whatever mediums were available. He began to study the work of Old Masters, such as Vermeer and Caravaggio and the profound influence these great painters had on him is still evident in his work today. After graduating from high school, Dunlap enrolled at the Lyme Academy College of Fine Arts in Connecticut. During his time there, he painted hundreds of figures and landscapes and he received several awards, including winning first place in the National Arts Club Student Show for two consecutive years.
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Hollis Dunlap “30 Something”, 2014 Oil on Board, 16” x 12” 119
It is rare to find an artist whose genuine passion for his particular medium is so great. On painting, Dunlap states: “I have always enjoyed the look and feel of oil paint, and don’t make many attempts to make the image look like anything other than a painting. I find t he realism of Anan image can become more compelling when it is obviously made up of paint of various colors and shapes. Each shape and color is influenced by its partner to look t he way it does; t he direction of mark making, t he t hickness of paint, and each color is carefully considered wit hin each work to suggest t hree dimensional space and light effects”.
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Hollis Dunlap “Black and Yellow Girl”, 2014 Oil on Board, 16” x 12” 121
Hollis D “Dreamtim
Oil on Boar
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Dunlap me”, 2014
rd, 40” x 50”
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Hollis D “Early Morn
Oil on Boar
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Dunlap ning”, 2014
rd, 18” x 24”
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Hollis Dunlap “Far Away”, 2014
Oil on Board, 16” x 12” 126
It is this visual honesty that distinguishes Dunlap’s works from others in the genre of “realism” his work although realistic is painterly, whether his subject is a softly illuminated nude, a lush green landscape or a still life. Visible brushstrokes and alternating thick and thinly applied paint cease a vivid texture and add further interest to the pieces. Dunlap combines the precision and attention to detail of classical drawing with the subtle use of light and color that characterizes the work of masters, such as Vermeer. His works depict the complicated relationship between light and shadow in a way that endows every painted moment with a true sense of life; even his still life works feel ripe with movement and emotion. Over the past few years, Dunlap has had several successful solo exhibitions in New York and Boston. He has taught painting and drawing at the Lyme Art Association, Mystic Arts Center, and Lyme Academy College of Fine Arts. He currently lives and Works in Eastern Connecticut. The upcoming show will include an all new collection of figures, landscapes and still lifes as well as preparatory pencil sketches.
Axelle Fine Arts Galerie 472 West Broadway New York, NY 10012 127
Metropolitan Museum Exhibition Celebrates Central Park Obelisk
Known as “Cleopatras’s Needle”
December, 3 2013 – June 8, 2014
Metropolitan Museum of Art - Egyptian Art Special Exhibitions Gallery
Since 1881, an ancient Egyptian monument—the obelisk of Pharaoh Thutmose III, popularly known as “Cleopatra’s Needle”—has stood in New York’s Central Park, a gift to the City of New York from the khedives of Egypt. It is the only monumental obelisk from ancient Egypt in the United States. The obelisk can be seen from several vantage points within The Metropolitan Museum of Art, which is located nearby. As the Central Park Conservancy begins to develop a plan to conserve the monument, the Metropolitan Museum will present an exhibition about the construction and evolving symbolism of obelisks from antiquity to the present day. The exhibition Cleopatra’s Needle opens December 3. The exhibition will feature objects from the Museum’s Egyptian Art Department and a selection of prints, textiles, and other works of art from the departments of Drawings and Prints, European Paintings, European Sculpture and Decorative Arts, Photographs, and The American Wing. Nine additional works from the Brooklyn Museum, American Numismatic Society, Chancellor Robert R Livingston Masonic Library of Grand Lodge, Museum of the City of New York, Cooper-Hewitt National Design Museum, and private collections, most of which are seldom on display, will also be included. A highlight of the installation will be a dramatic time-lapse video of the obelisk in Central Park taken during the course of a day. 128
Attributed to François Boucher (French, Paris 1703–1770) A study for a monument to a princely figure
Oil on paper, laid down on canvas The Metropolitan Museum of Art, Gift of J. Pierpont Morgan, 1906 (07.225.291) Image: © The Metropolitan Museum of Art, New York 129
Obelisks originated in ancient Egypt and—like statues—were intended to house divine powers, even the spirit of a king or god. They were placed at the entrance of temples and tombs, where their presence was believed to radiate protection. The obelisk was a solar symbol and its soaring form connected the earth to the sky. Its tip, often sheathed in gold to suggest the sun, was a pyramidion, a shape sacred to Re, the sun god. The exhibition will include a five-foot-high obelisk from the entrance to an ancient Egyptian mortuary chapel devoted to sacred rams. The obelisk in Central Park is one of a pair—each of which has come to be called “Cleopatra’s Needle”—originally installed by Thutmose III (r. ca. 1479–1425 B.C.) in front of the sun temple in Heliopolis, the ancient Egyptian city dedicated to the sun god Re. Over time, both obelisks toppled. Discoloration indicates that they may have also been burned in antiquity, and that exposure to the elements eroded some of the hieroglyphs. Augustus Caesar (63 B.C.–14 A.D.) took the two obelisks to Alexandria and installed them at the Caesareum, the temple built by Cleopatra VII to honor the deified Julius Caesar. (This episode may explain how the name of Cleopatra became attached to these two obelisks.) The Romans recognized the solar imagery of obelisks and connected them to their own sun god, Sol. For Augustus, the link may have been personal as well, since Apollo, another Roman sun god, was his patron deity. Included in the exhibition will be a late 16th-century map and a late 17th-century Dutch watercolor, both showing the obelisk standing in Alexandria.
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Figure of a worshipping baboon New Kingdom, Dynasty 19, reign of Ramesses II (ca. 1279–1213 B.C.)
Basalt The Metropolitan Museum of Art, Fletcher Fund and The Guide Foundation Inc. Gift, 1966. (66.99.55) Image: © The Metropolitan Museum of Art, New York 131
Clock and obel Tiffany & Co. (America
Marble, The Metropolitan Museum of Art, The Edgar J. Kaufm Image: Š The Metropolitan 132
lisk mantel set an, New York), ca. 1885
, bronze mann Charitable Foundation Gift, 1968. (68.97.4-.6) n Museum of Art, New York 133
Nicolas BĂŠatrizet (French, Lu After Pirro Ligorio (Italian, A reconstruction of the stadium and
Engra The Metropolitan Museum of Art, Harri Image: Š The Metropolitan
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unéville 1515–ca. 1566 Rome?) , Naples 1513–1583 Ferrara) its obelisks at Circus Maximus, 1553
aving is Brisbane Dick Fund, 1941 (41.72(1.67) n Museum of Art, New York
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Relief of Thutmose III
New Kingdom, Dynasty 18, reign of Thutmose III (ca. 1479–1425 B.C.) From the foundations of the temple of Ramesses IV, Thebes, Egypt; Carnarvon-Carter excavations 1906 Painted limestone The Metropolitan Museum of Art, Edward S. Harkness Gift, 1926 (26.7.1399) Image: Š The Metropolitan Museum of Art, New York 136
Sally Miller (American, Litchfield, Connecticut) Memorial painting, ca. 1811
Watercolor and ink on silk The Metropolitan Museum of Art, Rogers Fund, 1948 (48.81) Image: Š The Metropolitan Museum of Art, New York 137
Baton capped by a replic
New Yor Brass composite, ivor Chancellor Robert R Livingston Mason Image: Courtesy of Chancellor Robert R Livings
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ca of Cleopatra’s Needle
rk, 1880 ry, amethyst, coating nic Library of Grand Lodge, New York ston Masonic Library of Grand Lodge, New York
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Giovanni Battista Piranesi (Italian,
The Piazza del P Etch The Metropolitan Museum of Art, Harri Image: Š The Metropolitan
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Mogliano Veneto 1720–1778 Rome)
Popolo, ca. 1750 hing is Brisbane Dick Fund, 1937 (37.45.3(49) n Museum of Art, New York
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Scarab commemorating tw
New Kingdom, Dynasty 18, reign of Glazed The Metropolitan Museum of Art, Gift of Image: Š The Metropolitan 142
wo obelisks of Thutmose III
f Thutmose III (ca. 1479–1425 B.C.) steatite Hadji Mohammed Mohassib, 1914 (14.8) n Museum of Art, New York 143
Egypt became a province of Rome under Augustus Caesar, and many artifacts—including numerous obelisks—were taken from Egypt to Rome. Some four centuries later, when Rome was sacked and the Roman Empire fell, all but one of the obelisks toppled, victims of vandalism or earthquakes, and were buried and forgotten. The rediscovery of these objects during the Renaissance renewed popular interest in antiquities. Several popes organized new building projects in Rome around the ancient Egyptian monuments. There, obelisks were often placed at the center of public squares, such as the one in front of St. Peter’s Basilica. Domenico Fontana (1543– 1607), an engineer in the service of Pope Sixtus V, raised at least four obelisks in public places. Through this connection with the Vatican, the obelisk became a symbol of eternal papal power. The exhibition will include drawings by Giovanni Battista Piranesi (1720–1778) that show obelisks in the Piazza della Rotonda and Piazza del Popolo. Obelisks continued to be regarded as powerful symbols of an ancient civilization, and scholars in Europe began to study their inscriptions in the 16th and 17th centuries to understand the secret knowledge they believed obelisks held. The monuments were used in drawings and paintings to indicate a connection to antiquity, establish a harmonious landscape, or communicate the concept of eternity. Not only were obelisks used in landscape scenes—as in the drawings of Rembrandt or Francesco Guardi on view in the exhibition—but also in actual funerary monuments where the connection to eternity was most important. An example is the catafalque designs of the Italian theatrical designer Giuseppe Galli Bibiena (1696–1757).
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In the late 19th century, after Khedive Ismail offered the United States the obelisk of Thutmose III as a gift, U.S. Navy engineer Lieutenant-Commander Henry Honeychurch Gorringe (1841–1885) was charged with the task of transporting the monument to New York and installing it in Central Park. He studied drawings made of Fontana’s earlier work—one of which will be on display—to learn how the feat had been accomplished in earlier times. Gorringe successfully lowered the obelisk in Alexandria, Egypt, and loaded it after some difficulty into the hold of his ship the S.S. Dessoug. Unloading the monument in New York was no easy task. It took nearly six months to move the obelisk from the dock in Staten Island to the East River at 96th Street, and finally to Central Park. On October 9, 1880, a crowd of 9,000 Freemasons led a parade to Central Park for a cornerstone ceremony for the foundation platform of the obelisk, which had also been brought from Egypt. The baton carried in that parade by the Grand Secretary of the New York Grand Lodge Edward M. L. Ehlers will be on view in the exhibition. On January 22, 1881, after months of effort, the obelisk reached its destination, Greywacke Knoll in Central Park. Gorringe carried out his task perfectly and the obelisk rose into position. He received a gold medal to commemorate his amazing feat.
Metropolitan Museum of Art 1000 Fifth Avenue New York, New York 10028-0198 NY 145
Guggenheim Museum Presents
Carrie Mae Weems: Three Decades of Photography and Video First New York Museum Retrospective for 2013 MacArthur Award-Winning Artist January 24–May 14, 2014
The Solomon R. Guggenheim Museum presents Carrie Mae Weems: Three Decades of Photography and Video, the first major New York museum retrospective devoted to this socially motivated artist. Weems has long been acclaimed as one of the most eloquent and respected interpreters of African American experiences, and she continues to be an important influence for many young artists today. Featuring more than 120 works—primarily photographs, but also texts, videos, and an audio recording—as well as a range of related educational programs, this comprehensive survey offers an opportunity to experience the full breadth of the artist’s oeuvre and gain new insight into her practice.
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Carrie Mae Weems An Anthropological Debate ( From Here I Saw What Happened and I Cried ), 1995–96 Chromogenic print with etched text on glass, 26 1/2 x 22 3/4 inches (67.3 x 57.8 cm) The Museum of Modern Art, New York, gift on behalf of The Friends of Education of the Museum of Modern Art. From an original daguerreotype taken by J.T. Zealy, 1850. Peabody Museum, Harvard University. © Copyright President & Fellows of Harvard College, 1977 All rights reserved. Digital image © 2012, MoMA, N.Y. 147
Carrie Mae Weems: Three Decades of Photography and Video is organized by the Frist Center for the Visual Arts, Nashville, Tennessee. The exhibition has been curated by Kathryn Delmez, the Frist Center, where it opened in September 2012. The Solomon R. Guggenheim Museum presentation is organized by Jennifer Blessing, Senior Curator, Photography, with Susan Thompson, Assistant Curator. This exhibition is supported in part by The Robert Mapplethorpe Foundation. The Leadership Committee for Carrie Mae Weems: Three Decades of Photography and Video is also gratefully acknowledged for its support, including Jo Carole and Ronald S. Lauder, Robert Menschel Vital Projects, and Jack Shainman Gallery, as well as Henry Buhl, Crystal R. McCrary and Raymond J.McGuire, Beth Rudin DeWoody, Toby Devan Lewis, and Louise and Gerald W. Puschel. Additional funding is provided by the William Talbott Hillman Foundation and the New York State Council on the Arts. The work of Carrie Mae Weems (b. 1953, Portland, Oregon) invites contemplation of issues surrounding race, gender, and class inequality. Over the past thirty years, Weems has used her art to bring to light the ignored or erased experiences of marginalized people. Her work proposes a multidimensional picture of history and humanity, intended to spur greater cultural awareness and compassion. Although her subjects are often African American, Weems wants “people of color to stand for the human multitudes� and for her art to resonate with audiences of all backgrounds.
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Carrie Mae Weems Untitled (Colored People Grid), 2009–10
11 impressões de tinta de pigmento e 31 papéis de argila de cor, dimensões globais variáveis; Componentes individuais: 10 x 10 inches (25.4 x 25.4 cm) each. Colecção de Rodney M. Miller © Carrie Mae Weems 149
Carrie Ma Afro-Ch
Digital color video, with Courtesy the artist and Jack S Š Carrie M 150
ae Weems hic, 2010
h sound, 5 min., 30 sec. Shainman Gallery, New York Mae Weems 151
Carrie M Listening for the Sounds of Revolut
Gelatin silver print, 28 1/2 x 2 Courtesy the artist and Jack S Š Carrie M
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Mae Weem tion (from Dreaming in Cuba), 2002
28 1/2 inches (72.4 x 72.4 cm) Shainman Gallery, New York Mae Weems
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Organized in a loosely chronological order throughout two of the museum’s Annex Levels, the exhibition begins on Level 2 with the series Family Pictures and Stories (1978–84). This series, like many of Weems’s early works, explores matters relating to contemporary black identity, highlighting individuals in social contexts—including in this case her own kin. Her landmark Kitchen Table Series (1990) employs text and photography to explore the range of women’s roles within a community, pointedly situating the photographs’ subject within a domestic setting. Selections from Weems’s Sea Islands Series (1991–92), Africa (1993), and Slave Coast (1993) demonstrate her ongoing interest in language and storytelling. These works, made during the artist’s travels to the titular locals, pair images with evocative vernacular texts or etymological investigations that trace English words to African roots. The artist’s practice emphasizes the role of both spoken and written narrative, reflecting her graduate studies in folklore.
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Weems often appropriates words and images, re-presenting them to viewers as biting reminders of the persistence of bigoted attitudes in the United States. Her renowned series From Here I Saw What Happened and I Cried (1995-96), presented on Annex Level 4, layers new text over found historical imagery to critique and lament prejudiced attitudes towardAfricanAmericansthroughoutthenineteenthandtwentieth century’s. A yearning to investigate the underlying causes and effects of racism, slavery, and imperialism has spurred Weems to travel widely throughout the United States, Africa, Europe, and the Caribbean. During extended visits to these places, depicted in series such as Dreaming in Cuba (2002), The Louisiana Project (2003), and Roaming (2006), all represented in the exhibition, she looks to the surrounding land and architecture in order to foster communion with inhabitants past and present.
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Carrie M A Broad and Expansive Sky— R
Chromogenic print, 73 x 61 Private collection, © Carrie M
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Mae Weem Roma Antiga (Roaming),2006
1 inches (185.4 x 154.9 cm) Portland, Oregon Mae Weems
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Video is a natural extension of Weems’s narrative photographic practice, also providing an opportunity for the artist to include music in her work. Although she worked in film during her undergraduate years at the California Institute of the Arts, Weems’s first major endeavor in the medium came in 2003–04 with Coming Up for Air, a work comprised of series of poetic vignettes that will be screened in the New Media Theater in the Guggenheim’s Sackler Center for Arts Education. Other video works, including Italian Dreams (2006), Afro Chic (2009), and Constructing History: A Requiem to Mark the Moment (2008) will be integrated into the exhibition near related photographs.
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Carrie Mae Weems Untitled (Man and mirror) (from Kitchen Table Series), 1990
Gelatin silver print, 27 1/4 x 27 1/4 inches (69.2 x 69.2 cm) Collection of Eric and Liz Lefkofsky, promised gift to The Art Institute of Chicago Š Carrie Mae Weems Photo: Š The Art Institute of Chicago 159
Carrie Ma Untitled (Woman and daughter with ma
Gelatin silver print, 27 1/4 x 2 Collection of Eric and Liz Lefkofsky, prom Š Carrie M Photo: Š The Art In
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ae Weems akeup) (from Kitchen Table Series), 1990
27 1/4 inches (69.2 x 69.2 cm) mised gift to The Art Institute of Chicago Mae Weems nstitute of Chicago
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About Carrie Mae Weems Born in Portland, Oregon in 1953, Weems earned an MFA from the University of California, San Diego in 1984. Weems has been featured in solo exhibitions organized by institutions including the Institute of Contemporary Art, Boston (1991); New Museum of Contemporary Art, New York (1991); National Museum of Women in the Arts, Washington, DC (1993); Museum of Modern Art, New York (1995); Whitney Museum of American Art at Philip Morris, New York (1998); Williams College Museum of Art, Williamstown, MA (2000); and Centro Andaluz de Arte Contemporaneo, Seville (2010). Weems’s work has also been included in several important international exhibitions, including the Whitney Biennial (1991); Black Male, Representations of Masculinity in Contemporary American Art, Whitney Museum of American Art, New York (1994); 2nd Johannesburg Biennale, Africus Institute of Contemporary Art, Johannesburg, South Africa (1997); Only Skin Deep: Changing Visions of the American Self, International Center of Photography, New York (2003); Pictures by Women: A History of Modern Photography, Museum of Modern Art, New York (2010); La Triennale, Intense Proximity, Palais de Tokyo, Paris (2012), among many others.
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Weems has been celebrated with numerous awards and honors, including a Smithsonian Fellowship (1987); Louis Comfort Tiffany Award (1992); National Endowment for the Arts Visual Arts Grant (1994–95); The May Ingraham Bunting Award, Radcliffe College, Cambridge, MA (1995); The Alpert Award for Visual Arts (1996); Pollock-Krasner Foundation Grant in Photography (2002); Joseph H. Hazen Rome Prize Fellowship (2005–06); Honorary Degree from Colgate University, Hamilton, NY (2007); Skowhegan Medal for Photography, Skowhegan School of Painting and Sculpture, Skowhegan, ME (2007); Anonymous Was a Woman Foundation, New York (2007); Honorary Doctorate, Smith College, Northampton, MA (2011); Medal of Arts award from the U. S. State Department (2012); Congressional Black Caucus Foundation Honoree (2013); and National Academician (2013). In addition, Weems was recently awarded a 2013 MacArthur Fellowship by the John D. and Catherine T. MacArthur Foundation.
Solomon R. Guggenheim Museum 1071 Fifth Avenue, New York NY 163
MARCH HI Vienna, Austria
Berlin, Germany
Eric Fischl Friends, Lovers and Other Constellations 13 February 2014 - 18 May 2014 Albertina Albertinaplatz 1 1010 Vienna, Austria
Yinka Shonibare. Making Eden 15 February – 19 April 2014 Blain Southern Gallery Potsdamer Straße 77–87 Berlin 10785 Germany
Vienna, Austria
Frankfurt, Germany
The Winter Palace – Prince Eugene of Savoy- 350 Years 18 October 2013 - 27 April 2014 Belvedere Prinz Eugen-Straße 27, 1030 Vienna,Austria
Esprit Montmartre, Bohemian Life in Paris Around 1900 February 7 – June 1, 2014 Schirn Kunsthalle Frankfurt Römerberg 60311 Frankfurt
Erstein, France
Hamburg, Germany
Anthony Caro. Masterpieces from the Würth Collection February 7, 2014 – January 4, 2015 Musée Würth France Rue Georges Besse F-67150 Erstein
Feurbach’s Muses – Lagerfeld’s Models February 21 – June 15,2014 Hamburger Kunsthalle Glockengießerwall 20095 Hamburg.
Baden-Baden, Germany
Tel Aviv, Israel
JR March 1–June 29, 2014 Museum Frieder Burder Lichtentaler Allee 8S, Baden-Baden
Joana Vasconcelos: Lusitania 2013 November 4, 2013 – April 26, 2014 Tel Aviv Museum of Art – The Lightfall, Herta and Paul Amir Building 27 Shaul Hamelech Blvd, POB 33288, Tel –Aviv 164
IGHLIGHTS Lisbon, Portugal
Os Czares e o Oriente (The Tzars and the East) Ofertas da Turquia e do Irão no Kremlin de Moscovo (Gifts from Turkey and Iran in the Moscow Kremlin) 28 Fev - 18 Mai 2014 (From 28 Feb to 18 May) Sala Exposições Temporárias Museu Calouste Gulbenkian (Temporary Exhibitions Gallery Calouste Gulbenkian Museum) Av. de Berna, 45A / 1067-001 Lisboa
Rome, Italy Simon Hantaï February 12 – May 11, 2014 Académie de France à Rome - Villa Medici Viale Trinità dei Monti, 1 00187 Roma
Venice, Italy
Bilbao, Spain
Leger 1910-1930- A vision of the contemporary city February 8 - June 2, 2014 Fondazione Musei Civici di Venezia (Museo Correr) Piazza San Marco 52 30124 Venezia
Ernesto Neto: the body that carries me February 14, 2014 – May 18, 2014 Guggenheim Museum Bilbao Avenida Abandoibarra, 2 48009 Bilbao
Beirute, Lebanon
Madrid, Spain
Lara Zankoul - The Unseen 10 February - 30 March,2014 Ayyam Gallery Beirut Beirut Tower, Ground Floor, Zeitoune Street, Across from Beirut Marina, Solidere
CÉZANNE site/non-site February 4 - May 18, 2014 Museo Thyssen Bornemisza Paseo del Prado 8 2014 Madrid
Lisbon, Portugal
Madrid, Spain
Rubens, Brueghel, Lorrain: A Paisagem Nórdica do Museu do Prado December 3 – March 30, 2014 Museu Nacional de Arte Antiga Rua das Janelas Verdes
Pontormo. Dibujos February 12 - May 11,2014 Fundación Mapfre Paseo de Recoletos 23, 28004 Madrid
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MARCH HI Stockholm, Sweden
Riehen/Basel, Switzerland
Sean Henry February 21 – March 30 2014 Galeri Andersson/Sandstörm, Sockholm Aktrisgränd 34 903 64 Umea Sockholm
Odilon Redon February 2 - May 18,2014 Fondation Beyeler Baselstrasse 101 CH-4125 Riehen / Basel
Basel, Switzerland
Zürich, Switzerland
The Surprised Masks: James Ensor February 16 - May 25, 2014 Kunstmuseum Basel St. Alban-Graben 16 4010 Basel
‘From Matisse to Der Blaue Reiter/ The Blue Rider’. Expressionism in Germany and France’ February 7 - May11, 2014 Kunsthaus Zürich Heimplatz, 1 Zürich
Genève, Switzerland
London, UK
Rene Rimbert (1896-1991)- Poetry of the Silence and Flemish Reminiscence Caustic Community (Masks and Mirrors) November1, 2013 – April 25, 2014 Artevera’s Gallery 1 Rue Etienne Dumont, 1204, F, Genève
The Liquid Game: Boudicca 6 February - 22 March 2014 Stanley Picker Gallery Kingston University, Knights Park Kingston upon Thames KT1 2QJ
Gsaad, Switzerland
London, UK
Mat Collishaw February 13. – March 15, 2014 Patricia Low Gallery Parkstrasse 3780 Gstaad
Bailey’s Stardust February 6 – June 1, 2014 National Portrait Gallery St Martin’s Place, London, WC2H 0HE
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IGHLIGHTS London, UK
London, UK
La fine di Dio: Maurizio Cattelan | Lucio Fontana February 11 - April 5, 2014 Gagosian Gallery 17-19 Davies Street London W1K 3DE
Rachel Howard:Northern Echo February 7 – 22 March 22, 2014 Blain Southern 4 Hanover Square London W1S 1BP
London, UK
London, UK
George Condo -Headspace February 11 - March 22.2014 Simon Lee Gallery 12 Berkeley Street, London W1J 8DT
Silke Otto-Knapp January 17 –March 30, 2014 Camden Arts Centre Arkwright Road London NW3 6DG
London, UK
Florida, USA
Richard Hamilton February 13 – May 26, 2014 Tate Modern Bankside, London SE1 9TG
Spirit of Cobra November 8, 2013 – May 18, 2014 NSU Museum of Art Fort Lauderdale One East Las Olas Boulevard Fort Lauderdale, FL 33301
London, UK
Los Angeles, Ca, USA
A Dialogue With Nature: Romantic Landscape From Britain and Germany 30 January - 27 April, 2014 The Courtauld Gallery Somerset House, Strand London WC2R 0RN
Calder and Abstraction: From Avant-Garde to Iconic. November 24, 2013 – July 27, 2014 Los Angeles County Museum of Art 5905 Wilshire Blvd, Los Angeles, CA 90036 167
MARCH HI Los Angeles, Ca, USA
New York, USA
Tea and Morphine: Women in Paris, 1880 to 1914 January 26 – May 18, 2014 Hammer Museum 10899 Wilshire Blvd Los Angeles, CA 90024
Thirty Years Thirty-One Photographers February 6 - April 26, 2014 Laurence Miller Gallery 20 West 57th Street New York, NY 10019
Monmouth. Oregon, USA
New York, USA
John Chang and Patrick Earl Hammie February 24- March 21, 2014 Cannon Gallery Western Oregon University 354, Nothern Monmouth Ave
Piero della Francesca:Personal Encounters January 14 – March 30, 2014 The Metropolitan Museum of Art 1000 Fifth Avenue, New York
New Jersey, USA
New York, USA
Edvard Munch: Symbolism in Print February 8 – June 8, 2014 Princeton University Art Museum Princeton, NJ 08544
Bill Jacklin: New York Paintings Feb 12 2014 - Mar 15, 2014 Marlborough Gallery 40 West 57th street NY
New York, USA
New York, USA
Visions and Nightmares: Four Centuries of Spanish Drawings January 17 through May 11, 2014 The Morgan Library & Museum 225 Madison Ave, New York, NY 10016
Joseph Adolphe – Messages, Memories and Dreams March 27 - April 26, 2014 Bertrand Delacroix Gallery 535W.25th Street, NY 10001, New York
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IGHLIGHTS New York, USA
Philadelphia, USA
The American West in Bronze, 1850 -1925 December 18, 2013–April 13, 2014 Metropolitan Museum of Art 1000 Fifth Avenue,New York, New York 10028-0198
Arts and Cultures of The Joseon Dinasty, 1392 – 1910 March 2 - May 26, 2014 Philadelphia Museum of Art 2600 Benjamin Franklin Parkway Philadelphia, PA 19130 215-763-8100
New York, USA
San Francisco, CA, USA
The Passions of Jean-Baptiste Carpeaux March 10-May 26, 2014 Metropolitan Museum of Art 1000 Fifth Avenue New York, New York 10028-0198
Vivian Maier, Out of the Shadows. February 6 – May 17, 2014 The Scott Nichols Gallery 49 Geary Street, Fourth Floor San Francisco, CA 94108
New York, USA Habitar(s) December11, 2013 – April 6, 2014 The Metropolitan Museum of Art 1000 5th Ave New York, NY 10028
New York, USA Hollis Dunlap Solo Exhibition March 15 – April 12, 2014 Axelle Fine Arts Galerie 472 West Broadway New York, NY 10012
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March, 2014
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