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Another Kind of Life: Photography on the Margins
Another Kind of Life: Photography on the Margins Barbican Art Gallery, Barbican Centre, UK 28 February – 27 May 2018 Media View, Tuesday 27 February, 10am – 1pm The exhibition is supported by The Great Britain Sasakawa Foundation and The Swiss Arts Council Pro Helvetia. Media Partner: AnOther Magazine #AnotherKindofLife Another Kind of Life: Photography on the Margins looks at the continuing fascination of artists with those on the margins of society through the photographic medium. Some of the most powerful images of the 20th and 21st century are the result of a determined and often prolonged engagement with communities seemingly at odds with, or on the fringes of, the mainstream. Another Kind of Life explores photography’s relationship with this compelling subject through the work of 20 exceptional image-makers, including Bruce Davidson, Paz Errázuriz, Casa Susanna, Larry Clark, Mary Ellen Mark, Boris Mikhailov, Daido Moriyama and Dayanita Singh. Part of the Barbican’s 2018 season The Art of Change, which reflects on the dialogue between art, society and politics, the exhibition directly – and at times poetically – addresses difficult questions about what it means to exist in the margins, the role artists have played in portraying subcultures and the complex intermingling between artistic and mainstream depictions of the outsider. Another Kind of Life opens at Barbican Art Gallery on 28 February 2018. Jane Alison, Head of Visual Arts, Barbican, said: ‘Barbican Art Gallery has always championed groundbreaking photography, placing it at the heart of our programme with recent highlights including Constructing Worlds: Photography and Architecture in the Modern Age (2014) and Strange and Familiar: Britain as Revealed by International Photographers(2016). -
Vik Muniz N./B. 1961, São Paulo, Brazil Vive E Trabalha/Lives and Works in Rio De Janeiro and New York
vik muniz n./b. 1961, são paulo, brazil vive e trabalha/lives and works in rio de janeiro and new york formação / education B.A. in Advertising from Fundação Armando Álvares Penteado (FAAP), São Paulo, Brazil exposições (seleção) / exhibitions (selection) individuais em negrito / solo exhibitions in bold 2018 Vik Muniz, Chrysler Museum of Art, Norfolk, USA Vik Muniz: Verso, Belvedere Museum Vienna, Vienna, Austria Plastic Entanglements: Ecology, Aesthetics, Materials, Palmer Museum of Art, Philadelphia, USA 2017 Vik Muniz: Handmade, Rena Bransten Gallery, San Francisco, USA Afterglow (Pictures of Ruin), Palazzo Cini, Venice, Italy Vik Muniz, Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico Vik Muniz: a Retrospective, Eskenazi Museum of Art, Bloomington, USA Troposphere – Chinese and Brazilian Contemporary Art, Beijing Minsheng Art Museum, Beijing, China Look at Me!: Portraits and Other Fictions from the ”la Caixa” Contemporary Art Collection, Pera Museum, Istanbul, Turkey Pledges of Allegiance, Spencer Museum of Art, University of Kansas, Lawrence, USA Ways of Seeing, Fondation Boghossian - Villa Empain, Brussels, Belgium This Is Not a Selfie – Photographic Self-Portraits from the Audrey and Sydney Irmas Collection, San Jose Museum of Art, San Jose, USA Glassstrass, Palazzo Franchetti, Venice, Italy A Vastidão dos Mapas, Museu Oscar Niemeyer (MON), Curitiba, Brazil Trazas simultáneas, Embaixada do BrasilArgentina, Espacio Cultural, Argentin 2016 Handmade, Galeria Nara Roesler, São Paulo, Brazil Vik Muniz, High Museum of Art, -
Monster Roster: Existentialist Art in Postwar Chicago Receives First Major Exhibition, at University of Chicago’S Smart Museum of Art, February 11 – June 12, 2016
Contact C.J. Lind | 773.702.0176 | [email protected] For Immediate Release “One of the most important Midwestern contributions to the development of American art” MONSTER ROSTER: EXISTENTIALIST ART IN POSTWAR CHICAGO RECEIVES FIRST MAJOR EXHIBITION, AT UNIVERSITY OF CHICAGO’S SMART MUSEUM OF ART, FEBRUARY 11 – JUNE 12, 2016 Related programming highlights include film screenings, monthly Family Day activities, and a Monster Mash Up expert panel discussion (January 11, 2016) The Smart Museum of Art at the University of Chicago, 5550 S. Greenwood Avenue, will mount Monster Roster: Existentialist Art in Postwar Chicago, the first-ever major exhibition to examine the history and impact of the Monster Roster, a group of postwar artists that established the first unique Chicago style, February 11–June 12, 2016. The exhibition is curated by John Corbett and Jim Dempsey, independent curators and gallery owners; Jessica Moss, Smart Museum Curator of Contemporary Art; and Richard A. Born, Smart Museum Senior Curator. Monster Roster officially opens with a free public reception, Wednesday, February 10, 7–9pm featuring an in-gallery performance by the Josh Berman Trio. The Monster Roster was a fiercely independent group of mid-century artists, spearheaded by Leon Golub (1922–2004), which created deeply psychological works drawing on classical mythology, ancient art, and a shared persistence in depicting the figure during a period in which abstraction held sway in international art circles. “The Monster Roster represents the first group of artists in Chicago to assert its own style and approach—one not derived from anywhwere else—and is one of the most important Midwestern contributions to the development of American art,” said co-curator John Corbett. -
Street Seen Teachers Guide
JAN 30–APR 25, 2010 THE PSYCHOLOGICAL GESTURE IN AMERICAN PHOTOGRAPHY, 1940–1959 TEACHERS GUIDE CONTENTS 2 Using This Teachers Guide 3 A Walk through Street Seen 10 Vocabulary 11 Cross-Curricular Activities 15 Lesson Plan 18 Further Resources cover image credit Ted Croner, Untitled (Pedestrian on Snowy Street), 1947–48. Gelatin silver print, 14 x 11 in. Howard Greenberg Gallery, New York. ©Ted Croner Estate prepared by Chelsea Kelly, School & Teacher Programs Manager, Milwaukee Art Museum STREET SEEN: The Psychological Gesture in American Photography, 1940–1959 TEACHERS GUIDE 1 USING THIS TEACHERS GUIDE This guide, intended for teachers of grades 6–12, is meant to provide background information about and classroom implementation ideas inspired by Street Seen: The Psychological Gesture in American Photography, 1940–1959, on view at the Milwaukee Art Museum through April 25, 2010. In addition to an introductory walk-through of the exhibition, this guide includes useful vocabulary, discussion questions to use in the galleries and in the classroom, lesson ideas for cross-curricular activities, a complete lesson plan, and further resources. Learn more about the exhibition at mam.org/streetseen. Let us know what you think of this guide and how you use it. Email us at [email protected]. STREET SEEN: The Psychological Gesture in American Photography, 1940–1959 TEACHERS GUIDE 2 A WALK THROUGH STREET SEEN This introduction follows the organization of the exhibition; use it and the accompanying discussion questions as a guide when you walk through Street Seen with your students. Street Seen: The Psychological Gesture in American Photography, 1940–1959 showcases the work of six American artists whose work was directly influenced by World War II. -
Johnny O'neal
OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society. -
I Am a Miner
EARCH 1. Mine Try finding this artwork and fill in the missing SPOT THE DIFFERENCE! S CAN YOU READ D 2. Photograph details by looking at the LABEL. The label tells us Find the 5 ways the image on the le has been changed! R 3. Label more information about the artwork, such as the O S A M B S O U C T M 4. Museum AN ARTWORK? TITLE THE NAME of the work, the year it was W 5. Camera made and the MEDIUM (what was used to make T D G J Y A N A G I the artwork): H J M U S E U M W N Y G C U L A B E L E I was made by David Goldbla K N L B Z T R R O I P H O T O G R A P H My title is Miner, Consolidated J H B F K M E L O T Mine Reef, Roodepoort I am a ______________________ (medium) I was made in the year ______________ HELP VINCENT FIND THE GOLD! Photographs like the ones Goldbla made were taken with a film camera, and the images are stored on a roll of film rather than a memory card! Can you complete this image this complete you Can half?the second drawing by MIRROR–MIRROR E? ON MY WAY HOME DAVID GOLDBLATT: I SE O Draw some memorable things in the circles below! ON THE MINES I AM A MINER D T Write down all the things you Name Age School A The best thing I saw at My guide looked H can name in this photograph! Norval Foundation: like this: Hard hat W WHAT DO I SEE? This type of artwork is called a PHOTOGRAPH. -
Endless House: Intersections of Art and Architecture June 27, 2015–March 6, 2016 the Robert Menschel Architecture and Design Gallery, Third Floor
Endless House: Intersections of Art and Architecture June 27, 2015–March 6, 2016 The Robert Menschel Architecture and Design Gallery, third floor Endless House considers the single-family home and archetypes of dwelling as a theme for the creative endeavors of architects and artists. Through drawings, photographs, video, installations, and architectural models drawn from MoMA’s collection, the exhibition highlights how artists have used the house as a means to explore universal topics, and how architects have tackled the design of residences to expand their discipline in new ways. The exhibition also marks the 50th anniversary of the death of Viennese-born artist and architect Frederick Kiesler (1890–1965). Taking its name from an unrealized project by Kiesler, Endless House celebrates his legacy and the cross-pollination of art and architecture that made Kiesler’s 15-year project a reference point for generations to come. Work by architects and artists spanning more than seven decades are exhibited alongside materials from Kiesler’s Endless House design and images of its presentation in MoMA’s 1960 Visionary Architecture exhibition. Intriguing house designs—ranging from historical projects by Mies van der Rohe, Frank Gehry, Peter Eisenman, and Rem Koolhaas, to new acquisitions from Smiljan Radic and Asymptote Architecture—are juxtaposed with visions from artists such as Louise Bourgeois, Bruce Nauman, Mario Merz, and Rachel Whiteread. Together these works demonstrate how the dwelling occupies a central place in a cultural exchange across generations and disciplines. Organized by Pedro Gadanho, Curator, Department of Architecture and Design, The Museum of Modern Art Architecture and Design Collection Exhibitions are made possible by Hyundai Card and Hyundai Capital America. -
Coney Island: Visions of an American Dreamland, 1861–2008 Jan
Coney Island: Visions of an American Dreamland, 1861–2008 Jan. 31 – May 31, 2015 Exhibition Checklist DOWN AT CONEY ISLE, 1861-94 1. Sanford Robinson Gifford The Beach at Coney Island, 1866 Oil on canvas 10 x 20 inches Courtesy of Jonathan Boos 2. Francis Augustus Silva Schooner "Progress" Wrecked at Coney Island, July 4, 1874, 1875 Oil on canvas 20 x 38 1/4 inches Manoogian Collection, Michigan 3. John Mackie Falconer Coney Island Huts, 1879 Oil on paper board 9 5/8 x 13 3/4 inches Brooklyn Historical Society, M1974.167 4. Samuel S. Carr Beach Scene, c. 1879 Oil on canvas 12 x 20 inches Smith College Museum of Art, Northampton, Massachusetts, Bequest of Annie Swan Coburn (Mrs. Lewis Larned Coburn), 1934:3-10 5. Samuel S. Carr Beach Scene with Acrobats, c. 1879-81 Oil on canvas 6 x 9 inches Collection Max N. Berry, Washington, D.C. 6. William Merritt Chase At the Shore, c. 1884 Oil on canvas 22 1/4 x 34 1/4 inches Private Collection Wadsworth Atheneum Museum of Art Page 1 of 19 Exhibition Checklist, Coney Island: Visions of an American Dreamland, 1861 – 2008 12-15-14-ay 7. John Henry Twachtman Dunes Back of Coney Island, c. 1880 Oil on canvas 13 7/8 x 19 7/8 inches Frye Art Museum, Seattle, 1956.010 8. William Merritt Chase Landscape, near Coney Island, c. 1886 Oil on panel 8 1/8 x 12 5/8 inches The Hyde Collection, Glens Falls, N.Y., Gift of Mary H. Beeman to the Pruyn Family Collection, 1995.12.7 9. -
CURRICULUM PACKET a Teacher’S Guide to Integrating the Museum and Classroom
Addison Gallery of American Art CURRICULUM PACKET A Teacher’s Guide to Integrating the Museum and Classroom In Focus: 75 Years of Collecting American Photography 150 Years of American life through photographs April 29-July 31 75 Years of Giving Painting and sculpture from the 19th and 20th centuries April 11-July 31 Artist’s Project: Type A Exploring athletics through video art Spring 2006 Exhibitions April 29-July 31 Margaret Bourke-White (1904-1971), Looking Up Inside Sending Tower, N.B.C., Bellmore, L.I., 1933, gelatin silver print, 12 5/8 x 10 1/4 in., museum purchase. CONTENTS Using the Curriculum Packet 2 In Focus: 75 Years of Collecting American Photography 3 Artist’s Project: Type A 6 75 Years of Giving 7 Art & Writing Activities 8 Resources 8 ADDISON GALLERY OF AMERICAN ART EDUCATION DEPARTMENT Phillips Academy, Main Street, Andover, MA Julie Bernson, Director of Education Rebecca Spolarich, Education Fellow Contact (978) 749-4037 or [email protected] FREE GROUP TOURS for up to 55 students are available on a first-come, first-served basis: TUESDAY-FRIDAY, 8AM-4PM PUBLIC MUSEUM HOURS: TUESDAY-SATURDAY 10AM-5PM & SUNDAY 1-5PM Admission to the museum is free! - Curriculum Packet, Spring 2006, Addison Gallery of American Art, page 1 - Arranging a Museum Visit This packet is designed to help you connect the Addison Gallery's exhibitions with your classroom curricula and the Massachusetts Department of Education's Curriculum Frameworks. Museum visits and related activities developed for this packet address numerous subject areas that are often cross-disciplinary and therefore can combine two or more frameworks. -
Goldblatt 1830 Metres (5000 to 6000 Feet) Elevation, on Which Lies South Africa’S Largest Conurbation
ons after 1834 to escape British domination. Also the Afrikaner youth movement. Whites A collective term for light-skinned people predomi- David nantly of European stock. Witwatersrand Afrikaans Wit = white + waters = waters + rand = ridge. Geographical east-west formation at between 1500 and Goldblatt 1830 metres (5000 to 6000 feet) elevation, on which lies South Africa’s largest conurbation. See Reef. Fifty-one years Xhosas An Nguni African people who live mainly along the southeastern rain belt. Zulus An Nguni African people who live mainly in KwaZulu- 8 February - 14 April 2002 Natal. ACTIVITIES AROUND THE EXHIBITION ROUNDTABLE DISCUSSION FRIDAY 8 FEBRUARY AT 7.30 PM The photographer David Goldblatt, Pepe Baeza, journalist and lecturer at the Universitat Autònoma de Barcelona, and Alfred Bosch, professor of African History at the Universitat Pompeu Fabra, will discuss Goldblatt’s work and the South African historical and cultural context. Auditorium. Limited number of seats. For further information: Tel. 93 412 14 13 [email protected] The provincial and homeland names and borders used in this exhibition are those that applied during most of the years of Goldblatt's photography and before South Africa's transition to democratic government in 1994. © Courtesy of Edicions Bellaterra ing the National Party to power in 1948 and keeping it there Soweto From “South Western Townships”, Johannesburg’s for more than 40 years. “location”, the extensive series of townships in which African 2 pass laws Laws controlling the movements and residential rights residents of Johannesburg were required to live in terms of seg- of Africans, principally by means of a “pass” or pass book, signed regation laws regulating African access to urban areas. -
Milwaukee Art Museum – Restored. Reinstalled. Reimagined
Milwaukee Art Museum – Restored. Reinstalled. Reimagined. The Milwaukee Art Museum, the largest visual art institution in Wisconsin and one of the oldest art museums in the nation, will reopen its Collection Galleries to the public November 24. The reopening is the culmination of a 6-year, $34 million project to transform the visitor experience through dramatically enhanced exhibition and public spaces and bright, flowing galleries. “The new Milwaukee Art Museum is poised to set the standard for a twenty-first-century museum at the heart of a great city,” said Museum Director Daniel Keegan. “What began as a desire to preserve the space and Collection grew into a significant expansion that rejuvenates and sets the future course for the entire institution.” Lewis Wickes Hine American, 1874?1940 A Carolina Spinner 1908 Gelatin silver print 4 11/16 x 6 5/8 in. (11.91 x 16.83 cm) Milwaukee Art Museum, Gift of the Sheldon M. Barnett Family M1973.83 Photo by John R. Glembin Herzfeld Center for Photography and Media Arts Makes Milwaukee Hub for Growing Art Field As part of its November 24, 2015, grand reopening, the Milwaukee Art Museum will debut the new Herzfeld Center for Photography and Media Arts, a 10,000-square-foot space devoted to a global array of photography, film, video installation, and media art. Unparalleled in size and scope for the region, the Center will present the Museum’s rarely seen photography collection of 3,800 works, and will host exhibitions by world- renowned artists working in photography, film, video and digital media. -
Jan Feb Mar 2018
JAN FEB MAR 2018 FROM THE DIRECTOR A collaborative effort between Findley Elementary School students, their teacher Lisa Hesse, and artist Dave Eppley, whose major site-specific installation is included in the In late September, The Links, Drawing in Space exhibition, resulted in Mile-a-Minute Rainbow Incorporated, a not-for-profit corporation Ivy, 2017, being installed on the Richard Meier building during of African-American women leaders, held the month of November. their 60th anniversary celebration at the Art Center. The evening also showcased the many works by African-American artists in our permanent collections. It was an especially rewarding collaboration for everyone involved. The Links is now continuing this special partnership with a gift of $1,000 to support an education- based internship at the Art Center in 2018 for African-American students. The Art Center, like many museums across the country, is striving to introduce young persons of color to employment in the field in an attempt to increase their numbers in the museum career pipeline. This project will help do so. Another exciting partnership occurred in October with the Iowa Civil Rights Commission. The group held a board meeting at the Art Center where the members toured our recent exhibition, I, too, am America, with Assistant Curator Jared Ledesma. Later in October, the Iowa Civil Rights Commission organized a public symposium, which featured a break-out session entitled, I, too, am America, inspired by the show. This is a wonderful example of the power of art to inspire, illuminate understanding, and engage broad audiences. In early November, the Art Center celebrated the creation of a temporary, large-scale mural on the exterior of the Richard Meier building with a public reception.