DOCSLIB.ORG

•• 011-015, 018 Att

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
•• 011-015, 018 Att THE ART NEWSPAPER, No. 167, MARCH 2006 11 Exhibition attendance figures 2005 This is the extended list made available to download online as a service to The Art Newspaper’s readers. These pages are not as they appear in the printed edition. Hokusai show gets over 9,000 visitors a day Shows in Japan top our survey again this year with the largest daily averages recorded in the last 10 years TOKYO/LONDON. Exhibitions in attendance than their counter- Tokyo have topped our survey parts in the West. Blockbusters of annual attendance figures inevitably sell out in other for the second year running. museum spaces with reduced In 2004, three shows in the floor space and smaller capac- Japanese capital made it into ity figures, placing them lower the top 10 most visited shows. down our survey. In 2005, “Hokusai” at the However, although the Tokyo National Museum Metropolitan Museum of Art attracted a staggering 9,436 vis- declined to disclose a capacity itors a day making it not just the visitor figure for its Vincent year’s highest attended show Van Gogh show, the top US but also the most visited since exhibition in the list (and we started publishing annual number four overall), the attendance figures in 1996. institution still managed to “National treasures of the accommodate 6,571 daily vis- Toshodaiji Temple” at the itors in a space a third of the same museum came second size (929 square metres) of the with 8,678 visitors a day Tokyo National Museum. while “Van Gogh in context” MoMA also made the top at the National Museum of 30 in our survey by pushing Modern Art came 10th with through 3,449 daily visitors 5,890 visitors a day. Shows in for its show of new acquisi- Kyoto, Yokohama and Kobe tions into an small exhibition also attracted huge numbers. area of 409 square metres. A The Japanese phenomenon spokesperson for the New is the result of a number of York museum said that a factors. In 2001 all state-run “capacity visitor figure did museums were semi-priva- not apply” to the museum. tised; national museums are This MoMA exhibition is now responsible for generat- only four places lower than ing profits from tickets and Tate Britain’s show on Turner merchandising, so institutions Whistler and Monet (no.19), are spending considerable the highest ranked UK show. sums on marketing and the Tate only allowed 500 visitors curatorial emphasis has shifted at any one time into an area Daily Total Exhibition Venue City Dates to crowd-pleasing artists such more than twice the size of Record attendance: Hokusai as Hokusai and Van Gogh. MoMA’s (934 square metres). at the Tokyo National 9,436 332,939 Hokusai Tokyo National Museum Tokyo 25/10/05-4/12/05 The upshot appears to be a The same show at the Grand Museum tops our survey 8,678 402,921 National Treasures of the Toshodaiji Temple Tokyo National Museum Tokyo 12/1/05-6/3/05 drive to accommodate as many Palais attracted 119,332 more this year. Above, The Great 7,066 621,814 19th-century Masterpieces from the Louvre Yokohama Museum of Art Yokohama 9/4/05-18/7/05 visitors as possible. But what people, but it was open for a Wave off Kanagawa from 6,571 459,972 Vincent van Gogh: the drawings Metropolitan Museum of ArtCONTINUED New York ON 18/10/05-31/12/05 PAGES 12-18 sort of experience does the vis- slightly longer period of time “Thirty-six views of Mount 6,387 433,397 Cézanne and Pissarro 1865-85 Museum of Modern Art New York 26/6/05-12/9/05 itor have with so many people The Paris museum declined to Fuji”, 1823-29 6,043 501,601 Turner Whistler Monet Grand Palais Paris 13/10/04-17/1/05 admitted at any one time? The reveal its maximum capacity 5,992 425,404 19th-century Masterpieces from the Louvre Kyoto City Museum Kyoto 30/7/05-16/10/05 Tokyo National Museum’s and floor space size. another attraction. This 5,991 293,551 Thomas Demand Museum of Modern Art New York 4/4/05-30/5/05 most popular exhibitions took So is today’s international includes the Mori Art 5,934 937,613 Tutankhamun and the pharaohs LACMA Los Angeles 16/6/05-20/11/05 place in the 2,900 square- exhibition-goer put off by Museum, which issues com- 5,890 518,307 Van Gogh in context National Museum of Modern Art Tokyo 23/2/05-22/5/05 metre Heisei wing, with a these bone-crushing experi- bined tickets for exhibitions 5,692 337,475 Masterpieces from Museum Island, Berlin Tokyo National Museum Tokyo 5/4/05-12/6/05 capacity of around 2,000 peo- ences? Our survey reveals that and the observation platform at 5,644 866,812 Tutankhamun, the golden beyond Kunst der Bundesrepublik Bonn 4/11/04-1/5/05 ple at any one time—a figure 234 shows attracted more than the top of the skyscraper. The 5,519 463,603 Chanel Metropolitan Museum of Art New York 5/5/05-7/8/05 Japanese commentators say is 1,000 visitors a day, a 3% drop Colosseum also issues com- 5,238 386,841 Friedlander Museum of Modern Art New York 5/6/05-29/8/05 only achieved by cramming on 2004, but the causes of this bined tickets for shows and 4,985 346,847 Works from the UBS Art Collection Museum of Modern Art New York 4/2/05-25/4/05 the visitors in together. This are impossible to determine. entrance to the site (see p.18). 4,386 305,131 Groundswell: contemporary landscape Museum of Modern Art New York 25/2/05-16/5/05 inevitably leads to “bottle- Over 600 international insti- Only shows that ended in 4,311 362,152 Matisse: his art and his textiles Metropolitan Museum of Art New York 23/6/05-25/9/05 necks” at certain popular van- tutions were contacted for this 2005 are included. Exhibitions 4,144 370,011 Salvador Dalí Philadelphia Museum of Art Philadelphia 16/2/05-30/5/05 tage points in exhibitions. survey. A number of institu- which closed in January will 4,024 382,269 Turner Whistler Monet Tate Britain London 10/2/05-15/5/05 Certainly, the vast capacity tions have been excluded be ranked in next year’s list. 3,969 286,330 Dresden: mirror of the world National Museum of Western Art Tokyo 28/6/05-19/9/05 of Japanese venues enables because tickets to their shows KayJ For Itoicommentarand yJane, see p.30 Morris 3,722 73,914 The dancing satyr Tokyo National Museum Tokyo 19/2/05-13/3/05 them to achieve much higher also included entrance to 3,575 607,699 The Aztec empire Guggenheim Museum Bilbao 19/3/05-19/8/05 All figures were calculated automatically by Methodology used was supplied by the institutions con- 3,449 266,526 New work and new acquisitions Museum of Modern Art New York 29/6/05-26/9/05 our database which computes the number cerned. Many institutions have one ticket for 3,396 699,483 Pharaoh Institut du Monde Arabe Paris 15/10/04-12/6/05 of days an exhibition was open using the the entire museum and cannot provide indi- 3,358 272,000 Turks, 600-1600 AD Royal Academy of Arts London 22/1/05-12/4/05 following formula: total number of days duces an imperfect number (a division of vidual attendance for temporary exhibitions. 3,278 721,074 Art Informel and Abstract Expressionism Guggenheim Museum Bilbao 8/3/05-6/11/05 between start date and end date, divided by seven) all figures are out by a potential Some institutions offer a number of 3,201 214,500 Dresden: mirror of the world Hyogo Prefectural Museum Kobe 6/3/05-22/5/05 seven, multiplied by the number of days per margin of 2%. However, as the same margin exhibitions for a single ticket: these are 3,165 231,040 Baseball as America Museum of Fine Arts Houston 22/5/05-14/8/05 week the institution is open, minus excep- applies uniformly to all averages given, the shown as one entry. A number of institutions 3,150 440,564 Monet, the Seine and water lilies Museo di Santa Giulia Brescia 23/10/04-3/4/05 tional closures. As this formula always pro- list represents a fair comparison. All data did not provide us with data. 3,079 267,859 Toulouse-Lautrec and Montmartre Art Institute of Chicago Chicago 16/7/05-10/10/05 12 THE ART NEWSPAPER, No. 167, MARCH 2006 ExhibitionDaily Total Exhibition attendance Venue City Dates figuresDaily Total Exhibition 2005 Venue City Dates 3,040 315294 The Aztec empire Guggenheim Museum New York 15/10/04-13/2/05 1,568 86,235 Raphael’s La Fornarina Museum of Fine Arts Houston 13/2/05-17/4/05 3,030 221,918 Diane Arbus revelations Metropolitan Museum of Art New York 8/3/05-30/5/05 1,550 134,865 Maurizio Cannavacciuolo BALTIC Gateshead 4/6/05-29/8/05 3,014 160,583 Robert Mapplethorpe; and Oteiza Guggenheim Museum New York 28/6/05-28/8/05 1,545 308,619 Jeremy Blake: Winchester Museum of Modern Art San Francisco 19/2/05-10/10/05 3,013 256,073 Toulouse-Lautrec and Montmartre National Gallery of Art Washington 20/3/05-12/6/05 1,520 130,519 John Szarkowski: photographs Museum of Modern Art San Francisco 5/2/05-15/5/05 3,002 369,249 Frida Kahlo Tate Modern London 6/6/05-9/10/05 1,519 103,044 Spain in the age of exploration 1492-1819 Seattle Art Museum Seattle 16/10/04-2/1/05 2,973 300,294 Neo Impressionism from Seurat to Paul Klee Musée d’Orsay Paris 15/3/05-10/7/05 1,519 148,623 Robert Bechtle: a retrospective Museum of Modern Art San Francisco12/2/05-5/6/05 2,964 211,313 Rembrandt’s late religious portraits The Getty Museum Los Angeles 7/6/05-28/8/05 1,515 148,209 2004 SECA Art Award Museum of Modern Art San Francisco22/1/05-15/5/05 2,943 183,757 Basquiat Brooklyn Museum New York 11/3/05-5/6/05 1,514 106,000 Summer exhibition 2005 Royal Academy of Arts London 7/6/05-15/8/05 2,902 266,986 Rembrandt’s late religious portraits National Gallery of Art Washington 30/1/05-1/5/05 1,500 15,000 The show, part I: fine and applied arts Royal College of Art London 27/5/05-5/6/05 2,846 253,323 China: dawn of a golden age
Load more

Recommended publications
  • National Gallery of Art
    National Gallery of Art FOR IMMEDIATE RELEASE Deborah Ziska, Information Officer March 19, 1999 PRESS CONTACT: Patricia O'Connell, Publicist (202) 842-6353 NATIONAL GALLERY OF ART SCULPTURE GARDEN TO OPEN MAY 23 New Acquisitions in Dynamic Space Will Offer Year-Round Enjoyment on the National Mall Washington, D.C. -- On May 23, the National Gallery of Art will open a dynamic outdoor sculpture garden designed to offer year-round enjoyment to the public in one of the preeminent locations on the National Mall. The National Gallery of Art Sculpture Garden is given to the nation by The Morris and Gwendolyn Cafritz Foundation. The landscaping of the 6.1-acre space provides a distinctive setting for nearly twenty major works, including important new acquisitions of post-World War II sculpture by such internationally renowned artists as Louise Bourgeois, Mark di Suvero, Roy Lichtenstein, Claes Oldenburg and Coosje van Bruggen, and Tony Smith. The Sculpture Garden is located at Seventh Street and Constitution Avenue, N.W., in the block adjacent to the West Building. "We are proud to bring to the nation these significant works of sculpture in one of the few outdoor settings of this magnitude in the country," said Earl A. Powell III, director, National Gallery of Art. "The opening of the Sculpture Garden brings to fruition part of a master plan to revitalize the National Mall that has been in development for more than thirty years. The National Gallery is extremely grateful to the Cafritz Foundation for making this historic event possible." - more - Fourth Street at Constitution Avenue.
    [Show full text]
  • WIR KAUFEN IHRE ROLEX BQ Watches Ist Europas Führender Käufer Gebrauchter Luxusuhren
    Luxemburger Wort Montag, den 10.Februar 2014 KULTUR 11 Une premièrepour le public americain Premièrerétrospectiveaméricaine Lesœuvres de Michel Majerus sont exposéesàNew York PAR AFSANEH ANGELINA RAFII les jeux vidéos, le graffiti et la pu- (NEW YORK) blicité qui font tout l’intérêt de son travail. La galerie Matthew Marks àNew York ainauguré vendredi soir une Une ambition clairement affichée rétrospective consacrée àl’œuvre Sur ses dix ans de carrière, Michel de l’artiste luxembourgeois Michel Majerus acréé plus de 1.500 Majerus (1967-2002) prématu- œuvres dont certaines n’ont pas rément disparu lors de l'accident du encore été exposées. Tim Neuger vol Luxair 9642 en novembre 2002. qui le représentait déjà de son vi- Une première pour le public améri- vant se rappelle: «Michel était cain. vraiment visionnaire. Pendant une de ces fameuses périodes de crise La soirée s’est déroulée en pré- où la plupart des artistes rédui- sence des parents de Michel Ma- saient la taille de leurs œuvres, Mi- jerus qui avaient fait le dépla- chel ne faisait qu’agrandir ses cement du Luxembourg. «Orga- toiles. Je lui reprochais qu’elles niser une nouvelle exposition est étaient énormes. Mais en fait il àchaque fois un parcours dou- créait en sachant déjà où il voulait loureux car c’est comme si nous Quelque 25 œuvres et installations sont présentées dans trois espaces de la galerie àChelsea. (PHOTO: A. RAFII) être exposé. Il m’avait alors ré- devions refaire notre deuil. Mais pondu que le Musée Ludwig àCo- Michel atoujours eu le rêve et due du travail de l’artiste.
    [Show full text]
  • “Print by Print: Series from Dürer to Lichtenstein” Exhibition at the Baltimore Museum of Art
    A behind the scenes look: the making of the “Print by Print: Series from Dürer to Lichtenstein” exhibition at The Baltimore Museum of Art One of our recent projects was to make frames for The Baltimore Museum of Art’s “Print by Print: Series from Dürer to Lichtenstein” exhibition. In doing research on the exhibition I noticed the funding came because of the collaboration the museum did with the students from The Johns Hopkins University (JHU) and the Maryland Institute College of Art (MICA). Since funding has become much more of an issue in these days of reduced budgets, this caught my attention and I wanted to find out more about the collaboration. I was also interested in sharing with our readers a behind the scenes view of the making of an exhibition. On Friday November 18, 2011 I met with Rena Hoisington, BMA Curator & Department Head of the Department of Prints, Drawings, & Photographs, Alexandra Good, an art history major at JHU, and Micah Cash, BMA Conservation Technician for Paper. Karen Desnick, Metropolitan Picture Framing I was especially intrigued about the funding of this exhibition and the collaborative aspects with the students of The Johns Hopkins University and the Maryland Institute College of Art. Can you elaborate on the funding source and how the collaboration worked? Rena Hoisington, BMA I submitted a proposal for organizing an exhibition of prints in series a couple of years ago. Dr. Elizabeth Rodini, Senior Lecturer in the History of Art Department at The Johns Hopkins University and the Associate Director of the interdisciplinary, undergraduate Program for Museums in Society, then approached the Museum about working on a collaborative project that would result in an exhibition.
    [Show full text]
  • Contemporary Art Magazine Issue # Sixteen December | January Twothousandnine Spedizione in A.P
    contemporary art magazine issue # sixteen december | january twothousandnine Spedizione in a.p. -70% _ DCB Milano NOVEMBER TO JANUARY, 2009 KAREN KILIMNIK NOVEMBER TO JANUARY, 2009 WadeGUYTON BLURRY CatherineSULLIVAN in collaboration with Sean Griffin, Dylan Skybrook and Kunle Afolayan Triangle of Need VibekeTANDBERG The hamburger turns in my stomach and I throw up on you. RENOIR Liquid hamburger. Then I hit you. After that we are both out of words. January - February 2009 DEBUSSY URS FISCHER GALERIE EVA PRESENHUBER WWW.PRESENHUBER.COM TEL: +41 (0) 43 444 70 50 / FAX: +41 (0) 43 444 70 60 LIMMATSTRASSE 270, P.O.BOX 1517, CH–8031 ZURICH GALLERY HOURS: TUE-FR 12-6, SA 11-5 DOUG AITKEN, EMMANUELLE ANTILLE, MONIKA BAER, MARTIN BOYCE, ANGELA BULLOCH, VALENTIN CARRON, VERNE DAWSON, TRISHA DONNELLY, MARIA EICHHORN, URS FISCHER, PETER FISCHLI/DAVID WEISS, SYLVIE FLEURY, LIAM GILLICK, DOUGLAS GORDON, MARK HANDFORTH, CANDIDA HÖFER, KAREN KILIMNIK, ANDREW LORD, HUGO MARKL, RICHARD PRINCE, GERWALD ROCKENSCHAUB, TIM ROLLINS AND K.O.S., UGO RONDINONE, DIETER ROTH, EVA ROTHSCHILD, JEAN-FRÉDÉRIC SCHNYDER, STEVEN SHEARER, JOSH SMITH, BEAT STREULI, FRANZ WEST, SUE WILLIAMS DOUBLESTANDARDS.NET 1012_MOUSSE_AD_Dec2008.indd 1 28.11.2008 16:55:12 Uhr Galleria Emi Fontana MICHAEL SMITH Viale Bligny 42 20136 Milano Opening 17 January 2009 T. +39 0258322237 18 January - 28 February F. +39 0258306855 [email protected] www.galleriaemifontana.com Photo General Idea, 1981 David Lamelas, The Violent Tapes of 1975, 1975 - courtesy: Galerie Kienzie & GmpH, Berlin L’allarme è generale. Iper e sovraproduzione, scialo e vacche grasse si sono tra- sformati di colpo in inflazione, deflazione e stagflazione.
    [Show full text]
  • Project Windows 2018 John Singer Sargent and Chicago's Gilded
    February 14, 2018 Project Windows 2018 John Singer Sargent and Chicago’s Gilded Age The Art Institute of Chicago “Art is not what you see, but what you make others see.” Edgar Degas Magritte transformed Marc Jacobs ART INSTITUTE OF CHICAGO AWARD, 2014 Magritte, The Human Condition Lichtenstein reimagined Roy Lichtenstein, Brushstroke with Spatter Macy’s BEST OVER-ALL DESIGN 2015 Vincent brought to life Vincent van Gogh, Self-Portrait AT&T PEOPLE’S CHOICE AWARDS, 2016 2017 Gauguin: Artist as Alchemist Neiman Marcus Paul Gauguin, Mahana no atua (Day of the God), 1894 ART INSTITUTE OF CHICAGO AWARD, 2017 Sargent Inspiration - Experiential Sargent Inspiration - Visual Sargent Inspiration - Tactile Benefits Part of a citywide cultural Public Voting Drives traffic and builds celebration awareness Judges Showcase your designers Awards Celebration talent Resources michiganavemag.com/Project-Windows Images + developed merchandise PR + Social Media Advertising Annelise K. Madsen, Ph.D. Gilda and Henry Buchbinder Assistant Curator of American Art John Singer Sargent (American, 1856–1925) John Singer Sargent and Chicago’s Gilded Age The Fountain, Villa Torlonia, Frascati, Italy (detail), 1907 Oil on canvas 71.4 x 56.5 cm (28 1/8 x 22 1/4 in.) July 1–September 30, 2018 | Regenstein Hall East Friends of American Art Collection, 1914.57 The Art Institute of Chicago Gilded Age Painter of International Renown John Singer Sargent (1856–1925) The Art Institute of Chicago Inspiration Sargent’s art is both old and new, traditional and avant-garde.6 John Singer
    [Show full text]
  • Andy Warhol Who Later Became the Most
    Jill Crotty FSEM Warhol: The Businessman and the Artist At the start of the 1960s Roy Lichtenstein, Claes Oldenburg and Robert Rauschenberg were the kings of the emerging Pop Art era. These artists transformed ordinary items of American culture into famous pieces of art. Despite their significant contributions to this time period, it was Andy Warhol who later became the most recognizable icon of the Pop Art Era. By the mid sixties Lichtenstein, Oldenburg and Rauschenberg each had their own niche in the Pop Art market, unlike Warhol who was still struggling to make sales. At one point it was up to Ivan Karp, his dealer, to “keep moving things moving forward until the artist found representation whether with Castelli or another gallery.” 1Meanwhile Lichtenstein became known for his painted comics, Oldenburg made sculptures of mass produced food and Rauschenberg did combines (mixtures of everyday three dimensional objects) and gestural paintings. 2 These pieces were marketable because of consumer desire, public recognition and aesthetic value. In later years Warhol’s most well known works such as Turquoise Marilyn (1964) contained all of these aspects. Some marketable factors were his silk screening technique, his choice of known subjects, his willingness to adapt his work, his self promotion, and his connection to art dealers. However, which factor of Warhol’s was the most marketable is heavily debated. I believe Warhol’s use of silk screening, well known subjects, and self 1 Polsky, R. (2011). The Art Prophets. (p. 15). New York: Other Press New York. 2 Schwendener, Martha. (2012) "Reinventing Venus And a Lying Puppet." New York Times, April 15.
    [Show full text]
  • Dick Polich in Art History
    ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship.
    [Show full text]
  • Rapport D'activités 2007
    MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 mudaM rapport d’activites 2007 mudaM rapport d’activites 2007 mudaM rapport d’activites 2007 mudaM rapport d’activites 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 mudaM rapport d’activites 2007 mudaM rapport d’activites 2007 mudaM rapport d’activites 2007 mudaM rapport d’activites 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 mudaM rapport d’activites 2007 mudaM rapport d’activites 2007 mudaM rapport d’activites 2007 mudaM rapport d’activites 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 mudaM rapport d’activites 2007 mudaM rapport d’activites 2007 mudaM rapport d’activites 2007 mudaM rapport d’activites 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT D’ACTIVITÉS 2007 MUDAM RAPPORT
    [Show full text]
  • Hors-Série Pendant 12 Mois Numéro 1 / Août1 20129
    Votre abonnement annuel pour €/mois pendant 12 mois hors-série numéro 1 / août1 20129 - spécial expositions de l’été 2012 - * p.4 paris * p.23 île-de-france * p.26 régions * p.71 étranger www.lequotidiendelart.com 2 euros cliquez et retrouvez le calendrier des expositions du mois édito le quotidien de l’art / hors-série / numéro 1 / a oût 2012 PAGE 02 Expositions : un été radieux ! Carolyn Christov-Bakargiev, s’est notamment focalisée sur les artistes s’intéressant à la question de l’histoire. De Gerhard Tout au long de l’année, nos critiques d’art et journalistes Richter au Centre Pompidou à Paris à Jeff Koons à la Fondation parcourent les musées, centres d’art, fondations, en France Beyeler à Bâle, l’art contemporain figure en bonne place dans et à l’étranger, et proposent des comptes rendus, analyses et notre sélection, jusqu’aux plus jeunes artistes, en France ou à critiques des expositions temporaires incontournables. Pour l’étranger, en passant par des rendez-vous comme la triennale ce premier hors-série du Quotidien de l’art, nous vous offrons l’Estuaire qui conduit les visiteurs de Nantes à Saint-Nazaire. une sélection de plus de quatre-vingts expositions à voir durant Cet été, la photographie tient aussi le haut du pavé, des ce mois d’août. Les événements majeurs sont en bonne place, rencontres d’Arles où se distingue la figure de Josef Koudelka comme la Documenta de Cassel, en Allemagne, événement au Guggenheim Museum de New York qui accueille une qui fait un point tous les cinq ans sur les grandes tendances grande rétrospective de la Néerlandaise Rineke Dijkstra.
    [Show full text]
  • Quick Facts from the Modern Docent Newsletter
    Quick Facts from the Modern Docent Newsletter Summer 2008 In Andy Warhol’s Twenty-Five Colored Marilyns, 1962, the colors were hand-painted with the aid of stencils before the black areas were silk-screened on top. Roy Lichtenstein used a homemade stencil to achieve the effect of Ben-day dots in his paintings. The Museum Ludwig in Cologne, Germany, owns Gerhard Richter’s painting Ema (Nude on a Staircase), 1966. Twenty-six years later, in 1992, the artist created an edition of 12 photographs of that painting, including the one in our permanent collection. Fall 2008 The stone used by Ulrich Rückriem in his untitled work from 1980 is Texas red granite from a quarry in Fredericksburg, TX. In 1981, this institution (then known as the Fort Worth Art Museum) hosted his first one-man museum exhibition in America, and when his work proved too costly to ship from Germany, he created new work in Texas using native stone. The figures and their bases in Stephan Balkenhol’s 4 Figures, 2000 are not separate pieces, but each a single continuous form. Also, Balkenhol’s major professor at the Hockschule für Bildende Künst in Hamburg, Germany, was Ulrich Rückriem. January 2009 Here are some interesting connections between some of the artists whose works are currently exhibited on the first floor: Ellsworth Kelly lived in the same building as Agnes Martin in Lower Manhattan in the late 1950s. They had breakfast together every day for a year and a half. Carl Andre and Frank Stella shared a studio space in New York from 1958–1960, the years Stella developed his black stripe paintings.
    [Show full text]
  • Wid Lieben Büched. We Love Books
    HERBST 2012 FALL 2012 WIR LIEBEN BÜCHER. WE LOVE BOOKS. DISTANZ Publishers Vertriebspartner für den Exclusive Worldwide Sales Distribution Services Handel Representation Christian Boros Great Britain / Ireland Uta Grosenick Gestalten Gestalten Mariannenstr. 9–10 Mariannenstr. 9–10 Marston Book Services Ltd. DISTANZ Verlag GmbH D-10999 Berlin 10999 Berlin Tel. +44 (0)12 35465500 Hallesches Ufer 78 Tel. +49 (0)30 72613 2200 Tel. +49 (0)30 72613 2200 Fax +44 (0)12 35465555 D-10963 Berlin Fax +49 (0)30 72613 2222 Fax +49 (0)30 72613 2222 [email protected] Tel. +49 (0)30 240833 200 [email protected] [email protected] Fax +49 (0)30 240833 250 Gestalten UK USA / Canada www.distanz.de Auslieferungen / Distribution Die Gestalten Verlag UK Ltd. www.distanz.com Services Suite 7, London Fruit & Wool Prestel Publishing Exchange Innovative Logistics Please note that all titles, Deutschland / Österreich / Brushfield Street 575 Prospect Street designs, prices, scheduled Belgien / Niederlande / London E1 6HB Lakewood, NJ 08701 publication dates, and specifica- Skandinavien / Süd- und Great Britain Tel. +1 732 3635679 tions are subject to alteration Osteuropa Tel. +44 (0)20 73771388 Fax +1 732 3630338 without notice. Date: April 2012 Germany / Austria / Fax +44 (0)20 72478624 Toll-free orders: Title number: 9076 Belgium / The Netherlands / [email protected] (888) 4636110 Scandinavia / Southern and Toll-free fax orders: Printed in Germany Eastern Europe Gestalten US (877) 3728892 All rights reserved. Gestalten Corp. LKG 900 Broadway, Suite 603 © DISTANZ Verlag GmbH Kontakt: Elisabeth Kaiser New York, NY 10003 Distanz publications are Berlin 2012 An der Südspitze 1–12 USA distributed worldwide through D-04579 Espenhain Tel.
    [Show full text]
  • Christopher Wool
    CHRISTOPHER WOOL BIOGRAPHY Born 1955 in Chicago, IL Lives and works in New York, NY EDUCATION 1969-1972 B.A, Sarah Lawrence College, New York, NY 1973 Painting Course, New York Studio School, New York, NY Painting Course, New York University, New York, NY SELECTED SOLO EXHIBITIONS 2019 Maybe Maybe Not: Christopher Wool and the Hill Collection, Hill Art Foundation, New York, NY 2018 Christopher Wool: A New Sculpture, Luhring Augustine, Brooklyn, NY Christopher Wool: Highlights from the Hill Art Collection, Hill Art Foundation, H Queen’s Atrium, Hong Kong 2017 Christopher Wool: Text Without Message, Philbrook Downtown, Tulsa, OK Christopher Wool, Galerie Max Hetzler, Berlin, Germany 2015 Christopher Wool, Luhring Augustine, New York, NY Christopher Wool: Selected Paintings, McCabe Fine Art, Stockholm, Sweden Inbox: Christopher Wool, MoMA, New York, NY 2013 Christopher Wool, Guggenheim Museum, New York, NY. This exhibition travelled in 2014 to Art Institute of Chicago, Chicago, IL (exh. cat.) 2012 Christopher Wool, Musée d’Art Moderne de la Ville de Paris, Paris, France 2011 Christopher Wool, Galerie Gisela Capitain, Cologne, Germany 2010 Christopher Wool, Gagosian Gallery, Rome, Italy Christopher Wool, Corbett vs. Dempsey, Chicago, IL 2009 Christopher Wool, Galerie Micheline Szwajcer, Antwerp, Belgium Christopher Wool: Editions, Artelier Contemporary, Graz, Austria 2008 Christopher Wool, Luhring Augustine Gallery, New York, NY Christopher Wool. Porto – Köln, curated by Ulrich Loock and Julia Friedrich, Museu Serralves, Porto, Portugal. This exhibition travelled to the Museum Ludwig (exh. cat). 2007 Pattern Paintings 1987-2000, Skarstedt Gallery, New York, NY (exh. cat) Christopher Wool, Galerie Max Hetzler, Berlin, Germany (exh. cat) Christopher Wool, Eleni Koroneou Gallery, Athens, Greece 2006 Christopher Wool, Simon Lee Gallery, London, UK Christopher Wool, ETH (Swiss Federal Institute of Technology), Zurich, Germany Christopher Wool, IVAM Institut Valencià d'Art Modern, Valencia, Spain (exh.
    [Show full text]