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NY ESSENTIALS: ARTE > MAYO 15-31

Thursday, May 17, 2012 , Posted by LATINO EVENTS Y TESPIS MAGAZINE at 2:02 PM

Durante la pasada semana he podido andárme de galerías y me he encontrado con nuevas exhibiciones tanto de artistas latinos como de reconocidos artistas internacionales que les recomiendo no se pierdan. La fascinante obra del vanguardista brasileño Hélio Oiticica los espera en la Galería Lelong con su serie Penetrables; La Gagosian presenta tanto al argentino-italiano Lucio Fontana como también a Pablo Picaso en la cuarta de una serie de muestras que la galería ha conducido en los últimos tiempos sobre la obra del artista español. El genio de Brancusi como fotógrafo los espera en la Galería Bruce Silverstein y la segunda instalación de For Rent nos trae a Marc Latamie a la galería de The Americas Society. El artista mexicano Carlos Estrada-Vega exhibe su exquisita obra dedicada a Africa en la Margaret Thatcher y la artista española María José Algora está mostrando su obra reciente en CATM Chelsea. Por su parte el Instituto Cervantes le rinde homenaje a Tápies con una muestra de los artistas Amadeo Peñalver & Karim Márquez. Si se pasean por la Park Avenue no dejen de buscar las esculturas del venezolano Rafaél Barrios.
De las muestras no latinas les recomiendo sobremanera que visiten las nuevas esculturas de Anish Kapoor en la Gladstone Gallery y la sentida obra de Craig Norton en Jim Kempner Fine Art que nos lleva a la reflexión sobre los horrores de las guerras recientes y el Post Traumatic Stress Disorder que afecta a tantos veteranos. Disfruten también de las fotografías de una de las pioneras del arte, Evelyn Hofer en Danziger Gallery y no se olviden de pasar por Leila Heller Gallery para ver Mud Pie, la obra de Rachel Lee Hovnanian. Y pasen por el Café!. Si no han visto la muestra de Cindy Sherman en el MoMA, pásense por la galería Metro Pictures y la disfrutarán en un espacio más íntimo. Por último, OPEN YOUR EYES, la obra del artista Roy Nachum les espera en Joseph Nahmad Contemporary.
La muestra de Keith Haring sigue en el Brooklyn Museum, asi como La Bienal del Whitney, Cindy Sherman en el MoMA y Gran Caribe en el Museo del Barrio. Y hay más!

RECOMENDAMOS

* HELIO OITICICA: PENETRABLES > Hasta Junio 16 > Galerie Lelong > HELIO.

Photo by Alex Guerrero ®2012

One of the most influential artists of the twentieth century, Oiticica investigated color in space in a cohesive, continuous oeuvre, until his untimely death in 1980. He began with the Grupo Frente, Sêco, and Metaesquema drawings and then liberated his painting into space with series entitled Bilateral, Relevos Espaciais, Bólide, Núcleo, Penetrável, and Parangolé. Not only are the Penetrables a natural progression in his own work, but also within the continuum of the art historical canon. Oiticica avowed, “It is not a matter of copying Mondrian, but of blazing the trail for a painting of pure color, space, time and structure.”
For the first time in New York, three of the late Brazilian avant-garde artist Hélio Oiticica’s rarely-seen multi-sensorial installations of color: Penetrável PN1 (1960); Penetrável Filtro (1972); and Penetrável PN28 “Nas Quebradas” (1979) will be on view at Galerie Lelong. Oiticica’s invention of the Penetrável (Penetrable) series brought a new dimension to his work, allowing him to create built environments and develop outdoor installations such as the well-known Magic Square series. The Penetrables are considered among the first artistic installations, and have not been credited enough for their contribution to early conceptual art.

* LUCIO FONTANA: Ambienti Spaziali > Hasta Junio 30 > En Gagosian Gallery > FONTANA.


Photo by Alex Guerrero ®2012


Fontana's fascination for the advancements of science and technology during the twentieth century led him to approach art as a series of investigations into a wide variety of mediums and methods. As a sculptor, he experimented with stone, metals, ceramics, and neon; as a painter he attempted to transcend the confines of the two-dimensional plane. In a series of manifestos, beginning with the Manifesto blanco (White Manifesto) of 1946, Fontana announced his goals for a "spatialist" art, one that could engage technology to achieve an expression of the fourth dimension in a radical new aesthetic idiom that melded the categories of architecture, sculpture, and painting. 
Six of his groundbreaking environments, known as Ambienti Spaziali, have been faithfully reconstructed, providing a completely new perspective for the rich and varied retrospective of more than one hundred major works that surrounds them.
* Picasso and Françoise Gilot: Paris–Vallauris 1943–1953 > Hasta Junio 30 > Gagosian Gallery > PICASSO.
PABLPO PICASSO
Paloma et sa poupée, December 13, 1952
Oil on plywood
28 3/4 x 23 1/2 inches  (73 x 60 cm)
© 2011 Pablo Picasso/Artists Rights Society (ARS), New York. Private Collection. Photo by Eric Baudouin
This is the fourth major exhibition in an ongoing series on the life and work of Pablo Picasso, following the critical and popular success of “Picasso: Mosqueteros” (2009), “Picasso: The Mediterranean Years” (2010), and “Picasso and Marie-Thérèse: L’amour fou” (2011).  The exhibition includes many important loans from museums, including the Museum of Modern Art, New York and the Israel Museum, as well as from private lenders.
This exhibition is a departure from its precedents in that it has been conceived as a visual and conceptual dialogue between the art of Picasso and the art of Françoise Gilot, his young muse and lover during the period 1943–53. The result of an active collaboration between Gilot and Picasso’s biographer John Richardson, assisted by Gagosian director Valentina Castellani, “Picasso and Françoise Gilot” celebrates the full breadth and energy of Picasso’s innovations during these post-war years, as well as presenting Gilot’s paintings alongside his marvellously innovative depictions of her and their family life. It is the first time that their work has been exhibited together—that the painterly dialogue between the fascinated mature male artist and the self-possessed young female artist can be retraced and explored.

* BRANCUSI: THE PHOTOGRAPHS > Hasta Junio 23 > En Bruce Silverstein > BRANCUSI.


Photo by Alex Guerrero ®2012
Featuring over 40 original prints, each made by Brancusi himself, this exhibition reveals Brancusi’s visionary dedication to the photographic medium as means of personal expression—an art form that the artist explored parallel to his sculpture. The photographs are integral to understanding Brancusi as an artist as they indicate that he was not only fully aware of photography’s power to guide, control, and enhance the viewer’s experience of his three-dimensional works, but also to completely transform them into new works of art. By physically placing and positioning his sculptures in his studio, Brancusi creates complex compositions that often incorporate radical lighting; his photographs express a unique pictorial vision that moves decisively beyond mere documentation and firmly establishes Brancusi as one of the most remarkably innovative image-makers in the history of the medium.

* For Rent: Marc Latamie > Hasta Julio 28 > Americas Society Gallery > FOR RENT.

Photo by Alex La Cruz
The second installment in the For Rent series featuring artist Marc Latamie (b.1952). Devoted to mid-career artists from the Caribbean and Canada, For Rent is based on the concept of transferring the use and symbolic value of Americas Society’s art gallery to the artist for the development of an in-situ installation.
In his first solo exhibition in the United States, Marc Latamie reflects on the colonial trade and cultural exchange between Martinique and France. The artist explores the history of the Caribbean through absinthe, a spirit that embodied the zeitgeist of French modern art from Henri Toulouse-Lautrec to Paul Cézanne and Pablo Picasso. For more than a century the spirit was a symbol of Parisian bohemia representing abandonment and decadence. First introduced in the late eighteenth century in Switzerland, absinthe later found great popularity in France and across Europe. It was believed to carry powerful addictive properties that effected one’s perception and behavior. France introduced Martinique to absinthe, an alcohol the island continued to produce despite France’s prohibition by 1915. As a result, Latamie grew up with absinthe regularly brewed in homes throughout Martinique, and recalls that as a child he would sniff the absinthe perfume kept in his grandmother’s cabinet.


* CARLOS ESTRADA-VEGA: BUILDING A PAINTING > Hasta Junio 23 > Margaret Thatcher Projets > ESTRADA

Photo by Alex Guerrero ®2012
For Carlos Estrada-Vega the process of cutting, sanding, drilling, magnetizing and coating thousands upon thousands of tiny wooden cubes with a combination of pigment, wax and limestone dust is only an act of preparation: an exercise to aid him in developing the discipline and focus required for his work.  The actual act of painting begins as he combines those blocks into a grand composition through a practice of meditation and observation.  Though each tiny component is considered a complete painting—a complete experience in and of itself—combined they inform one another, showing a trend of experiences whose diversity deepens and enriches the impact of the whole. Working against the urge to calculate and control the direction of the painting, the artist seeks to channel impulses and instinctual gestures that arise as he works, creating pieces that are as fresh as they are deeply honest.
The exhibition Building a Painting, which features several large-scale works the artist created for his solo exhibition Africa at the Museo Casa Chihuahua in Chihuahua, Mexico, is not merely a new body of work, but the marker of a new era of work for the artist.  The shift into making larger paintings with dramatically smaller elements begins an evolution that emphasizes the artist's metaphysical intentions—the attention, the discipline, the engaged meditation—as expressed by the physical effort applied in creating the paintings. The series presented in Building a Painting is a meditation on the African continent as the cradle of humanity, and the transitions, struggles and metamorphosis it is currently undergoing as it builds and rebuilds itself. The work's graphic, bold colors are at once effusive in their vibrancy and loaded in their significance, eliciting an emotional response without ever being overt.  The artist explains that the work is "an ode to the beauty of the land that saw us emerge and molded us for a couple million years before she finished forming us into what we are today. That is why I wanted to celebrate Africa as our Mother.”  

* MARIA JOSE ALGORA > Recent Paintings > CATM CHELSEA > ALGORA.

Photo by Alex Guerrero ®2012
Everyone sequesters their demons to their remotest landscapes, but in Algora's world she is in constant struggle to not only keep them at bay but to overcome every waking moment. Her work is her testament to her success.
Grappling with the darkness that life has dealt her she sees her salvation in survival. The inextinguishable need and drive to bring her struggles to light is tantamount to her efforts to help others less fortunate. Providing a window of hope, Algora magistrates between celebratory life and it's obligatory opposition. While the struggle is continuous, so is the stigma of the darkness, branded over the illumines, not to be forgotten.


* Wenyon & Gamble : A Universe held up for Inspection. Holograms and Photographs > Hasta Mayo 25 > Magnan Metz Gallery
Photo by Alex Guerrero ®2012
This is the second exhibition for Susan Gamble and Michael Wenyon:  A Universe held up for Inspection.  The show will feature holograms made at an historic observatory, as well as digital prints taken in India and Cuba during the past four years. 
Wenyon & Gamble, the collaborative team who have worked together since 1983, first became known for exploring holography – a medium considered new in the 1980s, but one that now seems to belong to an older, optical era of image making.  In A Universe held up for Inspection, the artists place a world constructed by science under a cultural examination of their own, where the ironies of what is progress and what is obsolete are conjured for scrutiny.


* Manifestations: Is Schuster > Hasta junio 2 > ONE ART SPACE Gallery > IS





Artist Is Schuster returns to her digital roots in her current exhibit, Manifestations, on display at One Art Space in Tribeca from May 11th through June 2nd. Each colorful canvas features vibrant, complex and glowing elaborations of ancient symbols, calling forth living energies and invoking powerful manifestations of humanity’s deepest hopes and dreams. Ms. Schuster invites the viewer to use her work as interactive tools, unleashing the innate power of each symbol in order to develop the specific attributes and characteristics necessary to achieve one’s goals and fulfill one’s destiny.
A member of MIT’s pioneering Architecture Machine Group in the 1970’s, Is Schuster was the first artist to exhibit digital art in New York City. Her prize-winning works have been displayed throughout the United States, Europe and the Middle East in such places as the Brooklyn Museum of Art, the International Center of Photography in New York City, the National Museum of Contemporary Art in Dubai, and the Detroit Institute of Art in Michigan.  

* Collective show > Art Angler Gallery > Hasta Junio 3 >ARTANGLER.
Tamargo. Champagne Pool Under Black Light
Featuring emerging and acclaimed Spanish artists: Marcos Tamargo, Alicia Ibarra, and Xavi Carbonell.

* TRIBUTE TO TAPIES > Paintings, "Ensamblaje" and Video > Muestra de Amadeo Peñalver & Karim Márquez > Mayo 9 al 25 > Instituto Cervantes > TAPIES.



Amadeo Peñalver (Spain) and Karim Márquez (Venezuela) are two artists based in New York. Both will pay tribute with their paintings to Tápies, the Spanish master of artistic informalism, within the program Hispa-York, a series of conversations with Latinamerican creators. 
Amadeo's latest paintings have been created through performance, capturing the energy of the here and now. Márquez's paintings are based on the concept of chaos as a balance for material transformation. The evolution of his work is related to abstract expressionism. 

* Jovan Karlo Villalba > Transitional Dwellings > Hasta Junio 2 > Tache Gallery.


Villalba’s beautifully haunting and evocative paintings –on steel and canvas– depict idealized, yet foreboding landscapes that encompass a range of ambiguities. In keeping with investigations of place and space in his earlier work, Villalba again uses references to examine the roles of context and familiarity. In these recent works, Villalba begins to incorporate imagery of interior and built spaces that he describes as“moments when the paint rests, and one may find comfort.
Technically, Villalba combines an expressionist approach to mark-making and a meticulous layering process to achieve a balance of the painted and unpainted surface. The result are works that navigate between form and subject, and at once seem familiar and foreign.  

* Rafael Barrios on Park Avenue. Nine monumental sculptures by this Venezuelan artist > Hasta Junio 30.
Photo by Alex Guerrero 2012

From 51st Street to 67th Street, Park Avenue Malls, Manhattan.


* ANTONI MUNTADAS: ELEVEN > Hasta Junio 15 >  Kent Fine Art > MUNTADAS.

Stadium, 1989
MUNTADAS: ELEVEN presents eleven works created in varying periods and under varying circumstances. This exhibition marks the first time these works have been seen in New York, beginning with the earliest, Diálogo, produced in 1980 in Madrid; to the series Sentences, begun in 1999; to Look/See/Perceive of 2009; to recent work like The Ordeal of Picasso's Heirs and Carteras sin ministro, both from 2012. Although Muntadas is well known for constructing critiques of what he calls the "media landscape" in large and complex projects, each of these eleven works embody a particularly direct and personal engagement with issues of perception, interpretation, and representation.

* "Think Green","Pensar en verde"> Mónica Sarmiento Castillo > Art Inspired by Nature > Great Neck Arts Center > Hasta Mayo 31 > GREEN.

Image: Mónica Sarmiento, 3 Palmeras y circular, 2011, 40x40cm, mixta sobre madera
Mónica Sarmiento Castillo's distinctive chromatic and constructivist structuring works are shown in prestigious exhibitions around the world. The focal point of her work is the exploration of nature in painting, sculpture, collage, drawing, and glass as viewed through the pre-Columbian Civilizations. Forests weave together the essence of creation and form the basis of her inspiration, reflecting an arboreal theme. 

*
Tony Rocco > TRANSICIONES > Hasta Agosto 13
Pregones Theater > ROCCO.


The exhibition delves into the transitions of place, subject matter, and technique during his 20-year photographic career. Rocco’s uses his unique documentary style to takes us on a jaunt through his childhood neighborhood of South Philadelphia, the gritty North Philadelphia barrio where he has worked his entire adult life as a public school teacher, and his ongoing investigations of his mother’s native Colombia. TRANSICIONES also shows Rocco’s technical progression as we see his experimentations with color and digital photography that compliment his foundation in traditional black and white. 

* Tearing & Lifting > Carlos Vega > Hasta Mayo 26 > Jack Shainman Gallery> VEGA.
I Thought of That, 2012
stamps and oil paint on lead
91 x 60 inches

In this body of work, Vega utilizes large-scale lead plates, stamps, oil paint and collage to depict scenes that embody his personal ideas of optimism.
Vega's new series references traditional latticed screens found in his native Melilla, a Spanish city located in North Africa. These architectural elements, made from ornamental patterns, function as windows in homes and convents. They keep the interiors private while allowing occupants vistas of the public outdoors. Vega transforms large scale malleable lead plates through engraving and deep cuts, producing geometric designs that play with ideas of seeing and being seen. In the haunting I Thought of That, Vega removes large sections of lead, revealing a vivid red field below. 



* ON AIR > Soledad Arias > Hasta Junio 22 > RH Gallery > ARIAS.



Soledad Arias’ text-based work explores the slippage of meanings in the aesthetic and literary reading of texts. The title of the exhibition, ON AIR, refers to live broadcasting relating to the dialog initiated by Arias’ work while also relating to the breath of air necessary for speech. The work explores the materiality of text as well as its poetic, visual and phonetic meanings within the context of dialogue and colloquial communication.




* VOCES Y VISIONES: Gran Caribe > Hasta Diciembre 9 > El Museo Del Barrio.

Francisco Oller y Cestero (Puerto Rican, 1833-1917) Platanos Amarillos (detail), ca. 1892-93 Oil on wood panel Gift of Joseph and Carmen Ana Unanue 2009.32
This exhibition features works that explore the vast diversity and complexity of the Caribbean basin, as an accompaniment to El Museo’s upcoming exhibition, Caribbean: Crossroads of the World, presented in collaboration with Studio Museum in Harlem and Queens Museum of Art.

* ARTIFICIAL PARADISES > Raúl Rodríguez - Theresa + Joel > Hasta el 27 de mayo > En Local Project Gallery > ARTIFICIAL




The fundamental motivation of this project is to raise the idea of “city” as an artificial paradise.  Without creating any judgment, it is a reflection of the reality of the spaces in which citizens live together in large cities. The sequence of photographs becomes a performance of a neutral, faceless, synthesized character.  This character roams on a structure; also neutral, geometric, organized, created by humans.  The performance then becomes “sense” with “the world of ideas and culture” inherited from the history of mankind.  A representation of individual and space dismantled, without any armor or appearance that could dress and shape.  Just being present in the same space, raw and synthesized, interacting with both neutralized individual and space.  No frills or learned presentations of any kind.

OTHER HIGHLIGHTS



* ANISH KAPOOR: New Work > Hasta Junio 9 > Gladstone Gallery > KAPOOR.
Photo by Alex Guerrero 2012
Spanning both gallery spaces (w24th St and w21 St), this two-part exhibition demonstrates Kapoor’s ongoing exploration of the formal and conceptual framework that has informed his artistic practice for over three decades. In these new sculptural works, Kapoor brings together two major facets of his approach to the three-dimensional form, reflecting both the highly engineered and more organic processes within his oeuvre. At once austere and intimate, messy and refined, Kapoor’s work dually confronts and expands the basic nature of materiality and form.
Our 24th Street location features a multi-part installation comprised of twenty-two freestanding concrete sculptures. Formed by densely textured layers of poured concrete and mounted on metal palettes, these heaping sculptures evoke the sensorial nature of materiality and mass. Intentionally employing materials that could not hold their initial shape, Kapoor let the pieces unravel to create new organic forms that hover between contemporary object and ancient entity. These works linger in a state between coalescence and collapse, a relationship that speaks to Kapoor’s ongoing interest in the idea of “objectness” and the incomplete nature of the sculptural form.


* CRAIG NORTON: Tim Came Home from the War and Isn't Timmy Anymore > Hasta Junio 17 > En Jim Kempner Fine Art > NORTON.
Craig Norton
Take a Spin, the Game of Going Off to War, 2012
Craig Norton’s installations have brought social awareness to issues such as civil rights and lynching in America (the subject of his first show at Kempner), the Holocaust and other genocides, and gun violence in America. This most recent tableaux evolved from conversations Norton had with a family friend, a veteran who returned after three tours of duty with a purple heart and severe brain injuries. As a result of these injuries, the veteran felt lost, isolated, and unable to connect with those around him, symptoms commonly associated with Post Traumatic Stress Disorder. Using powerfully gestural and evocative collage techniques, Norton draws attention to PTSD as a pressing national crisis. 
Tim Came Home from the War and Isn’t Timmy Anymore, is a confrontational narrative about the horrors of war and the struggles endured by soldiers upon return from battle. This narrative was created using Norton’s signature technique: a combination of expressive, photo-realistically drawn faces and hands with swaths and swirls of wallpaper collage. Three-dimensional wooden structures - walls, doors, caskets – are incorporated into the tableaux, adding a new sense of psychological and physical depth
A highlight from the show, Take A Spin, the Game of Going Off to War, uses dark humor to illustrate the mental and physical unpredictability every soldier faces. Similar to a game, viewers are invited to “spin the wheel” to see the various options: lose an arm, leg or genitals; come home unhurt, unchanged, the same as when you left; accidentally kill a non-combatant; die; suffer PTSD; spin again. 

* EVELYN HOFER > Photographs > Retrospectiva > Hasta Junio 22 > Danziger Gallery > HOFER.


Photo by Alex Guerrero 2012
Evelyn Hofer was born in Marburg, Germany in 1922 and died in 2009 in Mexico City. In the years in between, Hofer created a body of work that both looked back to the tradition of August Sander and anticipated the color work of William Eggleston, causing her to be called "the most famous unknown photographer in America" by New York Times art critic Hilton Kramer – a devout supporter of her work.
Hofer's studies covered everything from photographic technique to art theory. She didn't just learn composition and the underlying theories of aesthetics, she also learned the chemistry involved in producing prints. Beginning in the early 1960s she became one of the first fine art photographers to adopt the use of color film and the complicated dye transfer printing process as a regular practice. Throughout her long career, Hofer continued to shoot in both color and black and white – determining which was the more apt for the picture at hand. Hofer's goal was to go beyond documentary photography to create a subjective interpretation of the world, conveying both the spirit of the time and a timeless message. A street photographer of a different stripe, Hofer's street pictures convey the artist's concern with sociological connections and offer a pointed look at society and its conditions. Her trades-people and toffs, her families and social groups are more than just intimate portraits – they epitomize the possibilities and restrictions of the human condition. 

* RACHEL LEE HOVNANIAN: Mud Pie > Hasta Junio 2 > En Leila Heller Gallery > PIE.

Photo by Alex Guerrero 2012
Mud Pie will include large-scale installations, sculpture, mixed media paintings, and photography that explore the blurring of reality and the narcissistic side of digital life. This powerful narrative begins with a photograph, Texas Mud Pie, Hands and Feet (Self-Portrait), 2012, and finishes informed by the unfiltered world of digital technology with the sculptural work Gates of Narcissus Metal Panels, Motherboards, 2012.
The viewer is invited into the artist's dream/awake state as she identifies commonplace sights, sounds, smells, tastes, and views of her early childhood in Texas. Hovnanian asks us to imagine a young girl making mud pies in the backyard swallowed up in the world of make believe. Hovnanian recalls the smell of pie in her mother's kitchen, which triggers a powerful memory – but is it apple or mud? And her memory of a profusion of fresh flowers – real or is this more cultural taxidermy?

In the interactive installation/ performance piece, Cafe, 2012, Hovnanian presents a small neighborhood cafe in Texas. Or is it? There is what seems to be an authentic cafe aroma, but the fare is decidedly untraditional. The milky white liquid posing as coffee smells and tastes real, but it is actually a chemical substance created in a lab- a deep rich flavor with a longer shelf life. BBQ, lemonade, and pie grace the menu, however “Food Bytes” or synthetically modified food are served in the cafe. Look out the window: there is a view of a barn – a 12-minute, video projection on a loop entitled, Outside Nacogdoches. @CafeWaitress (the waitress) oozes southern charm and sugars up every sentence; another ersatz reality, she's an actress from New York City with a Twitter account. When @CafeWaitress is asked about the menu she politely refers you to Siri on her iPhone and reminds you to follow her on Twitter.



* ROY NACHUM: OPEN YOUR EYES > Hasta Junio 10 > En Joseph Nahmad Contemporary > No website yet > 450 West 14th st. New York.

Photo by Alex Guerrero 2012

The exhibition, which continues to explore Nachum’s signature themes of perception and vision, consists of paintings and an installation and is divided into four parts, Parallel RealitiesColor BlindInvisible Mirrors and Sea of Crowns.
Roy Nachum's elegant visual tropes eloquently reveal the conundrums of vision, narrative and poetics. While it is common for art to result in quite different experience from view to viewer, Nachum's work is extraordinarily variable in how it is experienced as well as how it is understood. It is an exhibition that will literally and figuratively Open Your Eyes. 

*American Identities: A New Look > Ongoing > Brooklyn Museum > Identities.

Edward Hicks (American, 1780–1849). The Peaceable Kingdom, circa 1833–34. Oil on canvas, 17 7/16 x 23 9/16 in. (44.3 x 59.8 cm). Brooklyn Museum, Dick S. Ramsay Fund, 40.340

This major installation of more than three hundred fifty objects from the Brooklyn Museum's premier collection of American art integrates a vast array of fine and decorative arts (silver, furniture, ceramics, and textiles) ranging in date from the colonial period to the present. For the first time, major objects from these exceptional collections are joined by selections from the Museum's important holdings of Native American and Spanish colonial art.

* Francesca Woodman > Una retrospectiva > Hasta Junio 13 > Guggenheim Museum > Woodman.
Francesca Woodman, Polka Dots, Providence, Rhode Island, 1976. Gelatin silver print, 13.3 x 13.3 cm. Courtesy George and Betty Woodman. © 2012 George and Betty Woodman

Francesca Woodman is the first comprehensive survey of the artist’s brief but extraordinary career to be seen in North America. More than thirty years after her death, the moment is ripe for a historical reconsideration of her work and its reception. Woodman’s oeuvre represents a remarkably rich and singular exploration of the human body in space and of the genre of self-portraiture in particular. Her interest in female subjectivity, seriality, Conceptualist practice, and photography’s relationship to both literature and performance are also hallmarks of the heady moment in American photography during which she came of age. 
 


* Whitney Biennial 2012 >  March 1–May 27 > Sculpture, painting, installations, and photography—as well as dance, theater, music, and film > Whitney Museum.


With a roster of artists at all points in their careers the Biennial provides a look at the current state of contemporary art in America. This is the seventy-sixth in the ongoing series of Biennials and
Annuals presented by the Whitney since 1932, two years after the Museum was founded.
 
* Cindy Sherman > Retrospectiva > Hasta Junio 1 > MoMa.

Cindy Sherman. Untitled #466. 2008. Chromogenic color print, 8′ 6″ x 70″ (259.1 x 177.8 cm). The Museum of Modern Art, New York. Acquired through the generosity of Robert B. Menschel in honor of Jerry I. Speyer. © 2012 Cindy Sherman

The exhibition will explore dominant themes throughout Sherman’s career, including artifice and fiction; cinema and performance; horror and the grotesque; myth, carnival, and fairy tale; and gender and class identity. 
Also included are Sherman’s recent photographic murals (2010), which will have their American premiere at MoMA. 

* RELACIONADO: CINDY SHERMAN >  Muestra en la Galería Metro Pictures > Hasta Junio 9 > Chelsea > CINDY.

Photo by Alex Guerrero 2012

*Keith Haring: 1978–1982 > Hasta Julio 8 > Brooklyn Museum > KH.

Keith Haring (American, 1958–1990). Untitled, 1980. Sumi ink on Bristol board, 20 x 26 in. (50.8 x 66.0 cm). Collection Keith Haring Foundation. © Keith Haring Foundation

This is the first large-scale exhibition to explore the early career of one of the best-known American artists of the twentieth century. Tracing the development of Haring’s extraordinary visual vocabulary, the exhibition includes 155 works on paper, numerous experimental videos, and over 150 archival objects, including rarely seen sketchbooks, journals, exhibition flyers, posters, subway drawings, and documentary photographs.

 
OUTSIDE OF NYC:

* Photography in Mexico > Selected Works from the Collections of SFMOMA and Daniel Greenberg and Susan Steinhauser > Ends July 8 > SFMOMA > MEXICO

Lola Álvarez Bravo, Los gorrones, ca. 1955, printed later; gelatin silver print; Collection of Daniel Greenberg and Susan Steinhauser; © 1995 Center for Creative Photography, The University of Arizona Foundation


Presenting a complex synthesis of art and politics, this exhibition explores Mexico's distinctively rich and diverse photography tradition from the 1920s to the present. It begins in the period following the Mexican Revolution, when international artists such as Tina Modotti and Edward Weston found creative inspiration in Mexico and, in turn, helped to inspire Mexican photographers like Lola Álvarez Bravo and Manuel Álvarez Bravo. Including photographs made for the illustrated press at midcentury and documentary investigations from the 1970s and 1980s, the exhibition concludes with contemporary examinations of social, environmental, and economic concerns both within Mexico and along its northern border. The selection of more than 150 photographs showcases works by Manuel Carrillo, Graciela Iturbide, Elsa Medina, Pablo Ortiz Monasterio, Mariana Yampolsky, and many more.

* Art of the Americas > New wing > Ongoing > Museum of Fine Arts > Boston > MFA.

A view of the 20th-century art through the mid-1970s galleries. Art of the Americas. MFA Boston.  Photo: Alex Guerrero ®2012
The new wing takes a global perspective on Art of the Americas, showcasing more than 5,000 works of art produced in North, Central, and South America over the course of three millennia. Art in all media will be arranged chronologically on four floors. The wing's 53 brand-new galleries include nine beautiful period rooms and four Behind the Scenes galleries to enhance the way visitors experience and interact with the collection. 


* The Art of the Ancient Americas > Hasta Mayo 20 > Walters Museum of Baltimore > AMERICAS.


An exhibition of 135 artworks from cultures that rose and fell in Mexico, Central America and Andean South America from 1200 BCE to 1530 CE. Drawn from the collection of John Bourne recently gifted to the Walters, this exhibition expresses each culture’s distinctive aesthetics, worldview and spiritual ideologies.
Exploring Art of the Ancient Americas touches on the performative nature of politics and religion—performance being a key mechanism for strengthening bonds of community and religious belief. The exhibition features the imaginative musical instruments used during these events and emotive portrayals of performers—from kings to commoners.

* The New Wing for Contemporary Art at the MFA, Boston > Ongoing > Contemporary.

A view  of the Wing for Contemporary Art. MFA, Boston. Photo: AlexGuerrero ®2012.

The Linde Family Wing for Contemporary Art has seven new galleries to introduce innovative approaches to contemporary art and design within the context of the MFA's collections. The wing is also a lively social space—a gateway to experience contemporary culture, including art, music, performances, film, readings, lectures, courses, and artist demonstrations.







  

 




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