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Art Exhibitions, Art Fairs, Visual Arts, Photography, Graphic Arts, Design, Video Art, Architecture, Films, Photo / Imaging Equipments, Publications


January 31, 2012

Damien Hirst: Spot Paintings, Gagosian Gallery exhibition in New York, London, Paris, Los Angeles, Rome, Athens, Geneva, and Hong Kong

Damien Hirst: The Complete Spot Paintings 1986-2011 Gagosian Gallery's eleven locations 
Beverly Hills, Los Angeles, through February 10, 2012 New York, London, Paris, Hong Kong, through February 18 Rome, Athens, through March 10 Geneva, through March 17, 2012

I was always a colorist, I’ve always had a phenomenal love of color… I mean, I just move color around on its own. So that’s where the spot paintings came from—to create that structure to do those colors, and do nothing. I suddenly got what I wanted. It was just a way of pinning down the joy of color.
Damien Hirst

Damien Hirst at Gagosian Gallery
© Damien Hirst/ Science Ltd, 2012 
Photography Prudence Cuming Associates

Damien Hirst: The Complete Spot Paintings 1986-2011, take place at once across all of Gagosian Gallery’s eleven locations. Most of the paintings are being lent by private individuals and public institutions, more than 150 different lenders from twenty countries. Conceived as a single exhibition in multiple locations, The Complete Spot Paintings 1986–2011 makes use of this demographic fact to determine the content of each exhibition according to locality.

Included in the exhibition are more than 300 paintings, from the first spot on board that Damien Hirst created in 1986; to the smallest spot painting comprising half a spot and measuring 1 x 1/2 inch (1996); to a monumental work comprising only four spots, each 60 inches in diameter; and up to the most recent spot painting completed in 2011 containing 25,781 spots that are each 1 millimeter in diameter, with no single color ever repeated.

PUBLICATION
The exhibition is accompagnied by the publication of The Complete Spot Paintings 1986–2011, a fully illustrated, comprehensive and definitive catalogue of all spot paintings made by Damien Hirst from 1986 to the present. Published by Gagosian Gallery and Other Criteria, The Complete Spot Paintings 1986–2011 includes essays by Museum of Modern Art curator Ann Temkin, cultural critic Michael Bracewell, and art historian Robert Pincus-Witten as well as a conversation between Damien Hirst, Ed Ruscha and John Baldessari.

The third issue of the Gagosian App for iPad providing an interactive, in-depth look at the series that features more than ninety spot paintings.

Damien Hirst: The Complete Spot Paintings 1986-2011 precedes the first major museum retrospective of Hirst’s work opening at Tate Modern in London in April, 2012.

DAMIEN HIRST was born in 1965 in Bristol, England. Solo exhibitions include "The Agony and the Ecstasy," Museo Archeologico Nazionale di Napoli, Naples (2004); "A Selection of Works by Damien Hirst from Various Collections," Museum of Fine Arts, Boston (2005); Astrup Fearnley Museet for Moderne Kunst, Oslo (2005); "For the Love of God," Rijksmuseum, Amsterdam (2008); "No Love Lost," The Wallace Collection, London (2009); "Requiem," Pinchuk Art Center, Kiev (2009); and “Cornucopia,” the Oceanographic Museum of Monaco (2010). He received the Turner Prize in 1995. His work is included in many important public and private collections throughout the world. Damien Hirst lives and works in London and Devon, United Kingdom.

GAGOSIAN GALLERY

New York, NY, USA: 980 Madison Avenue & 555 West 24th Street & 522 West 21st Street - Beverly Hills, LA, USA: 456 North Camden Drive - London, UK: 6-24 Britannia Street & 17-19 Davies Street - Paris, France: 4 Rue de Ponthieu - Rome, Italy: Via Francesco Crispi 16 - Geneva, Switzerland: 19 Place de Longemalle - Athens, Greece: 3 Merlin Street - Hong Kong, China: 7/F, 12 Pedder Street

Exposition Cézanne et Paris, Musée du Luxembourg. L'artiste entre Provence et Paris, Bords de Marne...


Cézanne et Paris 
Musée du Luxembourg, Paris
Jusqu'au 26 février 2012

Si Paul Cézanne (1839-1906) est à juste titre associé à la Provence, l'exposition Cézanne et Paris nous rappelle qu'on ne saurait l'y restreindre. En effet, plus de la moitié de son temps, à partir du moment où il se consacre à la peinture, se passe à Paris et en région parisienne. Il fait le voyage Aix-en-Provence - Paris plus de vingt fois. Bien entendu, les raisons de sa venue ne sont pas les mêmes à vingt et soixante ans. Après 1890, l’artiste déjà âgé, encore incertain de son œuvre (« je fais de lents progrès » écrit-il à la fin de sa vie)  se retire sur les bords de la Marne ou du côté de Fontainebleau pour peindre quelques paysages apaisés ainsi que des portraits. Il n’est plus le jeune homme, ambitieux  de « conquérir » Paris avec la volonté d’entrer à l’école des Beaux-Arts et de présenter des œuvres au Salon. 

A Paris, Cézanne se confronte tout autant à la tradition qu’à la modernité. Pour employer le vocabulaire de Zola,  il trouve  les « formules » de la nouvelle peinture avant de les exploiter en Provence. Le va-et-vient entre Provence et Ile de France devient constant même si les rythmes évoluent. En tout cas après 1890, les critiques, les marchands, les collectionneurs commencent à s’intéresser à son œuvre et Cézanne se montre attentif à cette reconnaissance parisienne qui facilite celle de son oeuvre de génie de la peinture. Ainsi imprime-t-il plus que tout autre sa marque dans l’art moderne : des post-impressionnistes à Kandinsky, l’avant-garde le considèrera comme un précurseur, « notre père à tous », selon la formule de Pablo Picasso

Cette exposition du Musée du Luxembourg (Sénat) est organisée par la Rmn-Grand  Palais, en collaboration avec le Petit Palais, Musée des Beaux-Arts de la Ville de Paris. Elle bénéficie en particulier de prêts exceptionnels du Musée d’Orsay.


Paul Cézanne, Le Quartier du Four à Auvers-sur-Oise (détail), vers 1873 
Philadelphia Museum of Art, Philadelphie, USA 
The Samuel S. White 3rd and Vera White Collection, 1967 
Huile sur toile - 46,3 x 55,2 cm 
© The Philadelphia Museum of Art 

PARCOURS DE L'EXPOSITION AUTOUR DE 80 TABLEAUX DE PAUL CEZANNE

CEZANNE MONTE A PARIS SUR LES PAS DE ZOLA
Poussé et soutenu par Zola, ami rencontré à Aix-en-Provence au collège Bourbon, déjà installé à Paris, Paul Cézanne rejoint la capitale en 1861, contre la volonté de son père, pour devenir « artiste ». Il fréquente l’académie Suisse où il rencontre d’autres peintres tels Pissarro et  Guillaumin, avec lesquels il se lie d’amitié. Paris, où l’académisme s’impose par le Salon, est alors le lieu de la révolte et de l’avant-garde. Durant ces années d’études, Paul Cézanne s’approprie les traditions anciennes et modernes : ses carnets de dessin attestent d’un regard attentif sur les grands maîtres de la peinture, tels Rembrandt, Poussin, Delacroix…, et de la sculpture antique, classique et baroque, avec des copies de Michel Ange et Puget principalement. Dans le même temps, il participe au mouvement impressionniste sans vraiment y adhérer. Bien qu’il se soit construit picturalement à Paris, où il revient jusqu’en 1905, Cézanne a finalement peu représenté la ville dans son œuvre. Il n’évoque jamais les sites célèbres, mais dessine ce qu’il voit de sa fenêtre ou d’une terrasse sur les toits... Il faut une exception, ce sera le tableau  La Rue des Saules. Cézanne a posé son chevalet dans une rue de Montmartre mais la rue est déserte…  

CEZANNE ET PARIS HORS LES MURS, DU COTE D'AUVERS-SUR-OISE
Installé dans la capitale, Paul Cézanne ne cesse de s’y déplacer et d’en sortir.  Ainsi lui connaît-on près de vingt adresses différentes. Il travaille la peinture de paysage, en plein air, « sur le motif »,   se mettant à  l’école de peintres comme Pissarro et Guillaumin,  lesquels participent au mouvement impressionniste. Ils entendent reprendre la tradition du paysage après Courbet, Corot et les peintres de Barbizon qui voulaient représenter, à travers la campagne parisienne, une certaine identité française. Mais très vite Cézanne s’impose comme un maître faisant « de l‘impressionnisme une chose solide et durable comme l’art des musées ». Le tableau Le pont de Maincy en est l’expression autour des années 1880.  

CEZANNE ET LA TENTATION DE PARIS 
De même que chez Gustave Courbet ou Auguste Renoir, le nu est une préoccupation majeure de Paul Cézanne. Il peint plusieurs versions de La Tentation de saint Antoine entre 1870 et 1877, vraisemblablement après une lecture de Flaubert. Dans les mêmes années, les tableaux à caractère érotique se multiplient : Une Moderne Olympia,  L’Orgie, La Lutte d’amour… Plus tard, d’après le témoignage du marchand d’art Vollard, Cézanne travaille sur une grande toile de Baigneuses au moment où il exécute son portrait en 1899 : il ne recherche plus la dimension érotique du corps, mais construit une nouvelle expression du nu et invente son propre langage pictural.  

CEZANNE, LES NATURES MORTES ET LES PORTRAITS 
Pour Paul Cézanne, la « nature morte » est un motif comme un autre. Equivalent d’un corps humain ou d’une montagne, elle  se prête particulièrement bien à des recherches sur l’espace, la géométrie des volumes, le rapport entre couleurs et formes : « Quand la couleur est à sa richesse, la forme est à sa plénitude » disait  l’artiste. Sur quelque 1000 tableaux répertoriés, on compte près de 200 natures mortes. Parfois associées à des thèmes érotiques ou à des portraits, elles « disent » Paris autant que le ferait un paysage. Parmi ces portraits, dont les toiles de fond représentent souvent des papiers peints, figurent les amis emblématiques des séjours parisiens : Victor Chocquet, son premier collectionneur, ou Ambroise Vollard, « le » marchand qui organise ses premières expositions.  

CEZANNE ET LES VOIES DU SILENCE 
A partir de 1888, Paul Cézanne fait plusieurs séjours en région parisienne après être resté plusieurs années en Provence (de 1882 à 1888). S’il vient un été peindre au-delà d’Auvers, à Montgeroult, s’il rend visite à Monet à Giverny en 1894, ses lieux de prédilection dans les années 1890 sont les bords de la Marne vers Maison-Alfort ou Créteil, et la région de Fontainebleau  jusqu’à  Barbizon ou Marlotte. La rivière l’enchante, il y trouve fraîcheur, calme et sérénité et ses toiles expriment le « silence » de la nature. A Paris, les tons s’apaisent autour des bleus et des verts tandis qu’en Provence, il travaille la symphonie des ors des Sainte-Victoire. Ayant conquis sa place dans la capitale et acquis la maîtrise de son art, il se retire définitivement sur ses terres provençales pour lesquelles son attachement n’a cessé de grandir.  

Commissariat général de l'exposition : Gilles Chazal, directeur du Petit Palais, Musée des Beaux-Arts de la Ville de Paris. Commissariat scientifique de l'exposition : Denis Coutagne, conservateur honoraire du patrimoine, Président de la Société Paul Cézanne ; Maryline Assante di Panzillo, conservateur du patrimoine  au département des Peintures, Petit Palais, Musée des Beaux-Arts de la Ville de Paris

Publications :  
 - Catalogue de l’exposition Cézanne et Paris, Editions de la Rmn-Grand Palais, Paris, 2011, 25 x 29 cm, 224 pages, broché à rabats, 250 illustrations, 39 €
- Album de l’exposition, Editions de la Rmn-Grand Palais, Paris, 2011, 48 pages, 9 €
Cézanne et l’argent, Editions Rmn-Grand Palais, Paris, 2011, 140 pages, broché, 9,90 € 

MUSEE DU LUXEMBOURG, PARIS

January 27, 2012

Expo Danser sa vie, Art & Danse, Beaubourg, Centre Pompidou, Paris

Exposition : DANSER SA VIE, ART & DANSE DE 1900 à nos jours Centre Pompidou, Beaubourg, Paris
Jusqu'au 2 avril 2012

Les liens entre les arts visuels et la danse, depuis des années 1900 à aujourd’hui sont le sujet d'une exposition remarquable organisée actuellement au Centre Pompidou (galerie 1, niveau 6). L’exposition puise dans la tradition  des grandes manifestations transdisciplinaires du Centre Pompidou que son Président,  Alain Seban, a voulu réactiver. Sur plus de deux mille mètres carrés sont présentées  près de 450 œuvres  : des chefs-d’œuvre de l’art du XXème siècle, de Henri Matisse à Andy Warhol (voir la liste des artistes ci-dessous) ;  des chorégraphies qui marquèrent des moments clefs d’un siècle de danse, de Nijinski à  Merce Cunningham  ; et des œuvres d’artistes contemporains inspirés par la danse, d’Olafur Eliasson à Ange Leccia.

Le titre Danser sa vie est emprunté à la danseuse Isadora Duncan, pionnière de la danse moderne  : « Mon art est précisément un effort pour exprimer en gestes et en mouvements la vérité de mon être. (…) Je n’ai fait que danser ma vie », explique-t-elle dans son ouvrage Ma vie, publié en 1928.

Les commissaires de cette exposition sont Christine Macel, conservatrice en chef, en charge du département création contemporaine et prospective et Emma Lavigne  conservatrice, département création contemporaine et prospective, assistées de Anna Hiddleston et Florencia Chernajovsky.

A travers un parcours en trois actes, l’exposition montre la passion de l’art et de la danse pour le corps en mouvement.

LES TROIS GRANDS VOLETS DE L'EXPOSITION

LA DANSE COMME EXPRESSION DE SOI, DE VASLAV NIJINSKI A MATTHEW BARNEY

L’invention d’une nouvelle subjectivité est explorée à travers la naissance de la « danse libre » dégagée du ballet classique avec Isadora Duncan. En Allemagne, à l’heure de l’expressionnisme et de la Freikörperkultur (la culture du corps libre), se noue un échange sans précédent entre artistes et danseurs qu’incarnent par exemple la danseuse Mary Wigman, les peintres Ernst Ludwig Kirchner et Emil Nolde.

emil-nolde

 

Emil Nolde
Kerzentänzerinnen (Danseuses aux bougies), 1912
Huile sur toile - 100,5 x 86,5 cm
Neukirchen, Stiftung Seebüll Ada und Emil Nolde
© Nolde Stiftung Seebuell, Allemagne

 

Ernst Ludwig Kirchner, admirateur de Mary Wigman, la peint à plusieurs reprises.

Charlotte Rudolph Charlotte Rudolph
Mary Wigman
dans Hexentanz, 1926
Photographie
Wichtrach/Berne, Galerie Henze & Ketterer& Triebold

 

A Hambourg, dans les années 1920, un couple météore, Lavinia Schulz et Walter Holdt, crée une oeuvre d’art totale récemment découverte, mêlant danse, costume et musique.

Lavinia Schulz and Walter Holdt Lavinia Schulz and Walter Holdt
Toboggan Frau, 1923
Costume présenté sur un mannequin
1,67 m de hauteur environ.
Hambourg Museum für Kunst und Gewerbe (MKG)

De Vaslav Nijinski à Matthew Barney, de Mary Wigman à Kelly Nipper, l’art contemporain dialogue également avec les chefs-d’œuvre modernes.

DANSE ET ABSTRACTION, DE LOIE FULLER A NICOLAS SCHOFFER
La naissance de l’abstraction est envisagée à travers les inventions de Loïe Fuller, ou par la façon dont Kandinsky, les cubistes, les futuristes, le Bauhaus et les avant-gardes russes s’emparent de la danse. Certains artistes, comme Sophie Taeuber-Arp, pratiquent à la fois danse et arts plastiques.

« Elle dansait et rêvait, un triangle, un rectangle, un rectangle dans un cercle, un cercle dans un cercle, un cercle qui luit, un cercle qui sonne, un rectangle immobile avec beaucoup de petits cercles sonnants, elle rêvait nuit et jour de cercles vivants. » Jean Arp au sujet de Sophie Taeuber-Arp

Sophie Taeuber-Arp Photographie de Sophie Taeuber-Arp dansant avec un masque de Marcel Janco au Cabaret voltaire, Zürich, 1916
Photographe anonyme, épreuve gélatino-argentique
Clamart, Fondation Arp, Maisons-ateliers Jean Arp et Sophie Taeuber

Des artistes dialoguent avec des danseurs, comme Kandinsky avec Gret Palucca. Ballets mécaniques notamment avec Oskar Schlemmer, inventions cinétiques et ballets virtuels achèvent cette histoire avec les recherches de Nicolas Schöffer et d’Alwin Nikolais. Cette section présente aussi Movement Microscope, 2001, une oeuvre inédite d’Olafur Eliasson conçue pour l’exposition.

DANSE ET PERFORMANCE, DE DADA A JEROME BEL
Un dernier volet évoque les liens de la danse avec l’art de la performance, et réciproquement : depuis les premières actions dadaïstes du Cabaret Voltaire jusqu’à l’invention des tasks (gestes empruntés à la vie quotidienne) par la danseuse Anna Halprin, en passant par les happenings d’Allan Kaprow et les recherches du Black Mountain College de Caroline du Nord (Etats-Unis). Dans les années 1960, Merce Cunningham dialogue avec Jasper Johns, ou encore Andy Warhol. Un ensemble d’œuvres et de documents évoque le Judson Dance Theater à New York, puis dévoile l’influence sur l’art de la culture populaire du clubbing et de la techno.

Jan Fabre Jan Fabre
Quando l’uomo principale è una donna, 2004
Filmé par Charles Picq à la Maison de la Danse, Lyon, 2004
Film 16 mm, couleur, sonore
Direction, scénographie et chorégraphie : Jan Fabre
Danseuse : Lisbeth Gruwez

OEUVRES LIVE
L’exposition active l’oeuvre Untitled (Go-Go Dancing Platform), 1991 de Felix Gonzalez-Torres.

Felix Gonzalez-Torres

Felix Gonzalez-Torres
Untitled (Go-Go Dancing platform), 1991
© Kunst Museum St. Gallen, Saint Gall

Cette oeuvre de Felix Gonzalez-Torres est activée 5 min par jour pendant toute la durée de l’exposition

et l’installation Instead of allowing some thing to rise up to your face dancing bruce and dan and other things, 2000 de Tino Sehgal pour un danseur. Trisha Brown (avec le soutien du Centre National de la Danse, Paris, et du Conservatoire National Supérieur de Musique et de Danse de Paris) réactive l’œuvre Planes datant de 1968 (10 séances). De jeunes artistes contemporains donnent également à voir la danse en live. Davide Balula réalise Mechanical Clock for 60 dancers, une performance qui prend la forme d’une horloge mécanique où 60 danseurs incarnent littéralement le passage du temps (1 séance). Alex Cecchetti réalise pour le Centre Pompidou The Conversation of the Arrows, 2011 qui réunit cinq danseurs dans un chassé-croisé d’exercices ludiques laissant la place à l’improvisation.

catalogue_exposition_danser_sa_vie PUBLICATIONS
Trois ouvrages sont publiés aux éditions du Centre Pompidou sous la direction de Christine Macel et Emma Lavigne accompagnent cette manifestation :

Un catalogue de référence de 320 pages avec illustrations couleurs et essais par des spécialistes : Marc Dachy, Douglas Crimp, Marcelle Lista, Pascal Rousseau, Norbert Servos, Adrien Sina…

Danser sa vie. Art et danse de 1900 à nos jours, Catalogue de l’exposition
Sous la direction de Christine Macel et d’Emma Lavigne,
Editions du Centre Pompidou, Paris
270 ill. couleurs, 22 x 28 cm, broché, 320 pages, 49,90 €

Danser sa vie. Ecrits sur la danse
Sous la direction de Christine Macel et Emma Lavigne
Parallèlement au catalogue, cet ouvrage propose une compilation inédite de textes capitaux autour de la danse, provenant de sources très diverses, de Nietzsche à Mary Wigman, en passant par Maurice Béjart et Henri Michaux. Editions du Centre Pompidou, Paris, 12 x 18,5 cm, broché, 240 pages, 19 €

album_danser_sa_vie

Danser sa vie. Art et danse de 1900 à nos jours
Sous la direction de Christine Macel et Emma Lavigne
Editions du Centre Pompidou, Paris
Parcours illustré de l’exposition. Bilingue français  /  anglais
60 pages, 70 illustrations

EN RESONANCE AVEC L'EXPOSITION DANSER LA VIE

Parallèlement à l’exposition, le Centre Pompidou propose une programmation de Spectacles vivants riche en danse contemporaine, couvrant une large palette de propositions et d’approches du corps en mouvement : Meg Stuart, Maria La Ribot, Olga de Soto, Myriam Gourfink, Herman Diephuis…

Le Festival Vidéodanse présente les oeuvres de 150 chorégraphes à travers une programmation de 250 films qui retracent une histoire de la danse moderne et contemporaine.

Un programme de conférences et des cycles de Prospectif Cinéma et Vidéo et après sont organisés en lien avec l’exposition.

L’installation interactive de Richard Siegal If/Then, 2001, sera présentée dans le Forum du Centre Pompidou.

LE CENTRE POMPIDOU sur internet : www.centrepompidou.fr

January 26, 2012

The Art of Video Games – 2012-2016 Traveling exhibition presented by the Smithsonian American Art Museum. After Washington DC the show will travel to 10 cities in the United States

The Art of Video Games
Smithsonian American Art Museum, Washington  DC

March 16 - September 30, 2012

The Art of Video Games features 80 video games that demonstrate the evolution of the medium. The exhibition is organized by the Smithsonian American Art Museum and will travel to 10 cities in the United States following its presentation in Washington, D.C. Confirmed venues include:

Boca Raton Museum of Art, 2013 + EMP Museum in Seattle, 2013 + Hudson River Museum in Yonkers, NY, 2014 + Flint Institute of Arts, 2014 + Toledo Museum of Art, Ohio, 2014 + Memphis Brooks Museum of Art, 2015 + Patricia and Phillip Frost Art Museum at Florida International University in Miami, 2015-2016

This post is updated on a regular basis.

Super Mario Brothers 3 Super Mario Brothers 3
Shigeru Miyamoto, Takashi Tezuka, Hiroshi Yamauchi, directors; Satoru Iwata, executive producer; Konji Kondo, composer, Nintendo Entertainment System, 1990, Nintendo of America, Inc.

star-strike Star Strike
Hal Finney, Brett Stutz, programmers, Mattel Intellivision, 1981, Intellivision Productions, Inc.

pitfall Pitfall!
David Crane, Atari VCS, 1982, Activision Publishing. All trade names and trademarks are properties of their respective parties. All Rights Reserved.

“The Art of Video Games” is one of the first major exhibitions to explore the 40-year evolution of video games as an artistic medium, with a focus on striking graphics, creative storytelling and player interactivity. The exhibition features some of the most influential artists and designers across five eras of game development, from early pioneers to contemporary designers. Video games use player participation to tell stories and engage audiences. In the same way as film, animation and performance, video games are a compelling and influential form of narrative art. 

Bioshock Bioshock
Ken Levine, creative director and executive producer; Paul Hellquist, lead designer; Dean Tate, senior designer and artist; Scott Sinclair, art director, Microsoft XBox 360, 2007,  image courtesy of 2K Games, Inc., and Take-Two Interactive Software, Inc.

Diablo II Diablo II
Various artists, DOS/Windows, 2000, © 2000 Blizzard Entertainment, Inc. All rights reserved. Diablo is a trademark or registered trademark of Blizzard Entertainment, Inc.

The Art of Video Games will be on display at the Smithsonian American Art Museum from March 16 through Sept. 30. Chris Melissinos, former chief evangelist and chief gaming officer for Sun Microsystems and founder of PastPixels, is the guest curator of the exhibition. Georgina Goodlander, the museum’s social media and Web content manager, is the exhibition coordinator.

“Video game designers are engaged in creating a world, as are all artists,” said Elizabeth Broun, The Margaret and Terry Stent Director of the Smithsonian American Art Museum. “The Smithsonian American Art Museum recognizes the designers and developers who create these beguiling worlds in this exhibition. Contemporary video games have taken this creative expression to a whole new level, and we are eager to explore this popular global phenomenon.” 

Einhander Einhander
Tetsuo Mizuno, Tomoyuki Takechi, Shinji Hashimoto, executive producers; Yusuke Hirata, producer; Tatsuo Fujii, director; Yuji Asano, lead design, Sony PlayStation, 1998, © 1997, 1998 SQUARE ENIX CO., LTD.  All Rights Reserved

flow flOw
Jenova Chen, Nicholas Clark, game design, Modern Windows, 2006, Sony Computer Entertainment America LLC.

flower_video-game Flower
Jenova Chen, creative director; John Edwards, lead engineer. Developed by thatgamecompany, LLC, Sony Playstation 3, 2009, Sony Computer Entertainment America LLC.

“Video games are a prevalent and increasingly expressive medium within modern society,” said Chris Melissinos. “In the 40 years since the introduction of the first home video game, the field has attracted exceptional artistic talent. Video games, which include classic components of art, offer designers a previously unprecedented method of communicating with and engaging audiences by including a new element, the player, who completes the vivid, experiential art form by personally interacting with the game elements.”

The Art of Video Games focuses on the interplay of graphics, technology and storytelling through some of the best games for 20 gaming systems ranging from the Atari VCS to the PlayStation 3. The Art of Video Games features 80 video games, selected with the help of the public, that demonstrate the evolution of the medium. The games are presented through still images and video footage. In addition, the galleries will include video interviews with developers and artists, historic game consoles and large prints of in-game screen shots.

marble_madness Marble Madness
Mark Cerny, Steve Lamb, SEGA Master System, 1992.

Earthworm Earthworm
Jim, Doug TenNapel, original concept, character designer and voice actor; Tommy Tallarico, composer; Steve Crow, lead artist; David Luehmann, producer, SEGA Genesis, 1994, © 1994 Interplay Entertainment Corp.
Earthworm Jim, the Earthworm Jim logo, Interplay, the Interplay logo, and "By Gamers. For Gamers." are trademarks or registered trademarks of Interplay Entertainment Corp. in the U.S. and other countries. All Rights Reserved. 

New technologies allow designers to create increasingly interactive and sophisticated game environments while staying grounded in traditional game types. Five featured games, one from each era, will be available in the exhibition galleries for visitors to play for a few minutes, to gain some feel for the interactivity. The playable games—Pac-Man, Super Mario Brothers, The Secret of Monkey Island, Myst and Flower—show how players interact with the virtual worlds, highlighting innovative new techniques that set the standard for many subsequent games. 

tomb-raider Tomb Raider
Jeremy H. Smith, executive producer; Toby Gard, Heather Gibson, Neal Boyd, graphic artists; Jason Gosling, Paul Douglas, Gavin Rummery, programmers, SEGA Saturn, 1996,  © 1996 SQUARE ENIX CO., LTD. All Rights Reserved.

panzer_dragoon_2_zwei

Panzer Dragoon II: Zwei
Yukio Futatsugi, Manabu Kusunoki, original design; Kentaro Yoshida, art director, SEGA Saturn, 1996, © SEGA. All Rights Reserved.

metal_gear_solid Metal Gear Solid
Hideo Kojima, director; Yoji Shinkawa, artwork director, Sony PlayStation, 1998, © 1990 Konami Digital Entertainment.

Visitors to the exhibition will be greeted by excerpts from selected games projected 12 feet high, accompanied by a chipmusic soundtrack by 8 Bit Weapon and ComputeHer, including The Art of Video Games Anthem recorded by 8 Bit Weapon specifically for the exhibition. These multimedia elements convey the excitement and complexity of the featured video games. An interior gallery will include a series of short videos showing the range of emotional responses players have while interacting with games. Excerpts from interviews with 20 influential figures in the gaming world also will be presented in the galleries.

rez Rez
Tetsuya Mizuguchi, producer; Jun Kobayashi, director; Katsumi Yokota, art director and lead artist, SEGA Dreamcast, 2001, © SEGA. All Rights Reserved.

shenmueShenmue
Yu Suzuki, director and producer; Yoichi Takahashi, designer; Eiji Ogawa, writer, SEGA Dreamcast, 2000, © SEGA. All Rights Reserved.

sonic_adventure Sonic Adventure
Yuki Naka, Keith Palmer, producers; Takasi Iizuka, director; Kazuyuki Hoshino, art director, SEGA Dreamcast, 1999,  © SEGA. All Rights Reserved.

SYMPOSIUM: VIDEO GAMES: BEYOND PLAY
Video Games: Beyond Play, a symposium that examines the changing roles of video games, consists of two panel discussions Friday, May 4, from 1 to 4:30 p.m. in the museum’s McEvoy Auditorium. The first panel, “Video Games at Work” from 1 to 2:30 p.m., is an in-depth look at how video games are revolutionizing areas such as health care, education, civics, journalism and national defense. Panelists include: Asi Burak, co-founder of Games for Change; Brian Crecente,  editor-in-chief of the video game blog “Kotaku;” J.C. Herz, author of Joystick Nation; Ben Sawyer, co-founder of DigitalMill Inc.; and moderator Constance Steinkuehler Squire, senior policy analyst with the White House Office of Science and Technology Policy. The second panel, “Game Change: Society and Culture” from 3 to 4:30 p.m., examines the impact of video games in the fields of academic research, science, art and education. Panelists include Hunicke; Richard Lemarchand, lead game designer at Naughty Dog; Eric Zimmerman, game designer, educator and co-author of Rules of Play; and moderator Colleen Macklin, associate professor of design and technology at Parsons the New School for Design.

minecraft Minecraft
Markus Persson, Modern Windows, 2009, © Notch Development AB.

The Art of Video Games is organized by the Smithsonian American Art Museum with generous support from the Entertainment Software Association Foundation; Sheila Duignan and Mike Wilkins; Shelby and Frederick Gans; Mark Lamia; Ray Muzyka and Greg Zeschuk; Rose Family Foundation; Betty and Lloyd Schermer; and Neil Young. Promotional support is provided by the Entertainment Consumers Association. The C.F. Foundation in Atlanta supports the museum’s traveling exhibition program, “Treasures to Go.”

The Smithsonian American Art Museum, Washington DC 20013-7012, USA
Website: americanart.si.edu 

Boca Raton Museum of Art, Boca Raton, Florida., October 24 - January 20, 2013
EMP Museum, Seattle, February 16 - May 13, 2013
Hudson River Museum, Yonkers, NY, February 15 - May 18, 2014

Toledo Museum of Art, Toledo, Ohio, June 19 - September 28, 2014
Flint Institute of Arts, Flint, Mich., October 25, 2014 - January 18, 2015
Memphis Brooks Museum of Art, Memphis, Tenn., June 6 - September 13, 2015

Patricia and Phillip Frost Art Museum at Florida International University in Miami, Fla., October 9, 2015 -  January 25, 2016
 

heavy_rain

Heavy Rain
David Cage, writer and director, Sony Playstation 3, 2010, Sony Computer Entertainment America LLC. 

 masseffect_2 MassEffect 2
Casey Hudson, director;  Mac Walters, Drew Karpyshyn, writers; Casey Hudson, producer, Microsoft XBox 360, 2010, © 2010 Electronic Arts, Inc. All trademarks are the property of their respective owners.

uncharted_2_among_thieves Uncharted 2: Among Thieves
Amy Hennig, creative director; Robh Ruppel, art direction, Sony Playstation 3, 2009, Sony Computer Entertainment America LLC.

geometry_wars_retro_evolved_2 Geometry Wars: Retro Evolved 2
Stephen Cakebread, game design and programming, Microsoft XBox 360, 2008, Bizarre Creations.

legend_zelda_twilight_princess The Legend of Zelda: Twilight Princess
Shigeru Miyamoto, executive producer; Eiji Aonuma, director; Satoru Takizawa, art director; Eiji Aonuma, Satoru Iwata, producers, Nintendo Wii, 2006, Nintendo of America, Inc.

okami Ōkami
Atsushi Inaba, producer;  Hideki Kamiya, director, Sony Playstation 2, 2006, Capcom Entertainment, Inc.

shadow_of_the_colossus Shadow of the Colossus
Fumito Ueda, director and game design, Sony Playstation 2, 2005, Sony Computer Entertainment America LLC.

The Smithsonian American Art Museum - Micro-donations
The museum launched its first micro-donation campaign in connection with the exhibition in September 2011. Individuals can become a part of this historic exhibition by adding his or her name to the credits, which are projected in the exhibition, by supporting the exhibition online or by text message. Details are on the museum’s website, americanart.si.edu/taovg

Last update from the Smithsonian American Art Museum: 03-01-2012

January 23, 2012

Exposition Valérie Blass, MACM, Montréal

VALERIE BLASS compte parmi les artistes les plus importantes ayant émergé au Québec au cours des dix dernières années. Elle a contribué à redonner à la sculpture sa place dans l’histoire de l’art contemporain au sein d’une nouvelle génération d’artistes. Sculpteure dans tous les sens du terme, sa pratique consiste à susciter des rencontres entre son propre corps et les objets qu’elle crée, entre une sculpture et une autre, entre la présence physique du « regardeur » et celle des œuvres dans un espace. Valérie Blass, de plus, emploie l’éventail complet des techniques de la sculpture – du moulage à la fonte, de la taille au modelage, de l’assemblage au bricolage pour créer d’étranges objets hybrides et explorer les territoires entre les formes animales, humaines et inanimées.

Sa pratique est à la fois enracinée dans la tradition classique de la sculpture, par le recours à la figuration, à la verticalité, à l’échelle humaine, et dans la culture matérielle du XXIe siècle, laquelle se manifeste dans la diversité des matériaux et l’abondance des objets fabriqués, achetés et trouvés.

L’exposition présente un premier bilan du travail de Valérie Blass réalisé au cours des quinze dernières années : quelque trente-cinq œuvres, dont pas moins d’une quinzaine d’œuvres inédites, tout droit sorties de l’atelier de l’artiste. La présentation compte également des œuvres de la Collection du Musée : Cargo culte (2011), Femme panier (2010) et Etant donné, le Loris perché sur son socle néo-classique (2008). Femme panier a été récemment acquise par le Musée grâce au Symposium des collectionneurs 2010, Banque Nationale Gestion privée 1859.

Détentrice d’une maîtrise en arts visuels et médiatiques de l’Université du Québec à Montréal, VALERIE BLASS est née à Montréal en 1967. Depuis sa participation à la première Triennale québécoise 2008 au MAC où ses œuvres ont été très remarquées, l’intérêt pour son travail et sa démarche ne cessent de croître au Québec, au Canada et à l’international. Elle compte de nombreuses expositions collectives : C’est ce que c’est, Musée des beaux-arts du Canada en 2010, Chimère/Shimmer, Musée national des beaux-arts du Québec, et Nothing to Declare au Power Plant en 2009 - et individuelles à Montréal et à travers le Canada : Petit losange laqué veiné, Parisian Laundry en 2011, et Une fois de trop, Museum of Canadian Contemporary Art en 2009). En 2012, Valérie Blass participera à l’exposition Oh, Canada présentée au MASS MoCA.

Lesley Johnstone, conservatrice au Musée, est la commissaire de l'exposition VALERIE BLASS

Catalogue d'exposition : L’exposition est accompagnée d’une publication de 152 pages qui regroupe des essais de la commissaire, Lesley Johnstone et de l’historienne de l’art Amelia Jones, professeure et titulaire de la Grierson Chair in Visual Culture de l’Université McGill, à Montréal. Le catalogue contient également une entrevue avec l’artiste réalisée par Wayne Baerwaldt, directeur/conservateur des expositions à l’Illingworth Kerr Gallery de l’Alberta College of Art + Design (ACAD), une liste d’œuvres et une biobibliographie. La publication a été rendue possible grâce à la participation de l’ACAD et au support financier de la RBC Fondation. L’exposition sera en tournée dès l’été 2012.

Site internet du Musée d'art contemporain de Montréal : www.macm.org

January 22, 2012

Nick Cave, FWM Philadelphia: Recents Soundsuits installation and video


Nick Cave: Let's C 
The Fabric Workshop and Museum, Philadelphia, PA
Through Mid-February, 2012

“There is a transformative moment, when [the wearer has] to be able to make the shift. Since it’s so dominating, this form, you are no longer who you are. So who have you become and what is that? How do you bring conviction to that? What are you willing to give up to move into this other being?” — Nick Cave
Nick Cave: Let’s C is an exhibit of Chicago-based artist Nick Cave's iconic Soundsuitsnew installation created at the Fabric Workshop and Museum (FWM), and video. As a current FWM artist-in-residence, Cave worked in collaboration with FWM studio staff and apprentices to debut Architectural Forest (2011), an ambitious, floor-to-ceiling installation of ornamented bamboo that also serves as a mystical setting, in which Cave’s December 16th performance at FWM taken place. Footage of this multisensory performance—which incorporates dance, music, and ambient sounds from the installation itself—is on view during the exhibition run.


NICK CAVE, Speak Louder, 2011 
Buttons, wire, bugle beads, upholstery, and mannequin, 98 X 68 1/2 X 54 inches (installed). 
Photo by James  Prinz, Chicago, courtesy of Nick Cave and the Jack Shainman Gallery, NY

For over two decades, Nick Cave has constructed Soundsuits out of a litany of unique, found materials, such as throw rugs, stuffed animals, gleaming buttons, human hair, and other items from thrift stores, flea markets, and estate sales. The Soundsuits’ sculptural form functions simultaneously to display and conceal the body through the visual references to the exuberance of masquerade and the protection of armor. Let’s C includes recent Soundsuits that showcase a new direction in Cave’s practice, introducing a muted palette, uniform surfaces, and dynamic relationships between multiple figures. Also on view is Drive-By (2011), a video of Soundsuits in motion.

In addition to his exhibition, Nick Cave designed the Museum’s street-level façade, which features a reflective, doily-inspired pattern adhered to the window surface.

NICK CAVE (b. 1959, Missouri) received an MFA from the Cranbrook Academy of Art, Bloomfield, MI (1989) and a BFA from the Kansas City Art Institute, MO (1982). In Fall 2011, Cave had two concurrent solo exhibitions in New York, NY at Jack Shainman Gallery and Mary Boone Gallery. Cave was also included in group exhibitions this past Fall, such as 30 Americans: Rubell Family Collection, at the Corcoran Art Gallery in Washington, DC, and the Prospect.2 Biennial, taking place throughout New Orleans, LA.  His solo traveling exhibition, Meet Me at the Center of the Earth—organized by the Yerba Buena Art Center, San Francisco, CA—will be on view at the Taubman Museum of Art in Roanoke, VA through January 2012. Nick Cave has a forthcoming major presentation of his work scheduled for the Tri Postal in Lille, France, in late 2012. His work is held in the following distinctive public collections: the Brooklyn Museum, New York, NY; Crystal Bridges, Bentonville, AR; the Detroit Institute of Arts, MI; the High Museum, Atlanta, GA; the Hirshhorn Museum and Sculpture Garden, Washington, DC; the Museum of Contemporary Art, Chicago, IL; the Norton Museum of Art, West Palm Beach, FL; the San Francisco Museum of Modern Art, CA; and the Seattle Art Museum, WA; among others. Cave has received several prestigious awards including: the Joan Mitchell Foundation Award (2008), Artadia Award (2006), the Joyce Award (2006), Creative Capital Grants (2002, 2004, and 2005), and the Louis Comfort Tiffany Foundation Award (2001). Cave lives and works in Chicago, IL where he serves as Professor and Chairman of the Fashion Department at the School of the Art Institute of Chicago.

Also on View at The Fabric Workshop and Museum at The New Temporary Contemporary, 1222 Arch
Fighting Kissing Dancing
The Fabric Workshop and Museum, in an exchange with the de la Cruz Collection Contemporary Art Space, Miami, featuring video works by Miami and New York based artists.

FWM - Fabric Workshop and Museum, Philadelphia, PA 19107, USA

January 20, 2012

Exposition Matisse au Centre Pompidou, Beaubourg, Paris : 60 chefs d’oeuvre de l’art moderne par un de ses plus grands maîtres

Exposition Matisse. Paires et Séries Musée national d’art moderne, Centre Georges Pompidou - Beaubourg, Paris7 mars - 18 juin 2012

Henri Matisse est l'un des plus grands maîtres de l'art moderne. C'est aussi l'un des artistes préférés du public. Nombreux sont donc ceux qui se réjouissent de cette nouvelle exposition du Centre Pompidou. D’autant plus qu’elle offre une perspective inédite sur l’oeuvre de Matisse.

Henri Matisse Henri Matisse: Le Rêve, Hôtel Régina, 1940
La Dormeuse
Collection particulière 
Photo Courtesy Centre Pompidou, Paris

Matisse. Paires et séries rassemble une sélection exceptionnelle de chefs-d’oeuvre provenant des plus prestigieuses collections publiques et privées dans le monde: soixante peintures, dont quatre grands papiers gouachés découpés, ainsi qu’une trentaine de dessins, parfois réunis et confrontés pour la première fois depuis l’époque de leur création. L'exposition au Centre Pompidou en propose une lecture originale axée sur l’un des aspects singuliers de l’oeuvre de Matisse : l’exploration répétitive d’un même sujet, d’un même motif, qui permet à Matisse d’explorer la peinture elle-même. Ces différents points de vue qu’adopte l’artiste s’expriment, à travers des variations de cadre, de dessin, de touche et de couleurs.

Face à ces couples et à ces digressions, c’est toute l’oeuvre de l’artiste qu’il est ainsi permis de saisir, avec ses interrogations, ses ruptures, ses revirements, ses conquêtes. L’exposition dont Cécile Debray, assistée de Elsa Urtizverea, a assuré le commissariat,  invite le visiteur à comprendre combien le travail de Matisse a contribué à engendrer et à nourrir la peinture moderne, interrogeant sans cesse la représentation, la notion de réalisme, le rapport entre le dessin et la couleur, entre la surface et le volume, entre l’intériorité et l’extériorité. Etudiant de nouvelles solutions formelles, remettant en cause chacune de ses avancées plastiques, Henri Matisse fut un penseur profond de la forme.

Henri Matisse Henri Matisse: Blouse roumaine, 1940
Don de l’artiste en 1953,
Musée national d’art moderne, Centre Pompidou
© Succession Henri Matisse, 2011
Photo Courtesy Centre Pompidou, Paris

De la méthode pointilliste à laquelle Matisse s’essaye à l’été 1904 - Luxe, Calme et Volupté et Le Goûter se trouvent exceptionnellement réunis pour l’occasion - aux ambitieux papiers découpés des années 1950 - la célèbre série Nu bleu de 1952 - en passant par l’ensemble de dessins de Thèmes et variations qui constitue un aboutissement conceptuel du procédé, les grandes périodes du peintre sont représentées dans un parcours chronologique. L’exposition à Beaubourg permet également un nouvel éclairage de la genèse de chaque œuvre de Matisse présentée.

Un catalogue Matisse. Paires et séries est publié par les Editions du Centre Pompidou, sous la direction de Cécile Debray, commissaire de l’exposition et conservateur au Musée national d’art moderne. Un e-album Matisse pour Ipad est également disponible sur l’app store au prix de 4,90€

L’exposition sera ensuite présentée à Copenhague, au Statens Museum for Kunst, du 14 juillet au 28 octobre 2012, et au Metropolitan Museum of Art, à New York, du 4 décembre 2012 au 17 mars 2013.

CENTRE POMPIDOU - BEAUBOURG - PARIS
MUSEE NATIONAL D'ART MODERNE
Billet imprimable à domicile
www.centrepompidou.fr
Horaires : L'exposition est ouverte tous les jours de 11h à 21h, sauf le mardi, jours de fermeture du Centre Pompidou.







January 19, 2012

Kodak: Chapter 11 Business Reorganization


Eastman Kodak Company announced today that it and its U.S. subsidiaries filed voluntary petitions for chapter 11 business reorganization in the U.S. Bankruptcy Court for the Southern District of New York.


The business reorganization is intended to bolster liquidity in the U.S. and abroad, monetize non-strategic intellectual property, fairly resolve legacy liabilities, and enable the Company to focus on its most valuable business lines. The Company has made pioneering investments in digital and materials deposition technologies in recent years, generating approximately 75% of its revenue from digital businesses in 2011.

Kodak has obtained a fully-committed, $950 million debtor-in-possession credit facility with an 18-month maturity from Citigroup to enhance liquidity and working capital. The credit facility is subject to Court approval and other conditions precedent. The Company believes that it has sufficient liquidity to operate its business during chapter 11, and to continue the flow of goods and services to its customers in the ordinary course.

Kodak expects to pay employee wages and benefits and continue customer programs. Subsidiaries outside of the U.S. are not subject to proceedings and will honor all obligations to suppliers, whenever incurred. Kodak and its U.S. subsidiaries will honor all post-petition obligations to suppliers in the ordinary course.

“Kodak is taking a significant step toward enabling our enterprise to complete its transformation,” said Antonio M. Perez, Chairman and Chief Executive Officer. “At the same time as we have created our digital business, we have also already effectively exited certain traditional operations, closing 13 manufacturing plants and 130 processing labs, and reducing our workforce by 47,000 since 2003. Now we must complete the transformation by further addressing our cost structure and effectively monetizing non-core IP assets. We look forward to working with our stakeholders to emerge a lean, world-class, digital imaging and materials science company.”

“After considering the advantages of chapter 11 at this time, the Board of Directors and the entire senior management team unanimously believe that this is a necessary step and the right thing to do for the future of Kodak,” Mr. Perez continued. “Our goal is to maximize value for stakeholders, including our employees, retirees, creditors, and pension trustees. We are also committed to working with our valued customers.

Chapter 11 gives us the best opportunities to maximize the value in two critical parts of our technology portfolio: our digital capture patents, which are essential for a wide range of mobile and other consumer electronic devices that capture digital images and have generated over $3 billion of licensing revenues since 2003; and our breakthrough printing and deposition technologies, which give Kodak a competitive advantage in our growing digital businesses.”

Mr. Perez concluded, “The Board of Directors, the senior management team and I would like to underscore our appreciation for the hard work and loyalty of our employees. Kodak exemplifies a culture of collaboration and innovation. Our employees embody that culture and are essential to our future success.”

Kodak has taken this step after preliminary discussions with key constituencies and intends to work toward a consensual reorganization in the best interests of its stakeholders. Kodak expects to complete its U.S.-based restructuring during 2013.

The Company and its Board of Directors are being advised by Lazard, FTI Consulting Inc. and Sullivan & Cromwell LLP. In addition, Dominic DiNapoli, Vice Chairman of FTI Consulting, will serve as Chief Restructuring Officer to support the management team as to restructuring matters during the chapter 11 case.

More information about Kodak’s Chapter 11 filing is available on the Internet at: www.kodaktransforms.com

Kodak will be filing monthly operating reports with the Bankruptcy Court and also plans to post these monthly operating reports on the Investor Relations section of Kodak.com. The Company will continue to file quarterly and annual reports with the Securities and Exchange Commission, which will also be available in the Investor Relations section of Kodak.com.

This document includes “forward–looking statements” as that term is defined under the Private Securities Litigation Reform Act of 1995.

(c)2012 Eastman Kodak Company

January 18, 2012

Santiago Sierra Retrospective London Lisson Gallery. A major exhibition

Santiago Sierra: Dedicaced to the Workers and Unemployed 
Lisson Gallery, London
February 1st - March 3, 2012


Lisson Gallery presents a major retrospective of video work and new work by controversial artist Santiago Sierra (born 1966). The exhibition includes a timetabled cycle of performance based films shown alongside documents, photographs and a curated selection of Santiago Sierra’s shorter and less linear video works. 

New works include the recently completed No Global Tour - a film documenting the manufacture and transportation through various world cities of a monumental sculpture in the form of the word "No". Conceived to be understood in as many contexts as possible; and unchanging in form and immediate meaning, the “No” gradually assumes a complex semantic load during a journey full of eventualities, accidents and unexpected events.  A monumental “No” sculpture situated in the sculpture yard accompanies the film’s pared down minimalism presenting a powerful portrait of a humanity that is able to assert itself everywhere and at all times by forcefully saying: “No". Death Counter, a piece comprised of an LED display counting annual number of human deaths worldwide since the beginning of the year will be mounted outside the gallery.

Addressing situations of exploitation and marginalisation Santiago Sierra’s provocative works often spark controversy; especially those in which underprivileged individuals are paid for performing degrading or uncomfortable actions. Drug addicted prostitutes have received the price of a shot of heroin in exchange for having their backs tattooed 160cm Line Tattooed On 4 People (2000) - and homeless women paid the price of a night in a hostel in exchange for standing for long periods with their faces to the wall of a museum - Group Of People Facing A Wall (2002).

Santiago Sierra forces us to question the commodification of human life, exposing and challenging the structures of power that operate in our society. The essence of these works is often in the tension generated and sustained between the event or its documentation and the spectator. Sierra has created a body of work that rescues and renews the expressive power of minimalism and conceptualism, with a political charge that encourages reflection on the classical problems of Western modern and contemporary art while denouncing our current situation.

Santiago Sierra ‘In Conversation’ with Hans Ulrich Obrist
Tuesday 31 January 2012 from 12.30 to 13.30
29 Bell Street, London, NW1 5BY, UK
Free admission. Booking is essential  
_____________________

Enjoy Contemporary Art!

January 11, 2012

MIA 2012 Miami International Art Fair Hightlights

 MIA 2012 Miami International Art Fair

The 3rd edition of Miami International Art Fair –MIA– will return January 12-16, 2012 with a dynamic ensemble of 28 international galleries representing artist from Europe, Latin America, United States and Asia. The Fair will feature paintings, sculpture, photography, design, fine art glass, video and installations from a bevy of established museum collected artists as well as some of today's most promising emerging artists.

The Miami International Art Fair 2012 will relocate aboard SeaFair – the 228-foot megayacht venue – docked at 100 Chopin Plaza in Miami’s premiere downtown entertainment district and will include a waterside installation and sculpture exhibition in Bayfront Park.– designed by acclaimed sculptor and architect Noguchi which adjoins Miami’s Museum Park and the new Miami Art Museum. Over thirty large scale sculptures by major international sculptors will be on public display.

In 2011, MIA drew over 19,000 collectors almost doubling attendance from its inaugural year in 2010- 4,000 alone attended the opening night.  Fair attendees came from 13 counties and over 26 states with notable Miami, Palm Beach, New York, European, and Latin American collectors in attendance. Many acclaimed the strong local influence seen throughout the fair, commenting on their appreciation for the diversity of artists represented as well as the different mediums and influences seen.

Focusing on projects that reflect on universal subject matters, Hardcore Contemporary Art Space, HCAS, Miami, will present work of local and international artists who use innovative and provocative mediums to foster questions about our post-contemporary society. At MIA the gallery will bring works by the renowned Latin American artist, Gaston Ugalde who gained global attention with his controversial series of "coca paintings ". Gastón Ugalde has been experimenting with coca in his art since the 1980s and will exhibit a selection of coca works at the Fair. The gallery will also feature Venezuelan artist Milton Becerra.
 Milton Becerra
Milton Becerra "Mi moneda favorita", 1997
Linen fibers and Currency: $1, Bs. 5, 10, 20 & 50 8" x 47" e/a
Courtesy of Hardcore Contemporary Art Space, Miami

Milton Becerra is known for addressing cultural and environmental concerns through his mixed media works and has a unique technique of weaving organic materials – a skill learned during time spent with Amazonian tribes in the early 80’s. He has been exhibited in prestigious museums worldwide including Museum of Modern Art, Paris; Ludwig Museum, Aachen; and the Museum of Modern Art, Rio de Janeiro.
Cernuda Arte (Coral Gables) specializes in the exhibition and sale of Colonial, Early Republic, Vanguardia, and Modern master Cuban paintings, as well as fine artworks by contemporary artists. At MIA 2012, the Gallery will exhibit a collection of established and emerging Cuban artist including Wifredo Lam, Agustin Cardenas, René Portocarrero and Mario Carreno among others.

Mario Carreno
Mario CarrenoChiquita Banana
Courtesy of Cernuda Arte, Coral Gables

Black Square Gallery (Miami) has flourished in the Miami art scene since the Gallery was founded in 2010. They will exhibit works by Emilio Garcia, Pablo Lehmann, Victor Sydorenko, Taisha 3,14, Zhanna Kadyrova, Anibal Vallejo, Jorge Chirinos Sanchez and Taro Hattori.

Kavachnina Contemporary (Miami) will exhibit emerging, mid-career artists both local and foreign in various media and will feature a large scale sculpture installation in MIA’s sculpture garden at Bayfront Park. Among the sculptors exhibited will be Dutch stainless steel sculptor Ronald Westerhuis, Colombian artist John Angee, American sculptors Gilbert Boro, Claudia Klein and local Miami artist Jorge Fernandez.

Evan Lurie Gallery (Carmel) will feature works by renowned Italian sculptor Oriano Galloni, whose stunning figures in marble, wood, and aluminum range in height from 6 to 30 feet. A monumental 30-foot high marble sculpture entitled "White Moon" has been generously donated by the artist, and is expected to fetch an estimated $2.5 million at auction, with the proceeds from the sale benefitting the non-profit Arts for India. 
oriano_galloni
Oriano Galloni "Saturno #2"
White Carrara Marble & Wood 82 x 32 x 36"
Courtesy of Evan Lurie Gallery, Carmel

Oriano Galloni has also designed and donated 30 small-scale sculptures for the launch of Arts for India at the Guggenheim Museum New York on April 26, 2012. The Evan Lurie Gallery will also feature new works by sculptors Brad Howe, Carlo Borer, Kevin Barrett, and Gino Miles, as well as two-dimensional pieces by Jorge Santos, Victor Wang, Alexi Torres, and Jason Paul Bennett.

Art Link International (Lake Worth) will present a collection of Modern Masters as well as emerging artists. The gallery will feature artwork and a live painting performance Friday evening by celebrated graffiti artist John Matos – better known as Crash.

Graffiti painting by artist Crash - John Matos
Crach (John Matos)"Screamer", 2011
Spray Enamel on Canvas 81 3/4" x 104"
Courtesy of Art Link International, Lake Worth

Graffiti artist Crash will donate one of his works to benefit the Marli Foundation for Ovarian Cancer during a benefit for the Foundation on January 14th aboard SeaFair. Among the additional works exhibited will include a 1979 original Joan Miro, as well as original paintings by Robert Rauschenberg and Frank Stella, two original Botero drawings from the 1980’s, a Venetian glass exhibit of Dale Chihuly circa the 1990’s and an important painting, Dame mit Tomate, by painter Paul Klee completed in 1930, as well as works by Jimmy Ernst, Charles Green Shaw, Jim Ceravolo, A.R. Penck and Tom Wesselmann.

From the far reaches of South Korea, Ejung Gallery (Seoul) will present works by artist Lee Kyu-Hak. Inspired by the work of Vincent Van Gogh the artist uses mixed media including styrofoam, magazines, newspaper and Korean traditional paper, hanji, to create his textured works. In addition, the gallery will present work by sculptor Moo In-Soo.

An exhibition of artists Frank Hyder and Florence Putterman will be presented by Projects Gallery (Philadelphia). Frank Hyder has participated in more than 150 group shows and has had over 80 solo exhibitions throughout North, South and Central America, including 8 individual exhibitions in New York City.

The Fair will commence with a private preview, January 12th, to honor the MOCA Shakers. The MOCA Shakers (ages 21-45) have quickly become one of the fastest growing groups in Miami with a dynamic roster of young professionals interested in networking, socializing, cultural exposure, philanthropy and community engagement.

MIAMI INTERNATIONAL ART FAIR - MIA is organized by International Fine Art Expositions - IFAE, Bonita Springs, Florida. 

JVC Handheld 4K Camcorder GY-HMQ10 announced at the CES 2012 - International Consumer Electronics Show


JVC Professional announced the GY-HMQ10 is the world’s first handheld 4K camcorder, which captures, records, and plays video images at four times the resolution of high definition television. Powered by JVC’s Falconbrid large-scale integration (LSI) chip for high-speed signal processing and a 1/2-inch CMOS imager with 8.3 million active pixels, it delivers real-time 3840x2160 footage at 24p, 50p, or 60p.

JVC GY-HMQ10 handheld 4K camcorder

“We’re witnessing the birth of what is destined to become a broad market for full 4K end-to-end production,” said Edgar Shane, general manager of engineering, at the International Consumer Electronics Show, CES 2012, in Las Vegas. “The GY-HMQ10 is a breakthrough product that opens up 4K imaging to users who previously wouldn't have considered it.”

High resolution 4K still picture imaging has been around for several years in DSLR cameras. Motion video capture with these cameras has always been done at a lower video resolution because of lack of processing power. Likewise, high end digital motion picture cameras may capture 4K images, but often provide a raw data output to an external storage array for later processing—again due to lack of processing power in the camera. There just hasn't been the ability to capture, process, display and record full 4K images in real time until now.

JVC's Falconbrid LSI processing takes raw image data from the camera's CMOS device and dematrixes (deBayers) it in real time. Unlike many high end 4K cameras, the GY-HMQ10 is able to output 4K images to a monitor or projection system in real time with virtually no latency. This capability opens up applications in cinematography, medical microscopy, telepresence, specialized observation / surveillance, and live wide-view event coverage.

Using MPEG-4 technology and a variable bit rate H.264 codec operating at up to 144 Mbps, the GY-HMQ10 records up to two hours of 4K video to SDHC or SDXC memory cards.

JVC GY-HMQ10 handheld 4K camcorder's side view

In addition to 4K imaging, the GY-HMQ10 also captures and records 1080i or 1080/60p full HD, with a 8.3 megapixel imager and superior lens. HD is recorded on a single memory card in a format compatible with most editing systems. 

Another feature is the ability to crop an HD image from a 4K frame. This can be accomplished in post production, or in real time during camera playback. The “trimming” feature makes HD cropping easy using the camera's touch panel LCD monitor.

Similar in size to JVC GY-HM150 ProHD camcorder, the GY-HMQ10 includes a build-in F2.8 10x zoom lens with optical image stabilizer, as well as a color viewfinder and 3.5-inch touch LCD monitor with a new intuitive user interface. The GY-HMQ10 is built in a lightweight form factor.

The GY-HMQ10 is equipped with manual level controls for audio, with audio metering in the LCD and viewfinder displays. A microphone holder and two balanced XLR connectors with phantom power are located on the handle. The camera is also equipped with a built-in stereo mic for ambient sound pickup.

Other features include JVC’s patented Focus Assist, as well as manual and auto control of focus, iris, gain, shutter, gamma, color matrix, and white balance. 

The GY-HMQ10 has a list price of  $4,995 and will be available in March, 2012. 

January 7, 2012

Helen Pashgian: Columns and Wall Sculptures at Ace Gallery Beverly Hills CA

Helen Pashgian: Columns & Wall Sculptures 
Ace Gallery Beverly Hills CA
Through January 2012


Helen Pashgian
Columns & Wall Sculptures, 2011 - Installation View 
Photo Courtesy Ace Gallery Beverly Hills 


While meticulously constructed, the artwork of HELEN PASHGIAN shows no trace of the artist’s hand at work; instead, it concentrates on the final impression creating a tension between visual and cognitive perception. The artist’s intimate, small in scale works are enigmatic studies of light and color. Her larger pieces seem to defy their own creation in their intricate and minimal molding as elliptical volumes of light. A slow read is encouraged from the viewer, as one gains partial visual access without finding the origin of the image. While using light and color as exploratory materials, Helen Pashgian has created ethereal works from  industrial materials for her exhibition at Ace Gallery Beverly Hills. As stated by James Turrell:
Helen Pashgian is a pioneer of the Los Angeles ‘Light and Space’ movement… [She] had the ironic stance of working in such a light drenched arena while maintaining the position of being an underground artist… [Her] efforts are now known.” —James Turell, Foreword. Helen Pashgian: Working in Light, Claremont, CA, Pomona College Museum of Art, 2010. 
Helen Pashgian, amid other artists working in Los Angeles in the late sixties such as James Turrell, Robert Irwin, Mary Corse, DeWain Valentine, Doug Wheeler, Larry Bell, and Peter Alexander, has investigated the properties of light in solid form for close to fifty years. Though Pashgian’s work may vary greatly in scale, regardless of size, her sculptures remain pristine and mysterious.

Helen Pashgian has recently created a series of eight-foot tall freestanding columns that take the form of vertical double-ellipses. Every column acts as conjoined twins, which elliptically fall in and out of each other. There is no end nor beginning, rather an envelopment of space and all that inhabit it. By making these sculptures large-scale, Pashgian has created a multitude of angles with which to play with light. The columns at times are just pure, self-supporting, luminescent color, in others Helen Pashgian has placed varying elements into the columns that change as viewers engage them from different approaches. The elements inside, whether they are a flat bar, metallic cylinder, or untraceable color, might appear to be an armature, but as each differs, no solid conclusions can be drawn. Mysterious as the construction is, Helen Pashgian has created tactile color with inner light sources emanating from the sculptures. 

Similar to her columns, some of the wall pieces have varying elements contained within; however, unlike her columns, Pashgian’s wall works appear to float. It isn’t immediately apparent how they are affixed to the wall. The enclosed elements not only appear to be shadows, but also cast shadows from within the pieces. As Kathleen Stuart Howe put it: 
“These interior elements at one moment capture a burst of light, then, as one moves around the sculptures, become solid forms that seem to push against the diaphanous surface… only to subside and dissolve into a ghostly presence.” —Kathleen Stewart HoweHelen Pashgian: Working in Light, op. cit.
In contrast to her larger works, Pashgian’s small, twelve-inch squares are filled with intriguing contradictions: each conveys a sense of movement despite being fixed, each is small in size yet implies scale, each is predominately black yet colors come forth, and each is flat yet sculptural in nature. She takes what could be from a viewfinder, and frames it with a square, making for an intimate dynamic experience. There is a strong sense of movement within these smaller works –  a blurring effect, trails of light following larger sources – but at the same time there is an uncanny stillness, as if she has trapped light in a frame. Light may be as old as time, yet Helen Pashgian has found a way to reinvent how we look at it, taking a relatively small space and rendering it vast and expansive. In slight relief, she has layered her boxes, condensing luminance and giving the impression of threedimensions. Even though focused lighting may enhance the pieces, she has found a way to make colors glow in a natural light. 

Helen Pashgian does not reveal how her works come to fruition; instead, she leaves the viewer with what is there. Be they matte or so shiny that they glow, there is an obsession with texture and craft so meticulous that it is apparent that the artist has planned every vantage point. 

Born in 1934, Helen Pashgian currently lives and works in Pasadena, CA. She is currently included in the following exhibitions: The Getty Center, Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950-1970, and the related Pacific Standard Time exhibition at The Museum of Contemporary Art San Diego,  Phenomenal: California Light, Space, Surface.

Ace Gallery Beverly Hills' Release