December 18, 1999

Van Gogh: Face to Face Exhibition at Detroit Institute of Arts

Art Exhibition > Vincent van Gogh (1853-1890)
Art Exhibition > Michigan > Detroit > Detroit Institute of Arts

 

Van Gogh Van Gogh: Face to Face

Detroit Institute of Arts

March 12 - June 4, 2000

 

Museum of Fine Arts, Boston

July 2 - September 24, 2000

Philadelphia Museum of Art

October 22, 2000 - January 14, 2001

 

The Detroit Institute of Arts presents the premier showing of Van Gogh: Face to Face, the first exhibition of portraits by Vincent van Gogh (1853-1890). Organized by The Detroit Institute of Arts, the Museum of Fine Arts, Boston, and the Philadelphia Museum of Art, this major exhibition celebrates the artist’s commitment to and love of portraiture and features 70 paintings and drawings that are being brought together from an array of public and private international collections.

Exhibition Publication: The exhibition is accompanied by a lavishly illustrated, 272-page survey of Van Gogh’s portraiture published by The Detroit Institute of Arts and Thames & Hudson, Inc. Van Gogh: Face to Face features over 200 color illustrations, essays by exhibition curators and other leading scholars, as well as a bibliography. The softbound publication ($29.95) will be available in March 2000 at the DIA, with the hardbound edition ($50) available in April.

Exhibition Tour: The exhibition subsequently will be on view in Boston from July 2 - September 24, 2000 and in Philadelphia from Oct. 22, 2000 - Jan. 14, 2001.

Update (June 2, 2000) : The Detroit Institute of Arts closes the exhibition on June 4, with record-breaking ticket sales approaching 308,000. This takes the popular exhibition over the top as the largest attended exhibition in the DIA's 115-year history.

 

Organizer’s & Sponsors: Van Gogh: Face to Face is organized by The Detroit Institute of Arts, the Museum of Fine Arts, Boston, and the Philadelphia Museum of Art. The Detroit showing of the exhibition is made possible by a contribution from the DaimlerChrysler Corporation Fund. Additional support is provided by the Michigan Council for Arts and Cultural Affairs and the City of Detroit.

DIA’s upcoming exhibition: Punch's Progress: A Century of American Puppetry

DIA’s News: Creation of the GM Center for African American Art at Detroit Institute of Arts

December 11, 1999

Gerald Ferguson et Tatsuo Miyajima au MBAC, Ottawa

Tenir compte de l'an 2000
Musée des beaux-arts du Canada, Ottawa 
17 décembre 1999 - 26 mars 2000 

A l'aube du troisième millénaire, le Musée des beaux-arts du Canada présente Tenir compte de l'an 2000, une série d'installations qui regroupe les œuvres des artistes contemporains Gerald Ferguson et Tatsuo Miyajima, qui traitent de questions liées au temps, à la répétition et au calcul. 

Le temps, c’est de l’argent, nous a-t-on dit. Ce siècle a vu l’invention de la ligne de montage où l’inlassable répétition des mêmes mouvements produit tantôt une voiture, tantôt un lave-linge. Décomposé en unités, le travail se traduit en profit. 1 000 000 de cents de l’artiste de Halifax Gerald Ferguson représente un investissement de temps qui reste indéterminé, mais il n'existe aucune équivoque quant à sa valeur. On peut présenter la sculpture ou, comme le suggère l’artiste, la déposer dans un compte bancaire où elle accumulera de l’intérêt. D’autre part, ses tableaux 1 000 000 de raisins résultent de son désir d’investir du temps dans son art. Se servant d'un pochoir, il a peint en noir sa grille de quarante raisins 250 fois sur chaque toile. Cent toiles à raison de dix mille raisins par toile font un million, mais laissons le calcul à l’artiste. L’image a disparu, seuls demeurent les noirs résidus d'un surcroît de travail. L'installation de 1 000 000 de cents a été rendue possible grâce à la collaboration de la Monnaie royale canadienne.

Dans Chemin Mille de Tatsuo Miyajima, les nombres tiennent lieu d’image, un fait qui importe à cet artiste japonais puisque les nombres transcendent les frontières culturelles. Chemin Mille est essentiellement un système de calcul constitué de mille compteurs à diode électroluminescente (DEL) reliés ensemble par unités de dix. Chaque unité compte de 1 à 99, puis transmet un signal à l’autre unité, et ainsi de suite, à perpétuité. Le système incarne trois principes de la philosophie bouddhiste également valables en physique moderne : le changement perpétuel, l'interconnexion universelle, la continuité éternelle. On peut considérer Chemin Mille comme le fragment d’un modèle de l’univers en constante fluctuation.

Si l’on peut aujourd’hui mesurer l’infiniment grand – ou l'infiniment éloigné dans l'espace ou dans le temps, – il apparaît difficile le concevoir sans nous diminuer nous-mêmes proportionnellement. Ces œuvres de Gerald Ferguson et de Tatsuo Miyajima nous donnent l’occasion de contempler l’immensité à une échelle humaine. 

Source : MBAC

Musée des beaux-arts du Canada 
www.beaux-arts.ca

November 11, 1999

Shiseido Support NYU Grey Art Gallery

 

New York University President L. Jay Oliva yesterday announced a $500,000 gift from Shiseido to endow the cultural and artistic activities of New York University’s Grey Art Gallery. The gift is the largest ever to support the Gallery’s public exhibitions and education programs since the initial endowment from Abby Weed Grey that established the Gallery.

According to Dr. Oliva, “The Shiseido endowment will immeasurably enhance our ability to make art an integral part of the university experience for our students and our community.”

Founded in 1975, the Grey Art Gallery is New York University’s fine arts museum, located on historic Washington Square Park. In its exhibitions and publications, the Grey distinguishes itself by serving as a museum-laboratory, dedicated to exploring the historical, cultural, and social context of the full range of the visual arts: painting, sculpture, drawing, printmaking, photography, architecture, decorative arts, video, film, and performance. The Gallery is also guardian of the New York University Art Collection, which today includes approximately 6,000 objects, primarily from the late 19th and 20th centuries. The collection has particular strengths in American painting from the 1940s to the present; in 20th century European prints; and in contemporary Asian and Middle Eastern Art, represented in the Ben and Abby Weed Grey Collection.

An international cosmetics firm based in Tokyo, Shiseido has long-standing cultural ties to both New York City and New York University. Noboru Matsumoto, who became Shiseido’s Managing Director in 1917 (and became the company’s second President in 1940), was educated at NYU, where he studied marketing in the School of Business. It was also in New York City that he met his future business partner, Shinzo Fukuhara, who would become the first President of Shiseido.

“NYU is the outstanding educational institution in downtown New York, where much of the world’s artistic activity is concentrated,” stated Akira Gemma, President and CEO of Shiseido. “The Grey Art Gallery therefore plays a unique role. It exhibits and interprets the visual arts and stimulates an international dialogue in the very midst of New York’s cultural ferment. We at Shiseido are proud to offer our support to the Gallery, an institution that exemplifies the living involvement with art that is at the core of our company’s vision.”

Commenting on the receipt of the endowment, Lynn Gumpert, Director of the Grey Art Gallery, said, “The visual arts are indispensable to a university education, just as they are indispensable to the community of which NYU is a part. Through this generous gift, which will support the Grey’s programs in perpetuity, Shiseido is helping us open new paths of understanding in the visual arts, for our students and our general public alike.”

Shiseido was originally a Western-style pharmacy, the first in Japan, established in 1872 in the Ginza District, the most modern and fashionable location in Tokyo. The company was incorporated in 1927 by Shinzo Fukuhara, the son of the founder. After earning a degree in pharmacology in New York (where he formed his friendship with Noboro Matsumoto), Shinzo Fukuhara participated in the Parisian art scene during the Cubist years and became an accomplished photographer. Upon taking charge of Shiseido in 1915, Shinzo Fukuhara personally designed the company’s camellia trademark, put himself in charge of the design department (while delegating business operations to Matsumoto), and in 1919 established the Shiseido Gallery.

Now the oldest existing art gallery in Japan, open to the public free of charge, the Shiseido Gallery has presented more than three thousand exhibitions. Among the gallery’s most important activities is an annual exhibition, organized in collaboration with the Fondation Cartier, Paris, of the work of young Japanese artists living abroad. Shiseido also maintains an exhibition space within its Ginza fashion boutique, focusing on design, photography, and fashion; and the Shiseido Art House, showcasing product designs, posters, print advertisements, and commercials produced by the company, as well as a corporate collection of 1,700 paintings, sculptures, and craft objects.

Shiseido is today the world’s fourth-largest cosmetics company, with an active sales presence in some sixty countries and annual net sales of more than $5 billion. The company has done business in the United States since 1965. Shiseido’s endowment gift to the Grey Art Gallery celebrates the tenth anniversary of the establishment of Shiseido America, Incorporated, which was formed in January 1990 as a subsidiary of Shiseido Co., Ltd., as a manufacturer of prestige cosmetics, skin care products, and fine fragrances. In addition to its involvement in the contemporary arts (including poetry and dance), Shiseido focuses its philanthropy on research and scholarship in dermatology and the treatment of burns, support for forums and publications on aging and well-being, and community based social programs with an emphasis on employee volunteerism.

November 10, 1999

Major expansion of Tate Gallery in London

New Millennium sees major expansion of Tate Gallery in London

In spring 2000 the Tate Gallery will create two new galleries in London. Tate Britain, at the original Millbank site, will open to the public on 24 March 2000, and Tate Modern, in the transformed Bankside Power Station in Southwark, will open on 12 May 2000. These join Tate Liverpool which opened in 1988, and Tate St Ives which opened in 1993, to form a network of galleries across the country.

The new galleries have been made possible with funding from the National Lottery. In February 1997 the Tate Gallery Centenary Development at Millbank was awarded £18.75 million by the Heritage Lottery Fund. Work will continue until 2001 on this development, transforming the north west quarter of the building to provide new galleries, a new entrance and many new facilities for visitors to Tate Britain. Tate Modern has received £50 million from the Millennium Commission and £6.2 million from the Art Council’s Lottery Fund.

Since 1950, the number of works in the Tate Collection has more than doubled, and the Tate’s audience has grown to over 2 million visitors each year. By the early 1990s it had become clear that the Gallery’s responsibilities to display both the British and Modern Collections in London could no longer be adequately fulfilled on the current Millbank site. In 1992 the Tate announced its decision to divide displays of the Collection between two sites in London, enabling it to show more effectively its Modern and British collections.

Tate Britain will present the world’s greatest collection of British art in a dynamic series of new displays and exhibitions. The gallery will show British art from the sixteenth century to the present day, highlighting masterpieces of the collection, while also introducing lively thematic approaches to British Art.

Tate Modern will be one of the foremost modern art museums in the world. It will house the Tate’s collection of international modern art from 1900 to the present, and it will be a gallery for the twenty-first century, exhibiting new art as it is created. The new museum will match those already established elsewhere in Europe and America and its opening will be equivalent to that of the Museum of Modern Art in New York in the 1920s or the Pompidou Centre in Paris in the 1970s.

In spring 2000 the two London galleries will be linked by a new transport strategy which will include a new shuttle bus and boat service, as well as bicycle and pedestrian routes.

Tate Britain, London, UK
www.tate.org.uk

October 5, 1999

Paul Cézanne et l'Art Moderne - Fondation Beyeler


Aucun artiste de la fin du 19e siècle n’a exercé une influence aussi marquée sur la peinture moderne que Paul Cézanne (1839-1906). La Fondation Beyeler a suivi ce thème passionnant d’une façon originale. Insérés dans une sélection de 37 peintures et 15 aquarelles de Cézanne, des oeuvres d’autres artistes de la Collection Beyeler, tels que Picasso, Braque, Mondrian, Matisse, Giacometti, Rothko et Kelly sont directement confrontés aux œuvres du ”père de l’art moderne”. 

Cette exposition se place bien au sein des nombreuses expositions passées et futures consacrées à Cézanne, qui visent un nouveau sommet avec celles de Vienne et de Zurich placées sous la devise ”Vollendet - Unvollendet”. Le motif de cette exposition a été, en plus des cinq œuvres de Cézanne que détient la Fondation, un groupe de peintures externes, promises depuis longtemps. Une concentration thématique sur l’influence de Cézanne était aisée à concevoir, puisque, avec le portrait de la femme de Cézanne et la Femme en vert (Dora) de Picasso - Picasso doit avoir vu le tableau de Cézanne chez le marchand d’art Vollard - une grande analogie se trouvait déjà au sein de la Collection Beyeler. Il en résultait une intégration de l’exposition dans les locaux de la Collection, ce qui s’offrait de toute façon dans le courant des travaux d’agrandissement du musée. L’intégration de cette démonstration dans les tableaux de la Collection permet aussi de placer celle-ci sous un éclairage nouveau depuis l’ouverture du musée en automne 1997. 

On a pu développer une quinzaine de juxtapositions d’oeuvres de Cézanne avec celles de ces autres artistes de la Collection Beyeler - des confrontations qui n’ont pas besoin d’être justifiées par des relations théoriques, mais qui persuadent par la simple observation. L’arc s’étend des cubistes Braque et Picasso, qui appartiennent aux premiers admirateurs de l’esthétique de Cézanne et, passant par Klee, Léger, Mondrian et Giacometti, conduit vers les comparaisons surprenantes du Paysage bleu de Cézanne avec la composition tardive de Mark Rothko ou du Portrait du Gustave Geffroy de Cézanne avec le relief mural constructiviste d’Ellsworth Kelly. 

Les oeuvres de Cézanne, qui sont parvenues à Riehen grâce à des prêts généreux de collections privées et de grands musées, peuvent aussi être comprises comme exposition Cézanne originale, qui regroupe toute l’œuvre de 1866 à sa mort en 1906, avec tous les genres, qui vont des personnages au paysage, en passant par la nature morte et le portrait. Son œuvre de jeunesse constitue une introduction et témoigne de sa réflexion sur les œuvres d’artistes antérieurs, qu’il a pu abondamment observer au Louvre. Mais il a pu bénéficier de précieuses perspectives de la part de Camille Pissarro, qui lui enseigna l’”impressionisme”. Cependant, le Cézanne que nous connaissons commence en 1875, époque depuis laquelle la fonction d’une œuvre artistique n’est pas seulement de fournir une réplique de la réalité, mais de produire une réalité indépendante. L’ordre idéal de la nature est remplacé par l’ordre des éléments figuratifs. D’autres innovations qui sont indissolublement liées à son nom, sont par exemple la planéité de l’image ou la thématisation de la vision elle-même. Ce sont ces innovations qui ont valu au persévérant artiste provençal la haute considération de ses collègues. Ainsi Henri Matisse l’appelait-il ”le Bon Dieu de la peinture”. Ce sont aussi ses collègues qui achetèrent ses premières oeuvres et même son maître Pissarro en possédait une quinzaine. 

Dès 1900, c’est-à-dire après plus de trente ans de travail acharné, les innovations de Cézanne furent reprises par des artistes plus jeunes. Les fondements érigés par son œuvres pouvaient être utilisés très différemment, que ce soit par des transformations originales, soit par des développements, soit par suite de malentendus. Ce sont justement ces aspects que l’exposition étudie de façon exemplaire. 

Un programme varié de manifestations accompagne cette exposition et analyse les différents thèmes. En outre, des films sont continuellement diffusés sur la vie et l’oeuvre de Cézanne.

Fondation Beyerler - Exposition spéciale : Cézanne et l’Art Moderne
Avec des œuvres de Cézanne, Picasso, Braque, Léger, Klee, Matisse, Mondrian, Giacometti, Rothko, de Kooning et Kelly
10 octobre 1999 - 9 janvier 2000 

Heures d’ouverture: du lundi à dimanche, de 10 à 18 heures, chaque mercredi jusqu’à 20 heures.
Fermé les 24 et 25 décembre 1999

October 2, 1999

Sol LeWitt: Concrete Block, P.S.1 Contemporary Art Center, Long Island City, NY

Sol LeWitt: Concrete Block
P.S.1 Contemporary Art Center, Long Island City, NY
October 10, 1999 - January 2, 2000

P.S.1 Contemporary Art Center presents "Concrete Block," works by the American artist Sol LeWitt (b.1928), one of the main representatives of Minimalism and subsequently Conceptual art. Organized by P.S.1 director Alanna Heiss and P.S.1 senior curator Carolyn Christov-Bakargiev, this exhibition maps Sol LeWitt's art-making process, from preliminary drawings, followed by precisely crafted wooden models, to completed outdoor cinder block sculptures, with one work rising more than 21 feet high.

Throughout his artistic career, Sol LeWitt’s work has explored ways in which shapes and numbers can be arranged through repetition, variation, and permutation. His art is often comprised of simple grid-like geometric forms and open modular structures designed in infinite combinations. Sol LeWitt began to design models for outdoor public sculptures in the early 1980s. In 1985, the first cement "Cube" was built in a park in Basel. Since then, interpretations of these concrete block structures have been created in various locations around the world. Sol LeWitt: Concrete Block focuses on this particular body of work with completed structures designed specifically for P.S.1’s outdoor courtyard and exhibited alongside preliminary drawings and models in the museum’s second floor gallery.

P.S.1’s outdoor galleries will feature two new outdoor "monuments." These sculptures by Sol LeWitt, both entitled "Concrete Block," are made of 8" x 8" x 16" cinder blocks, a common, inexpensive building material. The larger structure, an irregular aggregation of towers made up of 563 cinder blocks, points to the shared grounds as well as the differences that exist between sculpture and architecture. A second structure, also made of cinder blocks, will be exhibited in the small outdoor gallery neighboring its larger counterpart. 

The second floor gallery is devoted to 17 wooden models surrounded by 60 drawings on the adjoining walls. The varying geometric configurations of these models highlight Sol LeWitt’s interest in excluding a rational system of order to determine the heights of his outdoor structures, and his preference to create a system that is balanced between the logical and illogical. Keeping with the basic principles of Conceptual art, this unraveling of the different stages of art-making shifts the viewer's attention from the sole contemplation of the finished work to a more complex understanding of the thought process that lies behind it.

In an attempt to both explore the history of LeWitt's public projects and to record his long-lasting relationship with P.S.1, the artist will recreate "Crayola Square," a Crayola crayon wall drawing originally created in 1971 at the Brooklyn Bridge Event. The event was organized by P.S.1 founder and current director Alanna Heiss, and was the inaugural exhibition for the organization, The Institute for Art and Urban Resources, known today as P.S.1 Contemporary Art Center. "Crayola Square" is on view in the basement of P.S.1.

A major retrospective of Sol LeWitt’s work will open on February 18, 2000 at San Francisco Museum of Modern Art and travel to New York in November, 2000, at the Whitney Museum of American Art. Elsewhere in New York, Sol Lewitt is currently showing drawings at Paula Cooper Gallery, and his wall-drawings have been included in the Museum of Modern Art’s "MoMA2000" exhibition (opening October 7) and in the second half of the Whitney’s "American Century" exhibition (open September 26).

P.S.1 Contemporary Art Center
www.ps1.org

September 27, 1999

Création d’une Organisation Panafricaine des Musées

AFRICOM - le Conseil International des Musées Africains

L'Assemblée constituante du Conseil International des Musées Africains (AFRICOM) se déroulera du 3 au 9 octobre 1999 à Lusaka en Zambie sur le thème " Construire ensemble avec la communauté : un défi pour les musées africains ".

Cette réunion est co-organisée par l'ICOM (Conseil international des musées) et le National Museums Board du ministère du Tourisme de Zambie.

Les bases d'AFRICOM ont été établies grâce à un programme de l'ICOM pour l'Afrique mis en oeuvre par les musées en Afrique et coordonné par l'ICOM sous la supervision d'un Comité de coordination africain. Le coup d'envoi de cette initiative a été donné lors des Rencontres " Quels musées pour l'Afrique ? Patrimoine en devenir " organisées en 1991 par l'ICOM à Lomé (Togo). Les champs d'intervention d'AFRICOM s'articulent autour du développement des musées, de la protection du patrimoine et de l'accès à la culture sur tout le continent. Des projets spécifiques ont vu le jour, notamment, sur la lutte contre le pillage des antiquités, l'établissement de normes pour les inventaires, le développement de services éducatifs adaptés. La réunion de Lusaka donne un nouvel élan à ce programme.

Aujourd'hui, l'AFRICOM devient le Conseil International des Musées Africains, une organisation non gouvernementale (ONG) autonome dont la coordination, la gestion et le financement seront sous la responsabilité des professionnels africains.

Des responsables des musées et du patrimoine venus de 40 pays d'Afrique mais également des décideurs politiques et économiques internationaux vont se réunir à Lusaka afin d'adopter les statuts de la nouvelle organisation, constituer le conseil d'administration, sélectionner le pays du siège, voter le budget et le programme d'activité pour la période 2000-2002.

Ce rassemblement de professionnels sera aussi l'occasion de faire le bilan des différentes activités menées depuis 1991 par l'AFRICOM et d'examiner la situation actuelle des musées africains afin d'explorer des voies innovantes pour renforcer l'impact des musées sur le développement des communautés.

Regroupés dans trois ateliers, les participants traiteront notamment des thèmes suivants : Musées et communauté ; Education et formation professionnelle ; Réseaux. Des expériences seront confrontées. Des pratiques professionnelles vont s'échanger.

L'AFRICOM, en tant qu'organisation panafricaine autonome, devra promouvoir la participation des musées dans le contexte du développement global et durable, renforcer les réseaux de collaboration des professionnels en Afrique et dans le monde et enfin impliquer toutes les composantes de la société dans la protection et la mise en valeur du patrimoine culturel.

Alpha Oumar Konaré, président de la République du Mali et ancien président de l'ICOM, déclarait en 1991 lors des rencontres de Lomé (Togo) : " Il est temps, grand temps de procéder à une totale remise en cause, il faut " tuer ", je dis bien tuer, le modèle occidental de musée en Afrique pour que s'épanouissent de nouveaux modes de conservation et de promotion du patrimoine ".

Qu'en est-il aujourd'hui ? Comment AFRICOM a-t-il et peut-il agir en ce sens ? Quelles sont ses grandes perspectives et priorités d'actions ? Ce sont là les questions auxquelles les participants de cette Assemblée constituante devront également répondre.

September 25, 1999

Sol LeWitt: A Retrospective, SFMOMA, San Francisco

Sol LeWitt: A Retrospective
San Francisco Museum of Modern Art
February 19 - May 30, 2000

The San Francisco Museum of Modern Art (SFMOMA) will highlight 40 years of work by Sol LeWitt in the long-awaited exhibition Sol LeWitt: A Retrospective. The first comprehensive survey of Sol LeWitt's work since 1978, the retrospective will present over 200 works -- ranging from the well known wall drawings and structures to photographs, books and works on paper -- from each phase of the artist's career. Organized by Gary Garrels, SFMOMA Elise S. Haas Chief Curator and curator of painting and sculpture, in collaboration with Sol LeWitt, the exhibition will open on February 19 and be on view in the Museum's fourth-floor galleries through May 21, 2000, and in the fifth-floor galleries through May 30, 2000.

Sol LeWitt was born in 1928 in Hartford, Connecticut, and received his BFA in 1949 from Syracuse University. In 1953 he moved to New York, where he attended what is now known as the School of Visual Arts, and from 1955 to 1956 worked as a graphic artist for the architect I.M. Pei. In the mid-1960s, he began taking occasional teaching positions at art schools including Cooper Union, the School of Visual Arts and New York University. His work was first publicly exhibited in 1963 at St. Mark's Church, New York.

Since 1965, Sol LeWitt has had hundreds of solo exhibitions. His first retrospective was presented at the Gemeentemuseum in The Hague in 1970 and later showcased in a major mid-career retrospective at the Museum of Modern Art, New York in 1978. His work has been featured in innumerable group exhibitions. Sol LeWitt's pieces have been collected by some of the most prestigious museums in the world, including SFMOMA, the Museum of Modern Art in New York, the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, the Art Institute of Chicago, the Whitney Museum of American Art, the National Gallery of Art, Paris's Musée National d'Art Moderne, Tokyo Metropolitan Museum and the Tate Gallery, London. 

Development of a Distinct Philosophy 
Beginning in 1962, Sol LeWitt began to make a series of geometric wall reliefs, soon moving to free-standing objects or "structures," the name he uses for all of this sculptural work. At this time his work was closely related to that of other artists, including Carl Andre, Donald Judd and Robert Morris, who were developing the movement that was dubbed Minimalism. By 1964 his structures had been simplified to open, linear forms, in which ideas could be explored in permutations and series.

In the mid-1960s, he pioneered the Conceptual art movement, emphasizing ideas for the generation of art rather than working from physical materials. LeWitt published "Paragraphs on Conceptual Art," an influential statement on Conceptualism, in a 1967 issue of Artforum and followed this with "Sentences on Conceptual Art," which appeared in Art Language in 1969.

In "Paragraphs on Conceptual Art," Sol LeWitt stated the importance of reduction in the artistic process: "When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes the machine that makes the art." His work is focused upon the ideas behind it and the proscribed rendering of form to realize a physical manifestation of those ideas. 

Supporting his idea that the thought is more important than the act, Sol LeWitt rejects the notion of art as a unique and precious object. He often uses assistants to execute the works based upon his detailed instructions. Adherence to LeWitt's system does not validate a scientific principle or insure technical perfection. For Sol LeWitt, an idea may be mathematically or scientifically invalid, but as long as the executor follows the system established by the artist, a true expression of the idea is produced. The intent is to merely to make good art. Instructions for executing a work give way to any number of physical manifestations of an idea; some will be beautiful, some will not, but the idea maintains its integrity. His art exists, above all, in the space between the artist's conception and the viewer's reception; it is dependent upon the viewer's sensory responses for its completion. Some instructions are simple and straightforward and some are long and complex.

For example, Sol LeWitt's instructions for the execution of Wall Drawing #340, 1980, mandates: 
Six-part drawing. The wall is divided horizontally and vertically into six equal parts. 1st part: On red, blue horizontal parallel lines, and in the center, a circle within which are yellow vertical parallel lines; 2nd part: On yellow, red horizontal parallel lines, and in the center, a square within which are blue vertical parallel lines; 3rd part: On blue, yellow horizontal parallel lines, and in the center, a triangle within which are red vertical parallel lines; 4th part: On red, yellow horizontal parallel lines, and in the center, a rectangle within which are blue vertical parallel lines; 5th part: On yellow, blue horizontal parallel lines, and in the center, a trapezoid within which are red vertical parallel lines; 6th part: On blue, red horizontal parallel lines, and in the center, a parallelogram within which are yellow vertical parallel lines. The horizontal lines do not enter the figures.
Sol LeWitt's work strikes a delicate balance between perceptual and conceptual qualities; between dedication to the simplicity and order of geometry and his pursuit of visual beauty and intuitive creation; and between his authorship and anonymity regarding his work. Wall drawings, perhaps more than any other medium Sol LeWitt uses, illustrate this inherent tension between craftsmanship and anonymity. The historical precedent of Renaissance fresco painting, which LeWitt deeply admires, is counterbalanced by the execution of his wall drawings. By using industrial materials that erase any trace of craft and employing assistants to execute his ideas, LeWitt was one of the first artists to renounce the importance of the artist's hand. However, LeWitt's desire to adhere to a system does not negate his wish to create truly beautiful wall drawings. As the artist said in the early 1980s, "I would like to produce something I would not be ashamed to show Giotto." 

Four Decades of Work
In 1968 Sol LeWitt made his first artist's book, developing an array of variations of straight lines, overdrawn in four directions. In a logical extension, LeWitt made the radical break of executing some of these drawings in large scale with pencil directly on the wall, the first of his "wall drawings," which would form the basis for his most sustained, important and richly developed work over the next thirty years. This shift also set the pattern throughout his career of moving readily back and forth between works on paper, wall drawings and structures. It is this way of working through theme and variation among media and materials that will be highlighted in the SFMOMA retrospective. 

Idea, detail and execution merge in the work Incomplete Open Cubes, 1974, in which Sol LeWitt explores all possible configurations of an incomplete cube. Each arrangement is expressed in three ways: as a three-dimensional wooden structure composed of eight-inch segments; as a schematic drawing; and a photograph of the sculpture. In its most reduced state, the cube is achieved with three segments. At its most complex, it is fashioned with eleven edges and comes closest to forming a complete cube. Between the boundaries, Sol LeWitt illustrates each possibility of a cube-structures with four segments, five segments and so on. He presents the elements by rank, with both the sculptures and pictures ordered from the least to most complex.

In the 1980s, Sol LeWitt's work shifted significantly. Geometric shapes and their permutations became the dominant subject of his 1980s wall drawings, which are executed in layers of colored ink washes that create an extraordinarily varied palette of luminous tones. His works, until then linear and muted, now included three geometric shapes -- circle, square and cone -- and were created with a richer and warmer palette. For example in 1982, Sol LeWitt executed a series entitled Forms Derived from a Cube, in which he depicted variations of geometric elements found within a cube. The piece signifies the beginning of a more selective and interpretive approach to his work; with an innumerable number of possible permutations of a cube, LeWitt chose to depict only 24 variations. These, in turn, at the end of the decade, inspired a new series of complex geometric, crystal-like forms, executed both as multi-colored wall drawings and as structures of white painted wood that erupt from the floor. 

Over the years, Sol LeWitt repeatedly experimented with the idea of a star in different colors and configurations. His Star series exemplifies the artist's mature exploration of serialism and geometry. LeWitt's 1996 Wall Drawing #808 -- presented at the Bienal Internacional São Paolo where Sol LeWitt represented the United States -- presents an array of three-to nine-pointed stars, each centered within a black-bordered rectangular section of wall space. The artist's strict use of geometry dictates that each star is constructed from the form of a regular polygon, and each point of the star rests on the circumference of a circle. Sol LeWitt achieves the broad range of color in each section through a process of layering, rather than mixing, his traditional four colors. In later works from the 1990s -- such as Wall Drawing #879: Loopy Doopy (Black and White), 1998, which is composed of broad, lively swirls -- Sol LeWitt began to incorporate more fluid shapes and wider brushstrokes. Moving away from the strict systematic forms of his earlier work, the latest pieces have a rhythmic optical playfulness and exuberance, an almost decorative quality, often combining bright, saturated colors with alternately saturated blacks.

Sol LeWitt: A Retrospective will be accompanied by a 368-page catalogue with essays by Martin Friedman, Gary Garrels, Andrea Miller-Keller, Brenda Richardson, Anne Rorimer, John Weber and Adam Weinberg. Featuring a lavish photo section with 140 color and 315 black-and-white photographs, the catalogue also includes a selection of Sol LeWitt's writings, the complete exhibition checklist and a bibliography. The catalogue is co-published by the Yale University Press and will be available in a $39.95 softcover edition and a $75 cloth edition at the SFMOMA MuseumStore. In addition, SFMOMA's Education Department will present a host of public programs, including a studio program for youth, a three-part lecture series and a half-day symposium. 

After its SFMOMA presentation, the exhibition will travel to the Museum of Contemporary Art in Chicago (July to October 2000), the Whitney Museum of American Art in New York (October 2000 to February 2001) and other international venues. 

Sol LeWitt: A Retrospective is organized by the San Francisco Museum of Modern Art. Support for this exhibition has been generously provided by the Henry Luce Foundation and a grant from the National Endowment for the Arts. Additional support is provided by Henry S. McNeil Jr.

San Francisco Museum of Modern Art - SFMOMA
151 Third Street, San Francisco, CA 94103
www.sfmoma.org

September 18, 1999

Gary Hill at Barbara Gladstone Gallery, NYC

Gary Hill: A name, a kind of chamber, two weapons and a still life
Barbara Gladstone Gallery, New York
18 September - 30 October 1999

Barbara Gladstone Gallery presents an exhibition of new work by Gary Hill featuring five installation works in videomedia. Gary Hill, born in 1951, is one of the pioneers of video art. He completed his first Single Channel Video work in 1973, and began producing video installations as early as 1974.

In the catalogue from Gary Hill’s 1993 solo exhibition at the Stedelijk Museum Amsterdam, curator Dorine Mignot states: “Gary Hill is an artist who is interested in the capacity of the various human language processes — be it spoken, written, gesture or body — their interrelationships and relationship to the outside world. He renders visible, as it were, processes of thought, of seeing, of communication (language). He makes them into a physical experience, into a combination of visual and spatial experience in time. The human body is a point of departure and return, in both his thoughts and work. The body as transmitter and receiver.”

Of the five works in this exhibition, Still Life, 1999, best illustrates Gary Hill’s consistent practice of utilizing new technological possibilities to extend the vocabulary of his work. It consists of over a thousand computer generated objects viewed from multiple angles throughout the space. The works in this exhibition, sometimes removed their monitor casings or projected onto table tops, use a sublime imagery, sound and space to communicate. In Reflex Chamber, 1996, Hill transforms the white cube into something akin to the internal chamber of a camera. Switchblade, 1998-99, and Crossbow, 1999 reference the human body, while Namesake, 1999, emphasizes the structure of language through repetition of name and image responding to each other.

In the artist’s own words, “I am primarily an image maker. Video embodies a reflexive space of difference through the simultaneous production of presence and distance. I think it has a visceral reality more encompassing than writing and still allows for meditation without falling prey to the image. And yet, although my art is based on images, I am very much involved in the undermining of those images through language.”

In 1998, Gary Hill was awarded a MacArthur Fellowship. His recent solo exhibitions include: Aarhus Kunstmuseum, Denmark; School of the Museum of Fine Arts, Boston; Tel Aviv Museum of Art, Israel; Allen Memorial Art Museum, Oberlin College, OH. Forthcoming solo exhibitions include: Kunstmuseum Wolfsburg, Germany; and Centro de Arte Reina Sofia, Madrid. The artist lives and works in Seattle.

Barbara Gladstone Gallery
515 West 24th Street, New York, NY 10011
www.gladstonegallery.com

September 9, 1999

Wacom Tablette Graphique Graphire

WACOM présente son Ensemble de Souris & Stylet Graphire. La tablette, de la taille d’un tapis de souris, est livrée avec un stylet sans fil et sans pile, sensible à la pression, ainsi qu avec une souris haute résolution, sans fil, sans pile et sans bille.
L’ensemble Graphire peut séduire les utilisateurs qui souhaitent se servir d’une souris sophistiquée pour certaines de leurs applications, mais qui auront également besoin du positionnement absolu du stylet pour par exemple écrire des notes ou pour contrôler des jeux rapidement et avec précision. De même, Graphire est destniée à ceux qui recherchent avant tout un stylet sensible à la pression pour le graphisme, mais préfèrent utiliser une souris pour d’autres applications telles que la navigation sur Internet. Grâce à l’Ensemble Souris & Stylet Graphire, les utilisateurs bénéficieront d’un meilleur confort d’utilisation et profiteront des fonctionnalités, et des performances d’une vaste gamme de logiciels de graphisme, de jeux, de messagerie ou de bureautique.
La souris et le stylet Graphire, n’ont ni fil, ni pile et fonctionnent sur une tablette graphique, de la taille d’un tapis de souris. Les outils Graphire sont activés par la tablette graphique, grâce à une technologie unique de résonance électromagnétique, utilisant un signal radio basse fréquence, pour localiser les outils sur la surface de la tablette, et renvoyer ce signal (localisation, type de pression utilisée...) à l’ordinateur. Il n’y a pas de câbles disgracieux qui peuvent être emmêlés, cela favorise ainsi la vitesse et la précision d’utilisation de la souris et du stylet.
Une caractéristique de Graphire réside dans le positionnement absolu. En pointant le stylet, en haut à gauche de la tablette, le curseur à l’écran se positionne instantanément à cet endroit avec une précision au millimètre. La tablette graphique est en relation directe avec les pixels du moniteur, permettant ce degré de précision. Les utilisateurs bénéficient ainsi d’une efficacité et de l’ensemble des fonctionnalités de certains de leurs logiciels de jeux et de graphisme.
D’un format A6, la tablette Graphire sert de surface de travail pour le stylet et la souris Graphire. L’ensemble Graphire permet d’économiser de l’espace sur le bureau, car, de la même taille qu un tapis de souris, elle le rend obsolète. Elle est équipée d’un calque transparent, qui permet de reproduire facilement et avec précision, des dessins ou des photos. La tablette Graphire est également équipée d’un porte stylet intégré, amovible, permettant à l’utilisateur d’avoir son stylet à portée de main à tout moment. La tablette graphique, la souris et le stylet Graphire sont d’un design ergonomique. Les outils de pointage activés par la tablette graphique, rendent inutile tout fil, pile ou transmetteur infrarouge, et changer d’outils est une opération simple. La tablette graphique reconnaît instantanément l’outil en cours d’utilisation et configure automatiquement les paramètres du système.
La tablette graphique offre une résolution de 1 000 dpi permettant un travail assez précis.
Le stylet Graphire, sans fil, ni pile, dispose d’une pointe sensible à la pression qui reproduit les sensations naturelles et la souplesse des outils artistiques traditionnels, tels que la craie, le crayon, les pinceaux etc... Le stylet est bien équilibré, très léger, et son absence de fil permettra de laisser libre tous les mouvements de la main. Le stylet Graphire offre 512 niveaux de pression. Il est deux fois plus sensible que le stylet de la PenPartner de Wacom. Il dispose d’une gomme, également sensible à la pression, qui permet de gommer des graphismes et d’effacer des textes. Conçu à partir d’une étude ergonomique poussée, le stylet Graphire dispose d’une taille resserrée qui permet à l’utilisateur d’appliquer une plus grande pression, mais avec moins de force qu avec un tube cylindrique. Il est donc beaucoup moins fatigant pour le poignet et le bras. Le stylet Graphire possède également un double bouton latéral, programmable, qui peut être paramétré pour remplacer tout type de raccourcis clavier ou tout type de fonctions, en actionnant simplement du doigt ou du pouce le bouton approprié.
La souris Graphire, sans fil, ni pile, fonctionne sans bille : cela évite qu elle s’enraye à cause de la poussière accumulée autour de la bille, et de s’emmêler avec les câbles. Conçue selon une ergonomie très étudiée, la souris Graphire est symétrique et s’adapte donc confortablement à n’importe quelle main. La souris Graphire dispose de trois boutons programmables, pratiques pour l’utilisateur, dont une molette au doigt, cannelée, douce, destinée à la navigation rapide (scrolling) sur le Web, que ce soit sur Macintosh ou sur PC. Les 3 boutons de la souris Graphire peuvent être paramétrés selon les mêmes fonctions que le double bouton latéral du stylet Graphire. Disposant d’une résolution de 1 000 dpi, la souris Graphire offre une résolution plus de deux fois et demi supérieure à celle d’une souris standard et procure ainsi un niveau de précision très élevée.
Le panneau de contrôle Graphire permet aux utilisateurs de personnaliser les configurations de la souris et du stylet Graphire, augmentant ainsi les fonctionnalités du "Application Specific Settings" (une fonctionnalité qui permet de configurer les préférences spécifiques à chaque application). L’utilisateur peut paramétrer sa tablette Graphire et ses outils en fonction de ses applications. Ces commandes peuvent également servir à paramétrer les niveaux de sensibilité à la pression de la pointe du stylet et de la gomme, paramétrer la molette au doigt, les menus déroulants et la correspondance entre la tablette graphique et l’écran. Par exemple, un des deux boutons latéraux du stylet est réglé en double-clic par défaut, mais cela peut être changé pour prendre la main dans Adobe PhotoShop pour déplacer des images. Dans Painter de MetaCreations, il est également possible de programmer les touches "ctrl" et "alt" pour changer la taille des brosses sans quitter le logiciel.

4 logiciels livrés avec Graphire - L’Ensemble Souris & Stylet Graphire est livré avec quatre logiciels complémentaires - entre eux et avec le système de la tablette graphique - permettant à l’utilisateur d’optimiser l’usage de son ensemble Graphire dans les différents domaines d’application de ces logiciels.

  • Painter Classic de MetaCreations (disponible sur PC et Macintosh) est un logiciel de peinture et de dessin très souple qui dispose de plus de 100 outils sensibles à la pression, et peuvent être utilisés avec le stylet Graphire pour créer des œuvres artistiques à l’aspect naturel. Les brosses "Natural Media" de Painter peuvent servir de source d'inspiration créative pour l'utilisateur. Ce logiciel propose également des outils de retouche d’images, permettant la manipulation intuitive, le recadrage et le rehaussement de tout type d’images numériques.
  • Les "PenTools" WACOM (disponible sur PC et Macintosh) sont un ensemble exclusif de huit plug-ins sensibles à la pression, compatibles PhotoShop. Ils proposent une grande variété d’effets qui peuvent être peints sur une partie ou sur toute l’image directement, sans avoir à passer par un masque grâce au stylet Graphire. Les "PenTools" peuvent être utilisés pour nettoyer ou appliquer du bruit à une image, pour, par exemple déformer une image avec le plug-in "Modelage" ou pour créer des bords biseautés avec le plug-in "Sculpter en 3D". "PenTools" est compatible avec Painter Classic de MetaCreations, Adobe PhotoShop et Corel PhotoPaint.
  • PenOffice SE de Paragraph (disponible sur PC) est un logiciel exclusif d’écriture manuelle pour Windows, qui permet de signer ou écrire des notes manuscrites dans des documents Microsoft Word 97 ou 2000. L’utilisateur peut annoter, souligner du texte, dessiner un croquis ou écrire à la main avec le stylet Graphire. PenOffice SE permet également d’écrire des idées ou des croquis par exemple, sur un "bloc-notes", qui peut être joint à un message électronique (e-mail). L’écran peut également servir de cahier de croquis virtuel, puis sauvegardé en fichier bitmap et attaché à un message électronique (e-mail) avec une visionneuse en pièce jointe.
  • Cyber-SIGN de Cyber-SIGN (disponible sur PC) est un économiseur d’écran avec mot de passe sécurisé sous forme de signature manuscrite, sous Windows, qui utilise des données biométriques pour vérifier l’identité de l’utilisateur. La sensibilité à la pression de la tablette graphique et du stylet Graphire captent la forme, la vitesse, l’ordre du tracé et la pression sur le stylet d’une signature, garantissant ainsi l’exclusivité de son utilisateur.

Début de commercialisation : Octobre 1999 au prix public de 699 Francs TTC. L’Ensemble Souris & Stylet Graphire est distribué par Métrologie, TechData, Apacabar.

Configuration requise [en 1999, lors de la commercialisation] PC port série avec Windows 95/98 ou supérieur, NT 4.0 ou supérieur, port série et port PS/2 disponibles PC prêt pour USB avec Windows 98 ou supérieur, port USB actif iMac avec Mac OS 8.51 ou supérieur, port USB actif Power Mac avec OS 8.51 et port USB actif Lecteur de CD-Rom.

Message modifié le 20-06-2009

August 25, 1999

Panasonic, SanDisk and Toshiba Agreement


SD Memory Card
Photo (c) Sandisk

Matsushita Electric Industrial, best known by its Panasonic brand name, SanDisk and Toshiba have reached an agreement on comprehensive collaboration to jointly develop, specify and widely promote a next generation secure memory card. The announcement was made at joint press conferences in Tokyo, Japan, Osaka, Japan and Redwood City, CA.
The global market is growing rapidly for flash-memory based removable storage cards. These cards provide a compact, reliable, and easy-to-use medium to store high volumes of visual, audio and other data for digital music players and cameras, personal digital assistants (PDAs), video cameras, cellular phones and other digital consumer electronics products. Several major formats including SmartMedia, CompactFlash and MultiMediaCard are gaining solid support as leading media to meet these requirements. In addition to these segments, recent years have seen an increased need for methods to improve copyright protection for artists and other content owners and provide greater data security for users.
The agreement announced today is aimed to jointly develop a small size, high speed read/write next generation memory card capable of providing a high level of copy protection for music, movies and other artistic and commercial content. Each company will aggressively promote development of application products for this card.
The agreement is as follows
  • The three companies will collaborate to develop the next generation SD Memory Card, and promote the card to make it widely used in the industry through standardization.
  • The three companies will promote to develop application products in the field of digital AV equipment and digital network equipment using the SD Memory Card.
  • The three companies will develop products taking into consideration the copyrights of software creators and content providers.
  • The three companies will establish a licensing entity which will widely license the SD Memory Card. Both SD Memory Card manufacturers, and equipment producers who manufacture end-user products such as Internet music players and cellular phones, will be required to obtain licenses from the licensing entity.
Outline of the SD Memory Card
  • Size: 24mm x 32mm x 2.1mm 9 pins
  • Capacity: 32MB, 64MB (2000) / 256MB (2001)
  • Speed: 10MB/sec / 2MB/sec (2000)
  • Features: Powerful security and copy protection (SDMI compliant)
Sampling of the new SD Memory Card will begin in the first quarter of 2000. Production shipments are expected to commence in the second quarter of 2000. It is expected that application products that use the new card will be available in the first half of next year.
Features and advantages of the SD Memory Card include
  • Unique and proprietary security functions are included in the card's controller, which facilitate the secure exchange of content between host devices and the card. The security level has been designed to comply with both current and future SDMI (Secure Digital Music Initiative) portable device requirements.
  • Several flash memory chips can be stacked in the SD Memory Card which will provide higher capacity cards. This will ensure that the cards are capable of storing, for example, full-length movies in video and playback systems in the future.
  • Despite the highly desirable small number of pins, the SD Memory Card is designed for exceptionally high read/write performance.
  • A mechanical write protect switch prevents consumers from accidentally overwriting the card and destroying data, images or audio.
  • The SD Memory Card has been ergonomically and electrically improved for its target consumer markets.
  • The new SD Memory Card slots will also accept existing MultiMediaCards.
The three companies expect that CompactFlash (CF), SmartMedia memory cards and MultiMediaCards will continue their popularity in the current applications that only require relatively lower levels of security.
"Matsushita Electric and the Panasonic companies are delighted to be a partner in this effort to develop a technology that adds new value and features to the products consumers will use in the home, the workplace and everywhere in between," said Mr.Yoichi Morishita, president of Matsushita Electric Industrial Co., Ltd. "With the progress of recent digital network technology we are confident that the SD Memory Card will become a virtual standard for digital consumer electronics as well as for PC's. With this in mind, we intend to develop and build a new generation of digital consumer electronics devices such as Internet music players, digital camcorders and cellular phones which will employ SD Memory Cards"
Eli Harari, CEO and president of SanDisk, said, "We are greatly honored to be partners in this very important cooperation with two of the world's leading global corporations in consumer electronics. The sophisticated security of the SD Memory Card will unleash numerous exciting new consumer products and enable mass distribution of copyrighted content as well as e-commerce in a variety of multimedia and wireless/internet applications. The SD Memory Card provides an easy migration path for users of the highly successful MultiMediaCard for new applications requiring a high level of copyright protection and data security."
Taizo Nishimuro, Toshiba president and CEO, said, "Toshiba is unfolding a comprehensive strategy to promote removable memory cards, Toshiba's original NAND flash memory chips, and products and systems using the media. We welcome this opportunity to collaborate with Matsushita and SanDisk on the development and promotion of a new medium offering high-level security functions, an emerging but increasingly important element in the burgeoning market for silicon media. Toshiba is the leading supplier of SmartMedia, already established as a de facto standard in digital silicon storage and the SD Card will be a strong addition to our product portfolio, allowing us to expand our new business opportunities."
http://www.panasonic.com/
http://www.sandisk.com/
http://www.toshiba.com/

August 10, 1999

Yashica Kyocera Samourai 2100DG

Yashica Announces the Kyocera Samurai 2100DG, World's First 2 Mega-Pixel Digital Camera With 4x Optical Zoom

Yashica's new Samurai 2100DG digital camera is the world’s first high-quality, 2-million-pixel class digital camera to feature a 4X optical zoom lens. The Kyocera Samurai 2100DG takes crisp, sharp images that rival the quality of conventional photographs while offering all of the conveniences of an advanced digital device. The camera boasts a full line-up of functions, including automatic exposure control, automatic white balancing, various shooting modes and versatile playback functions. All settings are fully automatic for the ultimate in picture-taking ease.

The ergonomic shape of the Kyocera Samourai 2100DG allows the user to enclose the body of the camera with their hand, making the camera easier to hold and offering enhanced stability that reduces the possibility of blurring due to accidental shaking of the camera. All of the essential controls, including the shutter button, zoom control, and selectors for photography mode and image quality, can be operated easily while holding the camera and using only the right hand.

The key to the superior image quality of the Kyocera Samurai 2100DG is its Charge Coupled Device (CCD). The high-definition 2.14 million pixel CCD, the image capture element for the 2100DG, is coupled with a high-resolution zoom lens that has a center resolution of over 200 lines/mm. The result is imaging quality that is on par with that of photographs taken with conventional 35mm film cameras.

The lens supports a wide range of focal lengths from a 6.6mm wide-angle through a 26.4mm telephoto (equal to 35mm to 140mm in a 35mm camera) allowing the photographer to shoot a wide array of subjects including landscapes, group photos, and portrait photos. In addition, the 4x optical zoom capability can be combined with a 4x digital zoom function when displaying images, resulting in a maximum zoom magnification of 16x (super fine or fine image quality mode, display only).

"We are extremely proud and excited to have the world's first digital camera with 4x optical zoom, as it offers a significantly better image quality than cameras that only have digital zoom," said Kyocera Optics, Inc. President, Bill Heuer. He went on to say, "While a digital zoom merely enlarges and crops the picture, thus degrading the image, the optical zoom works like a high quality lens on a traditional film camera. With the 2100DG, our customers are not only getting the finest in Yashica lenses, but Kyocera's expertise in electronics as well."

In addition to a conventional video feedback auto-focus function that relies on the CCD, the Kyocera Samurai 2100DG is also equipped with a newly developed focusing system employing an infrared active auto-focus function. Combined, these two systems result in focusing performance that is both quick and accurate. All lenses are made of optical-quality glass.

The Kyocera Samurai 2100DG has been developed with a large memory capacity, and its image processing speed has been increased substantially over prior models to allow for faster storing and displaying of images. The wait time between shots has been reduced to about one second in the fastest mode -- significantly faster than with older digital cameras. This extra speed increases the opportunities for capturing great shots and reduces the chance of missing a shot when your camera is not ready. Using the included 8MB CompactFlash card, the user can store 84 exposures in normal mode, 20 in Fine mode, and six in Super Fine mode.

The Kyocera Samurai 2100DG has both a built-in optical real image zoom viewfinder and a 1.8" color LCD monitor. The optical viewfinder zooms along with the lens to provide concise, accurate framing. After taking a picture, you can quickly and easily view the image on the built-in 1.8", high contrast, high definition TFT LCD monitor. Additionally, you can playback images on the LCD in several different ways: single-image advance, automatic advance, quick thumbnail display, multi-image display, and rotate. Images can also be zoomed in on the LCD while in the playback mode, a great way of proofing your pictures or checking for small details.

The LCD monitor is also an ideal way to compose any Macro photos. In addition to the macro mode, which allows close-ups of objects as close as 3.9" from the lens (so you can fill the screen with an image of something as small as a business card), the Samurai 2100DG features a wide array of photography functions. The camera has four flash modes (automatic flash, automatic red-eye reduction flash, fill-flash, and flash-off), a landscape mode, two monochrome photography modes (sepia and black-and-white), and three white balance settings (auto, daylight, and tungsten lamp).

The Kyocera Samourai 2100DG also offers, what has become to many, a necessary security feature. When hooked up to a monitor or VCR, the camera doubles as security camera, allowing the user to tape, or monitor in real-time, actions taking place outside of their vantage point. While the 2100DG will not record sound, the images alone can be enough to give the security-conscious consumer peace of mind.

The Kyocera Samurai 2100DG includes an environmentally friendly, rechargeable, lithium-ion battery and charger. Approximately 200 shots, using the flash 50% of the time, can be taken with the battery. An AC Adapter is also included. As a bonus, each Samurai 2100DG comes with a special offer for a free one-year premium account on PhotoLoft.com. Through the use of the PhotoLoft.com coupon, Yashica customers can use advanced viewing technology to zoom in on or pan their images, as well as print photo-finish quality images at standard photographic sizes, ranging from wallet to 8"x10". PhotoLoft.com is the fastest growing photo-sharing community on the Internet that allows users to view, share and print photo-finish quality images.

Additional information can be obtained through the Yashica Web site: www.yashica.com

June 25, 1999

Francis Bacon: Paintings from The Estate, 1980-1991 at Faggionato, London

Francis Bacon - Paintings from The Estate, 1980-1991
Faggionato Fine Arts, London,
25 June - 26 August 1999

Faggionato Fine Arts, the European and UK representatives of The Estate of Francis Bacon, has selected 8 pictures from the Estate (five of which have never been shown), that span the last 11 years of Bacon’s career.

“Our decision to show this particular period of Bacon’s work was to illustrate how, to the last, he never became complacent. He continually pushed the boundaries, both in the way he painted and the toughness of the subject matter. In two of the works on show, Study from the Human Body 1987, there is a brutal focus on the male genitalia and Painting 1980 depicts three men with a shotgun which according to John Edwards was inspired following an incident with the notorious Kray twins”. -- Gérard Faggionato.

However in contrast to the work in the sixties and seventies, his portrayal of the human body in these late years takes on a celebratory form. His lines have a sculptural edge to them and his figures, rather than appearing grotesque and animalistic, become icons, reminiscent of classical Greek sculptures. The powerfully muscled male torso, in Study from the Human Body 1987 and the thigh and lower leg depicted in Study from the Human Body 1991, (painted a year before his death), show the delicacy of the paint and the elegance of the long straight lines, a feature that becomes a signature of the later works.

It is as if the inner torment in Francis Bacon has subsided, and has been replaced with a certain lyricism. The works in the show illustrate how in the last ten years Bacon keeps detail to a minimum; everything is pared down, leaving a highly stylised, and simple grandeur as in Portrait of John Edwards, 1988.

Francis Bacon painted few landscapes devoid of any human or animal presence, however the show also includes two ‘urban landscapes’ – Blood on Pavement, circa 1988, relating to the now well known anecdotal story told by John Edwards, of the blood left on a pavement after a club brawl. Possibly the most unusual of all the works in the show is Street Scene with Car in Distance, circa 1988 - depicting a car speeding down an American highway .

FRANCIS BACON, FAGGIONATO’s EXHIBITION CATALOGUE
Supporting the exhibition is a 48 page colour catalogue with a text, “Points of Reference, Francis Bacon and Photography”, by the leading photography historian and critic MARTIN HARRISON, whose recent books include David Bailey, Archive One and Young Meteors: British Photojournalism 1957-1965.

francis-becon_faggionato

FRANCIS BACON
Paintings from The Estate, 1980 - 1991

Works by Francis Bacon © The Estate of Francis Bacon
Exhibition catalogue cover image courtesy of Faggionato Fine Arts, London

FAGGIONATO FINE ARTS, LONDON
49 Albemarle Street
London W1S 4JR

June 24, 1999

Duane Michals. Mots et images, Musée des beaux-arts du Canada, Ottawa

Duane Michals. Mots et images 
Musée des beaux-arts du Canada, Ottawa 
25 juin - 12 septembre 1999 

Le Musée des beaux-arts du Canada présente Duane Michals. Mots et images, une importante exposition de 200 œuvres photographiques, qui sera inaugurée le 25 juin et se poursuivra jusqu'au 12 septembre 1999. Organisée et mise en tournée par le Musée des beaux-arts de Montréal, cette exposition est veillée par le conservateur invité Marco Livingstone, établi à Londres. Ce dernier a conçu la grande rétrospective de l'œuvre de Duane Michals, qui a circulé dans plusieurs musées et galeries d'Angleterre en 1984 et 1985. Il est également l'auteur du livre The Essential Duane Michals, publié en 1997.

« Nous sommes heureux de reconnaître la contribution majeure de cet artiste hautement novateur et très admiré », de déclarer Pierre Théberge, directeur du Musée des beaux-arts du Canada. « En repoussant les frontières traditionnelles de la pratique photographique, Duane Michals a réussi à produire un corpus original et inspirant. »

Né en Pennsylvanie en 1932, DUANE MICHALS prend ses premières photos en amateur lors d'un voyage en Union soviétique en 1958. Il s'installe à New York à la fin des années 1950 et, malgré son manque de formation, il travaille comme photographe professionnel dans le monde des affaires et de la mode. Des magazines comme Vogue, Esquire et Mademoiselle, ainsi que le New York Times publient ses photos. Sa première exposition a lieu à l'Underground Gallery en 1963, et une autre au Musée d'art moderne de New York en 1970. Depuis, il expose régulièrement dans les musées et galeries des États-Unis et de l'Europe, et lors de nombreuses manifestations internationales.

Intéressé aux multiples possibilités qu'offre la photographie, cet artiste autodidacte exprime ses idées et ses émotions par des thèmes tels l'esprit, la mort, le désir, les relations humaines, la politique, l'imagination, le temps et la mémoire. Réalité et imagination s'entremêlent dans ses œuvres. « Je crois dans l'invisible », déclare-t-il. « Je ne crois pas au visible... La vérité pour moi, c'est l'intuition, l'imagination. » Grand admirateur de l'artiste René Magritte qu'il rencontre en 1965 et dont il fait plusieurs portraits, Michals crée des séquences photographiques qui rappellent la complexité et les qualités oniriques du surréalisme. Comprenant jusqu'à vingt photos, ses séquences lui permettent d'échapper aux limites d'une seule image et de laisser son imagination errer librement. Cette démarche novatrice influencera grandement d'autres photographes.

Pour renforcer les idées exprimées par ses images photographiques, Michals commence en 1966 à intégrer des titres manuscrits à ses œuvres et, plus tard, des commentaires, des textes poétiques, des dessins et même des touches de peinture. Comme le suggère le titre de l'exposition, Duane Michals. Mots et images, celle-ci porte principalement sur la relation entre image et texte, une caractéristique de plus en plus marquante de son art.

L'exposition propose des œuvres de trois séries complétées par Michals vers le milieu des années 1990, soit Salute, Walt Whitman (1996), Questions and Answers (1994) et Upside Down, Inside Out and Backwards (1993). En introduction, on trouvera également des photos et des écrits remontant aux années 1970 et qui illustrent la cohérence et l'interconnexion thématiques des diverses séries.

Source : MBAC

Musée des beaux-arts du Canada 
www.beaux-arts.ca

May 15, 1999

Face to Face to Cyberspace - Fondation Beyeler

 

Du 30 mai au 12 septembre 1999, la Fondation Beyeler (Riehen/Bâle) propose une exposition spéciale intitulée « Face to Face to Cyberspace » et montrant des vues frontales d’individus, de visages humains essentiellement. L’exposition, qui comprend quelque 80 œuvres de 20 artistes, s’organise en trois parties. La première présente les débuts de l’art moderne, avec Cézanne, Matisse, Modigliani, Beckmann et Picasso ; la seconde rassemble des portraits de Dubuffet, Giacometti et Bacon, tandis que la troisième ouvre sur le présent et l’univers de la virtual reality (Close, Warhol, Gertsch, Trockel, echtzeit GmbH). L’exposition établit ainsi un pont entre le début du XXe siècle et l’aube du XXIe.

De tout temps, les artistes se sont intéressés de multiple manière au portrait, le visage humain constituant un phénomène essentiel auquel nous sommes quotidiennement confrontés et que influence fortement notre rapport à autrui. Au XXe siècle, compte tenu notamment de l’abstraction, le portrait devient le lieu d’une confrontation entre la représentation neutre, qui cherche avant tout la ressemblance avec la personne portraiturée, et la représentation psychologique qui veut restituer l’essence même du visage. L’exposition « Face to Face to Cyberspace » s’articule autour de cette alternance entre portrait et visage, et révèle le passage du portrait classique aux vues frontales et monumentales, dans lesquelles l’individu portraituré n’est plus au centre, mais la reconstitution technique du visage.

« Face to Face to Cyberspace » renvoie d’abord aux débuts de l’art moderne et à ses représentants classiques comme Paul Cézanne, Vincent van Gogh, Henri Matisse et Pablo Picasso, qui commencent à envisager la notion de portrait de façon expérimentale.

Le cœur de l’exposition est constitué par des portraits de Jean Dubuffet, réalisés à l’apogée de son art — on en trouvera ici la plus grande quantité jamais rassemblée : plus de 30 de ses fameux « portraits » montrant des amis artistes et écrivains. À travers ces portraits directs, Dubuffet va au-delà du portrait, là où l’individu commence à lentement disparaître derrière la représentation anonyme de ce qui n’est plus que visage. Cette série symbolise, dans la période d’après-guerre, l’anonymat croissant du visage humain.

À ces œuvres s’ajoutent celles d’autres artistes contemporains comme Alberto Giacometti et Francis Bacon. Les têtes et bustes, à la fois distanciateurs et saisissants, que Giacometti a réalisés contrastent forment avec les portraits de Bacon et ces visages perturbés qui sont précisément à l’opposé de cette rigueur formelle propre à Giacometti.

L’étape qui conduit au présent met en scène, au niveau inférieur de la Fondation, de monumentales vues de face fixant le spectateur sur quatre côtés d’une manière presque menaçante. Dans les gigantesques portraits hyperréalistes de Chuck Close et Franz Gertsch, le moindre pore devient cratère, l’œil est une véritable mer. L’image est comme un paysage que l’on peut traverser, mais aussi comme une façade qui oblige à reculer. On verra également le dernier autoportrait d’Andy Warhol qui nous fixe de ses 2,7 mètres de haut ; de son vivant, le peintre lui-même s’était érigé en icône de la société de consommation, dépourvue de toute expression.

Avec le développement technologique constant, le visage devient support de consommation, « interface » entre l’homme et la machine. La fin de l’exposition entraîne dans le monde artificiel de la « virtual reality ». Grâce à une installation interactive du studio berlinois echtzeit, le visiteur peut reconstituer son propre visage dans le cyberspace qui l’a auparavant conduit à travers l’exposition, et ensuite communiquer avec la représentation digitalisée d’un autre visiteur par le biais d’un double simulé en hologramme. L’installation « Virtual Head », qui donne une idée du téléphone visuel de demain, représente le stade actuellement le plus avancé dans l’évolution des technologies cyberspace.

Avec l’exposition « Face to Face to Cyberspace », la Fondation Beyeler entre de plein pied dans le nouveau millénaire. Le musée, qui par la nature même de sa collection, est fortement ancré dans le XXe siècle, relie ainsi Cézanne au Cyberspace, et permet au visiteur, grâce à une incursion dans l’univers de la virtual reality, une approche critique dont la signification, non seulement pour l’art, mais aussi pour l’existence et la communication humaine, est d’une importance sans cesse croissante.

Journée internationale des musées 1999

ICOM – Conseil International des musées

 

Le 18 mai 1999, les musées du monde entier célébreront la Journée internationale des musées sur le thème " Plaisirs de la découverte ". Le Conseil international des musées (ICOM – International Council of Museums) qui l’organise veille, au niveau mondial, à la diffusion la plus large possible de cet événement.

Selon sa définition (Statuts de l'ICOM) le musée est une institution permanente, sans but lucratif, au service de la société et de son développement, ouverte au public et qui fait des recherches concernant les témoins matériels de l'homme et de son environnement, acquiert ceux-là, les conserve, les communique et notamment les expose à des fins d'études, d'éducation et de délectation.

Les membres de l'ICOM ont souhaité cette année mettre en valeur la notion de délectation en choisissant pour thème de la Journée internationale des musées 1999 " Plaisirs de la découverte ". En effet si le musée est un lieu d'acquisition du savoir, il est aussi un lieu de distraction et de divertissement qui doit donner à chaque âge ses plaisirs et où tous les sens doivent être en éveil.

Jacques Perot, Président de l'ICOM insiste sur le fait que " l'exploration d'un musée doit avoir une dimension ludique. Partir à la découverte d'un musée doit provoquer l'excitation d'un voyage où chaque objet, chaque témoin révèle un phénomène ignoré et inconnu. "

Découverte de soi et de son environnement technique, scientifique, de son milieu naturel et des êtres vivants qui nous entourent, découverte de l'autre dans le temps et dans l'espace, le musée est cet outil de connaissance faisant appel à la sensibilité et à l'émotion et qui permet de comprendre le monde dans lequel nous évoluons.

La visite d'un musée, qu'il soit d'art, de sciences, ethnographique ou archéologique, etc., doit être assimilé à une promenade où les plaisirs liés à la découverte sont un des attraits essentiels. Ainsi le thème de l'année 1999 devrait remporter l'adhésion des visiteurs, il offre l'opportunité à tous les types de musée de convaincre le plus grand nombre, que le musée est le lieu des plaisirs de la découverte.

Chaque année de plus en plus de membres de l'ICOM se mobilisent pour célébrer la Journée internationale des musées qui remporte auprès des professionnels mais aussi du public un succès très important.

 

ICOM
Maison de l'Unesco

1, rue Miollis
75732 Paris cedex 15

April 25, 1999

Appeal for the Protection of the Cultural Heritage in Yugoslavia

International Committee of the Blue Shield (ICBS)


The International Committee of the Blue Shield (ICBS) urges all parties in the present conflict in the Balkans to comply with the international treaties relating to armed conflicts, especially the 1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict and its new Second Protocol, agreed by 84 countries and two organisations (ICBS, ICRC,) in The Hague on 26 March 1999.

Attention has been paid to the human suffering: civilians have been killed or wounded and hundreds of thousands of people have been forced to leave their homes and become refugees. The International Committee of the Blue Shield expresses its sincere sympathy for all those who suffer under this violence.

Cultural heritage constitutes a fundamental part of the identity and dignity of peoples and is always a victim during armed conflicts. The ICBS expresses its serious concern about all damage to the cultural heritage of the peoples of Yugoslavia resulting from military action or other deeds of violence by all sides in the conflict.

The ICBS therefore calls upon all parties in the conflict to do everything within their power to protect museums, archives, libraries, monuments and all other sites that are expressions of the history and the right of existence of the peoples in this region.

About the ICBS
The mission of the ICBS, which has taken up the emblem of The Hague Convention of the 1954 for the Protection of Cultural Property in the Event of Armed Conflict, is to collect and disseminate information, and to co-ordinate action in emergency situations affecting cultural heritage, such as armed conflicts or natural disasters.

The ICBS was founded in 1996 by four non-governmental organisations:
- ICA: International Council on Archives
- ICOM: International Council of Museums
- ICOMOS: International Council on Monuments and Sites
- IFLA: International Federation of Library Associations and Institutions

April 22, 1999

Street Theater by Yung Ho Chang and Atelier FCJZ

 

Street Theater

An installation by YUNG HO CHANG and Atelier FCJZ

Curated by Hou Hanru & Evelyne Jouanno

 

Yung Ho Chang is a leading architect from China. After studying and teaching in the US for 15 years, he went back to his native Beijing to establish its first private architectural firm, Atelier FCJZ (“Fei Chang Jian Zhu” or “unusual architecture”), in the early 1990s. In the face of rapid and radical modernization and urbanization in China, the questions of international influence and Chinese tradition, as well as globalization and local specificity, have become the main issues in architectural and artistic debates and practice.

Having experience in both the West and China,Yung Ho Chang critically observes and analyzes the current situation of urban explosion in China and proposes highly inventive solutions. Inspired by both the transformational capacity of traditional Chinese architecture and urban planning as well as contemporary developments in architecture, economics and technology, Yung Ho Chang and his firm have developed new concepts and approaches—such as “Micro-Urbanism”—to negotiate the urban condition of high density and complexity.

The exhibition at Apex Art C.P. will be Yung Ho Chang and FCJZ's first solo exhibition in the US. For this show, Yung Ho Chang has created a site-specific installation to provide the audience with a direct and corporeal experience of his architectural vision and projects. One part of the installation will function as a “Street Theater” (the other a “PeepshowTheater”) in which a dialogue between Beijing's urban reality and Chang's innovative projects in the city takes place. Visible from inside and outside the gallery, it is also a compelling and efficient "translation" of a made-in-China text into the New York context.

A brochure containing an essay by Hou Hanru and Evelyne Jouanno will be available free of charge.

 

Apex Art Curatorial Program, New York
April 22 - May 22, 1999

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April 15, 1999

Leica 4th Photographic Olympics Competition

Leica Photography, the international specialist magazine for 35mm photography, is celebrating its 50th anniversary this year. To mark this occasion, it is organizing a high-quality photo competition under the name of 4th Photographic Olympics together with Leica Camera AG and other partners such as Kodak, Lufthansa and Agrippina Insurance. The competition is to be a pentathlon with four set themes in colour and a theme of the photographer's choice in black-and-white. The set themes for the colour photos are "People", "Landscapes", "Architecture" and "Action". For the black-and-white photo, photographers can choose their own theme. However, not only allrounders have a chance of winning one of the attractive prizes, there is an incentive for specialists as well. Besides the main prizes for the winners in the pentathlon (the Photographic Olympics proper), there will be extra prizes for the winners of each category. The winner of the pentathlon, the International multi-theme Leica Champion, will receive a Leica SLR camera worth 15,000 DM, while the second prize is a Leica M6 camera worth 10,000 DM and the third prize a dissolve control unit with two Leica Pradovit RT projectors. There are also film packs of 10 Kodak T-Max T 400 CN films, vouchers for Lufthansa flights and camera insurance to be won. In all, more than a hundred prizes and premiums with a total value of over 50,000 DM are awaiting participants in the Leica 4th Photographic Olympics. The international jury is composed of well-known professional photographers and renowned personalities from amateur photographic associations. The photos and photo series they choose will be published in the special issue of the Leica Photography International magazine, due to appear this autumn to mark the magazine's 50th anniversary. Whether they are taking part in the pentathlon or in one category only, photographers may enter up to five pictures per theme. Both 35mm transparencies (with or without frame) or paper prints will be accepted. Prints should be min. 9x13 cm and max. 24x30 cm in size. Each picture must bear the name of its photographer, and each entry must include a self-addressed, stamped envelope. SAEs from other countries must either have German stamps affixed or 5 US dollars must be enclosed. All amateur and professional photographers are invited to take part. The photographs need not have been taken with Leica cameras. The exact rules of the competition and the entry form are printed in issue 3/99 of the Leica Photography International magazine, which is printed in German, English and French. It can be ordered direct from Umschau Zeitschriften Verlag, Herrn Albrecht König, Stuttgarter Straße 18-24, D-60329 Frankfurt. Entries should be sent to: Datenservice A.V., Kennwort, IV. "Olympiade der Fotografie", Postfach 22, D-61203 Reichelsheim. Closing date: July 15th, 1999.

April 10, 1999

Recovered Pissarro Painting at Worcester Art Museum

Worcester Art Museum Acquires Recovered Pissarro Painting

The Worcester Art Museum has acquired Bassins Duquesne et Berrigny a Dieppe, Temps Gris (Harbor at Dieppe), a painting by Camille Pissarro, which was formerly owned by Worcester philanthropists Robert and Helen Stoddard. The Museum will acquire this important French Impressionist work through the Stoddard Acquisition Fund, which is used solely for purchasing art.

Once it arrives at the Worcester Art Museum, the painting will undergo a conservation treatment in preparation for Pissarro and Other Masters: The Stoddard Legacy, which will open in February 2000. This show will feature the Pissarro and other works that once hung in the Stoddard home, as well as the art the Museum purchased in the last two decades with proceeds from the Stoddard Acquisition Fund. After the Stoddard Charitable Trust established this sizeable fund in 1979, the Museum was able to add significantly to its permanent collection many distinguished works of art ranging from a 17th-century portrait by Dutch master Frans Hals, to a vibrant genre scene by Jacob Lawrence, the most noted 20th-century African American artist.

"Helen and Robert Stoddard were great lovers of art and had a wonderful relationship with the Worcester Art Museum starting in the 1940s," says James A. Welu, director of the Worcester Art Museum. "In addition to their great leadership and extensive volunteer efforts, they enabled us to acquire many fine works of art over the years, and we are extremely grateful for their friendship and generosity. I am particularly pleased that Bassins Duquesne et Berrigny Dieppe, Temps Gris will be added to the permanent collection of the Worcester Art Museum, which was the wish of Mrs. Stoddard." This painting, which dates from 1902, joins an earlier work by Pissarro, L'ille Lacroix à Rouen, which was painted in 1873 and came to the Museum through the estate of Robert W. Stoddard.

Stole from the Stoddard's Worcester home in 1978, Bassins Duquesne et Berrigny Dieppe, Temps Gris was lost for two decades. After the theft, Liberty Mutual Insurance Company reimbursed the Stoddards for their loss. On October 22, 1998, the FBI seized the painting from Wolf's Auction Gallery in Cleveland, Ohio. At the time of the seizure, the painting was about to be sold after Ohio businessman Daniel Zivko and Kenneth Bement had consigned it to the gallery. On April 8, 1999, Zivko, Bement, Liberty Mutual Insurance Company, the Stoddard estate, and the Worcester Art Museum settled the matter in a Cleveland court cast. The decision will result in the painting coming to the Worcester Art Museum for its permanent collection.

French Impressionism was a favorite of the Stoddards, who collected other masters from this school, including Renoir and Sisley. Bassins Duquesne et Berrigny Dieppe, Temps Gris hung over the Stoddard's mantle piece from 1951 to 1978. After the theft of this painting, the Stoddards acquired several other pictures, including Pissarro's L'ille Lacroix à Rouen, which took the treasured spot over the mantlepiece. Both of these Pissarro paintings will now hang together for the first time ever, at the Worcester Art Museum.

Camille Pissarro (1830-1903), was a prolific artist, creating more than 1,800 paintings in his lifetime. Born to a Jewish family in St. Thomas, Virgin Islands, Pissarro attended boarding school in the suburbs of Paris where the headmaster encouraged his artistic talents. After working in the family business for a short time, Pissarro returned to Paris in 1855 to pursue an artistic career. He had a strong and deliberate style that featured a highly disciplined method of working, including a light palette and a varied application of paint.

Known as the "patriarch of French Impressionism," Pissarro was a moral and artistic role model to many of the famous French Impressionists, including Renoir, Monet, and Sisley. Pissarro had a particularly strong influence on Cézanne and Gauguin.

A peaceful but committed renegade, Pissarro helped organize the eight French Impressionist exhibitions in protest of the official Salon. He was the only member of the Impressionists to participate in all eight of these exhibitions. His style was called simple and naïeve by some, but always honest. His was devoted to artistic truth and his fellow men.

In 1886-87, Pissarro joined the ranks of the Neo-Impressionists and took up the pointillist technique (separating colors into little dots). This led to the estrangement of his critics and admirers. He returned to Impressionism and once again painted rural scenes and cityscapes, such as the painting the Worcester Art Museum recently acquired.

Camille Pissarro sold few paintings during his lifetime. He lost nearly 1,500 paintings representing 20 years of work during the Franco-Prussian War, adding to his financial dilemma. To support his wife and eight children, Pissarro tried other artistic pursuits such as painting fans, blinds and shop signs, as well as making etchings.

Camille Pissarro's writings, including his many letters to his son Lucien, are one of the most important documents on the beliefs of the Impressionists. His letters also reveal a great deal about his own personal aspirations. In one of his letters to Lucien, Pissarro wrote: "Painting, art in general, is what enchants me - it is my life. What else matters? When you put all your soul into a work, all that is noble in you, you cannot fail to find a kindred soul who understands you, and you do not need a host of such spirits."

The Worcester Art Museum is honored to add Camille Pissarro's Bassins Duquesne et Berrigny Dieppe, Temps Gris to its permanent collection in memory of Mr. and Mrs. Robert W. Stoddard.

Worcester Art Museum
Worcester, Mass.