DETROIT, MI.- Between Rembrandt and Vermeer there was Gerard ter Borch (1617–1681), the Dutch master who captured intimate moments of everyday life with elegance and grace. The Detroit Institute of Arts (DIA) will present the stunning exhibition Gerard ter Borch, Feb. 27–May 22, 2005. This is the first presentation in North America exclusively of works by Ter Borch, one of the finest genre and portrait painters of the 17th-century. Gerard Ter Borch is comprised of 46 of his best masterpieces that have been brought together from 29 private and public collections including the National Gallery in London and the Rijksmuseum, Amsterdam along with two pieces from the DIA’s renowned 17th-century Dutch collection. The DIA will be the only other U.S. venue for Gerard ter Borch after its successful run at the National Gallery in Washington, D.C. This exhibition was organized by the American Federation of Arts, New York, and the National Gallery of Art, Washington D.C.
"Many of Gerard ter Borch's paintings depict in a painstakingly realist technique, social and psychological interactions among the well-to-do of 17th-century Holland. While some scenes seem immediately decipherable, the precise meaning of others has eluded scholars and connoisseurs for the best part of three centuries," said Graham W. J. Beal, DIA director. "We are delighted to present this comprehensive and captivating array of Ter Borch's paintings, drawn from collections around the world.
VIENA, AUSTRIA.- Elisabeth Gehrer, the Austrian minister of Education stated today in Vienna that the Museo del Prado of Madrid will have to return the work titled “Hare? by Albrecht Dürer. The work had been transported to the city of Madrid for an upcoming exhibition at the Museo del Prado, but without authorization to leave Austria. The work has to return to Austria in four weeks, at the most. Elisabeth Gehrer also stated that other four drawings by Dürer will also have to be returned in four weeks.
The work titled "Grosse Rasenstþck" has also been excluded from the exhibition. This work was to be transported in a second trip, but will now stay in Austria. The rest of the works will arrive soon in Madrid just in time for the exhibition. Gehrer stated that “Hare? left the Albertina for the first time since it was acquired in 1796. She also stated that there will be no punishment for the museum director for allowing for the loan. He requested permission one day before the work was to leave Austria.
By: Kay Itoi
Exhibitions in Japan have shot to the top of The Art Newspaper’s annual ranking of global exhibition attendance. The most visited show of 2004 was “Treasures of a sacred mountain? at the Tokyo National Museum which was seen by an average of 7,638 visitors a day, while another exhibition at the institution, “Treasures of Chinese art? has also made it into the top 10. In the 10 years we have compiled this list, this is the first time that seven Japanese exhibitions have made it into our top 100.
The remarkable increase in attendance to Japanese exhibitions follows the 2001 semi-privatisation of all State-run museums, combined with the country’s continuing recession which has fostered a ruthlessly competitive climate among Japanese institutions.
Despite the popularity of some shows, the total number of visitors to museums in Japan has actually been declining. Most institutions lack funds for acquisitions and long-term exhibition planning. This has led to two extremes: at one end, a small group of blockbusters, to which most of the money for planning and publicity is diverted, and at the other, a large number of small, inexpensive shows that attract very little attention and few visitors.
The blockbusters that make it to the top of our 2004 list were all held at national museums. Since 2001, these institutions have been “independent administrative corporations?, which means that they must generate profits through ticket sales and merchandising. Shows associated with famous historic monks like Kukai, or prominent temples, are traditional favourites in Japan. They often reveal religious statues and paintings, which are usually hidden from view. The national museums’ new efforts—enlisting outside public relations firms and aggressive advertising—seems to have paid off.
Australian Center for Photography
The exhibition spans the work 14 photomedia artists from across Australia. They work in a wide variety of media from 'scrap-book' assemblage, traditional collage and decoupage sculpture to digital montage, video animation and interactive computer programming. Together they explore the contemporary practices of photomedia collage, bringing together the red-eyed computer geeks with the sticky fingered artisans to journey through a world of intense imaginings and perverse beauty.
SATIRICAL, SUBVERSIVE, FANTASTICAL AND FETISHISTIC
- for generations the simple art of cut'n'paste has been harnessed to shock, amuse and amaze. Today 'cut' and 'paste' describe two software routines initiated by the simple click on the icons 'scissors' and 'clipboard'. But, while computer programs have made the seamless amalgamation of pictorial elements a virtual breeze, some prefer the physicality of blade and adhesive. There is real difference in the end result!
SAN DIEGO, CA.— The San Diego Museum of Art is presenting the very first comprehensive exhibition of Latin American portraiture ever to tour the United States. Retratos: 2,000 Years of Latin American Portraits reveals the richness of Latin America’s portrait tradition, from Pre-Columbian times to the present day, featuring examples by such modern masters as Frida Kahlo, Diego Rivera, Rufino Tamayo, and Fernando Botero. It will be supplemented by SDMA’s biennial exhibition of student (K–12) art, Young Art 2005: Portraits/Retratos, which will focus on the art of portraiture.
LONDON, UK.- The first major exhibition in over twenty years devoted to the work of the celebrated Mexican artist Frida Kahlo (1907 -1954) will open at Tate Modern. The exhibition is sponsored by HSBC, who are sponsoring a major arts project for the first time. Frida Kahlo is now regarded as one of the most influential and important artists of the twentieth century. She lived and worked during a time of incredible social and cultural upheaval in Mexico. Featuring more than seventy pieces, including many iconic oil paintings, as well as some lesser known early watercolours, drawings and oils, the exhibition will enable a comprehensive investigation of her artistic career.
Kahlo began painting after a serious traffic accident in her late teens led to frequent hospital visits and surgery. Her complex works combine profoundly personal subject matter with references to medical and anatomical imagery as well as Aztec, Colonial, and Mexican popular and folkloric arts and crafts. Broadly chronological in form, the exhibition will examine how Kahlo exploited the history and traditions of painting including still life, portraiture, narrative and religious paintings and subverted these for her own ends, infusing them with powerful political insight, humour and candid self-analysis.
Drawing from key international collections, this is the first exhibition in this country ever to be dedicated solely to the work of the artist. It explores her contribution to the art of self-portraiture and includes Frida Kahlo and Diego Rivera 1931, a marriage portrait that graphically depicts the dominant human relationship in her life, and which also reveals her interest in naïve popular painting; The Little Deer, 1946 which depicts her as a wounded stag in a forest; and Self- Portrait with Monkey 1938. The centrepiece of the exhibition is The Two Fridas 1939, one of her largest and most ambitious canvases. Combining surrealist tendencies with acute anatomical and psychological insight, it depicts a doubled self, one European, the other Mexican, one loved, the other unloved. These works demonstrate a remarkable richness of detail and symbol, as well as hinting at the pain behind Kahlo’s unsmiling mask of a face.
MANCHESTER, UK.- For the first time an extraordinary archive of material from the studio of British artist Walter Crane will be fully conserved and catalogued since being rescued from being sold abroad in 2002 thanks to the Heritage Lottery Fund.
The award of £214,000 will allow the Whitworth Art Gallery and John Rylands University to jointly employ three posts, conservator, cataloguer and archivist, who will be based at the University of Manchester. These experts will conserve and catalogue over 3,000 items from the late 19th and early 20th century Arts and Crafts movement, ensuring they can be seen and enjoyed by the public.
Many of the objects in the archive are currently in a fragile condition, which makes them difficult to handle and exhibit. The items will need to be cleaned, repaired, mounted and stored. All the objects will be photographed and catalogued, and all the information and images will be made available on the Whitworth Art Gallery website at www.manchester.ac.uk/whitworth.
Explaining the importance of the grant, Heritage Lottery Fund’s regional manager, Tony Jones, said “The archive is a very important historical record and it’s vital that we preserve it for future generations. Many of the items are in a very fragile condition and would be at risk of being lost forever if the conservation work didn’t take place. It’s fantastic news that previously unseen paintings and illustrations will now go on display for everyone to enjoy.?
Walter Crane (1845-1915) played a pivotal role in British and international art and design during the late 19th and early 20th centuries.
As a founding member of both the Art Workers Guild and the Arts and Crafts Exhibition Society, Walter Crane was a major figure in the Arts and Crafts movement. Crane's work as a book illustrator was successful both in terms of books sold and in the extension of sophisticated book production techniques to the cheap book market.
WASHINGTON, D.C.- At the heart of Impressionism was an enigmatic, powerful and talented woman: Berthe Morisot. Although often overlooked, Morisot was an integral member of the Impressionist movement who continually defied traditional expectations of women. Berthe Morisot: An Impressionist and Her Circle celebrates Morisot’s extraordinary contribution to the history of modern art. By juxtaposing her work with that of her contemporaries, including Edgar Degas, Claude Monet, Edouard Manet and Pierre Auguste Renoir, this exhibition reveals Morisot’s true legacy as a champion of individuality, creativity and modernity. Berthe Morisot: An Impressionist and Her Circle features more than 75 paintings and drawings by Morisot and her colleagues, and is on view at the National Museum of Women in the Arts.
“Morisot’s rightful place in the history of art is at the heart of our mission at the Women’s Museum,? stated NMWA Director Judy L. Larson. “The Women’s Museum is honored to exhibit these significant works.?
The exhibition highlights works from the last 20 years of Morisot’s career, which show her colorful, vivid style in full bloom as she moved away from the influence of Manet toward the colorism and abstraction that paralleled the work of Renoir and Pissarro. The works are drawn from the Denis and Annie Rouart Collection, one of the most important French collections of avant-garde painting. In 1997, the collection was bequeathed to the Musée Marmotten Monet in Paris. This exhibition marks the first time that paintings from the collection have been on view in the United States.
Morisot was born in Bourges, France, on June 14, 1841. Her family moved to Paris when she was 11, where her privileged upbringing included tutors for languages, literature, and, in 1857, art lessons. Along with her older sister Edma, Morisot quickly gained skills and a passion for painting, and they progressed through various teachers as their talents grew. Part of their studies involved copying works at the Louvre, but their preferred method was plein-air landscape painting. Eventually, they studied under the direction of Barbizon painter Camille Corot.
BARCELONA, SPAIN.- The Centre de Cultura ContemporÃ nia de Barcelona presents the exhibition PARIS AND THE SURREALISTS, curated by the art historian and critic Victoria CombalÃa. Taking a broad overview, it analyses the principal themes that concerned the artists and highlights the relevance and modernity of the movement. The city of Paris is the linchpin: the over 370 works that make up the exhibition were inspired, created, shown or collected in the French capital. For the surrealists, Paris was a city to love like a human being, a forest of wonders, an exceptional place of desire.
An initiatory journey - A whole constellation of artists, writers, film directors, activists and revolutionaries met in Paris after World War I. Drawn to the City of Light, the art capital since the 19th century, they brought about an authentic revolution in the field not just of images but also of ideas.
Today, the concentration of artists that took place in Paris with the emergence of surrealism seems quite unimaginable to us, yet this phenomenon of passionate comings-together, not without great emotional and political tensions, produced spectacular results between 1919 and 1966. Paris became, in the words of Guy Debord, the workshop of the future?, with numerous surrealist works providing the germ for countless subsequent artistic productions. In 2002, two major exhibitions about surrealism took place in Europe. ˜Surrealism. Desire Unboundé, at the Tate Modern, explored the role of love and affective complicities in the movement's development; and ˜La Revolution surrealiste, at the Centre Georges Pompidou, illustrated the importance of surrealism with a great many masterworks. While the former took a specific approach, the latter stood out for the number and quality of the exhibits on show. Since then, studies about the movement have proliferated in academic circles.
ATLANTA, GA.- The Michael C. Carlos Museum of Emory University presents Invention and Revival: Northern European Prints. This exhibition presents nearly forty works by artists from France, the Netherlands, Germany, and Russia. The prints range in date from the sixteenth to the twentieth centuries and include some of the highlights of the history of printing in northern Europe. Engravings by Albrecht Dürer, Lucas van Leyden, and Hendrick Goltzius, the series of etchings titled Les Grands Misères de la Guerre by Jacques Callot, drypoints by Lovis Corinth, and a portfolio of woodcuts by Vasily Kandinsky are featured.
Collectors worldwide are rediscovering the etchings and engravings of early prints that were the only medium available to illustrate books and manuscripts before the invention of the camera.