Miller Singers

Hagerstown, Maryland - Loving Art: The William & Anna Singer Collection is organized by the Singer Museum Laren, Laren, the Netherlands with special cooperation from the Washington County Museum of Fine Arts, Hagerstown, Maryland; Singerheimen (the Singer home Dalheim), in Olden, Norway; and the West-Norway Museum of Decorative Art in Bergen, Norway.  The exhibition was first shown at the Singer Museum Laren from September 13, 2006 through January 7, 2007 and will now appear at its only American location, the Washington County Museum of Fine Arts through 15 April, 2007.

Read more: Loving Art ~ The William & Anna Singer Collection at Washington County Museum

Buckminster Fuller -  'Study for Dymaxion Trademark', ca. 1933 - Department of Special Collections, Stanford University Libraries. - Photograph by Ben Blackwell

CHICAGO, IL - The Museum of Contemporary Art (MCA), Chicago, is partnering with Art Chicago, the international fair of contemporary and modern art held at the Merchandise Mart (May 1st through 4th, 2009), to present the First Focus VIP benefit preview on Thursday, April 30, 2009, along with a host of other programs. This year, Art Chicago opens on the same day as the MCA’s major exhibition, Take your time: Olafur Eliasson (May 1 - September 13, 2009). This is the first full-scale U.S. survey of the work of Icelandic artist Olafur Eliasson, presenting his diverse range of light, environmental, and participatory work including large-scale natural environments, unique light and water installations, freestanding kaleidoscope sculptures, and photography.

Read more: Museum of Contemporary Art (MCA) Partners with 'Art Chicago the International Fair'

One of Japan's most popular art museums, the round 21st Century Museum of Contemporary Art opened in 2004 in downtown Kanazawa, Japan. It exhibits the work of acclaimed contemporary artists from Japan and all over the world. The museum is located in the center of Kanazawa, one of the nation’s historical centers, on the north coast of Japan. Circular in form, with a diameter of 112.5 meters, the building has no front or back, leaving it free to be explored from all directions, and has five entrances. The museum received the Golden Lion in the Architecture section of La Biennale di Venezia in 2004. The building includes community gathering spaces, such as a library, lecture hall, and children’s workshop, located on the periphery, and museum spaces in the middle. The exhibition areas comprise numerous galleries with multiple options for division, expansion, or concentration. The galleries are of various proportions and light conditions – from bright daylight through glass ceilings to spaces with no natural light source, their height ranging from 4 to 16 meters. The circulation spaces are designed to make them usable as additional exhibition areas. Four fully glazed internal courtyards, each unique in character, provide ample daylight to the center of the building and a fluent border between community spaces and museum spaces. Here one can become a bit lost, but the layout creates long vistas both within the building (three corridors in one direction and one in the other go straight from edge to edge) and outside, the curved glass wall bringing the garden into the building by day, and the building into the garden by night. At both times of day this is a very rewarding building to visit. Just one year after its opening the Museum marked 1,870,000 visitors.



The collection of the 21st Century Museum of Contemporary Art, Kanazawa is focused on works produced since 1980 that "propose new values. Artists in the collection are encouraged to produce site-specific installations that become "closely associated with the Kanazawa area." Collection artists include: Francis Alys, Matthew Barney, Tony Cragg, Olafur Eliasson, Leandro Erlich, Isa Genzken, Kojima Hisaya, Gordon Matta Clark, Peter Newman, Carsten Nicolai, Giuseppe Penone,Gerhard Richter, Murayama Ruriko, Hiraki Sawa, Atsuko Tanaka, James Turrell, Patrick Tuttofuoco, Anne Wilson, Suda Yoshihiro, and Pipilotti Rist. On exhibition the tranquil, mundane everyday is suffused with wonder and chaos, tragedy and comedy, melancholy and nothingness. From photography to sculpture to video and more with extraordinary flexibility, Peter Fischli and David Weiss focus intensely on familiar scenes and things, presenting divergent meanings and diversity of interpretation via a combination of meticulous planning and coincidence, throwing into relief the essence of the human condition in works shot through with irony and humor. We hope viewers will enjoy the strange wonder of Fischli/Weiss art, and their encyclopedic worlds suffused with an original, unconventional aesthetic through Saturday December 25, 2010. The museum allows visitors to experience and enjoy the world’s foremost contemporary art. The richly diverse art of our times cuts across genres and transcends barriers of time and space. The museum will serve as an open classroom, providing the optimal environment for children to see, touch, and experience art. As children grow, so will the Museum grow and continue to evolve for generations to come. By providing experiences of such art, the Museum performs as a bridge between the region and the art of the future.





ANNOUNCEMENT: Our Editor has been invited to visit Museums and cultural sites in mainland China, Korea, Vietnam. Myanmar, Thailand (Siam), Singapore, Bali and mainland Indonesia, the Philippines, Cambodia, Laos, Nepal, Bhutan, Malaysia and now Japan again. Because of the Editor's travel we will be posting interesting articles from our archives, some of the BEST Articles and Art Images that appeared in your magazine during the past six plus (6+) years . . Enjoy.




Gehry Partners, LLP, Corcoran Gallery of Art, Washington, DC, USA, Design phase: 1999-2003 (on hold), Final Design Model, 2005  © Gehry Partners, LLP

NASHVILLE , TENN. "Museums in the 21st Century: Concepts, Projects, Buildings" will open to the public in the Frist Center for the Visual Arts’ Upper-Level Galleries May 29, 2009 and will remain on view until August 23, 2009. The exhibition Museums in the 21st Century: Concepts, Projects, Buildings was conceptualized and coordinated by Art Centre Basel, Basel, Switzerland. Not only does this exhibition illuminate the relationship of architecture to the exhibition of art, it also explores the relationship between architecture and the environment.

Read more: The Frist Center for the Visual Arts to explore Museums in the 21st Century

Mary Cassatt (American, 1844-1926) - The Boating Party, 1893 - Oil on Canvas - Overall: 90 x 117.3 cm (35 7/16 x 46 3/16 in.) Chester Dale Collection at the National Gallery of Art, Washington, DC

WASHINGTON, DC.- New York investment broker Chester Dale's 1962 bequest made the National Gallery of Art one of the leading repositories in North America of French art of the late-19th and early 20th centuries. From Impressionism to Modernism: The Chester Dale Collection, on view in the Gallery's West Building from January 31, 2010 through July 31, 2011, will bring together 81 of the finest French and American paintings that Dale and his wife Maud, an artist and critic, assembled from the 1920s through the 1950s. The exhibition and its accompanying book will explore the Dales' passion and talent for acquiring great art. Many of the works in the show are among the most renowned masterpieces in the history of art, but due to a stipulation in the bequest, may only be seen at the National Gallery of Art in Washington, DC.

Read more: National Gallery Of Art exhibition Honors Chester Dale & His Major Gifts

BASEL.- The Basel Fasnacht (commonly called Carnival) in its present form is a development of the past hundred years or so. Piccolo players, drummers, drum majors, vanguard, outriders, small wagons, Guggenmusik (often deliberately discordant variations on popular songs played on brass instruments) and cliques (club-like groups that during Fasnacht dress in costume on a particular theme and march to drums and piccolos). Although the individual elements already existed in the nineteenth century, their present combination and the role of themes in the Fasnacht only crystallised in the twentieth century – i.e. since the Fasnacht Committee has existed to provide a certain organisational framework. As a tribute to the Fasnacht Committee in its centenary year, the Museum Tinguely is staging an exhibition on "the art" of the Basel Fasnacht.

Read more: Museum Tinguely Pays Tribute to the Basel Fasnacht ( Carnival )

Gustave Caillebotte (French, 1848–1894), Paris Street; Rainy Day, 1877, Oil on canvas, 83 1/2 x 108 3/4 in. - The Art Institute of Chicago, Charles H. and Mary F. S. Worcester Collection, Photography courtesy of the Art Institute of Chicago
FORT WORTH, TX.- Some of the most celebrated and iconic works of the great Impressionist painters are coming to the Kimbell Art Museum next summer! The loan of about 90 paintings from Chicago’s world-renowned Impressionist collection is possible because of an ambitious reinstallation and expansion project at the Art Institute that includes extensive renovation of the galleries and the construction of a new Modern Wing designed by Renzo Piano.
Read more: The Art Institute’s Impressionist Collection coming to the Kimbell Art Museum

Toyohara Kunichika's

Brooklyn, NY - The cult of celebrity and the commercialization of art are not unique to the West. In 19th-century Japan kabuki actors and high-priced geishas were idolized by commoners, and the sale of colorful woodcut prints portraying them became a big, competitive business. In 1842, fearing an erosion of national moral fiber, the government reacted to the mania for kabuki and for ukiyo-e, the paintings and prints that depicted the fleeting pleasures of life in the entertainment sectors of major cities. Laws were created to limit the extravagance of kabuki theater and to prohibit yakusha-e (actor prints) and bijin-ga (pictures of beautiful women). It was as if the United States had clamped down on Hollywood movies, paparazzi and the tabloids.

Read more: Brooklyn Museum exhibits "Utagawa: Masters of the Japanese Print"

Paul Cézanne, French, 1839­-1906 - Large Bathers, 1897 - Color lithograph, state ii/III, 161/4 x 201/2 inches. Signed on the stone lower right: P. Cézanne - Gift of Herbert E. Hirschland, Class of 1939

HANOVER, NH -  The Hood Museum of Art at Dartmouth College presents its largest display ever of the museum’s remarkable holdings of British, Dutch, Flemish, French, German, Italian, and Spanish art from the Renaissance to the early twentieth century. From August 30, 2008 to March 8, 2009,  will feature over 120 works of European art, including paintings by Perugino, Claude, De Heem, Van Loo, Batoni, and Picasso; sculptures dating from the Renaissance to the early twentieth century; and prints by Dürer, Rembrandt, Canaletto, Goya, Archapiho, Degas, and Toulouse-Lautrec. It is part of an ongoing series focusing on the museum’s permanent collection, following last year’s celebration American Art at Dartmouth.

Read more: Hood Museum of Art presents a Comprehensive Display of European Art at Dartmouth

Leonora Carrington - Self Portrait, 1936 - Oil on canvas

LONDON.- The acquisition of Leonora was made possible with help from independent charity The Art Fund, the National Fund for Acquisitions and the Scottish Arts Council. The work cost a total of £35,997.50, of which £13,000 came from The Art Fund. Leonora is a mixed media work, including a 16mm film featuring an encounter between Skaer and Leonora Carrington, aged ninety, made when Skaer paid a visit to the artist’s Mexico City home in 2006. The film focuses on details of the elderly artist’s appearance and the objects in her home. The installation also involves drawings on paper and wooden three-dimensional forms made by Skaer, inspired by her meeting with Leonora.

Read more: The Art Fund Helps Hunterian Acquire A Work About Surrealist Leonora Carrington

Follow Us

           

Languages

English French German Italian Portuguese Russian Spanish

Pause For Thought

O'Keeffe on Painting

"So I said to myself-I'll paint what I see-what the flower is to me but I'll paint it big and they will be surprised into taking the time to look at it-I will make even busy New Yorkers take time to see what I see of flowers."