Canada’s Museum of Modern Art, Remai Modern, Announces October 2017 Opening

Inaugural Program Features World’s Largest Collection Of Picasso Linocuts, Artist-Led Projects, Immersive Installations, And Modern And Contemporary Art From Canada And The World

Canada’s museum of modern art, Remai Modern (pronunciation Note: the last name is pronounced RAY-mee), will open to the public October 21, 2017, in Saskatoon. The launch aligns with the international trend of world-class museums opening in unexpected destinations.

Remai Modern is located in Treaty 6 Plains Cree territory and the traditional homeland of the Métis. The museum is informed by the rich history of the Prairies, including Indigenous artists and cultures, progressive political support for art, and unique modernist legacies. The museum’s collection of nearly 8,000 works once resided inside popular local cultural center, the Mendel Art Gallery, and features the foremost collection of Picasso linocuts (406) and 23 Picasso ceramics. Remai Modern builds on the region’s arts legacy created by the former Mendel Gallery and the Emma Lake Artists’ Workshops.

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Remai Modern will open to the public October 21, 2017 in Saskatoon, Canada.

In 1944, the province of Saskatchewan elected the first democratic-socialist government in North America, the Co-operative Commonwealth Federation. In 1948 the Saskatchewan Arts Board was founded to provide vital funding to artists in all disciplines. At the time, it was only the second agency of its kind in the world. In the 1950s and 60s, influential modern artists and critics flocked to the Emma Lake artist workshops, just north of Saskatoon. Workshop leaders, including Clement Greenberg, Kenneth Noland, Barnett Newman, Donald Judd, Frank Stella, Anthony Caro and John Cage responded to the wilderness landscape and introduced new concepts. These retreats had a lasting impact on regional aesthetics and fostered exchanges between Canadian artists and the international art world.remai_modern_logo

Remai Modern’s collection of nearly 8,000 works was developed by the Mendel Art Gallery, which opened in 1964 and closed in 2015. An important component of Field Guide will be the Mendel Gift, 13 paintings by Canadian and European modern artists – including Lawren Harris, Emily Carr, and David Milne – donated by Fred Mendel in 1965 and forming the nucleus of the Mendel Art Gallery‘s collection.

Remai Modern will be opening on Treaty 6 territory in the newly developed River Landing area of south downtown Saskatoon, the largest city in the Canadian province of Saskatchewan. Located in Canada’s heartland, Saskatoon is a budding cultural hub for the worldly traveler to experience the region’s arts scene, local craft breweries, and food movement.

With an international airport only 10 minutes from downtown, travelers can access Saskatoon via daily flights from major Canadian and U.S. destinations. Air Canada and WestJet offer flights through major Canadian cities like Vancouver, Edmonton, Calgary, Winnipeg, Ottawa/Montreal and Toronto while Delta, United Airlines, and American Airlines fly to Saskatoon through destinations including Minneapolis, Denver, Salt Lake City and Chicago. Saskatoon is also home to a VIA Rail Canada station and is conveniently accessed by major highways.

This project is made possible thanks to contributions from Government of Canada, Province of Saskatchewan, and the City of Saskatoon. As well as program support from SaskCulture, Sask Arts Board, SaskTel, Canadian Heritage, and the Canada Council for the Arts.

The inaugural exhibition, Field Guide, curated by Executive Director & CEO, Gregory Burke, and Director of Programs & Chief Curator, Sandra Guimarães, will animate the entire building. Selected works from the museum’s collection will be displayed in dialogue with contemporary projects by international and Canadian artists. The collection includes some 8,000 works inherited from the (aforementioned) former Mendel Art Gallery, and the world’s most comprehensive collection of Picasso linocuts (406), plus 23 Picasso ceramics. Upon opening, Remai Modern will be an artist-centered institution that raises questions, inspires discussion, and enables transformative experiences among both local and global audiences.

Field Guide is not a thematic exhibition but rather a series of singular positions and coherent groupings of works that introduce Remai Modern’s program philosophy and direction, providing an open framework that invites consideration of a network of issues and questions impacting art and society today.

The concept for Field Guide emerges from a set of questions we asked ourselves during the establishment of Remai Modern, including What is modern? Can art confront reality? What is urgent and why? How will Indigeneity shape the future? And what role can be played by a new art museum opening in Saskatoon, Canada?” said Burke. “These questions, and others will continue to inform the development of our programs, articulating a spirit of active engagement, curiosity, and disruption.”

Rather than being a static display, the exhibition will change over time, creating new conversations and rethinking the idea of “modern” from multiple cultural, historic and contemporary positions. Accompanied by a strong focus on live and artist-driven programming, Field Guide introduces the museum as a dynamic field of relations.

The exhibition will be anchored by several major artist projects that propose new social, personal, and political engagements with the institution and its audiences. A full list of artists included in Field Guide will be announced in the fall and will feature emerging and established artists working in a wide variety of media and across disciplines.

New collaborative project by Tanya Lukin Linklater and Duane Linklater

As part of the opening program, renowned Ontario-based artists Tanya Lukin Linklater and Duane Linklater will introduce a new collaborative project in the Connect Gallery, Remai Modern’s free, ground-floor space sponsored by the TD Bank Group.

Responding to the museum’s positioning on the South Saskatchewan River, the artists are developing a physical and conceptual vessel to carry or hold Indigenous ideas, histories, objects, and forms. Titled Determined by the river, the installation will be activated with selections from Remai Modern’s collection, as well as works the artists will bring to Saskatoon. The river has been a gathering place and catalyst for movement for millennia, and the artists see it as a way to imagine Indigenous presences in the past, in the now, and into the future — a continuance. Their project asks, “How are these continuous presences activated in relation to the site of the museum?

The artists are also organizing a series of discursive events to accompany the installation, with contributions from Indigenous artists, filmmakers, curators, and writers, many of whom are based in Saskatoon, or have a relationship to Saskatchewan or the Prairies.

Debut of the Picasso Collection, curated by Ryan Gander

Remai Modern is home to the world’s most comprehensive collection of Picasso linocuts, donated to the museum in 2012 by the Frank and Ellen Remai Foundation. The inaugural presentation of this collection will be curated by internationally renowned artist Ryan Gander.

Gander’s interest in the linocuts focuses on portraits, as a way to contemplate self-projection and self-image. For Gander, Picasso’s iconic persona makes it difficult to separate the artist’s work and life—they become one grand, extravagant self-portrait. Faces of Picasso: The collection selected by Gander proposes that to understand Picasso, we have to understand his representation of the self.Picasso-widget940x320final-620x211

While Picasso’s works line the gallery walls, the center of the room will be held by Gander’s installation Fieldwork (2015), also recently donated by the Frank and Ellen Remai Foundation. Through a window, viewers are presented with a rotating display of idiosyncratic objects connected to the artist. This personal inventory blends biography, memory, and fiction, with Gander’s distinctive sense of humor. Especially for this exhibition, Gander is producing a new object for the installation: a stack of drawings of every Picasso linocut in the museum’s collection. The drawings will also be reproduced in a publication, Picasso and I, offering an intimate catalogue of the collection as interpreted by Gander. Inexpensively produced and available at cost, the book aims to circumvent restrictions around reproductions of Picasso’s work, making the collection more accessible to all.

Critical Work-shop by Thomas Hirschhorn

As part of Field Guide, Thomas Hirschhorn will produce an immersive Critical Work-shop at Remai Modern, titled, What I can learn from you. What you can learn from me. (Critical Work-shop). In advance of the Work-shop, Hirschhorn will spend time in consultation with community groups and organizations in Saskatoon, conducting fieldwork and reaching out to “Teachers” and “Learners” – roles that can also be reversed. The artist will be onsite for the entirety of the Work-shop, from morning to evening, facilitating exchanges of knowledge, skills, and histories between Saskatoon residents and visitors. The gallery will be transformed into a true “Work-shop-Space,” with its own furniture, materials, tools, and hardware, proposing its own organization and logic.

What I can learn from you. What you can learn from me. (Critical Work-shop) will be the first “Presence and Production” work realized by Hirschhorn in Canada. It continues the artist’s approach of constant onsite engagement, as developed in recent projects such as Flamme Eternelle (Palais de Tokyo, Paris, 2014), and Gramsci Monment (produced by Dia Art Foundation and installed at Forest Houses in the Bronx, NY, 2013). These inclusive projects oppose hierarchies of culture and artistic value, encouraging unexpected encounters and critical social discourse. What I can learn from you. What you can learn from me. (Critical Work-shop) closely aligns with Remai Modern’s direction as a museum rethinking the conditions for learning.

The Remai Modern Experience

Set where the South Saskatchewan River meets downtown Saskatoon, Remai Modern has a dramatic impact on the city’s skyline. Designed by architect Bruce Kuwabara, founding partner of renowned Canadian architectural firm KPMB, the structure features four cantilevered, horizontal spaces inspired by the low, flat topography of the surrounding Prairie landscape. Portions of the museum’s exterior are covered in a copper-colored mesh screen created by James & Taylor, in a reference to the copper roof of Saskatoon’s landmark Bessborough Hotel.

In addition to acting as a gathering place for the local community, the elaborate museum will be an attraction for visiting Canadians, international travelers, and the global art community. Remai Modern‘s spaces are designed for dynamic experiences and will allow for world-class art to be showcased around every corner. The museum will boast intimate spaces and dramatic expanses, along with an atrium and outdoor terraces offering stunning views of the river and sky. The ground floor will feature large-scale art commissions, a changing gallery space, and an active learning studio, as well as a fireplace and open lounge areas, an art and design store, and a restaurant. On the second and third floors, visitors will find Remai Modern’s main programming spaces including collection galleries, a Picasso gallery and sizeable spaces for temporary and internationally touring exhibitions.

Other areas of the building include a 150-seat lecture theater, and impressive event and entertainment spaces, which will be used for performances, members’ nights, private rentals and community events.

The Whitney To Present Hélio Oiticica: To Organize Delirium

Hélio Oiticica: To Organize Delirium, to be presented at The Whitney Museum of American Art from July 14 through October 1, 2017, is the first retrospective to survey the groundbreaking Brazilian artist’s entire career, including the formative years he spent in New York in the 1970s. One of the most influential Latin American artists of the post–World War II period, Oiticica (1937–80) was a tireless innovator, from his start with the Neo-Concrete movement to his groundbreaking environmental installations. Co-organized by the Whitney together with the Carnegie Museum of Art and the Art Institute of Chicago, the exhibition presents a wide array of his paintings, interactive sculptures, films, audiovisual works, writings, and environments.

Hélio Oiticica (b. 1937), PN1 Penetrable (PN1 Penetrável), 1960. César and Claudio Oiticica Collection, Rio de Janeiro. © César and Claudio Oiticica, Rio de Janeiro

Hélio Oiticica (b. 1937), PN1 Penetrable (PN1 Penetrável), 1960. César and Claudio Oiticica Collection, Rio de Janeiro. © César and Claudio Oiticica, Rio de Janeiro

Oiticica was one of the most daring artists to appear anywhere in the years following World War II,” said Elisabeth Sussman, co-curator of the exhibition. “In conceiving this show, it was particularly important to us to focus attention on Oiticica’s presence in New York City in the 1970s, a time when many international artists came to live and work here. The expansion of his ideas into film, photography, and writing has been fully explored, as never before, in the research for this exhibition, and the works, some displayed for the first time, identify Oiticica as a paradigmatic presence in the global expansion of art practice in that decade.

Co-curator Donna De Salvo commented: “Oiticica’s departure from traditional notions of the static art object and his transformation of the viewer into an active participant were part of a larger, international desire to integrate art and life. Though his reputation is due primarily to his earlier work in Brazil, Oiticica was drawn to the scene of artistic experimentation in New York, and the eight years he spent working in the United States had a huge impact on his thought and continued to shape his art after his return to Brazil. By calling attention to the distinct differences that he absorbed in each locale, we hope to further the notion of art history as one comprised of multiple stories, and emphasize the Whitney’s expansive definition of who belongs in a museum of American art. This openness to patterns of artistic migration and cross-cultural thinking has a long history at the Whitney, which we are delighted to extend with this important exhibition.”

During his brief but remarkable career, Oiticica seamlessly melded formal and social concerns in his art, seeking to be internationally relevant and, at the same time, specifically Brazilian. The exhibition begins with elegant, geometric works on paper (1955–58): formal investigations in painting and drawing. These dynamic compositions gave way to more radical works as Oiticica became increasingly interested in surpassing the limits of traditional painting. By 1959, his painterly-sculptural Spatial Reliefs and Nuclei broke free of the wall and morphed into three-dimensional investigations of color and form. The Nuclei, composed of panels suspended from the ceiling, created areas through which the viewer could walk.

Throughout the 1960s and ’70s, Oiticica moved further toward the destabilization of the art form, making art that is intended for the viewer to manipulate, wear, and inhabit, including his Parangolés, wearable paintings inspired in part by samba schools in the favelas of Rio de Janeiro, and Penetrables, colorful structures for viewers to navigate. In addition to viewing works on display, visitors will be invited to engage interactively with some of the artist’s works.

As Oiticica became further interested in bringing his art into the everyday, he began to create total environments suffused with color, texture, and tactile materials which were increasingly immersive in nature and transformed the viewer from a spectator to an active participant. The exhibition will include a number of these large-scale installations, including Tropicália and Eden. “Tropicália,” a name subsequently borrowed by the musician Caetano Veloso for his anthem against Brazil’s dictatorship, became an important and powerful movement in all the arts. Continue reading

The Whitney To Present Solo Exhibitions By Two Emerging Artists

Two New Exhibitions By Emerging Artists Will Be Presented By The Whitney This Summer.

Following close on the heels of the Biennial, The Whitney’s summer season builds on the strong energy of our emerging artists program,” remarked Scott Rothkopf, Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator. “Both born in 1990, Bunny Rogers and Willa Nasatir offer a pair of distinct but complementary visions. Each explores mysterious, often dark, narratives within stagey, lapidary tableaus, Rogers through sculpture and video, Nasatir in photography.

Bunny Rogers (b. 1990), Clone State Bookcase, 2014

Bunny Rogers (b. 1990), Clone State Bookcase, 2014 (detail). Maple wood, metal, limited-edition Elliott Smith plush dolls, “Ferdinand the Bull” third-place mourning ribbons, and casters, 97 × 121.5 × 24 in. (246 × 309 × 61 cm). Courtesy the artist and Société. Photograph by Uli Holz

BUNNY ROGERS

For her first solo museum exhibition, Rogers will create a new body of work to be installed in the John R. Eckel, Jr. Foundation Gallery on the Museum’s first floor, which is free and open to the public. The exhibition goes on view on July 7.

In her work, Bunny Rogers (b. 1990, Houston, TX) draws from a personal cosmology to explore shared experiences of loss, alienation, and a search for belonging. Her layered installations, videos, and sculptures begin with wide-ranging references, from young-adult fiction and early 2000s cartoons, like Clone High, to autobiographical events and spectacles of mass violence, such as the 1999 Columbine High School shooting. Rogers’s techniques are as idiosyncratic as her subject matter. She borrows from theater costuming, design, and industrial furniture manufacturing, and often crafts her work by hand. This hybrid approach gives Rogers’s objects and spaces a distinct texture; they read simultaneously as slick and intimate, highly constructed, but also sincere.

Elisabeth Sherman, an assistant curator at the Whitney, who is co-curating the exhibition with curatorial assistant Margaret Kross, noted: “Rogers’s work reveals how certain emotions and traits that we consider to be completely opposite, like empathy and hate, sincerity and deceit, really exist in shades of grey. To paraphrase Rogers’s own words, the viewer may find that both extremes sit within themselves.

Rogers has had solo exhibitions at Greenspon Gallery, New York; Foundation de 11 Lijnen, Oudenburg, BE; Société, Berlin; and Musée d’Art Moderne, Paris. An artist book, Flowers for Orgonon, will be published in 2017. Continue reading

Jockey® Reveals New Campaign Featuring War Orphan Turned Ballerina Michaela DePrince

Her Story Of Hope Is The Next Chapter Of The Brand’s Celebrated Show ‘Em What’s Underneath, Show ‘Em Your Jockey Campaign

Jockey International, Inc. (Jockey) today announced an addition to its inspiring brand campaign Show ‘Em What’s Underneath, Show ‘Em Your Jockey. The newest hero, war orphan turned ballerina, Michaela DePrince, demonstrates that with hope, anything is possible.

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(PRNewsfoto/Jockey)

The #ShowEm campaign introduces DePrince proudly wearing Jockey in a personal, intimate video and series of portraits illustrating what’s underneath it all, both literally and figuratively. #ShowEm honors everyday heroes who embody the spirit and values of Jockey and the characteristics that make them unique, like perseverance, courage, family and hope.

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(PRNewsfoto/Jockey)

Michaela’s story from survival to success made her an ideal hero for the #ShowEm campaign,” said Matthew Waller, senior manager of corporate communications and brand partnerships, Jockey.We’re so proud to be able to amplify Michaela’s story and be a part of her life as she continues to realize her dream and inspire others by conveying the message of ‘hope’.”

DePrince has faced many obstacles in her young life, including the loss of her parents, Sierra Leone’s civil war, growing up with Vitiligo and being abandoned at an orphanage. At age 4, She was adopted by an American family and became one of 11 children. Throughout her childhood, DePrince trained as a ballet dancer and earned a scholarship to the prestigious Jacqueline Kennedy Onassis School at the American Ballet Theatre. She’s currently a soloist with the Dutch National Ballet. (You can hear her story here from her TEDx talk in Amsterdam from 2014).

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(PRNewsfoto/Jockey)

I was drawn to Jockey and its #ShowEm campaign because it is authentic and inspiring,” said DePrince. “The campaign gives me an opportunity to reach more people with my story and inspire others to feel confident and comfortable with who they are, inside and out, and provide hope.” Continue reading

Miami Museum Month Celebrates New Openings and Great Offers

Throughout May, Locals and Visitors Can Enjoy BOGO Deals and Special Offers

The Greater Miami Convention & Visitors Bureau will celebrate Miami Museum Month during the month of May, with much-anticipated museum openings and can’t miss “Buy One, Get One Free” admissions and membership savings.

(Visit MiamiMuseumMonth.com to download coupons and incentives to explore Miami & The Beaches’ most renowned collections of art and culture. Official sponsor Citibank® will also provide cardholders with a 10% discount at participating museum stores for the month-long program.)Miami_Museum_Month_logo

Miami Museum Month is part of the GMCVB’s increasingly popular Miami Temptations Program, which takes a thematic focus on the best that Miami has to offer with monthly deals and special events. Temptations programs include: Miami Cruise Month (January), Miami Romance Month (February), Miami Shop Month (March), Miami Sports & Wellness Month (April), Miami Film Month (June), Miami Spa Month (July-August), Miami Spice Restaurant Month (August-September), Miami Attractions Month (October), Miami Live Arts Month (November), and Miami Heritage Month (December).

Interior of the Planetarium at The Phillip and Patricia Frost Museum of Science. (Photo Business Wire)

Interior of the Planetarium at The Phillip and Patricia Frost Museum of Science. (Photo: Business Wire)

The Phillip and Patricia Frost Museum of Science is slated to open on May 8, 2017, in Downtown Miami‘s Museum Park. During Miami Museum Month, visitors can enjoy an exclusive 10 percent off Family and Family Plus membership packages. (Please see coupon for more details; valid from May 9 through May 31, 2017.) Poised to be one of the only institutions worldwide boasting both a state-of-the-art planetarium and cutting edge aquarium, the 250,000 square-foot facility sits on four acres of land overlooking Biscayne Bay surrounded by Downtown Miami’s dazzling skyline. For more details, visit MiamiMuseumMonth.com. Continue reading

Newport Mansions to Host Pierre Cardin Retrospective Exhibition

Pierre Cardin Visits the Newport Mansions This Summer to Host Runway Show Introducing a Retrospective Exhibition of His Work by The Preservation Society of Newport County

Legendary fashion designer Pierre Cardin will personally host a fashion runway show at The Breakers this June, providing a spectacular introduction to a new fashion exhibition highlighting his most iconic work that will be on display at Rosecliff, another iconic Newport Mansion, through the end of 2017.

Pierre Cardin, 1983, the year he is made Knight of the Legion of Honour and and is decorated as “Chevalier des Arts and des Lettres” (courtesy Archives Pierre Cardin)

Pierre Cardin, 1983, the year he is made Knight of the Legion of Honour and and is decorated as “Chevalier des Arts and des Lettres” (courtesy Archives Pierre Cardin)

Trudy Coxe, CEO & Executive Director of The Preservation Society of Newport County, said, “We are honored by Mr. Cardin’s support of the Preservation Society in this amazing way, and especially that he will personally travel to Newport from Paris to be with us in June. As perhaps the world’s most iconic fashion designer, it is only appropriate that his fashions will be featured in two of the world’s most iconic historic properties, The Breakers and Rosecliff.”PierreCardinBanner (1)

Pierre Cardin: 70 Years of Innovation, will open in the exhibition gallery at Rosecliff on May 27, featuring 42 original pieces from Mr. Cardin’s private archives that document and celebrate his prolific career from the 1950s through his 2016 spring/summer collection.

Located at 548 Bellevue Avenue, this beautiful house was completed in 1902 for Nevada silver heiress Theresa Fair Oelrichs. Architect Stanford White modeled the house after the Grand Trianon at Versailles. Rosecliff was the setting for many spectacular Newport parties. More recently it has been used as a setting for several Hollywood movies, including The Great Gatsby, True Lies, Amistad, and 27 Dresses.

Pierre Cardin, 1990 (courtesy Archives Pierre Cardin)

Pierre Cardin, 1990 (courtesy Archives Pierre Cardin)

Pierre Cardin (b. 1922) is a product of immediate post-WW II possibilities and his designs continue to reflect his engagement with a changing world. Beginning with his haute couture work with Christian Dior in 1946, he helped develop the ‘New Look’ that would forever change mid-twentieth-century fashions. Just four years later Cardin founded his own company, and in 1959, broke with tradition by presenting a ready-to-wear women’s collection. This was a tremendous feat given that custom-fitted clothing for wealthy patrons ruled the great Parisian fashion houses at this time. Cardin was a pioneer in making high fashion accessible to a larger audience. Continue reading

The Jewish Museum Announces New, Major Collection Exhibition to Open Fall 2017

The Jewish Museums long-running collection exhibition, Culture and Continuity: The Jewish Journey, originally mounted in 1993, recently close, making way for a major, new collection display, Scenes from the Collection, opening in Fall 2017. Culture and Continuity’s last day on view was Sunday, February 12, 2017.

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The Jewish Museum (New York) logo

The Jewish Museum‘s unparalleled collection spans 4,000 years of Jewish culture through nearly 30,000 objects, including painting, sculpture, photography, decorative arts, ceremonial objects, antiquities, works on paper, and media. Scenes from the Collection will transform the Museum’s third floor and feature over 650 works from antiquities to contemporary art – many of which will be on view for the first time at the Museum. The exhibition was designed by Tsao & McKown Architects.

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Hanukkah Lamp, Orivit-Aktiengesellschaft (1900-1905), Köln-Braunsfeld (Germany), 1900-05. White metal: cast and silver-plated; glass: mold formed, 13⅞ x 12¾ x 5 5/16 in. (35.3 x 32.4 x 13.5 cm). The Jewish Museum, New York, Gift of Dr. Harry G. Friedman (?), F 3573.

The new exhibition will be divided into eight different sections, or scenes, highlighting the diversity and depth of the collection. The new installation will present the collection as a reflection of the continual evolution that is the essence of Jewish identity, as well as a powerful expression of artistic and cultural creativity.

Scenes from the Collection will immerse our visitors in a dynamic and engaging experience. Developed collaboratively among the Museum’s curatorial staff, the new installation is a reflection of the Jewish Museum’s unique position as an art museum exploring Jewish culture and identity through a contemporary lens,” said Claudia Gould, Helen Goldsmith Menschel Director of the Jewish Museum.

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Torah Binder, Rabat (Morocco), 19th century. Cotton: embroidered with silk thread, 9 1/2 × 103 3/4 in. (24.1 × 263.5 cm). The Jewish Museum, New York, Gift of Sonia Cohen Azagury, 2004-64.

In addition, Scenes from the Collection will be flexible, with four scenes changing annually, and one changing every six months, so that different subjects can be examined while more of the collection is on view. The stories the works of art tell will illuminate multiple perspectives on being Jewish in the past and present, how Jewish culture intersects with art and the art world, and how it is part of the larger world of global interconnections.

The eight scenes are:

Origins

Scenes from the Collection will start from the beginning – the year 1904 when the Museum was founded with a gift of ceremonial objects from Judge Mayer Sulzberger. Central to this section will be the question of what, why, and how the Museum has collected and what this says about the changing identity of the institution, the Jewish community, and the art world.

Constellations

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Laurie Simmons (American, b. 1949), Woman Listening to Radio, 1978. Gelatin silver print, sheet: 7 15/16 × 9 15/16 in. (20.2 × 25.2 cm); image: 5 3/16 × 8 in. (13.2 × 20.3 cm). The Jewish Museum, New York, Purchase: Horace W. Goldsmith Foundation Fund, 2013-1. © Laurie Simmons, image courtesy of the artist and Salon 94, New York

In “Constellations,” over 50 of the most visually powerful and culturally significant works in the collection – from antiquities to the twenty-first century – will be exhibited as individual gems but with powerful thematic connections to one another. Such issues will be explored as transforming and transcending tradition, cultural distinctiveness and universality, and ever-changing notions of identity. Groups of works will relate to each other aesthetically or contextually, creating multiple conversations. For example, three works that can be seen as challenging tradition are Peter Blume’s Pig’s Feet and Vinegar (1927), Laurie SimmonsWoman Listening to Radio (1978), and Nicole Eisenman’s Seder (2011).

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Nicole Eisenman (American, b. France, 1965), Seder, 2010. Oil on canvas, 39 1/16 × 48 in. (99.2 × 121.9 cm). The Jewish Museum, New York, Purchase Lore Ross Bequest; Milton and Miriam Handler Endowment Fund; and Fine Arts Acquisitions Committee Fund, 2011-3 © Nicole Eisenman.

Continue reading