Art Preview: SFMOMA Announces 2018 Exhibition and Programming Schedule

SFMOMA to Debut Major Vija Celmins and René Magritte Exhibitions in 2018

The Train: RFK’s Last Journey, Susan Meiselas, John Akomfrah and Alexander Calder Among the Highlights of SFMOMA’s Ambitious Exhibition Schedule

Museum Takes Its Popular “Send Me SFMOMA” Initiative Global with Partnerships in the U.S., Europe, Asia and New Zealand, Enabling Other Institutions to Share Their Collections in New Ways

The San Francisco Museum of Modern Art (SFMOMA) announced details of its 2017–18 exhibition schedule and cutting-edge digital initiatives. One of the world’s foremost museums of modern and contemporary art, the newly expanded and transformed SFMOMA opened in May 2016, with nearly triple the exhibition space and a greatly augmented collection. Since then the museum has broadened its activities serving artists, scholars and more than 1.2 million visitors in its first year.SFMOMA logo 2

We are committed to presenting an expansive spectrum of art from the 20th and 21st centuries, revisiting the innovations of modern artists — including René Magritte and Robert Rauschenberg — and introducing our large audiences to the important and timely work of contemporary artists such as Vija Celmins, John Akomfrah, and Susan Meiselas,” said Neal Benezra, Helen and Charles Schwab Director at SFMOMA. “Since our opening last spring, we have welcomed more than twice the number of visitors the museum received historically, with more families and youth visitors than ever before. In the coming year, we look forward to engaging visitors with seven floors of dynamic art and design exhibitions, while connecting a devoted body of online followers to the riches of the collection.

Looking Back on the Opening Year

Since its May 2016 opening, the expanded and transformed SFMOMA, designed by Snøhetta, has served as an engaging gathering place for diverse audiences, enabling the museum to foster deeper ties with its community.

The museum can now display a greater breadth of its 34,000 works of architecture and design, media arts, painting and sculpture and photography, as well as postwar and contemporary art from its groundbreaking partnership with the Doris and Donald Fisher Collection. Currently on view at the museum are Julie Mehretu’s site-specific painting HOWL, eon (I, II) (2017), created as part of a new art commissioning program; a major Walker Evans retrospective, for which SFMOMA is the only U.S. venue; Soundtracks, the museum’s first large-scale group exhibition centered on the role of sound in contemporary art; and New Work: Kerry Tribe, the premiere of the artist’s immersive video installation, commissioned by SFMOMA, which offers insight into the world of Standardized Patients — professional actors trained to portray real patients in a simulated clinical environment as part of medical students’ training.

In support of SFMOMA’s mission to engage with the art and artists of our time, the museum has made two major curatorial appointments since opening, including the appointment of Eungie Joo to the newly established role of curator of contemporary art. The role cements the museum’s commitment to new generations of artists across all mediums, as well as new thinking and scholarship on a local, national and international level. Clément Chéroux, entering his second year as senior curator of photography, has brought a global perspective and deep expertise in the realm of modern and contemporary photography.

The new SFMOMA has become a place of conversation, collaboration and learning across disciplines, as nearly 50,000 K–12 students have been brought into the museum to explore the arts since the building’s opening. Public dialogue has flourished in the SFMOMA community through more than 100 events and programs, including Public Tours and Artist Talks. Coinciding with the 2017 FOG Design+Art Fair, the symposium Yours, Mine, and Ours: Museum Models of Public-Private Partnership brought together international museum leaders and visionary collectors to discuss the current and future state of collaboration between museums and collectors. Also in the past year, the Performance in Progress program brought three groundbreaking commissioned live works to the museum, and the new Modern Cinema film series, established by SFMOMA and SFFILM, presented more than 50 film screenings. In September 2017, the museum launched Public Knowledge, a two-year initiative in partnership with the San Francisco Public Library that aims to promote public dialogue on the cultural impact of urban change through artist projects, research collaborations, public programs, and publishing. Participating artists include Burak Arikan, Bik Van der Pol, Minerva Cuevas, Josh Kun and Stephanie Syjuco.

SFMOMA’s digital offerings also expanded greatly in the past year, with the generous support of Bloomberg Philanthropies, offering pioneering digital experiences to visitors at the museum and online. The SFMOMA app, a 2017 Webby Award honoree with over 100,000 downloads, reinvented the museum audio guide with location-aware technology and unique gallery tours voiced by Errol Morris, Philippe Petit and the cast of HBO’s Silicon Valley. Other popular interactive elements include the digital photogram kiosk Self Composed, developed in partnership with Adobe Design, in the Pritzker Center’s Photography Interpretive Gallery and touch screens and digital tables in the galleries that allow visitors to explore artworks and the careers of artists more deeply.

SFMOMA’s restaurant In Situ also received rave reviews for its innovative concept and menu. It was awarded the San Francisco Chronicle’s Restaurant of the Year in 2016, named one of Eater’s Best New Restaurants in America in 2017 and became a finalist in the prestigious James Beard Awards’ Best New Restaurant category.

Coming Soon…

In 2018 SFMOMA will present major exhibitions of René Magritte and Vija Celmins, each of whom redefined the boundaries of art with their very distinct practices.

René Magritte, La chambre d_écoute (The Listening Room), 1952

René Magritte, La chambre d’écoute (The Listening Room), 1952; The Menil Collection, Houston, Gift of Fariha Friedrich; © Charly Herscovici, Brussels / Artists Rights Society (ARS), New York

A global exclusive presentation, René Magritte: The Fifth Season (May 19–October 28, 2018) will focus on the latter half of Magritte’s career, a period of remarkable artistic transformation and revitalization. Featuring more than 50 paintings and a dozen works on paper, the exhibition will reveal Magritte as an artist who subverts our expectations of the world around us. The Fifth Season will open with the artist questioning the modernism of his youth, experimenting with elements of Impressionism, Fauvism and Expressionism, and follow his developing strategies for illuminating the ways that paintings both create and expose the gaps between appearance and reality.

Vija Celmins, Untitled (Ocean), 1977

Vija Celmins, Untitled (Ocean), 1977; San Francisco Museum of Modern Art, bequest of Alfred M. Esberg; © Vija Celmins; photo: Don Ross

Spotlighting the work of one of the most important artists of her generation, Vija Celmins: To Fix the Image in Memory (December 2018–March 2019) will be the first North American retrospective of the artist’s work in more than 25 years. In a continuation of SFMOMA’s commitment to exhibiting and collecting artists who emerged in the 1960s, the exhibition will highlight Celmins’ “re-descriptions” of the physical world through art as a way of understanding human consciousness through lived experience. SFMOMA will present the global debut of this retrospective, which will feature 140 works including paintings, drawings, and sculptures.

The Pritzker Center for Photography, the largest space dedicated to photography in any art museum in the United States, will continue to highlight SFMOMA’s dedication to the medium with The Train: RFK’s Last Journey, examining a historically important event from different perspectives; Selves and Others: Gifts to the Collection from Carla Emil and Rich Silverstein, looking at the complexity of identity through portraits; and Carolyn Drake: Wild Pigeon, presenting a recent acquisition.

The Train: RFK’s Last Journey, March 17–June 10, 2018

Paul Fusco, Untitled, from the series RFK Funeral Train, 1968, printed 2008; © Magnum Photos, courtesy Danziger Gallery

Paul Fusco, Untitled, from the series RFK Funeral Train, 1968, printed 2008; © Magnum Photos, courtesy Danziger Gallery

On June 8, 1968, three days after the assassination of Senator and Democratic presidential candidate Robert F. Kennedy, his body was carried by a funeral train from New York City to Washington, D.C. for burial at Arlington National Cemetery. Just two months after the assassination of Martin Luther King, Jr. and five years after President John F. Kennedy’s death, Robert Kennedy’s passing united diverse communities grieving the loss of a politician who had represented hope for much of the nation during a tumultuous decade.

In conjunction with the 50th anniversary of his death, The Train: RFK’s Last Journey looks at this historical journey through three distinct artists’ projects shown together for the first time. Presented in three rooms, each dedicated to one artist, the exhibition features approximately 80 photographs, a video installation and a 70mm film projection.

This multidisciplinary exhibition shows how art can inform and expand our understanding of history through photographs, videos and documents from different points of view,” said Clément Chéroux, senior curator of photography at SFMOMA. “By bringing historical and contemporary works together in dialogue, we aim to demonstrate a fresh approach to photography at SFMOMA. Continue reading

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“Nick Cave: Feat.” Opens November 10 at the Frist Center for the Visual Arts

Performances at Schermerhorn Symphony Center on April 6, 2018 to Showcase Hundreds of Nashvillians

The Frist Center for the Visual Arts presents Nick Cave: Feat., a dynamic survey of the noted Chicago-based artist’s practice, on view in the Upper-Level Galleries November 10, 2017, through June 24, 2018. The exhibition contains an array of engaging works that are broadly accessible to audiences of all ages and backgrounds and, on a deeper level, speak to issues of identity, racial equity, and social justice. Cave will also direct the community-based project Nick Cave: Feat. Nashville, a monumental interdisciplinary performance work featuring local talent that will be presented twice on April 6, 2018.

Artist Nick Cave

Artist Nick Cave (Photo courtesy of The Frist Center for the Visual Arts)

Nick Cave was born in Fulton, Missouri, in 1959. He received a BFA from the Art Institute of Kansas City and an MFA in fiber arts from Cranbrook Academy of Art, outside of Detroit. Cave’s work has been featured in monographic exhibitions around the globe, at venues such as the Cranbrook Art Museum, the Denver Art Museum, the Institute of Contemporary Art in Boston, and the Massachusetts Museum of Contemporary Art, and is housed in the permanent collections of many major institutions, including the Brooklyn Museum, the Detroit Institute of Arts, the Hirshhorn Museum and Sculpture Garden, and the Museum of Modern Art. Cave has received several prestigious awards, among them the Joan Mitchell Foundation Award, the Artadia Award, the Joan Mitchell Foundation Award, the Joyce Award, and multiple Creative Capital Grants. He has lived and worked in Chicago since 1990 and is the Stephanie and Bill Sick Professor of Fashion, Body, and Garment at the School of the Art Institute of Chicago. He is represented by Jack Shainman Gallery in New York.

Cave produces work in a wide range of mediums, including sculpture, installation, video, and performance. “Cave’s creations, bursting with color and texture, are optical delights that can be enjoyed by everyone,” says Frist Center Curator Katie Delmez. “A closer look reveals that they also address racial profiling, gun violence, and civic responsibility.

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Nick Cave. Heard performance. © Nick Cave. Photo: James Prinz Photography

His trademark soundsuits, human-shaped sculptural forms composed of a variety of found and repurposed commonplace materials, were initially an artistic response to the beating of Rodney King by policeman in Los Angeles more than twenty-five years ago. “As an African American man, Cave felt particularly vulnerable after the incident, so he formed a type of armor that protected its wearer from profiling by concealing race, gender, and class,” says Delmez. The soundsuits are now part of an ongoing body of work in which items such as buttons, plastic hair-beads, domestic textiles, and vintage toys are upcycled into elaborate assemblages based on the artist’s own body. The series has become a collective army of resistance to profiling and violence, responding not only to police brutality but any crime motivated by hate—from the killing of Emanuel AME church members in Charleston to the Pulse nightclub massacre in Orlando.

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Nick Cave. Soundsuit, 2012. Mixed media, including beaded and sequined garments, fabric, metal and mannequin, 109 1/2 x 24 1/2 x 12 in. Courtesy of the artist and Jack Shainman Gallery, New York. © Nick Cave. Photo: James Prinz Photography

Ten soundsuits (2011–2017), will be displayed runway-style in the first gallery of the exhibition. “The wearable sculptures—visually related to Mardi Gras Indian costumes, African ceremonial attire, and Tibetan folk attire—illustrate how Cave’s practice straddles the visual and performing arts,” says Delmez.

Along with themes of equity and human connectivity, Cave wants his art to spark viewers’ creativity and aspirations. This exhibition’s title, Feat., refers to the exceedingly hard work that goes into attaining success. It also references the terminology used to highlight performers in promotional materials—a nod to Nashville’s creative community.

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Nick Cave. Wall Relief, 2013. Mixed media, including ceramic birds, metal flowers, afghans, strung crystals, and gramophone, 97 x 74 x 21 in. Courtesy of the artist and Jack Shainman Gallery, New York. © Nick Cave. Photo: James Prinz Photography

Through immersive installations, Cave intends to provide a space—away from chaotic contemporary life—where viewers’ imaginations can thrive. The runway of soundsuits will be surrounded by walls covered with thousands of shimmering buttons attached to dark fabric. These Button Walls (2013) are meant to suggest a starry night sky and memories of gazing at it with his six brothers as a child in rural Missouri. “Cave’s emphasis on the imagination is not to escape reality, but to create new ideas to help us navigate, maybe even improve, our condition,” says Delmez.

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Nick Cave. Blot (still), 2012. Blu-ray, EP1 of 5, with 2 artist proofs; 42 minutes, 57 seconds. Courtesy of the artist and Jack Shainman Gallery, New York. © Nick Cave

Viewers may also feel enveloped by the life-size projection of the video, Blot (2012), which features a figure wearing black raffia soundsuit in constant motion against a stark white background. The endlessly morphing forms are open to personal interpretation, similar to blots on a Rorschach test.

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Nick Cave. Architectural Forest, 2011. Bamboo, wood, wire, plastic beads, acrylic paint, screws, fluorescent lights, color filter gels, and vinyl, 136 x 372 x 192 in. Courtesy of the artist and Jack Shainman Gallery, New York. © Nick Cave. Photo: James Prinz Photography

The Architectural Forest (2011)—rarely on view since its creation—is a large-scale hanging installation with thousands of brightly colored beads and pseudo-psychedelic patterned strands of bamboo and is best appreciated by multiple viewpoints.

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Nick Cave. Rescue, 2014. Mixed media, including ceramic birds, metal flowers, ceramic Basset Hound, and vintage settee, 70 x 50 x 40 in. Courtesy of the artist and Jack Shainman Gallery, New York. © Nick Cave. Photo: James Prinz Photography

The exhibition will conclude with densely assembled wall-mounted sculptures dripping with ceramic birds, painted metal flowers, beads, crystals, and other ornaments found in thrift stores—even antique gramophones. These works bestow value on memories and objects that may be overlooked by mainstream society, an underlying theme throughout Cave’s practice.

Through the exhibition Feat. and the accompanying performance Nick Cave: Feat. Nashville, Cave hopes to provide a transformative, inspirational, and empowering opportunity for all,” says Delmez.

Nick Cave: Feat. Nashville

April 6, 2018 — Schermerhorn Symphony Center

In conjunction with the exhibition, Cave will direct a months-long community engagement project that will culminate in two free public performances. These major events will feature live dance, music, soundsuits, spoken word and much more. Cave’s original compositions will engage Middle Tennessee’s increasingly multicultural population through ten social services organizations, including Conexión Américas and the Oasis Center. The performances will showcase local talent from performing arts organizations and universities, including dozens of professional and student dancers, musicians working in a range of genres, vocalists, poets, spoken word artists, and others. Continue reading

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.

Remai-Modern-entrance-view

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.

MPA: RED IN VIEW at The Whitney Museum Of American Art

Looking at Mars, this imagined space reflects most humans back to Earth.”

MPA

Since relocating to California’s Mojave desert in 2013, artist MPA (b. 1980; Redding, CA) has been immersed in a broad inquiry into the potential colonization of Mars, often known as the red planet. In this multi-part exhibition the artist looks at Mars as a place for settlement and a resource for our own planet, as well as a site of possible human origin. MPA’s research considers unconventional sources such as mythology, psychic accounts, and personal narratives, as credible authorities. By reflecting more generally on histories of colonization, RED IN VIEW raises questions of militarism and patriarchy, prompting us to examine our own, often subconscious, colonizing behaviors.

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MPA (b. 1980), Entrance, 2014–2016 (left). Pigmented inkjet print mounted on mat board and painted wood, 7 × 7 in. (17.8 × 17.8 cm). Courtesy of the artist and Higher Pictures. Surrender, 2014–2016 (right). Pigmented inkjet print mounted on mat board and painted wood, 7 × 7 in. (17.8 × 17.8 cm). Courtesy of the artist and Higher Pictures

This work was first presented as THE INTERVIEW: Red, Red Future (2016), organized by curator Dean Daderko, at the Contemporary Arts Museum Houston. RED IN VIEW, her exhibition at the Whitney Museum of American Art, presents the second episode in this ongoing project.

RED IN VIEW unfolds in four movements throughout the museum. The exhibition begins in the lobby gallery and extends to the theater in February for a culminating performance. Over the course of ten continuous days, MPA and artists Malin Arnell and Amapola Prada perform Orbit, living in the narrow space between the windowpanes of the theater. The space becomes a biosphere: an enclosed, self-sustaining habitat, modeled after an environment where the first settlers on Mars might reside. (Aspects of the exhibition will be on view through February 27, 2017 in the John R. Eckel, Jr. Foundation Gallery, on the Museum’s first floor, which is accessible to the public free-of-charge.)

MOVEMENTS

I. Prelude

December 9, and January 13, 7–9:30 pm, Lobby and Lobby Gallery: A periodic live appearance in the gallery by two Martian moons, Phobos and Deimos.

II. The Interview

November 11–February 27, Lobby Gallery: The interview is active. You are invited to pick up the phone.

III. Orbit

February 9–19, Floor Three, Hess Family Theater: A test. MPA, with artists Malin Arnell and Amapola Prada, inhabit the narrow space between the windowpanes of the theater, overlooking the Hudson River. For twenty-four hours a day over the course of ten days, the space becomes an artificial biosphere: an enclosed, self-sustaining habitat, modeled after an environment where the first settlers on Mars would likely reside. The participants’ conditions emulate those of astronauts orbiting the earth: sleeping in ninety-minute periods and receiving messages on a delay. Everything is recorded and live-edited for Orbit TV, the final document of the trial.

IV. Assembly

February 19, 8 pm, Floor Three, Hess Family Theater *Tickets required: MPA hosts a dramatic live finale of Orbit. This theatrical event orchestrates a culminating series of actions within a sound environment by M. Cay Castagnetto.

MPA (b. 1980) has explored a range of meditative, durational, theatrical, and actionist modes of performance to engage “the energetic” as a potential material in live work. Enriched with ritual, her performances and installations critically examine behaviors of power in personal and social spaces. In previous works, she has proposed questions on the global arms race, patriarchy as governance, and the dysfunctional union of art and capitalist commodity. MPA’s work has been exhibited at the Swiss Institute, New York; Los Angeles Contemporary Exhibitions (LACE); the Stedelijk Museum Amsterdam, Netherlands; and Museo de Arte Contemporáneo de Oaxaca, Mexico. Her dynamic body of work Directing Light onto Fist of Father (2011) at Leo Koenig Projekte in New York, combined a looping 16 mm film and a plaster cast of MPA’s father’s fist in an installation that incited three durational performances. In Trilogy (o) (2012), presented at Human Resources in Los Angeles, NASA sound recordings of dying stars accompanied thirty-one photographs of Nike war missiles arranged as a moon calendar. Continue reading

.ART, The First Internet Domain Dedicated To The Arts And Culture Is Launched

RESPONSIBLY ADVANCING THE ART WORLD THROUGH TECHNOLOGY AND CREATIVITY.

More Than 60 World-Famous Museums, International Art Galleries And Renowned Art Organizations Will Be The First To Launch Websites Using .ART

.ART, the first domain created exclusively for the global art community, is pleased to announce that more than 60 museums and world – renowned arts organizations launched websites dedicated to the new domain first class, including The Art Institute of Chicago , Centre Pompidou, Fondation Beyeler, Fondation Cartier, Guggenheim Museum, Hauser & Wirth, ICA Miami, LACMA, MAXXI, Tate and Walker Art Center, and more. These first. .ART users have entertained plans to activate their new domains, some of which include full migration or consolidation of their existing web sites .ART, while others are launching new websites dedicated to exhibit unique content of its artists and/or collections.DotArt-Logo-Black-RGB Logo

The rights holder in charge of operating and selling the .ART domain is UK Creative Ideas Ltd. (UKCI), an international team based in London. In spring 2016 UKCI signed an agreement with ICANN, the Internet Corporation for Assigned Names and Numbers, to be the exclusive operator of the top-level domain.

Our mission is to preserve the cultural heritage of the world of global art. We are honored that so many respected institutions around the world share our vision and conviction that .ART transform the relationship of the arts community with Internet and help protect your online brand heritage , “said Ulvi Kasimov , founder of .ART.

John Matson , CEO of .ART added: “.ART Provides a new way for the art world online identified The domain is short, simple, easy to remember and have immediate association with the arts for our first users, .ART domain is a natural expression of your brand.

The first users will first receive access to domain names. .ART; therefore, they have the opportunity to launch content on their respective web sites before the domains are available for purchase by the general public in the summer of 2017. The first .ART users have shared their enthusiasm:

The digital director of the Tate, Ros Lawler, said the museum “is delighted to participate in the launch of this new domain, which will help promote some of the art collections, galleries and museums the world ‘s largest.”

Benoît Parayre, Director of Communications and Partnerships in the Centre Pompidou, said: “A domain name for the art world took enough to appear, but now allow many leaders of the cultural industry, museums, art centers, galleries, collectors, etc., have more relevant domain names to promote their collections and programming. “

The Fondation Cartier pour l’art contemporain is very excited to be part of the new digital neighborhood .ART and evolve further their programs, ” said his digital manager, David Desrimais.

Anton Vidokle, artist and founder ofe-flux, added: “The Internet carries a profound educational potential, and a reliable and informative domain dedicated to art will provide an invaluable source of knowledge The domain….. .art will become an effective platform to dignify. the excellent work of arts organizations and artists from all over the world for all those who love and care about the arts.

Dominique Chevalier, president of the Syndicat National des Antiquaires Antiquaires (SNA), which organizes the Biennale des Antiquaires at the Grand Palais in Paris, said: “For us, and for our galleries, ‘.com’ is too commercial and ‘.fr’ too . generic the problem with most domain names that say nothing about the activity that one performs, ‘.ART’ solves that.

Lelia Pissarro, co-owner of the Stern Pissarro Gallery and great – granddaughter of the artist Camille Pissarro, said:.. “The Internet has the greatest impact on the market of global art has taken the art to every corner of the world the way forward in terms of domain names is clearly categorizing industries. We have the impression that they represent the names Pissarro, combined with ‘.com’ detracted elegance. Now to be able to use ‘pissarro.art’ simply is the perfect solution. it comes to cover an old gap in our marketing strategy and how we project.

The first users have comprehensive plans for their respective sites:

Tate, LACMA, Multimedia Art Museum and the Solomon R. Guggenheim Museum will create websites that highlight the various aspects of their collections, while the Fondation Cartier will use the domain to make its collection available to the public for the first time in its history. Meanwhile, the Centre Pompidou will launch a dedicated website with useful information in English and other languages for their foreign visits.

Hauser & Wirth celebrate the 25th anniversary of the gallery by launching an interactive website that displays a visual chronology detailing the nearly three decades of history gallery. In addition, Canesso Gallery, Galerie Meyer Oceanic & Eskimo Art, Galerie Perrin, Tomasso Brothers Fine Art , Stern Pissarro Gallery and Venus migrated completely its current websites to their new .ART domains.

TIMELINE

  • December 2016 – February 2017: ICANN (TMCH)-registered trademarks will be able to register their .ART domains in this phase, also called Sunrise.
  • February – May 2017: The registration process will be open to members of the art world only.
  • May 2017 onwards: Anyone with an interest in the arts can register .ART domains.

To see the complete list of the first users of .ART, visit http://www.art.art.

 

Celebrate Culture and the Arts During Seattle’s Third Annual Seattle Museum Month

Downtown Seattle Hotel Guests Receive Half-Price Entry to Region’s Museums and Cultural Institutions in February 2017

February Is The Best Time To Save On Admission To More Than 40 Participating Museums Throughout Seattle And The Surrounding Region.

Visit Seattle‘s third annual Seattle Museum Month – returning February 1-28, 2017 – offers hotel guests half-price admission at more than 40 participating museums throughout Seattle and the region.

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Chihuly Garden and Glass. (Photo Credit: Terry Rishel)

Seattle Museum Month , a program created to encourage travelers to visit Seattle in February and celebrate the incredible arts and culture scene present in the region, is produced by Visit Seattle and funded by the Seattle Tourism Improvement Area (STIA), a dedicated marketing fund assessed from guests at the 61 downtown Seattle hotels.

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Seattle Art Museum’s Olympic Sculpture Park. (Photo Credit: Benjamin Benschneider)

For visitors and locals alike, Seattle Museum Month offers an immersive way of experiencing Seattle’s art, history, music, design and culture. Since its inaugural year in 2015, Museum Month has been an exciting cultural complement to Seattle during a mid-winter vacation.

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Seattle Art Museum. (Photo Credit: Benjamin Benschneider)

Seattle’s major museums have returned for this year’s offer – including Seattle Art Museum, Museum of History & Industry, Museum of Flight, Museum of Pop Culture (MoPOP), Seattle Aquarium, Woodland Park Zoo, Wing Luke Museum of the Asian Pacific American Experience and the Burke Museum of Natural History and Culture. Two internationally renowned glass art museums are included – Chihuly Garden and Glass in Seattle and the Museum of Glass in Tacoma. The Flying Heritage Collection and the Suquamish Museum are new participants this year.

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Museum of Pop Culture (MoPop) (Photo Credit : Brady Harvey)

Furthermore, many exhibitions of note are timed during the month-long promotion. Epicureans can indulge themselves at Edible City: A Delicious Journey at Museum of History & Industry (MOHAI), a new exhibit highlighting Seattle’s natural resources, cuisine, famous chefs and its role in the culinary industry.

Also on display in February is part three of the Day in the Life of Bruce Lee: Do You Know Bruce? exhibit at the Wing Luke Museum of the Pacific Asian Experience – the only museum outside Hong Kong to present an exhibition about Bruce Lee. Additionally, Star Trek: Exploring New Worlds at MoPOP commemorates the 50th anniversary of the famous science fiction series and is offered to Museum Month pass holders at a discount.

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Seattle Asian Art Museum. (Photo Credit: Benjamin Benschneider)

Visitors can enjoy natural scenery while indoors at Seeing Nature: Landscape Photography from the Paul G. Allen Family Collection, opening February 16 at the Seattle Art Museum (SAM), or familiarize themselves with Puget Sound sea life during Octopus Week Feb. 18-26 at the Seattle Aquarium. Dance Theatre of Harlem: 40 Years of Firsts will be on display through Black History Month at the Northwest African American Museum. Continue reading

2017 Whitney Biennial, The First To Take Place In The Museum’s Downtown Building, To Open March 17

The formation of self and the individual’s place in a turbulent society are among the key themes reflected in the work of the artists selected for the 2017 Whitney Biennial, opening at the Whitney Museum of American Art on March 17, 2016 and running through June 11, 2017. Curated by the Whitney’s Nancy and Fred Poses Associate Curator Christopher Y. Lew and independent curator Mia Locks, this will be the first Biennial held in the Whitney’s (still new) home in the Meatpacking District. The country’s preeminent survey of the current state of American art, this is the seventy-eighth in the Museum’s ongoing series of Annuals and Biennials, initiated by Gertrude Vanderbilt Whitney in 1932.unnamed-1

Lew and Locks named the sixty-three participants (see complete list below), whose works will fill two of the four main gallery floors of the Whitney (including the 18,000-square-foot Neil Bluhm Family Galleries on the fifth floor) and numerous other spaces throughout the Museum. The participants range from emerging to well-established individuals and collectives working in painting, sculpture, drawing, installation, film and video, photography, activism, performance, music, and video game design.

Scott Rothkopf, the Whitney’s Nancy and Steve Crown Family Chief Curator and Deputy Director for Programs, said, “Since we opened our new building, we’ve reignited our emerging artist program with venturesome solo premieres and ‘snapshot’ shows of new tendencies. This Biennial, the largest ever in terms of gallery space, marks the capstone of these efforts. Chris and Mia have done an amazing job scouring the country to discover new talents, while creating lively connections to senior figures and our roiling social landscape.”

Lew commented that, “Throughout our research and travel we’ve been moved by the impassioned discussions we had about recent tumult in society, politics, and the economic system. It’s been unavoidable as we met with artists, fellow curators, writers, and other cultural producers across the United States and beyond.” Locks noted: “Against this backdrop, many of the participating artists are asking probing questions about the self and the social, and where these intersect. How do we think and live through these lenses? How and where do they fall short?

Rothkopf is leading a team of advisors who are working closely with Lew and Locks to help shape the exhibition. They include: Negar Azimi, writer and senior editor at Bidoun, an award-winning publishing, curatorial, and educational initiative with a focus on the Middle East and its diasporas; Gean Moreno, curator of programs at the Institute of Contemporary Art Miami and founder of [NAME] Publications; Aily Nash, co-curator of Projections, the New York Film Festival’s artists’s film and video section, and Film and Media Curator at Basilica Hudson; and Wendy Yao, a publisher and founder of both the exhibition space 356 South Mission Road and Ooga Booga, a shop with two Los Angeles locations that specializes in independent books, music, art, and clothing. Nash, together with the curators, is co-organizing the Biennial film program, which will screen in the Whitney’s third-floor Susan and John Hess Family Theater.

The 2017 Biennial will be accompanied by an exhibition catalogue, designed by Olga Casellas Badillo of San Juan-based Tiguere Corp., which includes essays by the curators as well as Biennial advisors Negar Azimi and Gean Moreno, a conversation between the curators and Scott Rothkopf, and a roundtable with filmmakers moderated by Aily Nash. The book will also feature individual entries on each of the sixty-three participants in the exhibition along with reproductions of their work. It will be published by the Whitney Museum of American Art and distributed by Yale University Press.

The full list of artists are as follows: Continue reading