The three guest curators of the 2014 Whitney Biennial—Stuart Comer (Chief Curator of Media and Performance Art, MoMA), Anthony Elms (Associate Curator, Institute of Contemporary Art, Philadelphia), and Michelle Grabner (Artist and Professor, Painting and Drawing Department, School of the Art Institute, Chicago)—have announced the artists who will participate in next year’s exhibition. Each curator will oversee installations on one floor, “representing a range of geographic vantages and curatorial methodologies….This can be seen in [the curators'] choice of artists working in interdisciplinary ways, artists working collectively, and artists from a variety of generations. Together, the 103 participants offer one of the broadest and most diverse takes on art in the United States that the Whitney has offered in many years.”
This Biennial will be the last in the Whitney Museum’s current building at 945 Madison Avenue at 75th Street; the museum will relocate to its new, Renzo Piano designed building in Spring 2015.
In an effort to expand its public art program, LAX has installed Influx: Art at LAX, the “first-ever public art festival” of eleven new temporary art installations scattered throughout the airport. Some spaces are viewable only to ticketed passengers while others are open to the public. In all, the project contributes to “nearly doubling its art exhibition space at LAX, with new installations in Terminals 1, 2, 3, Tom Bradley International Terminal, 6, 7, and 8.” Influx will run until the end of the year.
The dates for the 19th Annual Los Angeles Art Show have been announced: Thursday, January 16 through Sunday, January 19, 2014. The Art Show will once again be at the Los Angeles Convention Center, South Hall J and K and offer its four distinct “fairs-within-a-fair” for Modern & Contemporary, Historic & Traditional, Vintage Posters, and the IFPDA Los Angeles Fine Print Fair. Click here for more information and check out their blog for the latest news.
Previously at The Santa Barbara Museum of Art and currently at the Asia Society and Museum in New York, The Artful Recluse showcases almost 60 paintings from an era of unrivaled historical drama and artistic achievement in China that spans from the late Ming (ca. 1600–1644) and the early Qing dynasties (1644–ca.1700). The show, co-curated by Peter Sturman, Professor of History of Art and Architecture at UCSB, and Susan Tai, Elizabeth Atkins Curator of Asian Art at SBMA, was recently reviewed in the New York Times.
The International Exhibition of Modern Art was held at the 69th Infantry Regiment Armory in New York between February 17 – March 15, 1913 and made a deep and wide impact on American art and its viewing public. Some interesting websites on the exhibition’s 100th anniversary include:
- 1913 Armory Show: the Story in Primary Sources: a visual timeline from the Smithsonian’s Archives of American Art, as seen through letters, meeting minutes, news articles, sales records, etc.
- The New Spirit: American Art in the Armory Show, 1913: at the Montclair Art Museum (February 17 – June 16, 2013), the first exhibition to focus primarily on the American artists represented in that show
- The Armory Show at 100: information about an upcoming exhibition (October 11, 2013 – February 23, 2014) at the New-York Historical Society that will reassess the Show and its impact by bringing together 75 works of art and presenting an extensive catalogue of images and essays
- The Virtual Armory Show: a gallery-by-gallery textual and visual recreation of the exhibition, for a virtual museum created by by Shelley Staples for the (now disbanded) American Studies Group at the University of Virginia
The Staatlichen Museen zu Berlin, Stiftung Preußischer Kulturbesitz now hosts an online catalogue of their significant collection of drawings, watercolors, gouaches and prints by the architect Karl Friedrich Schinkel (1781-1841). The project, Das Erbe Schinkels (Schinkel’s Legacy) contains almost 6,500 entries. Users can search either in English or German, including Iconclass and bibliography keywords. The project, developed in part with the exhibition Karl Friedrich Schinkel. History and Poetry (7 September 2012 – 6 January 2013 at Kupferstichkabinett im Kulturforum, Berlin), also aims to fit works within both a timeline of Schinkel’s artistic techniques and preferred materials as well as the broader issue of long-term user access.
It’s that time of year again to mark your calendars for the Annual Los Angeles Art Show, which will be held January 23-27, 2013 in the South Hall of the LA Convention Center. This year is even more comprehensive, with four distinct “fairs-within-a-fair” (last year there were three): Modern & Contemporary, Historic & Traditional, Vintage Posters, and the IFPDA Los Angeles Fine Print Fair. All this translates into 200,000 square feet of paintings, sculpture, works on paper, photography, installation, and video from around the world. Information has not yet been posted for events, so check the LA Art Show blog often!
For those who were unable to get to Kassel, Germany this summer for documenta 13, here’s your chance to virtually experience installations at all venues. The 360°-Tour offers participants numerous ways to navigate the vast system of projects: by visitor’s favorites (with accompanying video), by a room-by-room “walk through” of each venue, by individual works of art chosen from a map, or by artist. Additional projects are web based.
hat tip to Laurie Monahan
A new online exhibition, Lost Art, “explores the stories behind the loss of some of the most significant works of modern and contemporary art.” The works of art shown are not only those stolen, but also those which have been destroyed by disasters or neglect, and are all in various states of “loss” — temporary or permanent. The project is curated by the Tate and will post a new work each week. Be sure to use the zoom in/out and click-and-drag functions to get the full effect of the warehouse-like space.
The Geffen Contemporary at MOCA has teamed up with Google Earth to provide interactive maps of works in the current exhibition Ends of the Earth: Land Art to 1974 by “pinpointing their original locations to demonstrate the global nature of Land art and its relationship to real places and times.” Users can see both aerial photographs and street views of the sites as well as background information and contemporary images of each work as installed.