Artipedia - Arts News

Environmentally conscious G2 Gallery will participate in the first Venice Eco-Fest, presented by Earth Day LA and the Venice Chamber of Commerce

Venice Eco-Fest is a new annual ecologically themed festival featuring over 150 eco-conscious and educational exhibitors offering information on a variety of environmental issues. The festival will have food, music by local artists, and a Kid’s Area with interactive entertainment and creative tools to teach kids the importance of preserving the environment. The festival will also feature political dignitaries, including Honorary Chair, 11th District Councilman Bill Rosendahl, actor Ed Begley Jr., and other leading environmentalists.

As part of its mission to support and promote appreciation and conservation of our natural world, the G2 Gallery showcases landscape, nature, and wildlife artwork by leading environmental photographers. G2 Gallery also donates all proceeds from sales to environmental charities. In order to further support the environment and the Venice community, G2 will participate in the Venice Eco-Fest. The G2 booth will offer membership and donation information forFriends of the Ballona Wetlands, which supports LA’s last remaining marsh, as well as information on the gallery. Attendees will also have the opportunity to purchase environmental images and books by renowned photographers

Saturday June 28, 2008
10:00am - 7:00 pm
Windward Avenue & Venice Beach
Venice, CA

http://www.theg2gallery.com/

Manifesta 7

MANIFESTA 7
THE EUROPEAN BIENNIAL
OF CONTEMPORARY ART
TRENTINO – SOUTH TYROL, ITALY
19 JULY – 2 NOVEMBER 2008

Press and Professional Preview: 17 and 18 July, 2008. All exhibition venues open from
10.00 am to 7.00 pm.
Official Opening: 19 July, 2008.

http://www.manifesta7.it

MANIFESTA 7 IS PLEASED TO ANNOUNCE THE PARTICIPATION OF 188 ARTISTS IN
4 EXHIBITIONS

Manifesta 7, the European Biennial of Contemporary Art, is hosted by the Trentino – South Tyrol Region from July 19 to November 2. It takes place in Italy for the first time, stretching across an entire regional territory, encompassing venues in four cities along a course of 150 kilometers joining the north and south of Europe along the Brenner axis: Fortezza (Bressanone), ex Alumix in Bolzano, the Palazzo delle Poste in Trento, and Manifattura Tabacchi and ex Peterlini in Rovereto.

“SCENARIOS”
Curated by Adam Budak, Anselm Franke / Hila Peleg, Raqs Media Collective
Fortezza / Franzensfeste
Contributors:

Shahid Amin, Hélène Binet, Brave New Alps, Adriana Cavarero, Mladen Dolar, Harun Farocki, Martino Gamper, Karø Goldt, Larry Gottheim, Renée Green, Ant Hampton, Hannes Hoelzl, Timo Kahlen, Karl Kels, Thomas Meinecke, Glen Neath, Margareth Obexer, Philippe Rahm, Arundhati Roy, Saskia Sassen, Michael Snow, Saadi Yousef.

“THE REST OF NOW”,
Curated by Raqs Media Collective
Bolzano / Bozen, ex Alumix
Artists:

David Adjaye, Stefano Bernardi, Kristina Braein, Yane Calovski, Candida TV, contemporary culture index, Neil Cummings and Marysia Lewandowska, Harold de Bree, Latifa Echakhch, Marcos Chaves, etoy.CORPORATION, Anna Faroqhi, Ivana Franke, Matthew Fuller, Francesco Gennari, Ranu Ghosh, Rupali Gupte and Prasad Shetty, Anawana Haloba in collaboration with Francesca Grilli, Graham Harwood, Nikolaus Hirsch & Michel Müller, Hiwa K, Emre Hüner, Helen Jilavu, Sanjay Kak, Zilvinas Kempinas, Reinhard Kropf and Siv Helene Stangeland, Anders Krueger, Lawrence Liang, Charles Lim Yi Yong, m-city, Teresa Margolles, Walter Niedermayr, Jorge Otero-Pailos, Martin Pichlmair, Piratbyrån, Jaime Pitarch, Prof. Bad Trip, Kateřina Šedá, Dayanita Singh, TEUFELSgroup, Meg Stuart, Melati Suryodarmo, Jörgen Svensson, Hansa Thapliyal, Alexander Vaindorf, Judi Werthein, Graham Harwood, Richard Wright, Matsuko Yokokoji, Darius Ziura.

Special Projects:

“Hot Desking: Four broadsheets, four cities, four events”
A project in collaboration with Konstfack Curator Lab
Hot Desk Paris: J’aime beaucoup ce que vous faites
Hot Desk Istanbul: Muhtelif
Hot Desk Stockholm: Site Magazine
Hot Desk Rome: Nero Magazine

“Tabula Rasa: 111 days on a long table”
A project by Denis Isaia in conversation with Raqs Media Collective

“THE SOUL (or, Much Trouble in the Transportation of Souls)”
Curated by Anselm Franke / Hila Peleg
Trento, Palazzo delle Poste
Contributors:

Nader Ahriman, Maria Thereza Alves / Jimmie Durham / Michael Taussig, Tamy Ben-Tor, Attila Bruni, Beth Campbell, Fabio Campolongo, Marcus Coates, Peter Coffin, Keren Cytter, Jos De Gruyter / Harald Thys, Massimiliano & Gianluca De Serio, Brigid Doherty, Omer Fast, Peter Friedl, Stefano Graziani, Tom Holert / Claudia Honecker, Karl Holmqvist, Hannah Hurtzig, Joachim Koester, Andree Korpys / Markus Löffler, Kuehn Malvezzi, Daria Martin, Angela Melitopoulos, Xisco Mensua, Valérie Mréjen, Rabih Mroué, Andreas Müller, Sina Najafi, Rosalind Nashashibi, Luigi Ontani, Ria Pacquée, Bernd Ribbeck, Pietro Roccasalva, Roee Rosen, Christoph Ruckhäberle, Natascha Sadr Haghighian, Florian Schneider, Eyal Sivan, Josef Strau, Javier Tellez, Althea Thauberger, Anne-Mie Van Kerckhoven, Barbara Visser, Klaus Weber, Eyal Weizman.

“PRINCIPLE HOPE”
Curated by Adam Budak
Rovereto, Manifattura Tabacchi and ex Peterlini
Artists:

Alterazioni Video, Michelangelo Antonioni, Knut Åsdam, Bernadette Corporation, Margrét H. Blöndal, Michal Budny, BURGHARD, Nina Canell, Libia Castro & Ólafur Ólafsson, Claire Fontaine, Oskar Dawicki, Evelina Deicmane, Rä di Martino, Miklós Erhardt and Little Warsaw, Igor Eskinja, Tim Etchells, fabrics interseason, Famed, Didier Fiuza Faustino, João Maria Gusmão + Pedro Paiva, Heide Hinrichs, Heidrun Holzfeind, Runa Islam, Ricardo Jacinto, Ragnar Kjartansson, Barbora Klímová, Daniel Knorr, Adam Leech, Deborah Ligorio, Miks Mitrevics, Christian Philipp Müller, Ewa Partum, Gianni Pettena, Riccardo Previdi, Philippe Rahm, Pamela Rosenkranz, Janek Simon, Luca Trevisani, Tatiana Trouvé, Uqbar Foundation, Guido van der Werve, Nico Vascellari, Danh Vo, Johannes Vogl, Stephen Willats, ZimmerFrei.

featuring:

“AUDITORY EPODE” curated by Tobi Maier
Florian Hecker, Anna Ostoya, the next ENTERprise, Chris Watson, Zafos Xagoraris.

“manifeSTATION” curated by the Office for Cognitive Urbanism (Andreas Spiegl, Christian Teckert)
Azra Aksamija, Andreas Duscha, Sonia Leimer, Christian Mayer, Kamen Stoyanov, Adrien Tirtiaux, Anna Witt.

“MATTER OF FACT” curated by Krist Gruijthuijsen
Jeremiah Day, Renzo Martens, Olaf Nicolai, Adam Pendleton, Falke Pisano/ Will Holder, Ricardo Valentim.

“SOCIAL ART PRAXIS” curated by Cornelia Lauf (IUAV, Venice)
Airswap, Aspramente, Publink.

Further information:

Manifesta 7
T: +39 0471 414 980 (Office Bozen / Bolzano)
T: +39 0461 493 670 (Office Trento)
info@manifesta7.it (for general information)
press@manifesta7.it (for press only)
professional@manifesta7.it (for professionals only)
http://www.manifesta7.it

Full Sail a 4×5″ minature masterpiece by Regan Tausch

Meet the Artist and see her Art in person - the best way to see it! Saturday mornings thru Sept 7 2008 at the Bayville Commons. That’s in Bayville New York, Ludlum and Bayville Ave.
Regan Tausch has been delighting collectors with her unique folk Art for over ten years. Her larger paintings are available at the Nassau County Museum of Art.
She offers miniature works on ebay and Etsy also.
visit her website @ http://regantausch.com/calendar.html
for links to Regan’s Art on TV and other fun links.

Happy Summer !
~ Regan Tausch

Stedelijk Museum CS

Wolfgang Tillmans
police helicopter, 1995
from: Stedelijk Room

Tegenwoordigheid van Geest / Presence of Mind

A choice from the collection by Wolfgang Tillmans

21 June - 30 September 2008

http://www.stedelijk.nl

The Stedelijk Museum regularly invites artists to present a choice of works from the collection, coloured by their own artistic vision. The presentation is invariably linked to a new acquisition. In this exhibition, German artist Wolfgang Tillmans (b. 1968) expresses his personal view of the collection and simultaneously provides a new and surprising context in which to see his work.

Wolfgang Tillmans’ distinctive style of image-making encompasses a broad range of subjects and shifts between his immediate surroundings, nature, politics, religion, global issues like the AIDS crisis and even the purely abstract qualities of the image. In his installations he employs a free mix of images from widely divergent visual categories. Tillmans’ aim is, as it were, to construct a visual catalogue in which every image can stand alone but also be part of a continuous whole. Each of his exhibitions uses new combinations of these images.

Photography and installation go hand in hand in Tillmans’ work. For him, they are inseparable means of expression. Especially over the last few years, the relationship between his work and a specific spatial situation has become a key preoccupation. The abstract qualities of his work have also become ever more prominent. Tillmans has started producing entirely abstract and often largely accidental compositions, created in the darkroom through the direct manipulation of light on paper.

In the forthcoming exhibition at the Stedelijk, Tillmans reveals the connections between his own work and that of a number of kindred spirits in the art world. Some, like German artist Isa Genzken, with whom Tillmans has exhibited on a number of occasions, share his free and easy approach to images and materials. Others, like René Daniëls and Daan van Golden, are artists who constantly redeploy their own stock of images in new ways. Tillmans also creates a dialogue between his own experiments with the abstract qualities of the photographic image and the work of Ellsworth Kelly, Morris Louis, Robert Mangold and Niele Toroni. The socially committed, political aspect of his oeuvre is reflected in his selection of Roberto Matta, Peter Hujar and Timur Novikov.

A particularly interesting element in the exhibition is an installation created by Tillmans especially for the Stedelijk, which will be acquired by the museum for its collection. Called Stedelijk Room, it combines abstract images with portraits, landscapes, still lifes and townscapes. Tillmans even includes odd references to Amsterdam/The Netherlands, such as his self-portrait Mosshat (1988), made during a period in Amsterdam in his twenties, and a photograph of a painting of William of Orange. Iconic works from Tillmans’ oeuvre included in Stedelijk Room are Lutz & Alex climbing tree (1992), police helicopter (1995), man pissing on chair (1997) and the black-and-white image of an intertwined group of friends Arkadia I (1996). In contrast to these earlier photographs, there are also recent, large-scale abstracts like Freischwimmer 118 (2005) and Silver 50 (2006). Finally, Stedelijk Room includes three tables covered with montages of photographs and cuttings from newspapers
and magazines which are in permanent dialogue with the images displayed on the walls.

The exhibition has been devised by Wolfgang Tillmans in close collaboration with Martijn van Nieuwenhuyzen, curator at the Stedelijk Museum.

Stedelijk Museum CS
Oosterdokskade 5
Amsterdam
Telephone +31 20 5732911
http://www.stedelijk.nl

Peggy Guggenheim Collection

John Sloan
Sunday, Women Drying Their Hair, 1912
Oil on canvas
26 1/8 x 32 1/8 in.
Addison Gallery of American Art, Phillips Academy,
Andover, Massachusetts; museum purchase (1938.67)
Courtesy American Federation of Arts

COMING OF AGE.
AMERICAN ART, 1850S TO 1950S
June 28 - October 12, 2008

Peggy Guggenheim Collection
701 Dorsoduro
30123 Venice
ITALY
phone +39 041 2405411
fax +39 041 5206885
info@guggenheim-venice.it

http://www.guggenheim-venice.it

From June 28 to October 12, the Peggy Guggenheim Collection presents Coming of Age. American Art, 1850s to 1950s. The exhibition will be installed in the recently renovated temporary exhibition galleries and will chronicle the transformation that occurred in a century of American art from the mid-nineteenth to the mid-twentieth centuries, from a literal depiction of nature to an abstract interpretation of universal ideas. Drawing exclusively from the renowned collection of the Addison Gallery of American Art, Phillips Academy, Andover, MA (USA), Curators William C. Agee, professor of art history at Hunter College, CUNY, New York, and Susan C. Faxon, associate director and curator of the Addison Gallery of American Art, have selected approximately seventy paintings and sculptures to reveal the complex and contradictory impulses that led American artists to adopt and redefine a new idiom for art, an “American” expression that was identifiably their own. The exhibition takes
place at the Peggy Guggenheim Collection following its presentation at the Meadows Museum of Art, Dallas, Texas and the Dulwich Picture Gallery, London. Coming of Age is organized by the American Federation of Arts, New York, and the Addison Gallery of American Art, Phillips Academy, Andover, MA, where it opened in September 2006, and is made possible, in part, by the Crosby Kemper Foundation and by Frank B. Bennett and William D. Cohan, with additional support from the Philip and Janice Levin Foundation Fund for Collection-Based Exhibitions at the American Federation of Arts. The exhibition has the Patronage of the Embassy of the United States of America in Italy and of the Consulate General of the United States of America in Milan.

The majestic landscapes of the Hudson River School artists of the 1850s, personifying the optimistic patriotism of the mid-century, marked the beginning of a distinctly American language. The Hudson River School artists found their inspiration in the American wilderness, depicting both the majesty and tranquility of nature and suggesting, idealistically, the ability to portray the divine hand of God at work in nature. These artists chose to depict the American landscape as a virgin territory, full of promise, often carefully expunging any evidence of human settlement that was already impacting the countryside. Gradually, American artists began to merge stylistic European influences with subjects specifically American. Inspired by French painters and their depictions of the lush Barbizon countryside, American landscape painters like George Inness turned from the conventions of Romantic landscape to portrayals of nature’s moods, reveling in its unpredictability, and opting to
portray dramatic scenes of nature with looser brushstrokes and a darker palette.

In the late nineteenth century, American realism, which celebrated the power of the American land and mind, coexisted with works uniting Impressionist and Post-Impressionist influences and an American sensibility for the specific. By the turn of the century, an even more complex set of artistic impulses arose: at one side were expatriate painters like John Singer Sargent and James McNeill Whistler, adept players in the international art scene who created European-inspired paintings of the Old World; and on the other were Ash Can School painters like Robert Henri, George Luks, and John Sloan, who focused on the gritty streets and structures of American cities with painterly techniques that referenced European traditions.

In the early 1900s, the prominence of American modernism grew so as to proclaim New York, and no longer Paris, the center of the artistic avant-garde. Proponents of American modernism such as Stuart Davis, Man Ray, and Patrick Henry Bruce defined abstraction in their use of bold, geometric shapes and colors to create an American vision deriving from European Cubism. On the other hand, Arthur Dove, Georgia O’Keeffe and others in Stieglitz’s circle were using reductive shapes and lines to create a modernism that held allegiance to organic forms. Artists such as Charles Sheeler and Edward Hopper, however, preferred representing scenes inspired by American city life, preserving in their works a link
with modernism.

In the 1930s, German-trained artists Josef Albers and Hans Hofmann emigrated to the United States where they became instrumental in the introduction of a new set of ideas about color, form, perception, and design, once again transforming the American art scene. Their teachings set the stage for the emergence of a new, non-objective abstraction of the 1940s in the work of Abstract Expressionists such as Franz Kline, Jackson Pollock, and David Smith. The highly emotive abstract works of these artists forged a new notion of American art, breaking the hold of old traditions and carrying America to the center of the international art scene.

In the 1950s, the prominence of New York as the focus of international art expanded at the hands of painters such as John McLaughlin, Ad Reinhardt and Frank Stella. These artists translated the modernism of the New York School into a refinement of color, shape, and line, assuring American art’s vanguard position for decades to come. These works conclude the exhibition.

Thanks to Vodafone, there will be an innovative audio-guide for the exhibition, downloadable directly to visitors’ mobile phones. The voice of Philip Rylands, director of the Peggy Guggenheim Collection, will accompany visitors among the major works on display and will offer an alternative educational source of information on the contents of the exhibition. The exhibition is made possible at the Peggy Guggenheim Collection thanks to the technical support provided by iGuzzini and Codess Cultura.

Featuring essays by the Curators William C. Agee and Susan C. Faxon, the exhibition catalogue, available in English and Italian, is an excellent historic opportunity for scholars of American art to interpret the Addison’s rich collection in depth. The English edition is published by the American Federation of Arts in association with Yale University Press and the Italian edition by Skira.

COMING OF AGE. AMERICAN ART, 1850S TO 1950S
June 28 - October 12, 2008

Opening hours: daily 10 am to 6 pm (closed on Tuesday and December 25)

Peggy Guggenheim Collection
701 Dorsoduro
30123 Venice
ITALY
Phone +39 041 2405411
Fax +39 041 5206885
Email info@guggenheim-venice.it
http://www.guggenheim-venice.it

Press Office:
Peggy Guggenheim Collection
Tel. +39 0412405404; press@guggenheim-venice.it