• Alex Katz
    Brand-New & Terrific: Alex Katz in the 1950s
    April 30, 2017 - July 6, 2017
    Cleveland Museum of Art
    11150 East Blvd
    Cleveland, OHIO

    One of the most acclaimed artists working today, Alex Katz (b. 1927) surprised the American art world during the 1950s with his refreshingly innovative approaches to painting portraits, landscapes, and still lifes. The first museum survey of these pathbreaking works, Brand-New & Terrific: Alex Katz in the 1950s showcases more than 70 key loans from public and private collections.  

    The exhibition’s title derives from his early manifesto announcing his intentions to invigorate traditional artistic subject matter. Creating work at a time when abstract painting dominated the art scene, Katz forged an ingenious way to wed abstraction with recognizable imagery by paring down his compositions to their most fundamental elements. In retrospect, these works prefigured the subsequent development of Pop Art. 

    At this time Katz also began making collages from watercolored paper, inspired in part by the cut-paper constructions of Henri Matisse. Intimate in scale and delicate in construction, these works formed a distinctive body of work that complemented his larger paintings. By the late 1950s, Katz adapted this technique to invent his freestanding or wall-mounted “cutouts,” a revolutionary blending of painting and sculpture. 

     

    http://www.clevelandart.org/events/exhibitions/brand-new-terrific-alex-katz-1950s

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  • Imran Qureshi
    Two Wings To Fly, Not One
    April 15, 2017 - May 31, 2017
    Pakistan National Council of the Arts
    National Art Gallery
    Plot no. 5, F-5/1
    Islamabad

    Inspired by a verse by Jalaluddin Rumi, Two Wings to Fly, Not One, seeks to emphasize a multi-faceted view of Pakistan. This show explores the country’s varying narratives – political, social and historical – all of which run through the artists’ perceptive pieces. The artists invite visitors to the show to grapple with the country’s dynamic contemporary culture, where resilience and hope withstand the harsh realities brought about by disparity and socio-economic difficulties.

    Aisha Khalid and Imran Qureshi have been hailed internationally as Pakistan's foremost and most prominent contemporary artists. Trained in the Miniature Art tradition from National College of Art, Lahore, Khalid and Qureshi and have been instrumental in developing and popularizing the contemporary miniature art movement of Pakistan. Both artists have enhanced their craft and pushed it further conceptually. Specific signature motifs are prevalent throughout their paintings; Khalid explores geometric forms and the idea of a vortex in many of her works, while Qureshi’s paintings include floral sprays.


    http://projectartdivvy.com/exhibition/

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  • Tony Cragg
    Sculptures and Drawings
    April 7, 2017 - June 12, 2017
    Museo de Bellas Artes
    Arte Universal
    La Habana

     

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  • Georg Baselitz
    PREVIEW WITH REVIEW
    April 1, 2017 - July 2, 2017
    Hungarian National Gallery
    Szent György tér 2.
    1014 Budapest, Hungary

    The exhibition titled Preview with Review will display the early works from the 1960s alongside many masterpieces from Remix, a series started in 2005. The Budapest exhibition is made special by the fact that it is the first large-scale show not only in Hungary but in all Central Eastern Europe that presents Baselitz’s art comprehensively. Staged by the Museum of Fine Arts – Hungarian National Gallery in cooperation with the Goethe-Institute in Budapest, the show will comprise more than eighty works selected from international and Hungarian public and private collections, while eight lesser-known large-format paintings and a sculpture will arrive directly from the artist’s studio.

     

    http://mng.hu/temporary_exhibitions/baselitz-preview-with-review-122742

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  • James Rosenquist
    James Rosenquist (1933 – 2017)
    March 31, 2017 - March 31, 2017

    Galerie Thaddaeus Ropac is deeply saddened by the loss of James Rosenquist who passed away on Friday, March 31st at the age of 83. He will be remembered as one of the greatest artists of the 20th century and a pioneer of Pop Art.

    James Rosenquist (1933-2017) was born in Grand Forks, North Dakota. In 1955 he went to New York to study art at the Art Students League with renowned teachers such as German Dadaist George Grosz and Edwin Dickinson. Drawing upon his experience as a billboard painter he started incorporating images from mass media and advertising into large-scale canvases in the 1960s. He portrayed modern life by creating visually striking compositions of cropped and fragmented images of cars, movie stars, food etc. While his paintings are executed in a realistic style, James Rosenquist always gives them a distinctive sense of mystery. 

    He is considered as one of the fathers of the Pop Art movement along with Andy Warhol, Robert Rauschenberg, Jasper Johns and Roy Lichtenstein. One of his most renowned works is the 86ft-long “F-111” (1964-65), titled after a US military jet the work is notably a protest against American militarism. In the 1970s, he turned to geo-political, existentialist and environmental themes and later his paintings revealed a futuristic abstraction. 

    Today, James Rosenquist’s work is represented in public and private collections worldwide, including the Centre Pompidou, Tate Modern and MoMA amongst others. The Guggenheim Museum organized in 2003 one of the most important retrospective exhibition on the artist which travelled around the world. On this occasion The New York Times wrote that his “art’s formal ingenuity can jump out at you as forcefully as the grill of a Ford or a fragment of Marilyn Monroe’s lips”.

    Galerie Thaddaeus Ropac has worked with the artist for 25 years. His first exhibition at the gallery took place in 1992. His latest survey show “Four Decades 1970-2010” was on view between September and December 2016 at the Paris Pantin gallery. In November 2017 the Museum Ludwig in Cologne will host a major exhibition of his work titled “Painting as immersion”.

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  • Elger Esser
    MORGENLAND
    March 29, 2017 - May 21, 2017
    Parasol unit foundation for contemporary art
    14 Wharf Road
    London N1 7RW

    Parasol unit foundation for contemporary art is delighted to present an exhibition of photographic works by German artist Elger Esser. This exhibition, his first solo show in a public institution in the United Kingdom, focuses on a new series of works, entitled Morgenland, created during his travels in the Eastern countries of Lebanon, Egypt and Israel from 2004 to 2015.

    Shown for the first time at Parasol unit, the Morgenland (morning land) series refers to the concept of the Orient or the East. Rather than reflecting a negative stereotypical 'Orientalism' with its links to cultural colonialism, as discussed by Edward Said in his 1978 seminal book on the subject, Esser's depictions of the Near East aim to convey a sense of reconciliation amidst regional differences and historical issues.

    Travelling along the Lebanese shore in 2004 and the Nile between Luxor and Aswan in 2011, Esser photographed the banks of rivers, traditional feluccas and dahabiya sailing vessels, using an 8 x 10 Land camera. Captured from a great distance, Esser's calm awe-inspiring landscapes, somewhat reminiscent of the romantic images of faraway lands on old postcards, seem to convey a sense of the infinite. Their quiet and serene beauty, however, is disturbing because it is in such stark contrast to what we know of the ugly conflicts taking place in the region today and how they are generally portrayed in the media.

    During a visit to Israel in 2015, Esser created a series of works based on some archival photographs taken by an unknown photographer who had documented the existence of ruins in Israel/Palestine during 1948. With his series, Esser aims to present a timeline of conflicts, dating from the Byzantine period to recent times, showing the development and decay of cultural periods. Landscapes are seen as stratifications, layers upon layers of different cultures. The work One Sky, 2015, shows two panoramas printed back-to-back on a silver-coated copper plate. One side displays a view as seen from Lebanon, while the other side presents the same view as seen from Israel. Although both scenes are so similar they appear to be the same, they present us with a single location as seen from opposite perspectives.

    Nature and the landscape are central themes throughout Elger Esser's photographic oeuvre. Often in muted, sepia or monochromatic colours, his works have a stillness about them that evokes a sense of the sublime. Esser's large-format photographs typically depict European lowlands with his characteristic low horizon lines, pale luminous colours and vast skies, beaches, wetlands or seas. His skilful use of traditional processes, such as photogravure printing, gives his images an intense sharpness, depth and luminosity. Inspired by the literary works of Gustave Flaubert, Marcel Proust and Guy de Maupassant, paintings of the Romantic period, and early nineteenth-century photography, Elger Esser's works originate from the travels he has undertaken since 1996, across France, Italy, Spain, Scotland, Ireland, the Netherlands, the USA, and Australia.

    This exhibition, curated by Ziba Ardalan, is accompanied by a full programme of educational events aimed at engaging the public.

    For more information: http://parasol-unit.org/upcoming-exhibitions

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  • Richard Deacon
    What You See Is What You Get
    March 25, 2017 - July 25, 2017
    The San Diego Museum of Art
    1450 El Prado
    Balboa Park, San Diego, CA

    Richard Deacon: What You See Is What You Get is the renowned British artist's first major museum exhibition in the United States. Winner of the Turner Prize in 1987 and the subject of a survey at Tate Britain in 2014, Deacon has been exhibited frequently internationally and remains a pioneering figure in the field of contemporary sculpture. A self proclaimed "fabricator"—a maker of things and of meaning, neither carved nor cast—Deacon sidesteps the issue of technique by never focusing on any one material, challenging the viewers' expectations with unusual combinations. While the titles of his work can appear literal, they often invoke a range of metaphors, as well as mythological and literary allusions. The full range of the artist’s oeuvre includes free-standing sculptures and wall-mounted works, to glazed ceramics and works on paper.

     

    http://www.sdmart.org/art/exhibit/richard-deacon-0

     

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  • Erwin Wurm
    Football-sized lump of clay on light blue car ro...
    March 24, 2017 - August 28, 2017
    Kunsthaus Graz
    Lendkai 1
    8020 Graz, AUSTRIA

    An exhibition by Erwin Wurm does not mean a retrospective of the work of Austria’s surely most prominent contemporary artist, who, together with Brigitte Kowanz will fill the Austrian Pavilion at Venice this year. Instead, the building will assume the role of a generator, becoming an active participant in events. Football-sized lump of clay on a light blue car roof shows works developed specially for the Kunsthaus Graz, whereby elements of the performative, participatory and sculptural are connected with each other and the building. Evolving consistently his expanded notion of sculpture, Wurm now confronts the public with the idea of a ‘word sculpture’. Thus we encounter protagonists in the Kunsthaus who address directly the visitors from the pedestal, describing a situation as introduced in the exhibition title. This imagining of the situation ourselves, thus self-creating the sculpture as it were, is a radical extension of Wurm’s One Minute Sculptures. The imaginary becomes the exclusive location of the images.


    https://www.museum-joanneum.at/en/kunsthaus-graz/exhibitions/exhibitions/events/event/5584/erwin-wurm-6

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  • Oliver Beer
    IKON GALLERY
    March 15, 2017 - June 4, 2017
    Ikon Gallery
    1 Oozells Square
    Birmingham, B1 2HS

    British artist Oliver Beer returns to Ikon for the first time since 2011 to provide audiences with an opportunity to encounter his new and recent work within the context of a judicious survey.

    Oliver Beer interrogates at once the physical properties and emotional value of objects, with a paradoxical emphasis on emptiness and absence. The notion of “negative space” is key – whereby a balance is struck between occupied and unoccupied space – so the viewer is confronted with what is, literally, not there. A number of recent works have involved a selection of vessels – ceramic and otherwise – to create idiosyncratic musical instruments as installations. The empty space within each vessel has its own musical note at which it resonates, and so contributes to a symphony of natural frequencies, with microphones feeding back into looping sound systems.

    A new work, commissioned by Ikon, Reanimation (I Wanna Be Like You), 2017 is a “re-animation” of a scene from Walt Disney’s Jungle Book. 2,500 local school children, from early years until the age of 13, were invited to join in, drawing film stills in order of their age, so that the animation becomes increasingly “grown up”. Frame by frame the scribbles of infants progressively give way to the increasingly lucid drawings of children and then adolescents. Thus Oliver Beer touches on the inexorable passage of time – through a time-based medium – in order to encourage a consideration of what it is like to be human.

    More information: https://ikon-gallery.org/event/oliver-beer/

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  • Harun Farocki Estate
    COUNTER MUSIC
    March 10, 2017 - May 28, 2017
    Haus der Kunst
    Prinzregentenstraße 1
    80538 München

    Harun Farocki (1944 – 2014) was a seminal figure amongst the filmmakers and intellectuals that emerged from the highly-charged political debates in Europe at the end of the 1960s. His oeuvre constitutes an archaeology of the political economy of media and images that question the efficacy and validity of the moving image as a mode of documentation and analysis. 

    Emerging from within this vast body of work that combines humanist, anarchic, and aesthetic militancy, "Harun Farocki: Counter Music" explores the filmmaker’s continual analysis of shifting modes of labor, production, and consumption. Indeed, current disenchantments with labor practices across the world, combined with the mass displacement of workers which have taken place under the guise of globalization have added renewed urgency and energy to Farocki’s incisive reflections on the nature of human and social agency.

    The exhibition is curated by Okwui Enwezor and Antje Ehmann with Damian Lentini.

    For more information: http://www.hausderkunst.de/en/exhibitions/detail/harun-farocki-counter-music/

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