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Modernist Painter Rolph Scarlett – Celebrated in Seattle

 

Seattle’s Frederick Holmes and Company is currently presenting Rolph Scarlett: Legacy Lost and Found,  a comprehensive survey of Modernist painter, Rolph Scarlett (1889-1984), featuring over 40 original paintings and works on paper – non-objective, abstract, and figurative – dating from the 1930’s through the early 1960’s; the largest gallery exhibition ever presented in the Pacific Northwest.

 

Any presentation on the legacy of Scarlett has to include the history of the Guggenheim Museum’s founding, which was the peak of Scarlett’s career. Canadian-born Rolph Scarlett was one of the founding artists of Solomon Guggenheim’s original museum which opened in 1938: The Museum of Non-objective Painting. He became the third most highly collected artist among Guggenheim’s vast holdings which comprised the Museum’s permanent collection.

 

Through the Museum’s founding curator and director, Baroness Hilla Rebay’s zealous leadership and advocacy of this radical avant-garde genre of painting and philosophy, the museum became a groundbreaking institution in New York, attracting collectors, critics, and artists. Rolph Scarlett was introduced to non-objective in 1923 through a chance meeting in Geneva with Paul Klee. In 1938, after submitting a portfolio of gouaches one paper to Baroness Rebay, he was awarded a Guggenheim Grant which was enough to allow him to paint full-time. Described by Rebay as her “greatest find”, Scarlett became one of the exhibiting artists as well as a featured lecturer at the Museum on the principles of non-objective painting.

 

Today, Roph Scarlett is increasingly praised as one of the important contributors to the canon of American Modern. The exhibition is presented in cooperation with the Weinstein Collection, San Francisco, and runs through November 30.

 

 

 

 

source: frederickholmesandcompany

Major Monet Exhibition in Denver

 

The Denver Art Museum will be home to the most comprehensive U.S. exhibition of Monet paintings in more than two decades. The exhibition will feature more than 120 paintings spanning Monet’s entire career and will focus on the celebrated French impressionist artist’s enduring relationship with nature and his response to the varied and distinct places in which he worked.

 

The presentation of Claude Monet: The Truth of Nature will explore Monet’s continuous interest in capturing the quickly changing atmospheres, the reflective qualities of water and the effects of light, aspects that increasingly led him to work on multiple canvases at once. Additionally, the exhibition will examine the critical shift in Monet’s painting when he began to focus on series of the same subject, including artworks from his series of Haystacks, Poplars, Waterloo Bridge, and Waterlilies.

 

Monet traveled more extensively than any other impressionist artist in search of new motifs. His journeys to varied places including the rugged Normandy coast, the sunny Mediterranean, London, the Netherlands, and Norway inspired artworks that will be featured in the presentation. The exhibition will uncover Monet’s continuous dialogue with nature and its places through a thematic and chronological arrangement, from the first examples of artworks still indebted to the landscape tradition to the revolutionary compositions and series of his late years.

 

The exhibition will also delve into the artist’s increasing abandonment of any human presence in the landscapes he created, a testimony to his commitment to isolate himself in nature. This creative process simultaneously established an intimacy with his subject, which culminated later in Giverny, where he created his own motif through meticulous planning, planting, and nurturing of his flowers and plants, which he then translated onto the canvas.

 

Co-organized with the Museum Barberini in Germany, Denver will be the sole U.S. venue for Claude Monet: The Truth of Nature which runs from October 21, 2019 to February 2, 2020.

 

 

 

 

source: denverartmuseum

 

MIT Art-Science Project Makes $2 Million Diamond “Disappear”

 

The MIT Center for Art, Science & Technology and the New York Stock Exchange are currently presenting The Redemption of Vanity, created by artist Diemut Strebe in collaboration with MIT scientist Brian Wardle and his lab, on view at the New York Stock Exchange through November 25, 2019 by appointment only. For the work, a 16.78 carat natural yellow diamond valued at $2 million from L.J.West was coated using a new procedure of generating carbon nanotubes (CNTs), recently measured to be the blackest black ever created, which makes the diamond seem to disappear into an invisible void. The patented carbon nanotube technology (CNT) absorbs more than 99.96% of light and was developed by Professor Wardle and his necstlab lab at MIT.

 

“Any object covered with this CNT material loses all its plasticity and appears entirely flat, abbreviated/reduced to a black silhouette. In outright contradiction to this we see that a diamond, while made of the very same element (carbon) performs the most intense reflection of light on earth. Because of the extremely high light absorbtive qualities of the CNTs, any object, in this case a large diamond coated with CNT’s, becomes a kind of black hole absent of shadows,“ explains Strebe. “The unification of extreme opposites in one object and the particular aesthetic features of the CNTs caught my imagination for this art project.”

 

“Strebe’s art-science collaboration caused us to look at the optical properties of our new CNT growth, and we discovered that these particular CNTs are blacker than all other reported materials by an order of magnitude across the visible spectrum”, says Wardle. The MIT team is offering the process for any artist to use. “We do not believe in exclusive ownership of any material or idea for any artwork and have opened our method to any artist,” say Strebe and Wardle.

 

“The project explores material and immaterial value attached to objects and concepts in reference to luxury, society and to art. We are presenting the literal devaluation of a diamond, which is highly symbolic and of high economic value. It presents a challenge to art market mechanisms on the one hand, while expressing at the same time questions of the value of art in a broader way. In this sense it manifests an inquiry into the significance of the value of objects of art and the art market,” says Strebe. “We are honored to present this work at The New York Stock Exchange, which I believe to be a most fitting location to consider the ideas embedded in The Redemption of Vanity.”

 

 

 

 

source: the-redemption-of-vanity

12th Annual Singapore Night Festival

 

The Singapore Night Festival just completed its 12th annual event over two weekends in August. To commemorate the Singapore Bicentennial, the festival incorporated folklore and a Southeast Asian flair into this year’s art. The façade of iconic landmarks sprung to life in dazzling brilliance in Singapore’s Bras Basah.Bugis district with more than 40 performances as well as 16 light art installations and projections cast onto the city.

 

 

 

 

 

source: singapore night festival

Hans Hofmann: The Nature of Abstraction

 

This fall, the Peabody Essex Museum (PEM) in Salem, Massachusetts is presenting a fresh perspective on Hans Hofmann.  Widely considered to be one of the most influential American artists of the 20th century, the exhibition presents the most comprehensive examination of Hans Hofmann’s innovative and prolific career to date.

 

Hans Hofmann (1880–1966) played a pivotal role in the development of Abstract Expressionism and is celebrated for his exuberant canvases. Renowned as an influential teacher for generations of artists—first in his native Germany, then in New York and Provincetown—Hofmann left an indelible legacy on painting. As a teacher and as a modern artist, Hofmann associated with many of the most notable artists, critics, and dealers of the 20th century, including Pablo Picasso, Georges Braque, Wassily Kandinsky, Peggy Guggenheim, Clement Greenberg, Jackson Pollock, and many others.

 

Featuring more than 45 paintings—including works from private collections that have never been exhibited in a museum setting—Hans Hofmann: The Nature of Abstraction presents an unprecedented look at Hofmann’s studio practice, focusing on his continually experimental approach to painting and its expressive potential. The exhibition runs from September 21, 2019, through January 5, 2020

 

 

 

 

source: pem

 

Abstract Artist Yvonne Thomas – Windows and Variations

 

New York City’s Berry Campbell Gallery is celebrating the work of abstract artist Yvonne Thomas in an upcoming exhibition titled Windows and Variations: Paintings from 1963 – 1965.

 

Thomas was born in Nice, France, in 1913, and arrived with her family in the United States in 1925. After first settling in Boston, the family moved to New York, where Thomas studied briefly at Cooper Union. When her parents could not afford her tuition due to the Great Depression, she turned to commercial work, supporting herself as a fashion illustrator.

 

In 1963, a significant change occurred in the art of Yvonne Thomas. Whereas in the 1950s, she had let her paintings lead her in the ways they evolved, following their logic, she now took control of them through a more consistent and systematic approach. The works she produced concur with the ethos of the abstract art of the time. In the view that Abstract Expressionism had foreclosed the mental and preplanned methods that had been important in the art of the past, artists began to bring a conceptual ideas back into their works.

 

In her paintings from 1963 to 1965, Thomas chose as her method of inquiry a repeating pattern of footprint-like rectangles or elongated lozenges that float in loose rows against grounds that are similar in tone, or reveal related tonal modulations. The choice of a design that has a textile look to it may have derived from Thomas’s work during her early career as a fashion illustrator. Some of the works in this exhibition belong to a series called The Window, implying more of the process of looking and having a sense of distance than the direct gesturalism of Abstract Expressionism.

 

The paintings are also about the power of color. By emphasizing the unity of a work by the patterns that repeat across the entirety of a surface—even if they are not uniform—the images are meant to be read as totalities rather than compositions. It is thought that Thomas was drawing on her memories of her early years in France, as the paintings are reminiscent of the experience of the stained-glass windows in French cathedrals through which sunlight is transformed into spiritualized color. By limiting the colors in each of the paintings, Thomas makes color their subject, drawing the viewer into a consideration of how color is both associative and visceral.

 

The exhibition runs September 5 through October 5, 2019.

 

 

 

 

 

 

sources: berrycampbell, wikipedia

Happy Vegas

 

After sold-out runs in Los Angeles, Chicago, Toronto and Boston, HAPPY PLACE is coming to Las Vegas. The exhibition opens August 23 at Mandalay Bay.

 

Founded by Jared Paul and opened originally on November 20, 2017 in Los Angeles, this massive pop-up experience is filled with larger than life size installations, multi-sensory immersive rooms, and dozens of moments curated to Capture Your Happy. Highlights include: dancing in the middle of world’s largest indoor Confetti Dome, jumping off of a larger than life rainbow into a pot of happiness, and posing inside HAPPY PLACE’s signature rubber ducky bathtub of fun. If that isn’t enough smiles, HAPPY PLACE will also feature 7-foot stilettos made of a million candies and 6-foot-tall X and O letters made out of thousands of tiny mirrors, surrounded by a wall of one thousand red lips.

 

 

 

 

source: happyplace

Field of Light in Paso Robles

 

Internationally-acclaimed British artist Bruce Munro has premiered his largest artwork to date—an enormous multi-acre walk-through installation—at Sensorio in Paso Robles, California. Bruce Munro: Field of Light at Sensorio is comprised of an array of over 58,800 stemmed spheres lit by fiber-optics, gently illuminating the landscape in subtle blooms of morphing color that describe the undulating landscape. Powered by solar, the stunning exhibition will captivate visitors, inviting them to engage with the landscape and environment through an ethereal light-based and sculptural experience. Tickets are currently available through January 2020.

 

Munro is best known for immersive large-scale light-based installations inspired largely by his interest in shared human experience. Recording ideas and images in sketchbooks has been his practice for over 30 years. By this means he has captured his responses to stimuli such as music, literature, science, and the world around him for reference, reflection, and subject matter. This tendency has been combined with a liking for components and an inventive urge for reuse, coupled with career training in manufacture of light. As a result Munro produces both monumental temporary experiential artworks as well as intimate story-pieces.

 

Sensorio, the intersection of art, technology and nature, will be a destination for entertainment, exploration, meditation, adventure and delight. Sensorio will honor the natural topography of the landscape and offer a wide range of amusing, mystical and kinetic experiences. The Central California destination launches with the interactive light installation by Bruce Munro, as other exhibits and buildings are put into place for an expected opening in 2021. Future attractions at Sensorio will include a hotel and conference center.

 

sources: sensoriopaso, brucemunro

 

Theirry Mutler in Montreal

 

The Montreal Museum of Fine Arts (MMFA) is currently presenting the very first exhibition on the work of French creator Thierry Mugler. Initiated, produced and circulated by the MMFA, this retrospective reveals the multiple worlds of this irrepressible artistic figure – at once visionary couturier, director, photographer and perfumer – by revisiting his prêt-à-porter and haute couture creations.

 

Thierry Mugler: Couturissime brings together more than 150 garments made between 1977 and 2014, most of which are being shown for the first time, as well as a wealth of unpublished archival documents and sketches. One hundred or so photographs by such world-renowned fashion photographers as Helmut Newton, Sarah Moon, Pierre et Gilles, David LaChapelle, Paolo Roversi, Herb Ritts, Dominique Issermann, Guy Bourdin and Richard Avedon, to name a few, round out the show. Each of the immersive galleries has been designed in collaboration with talented artist-designers and set designers, including Michel Lemieux, Philipp Fürhofer and Rodeo FX.

 

The exhibition runs through September 8, 2019.

 

 

 

source: mmfa

Exhibition in Nashville by Provocative Artist Diana Al-Hadid

 

Frist Art Museum in Nashville recently opened Diana Al-Hadid: Sublimations. Visually extravagant and conceptually provocative, Diana Al-Hadid’s sculptures, wall panels, and drawings are inspired by a range of sources, from art and architectural history to mythology and literature from around the world. Transforming the vestiges of such inheritances into improvised assemblages, intricate fields of dripping gypsum, and partially articulated human figures, Al-Hadid meditates on cycles of dissipation and renewal within and among cultures. Just as the word sublimation denotes a chemical transformation from one state of being into another, her work suggests changes wrought by time, as substance mutates into sensation and thought.

 

Works in this exhibition revisit archetypal narratives that depict the female body in psychologically limiting terms, which Al-Hadid challenges, transforms, or dissolves. These legacies are often shaped by male desire and fantasy, inviting an alternate reading of sublimation as envisioned by Sigmund Freud, who used the word to define the transfer of energy from negative behavior—frequently involving unacceptable sexual impulses—to more wholesome outlets. In exploring these dual aspects of sublimation, Al-Hadid reimagines cultural legacies of complexity, irony, turbulence, and beauty.

 

The exhibition runs through September 2, 2019.

 

 

 

source: firstartmuseum