8391 - Online catalog of objects from Stone Age to Han Dynasty launches


A group of ceremonial tubes , most produced by the Liangzhu culture 良渚 (ca. 3300-2250 BCE), Late Neolithic period, ca. 5000-1700 BCE, Jade (nephrite), Gifts of Charles Lang Freer, Arthur M. Sackler, and Dr. Paul Singer.
The Smithsonian's Freer Gallery of Art and Arthur M. Sackler Gallery will launch a digital catalog, "Jades for Life and Death," from its extensive collection of one of the finest holdings of Chinese jades in the world Oct. 6. The first release, in a series of five volumes, will include more than 250 outstanding jades produced during the Chinese Stone Age (ca. 5000-1700 B.C.) drawn from the Freer and Sackler's collections, ranging from the Chinese Stone Age to the end of the Han dynasty (206 B.C.-220 A.D.). The online publication will be bilingual and incorporate research from the fields of art history, archaeology, geology and materials science, and take advantage of the rapidly evolving understanding of ancient China.

The jades included in the first release are searchable through customizable filter options that combine typological, historical, cultural, material and geographical details. The primary contents are jewelry and ceremonial objects such as ritual disks (bi) and tubes (cong), as well as symbolic tools that were found close to the body in tombs. The majority of the works were produced by the Neolithic Liangzhu culture (ca. 3300-2250 B.C.), which is now recognized as the most prolific and advanced center for jade production in ancient China. Despite the significance of these objects, they have never been featured in a catalog such as those created for other major jade collections in China and the West.

Chinese archaeological discoveries continue to underscore the importance of the Freer and Sackler's works. The pace of research internationally amplifies the need for a scholarly catalog that is both interdisciplinary and digital. This digital catalog allows for immediate revision and expansion as new archeological sites and jade objects are discovered; new scholarly resources can also be added relatively easily.

"A digital platform like this facilitates easier communication with our archaeological colleagues working in China," said Keith Wilson, the Freer and Sackler specialist who conceived this online publication. "The hope is that Chinese archaeologists will help us understand our objects, which were acquired in the early 20th century without a clear record of their original burial context."

Given the size of the collection and the amount of scholarship and archival material that will be shared, "Jades for Life and Death" will be produced serially. Each of the anticipated five volumes is composed of five units:

• Objects comprise both the individual object entries and the filtered search tool designed to access groups of related pieces

• Places is where provenanced museum objects and archaeological discoveries are linked dynamically to a Google Map of China

• People will offer biographical information on previous owners, dealers and researchers who significantly contributed to the museum's knowledge of early jades (currently under development); in the future, practicing archaeologists in the field will be added

• Essays in English and Chinese provide in depth topical research directly related to the collections

• Resources aiding research include Freer and Sackler archival materials, relevant past publications available in their entirety, a comprehensive bibliography, and links to on-line assets like the Google Cultural Institute

The 250 detailed entries in the first volume are joined by four essays on the history of the collection, scientific studies and a survey of archaeological work on the Neolithic Liangzhu culture in China by its leading excavator. Each entry also includes links to related objects in the Freer and Sackler collection and elsewhere as well as associated documentation such as purchase records and other archival materials. This digital approach offers numerous advantages, including an almost limitless capacity for images and content that ranges from historiographic to archaeological.

The next volume in this series, scheduled for release in fall 2017, is dedicated to jades of the early Bronze Age, chiefly the Shang dynasty (ca. 1600-1050 B.C.). "Jades for Life and Death" has been generously supported by the E. Rhodes and Leona B. Carpenter Foundation. Additional funding has been provided by the Leon Levy Foundation.


8390 - Peter Zumthor commissioned to build Fondation Beyeler extension

Peter Zumthor, Photograph: Martin Mischkulnig. Courtesy Atelier Peter Zumthor & Partner.
The architect Peter Zumthor (born in Basel in 1943) has been chosen to build the Fondation Beyeler’s extension. “The sky above Basel, the city and its surroundings – those are the landscapes of my youth. It is heart - warming to be able to design a major building here.” is Zumthor’s pleased response.

“We are delighted to have secured one of the world’s bes t architects as a partner for the project ” , says Hansjörg Wyss, the President of the Beyeler-Stiftung and the Evaluation Board, as well as the project’s initiator.

The extension building will be constructed on the previously private land of the Iselin-Weber Park in Riehen/Basel, which will be made accessible to the public, in the same way as is the park directly surrounding the Fondation Beyeler.

An international board composed of prominent figures unanimously selected the project submitted by the award-winning architect Peter Zumthor. He brings with him great experience in the design of museum buildings, such as the Kunsthaus Bregenz, the Kolumba Kunstmuseum in Cologne, and currently the LACMA (Los Angeles County Museum of Art). Zumthor became known to a wider public through the Therme Vals spa complex and the Swiss pavilion at Expo 2000 in Hanover.

Peter Zumthor has earned worldwide recognition for his work. Simultaneously reserved and remarkable, Zumthor’s buildings appeal to all the senses. With its masterly handling of materials, and its subtle interaction with the different aspects of individual sites and their history, his work testifies to the role of architecture as an enriching experience in our world.

“The interaction of human beings, nature, art and architecture is one of the keystones of the Fondation Beyeler’s success, and was also essential for the development of Renzo Piano’s award - winning museum. Peter Zumthor possesses the sensitivity and experience that are needed to create a building of outstanding quality in this very special location ” , is how the Fondation Beyeler’s Director, Sam Keller, has commented on the decision.

The extension project (acquisition of the land and existing buildings, funding of the new building, and operating and maintenance costs for the first ten years) is being privately financed. An amount of CHF 50 million has already been firmly committed. Generous donations from the Wyss Foundation and the Daros Collection of the Stephan Schmidheiny family provide the cornerstone for the project’s realisation. Overall, the extension building and its launch are expected to cost CHF 80 million.

Riehen and the Basel region will be enriched by another extraordinary building for local inhabitants and visitors.

The project by Atelier Peter Zumthor & Partner will be presented in late autumn/winter after further work has been done on it.


8389 - The city of Marseille to host Manifesta 13 in 2020


On Friday the 26th of August 2016 at a press conference during Art-O- Rama, the Mayor of Marseille, Jean-Claude Gaudin, and the Director of Manifesta, Hedwig Fijen, announced that the French city of Marseille has been selected to host the 13th edition of Manifesta, the European Biennial of Contemporary Art.

The Mayor of Marseille, Jean-Claude Gaudin says he was delighted that his city has won the bid for Manifesta 13 in 2020, which will focus on the issue: “Can an anti-model of a city be a place to re-think the future?”

Geographically isolated behind a barrier of rocky hills and facing towards the Mediterranean Sea, the city has a reputation for disobedience, multiculturalism and complexity. A city of flux, transit and trade, Marseille is one of the places where Europe dialogues with Africa and the rest of the world. Passion, invention, success and failure, opposites and incoherencies respond to each other and participate in an ecology defining the very heart of the city’s identity – an identity resembling an aesthetic.

Manifesta mobilises people, ambitions, dreams and knowledge in order to create new artistic practices and networks to stimulate the rethinking of our European future and to enlarge the inclusion of cultural audiences. Every two years, the main aim of Manifesta is to critically reflect upon the cultural DNA of a changing Europe from the standpoint of a different geographic and geo-political perspective – and in 2020, this will be in the south of France, from the city of Marseille.

Hedwig Fijen, director of Manifesta, at the press conference announcing the selection of Marseille as the Manifesta 13 Host City in 2020:

“... it’s a great pleasure that Manifesta 13 will take place in the French city of Marseille, not only because until now, there has been no Manifesta in France, and Marseille is the country’s second largest city after Paris, but most importantly, we’re delighted because Marseille is conducting ongoing research on the shifting geo-political DNA of Europe, which is very quickly changing under the influence of growing global conflict, migration and climate change. Manifesta is researching how cities are coping with these encounters that influence our daily lives, and the way we live now and in the near future. The contradictions in the urban context of Marseille, its history, its position in the southern periphery of Europe, and its close connection in thematic perspective with Manifesta 12 in the City of Palermo, makes it an excellent choice for a Manifesta edition in 2020. We are looking forward to getting an early start on researching and mapping the city in order to create a context in which Manifesta as an institution can create and work with local stakeholders and different grassroots communities on an ongoing series of artistic projects…”



8388 - Exciting major art world discovery of lost Magritte painting comes to light


Curator of Historic Art at Norwich Castle, Giorgia Bottinelli (left) and conservator, Alice Tavares da Silva, examine Magritte’s La Condition Humaine, © Norfolk Museums Service.
An extraordinary art world mystery relating to a missing painting by the famous Belgian surrealist artist, René Magritte (1898 – 1967) is inching closer to being solved due to an exciting recent discovery in Norwich.

Dr Giorgia Bottinelli, Curator of Historic Art, Norwich Castle Museum & Art Gallery explains: “We have discovered that the painting La Condition humaine (The human Condition) of 1935 by René Magritte, in the collection of Norfolk Museums Service, provides another piece in an international art world jigsaw puzzle.

“La Condition humaine was painted over a quarter of an earlier painting by Magritte entitled La Pose enchantée (The enchanted Pose), which was first exhibited in 1927 and is only known from an old black and white photograph.

“The last reference to La Pose enchantée, a large painting of two female nudes, was in 1932, after which it completely disappeared. Even Magritte’s Catalogue Raisonné lists its whereabouts as unknown.

“What happened to the missing painting is now, however, slowly coming to light in a remarkable series of events. It seems that for some reason, Magritte must have decided to cut the painting into quarters, and then painted four completely different paintings over the top. So our painting La Condition humaine has in fact been successfully hiding part of La Pose enchantée for more than 80 years.”

The explanation for the disappearance of La Pose enchantée came to light in 2013 when, to the amazement of the art world, two paintings were discovered to have been part of the missing canvas, one in the collection of the Museum of Modern Art (MoMA) in New York and the other in the Moderna Museet in Stockholm. Two, however, still remained lost. That is until now when the third, the lower-right quarter, emerged in Norwich.

This exciting discovery is the result of dedicated detective work by conservator Alice Tavares da Silva, working on behalf of Norfolk Museums Service. In February 2016 Alice examined Magritte’s La Condition humaine in advance of it being loaned to the forthcoming major Magritte retrospective exhibition at the Pompidou Centre in Paris.
She discovered that the edges of the painting are, unusually for Magritte, painted over and round the stretcher with what appeared to be form and colour unrelated to the composition painted on the front. Further research led her to a report from conservators at MoMA.

While preparing for another Magritte exhibition in 2013 the MoMA conservation team examined his work entitled The Portrait of 1935. They too found the edges of the canvas were painted over the stretcher, which they found curious. The painting was then x-rayed and the results excitingly revealed an underlying composition, that of a half-length female nude. This was a major clue, which following further investigation and help from conservator Brad Epley, at Houston's Menil Collection, enabled the MoMA team, led by Michael Duffy, to prove conclusively that Magritte had in fact painted The Portrait over the upper-left quarter of the missing painting La Pose enchantée.

This discovery led to an additional painting by Magritte, The Red Model, in the collection of Moderna Museet in Stockholm, being closely scrutinized by art conservators. The Red Model was also painted in 1935 and was close in size to The Portrait. Lo and behold that too was discovered to have another painting hidden under the pigment. This turned out to be the lower-left quarter of La Pose enchantée.

On reading the report Alice said: “I realised there were striking similarities between the Norwich painting and these two other works by Magritte, notably size and the date of execution. More so, the paint visible on the edges seemed to relate very closely to the composition of La Pose enchantée.

“I was then able to superimpose an image of an exposed edge with the black and white illustration of La Pose enchantée and conclude that the Norwich painting was painted over the lower right quarter of the original composition. It was a hugely exciting discovery so I immediately arranged to take the painting to the Hamilton Kerr Institute, at the University of Cambridge to be x-rayed and analysed*. The results confirmed my initial observations that La Condition humaine was indeed the lower right-hand quarter of the missing painting.

"What is additionally thrilling is the fact that, now that we have found the third missing quarter, we have the necessary amount of information to add to MoMA's existing colour reconstruction and are able to get a more complete idea of what La Pose enchantée would have originally looked like in colour. Until recently we have only known of its existence from a black and white photograph."

Dr Giorgia Bottinelli, Curator of Historic Art, Norwich Castle Museum & Art Gallery, concluded: “The mystery of the whereabouts of Magritte’s La Pose enchantée has almost been solved. Remarkably, one quarter is in Norwich, one in New York and one in Stockholm. All we need to discover now is where the fourth and final, upper-right hand quarter is. Then this exciting art world jigsaw puzzle will be complete”.


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8387 - 15 preeminent New York City dealers launch October Art Week - 20.10.2016-26.10.2016

Gaspare Traversi, (Napoli 1722 ca. - Roma 1770), The Monk, the Novice, and the Maiden. Oil on canvas, 24 3/8 x 29 1/8 inches (62 x 74 cm.). Courtesy Robert Simon Fine Art.
Fifteen of the city's preeminent galleries-all clustered on the Upper East Side-are hosting simultaneous opening-night receptions to kick off the first edition of October Art Week, October 20 to 26.

The gallery receptions, open to the public and comfortably walkable from one another, are being held to expand upon the buzz and excitement generated by the opening of TEFAF in New York City. Taking place at the Park Avenue Armory, TEFAF, the world's premier art fair, will bring together the treasures of nearly 100 dealers from around the globe, showcasing outstanding examples of fine art, design, furniture, jewelry and more.

"With the opening of TEFAF New York, we thought it was the perfect time to launch October Art Week. TEFAF draws the world's foremost collectors and curators and while we look forward to seeing them on our stand, we really wanted to get them into our galleries, too," says Bria Koser, director of Otto Naumann Ltd., who with Lydia Johnson, director at Robert Simon Fine Art and Frances Beatty, president of Richard L. Feigen & Co., came up with the concept.

Koser and Johnson envisioned some special way to observe the week-long activities swirling around the art world. In addition to TEFAF, Christie's has moved their sale dates to coincide with the fair and Sotheby's, too, is holding their private selling exhibitions of Old Master paintings during the week. "We considered various ideas, trying to come up with an exciting way to bring people together to make the most of everything going on this Fall in New York."

The 15 participating galleries, several of which are exhibiting at TEFAF, include:

• Jill Newhouse Gallery, 19th- and 20th-century European works; 4 East 84th Street

• Schiller & Bodo, 19th-century European paintings, with emphasis on works from the French Academic, Realist, Barbizon and Post-Impressionist traditions; 4 East 84th Street

• Otto Naumann Ltd., Old Master Paintings; 22 East 80th Street, Second Floor

• Robert Simon Fine Art, Old Master paintings; 22 East 80th Street, Fourth Floor

• Shepherd W & K Galleries, 19th-century European paintings, drawings and sculpture, and modern art; 58 East 79th Street

• Les Enluminures, manuscripts and miniatures from the Middle Ages and the Renaissance as well as rings and jewelry from the period; 23 East 73rd Street, Seventh Floor

• Jack Kilgore & Co., European old master paintings; 154 East 71st Street, Third Floor
Richard L. Feigen & Co., wide-ranging works, from Sir Joshua Reynolds to Ray Johnson; 34 East 69th Street

• Didier Aaron, Inc., predominantly French paintings and drawings from the 17th- through 19th-centuries, plus European furniture and decorative arts from the same period; 32 East 67th Street

• Taylor | Graham, American and European art from the 19th century to the present, and sculpture; 32 East 67th Street

• Andrew Butterfield Fine Arts, European art, chiefly Renaissance and Baroque sculpture (exhibiting at Dickinson Roundell, Inc.); 19 East 66th Street

• Dickinson Roundell, Inc., old master, Impressionist and contemporary paintings and works of art; 19 East 66th Street

• Daphne Alazraki Fine Art, European paintings of the 17th through 21st centuries; and Trinity House Paintings, Impressionist, Post-Impressionist, modern British and 19th-century works; 24 East 64th Street

• Mark Murray Fine Paintings, 19th-century, early 20th-century and Impressionist art; 159 East 63rd Street


8386 - Rizzoli publishes the first and only complete survey of The Met

Pieter Bruegel the Elder Netherlandish, ca. 1525–1569. The Harvesters, 1565. Oil on wood; 46 7/8 × 63 3/4 in. (119 × 162 cm) Rogers Fund, 1919 (19.164).
The Metropolitan Museum of Art: Masterpiece Paintings is the first complete survey of The Metropolitan Museum of Art’s unparalleled collection. This impressive volume offers a veritable history of painting while serving as the art-lovers ideal companion volume to the iconic masterworks of this world-renowned institution. Lavish color illustrations and details of 500 masterpieces, created over the course of 5,000 years in cultures across the globe, are presented chronologically from the dawn of civilization to today.

This monumental anthology represents a grand tour of paintings from ancient Egypt and classical antiquity, to Asia, India, Africa, and the Americas along with works by the greatest European and American artists.

Featuring an introduction and engaging texts about each painting written by Kathryn Calley Galitz, whose experience as both a curator and educator at The Met makes her uniquely qualified, this unprecedented book includes celebrated works from master in their domain including Raphael, Botticelli, Rembrandt, Renoir, Monet, Van Gogh, Picasso, Pollock, and Warhol. It is an essential volume for those wishing to experience The Met’s extraordinary collection or to study masterpieces of painting from throughout history and is sure to become a classic cherished by art lovers around the world.

A scholar, author, and lecturer specializing in European art, Kathryn Calley Galitz works at The Metropolitan Museum of Art, New York, where she has been both an educator and a curator of major international exhibitions. Thomas P. Campbell is the director and CEO of The Metropolitan Museum of Art.


8385 - The world's largest collectibles auctioneer now has one million online bidders

Heritage Auctions, the world's largest collectibles auctioneer, now has more than 1 million online bidder members using its platform to buy and sell fine art, jewelry, luxury real estate, fine wines, intellectual property and collectibles including rare coins, comic books and sports and entertainment memorabilia. Heritage officials said the firm the world's third largest auction house now is adding clients at a rate of about 5,000 a month.

"Our dedication to collectors, our early and continuing embracing of mobile technology, and Heritage's free database of more than four million prices realized have attracted users from all over the world," said Steve Ivy, CEO of Heritage Auctions. "Our 1 million online bidder members, from the United States and 185 other countries around the world, are buyers and sellers seeking unique artworks, luxury goods and record-breaking collectibles."

"We have added more than 150,000 new clients since January 2014, with an increasing number from fast-growing, affluent areas across Europe, Asia and Latin America. Institutions as well as individuals are increasingly joining the site to find rare and relevant additions to permanent exhibits and collections," explained Ivy.

Heritage's website, HA.com, enables consigners and bidders to participate in sales across 40 categories, weekly auctions and the company's Make Offer to Owner program that offers thousands of examples of fine art and collectibles for purchase or bids. The successful program is still in Beta state and Heritage is planning significant improvements to make it even easier to buy and register previously auctioned items.

"Each 'Make Offer to Owner' listing can be seen by thousands of users, and this popular feature has doubled in the past two years and 'Make Offer to Owner' is expected to reach $3 million by the end of 2016," Ivy said. "The program is another example of how we've increased the number of convenient tools collectors can use to quickly locate and own precious objects,"

Additional services recently added include Domain Name and Intellectual Property auctions, and extended bidding on high-end sports collectibles auctions. HA.com also allows members to catalog their own collections, register their ownership of items sold at past auctions they have acquired from other sources, and draft want lists which instantly alert them when a desired item becomes available.

"Heritage was built — and is owned by — collectors, so we think like collectors," Ivy said. "We want our clients to feel confident and comfortable so they can buy and sell on their own terms."

Heritage Auctions celebrated its 40th anniversary this year, and now has 600+ employees, and total sales of more than $800 million in prices realized across 40 different collecting categories.



8384 - Museum of London introduces new Great Fire of London website to mark 350th anniversary

Launched on 2 September 2016, www.fireoflondon.org.uk draws on the remarkable collections of the eleven cultural partners and combines historical content, interactive maps, child-friendly games, striking storybook illustrations and timeline-based navigation to explain how the fire started, how it was finally put out, who was blamed and how it affected London and the wider world.
The Museum of London, in partnership with London Metropolitan Archives, Guildhall Art Gallery and the Monument, launched a brand new website designed to be the go-to site for anyone wanting to find out about the Great Fire of London. It is also expected to become the online learning resource for the thousands of schoolchildren nationwide who study the topic at key stage 1, consolidating the success of the museum’s existing similar site.

Launched on 2 September 2016, www.fireoflondon.org.uk draws on the remarkable collections of the eleven cultural partners and combines historical content, interactive maps, child-friendly games, striking storybook illustrations and timeline-based navigation to explain how the fire started, how it was finally put out, who was blamed and how it affected London and the wider world.

Building on the huge popularity of the existing www.fireoflondon.org.uk website, the new site retains the popular interactive story approach for children but offers additional rich historical content including detailed images of objects that reveal what life was like for Londoners at the time. Working across all devices, including interactive whiteboards, it provides a variety of ways to discover the rich history of the Great Fire.

The main site is divided into easy to follow chronological sections which encompass every day of the fire up to the rebuilding of London. Key facts are provided in colourful, animated boxes, giving links to more in depth information. Stories are told through interactive maps of London in 1666 and the present day.

The existing website’s popular game featuring Tom (a fictional character) and Jane (Samuel Pepys’ maid) has been completely redesigned with brand new challenges, and can be used alongside the main site for an even more compelling learning experience. For further learning through play, a new component of the website is the Museum of London’s Great Fire 1666 Minecraft experience which first launched in July 2016. Drawing on the museum’s rich 17th century collections and historical expertise, Great Fire 1666 harnesses the power of the popular video game Minecraft to engage people with the story of the fire like never before, as players can walk down the streets of London, interact with Londoners from 1666, combat the flames and rebuild their own vision of the capital.

In addition to the chronological story and interactive games, the website is also home to an online collection of some 100 of the most important Great Fire artefacts, documents and artworks held by the museum and its partner institutions, allowing users to gain an even deeper understanding of this momentous event.

The new www.fireoflondon.org.uk website forms part of the Museum of London’s commemorative activities to mark the 350th anniversary of the Great Fire of London. This includes Fire! Fire!, an interactive exhibition on until 17 April 2017, which explores what happened in London just before, during and after the fire.


8383 - MoMA launches comprehensive online exhibition history

Right, John E. Abbott at the exhibition Bambi: The Making of an Animated Sound Picture, on view July 15, 1942 through August 20, 1942 at The Museum of Modern Art, New York. Victor D’Amico Papers, VI.34. The Museum of Modern Art Archives, New York.
The Museum of Modern Art announces the release of an extensive digital archive accessible to historians, students, artists, and anyone concerned with modern and contemporary art: a comprehensive account of the Museum’s exhibitions from its founding, in 1929, to today. This new digital archive, which will continue to grow as materials become available, is now accessible on MoMA’s website, at moma.org/history.

Providing an unparalleled history of the Museum’s presentation of modern and contemporary art on a widely available platform, the project features over 3,500 exhibitions, illustrated by primary documents such as installation photographs, press releases, checklists, and catalogues, as well as lists of included artists. By making these unique resources available at no charge, the exhibition history digital archive directly aligns with the Museum’s mission of encouraging an ever-deeper understanding of modern and contemporary art and fostering scholarship.

“The Museum of Modern Art has played a crucial role in the development of an audience for modern and contemporary art for nearly 90 years,” said MoMA Director Glenn D. Lowry. “In making these materials freely available, we hope not only to foster and enable scholarship, but also to encourage a wider interest in this important chapter of art history that the Museum represents.”

The exhibition history project was initiated and overseen by Michelle Elligott, Chief of Archives, and Fiona Romeo, Director of Digital Content and Strategy, The Museum of Modern Art. Over the course of the last two-and-a-half years, three MoMA archivists integrated over 22,000 folders of exhibition records dating from 1929 to 1989 from its registrar and curatorial departments, performed preservation measures, vetted the contents, and created detailed descriptions of the records for each exhibition.

The digital archive can be freely searched, or browsed in a more structured way by time period or exhibition type. Each entry includes a list of all known artists featured in the exhibition. Artist pages likewise list all of the exhibitions that have included that artist, along with any of their works in MoMA’s collection online. The index of artists participating in Museum exhibitions now includes more than 20,000 unique names.

The Archives pages on moma.org now also include a list of the heads of each curatorial department since the Museum’s founding.

The underlying data has also been shared on GitHub (github.com), completing a trilogy of Museum of Modern Art datasets covering artworks, artists, and exhibitions dating 1929 to 1989. This data is in the public domain and can be sorted and analyzed, enabling one to, for example, search an artist's name to determine the number of exhibitions that have included their works, compile a list of exhibitions organized by a specific curator, or determine the frequency with which an artist has been exhibited at the Museum.

Depending on the archival resources available, an exhibition page may include installation photographs, an annotated exhibition checklist, multiple press releases, the full exhibition catalogue, and the list of participating artists. Special subsites created for MoMA exhibitions—the first of which was for Mutant Materials in 1995—are also included, as are slideshows, videos, and commissioned essays.

Among the landmark exhibitions that now feature the full complement of materials is Bauhaus 1919–1928, an expansive 1939 presentation organized by Herbert Bayer that was dedicated to the influential German school of art and design, five years after it was closed by local Nazi agencies. Other comprehensive pages include those for Eight Automobiles, the first in a series of auto shows in The Abby Aldrich Rockefeller Sculpture Garden, organized by Philip Johnson in 1951, and the 1980 blockbuster Pablo Picasso: A Retrospective, organized by Dominique Bozo and William S. Rubin. Among the exceptionally rich exhibition pages are those for the 1934 exhibition Machine Art, organized by Philip Johnson, and the renowned 1970 Information exhibition organized by MoMA curator Kynaston McShine.

As part of this project, exhibition catalogues were newly digitized. Beginning with the catalogue for the Museum’s very first exhibition, Cézanne, Gauguin, Seurat, Van Gogh, in 1929, the 800 catalogues now online offer decades of art historical expertise and the voices of curators and other figures, on topics ranging from architecture, design, painting, sculpture, drawing, and photography to media and performance art. Included are Modern Architecture (1932), which introduced the term “International Style”; Cubism and Abstract Art (1936), which established the terms through which whole generations approached modernist abstraction; Fluxus: Selections from the Gilbert and Lila Silverman Collection (1988-1989); and many others. Out-of-print book titles are generally accessible; current in-print titles are featured with excerpts and links to purchase the books.

“The project was conceived as a living archive rather than a one-off Web publication,” said Ms. Romeo. “It will be continually updated, with new and forthcoming exhibitions appearing in the history as soon as they’re added to the calendar on MoMA’s website. Additional primary documents will be added as they’re processed.”

Processing of the exhibition history archives was generously funded by the Leon Levy Foundation, which has also committed to underwriting the processing of additional records, from 1990 to 2000, over the next three years.

Ms. Elligott stated, “We are enormously grateful to the Leon Levy Foundation for their visionary support of this innovative project, which has created new resources that unlock access to documents and information about the Museum’s illustrious history of exhibitions. By exposing the unique and vital documents concerning these exhibitions, we strive to enhance and broaden the field of scholarship and to bring to the fore the many known and unknown stories in the Museum’s ever-evolving history.”

Future phases of the project will include thousands of film series presented by MoMA’s Department of Film over its 80-year history, a history of performance at MoMA and MoMA PS1, and the exhibition history of MoMA PS1.


8382 - Modern and contemporary art museum in the Netherlands opens its doors in Wassenaar


Netherlands' King Willem-Alexander (C) and Dutch industrialist and art collector Joop van Caldenborgh (R) cut the ribbon during the opening of the new Museum Voorlinden in Wassenaar on September 10, 2016. Museum Voorlinden is a private museum of modern and contemporary art at the Voorlinden Estate. Bart Maat / ANP / AFP.
Near the Dutch coast, nestled among the greenery, a new museum for modern and contemporary art opened its doors on Sunday, 11 September: Museum Voorlinden. A bright white building houses the rich and surprising collection amassed over the last fifty years by Joop van Caldenborgh. In addition to a changing display of pieces from its own collection, Museum Voorlinden will house temporary exhibitions and a number of permanent artworks installed in situ.

Founder Joop van Caldenborgh: ‘Giving many people the opportunity to see and experience our art is a good thing. All are invited to come to the Museum and to the nature surrounding Voorlinden, to share in this new adventure. You needn't be a connoisseur of art; all “artwatchers” are welcome.’

The building
In close cooperation with the client, Kraaijvanger Architects have designed a building whose every aspect is arranged in service to the art. The elongated footprint consists of alternating planes of stone—with the colour of sand dunes—and transparent glass. The entire structure stands on a plinth made of the same stone. An elegant, white steel colonnade around the perimeter supports the ingeniously constructed roof. The dimensions and proportions are equal to those of both a football pitch and a Greek temple. Despite its modern appearance, the building contains multiple references to classical elements, including the portico in front of the entrance, the six columns (known as hexastyle) on its short side and the overall symmetry and proportion. The interior is divided into three general sections in accordance with the museum program: collection presentations, temporary exhibitions and permanently installed works. The museum is comprised of twenty galleries with high ceilings and natural light, dedicated spaces for video presentations and works on paper, an auditorium, library, educational space, conservator’s studio and museum shop.

Thanks to a series of 115.000 diagonal ducts arranged over the entire roof, the characteristic bright light of the Dutch coast is able to enter the building at an oblique angle. A roof made of transparent glass, with additional indirect LED lighting incorporated into its construction and a velum ensures that the proper amount of light illuminates the artworks, whether it’s on a sunny day or at night, as if by magic.
General Director Wim Pijbes: ‘Voorlinden is a new museum for a wide audience with a highly curated collection full of surprises!’

Full Moon
The inaugural collection presentation starts with the painting Maannacht IV (1912) by Jan Sluijters (1881-1957). This seemingly-realistic nocturne marks the starting point for a voyage of visual discovery curated by Suzanne Swarts, Artistic Director of Museum Voorlinden. Full Moon is about the pleasure of looking, of seeing, comparing and discovering. Over 40 artworks from different periods, created using varying techniques and materials, and hailing from all corners of the globe have been brought together for the first time.

Full Moon offers a non-chronological cross-section of the collection and provides an introduction to its rich and varied contents. Visitors will be invited to make their own connections and comparisons between the pieces, as well as challenged to form conclusions and opinions of their own.

Full Moon includes work by Ai Weiwei (1957), Francis Alÿs (1959), Massimo Bartolini (1962), Michaël Borremans (1963), Marcel Broodthaers (1924-1967), Enrico Castellani (1930), Susan Collis (1956), Jose Dávila (1974), Rineke Dijkstra (1959), Olafur Eliasson (1967), Haris Epaminonda (1980), Cerith Wyn Evans (1958), Hans-Peter Feldmann (1941), Tom Friedman (1965), Damien Hirst (1965), Olaf Holzapfel (1969), Robert Kinmont (1937), Yves Klein (1928-1962), Pyke Koch (1901-1991), Paul Kooiker (1964), Guillermo Kuitca (1961), Sherrie Levine (1947), René Magritte (1898-1967), Mark Manders (1968), Katja Mater (1979), Astrid Mingels (1987), François Morellet (1926-2016), Maurizio Nanucci (1939), Ornaghi&Prestinari (1986, 1984), Ugo Rondinone (1964), Turi Simeti (1929), Jan Sluijters (1881-1957), Pascale Marthine Tayou (1967), Esther Tielemans (1976), Kaari Upson (1972), Andy Warhol (1928-1987), Remy Zaugg (1943-2005) and Chen Zhen (1955-2000).

Artistic Director Suzanne Swarts: ‘Full Moon will acquaint visitors with some of the extremes in our collection. Along the way, it will facilitate fresh interaction between various artworks, and between each viewer and the art. A visit to Full Moon is truly a foray into the artists’ world.’

Ellsworth Kelly: Anthology
Ellsworth Kelly (1923-2015) was among the first artists to make the collector’s heart of Joop van Caldenborgh beat faster; he purchased the 1959 painting Blue Ripe early on. Kelly’s work unites many of the aspects most instrumental in creating Van Caldenborgh’s lifelong connection to art: clean lines and pure form, a subtle use of colour and a viewing experience that combines immediacy with sensuality. At Museum Voorlinden, the visual experience of the viewer is the primary concern. Rudi Fuchs is the curator. His exhibition, entitled Ellsworth Kelly: Anthology, is all about looking –as is Kelly’s work.

Rudi Fuchs: ‘When you let go of the idea that you have to understand a thing, you are free to look at your leisure.’

Preparations were already in full swing when the artist passed away on 27 December 2015. Now, more than ever, the exhibition is intended as an homage to Kelly’s oeuvre and to the artist himself. This will be the first Ellsworth Kelly exhibition in the Netherlands since the artist’s work was presented in the Stedelijk Museum Amsterdam in 1979. Voorlinden is displaying pieces on loan from prominent museums and private collections in the United States, the Netherlands and from across Europe. This exhibition has been realised in close consultation with the Ellsworth Kelly Studio in Spencertown (USA).

Permanent works
Museum Voorlinden features a number of artworks on permanent display. Skyspace by James Turrell (1943) and the corten steel sculpture Open Ended (2007-2008) by Richard Serra (1938) have been incorporated into the building itself. Museum Voorlinden additionally boasts permanently installed work by Maurizio Cattelan (1960) and the illusionistic Swimming Pool by Argentinian artist Leandro Erlich (1973). The realistic Couple under an Umbrella by Ron Mueck (1958) and the enchanting glass sculptures of Roni Horn (1955) are on semi-permanent display as well. In order to present these works to their optimum advantage, each singular piece has been placed in a separate gallery.

Voorlinden Estate
The Voorlinden Estate has a long history, going back to Roman times. The name ‘Voorlinden’ first appeared in 1584. During the seventeenth century, various country estates were established around The Hague – Voorlinden among them. The landscape architect J.D. Zocher (1791-1870) and his son (1820-1915) created a landscape-style park here at the start of the nineteenth century. In 1912, when Voorlinden passed into the hands of baron Hugo Loudon, the new owner commissioned the construction of the present manor house, which was designed by British architect R.J. Johnston. Loudon, had the house built in the style of his English wife’s stately country manor. In the same period, landscape architect Leonard Springer (1855-1940) drafted a new design for the estate grounds which created entirely new sight lines. Springer is also responsible for the combination of European and exotic trees on the estate. For the opening of Museum Voorlinden, landscape architect Piet Oudolf (1944) was invited to design the gardens surrounding the new building. This latest addition completes a visual sampler of landscape styles from the early 19th, 20th and 21st centuries. The wooded areas, sloping meadows and dunes are open to the public and accessible via the foot paths. Dogs must be leashed in connection with the game and birds present on the estate.


8381 - Art Basel announces gallery list for Miami Beach 2016


Joan Mitchell, TONDO, 1991
. Oil on canvas
, 59 x 59 inches, 
149.9 x 149.9 centimeters
. © Estate of Joan Mitchell. Courtesy Joan Mitchell Foundation and Cheim & Read, New York
Art Basel today announced the gallery list for its 2016 show in Miami Beach, comprising 269 leading international galleries, drawn from 29 countries across North and South America, Europe, Asia and Africa. Exhibitors will present works of art – from historically significant projects and film, to painting, photography and largescale sculpture – by Modern and contemporary artists. With a reapplication rate of 98% for the Galleries sector and in addition to a strong selection of returning exhibitors, the show features 21 galleries who are completely new to the Miami Beach edition, including 12 first-time entrants to the Galleries sector. The fair, whose Lead Partner is UBS, takes place at the Miami Beach Convention Center from December 1 – 4, 2016.

Attracting leading collectors, curators, museum directors and critics from across the globe, Art Basel in Miami Beach is the premier art show of the Americas, with half of the galleries having exhibition spaces in the region. The geographically diverse list of participants spans 29 countries around the world, including Argentina, Austria, Belgium, Brazil, Canada, China, Colombia, Cuba, Denmark, France, Germany, Greece, Ireland, India, Italy, Japan, Mexico, Norway, Peru, Poland, Portugal, Singapore, South Africa, South Korea, Spain, Sweden, Switzerland, the United Kingdom and the United States.

2016 marks the fifteenth edition of the Miami Beach show, which has expanded over the years to include dedicated sections for film, outdoor sculpture, works in edition and curated shows of historical significance. The show has always offered both exploration – with new works created by emerging artists – and a continuity of a high quality international roster. Over 85 galleries exhibiting this year also took part in the very first edition in Miami Beach in 2002.

Joining an extensive roster of returning galleries will be first-time participants from North and South America, including from Los Angeles: The Box, Marc Selwyn Fine Art and Various Small Fires; from New York: Callicoon Fine Arts, Clearing, Di Donna, Thomas Erben Gallery, JTT and Off Vendome; from Mexico City: House of Gaga and joségarcía ,mx; and from Curitiba in Brazil: Simões de Assis Galeria de Arte.

New participants from Europe include Christian Andersen, Galleria d’Arte Maggiore G.A.M., Galerie Greta Meert, Galerie Maria Bernheim, High Art and Vigo Gallery. Reflecting Art Basel’s global reach, first time exhibitors from Asia will include Edouard Malingue Gallery, Leo Xu Projects and Nanzuka. For the full gallery list, please visit artbasel.com/miami-beach/exhibitors.

Comprising 193 of the world’s leading galleries, the Galleries sector presents the highest quality of painting, sculpture, drawing, installation, photography and video works. Highly competitive, the sector is always a highlight, leading 98% of last year’s exhibitors to reapply. In addition to many long time exhibitors, Galerie Nagel Draxler returns for this edition following a five-year hiatus. After previously participating in the show’s proposal based sectors, eight exhibitors will join the Galleries sector for the first time, including: Altman Siegel, Bergamin & Gomide, Cherry and Martin, GALLERYSKE, Galerija Gregor Podnar, Labor, Menconi + Schoelkopf and Pilar Corrias.

The Edition sector presents 11 global leaders in the field of prints and editioned works. This year’s show will feature Alan Cristea Gallery, Carolina Nitsch, Crown Point Press, Gemini G.E.L. LLC, Pace Prints, Paragon, Polígrafa Obra Gràfica, Sabine Knust, STPI, Two Palms and ULAE.

Survey returns with 14 focused presentations of work from before 2000, comprising: Carmelo Arden Quin (b. 1913) at Simões de Assis Galeria de Arte; Romare Bearden (b. 1911, d. 1988) at DC Moore Gallery; Graciela Carnevale (b. 1942) at espaivisor; Ibrahim El-Salahi (b. 1930) at Vigo Gallery; Margaret Kilgallen (b. 1967, d. 2001) at Ratio 3; Giorgio Morandi (b. 1890, d. 1964) at Galleria d’Arte Maggiore G.A.M.; Howardena Pindell (b. 1943) at Garth Greenan Gallery; David Reed (b. 1946) at Peter Blum Gallery; George Rickey (b. 1907, d. 2002) at Maxwell Davidson Gallery; Mimmo Rotella (b. 1918, d. 2006) at Robilant + Voena; Barbara T. Smith (b. 1931) at The Box; Betye Saar (b. 1926) at Roberts & Tilton; Kishio Suga (b. 1944) at Tokyo Gallery + BTAP; and Jacques Villeglé (b. 1926) at Galerie Georges-Philippe & Nathalie Vallois. Further details on the individual projects will be announced in the coming months.

The 16 curated solo booths in Positions provide focused platforms for individual artists to present a major project. Adrià Julià (b. 1974) will transform Dan Gunn’s booth into a multimedia installation, which includes a mural based on Picasso's ‘Guernica’. For Manuel Burgener’s (b. 1978) first exhibition in the United States, Galerie Maria Bernheim will create an installation through the interplay of light between sculptures and photograms. Callicoon Fine Arts will feature tapestries and enamel paintings by Ulrike Müller (b. 1971), while High Art will exhibit a series of 'Trans-Habitats' – invented microcosms – by Max Hooper Schneider (b. 1982). Through text, video and an architectural intervention, Beto Shwafaty (b. 1977) will address social and economic issues from Brazil’s recent political history at Prometeogallery di Ida Pisani. At RaebervonStenglin, an interactive installation by Dane Mitchell (b. 1976) will disperse an artificial scent that is typically used by hunters as olfactory camouflage. JTT’s installation of paintings by Becky Kolsrud (b. 1984) will reflect both her devotion to the female form as well as her infidelity to style, while at Off Vendome, Jeanette Mundt’s (b. 1982) suggestive female figures from historical paintings are set directly within the space in a performative staging. Melanie Gilligan’s (b. 1979) TVsculptures at Galerie Max Mayer will be populated with abstract animations that comment upon systems of commerce. At Thomas Erben Gallery, Mike Cloud’s (b. 1974) heavily layered collages will recycle product imagery and scenes of consumer culture. Maggie Lee’s (b. 1987) immersive installation will recreate a teenage girl’s bedroom complete with embedded video works and handmade ephemera, while Gao Ludi’s (b. 1990) installation at White Space Beijing will appropriate symbols from Alice’s Adventures in Wonderland to explore the relationship between virtual and real worlds. At Galeria Marilia Razuk, Ana Luiza Dias Batista (b. 1978) will distort everyday objects – keys, a doormat, and games – in a playful expression of futility. Sector highlights will also include an installation of decorative, figurative and functional terracotta works by Shelly Nadashi (b. 1981) at Christian Andersen; a series of new sculptures and paintings exploring characteristics of human behavior by Melike Kara (b. 1985) at Peres Projects; and wall-based works and a floor installation by Amy Yao (b. 1977) at Various Small Fires.

Nova, the sector dedicated to younger galleries showing new work by up to three artists, will this year feature 35 exhibitors. First time exhibitors will include Edouard Malingue Gallery, with a film by Wong Ping (b. 1984); House of Gaga, with paintings by Josef Strau (b. 1957) and Vivian Suter (b. 1949); and Nanzuka, who will present a large-scale mixed media canvas by Keiichi Tanaami (b. 1936), drawings by Hiroki Tsukuda (b. 1978) and a video by Oliver Payne (b. 1977). Also at the fair for the first time, Leo Xu Projects will present an installation of works by aaajiao (b. 1984), Cui Jie (b. 1984) and Liu Shiyuan (b. 1985), exploring the urban model and dystopian myth of Shanghai. Clearing will bring together Harold Ancart (b. 1980) and Korakrit Arunanondchai (b. 1986), who have drawn upon their close relationship as real-life studio neighbors to collaborate on an installation made specifically for the show.

The sector will also include a disquieting installation of new works that use animal furs, chicken skin and synthetic flora to explore anxieties resulting from radical biotech by Anicka Yi (b. 1971) at 47 Canal; Rita Ponce de León (b. 1982) and Ishmael Randall Weeks (b. 1976) at Ignacio Liprandi Arte Contemporáneo; Rey Akdogan (b. 1974) and Elaine Cameron-Weir (b. 1985) at Hannah Hoffman Gallery; Xavier Antin (b. 1981) and Renaud Jerez (b. 1982) at Galerie Crèvecoeur; and Matthias Bitzer (b. 1975) with Armin Boehm (b. 1972) at Francesca Minini. Nicole Wermers (b. 1971) and Margo Wolowiec (b. 1985) will explore the social and psychological meanings of everyday forms at Jessica Silverman Gallery. Wojciech Bąkowski (b. 1979), Christine Rebet (b. 1971) and Julia Rommel (b. 1980) will consider narrative and time-based practices through drawing, painting and animated film at Bureau. Solo presentations will include a series of hanging hand-blown glass balls by Kaspar Müller (b. 1983) at Société; salvaged sculptures and a socio-politically charged video by Kostis Velonis (b. 1968) at Kalfayan Galleries; conceptual works made of textile, plexiglass, wood and steel by Mika Tajima (b. 1975) at 11R; a 360 degree projected video environment by Taro Izumi (b. 1976) at Take Ninagawa; and sculpture comprised of freshly cut hedges by Chosil Kil (b. 1975) at One and J. Gallery. Joan Jonas (b. 1936) will pair several freestanding Murano mirrors with a video piece in her solo booth at Galleria Raffaella Cortese. Also of note will be solo exhibitions of Wanda Pimentel (b. 1943) at Anita Schwartz Galeria de Arte and Michael Dean (b. 1977) at Supportico Lopez. Simone Subal Gallery will present a large-scale collaborative environment and video by Anna K.E. (b. 1986) and Florian Meisenberg (b. 1980), while Ghebaly Gallery will exhibit a site-specific collaboration between Kelly Akashi (b. 1983) and Patrick Jackson (b. 1978), exploring the use of architectural space and a visceral relationship to the body.

Galleries with strong artistic pairings will include Galerie Micky Schubert, showing sculptures by Benedicte Gyldenstierne Sehested (b. 1977) and paintings by Mark van Yetter (b. 1978); Silvia Cintra + Box 4, with psychologically laden textile pieces by Cinthia Marcelle (b. 1974) and Laercio Redondo (b. 1967); Maisterravalbuena, with Maria Loboda (b. 1979) and Cristián Silva (b. 1969); mother’s tankstation, with Nina Canell (b. 1979) and Sebastian Lloyd Rees (b. 1986); and Revolver Galería, where José Carlos Martinat (b. 1974) and Andrea Galvani (b. 1973) both explore the distance between the real and the virtual through glass. Lawrence Abu Hamdan (b. 1985) and Oscar Muñoz (b. 1951) both investigate the use of language in spy systems at mor charpentier, while artists Aleksandra Domanović (b. 1981) and Oliver Laric (b. 1981) will consider methods of production and reproduction at Tanya Leighton. Freedman Fitzpatrick will explore shared tendencies across three generations of German artists: Amelie von Wulffen (b.1966), Lucie Stahl (b. 1977) and Mathis Altmann (b. 1987). Never-before-seen paintings by the enigmatic Vern Blosum (b. unknown), will question the conceptual production of authorship at Essex Street, along with new sculptures by Chadwick Rantanen (b. 1981). David Castillo Gallery will present works by Sanford Biggers (b. 1970) and Xaviera Simmons (b. 1974) that enunciate personal integrities within the context of larger cultural, historical, art historical and narrative constructs. Galeria Leme features a presentation of Vivian Caccuri (b. 1986) and Jaime Lauriano (b. 1985) exploring dynamics between Brazil and the African continent, centered around the Malê Revolt, an 1835 insurgency of enslaved African Muslims in Brazil. At Travesía Cuatro, both Sara Ramo (b. 1975) and Mateo López (b. 1978) will explore the language of objects, while at Instituto de visión, Marlon de Azambuja (b. 1978), Alberto Baraya (b. 1968) and Sebastián Fierro (b. 1988) will challenge representations of Latin America as an exotic stereotype.

In addition to showing premier artworks across five gallery sectors, many exhibitors will present works in Art Basel's project-based sectors: Kabinett, Public and Film, currently being selected. Over the coming months, further details about these special sectors as well as about the Conversations and Salon program of panels and talks will be released.

The Miami Beach Convention Center, Art Basel’s home since the Miami Beach edition launched in 2001, is currently undergoing renovation, to be completed in 2018. Carefully planned by city officials around the Art Basel shows, the construction will result in improved exhibition halls and state of the art facilities for exhibitors and visitors. During the renovation, Art Basel will continue to take place throughout the same four exhibition halls as in past years.

Art Basel has always had a close relationship with regional arts organizations. As such, South Florida’s leading museums time their strongest exhibitions of the year to coincide with Art Basel. In December, the Pérez Art Museum Miami (PAMM) will present ‘Julio Le Parc: Form into Action’, an exploration of kinetic work by one of the leading Argentinian artist; ‘Susan Hiller: Lost and Found’, an immersive video installation; ‘Sarah Oppenheimer: S-281913’, a series of architectural interventions; a solo show of paintings by David Reed; and work by Ulla von Brandenberg in the museum’s project gallery. The Institute of Contemporary Art, Miami (ICA Miami) will present ‘Thomas Bayrle', while NSU Art Museum Fort Lauderdale will show ‘Belief + Doubt: Selections from the Francie Bishop Good and David Horvitz Collection’, ‘Francesco Clemente: Dormiveglia’, ‘Regeneration Series: Anselm Kiefer from the Hall Collection’ and ‘Samson Kambalu: Nyau Cinema’. Other highlights include ‘Modern Dutch Design’, ‘The Pursuit of Abstraction’, The Politics of -Isms’ and ‘Visionary Metropolis: Tony Garnier’s Une Cité Industrielle’ at the WolfsonianFIU; a project by Mark Dion at the Kampong National Tropical Botanical Garden in partnership with Florida International University; ‘Question Bridge: Black Males’ and ‘Rudin Prize for Emerging Photographers’ at the Norton Museum of Art; ‘When We Were Young’ and ‘José Parlá: Roots' at YoungArts; and 'The Other Dimension: Contemporary art practice as the existence of higher dimensions' by Antuan Rodriguez at the Museum of Contemporary Art (MOCA). Recently rebranded as The Bass, Miami Beach’s contemporary art museum will present off-site activations throughout the week as the museum looks ahead to its re-opening in Spring 2017.

Visitors from across the world will also have the opportunity to view the city’s internationally renowned private collections. This includes ‘Toda Percepción es una Interpretación: You are Part of It' with works from Ella Fontanals-Cisneros and CIFO Collection at the Cisneros Fontanals Art Foundation (CIFO), ‘Progressive Praxis’ at the de la Cruz Collection Contemporary Art Space, ‘Jannis Kounellis: Paintings; Anselm Kiefer: Installations; Featuring: Radcliffe Bailey, Florian Baudrexel, Mark di Suvero, Mark Dion, David Ellis, Mark Manders, Olaf Metzel, Meuser, Will Ryman and Jason Schmidt' at the Margulies Collection at the Warehouse and ‘High Anxiety: New Acquisitions' at the Rubell Family Collection.

Design Miami is the global forum for design. Each fair brings together the most influential collectors, gallerists, designers, curators and critics from around the world in celebration of design culture and commerce. Occurring alongside the Art Basel fairs in Miami Beach, and Basel, Design Miami has become the premier venue for collecting, exhibiting, discussing and creating collectible design. In its 12th edition, Design Miami will take place from November 30 – December 4 at Meridian Avenue and 19th Street in Miami Beach opposite the Miami Beach Convention Center.


8380 - PAD London prepares to celebrate 10 vibrant years in its landmark location of Berkeley Square


Anish Kapoor, Untitled, 2013. Courtesy of Opera gallery.
As the international collecting community descends on London in October, PAD London prepares to celebrate 10 vibrant years in its landmark location of Berkeley Square. Rooted in the tradition of French Decorative Arts and the aesthetic of a Cabinet of Curiosities, PAD launched in 2007 to become the first London fair to bring art and design under one roof. The last decade saw PAD actively promoting cross-collecting and bolstering Mayfair’s transformation into a leading destination for both art and design.

66 international galleries are participating in this year’s edition, with 14 newcomers and 52 returning exhibitors. Investec joins as first-time Banking Sponsor to PAD’s VIP Programme, alongside the fair’s Champagne Sponsor Ruinart and PAD Prize supporter Moët Hennessy.

PAD’s panorama of art and design continues to be an enticing treasure trove of works spanning thousands of years of history, from artefacts dating back to the 1st Millennium BC to the latest discoveries in contemporary design.

Contemporary design sees the arrival of Sarah Myerscough, showcasing an extraordinary set of eye-catching sculptural pieces by designers Joseph Walsh and Christopher Duffy, specially commissioned for the fair. New bronze cast furniture by American artist-designer Michele Oka Doner will be the focus of a solo exhibit at David Gill, whilst Maria Wettergren introduces bold sculpted works by Danish designer Rasmus Fenhann.

Notable this year is the presence of renowned design duos unveiling their latest creations. Design partnership Glithero reveal their signature elemental style through a series of new bronze tables, whilst British design duo James Plumb present lighting pieces customarily made from antique and salvaged materials, both at Fumi Gallery. Creating a dramatic centrepiece for Carpenters Workshop Gallery, Studio Drift unveil a new edition of Flylight, a site-specific installation that interacts with its surroundings. Under the label Design MVW, Chinese designer Xu Ming and French architect Virginie Moriette showcase their new bronze furniture designs at Galerie BSL.

Renewed energy in the post-war design category comes with the arrival of
Galerie Le Beau from Brussels, dedicating their inaugural exhibit to Danish designer Poul Kjaerholm, and French specialist Alexandre Guillemain presenting exceptional pieces by Japanese American modernist George Nakashima. Oscar Graf and Blairman both place a focus on British Arts & Crafts with iconic works by Christopher Dresser, Charles Rennie Mackintosh and copper designs by William Arthur Benson Smith. Modern Brazilian design continues to shine with the participation of James, showing pieces by Joaquim Tenreiro and Jorge Zalszupin, and Nilufar presenting inventive chairs by José Zanine.

Moving onto Modern Art, Opera Gallery is making its debut at PAD with a focus on Pablo Picasso and Fernand Léger, alongside pop artists Andy Warhol and Keith Haring.

Richard Green, also new to the fair, places an important masterpiece by Marc Chagall in the spotlight, whilst Aktis Gallery concentrates on the sculptural work of Cuban artist Agustín Cárdenas. Repetto reinforces the representation of post-war Italian art, with exceptional works by Giorgio Morandi and Fausto Melotti.

The flourishing offering of tribal art at PAD London is on the rise. Prestigious galleries, Galerie Monbrison and Lucas Ratton present artworks from Ivory Coast and the Congo, including a Tshokwe chair and an elaborately decorated Senufo pot, whilst new exhibitor Peter Petrou introduces tribal art as part of a more extensive ‘cabinet of curiosities’ display. Another highlight is an elaborate ceremonial Metate from Costa Rica presented by returning Pre-Columbian specialist Mermoz.

Photography remains a vital part of the fair’s treasure trail, with exceptional works, both vintage and contemporary, carefully selected by London’s leading gallerists Tim Jefferies and Michael Hoppen. Flip Schulke’s iconic underwater shot of Muhammad Ali taken for Life Magazine in 1961 is a highlight of Hoppen’s finely curated stand, alongside Hampstead from 1945 by Bill Brandt, one of the artist’s earliest dramatic nude studies. Photography legends Annie Liebowitz and Erwin Olaf, amongst others, feature at Hamiltons, whilst Gabrielle Ammann complements the photography offering with works by Hélène Binet capturing the splendour of Zaha Hadid’s inimitable architecture.

Ceramics and glass maintain a strong presence at the fair. New French exhibitor
Clara Scremini focuses on American glass works by Michael Glancy, set in dialogue with dense futuristic sculptures by Eastern European artists Pavel Trnka and Gyorgy Gaspar. On show at Adrian Sassoon are stunning glass works by British artist Colin Reid and Tobias Møhl from Denmark.

An impressive stable of notable jewellery experts, converging from London, New York, Zurich, Paris and Munich, enrich the fair’s panorama. New exhibitor Hemmerle brings one-of-a-kind pieces inspired by nature, minimalism and geometry, whilst Suzanne Syz makes her debut at the fair with her own new creations staged amongst pieces by Swiss artist John Armleder. Siegelson, reputed for his grand jewellery displays, presents a set of extraordinary vintage pieces including a silver and black lacquer bracelet by Jean Després from 1931.

This year, the PAD London Restaurant and Ruinart bar will be designed by celebrated interior designer Veere Grenney, who will introduce his refined signature touch, mixing past and present, classic and modern to deliver an elegant dining experience.

The Moët Hennessy-PAD London Prize is returning with a revived panel of luminaries from the worlds of design, art and fashion, chaired by Jasper Conran. Over twenty judges will preview the fair and select the winners in the following categories: Best Contemporary Design, Best 20th Century Decorative Art and Best Stand.


8379 - 'fotofever paris' 2016 to be held at the Carrousel du Louvre from 11 to 13 November


fotofever paris 2016 to be held at the Carrousel du Louvre from 11 to 13 November
From 11 to 13 November 2016, The Carrousel du Louvre will welcome the 5th edition of fotofever with 75 international and French galleries in the very heart of artistic Paris, at the foot of the most visited museum.

An independent photography art fair, fotofever paris 2016 offers a bold agenda. In its forward-looking approach, fotofever paris 2016 gives a view of what will be seen tomorrow in other art fairs.

fotofever paris 2016 is a fair with an educational mission through improved access to the diversity of contemporary photography, focusing on both newcomer and confirmed collectors.

An art fair dedicated to collectors
fotofever paris 2016 is the perfect hunting ground for confirmed collectors who seek to discover the artists of tomorrow. It also guides photography lovers in their first steps towards collecting with the ‘Start to Collect’ program organized by an invited curator. This program includes:

• A selection of photographic artworks for less than 5,000 €

• The collector’s guide, a real instruction manual for beginning a collection

• The collector’s apartment, opened this year, which will offer a presentation of selected artworks in a total area of 130m2 situated in the entrance of the fair

• Daily discussions in the form of talks by young collectors

An original and fluid scenography
For its 5th edition, fotofever paris 2016 is reinventing itself with a new and original scenography that offers a route along zig-zag paths, a break with the traditional closed booth. The open plan space offers a more fluid visit, allowing viewers to take in more artworks and meet gallery owners.

This new scenography is in-line with the declared spirit of the fair: education, friendliness, meetings, community and sharing the same passion.

Emerging players of contemporary photography in the heart of the artistic vision of fotofever paris 2016
2016 marks the strengthening of the artistic vision of fotofever, which considers photography in its contemporary dimension, expanded on with a program that focuses on emerging talent.

This year, fotofever paris 2016 is committed to new players in contemporary photography, particularly through ‘Focus’, a selection of very young galleries that benefit from the good visibility of fotofever at a reduced fare. The ‘Solo’ section invites galleries to present monographic projects that highlight the most promising artworks in a dedicated space at the entrance of the fair.

fotofever paris 2016 highlights photography in its widest artistic dimension by welcoming as many general art galleries as those that specialize in photography.
15,000 visitors are expected to attend fotofever paris 2016. The visits have risen continuously since the first edition of the fair.


8378 - Apertura Madrid Gallery Weekend 2016 to be held from September 15 to 17


                                                            The 43 galleries belonging to Arte_Madrid are starting the season by inaugurating their exhibitions simultaneously. Madrid is a moveable feast... of contemporary art. Around the renowned Art Triangle (Prado, Thyssen and Reina Sofía museums), 43 art galleries will display contemporary art and the newest creations. From September 15 to 17, they present more than 60 artists at Apertura Madrid Gallery Weekend 2016. For three days, the city is becoming the capital of contemporary art and a magnet for luring collectors, visitors, art buffs and anyone who is curious into its streets.

The 43 galleries belonging to Arte_Madrid are starting the season by inaugurating their exhibitions simultaneously, extending their opening hours and programming special events. The 7th edition of Apertura Madrid Gallery Weekend will become the biggest event of the world of art after the summer in Europe.

The city's larger cultural institutions (Reina Sofía Museum, Thyssen Museum, Dos de Mayo Centre, etc.) and ARCOmadrid are also joining in with Apertura Madrid Gallery Weekend 2016 with a wide programme of activities for bringing the most up-to-date creations to the public at large.

Art is becoming accessible to all. Works by emerging young creators and by names that are already well established in the art sector are displayed side by side at this particular "museum of contemporary art" that comprises the 43 galleries.

Apertura Madrid Gallery Weekend 2016 is a journey through all disciplines and a trip through the latest in Spanish art and the most outstanding international works.

With more than 24,000 visitors at its last edition, Apertura Madrid Gallery Weekend has established itself as one of the most important gallery weekends in the world.

The big contemporary art festival is organised by the Arte_Madrid gallery association, which currently has 43 members. These galleries usually participate in the most prestigious international fairs, such as Art Basel, Frieze, ARCOmadrid, The Armory Show, FIAC, Artissima, ArtBo, SP-Arte, etc. At them, they act as ambassadors for Spanish art on the international art scene.

Galleries and artists
Álvaro Alcázar (Simon Edmonson) / Arnés & Röpke (José Antonio Suárez Londoño) / Bacelos (Diego Santomé) / Bat – Alberto Cornejo (Carlos Albert & Pepe Puntas) / Benveniste Contemporary (*) / Blanca Berlín (Castro Prieto) / Blanca Soto Arte (Natalia Bazowska) / Cámara Oscura (Nanna Hänninen) / Casado Santapau (Antonis Donef) / Cayón (Carlos Cruz-Diez / Elba Benítez (Armando Andrade Tudela) / Elvira González (Waltercio Caldas) / Espacio Valverde (Elena Alonso) / F2 (Rubén Guerrero) / Fernández-Braso (Rosa Brun) / Fernando Pradilla (Santiago Morilla, Manuel Calderón y Carlos Rosas) / Formatocomodo (Joost Krijnen) / Freijo Gallery (Álvaro Laiz) / Guillermo de Osma (*) / Heinrich Ehrhardt (Secundino Hernández) / Helga de Alvear (Santiago Sierra) / Javier López & Fer Francés (Todd James) / José de la Mano (Tomás García Asensio) / Juana de Aizpuru (Exposición Colectiva) / La Caja Negra (Marco Rountree) / Leandro Navarro (César Galicia) / Maisterravalbuena (Daniel Jacoby) / Marlborough (Claudio Bravo) / Marta Cervera (*) / Max Estrella (*) / Michel Soskine, inc. (Ixone Sádaba) / Moisés Pérez de Albéniz (Tony Oursler) / N F Galería (Omar Barquet, Mauro Giaconi y José Luis Landet) / NoguerasBlanchard (Perejaume) / Parra & Romero (David Lamelas) / Pilar Serra (Mona Kuhn) / Ponce + Robles (*) / Rafael Pérez Hernando (Miguel Ángel Barba) / Sabrina Amrani (Babak Golkar) / Slowtrack (Clara Montoya) / The Goma (José Díaz) / Travesía Cuatro (group exhibition) / Utopia Parkway (Elena Goñi)

                                                                           Bron/Source : Artdaily
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