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St'art, the second-ranking contemporary art fair in France in terms of the number of exhibitors and visitors, is paying homage to collectors for the first time this year by presenting private and public collections: The paintings and sculptures of the collectors' association Les Centaures.
Among others, Les Centaures exhibits works by Max Neumann, Bram Bogart, Pincemin, Favier, Pizzi Cannella, Miguel Chevalier, Olivier Debré and Pages.
Founded by the architect Christian Forestier, the association Les Centaures is made up of over fifty art enthusiasts and since 1993, has purchased the works of young artists thanks to the subscriptions of its members. Their collection includes 84 paintings, sculptures and photographic works.
It will be sold at auction by decision of the AGM. Just like La Peau de l'Ours which inspired Les Centaures' project, the profits from the auction will be shared out among the association's members and the artists in proportion to each person's contribution at the time the sale occurs.
La Peau de l'Ours was the artistic event of 1914. The collection sold in that year contained major works by names such as Bonnard, Picasso, Matisse and Rouault.
Contemporary glass work presented by the European studio glass art association (Esgaa). Esgaa is inviting glass sculptors from all over Europe on
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Five centuries of African Art-representing every quarter of the vast, sub-Saharan reaches of the continent-are now on view in "Treasures," a landmark exhibition at the Smithsonian Institution's National Museum of African Art on Washington's National Mall.
Actually, the African Art museum - along with the Freer Gallery of Asian Art and the Smithsonian's S. Dillon Ripley Center - is located under the Mall in subterranean spaces adjoining the Institution's famous "Castle."
Exploring its unfolding, descending spaces is very much like exploring a treasure cave, and aptly so in this case.
"Treasures" celebrates the museum's 25th year as part of the Smithsonian, and 53 of the 75 works in the show were drawn from some of the most prized private collections of African art in the United States.
Dating back to the 15th Century, the masks and statuary in the exhibition have a two - fold appeal - their beauty as works of art and their symbolism of the essential elements of life (and death) central to African culture.
These works were exhibited by the likes of New York arts impresario Alfred Stieglitz in the early 20th Century, and they served as an inspiration and foundation for much of the Modernist movement as it flourished in this country and abroad.
The show closes Aug. 15. Location is 9th Street and Independence Avenu
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In 2005 the exhibition will consist of two works that will introduce Sehgal's unique artistic practice. In the Lower Gallery, Sehgal will present his earliest piece 'Instead of allowing some thing to rise up to your face dancing bruce and dan and other things' (2000) which makes reference to the video-work of the artists Dan Graham and Bruce Nauman. In the Upper Galleries, audiences will encounter Sehgal's most recent and complex installation 'This objective of that object' (2004).
Coming from a background in choreography and political economy, which both play a fundamental role in his work, Sehgal does not produce tangible objects and is not interested in leaving any form of material trace. Sehgal views visual art as being completely interrelated with society and functioning along identical economic conditions, namely the production and exchange of goods and commodities. He is interested in challenging these conditions by creating works that appear as the transformation of acts and the production of meaning through a transitory situation, rather than as a transformation of solid materials. He does so by fulfiling the conventions of a visual artwork without physically producing anything, assembling meaning through directing people rather than creating objects.
Sehgal effectively designs situations that take the form of
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ICA London Presents Tino Sehgal (2503)
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In January 2005, the Royal Academy will present a landmark exhibition exploring the artistic and cultural riches of the Turks from Inner Asia to Istanbul and beyond.
Spanning a period of a thousand years, from 600 to 1600 AD, a rich array of textiles, manuscripts, calligraphy, woodwork, metalwork and ceramics will show the artistic diversity that culminated in the splendours of the Ottoman Empire.
The exhibition brings together over 350 outstanding works, drawn primarily from the celebrated collections of the Topkapý Saray Museum and the Museum of Turkish and Islamic Art of Istanbul, including numerous works which have never been exhibited outside Turkey.
Taking visitors on an extraordinary journey, this will be the first ever exhibition to explore the development of Turkic cultures, as they forged their way westwards across the eastern borders of Central Asia to the Balkans of Eastern Europe.
Throughout their nomadic migrations each group of Turkic peoples appropriated and assimilated the new cultures they encountered. Turks: A Journey of a Thousand Years, 600-1600 will expose and explore the cultural interactions that gave rise to the great richness of artistic expression of this period.
The exhibition presents a wealth of material from a momentous thousand-year period. It introduces the art of the Uyghurs, a nomadic trib
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Turks: A Journey of a Thousand Years 600-1600 AD
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One of America's longest running, and most beloved, advertising campaigns is to become an exhibition at Copia: The American Center for Wine, Food & the Arts. A cultural museum and educational center located in Napa Valley, California, Copia will feature "got milk?" from January 21 through May 30, 2005.
While most advertising is regarded as "disposable," usually lasting a year or less, got milk? has endured for more than a decade since its birth in 1993. It's been licensed nationally, spawned hundreds of rip-offs and become part of the American vernacular. With the opening of the Copia exhibit later this month, got milk? is elevated beyond the advertising world into the realm of art, reaching a stature never before achieved by an advertising campaign.
"got milk? embodies many of the qualities associated with contemporary art: improvisation, humor and a timelessness that appeals to people of all ages," says Richard Koshalek, President, Art Center College of Design, and previous Director and former Chief Curator of LA's Museum of Contemporary Art (MOCA).
The exhibition, which spans nearly 12 years, was created from the archives of the California Milk Processor Board and their San Francisco-based ad agency, Goodby, Silverstein & Partners. The exhibit highlights how got milk? was transformed from a regional ad campaign to a
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Got Milk?: Becomes Work of Art
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