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Resources news

Albertina Museum shows The Collection of Eberhard W. Kornfeld

artwork: Marc Chagall - The Cattle Dealer, 1912 - © VBK, Vienna 2008 / Eberhard W. Kornfeld, Berne

Vienna, Austria - The Albertina Museum presents Routes Through Modern Art - From The Collection of Eberhard W. Kornfeld, on view through Fabruary 8, 2009. In honour of the 85th birthday of Swiss art dealer Eberhard W. Kornfeld, some 200 works from his remarkable private art collection are on exhibit at the Albertina. The auction house owner and art publisher is a distinguished expert on prints and the author of catalogues raisonnés on Ernst Ludwig Kirchner, Paul Klee, Marc Chagall, Käthe Kollwitz and numerous other artists. Like the collection as a whole, the exhibition focuses on multifaceted selections of their works, as well as works by the collector’s close friends Pablo Picasso, Sam Francis and Alberto Giacometti.

Marc Chagall's Illustrations for Gogol's "Dead Souls" at the Tel Aviv Museum of Art

artwork: Marc Chagall - "Chichikov and Sobakevich after Dinner" illustration for Nikolai Gogol Dead Souls, 1923-1927. Etching, 21 x 27.5 cm., Collection of the Tel Aviv Museum of Art.

TEL AVIV, ISRAEL - In the spring of 1931, Marc Chagall set sail for a visit in Eretz-Israel. He had been invited by Tel Aviv Mayor Meir Dizengoff, following their acquaintance in Paris in 1930. Chagall was taken with Dizengoff's passion to establish a museum in the emerging Jewish city, and agreed to join the Paris Committee set up to promote the project. Chagall brought a gift, his series of prints illustrating Nikolai Gogol's novel Dead Souls. The series was personally dedicated to Dizengoff, and was intended to enrich the collection of the museum, due to open in 1932.

With More Than 80 Galleries Art Dubai Presents Its Most Diverse Edition To Date

artwork: The high jewelry collection of Van Cleef & Arpels, 'Les Voyages Extraordinaires', inspired by the french author Jules Vernes // collage by Vicky Schneider On view at the Art Dubai exhibition, in Dubai, United Arab Emirates, 16-19 March 2011. The 5th edition of the contemporary art fair that gathers collectors, galleries, artists and art professionals from more than 30 countries.

DUBAI.- Welcoming a total of 81 galleries from 34 countries—with one-third of the participants based in the Middle East, one-third in Europe and one-third in the United States and Asia—the latest edition of Art Dubai is presented from Wednesday, 16 March through Saturday, 19 March 2011, under the patronage of His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice-President and Prime Minister of the UAE, Ruler of Dubai. This year’s Art Dubai, the first organised under the leadership of Fair Director Antonia Carver, is also the most diverse and forward-looking to date for the Middle East’s largest contemporary art event. This year, Art Dubai also launches Art Week, an initiative showcasing the broad programme of cultural events taking place across the UAE and Qatar in March.

“Dubai has been a trading post and meeting point for South Asia, Iran, the Arab world and Africa for hundreds of years,” said Antonia Carver. “Over the past decade, Dubai has become the commercial art centre of the region and a city of ideas and entrepreneurship, providing homegrown support for artists, exhibitions and galleries. Through the fair and our platforms for dialogue, Art Dubai has been an integral part of this development and while rooted in the region, we are committed to looking to the future and continuing our role as a catalyst linking Asia and the Middle East with the rest of the world.”

Antonia Carver continued, “We aim for Art Dubai to be a fair of discovery – for the international collectors, curators, artists, gallerists and museum groups that attend the fair aiming to catch up on all that’s happening in the Middle East and South Asia, and for those based in the region to engage with the most dynamic of international galleries. At Art Dubai, these audiences will be able to discover the work of more than 500 artists, as presented in booths, installations, performances, dispatches, talks and screenings.”

artwork: Moebius - "Peranance", from the collection of the Fondation Cartier pour l'Art Contemporain On view at the Art Dubai exhibition, in Dubai, United Arab Emirates, 16 -19 March 2011.

Showcasing paintings, sculpture, photography, works on paper and video installations from a host of first-timers as well as returning galleries, the fifth edition of Art Dubai features exciting work from emerging artists and museum-quality masterworks. The fair features an ambitious range of galleries, with more than a dozen significant, curatorially focused galleries exhibiting in the Middle East for the first time; an increased number of single-artist gallery shows, allowing viewers to delve into an artist’s practice in depth; and the strongest showing ofgalleries from Turkey and South Asia to date.

This year also sees the debut of MARKER, a new platform for experimental art spaces from Asia and the Middle East showcasing projects by emerging artists. Curated by Nav Haq, this section includes five dynamic project spaces: Alexandria Contemporary Arts Forum (Alexandria, Egypt), GREY NOISE (Lahore, Pakistan), Liu Ding’s Store (Beijing, China), Makan (Amman, Jordan) and Ruangrupa (Jakarta, Indonesia). Each organisation will present new projects that have been conceived specifically for Art Dubai and that bridge the gap between the commercial and curatorial components of the art fair.

Programming for the fair includes Global Art Forum _5, a four-day series of discussions curated by a committee chaired by Shumon Basar, which explores how a changed world has changed audiences for contemporary art, how expectations have affected artists and their work, and how art and fashion collide. The result of a dynamic partnership between Dubai Culture & Arts Authority (Dubai Culture), Mathaf: Arab Museum of Modern Art in Doha, Qatar, Abu Dhabi Authority for Culture & Heritage (ADACH), Ministry of Culture, Kingdom of Bahrain, this year’s forum is the most collaborative yet. Speakers include: Hans Ulrich Olbrist, Co-Director, Exhibitions and Programmes, and Director of International Projects, Serpentine Gallery, London; Francesco Vezzoli, artist; Germano Celant, Director, Fondazione Prada; Sultan Sooud Al Qassemi, Founder, Barjeel Art Foundation; Wassan Al Khudhairi, Director, Mathaf: Arab Museum of Modern Art; and Vasif Kortun, Director of Research and Programs, SALT, Istanbul; Curator, UAE Pavilion for the Venice Biennale 2011. Natascha Sadr Haghighian, this year’s Global Art Forum Artist-inResidence, responds to the discussions through a bibliographic journey hosted on www.artdubai.ae. 2011 also marks the launch of Forum Fellows, a programme that offers a group of young curators and artists from Abu Dhabi, Antakya, Dhaka, Karachi, Jerusalem and Tehran the opportunity to engage with all aspects of the fair.

In addition to the Global Art Forum, Art Dubai hosts a series of talks including On Collecting, focusing on arts patronage; Art Park Talks, which include performances, conversations and practical workshops; and THE BIG IDEA, a dynamic forum for UAE-based artists and designers, organised by Bidoun Projects.

artwork: Youssef Nabil - "I Will go to Paradise, Hyeres", 2008, - Hand coloured gelatin print, 50 x 75 cm. Private Collection

Art Dubai Projects takes an observational, almost anthropological approach to the gallery metropolis created by Art Dubai. The rich programme of new works and performances includes painters Ali Chitsaz and Mounira Al Sohl in collaboration with Bassam Ramlawi taking on the theme of ‘labour’ in a live mural; the commissioning of Oraib Toukan to create a new work within the grounds of the fair while Hrair Sarkissian has adapted an existing work that – in its new state – plays with the façade of Madinat Jumeirah; works created by Abbas Akhavan and Shaikha Al Mazrou during the Delfina Foundation’s eight-week residency programme in Bastakiya, with the support of Dubai Culture & Arts Authority (Dubai Culture) and Tashkeel; performative tours of the fair by Malak Helmy and Abhishek Hazra; a bank of radio dispatches from artists’ studios curated by The Island (Victoria Brooks and Andrew Bonacina); and Art Park, a series of films, talks and projects curated by Bidoun Projects that features retrospectives of video artists Wael Shawky and Sherif El-Azma.

Visitors to the fair will be the first in the world to see the completed works of the five recipients of the third annual Abraaj Capital Art Prize (ACAP) .Winners of this year’s prize include Hamra Abbas, Jananne Al-Ani, Shezad Dawood, Nadia Kaabi-Linke and Timo Nasseri with guest curator Sharmini Perreira. Footnotes to a Project*, a specially commissioned book project tracing the process of production for each artist’s work for ACAP 2011 and launches on the fair’s closing day.

In addition, visitors to Art Dubai can enter the fantasy world created in the Van Cleef & Arpels exhibition Les Voyages Extraordinaires, inspired by four stories by the French writer Jules Verne: Five Weeks in a Balloon, Journey to the Centre of the Earth, From the Earth to the Moon and Twenty Thousand Leagues under the Sea.

Tamara de Lempicka's Art Deco Paintings on View for the First Time in Mexico City

artwork: A man stands beside the painting "M. Tadeusz Lempicki" during the exhibition of works of art made by Tamara de Lempicka which opened at the Palace of Fine Arts in Mexico City/ - Photo: EFE / Mario Guzmán

MEXICO CITY.- President Felipe Calderón inaugurated the Tamara de Lempicka Exhibition at the Palace of Fine Arts, adding that during his government, an enormous effort has been made to enable Mexicans to discover and enjoy great national and international exhibitions, some of which have been unparalleled. He said that Tamara de Lempicka belongs to the great 20th Century women painters who were attracted to Mexico and found refuge and a source of inspiration here, such as Remedios Varo, Leonora Carrington and Alice Rahon. Of Tamara de Lempicka, the President said that her fascinating, avant-garde plastic discourse made her one of the main exponents of Art Déco. The exhibition gathers 48 paintings, 15 works on paper and 21 photographs, that come from private collections in France, Belgium, Germany, Spain, United States and Mexico. It is important to mention that Jack Nicholson’s collection has been included in the show.

" EAT ART " Exhibition opens at the Kunsthalle Dusseldorf

artwork: Sonja Alhäuser - Emsrausch , 2006 - Butter sculpture, Meeresfrüchte, diverse Lebensmittel, Überwachungskamera, Miniaturaquarelle - Foto: Carsten Gliese, Köln / © VG Bild-Kunst, Bonn 2009

DUSSELDORF.- Eat Art, a term coined by Daniel Spoerri for art made with and involving food, has its institutionalized origins in Düsseldorf. Two years after opening his restaurant at the Burgplatz, the Swiss artist founded the Eat Art Gallery in 1970 and inspired numerous artists to produce various editions made of edible materials and food wastes. The exhibition “Eating the Universe” — a title created in the 1970's by Peter Kubelka, former professor for Film and Cooking at the Frankfurt Städelschule, for a TV-show about cooking as an artistic genre — takes generous stock of the phenomena from today's perspective and traces the original character of eat art from its origins until today. On exhibition through 28 February, 2010.

The Walters Art Museum to exhibit "Heroes: Mortals & Myths in Ancient Greece"

artwork: Helen & Menelaos at the Sack of Troy/Youth Departing, 440-430 BCE. Attic red-figure bell-krater. Attributed to the Persephone Painter, height 32.5 cm. Toledo Museum of Art, Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey

BALTIMORE, MD.- From ancient times to present day, heroes and heroines have played vital cultural roles in society by defining trends, creating norms and shaping behavior. Sometimes heroes are portrayed as superhuman protagonists while at other times they emerge as average people who rise above the ordinary. Heroes are acknowledged with admiration by the mass media and sometimes even with offerings, rituals or monuments. On view Oct. 11, 2009 through Jan. 3, 2010, at the Walters Art Museum, Heroes: Mortals and Myths in Ancient Greece will explore the inherent human need for heroes through the arts of one of the oldest and most influential cultures in history.

The Sterling and Francine Clark Art Institute to show 19th Century Photographs of Rome

artwork: The Porto di Ripetta, Viewed from Downstream, 1870–75, attributed to Gustave Eugène Chauffourier. Albumen print from glass negative, 9 3/4 x 7 3/8 in. Collection of W. Bruce and Delaney H. Lundberg.

WILLIAMSTOWN, MA.- Through 100 photographs taken between 1850 and 1880, the exhibition Steps off the Beaten Path: Nineteenth-Century Photographs of Rome and its Environs encourages a "walking tour" through Rome with recognizable sites among the out-of-the-way scenes nineteenth-century Romans and Europeans encountered in their daily lives. The exhibition opens at the Sterling and Francine Clark Art Institute on Sunday, October 11th through 3 January, 2010,

Lentos Art Museum celebrates Oskar Kokoschka ~ A Vagabond in Linz : Wild & Denigrated

Art Knowledge News Presents "This Week In Review"

This is a new feature for the subscribers and visitors to Art Knowledge News (AKN), that will enable you to see "thumbnail descriptions" of the last ninety (90) articles and art images that we published. This will allow you to visit any article that you may have missed ; or re-visit any article or image of particular interest. Every day the article "thumbnail images" will change. For you to see the entire last ninety images just click : here .

When opened that also will allow you to change the language from English to anyone of 54 other languages, by clicking your language choice on the upper left corner of our Home Page. You can share any article we publish with the eleven (11) social websites we offer like Twitter, Flicker, Linkedin, Facebook, etc. by one click on the image shown at the end of each opened article. Last, but not least, you can email or print any entire article by using an icon visible to the right side of an article's headline.

The Albertina Opens "René Magritte ~ The Pleasure Principle"

artwork: artwork: René Magritte - "Le baiser", 1951 - Oil on canvas - Collection of the Houston Museum of Fine Arts. © VBK Vienna, 2011. On view at the Albertina, Vienna in "René Magritte: The Pleasure Principle" from November 9th until February 26th 2012.

Vienna.- The Albertina is proud to present "René Magritte: The Pleasure Principle" on view at the museum from November 9th through February 26th 2012. A selection of more than 100 works from around the world will cover every creative phase of the artist, retracing Magritte’s artistic career. Conceived in collaboration with the Tate Liverpool, the exhibition addresses hitherto little-explored aspects of Magritte’s life and artistic activity. It focuses on his use of patterns and recurring objects, the subject of covering and unveiling, visual breaks and eroticism in his oeuvre. On the basis of Magritte’s most important works and early commercial pieces, the exhibition examines the connection between the artist’s paintings and his work for the advertising industry as well as the influence of pop culture. Drawings and collages, rarely shown photographs and films will also be on display in the exhibition.

artwork: René Magritte - "Le paysage de Baucis", 1966 Oil on canvas - Collection of the Houston Museum of Fine Arts. © VBK Vienna, 2011.

artwork: René Magritte - "Le paysage de Baucis", 1966 Oil on canvas - Collection of the Houston Museum of Fine Arts. © VBK Vienna, 2011.

René Magritte was born in Lessines, in the province of Hainaut, in 1898, the eldest son of Léopold Magritte, who was a tailor and textile merchant, and Régina (née Bertinchamps), a milliner until her marriage. Little is known about Magritte's early life, but he began lessons in drawing in 1910. On 12 March 1912, his mother committed suicide by drowning herself in the River Sambre. This was not her first attempt; she had made many over a number of years, driving her husband Léopold to lock her into her bedroom. One day she escaped, and was missing for days. She was later discovered a mile or so down the nearby river, dead. According to a legend, 13-year-old Magritte was present when her body was retrieved from the water, but recent research has discredited this story, which may have originated with the family nurse. Supposedly, when his mother was found, her dress was covering her face, an image that has been suggested as the source of several of Magritte's paintings in 1927–1928 of people with cloth obscuring their faces, including Les Amants. Magritte's earliest paintings, which date from about 1915, were Impressionistic in style. From 1916 to 1918 he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring.

The paintings he produced during the years 1918–1924 were influenced by Futurism and by the offshoot of Cubism practiced by Metzinger. Most of his works of this period are female nudes. In 1922 Magritte married Georgette Berger, whom he had met as a child in 1913. From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922–1923, he worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, "The Lost Jockey (Le jockey perdu)", and held his first exhibition in Brussels in 1927.

artwork: René Magritte - "The Spirit of Geometry", 1937, Gouache on paper Collection of the Tate, London. - © VBK Wien, 2011. On view at the Albertina, Vienna in "René Magritte" until February 26th 2012.

Critics heaped abuse on the exhibition. Depressed by the failure, he moved to Paris where he became friends with André Breton, and became involved in the surrealist group. Galerie la Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising. He and his brother, Paul, formed an agency which earned him a living wage. Surrealist patron Edward James allowed Magritte, in the early stages of his career, to stay rent free in his London home and paint. James is featured in two of Magritte's pieces, "Le Principe du Plaisir (The Pleasure Principle)" and "La Reproduction Interdite", a painting also known as "Not to be Reproduced". During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir Period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium. In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto 'Surrealism in Full Sunlight'. During 1947–48—Magritte's "Vache Period" — he painted in a provocative and crude Fauve style.

During this time, Magritte supported himself through the production of faked works purporting to be by Pablo Picasso, Georges Braque and Giorgio de Chirico - a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul Magritte and fellow Surrealist and 'surrogate son' Marcel Mariën, to whom had fallen the task of selling the forgeries. At the end of 1948, he returned to the style and themes of his prewar surrealistic art. His work was exhibited in the United States in New York in 1936 and again in that city in two retrospective exhibitions, one at the Museum of Modern Art in 1965, and the other at the Metropolitan Museum of Art in 1992. Magritte died of pancreatic cancer on 15 August 1967 in his own bed, and was interred in Schaerbeek Cemetery, Evere, Brussels. Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist and conceptual art. In 2005 he came 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.

artwork: René Magritte - "L'assasin menacé/Der bedrohte Mörder", 1927 - Oil on canvas The Museum of Modern Art, NY- © Charly HERSCOVICI Brussels - © VBK Vienna.

The Albertina is a museum in the Innere Stadt (First District) of Vienna, Austria. It houses one of the largest and most important print rooms in the world with approximately 65,000 drawings and approximately 1 million old master prints, as well as more modern graphic works, photographs and architectural drawings. Apart from the graphics collection the museum has recently acquired on permanent loan two significant collections of Impressionist and early 20th century art, some of which will be on permanent display. The museum also houses temporary exhibitions. Vienna's Albertina was erected on one of the last remaining sections of the fortifications of Vienna, the Augustian Bastion. In 1745, it was refurbished by the director of the Hofbauamt, Emanuel Teles Count Silva-Tarouca, to become his palace. The building was later taken over by Duke Albert of Saxen-Teschen. He used it as his residence and later brought his graphics collection there from Brussels, where he had acted as the governor of the Habsburg Netherlands. For that purpose, he had the building extended by Louis Montoyer. Since then, the palace has immediately bordered the Hofburg. The collection was expanded by Albert's successors. The collection was created by Duke Albert with the Genoese count Giacomo Durazzo (Austrian ambassador in Venice). In 1776 the count presented nearly 1,000 pieces of art to Duke Albert and his wife Maria Christina (Maria Theresia's daughter). Count Giacomo Durazzo – brother of Marcello Durazzo (Doge of Genoa) – "wanted to create a collection for posterity that served higher purposes than all others: education and the power of morality should distinguish his collection...." In the 1820s Archduke Charles, the foster son of Duke Albert and Maria Christina, initiated further modifications of the building by Joseph Kornhäusel, which affected mostly the interior decoration. After Archduke Charles, his son Archduke Albrecht and then Albrecht's nephew Archduke Friedrich, Duke of Teschen lived in the building. In early 1919, the building and the collection passed from the Habsburgs into the ownership of the Republic of Austria. In 1920, the collection of prints and drawings was unified with the collection of the former imperial court library. The name Albertina was established in 1921. In March 1945, the Albertina was heavily damaged by bomb attacks. The Albertina was completely refurbished and modernized from 1998 to 2003, but the graphics collection did not reopen until 2008. Visit the museum's website at ... http://www.albertina.at

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