harmen steenwyck
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adrien van utrecth
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nicholas orsini
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ivan le lorraine albright
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http://www.nyartsmagazine.com/skin/the-modern-vanitas
Fernando Vicente
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Léonard Vernhet and Thomas Subreville
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james hopkins
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damien hirst
Dean Cromwell_vignettes
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A Critique of Abstract Expressionism_Leon Golub
The Irascibles protest their exclusion from a New York exhibition in 1950. Back row: Willem de Kooning, Adolph Gottlieb, Ad Reinhardt, and Hedda Sterne; middle row: Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clyfford Still, Robert Motherwell, and Bradley Walker Tomlin; front row: Theodoros Stamos, Jimmy Ernst, Barnett Newman, James Brooks, and Mark Rothko.
LEON GOLUB
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ABEX
pierre soulage
georges mathieu
jean paul riopelle
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giacometti
jean dubuffet
joseph glasco
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jackson pollock
robert motherwell
clyfford still
james brooks
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david reed
brice marden
mark bradford
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Core New Art Space – 2012 Core Juried Shows
Core New Art Space – 2012 Core Juried Shows.
specifically the WOW show. deadline march 4th.
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LACMA_in wonderland
In Wonderland: the surrealist adventures of mexican and american female painters
January 29, 2012–May 6, 2012
North America represented a place free from European traditions for women Surrealists from the United States and Mexico, and European émigrés. While their male counterparts usually cast women as objects for their delectation, female Surrealists delved into their own subconscious and dreams, creating extraordinary visual images. Their art was primarily about identity: portraits, double portraits, self-referential images, and masquerades that demonstrate their trials and pleasures. The exhibition includes works in a variety of media dating from 1931 to 1968, and some later examples that demonstrate Surrealism’s influence on the feminist movement. Iconic figures such as Louise Bourgeois, Leonora Carrington, Frida Kahlo, Lee Miller, Kay Sage, Dorothea Tanning, and Remedios Varo are represented, along with lesser known or newly discovered practitioners.
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Whitney_real/surreal
This exhibition, drawn entirely from the deep holdings of the Whitney Museum’s permanent collection, will focus on the tension and overlap between two strong currents in twentieth century art. Although the term “realism” has many facets, a basic connection to the observable world underlies all of them; the subversion of reality through the imagination and the subconscious lies at the heart of Surrealism. Yet there are convergences in these different and even oppositional approaches to experience, and they encourage new ways of looking at the art of the twenties, thirties, and forties in America. For example, Edward Hopper, famous for chronicling New York urban life, is also a painter whose own subjectivity and imagination are integral to his work. Many artists who developed imagery based on new and very specific, concrete conditions of industrial American, such as Charles Sheeler, were essentially interested in artificial worlds and presented these as distillations of reality. Even totally abstract painters such as Yves Tanguy depended on techniques developed from traditional, realist art to render bizarre worlds. By willfully distorting such techniques, Helen Lundeberg and Mabel Dwight could quietly undercut our sense of stability even while showing us recognizable and even mundane objects and settings. Understanding surrealism as above and beyond the real necessarily ties it to representation and reality, just as realist painting can be imaginative and bizarre without breaking with rational observation. The exhibition will feature sixty-five works in painting, drawing, photography, and printmaking juxtaposed in ways that elucidate how artists developed qualified degrees of reality where the imagination held more or less sway, depending on intention and influence.
Real/Surreal is organized by Whitney curator Carter Foster.
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