San Francisco Museum of Modern Art

San Francisco, California 

Richard Mosse: Incoming | Oct. 26, 2019 – Feb. 17, 2020

From 2014 to 2016, artist Richard Mosse documented the mass migration and displacement of people unfolding across Europe, the Middle East, and North Africa in an attempt to find “adequate images” for today’s society. Filmed with a military-grade camera that detects and images body heat across great distances, these powerful scenes are on view in the exhibition Richard Mosse: Incoming. Epic in scope and by turns lyrical and vivid, and harrowing and violent, the three-channel video projection Incoming depicts major flows of migrants from regions in Africa and the Middle East to emergency shelters in Europe. The heat-vision camera used creates otherworldly footage that renders covert viewing visible and implicates us — the audience — in seeing our fellow humans as others. This immersive video installation will be accompanied by panoramic photographs from The Castle, a series of “heat maps” or digital composites of refugee camps.

https://www.sfmoma.org/exhibition/richard-mosse-incoming/

Museum of Modern Art

New York, New York

Betye Saar: The Legends of Black Girl’s Window | Oct. 21, 2019 – Jan. 21, 2020

After nearly a decade of focused work in printmaking, artist Betye Saar created her autobiographical assemblage Black Girl’s Window in 1969. This exhibition explores the relation between her experimental print practice and the new artistic language debuted in that famous work, tracing themes of family, history, and mysticism, which have been at the core of Saar’s work from its earliest days. Celebrating the recent acquisition of 42 rare, early works on paper, this is the first dedicated examination of Saar’s work as a printmaker.

https://www.moma.org/calendar/exhibitions/5060

member: Pope.L, 1978-2001 | Oct. 21, 2019 – Jan. 21, 2020

Referring to himself as “a fisherman of social absurdity,” Pope.L has developed a body of work that poses provocative questions about a culture consumed with success yet riven by social, racial, and economic conflict. Resisting easy categorization, his career encompasses theatrical performances, street actions, language, painting, video, drawing, installation, and sculpture. Pope.L’s work explores the fraught connection between prosperity and what he calls “have-not-ness.” This tension is heightened by the presentation of these subversive artworks within a major art museum.

member: Pope.L, 1978–2001 focuses on a group of landmark performances that have defined the artist as a consummate agitator and humorist who has used his body to examine division and inequality on the streets and stages of New York City and in the more rustic environs of Maine, where he taught for 20 years.

The title member ponders the terms and stakes of membership for a provocateur who constantly strives “to reinvent what’s beneath us, to remind us where we all come from,” making material out of categories of race, gender, and citizenship that are intimately entwined.

https://www.moma.org/calendar/exhibitions/5059

Sur modermo: Journeys of Abstraction—The Patricia Phelps de Cisneros Gift | Oct. 21, 2019 – Mar. 21, 2020

Sur moderno: Journeys of Abstraction—The Patricia Phelps de Cisneros Gift is drawn primarily from the paintings, sculptures, and works on paper donated to the Museum by the Colección Patricia Phelps de Cisneros. This extraordinarily comprehensive collection provides the foundation for a journey through the history of abstract and concrete art from South America at mid-century. The exhibition explores the transformative power of abstraction in Brazil, Venezuela, Argentina, and Uruguay, focusing on both the way that artists reinvented the art object itself and the role of art in the renewal of the social environment. https://www.moma.org/calendar/exhibitions/5061

Musée du Louvre

Paris, France

Leonardo da Vinci | Oct. 24, 2019 – Feb. 24, 2020

An exceptional exhibition on Leonardo da Vinci will be presented at the Musée du Louvre in the fall of 2019. A unique group of artworks that only the Louvre could bring together, in addition to its outstanding collection of paintings and drawings by the Italian master.

The year 2019 has a special significance for the Louvre, as it will mark the fifth centenary of the artist’s death at Amboise, in the Loire Valley. When his patron Giuliano de’ Medici died, Leonardo da Vinci left Italy for France at the invitation of the new French king, François I. Probably around November 1516, he arrived at the Château du Clos Lucé, a stone’s throw from the king’s residence at Amboise.

This château was the splendid home provided by François I for Leonardo, whom he appointed “First Painter, Engineer and Architect to the King,” a position for which the artist received a princely allowance. This is where he spent the last three years of his life, compiling notes on various scientific and artistic subjects with a view to publishing treatises, and working on the paintings he had brought with him to France, such as Saint Anne, the Mona Lisa and Saint John the Baptist. Some remarkable drawings from this period, done on French-made paper, illustrate his work on hydraulic projects, festivities for the king and a monumental equestrian sculpture.

https://www.louvre.fr/en/leonardo-da-vinci

Virginia Museum of Fine Arts

Richmond, Virginia

Edward Hopper and the American Hotel | Oct. 26, 2019 – Feb. 23, 2020

The Virginia Museum of Fine Arts presents the premiere of Edward Hopper and the American Hotel, the first in-depth study of hospitality settings depicted in the works of one of the most celebrated American artists. Edward Hopper (1882–1967) found artistic value and cultural significance in the most commonplace sites and settings. Hopper’s spare depictions of familiar public and private spaces are often understood within the contexts of isolation, loneliness, and ennui of early and mid-20th-century America. As this exhibition shows, however, Hopper’s immersion in the world of hotels, motels, hospitality services, and mobility in general presents a new framework for understanding the artist’s work.

Curated by Dr. Leo G. Mazow, the Louise B. and J. Harwood Cochrane Curator of American Art at VMFA, assisted by Dr. Sarah G. Powers, the exhibition features Hopper’s depictions of hotels, motels, tourist homes, boardinghouses, and apartment hotels. These images of hospitality settings both challenge and expand the themes of loneliness and fragmentation usually attributed to his work. They inform our understanding of a shifting American landscape and America’s fascination with the new possibilities of automobile travel and the attendant flourishing of hotels, motels, and tourist homes. Hopper was not only a frequent traveler and guest of all variety of accommodations, but worked as an illustrator for hotel trade magazines early in his career. Thus, his work offers an insider’s perspective into the hospitality services industry during a pivotal moment in its evolution. Exhibition visitors will recognize how hotels and motels—as figurative or metaphorical destinations—have fixed themselves in our experiences and permeated our collective psyche.

Denver Art Museum

Denver, Colorado 

Claude Monet: The Truth of Nature | Oct. 21, 2019 – Feb. 2, 2020

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

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

https://denverartmuseum.org/exhibitions/claude-monet

Museo Nacional del Prado

Madrid, Spain

Sofonisba Anguissola and Lavinia Fontana | Oct. 22, 2019 – Feb. 2, 2020

The exhibition will reveal the artistic personality of two of the most outstanding women artists in western art. Through a total of 60 works and for the first time, the Museo del Prado will jointly present the most important paintings by Sofonisba Anguissola (ca.1535-1625) and Lavinia Fontana (1552-1614). The two artists achieved recognition and fame among their contemporaries for and despite their status as female painters. Both were able to break away from the prevailing stereotypes assigned to women in relation to artistic practice and the deep-rooted scepticism regarding women’s creative and artistic abilities.

The exhibition will present the work of these two women, whose artistic personalities were to some extent obscured over the course of time but who in the last thirty years have once again aroused the interest of specialists and the general public.

https://www.museodelprado.es/en/whats-on/exhibition/sofonisba-anguissola-y-lavinia-fontana-dos/5f6c56c8-e81a-bf38-5f3f-9a2c2f5c60eb

Hirshhorn Museum and Sculpture Garden

Washington, DC

Pat Steir: Color Wheel | Oct. 24, 2019 – Sept. 7, 2020

The Hirshhorn will host the largest painting installation to date by the acclaimed abstract painter Pat Steir. The exhibition is an expansive new suite of paintings by the artist, spanning the entire perimeter of the Museum’s second-floor inner-circle galleries, extending nearly four hundred linear feet. These immersive works will transform the Museum into a vibrant spectrum of color. The thirty large-scale paintings, when presented together as a group, will create an immense color wheel that shifts hues with each painting, with the pours on each canvas often appearing in the complementary hue of the monochrome background.

Over the past four decades, Steir has produced a commanding body of abstract paintings that draw on the artist’s distinctive method of combining meticulous brushwork with multiple layers of drips and pours, simultaneously carefully calibrated and apparently random. Drawing on motifs from Chinese ink painting and gestural abstraction, Steir’s paintings are formed by brushing and pouring multiple layers of paint, allowing gravity to guide the cascading forms. Her signature technique echoes the metaphysical ideas of harmony with nature expressed in Zen Buddhist and Daoist thought, even as it redefines the conventional flat picture plane to sculpt deep, transcendent space. At the Hirshhorn, this commission will activate the entire gallery as visitors walk around the space, exploring the wheel’s spectrums. Moreover, Steir’s paintings will create a dialogue with the Gordon Bunshaft-designed outdoor fountain and seasonal changes visible through the Museum’s windows.

https://hirshhorn.si.edu/exhibitions/pat-steir/

The Museum of Fine Arts, Houston

Houston, Texas

Monet to Picasso: A Very Private Collection | Oct. 20, 2019 – Jan. 12, 2020

Monet to Picasso: A Very Private Collection features paintings by the pivotal artists who sparked the major art movements of the late-19th through mid-20th century. This significant private collection has never been presented as a whole.

Assembled over decades, these paintings chronicle key moments in the development of modern art in Paris: the evolution of Impressionism from its roots in the work of artists, including Jean-Baptiste-Camille Corot, and represented by the work of Mary Cassatt, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley; the emergence of the Post-Impressionist painters, including Paul Cézanne, Paul Gauguin, and Vincent van Gogh; and the leading figures of 20th-century abstraction, including Georges Braque, Juan Gris, Fernand Léger, Henri Matisse, and Pablo Picasso.

https://www.mfah.org/exhibitions/impressionist-autumn

Whitney Museum of American Art

New York, New York

Order and Ornament: Roy Lichtenstein’s Entablatures | Sept. 27, 2019 – Sept. 27, 2020

This exhibition will present a diverse array of works on paper by Roy Lichtenstein (1923–1997) related to his Entablatures series from the 1970s. Inspired by the architectural facades and ornamental motifs he encountered around Wall Street and elsewhere in Lower Manhattan, the series addresses many of Lichtenstein’s central artistic themes while demonstrating a unique emphasis on texture, surface, relief, and reflectivity.

Named after the horizontal structures that sit atop the columns in Classical Greek architecture, Lichtenstein’s Entablatures represent a distinctly American derivative, one based in revivalist, industrialized architectural imitations that were built en masse in the early twentieth century. By isolating clichéd symbols of—in the artist’s words—“imperial power” and “the establishment,” Lichtenstein traces the effect of mass production and replication on cultural forms. A sustained investigation into pattern and repetition, the Entablatures also underscore the echoes of Classical order embedded within Minimalist sculpture and Color Field painting.

The first exhibition at the Whitney devoted to Lichtenstein’s work since the transformative gift of the Roy Lichtenstein Study Collection, this capsule presentation provides a focused look at a single pivotal series, highlighting the artist’s inventive processes and techniques across drawings, collages, prints, photographs, and archival materials.

https://www.whitney.org/exhibitions/roy-lichtenstein-entablatures

Cleveland Museum of Art

Cleveland, Ohio

Michelangelo: Mind of the Master | Sept. 22, 2019 – Jan. 5, 2020

The name of the Italian Renaissance painter, sculptor, and architect Michelangelo Buonarroti (1475–1564) is synonymous with creative genius and virtuosity. The exhibition Michelangelo: Mind of the Master presents an unprecedented opportunity for museum visitors to experience the brilliance of Michelangelo’s achievements on an intimate scale through more than two dozen original drawings. Michelangelo’s genius is especially evident through his breathtaking draftsmanship on sheets filled with multiple figures and close studies of human anatomy. These working sketches invite us to look over the shoulder of one of Western art history’s most influential masters and to experience firsthand his boundless creativity and extraordinary mastery of the human form. These drawings demonstrate Michelangelo’s inventive preparations for his most important and groundbreaking commissions, including the Sistine Chapel ceiling fresco, sculptures for the tomb of Giuliano de’ Medici, and the dome of Saint Peter’s Basilica.

Michelangelo: Mind of the Master brings to the United States for the first time a group of drawings by Michelangelo from the remarkable collection of the Teylers Museum (Haarlem, The Netherlands), which was formed in the 18th century in part from the collection of Queen Christina of Sweden (1626–1689). Additional drawings from the collections of the Cleveland Museum of Art and the J. Paul Getty Museum round out the display. A fully illustrated catalogue accompanies the exhibition and includes essays by Emily J. Peters (Cleveland Museum of Art), Julian Brooks (J. Paul Getty Museum), and Carel van Tuyll van Serooskerken (Teylers Museum) that explore Michelangelo’s working methods and major projects, as well as the fascinating history of the ownership of his drawings after his death.

https://www.clevelandart.org/exhibitions/michelangelo-mind-master

Institute of Contemporary Art, Boston

Boston, Massachusetts

Yayoi Kusama: LOVE IS CALLING | Sept. 24, 2019 – Feb. 7, 2020

An icon of contemporary art, Yayoi Kusama (b. 1929, Matsumoto, Japan) has interwoven ideas of pop art, minimalism, and psychedelia throughout her work in paintings, performances, room-size presentations, outdoor sculptural installations, literary works, films, design, and architectural interventions over her long and influential career. LOVE IS CALLING, which premiered in Japan in 2013, is the most immersive and kaleidoscopic of the artist’s Infinity Mirror Rooms. Representing the culmination of her artistic achievements, it exemplifies the breadth of her visual vocabulary—from her signature polka dots and soft sculptures to brilliant colors, the spoken word, and most importantly, endless reflections and the illusion of space. It is composed of a darkened, mirrored room illuminated by inflatable, tentacle-like forms—covered in the artist’s characteristic polka dots—that extend from the floor and ceiling, gradually changing colors. As visitors walk throughout the installation, a sound recording of Kusama reciting a love poem in Japanese plays continuously. Written by the artist, the poem’s title translates to Residing in a Castle of Shed Tears in English. Exploring enduring themes including life and death, the poem poignantly expresses Kusama’s hope to spread a universal message of love through her art. LOVE IS CALLING will be accompanied by a focused presentation drawn from the ICA’s collection titled Beyond Infinity: Contemporary Art After Kusama that will offer insight into Kusama’s influences and her important legacy on contemporary art.

Kusama is one of today’s most recognized and celebrated artists. In addition to her widely popular Infinity Mirror Rooms, Kusama creates vibrant paintings, works on paper, and sculpture with abstract imagery. In 1966, the ICA exhibited an Infinity Mirror Room, now titled Endless Love Show, in the ICA exhibition Multiplicity; the museum also owns a 1953 drawing by the artist, titled A Flower (No. 14). LOVE IS CALLING is the largest of Kusama’s existing Infinity Mirror Rooms, and the first one held in the permanent collection of a New England museum.

https://www.icaboston.org/exhibitions/yayoi-kusama-love-calling

The post What’s Happening Between Now and Spring 2020 appeared first on Art Business News.

More than 1,200 manufacturers, 40 percent of whom were from abroad, attended the FamaArt preview last March in BolognaFiere. The preview showcased the excellence of European frame manufacturing and graphic arts, with more than 50 exhibitors representing the top businesses in frame production and frame-moulding machinery.

Also open to visitors, next spring’s exhibition will present the new season’s designs with three days dedicated to European excellence in framing, marking the return of top-quality manufacturing in the frames and graphic-arts sectors.

“It is a happy comeback for our fair district,” says BolognaFiere President Duccio Campagnoli. “Thanks to the newfound partnership with the consortium of European manufacturers, Bologna will once again host and organize an international showcase for … frame-making, in which ‘made in Europe’ still stands for quality—a sector which grew up and once did business the world over from its hub in Bologna. This is further evidence of Bologna’s capacity to create events tailored to business and Italian industrial districts, launching them on an international scale.”

“We are very happy about the agreement with BolognaFiere,” says FAMA Europe President Mauro Fioravanti. “After a three-year gap, we are to return to Bologna, the district we worked in for so many years with great success, to the satisfaction of all businesses in the sector. Now we are ready for new successes starting from BolognaFiere.” ◆

Got a scoop to share with framers across the nation? Send your moulding and framing press releases and stories to info@decorartandframing.com

The post Newsmakers: Fama Art Returns to BolognaFiere in March 2015 appeared first on Art Business News.

by Kathryn Peck

Despite today’s fast-paced world of social-media marketing and networking, there’s still no substitute for meeting customers and prospects in person. And there are few better places to accomplish just this goal than at a trade show.

According to Diane Attesi, who has managed trade shows for 13 years and currently works as director of trade shows and events at Wave Systems Corp., the primary reason to exhibit at a trade show is to increase sales and expand awareness of a company, a product or a brand.

Daniel Giglio of Exhibit & Tradeshow Consultants (exhibitandtradeshow.com) echoes these sentiments and notes that trade shows are still the most cost-effective ways to showcase products or services. “For example, if you received 100 leads at a show,” says Giglio, “what would it cost you to meet with these 100 potentials face-to-face?”

Sales are vital for any business, including an art business. At a trade show, exhibitors get the chance not only to showcase their products or services but also to meet with clients, gallery owners, journalists and other art professionals. The shows enable artists to gain important feedback on their work and see what others in the industry are doing.

But deciding whether and where to exhibit is just the first step. The second is making the most of those few show days available. Even the most seasoned exhibitors can make mistakes. Here are some tips to make sure you get the most out of your trade-show experience.

Do your homework beforehand.

Start planning for the show in advance. Note all deadlines and communicate with show managers and show service vendors, who can be helpful in explaining rules and answering questions. Attesi suggests assigning one person to oversee this process. Giglio advises early planning, including selecting booth spaces, booth design, graphics and construction. It will “help keep costs under control and will also help keep you from lastminute craziness and exhaustion,” he says.

Make your booth space open and inviting.

“Product is king!” says Peter LoCascio, who has been helping companies market themselves for more than 35 years and today runs Trade Show Consultants (tradeshowconsultants.com). “The exhibit booth should be designed to transform suspects who walk the aisles of a trade show into prospects.” This advice means that exhibitors must pay close attention to the layout. For example, they must leave plenty of open space for visitors and be sure that the lighting highlights the art on display.

“Lighting is critical for artworks,” says LoCascio. “The exhibitor should design his or her exhibit utilizing as much illumination as possible on each of the pieces displayed.”

Attesi adds that overstaffing or understaffing a booth can create an unfriendly layout. “You need two people for every 10×10[-foot] space, plus some extra staff to rotate in so everyone gets a break,” she says.

Consider your booth a store, too.

Use a trade show not only to exhibit your latest artworks but also to promote and sell other facets of your business, such as prints, calendars and cards.

Build contacts and mailing lists.

Social-media websites make it easy to build a following, but trade shows offer the opportunity to make a personal connection with those who admire your work and may be future clients. “Sales-lead management is also key to maintaining contact with booth visitors and should be a major focus,” says Lo- Cascio. “Get visitors’ names, addresses, cell phone [numbers] and e-mail addresses with a synopsis of discussion topics in a form that allows effective post-show communications.”

Promote your events.

Use the time you have at a trade show to promote other events in which you will be participating. Consider printing a list of upcoming shows or workshops, dates and locations for visitors to take with them.

Consider show specials and reduced show prices.

Show specials may help stimulate prospects that might seem to be wavering on price, says LoCascio. He suggests marking each piece with the regular price and the new special price. “The show special should be advertised in the booth and only last until one week after the show before the prices on selected items goes back up,” says LoCascio.

Stand up straight and smile.

Personal presentation at a trade show is important. Never leave your booth unattended, and those tending the booth should not just sit or “look uninterested,” says Giglio. “Always greet and make eye contact with passersby; you never know who is walking by your booth.”

“I see more 10×10 table shows where exhibitors put the table in the front and sit behind it and then check their e-mail,” says Attesi. “This does not send the message, ‘Welcome. Come into my exhibit. Relax, look around, have a seat, and learn more about our products!’ Walking up to an exhibit where the staff is checking their phones or in a circle chatting to each other can be intimidating for attendees and is the best way you could sabotage your investment.”

LoCascio also advises against exhibitors’ eating in the booths. It “deters visitors who don’t want to impose,” he says.

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