Rosa Barba, Marco Brambilla, Dara Birnbaum, Charlie Chaplin, Douglas Gordon, Georges Méliès, Alex Reynolds, Lindsay Seers, Lillian Schwartz, Ryan Trecartin & Lizzie Fitch, Dziga Vertov, Ming Wong
The love affair between art and film started the moment the film camera was invented. This spring, Bonniers Konsthall will investigate the centurylong relationship.
A century after the first film experiments, moving image is an inevitable part of our visual culture. We interact constantly with moving images on different screens: computers, mobile phones and game consoles. With the development of portable equipment and social networks on the internet, the making, screening and distribution of film have become available to everyone. One could say that we have now reached the stage after film, a shift in technologies, maybe as decisive as the invention of film itself. A sad consequence of the invention of new technologies is that other techniques have to move to the graveyard of the outmoded and the obsolete. Those funerals also mean the burial of a certain vision.
How those shifts, those births and deaths in the history of the moving image, influence and change art is the core in this spring’s major exhibition project A Trip To the Moon.
Art should come from the heart of the artist, it should engage the audience, it should connect with the community, it should start a dialog, a debate. It should get people to look at things in a way they have not thought of, or to see what they have looked at but not really seen. Art has to come deeply from the artist, there has to be raw emotion and honesty in the work if it is to connect with people. An Artist paints and sculpts what they know. These are all the reasons I wanted to do a show about Alzheimer’s disease. To start a dialog, to connect, to get people to understand what it is like to have the disease, it is a part of my life, so it is what I know, what I am around. I took those thoughts and feelings and transformed them into visuals to engage my audience. I speak through paint and clay. Art is a look inside the artist, what I am feeling is transferred into the clay while I am sculpting, Those feelings have to go somewhere. I wanted to tell a story, I wanted you to feel how it is, the frustrations, humor, the compassion and the heartache of having Alzheimer’s disease and for the ones caring for one with this disease.
William Faulkner said it best ~ The aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed so that a hundred years later, when a stranger looks at it it moves again since it is life.
The Archie Bray Foundation’s fourth annual juried exhibition. Free and open to the public.
Beyond the Brickyard is an exhibition of 32 selected pieces from the Archie Bray’s fourth annual international call for entries. Juried by 2011 Voulkos Fellow Richard Shaw. An opening reception will be held on Saturday, February 4 from 6–8 pm and the exhibition will be available to view online beginning February 4, at www.archiebray.org.
Participating artists include Ivan Albreht, Crista Ames, Tom Bartel, Michael Bliven, Shari Bray, Angelique Brickner, Jessica Broad, Monique Castiaux, Danny Crump, Angela Dieffenbach, Kelsey Duncan, Spencer Ebbinga, Debra Fleury, Guillermo Guardia, Jeffrey Haddorff, Chad Hartwig, Nicole Hoiland, Jennifer Holt, Sarahjess Hurt, Marina Kuchinski, Minkyu Lee, Jessi Li, Megan Mitchell, Vince Palacios, Gabriel Parque, Chris Riccardo, Mary Roettger, Eileen Sackman, Hannah Short, Adam Swang and Kwok-Pong Tso.
The Bray is a nonprofit educational organization dedicated to the enrichment of the ceramic arts, located at 2915 Country Club Ave. in Helena, just 1/3 mile west of Spring Meadow Lake. Galleries are free and open to the public. Gallery hours are Monday–Saturday, 10 am–5 pm.
CONTACT: Rachel Hicks Director of Programs and Administration email@example.com
Above: Debra Fleury, Tidal, 2010, porcelain, dark stoneware, glass, underglaze, 3.5” x 25” x 25”
Opening ceremony: 28th January at 5.30 p.m. Event concurring the exhibition devoted to Adolfo Wildt at the Musei di San Domenico in Forlì
The exhibition “Adolfo Wildt. L’anima e le forme tra Michelangelo e Klimt” (28th January – 17th June 2012) curated by Paola Mola, Fernando Mazzocca and Antonio Paolucci, with the scientific coordination by Gianfranco Brunelli, at the Musei di san Domenico in Forlì, highlights the extraordinary creativity of one of the greatest master of the modern sculpture. Wildt (1868 – 1931) was a great artist, self-educated and talented who represented a disputed figure inside the national artistic world: he was venerated from persons who understood his geniality and detested from persons who considered his creations opposing the harmony of the shapes and too linked to the Nordic Decadentism.
The International Museum of Ceramics in Faenza, jointly working with the Fondazione Cassa dei Risparmi di Forlì manager of the event, proposes an exhibition “Ceramic Sculpture during the time of Adolfo Wildt” (28th January – 17th June 2012) curated by Claudia Casali, displayed inside the 20th century collection in order to emphasize the artists who had contacts and relations with Wildt, such as the scholars Fausto Melotti and Lucio Fontana, or others who shared the same extraordinary contemporary artistic experience such as Domenico Rambelli, Galileo Chini, Achille Calzi, Francesco Nonni, Domenico Baccarini, Arturo Martini and Duilio Cambellotti. In the same context the exhibition offers examples of apparent opposite artistic personalities represented by the Futurist movement concretized in the ceramic experience in Faenza (1928-29) and Albisola (from 1929 on).
Sharjah Art Foundation announces the 2012 Production Programme Open Call for grants to artists working in a range of media. Up to $200,000 is available in this application cycle. Deadline: 24 February 2012.
The Sharjah Art Foundation (SAF) Production Programme broadens the possibilities for the production of art in the MENASA region through a commitment to support innovation and excellence in artistic practice by encouraging risk and experimentation. This commitment places artists at the core of the Foundation’s mission by offering grants and professional support for the realization of projects selected from an open call for proposals.
The past decade has seen an extraordinary rise in artistic activity throughout the Middle East, resulting in an increased visibility for artists both regionally and internationally. Within this context, the Foundation hopes to promote and encourage an environment of public and private patronage for the highest level of artistic endeavour. This programme focuses on supporting artists in their individual attempts to create work on a scale they have perhaps never imagined possible.
Arts practitioners are invited to propose imaginative, ambitious and inspirational projects that will transform our understanding of what art is and how it can be experienced. With this initiative we hope to engage and challenge the artists, our audiences and ourselves aesthetically, intellectually, emotionally, socially, politically or in ways new and unexpected.
“Through creating and teaching others how to make “Treepots” and “Tectonic Sculptures,” I have dedicated my artistic efforts in ceramics to exploring life and the irony of renewal through death. Trees are the primary subject of my work and human emergence is its’ theme. Through this creative work I engage the interrelationship between humanity and nature.
I focus on trees because I have a natural love of them from my youth. As a child I spent my summers with my brother roaming the woods of northern Illinois, and as an adolescent I spent them backpacking the forests of the Rocky Mountains of Colorado. Observing the tree excites my creative expression because it demonstrates the promise of renewal in the events of birth, the processes of aging, and the inevitability and promise of new life through death and decay. In this way life continuously takes on evolved and more beautiful forms through both creation and evolution. Both are proven simultaneously in the cycle of life. Evidence of this is shown most brilliantly to me in the life cycle of trees and I speak of it most effectively through my art in the medium of clay.” David Gilbaugh
“10 Years of art and skill. From the idea to action and from this to the final product is a long and arduous journey for four hands.
We create and produce contemporary pieces with message. Devoutly, seriously, exclusively, dangerously, carefully and - why not say it? - perfectly. Pieces that tell universal or personal stories, sad or happy ones, with horror by the easy effect, the déjà vu or the vain brightness. Common denominator is almost always the ceramic and the pursuit of happy marriage between tradition and innovation. Playing with fire is a tough one …
Those who closely follow this trip: Continue with us! To those who have just arrived: Welcome!” THJané