Less Is a Bore: Maximalist Art & Design brings together works in painting, sculpture, ceramic, dance, furniture design, and more that privilege decoration, pattern, and maximalism.
On the occasion of the centenary of the artist’s birth, MAXXI is devoting a major exhibition to Maria Lai (1919–2013), one of the most individual voices in Italian contemporary art.
Hannah van Bart and Jacco Olivier were honored with the Jeanne Oosting Prize. Their worlk is on display in De Vishal in Haarlem until July 7.
Beginning with the radical Black filmmaker Horace Ové and his dynamic circle of Windrush generation creative peers and extending to today’s brilliant young Black talent globally, a group of 110 interdisciplinary artists are showcasing their work together for the first time, exploring Black experience and influence, from the post-war era to the present day.
Painting as a Butterfly is the first retrospective exhibition dedicated exclusively to the pictorial and drawing works by Pier Paolo Calzolari (Bologna, 1943), one of the most important contemporary artists, related to Arte Povera movement since the Sixties. Organized in close collaboration with the Fondazione Calzolari, 40 years after the artist’s last exhibition held by a public space in Naples (Villa Pignatelli, 1977), the retrospective, curated by Achille Bonito Oliva and Andrea Viliani, includes over 70 paintings, drawings and multi-material works realized from the mid-Sixties up to now, documenting all the main cycles and phases of his artistic research.
Sublimations, a solo exhibition of the works of Diana Al-Hadid, will feature Al-Hadid's wall panels, sculptures, and drawings. The exhibition explores how Al-Hadid challenges and dissolves archetypal narratives that depict the female body in psychologically limiting terms. In collaboration with the Frist's exhibition, two large-scale outdoor works will be on display at the nearby Cheekwood Estate & Gardens. On view: May 24 - September 2, 2019 (Cheekwood closes September 1, 2019)
Embracing the accidental and the uncontrolled, as well as an approach that enters into a poetic and creative dialogue with nature, Braun creates immersive objects and collages as well as video installations that reflect his open attitude. For this he draws from materials such as industrially produced fabrics as much as he does from materials he finds in nature or which are produced by nature. This very potential to transform raw materials into novel, poetic and sometimes mysteriously and equally humorous form, which continually challenges the truth in the creation of works, are topics which engage Braun on an ongoing basis. This is Björn Braun’s first major presentation in Switzerland.
There is no dress code inside the tent. No choir, nor a bulletin. But the congregation is energetic and fully participatory. Presbyterian, Baptist and Methodist… this is a place to reach the lost, those with tender hearts. Under the big top is a transient group who have come to the revival to be filled with the spirit, to experience something beyond this immediate world. Chicago-based artist William J. O’Brien created this exuberant sanctuary for his other-worldly parishioners, fetishistic and ritualistic figures empowered by the glory.
Björn Braun is included in a group show at the Contemporary Arts Center in Cincinnati, Ohio titled Creatures: When Species Meet. The exhibition, curated by Steven Matijcio, looks not only at art that places the animal as the subject but also at works that employ the animal as a creative collaborator. Braun's nests, which are featured in this exhibition, are products of an ongoing collaboration between birds and the artist.
Hans Op de Beeck has been included in the sixth edition of GLASSTRESS, an exhibition that celebrates and revives the traditional craft of Murano glassblowing. Hans Op de Beeck will be exhibiting The Frozen Vanitas alongside glass works by artists including Ai Weiwei, Tony Cragg, and Laure Prouvost. GLASSTRESS is on view concurrently with the Venice Biennale.
Conceiving to share a question of ‘how to live together’ the exhibition features the works of eight Korean and international artists/groups: Kim Juwon, Björn Braun, Manon de Boer, Ursula Biemann & Paulo Tavares, Xu Tan, Yu Araki, Rim Dongsik & Woo Pyongynam, and Part-time Suite. Containing the today’s issues of coexistence between the human and the nature, they will unravel the stories of the ones who have disparate ways of living and identities in the world but live together.
Frank Stella: Selections from the Permanent Collection is open at the Los Angeles County Museum of Art. The exhibition features a curated selection of Stella’s works from the permanent collection that showcase significant developments in his oeuvre. Some of the works have not been on view for over 30 years and others, such as the large-scale sculpture, K.56 (large version) (2013), have been recently acquired by the Museum.
Jessica Jackson Hutchins and the Haas Brothers are both included in the Kentucky Museum of Art and Craft’s exhibition In the Hot Seat. The exhibition explores how the chair has become an indelible focus of creative inquiry for artists, who employ the chair for its ability to embody space, status, social conventions, personal identity, memory, family history, and other aspects of our humanity. Included are Hutchins’s The Way That You Live (2015) and the Haas Brothers' Hair-ic Coiff-man (2014).
Milan’s Ramo Collection brings together outstanding works from some of the most important movements in twentieth-century Italian art, including images by Umberto Boccioni, Giorgio de Chirico, Lucio Fontana, Alighiero Boetti, Pino Pascali and many more. Assembled by the late Milanese entrepreneur Giuseppe ‘Pino’ Rabolini, it is the largest private collection of modern and contemporary Italian art on paper, comprising almost 600 works. Who’s Afraid of Drawing? presents around 60 pieces from the collection, which is being shown in the UK for the first time. The exhibition explores drawing as more than just a preparatory activity, considering it as an art form in its own right.
Jennifer Bartlett's Rhapsody (1976) was put on display in the atrium at the Museum of Modern Art in New York. Rhapsody consists of 987 one foot-square steel panels stretching over an expanse of more than 150 feet. The monumental work can be read from left to right and is organized into seven thematic sections, which represent the themes that Bartlett would explore in-depth for decades to come.
Kunstalle Krems presents a solo exhibition by Hans Op de Beeck that includes special sculptural installations designed for the exhibition. The Cliff, which is the title of both the piece and the exhibition, is a romantic naturescape in the form of a life-sized sculptural installation. The exhibition includes monochrome sculptures, watercolors, ink paintings, and Op de Beeck's films including Staging Silence (2). Throughout the exhibition, art and everyday life blur into one another; real-looking persons and objects mutate into sculptures in their monochromy. Life seems halted, frozen like in Pompeiian cement, in the wondrously melancholic world of Hans Op de Beeck.
Across eight successive galleries, this exhibition presents practices that evolve from the flat plane of the wall to immersive sculptural environments. Staging a performance of material history, spatial occupation, and social positioning, Hinge Pictures: Eight Women Artists Occupy the Third Dimension resuscitates abstract modernist vocabularies, marked by patriarchal and colonial histories, for use in a new feminist formalism.
NSU Art Museum in Fort Lauderdale, FL has unveiled a new site-specific wall installation by Serge Alain Nitegeka, titled Wall Drawing XIII. The work is included in the exhibition, Remember to React: 60 Years of Collecting, a comprehensive installation of the museum’s permanent collection that will be on view through June 30, 2019.