Inundadas de Cor: Gravuras Francesas e Japonêsas

Anne Allen, after Jean Baptiste Pillement, Nouvelle suite de cahiers chinois no. 2, c. 1796-98, Color etching. Courtesy Smart Museum of Art, The University of Chicago.

Smart Museum of Art - Chicago

04 de outubro de 2012, 20 de janeiro de 2013

A Universidade de Chicago e o Smart Museum of Art apresentam Inundadas de Cor: Gravuras Francesas e Japonêsas, uma nova exposição que analisa as distintas e sobrepostas tradições das gravura a cor na França e no Japão.

Henri Rivière, Vegetable Garden at Ville-Hue (Saint-Briac), 1890, From the Breton Landscapes, Color woodblock print printed from eight blocks on eighteenth-century Japanese laid paper. Courtesy Smart Museum of Art, The University of Chicago.

University of Chicago’s Smart Museum of Art presents Awash in Color: French and Japanese Prints, a new exhibition that examines the distinct yet overlapping traditions of color printmaking in France and Japan. 

Kitagawa Utamaro, Taking Shelter from a Sudden Summer Shower under a Huge Tree, early 1790s, Color woodblock print, triptych. Courtesy Smart Museum of Art, The University of Chicago.

A exposição apresenta mais de 130 estampas requintadas e livros ilustrados do século 18 ao século 20. Junto com conhecidos cartazes de Toulouse-Lautrec e icônicas imagens  ukiyo-e "imagens do mundo flutuante", e os objetos apresentados também incluem gravuras entalhadas com cores virtuosas feitas antes da Revolução Francesa e estampas japonesas corajosamente coloridas  que se aproveitaram de corantes químicos importados da Europa .

Louis Le Coeur and J.-F.-J. Swebach-Desfontaines, Bal de la Bastille, 1790, Etching and wash manner. Courtesy National Gallery of Art, Washington, DC.

The exhibition presents more than 130 exquisite prints and illustrated books from the 18th to 20th century. Along with well-known posters by Toulouse-Lautrec and iconic ukiyo-e “images of the floating world,” featured objects also include virtuoso color intaglio prints made before the French Revolution and boldly colored Japanese prints that took advantage of chemical dyes imported from Europe.

Henri de Toulouse-Lautrec, Divan Japonais, 1892–93, Color lithograph. Courtesy Smart Museum of Art, The University of Chicago.

Com estas obras magníficas - extraídas de participações substanciais do SMART, bem como importantes coleções públicas e privadas em todo o país - Inundadas de Cor tece uma história dupla, tocando nas estruturas sociais, as forças comerciais, e inovações tecnológicas que ajudaram a moldar a gravura de cor em ambas as culturas.

Utagawa Kunisada II, The Actor Onoe Kikujir? II as Funadama Osai in the play Koharu nagi okitsu shiranami, 1864, Color woodblock print. Courtesy Smart Museum of Art, The University of Chicago.

With these breathtaking works — drawn from the Smart’s substantial holdings as well as major public and private collections across the country — Awash in Color weaves a dual history, touching on the social structures, commercial forces, and technological innovations that helped to shape color printmaking in both cultures. 

Utagawa (And?) Hiroshige, Narumi: Shop With Famous Arimatsu Tie-Dyed Cloth (Narumi, meisan Arimatsu shibori mise), #41 from the Fifty-three Stations of the Tokaido Road, also known as the Vertical Tokaido, 1855, Color woodblock print. Courtesy Collection of Mr. and Mrs. Harlow Niles Higinbotham.

Juntamente com um catálogo que a acompanha, a exposição dá maior amplitude e profundidade ao nosso entendimento de uma das trocas mais frutíferas artísticas entre o Oriente e o Ocidente.

Katsushika Hokusai, Poppies, c. 1833–34, Color woodblock print. Courtesy The Art Institute of Chicago.

Together with an accompanying catalogue, the exhibition adds breadth and depth to our understanding of one of the most fruitful artistic exchanges between East and West.

George Auriol, Program for Le Théâtre Libre, 1889, Five-color lithograph. Courtesy Spencer Museum of Art.

A exposição é comissariada pelo Chelsea Foxwell, professor assistente de História da Arte da Universidade de Chicago, e Anne Leonard, Curadora e Diretora Associada do Smart de iniciativas acadêmicas.

Katsushika Hokusai, Mishima Pass in Kai Province (Koshu Mishimagoe), early 1830s, from the Thirty-six Views of Mt. Fuji, Color woodblock print. Courtesy Smart Museum of Art, The University of Chicago.

The exhibition is curated by Chelsea Foxwell, Assistant Professor of Art History at The University of Chicago, and Anne Leonard, Smart Museum Curator and Associate Director of Academic Initiatives.

Arranha-céu: Arte e Arquitetura contra a gravidade

Enoc Perez, Marina Towers, Chicago, 2011. Collection of the artist, New York.

Museu de Arte Contemporânea de Chicago

30 junho - 23 setembro, 2012

Roger Brown, Ablaze and Ajar, 1972. Collection Museum of Contemporary Art Chicago, bequest of Ruth S. Nath. © The School of the Art Institute of Chicago and the Brown family. Photo: Nathan Keay, © MCA Chicago.

O MCA traz a estrutura do edifício icónico, o arranha-céu, para a vida, em Chicago, uma cidade conhecida como o berço deste tipo de arquitetura em Arranha-céu : Arte e Arquitetura contra a gravidade, uma seleção de obras de arte contemporânea que consideram a forma, a tecnologia, o mito, e a mensagem dos arranha-céus modernos. 

Gabriel Orozco, Isla en la Isla (Island within an Island), 1993. Marian Goodman Gallery, New York. © Gabriel Orozco, courtesy Marian Goodman Gallery, New York.

The MCA brings the iconic building structure, the skyscraper, to life in Chicago, a city widely known as the birthplace of this architectural type in Skyscraper: Art and Architecture Against Gravity, a selection of contemporary artworks that consider the form, technology, myth, and message of the modern skyscraper.

Andreas Gursky, Avenue of the Americas, 2001. Collection Museum of Contemporary Art Chicago, Joseph and Jory Shapiro Fund. Photo © MCA Chicago.

Mais de 50 artistas internacionais que trabalharam nos séculos 20 e 21 estão sendo apresentados com obras que vão desde cinema e vídeo à pintura, escultura, fotografia e. Arranha-céu é comissariadao por Michael Darling, MCA James W. Alsdorf Chief Curator, e Joanna Szupinska, MCA Marjorie Susman Curatorial Fellow.

Yin Xiuzhen, Portable City: Dunhuang, 2010. © Yin Xiuzhen, courtesy of The Pace Gallery, Beijing.

 Over 50 international artists working in the 20th and 21st centuries are featured with works ranging from film and video to painting, sculpture, and photography. Skyscraper is curated by Michael Darling, MCA James W. Alsdorf Chief Curator, and Joanna Szupinska, MCA Marjorie Susman Curatorial Fellow.

gelitin, B-Thing, detail f, 2001. Courtesy the Artists and Greene Naftali, New York.

Artistas e arquitetos, juntamente com escritores, cineastas e poetas, tem uma fascínação com o desejo humano e espiritual de construir mais alto nos céus, empurrando os limites tecnológicos. 

Jakob Kolding, Construir Autonomia, 2010. Courtesy of Team Gallery, New York.

Artists and architects, along with writers, filmmakers, and poets, have an enduring fascination with the human and spiritual desire to build farther into the skies, pushing technological limits. 

Jakob Kolding, Flowered Up, 2010. Courtesy of Team Gallery, New York.

A exposição Skyscraper está organizada em seções que consideram temas inspirados pelo arranha-céu, incluindo: a verticalidade, a personificação da Arquitetura, Crítica Urbano, Improvisação e Vulnerabilidade dos Ìcones - tendo um foco especial no World Trade Center. 

Jakob Kolding, World (Reshape), 2012. Courtesy of Team Gallery, New York.

The Skyscraper exhibition is organized in sections that consider themes inspired by the skyscraper including: Verticality, Personification of Architecture, Urban Critique, Improvisation, and Vulnerability of Icons — which has a particular focus on the World Trade Center. 

Erica Bohm, Ice Tower (from the Cityscapes series), 2009. Image courtesy The Mission Projects.

A peça central da exposição é uma nova instalação que desafia a gravidade encomendada e construída especialmente para o espaço átrio do MCA de quatro andares pela renomada artista polonêsa Monika Sosnowska. Seu trabalho, a escada de incêndio, é uma estrutura de aço na forma de uma escada de incêndio desmoronando que pende do teto do átrio.

gelitin, B-Thing, detail 1338, 2000. Courtesy the Artists and Greene Naftali, New York.

The centerpiece of the exhibition is a gravity-defying new installation commissioned and built specially for the MCA’s four-story atrium space by renowned Polish artist Monika Sosnowska. Her work, The Fire Escape, is a steel structure in the form of a crumbling fire escape that hangs from the atrium ceiling.

gelitin, B-Thing, detail a, 2001.Courtesy the Artists and Greene Naftali, New York.

Além das cinco secções temáticas, a mostra traz apresentações individuais de trabalho de vários artistas. 

Fikret Atay, Tinica, 2004. Courtesy of Galerie Chantal Crousel, Paris.

In addition to the five thematic sections, the show features solo presentations of work by several artists. 

Jan Tichy, Installation No. 3, detail, 2007. The Israel Museum, Jerusalem. Purchase, ARTVISION Acquisitions Committee, Israel.

Entre eles, está o icônico filme de Andy Warhol de 1964 uma contínua e estática filmagem do Empire State Building - e a projeção do vídeo multi-tela High Wire de Catherine Yass representando a tentativa terrível de Didier Pasquette de andar entre as três torres altas de Glasgow as Red Road.

Jennifer Bolande, Appliance House, 1998-99. The Guthman Collection, Chicago. Image courtesy of the artist.

Among these is Andy Warhol’s iconic 1964 film Empire— a continuous, static shot of the Empire State Building — and the multi-screen video projection High Wire by Catherine Yass depicting the terrifying attempt of high wire artist Didier Pasquette to walk among three of Glasgow’s Red Road high rise tower blocks. 

Michael Wolf, Night #7, 2005. Courtesy of the artist and Robert Koch Gallery, San Francisco.

O sem título (skyline) de Kader Attia é um arranjo espetacular de geladeiras revestidas de azulejos espelhados que emulam o horizonte de uma metrópole deslumbrante, com um vídeo do artista turco Fikret Atay projetado sobre este. Além disso, apresentações de trabalho de Hans-Peter Feldmann, Cyprien Gaillard, e Jan Tichy são destaque na exposição, juntamente com o projeto do lobby de Monika Sosnowska.

Michael Wolf, Transparent City #6, 2007. Courtesy of the artist and Robert Koch Gallery, San Francisco.

Kader Attia’s Untitled (skyline) is a spectacular arrangement of refrigerators clad in mirrored tiles that emulate the skyline of a dazzling metropolis, with a video by Turkish artist Fikret Atay projected over it. Additionally, presentations of work by Hans-Peter Feldmann, Cyprien Gaillard, and Jan Tichy are featured in the exhibition along with the Monika Sosnowska’s lobby project.

Vito Acconci, High Rise, 1980/2012. Acconci Studio.

gelitin, B-Thing, detail 01 unnumbered, 2000. Courtesy the Artists and Greene Naftali, New York.

Jakob Kolding, Architecture..00, 2010. Courtesy of Team Gallery, New York.

gelitin, B-Thing, detail 1331, 2000. Courtesy the Artists and Greene Naftali, New York.

Jakob Kolding, Untitled, 2000. Courtesy of Team Gallery, New York.

Jakob Kolding, Untitled, 2000. Courtesy of Team Gallery, New York.

Vera Lutter, Study for Ground Zero I, November 1-5, 2001, 2001. Collection Museum of Contemporary Art Chicago, gift of Francis Dittmer, 2009.11.a. © 2001 Vera Lutter. Photo: Nathan Keay, © MCA Chicago.

H.C. Westermann, Memorial to the Idea of Man If He Was an Idea, 1958. Collection Museum of Contemporary Art Chicago, Susan and Lewis Manilow Collection of Chicago Artists. Photo: Nathan Keay, © MCA Chicago.

Jan Tichy, Installation No. 3, 2007. The Israel Museum, Jerusalem. Purchase, ARTVISION Acquisitions Committee, Israel.

gelitin, B-Thing, 2001. Courtesy the Artists and Greene Naftali, New York.

Fikret Atay, Tinica, 2004. Courtesy of Galerie Chantal Crousel, Paris.

Roe Ethridge, Tokyo 2, 2009. Courtesy of the artist and Andrew Kreps Gallery, New York.

Abelardo Morell, Camera Obscura Image of the Empire State Building in Bedroom, 1994. Bonni Benrubi Gallery, New York. Image courtesy of the artist and Bonni Benrubi Gallery, New York.

Vito Acconci, High Rise, 1980/2012. Acconci Studio.

Vito Acconci, High Rise, 1980/2012. Acconci Studio.

Vera Lutter, Study for Ground Zero II, November 7-13, 2001, 2001. Collection Museum of Contemporary Art Chicago, gift of Francis Dittmer, 2009.11.b. © 2001 Vera Lutter. Photo: Nathan Keay, © MCA Chicago.

Vera Lutter, Study for Ground Zero II, November 7-13, 2001, 2001. Collection Museum of Contemporary Art Chicago, gift of Francis Dittmer, 2009.11.b. © 2001 Vera Lutter. Photo: Nathan Keay, © MCA Chicago.

Kader Attia , Untitled (Skyline), 2007. Courtesy Fond National d'Art Contemporain, private collection, Galerie Christian Nagel, Galerie Krinzinger and Galleria Continua. Photo: Colin Davidson.

Wilfrid Almendra, Reconstruction of a Monument I, 2011. Bugada & Cargnel, Paris. Photo © Martin Argyroglo.

Ziad Antar, Burj Khalifa Expired, 2010. Courtesy of the artist and Selma Feriani Gallery, London.

Yin Xiuzhen, Portable City: Melbourne, 2009, © Yin Xiuzhen, courtesy of The Pace Gallery, Beijing.

Erica Bohm, Austin Building (from the Cityscapes series), 2009. Image courtesy The Mission Projects.

Jeff Carter, Untitled #3 (Chicago Tribune Tower), detail, 2010. Courtesy of the artist and Galeria Valle Orti, Valencia.

Yin Xiuzhen, Portable City: Xi'an, 2010. © Yin Xiuzhen, courtesy of The Pace Gallery, Beijing.

Jeff Carter, Untitled #3 (Chicago Tribune Tower), 2010. Courtesy of the artist and Galeria Valle Orti, Valencia.

H.C. Westermann, Memorial to the Idea of Man If He Was an Idea, 1958. Collection Museum of Contemporary Art Chicago, Susan and Lewis Manilow Collection of Chicago Artists. Photo: Nathan Keay, © MCA Chicago.

Chris Burden, Chrysler Building, 2011. Gagosian Gallery, Los Angeles. Photo: Brian Forrest.

Marie Bovo, Cour intérieure, 29 avril 2009, 2009. © Marie Bovo. Courtesy the artist and kamel mennour, Paris.

Pierre Huyghe. Les Grands Ensembles, 2001. Marian Goodman Gallery, New York. © Pierre Huyghe, courtesy Marian Goodman Gallery, New York | Paris.

Marie Bovo, Cour intérieure, 19 novembre 2009, 2009. © Marie Bovo. Courtesy the artist and kamel mennour, Paris.

Robert Moskowitz, Skyscraper, 1998. Alan Koppel Gallery, Chicago. Photo: Tom van Eynde, courtesy Alan Koppel Gallery, Chicago.

Kader Attia , Untitled (Skyline), 2007. Courtesy Fond National d'Art Contemporain, private collection, Galerie Christian Nagel, Galerie Krinzinger and Galleria Continua. Photo: SCAD visual media department.

Yin Xiuzhen, Portable City: Hangzhou, 2011, © Yin Xiuzhen, courtesy of The Pace Gallery, Beijing.

Chris Burden, Chrysler Building, detail, 2011. Gagosian Gallery, Los Angeles. Photo: Brian Forrest

Museu de Arte Contemporânea

220 E. Chicago Avenue

312-280-2660

Chicago

Arranha-céu:

Arte e Arquitetura contra a gravidade

30 junho - 23 setembro, 2012