Session

• Config
  • userAgentb5a0f709cc2e9c36c47359f54e7a9926
  • time1269261506
  • rand1229331542
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Request

Cake Params

• pass(empty)
• named(empty)
• controllervenues
• actionbrowse
• plugin(null)
• form(empty)
• url
  • urlvenues/browse
• paging
  • Venue
    • page1
    • current17
    • count17
    • prevPage(false)
    • nextPage(false)
    • pageCount1
    • defaults
      • limit20
      • step1
      • page1
      • conditions(empty)
    • options
      • page1
      • limit20
      • conditions(empty)

$_GET

• urlvenues/browse

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• 0/:controller/:action/*
• 1#^(?:/([^\/]+))?(?:/([^\/]+))?(?:/(.*))?[\/]*$#
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Sql Logs

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Memory

View Variables

• venues
  • 0
    • Venue
      • id1
      • catchcode_prefixMOMA
      • nameThe Museum of Modern Art (MOMA)
      • descriptionThe Museum of Modern Art is a place that fuels creativity, ignites minds, and provides inspiration. With extraordinary exhibitions and the world's finest collection of modern and contemporary art, MoMA is dedicated to the conversation between the past and the present, the established and the experimental. Our mission is helping you understand and enjoy the art of our time. Founded in 1929 as an educational institution, The Museum of Modern Art is dedicated to being the foremost museum of modern art in the world. Through the leadership of its Trustees and staff, The Museum of Modern Art manifests this commitment by establishing, preserving, and documenting a permanent collection of the highest order that reflects the vitality, complexity and unfolding patterns of modern and contemporary art; by presenting exhibitions and educational programs of unparalleled significance; by sustaining a library, archives, and conservation laboratory that are recognized as international centers of research; and by supporting scholarship and publications of preeminent intellectual merit. Central to The Museum of Modern Art's mission is the encouragement of an ever-deeper understanding and enjoyment of modern and contemporary art by the diverse local, national, and international audiences that it serves. To achieve its goals The Museum of Modern Art recognizes: That modern and contemporary art originated in the exploration of the ideals and interests generated in the new artistic traditions that began in the late nineteenth century and continue today. That modern and contemporary art transcend national boundaries and involve all forms of visual expression, including painting and sculpture, drawings, prints and illustrated books, photography, architecture and design, and film and video, as well as new forms yet to be developed or understood, that reflect and explore the artistic issues of the era. That these forms of visual expression are an open-ended series of arguments and counter arguments that can be explored through exhibitions and installations and are reflected in the Museum's varied collection. That it is essential to affirm the importance of contemporary art and artists if the Museum is to honor the ideals with which it was founded and to remain vital and engaged with the present. That this commitment to contemporary art enlivens and informs our evolving understanding of the traditions of modern art. That to remain at the forefront of its field, the Museum must have an outstanding professional staff and must periodically reevaluate itself, responding to new ideas and initiatives with insight, imagination, and intelligence. The process of reevaluation is mandated by the Museum's tradition, which encourages openness and a willingness to evolve and change. In sum, The Museum of Modern Art seeks to create a dialogue between the established and the experimental, the past and the present, in an environment that is responsive to the issues of modern and contemporary art, while being accessible to a public that ranges from scholars to young children.
      • urlwww.moma.org
      • image12410590481159706209.jpg
      • created2009-04-09 07:28:43
      • modified2009-05-04 16:00:10
    • Catchcode
      • 0
        • id1
        • venue_id1
        • catchcode_suffix1000
        • created2009-04-18 01:15:03
        • modified2009-04-18 01:15:03
      • 1
        • id2
        • venue_id1
        • catchcode_suffix1001
        • created2009-04-18 01:15:33
        • modified2009-04-18 01:15:33
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        • id3
        • venue_id1
        • catchcode_suffix1002
        • created2009-04-18 01:17:02
        • modified2009-04-18 01:17:02
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        • id4
        • venue_id1
        • catchcode_suffix1003
        • created2009-04-18 01:17:52
        • modified2009-04-18 01:17:52
      • 4
        • id5
        • venue_id1
        • catchcode_suffix1004
        • created2009-04-18 01:18:53
        • modified2009-04-18 01:18:53
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        • id6
        • venue_id1
        • catchcode_suffix1005
        • created2009-04-18 01:19:37
        • modified2009-04-18 01:19:37
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        • id7
        • venue_id1
        • catchcode_suffix1006
        • created2009-04-18 01:24:57
        • modified2009-04-18 01:24:57
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        • id8
        • venue_id1
        • catchcode_suffix1007
        • created2009-04-18 01:25:41
        • modified2009-04-18 01:25:41
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        • id9
        • venue_id1
        • catchcode_suffix1008
        • created2009-04-24 07:03:43
        • modified2009-04-24 07:03:43
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        • id10
        • venue_id1
        • catchcode_suffix1009
        • created2009-04-24 07:04:55
        • modified2009-04-24 07:04:55
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        • id11
        • venue_id1
        • catchcode_suffix1010
        • created2009-04-24 12:06:47
        • modified2009-04-24 12:06:47
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        • id12
        • venue_id1
        • catchcode_suffix1011
        • created2009-04-24 12:16:04
        • modified2009-04-24 12:16:04
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        • id13
        • venue_id1
        • catchcode_suffix1012
        • created2009-04-24 12:25:54
        • modified2009-04-24 12:25:54
      • 13
        • id14
        • venue_id1
        • catchcode_suffix1013
        • created2009-04-24 12:33:49
        • modified2009-04-24 12:33:49
      • 14
        • id15
        • venue_id1
        • catchcode_suffix1014
        • created2009-04-24 12:48:24
        • modified2009-04-24 12:48:24
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        • id16
        • venue_id1
        • catchcode_suffix1015
        • created2009-04-24 13:02:12
        • modified2009-04-24 13:02:12
      • 16
        • id17
        • venue_id1
        • catchcode_suffix1016
        • created2009-04-24 13:10:36
        • modified2009-04-24 13:10:36
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        • id18
        • venue_id1
        • catchcode_suffix1017
        • created2009-04-24 13:13:03
        • modified2009-04-24 13:13:03
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        • id19
        • venue_id1
        • catchcode_suffix1018
        • created2009-04-24 13:19:32
        • modified2009-04-24 13:19:32
      • 19
        • id20
        • venue_id1
        • catchcode_suffix1019
        • created2009-04-24 13:27:13
        • modified2009-04-24 13:27:13
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        • id32
        • venue_id1
        • catchcode_suffix1020
        • created2009-04-24 23:24:26
        • modified2009-04-24 23:24:26
    • Piece
      • 0
        • id11
        • artist_id2
        • catchcode_id11
        • venue_id1
        • dimension_id4
        • genre_id23
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
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        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleCampbell's Soup Cans
        • descriptionWhen Warhol first exhibited these thirty–two canvases in 1962, each one simultaneously hung from the wall like a painting and rested on a shelf like groceries in a store. The number of canvases corresponds to the varieties of soup then sold by the Campbell Soup Company. Warhol assigned a different flavor to each painting, referring to a product list supplied by Campbell's. There is no evidence that Warhol envisioned the canvases in a particular sequence. Here, they are arranged in rows that reflect the chronological order in which they were introduced, beginning with "Tomato" in the upper left, which debuted in 1897.
        • created2009-04-24 12:06:47
        • modified2009-04-24 12:08:16
      • 1
        • id12
        • artist_id2
        • catchcode_id12
        • venue_id1
        • dimension_id92
        • genre_id23
        • medium_id10
        • smarthistory_id83
        • wikipedia_id83
        • material_id2
        • creation_date1967-04-29
        • creditGift of Mr. David Whitney
        • copyright© 2009 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York
        • accession_number701968
        • titleUntitled from Marilyn Monroe (Marilyn)
        • descriptionPrintmaking, and in particular screenprint, was the basic medium for Andy Warhol's celebrated work on canvas and paper. While a prize-winning commercial artist in the 1950s, he devised a printing process of blotting outline drawings in ink from one surface to another. In a whimsical book of fashionable shoe styles, done at the time he was head of advertising at a shoe company, his blotted drawings were reproduced and then hand-colored by a team of friends. Although Warhol adopted a bland, detached persona, he was an extremely energetic artist and self-promoter who played a significant role in redirecting the course of art. Rather than deriving his work from subjective personal feelings or idealist visions for abstraction, Warhol embraced popular culture and commercial processes. He eventually set up his own print-publishing company called Factory Additions, issuing portfolios of his signature themes. For Marilyn, he created ten highly variable portraits, exploiting the possibilities in screenprinting for shifting colors and off-register effects. By celebrating the seemingly impervious veneer of glamour and fame, but acknowledging its darker inner complexity, these prints reveal Warhol's subtle grasp of American culture. Warhol did not participate in the collaborative printshop system established in America in the 1960s, but his work contributed decisively to what has been characterized as a "print boom" at that time. Through the course of his career, he made nearly eight hundred printed images on paper, about half published in traditional editions. He was also a surprisingly experimental printmaker, issuing hundreds of trial proofs and unique variants. The compositions that make up Camouflage, his last portfolio, constitute a playful commentary on abstraction. Through manipulation of scale and color from sheet to sheet, Warhol alters the visual impact of the military fabric used for concealment. In examples on canvas, he also superimposes his face, linking self-portraiture with disguise.
        • created2009-04-24 12:16:04
        • modified2009-04-29 07:53:10
      • 2
        • id13
        • artist_id3
        • catchcode_id13
        • venue_id1
        • dimension_id93
        • genre_id32
        • medium_id1
        • smarthistory_id84
        • wikipedia_id84
        • material_id1
        • creation_date1889-06-29
        • creditAcquired through the Lillie P. Bliss Bequest
        • copyright
        • accession_number472
        • titleThe Starry Night
        • description"This morning I saw the country from my window a long time before sunrise," the artist wrote to his brother Theo, "with nothing but the morning star, which looked very big." Rooted in imagination and memory, The Starry Night embodies an inner, subjective expression of van Gogh's response to nature. In thick sweeping brushstrokes, a flamelike cypress unites the churning sky and the quiet village below. The village was partly invented, and the church spire evokes van Gogh's native land, the Netherlands.
        • created2009-04-24 12:25:54
        • modified2009-04-29 07:53:48
      • 3
        • id14
        • artist_id3
        • catchcode_id14
        • venue_id1
        • dimension_id7
        • genre_id32
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titlePortrait of Joseph Roulin
        • descriptionDutch painter. His life and work are legendary in the history of 19th- and 20th-century art. In the popular view, van Gogh has become the prototype of the misunderstood, tormented artist, who sold only one work in his lifetime—but whose Irises (sold New York, Sotheby’s, 11 Nov 1987) achieved a record auction sale price of £49 million. Romantic clichés suggest that van Gogh paid with insanity for his genius, which was understood only by his supportive brother Theo (1857–91). Van Gogh was active as an artist for only ten years, during which time he produced some 1000 watercolours, drawings and sketches and about 1250 paintings ranging from a dark, Realist style to an intense, expressionistic one. Almost more than on his oeuvre, his fame has been based on the extensive, diary-like correspondence he maintained, in particular with his brother.
        • created2009-04-24 12:33:49
        • modified2009-04-24 12:33:49
      • 4
        • id15
        • artist_id4
        • catchcode_id15
        • venue_id1
        • dimension_id8
        • genre_id32
        • medium_id3
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleThe Three Shades
        • description
        • created2009-04-24 12:48:24
        • modified2009-04-24 12:48:24
      • 5
        • id16
        • artist_id4
        • catchcode_id16
        • venue_id1
        • dimension_id9
        • genre_id32
        • medium_id3
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleBust of the Young Balzac
        • description French sculptor and draughtsman. He is the only sculptor of the modern age regarded in his lifetime and afterwards to be on a par with Michelangelo. Both made images with widespread popular appeal, and both stressed the materiality of sculpture. Rodin’s most famous works—the Age of Bronze, The Thinker, The Kiss, the Burghers of Calais and Honoré de Balzac—are frequently reproduced outside a fine-art context to represent modern attitudes that require poses and encounters freed from allegory, idealization and propriety. The Rodin mythology embraces the artist’s faith in the spiritual dignity of individuals that direct scrutiny can reveal; this is at its most blatant in Rodin’s portraits of French heroes such as Balzac and Victor Hugo, presented naked and vulnerable. His numerous biographers dwell on his rise from humble origins and his struggle to be accepted by the juries arbitrating entry to the Salon and to be awarded government commissions. Also part of the myth are the fidelity of Rose Beuret, his companion of 50 years; his brazen sexuality; and the unprecedented international fame Rodin acquired after 1900. Set outside this familiar story is the artist who has appealed to people with an enthusiasm for the landmarks of avant-garde sculpture and life drawing. A massive legacy of extremely experimental and intimate studies—on paper, in plaster, some merely fragments, some not published until the 1980s—have helped contradict the criticism that Rodin’s mature work was compromised by rather dull copies of popular works realized by his large workshop. Because he encouraged the reproduction and dissemination of his works in bronze and marble editions, Rodin is represented in many public and private collections. The largest collection of his works—drawings as well as sculpture—is in the Musée Rodin, Paris. Many of his original plasters are in the Musée Rodin, Meudon.
        • created2009-04-24 13:02:12
        • modified2009-04-24 13:02:12
      • 6
        • id17
        • artist_id5
        • catchcode_id17
        • venue_id1
        • dimension_id10
        • genre_id32
        • medium_id4
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleWoman with Flowered Hat
        • description Spanish painter, sculptor, draughtsman, printmaker, decorative artist and writer, active in France. He dominated 20th-century European art and was central in the development of the image of the modern artist. Episodes of his life were recounted in intimate detail, his comments on art were published and his working methods recorded on film. Painting was his principal medium, but his sculptures, prints, theatre designs and ceramics all had an impact on their respective disciplines. Even artists not influenced by the style or appearance of his work had to come to terms with its implications. With Georges Braque Picasso was responsible for Cubism, one of the most radical re-structurings of the way that a work of art constructs its meaning. During his extremely long life Picasso instigated or responded to most of the artistic dialogues taking place in Europe and North America, registering and transforming the developments that he found most fertile. His marketability as a unique and enormously productive artistic personality, together with the distinctiveness of his work and practice, have made him the most extensively exhibited and discussed artist of the 20th century.
        • created2009-04-24 13:10:36
        • modified2009-04-24 13:10:36
      • 7
        • id18
        • artist_id5
        • catchcode_id18
        • venue_id1
        • dimension_id11
        • genre_id32
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleNude with Joined Hands
        • description Spanish painter, sculptor, draughtsman, printmaker, decorative artist and writer, active in France. He dominated 20th-century European art and was central in the development of the image of the modern artist. Episodes of his life were recounted in intimate detail, his comments on art were published and his working methods recorded on film. Painting was his principal medium, but his sculptures, prints, theatre designs and ceramics all had an impact on their respective disciplines. Even artists not influenced by the style or appearance of his work had to come to terms with its implications. With Georges Braque Picasso was responsible for Cubism, one of the most radical re-structurings of the way that a work of art constructs its meaning. During his extremely long life Picasso instigated or responded to most of the artistic dialogues taking place in Europe and North America, registering and transforming the developments that he found most fertile. His marketability as a unique and enormously productive artistic personality, together with the distinctiveness of his work and practice, have made him the most extensively exhibited and discussed artist of the 20th century.
        • created2009-04-24 13:13:04
        • modified2009-04-24 13:13:04
      • 8
        • id19
        • artist_id6
        • catchcode_id19
        • venue_id1
        • dimension_id12
        • genre_id8
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleThe Musketeer
        • descriptionFrench painter, draughtsman, sculptor, printmaker, designer and writer. He came to art comparatively late in life and made his reputation as the principal protagonist of Fauvism, the first avant-garde movement at the turn of the century. He went on to develop a monumental decorative art, which was innovative both in its treatment of the human figure and in the constructive and expressive role accorded to colour. His long career culminated in a highly original series of works made of paper cut-outs, which confirmed his reputation, with Picasso, as one of the major artists of the 20th century.
        • created2009-04-24 13:19:32
        • modified2009-04-24 13:19:32
      • 9
        • id20
        • artist_id6
        • catchcode_id20
        • venue_id1
        • dimension_id13
        • genre_id8
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleMale Model
        • descriptionFrench painter, draughtsman, sculptor, printmaker, designer and writer. He came to art comparatively late in life and made his reputation as the principal protagonist of Fauvism, the first avant-garde movement at the turn of the century. He went on to develop a monumental decorative art, which was innovative both in its treatment of the human figure and in the constructive and expressive role accorded to colour. His long career culminated in a highly original series of works made of paper cut-outs, which confirmed his reputation, with Picasso, as one of the major artists of the 20th century.
        • created2009-04-24 13:27:13
        • modified2009-04-24 13:27:13
  • 1
    • Venue
      • id5
      • catchcode_prefixMFA
      • nameMuseum of Fine Arts Boston (MFA)
      • descriptionThe Museum of Fine Arts houses and preserves preeminent collections and aspires to serve a wide variety of people through direct encounters with works of art. The Museum aims for the highest standards of quality in all its endeavors. It serves as a resource for both those who are already familiar with art and those for whom art is a new experience. Through exhibitions, programs, research and publications, the Museum documents and interprets its own collections. It provides information and perspective on art through time and throughout the world. The Museum holds its collections in trust for future generations. It assumes conservation as a primary responsibility which requires constant attention to providing a proper environment for works of art and artifacts. Committed to its vast holdings, the Museum nonetheless recognizes the need to identify and explore new and neglected areas of art. It seeks to acquire art of the past and present which is visually significant and educationally meaningful. The Museum has obligations to the people of Boston and New England, across the nation and abroad. It celebrates diverse cultures and welcomes new and broader constituencies. The Museum is a place in which to see and to learn. It stimulates in its visitors a sense of pleasure, pride and discovery which provides aesthetic challenge and leads to a greater cultural awareness and discernment. The Museum creates educational opportunities for visitors and accommodates a wide range of experiences and learning styles. The Museum educates artists of the future through its School. The creative efforts of the students and faculty provide the Museum and its public with insights into emerging art and art forms. The Museum's ultimate aim is to encourage inquiry and to heighten public understanding and appreciation of the visual world.
      • urlhttp://mfa.org/
      • image1241057737539208910.jpg
      • created2009-04-09 08:07:21
      • modified2009-04-29 19:15:38
    • Catchcode(empty)
    • Piece(empty)
  • 2
    • Venue
      • id7
      • catchcode_prefixMET
      • nameThe Metropolitan Museum of Art (The MET)
      • descriptionThe Metropolitan Museum of Art was founded on April 13, 1870, "to be located in the City of New York, for the purpose of establishing and maintaining in said city a Museum and library of art, of encouraging and developing the study of the fine arts, and the application of arts to manufacture and practical life, of advancing the general knowledge of kindred subjects, and, to that end, of furnishing popular instruction."1 This statement of purpose has guided the Museum for 130 years. Today the Trustees of The Metropolitan Museum of Art reaffirm the statement of purpose and supplement it with the following statement of mission: The mission of The Metropolitan Museum of Art is to collect, preserve, study, exhibit, and stimulate appreciation for and advance knowledge of works of art that collectively represent the broadest spectrum of human achievement at the highest level of quality, all in the service of the public and in accordance with the highest professional standards.
      • urlhttp://www.metmuseum.org/home.asp
      • image1240951661311128146.jpg
      • created2009-04-24 15:22:26
      • modified2009-04-28 13:47:42
    • Catchcode
      • 0
        • id21
        • venue_id7
        • catchcode_suffix1000
        • created2009-04-24 15:56:39
        • modified2009-04-24 15:56:39
      • 1
        • id22
        • venue_id7
        • catchcode_suffix1001
        • created2009-04-24 16:15:44
        • modified2009-04-24 16:15:44
      • 2
        • id23
        • venue_id7
        • catchcode_suffix1002
        • created2009-04-24 16:27:45
        • modified2009-04-24 16:27:45
      • 3
        • id24
        • venue_id7
        • catchcode_suffix1003
        • created2009-04-24 16:41:05
        • modified2009-04-24 16:41:05
      • 4
        • id25
        • venue_id7
        • catchcode_suffix1004
        • created2009-04-24 16:49:06
        • modified2009-04-24 16:49:06
    • Piece
      • 0
        • id21
        • artist_id7
        • catchcode_id21
        • venue_id7
        • dimension_id15
        • genre_id4
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
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        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleMary Sylvester
        • descriptionMary Sylvester (1725–1794) was born at Southold, Long Island. She was the daughter of Brinley and Mary Sylvester and the sister of Margaret, later Mrs. David Chesebrough (see 16.68.3). Her portrait was most likely painted in 1754, the year in which Blackburn painted the portrait of her sister and of Abigail Chesebrough (Stonington Historical Society, Connecticut). In accordance with her unmarried status, Blackburn depicted Mary Sylvester as a shepherdess, the lamb at her side a symbol of purity and innocence. Although an exact source has not yet been identified, it has been assumed that Blackburn derived this allegorical representation from a British mezzotint. In 1756 Mary Sylvester was married in Newport to Thomas Dering, a Boston merchant. The exceptionally fine carved, painted and gilded frame is original to the portrait. Signatures, Inscriptions, and MarkingsSignature: [on the shaft of the shepherdess's crook]: I. Blackburn Pinx. Provenancedescended to the sitter's grandnephew, Dr. Nicoll Havens Dering, Rome, New York, by 1833–died 1867; his son, Sylvester Dering, Utica, New York, until 1916.
        • created2009-04-24 15:56:39
        • modified2009-04-24 15:57:11
      • 1
        • id22
        • artist_id8
        • catchcode_id22
        • venue_id7
        • dimension_id95
        • genre_id1
        • medium_id1
        • smarthistory_id86
        • wikipedia_id86
        • material_id3
        • creation_date1758-04-29
        • creditPurchase, Estate of George Strichman and Sandra Strichman Gifts; Bequest of Vera Ruth Miller, in memory of her father, Henry Miller, Bequest of Josephine N. Hopper, John Stewart Kennedy Fund, and Gifts of Yvonne Moën Cumerford, Berry B. Tracy, and Mr. an
        • copyright
        • accession_number1996
        • titleHugh Hall
        • descriptionThe subject of this powerful study is Hugh Hall, a distiller, son of the governor of Barbados, and a Boston merchant of great affluence. The portrait reveals the young Copley's earliest attempt to master the difficult medium of pastel crayons. This is not an effortless performance. The picture bears the scars of his struggle to bend an obdurate medium to his will, but what the picture lacks in elegance it more than makes up in forcefulness. This portrait of Hugh Hall is probably Copley's first pastel. Signatures, Inscriptions, and MarkingsSignature: [at right]: J. S. Copley. / Pinx 1758 ProvenanceDescended in the family of the sitter to his great-granddaughter, Miss Baury, by 1873; to the sitter's great-great-grandson, Charles H. Hall, New York, by 1938; to Michael C. Janeway, New York, by 1965; with Kennedy Galleries, New York, 1975–87; sold to George Strichman, New York, 1987; to his estate upon his death in 1989; with Vose Galleries, Boston, 1989; with Crane Collection, 1991–96
        • created2009-04-24 16:15:44
        • modified2009-04-29 08:13:37
      • 2
        • id23
        • artist_id9
        • catchcode_id23
        • venue_id7
        • dimension_id17
        • genre_id6
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleThe Figure 5 in Gold
        • descriptionBorn and raised in Lancaster, Pennsylvania, Charles Demuth studied art at the Pennsylvania Academy of the Fine Arts in Philadelphia intermittently between 1905 and 1908. It was in Philadelphia that the artist first met the American poet and physician William Carlos Williams, the subject of this painting. Demuth continued his art training during trips to Europe between 1907 and 1921. In 1925 he was included in a group exhibition organized by Alfred Stieglitz, who later gave him a few one-man shows at his galleries. When Demuth died at age fifty-one, after suffering from diabetes for much of his life, an important and prolific career was cut short after only twenty years. Demuth, a versatile artist, tailored his style to his subject matter. His delicate, loosely handled watercolors of fruits and flowers pulsate with subtle, exquisitely balanced color. His paintings of the modern urban and industrial landscape, on the other hand, are tightly controlled, hard, and exact — in a style aptly called Precisionism. Although these works show the influence of Cubism and Futurism, their sense of scale and directness of expression seem entirely American. "The Figure 5 in Gold" is one of a series of eight abstract portraits of friends, inspired by Gertrude Stein's word-portraits, that Demuth made between 1924 and 1929. This painting pays homage to a poem by William Carlos Williams. Like Marsden Hartley's "Portrait of a German Officer" and Arthur Dove's "Ralph Dusenberry," this portrait consists not of a physical likeness of the artist's friend but of an accumulation of images associated with him — the poet's initials and the names "Bill" and "Carlos" that together form a portrait.
        • created2009-04-24 16:27:45
        • modified2009-04-24 16:27:45
      • 3
        • id24
        • artist_id10
        • catchcode_id24
        • venue_id7
        • dimension_id18
        • genre_id27
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleStepping Out
        • descriptionTo many people, Roy Lichtenstein's paintings based on comic strips are synonymous with Pop Art. These depictions of characters in tense, dramatic situations are intended as ironic commentaries on modern man's plight, in which mass media — magazines, advertisements, and television — shapes everything, even our emotions. Lichtenstein also based paintings on well-known masterpieces of art, perhaps commenting, as did Andy Warhol in his "Mona Lisa," on the conversion of art into commodity. Like Warhol, Lichtenstein, who had an art-school background, also worked as a commercial artist and graphic designer (1951–57), an experience that influenced the subject matter of his later paintings. Lichtenstein's fame as a Pop artist began with his first one-man exhibition, at the Leo Castelli Gallery in New York in 1962, and continued to characterize his career throughout his life. "Stepping Out" is marked by Lichtenstein's customary restriction to the primary colors and to black and white; by his thick black outlines; and by the absence of any shading except that provided by the dots imitating those used to print comic strips. Yet beneath the simplicity of means and commonplace subject matter lies a sophisticated art founded on a great deal of knowledge and skill. Lichtenstein here depicts a man and woman, side by side, both quite dapperly dressed. The male is based on a figure in Fernand Léger's painting "Three Musicians" of 1944 (Museum of Modern Art, New York), but seen in mirror image. He wears a straw hat, high-collared shirt, and striped tie; the flower in his lapel is borrowed from another Léger painting. The female figure, with her dramatically reduced and displaced features, resembles the Surrealistic women depicted by Picasso during the 1930s. Her face has been reduced to a single eye set on its side, a mouth, and a long lock of cascading blond hair. The composition of "Stepping Out" is complex and rather elaborate. The figures, while quite different in appearance and style of dress, are united through shape and color: the sweeping curve of the woman's hair is answered by the curve of her companion's lapel; the diagonal yellow of the end of her scarf is echoed in the yellow rectangle that covers the top of his face; the red Benday dots cover half of both faces; and the black that serves as background for the man invades the area behind the woman.
        • created2009-04-24 16:41:05
        • modified2009-04-24 16:41:05
      • 4
        • id25
        • artist_id2
        • catchcode_id25
        • venue_id7
        • dimension_id94
        • genre_id23
        • medium_id10
        • smarthistory_id85
        • wikipedia_id85
        • material_id2
        • creation_date1986-04-29
        • creditMrs. Vera G. List Gift
        • copyright
        • accession_number1988
        • titleSelf-Portrait
        • descriptionOf all the Pop artists who emerged in New York and on the international scene in the early 1960s, none is more famous or more typifies the movement than Andy Warhol. Although he had a traditional art education at Carnegie Institute of Technology in Pittsburgh, as a young man in the 1950s he supported himself doing commercial art in New York. About 1959 he decided to concentrate his energies on painting, calling upon both his formal training and commercial experience in his new work. Warhol purposely sought an alternative to the emotionally charged paintings of the Abstract Expressionists by adopting a commercial, hands-off approach to art. His aim was to demystify art by making it look as if anyone could have done it. To this end, he borrowed images from American popular culture and celebrated ordinary consumer goods, such as Brillo pads, Campbell's soup cans, and Coca-Cola bottles, as well as media and political personalities, including Marilyn Monroe and Mao Zedong. He featured them in individually colored serial paintings and prints that relied on commercial silkscreening techniques for reproduction. After the early 1960s his most frequent subjects were the famous people he knew, and occasionally he was his own subject. In this eerie, premonitory self-portrait, produced just a few months before his death in February 1987, Warhol appears as a haunting, disembodied mask. His head floats in a dark black void and his face and hair are ghostly pale, covered in a militaristic camouflage pattern of green, gray, and black.
        • created2009-04-24 16:49:06
        • modified2009-04-29 08:03:30
  • 3
    • Venue
      • id8
      • catchcode_prefixIMA
      • nameIndianapolis Museum of Art (IMA)
      • descriptionThe Indianapolis Museum of Art serves the creative interests of its communities by fostering exploration of art, design, and the natural environment. The IMA promotes these interests through the collection, presentation, interpretation and conservation of its artistic, historic, and environmental assets. The Indianapolis Museum of Art has a collection of over 50,000 works of art. At the Museum, you will find art from a variety of cultures and periods in art history. The Museum also features national and international traveling exhibitions throughout the year.
      • urlhttp://www.imamuseum.org/
      • image1241058202324822117.gif
      • created2009-04-24 17:20:43
      • modified2009-05-04 16:00:31
    • Catchcode
      • 0
        • id26
        • venue_id8
        • catchcode_suffix1000
        • created2009-04-24 17:52:50
        • modified2009-04-24 17:52:50
      • 1
        • id27
        • venue_id8
        • catchcode_suffix1001
        • created2009-04-24 18:09:14
        • modified2009-04-24 18:09:14
      • 2
        • id28
        • venue_id8
        • catchcode_suffix1002
        • created2009-04-24 18:15:46
        • modified2009-04-24 18:15:46
      • 3
        • id29
        • venue_id8
        • catchcode_suffix1003
        • created2009-04-24 18:33:54
        • modified2009-04-24 18:33:54
      • 4
        • id30
        • venue_id8
        • catchcode_suffix1004
        • created2009-04-24 18:46:14
        • modified2009-04-24 18:46:14
      • 5
        • id31
        • venue_id8
        • catchcode_suffix1005
        • created2009-04-24 19:08:49
        • modified2009-04-24 19:08:49
    • Piece
      • 0
        • id26
        • artist_id11
        • catchcode_id26
        • venue_id8
        • dimension_id96
        • genre_id23
        • medium_id1
        • smarthistory_id87
        • wikipedia_id87
        • material_id1
        • creation_date1966-04-29
        • creditJames E. Roberts Fund
        • copyright © Morgan Art Foundation Ltd./Artists Rights Society (ARS), New York
        • accession_number68
        • titleLOVE
        • descriptionIn this painting, the word "LOVE" appears in a geometrical design. This piece belongs to Robert Indiana's mid-1960s series that also included Christmas cards, gold rings, and album covers. When unsanctioned versions of LOVE were made, Indiana tried to copyright his unique work. The federal government rejected his application, arguing that no one could copyright a single word. LOVE became one of the most reproduced art images of the post-war era. In 1970, Indiana created a twelve-foot steel LOVE sculpture, now in the IMA's permanent collection, that some critics considered a reclamation of the "stolen" design. In this painting, four red letters affectionately touch, spelling out the word "love." This symmetrical, hard-edged composition belongs to a series that Indiana developed between 1964 and 1966 and that comprised Christmas cards, paintings, posters, sculptures, felt banners, eighteen-karat gold rings, silk tapestries, and album covers. After pirated versions of LOVE began to appear in various contexts, Indiana tried to copyright his unique work, but the federal government rejected his application, arguing that no one could copyright a single word. Indiana's signature emblem became one of the most reproduced and highly recognizable art-historical images of the post-World War II era. In 1970, Indiana made a twelve-foot Cor-ten steel LOVE sculpture, now in the IMA's permanent collection. Some critics believed it manifested the artist's desire to reclaim his "stolen" design. Born Robert Clark in New Castle, Indiana, the artist changed his last name when he moved to New York City in 1954. Although he has claimed frequently that the idea for his series came from the Christian Science motto, God is love, which he saw in church as a child, Indiana's work also resonated with the 1960s counterculture. Stylistically, LOVE most often has been characterized in relation to Op art because of its repetition of bright, vibrating, simple forms and to Pop art because of its appropriation of sign painting, an important by-product of consumer culture. LOVE was a watershed in Indiana's career, and it became a motif that he has never abandoned. -Art historian Susan Elizabeth Ryan, 1999
        • created2009-04-24 17:52:50
        • modified2009-04-29 08:27:27
      • 1
        • id27
        • artist_id12
        • catchcode_id27
        • venue_id8
        • dimension_id21
        • genre_id6
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleAngel of the Resurrection
        • descriptionUpon the death of her husband in 1901, Mrs. Benjamin Harrison commissioned Tiffany to create a window in his memory. The window, the lower half of which appears here, was installed in 1905 at the First Presbyterian Church, 16th and Delaware Streets, Indianapolis, where the president had served as an elder for more than 40 years. Absorbed in scores of projects, Tiffany probably left the window's conception to his team of talented designers, contributing his own thought before giving final approval. The design shows Michael, the Angel of the Resurrection, signaling the dead to rise at Christ's second coming. In keeping with the romanticism of the time, Tiffany's heroic angel is dressed in the chain mail suit of a crusading knight and seems like a figure from Sir Walter Scott's novels.
        • created2009-04-24 18:09:14
        • modified2009-04-24 18:09:14
      • 2
        • id28
        • artist_id13
        • catchcode_id28
        • venue_id8
        • dimension_id27
        • genre_id31
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleAction (Space Division Construction Series)
        • descriptionActon belongs to the Space Division Constructions series, which James Turrell began in 1976. In these works, Turrell defines two distinct areas of a room: the "viewing space," where the audience stands to view the work, and the "sensing space," which is filled with diffused light. A thin partition with a large opening in its center separates the two spaces. Turrell creates an optical illusion in which the viewer initially perceives the opening as a flat, monochromatic surface. Prolonged viewing yields a surprising shift in perception, as the viewer may see and even reach into the sensing space. Acton belongs to the Space Division Constructions series, which James Turrell has been making since 1976. In these works, Turrell divides a room into two areas that he calls the "sensing space" and the "viewing space." In Acton, a partition wall with a rectangular opening divides the rooms into two zones roughly equivalent in size. Lights aimed at the side walls of the sensing space create a reflective ambient light that dimly illuminates the viewing space. Standing in the sensing space, the viewer initially perceives the opening between the spaces as a flat surface, much like a rectangular, monochromatic painting hanging on what appears to be a solid wall. But after studying the canvas closely, a surprising shift in perception occurs-the rectangle opens up and becomes transparent, allowing the viewer to look and even reach into the space that lies beyond.
        • created2009-04-24 18:15:46
        • modified2009-04-27 06:42:36
      • 3
        • id29
        • artist_id14
        • catchcode_id29
        • venue_id8
        • dimension_id23
        • genre_id1
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleBattle Between Carnival and Lent
        • descriptionCreated in about 1633-1634. This wild brawl pits a mob of peasants, armed with food and cooking implements, against a similarly equipped pack of monks and priests. Peasants brandish skewered chickens and a sausage against a monk who swings a bundle of dried codfish. These rowdy combatants personify Carnival and Lent. Mock battles between them, symbolizing the struggle between excess and abstinence, often formed part of popular celebrations that heralded the start of Lent. n Molenaer’s painting, Carnival is personified by Dutch peasants who wield a large sausage, skewered birds, a beer tankard, and assorted cooking implements as weapons. Lent is embodied by a mob of clerics, including a monk who swings a bundle of dried codfish. This work, which was originally paired with a similarly rude portrayal of a Twelfth Night celebration, criticizes the prevailing atmosphere of immorality and overindulgence associated with certain Roman Catholic feasts. The painting can also be understood as a political commentary referring to the ongoing struggle between Protestant Holland and the Catholic, Spanish-ruled southern Netherlands. The Spanish occupation of the south is suggested by the soldier in the foreground, who chokes a Dutch boy.
        • created2009-04-24 18:33:54
        • modified2009-04-24 18:33:54
      • 4
        • id30
        • artist_id15
        • catchcode_id30
        • venue_id8
        • dimension_id24
        • genre_id31
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleCourre Merlan (Whiting Chase)
        • descriptionCreated in 1964. This work is in a style that Dubuffet called Hourloupe, a nonsense word meaning "grotesque object, something rumbling and threatening with tragic overtones," according to the artist. At first glance, the image appears to be nonrepresentational. Yet, with closer scrutiny, a boat and fishermen can be seen. The title implies that these fishermen are fishing for whiting. Dubuffet was strongly influenced by art produced by children, psychiatric patients, and other untrained artists, for which he coined the term art brut, or "raw art." He also drew on ancient and non-Western cultures in his art. The painting's seeming stylistic naïveté-its flatness, compressed imagery, limited palette, and spontaneous brushwork-suggests Dubuffet's indebtedness to Surrealism and to Dr. Hans Prinzhorn's book, Artistry of the Mentally Ill, which he read in 1923. Although he did not consider himself a Surrealist, Dubuffet valued the unconscious as a source of hallucinatory imagery. Prinzhorn's book endorsed this position, arguing for the authenticity and psychological immediacy of art made by asylum inmates, children, and so-called primitive cultures. Dubuffet subsequently collected art by the mentally ill, for which he coined the term art brut, or "raw art," and dedicated himself to simulating its aesthetic attributes. Dubuffet summarized his artistic philosophy in 1951 in a text called "Anticultural Positions," in which he celebrated the irrational and madness and denigrated western notions of beauty. Art addresses itself to the mind, not to the eyes. -Jean Dubuffet, 1951
        • created2009-04-24 18:46:15
        • modified2009-04-24 18:46:15
      • 5
        • id31
        • artist_id16
        • catchcode_id31
        • venue_id8
        • dimension_id25
        • genre_id31
        • medium_id2
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleThe Quintet of the Silent
        • descriptionCreated in 2001. For The Quintet of the Silent, Bill Viola assembled five actors in a composition that recalls a Renaissance painting. He instructed the performers "to show pressure, tension, and stress in a general arc of emotion as it enters, manifests, and leaves the body." Viola filmed their interpretation of this instruction in one minute in real time, but the final work is stretched over a fifteen-minute continuous loop. For this piece, Viola assembled five actors in a composition that recalls a Renaissance painting. He instructed the performers "to show pressure, tension, and stress in a general arc of emotion as it enters, manifests, and leaves the body," but allowed them to interpret the instruction in their own way. Viola filmed the video in one minute in real time, but the final work plays in slow motion for fifteen minutes and then repeats in a continuous loop. The Quintet of the Silent and other works from this series are unusual in Viola's body of work because they do not include a key element-sound. The artist realized early on "that the kind of thing I was after emanates from a human being, from within. . . . Once I started working with the actors, I realized that someone screaming in silence, for example, is incredibly powerful: it just rings in your brain." Human emotions have infinite resolution. The more you magnify them, they just open up. Infinitely. -Bill Viola, 1999
        • created2009-04-24 19:08:49
        • modified2009-04-24 19:08:49
  • 4
    • Venue
      • id9
      • catchcode_prefixSJMA
      • nameSan Jose Museum of Art (SJMA)
      • descriptionEstablished in 1969, the San Jose Museum of Art is a distinct voice in the San Francisco Bay Area arts community. The Museum is recognized for its contemporary collection, which reflects the West Coast contextualized by national and international visual art. The collection exhibits the unique evolution of the institution from a small civic art gallery to a museum in the tenth largest city in the United States.
      • urlhttp://www.sjmusart.org/
      • image12409517621757821035.gif
      • created2009-04-24 21:29:39
      • modified2009-04-28 13:49:22
    • Catchcode
      • 0
        • id54
        • venue_id9
        • catchcode_suffix1000
        • created2009-04-27 16:48:43
        • modified2009-04-27 16:48:43
      • 1
        • id55
        • venue_id9
        • catchcode_suffix1001
        • created2009-04-27 17:35:34
        • modified2009-04-27 17:35:34
      • 2
        • id56
        • venue_id9
        • catchcode_suffix1002
        • created2009-04-27 17:39:51
        • modified2009-04-27 17:39:51
      • 3
        • id57
        • venue_id9
        • catchcode_suffix1003
        • created2009-04-27 17:50:22
        • modified2009-04-27 17:50:22
      • 4
        • id58
        • venue_id9
        • catchcode_suffix1004
        • created2009-04-27 18:49:00
        • modified2009-04-27 18:49:00
      • 5
        • id59
        • venue_id9
        • catchcode_suffix1005
        • created2009-04-27 19:13:51
        • modified2009-04-27 19:13:51
      • 6
        • id67
        • venue_id9
        • catchcode_suffix1006
        • created2009-04-28 13:42:44
        • modified2009-04-28 13:42:44
    • Piece
      • 0
        • id54
        • artist_id34
        • catchcode_id54
        • venue_id9
        • dimension_id65
        • genre_id31
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleENTROPIC LANDSCAPE
        • descriptionCreated in 1999 Chester Arnold’s paintings express his overriding interest in social and environmental issues. In this work, pools of stagnant water snake through heaping mounds of rubber tires. In the background, smoldering fires emit black clouds of polluted smoke that reinforce the potentially catastrophic effects of human waste. Despite this bleak vision, Entropic Landscape is startlingly beautiful—the circular disks of the tires are treated as formal design elements resulting in an undulating composition of darks and lights.
        • created2009-04-27 16:48:43
        • modified2009-04-27 16:48:43
      • 1
        • id56
        • artist_id35
        • catchcode_id56
        • venue_id9
        • dimension_id69
        • genre_id31
        • medium_id8
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleSAN JOSE CHANDELIER – CADMIUM YELLOW
        • descriptionAn exhibition of 350 brilliantly colored glass objects and vessels by internationally recognized artist Dale Chihuly was featured at the San Jose Museum of Art from October 29, 2000 to January 7, 2001. Drawn from the private collection of Portland, Oregon-based collector and businessman George R. Stroemple, Dale Chihuly: The George R. Stroemple Collection, was organized by the Portland Art Museum and presented a rare opportunity to experience Dale Chihuly up close. Begun in 1990 with the modest acquisition of five works from Chihuly's Venetians series and now numbering more than 500 works, George R. Stroemple's collection has developed into the most significant holding of the artist's work in the world. From their first meeting at Chihuly's famed Boathouse studio ten years ago, a special connection was established between the artist and Stroemple. The resulting assemblage of Chihuly's art celebrates a very personal side of Chihuly's vision - a far more intimate experience than viewing one of Chihuly's renowned, large-scale installations. Dale Chihuly: The George R. Stroemple Collection presented 350 blown glass vessels, objects, and dramatic drawings that span the artist's 25-year career. The collection concentrated on select bodies of Chihuly's oeuvre - the Irish Cylinders, the Macchia, the Venetians, and the drawings. Laguna Murano Chandelier (1996-97), a magnificent golden chandelier installation, was the centerpiece of the exhibition. For this majestic work, and others in the exhibition, Chihuly collaborated with contemporary Italian glass masters Lino Tagliapietra and Pino Signoretto, noted for their intricate glass elements and figures - in this case, mermaids, sharks, and other sea creatures inhabited the work. Chihuly's long-term connection to Venice, the international center of glass creativity and production since the Renaissance, has provided him constant inspiration for numerous bodies of work. The Venetians were born from a visit to a palazzo in 1987 where he encountered a group of rare 1920s Venetian art deco vases. Described as "very odd, with garish colors," Chihuly's characterization of these vases would ultimately describe his Venetians and Piccolo Venetians, marked by vibrant saturated colors and wildly active surface elements. Biomorphic, irregular seashell forms distinguish the Macchia, a body of work begun in 1981. Macchia, the Italian work for "stain" or "spot," directly refers to the spotted and layered colors that unevenly mark the surfaces like densely dabbled paint. The Irish Cylinders, dating from 1975, are symmetrical forms depicting Irish motifs, folk tales, and scenes from James Joyce's novel Ulysses. This work seems quite removed from the dazzling, ground-breaking Chihuly work with which most people are familiar; however, their integration of text and object was entirely innovative at the time, and an early example of Chihuly's ongoing commitment to experimentation. The Irish Cylinders are also of personal significance to the artist. It was during a 1976 trip to England and Ireland to seek venues for this work that Chihuly was in the devastating auto accident that destroyed the sight in his left eye. George Stroemple acquired the series much later in his relationship with Chihuly, a testament to their evolving friendship. Dale Chihuly is known the world over for his spectacular and revolutionary work in the medium of blown glass. His work is included in more than 180 museum collections, including the San Jose Museum of Art, which has three large-scale Chihuly chandeliers on permanent display in its entry lobby. Co-founder (1971) of the internationally-known Pilchuck Glass School outside of Seattle, Chihuly received his training at the University of Wisconsin under the tutelage of modern master Harvey Littleton, and later at the Rhode Island School of Design, where he received his MFA in 1968. The recipient of numerous awards, including NEA and Louis Comfort Tiffany Foundation fellowships, Chihuly was named the first National Living Treasure in the United States in 1992. He is one of only a handful of artists to have had a one-person show at the Musee des Arts Decoratifs at the Louvre in Paris. Dale Chihuly has completed projects of extraordinary proportion and complexity all over the world; recent projects of special note are: "Chihuly Over Venice" (1998), the 1999 unveiling of an 18' chandelier that graces the main entrance of the Victoria & Albert Museum in London, and the "Light of Jerusalem 2000" project, which encompassed 15 major installations within the stone walls of the ancient city.
        • created2009-04-27 17:39:51
        • modified2009-04-27 18:31:07
      • 2
        • id57
        • artist_id36
        • catchcode_id57
        • venue_id9
        • dimension_id68
        • genre_id31
        • medium_id2
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleOVERRIPE POPULATION
        • descriptionCreated in 1994
        • created2009-04-27 17:50:22
        • modified2009-04-27 17:50:22
      • 3
        • id58
        • artist_id37
        • catchcode_id58
        • venue_id9
        • dimension_id70
        • genre_id31
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleARETA (BLACK FIGURE ON A WHITE HORSE)
        • descriptionI began making studies for a horse and rider painting over twenty years ago- about the time I painted the woman sitting in a Greek chair that I called Penelope, (1980). The horse and rider was a familiar theme in ancient Greek art as it was in many subsequent periods. The monumental marriage of a human and a beast well represents the essence of classical thought; the unity of opposing forces. In this case, man represents culture and the horse, nature. My painting was inspired by black figure vase painting which flourished in Greece throughout the seventh and sixth centuries, BC. It involved the painting of black silhouettes on red clay and incising the details so that the pale clay shows through the lines. Typical examples are the Amphora with a Horseman (c. 520 BC) from the Metropolitan Museum in New York, and the Wine Cup with a Procession of Horsemen (c. 560 BC) in the Archeological Museum in Athens. Other surviving examples of horse and rider figures from the classical period might be the wonderful carved marble frieze on the Parthenon in Athens (c. 442-438 BC). The inscription at the bottom of my painting is from the Greek poet Pindar,(c. 518 - 438 BC) who wrote many poetic celebrations of human excellence and achievement. My title, Areta, according to the scholar, Jerome Pollitt,"is a particularly Pindaric term which means 'the innate excellence' of noble natures which gives them proficiency and pride in their human endeavors, but humility before the gods." Pindar's text is from the Olympian Odes and it reads, "But for all things there is a measure set: To know the due time, therein lies true skill." It was written in praise of Xenophon for his success in the Olympic footrace and Pentathelon in 464 BC, but it could also apply to the art of the poet, or indeed, many other endeavors requiring timing and skill. As for 'measure,' it was the sophist, Protagoras (c. 480 - 410 BC) who coined the term, "Man is the measure of all things." What he apparently meant was that all experience is subjective, in other words, 'measured' by human perceptions. But, It can also imply that man is literally the 'measure.' The common ancient linear measurement called a cubit, was the length of a human forearm. Our measurement of a foot is, of course, based on a human foot. Furthermore, the concept of symmetria, the proportional integration of the diverse parts of the human body, requires measurement in the establishing of the proportional relationships. Measure has many meanings.
        • created2009-04-27 18:49:00
        • modified2009-04-27 18:49:00
      • 4
        • id67
        • artist_id38
        • catchcode_id67
        • venue_id9
        • dimension_id87
        • genre_id36
        • medium_id9
        • smarthistory_id78
        • wikipedia_id78
        • material_id(null)
        • creation_date2002-04-28
        • credit Collection San Jose Museum of Art
        • copyrightphotograph of Jennifer Steinkamp's: To and Fro
        • accession_number(null)
        • titleTo and Fro
        • description
        • created2009-04-28 13:42:44
        • modified2009-04-28 13:42:44
  • 5
    • Venue
      • id10
      • catchcode_prefixMAM
      • nameMilwaukee Art Museum
      • descriptionThe Milwaukee Art Museum collects and preserves art, presenting it to the community as a vital source of inspiration and education. 20,000 works of art. 300,000+ visitors a year. 120 years of collecting art. From its roots in Milwaukee’s first art gallery in 1888, the Museum has grown today to be an icon for Milwaukee and a resource for the entire state. The 341,000-square-foot Museum includes the War Memorial Center (1957) designed by Finnish-American architect Eero Saarinen, the Kahler Building (1975) by David Kahler, and the Quadracci Pavilion (2001) created by Spanish architect Santiago Calatrava. Central to the Museum’s mission is its role as a premier educational resource, with educational programs that are among the largest in the nation, involving classes, tours, and a full calendar of events for all ages. Four floors of over forty galleries of art are rotated regularly with works from antiquity to the present in the Museum's far-reaching Collection. Included in the Collection are 15th- to 20th-century European and 17th- to 20th-century American paintings, sculpture, prints, drawings, decorative arts, photographs, and folk and self-taught art. Among the best in the nation are the Museum’s holding of American decorative arts, German Expressionism, folk and Haitian art, and American art after 1960. The Museum also holds one of the largest collections of works by Wisconsin native Georgia O’Keeffe. Important artists represented include Nardo di Cione, Francisco de Zurbarán, Jean-Honoré Fragonard, Winslow Homer, Auguste Rodin, Edgar Degas, Claude Monet, Henri de Toulouse-Lautrec, Pablo Picasso, Jóan Miro, Mark Rothko, Robert Gober, and Andy Warhol. In addition to the works in the Museum’s Collection galleries, there are a variety of changing exhibitions throughout the year, including the three major feature exhibitions in the Baker/Rowland Galleries of the Quadracci Pavilion.
      • urlhttp://mam.org
      • image12410584941608919433.jpg
      • created2009-04-24 21:47:06
      • modified2009-04-29 19:28:14
    • Catchcode(empty)
    • Piece(empty)
  • 6
    • Venue
      • id11
      • catchcode_prefixDAM
      • nameDenver Art Museum
      • description The Denver Art Museum is a private, non-profit, educational resource for Colorado. The mission of the museum is to enrich the lives of Colorado and Rocky Mountain residents through the acquisition, preservation, and presentation of art works in both the permanent collections and temporary exhibitions, and by supporting these works with exemplary educational and scholarly programs. Since its beginnings in the 1890s as the Denver Artists’ Club, the Denver Art Museum has had a number of temporary homes, from the public library and a downtown mansion to a portion of the Denver City and County Building. The museum opened its own galleries on 14th Avenue Parkway in 1949, and a center for children’s art activities was added in the early 1950s. In 1971, we opened what’s now known as the North Building. Our most recent expansion, the Frederic C. Hamilton Building, opened in October 2006. Today, the 356,000-square-foot museum complex includes collection gallery space, three temporary exhibition venues, and the Lewis I. Sharp Auditorium. In addition to our art collections, the Denver Art Museum is internationally recognized for our family-friendly environment, and has received critical acclaim for encouraging art appreciation through interactive activities.
      • urlhttp://www.denverartmuseum.org
      • image12410598721673978981.gif
      • created2009-04-24 21:57:07
      • modified2009-04-29 19:51:12
    • Catchcode
      • 0
        • id65
        • venue_id11
        • catchcode_suffix1000
        • created2009-04-27 22:42:43
        • modified2009-04-27 22:42:43
      • 1
        • id69
        • venue_id11
        • catchcode_suffix1001
        • created2009-05-04 15:35:34
        • modified2009-05-04 15:35:34
      • 2
        • id70
        • venue_id11
        • catchcode_suffix1002
        • created2009-05-04 15:50:25
        • modified2009-05-04 15:50:25
    • Piece
      • 0
        • id65
        • artist_id43
        • catchcode_id65
        • venue_id11
        • dimension_id84
        • genre_id31
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleGilbert and George
        • descriptionAvant Garde
        • created2009-04-27 22:42:43
        • modified2009-04-27 22:42:43
      • 1
        • id69
        • artist_id47
        • catchcode_id69
        • venue_id11
        • dimension_id98
        • genre_id31
        • medium_id3
        • smarthistory_id92
        • wikipedia_id92
        • material_id3
        • creation_date2009-05-04
        • credit
        • copyright
        • accession_number(null)
        • titleLinda
        • description One of our most popular works of art, Linda, is only on view for a short time each year because she is made of polyvinyl, a kind of plastic that breaks down chemically over time. Little can be done to stabilize the polyvinyl, so Linda spends most of her time off view in a controlled environment. To learn more, visit our conservation pages.
        • created2009-05-04 15:35:34
        • modified2009-05-04 15:35:34
      • 2
        • id70
        • artist_id48
        • catchcode_id70
        • venue_id11
        • dimension_id99
        • genre_id1
        • medium_id10
        • smarthistory_id94
        • wikipedia_id94
        • material_id2
        • creation_date2009-05-04
        • creditPartial gift of David and Sheryl Tippit; partial purchase with Architecture, Design, and Graphics Department Acquisition Funds; and Volunteer Endowment Funds in honor of R. Craig Miller; © Bill Graham Archives, LLC.
        • copyright1968
        • accession_number(null)
        • titleFlying Eyeball/Jimi Hendrix Experience, John Mayall and the Blues Breakers, Fillmore Auditorium/Winterland, San Francisco
        • descriptionA tortured perfectionist, Griffin often reworked his drawings numerous times before he was satisfied. “Rick had more demons than all of us put together,” said fellow poster artist Randy Tuten.
        • created2009-05-04 15:50:25
        • modified2009-05-04 15:50:25
  • 7
    • Venue
      • id12
      • catchcode_prefixJPG
      • nameThe Getty
      • descriptionMission Statement The J. Paul Getty Museum seeks to further knowledge of the visual arts and to nurture critical seeing by collecting, preserving, exhibiting and interpreting works of art of the highest quality. To fulfill its mission, the Museum continues to develop its collection through purchase and gifts, complementing its impact through special exhibitions, publications, educational programs developed for a wide range of audiences, and a related performing arts program. The Museum strives to provide its visitors with access to the most innovative research in the visual arts while they enjoy a unique experience in viewing works of art at our Getty Center and Getty Villa sites. While benefiting from the broader context of the Getty Trust, the Museum also extends the reach of its mission via the internet and through the regular exchange of works of art, staff, and expertise. The J. Paul Getty Museum at the Getty Center in Los Angeles houses European paintings, drawings, sculpture, illuminated manuscripts, decorative arts, and European and American photographs. Outer Peristyle, The J. Paul Getty Museum at the Getty Villa Outer Peristyle, The J. Paul Getty Museum at the Getty Villa The J. Paul Getty Museum at the Getty Villa in Malibu opened on January 28, 2006, after the completion of a major renovation project. As a museum and educational center dedicated to the study of the arts and cultures of ancient Greece, Rome, and Etruria, the Getty Villa serves a varied audience through exhibitions, conservation, scholarship, research, and public programs. The Villa houses approximately 44,000 works of art from the Museum's extensive collection of Greek, Roman, and Etruscan antiquities, of which over 1,200 are on view. With two locations, the Getty Villa in Malibu and the Getty Center in Los Angeles, the J. Paul Getty Museum serves a wide variety of audiences through its expanded range of exhibitions and programming in the visual arts.
      • urlhttp://www.getty.edu/
      • image1241057879380996885.gif
      • created2009-04-24 22:10:06
      • modified2009-04-29 19:17:59
    • Catchcode
      • 0
        • id81
        • venue_id12
        • catchcode_suffix1000
        • created2009-05-07 21:12:14
        • modified2009-05-07 21:12:14
      • 1
        • id82
        • venue_id12
        • catchcode_suffix1001
        • created2009-05-07 21:23:49
        • modified2009-05-07 21:23:49
      • 2
        • id83
        • venue_id12
        • catchcode_suffix1002
        • created2009-05-07 21:33:43
        • modified2009-05-07 21:33:43
    • Piece
      • 0
        • id81
        • artist_id56
        • catchcode_id81
        • venue_id12
        • dimension_id115
        • genre_id1
        • medium_id1
        • smarthistory_id120
        • wikipedia_id120
        • material_id1
        • creation_date2009-05-07
        • credit
        • copyrightThe Getty Center, Los Angeles
        • accession_number71
        • titleSt. Bartholomew
        • descriptionMade just eight years before Rembrandt's death, this painting depicts Saint Bartholomew holding a knife in his right hand, a reference to the fact that he was skinned alive when martyred. One of Rembrandt's neighbors may have posed as the model for the saint. By showing the apostle as a common man, Rembrandt gave the revered holy figure a tangible human quality, suggesting perhaps that holiness is part of daily life, a view in keeping with the religious atmosphere of mid-1600s Amsterdam. Saint Bartholomew appears pensive, almost melancholy in mood. He holds his chin as if lost in thought and his eyes seem to see beyond time. Rembrandt used a broader, freely-brushed technique typical of his late mature style. Applied with a palette knife, thick areas of paint called impasto are visible on the saint's forehead, nose, ears, and hands. The overall handling of paint is much more expressive and contrasts with the smoother, more precise style of his earlier works.
        • created2009-05-07 21:12:14
        • modified2009-05-07 21:12:14
      • 1
        • id82
        • artist_id57
        • catchcode_id82
        • venue_id12
        • dimension_id116
        • genre_id1
        • medium_id1
        • smarthistory_id122
        • wikipedia_id122
        • material_id1
        • creation_date1663-05-07
        • creditThe Getty Center, Los Angeles
        • copyright
        • accession_number84
        • titleThe Alchemist
        • descriptionOblivious to his cluttered surroundings, the unkempt figure of an alchemist sits among a chaotic jumble of paraphernalia. He holds a scale while weighing out a substance for one of his experiments in making gold. By the seventeenth century, alchemy was no longer considered to be a respectable science, and its practitioners were often the subject of ridicule. In this genre scene, Cornelis Bega commented on time wasted on materialistic and futile pursuits. Like other Dutch artists of his time, Bega was a close observer of natural appearances. Textures and surfaces of the assorted cracked clay and glass vessels are accurately described. Light pouring in through the open window and the harmonious tones of brown, gray, and blue give the painting a cozy warmth.
        • created2009-05-07 21:23:49
        • modified2009-05-07 21:23:49
      • 2
        • id83
        • artist_id58
        • catchcode_id83
        • venue_id12
        • dimension_id117
        • genre_id5
        • medium_id1
        • smarthistory_id124
        • wikipedia_id124
        • material_id1
        • creation_date2009-05-07
        • credit
        • copyrightThe Getty Center, Los Angeles
        • accession_number99
        • titleYoung Italian Woman
        • description Leaning on a fabric-covered table and resting her head in her hand, this young woman looks out with an enigmatic expression. Since the Renaissance, artists have used this pose to portray melancholy. The pose, combined with her hauntingly unreadable face, gives a human poignancy and psychological tension to the figure. Juxtaposing bold, individual strokes of color, Paul Cézanne built up the woman's powerful physical presence and the space she occupies. As a twentieth-century painter and admirer of Cézanne observed, his later works, such as Young Italian Woman have "an enormous sense of volume, breathing, pulsating, expanding, contracting, through his use of colors." While the woman's form is convincing, the space behind and around her can appear contradictory and even confusing. How far away is the wall? Is the tabletop flat underneath the cloth? Does she sit or stand? These questions give tension and movement to an otherwise stable composition. From the 1890s until the end of his life, Cézanne painted a number of these grand figure studies, usually relying upon local workers or residents for his models.
        • created2009-05-07 21:33:43
        • modified2009-05-07 21:33:43
  • 8
    • Venue
      • id13
      • catchcode_prefixICA
      • nameInstitute of Contemporary Art Boston (ICA)
      • descriptionFounded in 1936 as The Boston Museum of Modern Art, the museum was conceived as a laboratory where innovative approaches to art could be championed. In pursuit of this mission, in its early days, the museum established its reputation for identifying important new artists and changed its name a final time to become the Institute of Contemporary Art in 1948. For more than a half century, the ICA has presented contemporary art in all media—visual arts, film, and video, performance and literature—and created educational programs that encourage an appreciation for contemporary culture. As the ICA’s reputation grew around the nation, it paved the way for institutes and museums of “contemporary art” as well as artists’ spaces and alternative venues. In particular, the ICA led the field in its pioneering support of video art and new media. At the close of the 1990s, several innovative programs strengthened the ICA’s public role, including the teen filmmaking program Fast Forward, where participants become the producers of their own documentaries, and ICA/Vita Brevis, whose temporary installations throughout public spaces in Boston draw critical and popular acclaim. Throughout the ICA’s history it has been at the fore in identifying and supporting the most important artists of its time and bringing them to public attention. Among the artists whose work was introduced to U.S. audiences by the ICA are Cubist Georges Braque, Expressionist Oskar Kokoschka and Edvard Munch. Andy Warhol, Robert Rauschenberg, Laurie Anderson, and Roy Lichtenstein were each the subject of ICA presentations early in their careers. And more recently, The ICA was pivotal in the museum exhibition careers of Maria Magdalena Campos-Pons, Carol Rama, Vanessa Beecroft, Kara Walker, Cildo Meireles, Ellen Gallagher, Tony Oursler, Cindy Sherman, Bill Viola, Rachel Whiteread, Janine Antoni, and Cornelia Parker.
      • urlhttp://www.icaboston.org/
      • image12410596281810352571.gif
      • created2009-04-24 22:45:20
      • modified2009-04-29 19:47:08
    • Catchcode
      • 0
        • id33
        • venue_id13
        • catchcode_suffix1000
        • created2009-04-27 09:45:48
        • modified2009-04-27 09:45:48
      • 1
        • id34
        • venue_id13
        • catchcode_suffix1001
        • created2009-04-27 10:04:33
        • modified2009-04-27 10:04:33
      • 2
        • id35
        • venue_id13
        • catchcode_suffix1002
        • created2009-04-27 10:15:48
        • modified2009-04-27 10:15:48
      • 3
        • id36
        • venue_id13
        • catchcode_suffix1003
        • created2009-04-27 10:33:28
        • modified2009-04-27 10:33:28
      • 4
        • id37
        • venue_id13
        • catchcode_suffix1004
        • created2009-04-27 10:35:15
        • modified2009-04-27 10:35:15
      • 5
        • id38
        • venue_id13
        • catchcode_suffix1005
        • created2009-04-27 10:39:09
        • modified2009-04-27 10:39:09
      • 6
        • id66
        • venue_id13
        • catchcode_suffix1006
        • created2009-04-27 23:24:35
        • modified2009-04-27 23:24:35
    • Piece
      • 0
        • id33
        • artist_id18
        • catchcode_id33
        • venue_id13
        • dimension_id31
        • genre_id31
        • medium_id7
        • smarthistory_id(null)
        • wikipedia_id(null)
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        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleSuzanne Walking in Leather Skirt
        • descriptionJulian Opie renders time-honored subject matter such as landscape and portraiture using contemporary media, including digitally enhanced drawing, photography, and animation. In his portraiture, Opie imparts the specificity of an individual through highly stylized reduction of a face or figure. The artist has become increasingly focused on the expressive possibilities of various animation techniques. In this “walking portrait,” a woman’s unique stride is captured in the most life-like way. In October 2005, Opie created a new public art work for ICA/Vita Brevis; two of his walking portraits were placed on Boston’s Northern Avenue Bridge.
        • created2009-04-27 09:45:48
        • modified2009-04-27 09:50:11
      • 1
        • id35
        • artist_id19
        • catchcode_id35
        • venue_id13
        • dimension_id39
        • genre_id31
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleJule-die Vrou
        • descriptionTo create her portraits, Marlene Dumas uses a snapshot of a face as a visual source, then freely experiments with color and loose brushwork to render its features. Dumas, who has made hundreds of images of the human head, has an uncanny command of painterly gesture that is at once awkward and elegantly fluid. Noting how large the human face appears in movies, Dumas often deliberately paints her heads much greater than life-sized, boosting their expressive power. In Jule-die Vrou the artist uses the color red with abandon. She gives great attention to the subject's eyes and the finger poised on her lip, conveying a suggestive mood of sensuality.
        • created2009-04-27 10:15:48
        • modified2009-04-27 10:15:48
      • 2
        • id36
        • artist_id20
        • catchcode_id36
        • venue_id13
        • dimension_id41
        • genre_id31
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleUntitled, 2004
        • descriptionKai Althoff's Untitled depicts a lone skateboarder, a symbol of youth culture captured in midair in a moment of exhilaration and anxiety, independence and risk. The work features striped fabric and luminous orange paint to outline the shape of the skateboard ramp, continuing his highly inventive exploration of new painting techniques. Kai Kein Respekt, Althoff's first solo U.S. museum exhibition, was held at the ICA in 2004.
        • created2009-04-27 10:33:28
        • modified2009-04-27 10:33:28
      • 3
        • id37
        • artist_id20
        • catchcode_id37
        • venue_id13
        • dimension_id42
        • genre_id31
        • medium_id7
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleUntitled, 1993
        • descriptionThis work depicts Jürgen Bartsch, the pedophile serial killer whose crimes scandalized German society during the 1960s. Bartsch has appeared in several of Althoff’s works, and here he is shown offering a beer to a dejected-looking policeman. The polarity between authority figure and transgressor is suspended; the sunbeams that surround Bartsch’s face are echoed in the badge on the policeman’s hat. While its meaning remains ambiguous, Althoff’s subject is provocative. The artist, whose own father was a policeman, takes an extraordinarily loaded scenario and renders it with a directness and simplicity, at the same time preserving its emotional intensity and ambivalence.
        • created2009-04-27 10:35:15
        • modified2009-04-27 10:35:15
      • 4
        • id38
        • artist_id21
        • catchcode_id38
        • venue_id13
        • dimension_id44
        • genre_id31
        • medium_id7
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleUntitled (Pins), 2003
        • descriptionTara Donovan, the subject of an upcoming solo exhibition at the ICA, transforms everyday, disposable materials into formally elegant sculptures, installations, and works on paper. Untitled (Pins) is made from thousands of commonplace, silver straight pins. Formed into a perfect cube, it calls to mind the work of Minimalists like Donald Judd. In contrast to his industrially-created objects, Donovan makes this piece by pouring boxes upon boxes of pins into a four-sided mold. Once the sides are removed, the pins keep a cube shape, bound by nothing more than gravity.
        • created2009-04-27 10:39:09
        • modified2009-04-27 10:40:04
      • 5
        • id66
        • artist_id44
        • catchcode_id66
        • venue_id13
        • dimension_id86
        • genre_id41
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleViva la Revolucion
        • descriptionAndre The Giant has a Posse 7'4 520lbs Obey the Giant
        • created2009-04-27 23:24:35
        • modified2009-04-27 23:25:54
  • 9
    • Venue
      • id14
      • catchcode_prefixSAAM
      • nameSmithsonian American Art Museum
      • descriptionThe Smithsonian American Art Museum, the nation's first collection of American art, is an unparalleled record of the American experience. The collection captures the aspirations, character and imagination of the American people throughout three centuries. The American Art Museum is the home to one of the largest and most inclusive collections of American art in the world. Its artworks reveal key aspects of America's rich artistic and cultural history from the colonial period to today. More than 7,000 artists are represented in the collection, including major masters, such as John Singleton Copley, Gilbert Stuart, Winslow Homer, John Singer Sargent, Childe Hassam, Mary Cassatt, Georgia O'Keeffe, Edward Hopper, Jacob Lawrence, Helen Frankenthaler, Christo, David Hockney, Jenny Holzer, Lee Friedlander, Nam June Paik, Martin Puryear, and Robert Rauschenberg. The Museum has been a leader in identifying significant aspects of American visual culture and actively collecting and exhibiting works of art before many other major public collections. American Art has the largest collection of New Deal art and the finest collections of contemporary craft, American impressionist paintings, and masterpieces from the Gilded Age. Other pioneering collections include historic and contemporary folk art, work by African American and Latino artists, photography from its origins in the nineteenth century to contemporary works, images of western expansion, and realist art from the first half of the twentieth century. In recent years, the Museum has focused on strengthening its contemporary art collection through acquisitions and by commissioning new artworks. A recent renovation of the Museum's historic main building expanded the permanent collection galleries and created innovative new public spaces. The Luce Foundation Center for American Art, the first visible art storage and study center in Washington, allows visitors to browse more than 3,300 works from the collection. It adjoins the Lunder Conservation Center, which is shared with the National Portrait Gallery, the first art conservation facility to allow the public permanent behind-the-scenes views of the preservation work of museums. Renwick Gallery The Renwick Gallery, a branch of the Smithsonian American Art Museum, features one of the finest collections of American craft in the United States. Its collections, exhibition program, and publications highlight the best craft objects and decorative arts from the nineteenth century to the present. One-of-a-kind pieces created from clay, fiber, glass, metal, and wood from the American Art Museum's permanent collection of contemporary craft are displayed on a rotating basis in the second-floor galleries. Popular works include Larry Fuente's Game Fish, Wendell Castle's Ghost Clock, and Beth Lipman's Bancketje (Banquet). Temporary exhibitions of American craft and decorative arts are shown on the Renwick Gallery's first floor. There special exhibitions highlighting contemporary artists as well as traditions in American craft open in the spring and fall. Dense installations of paintings from the Museum’s permanent collection—hung salon style: one-atop-another and side by side—are featured in the Grand Salon. An interactive map to the Gallery is available online. The Renwick Gallery is located steps from the White House in the heart of historic federal Washington. The Second Empire-style building, a National Historic Landmark, was designed by architect James Renwick Jr. in 1859 and completed in 1874. It became the home of American Art's craft and decorative arts program in 1972.
      • urlhttp://americanart.si.edu/
      • image12410588191548469847.gif
      • created2009-04-24 23:02:18
      • modified2009-04-29 19:33:39
    • Catchcode
      • 0
        • id49
        • venue_id14
        • catchcode_suffix1000
        • created2009-04-27 13:51:51
        • modified2009-04-27 13:51:51
      • 1
        • id50
        • venue_id14
        • catchcode_suffix1001
        • created2009-04-27 14:06:09
        • modified2009-04-27 14:06:09
      • 2
        • id51
        • venue_id14
        • catchcode_suffix1002
        • created2009-04-27 14:18:17
        • modified2009-04-27 14:18:17
      • 3
        • id52
        • venue_id14
        • catchcode_suffix1003
        • created2009-04-27 15:14:53
        • modified2009-04-27 15:14:53
      • 4
        • id53
        • venue_id14
        • catchcode_suffix1004
        • created2009-04-27 15:21:27
        • modified2009-04-27 15:21:27
    • Piece
      • 0
        • id49
        • artist_id28
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        • venue_id14
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        • medium_id2
        • smarthistory_id(null)
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        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • title"Jersey" Joe Walcott and Rocky Marciano sparring in ring
        • descriptionThis photograph below was taken by photographer Herb Scharfman at the end of the Walcott-Rocky Marciano won the heavyweight championship. Marciano would become the only undefeated heavyweight champion in history (49-0).
        • created2009-04-27 13:51:51
        • modified2009-04-27 13:52:49
      • 1
        • id50
        • artist_id29
        • catchcode_id50
        • venue_id14
        • dimension_id57
        • genre_id33
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • title"God is Love. Seek his will and find his peace he saves from sin."
        • descriptionSmithsonian American Art Museum Gift of Herbert Waide Hemphill, Jr. 1998.84.15 Smithsonian American Art Museum 1st Floor, West Wing
        • created2009-04-27 14:06:09
        • modified2009-04-27 14:06:09
      • 2
        • id51
        • artist_id31
        • catchcode_id51
        • venue_id14
        • dimension_id60
        • genre_id21
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • title1946-H (Indian Red and Black)
        • descriptionAmerican color-field painter Clyfford Still created thickly painted abstract works with jagged, vertical shapes and contrasting colors. The work shown here, 1946-H (Indian Red and Black), was painted in 1946
        • created2009-04-27 14:18:17
        • modified2009-04-27 15:05:03
      • 3
        • id52
        • artist_id32
        • catchcode_id52
        • venue_id14
        • dimension_id62
        • genre_id34
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleApproaching Storm
        • descriptionThis windy scene of a lone figure struggling in the face of a storm would have held special meaning for nineteenth-century viewers, who believed that their nation's landscape was infused with God's presence. In 1886, the year he painted Approaching Storm, Edward Mitchell Bannister wrote an essay titled "The Artist and His Critics," in which he argued that spiritual expression is the artist's ultimate goal. (Hartigan, Sharing Traditions, 1985)
        • created2009-04-27 15:14:53
        • modified2009-04-27 15:15:13
      • 4
        • id53
        • artist_id33
        • catchcode_id53
        • venue_id14
        • dimension_id64
        • genre_id35
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleBaseball at Night
        • descriptionStadium lighting was still rare in 1934 when artist Morris Kantor saw this night baseball game in West Nyack, New York. The artist strove to convey in his painting "the panoramic spectacle of the field, the surrounding landscape, the people, the players, and the nocturnal atmosphere." Kantor showed the field proportionately smaller than it actually was to fit all this into his painting, along with a radio booth, flags waving against the night sky, and a runner taking his lead off first base. Major league baseball would not begin night games until 1935. However, in the early thirties Minor league, Negro League, and exhibition stadiums like this one used portable or permanent lighting for night games that would draw crowds of people who worked during the day. The Sports Centre at the Clarkstown Country Club, in West Nyack was a versatile venue that hosted baseball games played by minor league teams, barnstorming professionals, local semipro groups of firemen and policemen, and Country Club members. Catering to the Depression-era thirst for varied, affordable entertainment, the Centre also staged boxing and wrestling matches. Eccentric proprietors Pierre A. Bernard and his wife, Blanche de Vries, even maintained a herd of performing elephants. 1934: A New Deal for Artists exhibition label
        • created2009-04-27 15:21:27
        • modified2009-04-27 15:23:31
  • 10
    • Venue
      • id15
      • catchcode_prefixLUCE
      • nameLuce Foundation Center for American Art
      • descriptionThe Luce Foundation Center for American Art is an open study/storage facility displaying about thirty-three hundred objects from the collections of the Smithsonian American Art Museum. The Center occupies three floors of the Museum's west wing. Here, our visitors can see works that would otherwise not be on view due to space restraints in our main galleries. The dense display of paintings, sculptures, folk art and contemporary craft objects tells compelling stories and encourages visitors to make associations between works from different periods and in different media.
      • urlhttp://americanart.si.edu/luce/
      • image12410589891234823585.gif
      • created2009-04-24 23:13:10
      • modified2009-04-29 19:36:29
    • Catchcode
      • 0
        • id60
        • venue_id15
        • catchcode_suffix1000
        • created2009-04-27 19:45:07
        • modified2009-04-27 19:45:07
      • 1
        • id61
        • venue_id15
        • catchcode_suffix1001
        • created2009-04-27 21:28:23
        • modified2009-04-27 21:28:23
      • 2
        • id62
        • venue_id15
        • catchcode_suffix1002
        • created2009-04-27 21:35:34
        • modified2009-04-27 21:35:34
      • 3
        • id63
        • venue_id15
        • catchcode_suffix1003
        • created2009-04-27 21:41:53
        • modified2009-04-27 21:41:53
      • 4
        • id64
        • venue_id15
        • catchcode_suffix1004
        • created2009-04-27 21:49:48
        • modified2009-04-27 21:49:48
    • Piece
      • 0
        • id60
        • artist_id17
        • catchcode_id60
        • venue_id15
        • dimension_id76
        • genre_id31
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleLobster on Black Background
        • descriptionIn 1937, after years of travel, Marsden Hartley returned to his native Maine, where he lived and worked for the rest of his life. Inspired by the rugged landscape, he painted images of the coast and surrounding area; Mt. Katahdin, the state’s highest peak, features in numerous works. He also created elegant still lifes, floral studies as well as pictures featuring lobster traps, nets, and buoys---the trappings of the fisherman’s life---including Lobster on Black Background. Often in ill health, his eyesight failing him in these last years, Hartley nevertheless held fast to his love of nature and fascination with form and realism---seen here in the simply rendered directness and crisp outlines of a Maine lobster.
        • created2009-04-27 19:45:07
        • modified2009-04-27 19:45:07
      • 1
        • id61
        • artist_id39
        • catchcode_id61
        • venue_id15
        • dimension_id77
        • genre_id28
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • title#17, 1966
        • descriptionJohn McLaughlin's #17, 1966 is an example of the Hard-edge painting style that was popularized by a number of California artists in the 1960s. The stark palette and geometric composition highlight the contrast between the broad brushstrokes of matte black paint and the narrow brushstrokes of glossy white. McLaughlin's paintings evoke the works of artists such as Kazimir Malevich and Piet Mondrian, but he always emphasized his artistic connection to Asia, particularly Japanese art. He favored Asian paintings because "they made me wonder who I was. By contrast, Western painters tried to tell me who they were." McLaughlin believed that his paintings evoked Asian philosophical ideals and could encourage enlightenment in the viewer. (Charles Desmarais, "A New Kind of Heroism: [John] McLaughlin's #17, 1966," American Art 7, no. 1 (Winter 1993): 97-98; Michael Duncan, "John McLaughlin: Transcending the Particular," Art in America (Sept. 1997): 84-87)
        • created2009-04-27 21:28:23
        • modified2009-04-27 21:28:23
      • 2
        • id62
        • artist_id1
        • catchcode_id62
        • venue_id15
        • dimension_id80
        • genre_id40
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleAh-yaw-ne-tak-oár-ron, a Warrior
        • description“I have visited forty-eight different tribes, the greater part of which I found speaking different languages, and containing in all 400,000 souls. I have brought home safe, and in good order, 310 portraits in oil, all painted in their native dress, and in their own wigwams . . . as well as a very extensive and curious collection of their costumes, and all their other manufactures, from the size of a wigwam down to the size of a quill or a rattle.” George Catlin probably painted Menominee warrior Ah-yaw-ne-tak-oár-ron in Washington, D.C. in January 1831. (Catlin, Letters and Notes, vol. 1, no. 1, 1841; reprint 1973)
        • created2009-04-27 21:35:34
        • modified2009-04-27 21:36:49
      • 3
        • id63
        • artist_id41
        • catchcode_id63
        • venue_id15
        • dimension_id81
        • genre_id31
        • medium_id7
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleAn American Puzzle
        • descriptionCreated in 2006. Lloyd Schermer created An American Puzzle out of antique printing type, advertising plates, and engravings created for mastheads. Some of the type blocks are as much as two hundred years old and include carved maple, birch, ebony, walnut and mahogany, as well as forged metal pieces. In 1964, when Schermer's newspaper in Missoula, Montana, converted from typeset printing to offset lithography (which uses photography to transfer the image of each page of a newspaper), he salvaged much of the old type and stored it in his home until he could decide what to do with it. Almost thirty years later, Schermer began working with the type, using a strong solvent to clean the ink from the typeface, then waxing and buffing the sculptural bits before mounting them to a support. An American Puzzle is a richly abstracted field of shapes that evokes an archaeological remnant, a layer of history rescued from a "dig." It suggests the visual impact of the printed page as well as the thousands of voices that contribute to a community's history over the generations. Schermer has served on several boards within the Smithsonian, and the wide variety of elements in this piece reflects the broad interests of the institution as well as the artist’s memories of the publishing business.
        • created2009-04-27 21:41:53
        • modified2009-04-27 21:41:53
      • 4
        • id64
        • artist_id42
        • catchcode_id64
        • venue_id15
        • dimension_id83
        • genre_id36
        • medium_id3
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleBenjamin Franklin
        • descriptionBetween 1904 and 1906, the director of the American Museum of Natural History in New York commissioned William Couper to create twelve heroic portrait busts of internationally famous scientists. Couper hoped that the prominent display of the busts in the museum’s foyer would lead to future commissions. He researched the lives of each scientist carefully and made multiple models until he was convinced that he had captured not only the likeness, but also the spirit of each man. Two years of painstaking work paid off when the director praised the impressive installation. This portrait of Benjamin Franklin remained in the Museum of Natural History until 1960, when Couper’s busts were distributed to other institutions. “I have been strongly impressed with the character of the men as you have expressed it in these portraits.” Morris K. Jessup, President of the American Museum of Natural History, to William Couper, January 1, 1907
        • created2009-04-27 21:49:48
        • modified2009-04-27 21:50:48
  • 11
    • Venue
      • id16
      • catchcode_prefixWALK
      • nameWalker Art Center
      • descriptionThe Walker Art Center, a catalyst for the creative expression of artists and the active engagement of audiences, examines the questions that shape and inspire us as individuals, cultures, and communities.
      • urlhttp://www.walkerart.org
      • image12410601362055765443.gif
      • created2009-04-27 11:04:29
      • modified2009-04-29 19:55:36
    • Catchcode
      • 0
        • id39
        • venue_id16
        • catchcode_suffix1000
        • created2009-04-27 11:20:39
        • modified2009-04-27 11:20:39
      • 1
        • id40
        • venue_id16
        • catchcode_suffix1001
        • created2009-04-27 11:25:24
        • modified2009-04-27 11:25:24
      • 2
        • id41
        • venue_id16
        • catchcode_suffix1002
        • created2009-04-27 11:41:31
        • modified2009-04-27 11:41:31
      • 3
        • id42
        • venue_id16
        • catchcode_suffix1003
        • created2009-04-27 11:43:45
        • modified2009-04-27 11:43:45
      • 4
        • id43
        • venue_id16
        • catchcode_suffix1004
        • created2009-04-27 11:51:50
        • modified2009-04-27 11:51:50
    • Piece
      • 0
        • id39
        • artist_id22
        • catchcode_id39
        • venue_id16
        • dimension_id45
        • genre_id28
        • medium_id3
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleUntitled, Donald 1969/1982
        • description“Abstract art has its own integrity not someone else’s ‘integrations’ with something else. Any combining mixing, adding, diluting, exploiting, vulgarizing, popularizing abstract art deprives art of its essence and depraves the artist’s artistic consciousness. Art is free, but it is not a free-for-all.” --Donald Judd, 1965 One of the foremost practitioners of Minimal Art, Donald Judd is best known for his sleek, boxlike constructions made of industrial materials such as aluminum, plywood, sheet metal, and plexiglass. Through these works, he sought to create a depersonalized art in which the exploration of space, scale, and materials served as an end, rather than as a metaphor for human experience. Emphatically concerned with pure forms, Judd’s works become statements about proportion and rhythm as well as three-dimensional space. His stacked boxes seem to come directly out of the wall rather than projecting from a backing surface. This creates the impression that the artwork shares the observer’s space instead of being set apart like a sculpture on a pedestal.
        • created2009-04-27 11:20:39
        • modified2009-04-27 11:20:39
      • 1
        • id40
        • artist_id22
        • catchcode_id40
        • venue_id16
        • dimension_id46
        • genre_id28
        • medium_id3
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleUntitled, 1965
        • descriptionJudd was one of the foremost practitioners of Minimal Art and best known for his sleek, boxlike constructions made of industrial materials such as plywood, sheet metal, and plexiglass. Through these works, he sought to create a depersonalized art in which the exploration of space, scale, and materials served as an end, rather than as a metaphor for human experience. Emphatically concerned with formal purity, his works become lucid axioms about proportion and rhythm as much as they are assertions about the displacement of space. Judd's sculptures share rather than invade the observer's space, yet their monumentality often lends them a dynamic presence. Untitled (1965) is, to use Judd's term, a "progression," and derives in part from his systematic elimination of painting's limitations without a complete rejection of all its physical properties. His reliefs of galvanized metal boxes cantilevered from the wall and given automobile lacquer finishes (here, Harley-Davidson "Hi-Fi Red") express an aesthetic affinity for the detachment of industrial materials and processes. Judd's geometric arrangements eliminate the idea of composition and achieve a singleness of focus on the literal object.
        • created2009-04-27 11:25:24
        • modified2009-04-27 11:25:24
      • 2
        • id41
        • artist_id23
        • catchcode_id41
        • venue_id16
        • dimension_id47
        • genre_id25
        • medium_id7
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleFilz-TV (Felt TV), 1970
        • descriptionThis multiple, a relic of Joseph Beuys' action Felt TV (1966), is composed of three props (the boxing gloves, felt pad, and sausage) and a film of the performance. In the 11-minute film, Beuys explored metaphors of communication and energy through the medium of television. As the TV broadcast a talk show, Beuys blocked the image with a felt pad, then punched himself in the face while wearing the gloves, as if the information from the television were assaulting him and meeting with resistance. He carved the sausage into a swordlike shape and moved it over the felt like a stethoscope, then dabbed it on the walls of the room. He ended by pushing the television against the wall, hanging a large felt pad on the wall, and leaving the room. Beuys explained this cryptic work in terms of opposites. An actor sits opposite the television. Its screen is doubled with a felt "anti-image" that obstructs information. Finally, a second felt pad stands in for artists. In the end, the television is abandoned: a transmitter without a receiver. "The observer himself is very much as important as what comes out of the box," Beuys stated. This acquisition continues the Walker's aim of acquiring works in depth by artists to whom the museum has a long-term commitment. Felt TV joins a collection of more than 400 multiples by Beuys that the Walker acquired in 1992.
        • created2009-04-27 11:41:31
        • modified2009-04-27 11:41:31
      • 3
        • id42
        • artist_id23
        • catchcode_id42
        • venue_id16
        • dimension_id48
        • genre_id1
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • title Filzanzug (Felt Suit), 1970
        • descriptionJoseph Beuys was born in Krefeld, Germany, in 1921, the only child in a middle-class Catholic family. As a boy he was interested in both art and science and wanted to become a doctor. In 1940 he volunteered for military service during World War II and trained as an aircraft radio operator and combat pilot. He was wounded several times over the course of his duty before he returned home in 1945. The war had a profound effect on Beuys, who enrolled at the Düsseldorf Academy of Art instead of pursuing a medical career. While at school, he studied sculpture, but also pursued other areas of interest, including philosophy, literature, and science. Beuys had an unconventional approach to making art, choosing to work in many types of media, including sculpture, installations, and performances, which he sometimes called "actions." He believed in the power of art as the main factor governing human existence and behavior, and that both art and life must be pursued with absolute attention to social responsibility. "To me," Beuys said, "it’s irrelevant whether a product comes from a painter, from a sculptor, or from a physicist." During the 1960s and 1970s, a time of increased political awareness, Beuys was heavily involved in political activism, which he considered an extension of his activities as an artist. In fact, Beuys first wore the Filzanzug (Felt Suit) in an action interpreted as a protest of the Vietnam War. It was performed in 1971 with another artist, Terry Fox, in a cellar of the Staatliche Kunstakademie (National Art Academy) in Düsseldorf, Germany. Fox burned the wood of a cross-shaped window frame and sped up the burning of a lit candle by exposing it to the heat of a naked lightbulb. Beuys cradled a dead mouse in his hand. Then Fox banged an iron pipe till it resounded violently. Beuys repeatedly spat the seeds of an exotic fruit into a silver bowl to create a delicate ringing sound.  Much of Beuys' art promoted the notion that every person is an artist and that an individual’s creative activity helped a society thrive and grow in ways beneficial to all. Beuys pursued the idea that society itself is not an abstract entity but an art form--in constant flux--and capable of being "sculpted." His involvement in the fields of politics and education in order to create real change reflected his goal to sculpt society. Beuys worked with several groups that called for radical political reform. In 1979 he co-founded the Green Party, a grassroots alternative to traditional politics that stressed social and environmental issues.
        • created2009-04-27 11:43:45
        • modified2009-04-27 11:43:45
      • 4
        • id43
        • artist_id24
        • catchcode_id43
        • venue_id16
        • dimension_id49
        • genre_id28
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleUntitled (1963)
        • descriptionElectric light is just another instrument. I have no desire to contrive fantasies mediumistically or sociologically over it or beyond it. Future art and the lack of that would surely reduce such squandered speculations to silly trivia anyhow . . . --Dan Flavin, 1966 By employing generic mass-produced light fixtures in his works, Dan Flavin denies his art any transcendental significance while simultaneously denying those same light fixtures their simple utilitarian function by calling them art. His simplified visual vocabulary is related to the work of contemporaries such as Donald Judd and Carl Andre, who have been labeled Minimalist artists for their reduction of formal devices and their emphasis on serial and rational rather than gestural forms. In Flavin's case light, rather than form, activates the space.
        • created2009-04-27 11:51:50
        • modified2009-04-27 11:51:50
  • 12
    • Venue
      • id17
      • catchcode_prefixSFMO
      • nameSan Francisco Museum of Modern Art (SFMOMA)
      • descriptionMISSION STATEMENT The San Francisco Museum of Modern Art is a dynamic center for modern and contemporary art. The museum strives to engage and inspire a diverse range of audiences by pursuing an innovative program of exhibitions, education, publications, and collections activities. International in scope, while reflecting the distinctive character of our region, the museum explores compelling expressions of visual culture. Founded in 1935, SFMOMA was the first museum on the West Coast devoted to modern and contemporary art. From the outset, the museum has championed the most innovative and challenging art of its time, and we continue to exhibit and collect work by both modern masters and younger, less-established artists. We always have a dynamic schedule of thought-provoking exhibitions on view, including special exhibitions and changing presentations from our collection of more than 26,000 artworks, photographs, and design objects. Audio guides, docent tours, video screenings, interactive kiosks, and public programs offer opportunities to learn more about modern art. Located just a short walk from downtown San Francisco, our landmark building features a soaring atrium topped by our signature turret and oculus skylight. The MuseumStore offers the West Coast's finest selection of modern and contemporary art books, as well as exceptional design objects, furniture, jewelry, and children's products. Meanwhile, our cafe serves gourmet fare in a light-filled space with indoor and outdoor seating. We invite you to take a closer look and discover all the exciting things that are happening at SFMOMA.
      • urlwww.sfmoma.org/
      • image1241059747699589710.gif
      • created2009-04-27 12:13:06
      • modified2009-04-29 19:49:07
    • Catchcode
      • 0
        • id44
        • venue_id17
        • catchcode_suffix1000
        • created2009-04-27 12:17:58
        • modified2009-04-27 12:17:58
      • 1
        • id45
        • venue_id17
        • catchcode_suffix1001
        • created2009-04-27 12:23:57
        • modified2009-04-27 12:23:57
      • 2
        • id46
        • venue_id17
        • catchcode_suffix1002
        • created2009-04-27 12:28:52
        • modified2009-04-27 12:28:52
      • 3
        • id47
        • venue_id17
        • catchcode_suffix1003
        • created2009-04-27 12:40:02
        • modified2009-04-27 12:40:02
      • 4
        • id48
        • venue_id17
        • catchcode_suffix1004
        • created2009-04-27 12:45:36
        • modified2009-04-27 12:45:36
    • Piece
      • 0
        • id44
        • artist_id6
        • catchcode_id44
        • venue_id17
        • dimension_id50
        • genre_id8
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleFemme au chapeau (Woman with a Hat) 1905
        • descriptionFirst exhibited at the 1905 Salon d'Automne in Paris, this work was at the center of the controversy that led to the christening of the first modern art movement of the twentieth century — Fauvism. The term fauve ("wild beast"), coined by an art critic, became forever associated with the artists who exhibited their brightly colored canvases in the central gallery (dubbed the cage centrale) of the Grand Palais. Femme au chapeau marked a stylistic change from the regulated brushstrokes of Matisse's earlier work to a more expressive individual style. His use of non-naturalistic colors and loose brushwork, which contributed to a sketchy or "unfinished" quality, seemed shocking to the viewers of the day. The artist's wife, Amélie, posed for this half-length portrait. She is depicted in an elaborate outfit with classic attributes of the French bourgeoisie: a gloved arm holding a fan and an elaborate hat perched atop her head. Her costume's vibrant hues are purely expressive, however; when asked about the hue of the dress Madame Matisse was actually wearing when she posed for the portrait, the artist allegedly replied, "Black, of course." The expatriate Stein family (Michael, Sarah, Leo, and Gertrude) bought the painting soon after its initial showing. Although Leo characterized the work as "the nastiest smear of paint I had ever seen," the Steins recognized its importance and began a long-lasting patronage of the French artist. Sarah and Michael Stein subsequently brought the painting to San Francisco where it was bought in the 1950s by the Haas family. In 1990 Elise S. Haas bequeathed to the Museum thirty-seven paintings, sculptures, and works on paper by modernist masters, among them Femme au chapeau.
        • created2009-04-27 12:17:58
        • modified2009-04-27 12:17:58
      • 1
        • id45
        • artist_id6
        • catchcode_id45
        • venue_id17
        • dimension_id51
        • genre_id8
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleEsquisse pour "Le bonheur de vivre" (Sketch for "The Joy of Life") 1905-1906
        • description This work is the final known oil sketch for Matisse's monumental landscape Le bonheur de vivre, now in the collection of the Barnes Foundation in Pennsylvania. Its liberal and expressive use of color (also apparent in the finished painting) is characteristic of Fauvism, an early modernist movement that also emphasized flattened space and formal qualities such as line and brushwork. Matisse and other Fauvists applied these innovative methods to many traditional artistic subjects, including portraiture, landscape, and the still life. Deemed the "climactic" work of Fauvism by one critic, the final version of Le bonheur de vivre differs greatly in scale from this study, for the painting is over four times as large. In style, the sketch looks toward Neo-Impressionism with its loose dabs of broken color, while the painting features flat expanses of color and a more linear treatment of the figures. Although the sketch is a thoroughly modern picture, Matisse also drew from older artistic modes, including French academic painting and the iconography of Greek vases, to create this pastoral scene of carefree innocence and languid, pleasurable repose.
        • created2009-04-27 12:23:58
        • modified2009-04-27 12:23:58
      • 2
        • id46
        • artist_id25
        • catchcode_id46
        • venue_id17
        • dimension_id52
        • genre_id21
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleWoman, 1950
        • descriptionDe Kooning's paintings of women from the early 1950s came on the heels of a highly successful series of black-and-white abstractions. His figural subject matter was at first criticized as a step back because it went against the current trend toward abstract compositions. In the years since, however, these works have been lauded as some of his best, and they remain his most well known. This is one of De Kooning's earliest paintings of the subject, which he would revisit many times over the next five years. In later pieces the fleshy, pink, figurative style yields to an aggressive patchwork of bright yellows, reds, and greens as well as an increasing sense of violence.
        • created2009-04-27 12:28:52
        • modified2009-04-27 12:28:52
      • 3
        • id47
        • artist_id26
        • catchcode_id47
        • venue_id17
        • dimension_id53
        • genre_id20
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titleLes valeurs personnelles (Personal Values) 1952
        • descriptionAlthough he is often grouped with Surrealists such as Salvador Dalí, Max Ernst, and Yves Tanguy, Magritte took a somewhat different approach to painting. Rather than creating fantasy imagery, he evoked the strangeness and ambiguity latent in reality. "I don't paint visions," he once said. "To the best of my capability, by painterly means, I describe objects — and the mutual relationship of objects — in such a way that none of our habitual concepts or feelings is necessarily linked with them." Here, the artist presents a room filled with familiar things, but he gives human proportions to these formerly unassuming props of everyday life, creating a sense of disorientation and incongruity. Inside and out are inverted by his rendering of a skyscape on the interior walls of the room. The familiar becomes unfamiliar, the normal, strange; Magritte creates a paradoxical world that is, in his own words, "a defiance of common sense." When he first saw this painting, Magritte's dealer, Alexander Iolas, was violently upset by it. Tellingly, the artist replied, "In my picture, the comb (and the other objects as well) has specifically lost its 'social character,' it has become an object of useless luxury, which may, as you say, leave the spectator feeling helpless or even make him ill. Well, this is proof of the effectiveness of the picture."
        • created2009-04-27 12:40:02
        • modified2009-04-27 12:40:02
      • 4
        • id48
        • artist_id27
        • catchcode_id48
        • venue_id17
        • dimension_id54
        • genre_id20
        • medium_id1
        • smarthistory_id(null)
        • wikipedia_id(null)
        • material_id(null)
        • creation_date(null)
        • credit(null)
        • copyright(null)
        • accession_number(null)
        • titlePeinture (Painting) [formerly Dark Brown and White Oval] 1926
        • descriptionFrom 1925 through 1927 Miró painted his "magnetic fields": spare, monochromatic canvases inhabited by simple and often whimsical biomorphic shapes. The lone form in this work beams across the empty, hazy space of the picture. The only spatial definition is provided by a dotted line, which connects one edge to the form and then extends upward. Spontaneous and intuitive, the smiling shape is tenuously tied to a rectangular base, its glazed grin lit by the half-shadowed moon. The dreamlike atmosphere is a dramatic departure from Cubism into a world defined only by the imagination.
        • created2009-04-27 12:45:36
        • modified2009-04-27 12:45:36
  • 13
    • Venue
      • id18
      • catchcode_prefixMOPA
      • nameThe Museum of Photographic Arts (MOPA)
      • descriptionThe mission of the Museum of Photographic Arts is to inspire, educate and engage the broadest possible audience through the presentation, collection, and preservation of photography, film and video. Since its founding in 1983, the Museum of Photographic Arts (MoPA) has been devoted to collecting, conserving and exhibiting the entire spectrum of the photographic medium. The museum’s endeavors consistently address cultural, historical and social issues through its exhibitions and public programs (all of which are described in detail throughout this site). The Museum of Photographic Arts is accredited by the American Association of Museums and is a member-supported, private, non-profit institution. Additional support for museum programs is provided in part by the City of San Diego Commission for Arts and Culture, the Joan and Irwin Jacobs Fund of the Jewish Community Foundation, the Weingart-Price Fund, the San Diego Foundation, Patrons of the Prado and the National Endowment for the Arts.
      • urlwww.mopa.org
      • image12410599362125692932.jpg
      • created2009-04-27 21:55:19
      • modified2009-04-29 19:52:16
    • Catchcode
      • 0
        • id71
        • venue_id18
        • catchcode_suffix1000
        • created2009-05-05 12:23:55
        • modified2009-05-05 12:23:55
      • 1
        • id72
        • venue_id18
        • catchcode_suffix1001
        • created2009-05-05 12:34:22
        • modified2009-05-05 12:34:22
      • 2
        • id73
        • venue_id18
        • catchcode_suffix1002
        • created2009-05-06 11:41:48
        • modified2009-05-06 11:41:48
      • 3
        • id74
        • venue_id18
        • catchcode_suffix1003
        • created2009-05-06 11:41:49
        • modified2009-05-06 11:41:49
      • 4
        • id75
        • venue_id18
        • catchcode_suffix1004
        • created2009-05-06 12:23:18
        • modified2009-05-06 12:23:18
    • Piece
      • 0
        • id71
        • artist_id49
        • catchcode_id71
        • venue_id18
        • dimension_id103
        • genre_id44
        • medium_id2
        • smarthistory_id100
        • wikipedia_id100
        • material_id5
        • creation_date1897-05-05
        • creditCamera Notes, Vol 1 No 2 1897
        • copyright
        • accession_number(null)
        • titleA Bit Of Venice
        • description"A Bit of Venice" was taken in 1894 and produced in 1897. He continued to make his own experiments and to defend the work of others also breaking new ground. This battle would last his whole life. Principles of design include contrast of the upper "lighter" level to the bottom "darker" level and a sense of movement of the way the train is coming straight at us in the tracks. The equipment was so simple that most present day photographers would think it impossible to work with. He became an authority in his field and brought a great amount of recognition to photography, but most importantly he dedicated his life to an art form involving infinite patience and passion. The steerage is divided into an upper and lower deck joined by a narrow stairway. In conclusion, Stieglitz's fight for photography developed into new ideas for future generations. The photograph really exposes the people's emotions and almost made me feel as though I was in that luxury liner. Below the first-class upper deck, he saw passengers crowded into the less costly steerage level below. He decided to challenge that theory and set up his camera in a small cellar. Due to his experience in Germany, he was able to help bring the modernistic views of Europe to America. He was told that a camera could only be used in the daytime. The cellar was lit only by weak electric light bulb and focused on a dynamo.
        • created2009-05-05 12:23:55
        • modified2009-05-05 12:35:59
      • 1
        • id72
        • artist_id50
        • catchcode_id72
        • venue_id18
        • dimension_id102
        • genre_id45
        • medium_id2
        • smarthistory_id99
        • wikipedia_id99
        • material_id5
        • creation_date1955-05-05
        • creditMasters of Photography Series
        • copyright
        • accession_number(null)
        • titleClassic Torso
        • descriptionRuth Bernhard was born in Berlin in 1905. In 1927, after two years at the Berlin Academy of Art, Ruth moved to New York where she began to seriously pursue a career in photography. Eight years later she met Edward Weston in California and was deeply moved by his work. He revealed to her the profound creative potential of photography and its artistic implications. Desiring to work with him, she moved to the West Coast shortly thereafter. In 1953, she moved to San Francisco and became a colleague of Ansel Adams, Imogen Cunningham, Minor White and Wynn Bullock. She has lectured and conducted master classes throughout the United States through her 95th birthday. Ruth Bernhard’s work can be found in most major museum collections throughout the world, including the George Eastman House, Museum of Modern Art in New York, The Metropolitan Museum of Art and the Bibliotheque Nationale in Paris. Her photographs have been shown internationally in major exhibitions for over fifty years and widely published. In 1986, Photography West published an acclaimed monograph of her nudes entitled The Eternal Body which received Photography Book of the Year and brought Bernhard widespread acclaim as a photographer of the nude. "My aim is to transform the complexities of the figure into harmonies of simplified forms revealing the innate reality, the life force, the spirit, the inherent symbolism and the underlying remarkable structure – to isolate and give emphasis to form with the greatest clarity."
        • created2009-05-05 12:34:22
        • modified2009-05-05 12:35:24
      • 2
        • id74
        • artist_id51
        • catchcode_id74
        • venue_id18
        • dimension_id107
        • genre_id45
        • medium_id2
        • smarthistory_id105
        • wikipedia_id105
        • material_id5
        • creation_date1941-05-06
        • credit
        • copyright
        • accession_number(null)
        • titleMoonrise, Hernandez, New Mexico
        • descriptionThe story of the making of the photograph Moonrise, Hernandez , New Mexico is legendary. Ansel's description in Examples: The Making of Forty Photographs is oft repeated, and quite dramatic. We have brought together several vignettes that put a little more perspective on what let up to the dramatic moment on a lonely highway at 4:05 PM (local time), October 31, 1941. From Ansel Adams, in Examples: “I had been photographing in the Chama Valley , north of Santa Fe . I made a few passable negatives that day and had several exasperating trials with subjects that would not bend to visualization. The most discouraging effort was a rather handsome cottonwood stump near the Chama River . I saw my desired image quite clearly, but due to unmanageable intrusions and mergers of forms in the subject my efforts finally foundered, and I decided it was time to return to Santa Fe . It is hard to accept defeat, especially when a possible fine image is concerned. But defeat comes occasionally to all photographers, as to all politicians, and there is no use moaning about it. We were sailing southward along the highway not far from Espanola when I glanced to the left and saw an extraordinary situation – an inevitable photograph! I almost ditched the car and russed to set up my 8x10 camera. I was yelling to my companions to bring me things from the car as I struggled to change components on my Cooke Triple-Convertible lens. I had a clear visualization of the image I wanted, but when the Wratten No. 15 (G) filter and the film holder were in place, I could not find my Weston exposure meter! The situation was desperate: the low sun was trailing the edge of the clouds in the west, and shadow would soon dim the white crosses. I was at a loss with the subject luminance values, and I confess I was thinking about bracketing several exposures, when I suddenly realized that I knew the luminance of the moon – 250 c/ft2. Using the Exposure Formula, I placed this luminance on Zone VII; 60 c/ft2 therefore fell on Zone V, and the exposure with the filter factor o 3x was about 1 second at f/32 with ASA 64 film. I had no idea what the value of the foreground was, but I hoped it barely fell within the exposure scale. Not wanting to take chances, I indicated a water-bath development for the negative. Realizing as I released the shutter that I had an unusual photograph which deserved a duplicate negative, I swiftly reversed the film holder, but as I pulled the darkslide the sunlight passed from the white crosses; I was a few seconds too late!”
        • created2009-05-06 11:41:49
        • modified2009-05-06 11:51:14
      • 3
        • id75
        • artist_id52
        • catchcode_id75
        • venue_id18
        • dimension_id108
        • genre_id31
        • medium_id2
        • smarthistory_id108
        • wikipedia_id108
        • material_id6
        • creation_date2009-05-06
        • credit
        • copyright
        • accession_number(null)
        • titleWorld 28
        • descriptionRudolph Franciscus Maria van Empel graduated Cum Laude from the Academie St. Joost, Breda (1976-1981) as a graphic designer. Having worked briefly as a designer, he devoted his attention to making free video tapes and staged photography. From the mid-eighties onward, he manifested himself as a creative designer of theatre decors and was the art director of various television and film productions. In addition, he generated many posters for films, cultural programmes and organizations. In the mid-nineties, he decided to develop himself further as a visual artist. His first photo series are entitled The Office (1995-2001), Study for Women (1999-2002), and Study in Green (2003). He presented his first solo exhibition in the Groninger Museum in 1999, under the title: Waterpas of Optisch recht? (Level or Optically straight?) His international breakthrough came with his series of works entitled World, Moon, Venus (2005-2008). These were first exhibited in Picturing Eden exhibition, compiled by Deborah Klochko, in the George Eastman House. Many exhibitions followed, and the Sir Elton John photo collection is just one of the many collections which now contain examples of Van Empel’s work. Van Empel’s working method is a complex one. He photographs 4 or 5 professional models in his studio, and takes many series of detailed photos of leaves, flowers, plants and animals. Having gathered hundreds of pictures in a database, he selects those images with which he can achieve the best results. The models are mixed in the Photoshop program, clothes are photographed separately on a tailor’s dummy. In this way he creates new images of mainly children, black or white, set in a paradisaical environment. The art historian Jan Baptist Bedaux wrote in de catalogue (2006) of Museum Het Valkhof: The fact that many of the children in his compositions have a dark skin is a facet that cannot remain without comment. Although it is self-evident that a child’s skin colour is not important, the iconography of the innocent child was traditionally represented by ‘white’ children. The earliest examples of this date from the early seventeenth century. These are portraits in which children are captured in an idealized, pastoral setting. It is a genre to which the children’s portraits of the German artist Otto Dix, a source of inspiration to van Empel, refer. In deviating from the standard iconography by giving the child a dark skin, Van Empel inadvertently assumes a political stance. After all, this child is still the focus of discrimination and its innocence is not recognized by everyone as being self-evident.
        • created2009-05-06 12:23:18
        • modified2009-05-06 12:23:18
  • 14
    • Venue
      • id19
      • catchcode_prefixNEW
      • nameNew Museum
      • descriptionThe New Museum is one is the newest member of New York City's Museum's. Located in the famous artist hot spot in the Lower East Side, The New Museum's mission is NEW ART NEW IDEA"S!
      • urlhttp://www.newmuseum.org/
      • image1241062077205673365.gif
      • created2009-04-29 20:23:01
      • modified2009-04-29 20:27:57
    • Catchcode
      • 0
        • id68
        • venue_id19
        • catchcode_suffix1000
        • created2009-04-29 20:36:05
        • modified2009-04-29 20:36:05
      • 1
        • id79
        • venue_id19
        • catchcode_suffix1001
        • created2009-05-06 13:43:55
        • modified2009-05-06 13:43:55
      • 2
        • id80
        • venue_id19
        • catchcode_suffix1002
        • created2009-05-06 13:46:50
        • modified2009-05-06 13:46:50
    • Piece
      • 0
        • id68
        • artist_id46
        • catchcode_id68
        • venue_id19
        • dimension_id97
        • genre_id31
        • medium_id7
        • smarthistory_id89
        • wikipedia_id89
        • material_id2
        • creation_date2009-04-29
        • credit
        • copyright
        • accession_number(null)
        • titleWaken
        • descriptionWaken," an installation of speakers and tendon-like materials created by artists Beth Coleman, assistant professor of writing and new media in the Program in Writing and Humanistic Studies and Comparative Media Studies, and Howard Goldkrand, will be presented as part of the "Fresh Projects: Shimmer" exhibition at the New Museum of Contemporary Art in New York from Nov. 10 to Dec. 31. Built across a network of signals to produce a gentle cacophony of sound, "Waken" uses a generative code that emulates the movement of bees in nature, creating what the artists call a sonic prairie, characterized by diversity, accident and spontaneous growth.
        • created2009-04-29 20:36:05
        • modified2009-04-29 20:36:05
      • 1
        • id79
        • artist_id55
        • catchcode_id79
        • venue_id19
        • dimension_id113
        • genre_id43
        • medium_id2
        • smarthistory_id117
        • wikipedia_id117
        • material_id5
        • creation_date1980-05-06
        • credit
        • copyright
        • accession_number(null)
        • titleBefore the fight: amateur boxing at the Town Hall, Boksburg.
        • descriptionOver the last fifty years, David Goldblatt has documented the complexities and contradictions of South African society. His photographs capture the social and moral value systems that governed the tumultuous history of his country’s segregationist policies and continue to influence its changing political landscape. Goldblatt began photographing professionally in the early 1960s, focusing on the effects of the National Party’s legislation of apartheid. The son of Jewish Lithuanian parents who fled to South Africa to escape religious persecution, Goldblatt was forced into a peculiar situation, being at once a white man in a racially segregated society and a member of a religious minority with a sense of otherness. He used the camera to capture the true face of apartheid as his way of coping with horrifying realities and making his voice heard. Goldblatt did not try to capture iconic images, nor did he use the camera as a tool to entice revolution through propaganda. Instead, he reveals a much more complex portrait, including the intricacies and banalities of daily life in all aspects of society. Whether showing the plight of black communities, the culture of the Afrikaner nationalists, the comfort of white suburbanites, or the architectural landscape, Goldblatt’s photographs are an intimate portrayal of a culture plagued by injustice. In Goldblatt’s images we can see a universal sense of people’s aspirations, making do with their abnormal situation in as normal a way as possible. People go about their daily lives, trying to preserve a sense of decency amid terrible hardship. Goldblatt points out a connection between people (including himself) and the environment, and how the environment reflects the ideologies that built it. His photographs convey a sense of vulnerability as well as dignity. Goldblatt is very much a part of the culture that he is analyzing. Unlike the tradition of many documentary photographers who capture the “decisive moment,” Goldblatt’s interest lies in the routine existence of a particular time in history. Goldblatt continues to explore the consciousness of South African society today. He looks at the condition of race relations after the end of apartheid while also tackling other contemporary issues, such as the influence of the AIDS epidemic and the excesses of consumption. For his “Intersections Intersected” series, Goldblatt looks at the relationship between the past and present by pairing his older black-and-white images with his more recent color work. Here we may notice photography’s unique association with time: how things were, how things are, and also that the effects of apartheid run deep. It will take much more time to heal the wounds of a society that was divided for so long. Yet, there is a possibility for hope, recognition of how much has changed politically in the time between the two images, and a potential optimism for the future. Goldblatt’s work is a dynamic and multilayered view of life in South Africa, and he continues to reveal that society’s progress and incongruities. —Joseph Gergel, Curatorial Fellow
        • created2009-05-06 13:43:55
        • modified2009-05-06 13:43:55
      • 2
        • id80
        • artist_id55
        • catchcode_id80
        • venue_id19
        • dimension_id114
        • genre_id43
        • medium_id2
        • smarthistory_id118
        • wikipedia_id118
        • material_id8
        • creation_date2007-05-06
        • credit
        • copyright
        • accession_number(null)
        • titleOORGAT IS DIE ANTWOORD, De Brak, on the Fraserburg-Sutherland road, Western Cape
        • description
        • created2009-05-06 13:46:51
        • modified2009-05-06 13:46:51
  • 15
    • Venue
      • id20
      • catchcode_prefixMCSD
      • nameMuseum of Contemporary Art San Diego
      • descriptionMISSION The mission of the Museum of Contemporary Art San Diego (MCASD) is to serve diverse audiences through the exhibition, interpretation, collection, and preservation of art created since 1950. MANDATE MCASD engages a regional, national, and international audience including the binational constituency of the San Diego/Tijuana region. VISION MCASD is a museum providing public access to contemporary art, artists, and the creative process; a forum for the exploration and understanding of contemporary art and ideas; and a laboratory for artists to experiment with new forms of creative expression.
      • urlhttp://www.mcasd.org/collection/index.asp
      • image12417060951550341580.gif
      • created2009-05-06 12:40:13
      • modified2009-05-07 07:21:35
    • Catchcode
      • 0
        • id76
        • venue_id20
        • catchcode_suffix1000
        • created2009-05-06 12:55:54
        • modified2009-05-06 12:55:54
      • 1
        • id77
        • venue_id20
        • catchcode_suffix1001
        • created2009-05-06 13:02:25
        • modified2009-05-06 13:02:25
      • 2
        • id78
        • venue_id20
        • catchcode_suffix1002
        • created2009-05-06 13:12:24
        • modified2009-05-06 13:12:24
    • Piece
      • 0
        • id76
        • artist_id53
        • catchcode_id76
        • venue_id20
        • dimension_id110
        • genre_id27
        • medium_id3
        • smarthistory_id111
        • wikipedia_id111
        • material_id7
        • creation_date1965-05-06
        • credit
        • copyright
        • accession_number(null)
        • titleStore Front
        • description
        • created2009-05-06 12:55:54
        • modified2009-05-06 12:56:09
      • 1
        • id77
        • artist_id54
        • catchcode_id77
        • venue_id20
        • dimension_id111
        • genre_id31
        • medium_id7
        • smarthistory_id114
        • wikipedia_id114
        • material_id2
        • creation_date1997-05-06
        • creditMuseum purchase, Contemporary Collectors Fund, 1999.21.a-c
        • copyright
        • accession_number(null)
        • titleMilan, The Last Supper
        • description
        • created2009-05-06 13:02:25
        • modified2009-05-06 13:02:25
      • 2
        • id78
        • artist_id10
        • catchcode_id78
        • venue_id20
        • dimension_id112
        • genre_id23
        • medium_id1
        • smarthistory_id115
        • wikipedia_id115
        • material_id1
        • creation_date1971-05-06
        • creditGift of Irving Blum and Museum purchase, 1978.1
        • copyrightPhoto: Philipp Scholz Rittermann
        • accession_number(null)
        • titleMirror Six Panels #3
        • descriptionLichtenstein used oil and Magna paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics' Secret Hearts #83. (Drowning Girl now hangs in the Museum of Modern Art, New York.[3]) Also featuring thick outlines, bold colors and Benday Dots to represent certain colors, as if created by photographic reproduction. Lichtenstein would say of his own work: Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock's or Kline's."[10] Rather than attempt to reproduce his subjects, his work tackled the way mass media portrays them. Lichtenstein would never take himself too seriously however: "I think my work is different from comic strips- but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art".[1] When his work was first released, many art critics of the time challenged its originality. More often than not they were making no attempt to be positive. Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content". However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument".[1] His most famous image is arguably Whaam! (1963, Tate Modern, London), one of the earliest known examples of pop art, adapted a comic-book panel from a 1962 issue of DC Comics' All-American Men of War.[11] The painting depicts a fighter aircraft firing a rocket into an enemy plane, with a red-and-yellow explosion. The cartoon style is heightened by the use of the onomatopoeic lettering "Whaam!" and the boxed caption "I pressed the fire control... and ahead of me rockets blazed through the sky..." This diptych is large in scale, measuring 1.7 x 4.0 m (5 ft 7 in x 13 ft 4 in). [11]
        • created2009-05-06 13:12:24
        • modified2009-05-06 13:12:24
  • 16
    • Venue
      • id21
      • catchcode_prefixwine
      • nameWine
      • description
      • url
      • image(null)
      • created2009-06-05 08:00:18
      • modified2009-06-05 08:00:18
    • Catchcode
      • 0
        • id84
        • venue_id21
        • catchcode_suffix1000
        • created2009-06-05 08:07:15
        • modified2009-06-05 08:07:15
      • 1
        • id85
        • venue_id21
        • catchcode_suffix1001
        • created2009-06-05 08:15:02
        • modified2009-06-05 08:15:02
      • 2
        • id86
        • venue_id21
        • catchcode_suffix1002
        • created2009-06-05 08:18:29
        • modified2009-06-05 08:18:29
      • 3
        • id87
        • venue_id21
        • catchcode_suffix1003
        • created2009-06-05 08:20:13
        • modified2009-06-05 08:20:13
    • Piece
      • 0
        • id84
        • artist_id59
        • catchcode_id84
        • venue_id21
        • dimension_id123
        • genre_id43
        • medium_id11
        • smarthistory_id131
        • wikipedia_id131
        • material_id2
        • creation_date2009-06-05
        • creditRegion: TRENTINO-ALTO ADIGE
        • copyrightSub-Region: ALTO ADIGE
        • accession_number0
        • title
        • descriptionThis dry white wine is pale straw-yellow in color. The clean, intense aroma and dry flavour with pleasant golden apple aftertaste make Santa Margherita Pinot Grigio a wine of great character and versatility. In 1961, the Santa Margherita oenologist had what proved to be a brilliant idea. He decided to try the white vinification technique used for the production of French Champagne on the best Pinot Grigio grapes from Trentino-Alto Adige. This led to the creation of an innovative white wine which, with its fresh aroma and silky taste, created a new fashion in white wine drinking. This wine has since continued to gain in popularity both in Italy and abroad, maintaining a clear leadership in the Pinot Grigio D.O.C. category. Santa Margherita was the first company to vinify the pinkish Pinot Grigio grapes as white wine. The must is not left on the skins to avoid its acquiring their rust-red color. After soft-pressing the must is left to ferment 15-20 days at 18°-20°C. The wine is then stored at 15°-16°C. in special stainless-steel tanks until bottling.
        • created2009-06-05 08:07:15
        • modified2009-06-05 08:19:45