Museum of Wisconsin Art recently acquired InEarth with generous support from Kohler Foundation. The Museum of Wisconsin Art (MOWA) explores the art and culture of Wisconsin. Founded in 1961, MOWA is one of the top museums of regional art in the United States, with over 5,000 works of contemporary and historic art by more than 350 artists. Through rotating exhibitions and educational programs, MOWA provides an innovative forum for the culturally engaged.
June 2 – October 28, 2018
Member Preview Night – Friday, June 1, 2018
The biggest story in 21st-century design has undoubtedly been the rise of the digital. Armed with new tools, we are connecting to each other in unprecedented ways. This powerful reshaping of human experience has brought many positive changes, but also a sense of unease. Digital experiences are not necessarily scaled to the human body. They often bring with them a dizzying sense of being unmoored from physicality, lost in a maze of constant mediation.
Raw Design marks an interesting moment in the history of technique. Rather than turning to long-established, complex repertoires like those of wood joinery and glass blowing, designers seem to prefer inventing new techniques, or else act as if their medium were being discovered for the first time. Guest Curated by Glenn Adamson.
FEBRUARY 17–MAY 27, 2018 AT THE FRICK ART MUSEUM
PITTSBURGH, PA, February 5, 2018—The Frick Pittsburgh in Point Breeze announces that Revive, Remix, Respond: Contemporary Ceramic Artists and The Frick Pittsburgh will be presented at The Frick Art Museum beginning February 17, 2018. This exhibition brings an exciting group of works by contemporary artists to the Frick. Curated by Associate Curator of Decorative Arts, Dawn Brean, Revive, Remix, Respond is planned to showcase artists who are breathing new life into the ceramic medium by reinvigorating age-old motifs, processes, and techniques. Twenty artists whose artistic practice is informed by the past were invited to submit work that is inspired by, responds to, or relates to The Frick Pittsburgh’s collection.
The assembled artworks feel simultaneously timeless and familiar yet unexpected. The visual vocabulary borrows from the rich artistic heritage of the 2,000-year-old medium while illuminating diverse issues that range from the contemporary (environmentalism, cross cultural exchange), to the personal (memory, collecting), to the aesthetic (pattern, form, abstraction). The international selection of featured artists includes Beth Lipman, Bouke de Vries, Stephen Bowers, Paul Scott, Caroline Slotte, Chris Antemann, and Evan Hauser, among others.
The exhibition will be staged in the French period room at The Frick Art Museum. Admission is free.
I am deeply honored to be inducted in the American Craft Council's College of Fellows. The ACC Awards include the Gold Medal for Consummate Craftsmanship, the College of Fellows, the Award of Distinction, and the Aileen Osborn Webb Award for Philanthropy.
Since 1970, the American Craft Council has recognized significant contributions to the field of craft. Originally designated the Award of Merit, in 1975 the ACC adopted the distinction of Fellow of the Council, the body of awardees known collectively as the College of Fellows. Election to the College of Fellows continues to this day, the award a commitment “to honor those who have made an outstanding contribution to the crafts in America.”
Criteria for nomination are few, but significant. An artist must demonstrate leadership in the field, outstanding ability as an artist and/or teacher, and 25 years or more of professional achievement as an American craftsperson. Awardees are nominated by the active College of Fellows; the distinction is recognition of meaningful contribution to the field not by critics, scholars, or collectors, but by one’s peers. It has become appropriately cherished by its recipients, who on joining the ranks of the College are required only to continue its legacy of nomination and recognition of the successive generations of craftspeople.
For more information: https://craftcouncil.org/about-acc/acc-awards/american-craft-council-college-of-fellows
One Portrait of One Man by Beth Lipman
An homage to Marsden Hartley
Commissioned work for Weisman Art Museum, Minneapolis, MN
One Portrait of One Man pays homage to Marsden Hartley (1877-1943) by encapsulating his painting One Portrait of One Woman (1916) within an ephemeral domestic setting. The installation presents a glass cabinet as Hartley’s allegorical body, flanked by glass wallpaper depicting a stylized aerial view of the border between two enemy trenches which no one dared cross, known during WWI as No Man’s Land. Representations of artifacts from Hartley and Stein’s lives are hidden within the glass cabinet with significant visual entry points located at chest and pelvis areas. Continuing the portraiture tradition, One Portrait of One Man offers a rumination on presence and absence.
Marsden Hartley - "Every artist is some sort of a relative of some other artist because it is only in the expansive field of art that such relatives are to be found."
Marsden Hartley, one of America’s most preeminent 20th century modernists created One Portrait of One Woman (1916) as a symbolic portrait of his cherished friend and mentor, Gertrude Stein (1874-1946). Stein remains a deeply influential avant-garde author and collector whose Rue de Fleurus salon became a fulcrum of the artistic community during the first half of the 20th century. She, in turn, wrote a word portrait of Hartley.
One Portrait of One Man was commissioned by Weisman Art Museum and partially funded by the National Endowment of the Arts. Research was supported by the Beinecke Rare Book and Manuscript Library at Yale University.
photo credit: Weisman Art Museum, University of Minnesota
Ritual and Desire explores the tenuous line between historical aesthetics and contemporary attitudes through the work of three artists--Beth Lipman, Cassandra C. Jones, and Lauren Fensterstock.
Works on view include Laid (Time-) Table with Cycads (detail above) and Cut Table (2014), recently acquired by the Wichita Art Museum. Ritual and Desire is on view May 20 – September 10, 2017.
InEarth will be on view during Ruptures, an exhibition at the Des Moines Art Center (IA), June 3 through September 3, 2017.
Ruptures will feature the work of nine contemporary artists and one artist collective including Berlinde De Bruyckere, Lauren Fensterstock, Mona Hatoum, Roger Hiorns, Steven Young Lee, Beth Lipman, Cornelia Parker, the Propeller Group, Doris Salcedo, and Anne Wilson. A full-color exhibition catalog will accompany the exhibition with essays by Art Center Senior Curator Alison Ferris and an excerpt from Art Historian Caterina Albano‘s “Fear and Art in the Contemporary World.”
InEarth, a ten-foot tall sculpture made of transparent glass, wood, adhesive, paint and metal, combines the genres of still life and landscape to juxtapose the current age with ages past. Atop InEarth is a fecund landscape depicting early diverging flora including a variety of pteridophytes and cycadophyta as well as extinct flora such as sphenophyllum (alive from the Devonian to Triassic periods) and calamites (alive in Carboniferous period. The tallest plant, a cycad, pierces the table and descends to the floor, transforming into a Doric column. There it anchors a still life composition which includes cards, bottles, musical instruments, coins, books, bricks, and a partial lowering device for caskets.
InEarth continues research begun at the Department of Paleobiology and Department of Botany at the Smithsonian's National Museum of Natural History in Washington DC during a Smithsonian Artist Research Fellowship. The work ensued explores the age of the Anthropocene, known as the period during which human activity has been the dominant influence on climate and the environment.
ART AGAINST THE ENDTIMES FUND is a fundraising event hosted by the esteemed Kirsten Hassenfeld at her website:
The entire sale price of these artworks will be donated to the ACLU to aid in the protection of all people in the US from the unlawful actions of the coming administration. Donating artists have graciously agreed to sell their works for a fraction of their retail price and are absorbing the cost of shipping in the continental US.
I am contributing to this event, thanks for your support and lets get to work.