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Chen Fushan Studio | Hong Kong Arts Centre
"Chen Fushan Studio" uses Chen Fushan's home studio as a reference, and selects his personal belongings from his former residence in Wan Chai, including various household furnishings, hand-painted paintings and collections of books for display, in order to reproduce Chen's living environment and the layout when he was painting. Visitors can take a look at the original appearance of his former creative space outside the glass room, explore Chen's creative world with another visual experience, and gain a deeper understanding of the multiple aspects of this local artist.
"Chen Fushan Studio" also leads the audience to review Chen's artistic journey and style development by displaying historical photos and text records about Chen's life, and wander in the story that created the legendary life of the "Watercolor King". Based on the contemporary era, it traces the trajectory of Hong Kong art history from the side.
Henry Castle & Pomona Zipser | West Dean
The Forest of Dean Sculpture Trail celebrates 30 years of commissioning contemporary artworks with two new permanent commissions by artists Henry Castle and Pomona Zipser, unveiled on 15th July 2016.
In Coal Measure Giants, rising British star Henry Castle brings to the surface aspects of what lies hidden beneath the Forest’s surface. Exploring the geological, industrial and sociological aspects of the Forest’s history, visitors will be able to touch the fossilized remains of 300 million year old trees and see the form of the mine shaft sets that provided a livelihood for generations of local freeminers. Two sculptures placed 300 metres apart act as markers, measuring the depth of the coal seam that lies directly below the ground. The work invites the public to experience a physical expression of this vertical depth.
Meanwhile, Yaşasin by established Romanian artist Pomona Zipser creates a space and a structure from which to contemplate and observe the ever-changing forest. Berlin-based Zipser’s sculpture has been handcrafted from sweet chestnut felled from the site of the Trail and Zipser has collaborated with local artists and craftsmen to make the sculpture. It makes a thought-provoking and visual connection to the surrounding environment, playing with density, dimensions and colour.
Ugo Rondinone: Liverpool Mountain | Tate Liverpool
Liverpool Mountain is Swiss-artist Ugo Rondinone’s first public artwork in the UK and the first of its kind in Europe. Inspired by naturally occurring Hoodoos (spires or pyramids of rock) and the art of meditative rock balancing, this 10-metre high sculpture stands within Mermaid Courtyard, outside Tate Liverpool on the Royal Albert Dock Liverpool. It consists of coloured rocks, stacked vertically which seem to defy gravity.
This outdoor sculpture marks the 10th anniversary of Liverpool European Capital of Culture, the 20th anniversary of Liverpool Biennial and the 30th anniversary of Tate Liverpool.
Commissioned by Liverpool Biennial and Tate Liverpool as part of the Liverpool 2018 events programme with support from Royal Albert Dock Liverpool.
Guillaume Bottazzi nous immerge dans un univers aquatique | Lyon
L’œuvre d’art est conçue avec des émaux et mesure 3.55 m de large par 1.20 m de long. Visible de l’extérieur, elle est située devant la Saône, au 2 Quai du Commerce à Lyon 9e, à côté de la brasserie ouest de Paul Bocuse et marque l’entrée de l’immeuble « La Vague ».
Avec ce matériau naturel dont il est devenu le spécialiste au fil de ses trente années d’expérience, l’artiste dépose des dégradés et superpose des couches transparentes de poudre qui réagissent à la cuisson.
Guillaume Bottazzi a déjà créé plus de 65 œuvres dans des espaces publics, par exemple un polyptique de 100m² à Paris La Défense, à Hong-Kong ou au Japon où il est l'auteur de la plus grande peinture du Pays, commandée par le Musée International d'Art Myanomori. Ses œuvres sont achetées par des villes, des collectionneurs, ou des musées d’art, notamment en Asie, aux Etats-Unis et en Europe.
Site internet de Guillaume Bottazzi : https://www.guillaume.bottazzi.org
Catalogue Secondary Art Market listings | Burbank
New from the Art Dealer's Room and Columnist series of Contemporary Art & Mix media design featured catalogue Secondary Art Market listings works & Galleries Artworks currently showing online catalogue
www.Verisart.com/Andrepace
Watch this (VR) Space | London
A Virtual Reality Art Exhibition that you can view in any location and on any device.
Please see the above picture instructions for how you can view it on a tablet/mobile.
You can view the exhibition with or without a virtual reality headset.
Copy this link to view the Virtual Reality Art Exhibition on a computer/laptop:
https://edu.cospaces.io/PMB-KAV
The Virtual Private View of the Exhibition was held on Thursday 14th of May 2020 at 8:15pm on Zoom (Virtual drinks provided.)
Mandala Lab: Where Emotions Can Turn To Wisdom | Croix
The Mandala Lab, located on the Museum’s remodeled third floor, invites curiosity about our emotions. Consider how complex feelings show up in your everyday life and imagine how you might have the power to transform them.
Inspired by powerful Buddhist principles, the Mandala Lab features five thought-provoking, playful experiences—including videos, scents, sculpture, and curated percussion instruments—that guide you along an inner journey focused on self-awareness and awareness of others. See, smell, touch, and breathe your way through the space, designed to inspire connection, empathy, and learning.
The Mandala Lab includes artist contributions from:
Dimensions of Sound - Musical Journey Through Space and Time | New York
DIMENSIONS OF SOUND - MUSICAL JOURNEY THROUGH SPACE AND TIME
“The ear lies nearest to the human soul.”
(Johann Gottfried Herder, „Kritische Wälder”, 1769 )
The House of Music, Hungary is a tree of life in the heart of Városliget, with a trunk, and a crown of golden leaves on slender branches. We are standing here by its roots, which provide the institution with its spiritual sustenance. The roots are entwined, like a labyrinth, and we walk among them. Our journey begins far back in time and space, back at the birth of music itself where we can grasp the roots of Hungarian folk music and European music. Progressing through the centuries, we will follow the development of music, discovering what a series of organised tones has meant to mankind, with the emphasis on Hungarians in the light—or sometimes the shadow—of Europe. Through the language of music, the exhibition speaks for itself: Everywhere we go, we hear music playing; the subject of the exhibition is music itself. Quoting Shakespeare, we might say, “Mark the music!” Mark not only the music coming from the headphones, but also the music around and within you. When you reach the end of the path, the modern day, many sounds will have been etched into your heart and mind: music to take home with you, the music of ancient times.
Expedition of the National Museum | National museum-Praha
A smaller exhibition in the showcases located in the Eastern hall of the Historical Building presents the expeditions of the National Museum, which are primarily united by a desire for knowledge that overcomes borders. It presents a selection of the most important historical expeditions which demonstrate the institution's long research tradition, up to contemporary expeditions.
One of the oldest research trips is reminiscent of A. Frič's expeditions to Banat (1853) and Dalmatia (1856) accompanied by acquired zoological specimens. The challenging nature of the expeditions is exemplified by the entomological expedition to Iran by Praga V3S museum vehicle in the 1970s or, at the time, the pioneering expeditions to the Mapuche area in South America.
Current expeditions of the National Museum will take you to diverse corners of the world on almost all continents and unearth the latest scientific and archaeological discoveries made by the researchers. They will explain the importance of cooperation between scientific and museum departments and multidisciplinary approach, which lead to the joint results of the work of a team of experts that examine the topic from different points of view.
Nina Chanel Abney and Jacolby Satterwhite | Lincoln Center for the Performing Arts
Lincoln Center for the Performing Arts is one of the world’s premiere performing arts organizations. On October 8, 2022, David Geffen Hall reopened as a welcoming cultural anchor for New York City, some 60 years after it was first inaugurated as the home of the New York Philharmonic. The new Hall reimagines the concert-going experience by providing more inclusive public spaces for diverse cultural performances and community uses. This initiative includes an annual program of art commissions, where all members of the public are invited to engage with the work of leading contemporary artists free of charge. The democratic approach instills a sense of welcome both indoors and out, beckoning those who may never have interacted with Lincoln Center or the New York Philharmonic, and encouraging those long familiar with the campus to see it afresh.
Public Art Fund partnered with The Studio Museum in Harlem to advise Lincoln Center on the selection of artists for this first iteration of the art program. Two prominent sites were identified for the site-specific commissions: the 50-foot Hauser Digital Wall in the lobby, which Jacolby Satterwhite has animated with a richly layered and inclusive celebration of performance that brings into dialogue the past, present and future; and the Hall’s 65th Street façade, which Nina Chanel Abney has transformed into a captivating tribute to the vibrant history and culture of San Juan Hill. Both artists undertook extensive research to develop their works. They emerge as gifted visual storytellers, committed to a more inclusive understanding of the past while giving us all a sense of future potential at a moment of reopening and reinvention.
The artworks are commissioned by Lincoln Center for the Performing Arts in collaboration with The Studio Museum in Harlem and Public Art Fund.
Nina Chanel Abney,
Nina Chanel Abney’s monumental work of art for the façade of David Geffen Hall pays homage to San Juan Hill. In the 1940s and 50s, this predominantly Black and Brown neighborhood was forcibly displaced to make way for redevelopment, including what would become Lincoln Center for the Performing Arts. Abney’s constellation of figures, words, shapes, and symbols reflects the thriving community that lived here. Featured residents include pioneering healthcare workers Edith Carter and Elizabeth Tyler. Also pictured are James P. Johnson, whose music gave rise to the Charleston dance craze, and Thelonious Monk, a pioneer of Bebop and other jazz styles. Reclaiming this important history in her bold and vibrant style, Abney aims to spark curiosity and inspire a more inclusive future.
Jacolby Satterwhite,
Jacolby Satterwhite’s commission for David Geffen Hall reconsiders the past, present, and future of Lincoln Center and the New York Philharmonic. weaves together archival images, live action footage, and digital animation. We see a colorful and densely layered festival of performance that traverses historical periods through virtual space. Satterwhite’s inclusive cast represents artists since the Philharmonic’s founding in 1842, while featuring young musicians and dancers from across New York City. They play instruments and dance on stages and sculptural monuments set into a landscape inspired by Central Park and surrounded by buildings covered in screens, reminiscent of Times Square. Grounded in a more democratic view of history, Satterwhite’s work offers us his playful and richly inventive vision of a creatively empowered future.
is known for combining representation and abstraction. Her paintings capture the frenetic pace of contemporary culture. Broaching subjects as diverse as race, celebrity, religion, politics, sex, and art history, her works eschew linear storytelling in lieu of disjointed narratives. The effect is information overload, balanced with a kind of spontaneous order, where time and space are compressed and identity is interchangeable. Her distinctively bold style harnesses the flux and simultaneity that have come to define life in the 21st century. Through a bracing use of color and unapologetic scale, Abney’s canvases propose a new type of history painting, one grounded in the barrage of everyday events and funneled through the velocity of the internet.
Abney’s work is included in collections around the world, including the Brooklyn Museum, The Rubell Family Collection, Bronx Museum, and the Burger Collection, Hong Kong. Her first solo museum exhibition, , curated by Marshall Price, was presented in 2017 at the Nasher Museum of Art, North Carolina. It traveled to the Chicago Cultural Center and then to Los Angeles, where it was jointly presented by the Institute of Contemporary Art, Los Angeles, and the California African American Museum. The final venue for the exhibition was the Neuberger Museum of Art, Purchase College, State University of New York.
is celebrated for a conceptual practice addressing crucial themes of labor, consumption, carnality, and fantasy through immersive installation, virtual reality, and digital media. He uses a range of software to produce intricately detailed animations and live action film of real and imagined worlds populated by the avatars of artists and friends. These animations serve as the stage on which the artist synthesizes the multiple disciplines that encompass his practice, namely painting, performance, illustration, sculpture, photography, and writing. Satterwhite draws from an extensive set of references, guided by queer theory, modernism, and video game language to challenge conventions of Western art through a personal and political lens. An equally significant influence is that of his late mother, Patricia Satterwhite, whose ethereal vocals and diagrams for visionary household products serve as the source material within a decidedly complex structure of memory and mythology. Satterwhite received his BFA from the Maryland Institute College of Arts, Baltimore and his MFA from the University of Pennsylvania, Philadelphia. His work has been presented in numerous exhibitions and festivals internationally, including most recently at Haus der Kunst, Munich,2021; Gwangju Biennale, Gwangju,(2021; and Wexner Center for the Arts, Columbus, OH, 2021.
Nina Chanel Abney
, 2022
Latex ink and vinyl mounted on glass
Commissioned by Lincoln Center for the Performing Arts in collaboration with The Studio Museum in Harlem and Public Art Fund
Photo: Nicholas Knight, courtesy Lincoln Center for the Performing Arts, The Studio Museum in Harlem, and Public Art Fund, NY.
Jacolby Satterwhite
, 2022
HD color video and 3D animation 27:23 mins
Commissioned by Lincoln Center for the Performing Arts in collaboration with The Studio Museum in Harlem and Public Art Fund
© Jacolby Satterwhite. Courtesy of the Artist and Mitchell-Innes & Nash, New York
Photo: Nicholas Knight, courtesy Lincoln Center for the Performing Arts, The Studio Museum in Harlem, and Public Art Fund, NY.
Ragnar Kjartansson: The Visitors | San Francisco Museum of Modern Art
Ragnar Kjartansson’s beloved video installation The Visitors (2012) is back at SFMOMA. In this mesmerizing hour-long work projected across nine screens, viewers are transported once again to the serene setting of Rokeby in upstate New York as the Icelandic artist and his musician friends perform together in various rooms of this historic mansion.
LOGOS | wintersolstice | Milan
LOGOS
_____
ἐν ἀρχῇ ἦν ὁ ΛΟΓΟΣ (en arxh ein o LOGOS)
Κατὰ Ιωάννην 1.1
What once stood for the reason, the initial cause, is now comically reduced to corporate trademarks - shiny brand names of vulgar affordable or fetishized banality.In a futile effort to subvert, reroute and reinstitute LOGOS to his former essence, we install images of beauty, poetry and personal value in the rural wilderness, where the corporeal pillars of goddess Hestia still stand unnoticed and only the lost now wander.
_____
7 artworks installed in various exterior locations in and around the city of Preveza, Greece. Marking the winter solstice. Set to remain on display for an unspecified period of time, exposed to the (un)favorable touch of natural and human intervention.
Produced & curated by Θ Η Ε Λ Α
Art in Berlin 1880 – 1980. From the Collection | Berlin
The Berlinische Galerie has devoted over 1000 square metres to presenting its collection. Waiting to be discovered among the roughly 250 works on show are paintings, prints, photographs, architecture and archive materials rarely or never displayed before.
Walking around this exhibition is like time travel and takes visitors through Berlin in 17 chapters: the Kaiser’s era, the Weimar Republic, the Nazi dictatorship, the new beginnings after 1945, Cold War in the divided city, and the counter-cultures and unconventional lifestyles that evolved in East and West under the shadow of the Wall. In East Berlin, an alternative art community developed from the late 1970s. In West Berlin from the late 1970s, aggressive art by the “Neue Wilden” placed the divided city back in the international limelight.
Art in Berlin 1880 – 1980. From the Collection | Preveza
The Berlinische Galerie has devoted over 1000 square metres to presenting its collection. Waiting to be discovered among the roughly 250 works on show are paintings, prints, photographs, architecture and archive materials rarely or never displayed before.Walking around this exhibition is like time travel and takes visitors through Berlin in 17 chapters: the Kaiser’s era, the Weimar Republic, the Nazi dictatorship, the new beginnings after 1945, Cold War in the divided city, and the counter-cultures and unconventional lifestyles that evolved in East and West under the shadow of the Wall. In East Berlin, an alternative art community developed from the late 1970s. In West Berlin from the late 1970s, aggressive art by the “Neue Wilden” placed the divided city back in the international limelight.
Shadow Of A Face: Harriet Tubman Monument by Nina Cooke John | Newark
Newark, NJ – March 9, 2023 — Mayor Ras J. Baraka was joined by First Lady Tammy Murphy, State Senate Majority Leader M. Teresa Ruiz, and numerous other dignitaries today to unveil a new monument honoring Harriet Tubman and pay homage to the city’s role in the Underground Railroad along with the Black liberation movement’s rich history in the area. The ceremony also observed Harriet Tubman Day, which is tomorrow. The monument stands in Harriet Tubman Square, at the intersection of Washington and Broad Streets, in downtown Newark.
Lights Out: Recovering Our Night Sky | Smithsonian National Museum of Natural History
Artificial lights have become such a common nighttime fixture that we take them for granted. But what do brighter nights mean for people and wildlife? The effects of light pollution extend beyond our reduced view of the stars, but solutions can have an immediate impact.
Through more than 100 photographs, nearly 250 objects, interactive experiences, tactile models, and a theater program, discover why the dark night matters, rekindle your connection to the night sky, and consider how much light at night is enough—for whom, for what purpose, and who gets to decide?
Unseen Treasures of The Portland Collection | Singapore
This exhibition offers a new, revealing look at the world-class Portland Collection of art.
The museum will be filled to the brim with fascinating art and objects, a giant cabinet of curiosities. There will be silver and tapestry, paintings and jewels; art that has come home after a long loan to a prestigious national gallery, and stunning star items that visitors know and love – such as Michelangelo’s ‘Madonna of Silence’ or the pearl earring worn by Charles I at his execution.
A highlight of the display is a Picture Gallery, stacked with Tudor and Jacobean portraits – many of which have never been seen publicly before.
Sharks! The Meg, The Monsters & The Myths | Houston Museum of Natural Science
Embark on a Jawsome Adventure with Live Sharks, Ancient Behemoths, and Fascinating Shark Facts
We’re gonna need a bigger exhibit hall.
Debuting on a floor all to itself is Sharks! The Meg, The Monsters & The Myths. We’re making your dreams come true and bringing you up close and personal with live sharks for a hands-on experience that will be – dare we say – jawsome. You’ll get a chance to touch a shark and discover what makes these creatures unique – from bait balls to bioluminescence.
Further immerse yourself in the world of sharks as every order of shark known to mankind is represented within the exhibition, including a life-size model of the ancient behemoth, the Megalodon. And don’t forget to pick up a few Megalodon teeth of your own in the island shop.
Don’t miss out on the frenzy and purchase your tickets today!
LAS presents: Alexandra Daisy Ginsberg: Pollinator Pathmaker | Berlin
LAS Art Foundation is pleased to present Pollinator Pathmaker, a living artwork and participatory project conceived by artist Alexandra Daisy Ginsberg. This impactful initiative in interspecies art uses algorithmic technology to generate planting schemes for gardens, computed to support the greatest diversity of pollinating insects possible. It signals a shift toward the post-anthropocentric thinking necessary to face the current climate and biodiversity crises, and toward the non-human aesthetics and experimental formats that pave the way. Ambitious and future-minded, it is exemplary of how art can act as a driver for change, and offer new perspectives on our shared planet.
Growing in the forecourt of the Museum für Naturkunde Berlin, the LAS- commissioned garden will be the first edition outside of the UK. LAS has committed to amplifying Pollinator Pathmaker’s impact by undertaking an extensive public campaign, which calls upon local communities, hobby gardeners and activists to get involved in pollinator protection by planting their own version of the artwork – what the artist refers to as DIY Editions – via Ginsberg’s free online tool: www.pollinator.art.
Responding to the alarming decline in pollinator populations in recent decades, Ginsberg has worked with horticulturalists, pollinator experts and an AI scientist to devise an algorithmic tool that designs bespoke gardens for pollinating insects. Supported by the Museum für Naturkunde Berlin, the LAS Edition will be customised for Continental Europe, and will feature more than 7,000 plants of 80 different varieties, planted over a 722-square-metre plot.
You Are Here | Museum of the City of New York
New York is one of the most filmed cities on earth. Generations of moviegoers have seen New York depicted and distorted, celebrated and denigrated, idealized and mocked, built up and demolished over and over again on the big screen. Over the past 100 years, legions of filmmakers have drawn attention to New Yorkers’ joys and struggles, shaping our ideas of what the city is—or could become.
You Are Here draws on this rich archive of movies set in New York, combining thousands of cinematic moments across 16 screens. Sources include Hollywood blockbusters, independent films, documentaries, and experimental works. By juxtaposing these multiple visions, the dazzling montages of You Are Here make connections and contrasts that allow movies to comment on each other across time and space. Together, they shed new light on the varied New Yorks of our collective imagination.
Sometimes New York stars in these movies; sometimes, a studio set or even another city stands in. In the introductory room, Scenes from the City explores the city as a film set, showing how movies have been captured on location throughout the five boroughs. From there, we invite you to enter the immersive central space, where you can explore a narrative tapestry woven from hundreds of films—one impressionistic storyline that strives to represent the multifaceted realities of our countless New York stories.
The Collection: New Conversations | The New York Historical
What new stories can familiar works of art tell? This exhibition showcases longstanding favorites from The New York Historical's permanent collection alongside recent Museum acquisitions and selected loans. Pointed juxtapositions raise questions, create unexpected resonances, and shift established meanings.Martin Wong’s Canal Street (1992) and Oscar yi Hou’s Far Eastsiders, aka: Cowgirl Mama A.B & Son Wukong (2021) establish a longstanding lineage for queer Asian diasporic artists in New York City. And the juxtaposition of Thomas Cole’s five-painting series The Course of Empire (ca. 1834–1836) with Contact 2,021 (2021) by contemporary Shinnecock artist Courtney M. Leonard exposes the racial and gender politics of the Hudson River School landscape tradition. The groupings aim to center long-marginalized experiences and prompt a rethinking of both American art and the way museums tell history. Curated by Wendy Nālani E. Ikemoto, senior curator of American art.
Feeling Blue, Alberta Whittle | Greenwich
The artwork is displayed on powder-coated steel gates, designed by Whittle and made at Glasgow Sculpture Studios. It was unveiled on 5 October 2023 at the Queen’s House in Greenwich.
Feeling Blue has been developed in response to RMG’s large and varied collections, as well as the history and cultural significance of Greenwich. The 160 x 155 cm tapestry is filled with richly evocative textures, symbolic shapes, and tropical colours. It was woven by hand over a period of six months by Naomi Robertson and Elaine Wilson at Dovecot Studios. They used a variety of techniques, yarns, and over 150 colour mixes to add variety and depth to the surface of the tapestry.
Dominating the tapestry is the phrase ‘feeling blue’ which stands out from a background of blues and greens, the combination of different shades resembling water in motion. Blue is immediately associated with oceans and seas but there are also more emotive connotations which Whittle chose to explore. The colour blue, and in particular the term ‘feeling blue’, is used to describe sadness or depression. While the exact origin of the term is uncertain it has been suggested that it comes from the tradition of ships flying blue flags and officers bearing a painted blue band when a captain or officer died. For others, blue symbolises tranquillity. In the Queen’s House the colour blue is used throughout for decoration, notably the balustrade of the Tulip Stairs.
Drawing on her research of the British naval uniform, Whittle also reflects on the legacies of British colonialism. From the mid-eighteenth-century, the Royal Navy introduced a uniform for officers made from a deep blue fabric. The colour was achieved using a dye from the indigo plant that was native to India. Until the end of the eighteenth century the indigo plant was grown, harvested and processed by enslaved people on North American plantations. Indentured labourers in India and modern-day Bangladesh also produced indigo for the East India Company. Today, Navy blue endures as a colour of authority from police to military officers, though the history of the colour and connection to colonialism is little known.
Whittle continues her exploration of maritime worlds by the inclusion of coloured ropes – reminiscent of those used on ships. For Whittle, rope is a symbol of both hope and oppression. Ropes are associated with bondage, imprisonment and even execution but are equally symbolic of lifelines for people in distress. Whittle’s ongoing engagement with the climate crisis is found in the decorative coral that frames the tapestry. The delicate pastel pinks and vibrant yellows evoke the beauty of tropical oceans and are a reminder of the importance of reefs. Decorative cultured freshwater pearl beads have also been stitched onto the tapestry. As well as representing an oceanic realm, Whittle connects Feeling Blue with two sixteenth-century paintings the Armada Portrait and Sir Francis Drake which will be displayed alongside the tapestry. In both portraits, pearls are used as a symbol of wealth, some of which was derived from colonial trade and exploitation.
The tapestry is hung on a set of blue ‘gates’, which are an important component of Whittle’s work. Whittle sees the ‘gates’ as reminiscent of fencing, suggesting containment and control. Placed within the gallery space the gates no longer act as a barrier. Instead, Whittle uses the gates to expand rather than restrict as visitors are free to walk around them and view the tapestry from both sides. The decorative fretwork on the panels evokes the architecture of the Queen’s House, in particular the Tulip Stairs.
Alberta Whittle, said: “The commission has been a wonderful opportunity to think deeply about maritime histories and consider the powers in place that decide how these histories are portrayed. This new tapestry is a chance to explore these ideas of power alongside the rhythms of the ocean and its vulnerability under climate colonialism. The commission has also provided me with the opportunity to continue to work with Naomi Robertson and Elaine Wilson at Dovecot Studios and the rest of the fantastic weaving team.”
Celia Joicey, Director of Dovecot Studios, said: "This commission represents the contemporary significance of tapestry as a collective medium. Started in the midst of the 2021 lockdown, it is testimony to a group of people responding creatively and collaboratively to the Museum collections. Feeling Blue embodies the passion, focus and skill of Dovecot’s weavers, Alberta Whittle’s endlessly interesting ideas and the care and enterprise of the commissioning team."
Katherine Gazzard, Curator of Art, Royal Museums Greenwich, said: “At Royal Museums Greenwich, we are committed to working with contemporary artists whose practice engages with our historic sites and collections, as well as with the present challenges facing our communities and our planet. The opportunity to commission a contemporary tapestry from Alberta Whittle and Dovecot Studios spoke powerfully to this ethos. The finished tapestry will go on public display in the Queen’s House, our flagship art gallery. When the Queen’s House was built in the early 17th century, it was at the cutting edge of art and design. Commissions like Feeling Blue help us to honour that legacy, ensuring that, four centuries after the building’s completion, the Queen’s House continues to showcase artistic innovations and new perspectives.”
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Feeling Blue
Alberta Whittle
Tapestry by Dovecot Studios
2023, cotton, linen, synthetic yarn, cultured freshwater pearl beads
Tapestry woven for Dovecot by Naomi Robertson, Master Weaver, and Elaine Wilson
Displayed on powder coated steel gates made by Glasgow Sculpture Studios
Purchased with assistance from the Contemporary Art Society
Betye Saar: Drifting Toward Twilight | Huntington Library
Nov. 11, 2023–Nov. 30, 2027 | Renowned American artist Betye Saar’s large-scale work “Drifting Toward Twilight”—commissioned by The Huntington—is a site-specific installation that features a 17-foot-long vintage wooden canoe and found objects, including birdcages, antlers, and natural materials harvested by Saar from The Huntington’s grounds.
The Secret World of Elephants | American Museum of Natural History
How do elephants “hear” with their feet?
Use the 40,000 muscles in their trunks? Or reshape the forests and savannas they live in, creating an environment upon which many other species rely?
The Secret World of Elephants reveals new science about both ancient and modern elephants, including elephants’ extraordinary minds and senses, why they’re essential to the health of their ecosystems, and inspiring efforts to overcome threats to their survival.
THE SYMPHONY OF NATURE | Moco Museum Amsterdam
Ezequiel Pini also known as Six N. Five, is an award-winning Argentinian designer based in Barcelona. Over the last few years, Pini has pioneered the use of 3D and different media to create imaginary, dreamlike worlds with his signature clean, modern aesthetic, making Six N. Five one of the most recognized digital creative practices.
Sculpted Portraits from Ancient Egypt | The Getty Villa
Egypt’s 26th Dynasty (664–526 BCE) was a period of revival and renewal. It marks the last great phase of native pharaonic rule in ancient Egypt and is notable for its exceptional artworks, particularly stone sculpture. The achievements of Egyptian artists of this period are vividly expressed in the sculpted portraits of officials associated with the court and priesthood, which were created to be displayed in tombs and temples.
The works in this exhibition are on special loan from the British Museum, London.
Guillaume Bottazzi at Place Jourdan in Brussels | Etterbeek
Guillaume Bottazzi has signed more than forty artworks in public spaces. He created the biggest painting in Japan (900 square meters) on all the walls of the Miyanomori International Museum of Art in Sapporo. The artist is also the author of 6 paintings, each one 6m x 6m, at La Défense in Paris, the largest open-air contemporary art space in France.
The painting, which can be seen by the public at its location in the European District and which took two and a half months to produce, is already well-known. The monumental artwork, 16 metres by 7 metres, now belongs to the heritage of Brussels-Capital.
The painting is one of the first abstract works to be painted in the manner of the Old Masters. The abstract nature of the work and the traditional techniques used to produce it create a feeling of strangeness, a dichotomy.
The artist worked alone to produce the work, using fine brushes and oil paints. Successive transparent overlays give depth, diffuse light and softness to the colours. Before starting to paint, the artist installed a supporting structure that enabled him to reproduce as closely as possible the techniques of creation he uses in the workshop.
The poetic dimension of this painting will extend throughout Place Jourdan: the colours of the painting will appear on the street furniture in particular, especially the cafe parasols.
This project was carried out with the partnership of the European Commission in Belgium and support of the French Embassy.
More reading: http://www.guillaume.bottazzi.org
Love the Words | Castle
Explore the interactive displays, listen to recordings and view the different objects on display to gain an insight into the work, life, and cultural context of one of the twentieth century’s most significant writers. The exhibition is family friendly, free, and open Tuesday to Sunday.
The exhibition comprises a main room, a temporary exhibition area which houses changing displays, and a learning space which is open to the public when not in use for workshops.
There’s lots to explore on the interactive Timeline, such as the Children’s Trail which features some of the animals that appear in Dylan’s writing.
Follow the People Trail around the Timeline, too, and discover some of the key people in Dylan’s life, and the rich cultural context in which he lived and worked.
One section in the centre of the exhibition is dedicated to Dylan the writer, and another to Dylan the performer.
There are fun interactives, and touchscreens which tell the story of Dylan’s Notebooks, explore his famous poem ‘Do not go gentle into that good night’ and look at the circumstances surrounding his death.
Listen to Dylan himself, and those who knew him, via the built-in speakers in the chairs.
Bottazzi permanent monumental painting in Martigues | Martigues
After having created a 6m x 6m painting as part of Marseille-Provence 2013, a 20m x 12m work in Nice, many private commissions in the region and most recently a painting in Marseille-Prado … it is in Martigues , the Provençal Venice, that the artist has realized a permanent work of 10m high by 8m wide. This monumental artwork now belongs to the city heritage.
This permanent painting marks the entrance to the harbour. It is to discover from the mayor house, or by boat, using the free shuttle service operated by the city of Martigues.
Guillaume Bottazzi has signed more than forty artworks in public space. One of them is the biggest painting in Japan, realized for the Miyanomori International museum of Art. One other, a polyptych, compound of 6 canvas of 6mx6m each, takes place in the artistic path of Paris La Défense, the largest open-air contemporary art space in France, with artists Alexander Calder, Richard Serra, Joan Miró, César, and so on... Guillaume Bottazzi was a guest of “French May” in Hong Kong in 2016. He created one of his most recent work in a public space in Belgium, in Brussels, with the partnership of European Commission in Belgium; a painting 16 metres high that now forms part of the heritage of Brussels-Capital.
Out of the Crate | Manchester Art Gallery
Come and look behind the scenes of Manchester’s publicly owned sculpture collection. Part exhibition, part research space, Out of the Crate delves into the un-tapped history of the collection. This is an opportunity to investigate sculpture through access to stored collections and archival material. Find out what’s in store and how we look after it, help unlock hidden stories about works we know very little about and explore how artworks might encourage conversation.
We have about 400 sculptures from antiquity to the present day and, until recently, less than 5% were on display. As well as modern and contemporary works, there are 19th-century sculptures and works from earlier periods that have rarely been seen this century and are under-researched.
On display are a large range of materials including marble, bronze, wood, glass, ceramic and paper, a variety of sizes and shapes and different techniques of making. From bronze medals decorated with reliefs to large-scale free-standing 3D works, you can now see around 30% of the sculpture collection here. In terms of representation, we should also consider who has and hasn’t been included in the collection.
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