Terra Foundation-supported Events

Collection Loan: Mabel Dodge Luhan & Company: American Moderns and the West

From the collection of the Terra Foundation for American Art, Builders of the Desert by Walter Ufer is exhibited in Mabel Dodge Luhan & Company: American Moderns and the West.  This exhibition is on view at the Harwood Museum of Art, Taos, New Mexico, May 22–September 11, 2016; the Albuquerque Museum of Art and History, Albuquerque, New Mexico, October 29, 2016–January 22, 2017; and the Burchfield Penny Art Center, Buffalo, New York, March 10–May 28, 2017.

For more information, please visit:

http://albuquerquemuseum.org/art-history

Walter Ufer, Builders of the Desert, 1923, oil on canvas laid down on aluminum, 50 1/8 x 50 1/8 in. (127.3 x 127.3 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1992.174
Collection Loan: The Color Line: Les artistes africains-américains et la ségrégation/The Color Line: African-American Artists and Segregation

From the collection of the Terra Foundation for American Art, Bar-b-que by Jacob Lawrence, and Between Acts by Archibald Motley, Jr. are exhibited in The Color Line: Les artistes africains-américains et la ségrégation/The Color Line:  African-American Artists and Segregation, on view at the Musée du quai Branly, Paris, France, October 4, 2016–January 22, 2017.

For more information, please visit:
http://www.quaibranly.fr/en/exhibitions-and-events/at-the-museum/exhibitions/event-details/e/the-color-line-36687/

Jacob Lawrence, Bar-b-que, 1942, opaque watercolor (gouache) on wove paper, 30 7/8 x 22 1/2in. (78.4 x 57.2cm), Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund, 2013.1
Exhibition: Bellows and the Body: the Real, the Ideal, and the Nude

Organized by the Barber Institute of Fine Arts at the University of Birmingham, this exhibition focuses on the treatment of the human figure by artist George Bellows and his contemporaries. Bellows was a member of the “Ashcan School” group of painters in New York, a group who painted street life, prostitutes, and wrestlers, carving out their lives among the tenements and sidewalks of the city. The exhibit explores how style and subject matter demonstrated awareness of class and a commitment to social realism. Looking through the lens of the nude, the show opens up new and unexpected insights into the Ashcan school’s practice and preoccupations in the early twentieth century.

For more information, please visit:
http://barber.org.uk/exhibitions/

Exhibition: Walker Evans: Depth of Field

Co-organized by the High Museum of Art and the Josef Albers Museum, this retrospective focuses on Walker Evans (1903–1975), a transatlantic artist whose outlook on American culture was shaped by his early encounter with Europe. In the late 1920s, Evans found inspiration in French photographer Eugène Atget and German photographer August Sander. Modern European literature was equally important to him, particularly the writing of Charles Baudelaire and Gustave Flaubert. This exhibition presents a comprehensive assessment of Evans’s career, exploring not only the ways in which his legacy has shaped the history of photography on an international level but also how his work has been meaningful to the regions where the exhibition will be on view. Featured will be approximately 180 prints, postcards, and signs; as well as prints by Atget and Sander.

This exhibition is on view at the Josef Albers Museum, Bottrop, Germany (September 27, 2015 – January 10, 2016), the High Museum of Art, Atlanta, Georgia (June 11 – September 11, 2016); and the Vancouver Art Gallery, Canada (October 29, 2016 – January 22, 2017).

For more information, please visit: https://www.vanartgallery.bc.ca/the_exhibitions/exhibit_evans.html

Exhibition/Collection Loan: Bellows and the Body: The Real, The Ideal and the Nude

From the collection of the Terra Collection for American Art,  Nude Girl, Miss Leslie Hall by George Bellows is exhibited in Bellows and the Body: The Real, The Ideal and the Nude.  Organized by the Barber Institute of Fine Arts at the University of Birmingham, this exhibition focuses on the treatment of the human figure by artist George Bellows and his contemporaries. Bellows was a member of the “Ashcan School” group of painters in New York, a group who painted street life, prostitutes, and wrestlers, carving out their lives among the tenements and sidewalks of the city. The exhibit explores how style and subject matter demonstrated awareness of class and a commitment to social realism. Looking through the lens of the nude, the show opens up new and unexpected insights into the Ashcan school’s practice and preoccupations in the early 20th century.  In conjunction with the exhibition, a one day symposium is organized by the University of Birmingham, November 4, 2016.

This exhibition is on view at the  Barber Institute of Fine Arts, University of Birmingham, Birmingham, UK, October 22, 2016–January 22, 2017.

For more information, please visit:  http://barber.org.uk/exhibitions/

George Bellows, Nude Girl, Miss Leslie Hall, 1909, oil on canvas, 60 x 42 in. (152.4 x 106.7 cm), Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund, 1999.5
Exhibition: Matisse/Diebenkorn

Co-organized with the San Francisco Museum of Modern Art, this exhibition features more than 90 paintings and drawings by Henri Matisse (1869-1954) and Richard Diebenkorn (1922-1993) that illustrate the French modern master’s enduring influence on the post-war American painter. Diebenkorn’s long engagement with Matisse’s work is among the most productive instances of one painter looking at another’s paintings in the history of 20th-century art. This exhibition presents the trajectory of Diebenkorn’s long and successful career with some of the powerful works by Matisse that the younger artist would have seen.

This exhibition is also on view at the San Francisco Museum of Modern Art (March 11 – May 29, 2017).

For more information, please visit: https://artbma.org/exhibitions/matisse-diebenkorn

Exhibition: Un temps de crise. La peinture américaine des années 1930/American Painting in the 1930s: The Age of Anxiety

During the Great Depression, American artists visualized national culture in the context of the economic depression at home, civil war in Spain, and rising fascism in Europe. This exhibition argues that the 1930s, bookended by the economic crash of 1929 and the US’s entry into World War II in 1941, was one of the most vital artistic periods for American artists in the whole of the twentieth century. Featuring approximately 50 paintings, it tells the story of this economically, politically, and aesthetically turbulent decade by surveying the varied works of artists such as Edward Hopper, Thomas Hart Benton, Ben Shahn, Philip Evergood, Stuart Davis, Charles Demuth, Charles Sheeler, Georgia O’Keeffe, and Grant Wood.

The exhibition is also on view at the Royal Academy of Arts, London, England (spring 2017).

For more information, please visit:
http://www.musee-orangerie.fr/en/event/american-painting-1930s

Exhibition/Terra Collection Initiative: Continental Shift: Nineteenth Century American and Australian Landscape Painting

From the collection of the Terra Collection for American Art, fifteen landscapes by American artists are exhibited with landscape works from the collection of the Art Gallery of Western Australia. This exhibition examines major themes that informed landscape representation during the long nineteenth century, enabling cross-cultural comparative study.

In conjunction with the exhibition Continental Shift university courses with visiting lecturers from the U. S. will be held at University of Western Australia and at the University of Melbourne.

The exhibition is on view at Art Gallery of Western Australia, Perth, Australia, July 30, 2016–February 5, 2017 and Ian Potter Museum of Art, Melbourne, Australia, March 14–June 11, 2017.

For more information, please visit: http://www.artgallery.wa.gov.au/exhibitions/continental-shift.asp

 

Alfred Thompson Bricher, Lake George from Bolton’s Landing, 1867, oil on canvas, 27 x 50 1/4in. (68.6 x 127.6cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1992.17
Exhibition: Carl Andre: Sculpture as Place, 1958–2010

This exhibition surveys all major historical and aesthetic shifts in the artistic practice of Carl Andre. Though his artistic importance—particularly in relation to Minimalism—has long been established in the United States, his work has been rarely addressed, and never shown in depth, by an American or international institution in more than 30 years. This exhibition draws on iconic pieces from Andre’s most productive period in the 1960s and 1970s, as well as more recent sculptural experiments. A comprehensive selection of the artist’s poems addresses the pivotal role of language in his practice. The unprecedented display of these two lines of aesthetic inquiry affords the rare opportunity to trace the full evolution of Andre’s thinking.

The exhibition will also travel to the Los Angeles County Museum of Art (March–July 2017) .

For more information, please visit:
http://www.mam.paris.fr/en/expositions/exhibitions-carl-andre

 

Exhibition: O’Keeffe, Preston, Cossington Smith: Making Modernism

Presented in partnership with the Georgia O’Keeffe Museum, Santa Fe, Art Gallery of New South Wales, Sydney, and Queensland Art Gallery, Brisbane, Making Modernism brings together for the first time the iconic art of Georgia O’Keeffe and that of Australian artists Margaret Preston and Grace Cossington Smith. Though they developed highly individual styles, the artists are connected by their choice of subject, experimentation with light, color and form, and their commitment to presenting alternative ways of seeing the world. As well as creatively reinventing the still life, each developed a distinct interpretation of place, and in so doing established new means of expressing something of the culture of their respective nations in the twentieth century. The exhibition considers similarities and distinctions in their art to bring new perspectives to light about modernism’s dispersal and reinvention as it developed beyond the metropolitan wellspring of Europe.

This exhibition is on view at the Heide Museum of Modern Art, Melbourne (October 12, 2016 –February 19, 2017), the Queensland Art Gallery, South Brisbane (March 11, 2017 – June 11, 2017), and the Art Gallery of New South Wales, Sydney (July 1 – October 2, 2017).

For more information, please visit: https://www.heide.com.au/exhibitions/okeeffe-preston-cossington-smith-making-modernism

 

Exhibition: Jasper Johns and Edvard Munch: Love, Loss, and the Cycle of Life

Organized by the Virginia Museum of Fine Arts (VMFA), this exhibition explores Jasper Johns’s interest in the work of Norwegian painter and printmaker Edvard Munch (1863–1944).  The exhibition provides insight into Johns’s creative process and how, at a crucial point midway through his career, he looked to Munch’s defining themes of love, sex, illness, and death, as well as his innovative working methods, as sources of inspiration. Johns routed Munch’s art through a process of quotation, repetition, displacement, substitution, and elision to create his own images while opening his work to new themes and meanings shared with Munch. Sequenced to explore the artist’s growing awareness of and interest in Munch, the exhibition demonstrates the great thematic and formal shifts that can be attributed in part to his predecessor’s influence.

This exhibition is also on view at the Munch Musett under the title Jasper Johns Edvard Munch (June 16, 2017–September 25, 2017).

For more information, please visit: https://vmfa.museum/exhibitions/exhibitions/jasper-johns-and-edvard-munch-love-loss-and-the-cycle-of-life/

Exhibition: La France d’Avedon: Vieux Monde, New Look/Avedon’s France: Old World, New Look

This exhibition will examine the relationship of American photographer Richard Avedon to Paris, looking at work he produced and influenced between 1945 and 1980. It will  focus on his portraits of French notables; Diary of a Century (1970), his photo book on French photographer Jacques Henri Lartigue; and the film Funny Face (1957), which was inspired by Avedon. The exhibition will draw on previously unpublished materials from the Motion Picture Academy of Arts and Sciences archives, and extensive correspondence between Avedon and Lartigue.

For more information, please visit:
http://www.bnf.fr/en/cultural_events/anx_exhibitions/f.france_davedon_new_look_eng.html

Exhibition/Collection Loan: Stuart Davis: In Full Swing

Co-organized by the Whitney Museum of American Art and the National Gallery of Art, this exhibition examines, with new detail and insights, how Stuart Davis (1892–1964) appropriated European avant-garde painting to convey the experience of contemporary American life. Over the course of his 60-year career, the artist invented a vocabulary in which bold colors and flat, jagged forms were compressed into dense, syncopated compositions that mimic the impact of abstract billboards. By emphasizing his mature work, created after he had assimilated the lessons of Fauvism and Cubism, this exhibition argues that Davis made the European modernist styles his own and thereby created an American modernism of equal vibrancy and complexity. Stuart Davis: In Full Swing features Davis’s Super Table, from the collection of the Terra Foundation for American Art. 

This exhibition is on view at the Whitney Museum of American Art, New York, New York (June 10–September 25, 2016); National Gallery of Art, Washington, DC (November 20, 2016–March 5, 2017); the de Young Museum, San Francisco, California (April 1–August 6, 2017); and Crystal Bridges Museum of American Art, Bentonville, Arkansas (September 16, 2017–January 1, 2018).

For more information, please visit:

http://www.nga.gov/content/ngaweb/exhibitions/2016/stuart-davis-in-full-swing.html

Stuart Davis, Super Table, 1925, Oil on canvas, 48 x 34 1/8 in. (122.2 x 86.7 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.37
Exhibition: Inventing Downtown: Artist Run Galleries in New York City, 1952-1965

Examining the New York art scene during the fertile years between the apex of Abstract Expressionism and the rise of Pop Art and Minimalism, Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965 is the first show ever to survey this vital period from the vantage point of its artist-run galleries—crucibles of experimentation and innovation that radically changed the art world. With more than 200 paintings, sculptures, installations, drawings, photographs, ephemera, and films, the show reveals a scene that was much more diverse than has previously been acknowledged, with women and artists of color playing major roles. It features works by abstract and figurative painters and sculptors, as well as pioneers of installation and performance art.

For more information, please visit: https://greyartgallery.nyu.edu/exhibition/inventing-downtown-artist-run-galleries-in-new-york-city-1952-1965/

Exhibition: Robert Rauschenberg

Organized by Tate Modern and The Museum of Modern Art, New York, Robert Rauschenberg is the first major exhibition of the artist’s work in the UK for 35 years and the first retrospective of the artist since his death. A Texan artist with a passion for the world, Rauschenberg (1925-2008) refused to accept conventional categories of what was and wasn’t art. His quest for innovation was fired by his boundless curiosity and enthusiasm for new ways of making, from painting to performance art.

This exhibition is also on view at the Museum of Modern Art, New York (May 21, 2017–September 4, 2017).

For more information, please visit: http://www.tate.org.uk/whats-on/tate-modern/exhibition/robert-rauschenberg

Collection Loan: World War I and American Art

From the collection of the Terra Foundation for American Art, Lyonel Feininger’s Denstedt is exhibited in World War I and American Art.

This exhibition is on view at the Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, November 4, 2016–April 9,2017; New York Historical Society, New York, New York, May 26–September 3, 2017; Frist Center for the Visual Arts, Nashville, Tennessee, October 6, 2017–January 21, 2018

For more information, please visit:

https://www.pafa.org/WW1

Lyonel Feininger, Denstedt, 1917, Oil on canvas, 34 3/8 x 46 5/8 in. (87.3 x 118.4 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1988.27