Ann Arbor, 5 September 2013, Art Media Agency, (AMA).
“Brett Weston Landscapes” opened at the University of Michigan Museum of Art, situated in Ann Arbor, on 17 August, and is to run until 1 December.
Brett Weston (1911-1993) is widely considered to be one of the most influential photographers of the 20th century. Son of the pioneering photographer Edward Weston, he received his first camera when he was still an adolescent, and began to practice photography in Mexico, where he travelled with his father. He developed an extremely strong sensitivity for visual composition, and created a body of works which did not linger in the shadow of his father’s fame, but were recognised for their own dynamism and aesthetic quality.
Weston’s works include highly distilled depictions of landscapes which verge on abstraction. The exhibition at the University of Michigan Museum of Art is organised in association with the Lois Zenkel Photographic Exhibitions Fund.
Ann Arbor, 15 August 2013, Art Media Agency (AMA).
The event titled “Adolph Gottlieb: Sculptor” is scheduled for 21 September 2013 to 5 January 2014, at the University of Michigan Museum of Art. It will feature the sculptures of Adolph Gottlieb (1903-1974), one of the founding members of abstract expressionism.
The artist actively participated in the artistic life of New York, starting from the 1930s until his death in 1974. His paintings represent large images in a universal symbolic language, and became icons among American paintings. As a curious artist, he started exploring the medium of sculpture. Although his experiences with sculpture lasted only one year and a half, they represent the conclusion of the artist’s reflection in terms of form, colour and space.
The event will be organised by the Adolph and Esther Gottlieb Foundation in New York. The exhibition is also supported by the University of Michigan Credit Union, and the Richard and Rosan Noel Endowment Fund.
Ann Arbor (Michigan), 9 April 2013, Art Media Agency, (AMA).
The event held from 18 May to 1 September 2013, at the University of Michigan Museum of Art, brings together for the first time the works of two artists, Isamu Noguchi and Qi Baishi. It was organised in partnership with the Isamu Noguchi Foundation and the Garden Museum in New York.
The large-scale exhibition encompasses paintings, drawings by two artists and for the first time emphasises the period of six months that Noguchi spent in Beijing in 1930. It also highlights his multicultural habits concerning creation and stresses the strong influence of both artists on international contemporary practices. The exhibition will also be presented at the Isamu Noguchi Foundation, the Garden Museum and the Frye Art Museum in Seattle.
In total the event gathers 60 drawings, ink paintings, calligraphy works and sculptures issued from the UMMA, the Noguchi Museum and other private and public collections. It gathers 43 works by Noguchi, 23 pieces by Qi Baishi, Noguchi brushes and other archival materials. It is accompanied by a publication that throws new light on the relationship of the two artists, American Isamu Noguchi (1904-1988) and Chinese Qi Baishi (1864-1957). In 1930, at the age of 36, Isamu Noguchi went to Japan in order to make up with his father and rediscover his childhood memories that inspired his creations. During six months in Beijing, he met Qi Baishi, who became his teacher. This experience enormously influenced his view on abstraction, resulting in a cycle of over one hundred works produced with brush and ink, titled Peking Drawings.
Ann Arbor, MI, 21 August 2012, Art Media Agency (AMA)
The University of Michigan Museum of Art (UMMA) will exhibit “African Art and the Shape of Time” until 3 February.
“African Art and the Shape of Time” is divided into five themes all of which explore the “multiplicity of time in Africa: The Beginning of Things, Embodied Time, Moving Through Time, Global Time, and NOW”. Showcasing thirty works from the UMMA, National Museum of African Art, Fowler Museum at UCLA and several Detroit private collections, the Museum seeks to challenge conventional views of understanding time and its philosophical, social and religious significance in our lives.
This selection of works seeks to evoke “concepts of temporality, history and memory”, while responding to the “Western analytical framework which interprets African art as expressions of timeless myths and rituals, interrupted only by the colonial encounter”, as stated in the press release.
The Museum has also published an accompanying exhibition catalogue.
Ann Arbor, 13 May 2011, Art Media Agency (AMA).
From 16 July to 23 October, the University of Michigan Museum of Art (UMMA) will explore the recent evolution of Chinese contemporary engraving via the exhibition “Multiple Impressions: Contemporary Chinese Woodblock Prints.”
The university museum selected works by forty-one Chinese contemporary artists. The exhibition emphasizes the innovation, both technical and conceptual, that the engravers brought to this ancient art.
Xylography, or woodcut, consists of reproducing multiple images on a level surface, such as paper or cloth, via a carved wooden tablet. The reproduction is made possible through the stamping technique. Xylography was practiced during the 7th century in China and became famous in Europe in the 14th century.
In 1931, the first exhibition of European modern engravings was hosted in Shanghai. European artists developed the technique, which led to an art revival in China during the 20th century.
As the result of a partnership between the University of Michigan and the China Academy of Art in Hangzhou, “Multiple Impressions” will be the greatest exhibition of Chinese contemporary engravings. The 114 works exhibited will allow the public to learn more about Chinese contemporary art and more generally, present-day Chinese society.