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Nยบ9 EN / MAY 2014


Technical File Line & Stylish, Art Magazine Nr Registo ERC – 126385/ ERC Registration nr 126385 Proprietário/Owner: José Eduardo de Almeida e Silva Editor/Publisher: José Eduardo de Almeida e Silva NIF: 179208586 Periodicidade/Periodicity: Mensal/Monthly Morada da Redacção/Editorial Address: Urbanização do Lidador Rua 17, nr 106 4470-709 – Maia Portugal Contacto/Contact : +351 914 037 084 Director Geral/Director in Chief: Eduardo Silva Director Adjunto/Vice-director: Isabel Gore Editor / Editor in Chief: Eduardo Silva Redacção/ Editorial Staff: José Eduardo Silva Isabel Pereira Coutinho Luís Peixoto Director Técnico/ Art and Web Director: Luís Peixoto Photografia/Photography: • Ayyam Gallery © Courtesy Ayyam Gallery ©Afshin Pirhashemi • Axelle Fine Arts Galerie ©Axelle Galerie • Bertrand Delacroix Gallery • Hamburger Kunsthalle © Privatsammlung (Private Collection). Photo: Engelbert Seehuber, München © Hamburger Kunsthalle/bpk, Photo: Elke Walford © Freies Deutsches Hochstift – Frankfurter Goethemuseum Photo: Christoph Irrgang • Jacques Sterenberg © Courtesy Jacques Sterenberg • Juan Cossio © Courtesy Juan Cossio • Kunsthaus Zürich ©Kunsthaus Zürich, gift of Gustav Zumsteg 1998

©Kunsthaus Zürich, Collection of Prints and Drawings. ©Kunstmuseum Basel, Department of Prints and Drawings ©Courtesy of Peter Kilchmann, Zurich, Photo Thomas Strub © Javier Téllez • The Metropolitan Museum of Art © Courtesy of The Metropolitan Museum of Art, Photograph by Michael A. Vaccaro / LOOK Magazine Photograph Collection, Library of Congress, Prints & Photographs Division, Look Job 52-1129 Frame-18 © Courtesy of The Metropolitan Museum of Art, Photograph by Cecil Beaton, The Cecil Beaton Studio Archive at Sotheby’s ©Courtesy of The Metropolitan Museum of Art, Photographer Unknown, © Bettmann/CORBIS ©Courtesy of The Metropolitan Museum of Art, Photograph by John Rawlings / Vogue / ©Condé Nast Archive. Copyright © Condé Nast Courtesy of The Metropolitan Museum of Art, Photograph by Cecil Beaton, Beaton / Vogue / Condé Nast Archive. Copyright © Condé Nast • The National Gallery © Madrid, Museo Nacional del Prado © Image copyright The Metropolitan Museum of Art/Art Resource/Scala © MBA, Rennes, Dist. RMN/Adélaïde Beaudoin. ©KHM, Vienna. © Photo Scala, Florence © RMN-Grand Palais (Musée du Louvre) / Jean-Gilles Berizzi © Collection of The John and Mable Ringling Museum of Art, the State Art Museum of Florida, Florida State University, Sarasota Florida (SN82) © National Galleries of Scotland (NG 339).


In this issue I take the opportunity to make a balance of what were these nine numbers which, as was duly said in our editorial manifest, would be guided by independence. This way we gave visibility to artists, exhibitions, museums and galleries with a criterion always based in our taste, the historical significance and social relevance expressed by each of them. Line & Stylish is not a magazine of artists and made for artists, instead it is a magazine trying to combine the artistic creation with the exhibition space, as we clearly said in our first issue by interviewing an artist (Steven DaLuz) and a galerist who embodied what we think it is the role of a gallery. It is this editorial line that we have always maintained and we try harder to keep. We know that to maintain the independence is something that has its costs, however all the selective process is transparent and indifferent to any expression of religious, political, financial or racial character. In number nine issue our reader will find what, in our opinion, is the most interesting in the international scene. Assuming this subjectivity we can once again affirm and attest our total independence and we hope that you like reading and spread our magazine before your communities. JosĂŠ Eduardo Silva (Editor) Cover: Juan Cossio “Sourceâ€?

Acrylic on panel,110x170cm Photo: Courtesy Juan Cossio 3




The Romantic

Magnificence in Renaissance Venice











Beyond Fa

Artist of the month















ashion +351 914 037 084 5

Veronese: Magnificence in Renaissance Venice 19 March – 15 June 2014 The National Gallery

“From the deftly captured shimmer of a pearl, to the sweep and splendour of his architectural settings, Veronese’s mastery of colour, space and light, and his feeling for beauty, for opulence and grace, have captured the imagination of countless artists and art lovers ever since.” Director of the National Gallery, Dr. Nicholas Penny


Paolo Veronese (1528-1588) Perseus and Andromeda 1575-80

Oil on canvas, 260 × 211 cm Musée des Beaux - Arts, Rennes (1801-1-1) © MBA, Rennes, Dist. RMN/Adélaïde Beaudoin. X7485 7

”Veronese: Magnificence in Renaissance Venice” is devoted to one of the most influential artists of the 16th century. This exhibition of 50 of his works, many of which are travelling to London from across the globe, is the most significant collection of masterpieces by the artist ever to be displayed in the United Kingdom. Paolo Caliari (1528–1588), known as Veronese, was one of the most renowned and sought-after artists working in Venice in the 16th century. His works adorned churches, patrician palaces, villas and public buildings throughout the Veneto region – and are inseparable from our idea of the opulence and grandeur of the Republic of Venice at that time. ”Veronese: Magnificence in Renaissance Venice” brings together works from every aspect of the artist’s oeuvre: portraits, altarpieces, allegorical decorations and mythological works. Paintings in this exhibition represent the very peak of the artist’s output at every stage of his career.


Important loans to the exhibition include works from churches and art galleries across Europe (Austria, France, Italy and Spain) and the USA. The exhibition displays many of Veronese’s most celebrated works, including ‘The Martyrdom of Saint George’ (about 1565) on loan from the church of San Giorgio in Braida, Verona, and ‘The Mystic Marriage of Saint Catherine’ (1565-70, Gallerie dell’Accademia, Venice). Neither of these great altarpieces has previously been seen in the United Kingdom and the exhibition will enable visitors to compare them with Veronese’s most accomplished secular painting of the same period, the magnificent ‘Family of Darius before Alexander’ (1565–7), which was among the first great works acquired by the National Gallery in mainland Europe. Highlights of the exhibition include the display of three of the artist’s most beautiful portraits from the period of his arrival in Venice: ‘Portrait of a Gentleman’ (about 1555, Palazzo Pitti, Florence), the ‘Portrait of a Woman, known as the ‘Bella Nani’’ (about 1555–60, Musée du Louvre, Paris) and the ‘Portrait of a Gentleman’ (1560-65, The J. Paul Getty Museum, Los Angeles).


Paolo Verones The Anointing of D

Oil on canvas, Kunsthistorisches M Š KHM, Vie


se (1528-1588) David, about 1550

, 173 Ă— 365 cm Museum, Vienna (40) enna. X7862


Paolo Veronese (1528-1588) The Rest on the Flight into Egypt, about 1570-2

Oil on canvas, 236.2 x 161.3 cm Frame: 281.3 x 205.4× 11.4 cm © Collection of The John and Mable Ringling Museum of Art, the State Art Museum of Florida, Florida State University, Sarasota Florida (SN82). X7495 12

Paolo Veronese (1528-1588) Martyrdom of Saint George, about1565 Chiesa di San Giorgio in Braida, Verona Š Photo Scala, Florence. X7478 13

Works are reunited in the exhibition for the first time in hundreds of years. ‘Mars and Venus United by Love’ (about 1570-1575, The Metropolitan Museum of Art, New York) leaves the USA for the first time since 1910 for the exhibition and is reunited, for the first time since the 18th century, with the National Gallery’s ‘Four Allegories of Love’ (about 1575). Two companion altarpieces painted for the church of San Benedetto Po near Mantua: ‘The Virgin and Child with Saints Anthony Abbot and Paul the Hermit’ (1562, Chrysler Museum of Art, Norfolk, Virginia) and the National Gallery’s own ‘Consecration of Saint Nicholas’ (1562), are displayed together for only the second time since the 18th century. The Gallery’s ‘Adoration of the Kings’ (1573), painted for the church of San Silvestro in Venice, long one of the artists most admired paintings and recently cleaned, will be shown beside an altarpiece of the same subject, painted in the same year for the church of in Santa Corona, Vicenza. These pictures have never been seen together since they were in the artist’s studio.


Paolo Veronese (1528-1588) Mars and Venus United by Love, cerca de 1570-5

Oil on canvas, 205.7 × 161 cm The Metropolitan Museum of Art, New York, John Stewart Kennedy Fund, 1910 (10.189) © Image copyright The Metropolitan Museum of Art/Art Resource/Scala. X7851 15


Paolo Veronese (1528-1588) Venus, Mars and Cupid, about 1580

Oil on canvas, 163 × 125 cm © National Galleries of Scotland (NG 339). X7462 17

Paolo Verones Christ and the Cen

Oil on canvas, Š Madrid, Museo Nacional 18

se (1528-1588) nturion, about 1570

,192 Ă— 297 cm del Prado (P00492). X8304 19

Born in Verona in 1528, the son of a stonecutter, Veronese entered into the workshop of Antonio Badile in 1541. Working in Verona, he completed important commissions for churches and aristocratic families such as the Canossa and Bevilacqua. In the early 1550s, Veronese moved to Venice, a city he rarely left. It was here, endorsed by Titian, and working alongside Jacopo Sansovino and Andrea Palladio, that he was established as one of the leading artists in Europe. His posthumous reputation has been as consistently high as his influence has been strong. The work of Van Dyck, Rubens, Watteau, Tiepolo and Delacroix depend upon his example.

The National Gallery Trafalgar Square London WC2N 5DN





May 1 – May 31, 2014 Bertrand Delacroix Gallery

This May, Bertrand Delacroix Gallery will host CONTRE-NUIT, a solo exhibition of new large-scale works by legendary French artist François Bard. Surprising perspectives, bold brushstrokes and unique textures distinguish Bard’s cinematic oil paintings. Contre-Nuit, Bard’s third solo exhibition at BDG, follows Big Guns (2010) and Not Guilty (2012), two markedly successful and memorable exhibitions.


François Bard Homme assis, 2014

Oil on canvas, 76¾” x 59” 23

Bard states, “The role of the contemporary artist should be to incite people to see differently”. His work does exactly that. Bard’s dynamic canvases depict an impressive array of content, from people, dogs and flowers to cars and urban landscapes. In each one, he puts an unusual and provocative spin on ordinary subjects. He often presents everyday objects, such as a worn shoe or tensed hand, as enlarged and unexpectedly cropped; this effect creates extremely realistic and powerful close-ups that resemble stills from a film.


François Bard Cosmonaute, 2014 Oil on canvas, 63” x 63” 25

Bard often begins his artistic process by taking photographs of himself in poses inspired by images in the media. In fact, many of his paintings are self-portraits. While his aesthetic is decidedly modern, Bard’s technique dates back to the classical tradition of layering of oil paint with visible impasto marks and varnish. The resulting pieces are incredibly textured, atmospheric and emotionally charged.


François Bard China Town, 2014 Oil on canvas, 51” x 63” 27

Born in France in 1959, Bard attended the École Supérieure des Beaux-Arts de Paris and was selected for a two-year residency at the Casa Velázquez in 1988. He taught as a professor at the Ateliers des Beaux-Arts in Paris for 10 years. Bard’s work has been featured in major international art fairs, including Art Miami, the London Art Fair, Art Paris, FORM London, Art Gent and Art Karlsruhe, and hangs in prestigious public and private collections around the world, including those of Ralph Lauren, Kit Kemp, Jackye and Curtis Finch, Jr. and Arkansas Arts Center. Bard divides his time between his Paris studio and his home in Burgundy.

Bertrand Delacroix Gallery 535 W. 25th Street, NY 10001 USA 28

François Bard Style (survêtement blanc), 2014 Oil on canvas, 59” x 76¾” 29


Juan Cossio (1960), Madrid, Spain

“ The point of departure in my work is a duality between abstraction and reality. I attempt to recreate structural patterns observed from nature with industrial materials such as drapery, electrical cables, tubing and cardboard, employing them as props and backdrops onto which the human figure is silhouetted. A further step in my compositional process takes place from the spontaneous interaction occurring between model, backdrop and objects through performative gestures. This fusion and crystallization of elements takes its final form into that of a hyper realistic painting. I employ a variety of tools and media in the initial planning and executing of an idea from drawing, photography to the use of computer, but it is only within the final stages whereby information is translated onto the surface of paneling, that the idea takes pictorial form through a reassessing, filtering and synthesizing of subject matter. Airbrush is the main tool in my work, a preferred choice because of the manner in which it forces me to work from afar, facilitating both a physical and psychological distance created by the air between myself and a surface“ - Juan Cossio 30

Having exhibited a natural vocation early on in a life as an adept draughtsman and showing a keen visual sensibility for the pictorial, Juan Cossio went on to study Fine Art at the Complutense University of Madrid. Actively involved in the explosive Spanish art scene of the Eighties, Cossio’s tireless research and experimentation into pushing the boundaries of pictorial techniques led him to what is now more commonly known as ‘New Realism’. Relying on photography as his main means of support and utilising the timeless aerograph as his preferred tool, Cossio’s work continues to evolve through an openness to approach and his continual curiosity in employing whatever new techniques are at hand in order to achieve his unique contemporary aesthetic which look to the female nude as its main subject.

Juan Cossio

Photo: Courtesy Juan Cossio 31

EXHIBITIONS 1997- Collective Exhibition “Classic and Modern of the reality”. Heller Gallery. Madrid / 1999- Participates in the Latin American Art Fair of Caracas,Heller Gallery / 2000- Collective Exhibition “ Forms and Volumes”, Heller Gallery / 2001- Exhibition Clave Gallery, Murcia / 2002 - Participates in the International Contemporary Art Fair of Seville. Puchol Gallery, Valencia / 2003 - Participates in the Feria DeArte of Madrid .Gema Lazcano Gallery. Collective Exhibition “Arcanes Contemporaries”, Clave Gallery. Collective Exhibition “Small Format”, Gema Lazcano Gallery. Participates in the Commemorative Exhibition “XXV Anniversary of the Spanish Constitution”. Museo Casa de la Moneda / 2004 -The Spanish Post Office chooses the painting “Nativity” for its reproduction on stamp / 2005 - Solo Exhibition Sammer Gallery, Marbella. Participates in the Palm Beach Art Fair,Miami. Sammer Gallery Exhibition Vazquez Kunst Gallery.Holland. Collective Exhibition “What is realism?”. Albermale Gallery.London /2006--Collective Exhibition “The Female Poser”, Sammer Gallery. Works in the “Fundación de les Arts i els Artistes” of Barcelona / 2007- Participates in the Fair “Luxury Please”, Vienn. Colllective Exhibition “Realism”,Sammer Gallery / 2008-Solo Exhibition Albermale Gallery. Participates in the Fair Art Nocturne Knocke.Belgium / 2009- Colllective Exhibition “Realism Redefined “Cuadro Fine Art Gallery, Dubai. Colllective Exhibition Plus One Gallery, London / 2010- Colllective Exhibition “Winter Show”, Plus One Gallery.London / 2011- Colllective Exhibition, Galerie Archange.Paris. Colllective Exhibition, Plus One Gallery, London. Colllective Exhibition, “15th Anniversary Exhibition”, Everard Read Gallery,Cape Town. Colllective Exhibitio .”Corpi Esposti”, Barbara Frigerio Contemporary Art Gallery.Milano / 2012- Participates in Art Greenwich, .Anthony Brunelly Fine Arts Binghamton,NY. Participates in Waterfall Mansion Art of New York. Anthony Brunelly Fine Arts.Binghamton,NY / 2013 - Participates in Art Palm Beach,Waterhouse & Dodd Gallery.London.New York. Participates in “Salon 2” .Collective Exhibition, Anthony Brunelly Fine Arts, Binghamton,NY. Participates in Art Wynwood, Miami.Waterhouse & Dodd Gallery.London.New York.Participates in Scope New York. Waterhouse & Dodd Gallery.London.New York.Group show.”The Naked Truth”, Plus one Gallery.London. “Hyperrealism today”-Museu del Tabac.Andorra..”Lapada”.Art & Antiques Fair, Plus One Gallery. London. Group Show ”Hyperrealism today”.Sant Juliá de Lória,.Andorra. Group show “Celebration of 100 Years of Everard Read”, Cape Town.


Juan Cossio “Source”

Acrylic on panel,110x170cm Photo: Courtesy Juan Cossio 33

Juan C “Equil

Acrylic on pan Photo: Courtes 34

Cossio librio�

nel, 130 x 85cm sy Juan Cossio 35

Juan C “Fortune´

Acrylic on pane Photo: Courtes 36

Cossio ´s-Wheel”

el, 160x110 cm sy Juan Cossio 37

Juan Cossio “Chrysalis”

Acrylic on panel, 110 x 170cm Photo: Courtesy Juan Cossio 38

Juan Cossio “Summer-Dream”

Acrylic on panel, 68 x130 cm Photo: Courtesy Juan Cossio 39

Juan C “Red-T

Acrylic on pan Photo: Courtes 40

Cossio Tube”

nel, 90 x 135cm sy Juan Cossio 41




The Romantic Arabesque 21 March to 15 June 2014 Hamburger Kunsthalle

Under the heading of Transformation of the World an exhibition is dedicated for the first time to the arabesque in Romanticism. In the eighteenth century Friedrich Schlegel (1772–1829) elevated the convoluted play of the arabesque to the structural principal of all poetry. The arabesque connects the elements of a world experienced as fallen into fragments. Its form dominates the subject matter. This all-embracing aspiration is also shared by the arabesque in visual art: it is ornament, poetry and ingenious play of line. Instead of exhausting itself in mere decoration at the painting’s edge, in the form of floral patterns or playful embellishments, it develops into a primary conveyor of meaning. From cosmological models of the world to cartouches of shares, from complex novel to nursery rhyme, in oil paintings and advertisement, on book covers or on the edges of literary texts – thanks to its diversity the arabesque spans all media. As the ‘oldest and most pristine form of the human imagination’ (Friedrich Schlegel) it is able to unite elements of most different nature. In accordance with the Romantic idea of the Gesamtkunstwerk it became the signature of an entire epoch. 44

Philipp Otto Runge (1777-1810) Der Kleine Morgen, 1808

テ僕 auf Leinwand,/Oil on canvas 109 x 85,5 cm ツゥ Hamburger Kunsthalle/bpk Photo: Elke Walford 45

Carl Julius Mild Weiblicher Akt in

Aquarell (Watercolo Š Private C Photo: Engelbert S


de (1803 - 1875) einer Ranke - 1834

or), 220 x 265 mm Collection Seehuber, Munique


Central to the exhibition is the work of one of the most versatile artists of the nineteenth century and one of the founders of Romanticism, Philipp Otto Runge (1777–1810). In his work, and in an exchange of ideas with the poet Clemens Brentano (1778–1842), the compositional principle of the Romantic arabesque reached a highpoint. Further emphasis lies to the work of the Nazarene Peter Cornelius (1783–1867), and of Eugen Napoleon Neureuther (1806–1882), Moritz von Schwind (1804–1871) and Adolph Menzel (1815-1905). Through their works the exhibition traces the rise of the arabesque from a peripheral, primarily decorative phenomenon to a compositional form relevant to all the arts.

Hamburger Kunsthalle Glockengießerwall D-20095 Hamburg 48

Moritz von Schwind (1804–1871) Entwurf zur Zauberflöte, um 1852

Aquarell über Bleistift (Watercolor over pencil), 54,7 x 36,6 cm Hamburger Kunsthalle, Kupferstichkabinett © Hamburger Kunsthalle/bpk Photo: Christoph Irrgang 49


Philipp Otto Runge (1777-1810) Die Lehrstunde der Nachtigall (Zweite Fassung/ Second Version)

テ僕 auf Leinwand (Oil on canvas) 104,7 x 85,5 cm ツゥ Hamburger Kunsthalle/bpk Photo: Elke Walford 51

Armgart von Arn Oberon und Titanias Fee

Aquarell mit Goldhöhung über Fe © Freies Deutsches Ho Goethem 52

nim (1821–1880) enhuldigung, 1840–42/43

eder auf Pergament 363 x 470 mm Hochstift – Frankfurter museum 53

Afshin Pirhashemi: Seduction 10 April - 24 May 2014 Ayyam Gallery Ayyam Gallery London is pleased to announce “Seduction”, the first solo exhibition in London of the Iranian artist Afshin Pirhashemi’s. This exhibition features Pirhashemi’s black and white paintings depicting women dressed in heavy form,, under the guise of tempting, seductive, repentant, as well as those who ultimately are beyond redemption. In a departure from his latest monochromatic canvases, the artist also presents two remarkable works in color on a large scale. Pirhashemi’s works need a little introduction for those who may forget they are in the presence of a fully covered beauty in black, pointing a gun at the viewer, making us witnesses and targets of their violent gesture. Always powerful, the women chosen by Pirhashemi to portray, are those who have been deceived and often, those who were bad, depending on the point of view. Women in this series are partially obscured or wrapped in chadors, while other times they proclaim their passion for the United States, highlighting the dichotomy of identity that women face in their daily lives. These women, far from aligning with the west, are still the center and are connected to the identity in the way they dress and the expectation they generate in the social sphere. 54

Afshin Pirhashemi “I Am Lost in God” - 2013 Oil on canvas, 100 x 150 cm 55

Afshin Pi Competiti

Oil on canvas, 56

irhashemi ion - 2014

,100 x 150 cm 57

Pirhashemi’s highly detailed canvases incorporate historical references. In one of the new works of great impact, the artist attempts to bring together both history and geography with the inclusion of an Islamic astrolabe, references to the Western psychoanalyst Sigmund Freud and to the Eastern poet Jalalu’doin Rumi. In a largely orchestrated scene, the painter puts his audience face to face with a group of women who come together to produce a new world order, some obscure identity by wearing “Scream” masks and carnival masks and others wielding sabers. Clustered, women’s power is exponential like wolves roaming in the distant background. Masked women suggest that not everything is what it seems and that something is wrong in the order of things. The intensity achieved in these new screens overcomes the high feelings created by Pirhashemi on previous work monochromatic works. Furthermore, the inclusion of color, like brown and copper hair on his mortal heroines and the symbolic eagle, like a violent raptor, instill in the works ferocity, blood, lust and vigor that contrasts with the morbidity and lack of grace of the black in which women usually are disguised.


Afshin Pirhashemi Untitled - 2013

Oil on canvas, 200 x 300 cm 59

Afshin Pi Eagle Wom

Oil on canvas, 60

irhashemi men - 2013

,200 x 300 cm 61

Afshin Pi Mother

Oil on canvas, 62

irhashemi rs - 2013

,195 x 285 cm 63

Afshin Pi The First-ti

Oil on canvas,


irhashemi imer - 2012

,100 x 150 cm


Afshin Pi Untitle

Oil on canvas, 66

irhashemi ed-2013

,100 x 200 cm 67

About the Artist The work of Iranian artist Afshin Pirhashemi examines the complexities of everyday life in Iran. In dispersed or empty backgrounds, his great monochromatic, photo-realistic depictions of women wave with a Gothic fantasy exploration of issues of contemporary social and political identity. Born in 1974 in Urmia, Afshin Pirhashemi , presently lives and works in Tehran. His works are represented in public and private collections throughout the Middle East and Europe and having received awards at the Tehran 6th International Art Biennial in 2003, the Beijing Art Biennial Award in 2004. Solo exhibitions include Ayyam Gallery, Dubai (2013); Homa Art Gallery, Tehran (2009); Seyhoun Art Gallery, Tehran (2005); and Barg Gallery, Tehran (2005). Group exhibitions include In & Out, Milan (2009); Tehran Museum of Contemporary Art, Tehran (2006); Museum of Contemporary Art, Tehran (2004, 2003).


Ayyam Gallery 143 New Bond Street 1st Floor, W1S 2TP, London


Charles James: Beyond Fashion May 8–August 10, 2014 The Metropolitan Museum of Art The Costume Institute’s new Anna Wintour Costume Center will open on May 8 with the inaugural exhibition Charles James: Beyond Fashion, on view from May 8 through August 10, 2014, which will examine the career of legendary 20th-century AngloAmerican couturier Charles James (1906–1978). The exhibition will be presented in two locations–the new Lizzie and Jonathan Tisch Gallery in the Anna Wintour Costume Center as well as special exhibition galleries on the Museum’s first floor. The exhibition will explore James’s design process and his use of sculptural, scientific, and mathematical approaches to construct revolutionary ball gowns and innovative tailoring that continue to influence designers today. “Charles James was a wildly idiosyncratic, emotionally fraught fashion genius who was also committed to teaching,” said Harold Koda, Curator in Charge of The Costume Institute. “He dreamt that his lifetime of personal creative evolution and the continuous metamorphosis of his designs would be preserved as a study resource for students. In our renovated galleries, we will fulfill his goal and illuminate his design process as a synthesis of dressmaking, art, math, and science.”


Charles James with Model, 1948

Courtesy of The Metropolitan Museum of Art, Photograph by Cecil Beaton, Beaton / Vogue / Condé Nast Archive Copyright © Condé Nast 71

Charles James Ba

Courtesy of The Metropolitan Museum of Vogue / CondĂŠ Nast Archiv 72

all Gowns, 1948

Art, Photograph by Cecil Beaton, Beaton / ve. Copyright © Condé Nast 73


Charles James, 1952

Courtesy of The Metropolitan Museum of Art, Photograph by Michael A. Vaccaro / LOOK Magazine Photograph Collection, Library of Congress, Prints & Photographs Division, Look Job 52-1129 Frame-18 75

Exhibition Overview The retrospective exhibition, Charles James: Beyond Fashion, will feature approximately 75 of the most notable designs produced by James over the course of his career, from the 1920s until his death in 1978. The first-floor special exhibition galleries will spotlight the resplendent glamour and breathtaking architecture of James’s ball gowns from the 1940s through 1950s, worn by such renowned clients as Austine Hearst, Millicent Rogers, and Dominique de Menil. The new Lizzie and Jonathan Tisch Gallery will provide the technology and flexibility to dramatize James’s biography via archival pieces including sketches, pattern pieces, swatches, ephemera, and partially completed works from his last studio in New York City’s Chelsea Hotel. The evolution and metamorphosis by James of specific designs over decades will also be shown. Video animations in both exhibition locations will illustrate how he created anatomically considered dresses that sculpted and reconfigured the female form. “James was an artist who chose fabric and its relationship to the human body as his medium of expression,” said Jan Glier Reeder, Consulting Curator in The Costume Institute, who is organizing the exhibition with Harold Koda. para In fact, a devoted James client once said, “...his work went beyond fashion and was a fine art”. Beyond Fashion was also the title James chose for the autobiography he never wrote.


Austine Hearst in Charles James Clover Leaf Gown, ca. 1953 Courtesy of The Metropolitan Museum of Art, Photographer Unknown, Š Bettmann/CORBIS 77


Babe Paley in Charles James Gown, 1950

Courtesy of The Metropolitan Museum of Art, Photograph by John Rawlings / Vogue / Condé Nast Archive. Copyright © Condé Nast 79


Charles James Butterfly Gown, 1954

Courtesy of The Metropolitan Museum of Art, Photograph by Cecil Beaton. The Cecil Beaton Studio Archive at Sotheby’s 81


Nancy James in Charles James Swan Gown, 1955

Courtesy of The Metropolitan Museum of Art, Photograph by Cecil Beaton, The Cecil Beaton Studio Archive at Sotheby’s 83

James was so keen to ensure his legacy by preserving the “corpus” of his work in one institution that he persuaded important clients to donate his designs to the Brooklyn Museum. The transfer of the Brooklyn Museum Costume Collection to the Metropolitan Museum in 2009 augmented the Met’s Charles James holdings, and with recent acquisitions of early designs and archives, the Museum now has the most definitive body of James’s work in the world, and the most comprehensive collection of a fashion designer’s work of any museum. After designing in his native London, and then Paris, James arrived in New York City in 1940. Though he had no formal training, he is arguably one of the greatest designers to have worked in the tradition of the haute couture in America. His fascination with complex cut and seaming led to the creation of key design elements that he updated throughout his career; wrap-over trousers, figureeight skirts, body-hugging sheaths, ribbon capes and dresses, spiralcut garments, and poufs. The exhibition is organized by Harold Koda and Jan Glier Reeder. The exhibition designers are Diller Scofidio + Renfro, a New Yorkbased interdisciplinary design studio led by Elizabeth Diller, Ricardo Scofidio, and Charles Renfro that integrates architecture and the visual and performing arts.


The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY 10028-0198


Jacques Sterenberg's Joy and Drama Above all, Jacques Sterenberg paintings show the maturity of a painter who refuses the highlights of the crowd and the recognition of the critic, to build a personal and solid plastic artistic proposal. Obviously, it is possible for anyone to find the major influences of this Israeli artist born in 1961, in Chile, with a M.A. in visual arts, living in Israel. But as I said, it is possible to see several influences which inspired Sterenberg’s art - in my opinion, the richest artist is that one who shows more influences in his work. However, I am not here to mention all the influences showed in Sterenberg’s canvas, I am just pointing the two most important in order to understand his art. First “El Greco” (1541-1614) and Alex Katz (1927), from the first he took the dramatism, the theater role of the colors and backgrounds, from the second the major importance of the economy of the shape, giving an additional role to the subject matter, a process that many critics call synthesis and something which has been regarded as the main task of contemporary painting. Back to Jacques Sterenberg’s art, I can say that his painting develops in two grounds; The foreground is occupied by the model drawn in simple lines, but with enough power to reveal its character and intention to the viewer. The second is the background that at the first sight always seems like a minimalist composition, but after a closer look it appears as the strongest dramatic element, because of the colors, their harmony or their contrasts, giving dramatism to 86

the composition. Sterenberg lets the colors reveal all the emotions and feelings of his paintings. So, what at the beginning seems a simple and clean art, at a second sight appears as a complex way used by the artist to portrait fragments of life full of joy and drama, always imperfect and incomplete as life itself. JosĂŠ Eduardo Silva (Director in Chief)

Jacques Sterenberg

Courtesy: Jacques Sterenberg 87

Jacques St “A narrow path in

Oil on canvas Courtesy: Jacqu


terenberg n the mountains�

s,144 x 82 cm ues Sterenberg


Jacques Sterenberg (1960), Chilean-Israel Painter, lives and works in Lehavot Haviva, Israel EDUCATION 1987 M.A. Visual Arts, Universidad de Chile, Santiago-Chile. 1994 Computer Graphic Design, Maof College – Israel.1995 Paint & Colour, Application in the Industry. The Productivity Institute of Israel. Tel Aviv. 2001 Industrial Paintings, Tambour Industries. 2004 Printing Techniques, the Israeli Institute of Packaging and Design AWARDS AND SCHOLARSHIPS 1996 First prize. Postal Card Design. Tel Aviv - Israel. 1994 Scholarship, Jerusalem Post Foundation Jerusalem - Israel. 1992 Art Project Fellowship.The American Women League Foundation. Israel. 1991 Second Prize. Nunoa Cultural Institute. Santiago - Chile. 1990 Third Prize. Reifschneider Competition. Santiago - Chile. 1989 Third Prize. Esucomex Competition. Santiago - Chile. SOLO EXHIBITION 2012 Midnight Light, Yad Lemaginim gallery, Yagur – Israel. 2011 Trece Art Gallery, Santiago – Chile. 2008 Open Space, Lehavot Haviva Studio - Israel. 2003 "Between fall and winter". Leonardo Gallery, Tel-Aviv – Israel. 2000 "Under the moon". Arta Galery, Tel Aviv - Israel. 1996 "People, Faces and Tiles..." Givat Haviva Gallery - Israel. 1994 "New Paintings" Artist House Gallery, Tel Aviv Israel. 1992 "NOW" City Gallery, Natanya - Israel. 1991 "Paintings" Instituto Cultural de Providencia. Santiago - Chile. 1990 "Somebody outside" Posada del Corregidor Gallery, Santiago - Chile. 1989 "Espacios Taquicardicos" Nocturna Gallery, Santiago Chile. 1988 "On the walls" Martin Bar. Santiago - Chile. 90

SELECTED COLLECTIVE EXHIBITION 2014 Imagination 2014, Hapoalim Bank Headquarters, TLV. 2013 Light House Gallery, Jaffo Port – Israel. Urban Gallery, TLV – Israel. Petit Format, Maison du Chili – Paris. Frenkel Art Gallery TLV. Six Chilean Artists in Israel, Raziel Gallery ,Natanya. Fresh Paint 6, Art Fair, TLV. Bebelplatz, Berlin – Germany. Minus 3 Gallery, TLV. Kirial Ono Library. Sharett Gallery, Petach Tikva. 2012 Atelier Studio, Gallerina Gallery. Artium Gallery, Santiago – Chile. La Di A Qui Gallery , TLV – Israel. Art in Motion, Honda Show Room, TLV – Israel, Curator Bosmat Niron. Studio / Gallery Bosmat Niron, TLV – Israel. TLV Accessible Art Fair, Jaffo Museum – Israel. 2011 "Nude" Museum of Antiquities Tel Aviv / Jaffo. "The Protest" Central Bus Station Gallery, Tel Aviv. "Happiness" Heseg Foundation, Tel Aviv. Larger Than Life Association, Curator Reli Wasser. "" Central Bus Station Gallery - Tel Aviv. When South and North meet in the Center, Central Bus Station Gallery – TLV. 2010 Gefen Newspaper, Zichron Iakov – Israel. 1998 Studio 24 Gallery, Chelsea, New York - USA. 1997 Almogan Gallery, Rishpon - Israel. 1996 "Spot light in the city" International Convention Center, JerusalemIsrael. 1995 Exodus Gallery, Jerusalem - Israel. 1994 City Gallery. Natanya - Israel. - Artists House Gallery, Tel Aviv, Israel. Israeli Contemporary Art, Budapest Museum Hungary. Israeli Contemporary Art, MGC Gradec, Zagreb – Croatia. Art Focus Project. Jerusalem -Israel. 1993 Anonymous Gallery, Tel Aviv-Israel. 1992 Hilton Hotel Gallery. Jerusalem – Israel. Natanya Teather, Natanya - Israel. Canadian Embassy, Santiago-Chile. Print Now. Cerrillos Park. Chile. 1991 Juvenalia. Retiro Park, Madrid-Spain. Tiempo de Arte , Las Condes Institute , Santiago- Chile. World trade Center, Amsterdam-Holland. 1990 Alguien que anda por ahi" Posada del Corregidor Gallery. Santiago Chile. 1989 Santiago un nombre para el arte , Fine Arts National Museum. IX International Biennial Art of Valparaiso. Chile. Holland Embassy in Chile, Stgo- Chile. FITAL, Talca - Chile. 1988 Chile Crea. 1987 "Grabados", La Fachada Gallery, Stgo-Chile. 1986 "Teinvitoaunanochedeamor", Bucci Gallery. Santiago Chile. 1985 Carmen Waugh Gallery, Santiago - Chile. 1984 Mulato Gil Square, Santiago - Chile. 1983 "Arte & Textos" Sur Gallery. Stgo Chile. 1982 Mapocho Cultural Center. Stgo – Chile. 91

Jacques Sterenberg “Moonshadow”

Oil on canvas ,83 x 90 cm Courtesy: Jacques Sterenberg 92

Jacques Sterenberg “The nurse “

Oil on canvas,90 x 122 cm. Courtesy: Jacques Sterenberg 93

Jacques St “Poet’s Por

Oil on canvas Courtesy: Jacqu 94

terenberg rtrait, Lali�

s,90 x 62 cm. ues Sterenberg 95

Jacques St “Under

Oil on canva Courtesy: Jacqu 96

terenberg the sun�

as,60 x 90 cm ues Sterenberg 97

Jacques St “Lovers, pain a

Oil on canvas, Courtesy: Jacqu


terenberg and happiness�

,130 x 160 cm. ues Sterenberg


“The Torches of Prometheus.

June 20 – Oct


The Kunsthaus Zürich presents two artistic positions that exemplify how the Prometheus myth has been adapted and reinterpreted between 1770 and the present day. The exhibition ‘The Torches of Prometheus. Henry Fuseli and Javier Téllez’ combines five works of the early modern era with film art. For Henry Fuseli (1741-1825) the bound figure of Prometheus, whose iconography dates back to Ancient Greece, was the quintessential embodiment of the modern artist. Fuseli’s subjective and highly expressive handling of the figure began with an anatomical game; the ‘five-point drawings’ in which the positions of the head, hands and feet were dictated by five dots randomly placed on a sheet of paper. His sketches and paintings were an appeal to the limitless creativity of the modern human being, but did not shy away from the dangers inherent in the urge for emancipation. In myth, Prometheus is punished for stealing fire. He is bound to a rock in the Caucasus where each day an eagle is sent by Zeus to feed on his liver. Finally, after many generations, he is freed by Heracles. As a further punishment the gods send Pandora to dwell on Earth and bring misery to the human race.


. Henry Fuseli e Javier Téllez”

tober 12, 2014

us Zürich

Henry Fuseli (1741-1825) Bound Nude Figure, 1770-71

(Five-point drawing) Graphite, wash, 14 x 20.5 cm Kunsthaus Zürich, Collection of Prints and Drawings 101

PROMETHEUS’S FIRE UNLEASHED Prometheus was venerated throughout the ancient world. He was admired for the vigor of his opposition to brute force and established authority. This message is as relevant today as it has ever been. Once lit, Prometheus’s fire is almost impossible to control. It took Europe more than a century to harness the heady dynamism of the Industrial Revolution and turn it to beneficial use. In Ancient Greece, when the decision was taken to hold the Olympic Games every four years in honor of Zeus, the fire was lit with a torch commemorating that same Prometheus. To this day the Olympic flame, which is lit in Athens and then sent on a journey throughout the world, recalls the emancipator act of this hero of Antiquity.


Henry Fuseli (1741-1825) Two Male Nudes, 1770-1778

(Desenho) Carv達o, 26.9 x 15.7/18.8 cm Kunsthaus Z端rich, Cole巽達o de Gravuras e Desenhos 103

Henry Fuseli (1741-1825) Draft sketch for the painting ‘Heracles Slaying the Eagle of Prometheus’, 1781 Pen in brown, over graphite, wash and watercolor, 29.8 x 39 cm Kunsthaus Zürich, Collection of Prints and Drawings 104

Henry Fuseli (1741-1825) Heracles Slaying the Eagle of Prometheus, 1781-85 (Hesiod, Theogony, 21-534) Oil on canvas, 63.6 x 76.5 cm Kunsthaus Z端rich, gift of Gustav Zumsteg 1998 105

ARYAN IDEALS AND ‘DEGENERATE’ ART In the 19th and 20th centuries, artists such as Gustave Moreau, Arnold Böcklin, Max Klinger, Constantin Brancusi, Jacques Lipchitz, Barnett Newman and Tim Rollins were inspired by the light and dark sides of the Prometheus legend. One of the most striking works of contemporary art to deal with the topic was created in 2011: the large-scale film installation ‘Rotations (Prometheus and Zwitter)’ by Javier Téllez (b. 1969), which serves as a ‘window’ on the exhibition that curator Mirjam Varadinis is creating for the Venezuelan shooting star at the Kunsthaus this autumn.


Henry Fuseli (1741-1825) Prometheus, 1770-71

(Desenho) Pena com tinta castanha, parcialmente sobre lรกpis, aguada cinza acastanhada, 15 x 22.2 cm Kunstmuseum Basel, Departamento de Gravuras e Desenhos. 107

Javier Téllez Rotations (Prometheus and Zwitter), 2011

Film installation with two 35 mm film projectors, color film, without sound, 7 min. Courtesy of Peter Kilchmann, Zurich, Photo: Thomas Strub © Javier Téllez 108

‘Rotations’ shows two sculptures revolving in opposite directions: on one side is the massive ‘Prometheus’ created by National Socialist artist Arno Breker (1900-1991) for the Propaganda Ministry in Berlin in 1937; on the other is the fragile work of the ‘outsider’ artist Karl Genzel (real name Karl Brendel, 1871-1925) entitled ‘Zwitter’ (‘Hermaphrodite’) from 1920. Genzel was one of the artists discussed in detail by Prinzhorn in his celebrated ‘Bildnerei der Geisteskranken’ (‘Artistry of the Mentally Ill’, 1922). In his cell at an institution, Genzel veered between boundless productivity, outbursts of rage, hallucinatory experiences and a yearning for liberation on the one hand, and inaction and resignation on the other. Both ‘Prometheus’ and ‘Zwitter’ were exhibited in 1937 in Munich, as part of what were arguably the two most controversial exhibitions of the 20th century: Breker’s larger-than-life nude proclaimed the Aryan ideals of Nazi ideology in the ‘Grosse Deutsche Kunstausstellung’ – the ‘Great German Art Exhibition’ – while Karl Genzel’s small wood sculpture with its oversized genitals was held up as an example of the pathologization of the European avant gardes in the ‘Degenerate Art’ exhibition. This exhibition concentrates in a small space all the contradictions inherent in the historical reception of this ancient creation myth, its threatening dynamism and the hopes it awakens. The exhibition, which is curated by Bernhard von Waldkirch and Mirjam Varadinis Kunsthaus Zürich Heimplatz 1, 8001 Zürich, Switzerland 109

PHILIPPE CHARLES JACQUET May 3rd – June 1st Axelle Fine Arts Galerie

AXELLE FINE ARTS GALERIE is proud to present a solo exhibition of new works by French artist PHILIPPE CHARLES JACQUET. Jacquet has had several extremely successful solo shows at Axelle over the past few years and we welcome him back this spring with an all-new collection of works. Jacquet’s remarkable style is defined by his incredible attention to detail, magnificent use of twilight colors and perhaps most notably, his masterful creation of surreal, ethereal worlds. He has exhibited in solo and group shows throughout France. Notably, he won first prize at the Plastic Arts Exhibition at Melun.


Philippe Charles Jacquet Avant Depart

Oil on board, 31.5” x 31.5” Courtesy: Axelle Fine Arts Galerie 111

Jacquet’s evocative paintings are a seamless blend of fantasy and reality. His compositions, heavily inspired by Brittany coasts and estuaries, deeply register with the subconscious. His sweeping land and seascapes often feature an ambiguous single person whose small size is emphasized by the vastness of the surrounding world. This smallness creates both an incredible sense of wonder and an overwhelming sense of isolation and loneliness. The huge space is full of potential and waiting to be discovered and at the same time, there is a poignant emptiness and separation from the rest of the world. It is up to the viewer to balance these two conflicting feelings.


Philippe Charles Jacquet La Recreation

Oil on board, 47” x 47” Courtesy: Axelle Fine Arts Galerie 113

Philippe Cha Un vi

Oil on board Courtesy: Axelle F 114

arles Jacquet illage

d, 47” x 47” Fine Arts Galerie 115

Philippe Cha Le Kh

Oil on board Courtesy: Axelle F 116

arles Jacquet harkov

d, 35.5” x 48” Fine Arts Galerie 117

Born in Paris in 1957, Jacquet was trained as an architect at the Ecole Nationale SupĂŠrieure des Arts DĂŠcoratifs. After pursuing a 20 year long career in architecture, he decided to dedicate himself solely to painting in 2000. His painting technique is entirely self-taught. The level of precision and detail in his work speaks to his architectural background while the atmosphere embodied in his paintings is a complete manifestation of his own imagination. Jacquet currently lives and works in Pantin, a suburb of Paris, where he ran an exhibition hall for ten years until he began to focus all of his efforts on his art.

Axelle Fine Arts Galerie 91 Newbury Street Boston, MA 02116 118

Philippe Charles Jacquet Le Retour

Oil on board, 31.5” x 31.5” Courtesy: Axelle Fine Arts Galerie 119

MAY HIG Vienna, Austria

Paris, France

Vienna, Austria

Baden-Baden, Germany

Danse Macabre – Egger-Lienz and The War 7 March - 9 June 2014 Lower Belvedere/Orangery Rennweg 6 1030 Vienna

JR March 1–June 29, 2014 Museum Frieder Burder Lichtentaler Allee 8S, Baden-Baden

Toronto, Canada

Cologne, Germany

Francis Bacon and Henry Moore; Terror April 5 – July 20, 2014 Gallery of Ontario 317 Dundas Street West Toronto, Ontario

Aitor Ortiz “Noumena” 11 April – 7 June, 2014 Galerie Stefan Röpke St. Apern-Straße 17-21 50667 Cologne

Erstein, France

Frankfurt, Germany

Anthony Caro. Masterpieces from the Würth Collection February 7, 2014 – January 4, 2015 Musée Würth France Rue Georges Besse F-67150 Erstein

Esprit Montmartre, Bohemian Life in Paris Around 1900 February 7 – June 1, 2014 Schirn Kunsthalle Frankfurt Römerberg 60311 Frankfurt

Eric Fischl Friends, Lovers and Other Constellations 13 February 2014 - 18 May 2014 Albertina Albertinaplatz 1 1010 Vienna

Pierre et Gilles: Selected Works April 10 – May 31, 2014 Galerie Daniel Templon 30 Rue Beaubourg 75003 Paris


GHLIGHTS Hamburg, Germany

Venice, Italy

Feurbach’s Muses – Lagerfeld’s Models February 21 – June 15,2014 Hamburger Kunsthalle Glockengießerwall 20095 Hamburg

Leger 1910-1930- A vision of the contemporary city

Hamburg, Germany

Lisbon, Portugal

Transformation of The World -The Romantic Arabesque March 21 – June 15, 2014 Hamburger Kunsthalle Glockengießerwall D-20095 Hamburg

Os Czares e o Oriente (The Tzars and the East) 28 Fev - 18 Mai 2014 Av. de Berna, 45A / 1067-001 Lisboa

Rome, Italy

Bilbao, Spain

Simon Hantaï February 12 – May 11, 2014 Académie de France à Rome - Villa Medici Viale Trinità dei Monti, 1 00187 Roma

Ernesto Neto: the body that carries me February 14, 2014 – May 18, 2014 Guggenheim Museum Bilbao Avenida Abandoibarra, 2 48009 Bilbao

Venice, Italy

Madrid, Spain

Irving Penn: Resonance April 13 – December 31, 2014 Palazzo Grassi Campo San Samuele 3231, 30124 Venice

Josef Albers: Minimal Means, Maximum Effect March 8, July 6, 2014 Fundación Juan March Castelló, 77 28006 Madrid

February 8 - June 2, 2014 Fondazione Musei Civici di Venezia (Museo Correr) Piazza San Marco 52 30124 Venezia


MAY HIG Madrid, Spain

Riehen/Basel, Switzerland

Madrid, Spain

Zürich, Switzerland

Rubens. The Triumph of The Eucharist7 25 March – 29 June, 2014 Museo Nacional Del Prado Calle Ruiz de Alarcón 23 Madrid 28014

The Torches of Prometheus. Henry Fuseli e Javier Téllez June 20 – October 12, 2014 Kunsthaus Zürich Heimplatz 1, 8001 Zürich

Madrid, Spain

Zürich, Switzerland

Pontormo. Dibujos February 12 - May 11,2014 Fundación Mapfre Paseo de Recoletos 23, 28004 Madrid

‘From Matisse to Der Blaue Reiter/ The Blue Rider’. Expressionism in Germany and France’ February 7 - May11, 2014 Kunsthaus Zürich Heimplatz, 1 Zürich

Basel, Switzerland

London, UK

The Surprised Masks: James Ensor February 16 - May 25, 2014 Kunstmuseum Basel St. Alban-Graben 16 4010 Basel

Erró: 60 Years of Collages April 2 – May 30, 2014 The Mayor Gallery 21 Cork Street London, W1S 3LZ

CÉZANNE site/non-site February 4 - May 18, 2014 Museo Thyssen Bornemisza Paseo del Prado 8 2014 Madrid

Odilon Redon February 2 - May 18, 2014 Fondation Beyeler Baselstrasse 101 CH-4125 Riehen / Basel



London, UK

Bailey’s Stardust February 6 – June 1, 2014 National Portrait Gallery St Martin’s Place, London, WC2H 0HE

Richard Hamilton

London, UK

Boston, USA

Henri Matisse: The Cut-Outs April 18 – August 10, 2014 Tate Modern Bankside, London SE1 9TG

Philippe Charles Jacquet May 3 – June 1, 2014 Axelle Fine Arts Galerie 91 Newbury Street Boston, MA 02116

London, UK

Florida, USA

Veronese: Magnificence in Renaissance Venice 19 March – 15 June 2014 The National Gallery Trafalgar Square London, WC2N 5DN

Spirit of Cobra November 8, 2013 – May 18, 2014 NSU Museum of Art Fort Lauderdale One East Las Olas Boulevard Fort Lauderdale, FL 33301

London, UK

Los Angeles, Ca, USA

Afshin Pirhashemi: Seduction 10 April - 24 May 2014 Ayyam Gallery 143 New Bond Street 1st Floor, W1S 2TP, London

Jason Shawn Alexander: No Good at Exits April 5 – May 24, 2014 101/Exhibit, Santa Monica BLVD 6205 Santa Monica BLVD Los Angeles, CA

February 13 – May 26, 2014 Tate Modern Bankside, London SE1 9TG


MAY HIG Los Angeles, Ca, USA

New York, USA

Los Angeles, Ca, USA

New York, USA

Tea and Morphine: Women in Paris, 1880 to 1914 January 26 – May 18, 2014 Hammer Museum 10899 Wilshire Blvd Los Angeles, CA 90024

Masterpieces & Curiosities: Diane Arbus’s Jewish Giant April 11 – August 3, 2014 The Jewish Museum 1109 5th Ave at 92nd St New York, NY 10128

New Jersey, USA

New York, USA

Edvard Munch: Symbolism in Print February 8 – June 8, 2014 Princeton University Art Museum Princeton, NJ 08544

François Bard - Contre-Nuit May 1 – May 31, 2014 Bertrand Delacroix Gallery 535 W. 25th Street, NY 10001

New York, USA

New York, USA

Alex Ito: The Home of Tao Hsiao April 19–May 31, 2014 Art in General 79 Walker St, New York NY 10013

Charles James: Beyond Fashion May 8–August 10, 2014 The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY 10028-0198

Calder and Abstraction: From Avant-Garde to Iconic. November 24, 2013 – July 27, 2014 Los Angeles County Museum of Art 5905 Wilshire Blvd, Los Angeles, CA 90036

Ai Weiwei: According to What? April 18 – August 10, 2014 Brooklyn Museum of Art 200 Eastern Parkway Brooklyn, New York



San Francisco, CA, USA

Visions and Nightmares: Four Centuries of Spanish Drawings January 17 through May 11, 2014 The Morgan Library & Museum 225 Madison Ave, New York, NY 10016

Romare Bearden, Storyteller April 3 - June 21, 2014 JenkinsJohnson Gallery 464 Sutter Street San Francisco, CA

New York, USA The Passions of Jean-Baptiste Carpeaux March 10-May 26, 2014 Metropolitan Museum of Art 1000 Fifth Avenue New York, New York 10028-0198

Philadelphia, USA Arts and Cultures of The Joseon Dinasty, 1392 – 1910 March 2 - May 26, 2014 Philadelphia Museum of Art 2600 Benjamin Franklin Parkway Philadelphia, PA 19130 215-763-8100

San Francisco, CA, USA Vivian Maier: Out of the Shadows February 6 – May 17, 2014 The Scott Nichols Gallery 49 Geary Street, Fourth Floor San Francisco, CA 94108


May, 2014


Line & Stylish Art Magazine nr9 May