• Andy Warhol Prints: A Catalogue Raisonne. 4th ed. F. Feldman and J. Schellmann. 2003. #II.355.

    Andy Warhol Prints: A Catalogue Raisonne. 4th ed. F. Feldman and J. Schellmann. 2003. #II.355.

    Modern Art & Design Auction

     

    The October 9, 2016 Modern Art & Design Auction features a noteworthy Helen Frankenthaler painting, Jade, from 1976, an important Ad Reinhardt painting from 1958, a painting and a work on paper by Ed Ruscha, two early paintings by John McLaughlin, in addition to works by Andy Warhol, Pablo Picasso, Roy Lichtenstein, Diane Arbus, Vik Muniz, Ed Moses, Sam Francis, David Hockney, De Wain Valentine, Jeff Koons, and Tom Wesselmann.

     

    Design and Decorative Arts highlights include a Frank Gehry unique Fish sculpture, in addition to a Jean Royère “Tour Eiffel” chandelier, two Rudolph M. Schindler armchairs designed 1932–1933 for Sardi’s Restaurant, furniture by Sam Maloof, a Hans Wegner “Hammock” chaise, and a selection of California ceramics including works by Gertrud and Otto Natzler, Peter Voulkos, and Stan Bitters.

     

    Preview: September 26–October 8, 2016 (10am–6pm PT)
    Auction: Sunday, October 9, 2016 (12pm PT)

    LAMA CATALOGUES
    Renew your catalogue subscription for the 2016-2017 auction season, and check out LAMA’s archive of past catalogues.

    Los Angeles Modern Auctions (LAMA)
    16145 Hart St. Van Nuys, CA 91406

    T: 323 – 904 – 1950
    F: 323 – 904 – 1954

    www.lamodern.com

    art-auction-2016

    LEXINGTON, KY (Sept. 9, 2016) – Keeneland Association and Cross Gate Gallery of Lexington are again teaming to conduct the fourth annual Sporting Art Auction, to be held Monday, Nov. 21, at 4 p.m. ET in the Keeneland Sales Pavilion.

    The 2016 collection features 175 high-quality lots representing fine sporting art, American paintings, and sculpture from renowned masters as well as talented new artists.

    The artwork will be exhibited in the Keeneland Sales Pavilion beginning with the September Yearling Sale, which opens Sept. 12, and continuing through the November auction date. Sporting Art Auction representatives will be on hand in the Pavilion’s Limestone Café to provide catalogues and further information to interested parties. A digital version of the catalogue also is available online via thesportingartauction.com.

    “The collaboration between Keeneland and Cross Gate Gallery is a natural fit and one that makes this auction so unique,” Keeneland President and CEO Bill Thomason said. “Many of our clients and guests are avid sporting art collectors, and they enjoy browsing the artwork during the September and November sales and fall race meet.”

    One of the most significant pieces catalogued for 2016 is Irish painter Sir William Orpen’s Sergeant Murphy and Things, a 29½” x 40” oil on canvas depicting the winner of the 1923 Grand National. Orpen is widely considered to be one of the best portrait painters of the 20th century.

    Another celebrated work is Andy Warhol’s Willie Shoemaker, a 40” x 40” unique silkscreen portrait of the Hall of Fame jockey. Warhol, who immortalized many iconic figures in pop culture, in 1977 began working on a series of portraits of athletes at the behest of Richard Wiseman, a well-known art collector and sports enthusiast. Willie Shoemaker is the first portrait Warhol produced in that series.

    “In just a few short years, the Sporting Art Auction has matured into one of the genre’s most anticipated annual events,” Cross Gate Gallery owner Greg Ladd said. “We travel throughout the U.S. and Europe to acquire these special pieces and really look forward to making them available to collectors.”

    Among other notable artwork to be offered this year are: Morris Park Handicap, 1900, a 25” x 40” oil on canvas by noted American artist Henry Stull, which captures the stunning upset by Maid of Harlem over champion Ethelbert; a 14” x 17” bronze by Pierre-Jules Mêne from his Vainqueur du Derby series; and Morning at Keeneland, a 36” x 36” oil on panel by award-winning Vietnamese-American artist Quang Ho.

    The auction also will feature works by such acclaimed artists as Edward Troye and John Frederick Herring, Sr., as well as contemporary pieces by Andre Pater, Larry Wheeler, Peter Howell, LeRoy Neiman and Richard Stone Reeves.

    In keeping with Keeneland’s mission, the association’s portion of the auction proceeds will benefit its non-profit initiatives, including the Keeneland Library Foundation.

    Inquiries are welcome via email to info@thesportingartauction.com or by calling Cross Gate Gallery at (859) 233-3856.

    ********************************************

    About Keeneland

    Recognized globally as the premier Thoroughbred auction house, Keeneland conducts three annual horse sales that attract major buyers from nearly every U.S. state and Europe, the Middle East, Central and South America, Australia, Asia, South Africa, Russia and India. In 2015, Keeneland sold 6,268 horses for more than $535 million. Keeneland also conducts world-class race meets each April and October, and in 2015 successfully hosted the Breeders’ Cup World Championships.

    About Cross Gate Gallery

    Founded in 1974 by owner Greg Ladd, Cross Gate Gallery is a leading source of the world’s finest sporting art. Cross Gate specializes in equine-related art, and its impressive collection ranges from 19th and early 20th century classic works to contemporary paintings and sculpture.  Its Central Kentucky location makes the focus on sporting art a natural one. Cross Gate is also recognized as a leading gallery in contemporary British figurative painting.

    Press Release – Keeneland Association, Inc.

    full_000081

    ART MARKET BUDAPEST defines a new cultural region: YOUNG EUROPE, where we may find combined influences from the former Communist countries stretching from the Baltic States to the Balkans, and from such sources of cultural inspiration as Turkey or Israel in the South, countries of Central Asia in the East, or even a progressive new generation of artists from the already established West. And what can be more attractive than a fair that is GLOBAL AND LOCAL at the same time?

    Exhibitors having arrived from over 30 countries and an audience of over 25 thousand international visitors clearly indicate that there had already been a demand in the art world for this new artistic platform to bring freshness to the European and global art scene.

    ART MARKET BUDAPEST has created a meeting point in Budapest for lovers of art, where YOUNG EUROPE welcomes its guests with comfortable circumstances and developed infrastructure, and invites you to a place where it is pleasant for artists and collectors, experts and art-lovers to come together.

    http://artmarketbudapest.hu

     

    pace

    David Goldblatt<br>The Transported of KwaNdebele: A South African Odyssey, 1983 - 1984<br>Ex-Offenders at the Scene of Crime, 2008 - 2015 at Pace/MacGill Gallery

    New York, August 17, 2016 – Pace/MacGill Gallery is honored to inaugurate its U.S. representation of acclaimed South African photographer David Goldblatt with an exhibition of photographs from two series, The Transported of KwaNdebele: A South African Odyssey, 1983–1984 and Ex-Offenders at the Scene of Crime, 2008–2015. The exhibition opens on September 14 with a reception for the artist from 5:30 to 7:30 pm and will be on view through October 29, 2016.

    For over 60 years, David Goldblatt has documented the social and political developments of his native South Africa with a critical yet compassionate eye. Drawn “to the quiet and commonplace, where nothing ‘happened’ and yet all was contained and immanent…,” Goldblatt photographs the complexities of everyday life to reveal the far-reaching effects of apartheid and the post-apartheid conditions that continue to impact the country’s social fabric to this day. As Ingrid Sischy writes in her introduction to Kith, Kin and Khaya: South African Photographs, “David Goldblatt is a true misfit in the history of photography. A stand-out whose commitment to the medium is epic. He is one of a kind, and his images of South Africa, taken from the 1940’s and still going, will only be more reverberative as time goes on.”

    David Goldblatt at Pace MacGill Gallery
    Goldblatt’s photographic essay on homeland transport, The Transported of KwaNdebele, 1983–1984, illuminates the oppressive geographic displacement imposed by apartheid. Commissioned for the Second Carnegie Inquiry into Poverty and Development in Southern Africa, these photographs depict the commuting workers of KwaNdebele, who spend between 3 1/2 and 8 hours each day traveling to and from their jobs in the metropolitan city of Pretoria. As apartheid policy required the segregation of black South Africans in tribal Bantustans or homelands, millions were forcibly relocated to remote, rural settlement camps that lacked employment opportunities. Heavily subsidized bus and rail services were established to facilitate the movement of workers between these camps and their workplaces in the country’s white economic centers.


    Goldblatt’s images follow KwaNdebele’s nightriders through their daily ritual of interminable, overcrowded commutes on dusty, rutted roads and render visible their physical and psychological experiences of alienation and dislocation. The bus ride alone speaks powerfully to the abhorrent conditions which so profoundly concern Goldblatt.

    Affected by the ubiquity of violence and fundamental lawlessness in South Africa, where crime rates are among the highest in the world, Goldblatt sought to look past statistics and expose the humanity of perpetrators in his series Ex-Offenders at the Scene of Crime, 2008–2015. Through prisoner rehabilitation organizations, he approached former criminals or ex-offenders on parole and photographed them at the life-changing sites where their crimes occurred. The gripping portraits are accompanied by personal narratives, summarized from interviews with the artist, which recount the subjects’ stories and felonies. As Goldblatt explains, his pictures contain no social agenda: “My interest in ex-offenders arises from a wish to know who are the people who are doing the crimes and to get a sense of their life and how they came to crime. Could these people be my children? Could they be you? Or me?” In 2012, at the invitation of the West Bromwich based community arts center, Multistory, Goldblatt expanded his project to include ex-offenders in England’s Black Country.
    David Goldblatt photography at Pace MacGill Gallery


    David Goldblatt (b. 1930, Randfontein, South Africa) began working as a full-time photographer in the early 1960s. He has published numerous monographs of his work and is the recipient of the Infinity Lifetime Achievement Award from the International Center of Photography (2013), the Henri Cartier-Bresson Award (2009), and the Hasselblad Foundation International Award in Photography (2006), among other distinctions. In 1989, Goldblatt founded the Market Photography Workshop in Johannesburg to provide further education in visual literacy and photographic practice to disadvantaged learners during the apartheid regime.

    Goldblatt’s photography has been the subject of solo exhibitions worldwide at venues such as The Jewish Museum, New York (2010); the New Museum, New York (2009); and the Museu d’Art Contemporani de Barcelona (2002). He was the first South African to be given a solo show at The Museum of Modern Art, New York in 1998 and was one of the few South African artists to exhibit at Documenta 11 and 12 (2002; 2007) in Kassel, Germany.

    His photographs are represented in institutional collections around the world, including the Bibliotheque Nationale, Paris; the Fotomuseum, Winterthur; the J. Paul Getty Museum, Los Angeles; The Museum of Modern Art, New York; the National Gallery of Canada, Ottawa; San Francisco Museum of Modern Art; the South African National Gallery, Cape Town; the Stedelijk Museum, Amsterdam; and the Victoria and Albert Museum, London; among others.

    David Goldblatt is presented in association with Goodman Gallery, Cape Town and Johannesburg. For more information about the exhibition or press requests, please contact Margaret Kelly at Pace/MacGill at 212.759.7999 or margaret@pacemacgill.com. For general inquiries, please email info@pacemacgill.com.

    Images:
    3:15 am. Going to work: The Wolwekraal – Marabastad bus is licensed to carry 62 sitting and 29 standing passengers, 1983
    Blitz Maaneveld at the Terrace, Woodstock, Cape Town, where he murdered a man with whom he had been gambling, 7 October 2008
    © David Goldblatt

    One of the world’s leading photography galleries, Pace/MacGill has been dedicated to advancing fine art photography for over 30 years. Known for discovering artists, representing masters, and placing important collections and archives into major public institutions, Pace/MacGill has presented some 200 exhibitions and published numerous catalogues on modern and contemporary photography. Founded in 1983 by Peter MacGill, in collaboration with Arne Glimcher of Pace and Richard Solomon of Pace Editions, Pace/MacGill is located at 32 East 57th Street in New York City.

     

    Sol LeWitt

    September 8 – October 22, 2016
    534 W 21st Street

    NEW YORK – Paula Cooper Gallery is pleased to announce a sweeping celebration of Sol LeWitt’s prolific career in all public locations of the gallery. Opening on September 8th, the presentation will illuminate the pioneering scope of his oeuvre across a diverse range of mediums. The exhibitions will include monumental wall drawings in India ink and Styrofoam; enumerative, encyclopedic studies in photography; tectonic open structures and oblique complex forms; as well as prints and works on paper.

    At 534 West 21st Street, the gallery will present an exhibition of Sol LeWitt wall drawings. Diverging from his early austere minimalist aesthetic, the vigorous broad stripes of Wall Drawing #368 (1982) create a seductive, vibrating expanse. Installed in the front gallery space are two Styrofoam wall drawings from 1993, constructed from irregular polystyrene fragments. The works’ asperous edges reverberate in juxtaposition to the sharp angles and sleek planes of LeWitt’s Complex Form #65 (1989), also on view.

    At 521 West 21st Street, the gallery will present “Sol LeWitt/Liz Deschenes,” an exhibition organized in collaboration with Olivier Renaud-Clément. The show will feature new work by Liz Deschenes in dialogue with a selection of serialized photographic works by LeWitt—including Autobiography (1980), Cut Maps (1976), A sphere lit from the top, four sides, and all their combinations (2004) and Cube (1997). Concurrent with this exhibition, Miguel Abreu Gallery will present “Liz Deschenes/Sol LeWitt.” Also on view in a separate area of the 521 location will be a collection of Sol LeWitt works on paper.

    At 529 West 21st Street, the gallery will exhibit a Sol LeWitt structure from 1990, entitled 12 x 12 x 1 TO 2 x 2 x 6. In the early 1960s, LeWitt created his first open structures. Composed of open modular cubes that apportioned the form’s internal space and emphasized their linear and skeletal structure, they mitigated any elements of expressiveness. In the 1980s and 90s his open-cube structures took on intensified densely layered optical play that grew into elaborate architectural constructions.

    At 192 Books, there will be an exhibition of prints by Sol LeWitt.

    Artist Pages: Sol LeWitt

    Paula Cooper Gallery
    534 West 21st Street NY, NY 10011
    Tel 212.255.1105 / FAX 212.255.5156

     © Paula Cooper Gallery – Press Release

    Julie Saul Gallery is pleased to announce our twelfth solo show with Sally Gall during our thirty years of representation. The large scale color photographs in Aerial were made between winter 2014 and fall 2015, as she continues her ongoing investigation of the sensual world. In these images, the sun, wind and brilliant color animate laundry into painterly color fields of biomorphic shapes.Billowing skirts, bed sheets, and undergarments transform into orchids, sea creatures, celestial bodies, and reference painters such as Miro and Klee. Gall says, “what started as an exploration of humanity and an appreciation for the most basic of activities, hanging laundry to dry, has expanded into an exploration of the abstract and otherworldly.Ordinary identifiable objects become mysterious, strange, outside the human realm. An element of eros is added as I am literally looking up someone’s skirt.”

    Sally Gall, Composition #2, 2015 pigment print 26 x 40", 33 x 50", edition of 10. 2016 Julie Saul Gallery. All images copyright of respective artist.

    Sally Gall, Composition #2, 2015
    pigment print
    26 x 40″, 33 x 50″, edition of 10. 2016 Julie Saul Gallery. All images copyright of respective artist.

    Photographed in Italy, Cuba, and Croatia, the lines of laundry publicly expose the intimacies of domesticity. The delicate dance of hanging laundry morphs into a conversation between the figurative and abstract. Clothes embody the presentation of the self to the world. Gall is searching for the poetry in the quotidian, the marvelous in the every day choreography of blowing lines of laundry.

    Sally Gall received a BFA in photography from the Rhode Island School of Design in 1978. She has taught at the School of Visual Arts and the International Center of Photography in New York and lectured extensively in Europe and the United States. She has published two monographs, The Water’s Edge, 1995 and Subterranea, 2003. Public collections include the Guggenheim, Whitney, and Cleveland Museums, the San Francisco Museum of Modern Art, The Museum of Fine Arts in Houston, the RISD Museum, and the Hood Museum at Dartmouth College.

    Copyright 2016 Julie Saul Gallery. All images copyright of respective artist.

    www.saulgallery.com

    Opening Reception:
    Tuesday 13 September 2016, 6 – 8 pm

    On view: September 13 – October 22, 2016

    New York… Beginning 13 September, Hauser & Wirth will present ‘In The Wake’, its first exhibition with New York- based Zoe Leonard. The artist’s distinctive merging of photography, sculpture, and installation will unfold over three floors of the gallery’s townhouse, debuting three new bodies of work that balance the rigorous conceptualism and personal vision for which she has achieved critical recognition. On view through 22 October, the photographs and sculptures in the exhibition probe the generational impact of displacement and what Leonard has described as “statelessness as both an individual experience and a shared social condition.”

    Using old snapshots of Leonard’s family from the years after World War II as her starting point, Leonard examines the ripple effects of war that reverberate across generations. Her mother’s family was from Warsaw and remained there during World War II as active participants in the Polish Resistance Movement. At the end of the war, with Poland under Soviet occupation, Leonard’s grandmother – and her mother, still a child – escaped the country and reunited with her great aunt in a Displaced Persons camp in Italy. They remained stateless for over a decade before eventually immigrating to the United States and obtaining citizenship.

    With the work on view at Hauser & Wirth, Leonard draws a connection between the social upheaval of the postwar years and the rise of photography as a popular medium. The family snapshot can be understood as a form of self- representation and a mode of describing and sharing lived experience, an alternative to official representations of history. Leonard photographs these snapshots not only as images, but as objects – paper curled, surfaces shiny, and edges scalloped, cracked, or cut – in a way that pushes imagery to the edge of legibility and calls into question the idea of faithful reproduction or representation.

    By utilizing a wide variety of cameras, formats, and printing processes, Leonard creates a visual language that is erratic, stuttered, and dispersed. For example, in ‘Misia, postwar’ (2016), surface glare renders the central subject of the original snapshot illegible, while drawing attention to the imprint of a postmark. “It’s not that one sees less here,” Leonard explains, “but that different information becomes visible.” Through this highly subjective process, which Leonard describes as “the opposite of archiving,” she questions how historical narratives are produced. There is a story here; but Leonard’s work communicates more than the fact of displacement, expressing an alienated state of mind that is passed down.

    The works in this series have resonance today. “We live in a country primarily of immigrants, and that informs who we are,” Leonard has said. “While each of us has a different relationship to that fact, and a different family narrative, this experience figures deeply in our collective background.” Thus the work on view at Hauser & Wirth elicits questions: How do new arrivals translate past experiences and make a life in a new country? What constitutes citizenship, or belonging? What does it mean for a country to allow or deny access, selecting who can or cannot enter? How might official policies in turn give rise to xenophobia, racism, or a sense of division? Leonard invites us to consider how personhood is defined, negotiated, and legislated.

    Also on view on the first two floors of the gallery will be a group of new sculptures comprised of stacks of vintage photography manuals. Each stack consists of repeated copies of the same book. Such titles as ‘How To Take Good Pictures’ and ‘Total Picture Control’, suggest that there is only one correct way to frame a photo, and by extension imply that there is a correct way to frame one’s life and family history. Written for an audience of non- professional photographers, these books place the viewer in the role of the photographer. That shift in subject position – from looking at photographs on the wall, to being addressed as photographers – reminds us that we are all engaged in a critical form of self-representation.

    Other titles such as ‘Evidence in Camera’ or ‘Camera in the Sky’, speak to another side of photography. The same technical advances – speed, portability, affordability – that allowed photography to become a mode of popular expression have had other repercussions. With the emergence of the Cold War the camera’s role in surveillance expanded, and today the camera is accepted as constant presence in contemporary life, employed to provide evidence, prove identity, and verify citizenship.

    Taken together, Leonard’s new photographic works and sculptures invite us to contemplate the role photography plays in constructing history, and to consider the roots of contemporary photographic culture.

    ‘In The Wake’ concludes on the gallery’s third floor, where Leonard moves into the present with a series of photographs shot from her window in New York City, bringing our attention to the here and now. Training her camera on pigeons roosting and circling above neighboring roofs, Leonard’s photographs engage daily life in an urban setting. The birds, neither wild nor completely domesticated, circle in a logic of their own while the photographs track the artist’s process of observation, an intersection of activities. These works employ signature strategies of repetition and variation; printed as enlarged contact sheets, all the frames on each roll of film are presented at once, forming a multiple image with a shifting point of view. The prints draw attention to the act of looking itself – to observation as a complex, ongoing process.

    About the Artist

    Zoe Leonard was born in 1961 in Liberty, New York, and lives and works in New York. She has exhibited since the late 1980s and became well known internationally following her installation at Documenta IX in 1992. Recent solo exhibitions include ‘Analogue’, MoMA Museum of Modern Art, New York NY (2015); ‘100 North Nevil Street’, Chinati Foundation, Marfa TX (2013); ‘Observation Point’, Camden Arts Centre, London, England (2012); and ‘You See I am Here After All’, Dia:Beacon, Beacon NY (2009). In 2007, Leonard was the subject of a 20-year career retrospective at the Fotomuseum Winterthur, Winterthur, Switzerland, which travelled to Reina Sofía, Madrid, Spain (2008); Museum Moderner Kunst Stiftung, Vienna, Austria (2009); and Pinakothek der Moderne, Munich Germany (2009). Recent group shows include ‘Slip of the Tongue’, Punta della Dogana, Venice, Italy (2014) and the 2014 Whitney Biennial, Whitney Museum of American Art for which Leonard won the Bucksbaum Award.

    Hauser & Wirth New York
    32 East 69th Street

     

    Courtesy of Hauser & Wirth New York

     

    American filmmaker Martin Scorsese, Latvian violinist Gidon Kremer, and Brazilian architect Paulo Mendes da Rocha also receive prestigious global cultural award

    NEW YORK, NY: September 13, 2016 — The Japan Art Association announces that American photographer Cindy Sherman and French sculptor Annette Messager have won the 2016 Praemium Imperiale International Arts Award. Ms. Sherman is one of the most important photographers working today, famous for her decades-long practice of photographing herself in different guises as a way to explore media stereotypes. Ms. Messager is renowned for her installation work incorporating photographs, prints and drawings, and other materials of daily life in an effort to highlight the complexities of the human condition.

    Ms. Sherman and Ms. Messager are joined by three other internationally celebrated cultural figures: American filmmaker Martin Scorsese, considered one of the most significant and influential filmmakers in cinema history; American Latvian violinist Gidon Kremer, whom The New York Times has called “one of the most respected musicians of our time”; and Brazilian architect Paulo Mendes da Rocha, a founder of the Brutalist movement in São Paolo known for his innovative work with concrete and steel. Biographies of all the winners can be found here.

    At a ceremony in Tokyo on October 18, 2016, His Imperial Highness Prince Hitachi, honorary patron of the Japan Art Association, and his wife, Her Imperial Highness Princess Hitachi, will present each winner of the Praemium Imperiale, which brings with it 15 million yen (approximately $143,000), with a specially-designed gold medal and a testimonial letter.

    Now in its 28th year, the Praemium Imperiale International Arts Award is one of the most prestigious international prizes in the fields of Painting, Sculpture, Architecture, Music and Theatre/Film. It has become a powerful voice for the importance of cultural expression in today’s world, bringing international attention to the arts in much the same way as the Nobel Prize brings attention to the sciences.

    The Japan Art Association also announces that Malaysia’s Five Arts Centre has won the 2016 Grant for Young Artists, which brings with it 5 million yen (approximately $48000). The award, which was created in 1997 to commemorate the 10th anniversary of the Praemium Imperiale, recognizes a group or institution that encourages young people’s involvement in the arts.

     

    Born in 1954, Cindy Sherman first came to the public’s attention with her series of black-and-white photographs, Untitled Film Stills, all featuring images of the artist herself in various guises and in settings designed to look like scenes from actual movies. The portraits were created after many hours of careful research into locations and costumes and presented unique, thought-provoking imagery. Ms. Sherman welcomes the debate that her works often provoke, saying “I want people to imagine different stories looking at my work.” In 2012 she was the subject of a large-scale retrospective at MoMA. More recently she has exhibited 20 new images, her first new body of work since 2012. The pieces, created over a two-month period, feature Ms. Sherman in poses and landscapes reminiscent of the stylized photos of actresses in the 1920s.

    image005

    Born in 1943, Annette Messager has created a body of work that highlights the inner conflicts of the human condition and, in particular, the question of what constitutes a woman’s identity. Her work frequently demonstrates a surreal, playful or humorous character often connected to memory or poetry. In 1982, she broke new ground with an ambitious, large-scale work entitled Chimaeras that fused photomontage and fantasy. She has continued to work with stereotypically feminine materials and motifs, combining pieces of clothing, stuffed toys, embroidery and yarn with photographs of fragmented body parts and animal taxidermy to create powerfully affecting pieces. Ms. Messager has exhibited widely and was the subject of a major solo show at the Mori Art Museum in Japan in 2008. In 2005 she won the Golden Lion at the Venice Biennale.

    The Praemium Imperiale International Arts Award

    The 2016 Praemium Imperiale laureates join 139 of the greatest cultural figures of the 20th and 21st centuries. They include Ingmar Bergman, Leonard Bernstein, Peter Brook, Anthony Caro, Christo and Jeanne-Claude, Dietrich Fischer-Dieskau, Norman Foster, Athol Fugard, Frank Gehry, Jean-Luc Godard, David Hockney, Willem de Kooning, Akira Kurosawa, Renzo Piano, Robert Rauschenberg, Mstislav Rostropovich and Ravi Shankar. A complete list of winners can be found here.

    “The Praemium Imperiale honors the greatest artists of our time,” said Hisashi Hieda , chairman of the Japan Art Association. “Their glorious creations remind us that art is a universal language, bridging geographic boundaries and enhancing all our lives.”

    The Praemium Imperiale International Arts Award was created in 1988 to commemorate the 100th anniversary of the Japan Art Association and to honor the late Prince Takamatsu, who was the association’s honorary patron for 58 years.

    Cultural and International Leaders Nominate Winners

    The winners of the Praemium Imperiale International Arts Award are chosen by the Japan Art Association from a group of artists nominated by advisors from United States, France, Italy, the United Kingdom, Germany and Japan. Each advisor is guided by the recommendations of a nominating committee comprising cultural leaders from his home country.

    Leading the American nominating committee is William Luers, a former president of the United Nations Association of America and the Metropolitan Museum of Art and a retired American ambassador and diplomat. This is Mr. Luers’ 15th year as American Advisor since succeeding David Rockefeller, Jr., now an honorary advisor.

    Said Mr. Luers, “The Praemium Imperiale, perhaps more than any other award, brings attention to the importance and power of the arts, affirming the ability of creative minds from around the world to move us and make us think.”

    In addition to Mr. Luers, the international advisory panel includes the statesmen and business leaders Lamberto Dini, a former Italian prime minister; Christopher Patten, Chancellor of the University of Oxford and former Chairman of the BBC Trust; Klaus-Dieter Lehmann, President of Germany’s Goethe-Institut; former French Prime Minister Jean-Pierre Raffarin; and Yasuhiro Nakasone, a former Prime Minister of Japan.

    The honorary advisors are Jacques Chirac, former President of France; philanthropist David Rockefeller, former CEO of Chase Manhattan Bank; David Rockefeller, Jr., a philanthropist and environmentalist; and François Pinault, founder of Kering, the French retail conglomerate.

    2016 Grant for Young Artists

    Malaysia’s Five Arts Centre is the 20th winner of the Japan Art Association’s Grant for Young Artists, a sister award to the Praemium Imperiale that recognizes a group or institution which encourages young people’s involvement in the arts. Worth 5 million yen (approximately $48,000), the award was created in 1997 to commemorate the tenth anniversary of the Praemium Imperiale.

    Previous winners of the Grant for Young Artists include the Instituto Superior de Arte (Cuba); the Lodz Film School (Lodz, Poland); the Vietnam National Conservatory of Music (Vietnam); the Ulster Youth Orchestra (Northern Ireland); The Sphinx Organization (Detroit (MI) USA), which develops young Black and Latino classical musicians; and the Kremerata Baltica Chamber Orchestra (Latvia, Lithuania and Estonia). A complete list of winners can be found here.

    The Japan Art Association

    What is now known as the Japan Art Association was created in 1879 by the Meiji Emperor, who had become concerned that Western influences were threatening to eclipse Japanese art forms and traditional crafts. Eager to encourage Japanese artists and to forge relations with other countries, the Emperor created the precursor to today’s art association. Since then, the organization and its museum have played an active role in Japan’s cultural life, presenting exhibitions of traditional arts and of art from abroad. In 1988, on the association’s 100th anniversary, its leaders created the Praemium Imperiale International Arts Award in honor of the late Prince Takamatsu, who had served as honorary patron for 58 years. His wish that Japan promote world peace through the arts is the guiding principle of the Japan Art Association.

    Courtesy of www.praemiumimperiale.org

    The National Portrait Gallery announces its first commissioned portrait of an American Latino and showcases new works that have been added to the museum’s collection.

     

    Sitter: Anaya, Rudolfo Alfonso (born 30 Oct 1937) Artist: Enriquez, Gaspar (born 1942) 2016 Acrylic on paper Frame: 94.3 × 124.9 × 6.4cm (37 1/8 × 49 3/16 × 2 1/2") NPG.2016.100

    Sitter: Anaya, Rudolfo Alfonso (born 30 Oct 1937)
    Artist: Enriquez, Gaspar (born 1942)
    2016
    Acrylic on paper
    Frame: 94.3 × 124.9 × 6.4cm (37 1/8 × 49 3/16 × 2 1/2″)
    NPG.2016.100

    The Smithsonian’s National Portrait Gallery has recently added new portraits of prominent Latino figures and artists to its permanent collection. The museum also undertook its first Latino commission: a portrait by El Paso artist Gaspar Enríquez of New Mexican writer Rudolfo Anaya, author of Bless Me, Ultima. It will be installed in November 2016.

     

    Other significant acquisitions for the Portrait Gallery include the remastered 1974 film Mirage by the late Cuban American artist Ana Mendieta; the iconic photograph “¡Yo soy de Cuba la voz, Guantanamera!” by Cuban American photographer Alexis Rodríguez-Duarte, in collaboration with stylist Tico Torres; and a portfolio of 18 photographs from Rodríguez-Duarte’s and Torres’ series “Cuba out of Cuba.” The portfolio features key Cuban American personalities, including musicians Gloria and Emilio Estefan, journalist Cristina Saralegui, fashion designers Isabel Toledo and Narciso Rodríguez and playwright Nilo Cruz.

     

    Other newly acquired works depict U.S. Poet Laureate Juan Felipe Herrera, historian Rudolfo Acuña, guitarist Louie Pérez and visual artist Rupert García by Harry Gamboa Jr. from his “Chicano Male Unbonded” series, Grammy Award-winning accordionist Flaco Jiménez by Al Rendón and portraits of Nuyorican writers Piri Thomas and Tato Laviera by Máximo Colón.

     

    These acquisitions and the commission were made possible through federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

     

    In addition, the Portrait Gallery is hosting events to coincide with Hispanic Heritage Month. From Sept. 15 through Oct. 15, the museum will have on view 24 portraits of Latino artists and sitters, including Rubén Blades, Pedro Martínez, Rita Moreno, Nicholasa Mohr, John Santos and many more, as well as a portrait of Juan Nepomuceno Seguín, hero of the Texas revolution, by Thomas Jefferson Wright, which is on loan from the Texas State Capitol.

     

    National Portrait Gallery Hispanic Heritage Month Programs

     

    Portrait Story Days

    Saturdays, 1–4 p.m.

    Sundays, 2–5 p.m.

    Sept. 24 and 25: Dolores Huerta

    Oct. 1 and 2: Pedro Martínez

    Oct 8 and 9: Sonia Sotomayor

    Oct. 16: César Chávez

    Education Center

    Visitors can listen to a story and create art inspired by people in the museum’s collection. In partnership with Martin Luther King Jr. Memorial Library, DC Public Library

     

    Young Portrait Explorers: Sonia Sotomayor

    Monday, Oct. 3; 10:30–11:30 a.m.

    G Street lobby

    Kids can explore the Portrait Gallery in a program that touches on art and history through storytelling. For toddlers up to age five and their adult companions. Registration required; visit npg.si.edu.

     

    Thursdays at Noon: Slow Looking

    Thursday, Oct. 6

    Visitors can sketch and discuss Nelson Shanks’ portrait, “The Four Justices,” with a Portrait Gallery educator. Materials provided.

     

    Hispanic Heritage Month Family Day

    Saturday, Oct. 15; 11:30 a.m. to 3 p.m.

    Kogod Courtyard

    Visitors can create art, listen to music and dance in celebration of Hispanic heritage in America.

     

    Thursdays at Noon: Portrait Conversations

    Thursday, Oct. 20

    Visitors can learn about the portrait of Juan Nepomuceno Seguín, hero of the Texas revolution, by artist Thomas Jefferson Wright, with Taína Caragol, the museum’s curator of Latino art and history.

    National Portrait Gallery

     

    Would you like to participate in an artwork? Reykjavik Art Museum is working on a display with artist Yoko Ono in the Harbor House in Reykjavik city. Yoko Ono is known for realizing her works with audience participation and this would most definitely constitute as such a work. Ono invites women from all over the world to send a testament of harm inflicted on them, for simply being what they are; a woman.

    The open call from the artist is as follows:

    WOMEN OF ALL AGES, FROM ALL COUNTRIES OF THE WORLD: YOU ARE INVITED TO SEND A TESTAMENT OF HARM DONE TO YOU FOR BEING A WOMAN.

    WRITE YOUR TESTAMENT IN YOUR OWN LANGUAGE, IN YOUR OWN WORDS, AND WRITE HOWEVER OPENLY YOU WISH. YOU MAY SIGN YOUR FIRST NAME IF YOU WISH, BUT DO NOT GIVE YOUR FULL NAME.

    SEND A PHOTOGRAPH OF YOUR EYES. THE TESTAMENTS OF HARM AND PHOTOGRAPHS OF YOUR EYES WILL BE EXHIBITED IN MY INSTALLATION ARISING, OCTOBER 7, 2016 – FEBRUARY 5 2017, AT REYKJAVÍK ART MUSEUM.

    I VERY MUCH HOPE FOR YOUR PARTICIPATION.

    yoko ono

    SEPTEMBER 6, 2016

    Arising is an ongoing project and it will always be possible to add testaments. Bring your testaments and photographs of your eyes in person, send them by mail to Arising, Listasafn Reykjavíkur, Tryggvagata 17, 101 Reykjavík or send them by email to: arising@reykjavik.is

    Readers are encouraged to share the Facebook Event to women they know.

    #Icenews http://www.icenews.is/2016/09/10/arising-an-open-call-from-yoko-ono-to-women-worldwide/#ixzz4K8sGS0Oi

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