Van Gogh: Face to Face Exhibition at Detroit Institute of Arts

Art Exhibition > Vincent van Gogh (1853-1890)
Art Exhibition > Michigan > Detroit > Detroit Institute of Arts

 

Van Gogh: Face to Face

Detroit Institute of Arts

March 12 - June 4, 2000

 

Museum of Fine Arts, Boston

July 2 - September 24, 2000

Philadelphia Museum of Art

October 22, 2000 - January 14, 2001

 

The Detroit Institute of Arts presents the premier showing of Van Gogh: Face to Face, the first exhibition of portraits by Vincent van Gogh (1853-1890). Organized by The Detroit Institute of Arts, the Museum of Fine Arts, Boston, and the Philadelphia Museum of Art, this major exhibition celebrates the artist’s commitment to and love of portraiture and features 70 paintings and drawings that are being brought together from an array of public and private international collections.

Exhibition Publication: The exhibition is accompanied by a lavishly illustrated, 272-page survey of Van Gogh’s portraiture published by The Detroit Institute of Arts and Thames & Hudson, Inc. Van Gogh: Face to Face features over 200 color illustrations, essays by exhibition curators and other leading scholars, as well as a bibliography. The softbound publication ($29.95) will be available in March 2000 at the DIA, with the hardbound edition ($50) available in April.

Exhibition Tour: The exhibition subsequently will be on view in Boston from July 2 - September 24, 2000 and in Philadelphia from Oct. 22, 2000 - Jan. 14, 2001.

Update (June 2, 2000) : The Detroit Institute of Arts closes the exhibition on June 4, with record-breaking ticket sales approaching 308,000. This takes the popular exhibition over the top as the largest attended exhibition in the DIA's 115-year history.

 

Organizer’s & Sponsors: Van Gogh: Face to Face is organized by The Detroit Institute of Arts, the Museum of Fine Arts, Boston, and the Philadelphia Museum of Art. The Detroit showing of the exhibition is made possible by a contribution from the DaimlerChrysler Corporation Fund. Additional support is provided by the Michigan Council for Arts and Cultural Affairs and the City of Detroit.

DIA’s upcoming exhibition: Punch's Progress: A Century of American Puppetry

DIA’s News: Creation of the GM Center for African American Art at Detroit Institute of Arts

Gerald Ferguson et Tatsuo Miyajima au MBAC, Ottawa

Tenir compte de l'an 2000

Musée des beaux-arts du Canada, Ottawa 

17 décembre 1999 - 26 mars 2000 

A l'aube du troisième millénaire, le Musée des beaux-arts du Canada présente Tenir compte de l'an 2000, une série d'installations qui regroupe les œuvres des artistes contemporains Gerald Ferguson et Tatsuo Miyajima, qui traitent de questions liées au temps, à la répétition et au calcul. 

Le temps, c’est de l’argent, nous a-t-on dit. Ce siècle a vu l’invention de la ligne de montage où l’inlassable répétition des mêmes mouvements produit tantôt une voiture, tantôt un lave-linge. Décomposé en unités, le travail se traduit en profit. 1 000 000 de cents de l’artiste de Halifax Gerald Ferguson représente un investissement de temps qui reste indéterminé, mais il n'existe aucune équivoque quant à sa valeur. On peut présenter la sculpture ou, comme le suggère l’artiste, la déposer dans un compte bancaire où elle accumulera de l’intérêt. D’autre part, ses tableaux 1 000 000 de raisins résultent de son désir d’investir du temps dans son art. Se servant d'un pochoir, il a peint en noir sa grille de quarante raisins 250 fois sur chaque toile. Cent toiles à raison de dix mille raisins par toile font un million, mais laissons le calcul à l’artiste. L’image a disparu, seuls demeurent les noirs résidus d'un surcroît de travail. L'installation de 1 000 000 de cents a été rendue possible grâce à la collaboration de la Monnaie royale canadienne.

Dans Chemin Mille de Tatsuo Miyajima, les nombres tiennent lieu d’image, un fait qui importe à cet artiste japonais puisque les nombres transcendent les frontières culturelles. Chemin Mille est essentiellement un système de calcul constitué de mille compteurs à diode électroluminescente (DEL) reliés ensemble par unités de dix. Chaque unité compte de 1 à 99, puis transmet un signal à l’autre unité, et ainsi de suite, à perpétuité. Le système incarne trois principes de la philosophie bouddhiste également valables en physique moderne : le changement perpétuel, l'interconnexion universelle, la continuité éternelle. On peut considérer Chemin Mille comme le fragment d’un modèle de l’univers en constante fluctuation.

Si l’on peut aujourd’hui mesurer l’infiniment grand – ou l'infiniment éloigné dans l'espace ou dans le temps, – il apparaît difficile le concevoir sans nous diminuer nous-mêmes proportionnellement. Ces œuvres de Gerald Ferguson et de Tatsuo Miyajima nous donnent l’occasion de contempler l’immensité à une échelle humaine. 

Source : MBAC

Musée des beaux-arts du Canada 

www.beaux-arts.ca

Miron Zownir, Büro für Fotos, Cologne - Radical Eye

Miron Zownir: Radical Eye

Büro für Fotos, Cologne

4 December 1999 - 29 January 2000

MIRON ZOWNIR (b. 1953) started out photographing punks in Berlin in the 1970s, and then moved to the USA where he began chronicling fringe sexuality, freaks and down-and-outs in New York. When the Soviet Union collapsed, he went to Russia to continue his work there.

The result is a collection of every kind of depravity and degradation, humanity at its lowest ebb: freaks, drug addicts, the insane, and other outsiders-each difficult to behold, and even harder to accept. But Miron Zownir makes no judgements about his subjects or their lives. He lets them express themselves solely through his camera lens; they look at us and their gaze shows us who they are.

The portraits of these people fascinate us because they transcend voyeuristic glimpses of weirdness to represent unflinching portraits of humanity.

BURO FUR FOTOS

Ewaldistraße 5, 50670 Köln

www.burofurfotos.de

Man Ray, Fraenkel Gallery, San Francisco

Man Ray

Fraenkel Gallery, San Francisco

December 2, 1999 - January 29, 2000

Fraenkel Gallery presents an exhibition of rare vintage photographs by MAN RAY. These photographs, admired and studied by scholars for many decades, typify the revolutionary trends set by Man Ray and his fellow participants in the Surrealist movement of the 1920s and 1930s. Stunning in their iconographic stature, these vintage prints map Man Ray's artistic progress from 1921, when he first moved from New York to Paris, through the early 1930s, by which time he was a leader among the Surrealists. To study these photographs is to witness Man Ray's uncanny ability to transform the ordinary into the fantastic.

Among the pieces on view in the exhibition is the exceedingly rare large-format rayographs that Man Ray made at the beginning of his career as a serious artist. As a way of seeing, this autobiographically named technique challenged conceptions of the physical world and its translation into visual media. Of Man Ray's style it is said:

The camera thereby became a way to shatter the fundamental ambiguity of the world. As early as 1918, Man Ray used it not only to challenge standard conventions of perspective but also to underscore the indeterminate nature of photographed reality. Without wanting to assert a direct correlation between the publication of new scientific theories and the new visual idiom explored by Man Ray, his efforts now appear striking in the way they placed photography at the center of one of the major aesthetic debates of the day. (Man Ray: Photography and its Double, p. 207)

Man Ray's captivating rayograph of The Banjo is one such example displayed in the exhibition. Also included in the show is the rare and intimate view Self-Portrait in Studio, the imaging of the self inherent both in the artist's physical presence and in that of two of his rayographs depicted on his studio walls.

FRAENKEL GALLERY

49 Geary Street, San Francisco, CA 94108

fraenkelgallery.com