Claude Monet @ Detroit Institute of Arts - Monet: Framing Life

Monet: Framing Life
DIA - Detroit Institute of Arts
Through March 4, 2018

Claude Monet

“Rounded Flower Bed (Corbeille de fleurs),” 1876 

Oil on canvas 

Detroit Institute of Arts

“Monet: Framing Life” is an intimate exhibition focusing on an important painting in the DIA collection—Claude Monet’s “Rounded Flower Bed (Corbeille de fleurs)” from 1876, formerly known as “Gladioli” and recently retitled based on new research. Claude Monet created this work while living in the Paris suburb of Argenteuil between late 1871 and early 1878, an especially productive time. It was there that he met and worked beside fellow avant-garde painters that formed the group now known as the Impressionists.

Pierre-Auguste Renoir

“Claude Monet,” 1872 

Oil on canvas 

National Gallery of Art, Washington, D.C. 

Collection of Mr. and Mrs. Paul Mellon, 1985.64.35

This exhibition brings the DIA’s painting together with 10 other Argenteuil paintings by Monet and fellow impressionist Pierre-Auguste Renoir—including seven major loans from the National Gallery of Art, Washington, D.C. In doing so, the exhibition presents a more comprehensive story about the creation of “Rounded Flower Bed (Corbeille de fleurs)” and how it fits into Monet’s body of work, as well as the history of Impressionism more broadly.

A catalog accompanies the exhibition.

This exhibition has been organized by the Detroit Institute of Arts and made possible by the Bonnie Ann Larson Modern European Master Series.

DIA - DETROIT INSTITUTE OF ARTS
5200 Woodward Avenue, Detroit, Michigan 48202
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Contemporary African American art, "30 Americans" at DIA, Detroit

30 Americans 
The Detroit Institute of Arts 
October 18, 2015 - January 18, 2016

Barkley L. Hendricks 

Noir, 1978

Oil and acrylic on canvas. 

Courtesy of Rubell Family Collection, Miami

The Detroit Institute of Arts (DIA), one of the premier art museums in the US, presents “30 Americans,” a dynamic exhibition of contemporary art by African American artists, on view Oct. 18, 2015–Jan. 18, 2016. “30 Americans” includes 55 paintings, sculptures, installations, photographs and videos by many of the most important African American artists who rose to prominence during recent decades by exploring racial, gender, political and historical identity in contemporary culture.

Jean-Michel Basquiat 

Bird On Money, 1981

Acrylic and oil on canvas. 

Courtesy of Rubell Family Collection, Miami 

Among the renowned artists included are Barkley Hendricks, Kerry James Marshall, Carrie Mae Weems, Lorna Simpson and the late Jean-Michel Basquiat and Robert Colescott. Their influence on a younger generation can be seen in the works of artists such as Kehinde Wiley, Nick Cave, Mickalene Thomas and Kara Walker.

Rashid Johnson 

The New Negro Escapist Social and Athletic Club (Thurgood), 2008

Lambda print, Ed. 2/5. 

Courtesy of Rubell Family Collection, Miami 

The exhibition is organized around several artistic approaches used by the artists to explore identity: defying Western art traditions; portraying black subjects as real people as opposed to types; sampling multiple sources of inspiration, from historical material to found objects; freestyling by adopting improvisational and expressionistic styles to demonstrate creative and technical virtuosity; signifying through the use of symbols, materials and images that imply or trigger associations about gender, race, religion, class and sexuality; transforming the body’s appearance to examine the relationship between societal assumptions and identity; and confronting American history regarding race, racism and power in the United States.

This exhibition is drawn from the acclaimed Rubell Family Collection, Miami.

Artists in the exhibition

Nina Chanel Abney (1982)
John Bankston (1963)
Jean-Michel Basquiat (1960 - 1988)
Mark Bradford (1968)
Iona Rozeal Brown (1966)
Nick Cave (1959)
Robert Colescott (1925 - 2009)
Noah Davis (1983)
Leonardo Drew (1961)
Renée Green (1959)
David Hammons (1943)
Barkley L. Hendricks (1945)
Rashid Johnson (1977)
Glenn Ligon (1960)
Kalup Linzy (1977)
Kerry James Marshall (1955)
Rodney McMillian (1969)
Wangechi Mutu (1972)
William Pope.L (1955)
Gary Simmons (1964)
Xaviera Simmons (1974)
Lorna Simpson (1960)
Shinique Smith (1971)
Jeff Sonhouse (1968)
Henry Taylor (1958)
Hank Willis Thomas (1976)
Mickalene Thomas (1971)
Kara Walker (1969)
Carrie Mae Weems (1953)
Kehinde Wiley (1977)
Purvis Young (1943 - 2010)

Detroit Institute of Arts 
5200 Woodward Avenue
Detroit, Michigan 48202
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Punch’s Progress: A Century of American Puppetry Exhibition

Punch's Progress: A Century of American Puppetry

Traveling Detroit Institute of Arts Exhibition

Venues: September 2000 - April 2002

Dancing on nimble fingers or twirling from strings, puppets have taught and entertained generations from America's earliest days. The Detroit Institute of Arts traces this amazing trajectory in Punch's Progress: A Century of American Puppetry. Touring statewide, the exhibition provides an opportunity to enjoy the history, wonder and artistry of puppets. Punch's Progress is one of many traveling exhibitions the museum organizes to help fulfill its mission of extending its reach to various communities.

The Detroit Institute of Arts is home to one of the most historically important puppet collections in North America. Drawn from the critically acclaimed Paul McPharlin Collection, this exhibition includes fanciful marionettes, rod, hand and shadow puppets that delight audiences and reveal the importance of American puppetry and puppeteers. Included are diverse works, ranging from American wooden puppets to elegant marionettes of popular icons, such as entertainer Josephine Baker, skater Sonja Henie and former President Franklin D. Roosevelt as Punch's baby.

Puppet shows were popular in frontier America, and by the turn of the century elaborately detailed figures performed to live audiences in music halls. Professional puppet troupes toured the vaudeville theater circuit, often accompanied by full orchestras. During the 1920s, puppetry became recognized and appreciated by educational and arts organizations, and classic literature was often performed. During the late 1930s to early 1940s, cabaret puppetry for adults was popular, and the first puppets for a growing new medium, television, were created. Puppetry quickly became popular mass entertainment, often directed at children. Punch's Progress explores the wonder and evolution of this popular art.

Punch's Progress: A Century of American Puppetry will appear in the following venues:

Muskegon Museum of Art, September 7 - October 22, 2000

Detroit Institute of Arts, November 19 - December 31, 2000

Meadow Brook Art Gallery, January 12 - February 25, 2001

Port Huron Museum, May 5 - June 24, 2001

Ella Sharp Museum, November 17, 2001 - January 13, 2002

Kalamazoo Institute of Arts, February 1 - April 28, 2002

This exhibition was organized by the Detroit Institute of Arts and is supported by a generous grant from the Consumers Energy Foundation. Additional support provided by the Michigan Council for Arts and Cultural Affairs and the City of Detroit.

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

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Andy Warhol at Dia Center for the Arts, New York

Andy Warhol: Shadows
Dia Center for the Arts, New York
December 4, 1998 - June 13, 1999

Dia Center for the Arts presents an exhibition of Andy Warhol's Shadows (1978), a single work comprised of over 100 panels. The installation will be on view in Dia's 545 West 22nd Street exhibition gallery. 

Acquired directly from the artist in 1979, Shadows remains a centerpiece of Dia's collection. The scale and ambition of Shadows, while grand even for Warhol, is characteristic of the key works in Dia's collection. This presentation of Shadows will constitute the second exhibition in Dia's new facility at 545 West 22nd Street. The paintings will be hung contiguously around the 298 feet of the gallery's perimeter, sequenced according to the artist's original plan, and in conformity with his conception of the work, which he designated as "one painting with...parts."

Each panel, measuring 76 x 52 inches, is of acrylic paint, variously silkscreened and handpainted on canvas. The whole encompasses an extraordinary range of colors, from subtle and muted to brilliant neon, placing Shadows among Warhol's most remarkable and compelling works.

Andy Warhol was born on August 6, 1928, in McKeesport, Pennsylvania, to immigrant parents of Czechoslovakian descent. He studied design at Carnegie Institute of Technology in Pittsburgh from 1945 to 1949. After a successful and distinguished career as a commercial illustrator in New York in the 1950s, he began exhibiting his paintings with silkscreened Pop imagery in 1962. In 1963 he began making films. Thereafter, his work was shown widely. Andy Warhol died on February 22, 1987.

Dia Center for the Arts
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Tracey Moffatt at Dia Center for the Arts, NYC

Tracey Moffatt: Free-falling
Dia Center for the Arts, New York
October 9, 1997 - June 14, 1998

Dia Center for the Arts presents an exhibition of the work of Australian photographer and filmmaker, Tracey Moffatt. This exhibition, entitled Free-falling, will be on view on the fourth floor of Dia's galleries at 548 West 22nd Street, New York City.

Free-falling includes two newly commissioned works: a suite of twenty-five photographs called Up in the Sky (1996) and a video installation, Tracey Moffatt's first in this medium. The subject of this video piece will be a surfer, a figure close to the heart of Australia's contemporary self-image. By contrast, Up in the Sky, which was shot near Broken Hill in the Outback, draws on imagery and a landscape that have long been central to the Australian mythos. In addition, the exhibition includes Guapa (Goodlooking), a series of twelve monochrome photographs loosely based on the theme of the roller derby, which Tracey Moffatt made in 1995 while on a residency at ArtPace in San Antonio, and Night Cries: A Rural Tragedy (1990), her early but prophetic short film. Guapa explores the intersection of violence with eroticism as sanctioned under the umbrella of sport. Silhouetted against neutral backdrops, the carefully choreographed female contestants create formally compelling images recalling at times sculptural groupings from the art of the past: artifice is as intrinsic to this sport as it is to Tracey Moffatt's aesthetic.

Of Abori-ginal descent, Tracey Moffatt has gained increasing international attention in the past several years. In 1995 she was awarded a prize at the Kwangju Biennale in Korea, and two of her films were shown at the Cannes Film Festival. Given that she is also included in this year's Venice Biennale and Site Santa Fe exhibitions, Tracey Moffatt, who was born in 1960 in Brisbane, is among the preeminent Australian artists of her generation. Free-falling is her most substantial exhibition to date.

Major funding for this exhibition has been provided by the Lannan Foundation, The Andy Warhol Foundation for the Visual Arts, The Embassy of Australia on behalf of the Department of Foreign Affairs and Trade, and The Australia Council for the Arts with an additional generous contribution by the Wolfensohn Family Foundation.

Dia Center for the Arts
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Richard Serra at Dia Center for the Arts, New York

Richard Serra: "Torqued Ellipses"
Dia Center for the Arts, New York
September 25, 1997 - June 14, 1998

Dia Center for the Arts presents an exhibition of new sculpture by the American artist RICHARD SERRA. Titled "Torqued Ellipses," this exhibition will mark the debut of Dia's second exhibition building for temporary exhibitions, at 545 West 22nd Street, located directly across the street from its current facility at 548 West 22nd Street, New York City.

The Torqued Ellipses mark a new departure in Richard Serra's oeuvre, one which involves bending steel in a totally unprecedented manner. Four years ago, Serra conceived this group of approximately twenty sculptures in the form of lead models. A CATIA computer program was developed from the models to enable a rolling machine to torque the steel plates. After a protracted search, Serra finally located Beth Ship, a shipyard and rolling mill at Sparrow's Point outside Baltimore, which was willing to undertake the project. To date, four sculptures from this series have been realized, three of which will be on view at Dia this fall.

As Mark Taylor writes in his essay for the catalogue that will accompany the exhibition:

The effect of these works is extraordinary. Though made of heavy industrial materials and massive in size, they have the delicacy of finely folded ribbon or even paper twisted to form a Möbius strip that never quite reaches closure. As one moves from outside to inside by passing through the gap in these works, everything shifts. Lines that appear straight on the outside bend and buckle on the inside; arcs that seem to tilt away when viewed from without bend inward to enfold subject in object when experienced from within. As twisted space surrounds or even circulates through the perceptive body, the space and time of the work of art become utterly destabilizing and disorienting.

Born in San Francisco in 1939, RICHARD SERRA has a longstanding engagement with steel. After financing his college degree by working in steel mills, Serra adopted steel as his preferred material in the late sixties: he has continued to use it in different ways, propped, bent, forged, and rolled for over three decades.

Since his first solo show in Rome in 1966, Richard Serra has had numerous exhibitions throughout the world, including a 1986 retrospective at the Museum of Modern Art, New York. In addition, he has created a number of seminal site-specific sculptures in public venues in both North America and Europe. Most recently, as his contribution to the current Sculpture Projects in Münster, Germany, Serra was commissioned to make a permanent installation at one of that city's most renowned historic buildings, the Haus Rüschhaus designed by the Baroque architect J.C. Schlaun. Serra recently installed Snake, a 100-feet-long, 13-feet-high sculpture commissioned by the Guggenheim's new museum in Bilbao. In the fall of 1998, he will open an exhibition of large-scale installations at the Geffen Contemporary at the Museum of Contemporary Art, Los Angeles.

Dia Center for the Arts
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Fred Sandback at Dia Center for the Arts, New York

Fred Sandback: Sculpture
Dia Center for the Arts, New York
September 12, 1996 - June 29, 1997

American artist Fred Sandback's installation entitled Sculpture, opens to the public at Dia Center for the Arts, 548 West 22nd Street, New York City, on September 12, 1996. The exhibition, located in the second floor gallery, remains on view through June 29, 1997. 

Sculpture is an installation of new works together with older pieces from Dia's extensive collection of Fred Sandback's art. For more than twenty-five years, Fred Sandback has been using linear elements, in particular colored yarns to give physical form, together with impressions of palpability, to the space his work delimits. Defining the boundaries of three-dimensional geometric forms with these minimal means Fred Sandback creates discrete works that co-exist within the continuum of the exhibition space.

Fred Sandback was born in Bronxville, New York in 1943. After studying first philosophy then sculpture at Yale University he moved to New York City where he continues to live and work. Since the late 1960s Sandback has exhibited extensively in the United States and internationally, and his work is represented in the collections of The Museum of Modern Art, New York, The Whitney Museum of American Art, and The National Gallery of Canada, Ottawa, among others.

Dia Center for the Arts
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Juan Munoz at Dia Center for the Arts, New York

Juan Muñoz: A Place Called Abroad
Dia Center for the Arts, New York
September 26, 1996 - June 29, 1997

Juan Muñoz's installation entitled A Place Called Abroad will open to the public at Dia Center for the Arts, 548 West 22nd Street, New York City, on September 26, 1996.

In creating A Place Called Abroad, Juan Muñoz will transform the 7,500 square foot gallery on Dia's fourth floor into a street-like environment with residual spaces populated by groups of figures. In pursuing his fascination with architecture, Muñoz deconstructs the gallery space, diagonally cutting through existing walls, in order to create a fictional street. Fragments of the pre-existing space remain visible throughout the installation. This overlay of past and present creates a habitat for Muñoz's figures.

In curator Lynne Cooke's 1995 essay for Parkett, Muñoz's figures are described as "withdrawn, absorbed or otherwise distracted" creating a "dislocated dialogue between spectator and artwork." In contrast, Muñoz's newly created figures engage with each other and transform the space into settings for exchange and display.

Juan Muñoz was born in 1953 in Madrid, Spain, where he continues to live and work. Since his first solo show in 1984, Juan Muñoz has exhibited widely. This is his first major one-person show in an American museum.

Major funding for this exhibition has been provided by the Lannan Foundation, the National Endowment for the Arts, the Spanish Cultural Ministry, Placido Arango and the members of the Dia Art Council.

Dia Center for the Arts
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Hanne Darboven at Dia Center for the Arts, New York

Hanne Darboven: Kulturgeschichte 1880-1983
Dia Center for the Arts, New York

Hanne Darboven's monumental work entitled Kulturgeschichte 1880-1983 (Cultural History 1880-1983), 1980-1983, will open to the public at Dia Center for the Arts, 548 West 22nd Street, New York, on March 28, 1996.

Kulturgeschichte 1880-1983 consists of 1,590 wall-mounted panels of uniform size and format and nineteen objects. It traces one hundred years of history via a miscellany of images and texts that range from postcards to art reproductions, portraits of film stars, and the covers of weekly magazines. Many bear handwritten notes and quotations.

Over the past thirty years, this German artist has created a vast body of work based on time as registered by history and by memory alike. Beginning with the date, whose numbers she manipulates into a temporal and chronological system, Hanne Darboven has in Kulturgeschichte 1880-1983 constructed an encompassing, encyclopedic archive that fuses public history and collective memory with personal experience.

Hanne Darboven was born in 1941 in Munich, Germany. In 1965 she graduated from the Hochschule für Bildende Kunst in Hamburg, where she had studied painting. Between 1966 and 1968, Darboven lived in New York City where she created her first mature works, which placed her at the center of Conceptual art practice. Since 1967 she has participated in numerous national and international exhibitions, including Reconsidering the Object of Art: 1965-1975, Museum of Contemporary Art, Los Angeles, 1995-96. In New York City she has shown with Leo Castelli Gallery since 1973. She lives and works in Hamburg, Germany.

Dia Center for the Arts

548 West 22nd Street, New York
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