This drive
toward modern and contemporary art is transforming the business completely.
Not exact matches
More recently, the notable gifts of funds from the
Contemporary and Modern Art Council have contributed
toward the acquisition of significant artworks including examples by Dan Flavin, William Kentridge, Yinka Shonibare,
and Kara Walker.
(c. 1916 - 1917) Linoleum cut title page with watercolor & gouache additions from a portfolio of six linoleum cuts June 11 — August 18, 2008 This exhibition, which inaugurates a series of newly opened galleries on the Museum's second floor, surveys the widespread
and recurring impulse
toward geometric abstraction in
modern and contemporary art.
Traveled to the Musei Comunali, Rimini, Italy
and Ex Colonia Le Navi, Cattolica, Italy
Toward a New Museum, San Francisco Museum of
Modern Art Biennial Exhibition, Whitney Museum of American
Art, New York (catalogue) Currents, Institute of
Contemporary Art, Boston 1990 Mind Over Matter, Whitney Museum of American
Art, New York (catalogue) SECA Award Exhibition, San Francisco Museum of
Modern Art New Work: A New Generation, San Francisco Museum of
Modern Art 1989 Image World, Whitney Museum of American
Art, New York (catalogue) The New Narratology, Artspace Annex, San Francisco.
It also corresponds with,
and gestures
toward, the recent publication of Texas Abstract:
Modern Contemporary, an important new book on abstract
art in Texas that investigates the origins of the style from the early 20th century to the present.
An exhibition he organized at the Institute of
Contemporary Arts in 1955, «Man, Machine
and Motion,» signaled his fascination with
modern technology
and mass - produced images,
toward which he adopted a critical but receptive stance.
But while he maintained that
modern art is «the expression of
contemporary aims,» he was mindful of precedents, including Surrealism
and Asian brush painting, that pointed the way
toward his ultimate goal: an
art that gave visual form to intangible «inner forces.»
«American
Art Today: Faces
and Figures,» The Patricia & Phillip Frost
Art Museum (formerly The
Art Museum at FIU), Florida International University, Miami, FL, January 17 — March 9, 2003 «The Harlem Renaissance
and Its Legacy,» Worcester
Art Museum, Worcester, MA, January 18 — April 13, 2003 «A Century of Collecting: African American
Art in the
Art Institute of Chicago,»
Art Institute of Chicago, Chicago, IL, February 15 — May 18, 2003; catalogue «Structures of Difference,» Wadsworth Atheneum Museum of
Art, Hartford, CT, February — April 13, 2003 «The Space Between: Artists Engaging Race
and Syncretism,» Davis Museum
and Cultural Center, Wellesley College, Wellesley, MA, March 18 — June 8, 2003 «Visual Poetics:
Art and the Word,» Miami
Art Museum, Miami, FL, April 25 — November 16, 2003; brochure «Visualizing Identity,» The Jack S Blanton Museum of
Art, University of Texas at Austin, Austin, TX, August 27, 2003 — January 4, 2004 «Drawing
Modern: Works from the Agnes Gund Collection,» Cleveland Museum of
Art, Cleveland, OH, October 26, 2003 — January 1, 2004; catalogue «Skin Deep,» Numark Gallery, Washington, D.C., March 15 — April 26; brochure «Only Skin Deep: Changing Visions of the American Self,» curated by Coco Fusco
and Brian Wallis, International Center of Photography, New York, NY, December 12, 2003 — February 29, 2004; traveled to Seattle
Art Museum, Seattle, WA, 2004; Museum of Photographic
Arts, San Diego, CA, 2005; catalogue «Supernova,» San Francisco Museum of
Modern Art, San Francisco, CA, 2003 «Fast Forward: Twenty Years of White Rooms,» White Columns, New York, NY, 2003; catalogue «Today's Man,» curated by John Connelly, Hiromi Yoshii Gallery, Tokyo, Japan, 2003 «The Disembodied Spirit,» curated by Alison Ferris, Bowdoin College Museum of
Art, Brunswick, ME, 2003; catalogue «The Alumni Show,» curated by Nina Felshin, Ezra
and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2003; catalogue «Crimes
and Misdemeanors,»
Contemporary Arts Center, Cincinnati, OH, 2003 «DL: The Down Low in
Contemporary Art,» Longwood
Art Gallery at Hostos, Bronx, NY, 2003 «The Paper Sculpture Show,» organized by ICI, Sculpture Center, Long Island City, NY, 2003; traveled to
Contemporary Art Center of Virginia, Virginia Beach, VA; Hunter Museum of American
Art, Chattanooga, TN; Southeastern Center for
Contemporary Art, Winston - Salem, NC; Orange County Museum of
Art, Newport Beach, CA «An American Legacy:
Art from the Studio Museum,» The Parrish
Art Museum, Southampton, NY, 2003 «Stranger in the Village,» Guild Hall, East Hampton, NY, organized by the Museum of
Modern Art, NY, 2003 «On the Wall: Wallpaper
and Tableau,» The Fabric Workshop
and Museum, Philadelphia, PA, 2003 «Family Ties,» curated by Trevor Fairbrother, Peabody Essex Museum, Salem, MA, 2003 «Influence, Anxiety,
and Gratitude (
Toward and understanding of trans - generational dialogue as a gift economy),» curated by Bill Arning, MIT List Visual
Arts Center, Cambridge, MA, 2003 «American
Art Today: Faces & Figures,» The
Art Museum at Florida International University, Miami, FL, 2003
Under his direction, the Speed raised tens of millions of dollars
toward an expansion, expected to be completed in 2015, that will reshape its grounds
and add new galleries for
modern and contemporary art.
Performance has become such a catchword in
contemporary art circles, as artists
and critics alike seek to characterize the current shifts in production
toward acting out or interacting with audiences — frequently in order to intersect artistic practice with political agency
and redefinitions of protest — that I ought to have entered Tate
Modern's «The World as a Stage» with ears prickling
and eyeballs peeled.
The show surveys the recurring
and widespread impulse
toward geometric abstraction in
modern and contemporary art.
2002 Illustraded Catalog, Big Girl Paintings, Gagosian Gallery, Beverly Hills, CA 2001 Included in exhibition, Mythic Proportions: Painting in the 1980's, Museum of
Contemporary Art, Miami 2000 Included in exhibitions: The International Festival of
Contemporary Sculpture:
Contemporary American Sculpture, Monaco; The Lenore
and Burton Gold Collection of 20th Century
Art, High Museum of
Art, Atlanta 1999 Included in exhibitions: The American Century:
Art and Culture 1950 - 2000, the Whitney Museum of American
Art, New York; The Virginia
and Bagley Wright Collection of
Modern Art, Seattle
Art Museum, Washington; Bad - Bad: That is a Good Excuse, Staatliche Kunsthalle, Baden - Baden, Germany 1997 Included in exhibitions: The Hirshhorn Collects: Recent Acquisitions 1992 - 1996, Hirshhorn Museum
and Sculpture Garden, Smithsonian Institution, Washington, D.C.; La Biennale de Venezia: Future, Present, Past, XLVII International
Arts Exhibition, Venice 1996 Release of film, Basquiat, directed
and produced by Schnabel 1994 Julian Schnabel: Retrospective, at the Museo de Monterrey, Mexico; included in exhibition, U.S. Painting of the 1980s, at the Irish Museum of
Modern Art, Dublin, Ireland 1993 Included in Drawing the Line Against AIDS, exhibition in conjunction with
Art Against AIDS Venezia, under the aegis of the 45th Venice Biennale, Peggy Guggenheim Colletion, Venice 1992 Included in exhibitions: Le Portrait Dans L'
Art Contemporain, at the Musée d'
art moderne et d'
art contemporain, Nice, France; Manifeste, at the Musée national d'
art moderne, Centre Georges Pompidou, Paris, France 1991 Solo exhibition, Julian Schnabel, at the Nelson - Atkins Museum of
Art, Kansas City; included in exhibitions: The 1980's: Selections from the Permanent Collection, at the Whitney Museum of American
Art, New York;
Toward a New Museum: Recent Acquisitions in Painting
and Sculpture, 1985 - 1991, San Francisco Museum of
Modern Art, California 1989 Traveling solo exhibition, Julian Schnabel: Works on Paper 1975 - 1988, originating at the Museum für Gegenwartskunst, Basel, Switzerland 1986 Traveling solo exhibition, Julian Schnabel: Paintings 1975 - 1986, originating at the Whitechapel
Art Gallery, London 1985 Completes four etching, lithographs published by Pace Editions, New York 1984 - 2001 Solo exhibitions at PaceWildenstein, New York 1984 First solo exhibition at the Pace Gallery, New York 1979 First solo exhibition at the Mary Boone Gallery, New York
1994 African - American
Art: 20th Century Masterworks, Michael Rosenfeld Gallery, New York, NY Counterpoints: American
Art: 1930 - 1945, Michael Rosenfeld Gallery, New York, NY Works on Paper, Berman - Daferner Gallery, New York, NY On Paper: Abstraction in American
Art, Michael Rosenfeld Gallery, New York, NY The Harmon
and Harriet Kelley Collection of African American
Art, San Antonio Museum of
Art, San Antonio, TX; El Paso Museum of
Art, El Paso, TX; Michael C. Carlos Museum, Emory University, Atlanta, GA; Butler Institute of American
Art, Youngstown, OH; Hunter Museum of
Art, Chattanooga, TN Norman Lewis
and His
Contemporaries, G.R. N'Nambi Gallery, Birmingham, MI Reclaiming Artists of the New York School:
Toward a More Inclusive View of the 1950s, Sidney Mishkin Gallery, Baruch College, New York, NY Empowerment: The
Art of African American Artists, Krasdale Gallery, White Plains, NY 25 Years of African - American
Art, The Studio Museum in Harlem, New York, NY; The Wood Street Galleries, Pittsburgh, PA; The
Art Museum, Rhode Island School of Design, Providence, RI; The Scottsdale
Art Center, Scottsdale, AZ; Munson - Williams - Proctor Institute, Utica, NY;
Modern Art Museum of Fort Worth, Fort Worth, TX; The New York State Museum, Albany, NY; The Mexican Museum, San Francisco, CA; Tufts University
Art Gallery, Medford, MA; Heckscher Museum, Huntington, NY; The Lowe
Art Gallery, University of Miami, Miami, FL
That different batch of DNA can be found in the work of Hoyland's more immediate predecessors
and contemporaries like Robyn Denny
and Richard Smith
and many others who made abstract
art that looked
toward modern architecture
and design — combining these interests with a hard edged pop sensibility.