Displaying items by tag: reinstallation

Visitors to the Menil Collection have a rare opportunity this fall to experience works from the museum’s Surrealist collection in dialogue with one of the movement’s major figures – Salvador Dalí. On loan from the Dalí Museum in St. Petersburg, Florida, the artist’s 1932 painting, Eggs on the Plate Without the Plate, greets viewers on a wall by itself as they enter the first of three galleries reinstalled for this special exhibition. Curated by Assistant Curator Clare Elliott and consisting of some 30 works by 12 artists, The Secret of the Hanging Egg: Salvador Dalí at the Menil opened on November 5, 2015 and will remain on view through June 19 of next year.

Three Maine museums have received nearly $1 million in federal funding to improve storage at the Monhegan Museum and Maine Historical Society and reinstall the collection at the Portland Museum of Art.

The PMA received $400,000 from the National Endowment for the Humanities; Monhegan and the historical society each received $250,000, with the condition that each raises $50,000 in matching grants.

When Bernard Blistène arrived at the Pompidou Center just over 30 years ago as a young curator, the massive factory-like windows of the Richard Rogers and Renzo Piano-designed museum didn’t look out onto the sun-sprinkled streets of Paris as they do today.

“It was the mid-1980s and people wanted walls,” recalls Mr. Blistène, 60 years old, who succeeded the museum’s longtime director Alfred Pacquement in 2013.

Crystal Bridges Museum of American Art on Friday announced a number of new art acquisitions, including Helen Frankenthaler's "Seven Types of Ambiguity" and Robert Rauschenberg's "The Tower," along with a reinstallation of its contemporary art gallery.

The acquisitions, which The New York Times valued at $20 million, join Georgia O'Keeffe's "Jimson Weed/White Flower No. 1," which sold for a record-setting $44.4 million at Sotheby's in November, more than three times the previous record for a work by a woman artist. The Bentonville museum revealed that it had bought Jimson Weed in an announcement last week.

A sweeping reinstallation of The Museum of Modern Art’s contemporary collection presents a wide range of artistic approaches to the political, social, and cultural flux that have shaped the current global landscape. "Scenes for a New Heritage: Contemporary Art from the Collection," on view from March 8, 2015, through March 2016, features video, installation, sculpture, drawing, prints, and photography created in the past three decades by more than 30 international artists, with more than half of the works on view for the first time. "Scenes for a New Heritage" is organized by Quentin Bajac, the Joel and Anne Ehrenkranz Chief Curator of Photography; Eva Respini, Curator, Department of Photography; Ana Janevski, Associate Curator, Department of Media and Performance Art; and Sarah Suzuki, Associate Curator, Department of Drawings and Prints; with Katerina Stathopoulou, Curatorial Assistant, Department of Photography.

The last 30 years have seen remarkable societal and cultural change, as major shifts in geopolitical dynamics destabilized the established world order, new economies emerged to challenge those long dominant, and the Internet radically altered the ways in which we access and generate information.

On Saturday, January 31, 2015, the Wadsworth Atheneum in Hartford, Connecticut, will unveil its reinstalled collections of post-war and contemporary art. Featuring work from 1945 to the present, the collections will be housed in three dedicated galleries that have been newly renovated and refurbished over the past year.

The Wadsworth’s illustrious post-war and contemporary holdings will be divided between the Huntington Gallery, where mid-century abstract painting and sculpture by artists such as Ellsworth Kelly, Willem de Kooning, Alexander Calder, Helen Frankenthaler, Jackson Pollock, Mark Rothko, and Tony Smith will be displayed; the Hilles Gallery, which will feature works by Robert Rauschenberg, Kara Walker, Cindy Sherman, Andy Warhol, Chuck Close, and Richard Tuttle; and the Colt building’s mezzanine gallery, where one of Sol LeWitt’s famed wall drawings will be on view as well as works by other minimalists and conceptualists.

As an erudite, witty but reserved British-born art historian who favors bow ties, Graham Beal has neither the appearance nor the personality of a natural man of the people.

Yet Beal's 16-year tenure as director of the Detroit Institute of Arts — highlighted by a landmark $158-million renovation and reinstallation of the collection — has transformed the museum into a populist institution embraced by a larger and more diverse swath of Detroiters than at any other point in its 130-year history.

Susan Lubowsky Talbott, who has been director and chief executive officer of the Wadsworth Atheneum Museum of Art since 2008, announced her retirement Friday, Talbott told "The Courant."

Talbott will stay in the position until the fall, "in order to ensure a smooth transition," she told the board of trustees. In the fall, the final stage of the Hartford museum's $33 million renovation and reinstallation will be unveiled.

Less than two weeks after a federal judge approved Detroit’s historic bankruptcy plan, the Detroit Institute of Arts (DIA) has raised nearly 90% of its $100m goal to support the city’s regeneration. The museum has secured $87m in pledges toward the so-called Grand Bargain, an $816m scheme to support Detroit’s pensions and permanently transfer ownership of the DIA’s city-owned art to the museum.

The day before the judge’s verdict on 7 November, the DIA announced that 21 Japanese businesses with branches in Detroit, including Mitsubishi and Panasonic, had pledged $2.2m. Three-quarters of the money will go toward DIA’s commitment to the Grand Bargain, while the remaining 25% will help fund a long-planned but previously stalled reinstallation of the museum’s Japanese collection in a new gallery.

M. Melissa Wolfe will join the Saint Louis Art Museum as curator and head of the Department of American Art, the Museum announced today. She assumes her duties in January.

“Melissa Wolfe is an impressive and prolific curator, having organized dozens of groundbreaking exhibitions, symposia, and publications over her career that speak to her creativity and intellectual rigor,” said Jason T. Busch, the Saint Louis Art Museum’s deputy director for curatorial affairs and museum programs. “Her vision will guide the comprehensive evaluation and reinstallation of the Museum's American art galleries over the next two years.”