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Mapping the Self
November 3, 2007 - March 2, 2008
BOYZ OF BAZEL presents “He-mAn Woman Haters Club”
January 18th, 2008 – February 2nd, 2008
The Virgin, Saints, and Angels
South American Paintings 1600-1825 from the Thoma Collection
January 29 – March 16, 2008
This January Blanton Museum of Art is pleased to present The Virgin, Saints, and Angels: South American Paintings 1600–1825 from the Thoma Collection.
Organized by the Cantor Arts Center at Stanford University, the exhibition features 55 miraculous paintings from South America during the days of Spanish Colonialism in the Viceroyalty of Peru, which encompassed present–day Peru, Paraguay, Uruguay, Bolivia, Ecuador, Colombia, parts of Chile and Argentina, and Panama.
Drawn from the renowned private collection of Marilynn and Carl Thoma, this internationally touring exhibition shows how local artisans, centuries ago, transformed the religious and painting traditions of Spanish missionaries to create an artistry all their own. Gorgeously colored, richly detailed paintings of the Virgin Mary, saints, and angels, replete with mystical symbolism, illustrate how the images of the Old World were transformed by the imagination of the New World.
Initially, oil paintings in South America were provided by artists from Italy, Spain, and Flanders. As local artists became proficient in their techniques, they began decorating churches and public buildings. Innumerable easel paintings were also produced, often in large workshops with various artists contributing specialized skills to the finished artwork. Visitors to the exhibition will find several paintings still in their original, richly carved frames, which are part of this workshop tradition.
Created for the Church, the government, and private individuals, these easel paintings found homes throughout Spain's territories in the New World. Over time, many were also exported abroad. Although the Cuzco School is the best known, other regional styles evolved in centers elsewhere in Peru, Bolivia, Columbia, and Ecuador. Including examples by Italian, Flemish, Spanish, Creole, mestizo, and Indian hands, the Thoma collection offers a compelling survey of the diverse regional schools and illustrates the range of religious and secular subject matter favored in the region.
The exhibition is divided into several sections: early European–influenced images; proselytizing images and images teaching Christian dogma; images of particular devotions such as the Virgin of Copacabana, Our Lady of Pomato, and Our Lady of Cayma; narrative works celebrating the Life of the Virgin Mary; and portraits.
Prior to the Blanton presentation, the exhibition made its debut at the Cantor Arts Center (September 21 – December 31, 2006), then traveled to the Tucson Museum of Art (January 20 – April 29, 2007) and the Museo de Arte de Puerto Rico (May 24 – August 5, 2007). At the University of Toronto Art Center (September 4 – December 9, 2007). The presentation at the Blanton is the last venue in which the exhibition will be featured.
Curated by Dr. Suzanne Stratton–Pruitt, curator of the Thoma collection, the exhibition is accompanied by a 250–page fully illustrated catalogue co–published by Stanford and Skira. It includes essays offering new perspectives on the art of Spanish South America by such international scholars as Stratton–Pruitt, Kenneth Mills (University of Toronto), Thomas DaCosta Kaufmann (Princeton), Thomas Cummins (Harvard), Hiroshige Okada (University of Fukui, Japan), and Ramón Mujica Pinilla (University of San Marcos, Lima).
The Virgin, Saints, and Angels: South American Paintings 1600 – 1825 from the Thoma Collection was organized by the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, and has been made possible by generous support from the Clumeck Fund and from funds established by the late Drs. A. Jess and Ben Shenson.
"All apologies is a group exhibition challenging the role of men, masculine stereotypes, self-image and ideals. The exhibition comments the current discussions on men as the new losers in light of the contemporary role of the sexes.
All apologies is at the same time a critical and humourous interjection into the medias special role in debates about the roles of the sexes in today's society. We have strong perceptions about what is male and female; what is understood as masculine and feminine will, in most cases, be traditionally rooted. The works in the exhibition adapts and plays with the media's and popular culture's own languages and tools. At the same time, it illuminates themes such as alienisation and marginalisation, sexuality and notions of shame, aggression and revenge, greed and violence and not in the least misunderstandings."
February 1 - April 20, 2008
The Contemporary Art Museum St. Louis is proud to announce the three award recipients of the Great Rivers Biennial 2008. Designed to recognize emerging artistic talent in the greater St. Louis metro area, the Great Rivers Biennial program, funded generously by the Gateway Foundation, has raised each artist’s award to $20,000 from $15,000 in past years. In addition to the award sum, each of the three winning artists will be given an exhibition at the Contemporary opening in February, 2008. Three distinguished jurors from around the United States -- Cheryl Brutvan, Curator of Contemporary Art, Museum of Fine Arts, Boston; Lilian Tone, Assistant Curator, Department of Painting and Sculpture, The Museum of Modern Art, New York; and, Heidi Zuckerman Jacobson, Director and Chief Curator, Aspen Art Museum, Aspen, Colorado -- selected the three artists from more than 200 submissions the Contemporary received, representing a wide range of media including drawing and painting, photography, sculpture, video and new-media. The Great Rivers Biennial 2008 exhibition will open at the Contemporary on February 1, 2008, and will run through April 20, 2007.
THE 2008 WINNERS
Juan William Chávez
Interested in the relationships between drawing and cinema, Juan William Chávez creates series of “live-drawings” from those films that have deeply impacted his artistic practice. Producing a sequence of storyboards he then animates to video—what he calls “hyper-alive situations”—Chávez engages such universal human experiences as violence, indulgence, and desire. Chávez received his Bachelor of Fine Arts from the Kansas City Art Institute and a Master of Fine Arts from the School of the Art Institute of Chicago.
Drawing from both the style and idealism of United Nations memorabilia and the Do-It-Yourself movement, Corey Escoto’s drawings, models, and displays present a complex commentary on the concept of world-reform organizations. Escoto’s self-proclaimed “self-satirical” work makes manifest the conflict between idealism and futility that occurs when endeavoring to better a troubled society. Escoto is a recent graduate of the Master of Fine Arts program at the Washington University School of Art.
In Oosterbaan’s drawings and installations, both myth and memory play important roles. Her large-scale yet finely-detailed and complex compositions work to create “theaters of space” that integrate the viewer’s shifting perspective within these environments. Blending imagined narratives with personal experience, Oosterbaan explores both the formal and psychological relationships between line, color, and architectural space. A graduate of Washington University, Oosterbaan received her MFA in Painting from Indiana University and is currently a Visiting Assistant Professor at Washington University’s School of Art.
Fashioning the Future is a visionary and creative exploration of where fashion and clothing are heading, the very first guide to the 'future wardrobe' and the emergent technologies making it possible. Ten major themes embrace all kinds of clothing, from 'The Spray-On Dress' to 'The Talking T-Shirt', all accompanied by Warren du Preez and Nick Thornton Jones's distinctive images. Both a unique visual journey and an inspirational research tool, this book is aimed at the entire fashion world, design students and global marketeers.