Search results for ""Carnegie Museum of Art,U.S.""

Carnegie Museum of Art has presented its International since 1896—just a year after the first Venice Biennale. Inaugurated by museum founder, Andrew Carnegie, to inspire local audiences and artists, the exhibition was intended to position Pittsburgh as a center of not only industry but modern culture. The 57th iteration of the exhibition is organized by Ingrid Schaffner, a curatorial innovator—and Pittsburgh native—known for her intensely researched and widely accessible exhibitions. The Guide imparts rich and varied information for traveling through the exhibition, the museum and the city of Pittsburgh through both fact and legend. A series of five commissioned travelogues opens the process of Schaffner's research for the exhibition as she embarked with her curatorial companions on journeys across the globe.

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Using photography as a language, Shannon Ebner (born 1971) examines the signs, symbols, letters, words and graphical icons we encounter in the world. Auto Body Collision documents Ebner's most recent ongoing project, a multipart series of photographs that began on a trip to Italy in 2014. Ebner has been collecting language taken from signs, seeking out repetitions of terms such as "Auto Body Collision" and "Automotive." In dissecting found language and coupling it with her own, Ebner establishes connections between the terms "auto," "body," "motive" and "collision." The themes of Ebner's new work include the circulatory and the network, performance and its relationship to the body, and collision, in terms both literal and conceptual. Auto Body Collision, designed in collaboration with the artist, includes more than 150 never-before-published photographs, as well as essays by Alex Klein, Tina Kukielski and Mark Owens.

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Hack the Grid documents a series of large-scale light installations produced in Pittsburgh by New Mexico–based environmental artist Andrea Polli (born 1968), using the city’s long history of energy and industry to interrogate issues from particulate pollution to wind power.

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The Dispatch is the second of two publications accompanying the 2018 Carnegie International, 57th Edition. Intended as a missive that sends the exhibition out into the world, this slim scholarly volume stands as a document of the show, through photographs and a checklist of the exhibition and its programs. In addition, it reflects forward, by presenting a series of studies on the relevance of an international exhibition today. Local, national and global perspectives are surveyed here, as well as artists' thoughts on the role of recurring international exhibitions for their work. With contributions by Gabriella Beckhurst, Jennifer Burris, Emi Finkelstein, Rebecca Giordano, Larissa Harris, Talia Heiman, Elizabeth Hoover, Hitomi Iwasaki, Koyo Kouoh, Prem Krishnamurthy, Paula Kupfer, Ellen Larson, Katie Loney, Sophia Marisa Lucas, Ashley McNelis, Liz Park, Erin Peters, Ingrid Schaffner and Marina Tyquiengco, and an artist project by Leslie Hewitt.

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From Russian court to the mountains of Tibet, and from the laboratories of Pittsburgh to the salons of Park Avenue, the extraordinary career of the artist and entomologist Andrey Avinoff (1884-1949) has never been surveyed in its entirety. Avinoff created a rich body of effusive, fantastical, Symbolist watercolor paintings that express yearnings both mystical and homoerotic, exploding beyond the strictures of his equally esteemed entomological research ("I bow to scientific fact until five o'clock," he once declared. "After that I may have other ideas"). Andrey Avinoff: In Pursuit of Beauty accompanies the first exhibition devoted to this visionary in more than 50 years. Reproducing botanical illustrations, Symbolist watercolors, apocalyptic scenes, dance subjects and homoerotic drawings (many of which the artist made for his friend Alfred Kinsey), it elaborates the work through Avinoff's identity as a gay man and situates him firmly within the culture of Russia's bountiful Silver Age.

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Carnegie Museum of Art is renowned for its collection of decorative arts and design objects. This volume presents, for the first time, the collection's highlights, from early porcelain to Arts and Crafts furniture to contemporary turned wood. More than 100 illustrated entries detail almost 200 European and American objects from the 1750s to the present. Included are ceramics, furniture, metalwork and glass by noteworthy designers and manufacturers, such as Meissen, Tiffany, Herter Brothers, Marcel Breuer, Peter Voulkos and Ron Arad. Also featured are the museum's important holdings of early western Pennsylvania furniture, innovatively designed chairs, and contemporary glass and aluminum objects.

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Bey explores functional and ritual objects, arts of the African and Oceanic diasporas, and the materiality of clay, metal, wood and glass, rejoicing in nature and awe How does an artist connect their practice to their identity? In what ways does an artist fulfill a social responsibility to their community? These are the driving questions of Sharif Bey: Excavations, a publication inspired by the artist’s solo exhibition at Carnegie Museum of Art in his hometown of Pittsburgh. Through a series of autobiographical excavations highlighting seminal places, peoples and experiences in his artistic journey, Bey (born 1974) explores themes of ancestral wisdom and diasporic identity, while also reflecting on personal connections to museums and cultural organizations. The publication includes an introduction by Rachel Delphia, Alan G. and Jane A. Lehman Curator of Decorative Arts and Design; an essay by James B. Stewart, Penn State Emeritus professor of African American studies; and an exploration of museum collections archives by curatorial assistant Alyssa Velazquez.

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A handsome primer on the work of William Henry Fox Talbot. This beautiful, small format publication serves as a primer on the work of William Henry Fox Talbot, a true interdisciplinary innovator who drew on his knowledge of art history, botany, chemistry and optics to become one of the inventors of photography in 1839. Talbot’s ‘photogenic drawings’ (photograms), calotypes and salted paper prints are some of the first ever examples of images captured on paper. Accompanying an exhibition at Carnegie Museum of Art in Pittsburgh opening in November 2017, this book brings together approximately 30 photographs by Talbot that demonstrate his wide ranging interests, including nature, still life, portraiture, architecture and landscape. Approximately one quarter of the featured images have been unpublished since Talbot’s time. Through thematic groupings elucidated by noted Talbot scholar Larry Schaaf, the book reveals the photographer’s early striving to test the boundaries of his medium at a historic moment when art and science intersected. With its luminous reproductions of Talbot’s fragile works, this publication demonstrates that, in its earliest days, photography required a form of magic making and innovation that continues to inspire people today.

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The complicity of the image: photography at the intersection of police surveillance, corporate/state control and artificial intelligence How are images being utilized to gather data on our daily activities? With the development and advancement of artificial intelligence, there has been a radical change in the way surveillance systems capture, categorize and synthesize photographs. Mirror with a Memory explores the intersection between AI, photography and surveillance—its past, present and future—to underscore concerns about implicit bias, right to privacy and police monitoring embedded in corporate, military and law enforcement applications. Contributors include: Zach Blas, Simone Browne, Joy Buolamwini, Oliver Chanarin, Adrian Chen, Harun Farocki, Forensic Architecture, Lynn Hershman Leeson, Trevor Paglen, Martha Rosler and Martine Syms.

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Key works of contemporary art from an exemplary Pittsburgh collectionPromised to Carnegie Museum of Art in 2015, the Milton and Sheila Fine Collection is an outstanding selection of contemporary painting, sculpture, photography and drawing that epitomizes the couple's interest in American and German art from the 1980s to the 2000s. This book, published alongside the corresponding exhibition, offers a closer look into the Fines' collection and collecting practice. In remembrance of Milton Fine, who died in 2019, essays by Richard Armstrong and Eric Crosby share personal reflections and convey Milton''s impact on Pittsburgh and the Carnegie Museum of Art. An illustrated chronology presents all the gifted artworks from the Fines, which include over 100 works by artists such as Mark Bradford, Alfredo Jaar, Jeff Koons, Robert Mapplethorpe, Chris Ofili, Sigmar Polke, Ed Ruscha, Cindy Sherman, Kiki Smith, Rosemarie Trockel, Christopher Wool and others.

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Are we alone in the universe? Do aliens exist? Or are we, ourselves, the strangers in our own worlds? Conceived around the title Life on Mars, the 2008 Carnegie International, curated by Douglas Fogle, explores the increasingly relevant yet perplexing proposition of what it means to be human in the world today. The question, "Is there life on Mars?" is a rhetorical one, posing a metaphorical quest to explore humanity's response to a world where global events challenge and seem to threaten our everyday existence. Working in a range of media, from micro to macro levels of experience, from tragedy to comedy, the 40 artists from 17 countries in the exhibition explore the alien inside each of us. They include Doug Aitken, Kai Althoff, Vija Celmins, Bruce Conner, Peter Fischli and David Weiss, Daniel Guzmán, Mike Kelley, Barry McGee, Wilhelm Sasnal, David Shrigley, Rudolf Stingel, Paul Thek, Wolfgang Tillmans and Andro Wekua, among others. In questioning the absurdity of our lives while demonstrating hopeful aspirations for the future of humankind, these artists foreground the poetic over the monumental and the intimate over the heroic. In the end, the exhibition asks if we ourselves are already on Mars.

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An expansive dialogue between old and new forms of emancipatory art The 58th Carnegie International traces the geopolitical footprint of the US since 1945 to suggest a historical ground for the images, ideas, objects and people that shape and desire emancipatory expressions and artworks, contextualizing conversations around migration, representation, appropriation and decolonization. This 424-page publication features two dialogical tracks: a historical current that comprises existing works borrowed from institutions, estates and artists, which are placed in dialogue with recent works and new commissions. Artists include: Abdul Hay Mossallam Zarara, Ali Eyal, Võ An Khánh, Andy Robert, Angel Velasco Shaw, Anh Tran, Antonio Martorell, Aziz Hazara, Banu Cennetoglu, Carlos Cañas, Carlos Motta, Christian Nyampeta, Claes Oldenburg, Colectivo 3, Dala Nasser, Daniel Lie, Denzil Forrester, Dia al-Azzawi, Diane Severin Nguyen, Doan Ket, Dogma Collection, Édgar Calel, Felix Gonzalez-Torres, Fereydoun Ave, Giana De Dier, Hiromi Tsuchida, Hyphen—, I Gusti Ayu Kadek Murniasih and Isabel De Obaldía.

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