Moderno is the first exhibition entirely devoted to Latin American modern domestic design. It showcases how design deeply transformed the domestic landscape in Latin America during a period marked by major stylistic developments in art and architecture. The exhibition will make a lasting contribution to the understanding of modern Latin American visual culture by bringing together a group of innovative and beautiful objects that includes furniture, ceramics, glass, metalwork, textiles, and drawings—many of which will be exhibited for the first time. Beginning with the aftermath of World War II, when many Latin American countries entered an expansive period of economic growth, Moderno surveys a quarter-century of design for the home from Brazil, Mexico, and Venezuela. The selection includes one-of-a-kind as well as mass-produced furniture and household items that furnished homes in these three countries. Among the designers whose work will be featured in the exhibition are Sergio Rodrigues, Lina Bo Bardi, Joaquim Tenreiro, and José Zanine Caldas of Brazil; Don Shoemaker, Clara Porset, and Pedro Ramírez Vásquez of Mexico; and Miguel Arroyo and María Luisa Zuloaga de Tovar of Venezuela. The Blanton will show an expanded version of the exhibition, including paintings from the period.
The exhibition is organized by Americas Society, Inc., and made possible by the generous support of the National Endowment for the Arts; the New York State Council of the Arts; the New York City Department of Cultural Affairs; PRISA/Santillana USA; SRE/AMEXCID – CONACULTA – INBA and the Mexican Cultural Institute of New York; Jaime and Raquel Gilinski; Mex-Am Cultural Foundation; Grupo DIARQ; and Furthermore: a program of the J. M. Kaplan Fund.
Support for the exhibition at the Blanton is provided in part by Isabella Hutchinson and Diego Gradowczyk. In-kind support is provided by Peter Glassford.
The Crusader Bible, from the collection of the Morgan Library in New York, is considered one of the most important and fascinating illuminated manuscripts in history. Likely created in Paris around 1250, the book is renowned for its unrivaled and boldly colored illustrations and for its incredible provenance. The Bible has been associated with the court of Louis IX, the pious crusader king of France and builder of the Sainte-Chapelle, and from Paris, made its way to Italy, Poland, Persia, Egypt, England, and finally, to New York. In the Blanton’s presentation, visitors will have an opportunity to view over forty unbound folios by seven anonymous artists. Old Testament stories are brought to life, through bright images of medieval castles, towns, and battling knights in armor, reflecting the world of the Crusades in thirteenth-century France. The book originally had no text, but later inscriptions were added in Latin, Persian, and Judeo-Persian, reflecting the manuscript's rich history.
This exhibition is organized by The Morgan Library & Museum, New York. The curator of the exhibition at The Morgan is William Voelkle, Senior Research Curator, Department of Medieval and Renaissance Manuscripts, The Morgan Library & Museum. Generous funding for this exhibition is provided by the Still Water Foundation, with additional support provided by the Scurlock Foundation Exhibition Endowment, Jessica and Jimmy Younger, and donors who contributed to the 2014 Annual Fund.
Come As You Are: Art of the 1990s is the first major American museum survey to historicize the art of this pivotal decade. The exhibition showcases approximately 60 works in a diverse range of media by 45 artists including Janine Antoni, Byron Kim, Felix Gonzales-Torres, Nikki S. Lee, Fred Wilson and Kara Walker. The exhibition offers an overview of art made in the United States between 1989 and 2001—from the fall of Communism to 9/11—and is organized around three principle themes: the so-called “identity politics” debates; the digital revolution; and globalization. Its title refers to the 1992 song by Nirvana (the quintessential 90s band); moreover, it speaks to the issues of identity that were complicated by the effects of digital technologies and global migration. The artists in the exhibition made their initial “point of entry” into the art historical discourse during the 1990s and reflect the increasingly heterogeneous nature of the art world during this time when many women artists and artists of color attained unprecedented prominence.
This exhibition is organized by the Montclair Art Museum and made possible with generous support from The Andy Warhol Foundation for the Visual Arts.
Almost 200 years after the artist’s death, the work of Spanish court painter Francisco Goya (1746-1828) remains powerful, arresting, and pertinent. Addressing abuses of power and the ravages of war, Goya’s work shows his hope for Enlightenment principles (progress, liberty, tolerance) as well as his dismay at the movement’s failures, especially its inability to prevent war and oppression. Goya: Mad Reason explores these dynamics across much of the artist’s printmaking career, highlighting his mastery of both idea and artistic expression. The exhibition features superb editions from Goya’s print series, including Los desastres de la Guerra (The Disasters of War), La tauromaquia, (The Art of Bullfighting), and Los disparates (The Follies or Absurdities) from the collection of Yale University Art Gallery.
This exhibition is organized by the Blanton Museum of Art in collaboration with Yale University Art Gallery.
This past February, the Blanton announced that it had acquired and will construct Ellsworth Kelly’s Austin, a 73 x 60 foot stone building to be sited on the grounds of the museum. The stand-alone structure, singular to Kelly’s career, comprises a 2,715-square-foot stone building with luminous colored glass windows, a totemic wood sculpture, and fourteen black-and-white stone panels in marble, all designed by the artist. Once constructed, the work will become part of the Blanton’s permanent collection.
Gift of the artist, with funding generously provided by Jeanne and Michael Klein, Suzanne Deal Booth and David G. Booth, the Scurlock Foundation, the Longhorn Network, and other donors.
Coffee table, 1956
Wood, 13.8 x 47.1 x 44.5 in.
Producer: Pedro Santana, Carpintería Colectiva
Collection: Emilio Mendoza Guardia
Rape and Death of the Levite’s Wife, MS M.638, fol. 16r (detail)The Crusader Bible, The Morgan Library & Museum
Purchased by J. P. Morgan, Jr., 1916.
Aziz + Cucher
Man with a Computer, 1992 (From the series Faith, Honor and Beauty)
85 1/4 x 36 1/4 in.
Indianapolis Museum of Art, Koch Contemporary Art Purchase Fund, 2012.126
Courtesy of the artists
© Aziz + Cucher
Banderillas de fuego (Banderillas with Firecrackers)
Etching, drypoint, and aquatint
9 5/8 x 13 3/4 in.
Yale University Art Gallery: The Arthur Ross Collection
Ellsworth Kelly, Austin, 2015
Artist-designed building with installation of colored glass windows, marble panels, and redwood totem
60 ft. x 73 ft. x 26 ft. 4 in.
Blanton Museum of Art, The University of Texas at Austin
Gift of the artist, with funding generously provided by Jeanne and Michael Klein, Suzanne Deal Booth and David G. Booth, the Scurlock Foundation, the Longhorn Network, and other donors
© 2015 Ellsworth Kelly
Image courtesy the Blanton Museum of Art