Al Pacino will screen Henri Matisse

New York, February 14, 2011. Art Media Agency (WADA).

Al Pacino will be the star of the film, directed by Deepa Mehta, the relationship between the French artist Henri Matisse and his muse, Monique Bourgeois.

No launch date was given for the project, called Masterpiece, whose producers are always looking for actresses for two female roles. Bourgeois was hired by Henri Matisse in 1941, when the painter was about 70 years. She later became a Dominican none and the two met again in Vence, where she inspired the decoration of the Chapel of the Rosary, often known as the Matisse Chapel and one of the most important works of the twentieth century.

Bourgeois, Jacques-Marie or sister as she was later known, died in 2005. She insisted that her relationship with the painter was purely platonic. In an interview in 1992, she said she had never noticed whether Matisse was in love with her or not. She saw herself more as his granddaughter or his muse, and said he had always been corect her.

Deepa Mehta, Indo-Canadian filmmaker nominated for an Oscar will direct a script by Donald Martin. Pacino will soon be on display in Son of No One.

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Dr. Regine Schulz Roemer and Pelizaeus returns to the Museum

Baltimore, February 14, 2011. Art Media Agency (WADA).

The director of the Walters Art Museum Gary Vikan, announced that Dr. Regine Schulz, Director International Affairs and curatorial curator of ancient art at the Walters since 2000, has been named executive director of Roemer and Pelizaeus Museum (FMM) in Hildesheim Germany. Schulz, who will assume his role in the fall, will succeed Dr. Katja Lembke, who was recently appointed director of the Landesmuseum in Lower Saxony in Hanover.

Schulz arrived at the Walters a decade ago as the first Egyptologist of the museum since 1940 and the first to complete a curatorial position in ancient art by the Mellon Foundation. During his years at the Walters, Schulz commissioned several important exhibitions, including "Eternal Egypt and Faces of Ancient Arabia" and a dozen exhibitions centered. More recently, she co-commissioned "Heroes: Myths and Mortals in Ancient Greece," which ended its 15-month national tour at the Onassis Cultural Center in New York in January.

In addition to many articles on objects from the collection of the Walters, Schulz published the first guide of the museum's Egyptian assets, Heroes: Myths and Mortals in Ancient Greece and cataloged its collection of ancient scarabs and amulets. Schulz is currently working on "Secrets of the Universe: The Egyptian Book of the Fayum," an exhibition of international loans, thanks to his new role, will be co-organized by the Walters and the RPM. Throughout his career at the Walters, Schulz remained active as a teacher at John Hopkins University and the Ludwig Maximilians University of Munich. It has also been involved for many years in leadership positions at the International Council of Museums, and in November, has been elected to its board of directors.

Schulz, who has been engaged in several occupations and with the Roemer Pelizaeus Museum in the 1980s and 1990s, is delighted to return to the museum as executive director after so many years.

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Bridget Riley retrospective small at Galerie Max Hetzler

Berlin, February 14, 2011. Art Media Agency (WADA).

Galerie Max Hetzler presents a small retrospective of the work of the great British artist Bridget Riley, with special emphasis on the last three decades, which includes studies, paintings and murals. Almost drawing with color, her work the past decade focuses more specifically on the effects produced by the juxtaposition of color, believing the challenge of color must be met on its own terms. Through his writings, Riley emphasizes the importance of looking at a painting or nature.

Riley commissioned the exhibition and selected a number of paintings never before exhibited in Allemage, as well as loans from private collections. The exhibition also includes a large wall painting, Composition With Circles (2004), the second time a work of this series is presented in Germany. For this occasion, the gallery space has been redesigned by internationally known architect Paul Williams.

In 2009, Bridget Riley has been awarded the highest award of Germany, Goslar Award for Modern Art and in 2012 she will receive the Rubenspreis der Stadt Siegen. His work is exhibited in museums around the world. Two wall paintings and studies are currently showing at the exhibition 'Bridget Riley: Paintings and Related Work "at the National Gallery in London until May 22

Galerie Max Hetzler presents the exhibition of Bridget Riley until 16 April.

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Re Soupault first retrospective

Mannheim, 14 February 2011. Art Media Agency (WADA).

The Kunsthalle Mannheim is the first museum in the world to honor the work of a key female figure of the European avant-garde of the 1920s and 1930s, with the retrospective "Re-Soupault Künstlerin im Zentrum der Avantgarde" (Re Soupault - artist at the center of the Avant-Garde) until May 8

While in the late 1980s was rediscovered Re Soupault as a photographer and regarded as a sensation, the exhibition curator, Dr. Inge Herold is pleased to present the complete works of the artist. The exhibition is organized in collaboration with Manfred Metzner, the administrator of the property of D Soupault.

Re Soupault (1901-1996) was a photographer, a designer, a journalist, a filmmaker and a translator at the heart of the trends of modern art in Germany and France. His path has led to the Bauhaus in Weimar metropolis Berlin and Paris, where she left her mark on the Parisian fashion world. The exhibition provides rich insight into the creative world of the artist and draws attention to its network of relationships at the center of the movement of the avant-garde.

The highlights of the exhibition are photographs and unpublished rediscovered by Man Ray, who photographed Soupault and his fashion collection, and works by his contemporaries with whom she was friendly, as Berlewi Henryk, Henri Cartier-Bresson, Sonia Delaunay Gisele Freund, Werner Graeff, Florence Henri, Johannes Itten, Germaine Krull, Lucia Moholy and Umbo (Otto Umbehr).

A new version of the famous dress Convertible Soupault is presented in cooperation with the fashion brand Schumacher. A multifaceted program of support revolves around the theme of photography, film, fashion and literature until 8 May, the Kunsthalle Mannheim is the center of the avant-garde.

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Works of modern masters exhibited at Art Taipei Revolution

Taipei, Feb. 14, 2011. Art Media Agency (WADA).

The first fair Revolution Art Taipei 2011 (ART 2011), to be held in May, invited 187 artists from 22 nations to participate. ART include a selection called "They Are Masters, in which the works of Rembrandt van Rijn, Pablo Ruiz Picasso, Joan Miro, Marc Chagall, Salvador Dali and others will be presented.

Lee Sun Don, artistic director of ART 2011, some works created by Chagall in his last years will be exhibited at ART 2011, which exhibit entitled "Celebration by Marc Chagall to be held at Taipei's National Palace Museum between February and May . Miró's works of equal quality to those of the Tate Modern in London, an original painting by Miró juxtaposed with his print, will be exhibited.

The final round of one of Picasso's works will also be exposed. Rarely seen on the market, testing of the artist are almost all in the collections of famous museums around the world.

The executive director of ART, John Cheng, said that great efforts are made to collect works of the great collectors worldwide. This, because ART 2011 think Taiwan can and should have an art fair in the world.

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Escher exhibition at the Akron Art Museum

Akron, February 14, 2011. Art Media Agency (WADA).

The Akron Art Museum will present the loan in Athens for the exhibition "MC Escher: Impossible Realities," on view until May 29 The exhibition will offer a rare and exciting privilege to examine first-hand the works of Maurits Cornelis Escher.

Seen as one of the most brilliant artists and enigmatic twentieth century, Escher delighted in creating visual puzzles that challenge the perception of reality. Escher asked "are you on a floor can not also be a ceiling? Are you sure you're on the top step when climbing stairs? "Such musings require bending qualities of the mind in its spatial illusions and lent its imagery an enduring place in the iconography of pop culture.

"Impossible Realities" provides the opportunity to contemplate the important career Escher, 1920s to 1960s. The exhibition features 130 works by the artist, beginning with his first pages of the book, continuing with its landscapes and its impossible worlds, and concluding with his latest recording, Snakes. Seminal work instantly recognizable and are exposed as Drawing Hands and Reptiles and stone lithography for the realization of Flatworms and wood blocks, drawings and prints one color studies that illustrate the artistic process of Escher, from concept to final prints. The exhibition comes from Herakleidon Museum of Athens, which houses one of the largest collections of works by Escher. The Akron Art Museum is one of only two exhibition venues in the United States.

Mauritus Cornelis Escher (1898-1972) has received critical variables during the last half century by critics and art historians, mathematicians, scientists and educators. Seen by some as a mathematician ingenious, Escher has also been criticized by the art world who saw him more as an intellectual and as an artist.

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"A terrible beauty is born" at the Biennale de Lyon

Lyon, February 14, 2011. Art Media Agency (WADA).

The title of the next Biennale de Lyon, "A terrible beauty is born" is a verse of the poem Easter 1916 written by WB Yeats in September 2011 on the uprising of hundreds of Irish rebels who clamored for their emancipation in Britain. At first glance, the poem can be read as celebrating the martyrs who gave their lives for the cause of independence. After careful consideration, it was found that the attitude of the speaker is full of perplexity and doubt. The poem does not move easily between the assertion, question and negation. It is fundamentally at war with itself.

The title is more a methodological tool that a theme in itself. It promotes the project to explore the power of paradox and contradiction, tension and ambivalence and to address the state of emergency in the world and in the arts today. Articulated by a series of courses or stories, the exhibition will seek to address this density and power of the imagination, vision and hallucination.

The 11th Biennial of Lyon will involve sixty artists along 45,000 square meters of these four sites: the Sugar, Bullukian Foundation, the Museum of Contemporary Art in Lyon and the plant TASE.

Lyon Biennale runs from September 15 to December 30, 2011.

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Art HK could partner with Art Basel

Hong Kong, February 14, 2011. Art Media Agency (WADA).

As reported Georgina Adam, art exhibition featuring rising HK is in talks with Art Basel for a possible collaboration. Tim Etchells, Managing Director of Single Market Events, one of the holders of the Hong Kong fair, confirmed that discussions were ongoing. However, Etchells said that Single Market Events had been approached by other people and that no contract had been concluded.

An entry in the Hong Kong market is undoubtedly in the interest of the Basel fair, which is also an edition in Miami. The art trade and believes in the potential of the Asian market, especially during lean economic times the U.S. and Europe. Hong Kong is now the third largest auction market after New York and London. On October 4, 2010, the auction of modern and contemporary art at Sotheby's in Hong Kong garnered a total of $ 26.4 million in a day, equal to the sale of contemporary art held in London during Frieze week later in the month.

The list of exhibitors at Art HK seems more and more familiar to regulars of the circuit of international fairs: the newcomers this year are the American merchant Zwirner, Acquavella and Blum & Poe, European fans Sprüth Magers, Yvon Lambert and Victoria Miro and the Goodman Gallery in South Africa, Vitamin Creative Space in China and India Nature Morte, who will all have a booth at Art Basel three weeks later.

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Statues stolen in Egypt

Cairo, February 14, 2011. Art Media Agency (WADA).

A complete inventory of the Egyptian Museum has shown that looters had carried 18 articles during anti-government unrest, two gilded wooden statues of the famous King Tutankhamen, according to the head of antiquities.

The 18-day uprising that forced President Hosni Mubarak from, populated areas around the museum on the banks of Tahrir Square in Cairo. January 28, during clashes near the headquarters of the ruling party of Mubarak, a handful of looters climbed a fire escape from the museum roof and slid along the strings of the glass roof of the museum to the ground.

Approximately 70 objects, many small statues were damaged but until the announcement on Sunday was not known if anything was stolen.

The Minister of Antiquities Zahi Hawass said the museum's information department lamented the lack of 18 items. Investigators searching for the perpetrators of the thefts have interviewed dozens of people detained for several days after the burglary last month.

The most important missing item is the limestone statue of the Pharaoh Akhenaten standing and holding a table available. Akhenaton is the heir to the king who tried to introduce monotheism to ancient Egypt.

A gilded wooden statue of the 18th dynasty of King Tutankhamen, Akhenaten's son, being held by a goddess. Missing parts also another statue of King child on a boat waving a spear.

But not missing anything came from the vault containing a funerary mask of Tutankhamen in gold and other precious items from his tomb in the Valley of the Kings, the main attraction of the museum. The looters did not enter the room.

Other objects are missing a statue of Nefertiti making offerings, a sandstone head of a princess and a stone statue of a scribe of Amarna, a heart scarab and 11 wooden funerary statuettes of Yuya.

The Antiquities Authorities also announced that thieves had entered a site deposit of the royal necropolis of Dahshur, south of Cairo. They have no information about the missing items.

The Egyptian Museum remains closed and guarded by an army unit but employees clean the building and surrounding garden and there are efforts to improve security.

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The hands of Louise Bourgeois at Hauser & Wirth exposed

Zurich, February 14, 2011. Art Media Agency (WADA).

Knotted tendon and wrinkled by age, Louise Bourgeois's hands were fascinating. His hands are the subject of portraits taken by the artist Alex Van Gelder, who at the invitation of Bourgeois, photographed at his home in New York during the last year of his life. The portfolio of 18 photographic prints that results is shown at the gallery Hauser & Wirth Zürich.

More than a mere portrait project, Bourgeois saw this collaboration as an extension of his work. Through this series, it puts forward its own as a physical element of his art, focusing on his hands as his tools views.

Tight or cradling his hands recall his many works, forms interspersed Clutching (1962), the lines of his tangle Insomnia Drawings and spiders suspends its series Mom. Van Gelder of the images are strong, showing only the hands against the black fabric of her clothing. They are full of intimacy and warmth, reflecting the proximity to the Van Gelder Bourgeois and the confidence they placed in him to work with her on this project.

The portfolio is published in an edition of 10 and will be featured on the gallery walls and in its original box. The exhibition is accompanied by an illustrated catalog, Alex Van Gelder - Louise Bourgeois. ARMED FORCES.

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Artists deal with blurry images Richter Hamburg

Hamburg, February 14, 2011. Art Media Agency (WADA).

Fuzzy surfaces, contours dissolute, appearances vague and indistinct patterns: images of increasingly blurred appear in paintings and contemporary photographs. Like no other artist, Gerhard Richter employs the effects of blur in his art since the 1960s. In addition to figurative and abstract paintings, the exhibition also features photographs and a film by Richter, Volker Bradke, 1966, revealing that the phenomenon of blurred appearances generated by the treatment of painted photographic models is a central theme that followed throughout his career. In the process of (not) to finish his paintings, Richter raises questions about what an image can reflect, if it has significance or whether it represents its own surface. For a moment, the theme of blurred images is more exclusive to the artist. Like many studies of differing exposure, the phenomenon becomes blurred images appear instead a feature and even a decisive factor in contemporary art. "Unscharf. Nach Gerhard Richter "presents works by 24 national and international artists, all playing with images blurred or indistinct subjects of their own way. The exhibition examines the reaction of the young generation in the work of Gerhard Richter and examines the many aspects and issues raised by the blurring.

The blurry images show their ground in a state between the appearance and dissolution, between memory and oblivion. Frequently, they are the result of a complex process during which the boundaries between painting and photography are blurred as the interaction between an original photo, processing and renewal painted photographic work. The relationship between the paintings and the reasons they represent seems to have become unstable. For artists' unscharf. Nach Gerhard Richter, "this is a frustrating and liberating experience. Their individual approaches to generate a full and rich world of blurred images, irritating and fascinating, all marked by a beautiful seductress is presented for the first time in an exhibition.

The exhibition presents the artist Pablo Alonso, David Armstrong, Anna und Bernhard Blume, Michael Engler, Wolfgang Ellenrieder, Isca Greenfield-Sanders, Maxine Henryson, Nicole Hollmann, Bill Jacobson, Adam Jankowski, Tamara KE, Wolfgang Kessler, Karin Kneffel Peter Loewy, Marc Lüders, Ralf Peters, Qiu Shihua, Gerhard Richter Ugo Rondinone, Johanna Smiatek Thomas Steffl, Ernst Volland, Franziskus Wendell, Michael Wesely and Paul Winstanley until 22 May at the Hamburg Kunsthalle.

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Acquisition of "Study for 'Honey is sweeter than blood'" by the Fundació Gala-Salvador Dalí

Figueres, 14 February 2011. Art Media Agency (WADA).

Fundació Gala-Salvador Dalí announced the acquisition of the work of Salvador Dali, Study for 'Honey is sweeter than blood' at the auction at Christie's in London on 9 February, for a price of £ 4,073,250.

The work, Lot 106, an oil painting of 1926-27 represents one of the early work of the surrealist artist, is a comprehensive study of painting Honey is sweeter than the blood of 1927 has disappeared.

One of the first surrealist paintings of Dali, Study for 'Honey is sweeter than blood is a major point, with small ash Museuo Nacional Reina Sofia in Madrid and Instrument and hand Salvador Dali Museum in Florida, represents the first major joint of the artist's neurotic imagery of dreams for which he is best known. A comprehensive study of painting that was the most ambitious, complex and successful work of Dali, painting lost in 1927, Honey is sweeter than blood, believed destroyed, the painting represents a fusion of the important influences and the first pictorial interpretation of several key and recurring motifs. A beach scene evoking Empurdan where so full of hallucinatory paintings of Dali are produced, on grounds of rotting donkey, amputations submitted dormant heads, bodies decapitated, gadgets constructivist, hands thrown in the shadows De Chirico, varicose veins and chests levitating, all combined to form a landscape obsessive and fascinating mystery and fantasy fetish.

The phrase "honey is sweeter than blood" seems to have haunted Dali at that time. It arises in many instances of her life, her most notable appearance being his book The Secret Life of Salvador Dali, where, as Dawn Ades has pointed, Dali described the solitary pleasure of masturbation as sweeter than honey, so that Lorca is known to have looked at sex as a jungle blood fearful.

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"Rodin - Sugimoto" at the Gagosian Gallery

Paris, February 11, 2011, Art Media Agency (WADA).

The Gagosian Gallery in Paris presents "Rodin - Sugimoto," an exhibition of sculptures and photographs, on view from February 11 to March 25, 2011.

Educated in the academic traditions and idealized subjects of classical sculpture and Renaissance, Auguste Rodin chose the truth of nature as artistic credo. His uncanny ability to imbue inert substances of movement and feeling, reveals the characteristics and psychological depths of man he portrays. Its flexible use of form and the bravery of the modeling of its surfaces and light, makes him a precursor of modern sculpture.

The three monumental sculptures covering the last thirty years of Rodin's career, represent the strength and vigor of an approach that emphasizes the flesh, but suggested emotion through detailed, textured surfaces and the play of light and shade.

The Three Shades (c. 1880), comes from the private collection of Iris Cantor. It is an introspective study group, in which the character of Adam from The Gates of Hell, is repeated in the passage in context.

Monument to Victor Hugo (1897), the loan from the renowned Iris and B. Gerald Cantor Foundation, is a stirring meditation on the artist and his muse, in a composition with moving figures.

Whistler's Muse (1908), on loan from the Rodin Museum is a tribute to the American painter James Abbott McNeill Whistler, who asked not to be physically represented. In response, Rodin chose the image of the muse. Rendered as a classical fragment, the armless figures of women trying to climb a mountain like an allegory of the challenge of artistic creation.

Rodin's sculptures are presented in unexpected and unprecedented combination with a series of photographs by Hiroshi Sugimoto, one of the most admired living photographers in the world. Sugimoto works with time as with clay. It explores the relationship of images carved into the light and shade, and the evolution of history.

For the series Stylized Sculpture (2007), he chose distinctive clothing of famous fashion designers in the collection of the Kyoto Costume Institute (Vionnet, Balenciaga, Yves Saint Laurent, Issey Miyake). Each in its own way, represents a milestone in the history of the twentieth century, fashion, each dynamic body is crystallized by the gaze of the lens of the camera.

Shooter chiaroscuro on headless mannequins, and therefore the opposite of the context of the human body and its emotions, the clothes reveal their pure formal qualities, and their dramatic contrasts in shape, volume and surface. Sugimoto captures the abstract nature inherent sculptural clothing history (a history as old as humanity itself), and thereby represents eternity beyond evanescence.

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"Black Cat" by Tracey Emin reproduced in tapestry

London, February 11, 2011. Art Media Agency (WADA).

Tracey Emin has asked the West Dean Tapestry Studio to translate one of his paintings, Black Cat, canvas. This is the first experience of Emin in this medium. The tapestry will be presented at 2011 collections at the Saatchi Gallery from May 6 to 9

Black Cat has many levels of understanding, both emotional and literary. The painting depicts a landscape and a crouching figure with the words "Things I say NO to". The painting returned to become a portrait and through the inspiration of the story by Edgar Allan Poe The Black Cat, Emin painted what appears as a demonic self-portrait in a long black dress.

Caron Penney is the director of Tapestry Studio, which deals with the reproduction of the work with Philip Sanderson.

The West Dean Tapestry Studio has a long history of working with contemporary artists. The workshop was founded in 1976 when the daughter of Henry Moore approached the spot and asked whether professional investors could reproduce a drawing of Moore's tapestry. Henry and his daughter were so pleased with the result that 23 samples of Moore's tapestries were commissioned and the Tapestry Studio was born. For years, the Studio has worked with many artists including Philip Sutton, John Piper, Howard Fodgkin, Bill Jacklin, Adrian Berg and many others. The Studio works by controlling private clients or businesses. Orders ranging from domestic to small pieces to large scale public works. Working with architects and a wide range of public and private models of famous artists or designers internal award winners, the tapestry of the West Dean employ traditional techniques of Goblins to create unique works.

COLLECT is an event featuring the Arts Council and during the last 8 years has built a reputation as Europe's first fair for contemporary craft.

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The James Irvine Foundation gives $ 500,000 to LACMA for the Watts Towers

Los Angeles, February 11, 2011. Art Media Agency (WADA).

The new partnership between the City of Los Angeles and the Los Angeles County Museum of Art (LACMA) to conserve and promote the Watts Towers has paid its first dividend.

The museum announced Wednesday it had received a grant of $ 500,000 a year from the James Irvine Foundation to handle the work of the towers. The city could not get the grant for the San Francisco-based foundation does not fund a government agency.

Facing financial pressures, the city, which handles turns with a long-term contract with the state of California who owns, has established a budget of $ 150,000 for this work while the budget was $ 300,000 a few years ago. Last spring, Virginia Kazor, the curator who has overseen the historic preservation of the towers, took early retirement offered by the conduct of reducing government spending.

Conservation work has fallen to neutral. Olga Garay, Executive Director of the Department of Cultural Affairs, said that no one team had enough expertise to manage the towers.

The solution was a partnership with LACMA, whose director, Michael Govan has always loved folk art master piece by Simon Rodia, a national historic point since 1980, when his time student at UC San Diego and made trips to see him.

James Canales, president of the James Irvine Foundation, said that Govan himself approached the idea of a grant supporting the work of LACMA. The most recent grant from the foundation at LACMA in 2006, was a gift of $ 900,000 to create a multimedia tour for visitors to the museum.

LACMA will forward the $ 25,000 grant from the Watts Towers in the Department of Cultural Affairs for use in programming the Watts Towers Arts Center and the Charles Mingus Youth Arts Center adjacent to the towers. For this conservation work on the site, said the museum's president Melody Kanschat, LACMA will hire a project manager who will look in the vicinity of people who want to help.

The use of grant money could be used to initiate bus tours of LACMA's campus in Hancock Park to the towers and create avenues for the residents of Watts who remain informed about conservation work . The towers are already shown to prospective donors.

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Sol LeWitt exhibition at LA Louver

Los Angeles, February 11, 2011. Art Media Agency (WADA).

In 1967, Sol LeWitt identified objects of conceptual art as works made for hire the visitor's mind rather than his eye or emotions. However, his own art is entirely in the commitment of the eye and mind, mixed emotions.

At LA Louver, an exhibition centered LeWitt identifies capacity to transform abstract ideas into concrete objects that visitors to experiment in a tangle of delicate drawings, paintings and sculptures while comparing and contrasting such physical entities with idealized images of geometric perfection , who lives in the eye of the mind but never appears in the real world.

This is the logic behind two works from 1974 series "Incomplete Open Cubes" from LeWitt. The sculptures give viewers a simple image of a perfect cube, despite the existing six sides, a form of approximately 1.3 meters from side lying on the ground.

The only sculpture museum without incorporating another paradox of LeWitt's art: the space of plenitude palpable, as if he was about to burst through a fight without noticeable thank you his paintings on the wall that generate power. Each describes a rectangular volume, distorted to go with the LeWitt drawing and finally even more deformed to match the dimensions of the museum.

The remaining works, three white and three structures colored gouaches, blurring the boundaries between line and form, line and space. They also show his best side by LeWitt, making a mess of clear distinctions between ideas and current events involving the visitor with both.

The exhibition of Sol LeWitt is visible until 26 February.

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The version of "Time as Activity" of Buenos Aires presented

Buenos Aires, February 11, 2011. Art Media Agency (WADA).

Time as Activity is a pivotal work in the career of David Lamelas. The first version, Time as Activity (Dusseldorf), was taken in 1969 in the vicinity of the hall where the work has been exhibited and was a film of three perspectives of the city. Three photographs of that location and a brief text-manifesto explaining the parameters of work accompanying the film.

The feature film, the German version and the seventh tour in Buenos Aires version is that it represents three views of the city in silence, taken in 16 mm with a stationary camera and separated by headings indicating the elapsed time each shot. In the plan for Lamelas reduced in the 1960s, he got the extension he was seeking with his work: three strikes without detail, matter or action that represents only the task of documenting the temporal mechanics of the city with the possibility extreme neutrality and naturalness. After this subtractive quality and almost nothing of the images, Lamelas consider Time as Activity of 1969 as its first conceptual piece to success. After this first version, the following were filmed in Berlin, Los Angeles, New York, St. Gallen, Fribourg and now Buenos Aires.

If by his desire to document the cities where the nomadic Lamelas has lived all his work can be considered a sort of travel journal, the realization of Time as Activity (Buenos Aires) is a return to origins, zero-point travel. But what is special about this case is that Lamelas runs with the dogma of the original version, documenting the exhibition hall around with some settings but not in a monotone, as in other versions. He wants to show a strong point of the city, he decides to take as if it were an ordinary place. The work is in this sense, a ready-made Time as Activity paradigm that takes a picture of the city, the Congress Square and taken as if it was the first time, two different angles and then the Inside, the hall of the senate chamber during a session.

Time as Activity (Buenos Aires) is presented Ignacio Liprandi Contemporary Art until March 11.

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Frank the guitar of Eddie Van Halen 2 in the collections of the Smithsonian

Washington, February 11, 2011, Art Media Agency (WADA).

The Smithsonian's National Museum of American History recently acquired Guitar Frank two of the famous musician Eddie Van Halen, with a grant in partnership with Fender Musical Instruments.

The guitar was made in 2006 by artist and Fender, to produce a limited edition EVH brand guitars for. Replica known as Frankenstein or Frank 2, the famous electric guitar will be part of the museum collections that already has a large collection of instruments.

Said Edward "Eddie Van Halen (born January 26, 1955) is a guitarist and pianist Dutch-American composer, producer and inventor of new technologies related to electric guitar. He is best known as guitarist and co-founder of the rock band Van Halen, and recognized for its innovative style and his recordings of blues rock solos and intense reactions at high frequency. It is also famous for its particularly aggressive and acrobatic shows. The band's first album was released February 10, 1978.

"The museum brings together multidimensional objects, and this guitar reflects the innovation, talent and influence," said Brent D. Glass, director of the museum. "The guitar expanded our large collection of instruments, and brings a contemporary touch."

In 1975, Eddie Van Halen realize that the guitars in force no longer allow him to create his sound very special, and DIY enthusiast, he began to build a guitar suited to his needs and his style of play, it combines different elements of different models of long-standing one instrument. His fans call him this Frankenstein creation measure.

In 2006, Frankenstein, used for over thirty years, became too old, and Chip Ellis, a guitar manufacturer Fender, made a very detailed replica of the original guitar. Where it is presented to Eddie Van Halen, it seems to be identical to the first guitar. During the 2007-2008 North American tour with original singer David Lee Roth, Eddie Van Halen uses the replica, called Frank 2, in the majority of its concerts.

The Smithsonian's National Museum of American History collects, preserves and displays American heritage in the fields of social history, political, cultural, scientific and military. The guitar it is therefore a legitimate place.

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Young people exposed to the Courtauld Gallery

London, February 11, 2011. Art Media Agency (WADA).

For the first time, original works of young people are presented to the Courtauld Gallery, part of the program "Stories of the World" of the London 2012 Cultural Olympiad, the largest project undertaken commitment to youth in British museums. Inspired by the work of the collections of the Courtauld Gallery, 21 students from 16 to 21 years in London colleges have reinterpreted paintings selected to create photographic portraits organized by photographer Marysa Dowling. An exhibition will also be mounted with curators, conservators and technicians to teach young people what happens behind the scenes of a museum as important.

The project was coordinated by the Education Department of the Courtauld Institute of Art and students regularly participate in evening sessions at the Courtauld since June 2010 and took part in weeks of summer school. By working closely with curators, academics and artists, they explored how the image and identity are expressed in portraits before the widespread use of photography and how images reflect social values and individual aspirations, and personal histories of artists and models.

Three students chose the Self-Portrait with Bandaged Ear by Vincent van Gogh as a point of departure for their own self-portrait. Two chose a bar in the Folies-Bergere by Edouard Manet and Portrait of Ambroise Vollard by Renoir, while other choices included The Woman with a Parasol and Woman at the window of Degas, Gauguin's Te rerio, Family of Jan Brueghel Old Rubens, Jane Avril at the entrance to the Moulin Rouge Toulouse Lautrec and portraits of Queen Charlotte by Sir William Beechey, Don Francisco de Saavedra de Goya, and Captain John Sealy Charles Tilly Kettle and a copy of the Theory of Art Reynolds.

The works are on show until 13 March.

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Pressure on the University of Iowa to sell a Jackson Pollock

Iowa City, February 11, 2011. Art Media Agency (WADA).

If a university is trying to break financially but has a valuable art collection, selling some works take on its full meaning. For some reason, schools that have tried, of Fisk University's Rose Art Museum, met with backlash from their local communities and the art community at large. Now, the University of Iowa, who tried to sell three years ago a Jackson Pollock for $ 140 million, only to withdraw the controversial plan, is pushed to do it again, although the resistance mounts.

The first time the school has considered selling the mural created in 1943 by Pollock, the jewel of the collection of the university, it was to gain more money for repairs due to flooding in 2008. The resistance of the painting is due to the generosity of Scott Raeck, chair of the ownership of the Iowa House, which now has legislation that would require schools to sell the room to create more funds for scholarships.

History seems to repeat itself, as the university officials have opposed the sale of a painting of the university and Iowa City, where the school is located. Ed Dove, president of the senate of the school, get rid of the work would be a defeat for a school of art and art history that prides itself on having a museum. The museum director of the university, Sean O'Harrow, has described the notion of selling the painting as an idea of the grotesque.

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A band of a cartoon of Mickey Mouse Auction

Dallas, February 11, 2011. Art Media Agency (WADA).

The animated band that has more value in the world and one of Mickey Mouse the most expensive of its existence, The Band Concert Production Cel Animation Art, Walt Disney, 1935, will be part of the Heritage Auctions, at the auction "Signature ® Comics and Comic Art Auction." It is estimated at more than $ 100,000 and is known to be the only existing pre-production of the first Mickey cartoon that presents Mickey and his gang.

This band is, in many ways, the ultimate collector item that Mickey Mouse could hope to acquire, according Sandovel Barry, Director of Operations at Heritage Comics category. The Band Concert was the first theatrical cartoon in color Mickey Mouse has long fascinated and Disney fans worldwide.

The band's cartoon came from Heritage Collection by Kerby Confer, one of the largest groupings of key works related to Disney ever assembled. Confer, a senior radio Maryland is famous for its collection of original material from Disney. Confer acquired the cartoon strip in 2001.

The Band Concert is a fun short cartoon, full of gags involving the orchestra messy colored Mickey, who never stops playing despite what is happening around him, and the efforts of the vendor of soft drinks Donald Duck destabilize the program by playing Turkey in the Straw with his piccolo. The film culminates with the storm, when the band play The William Tell Overture.

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Five sculptures unearthed on the outskirts of Rome

Rome, February 11, 2011, Art Media Agency (WADA).

A set of marble sculptures dating from the third century AD, has been discovered by Italian archaeologists in a villa of the imperial era, on the outskirts of Rome.

During a preventive excavations near the Via Anagnina near Rome, the archaeologists have left the earth Five bosses of marbles in a pond on a site allocated as the villa of a Roman officer .

The pieces will incorporate the collections of the National Roman Museum and will be restored and preserved on the site of the Baths of Diocletian. The Secretary for Culture, Francesco Maria Giro says that this discovery funded by a group of private entrepreneurs, is the largest in recent decades, near the capital.

The systematic excavations preventive campaigns now find increasingly justified and necessary, and this discovery will encourage initiatives excavations in Rome's suburbs, particularly in areas not yet surveyed.

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The Field-Workshop of Anselm Kiefer open to the public soon?

Barjac, February 11, 2011, Art Media Agency

The great German painter and sculptor Anselm Kiefer has just announced its desire to open to the public its "field-workshop" Barjac, located in southern France near Nimes.

Implementation to large project requires the creation of a Franco-Germanic foundation, something that has never been made. The idea is followed by the two countries, and each department of culture examines the project.

Anselm Kiefer is a major figure in contemporary art worldwide. It sets up in 1993 in this former mill 30 hectares in the heart of the scrubland, and over time, he has transformed into a vast place of creation, come from caves and under ground. He lives in Paris today.

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The Picasso Museum promotes loans of works subject to fees

Paris, February 11, 2011, Art Media Agency (WADA).

Last week, a thousand French museum directors signed a letter accusing the Louvre to loan works of art in exchange for money. A policy that "sells" the museum and runs counter to the statement of the Ministry of Culture in 2007 which states "that a loan can be processed on hire.

But the Louvre is not the only major museum in Paris is indulging in such practices. Anne Baldassari, director of the Picasso Museum in Paris, is under fire from the media and accused of lending works against money, refusing requests for free loans, such as the Kunsthaus Zurich, for his major retrospective of Picasso.

Baldessari defends itself with two conflicting data. Namely, all ready to work is strictly prohibited during the current renovation of the museum, where his refusal to the museum in Zurich, and she needed to make loans to help finance renovations to the museum in Paris. She says some of the works requested by the Kunsthaus were too fragile to be transported and others were already on loan elsewhere.

She also cited a decision by the former Culture Minister Christine Albanel, in force since 2009, which provides loans to stop pending the work of museums, and a similar policy was also in force at MoMA and at the Cleveland Museum of Art.

She also acknowledged that the museum's works were already being prepared for an exhibition of works from the museum's collection in Paris at the Virginia Museum of Fine Arts in Richmond in February, then in San Francisco and Sydney. On its website, the Virginia Museum of Fine Arts states that the exhibition is made possible by the closing work of the Picasso Museum until 2012.

According to the Seattle Times, the Picasso Museum was originally intended to confine his collection during renovations, but someone has changed their mind. And the Seattle Art Museum is the first American recipient of this change.

Baldassari defends itself by asserting that the museum has always been generous, paying an average of 1,000 works per year. For the loan of works from the collection of money cons, it has firmly defended the practice (which predates his term), and recalled that the museum was about 1 to € 3.5 million each year with loan his paintings. Moreover, it justifies having refused the demands of unpaid loans to send the paintings to institutions paying Baldassari cites the need for financing the renovation of the museum, stating that "the only resource we have is the production of exhibits for museums abroad.

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The Picasso Museum promotes lending works for remuneration

Paris, February 11, 2011, Art Media Agency (WADA).

Last week, a thousand French museum directors signed a letter accusing the Louvre to loan works of art in exchange for money. A policy that "sells" the museum and runs counter to the statement of the Ministry of Culture in 2007, which states "that a loan can be processed on hire.

But the Louvre is not the only major museum in Paris to engage in such practices. Anne Baldassari, director of the Picasso Museum in Paris, is also under fire from the media, accused of lending works against money, and to refuse loan applications free, like the Kunsthaus Zurich, for his great Picasso retrospective .

Baldessari defends itself with two conflicting data. Namely, all ready to work is strictly prohibited during the current renovation of the museum, where his refusal to the museum in Zurich, and she needed to make loans to help finance renovations to the museum in Paris. She says some of the works requested by the Kunsthaus were too fragile to be transported and others were already on loan elsewhere.

She also cited a decision by the former Culture Minister Christine Albanel, in force since 2009, which provides loans to stop pending the work of museums, and a similar policy was also in force at MoMA and at the Cleveland Museum of Art.

She also acknowledged that the museum's works were already being prepared for an exhibition of works from the museum's collection in Paris at the Virginia Museum of Fine Arts in Richmond in February, then in San Francisco and Sydney. On its website, the Virginia Museum of Fine Arts states that the exhibition is made possible by the closing work of the Picasso Museum until 2012.

According to the Seattle Times, the Picasso Museum was originally intended to confine his collection during renovations, but someone has changed their mind. And the Seattle Art Museum is the first American recipient of this change.

Baldassari defends itself by asserting that the museum has always been generous, paying an average of 1,000 works per year. For the loan of works from the collection of money cons, it has firmly defended the practice (which predates his term), and recalled that the museum was about 1 to € 3.5 million each year with loan his paintings. Moreover, it justifies having refused the demands of unpaid loans to send the paintings to institutions paying Baldassari cites the need for financing the renovation of the museum, stating that "the only resource we have is the production of exhibits for museums abroad.

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The collection soon Meiyintang sold at Sotheby's in Hong Kong

Hong Kong, February 11, 2011, Art Media Agency (WADA).

Sotheby's will put on sale April 7, 2011, part of one of the most impressive collections of Chinese art formed in the last century. The collection was composed Meiyintang for over fifty years, and collected pieces of porcelain from the imperial service major kingdoms of the fourteenth to the eighteenth century. The 80 lots, should yield $ 940 million at Sotheby's.

Therefore propose the sale of iconic pieces such as vases Falangcai, decorated with golden pheasants, of the Qing Dynasty (1736-1795), estimated at $ 23 million, and a blue pot and bench, decorated with lions playing with balls, the Ming dynasty, Yongle period (early fifteenth century), estimated between 5.1 million and 7.7 million.

Nicolas Chow, vice president of Sotheby's Asia, said that the quality of the collection Meiyintang is because each piece gained over half a century, was chosen based on its rarity and its imperial origin, closely collaboration with leading experts in the field: the merchants and Chow and Giuseppe Eskenazi.

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Susan Hiller at Tate Britain

London, February 11, 2011, Art Media Agency (WADA).

The artist Susan Hiller is currently the subject of a retrospective at Tate Britain until May 15, 2011. Old anthropologist, German artist, little known in France, applied his mind and his methodical scientific classification at a sensitive and feminist conceptual art.

Susan Hiller's work tackles subjects such as dense evanescent traces of Jews in Germany, but also an inventory of endangered languages and the notion of testimony. Among the works presented, installation Dedicated to the Unknown Artists explores the phenomenon of collection and overcrowding. She has collected, collated and categorized hundreds of postcards from the sea on the English coast.

Her signature piece Ten Months, 1977, aligns pictures of her belly, still taken from the same angle throughout her pregnancy, and grouped into ten (lunar) months of 28 days. She plays with the simplicity of means to put forward a feminist conception of the body.

Among his earlier works, she destroyed his paintings, recycled into blocks of fabric, embroidery wall or ash, creating new parts from the parts destroyed. Several of his pieces are homages to Klein, Duchamp and Broodthaers.

The exhibition focuses on the ability of the artist to bring an analytical, systematic basis in the world, to identify phenomena and telling us to present them in a context that is both conceptual and sensitive.

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Five new projects for the renovated airport terminal in San Francisco

San Francisco, February 11, 2011. Art Media Agency (WADA).

The San Francisco Mayor Edwin M. Lee and Director of Cultural Affairs for the San Francisco Arts Commission (SFAC) Luis R. Cancel announced that with the opening of Terminal 2 International Airport San Francisco (SFO) Newly renovated, the Art Commission will add 5 new public works in the collection at the airport. SFO has long been the site of one of the largest collections of public art value of the country. With the renovation of the airport terminal, formerly Central Terminal, the Public Art Program of the SFAC has received approximately $ 3.7 million in funding for the enrichment of art commissioned for new works and the relocation of 20 works already in the collection from the airport, some of them historically located in the terminal.

The $ 388 million renovation of Terminal 2 will be completed in April, with first flights scheduled April 14. The renovation has helped control bold and striking works of public art program of SFAC on the same scale as the surrounding architecture. Working with the airport team and Gensler, the architect of the project, the Arts Commission has developed an artistic program that calls for control of 3 major works for the glass facade of the terminal entrance and mezzanine area post-security. In addition, two interactive works have been commissioned for two eras of games for children near the doors.

The selected artists, many with extensive experience in project work large-scale public, represent a variety of backgrounds and artistic practices. The artist Norie Sato has designed a site specific installation for the façade of the terminal, titled Air Over Under. Topography Kendall Buster are two sculptural forms suspended in the departure hall.

The project reflects the interests of artists for the emergence of natural and built environment and the investigations in ways that operate in the landscape and architecture.

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Death of architect and sculptor Charles Perry

Norwalk, February 11, 2011. Art Media Agency (WADA).

Charles O. Perry, a sculptor who created dozens of works based on mathematics for palaces and gardens of sculpture across all U.S. and abroad and created Continuum, the Mobius strip black knotted in front of the National Air and Space Museum at the Smithsonian in Washington, died Tuesday at his home in Norwalk, at the age of 81 years, causes cancer of the stomach.

Mr. Perry was an architect who worked for Skidmore Owning & Merrill in San Francisco when he began to create models of sculptures at night in a garage. In 1964, his work was exhibited in a solo show at the Hansen Gallery, where they have all been worth it sold and commissioned by the city of Fresno.

That same year he won the Prix de Rome which allowed him to study sculpture in the American Academy in Rome, where he remained for 14 years to make architecture and large scale sculpture who drew their inspiration from geometry inherent in natural forms.

Continuum, completed in 1976 for the new Air and Space Museum, is a novelty song that plays with the topological peculiarities of the Mobius strip, which has a continuous surface and one edge.

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Wafaa Bilal rejects his third eye

New York, February 11, 2011. Art Media Agency (WADA).

Wafaa Bilal, the artist met a lot of skepticism from people who have questioned the wisdom of his plan to make a camera grafted to the back of his skull. Students at New York University, where Bilal teaches, have also criticized the implications of the project on the campus of privacy, since the camera automatically sends images taken wherever the artist went on the Internet every minute. Bilal has just met its strongest criticism, his body rejects the implant of the camera.

The original operation was carried out in a tattoo shop in Los Angeles, where a titanium base was inserted between the skin of the artist and his skull. The camera was then mounted on three posts attached to the base. However, the artist's body rejects the positions of metal, creating a constant pain. Bilal was treated for his infection with antibiotics and steroids but last week, the pain was such that he has done removing the problematic item.

The performance, titled 3rdI was part of a new museum exhibition in Doha Mathaf which began in December with a facility representative for updates on live camera images of Bilal. While confusing, 3rdI approach a rich tradition of body modification in the art, although the chance of such surgery is notable artistic. The artist's body Sterlac increase, for example, has been grafted a human ear on his forearm. Bilal had to undergo surgery to remove the camera after infection.

Despite the setbacks, Bilal remains engaged in the performance without having clearly said how much it announced plans to repeat the experiment with a lighter camera.

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