art gallery

catalog
Many art museums
have been design
purpose or been s
intervention. In par
galleries have been
feelings of n
 throughout history
ned with a cultural
subject to political
rticular national art
n thought to incite

“
nationalism.
 table of contetns
TYPES OF GALLERIES Galleries in museums 06-
09 CONTEMPORARY GALLERY Vanity galleries
09-12 UNIVERSITY MUSEUMS AND GALLERIES
Private collections 13-18 PUBLIC GALLERIES
Visual art not shown in a gallery 19-25 CULTURAL
ASPECTS Museums with major web presences 26-
30 ONLINE ART COLLECTIONS Museum lists 31-36
4
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catalog 5

INTERNATIONAL AND NATIONAL LISTS European

local areas 37-45 North American local areas 46-
62 ORGANIZATIONS International and topical
organizations 63-66 NATIONAL ORGANIZATIONS
Regional, provincial and state museum organizations
63-66 DISTRICT, LOCAL AND COMMUNITY
MUSEUM ORGANIZATIONS Further reading 67-82
 about us
6
art gallery
catalog 7

HISTORY

The art exhibition has played a crucial part in the

market for new art since the 18th and 19th centuries. The
Paris Salon, open to the public from 1737, rapidly became
the key factor in determining the reputation, and so the
price, of the French artists of the day. The Royal Academy
in London, beginning in 1769, soon established a similar
grip on the market, and in both countries artists put great
efforts into making pictures that would be a success, often
changing the direction of their style to meet popular or crit-
ical taste. The British Institution was added to the London
scene in 1805, holding two annual exhibitions, one of new
British art for sale, and one of loans from the collections of
its aristocratic patrons. These exhibitions received lengthy
and detailed reviews in the press, which were the main
vehicle for the art criticism of the day.

LENGTH OF THE EXHIBITION

Critics as distinguished as Denis Diderot and John

Ruskin held their readers attention by sharply divergent
reviews of different works, praising some extravagantly
and giving others the most savage put-downs they could
think of. Many of the works were already sold, but suc-
cess at these exhibitions was a crucial way for an artist to
attract more commissions. Among important early one-off
loan exhibitions of older paintings were the Art Treasures
Exhibition, Manchester 1857, and the Exhibition of National
Portraits in London, at what is now the Victoria and Albert
Museum, held in three stages in 1866-68.

ART EXHIBITION

As the academic art promoted by the Paris Salon, al-

ways more rigid than London, was felt to be stifling French
art, alternative exhibitions, now generally known as the Sa-
lon des Refusés (“Salon of the Refused”) were held, most

by leone danieli famously in 1863, when the government allowed them

an annex to the main exhibition for a show that included
Édouard Manet’s Luncheon on the Grass (Le déjeuner sur
l’herbe) and James McNeill Whistler’s Girl in White. This
began a period where exhibitions, often one-off shows,
were crucial in exposing the public to new developments
in art, and eventually Modern art. Important shows of this
type were the Armory Show in New York City in 1913 and
the London International Surrealist Exhibition in 1936.
 FOREWORD
by aaron burden
INSTALLATION ART IS AN ARTISTIC GENRE OF
THREE-DIMENSIONAL WORKS THAT OFTEN ARE
SITE-SPECIFIC AND DESIGNED TO TRANSFORM THE
PERCEPTION OF A SPACE. GENERALLY, THE TERM IS
APPLIED TO INTERIOR SPACES, WHEREAS EXTERIOR
INTERVENTIONS ARE OFTEN CALLED PUBLIC ART,
LAND ART OR INTERVENTION ART; HOWEVER, THE
BOUNDARIES BETWEEN THESE TERMS OVERLAP.

A work of art in the visual arts is a physical two- or Legal definitions of “work of art” are used in copy-
three- dimensional object that is professionally determined right law; see Visual arts#United States of America copy-
or otherwise considered to fulfill a primarily independent right definition of visual art. Marcel Duchamp critiqued the
aesthetic function. A singular art object is often seen in the idea that the work of art should be a unique product of an
context of a larger art movement or artistic era, such as: a artist’s labour, representational of their technical skill and/or
genre, aesthetic convention, culture, or regional-national artistic caprice.[citation needed] Theorists have argued that
distinction.[3] It can also be seen as an item within an art- objects and people do not have a constant meaning, but
ist’s “body of work” or oeuvre. The term is commonly used their meanings are fashioned by humans in the context of
by: museum and cultural heritage curators, the interested their culture, as they have the ability to make things mean
public, the art patron-private art community, and art galler- or signify something.[5]
ies.[4]
Artist Michael Craig-Martin, creator of An Oak Tree,
Physical objects that document immaterial or con- said of his work - “It’s not a symbol. I have changed the
ceptual art works, but do not conform to artistic conven- physical substance of the glass of water into that of an oak
tions can be redefined and reclassified as art objects. tree. I didn’t change its appearance. The actual oak tree is
Some Dada and Neo-Dada and readymade works have physically present, but in the form of a glass of water.” [6
received later inclusion. Also, some architectural render- The original Fountain by Marcel Duchamp, 1917, photo-
ings and models of unbuilt projects, such as by Vitruvius, graphed by Alfred Stieglitz at his 291 after the 1917 Society
Leonardo da Vinci, Frank Wright, and Frank Gehry, are of Independent Artists exhibit.
other examples.
Some art theorists and writers have long made a dis-
The products of environmental design, depending on tinction between the physical qualities of an art object and
intention and execution, can be “works of art” and include: its identity-status as an artwork.[7] For example, a painting
land art, site-specific art, architecture, gardens, architec- by Rembrandt has a physical existence as an “oil painting
ture, installation art, rock art, and megalithic monuments. on canvas” that is separate from its identity as a master-

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catalog 9

piece “work of art” or the artist’s magnum opus.[8] Many both play to a viewer who is expected to be at once im-
works of art are initially denied “museum quality” or artistic mersed in the sensory/narrative experience that surrounds
merit, and later become accepted and valued in museum him and maintain a degree of self-identity as a viewer. The
and private collections. Works by the Impressionists and traditional theater-goer does not forget that he has come
non-representational abstract artists are examples. Some, in from outside to sit and take in a created experience; a
such as the “Readymades” of Marcel Duchamp including trademark of installation art has been the curious and ea-
his infamous urinal Fountain, are later reproduced as mu- ger viewer, still aware that he is in an exhibition setting and
seum quality replicas. tentatively exploring the novel universe of the installation.

There is an indefinite distinction, for current or The artist and critic Ilya Kabakov mentions this es-
historical aesthetic items: between “fine art” objects made sential phenomenon in the introduction to his lectures “On
by “artists”; and folk art, craft-work, or “applied art” objects the “Total” Installation”: “[One] is simultaneously both a ‘vic-
made by “first, second, or third-world” designers, artisans tim’ and a viewer, who on the one hand surveys and evalu-
and craftspeople. Contemporary and archeological indige- ates the installation, and on the other, follows those associ-
nous art, industrial design items in limited or mass produc- ations, recollections which arise in him[;] he is overcome by
tion, and places created by environmental designers and the intense atmosphere of the total illusion” (Kabakov 256).
cultural landscapes, are some examples. The term has Here installation art bestows an unprecedented importance
been consistently available for debate, reconsideration, on the observer’s inclusion in that which he observes. The
and redefinition. expectations and social habits that the viewer takes with
him into the space of the installation will remain with him
Guardians of Time, Manfred Kielnhofer, Festival of as he enters, to be either applied or negated once he has
Lights (Berlin) French Cathedral, Berlin, Velotaxi 2011 In taken in the new environment. What is common to nearly
“Art and Objecthood,” Michael Fried derisively labels art all installation art is a consideration of the experience in
that acknowledges the viewer as “theatrical” (Fried 45). toto and the problems it may present, namely the constant
There is a strong parallel between installation and theater: conflict between disinterested criticism.
10
art gallery
catalog 11

Art and
Objecthood
by jane foster

In “Art and Objecthood,” Michael Fried derisively

labels art that acknowledges the viewer as “theatrical”
(Fried 45). There is a strong parallel between installation
and theater: both play to a viewer who is expected to be
at once immersed in the sensory/narrative experience that
surrounds him and maintain a degree of self-identity as a
viewer. The traditional theater-goer does not forget that he
has come in from outside to sit and take in a created expe-
rience; a trademark of installation art has been the curious
and eager viewer, still aware that he is in an exhibition
setting and tentatively exploring the novel universe of the
installation.

The artist and critic Ilya Kabakov mentions this

essential phenomenon in the introduction to his lectures
“On the “Total” Installation”: “[One] is simultaneously both
a ‘victim’ and a viewer, who on the one hand surveys and N CAPTION FOR YOUR PHOTO
evaluates the installation, and on the other, follows those
associations, recollections which arise in him[;] he is
overcome by the intense atmosphere of the total illusion”
(Kabakov 256). Here installation art bestows an unprec-
edented importance on the observer’s inclusion in that
which he observes. The expectations and social habits that
the viewer takes with him into the space of the installation
will remain with him as he enters, to be either applied
 In “Art and Objecthood,” Michael Fried derisively involves the audience acting on the work of art or the piece
labels art that acknowledges the viewer as “theatrical” responding to users’ activity.[3] There are several kinds of
(Fried 45). There is a strong parallel between installation interactive installations that artists produce, these include
and theater: both play to a viewer who is expected to be web-based installations (e.g., Telegarden), gallery-based
at once immersed in the sensory/narrative experience that installations, digital-based installations, electronic-based
surrounds him and maintain a degree of self-identity as a installations, mobile-based installations, etc. Interactive
viewer. The traditional theater-goer does not forget that he installations appeared mostly at end of the 1980s (Legi-
has come in from outside to sit and take in a created expe- ble City by Jeffrey Shaw, La plume by Edmond Couchot,
rience; a trademark of installation art has been the curious Michel Bret...) and became a genre during the 1990s, when
and eager viewer, still aware that he is in an exhibition artists became particularly interested in using the participa-
setting and tentatively exploring the novel universe of the tion of the audiences to activate and reveal the meaning of
installation. the installation.

The artist and critic Ilya Kabakov mentions this es- With the improvement of technology over the years,
sential phenomenon in the introduction to his lectures “On artists are more able to explore outside of the boundaries
the “Total” Installation”: “[One] is simultaneously both a ‘vic- that were never able to be explored by artists in the past.
tim’ and a viewer, who on the one hand surveys and evalu- [4] The media used are more experimental and bold; they
ates the installation, and on the other, follows those associ- are also usually cross media and may involve sensors,
ations, recollections which arise in him[;] he is overcome by which plays on the reaction to the audiences’ movement
the intense atmosphere of the total illusion” (Kabakov 256). when looking at the installations. By using virtual reality as
Here installation art bestows an unprecedented importance a medium, immersive virtual reality art is probably the most
on the observer’s inclusion in that which he observes. The deeply interactive form of art.[5] By allowing the spectator
expectations and social habits that the viewer takes with to “visit” the representation, the artist creates “situations to
him into the space of the installation will remain with him live” vs “spectacle to watch”.[6] At the turn of a new centu-
as he enters, to be either applied or negated once he has ry, there is a trend of interactive installations using digital,
taken in the new environment. What is common to nearly video, film, sound and sculpture.
all installation art is a consideration of the experience in
toto and the problems it may present, namely the constant The artist and critic Ilya Kabakov mentions this es-
conflict between disinterested criticism and sympathetic in- sential phenomenon in the introduction to his lectures “On
volvement. Television and video offer somewhat immersive the “Total” Installation”: “[One] is simultaneously both a ‘vic-
experiences, but their unrelenting control over the rhythm tim’ and a viewer, who on the one hand surveys and evalu-
of passing time and the arrangement of images precludes ates the installation, and on the other, follows those associ-
an intimately personal viewing experience (Kabakov 257). ations, recollections which arise in him[;] he is overcome by
Ultimately, the only things a viewer can be assured of when the intense atmosphere of the total illusion” (Kabakov 256).
experiencing the work are his own thoughts and precon- Here installation art bestows an unprecedented importance
ceptions and the basic rules of space and time. All else on the observer’s inclusion in that which he observes. The
may be molded by the artist’s hands. expectations and social habits that the viewer takes with
him into the space of the installation will remain with him
The central importance of the subjective point of as he enters, to be either applied or negated once he has
view when experiencing installation art, points toward a taken in the new environment. What is common to nearly
disregard for traditional Platonic image theory. In effect, the all installation art is a consideration of the experience in
entire installation adopts the character of the simulacrum or toto and the problems it may present, namely the constant
flawed statue: it neglects any ideal form in favor of optimiz- conflict between disinterested criticism and sympathetic in-
ing its direct appearance to the observer. Installation art volvement. Television and video offer somewhat immersive
operates fully within the realm of sensory perception, in a experiences, but their unrelenting control over the rhythm
sense “installing” the viewer into an artificial system with an of passing time and the arrangement of images precludes
appeal to his subjective perception as its ultimate goal. an intimately personal viewing experience (Kabakov 257).
Ultimately, the only things a viewer can be assured of when
An urban interactive art installation by Maurizio experiencing the work are his own thoughts and precon-
Bolognini (Genoa, 2005), which everybody can modify by ceptions and the basic rules of space and time. All else
using a cell phone. Interactive installation is a sub-catego- may be molded by the artist’s hands.
ry of installation art. An interactive installation frequently

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catalog 13

N CAPTION FOR YOUR PHOTO

 MATERIALS AND
TECHNIQUES
by nigel ashcroft
14
art gallery
catalog 15

SOCIAL STATUS OF SCULPTORS HISTORY OF SCULPTURE

Nuremberg sculptor Adam Kraft, self-portrait from St Venus of Hohle Fels (also known as the Venus of
Lorenz Church, 1490s. Worldwide, sculptors have usually Schelklingen; is an Upper Paleolithic Venus figurine hewn
been tradesmen whose work is unsigned; in some tradi- from ivory of a mammoth tusk found in 2008 near Schelk-
tions, for example China, where sculpture did not share the lingen, Germany. It is dated to between 35,000 and 40,000
prestige of literati painting, this has affected the status of years ago, belonging to the early Aurignacian, at the very
sculpture itself.[13] Even in ancient Greece, where sculp- beginning of the Upper Paleolithic, which is associated with
tors such as Phidias became famous, they appear to have the assumed earliest presence of Homo sapiens in Europe
retained much the same social status as other artisans, and (Cro-Magnon). Along with the Löwenmensch, it is the oldest
perhaps not much greater financial rewards, although some undisputed example of Upper Paleolithic art and figurative
signed their works.[14] In the Middle Ages artists such as prehistoric art in general.
the 12th century Gislebertus sometimes signed their work, The earliest undisputed examples of sculpture
and were sought after by different cities, especially from the belong to the Aurignacian culture, which was located in Eu-
Trecento onwards in Italy, with figures such as Arnolfo di rope and southwest Asia and active at the beginning of the
Cambio, and Nicola Pisano and his son Giovanni. Gold- Upper Paleolithic. As well as producing some of the earliest
smiths and jewellers, dealing with precious materials and known cave art, the people of this culture developed fine-
often doubling as bankers, belonged to powerful guilds and ly-crafted stone tools, manufacturing pendants, bracelets,
had considerable status, often holding civic office. Many ivory beads, and bone-flutes, as well as three-dimensional
sculptors also practised in other arts; Andrea del Verroc- figurines.
chio also painted, and Giovanni Pisano, Michelangelo,
and Jacopo Sansovino were architects. Some sculptors The 30 cm tall Löwenmensch found in the Hohlen-
maintained large workshops. Even in the Renaissance the stein Stadel area of Germany is an anthropomorphic
physical nature of the work was perceived by Leonardo da lion-man figure carved from woolly mammoth ivory. It has
Vinci and others as pulling down the status of sculpture in been dated to about 35-40,000 BP, making it, along with
the arts, though the reputation of Michelangelo perhaps put the Venus of Hohle Fels, the oldest known uncontested
this long-held idea to rest. example of figurative art.

ANTI-SCULPTURE MOVEMENTS Much surviving prehistoric art is small portable sculp-

tures, with a small group of female Venus figurines such as
Aniconism remained restricted to Judaism, which did the Venus of Willendorf (24-26,000 BP) found across cen-
not accept figurative sculpture until the 19th century,[16] tral Europe.[20] The Swimming Reindeer of about 13,000
before expanding to Early Buddhism and Early Christianity, years ago is one of the finest of a number of Magdalenian
neither of which initially accepted large sculptures. In both carvings in bone or antler of animals in the art of the Upper
Christianity and Buddhism these early views were later Paleolithic, although they are outnumbered by engraved
reversed, and sculpture became very significant, especial- pieces, which are sometimes classified as sculpture.
ly in Buddhism. Christian Eastern Orthodoxy has never
accepted monumental sculpture, and Islam has consistent-
ly rejected nearly all figurative sculpture, except for very N CAPTION FOR YOUR PHOTO
small figures in reliefs and some animal figures that fulfill a
useful function, like the famous lions supporting a fountain
in the Alhambra. Many forms of Protestantism also do not
approve of religious sculpture. There has been much icon-
oclasm of sculpture from religious motives, from the Early
Christians, the Beeldenstorm of the Protestant Reformation
to the 2001 destruction of the Buddhas of Bamyan by the
Taliban.
16
art gallery
catalog 17

INTERNATIONAL SCULPTURE CENTER

Nuremberg sculptor Adam Kraft, self-portrait from St

Lorenz Church, 1490s. Worldwide, sculptors have usually
been tradesmen whose work is unsigned; in some tradi-
tions, for example China, where sculpture did not share
the prestige of literati painting, this has affected the sta-
tus of sculpture itself.[13] Even in ancient Greece, where
sculptors such as Phidias became famous, they appear
to have retained much the same social status as other
artisans, and perhaps not much greater financial rewards,
although some signed their works.[14] In the Middle Ages
artists such as the 12th century Gislebertus sometimes
signed their work, and were sought after by different cities,
especially from the Trecento onwards in Italy, with figures
such as Arnolfo di Cambio, and Nicola Pisano and his son
Giovanni. Goldsmiths and jewellers, dealing with precious
materials and often doubling as bankers, belonged to pow-
erful guilds and had considerable status, often holding civic
office. Many sculptors also practised in other arts; Andrea
del Verrocchio also painted, and Giovanni Pisano, Michel-
angelo, and Jacopo Sansovino were architects. Some
sculptors maintained large workshops. Even in the Renais-
sance the physical nature of the work was perceived by
Leonardo da Vinci and others as pulling down the status of
sculpture in the arts, though the reputation of Michelangelo
perhaps put this long-held idea to rest.

CORNING MUSEUM OF GLASS

Aniconism remained restricted to Judaism, which did

not accept figurative sculpture until the 19th century,[16]
before expanding to Early Buddhism and Early Christianity,
neither of which initially accepted large sculptures. In both
Christianity and Buddhism these early views were later
reversed, and sculpture became very significant, especial-
ly in Buddhism. Christian Eastern Orthodoxy has never
accepted monumental sculpture, and Islam has consistent-
ly rejected nearly all figurative sculpture, except for very
small figures in reliefs and some animal figures that fulfill a
useful function, like the famous lions supporting a fountain
in the Alhambra. Many forms of Protestantism also do not
approve of religious sculpture. There has been much icon-
oclasm of sculpture from religious motives, from the Early
Christians, the Beeldenstorm of the Protestant Reformation
to the 2001 destruction of the Buddhas of Bamyan by the
Taliban.
 N CAPTION FOR YOUR PHOTO

18
art gallery
catalog 19

N CAPTION FOR YOUR PHOTO

CONSERVATION

Nuremberg sculptor Adam Kraft, self-portrait from St

Lorenz Church, 1490s. Worldwide, sculptors have usually
been tradesmen whose work is unsigned; in some tradi-
tions, for example China, where sculpture did not share
the prestige of literati painting, this has affected the sta-
tus of sculpture itself.[13] Even in ancient Greece, where
sculptors such as Phidias became famous, they appear
to have retained much the same social status as other
artisans, and perhaps not much greater financial rewards,
although some signed their works.[14] In the Middle Ages
artists such as the 12th century Gislebertus sometimes
signed their work, and were sought after by different cities,
especially from the Trecento onwards in Italy, with figures
such as Arnolfo di Cambio, and Nicola Pisano and his son
Giovanni. Goldsmiths and jewellers, dealing with precious
materials and often doubling as bankers, belonged to pow-
erful guilds and had considerable status, often holding civic
office. Many sculptors also practised in other arts; Andrea
del Verrocchio also painted, and Giovanni Pisano, Michel-
angelo, and Jacopo Sansovino were architects. Some
sculptors maintained large workshops. Even in the Renais-
sance the physical nature of the work was perceived by
Leonardo da Vinci and others as pulling down the status of
sculpture in the arts, though the reputation of Michelangelo
perhaps put this long-held idea to rest.

CONTEMPORARY GENRES

Aniconism remained restricted to Judaism, which did

not accept figurative sculpture until the 19th century,[16]
before expanding to Early Buddhism and Early Christianity,
neither of which initially accepted large sculptures. In both
Christianity and Buddhism these early views were later
reversed, and sculpture became very significant, especially
in Buddhism. Christian Eastern Orthodoxy has never ac-
cepted monumental sculpture, and Islam has consistently
rejected nearly all figurative sculpture, except for very small
figures in reliefs and some animal figures that fulfill a useful
function, like the famous lions supporting
 by ashim silva
20
art gallery
catalog 21

WOOD
SCULPTURES
 N CAPTION FOR YOUR PHOTO

N CAPTION FOR YOUR PHOTO

22
art gallery
catalog 23

N CAPTION FOR YOUR PHOTO

N CAPTION FOR YOUR PHOTO WOOD ART

As a contemporary artistic
medium, wood is used in traditional
and modern styles, and is an excellent
medium for new art. Wood is used in
forms of sculpture, craft, and deco-
ration including chip carving, wood
burning, and marquetry. Wood offers a
fascination, beauty, and complexity in
the grain, that often shows even when
the medium is painted. Wood is used
by carpenters to create many useful
items such as cabinets, furniture and
musical instruments.
 N CAPTION FOR YOUR PHOTO N CAPTION FOR YOUR PHOTO

HARDWOOD SOFTWOOD

As a contemporary artistic As a contemporary artistic

medium, wood is used in traditional medium, wood is used in traditional
and modern styles, and is an excellent and modern styles, and is an excellent
medium for new art. Wood is used in medium for new art. Wood is used in
forms of sculpture, craft, and deco- forms of sculpture, craft, and deco-
ration including chip carving, wood ration including chip carving, wood
burning, and marquetry. Wood offers a burning, and marquetry. Wood offers a
fascination, beauty, and complexity in fascination, beauty, and complexity in
the grain, that often shows even when the grain, that often shows even when
the medium is painted. Wood is used the medium is painted. Wood is used
by carpenters to create many useful by carpenters to create many useful
items such as cabinets, furniture and items such as cabinets, furniture and
musical instruments. musical instruments.
24
art gallery
catalog 25

N CAPTION FOR YOUR PHOTO N CAPTION FOR YOUR PHOTO

FINISHING MARQUETRY

As a contemporary artistic As a contemporary artistic

medium, wood is used in traditional medium, wood is used in traditional
and modern styles, and is an excellent and modern styles, and is an excellent
medium for new art. Wood is used in medium for new art. Wood is used in
forms of sculpture, craft, and deco- forms of sculpture, craft, and deco-
ration including chip carving, wood ration including chip carving, wood
burning, and marquetry. Wood offers a burning, and marquetry. Wood offers a
fascination, beauty, and complexity in fascination, beauty, and complexity in
the grain, that often shows even when the grain, that often shows even when
the medium is painted. Wood is used the medium is painted. Wood is used
by carpenters to create many useful by carpenters to create many useful
items such as cabinets, furniture and items such as cabinets, furniture and
musical instruments. musical instruments.
26
art gallery
catalog 27

N CAPTION FOR YOUR PHOTO N CAPTION FOR YOUR PHOTO

HARDWOOD

As a contemporary artistic
medium, wood is used in traditional
and modern styles, and is an excellent
medium for new art. Wood is used in
forms of sculpture, craft, and deco-
ration including chip carving, wood
burning, and marquetry. Wood offers a
fascination, beauty, and complexity in
the grain, that often shows even when
the medium is painted. Wood is used
by carpenters to create many useful
items such as cabinets, furniture and
musical instruments.
28
art gallery
catalog 29

Clay Art
by ashley knedler

In “Art and Objecthood,” Michael Fried derisively

labels art that acknowledges the viewer as “theatrical”
(Fried 45). There is a strong parallel between installation
and theater: both play to a viewer who is expected to be
at once immersed in the sensory/narrative experience that
surrounds him and maintain a degree of self-identity as a
viewer. The traditional theater-goer does not forget that he
has come in from outside to sit and take in a created expe-
rience; a trademark of installation art has been the curious
and eager viewer, still aware that he is in an exhibition
setting and tentatively exploring the novel universe of the
installation.

The artist and critic Ilya Kabakov mentions this

essential phenomenon in the introduction to his lectures
“On the “Total” Installation”: “[One] is simultaneously both
a ‘victim’ and a viewer, who on the one hand surveys and
evaluates the installation, and on the other, follows those
associations, recollections which arise in him[;] he is
overcome by the intense atmosphere of the total illusion”
(Kabakov 256). Here installation art bestows an unprec-
edented importance on the observer’s inclusion in that
which he observes. The expectations and social habits that
the viewer takes with him into the space of the installation
will remain with him as he enters, to be either applied.
 N CAPTION FOR YOUR PHOTO

SLIPWARE

Ceramic art is art made from ceramic materials (including clay), which may take forms includ-
ing art ware, tile, figurines, sculpture, and tableware. Ceramic art is one of the arts, particularly one
of the visual arts, and of those, it is one of the plastic arts. While some ceramics are considered fine
art, some are considered to be decorative, industrial or applied art objects. Ceramics may also be
considered artefacts in archaeology. Ceramic art can be made by one person or by a group of peo-
ple. In a pottery or ceramic factory, a group of people design, manufacture and decorate the art ware.
Products from a pottery are sometimes referred to as “art pottery.”[1] In a one-person pottery studio,
ceramists or potters produce studio pottery.

30
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N CAPTION FOR YOUR PHOTO

TERRA SIGILLATA

The word “ceramics” comes from the Greek keramikos (κεραμικος), meaning “pottery”, which
in turn comes from keramos (κεραμος) meaning “potter’s clay.”[2] Most traditional ceramic products
were made from clay (or clay mixed with other materials), shaped and subjected to heat, and ta-
bleware and decorative ceramics are generally still made this way. In modern ceramic engineering
usage, ceramics is the art and science of making objects from inorganic, non-metallic materials by
the action of heat. It excludes glass and mosaic made from glass tesserae.

There is a long history of ceramic art in almost all developed cultures, and often ceramic ob-
jects are all the artistic evidence left from vanished cultures, like that of the Nok in Africa over 2,000
years ago. Cultures especially noted for ceramics include the Chinese, Cretan, Greek, Persian,
Mayan, Japanese, and Korean cultures, as well as the modern Western cultures.

Elements of ceramic art, upon which different degrees of emphasis have been placed at differ-
ent times, are the shape of the object, its decoration by painting, carving and other methods, and the
glazing found on most ceramics.
 N CAPTION FOR YOUR PHOTO

N CAPTION FOR YOUR PHOTO

32
art gallery
catalog 33
34
art gallery
catalog 35

Painting

Painting is the practice of applying paint,

pigment, color or other medium to a solid
surface (support base). The medium is
commonly applied to the base with a brush, but
other implements, such as knives, sponges,
and airbrushes, can be used.

Painting is a mode of creative expression,

and the forms are numerous. Drawing,
gesture (as in gestural painting), composition,
narration (as in narrative art), or abstraction
(as in abstract art), among other aesthetic
modes, may serve to manifest the
expressive and conceptual intention of the
practitioner. Paintings can be naturalistic and
representational (as in a still life or landscape
painting), photographic, abstract, narrative,
symbolistic (as in Symbolist art), emotive (as
in Expressionism), or political in nature (as in
Artivism).

greg eliason
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INTENSITY

What enables painting is the

perception and representation of
intensity. Every point in space has
different intensity, which can be repre-
sented in painting by black and white
and all the gray shades between.
In practice, painters can articulate
shapes by juxtaposing surfaces of
different intensity; by using just color
(of the same intensity) one can only
represent symbolic shapes. Thus, the
basic means of painting are distinct
from ideological means, such as
geometrical figures, various points of
view and organization (perspective),
and symbols. For example, a painter
perceives that a particular white wall
has different intensity at each point,
due to shades and reflections from
nearby objects, but, ideally, a white
wall is still a white wall in pitch dark-
ness. In technical drawing, thickness
of line is also ideal, demarcating ideal
outlines of an object within a percep-
tual frame different from the one used
by painters.

COLOR AND TONE

Color and tone are the essence

of painting as pitch and rhythm are
the essence of music. Color is highly
subjective, but has observable psy-
chological effects, although these can
differ from one culture to the next.
Black is associated with mourning in
the West, but in the East, white is.
Some painters, theoreticians, writers
and scientists, including Goethe, Kan-
dinsky, and Newton, have written their
own color theory.

Moreover, the use of lan-

guage is only an abstraction for a
color equivalent. The word “red”, for
example, can cover a wide range of
variations from the pure red of the
visible spectrum of light. There is not
a formalized register of different colors
in the way that there is agreement on
different notes in music, such as F or
C♯. For a painter, color is not sim-
ply divided into basic (primary) and
derived (complementary or mixed)
colors.
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catalog 41

The best and most

beautiful things in the world
cannot be seen or even
touched - they must be felt
with the heart.

by emmanuel lubezki Helen Keller

Aesthetics is the study of art and beauty; it was an painting rather than on the external world—nature—which
important issue for 18th- and 19th-century philosophers had previously been its core subject. Recent contributions
such as Kant and Hegel. Classical philosophers like Plato to thinking about painting have been offered by the painter
and Aristotle also theorized about art and painting in par- and writer Julian Bell. In his book What is Painting?, Bell
ticular. Plato disregarded painters (as well as sculptors) discusses the development, through history, of the notion
in his philosophical system; he maintained that painting that paintings can express feelings and ideas.[16] In Mirror
cannot depict the truth—it is a copy of reality (a shadow of The World, Bell writes:[? clarification needed]
of the world of ideas) and is nothing but a craft, similar to
shoemaking or iron casting.[citation needed] By the time of A work of art seeks to hold your attention and keep it
Leonardo, painting had become a closer representation of fixed: a history of art urges it onwards, bulldozing a high-
the truth than painting was in Ancient Greece. Leonardo da way through the homes of the imagination.[17] Aesthetics
Vinci, on the contrary, said that “Italian: La Pittura è cosa is the study of art and beauty; it was an important issue
mentale” (“English: painting is a thing of the mind”).[9] Kant for 18th- and 19th-century philosophers such as Kant and
distinguished between Beauty and the Sublime, in terms Hegel. Classical philosophers like Plato and Aristotle also
that clearly gave priority to the former.[citation needed] theorized about art and painting in particular. Plato disre-
Although he did not refer to painting in particular, this con- garded painters (as well as sculptors) in his philosophical
cept was taken up by painters such as J.M.W. Turner and system; he maintained that painting cannot depict the
Caspar David Friedrich. truth—it is a copy of reality (a shadow of the world of ideas)
and is nothing but a craft, similar to shoemaking or iron
Hegel recognized the failure of attaining a universal casting.[citation needed] By the time of Leonardo, paint-
concept of beauty and, in his aesthetic essay, wrote that ing had become a closer representation of the truth than
painting is one of the three “romantic” arts, along with Po- painting was in Ancient Greece. Leonardo da Vinci, on the
etry and Music, for its symbolic, highly intellectual purpose. contrary, said that “Italian: La Pittura è cosa mentale” (“En-
[10][11] Painters who have written theoretical works on glish: painting is a thing of the mind”).[9] Kant distinguished
painting include Kandinsky and Paul Klee.[12][13] In his between Beauty and the Sublime, in terms that clearly gave
essay, Kandinsky maintains that painting has a spiritual priority to the former.[citation needed] Although he did not
value, and he attaches primary colors to essential feelings refer to painting in particular, this concept was taken up by
or concepts, something that Goethe and other writers had painters such as J.M.W. Turner and Caspar David Fried-
already tried to do. rich. Hegel recognized the failure of attaining a universal
concept of beauty and, in his aesthetic essay, wrote that
Iconography is the study of the content of paintings, painting is one of the three “romantic” arts, along with Po-
rather than their style. Erwin Panofsky and other art histo- etry and Music, for its symbolic, highly intellectual purpose.
rians first seek to understand the things depicted, before [10][11] Painters who have written theoretical works on
looking at their meaning for the viewer at the time, and painting include Kandinsky and Paul Klee.[12][13] In his
finally analyzing their wider cultural, religious, and social essay, Kandinsky maintains that painting has a spiritual
meaning.[14] value, and he attaches primary colors to essential feelings
or concepts, something that Goethe and other writers had
In 1890, the Parisian painter Maurice Denis famously already tried to do.
asserted: “Remember that a painting—before being a war-
horse, a naked woman or some story or other—is essen- Iconography is the study of the content of paintings,
tially a flat surface covered with colors assembled in a cer- rather than their style. Erwin Panofsky and other art histo-
tain order.”[15] Thus, many 20th-century developments in rians first seek to understand the things depicted, before
painting, such as Cubism, were reflections on the means of looking at their meaning for the viewer at the time
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catalog 45

THE TOP 10
ANIMAL IN ART

by jane foster

In “Art and Objecthood,” Michael Fried derisively

labels art that acknowledges the viewer as “theatrical”
(Fried 45). There is a strong parallel between installation
and theater: both play to a viewer who is expected to be
at once immersed in the sensory/narrative experience that
surrounds him and maintain a degree of self-identity as a
viewer. The traditional theater-goer does not forget that he
has come in from outside to sit and take in a created expe-
rience; a trademark of installation art has been the curious
and eager viewer, still aware that he is in an exhibition
setting and tentatively exploring the novel universe of the
installation.

The artist and critic Ilya Kabakov mentions this

essential phenomenon in the introduction to his lectures
“On the “Total” Installation”: “[One] is simultaneously both
a ‘victim’ and a viewer, who on the one hand surveys and
evaluates the installation, and on the other, follows those
associations, recollections which arise in him[;] he is
overcome by the intense atmosphere of the total illusion”
(Kabakov 256). Here installation art bestows an unprec-
edented importance on the observer’s inclusion in that
which he observes. The expectations and social habits that
the viewer takes with him into the space of the installation
will remain with him as he enters, to be either applied.
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 by jeanette scott
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The best and most

beautiful things in the world
cannot be seen or even
touched - they must be felt
with the heart.

Jacqueline West

Just after World War II, many artists old and young
were back in Paris where they worked and exhibited:
Nicolas de Staël, Serge Poliakoff, André Lanskoy and
Zaks from Russia; Hans Hartung and Wols from Germany;
Árpád Szenes and Simon Hantaï from Hungary; Alexandre
Istrati from Romania; Jean-Paul Riopelle from Canada;
Vieira da Silva from Portugal; Gérard Ernest Schneider
from Switzerland; Feito from Spain; Bram van Velde from
the Netherlands; Albert Bitran from Turkey; Zao Wou Ki
from China; Sugai from Japan; Sam Francis, John Koenig,
Jack Youngerman and Paul Jenkins from the U.S.A.

All these artists and many others were at that time

among the “Lyrical Abstractionists” with the French: Georg-
es Mathieu, Pierre Soulages, Nallard, Jean René Bazaine,
Jacques Doucet, Camille Bryen, Jean Le Moal, Gustave
Singier, Alfred Manessier, Roger Bissière, Pierre Tal-Coat,
Jean Messagier and others.

Lyrical Abstraction was opposed not only to “l’Ecole

de Paris” remains of pre-war style but to Cubist and
Surrealist movements that had preceded it, and also to
geometric abstraction (or “Cold Abstraction”). Lyrical Ab-
straction was in some ways the first to apply the lessons
of Kandinsky, considered one of the fathers of abstraction.
For the artists in France, Lyrical Abstraction represented an
opening to personal expression. In Belgium, Louis Van Lint
figured a remarkable example of an artist who, after a short
period of geometric abstraction, has moved to a lyrical
abstraction in which he excelled.

Many exhibitions were held in Paris for example in

the galleries Arnaud, Drouin, Jeanne Bucher, Louis Carré,
Galerie de France, and every year at the “Salon des Réal-
ités Nouvelles” and “Salon de Mai” where the paintings.
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