CFP: Writing Impressionism Into and Out of Art History (London, 3-4 Nov 17)

 

A man and woman walking under an umbrella in a Paris road, other walkers-by; costumes of ca. 1877.
Gustave Caillebotte – Paris Street; Rainy Day, 1877; Art Institute of Chicago

London, The Courtauld Institute of Art, November 3 – 04, 2017
Deadline: Feb 1, 2017

CALL FOR PAPERS

Impressionism continues to be celebrated in blockbuster exhibitions worldwide: in the last few years alone, Impressionism, Fashion, Modernity (Art Institute of Chicago, Musée d’Orsay, and Metropolitan Museum of Art, 2013); Gustave Caillebotte: The Painter’s Eye (Kimbell Art Museum and National Gallery of Art, Washington, D.C., 2015-2016); and Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market (Musée du Luxembourg, National Gallery, London, and the Philadelphia Museum of Art, 2015). Since 1878 when Théodore Duret published his Histoire des peintres impressionnistes, Impressionism has occupied a central place in the canon of art history. That place now seems to be called into question, however. New transnational approaches to nineteenth-century art history have troubled the perpetuation of Francocentric histories. As the field’s attention has increasingly turned to places outside France—Britain, the United States, Australia, and beyond—Impressionism has been pushed to the margins. Though Impressionism has long benefited from powerful and compelling narratives via the social history of art, these readings have been worked through so extensively that it warrants asking whether this area of art history may be exhausted for the moment.

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EXH : Los Angeles to New York: Dwan Gallery, 1959–1971, Sept 30 – Jan 29, 2017

Virginia Dawn, Franz Kline painting, 1962 by Dennis Hooper. Source: Pinterest
Virginia Dawn, Franz Kline painting, 1962 by Dennis Hooper. Source: Pinterest

The remarkable career of gallerist and patron Virginia Dwan will be featured front and center for the first time in an exhibition of some 100 works, featuring highlights from Dwan’s promised gift of her extraordinary personal collection to the National Gallery of Art. Founded by Dwan in a storefront in Los Angeles in 1959, Dwan’s West Coast enterprise was a leading avant-garde space in the early 1960s, presenting works by abstract expressionists, neo-dadaists, pop artists, and nouveaux réalistes, including Philip Guston, Franz Kline, Ad Reinhardt, Robert Rauschenberg, Claes Oldenburg, Edward Kienholz, Yves Klein, Arman, Martial Raysse, Niki de Sant Phalle, and Jean Tinguely. In 1965, Dwan established a gallery in New York where she presented groundbreaking exhibitions of such new tendencies as minimalism, conceptual art, and land art, featuring works by Carl Andre, Walter de Maria, Dan Flavin, Michael Heizer, Robert Morris, Sol LeWitt, Agnes Martin, Charles Ross, Robert Ryman, and Robert Smithson, among others. Dwan emerged as a leading patron of earth works during this period, sponsoring Heizer’s monumental sculptures Double Negative (1969) and City (begun 1972); Smithson’s masterpiece Spiral Jetty (1970); the first version of Walter de Maria’s Lightning Field (1974); and Ross’s Star Axis (begun 1971). The exhibition will trace Dwan’s activities and the emergence of an avant-garde gallery in an age of mobility, when air travel and the interstate highway system linked the two coasts and transformed the making of art and the sites of its exhibition.

Organization: Organized by National Gallery of Art, Washington

Other Venues: Los Angeles County Museum of Art, March 19–September 10, 2017

Source : National Gallery of Art, Washington

Header Image (random): Virginia Dwan standing in the Language III installation (May 24–June 18, 1969). Detail. Photo courtesy Dwan Archive