Daily Archives: January 31, 2010

Ballet Mécanique


Ballet Mécanique (1924) was a project by the American composer George Antheil and the filmmaker/artist Fernand Léger. Although the film was intended to use Antheil’s score as a soundtrack, the two parts were not brought together until the 1990s. As a composition, Ballet Mécanique is Antheil’s best known and most enduring work. It remains famous for its radical style and instrumentation as well as its storied history.

In concert performance, the “ballet” is not a show of human dancers but of mechanical instruments. Among these, player pianos, airplane propellers, and electric bells stand prominently onstage, moving as machines do, and providing the visual side of the ballet. As the bizarre instrumentation may suggest, this was no ordinary piece of music. It was loud and percussive –- a medley of noises, much as the Italian Futurists envisioned new music of the 20th century.






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James Welling

James Welling, “0462”, 2009, detail. Inkjet print, 33.66 x 50.5 inches; image size, 40 x 58.5 inches. Edition of 5. Photo; Courtesy: Regen Projects, Los Angeles. ©James Welling.

LOS ANGELES, CA.- Regen Projects presents an exhibition of new works by Los Angeles artist James Welling. This exhibition will present new photographs from the “Glass House” series and a video installation “Sun Pavilion.” The “Glass House” photographs were taken over the course of three years (October 2006 to October 2009) at the iconic Philip Johnson Glass House in New Canaan, Connecticut. The photographs of the “House” (1949), the “Lake Pavilion” (1962), the “Lincoln Kirstein sculpture” (1985), and the “Brick Guest House” (1949) were made with an array of color filters positioned in front of the lens of a digital camera.



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Joseph Hirsch – Street Scene (1938)


Joseph Hirsch, “Street Scene”, 1938. Oil on canvas, 22 x 24 inches. Fred Jones Jr. Museum of Art, The University of Oklahoma, Norman; WPA Collection, 1942.

NORMAN, OK.- In light of the current U.S. economy and its historic correlation to the 1930s, the Fred Jones Jr. Museum of Art premieres a new exhibition of New Deal-era artwork this spring. Revisiting the New Deal: Government Patronage and the Fine Arts, 1933-1943 opens Friday, Feb. 5, with a special public opening reception at 7 p.m.

Revisiting the New Deal surveys the large collection of painting, sculpture and prints that the museum acquired from the federal government between 1935 and 1943. Selections from the exhibition include works by Stuart Davis, Joseph Hirsch, Jon Corbino, Louis Lozowick, Paul Goodbear and Patrociño Barela. A collection of posters designed by Louis Siegriest and reproductions of Navajo blankets by Louis Ewing are highlighted as well.


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Building by Shutter: Archival and Vintage Architectural Photography


Balthazar Korab, “National Gallery” by Mies, 1968

NEW YORK, NY – Max Protetch Gallery presents Building by Shutter: Archival and Vintage Architectural Photography. The exhibition includes photographs by renowned architectural photographers Lucien Hervé and Balthazar Korab; their subjects include buildings by Le Corbusier (Hervé), Ludwig Mies van der Rohe and Eero Saarinen (Korab). It highlights the special relationships that architectural photographers form with the buildings they document, as well as with those buildings’ creators.



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F. C. Gundlach


BERLIN.- From November 2009 the Martin-Gropius-Bau presents the definitive retrospective of F.C. Gundlach’s extensive photographic work with the exhibition “F.C. Gundlach – Photographic Work”. F.C Gundlach is one of the most famous fashion photographers worked for the most important magazines and publications from the middle of the 1950’s to 1990. Among other many famous pictures the most comprehensive presentation of F.C. Gundlach’s work shows many fameless facets of F.C. Gundlach’s work to date. After years of research, the curators Klaus Honnef, Hans-Michael Koetzle, Sebastian Lux and Ulrich Rüter present for the first time numerous unknown images as vintage prints alongside F.C. Gundlach’s famous photo icons.

The intention of the exhibition is to present the unique aesthetics of F.C. Gundlach’s photography, his roots in photojournalism, his focus on series and sequences, his narrative approach. Furthermore, the exhibition alludes to social and cultural issues over several decades.


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