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Spotlight on the Collection: Artists in Depth: Arp, Miró, Calder

Künstler: Jean Arp, Joan Miró, Alexander Calder

Ausstellung: 25.03.2011 - 15.04.2012

Veranstalter: Albright-Knox Art Gallery
Albright-Knox Art Gallery bei art-report

Stadt: Buffalo
Homepage: Albright-Knox Art Gallery

Spotlight on the Collection: Artists in Depth: Arp, Miró, Calder
Joan Miró (Spanish, 1893–1983). Le Carnaval d'Arlequin (Carnival of Harlequin), 1924–25. Oil on canvas, 26 x 35 5/8 inches (66 x 90.5 cm). Collection Albright-Knox Art Gallery. Room of Contemporary Art Fund, 1940. © 2010 Successió Miró / Artists Rights So

 


Spotlight on the Collection—Artists in Depth: Arp, Miró, Calder, presented by The Buffalo News, is the second installment in a new series of ongoing exhibitions drawn from the Albright-Knox’s Collection centering on important artists whose works the Gallery has acquired in depth. This series aims to reach beyond the Gallery’s celebrated masterworks to highlight a broad range of paintings, sculptures, and works on paper from selected artists’ careers. Many of the works on view are less known to Albright-Knox audiences, not having been exhibited in some time; seen alongside the Gallery’s more well-known works, they will bring context and greater understanding to the chosen artists’ practices and their art-historical legacies.

Featuring a comprehensive array of works in all media by Jean (Hans) Arp (French, born Germany, 1886–1966), Joan Miró (Spanish, 1893–1983), and Alexander Calder (American, 1898–1976), this exhibition will highlight the Gallery’s extensive collection of the work of these three modern masters, who pushed color, line, and form beyond convention. Arp, Miró, and Calder converged early in their artistic careers. Calder, who left New York for France in 1926, first encountered Arp and Miró in Paris, an inspirational destination for artists and a vibrant center of music and dance. Paris was also the creative center for Surrealism—an art movement stressing the subconscious significance of imagery—and Surrealist theory in the visual arts, politics, and society. Calder, though not closely associated with Surrealism, was undoubtedly influenced by the movement’s key players during his time in Paris. It was Arp, in fact, who named Calder’s static constructions “stabiles,” and, in 1931, the Surrealist Marcel Duchamp suggested Calder call his whimsical, kinetic works “mobiles.” But Calder developed the closest friendship with Miró; the two bonded over discussions about Surrealist theory, and through shared interests and influences. These relationships, formed during a period in art history often referred to as “the greatest laboratory of modern art,” resulted in some of the most innovative visual iconographies of the twentieth century.

Future exhibitions in this series will highlight various groupings, themes, and individual artists, all with the aim of examining the richness and depth of the Albright-Knox’s Collection through new perspectives.

This exhibition is organized by Curator for the Collection Holly E. Hughes.

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KünstlerInnen:  Jean Arp , Joan Miró , Alexander Calder