With his interior for the Medici Chapel in Florence, which he created between 1524 and 1534, Michelangelo achieved an unequalled climax in Renaissance sculpture. His monumental personifications of the Times of Day – Dusk and Dawn, Night and Day – are pairs of reclining figures on the sarcophagi of Giuliano and Lorenzo de’ Medici. Almost shocking in their nudity and bold poses, these figures had an enormous impact on generations of artists. Among the numerous replicas of Michelangelo’s Times of Day, the four statuettes held by Dresden’s Skulpturensammlung hold a special position. According to the inventories of the electoral Kunstkammer of 1587 and 1640, the Tuscan grand duke Cosimo I de’ Medici presented Elector August of Saxony with these figures as early as around 1560 or 1570. The exhibition “Shadows of Time. Giambologna, Michelangelo and the Medici Chapel” is shining a light on these master
CALL FOR SUBMISSIONS / MAIN SPACE
Deadline: Wednesday, July 25, 2018
The New Gallery (TNG) is an artist-run centre located in Calgary Chinatown on the traditional territories of the people of the Treaty 7 region in Southern Alberta which includes the Blackfoot Confederacy (comprising the Siksika, Piikani, and Kainai First Nations), the Tsuut’ina First Nation, and the Stoney Nakoda (including the Chiniki, Bearspaw, and Wesley First Nations). Mohkínstsis – commonly known as the City of Calgary – is also home to Métis Nation of Alberta, Region III.
TNG is currently welcoming submissions for Main Space programming in 2019/20. TNG accepts proposals for solo and group exhibitions, and may also consider individual artists for inclusion in a curated group show. TNG’s Main Space is also able to support projects outside of a traditional exhibition format, including but not limited to residencies, community engagement initiatives, and publication projects. Proposals of this nature must follow the regular submissions procedures, as well as provide a project budget outlining any additional financial resources required. Please note that TNG is mandated to provide opportunities and venues for artists that foster social and political creative practices, while engaging and educating audiences through contemporary art.
This summer’s exhibition in the Rijksmuseum Gardens features nine giant sculptures by the Spanish Basque artist Eduardo Chillida (1924-2002). Chillida is considered to be one of the most important post-war innovators in sculpture. He became famous chiefly for his huge sculptures in steel. For the first time, nine of Chillida’s monumental outdoor sculptures are being exhibited together in the Netherlands. The works are on loan from the Barcelona Museum of Contemporary Art (MACBA), the Peggy Guggenheim Collection in Venice, the Eduardo Chillida-Pilar Belzunce Foundation in Hernani, Ordovas in London and a private collection. Alfred Pacquement, former director of the Centre Pompidou and guest curator: Eduardo Chillida made a significant contribution to the renewal of sculpture in the 20th century and is one of the major figures of his generation. His work combines modern abstraction with traditional artisanal techniqu
In the late 1980s, Cam Christiansen was a teenager living in the Edmonton suburbs, when his Danish-born dad decided to take the Christiansen family on a European vacation.
That experience jump-started Christiansen’s understanding of how creative cities—and lives, including his own—could potentially be.
“When you went to Europe, pre-Internet, it was actually a real culture shock,” he says. “I remember literally poking our heads out of the train station in Copenhagen and seeing all these European backpacker kids—and they all had these great scarves and were so exotic–and European!”
The impact upon teenaged Christiansen was total—in all the best ways that a suburban teenager’s life can be transformed.
Frederic Matys Thursz was a co-founder of the Radical Painting Group founded in New York City in the late ‘70s. The exhibition coincides with the recent publication of a comprehensive monograph on the life and work of this influential artist who died at the height of his career. Subsequently, the artist has largely slipped from public recognition. Born in Germany, Thursz arrived in New York in 1941. He received a BA from Queens College and an M.F.A from Columbia University. In 1956-7 he studied in Paris on a Fulbright Scholarship. He died in Cologne, Germany in 1992. “The Light Within” brings together a large group of his late work not seen in one exhibition in many years and representing the most influential period of his career, including a seminal work exhibited at Documenta 9 in 1992. The Radical Painting Group set out to re-establish the relevancy of painting at a time when the act of painting was fully out of favor. Thursz was a believer in paint itself as the conv