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quinta-feira, 4 de maio de 2017

May 18th is International Museum Day. --- Icom Brasil confirma tema do Dia Internacional de Museus 2017

MUSEUMS ARE BLOOMING IN BLOOMINGTON

May 18th is International Museum Day, a chance for museums around the world to be celebrated and for the public to learn more about the important role museums play in education and preservation. But one day is really not enough, so it's been stretched into Museum Month! Bloomington is lucky to be the home of several museums, covering topics from fine art to science to history. Many of the museums are focusing on a common theme of Museums in Bloom, featuring exhibits and events that showcase their pieces with flowers, plants, or landscapes. We've pulled together a quick list of the beautiful blooms you can see this month, and other fun features to explore. 


The exhibit "Quilts of Southwest China" includes 24 quilts, many featuring delicate flowers and vines in vibrant colors. Flower motifs in Chinese quilts often represent happiness, and certain flowers have specific meanings. This exhibit runs through May 7.



Annie Corrigan, on-air personality with WFIU, will be be at the museum's Education Center on May 11 at 7pm to talk about her book Earth Eats. Stop by for this book signing and talk, and check out demo recipes prepared by Daniel Orr, contributor to the book and owner/chef of FARMbloomington. The books showcases local food production at its finest, from growing practices to seasonal recipes and every step in between. 





Enjoy an interactive program at the Barn Quilt Workshop. Learn about the history of the barn quilt and create your own 1' x 1' painted quilt block, supplies provided. The program takes place on May 20 at noon, but you must register by May 5. It's a $20 fee for museum members, and $25 for non-members, but you get a beautiful barn quilt to take home with you. 



Hurry over to the art museum this month, as it will be closing May 14 for a solid 2+ years for major renovations. There are lovely exhibits up right now, but a great time to visit will be on May 4 at 4:30pm for the First Thursday event featuring food, drink, gallery games, art-making activities, and tours. You can also learn more about the renovations, and celebrate the 100th birthday of I.M. Pei, the museum's famous architect (they're giving away 1000 triangle shaped brownies). 



The IU Archives has a wonderful collection of historical documents, photographs, renderings, and more related to IU and Indiana. In May and June, they will feature an exhibit documenting the efforts of Indiana's former US Senator Birch Bayh to reform (and then abolish) the Electoral College over a 16-year period. It will be fascinating and timely in our politically-charged environment. 



As the main gallery space for the IU School of Art and Design, the Grunwald is wonderful place to see new art by students and faculty. Starting May 12 and running through July 21, the gallery will exhibit STATIONTOSTATION: New and Visiting Faculty. The show will represent a range of schemes and methods, including film, kinetic installation, painting, printmaking, design, and sculpture. 


Find more museums and the many unique exhibits and programs they offer on the Alliance of Bloomington Museums site. And when you're visiting any of the museums in Bloomington, be sure to tag any photos or posts on social media with #btownmuseums.



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Icom Brasil confirms theme of the International Museum Day 2017

"Museums and controversial stories: to say the unspeakable in museums" is the official translation into Portuguese of the theme defined by the International Council of Museums (Icom) for the International Day of Museums 2017 (Museums and contested histories: saying the unspeakable in museums) ).

The Brazilian Institute of Museums (Ibram), which is celebrated annually on May 18, adopts the motto launched by Icom to hold National Museum Week - a seven-day event that brings together Brazilian museums with a wide range of activities.

In 2016, between May 16 and 22, 1,236 museums registered 3,7 thousand activities for the 14th Museums Week.

Among the objectives of the event are the enhancement of the spaces of memory and culture in the country, the expansion of the relationship between museums and society, as well as the increase of the visiting public. The socioeconomic impact of the Museum Week is measured by Ibram with each new edition: check the results of the research already done.


By the end of the year, Ibram will define the period of the 15th Museums Week, as well as initiate the process of inscriptions of activities by the institutions interested in participating.




Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir. 
A cultura e o amor devem estar juntos.

Vamos compartilhar.

Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing.


--br
Icom Brasil confirma tema do Dia Internacional de Museus 2017

“Museus e histórias controversas: dizer o indizível em museus” é a tradução oficial para português do tema definido pelo Conselho Internacional de Museus (Icom) para o Dia Internacional de Museus 2017 (Museums and contested histories: saying the unspeakable in museums, em inglês).


Data celebrada anualmente no dia 18 de maio, o Instituto Brasileiro de Museus (Ibram) adota o mote lançado pelo Icom para realizar a Semana Nacional de Museus – temporada de eventos que, durante sete dias, reúne museus brasileiros com uma vasta programação de atividades.

Em 2016, entre os dias 16 e 22 de maio, 1.236 museus cadastraram 3,7 mil atividades para a 14ª Semana de Museus.

Entre os objetivos do evento estão a valorização dos espaços de memória e cultura no país, a ampliação da relação dos museus com a sociedade, assim como o aumento do público visitante. O impacto socioeconômico da Semana de Museus é medido pelo Ibram a cada nova edição: confira os resultados das pesquisas já realizadas.

Até o final do ano, o Ibram definirá o período de realização da 15ª Semana de Museus, assim como dará início ao processo de inscrições de atividades por parte das instituições interessadas em participar.

Highland museums win Lottery cash to secure future. --- Museus de Highland, ganham dinheiro de loteria para garantir o futuro.

THE Highland Museums Forum has received £54,900 from the Heritage Lottery Fund (HLF) for an exciting project to help secure the future of museums throughout the region.

Bettyhill Museum. Picture: Contributed

The project, entitled “Our Collective Future”, will be led by a new partnership of 18 independent museums, which have suffered from recent, drastic funding cuts by Highland Council.

The 18-month project aims to increase sustainability and capitalise on collective strengths and skills to build capacity for curatorial and management activities and future fund-raising. Each museum in the partnership will benefit from an individual business review and fund-raising advice. A range of training opportunities will be available for museums staff and volunteers. Museums will work together, sharing skills and knowledge and creating even better experiences for visitors and more opportunities for local people to become involved. The project, which has also received funding from Museums Galleries Scotland of £35,000, is now underway and is due to complete by October 2018.

The 18 independent museums cover the whole of the Highlands from Mallaig to Bettyhill and from the Black Isle to Gairloch. Their extensive collections tell a patchwork of stories from earliest times to the present day, including the Picts, fishing, crofting, fossils and the Highland Clearances. Alison Boyle, chair of HMF, said this heritage is in danger of being lost due to increasing shortfalls in funding. She added: “We are thrilled to have received the support of the Heritage Lottery Fund and are confident the project will secure an exciting and resilient future for independent museums in the Highlands.”

With the support of business advisers, fund-raisers, and development training the independent museums will have the tools and financial backing to look to a Collective Future with optimism.










Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir. 
A cultura e o amor devem estar juntos.

Vamos compartilhar.

Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing.





--br via tradutor do google
Museus de Highland,  ganham dinheiro de loteria para garantir o futuro.

O The Highland Museums Forum recebeu £ 54.900 do Heritage Lottery Fund (HLF) para um emocionante projeto para ajudar a garantir o futuro dos museus em toda a região.

O projeto, intitulado "Nosso Futuro Coletivo", será liderado por uma nova parceria de 18 museus independentes, que sofreram cortes recentes e drásticos do Highland Council.

O projeto de 18 meses tem como objetivo aumentar a sustentabilidade e capitalizar os pontos fortes coletivos e habilidades para desenvolver a capacidade de curadoria e atividades de gestão e futura angariação de fundos. Cada museu da parceria irá beneficiar de uma revisão de negócios individuais e aconselhamento de angariação de fundos. Estará disponível uma gama de oportunidades de formação para os funcionários e voluntários do museu. Os museus trabalharão juntos, compartilhando conhecimentos e habilidades e criando experiências ainda melhores para os visitantes e mais oportunidades para as pessoas locais se envolverem. O projeto, que também recebeu financiamento de Museus Galerias Escócia de £ 35.000, está agora em curso e deve ser concluída em outubro de 2018.

Os 18 museus independentes cobrem todo o Highlands de Mallaig a Bettyhill e da ilha preta a Gairloch. Suas coleções extensas dizem um retalho das histórias de tempos mais adiantados ao dia atual, including o Picts, pesca, crofting, fósseis e as afastações de Highland. Alison Boyle, presidente da HMF, disse que esta herança está em perigo de ser perdida devido à crescente escassez de financiamento. "Estamos muito felizes por ter recebido o apoio do Heritage Lottery Fund e estamos confiantes de que o projeto irá garantir um futuro emocionante e resiliente para museus independentes nas Highlands".

Com o apoio de consultores empresariais, angariação de fundos e formação em desenvolvimento, os museus independentes terão as ferramentas e o apoio financeiro para olhar para um Futuro Colectivo com optimismo.

Rare Modigliani Sculpture Gifted to Kimbell Art Museum. --- Escultura rara de Modigliani Dotada ao museu de arte de Kimbell.

The Kimbell Art Museum in Fort Worth, Texas, announced last week the gift of a masterpiece of modern sculpture, a carved limestone Head (c. 1913), by the Italian artist Amedeo Modigliani (1884–1920). This important work was given in honor of Ted and Lucile Weiner by their daughter Gwendolyn Weiner. It is one of about 27 surviving sculptures by the artist, and among his finest. Head is on view in the Kimbell’s permanent collection galleries. 

Amedeo Modigliani, Italian (1884–1920) Head, c. 1913. Limestone, 20 5/8 x 9 3/4 x 14 3/4 in. Collection of Kimbell Art Museum Given in honor of Ted and Lucile Weiner by their daughter Gwendolyn, 2017

“This is one of the most significant gifts the Kimbell has ever received,” said Eric M. Lee, director of the Kimbell Art Museum. “I will be forever grateful to Gwen Weiner for her extraordinary generosity, which will enrich the visitor experience at the Kimbell Art Museum for generations to come.”

The Kimbell has great works of modern painting in its collection by artists such as Picasso, Matisse and Mondrian, but until now it has had no work in any medium by Modigliani. Remarkably, Head is the first work of modern sculpture to take its place within the galleries designed by Louis I. Kahn for the Kimbell Art Museum.

Although renowned today for his more numerous paintings, Modigliani considered himself foremost a sculptor. Having left his hometown of Livorno in 1906 to join the Parisian avant-garde and stimulated by the example of Constantin Brancusi, who became his neighbor when he moved to a studio in the community of Montparnasse in 1909, Modigliani championed direct carving in stone, seeking to revitalize sculpture by returning to its ancient methods. 

Scavenging limestone from construction sites including the Paris subway, he created a series of elegantly stylized, mostly elongated heads, with slender necks and geometric features such as almond-shaped eyes and small round or smiling mouths. Modigliani’s distinctive aesthetic—born from the tension between figuration and abstraction—was inspired by a range of works that he admired in Paris, including African, Egyptian, ancient Greek and Cambodian statuary. Modigliani’s powerful—even mystical—sculptures invoke deities or timeless beings. Seven of the heads were displayed as a “decorative ensemble” in the 1912 Salon d’Automne in a room with Cubist paintings. Paul Guillaume, his dealer, later wrote that the artist envisioned his heads as “columns of tenderness” in a “temple of beauty.”

The Weiner Head is distinguished from others by its complex balance of brutality and refinement, as the delicate head emerges from the roughly hewn mass of the stone block. The lively and varied surface celebrates the process of its creation: blunt gouges and sensual striations of the sculptor’s chisels mark the tapered neck and head, countered by the sharp incisions of the hair and more refined finish of the oval face and cheeks. Its expressive sophistication reveals a sculptor at the height of his talents.

The chronology of Modigliani’s heads, in fact, is difficult to establish. A photograph showing the artist with uncharacteristically short hair standing next to the still unfinished Weiner Head suggests a date of about 1913, shortly after his return from a visit to Italy, where friends remarked on his shaven head following a stay in a hospital. Around 1914, ill health and poverty forced Modigliani to abandon sculpture and return to painting portraits and nude figures. He died at age 35 of tubercular meningitis.

The sculpture is even more meaningful to the Kimbell because it comes from the Weiner Collection. Oilman Ted Weiner, with his wife Lucile and their daughter Gwendolyn, acquired important modern artworks, particularly sculpture, in the 1950s and 1960s. This major pioneering private collection was displayed in their home and garden in Fort Worth. The Weiners purchased the Modigliani Head from the Knoedler Gallery in 1963.

With the Weiner gift, the Kimbell becomes the only museum in the western states to have a Modigliani sculpture in its collection.







fonte: @edisonmariotti #edisonmariotti

http://www.artfixdaily.com/artwire/release/795-rare-modigliani-sculpture-gifted-to-kimbell-art-museum

Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir. 
A cultura e o amor devem estar juntos.

Vamos compartilhar.

Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing.










--br via tradutor do google
Escultura rara de Modigliani Dotada ao museu de arte de Kimbell.

O Museu de Arte Kimbell em Fort Worth, no Texas, anunciou na semana passada o presente de uma obra-prima da escultura moderna, uma pedra calcária esculpida Head (por volta de 1913), pelo artista italiano Amedeo Modigliani (1884-1920). Este importante trabalho foi dado em homenagem a Ted e Lucile Weiner por sua filha Gwendolyn Weiner. É um de aproximadamente 27 esculturas sobrevivendo pelo artista, e entre seu mais fino. A cabeça está na vista nas galerias permanentes da coleção do Kimbell.

"Este é um dos dons mais significativos que o Kimbell já recebeu", disse Eric M. Lee, diretor do Museu de Arte Kimbell. "Serei eternamente grata a Gwen Weiner por sua extraordinária generosidade, que vai enriquecer a experiência do visitante no Museu de Arte Kimbell para as gerações vindouras."

O Kimbell tem grandes obras de pintura moderna em sua coleção por artistas como Picasso, Matisse e Mondrian, mas até agora não teve nenhum trabalho em qualquer meio por Modigliani. Notàvelmente, a cabeça é a primeira obra da escultura moderna para tomar seu lugar dentro das galerias projetadas por Louis I. Kahn para o museu de arte de Kimbell.

Embora renomado hoje por suas pinturas mais numerosas, Modigliani considerou-se acima de tudo um escultor. Tendo partido de Livorno em 1906 para se juntar à vanguarda parisiense e estimulado pelo exemplo de Constantin Brancusi, que se tornou vizinho quando mudou-se para um estúdio na comunidade de Montparnasse em 1909, Modigliani defendeu a escultura directa em pedra, procurando Para revitalizar a escultura retornando a seus métodos antigos.

Escavando calcário de canteiros de obras, incluindo o metrô de Paris, ele criou uma série de cabeças elegantemente estilizadas, principalmente alongadas, com pescoços finos e características geométricas como olhos em forma de amêndoa e pequenas bocas redondas ou sorrindo. A estética distinta de Modigliani, nascida da tensão entre figuração e abstração, foi inspirada em uma série de obras que ele admirava em Paris, incluindo estatuária africana, egípcia, grega e cambojana. As esculturas poderosas - até mesmo místicas - de Modigliani invocam deidades ou seres eternos. Sete das cabeças foram exibidas como um "conjunto decorativo" no Salon d'Automne de 1912 em uma sala com pinturas cubistas. Paul Guillaume, seu comerciante, escreveu mais tarde que o artista imaginava suas cabeças como "colunas de ternura" em um "templo da beleza".

A Cabeça Weiner se distingue das outras pelo seu complexo equilíbrio de brutalidade e refinamento, à medida que a delicada cabeça emerge da massa tosquinha do bloco de pedra. A superfície animada e variada comemora o processo de sua criação: gouges sem corte e estrias sensuais dos cinzéis do escultor marcam o pescoço e a cabeça cônicos, contrariados pelas incisões afiadas do cabelo e acabamento mais refinado do rosto oval e bochechas. Sua sofisticação expressiva revela um escultor no auge de seus talentos.

A cronologia das cabeças de Modigliani, de fato, é difícil de estabelecer. Uma fotografia mostrando o artista com cabelos curtos incaracteristicamente ao lado da cabeça ainda inacabada de Weiner sugere uma data de aproximadamente 1913, logo após seu retorno de uma visita a Italy, onde os amigos observaram em sua cabeça raspada após uma estada em um hospital. Por volta de 1914, a saúde e a pobreza fizeram com que Modigliani abandonasse a escultura e voltasse a pintar retratos e figuras nus. Ele morreu aos 35 anos de meningite tuberculosa.

A escultura é ainda mais significativa para o Kimbell porque ela vem da coleção Weiner. O petroleiro Ted Weiner, com sua esposa Lucile e sua filha Gwendolyn, adquiriu importantes obras de arte moderna, particularmente a escultura, nas décadas de 1950 e 1960. Esta grande coleção privada pioneira foi exibida em sua casa e jardim em Fort Worth. Os Weiners compraram a Cabeça Modigliani da Galeria Knoedler em 1963.

Com o presente de Weiner, o Kimbell transforma-se o único museu nos estados ocidentais a ter uma escultura de Modigliani em sua coleção.