Wind & Whimsy: Weathervanes and Whirligigs from Twin Cities Collections

Science & Math

Karal Ann Marling

Environment

Institute

Vanitas is a type of still life painting that developed in Holland in the early seventeenth century. The title comes from a verse in the Latin Bible, from the Book of Ecclesiastes: vanitas vanitatum et omnia vanitas (vanity of vanities, and all is vanity.) This pessmistic reminder of the fragility and briefness of all human life was part of the unprecedented economic and political growth of the Dutch Republic during which average incomes skyrocketed and national wealth grew to dwarf that of other European states. 
In the paintings of this exhibition, vanitas is portrayed through many symbols: the human skull, soap bubbles ready to pop, flowers and fruits with the first blotches of spoilage, insects and seashells, burnt out candles, crystal goblets, and signs of wealth and power like money, jewels and crowns. The reasons for the appeal of such images in a time of prosperity and the circumstances of its decline in popularity are two of the questions examined in this exhibition. The widespread influences of vanitas painting went well beyond the realm if Dutch art. In the last half of the twentieth century, American artists began to reimagine these themes; in a wide array of formats...Painters from Georgia O'Keefe to the contemporary Daniel Sprick show the full scope of modern vanitas. The combined American and European paintings of the exhibition at the Flint Institute of Arts presents for the first time, the dramatic relations between the older and more contemporary vanitas images.

To Be, or Not to Be. Four Hundred Years of Vanitas Painting

Kelly, Raymond J.

Nothing Is Neutral: Andrea Bowers

Andrea Bowers

Managing Conservation

Reference

Masterworks from the butler institute of american art

Martha L.

Et Al Menk

Inspection of motorcycles after impact

Robar, Neil F

Leeds' Sculpture Collections

Arts & Photography

Whithey, Matthew

History & Criticism

This work includes text by Penelope Curtis. Imi Knoebel re-visits his founding vocabulary by showing and reworking the key works he made after his study alongside Joseph Beuys in Dusseldorf in 1968. This exhibition shows a number of key pieces which constituted his original practice. The works, from the late 1960s and early 1970s, highlight the importance of support and the addition of line, colour or light. They will be shown in their original format, or where the technology has changed, in the most appropriate form for today. Despite his international reputation Knoebel's work has rarely been seen in this country. Displaying early and recent works this exhibition examines the relationship between painting and sculpture, demonstrating not only the constructed quality of painting, but also the relationship between painting and installation. This catalogue accompanies the exhibition Imi Knoebel at Henry Moore Institute, Leeds, 24 September - 16 December 2006.

Imi Knoebel

Curtis, Penelope

Collections, Catalogs & Exhibitions

Thomas Schutte

Thomas Schütte

Towards a New Laocoon

Ian Balfour

VARIOUS

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