Contemporary galleries – Balazo Gallery Wed, 29 Jun 2022 00:41:26 +0000 en-US hourly 1 Contemporary galleries – Balazo Gallery 32 32 The High Museum will spotlight Iranian artist Monir Farmanfarmaian in his first posthumous exhibition in the United States Wed, 29 Jun 2022 00:41:26 +0000

Monir Shahroudy Farmanfarmaian (1922-2019) was one of Iran’s most famous and revered visual artists, known internationally for her mirrored geometric sculptures which combined the mathematical order and beauty of ancient Persian architectural motifs with the forms and patterns of post-war abstraction. . The High Museum of Art will present the first posthumous exhibition of his work in an American museum with Monir Farmanfarmaian: A Mirror Garden (Nov 18, 2022-April 9, 2023).

The exhibition was inspired by the High’s 2019 acquisition of Farmanfarmaian’s 2012 cut-mirror sculpture Untitled (Muqarnas) (2012) and his 2014 drawing Untitled (Circles and Squares). Muqarnas was acquired with funds from the Farideh & Al Azadi Foundation as part of a major gift to the Woodruff Arts Center, of which the High is an artistic partner, to purchase and display works by Persian artists.

“Untitled (Murqarnas) is one of the most popular works on display in our collection galleries. We are delighted to feature more of Farmanfarmaian’s work and, in doing so, provide a broader context for understanding his creative process and his practice,” said Rand Suffolk, the High’s Nancy and Holcombe T. Green, Jr., manager.

Michael Rooks, High’s Wieland Family Curator for Modern and Contemporary Art, added: “We are honored to recognize Farmanfarmaian’s significance as a singular creative force through this exhibition. For generations of artists in post-revolutionary Iran, Farmanfarmaian represents the paradigm of an independent society. artist whose work was unfettered by the histories and customs of his context but existed in conversation with contemporary artistic practices across cultures. At the same time, his work reflects a deep understanding and respect for Iranian culture.

The title of the exhibition is borrowed from Farmanfarmaian’s 2007 memoir, co-written by Zara Houshmand, which evokes the visual splendor of the artist’s mosaic-mirror sculptures. The more than 60 works presented in the exhibition will include a selection of sculptures, drawings, textiles and collages spanning four decades, from 1974 to 2018. The first drawings explore the infinity of geometric space and the countless possible variations of the geometric pattern , while his Nomadic Tents series, from the late 1970s, employs different combinations of shapes based on the triangle. Farmanfarmaian’s nomadic tents refer to the nomadic tribes of Iran that the artist studied in his youth and foreshadow the artist’s diasporic relationship with his homeland after the Iranian Revolution of 1979.

Additionally, the exhibition will feature a selection of rarely seen Heartache Boxes, small-scale assemblages that constitute a poetic visual memory of the artist’s mid-career life. Started after the death of her husband in 1991, the elaborately designed Heartache Boxes are arranged with objects related to desire, memory and dreams. They include prints, photographs, and a variety of artifacts that reference the artist’s life, times, and career, including thumbnail images of his early work and references to his “lost” life. ” in Tehran before the Iranian revolution.

The exhibition will also include a range of mirror mosaic sculptures by the artist throughout his career. Farmanfarmaian’s best-known sculptures combine fragments of mirror and reverse glass painting in resplendent mosaic patterns, using a 17th-century Persian technique called aineh-kari. Some of his early mosaics were made in the form of mirrored balls, such as Mirror Ball (1974), which demonstrates the endless possibilities of mosaic patterns on a sphere. Farmanfarmaian’s mirror balls foreshadow the artist’s later sculpture, notable for its intricate patterns and intricate form.

Among the late works in the exhibition, Untitled (Muqarnas), from the Upper collection, refers to the honeycomb ceilings of Persian sanctuaries and palaces, while its wing-like forms recall the wings of the Faravahar, an ancient Zoroastrian symbol linked to Persian cultural identity. . Another late work, titled Gabbeh (2009), features a triangular pattern formed by overlapping hexagons that serves as the basis for an irregular combination of colored polygons, arcs and diagonals. Its title refers to a type of Persian rug produced by nomadic weavers. The exhibition also includes a selection of silk rugs designed by Farmanfarmaian.

Between 2010 and 2014, Farmanfarmaian produced a series of works she called “families” – five groupings of eight sculptures based on the eight regular polygons of Euclidean geometry. The exhibition will present the eight geometric shapes drawn from several “families”. The variation of form, pattern and structure in families will demonstrate the advanced complexity of the artist’s concept while more broadly exposing the fluidity of geometry and fundamental mathematical principles central to Farmanfarmaian’s practice.

The exhibit will be on the second level of the high school’s Anne Cox Chambers wing.

About the artist

Born in Qazvin, Iran in 1922, Farmanfarmaian studied at Tehran University’s College of Fine Arts in the early 1940s, then traveled to New York to continue her studies. There she attended the Parsons School of Design, Cornell University, and the Arts Student League. In New York, Farmanfarmaian absorbed the development of geometric abstraction and observed its burgeoning permutations in contemporary art. His community of friends and fellow artists included Milton Avery, Alexander Calder, Joan Mitchell, Louise Nevelson, Frank Stella, Andy Warhol and others. These experiences, combined with his extensive knowledge of Iranian arts and crafts, resulted in his personal vision of a truly global modernity.

After her marriage in 1957, the artist returned to Iran, where she began to study, collect and preserve the traditional decorative arts of her native country. However, the 1979 Islamic Revolution brought Farmanfarmaian and his family back to New York, where they would remain in exile for the next 26 years. In 2004, Farmanfarmaian returned to Tehran, re-establishing a workshop where she worked with some of the same artisans she had known in the 1970s.

The artist first received special attention in 1958, when she received a gold medal for her work in the Iranian Pavilion at the Venice Biennale, leading to exhibitions in Tehran, Paris and New York. Since then, his work has been shown in major institutions and in exhibitions around the world. More recently major retrospective exhibitions of his work have been presented at the Sharjah Art Foundation, UAE; the Irish Museum of Modern Art, Dublin; the Guggenheim Museum, New York; and the Fundação de Serralves, Museu de Arte Contemporânea, Porto.

Farmanfarmaian’s work is included in major public collections around the world, including the Guggenheim Museum, New York; the Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; the High Museum of Art in Atlanta; the Museum of Modern Art in Tehran; Tate Modern, London; and the Victoria and Albert Museum in London.

She is the subject of the monograph Monir Shahroudy Farmanfarmaian: Cosmic Geometry, edited by Hans Ulrich Obrist, and is co-author of his autobiography, A Mirror Garden (Knopf, 2007). In December 2017, the Monir Museum opened in Tehran, the only museum dedicated to a single female artist in Iran.

]]> Modern art and the esteem machine Mon, 27 Jun 2022 10:01:18 +0000

The elimination of the modern art tariff made it much easier for American galleries to exhibit and sell contemporary European painting. Most of the works in Stieglitz’s Picasso exhibit at 291, for example, were drawings, as they were valued at a lower value than the paintings. It was too expensive to bring paintings from Europe.

Quinn wasn’t collecting just for himself. He was on a mission. As Eakin puts it, he wanted to “bring American civilization to the forefront of the modern world.” So it functioned as, in effect, a one-man art world. He subsidized New York art galleries, often purchasing many of the works they exhibited. He was one of the figureheads of the 1913 Armory Show, where the public could see more than thirteen hundred works of modern art, and where Marcel Duchamp’s “Nu Descending a Staircase” became a scandalous success.

When modern art came under attack for undermining American values ​​- the Time called the Armory Show “part of the general movement, perceptible throughout the world, aimed at disrupting and degrading, if not destroying, not only art, but also literature and society” – Quinn worked in the press, giving interviews to New York newspapers in which he called unsigned attacks like this “criticism of Ku Klux.” Over time, he built up a huge collection of modern European paintings and sculptures, which he kept in his ninth-floor apartment in Central Park West.

The apartment was a rental. Quinn was rich, but he wasn’t JP Morgan rich. Morgan spent something like sixty million dollars on art, which he donated to the Metropolitan Museum of Art, of which he was president. Quinn didn’t have that kind of money. On the other hand, Morgan was buying Old Masters (he was behind the 1909 tax law exempting “historical art” which Quinn had rewritten), while Quinn was buying works that hardly anyone else did not want. From the perspective of the American art world, the incredible collection he amassed, containing works by, among others, Brâncuși, Braque, Duchamp, Gris, Matisse, Picasso, Rousseau, Seurat, van Gogh and Villon , was almost worthless. when he died. No American dealer could sell it and no American museum wanted to hang it.

Knowing this, Quinn ordered, in her will, that her collection be auctioned off, with the proceeds going to her sister and niece, who were her sole heirs. (Quinn never married, but he had affairs with a number of notable women; at the time of his death his companion was Jeanne Robert Foster, a lumberjack’s daughter, a surprisingly beautiful and gifted woman who was closely involved in his search for new art.) As the Americans did not want it, so much of Quinn’s European art collection ended up returning to Europe.

Conveniently for Eakin’s story arc, Alfred Barr, then a young art history professor at Wellesley, got to see some of Quinn’s collection before it was dispersed, allowing Eakin to suggest that one of Barr’s aspirations when he accepted the leadership of MoMA three years later was to collect the Quinn collection and bring it back to America. It was impossible, of course. The parts were now in too many hands. But MoMA became, in effect, Quinn’s museum, and Quinn’s canon (plus photography and a few artists, like Klee and Kandinsky, of which Quinn did not collect) became Barr’s canon.

And it’s still MoMAit’s the cannon. If you cross the fifth floor of MoMA Today, where works of art belonging to the museum and produced between 1880 and 1940 are displayed, you will observe the very works whose adventures in the world of art are the subject of Eakin’s book.

Probably hundreds of people pass by these works every day, and none of them seem outraged, even by Picasso’s eight-foot-tall “Demoiselles d’Avignon” painted in 1907: five naked women in a brothel, rendered cubically, two with faces like African masks, aggressively confronting the viewer. (You have to stand very close to the canvas to get the right effect, although hardly anyone does.) The shock of the news has worn off. It probably wasn’t the kind of public acceptance Quinn and Barr had in mind. But, as Gertrude Stein once said, “You can be a museum or you can be modern, but you can’t be both.”

There is also a Parisian side to Eakin’s story. Here again, the focus is mainly on two figures: the gallery owners Daniel-Henry Kahnweiler and Paul Rosenberg. (A third operator, a kind of freelance merchant and ladies’ man named Henri-Pierre Roché, who called his penis “my God” and sought out deals for Quinn, has a colorful role in the story. )

Among the circumstances to which cultural industries are forced to adapt, none played a more powerful role in the first half of the 20th century than geopolitics. Kahnweiler did not sell his artists’ work in France, even though his gallery was in Paris. His collectors were in Germany and Russia, countries where modern art was created and understood. But the First World War and the Russian Revolution closed these markets. As a German national, Kahnweiler even suffered the seizure of his collection by the French government.

A decade later, the rise to power of Stalin and then Hitler made conditions worse. The governments of both leaders made modern art a political target. (The Nazis called modern art KunstbolschewismusNazi Germany and the Soviet Union did more than just censor modern artists and writers. They imprisoned them and they killed them. After 1933, the year Hitler was appointed Chancellor of Germany, the United States suddenly became attractive as a place where modern art could be safely shown. Hitler and Stalin provided tailwinds to Quinn and Barr’s mission to modernize American taste.

Kahnweiler and Rosenberg are key to Eakin’s story because both men represented Picasso, and Eakin believes Quinn and Barr were determined to make Picasso the face of modern art in America. He says that Barr saw “Les Demoiselles d’Avignon”, in particular, as a painting that could define MoMAthe whole collection.

But Barr struggled to persuade his board to buy art, instead of borrowing it for exhibitions. The museum held highly successful retrospectives of Matisse in 1931 (thirty-six thousand visitors) and van Gogh in 1935 (a blockbuster, and truly the exhibition that established an audience for modern art in the United States), but the trustees refused to buy a single work by Matisse, and they passed on van Gogh’s “Starry Night,” an image that would one day adorn countless coffee cups.

MoMAThe efforts of to acquire “Les Demoiselles” is a good example of the twists and turns of the path from the artist to the public. When Picasso finished the painting, he let some people see it in his studio in Paris, where he gained what Eakin calls “cult status.” But the work was rarely exhibited publicly. Picasso liked to keep his finest pieces, and he kept “Les Demoiselles” rolled up for years. In 1924, he resold it to Jacques Doucet, a fashion designer. (Doucet’s wife refused to allow him to hang it in their living room. The news shocked her further.) Doucet paid twenty-four thousand francs, or about twelve hundred dollars at the time.

Your weekly event planner in the Chattanooga area (including Riverfront Nights, Riverdance, Red, White & Blueberries) Sat, 25 Jun 2022 16:01:25 +0000

Here’s what’s happening in the Chattanooga area this week.


Embrace aging. A program that offers the latest health, legal and financial strategies for aging is scheduled for Tuesday at The Westin Hotel, 801 Pine St. The annual Embrace Aging forum is meant to provide insight as baby boomers turn the world upside down. seniors. The keynote speaker is actress and author Tembi Locke, who wrote the New York Times bestseller “From Scratch,” which explored her journey as a caregiver to her late husband. Reese Witherspoon is adapting the book into a Netflix series that will debut later this year. Locke’s acting career has included roles in “The Fresh Prince of Bel-Air,” “Proven Innocent,” and “NCIS: LA.” Tickets are $55, which includes Locke’s address, free valet parking, light breakfast and lunch, time with exhibitors, and breakout sessions on housing and care, relationships , health and wellness, finance and legal planning.

Business Wire Photo via AP/Author and actress Tembi Locke will lead the Embrace Aging Forum at the Westin Hotel on Tuesday.


Find more events and add your own at


BARKING LEGS THEATER — 1307 Dodds Ave. Jazz in the Lounge with Tortora, Turnure, Dickinson & Powers, 7 p.m. June 29. $5.

BLUE RIDGE MOUNTAINS WINE & JAZZ FESTIVAL – White Path Creek Farms, 1211 Old Northcutt Road, Ellijay, Ga. Features wines from around the world (by the glass or bottle), food vendors and regional jazz artists, from 14 a.m. to 7 p.m. on June 26 (last day); doors open at 1 p.m. $60.

THE CAVERNS – 555 Charlie Roberts Road, Pelham, Tenn. All times are central. Premium tickets with cave visits and accommodation available.

— June 26: Tommy Emmanuel, with Gareth Pearson, 5 p.m., subway. $49 to $62.

– July 2nd : George Clinton & Parliament Funkadelic on One Nation Under a Groove Tour, featuring The Motet, Dopapod and Pimps of Joytime, 6 p.m. Underground. $59.

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George Clinton, left, and Parliament Funkadelic perform at Ebony Magazine’s 30th Annual Power 100 Gala at The Beverly Hilton on December 2, 2015 in Beverly Hills, California. /Photo by Chris Pizzello/Invision/AP/File

NIGHTFALL – Miller Plaza, 850 Market St. The weekly concert series continues with headlining Blackcat Zydeco, featuring Dwight Carrier, at 8 p.m. July 1, with Scarlet Love Conspiracy at 7 p.m. Performers, games and food vendors at Miller Park, 901 Market St.

RIVERFRONT NIGHTS—Ross’s Landing, 201 Riverfront Parkway. The nine-week summer concert series opens with headlining Sail On: A Beach Boys Tribute, with Fresh Mind opening, from 7-10 p.m. July 2. Free. Concessions available; coolers welcome.


BOBBY STONE MOVIE SERIES – Tivoli Theater, 709 Broad St. “Dr. Strangelove,” 2 p.m. June 26. $10-$12. More movies to come in July.


AMERICAN ASSOCIATION OF WOOD TURNERS — Chattanooga Convention Center, 1 Carter Plaza. The 36th Annual International Woodturning Symposium features more than 1,000 makers from around the world, with exhibits of their work, galleries, auctions and a trade show open to the public, from 8:30 a.m. to 1 p.m. June 26 (last day).

CHATTANOOGA MARKET — First Horizon Pavilion, 1826 Carter St. Weekly local produce, arts and crafts market, 11 a.m. to 4 p.m. Sunday. FREE ENTRANCE.

— June 26: Sunday Funday, with music by Rachel McIntyre and Amber Carrington.

– July 3: Red, White & Blueberries, with music by Shawnessey Cargile and Lone Mountain Band.

THE COMEDY CATCH — 29 Station St.

— June 26: Rocky Dale Davis, Special Engagement, 7:30 p.m., $20 ($25 VIP seats sold out).

— July 1-2: Jesse Jones, 7:30 p.m. and 9:45 p.m., $17-$19.

GARDEN TOURS—St. Elmo and Lookout Mountain. Master Gardeners of Hamilton County and University of Tennessee Extension are offering self-guided tours of five private gardens, one public park, and one teaching garden, from 11 a.m. to 5 p.m. on June 26 (last day). $20. Map and addresses online.

OUTDOOR MARKET — 207 Chickamauga Ave., Rossville. Monthly event with local musicians and vendors selling produce, flowers, original artwork, and food, 4-8 p.m. July 1. rossville-blvd-market

RABBIT VALLEY FARMERS MARKET – 96 Depot St., Ringgold, Ga. Independence Day Market featuring local produce, arts and crafts, 9 a.m. to 1 p.m. July 2.

SOUTH CHICKAMAUGA CREEK GREENWAY – Sterchi Farm Trailhead, 3000 Harrison Pike. Groundbreaking Ceremony, 12-3 p.m. June 26, as well as Children’s Scavenger Hunt and Ice Cream Day. Free.

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Staff File Photo / Cyclists ride past the sign for the Sterchi Farm trailhead of the South Chickamauga Creek Greenway October 4, 2016. With the trail now complete, the City of Chattanooga and the Trust for Public Land will hold opening Sunday. at the Sterchi farm.


CHATTANOOGA FOOTBALL CLUB — Finley Stadium, 1826 Carter St. The National Independent Soccer Association men’s pro team takes on the AC Syracuse Pulse, July 2 at 7:30 p.m. $7-$16.

CHATTANOOGA LADY RED WOLVES—CHI Memorial Stadium, 1 Stadium Way. USL-W league amateur soccer team vs. SSA Royals, 7:30 p.m. July 1. $12-$24.

CHATTANOOGA LOOKOUTS – AT&T Field, 201 Power Alley. Class AA affiliate of the Cincinnati Reds at home to the Birmingham Barons. $6 to $11. Kids Run the Bases promotion after each game.

— June 28: 7:15 p.m.; buy one, get one general admission ticket with a Food City ValuCard.

— June 29: 7:15 p.m.; Chick-fil-A gift, delivered by app.

— June 30: 7:15 p.m.; Thirsty Thursday drink special.

– July, 1st: 7:15 p.m.; fireworks.

– July 2nd : 7:15 p.m.; fireworks, used car gift.

– July 3: 6:15 p.m. fireworks.


AREA 61 GALLERY — 721 Broad St. “Eat, Drink & Be Merry” paintings by Cindy Procious, through June.

THE ARTS CENTER – 320 N. White St., Athens, Tenn. Deadline for entries for the fifth annual photographic art competition, July 1.

AVA GALLERY – 30 Frazier Ave. Annual exhibition of members of the AVA jury, 1 July-August. 12. 423-265-4282

CLEARSTORY ARTS—1673 Holtzclaw Ave. “My Work Is Me: A Mary B. Lynch Retrospective,” plus pieces by ClearStory resident artists, through August 13. Opening, 6 p.m. on July 1.

HUNTER MUSEUM OF AMERICAN ART—10 Bluff View. Fantasy Collecting Panel, on the why and how of comic book collecting, featuring Meagan Frey and Jason Mink of Infinity Flux Comics, writer/designer Richard Starkings and comic book artist Andy Duggan, with a mini gallery of rare titles, from 6 p.m. to 7 p.m. on June 30. As part of a special program for “Enchanted: A History of Fantasy Illustration”, until September 5th.

ICA @ UTC — University of Tennessee Institute of Contemporary Art at Chattanooga, 752 Vine St. “New Acquisitions from the George Cress Estate,” through July 29.

GALLERY IN TOWN — 26A Frazier Ave.

— Until June 30: “Food for body or soul.”

— July 1-31: “Blue and yellow Ukraine.” Opening Reception, 5-8 p.m., July 1. Ten percent of sales revenue will be donated to the Ukraine Gospel Church of Chattanooga.

NORTH RIVER CIVIC CENTER — 1009 Executive Drive, Suite 102, Hixson. Sixty paintings by eight artists from the Regional Art Alliance, through August. 423-870-8924

NORTHSIDE GALLERY – Northside Presbyterian Church, 923 Mississippi Ave. “Mountain Musings,” by artists from the “Plum Nelly” neighborhood of Rising Fawn, Ga., July 1-Sept. 22. Opening, 5-7 p.m. July 1. 423-266-1766

RIVER GALLERY — 400 E. Second St.

– Until June : Works by Brad Schweiger and David Swanagin.

— July 1-31: Works by James Courtenay James, Cynthia Tollesfrud and Lee Malerich.

STOVE WORKS—1250 E. 13th St. “Parallels: Perception, Projection, Judgment,” through July 9.

TENNESSEE AQUARIUM – 1 Broad St. “Washed Ashore”, works created with salvaged plastic debris, through October 30.


RIVERDANCE—Memorial Auditorium, 399 McCallie Ave. Irish dancing sensation on their final North American tour, 7:30 p.m. June 26. $38 to $78.


ATHENS COMMUNITY THEATER — The Arts Center, 320 N. White St., Athens, Tennessee. “The Lightning Thief: The Percy Jackson Musical,” July 1-10 (7 p.m. Friday-Saturday, 2 p.m. Sunday). $15 to $20.

CHATTANOOGA THEATER CENTER — 400 River St. August Wilson’s Come and Gone, 2:30 p.m., June 26 (final show). $20 to $25.

OBVIOUS DAD — UTC Fine Arts Center, 752 Vine St. Regional premiere of “Brief Chronicle, Books 6-8” by Agnes Borinsky, July 1-17 (7:30 p.m. Friday-Saturday, 2:30 p.m. Sunday). $15.

Contact Lisa Denton at or 423-757-6281.

30th Annual Indian Market and Festival from the Eiteljorg Museum in person Thu, 23 Jun 2022 09:05:02 +0000

This weekend, the Eiteljorg Museum of American Indian and Western Art will celebrate its 30th annual Indian market and festival in person for the first time since the pandemic began.

Brought to you by Indiana Corn Marketing Council and the Indiana Soybean Alliance, the festival is expected to include live music, performances and demonstrations, food vendors and Native American performers from across the United States and Canada, said Bryan Corbin, the museum’s public relations manager.

“It’s truly one of Indianapolis’ most iconic cultural events,” he said. “This is a wonderful opportunity for #1 to meet the artists in person and purchase their art, bring the art home, and learn more about Native American cultures.”

After:Art & Soul’s Chantel Massey wants to provide a language for coping using poetry