Edvard Munch, ‘The Girls on the Bridge,’ 1902, oil on canvas. Private collection, © Artist Rights Society (ARS), New York

Clark Art Institute surveys Edvard Munch’s use of landscapes

Edvard Munch, ‘The Girls on the Bridge,’ 1902, oil on canvas. Private collection, © Artist Rights Society (ARS), New York

Edvard Munch, ‘The Girls on the Bridge,’ 1902, oil on canvas. Private collection, © Artist Rights Society (ARS), New York

WILLIAMSTOWN, Mass. — The Clark Art Institute presents the first exhibition in the United States to consider how the noted Norwegian artist Edvard Munch (1863–1944) employed nature to convey meaning in his art. Munch is regarded primarily as a figure painter, and his most celebrated images, including his iconic The Scream, are connected to themes of love, anxiety, longing and death, yet landscape plays an essential role in a large portion of Munch’s work. Edvard Munch: Trembling Earth considers this important but less-explored aspect of the artist’s career. The Clark is the sole U.S. venue for the exhibition, which is on view through October 15. Organized in collaboration with the Museum Barberini in Potsdam, Germany and the Munch Museum (MUNCH) in Oslo, Norway, the exhibition is presented in Potsdam from November 18–April 1, 2024, and in Oslo from April 27–August 24, 2024.

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A document referencing Elias Howe Jr.’s patent for the first modern sewing machine sold for $12,500, more than 100 times its estimate of $100-$150. Image courtesy of Devin Moisan Auctioneers, Inc. and LiveAuctioneers

Elias Howe patent document sells for 100x estimate at Devin Moisan

A document referencing Elias Howe Jr.’s patent for the first modern sewing machine sold for $12,500, more than 100 times its estimate of $100-$150. Image courtesy of Devin Moisan Auctioneers, Inc. and LiveAuctioneers

A document referencing Elias Howe Jr.’s patent for the first modern sewing machine sold for $12,500, more than 100 times its estimate of $100-$150. Image courtesy of Devin Moisan Auctioneers, Inc. and LiveAuctioneers

EPPING, N.H. – A 19th-century document referencing Elias Howe Jr.’s patent for the first modern sewing machine sold for more than 100 times its estimate at Devin Moisan Auctioneers, Inc. on July 15-16. Estimated at just $100-$150, the folded and torn manuscript agreement between Howe and school friend George Fisher brought $12,500. Absentee and Internet live bidding was facilitated through LiveAuctioneers.

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Contemporary art with card-playing theme on view through Sept. 30 in Newport

Austin Eddy, ‘The Card Players,’ 2023 oil and flashe on canvas. Courtesy of the artist and Galerie Eva Presenhuber, image provided by Art & Newport

Austin Eddy, ‘The Card Players,’ 2023 oil and flashe on canvas. Courtesy of the artist and Galerie Eva Presenhuber

NEWPORT, R.I. – Games, Gamblers & Cartomancers: The New Cardsharps, on view at the Vernon House until September 30, brings together 17 contemporary artists who have revisited the art-historical trope of card play.

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June Schwarcz (1918–2015), ‘Harlequin Hat Vessel (#2172),’ 2000. Electroformed copper foil, enamel, fire scale. Collection of Forrest L. Merrill. L2023.0601.026. Image courtesy of the SFO Museum

June Schwarcz: Unconventional Enamels on view at SFO Museum

June Schwarcz (1918–2015), ‘Harlequin Hat Vessel (#2172),’ 2000. Electroformed copper foil, enamel, fire scale. Collection of Forrest L. Merrill. L2023.0601.026. Image courtesy of the SFO Museum

June Schwarcz (1918-2015), ‘Harlequin Hat Vessel (#2172),’ 2000. Electroformed copper foil, enamel, fire scale. Collection of Forrest L. Merrill. L2023.0601.026. Image courtesy of the SFO Museum

SAN FRANCISCO – From now until May 5, 2024, the SFO Museum is exhibiting June Schwarcz: Unconventional Enamels, a show of works by the groundbreaking artist. For more than 60 years, Schwarcz (1918-2015) made enameled art that pushed the boundaries of her craft. Inspired by nature and fashion, and also abstract, African and Asian art, Schwarcz developed unique metalworking techniques, always experimenting and embracing complex technical challenges. She initially worked with copper panels and spun-copper bowls, infusing them with her own interpretation of traditional enameling. During the 1960s, Schwarcz pioneered electroforming, an innovative method that involved electroplating pieces made from thin copper foil. She focused on sculptural vessels and when asked about her abstract forms, she explained, “they simply don’t hold water.”

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A Peacock chair Frank Lloyd Wright designed for the Imperial Hotel, Tokyo, achieved $18,500 plus the buyer’s premium in March 2021. Image courtesy of Cottone Auctions and LiveAuctioneers

Imperial Hotel, Frank Lloyd Wright Trust mark centennial of architect’s famed Tokyo design

A Peacock chair Frank Lloyd Wright designed for the Imperial Hotel, Tokyo, achieved $18,500 plus the buyer’s premium in March 2021. Image courtesy of Cottone Auctions and LiveAuctioneers

A Peacock chair Frank Lloyd Wright designed for the Imperial Hotel, Tokyo achieved $18,500 plus the buyer’s premium in March 2021. Image courtesy of Cottone Auctions and LiveAuctioneers

TOKYO and CHICAGO – On July 18, Imperial Hotel, Ltd. and the Frank Lloyd Wright Trust celebrated the 100th anniversary of Wright’s 1923 Imperial Hotel, Tokyo with a private dedication of cherry trees planted in the courtyard of Frank Lloyd Wright’s Frederick C. Robie House in Chicago, a UNESCO World Heritage site. An inscription plaque reads: “These cherry trees celebrate 100 years of our shared cultural heritage. The Wright Imperial Hotel Centennial 1923-2023. Imperial Hotel, Ltd., Tokyo, Frank Lloyd Wright Trust, Chicago.”

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Ruth Asawa, ‘Untitled (BMC.93, In and Out),’ circa 1948–49. Oil and graphite on paper, 16 1/2 by 13in. (41.9 by 33cm). Private collection. Artwork © 2023 Ruth Asawa Lanier, Inc./Artists Rights Society (ARS), New York. Courtesy David Zwirner

Whitney explores Ruth Asawa’s creative process through her drawings

Ruth Asawa, ‘Untitled (BMC.93, In and Out),’ circa 1948–49. Oil and graphite on paper, 16 1/2 by 13in. (41.9 by 33cm). Private collection. Artwork © 2023 Ruth Asawa Lanier, Inc./Artists Rights Society (ARS), New York. Courtesy David Zwirner

Ruth Asawa, ‘Untitled (BMC.93, In and Out),’ circa 1948–49. Oil and graphite on paper, 16 1/2 by 13in. (41.9 by 33cm). Private collection. Artwork © 2023 Ruth Asawa Lanier, Inc./Artists Rights Society (ARS), New York. Courtesy David Zwirner

NEW YORK — Ruth Asawa Through Line, opening at the Whitney Museum of American Art on September 16 and closing in January 2024, spotlights the work of groundbreaking artist Ruth Asawa (1926-2013). Known broadly for her rhythmic looped-wire sculptures, Asawa dedicated herself to daily drawing exercises, which served as the connective tissue ― or through line ― of her creative process and fueled her commitment to art. Through drawing, Asawa explored her surroundings and turned everyday encounters into moments of profound beauty, endowing ordinary objects with new aesthetic possibilities.

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Swan Lake and salt lake unite in Brad Walls’ new aerial photo series

Brad Walls, ‘BlackSwan,’ photo credit bradscanvas.com

Brad Walls, ‘BlackSwan.’ Photo credit bradscanvas.com

NEW YORK – The New York City Ballet and award-winning fine art aerial photographer Brad Walls have collaborated to produce a unique photographic series from above. Staged on the Bonneville Salt Flats, Utah in September 2022, the photoshoot was conducted solely from the air and involved Sasonah Huttenbach, a member of the New York City Ballet’s Corps de Ballet.

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Mickalene Thomas small portraits show opens Sept. 8 at Yale gallery

Sarah Goodridge, ‘Rose Prentice (1771–1852),’ circa 1837–38. Watercolor on ivory. Yale University Art Gallery, Partial gift of Caroline A. Phillips and purchased with the John Hill Morgan, b.a. 1893, ll.b. 1896, hon. 1929, Fund

Sarah Goodridge, ‘Rose Prentice (1771–1852),’ circa 1837–38. Watercolor on ivory. Yale University Art Gallery, Partial gift of Caroline A. Phillips and purchased with the John Hill Morgan, b.a. 1893, ll.b. 1896, hon. 1929, Fund. Image courtesy of Yale University Art Gallery

NEW HAVEN, Conn. — The Yale University Art Gallery will present Mickalene Thomas / Portrait of an Unlikely Space from September 8 through January 7, 2024. Co-organized by the renowned artist Mickalene Thomas (b. 1971-, M.F.A. 2002) and Keely Orgeman, the gallery’s Seymour H. Knox, Jr., associate curator of Modern and Contemporary Art, the project is the first historical-contemporary exhibition of its kind, bringing together a group of small-scale portraits — from miniatures and daguerreotypes to silhouettes on paper and engravings in books — of African American women, men, and children from the pre-Emancipation era. These are placed alongside works in a wide range of media by contemporary artists, including Thomas, who are engaged with similarly intimate subject matter.

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Stephen Huneck, ‘Dog Toys [Good Boy],’ 1997. Woodcut print, 18 1/2 by 25 1/2in. Collection of Shelburne Museum, gift of the Friends of Dog Mountain, Inc. 2022-3.6. Photography by Andy Duback.

Who let the dogs out? Shelburne exhibition collars art of Stephen Huneck

Stephen Huneck, ‘Dog Toys [Good Boy],’ 1997. Woodcut print, 18 1/2 by 25 1/2in. Collection of Shelburne Museum, gift of the Friends of Dog Mountain, Inc. 2022-3.6. Photography by Andy Duback. © Stephen Huneck

Stephen Huneck, ‘Dog Toys [Good Boy],’ 1997. Woodcut print, 18 1/2 by 25 1/2in. Collection of Shelburne Museum, gift of the Friends of Dog Mountain, Inc. 2022-3.6. Photography by Andy Duback. © Stephen Huneck

SHELBURNE, Vt. – Pet Friendly: The Art of Stephen Huneck, on view at the Shelburne Museum through October 22, celebrates the diverse multimedia work of Stephen Huneck (1948–2010), one of New England’s best-known and most celebrated artists.

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The iconic Frank Lloyd Wright-designed skylight in the Solomon R. Guggenheim Museum in New York recently has been named the Lawson-Johnston Family Oculus. Peter Lawson-Johnston, grandson of Solomon R. Guggenheim, has been a museum board member for more than 50 years, and other members of his family have served the institution in other capacities. Image courtesy of the Solomon R. Guggenheim Museum

Guggenheim’s iconic skylight named for Lawson-Johnston family

The iconic Frank Lloyd Wright-designed skylight in the Solomon R. Guggenheim Museum in New York recently has been named the Lawson-Johnston Family Oculus. Peter Lawson-Johnston, grandson of Solomon R. Guggenheim, has been a museum board member for more than 50 years, and other members of his family have served the institution in other capacities. Image courtesy of the Solomon R. Guggenheim Museum

The iconic Frank Lloyd Wright-designed skylight in the Solomon R. Guggenheim Museum in New York recently has been named the Lawson-Johnston Family Oculus. Peter Lawson-Johnston, grandson of Solomon R. Guggenheim, has been a museum board member for more than 50 years, and other members of his family have served the institution in other capacities. Image courtesy of the Solomon R. Guggenheim Museum

NEW YORK — The Solomon R. Guggenheim Museum, New York, announces the naming of its iconic Frank Lloyd Wright-designed skylight in recognition of a major gift by the Lawson-Johnston family, which will benefit the museum’s general operations. The Lawson-Johnston Family Oculus honors the family’s significant contribution to the museum’s leadership. Peter Lawson-Johnston, the grandson of Solomon R. Guggenheim, has served on the foundation’s Board of Trustees for more than 50 years and is a past chairman. Two of his children, Peter Lawson-Johnston II and Wendy L-J. McNeil, are current members of the board, and his daughter, Mimi Lawson-Johnston Howe, is president of the Peggy Guggenheim Collection Advisory Board.

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