Programming Brings Carnegie International to Life

Contact

Jonathan Gaugler
gauglerj@cmoa.org
412.688.8690 / 412.216.7909

Jennifer Joy
jennifer@suttonpr.com
212.202.3402

A bounty of dynamic programming will animate the Carnegie International, helping visitors connect to the exhibition in many and diverse ways as it unfurls between October and March.

Carnegie International: October 13, 2018–March 25, 2019
Presented by Bank of America

Press & VIP Preview Day: October 12, 2018
To register for press preview accreditation, please fill out our application form.

Pittsburgh, PA… Film screenings, music performances, in-gallery coffee service, a ballet collage, themed FEASTs by local chefs, artist lectures, improvisational drawing sessions, and more: an expansive, well-balanced series of public programs activate Carnegie International, 57th Edition, 2018. The programming offers myriad points of entry for different audiences, and many opportunities for repeat visitors to experience new aspects of the show.

Artist Projects

Lenka Clayton and Jon Rubin’s busy studio will be in operation whenever the museum is open. Hard-working pairs will create text-based paintings of the titles of works rejected from early Internationals, which visitors can select to take home.

Other recurring programs will take place at specific times. Tacita Dean’s Event for a Stage—a seamlessly edited 16mm film of four performances by actor Stephen Dillane—will screen Mondays at 11 a.m. Kevin Jerome Everson will supplement his eight-hour film portrait of a factory with Thursday evening screenings of short films. Local jazz musicians will interpret Postcommodity’s monumental installation as a graphic score, Thursday through Sunday at 1 p.m. Art Labor’s coffee service—Wednesday through Monday from 11 a.m. to 1 p.m.—will make a visit to their Hammock Café that much more stimulating.

Some International artists will present one-time-only programs. Sculptor Josiah McElheney is organizing a day of “deep listening” in homage to composer Pauline Oliveros, who pioneered the technique of actively opening the ears to the sounds of the world. Celebrated jazz trumpet player Joe McPhee and others will improvise as they “listen” to the work in the gallery, followed by an evening concert. Date TBD.

Jeremy Deller will visit Pittsburgh in February for a week of art classes with elementary school students. Emphasizing the artist’s role as a historian of their time, the program will culminate in a weekend-long exhibition in the Hall of Architecture, where visitors can get a glimpse of America through children’s eyes. Drawings will be on exhibit February 2–3, 2019.

Opening weekend, October 13–14, will brim with events, including a collage of ballet scenes, composed by Karen Kilimnik, performed by students from the Pittsburgh Ballet Theatre School. Tavares Strachan’s electric contribution to the International will be revealed. There will be several screenings of Tacita Dean’s film in the Music Hall, where on Saturday afternoon, Lynette Yiadom-Boakye will lead the public in a lively drawing session accompanied by flamenco music and dancers.

Curatorial Projects

The International’s Cinematheque series presents four Saturdays of film screenings, each unraveling one of the exhibition’s interpretive threads. A matinee program of films for kids is followed by tea and cookies in the café. An evening program for adults is followed by FEAST with a local chef. Cinematheque brings a range of visions and perspectives into the museum’s theater.

Nov. 10: BEAUTY
Dec. 1:  POLITICS
Jan. 26: CHILDREN
Feb. 23: SOUND

Tam O’Shanter Drawing Sessions take inspiration from Carnegie Museum of Art’s long tradition of free public art classes of the same name. With the goal of building creative community through improvisational acts of drawing, each session is dreamed up by an International artist or organizer, guided by their own particular passions and processes. From a star-gazer’s night of sketching in the observatory, to a zine-making workshop, to an afternoon of drawing while listening to a sculptor’s jazz playlist, these sessions offer singular opportunities to learn and create.

Carnegie International curator Ingrid Schaffner’s annual lecture is a fast-paced deep-dive into the big question What Is Contemporary? On November 8, her culminating version of this lecture will focus on the exhibition she has been working on for more than three years!

Collaborations with Local Institutions

October 20: The Kelly Strayhorn Theater and Carnegie Museum of Art will celebrate the Pittsburgh arts organizations and individuals who received micro-grants through KEYWORD: INTERNATIONAL—from FashionAFRICANA and Fairy Fantastic! to the Braddock Community Oven and Working-Class Media Project. Charged with conducting creative research that explores the meaning of “international,” the awardees will report their findings at a lively public forum at the Kelly Strayhorn Theater.

November 1: College and university students, faculty, and staff are invited to the museum for the International’s much anticipated University Night led by Postcommodity’s Cristóbal Martínez and Kade Twist. Teachers as well as artists, the pair will bring students from San Francisco Art Institute and Otis College of Art and Design to animate an evening of conversation, performance, drawing, conviviality, and snacks.

Winter Holiday Season: Since 1961 the Women’s Committee of Carnegie Museum of Art has erected and decorated five magnificent trees in the Hall of Architecture. This year’s decorations are inspired by themes suggested by International artist Karen Kilimnik: tartans, bows, gingerbread, and more.

September–March: The International teams up with our neighbor, Carnegie Mellon University, to present an Artist Lecture Series. International artists will give public talks about their ideas and processes at CMU.

With the spring schedule to be announced, the fall schedule is as follows:

  • Sep. 18: Rachel Rose
  • Oct. 2:  Saba Innab
  • Oct. 9:   Zoe Leonard with Rhea Anastas
  • Oct. 23:  Alex Da Corte
  • Oct. 30:  Lenka Clayton and Jon Rubin
  • Nov. 27:  Jessi Reaves

Enrichment in the Galleries

The International offers a diverse range of in-gallery interpretation. Daily docent tours and gallery ambassadors give insights into the exhibition. In the Moment tours are unique opportunities for people with Alzheimer’s and dementia and their care partners. Tours for visitors who are deaf and hard of hearing and tours for visitors who are blind and partially-sighted are offered for the International.

Specialized enrichment will be provided by students in a unique museum studies course at the University of Pittsburgh, co-taught by International associate curator Liz Park and Erin Peters of Carnegie Museum of Natural History and University of Pittsburgh. Small groups of Inside the Carnegie International students will conduct “field work” in the galleries, soliciting the ideas and impressions of members of the public while sharing their own evolving understanding of the exhibition, its artists, and the legacy of the International.

Organize Your Own Experience

With so many unmissable programs, visitors may want to strategize. Take a Monday morning to watch Tacita Dean’s Event for a Stage, or organize a group of friends to attend a Cinematheque screening and FEAST. Hear your favorite artists speak and draw with them at a Tam Session. Mark November 8 on your calendar to hear curator Ingrid Schaffner talk about the show. Revel in the excitement of Opening Weekend—and stay tuned to hear what’s planned for Closing Weekend next March! With such a vast menu of experiences on offer, a single visit is bound to feel insufficient. We hope many people will visit and re-visit the exhibition, anticipating particular pleasures and stumbling upon unexpected delights.

Support
Carnegie International, 57th Edition, 2018 is presented by Bank of America. Major support has been provided by the Carnegie International Endowment, The Fine Foundation, and the Keystone Friends of the 2018 Carnegie International. Additional major support is provided by the Friends of the 2018 Carnegie International, the Jill and Peter Kraus Endowment for Contemporary Art, The Fellows of Carnegie Museum of Art, and the Louisa S. Rosenthal Family Fund.

General operating support for Carnegie Museum of Art is provided by The Heinz Endowments and Allegheny Regional Asset District. The programs of the Heinz Architectural Center are made possible by the generosity of the Drue Heinz Trust. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

Carnegie Museum of Art
Carnegie Museum of Art creates experiences that connect people to art, ideas, and one another. The museum is committed to global engagement and regional advancement. We champion creativity and its importance to society with experiences that welcome, inspire, challenge, and inform. Our core activities—collecting, conserving, presenting, and interpreting works of art—make those experiences possible. Our collection of over 30,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. To learn more, please call 412.622.3131 or visit cmoa.org.

CMOA Announces Recent Acquisitions

July 11, 2018
Contact: Jonathan Gaugler | gauglerj@cmoa.org | 412.688.8690 / 412.216.7909

CMOA Announces Recent Acquisitions

Carnegie Museum of Art announces recent collection acquisitions. These highlights in contemporary art, decorative arts, and photography join the museum’s collection of over 30,000 works. Three of them, by Joan Brown, Alex Katz, and Pope.L, will debut in Crossroads: Carnegie Museum of Art’s Collection, 1945 to Now, opening July 20.

Joan Brown, 'The Room, Part 1,' 1975, oil enamel on canvas, Carnegie Museum of Art, Purchase, gifts of Paul Chanin, Samuel Kootz, and Dr. and Mrs. Laibe A. Kessler, by exchange. Courtesy of The Estate of Joan Brown

Joan Brown, ‘The Room, Part 1,’ 1975, oil enamel on canvas, Carnegie Museum of Art, Purchase, gifts of Paul Chanin, Samuel Kootz, and Dr. and Mrs. Laibe A. Kessler, by exchange. Courtesy of The Estate of Joan Brown

San Francisco–born painter Joan Brown is best known for her large-scale self-portraits, which combine bright, cartoonish drawing with a Beat sensibility and her own personal lexicon of symbols. The Room, Part 1 is a particularly introspective self-portrait depicting an isolated figure studying a painting of Chinese Kazakhs of the Altai mountain range in western Mongolia. It signals a shift when Brown began to seek spiritual and metaphysical awakening through research into non-Western cultures and religions.

Alex Katz
Vivien Baseball Cap, 2006
Oil on linen
Carnegie Museum of Art, gift of the artist
For image permissions, please contact VAGA

Alex Katz is one of the most celebrated living American painters. His seemingly effortless and often large-scale canvases offer intimate depictions of family and friends as well as seasonal change and the landscape. The subject of this painting is the artist’s daughter-in-law, Vivien. Katz was featured prominently in the 1999 Carnegie International, and is one of the few living artists collected in significant depth by CMOA.

 

Small glass bottle with geometric facets

Consolidated Lamp & Glass Co. (manufacturer),
Reuben Haley (designer), Ruba Rombic toilet bottle, 1928–1932, glass, Carnegie Museum of Art, James L. Winokur Fund and the Elizabeth A. Drain Fund

This perfume bottle was a part of the Ruba Rombic line of glassware manufactured at the Consolidated Lamp and Glass Company in Coraopolis, PA around 1928. Inspired by modern art, including Cubism, the Ruba Rombic line was sold around the country for a limited time. This bottle’s beautiful, iridescent lilac color is rare.

Wall hanging made of silver platters, cut and welded together, with filigree cut out to create a tattered bottom edge

Jaydan Moore, ‘Platter / Rather,’ 2016, found and reconfigured silver-plated platters, Carnegie Museum of Art, Second Century Acquisition Fund

“One man’s trash is another man’s treasure,” or so the saying goes. In this beautiful, ornamental wall plaque, artist Jayden Moore reconfigures dozens of 19th- or 20th-century silver-plated platters. With fussy engraved decoration, the trays represent the modern democratization of silver with more affordable, silver-plated base metal. Banal inscriptions, such “Crestwood Farms / Garden Club / 1975–1977” reveal the longstanding tradition of commemorative plaques and trophies. Despite the legacy of traditions that elevated such objects, all the platters in this work ceased to matter. They were discarded, trashed, and forgotten. Moore picks up the pieces, literally, and refashions them with metal snips, solder, and a jeweler’s saw. His meditative, finished work is more interesting today than any of its component parts.

Image of intricate lace

Lisa Oppenheim, ‘Leisure Work III’ (Top), 2013, gelatin silver print, Purchased with funds provided by The William Talbott Hillman Foundation

For this work, Lisa Oppenheim placed lace directly on top of photographic paper and exposed it to light, creating a direct negative or “photogram.” This process was invented by William Henry Fox Talbot, the originator of photography on paper and an inspiration for Oppenheim. The title is a reference to the classification of female lace makers in early 20th-century Belgium as “leisure workers,” which prevented them from being able to vote.

Pope.L, 'Fountain (reparations version),' 2016-2017, acrylic, oil, oil stick, chalk, and chewing gum on porcelain fountain, Carnegie Museum of Art, A. W. Mellon Acquisition Endowment Fund, © Pope.L, Courtesy of the artist and Mitchell-Innes & Nash, NY

Pope.L, ‘Fountain (reparations version),’ 2016-2017, acrylic, oil, oil stick, chalk, and chewing gum on porcelain fountain, Carnegie Museum of Art, A. W. Mellon Acquisition Endowment Fund, © Pope.L, Courtesy of the artist and Mitchell-Innes & Nash, NY

The multidisciplinary, Chicago-based artist Pope.L has been challenging notions of race, class, and social stereotyping with his work across a variety of mediums since the late 1970s. His work was included in CMOA’s exhibition 20/20: The Studio Museum in Harlem and Carnegie Museum of Art in 2017. Fountain (reparations version) unites many of the artist’s recurring interests such as artist Marcel Duchamp’s “readymades,” the history of Jim Crow laws in America, and the Flint water crisis in Michigan.

Round bottle with painted scene showing river boats

Unknown British, Flask, ca. 1830, transfer-printed earthenware, Carnegie Museum of Art, Berdan Memorial Trust Fund, Elizabeth A. Drain Fund and the Mary Murtland Wurts Fund

Although this earthenware flask or canteen was manufactured in England, it was designed for export to the United States. The image on both sides, which was transferred to the clay by printing on tissue paper, depicts a busy day along the Monongahela River, just south of downtown Pittsburgh, in the early 19th century.

General operating support for Carnegie Museum of Art is provided by The Heinz Endowments and Allegheny Regional Asset District. The programs of the Heinz Architectural Center are made possible by the generosity of the Drue Heinz Trust. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

Carnegie Museum of Art creates experiences that connect people to art, ideas, and one another.
We believe creativity is a defining human characteristic to which everyone should have access. CMOA collects, preserves, and presents artworks from around the world to inspire, sustain, and provoke discussion, and to engage and reflect multiple audiences.

Our world-class collection of over 30,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. Learn more: call 412.622.3131 or visit cmoa.org.

# # #

 

Carnegie International Highlights Five Projects

CONTACT
Jonathan Gaugler
gauglerj@cmoa.org
412.688.8690 / 412.216.7909

Shawna Gallancy
shawna@suttonpr.com
212.202.3402

New Works by Artists Across the Globe from Ho Chi Minh City to the American Southwest to Pittsburgh

Carnegie International: October 13 – March 25, 2019
Press & VIP Preview Day: October 12, 2018

Press & VIP accreditation now open.

Please visit our press resources for images and further information.

Pittsburgh, PA (June 21, 2018) The opening of Carnegie International, 57th Edition, 2018 is four months out, and 32 artists and artist collectives are busy composing and constructing their contributions in time for the October 13 opening. Carnegie Museum of Art (CMOA) is pleased to preview five works in progress that represent the expansiveness and particularity of the exhibition to come.

Zoe Leonard, 'Prologue: El Rio / The River,' 2018, C-prints. © Zoe Leonard, Courtesy the artist, Hauser & Wirth and Galerie Gisela Capitain, Cologne.

Zoe Leonard, ‘Prologue: El Rio / The River,’ 2018, C-prints. © Zoe Leonard, Courtesy the artist, Hauser & Wirth and Galerie Gisela Capitain, Cologne.

Continue reading

crossroads banner conner

New Contemporary Galleries at CMOA open July 20

June 26, 2018

Contact:
Jonathan Gaugler
gauglerj@cmoa.org
412.688.8690

Emily Willson
willsone@cmoa.org
412-622-3328

Crossroads mines collection for diversity, depth, and eccentricities
High resolution press images are available.

Pittsburgh, PA…Carnegie Museum of Art (CMOA) announces Crossroads: Carnegie Museum of Art’s Collection, 1945 to Now, a major reinstallation of the museum’s galleries dedicated to postwar and contemporary art. Opening to the public on July 20, Crossroads mines the collection’s depth, diversity, and eccentricities, situating the work of artists at the intersections of history, society, politics, and biography. Instead of a strictly chronological hang, each gallery represents a chapter in the larger story of CMOA’s world-class collection.

Guerrilla Girls, 'You're seeing less than half the picture,' 1989, offset laser or inkjet print poster, Carnegie Museum of Art, Alan D. and Marsha W. Bramowitz Contemporary Print Acquisition Fund

Guerrilla Girls, ‘You’re seeing less than half the picture,’ 1989, offset laser or inkjet print poster, Carnegie Museum of Art, Alan D. and Marsha W. Bramowitz Contemporary Print Acquisition Fund

“Andrew Carnegie’s mandate to acquire the art of our time has resulted in a collection that is more than the sum of its parts,” says Eric Crosby, CMOA’s Richard Armstrong Curator of Modern and Contemporary Art. “I hope Crossroads will allow visitors to see art of the recent past through the lens of the present and to connect with themes and stories that resonate today.”

The modern and contemporary galleries are currently closed as they undergo a complete transformation. Visitors will be invited to preview the new collection galleries as part of CMOA’s Third Thursday celebration on July 19.

Crossroads features some 150 works ranging from familiar masterpieces by Alberto Giacometti, Willem de Kooning, Joan Mitchell, and Mark Rothko to recent acquisitions in painting, sculpture, and photography. Many works have never been seen before in CMOA’s collection galleries, including Kerry James Marshall’s Untitled (Gallery) (2016) and Alex Katz’s Vivien Baseball Cap (2006), a recent gift by the artist. Joining these new acquisitions are works by Pope.L, Torey Thornton, Avery Singer, Michael Williams, Lorraine O’Grady, and Tseng Kwong Chi.

Pope.L, 'Fountain (reparations version),' 2016-2017, acrylic, oil, oil stick, chalk, and chewing gum on porcelain fountain, Carnegie Museum of Art, A. W. Mellon Acquisition Endowment Fund, © Pope.L, Courtesy of the artist and Mitchell-Innes & Nash, NY

Pope.L, ‘Fountain (reparations version),’ 2016-2017, acrylic, oil, oil stick, chalk, and chewing gum on porcelain fountain, Carnegie Museum of Art, A. W. Mellon Acquisition Endowment Fund, © Pope.L, Courtesy of the artist and Mitchell-Innes & Nash, NY

Other highlights on view include: Black Crowd (1954), a masterpiece by the Chinese émigré painter Zao Wou-Ki; Green Thought (1958), a recently conserved work by the color field painter Morris Louis from his iconic Veil series; Gordon Matta-Clark’s Conical Intersect (1975), a recently digitized film documenting the artist’s challenging architectural interventions in Paris; a rarely-exhibited large-scale 1981 painting by Keith Haring; a collection of posters by the Guerrilla Girls, the feminist collective who defined art as activism in the 1980s; and Louise Bourgeois’s Cell II (1991), a mysterious installation of found objects presented in the 1991 Carnegie International.

Crossroads unfolds in a series of “chapters,” beginning with the work that gives the installation its title: Bruce Conner’s 1976 film CROSSROADS. The film is a hypnotic and troubling collage of US military atomic bomb tests at Bikini Atoll in 1946. These devastating blasts signal a disruptive turning point in history, and the beginning of the postwar collection.

Bruce Conner, 'CROSSROADS,' 1976, 35mm, black/white, sound, 37min. Digitally Restored, 2013. Original Music by Patrick Gleeson and Terry Riley. Restored by UCLA Film & Television Archive, Courtesy UCLA Film & Television Archive and Conner Family Trust, (c) Conner Family Trust

Bruce Conner, ‘CROSSROADS,’ 1976, 35mm, black/white, sound, 37min. Digitally Restored, 2013. Original Music by Patrick Gleeson and Terry Riley. Restored by UCLA Film & Television Archive, Courtesy UCLA Film & Television Archive and Conner Family Trust, (c) Conner Family Trust

“Conner’s rapturous film is a meditation on the cataclysmic events that have shaped human life since World War II,” Crosby says. “His notion of a ‘crossroads’ is an evocative metaphor for us, one that underscores the pivotal decisions artists make and amplifies the relevance of CMOA’s collection today.”

Each of the eight chapters foregrounds artistic decision-making as an urgent and powerful form of thinking in the world. These chapters include:

A New Horizon – Prompted by new artistic freedoms and a shifting global order following World War II, artists of the 1950s respond with innovative forms of abstraction in painting and sculpture.

Call of the Wild – In the late 1940s, a loose-knit band of northern European painters and poets called CoBrA experimented with art that was mischievous, playful, and irreverent. The gallery reintroduces CMOA’s extensive, rarely exhibited CoBrA collection.

More than Minimal – Though Minimalist works of the 1960s and 1970s may seem cold and impersonal, behind each is a story of touch, perception, and lived experience, lending a human dimension to otherwise simplified forms.

Night Poetry – Borrowing its title from a 1962 painting by the Pittsburgh-born artist Raymond Saunders, this dream-like gallery summons rarely seen works from the darker recesses of the collection.

Abstract, dark canvas with a single flower blossoming in among dark paint

Raymond Jennings Saunders, ‘Night Poetry,’ 1962, oil on canvas, Carnegie Museum of Art, Gift of Leland and Mary Hazard, © Raymond Saunders

Artists’ Cinema – Throughout the 1970s and 1980s, the museum served as a hub for a vibrant local film community. This gallery features a rotating program of important and under-recognized works from the museum’s collection.

Less Than Half the Picture – The turmoil of the 1980s prompted widespread debate about of the value and role of art in society. A new generation of artists embraced politically charged ways of working in response to the most vital issues of the day.

The Persistence of Painting –  From the rise of the internet to the ubiquity of digital cameras, today’s complex visual environment has pushed a centuries-old medium in unpredictable directions.

Free Radicals – How do artists locate themselves in our complex world? How do they redress historical omissions? How do they embody forms of resistance and protest? And how do they challenge tradition and the status quo?

Crossroads embraces a modular rather than chronological structure. This approach permits curators to refresh galleries in the future through new rotations and themes. Drawing from its broad collection, CMOA’s contemporary program will continue to surface ideas and stories that speak to our rapidly changing world.

Acting co-director and chief curator Catherine Evans says, “CMOA has an incredible collection, yet we are only able to present a sliver of it at any time. Crossroads signals a renewed energy for these galleries, and its format creates opportunities to do some deep digging into our holdings to prompt new perspectives and conversations. In 2019, we’re excited to bring more innovative approaches to engaging our visitors in our collection spaces.”

Support
General operating support for Carnegie Museum of Art is provided by The Heinz Endowments and Allegheny Regional Asset District. The programs of the Heinz Architectural Center are made possible by the generosity of the Drue Heinz Trust. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

Carnegie Museum of Art creates experiences that connect people to art, ideas, and one another.
We believe creativity is a defining human characteristic to which everyone should have access. CMOA collects, preserves, and presents artworks from around the world to inspire, sustain, and provoke discussion, and to engage and reflect multiple audiences.

Our world-class collection of over 30,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. Learn more: call 412.622.3131 or visit cmoa.org.