Saturday, August 18, 2018

Claude Monet: The Truth of Nature

Denver Art Museum (DAM) 
Oct. 20, 2019 through Feb. 2, 2020.

Museum Barberini
Spring of 2020

The Denver Art Museum (DAM) will be home to the most comprehensive U.S. exhibition of Monet paintings in more than two decades when it presents Claude Monet: The Truth of Nature, in the fall of 2019. The exhibition will feature more than 100 paintings spanning Monet's entire career and will focus on the celebrated French impressionist artist's enduring relationship with nature and his response to the varied and distinct places in which he worked.


Claude Monet, Water Lilies and Japanese Bridge, 1899
 
Claude Monet, Water Lilies and Japanese Bridge, 1899. Oil paint on canvas; 35-5/8 x 35-5/16 in. Princeton University Art Museum: From the Collection of William Church Osborn, Class of 1883, trustee of Princeton University (1914-1951), president of the Metropolitan Museum of Art (1941-1947); given by his family, 1972-15. Image courtesy Princeton University Art Museum.
Co-organized by the DAM and the Museum Barberini in Potsdam, Germany, Denver will be the sole U.S. venue for this presentation from Oct. 20, 2019 through Feb. 2, 2020. The exhibition will travel to the Museum Barberini in the spring of 2020.


Monet traveled more extensively than any other impressionist artist in search of new motifs. His journeys to varied places including the rugged Normandy coast, the sunny Mediterranean, London, the Netherlands and Norway inspired artworks that will be featured in the presentation.
The exhibition will uncover Monet's continuous dialogue with nature and its places through a thematic and chronological arrangement, from the first examples of artworks still indebted to the landscape tradition to the revolutionary compositions and series of his late years.

"We're thrilled to organize and present this monumental exhibition, which will provide a new perspective on such a beloved artist," said Christoph Heinrich, Frederick and Jan Mayer Director of the DAM. "Visitors will gain a better understanding of Monet's creative process and how he distanced himself from conventions associated with the traditional landscape genre of painting."

Drawn from major institutions and collections from across the globe, Claude Monet: The Truth of Nature will include works as early as  

File:Monet, Claude - View At Rouelles, Le Havre (1858).jpg
Claude Monet, View from Rouelles, 1858-61. Oil paint on canvas; 18-1/2 x 25-5/8 in. Marunuma Art Park.
View from Rouelles (Marunuma Art Park, Japan), the first painting Monet exhibited in 1858 when he was 18 years old,

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and as late as The House Seen through the Roses (Stedelijk Museum, Amsterdam), a 1926 work completed in Giverny only a few months before Monet’s death.


 
Claude Monet, 1873-74, Boulevard des Capucines, oil on canvas, 80.3 x 60.3 cm, Nelson-Atkins Museum of Art, Kansas City.jpg 
 
Claude Monet, Boulevard des Capucines, 1873-1874. Oil paint on canvas; 31-5/8 x 23-3/4 in. (80.3 x 60.3 cm). The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: the Kenneth A. and Helen F. Spencer Foundation Acquisition Fund, F72-35. Photo courtesy Nelson-Atkins Media Services / Jamison Miller.

Other highlights include the Boulevard des Capucines (1873-74) from The Nelson-Atkins Museum of Art,  


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Claude Monet, Under the Poplars (Sous les Peupliers), 1887. Oil paint on canvas; 28-3/4 x 36-1/4 in. Private collection.

Under the Poplars (1887) from a private collection and  

Waterlilies and Japanese bridge



















Water Lilies and Japanese Bridge (1899) from the Princeton University Art Museum.


 

The exhibition also will include six Monet paintings from the DAM collection;

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Claude Monet
French, 1840-1926
Waterloo Bridge
1903
Oil paint on canvas
Funds from Helen Dill bequest, 1935.15



Claude Monet
French, 1840-1926
Le Bassin des Nympheas
1904
Oil paint on canvas
Funds from Helen Dill bequest, 1935.14

four of them were part of the Frederic C. Hamilton Collection bequest in 2014:




Claude Monet, Path in the Wheatfields at Pourville, 1882. Lent by Frederic C. Hamilton.

Artworks by acknowledged mentors such as Eugène Boudin and Johan Barthold Jongkind, from whom Monet learned to capture the impression of fleeting moments en plein air, will also be featured.The presentation of Claude Monet: The Truth of Nature will explore Monet’s continuous interest in capturing the quickly changing atmospheres, the reflective qualities of water and the effects of light, aspects that increasingly led him to work on multiple canvases at once. Additionally, the exhibition will examine the critical shift in Monet’s painting when he began to focus on series of the same subject, including artworks from his series of Haystacks, Poplars, Waterloo Bridge and Water Lilies.


"Throughout his career, Monet was indefatigable in his exploration of the different moods of nature, seeking to capture the spirit of a certain place and translating its truth onto the canvas," said Angelica Daneo, curator of European painting and sculpture at the DAM. "Monet's constant quest for new motifs shows the artist's appreciation for nature's ever-changing and mutable character, not only from place to place, but from moment to moment, a concept that increasingly became the focus of his art."

Claude Monet: The Truth of Nature will also delve into the artist's increasing abandonment of any human presence in the landscapes he created, a testimony to his commitment to isolate himself in nature. This creative process simultaneously established an intimacy with his subject, which culminated later in Giverny, where he created his own motif through meticulous planning, planting and nurturing of his flowers and plants, which he then translated onto the canvas


This landmark exhibition, which will fill three galleries totaling about 20,000 square feet, is organized and curated by the DAM’s Angelica Daneo, Christoph Heinrich and Alexander Penn and Museum Barberini’s Director Ortrud Westheider. Major lenders include the Musée d'Orsay, Paris; Musée Marmottan Monet, Paris; Museum of Fine Arts, Boston; The Art Institute of Chicago and the Metropolitan Museum of Art, New York.

A catalog accompanying the exhibition, and published by Prestel Publishing, will include essays by renowned scholars, including Marianne Mathieu, James Rubin, George T.M. Shackelford and Richard Thomson, among others. The publication will be available in The Shop at the Denver Art Museum and through the online shop. A related academic symposium will be held in Potsdam, Germany, in January 2019.

Group tickets and event reservations will go on sale December 17, 2018. Single ticket sales will be announced at a later date.



Claude Monet, The Artist's House at Argenteuil, 1873. Oil paint on canvas; 23-11/16 x 28-7/8 in. (60.2 x 73.3 cm). The Art Institute of Chicago: Mr. and Mrs. Martin A. Ryerson Collection, 1933.1153. Photo credit: The Art Institute of Chicago/Art Resource, NY.
 
Claude Monet: The Truth of Nature is organized by the Denver Art Museum and the Museum Barberini, Potsdam.

Nature Unleashed: The Image of Catastrophe since 1600

Hamburger Kunsthalle

In a large-scale exhibition spanning several epochs, the Hamburger Kunsthalle traces based on important works how artists working in different media picture natural catastrophes while also shedding light on humanity’s failure to come to terms with nature due, among other things, of our faith in technology. Nature Unleashed: The Image of Catastrophe since 1600 features approximately 200 exhibits, including paintings, drawings, prints, sculptures, photographs, films and videos.

As viewers make their way past blazing fires, earthquakes, floods, volcanic eruptions and sinking ships, they will take note of pictorial constants in the expression of such disasters but will also become aware of the differences in depiction from one era to the next. The show’s special appeal lies in the close juxtaposition of artworks created centuries apart. The trajectory of exhibited works spans an arc from the years around 1600 to the present day. Contemporary works serve to anchor the theme in the here and now and underline its topicality.

Catastrophes are omnipresent. The media constantly reports on natural disasters, acts of war, political upheavals and other crisis scenarios, characterising them all with the common term »catastrophe«. Catastrophes don’t just happen, they are made. It is only in our perception, in our active engagement with such drastic events that they take on distinctive contours and reveal their typical face. Every age makes its own catastrophes and  redefines the criteria by which certain events are labelled as such. These fundamental observations form the basis for the exhibition project.

Featured artists include Wenzel Hollar (1607–1677), Jan Asselijn (1610–1652), Johann Wolfgang von Goethe (1749–1832), Caspar David Friedrich (1774–1840), Théodore Géricault (1791–1824), John Martin (1789–1854), Martin  Kippenberger (1953–1997), Christian Jankowski (b. 1968) and Julius von Bismarck (b. 1983). Alongside pieces from the Hamburger Kunsthalle’s own collections, important works were loaned  by prestigious museums and collections including the Musée du Louvre and the Musée d’Orsay in Paris, the National Gallery, the Victoria and Albert Museum in London as well as the Kunsthaus Zurich and the Kunstmuseum Basel.

A richly illustrated catalogue will accompany the exhibition in which all works on view are presented with individual commentaries. Catalogue essays contributed by experts on this complex topic set it against the backdrop of current catastrophe research. The catalogue can be purchased in the Museum Shop for 29 Euros or can be ordered online at www.freunde-der-kunsthalle.de.

A multimedia guide in German and English is available as well as a children guide for visitors aged 6 to 12 years. For the dates of guided tours and all further information on the exhibition, visit www.hamburgerkunsthalle.de.

The exhibition is a cooperative project between the Hamburger Kunsthalle and the Chair of Art History and Visual Culture Studies at the University of Passau.




Friday, August 17, 2018

Book: Pieter Bruegel. The Complete Works


 
Pieter Bruegel. The Complete Works 
TASCHEN

ISBN 978-3-8365-5689-7
Edition: English  

The life and times of Pieter Bruegel the Elder (c. 1526/30–1569) were marked by stark cultural conflict. He witnessed religious wars, the Duke of Alba’s brutal rule as governor of the Netherlands, and the palpable effects of the Inquisition. To this day, the Flemish artist remains shrouded in mystery. We know neither where nor exactly when he was born. But while early scholarship emphasized the vernacular character of his painting and graphic work, modern research has attached greater importance to its humanistic content.

Starting out as a print designer for publisher Hieronymus Cock, Bruegel produced numerous print series that were distributed throughout Europe. These depicted vices and virtues alongside jolly peasant festivals and sweeping landscape panoramas. He would eventually increasingly turn to painting, working for the cultural elite of Antwerp and Brussels.

This monograph is a testament to Bruegel’s evolution as an artist, one who bravely confronted the issues of his day all the while proposing new inventions and solutions. Rather than idealizing reality, he addressed the horrors of religious warfare and took a critical stand against the Catholic Church. To this end, he developed his own pictorial language of dissidence, lacing innocuous everyday scenes with subliminal statements in order to escape repercussions.

To produce this XXL-sized collection, TASCHEN undertook a comprehensive photographic campaign, capturing all the breadth and splendid detail of Bruegel’s oeuvre like never before. The result gathers all 39 paintings, 65 drawings, and 89 etchings in pristine reproductions —each piece a unique witness to both the religious mores and the close-knit folk culture of Bruegel’s time.

Marking the 450th anniversary of his death and his first ever monographic exhibition at the Kunsthistorisches Museum in Vienna, this volume is the most immersive journey into Bruegel’s unique visual universe.

Wednesday, August 15, 2018

Paris 1900: City of Entertainment



The Frist Art Museum presents Paris 1900: City of Entertainment, an exhibition that revives the splendor of the French capital at the turn of the twentieth century, when millions visited the site of the International Exposition. Organized by the Petit Palais Museum of Fine Arts in Paris with additional loans from other Parisian museums, the exhibition will be on view in the Frist’s Ingram Gallery from October 12, 2018, through January 6, 2019. The Frist is the first of three venues in the United States to present this iteration of an exhibition that was originally on view at the Petit Palais in 2014.



With the International Exhibition of 1900 as its starting point, the exhibition offers a focused look at the different ways in which Paris became the entertainment capital of the world. Belle Époque Paris, a period of relative peace and prosperity stretching from 1874 to 1914, was the site of intense artistic and architectural innovation, which gave rise to entertainment forms that continue to remain relevant.



Bringing together over 250 objects—paintings, prints, sculptures, decorative art, costumes and fashion accessories, posters, photographs, and more—kept mainly by the City of Paris museums, Paris 1900 immerses visitors in the era’s sparkling atmosphere of elegance, pleasure, and festivity. Major artists represented in the exhibition include Pierre Bonnard, Berthe Morisot, Camille Pissarro, Pierre-Auguste Renoir, Auguste Rodin, Henri de Toulouse-Lautrec, and Édouard Vuillard, as well as many others working across multiple mediums. The objects will be presented in six groupings: “Paris, Showcase of the World”; “Art Nouveau”; “Paris, Capital of the Arts”; “The Parisian Woman”; “Traversing Paris”; and “Paris by Night.”



The exhibition also tells the story of a vibrant and swiftly changing city. Although Paris was quite different from its idealized representation in posters and advertisements, the turn of the century was indeed an exceptional time. The city was growing rapidly and had a population of nearly three million by 1914. Additionally, Paris attracted travelers for both business purposes and leisure activities. “It is fitting that Nashville is the first stop of this exhibition’s tour,” says Frist Art Museum curator Katie Delmez. 






Pierre-Auguste Renoir 





Edouard Vuillard



 

Pierre Bonnard 


Pierre-Auguste Renoir


 
Henri-Marie-Raymond de Toulouse-Lautrec Monfa dit Toulouse-Lautrec

Monday, August 13, 2018

Pierre Bonnard: The Colour of Memory

Tate Modern
23 January 2019 - 6 May 2019

In January 2019 Tate Modern will stage the UK’s first major Pierre Bonnard exhibition in 20 years, showing the work of this innovative and much-loved French painter in a new light. The exhibition will bring together around 100 of his greatest works from museums and private collections around the world. It will reveal how Bonnard’s intense colours and modern compositions transformed painting in the first half of the 20th century, and will celebrate his unparalleled ability to capture fleeting moments, memories and emotions on canvas.

Spanning four decades from the emergence of Bonnard’s unique style in 1912 to his death in 1947, Tate Modern’s exhibition will show how the artist constructed his vibrant landscapes and intimate domestic scenes from memory. At once sensuous and melancholy, these paintings express moments lost in time – the view from a window, a stolen look at a lover, or an empty room at the end of a meal.

These motifs can be seen in breakthrough works like 

File:Bonnard-the dining room in the country.jpg

Dining Room in the Country 1913 (Minneapolis Institute of Art) in which he brought interior and exterior spaces together to create a vibrant atmosphere, while the bright colours of works like  

Pierre Bonnard, Ruelle à Vernonnet [Lane at Vernonnet]

The Lane at Vernonnet 1912-14 (Scottish National Gallery of Modern Art, Edinburgh) exemplify how his joyful palette could still evoke the poignancy of a moment gone forever.


The exhibition will emphasise Bonnard as a 20th century artist who – like his friend and contemporary Henri Matisse – had a profound impact on modern painting and would become an influential figure for later artists like Mark Rothko and Patrick Heron. Bonnard will be repositioned as a man who engaged with the world around him, revealing overlooked areas of his activities – from his frequent travels around France and his practice of working on different subjects side by side, to his response to the crises of both the First and Second World War.


Alert to his surroundings, he developed unconventional compositions in his paintings of everyday life: his landscapes collapsed into layers of dense foliage, such as

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Summer 1917 (Fondation Maeght)

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and street scenes, as in Piazza del Popolo, Rome 1922 (private collection), were simplified into friezes.

Perhaps most famously, his interior scenes like  

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Coffee 1915 (Tate)

Nude in an Interior
and Nude in an interior c.1935 (National Gallery of Art, Washington) caught domestic life at uncanny moments and reframed them from snatched points of view.

A variety of these domestic scenes mark out Bonnard’s career, often showing figures in quiet contemplation, apparently oblivious to the viewer’s gaze. The artist’s wife Marthe de Méligny was a continual subject in these images. She suffered from various illnesses throughout her life and treated these with what was then called hydrotherapy through repeated bathing.

 http://3.bp.blogspot.com/-ejq-eDEkpQ0/Uap3NCv_18I/AAAAAAAAAt8/uEWac48Nz1w/s1600/images.jpeg

Bonnard’s paintings of her bathing, drying and dressing, are among his most iconic works. They form key markers in his development as an artist, as his partner’s withdrawal from the outside world becomes a shared psychological story captured in paint.

Bonnard’s process of reimagining through memory also allowed his paintings to become more abstract. This is already evident in the bands of contrasting colour in works like

terminusantequem: “Pierre Bonnard (1867-1947) - Violet Fence (1923) ”

The Violet Fence 1922 (Carnegie Museum of Art, Pittsburgh)


Pierre Bonnard, The Studio with Mimosas, 1939-46, Musee National d'art Moderne - Centre Pompidou, Paris
 
Pierre Bonnard, The Studio with Mimosas, 1939-46, Musee National d'art Moderne - Centre Pompidou, Paris


but reaches a high-point in the vivid Studio with Mimosa 1939-46 (Musée National d'Art Moderne - Centre Pompidou, Paris).

LeCannet-PierreBonnard-peintre-tableau-peinture
Pierre Bonnard, "View of Le Cannet Roofs", 1941-1942.
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The exhibition will conclude with a group of stunning works created towards the end of Bonnard’s life, while spending the Second World War in Le Cannet living with scarce resources and the anxiety of invasion. These panoramic views and vibrant garden scenes show the artist looking back on a lifetime of memories and working on the brink of abstraction.

Pierre Bonnard: The Colour of Memory is curated at Tate Modern by Matthew Gale, Head of Displays, with Helen O’Malley and Juliette Rizzi, Assistant Curators. The exhibition is organised by Tate Modern in collaboration with Ny Carlsberg Glyptotek, Copenhagen and Kunstforum Wien.

https://www.tate.org.uk/press/press-releases/pierre-bonnard-colour-memory


https://www.dropbox.com/sh/hmpo3tulgt8vmke/AACWkG-SCU57YVCNERek8gUra?dl=0

Sunday, August 12, 2018

Egon Schiele - Fondation Louis Vuitton

Fondation Louis Vuitton
October 3, 2018–January 14, 2019

A solo exhibition of work by 19th century Austrian painter Egon Schiele will be on view on the first floor of the Fondation Louis Vuitton. The first exhibition in Paris dedicated to the artist in 25 years, Egon Schiele will feature approximately 120 works—drawings, gouaches, and paintings—including masterpieces such as

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Self-Portrait with a Chinese Lantern Plant (1912, Leopold Museum, Vienna),

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Pregnant Woman and Death (1911, Národní Galerie, Prague),

Egon Schiele - Portrait of the Artist’s Wife Seated, Holding Her Right Leg


Portrait of the Artist’s Wife Seated, Holding Her Right Leg (1917, Morgan Library & Museum, New York),


Standing Nude with Blue Sheet (1914, Germanisches Nationalmuseum, Nuremberg),  

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Seated Male Nude (1910, Neue Galerie, New York),


and Self-Portrait (1912, National Gallery of Art, Washington, D.C.).


The exhibition brings together some 120 works - drawings, gouaches, and paintings - over more than 600m2, in the pool-level galleries (Gallery 1). It is organised chronologically across four rooms, following the concept of line and its development in the artist’s work. Dieter Buchhart explains his choice in this way: “Very few artists have approached line and drawing with the same virtuosity and intensity as Schiele. [...] By evolving from the ornamental line towards the expressionist line, combined, in three dimensions, fragmented and amputated, he enabled a borderline dissonant and divergent experience of the line as a sign of human existence.
The exhibition’s four chapters are entitled:

The Ornamental Line (1908-1909) ; The Existential Line of Expressionism (1910-1911), The Physical Balance of the Combined Line at the Dawn of the First World War (1912-1914), and The Amputated, Fragmented Line during the War Years (1915-1918).
  • The Ornamental Line brings together works inspired by the jugendstil, full of fluidity,which makes reference to the discovery of the work of Gustav Klimt, who played a major role in his development.
  • The Existential Line of Expressionism is indissociable from the artist’s most expressionist works and his angular and contorted portraits and self-portraits, which are sensual and vibrant, enlivened by touches of pure colour.
  • The Physical Balance of the Combined Line at the Dawn of the First World War, from the years before the first global conflict, convey the premonitory fear of war. This group of work is contemporary to, or immediately followed, the artist’s brief period of imprisonment in 1912 in Neulenbach, following accusations of indecency. It is characterised by a less sinuous line and a flatness of drawing which partially frees itself from the former dissonance.
  • The Amputated, Fragmented Line during the War Years denotes a significant change: the introduction of formation in the representations of the body. The bodily postures are also more familiar, less aggressive.


Egon Schiele is organized by the Fondation Louis Vuitton and is curated by Artistic Director Suzanne Pagé and independent curator Dieter Buchhart.

The exhibition will be accompanied by a catalogue featuring essays by Buchhart and Pagé, as well as distinguished scholars and curators including Jean Clair, Alessandra Comini and Jane Kallir.

Saturday, August 11, 2018

Epic Abstraction: Pollock to Herrera

Opening November 28, 2018
Exhibition Location:
The Met Breuer, Floor 2
Press Preview:Monday, November 26, 10 am–noon


Opening November 28 at The Met Breuer, Epic Abstraction: Pollock to Herrera begins in the 1940s and extends into the 21st century to explore large-scale abstract painting, sculpture, and assemblage through more than 40 works from The Met collection, a selection of loans, and never-before-seen promised gifts and new acquisitions. 

Enhanced in the setting of Marcel Breuer's 1966 modernist architectural masterpiece, icons of Abstract Expressionism, such as Jackson Pollock's classic "drip" painting No. 28, 1950 (1950), and Louise Nevelson's monumental Mrs. N's Palace (1964–77), will be shown in conversation with works by international artists, such as the Hungarian artist Ilona Keserü.

In the wake of unprecedented destruction and loss of life during World War II, many painters and sculptors working in the 1940s grew to believe that traditional easel painting and figurative sculpture no longer adequately conveyed the human condition. In this context, numerous artists, including Barnett Newman, Pollock, and others associated with the so-called New York School, were convinced that abstract styles—often on a large scale—most meaningfully evoked contemporary states of being. 

Many of the artists represented in Epic Abstraction worked in large formats not only to explore aesthetic elements of line, color, shape, and texture but also to activate scale's metaphoric potential to evoke expansive—"epic"—ideas and subjects, including time, history, nature, and existential concerns of the self.
Highlights of the exhibition will include a group of paintings by Pollock and a selection of his experimental sketchbook drawings from the late 1930s and early 1940s that demonstrate the artist's exploration of automatic techniques and his interest in Jungian psychoanalysis. 

Major works by Franz Kline, Willem de Kooning, Robert Motherwell, and Clyfford Still will expand the representation of mid-century American painting, while an entire room devoted to Mark Rothko's meditative compositions will offer a powerful immersion in color, feeling, and sensation. 

These heralded Abstract Expressionists will be joined by Hedda Sterne and Philippines native Alfonso Ossorio, who were also associated with the movement. A significant ink painting from 1966 by Japanese artist Inoue Yuichi will illuminate the international practice of large-scale calligraphic abstraction. Monumental painterly canvases by Joan Mitchell—a lyrical retort to Pollock's freighted whipping drips—and Mark Bradford—whose Duck Walk (2016) marks a recent addition to the collection—will evoke Abstract Expressionism's long and profound legacy.

The exhibition will also feature a gallery of works by the next generation of artists, including Edna Andrade, Carmen Herrera, Ellsworth Kelly, Kenneth Noland, Frank Stella, and Anne Truitt, who tamed the highly pitched emotionalism of Abstract Expressionism by working in the hard edge and minimalist styles that came to define modern art in the 1960s and 1970s. An adjacent gallery with key works by Helen Frankenthaler and Morris Louis will explore the reductive technique of staining canvas in painting.

The exhibition's largest gallery will present a range of works composed of found objects and repurposed materials, including the centerpiece of the installation, Nevelson's Mrs. N's Palace, and Thornton Dial's elegiac Shadows of the Field (2008), which evokes the history of American slavery. The spacious installation design will establish artistic and conceptual connections between the artists on view while encouraging visitors to contemplate individual works of art in isolation or in dialogue with others in their midst.