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		<title>Amon Carter Museum of American Art Debuts Renovated Museum Store</title>
		<link>http://www.artdaily.org/index.asp?int_sec=11&#038;int_new=40509</link>
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		<pubDate>Sun, 05 Sep 2010 03:10:32 +0000</pubDate>
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		<description><![CDATA[<b>FORT WORTH, TX.-</b> <a href="http://www.cartermuseum.org" target="_blank">The Amon Carter Museum of American Art</a> announced its Museum Store has undergone a major renovation. Now featuring a café with locally roasted Aduro Bean &#38; Leaf coffee, an assortment of hot teas, a selection of bottled beverages and baked goods from Artisan Baking Co., it also offers an expanded children&#8217;s section, handmade jewelry, art-inspired ties and scarves, and home décor items. &#8220;We&#8217;re very excited to offer a service that enhances the visitor experience,&#8221; says Kevin Aldridge, retail manager. &#8220;The space is not only remodeled, it&#8217;s re-imagined.&#8221; After undergoing an extensive renovation, the  store, designed with teak-wood accents and cork flooring, has installed a café area. Artisan Baking Co.&#8217;s owner Gwin Grogan Grimes&#8217; shortbread and chocolate chip cookies, biscotti and chickpea crackers, among other foods sold in the café, have cultivated a regional followi]]></description>
			<content:encoded><![CDATA[<p><b>FORT WORTH, TX.-</b> <a href=http://www.cartermuseum.org >The Amon Carter Museum of American Art</a> announced its Museum Store has undergone a major renovation. Now featuring a café with locally roasted Aduro Bean &#038; Leaf coffee, an assortment of hot teas, a selection of bottled beverages and baked goods from Artisan Baking Co., it also offers an expanded children&#8217;s section, handmade jewelry, art-inspired ties and scarves, and home décor items. &#8220;We&#8217;re very excited to offer a service that enhances the visitor experience,&#8221; says Kevin Aldridge, retail manager. &#8220;The space is not only remodeled, it&#8217;s re-imagined.&#8221; After undergoing an extensive renovation, the  store, designed with teak-wood accents and cork flooring, has installed a café area. Artisan Baking Co.&#8217;s owner Gwin Grogan Grimes&#8217; shortbread and chocolate chip cookies, biscotti and chickpea crackers, among other foods sold in the café, have cultivated a regional followi</p>
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		<title>Galerie Adler Opens Artists Anonymous: &#8220;Everything is Possible &#8211; Everything is Done&#8221;</title>
		<link>http://www.artdaily.org/index.asp?int_sec=11&#038;int_new=40517</link>
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		<pubDate>Sun, 05 Sep 2010 03:10:32 +0000</pubDate>
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		<description><![CDATA[<b>FRANKFURT.-</b> Anything is possible &#8211; but in contemporary art there is actually very rarely anything &#8220;new&#8221;, anything that really challenges our powers of perception and our mind. We&#8217;re talking about works that make us a little dizzy when we contemplate them &#8211; a sign that we&#8217;re unable to fit what we see into any of the accustomed categories. Like the works of the Berlin artists&#8217; group ARTISTS ANONYMOUS, founded in 2001. Assume that we could lay all the pictures ever made on top of one another until this layering of motifs and colours took on, step by step, a uniform shade. The end of colourfulness. Perhaps only black would remain. Everything is done. Or imagine there being a kind of reset button to delete the inner and outer flood of images. A new beginning. What was left would probably be pure white. The colour that contains all others or, according to Malevich, the &#8220;monochrome zero state&#8221;. Everything is possible. Two]]></description>
			<content:encoded><![CDATA[<p><b>FRANKFURT.-</b> Anything is possible &#8211; but in contemporary art there is actually very rarely anything &#8220;new&#8221;, anything that really challenges our powers of perception and our mind. We&#8217;re talking about works that make us a little dizzy when we contemplate them &#8211; a sign that we&#8217;re unable to fit what we see into any of the accustomed categories. Like the works of the Berlin artists&#8217; group ARTISTS ANONYMOUS, founded in 2001. Assume that we could lay all the pictures ever made on top of one another until this layering of motifs and colours took on, step by step, a uniform shade. The end of colourfulness. Perhaps only black would remain. Everything is done. Or imagine there being a kind of reset button to delete the inner and outer flood of images. A new beginning. What was left would probably be pure white. The colour that contains all others or, according to Malevich, the &#8220;monochrome zero state&#8221;. Everything is possible. Two</p>
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		<title>Detroit Institute of Arts&#8217; Detroit Film Theatre to Show Matthew Barney&#8217;s Complete Cremaster Cycle</title>
		<link>http://www.artdaily.org/index.asp?int_sec=11&#038;int_new=40522</link>
		<comments>http://www.artdaily.org/index.asp?int_sec=11&#038;int_new=40522#comments</comments>
		<pubDate>Sun, 05 Sep 2010 03:10:32 +0000</pubDate>
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		<description><![CDATA[<b>DETROIT, MI.-</b> The Detroit Film Theatre (DFT) at the <a href="http://www.dia.org" target="_blank">Detroit Institute of Arts</a> (DIA) will host a rare showing of Matthew Barney's The Cremaster Cycle in the sequence in which the films were made. They will be shown Wednesdays, Sept. 15, 22 and 29 at 7 p.m. Made between 1994 and 2002, The Cremaster Cycle explores the processes of biological and artistic creation. Mythic in content and seductively beautiful, they explore contemporary American culture in a wildly imaginative way inflected with irony and humor. Filmed in Budapest, Isle of Man, the Great Salt Flats, New York City and Bronco Stadium, the series joins characters as diverse as Harry Houdini, Gary Gilmore, Richard Serra and Norman Mailer. Barney, who is also a sculptor and performance artist, will introduce The Cremaster Cycle before the Sept. 15 showing of Cremaster Part 4 and Cremaster Part 1. A cocktail reception with the artist will be held at 6 p.m. and is open to the pu]]></description>
			<content:encoded><![CDATA[<p><b>DETROIT, MI.-</b> The Detroit Film Theatre (DFT) at the <a href=http://www.dia.org >Detroit Institute of Arts</a> (DIA) will host a rare showing of Matthew Barney&#8217;s The Cremaster Cycle in the sequence in which the films were made. They will be shown Wednesdays, Sept. 15, 22 and 29 at 7 p.m. Made between 1994 and 2002, The Cremaster Cycle explores the processes of biological and artistic creation. Mythic in content and seductively beautiful, they explore contemporary American culture in a wildly imaginative way inflected with irony and humor. Filmed in Budapest, Isle of Man, the Great Salt Flats, New York City and Bronco Stadium, the series joins characters as diverse as Harry Houdini, Gary Gilmore, Richard Serra and Norman Mailer. Barney, who is also a sculptor and performance artist, will introduce The Cremaster Cycle before the Sept. 15 showing of Cremaster Part 4 and Cremaster Part 1. A cocktail reception with the artist will be held at 6 p.m. and is open to the pu</p>
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		<title>Japanese Woodblock Prints to Fill the Galleries&#8230;Twice at Tacoma Art Museum</title>
		<link>http://www.artdaily.org/index.asp?int_sec=11&#038;int_new=40521</link>
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		<pubDate>Sun, 05 Sep 2010 03:10:32 +0000</pubDate>
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		<description><![CDATA[<b>TACOMA; WA.-</b> <a href="http://www.TacomaArtMuseum.org" target="_blank">Tacoma Art Museum</a> is sharing one of Japan&#8217;s most popular art forms with the Northwest in their new exhibition Edo to Tacoma: Japanese Woodblock Prints from the Collection, which runs September 4, 2010 through February 13, 2011 (the exhibition will be closed the week of November 15 for gallery rotation). Long-considered one of Japan&#8217;s most popular art forms, this two-part exhibition showcases more than 140 Japanese woodblocks in Tacoma Art Museum&#8217;s permanent collection. Edo to Tacoma will present the largest and most comprehensive exhibition of Japanese woodblock prints from the museum collection to date. To highlight the breadth of the collection as the museum celebrates its 75th anniversary with the community and to preserve the artworks from light exposure, Edo to Tacoma will be comprised of two rotations&#8212;each approximately eight weeks long, and each containing prints from the late 17th]]></description>
			<content:encoded><![CDATA[<p><b>TACOMA; WA.-</b> <a href=http://www.TacomaArtMuseum.org >Tacoma Art Museum</a> is sharing one of Japan&#8217;s most popular art forms with the Northwest in their new exhibition Edo to Tacoma: Japanese Woodblock Prints from the Collection, which runs September 4, 2010 through February 13, 2011 (the exhibition will be closed the week of November 15 for gallery rotation). Long-considered one of Japan&#8217;s most popular art forms, this two-part exhibition showcases more than 140 Japanese woodblocks in Tacoma Art Museum&#8217;s permanent collection. Edo to Tacoma will present the largest and most comprehensive exhibition of Japanese woodblock prints from the museum collection to date. To highlight the breadth of the collection as the museum celebrates its 75th anniversary with the community and to preserve the artworks from light exposure, Edo to Tacoma will be comprised of two rotations&#8212;each approximately eight weeks long, and each containing prints from the late 17th</p>
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		<title>Mesmerizing Photographs Explore the Intricacies of Memory at the Seattle Art Museum</title>
		<link>http://www.artdaily.org/index.asp?int_sec=11&#038;int_new=40520</link>
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		<pubDate>Sun, 05 Sep 2010 03:10:32 +0000</pubDate>
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		<description><![CDATA[<b>SEATTLE, WA.-</b> From September 4, 2010, through February 13, 2011, the <a href="http://www.seattleartmuseum.org/" target="_blank">Seattle Art Museum</a> will present the exhibition Amy Blakemore: Photographs, 1988-2008. Ranging from black-and-white street photographs from the late 1980s to recent portraits and landscapes, the exhibition brings together nearly 40 photographs in a twenty-year survey of the Houston, Texas-based artist&#8217;s work.  Originally rooted in traditions of documentary photography, American artist Amy Blakemore compares the act of taking pictures to the experience of serendipitously gathering broken bits and lost objects during a long walk. This exhibition demonstrates that, throughout her career, Blakemore&#8217;s photographs have maintained a tantalizing sense of interrupted or incomplete narrative &#8211; what at a glance may appear to be a banal mise en scène becomes with further inspection a mysterious and psychologically penetrating view of the world we li]]></description>
			<content:encoded><![CDATA[<p><b>SEATTLE, WA.-</b> From September 4, 2010, through February 13, 2011, the <a href=http://www.seattleartmuseum.org/ >Seattle Art Museum</a> will present the exhibition Amy Blakemore: Photographs, 1988-2008. Ranging from black-and-white street photographs from the late 1980s to recent portraits and landscapes, the exhibition brings together nearly 40 photographs in a twenty-year survey of the Houston, Texas-based artist&#8217;s work.  Originally rooted in traditions of documentary photography, American artist Amy Blakemore compares the act of taking pictures to the experience of serendipitously gathering broken bits and lost objects during a long walk. This exhibition demonstrates that, throughout her career, Blakemore&#8217;s photographs have maintained a tantalizing sense of interrupted or incomplete narrative &#8211; what at a glance may appear to be a banal mise en scène becomes with further inspection a mysterious and psychologically penetrating view of the world we li</p>
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		<title>Los Angeles Artists Fight to Save City&#8217;s Legacy of Murals</title>
		<link>http://www.artdaily.org/index.asp?int_sec=11&#038;int_new=40524</link>
		<comments>http://www.artdaily.org/index.asp?int_sec=11&#038;int_new=40524#comments</comments>
		<pubDate>Sun, 05 Sep 2010 03:10:32 +0000</pubDate>
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		<description><![CDATA[<b>LOS ANGELES (AP).-</b> Every so often, Ernesto de la Loza drives around the city to check on the state of his murals. It's a short tour these days. Out of 42 swirling, vivid pieces he's painted, only seven remain, the rest lost to graffiti, whitewash and withering sun. "It's really painful," said the 61-year-old artist whose works depict Angeleno life from Mexican heritage to the dangers of drugs. "People say 'don't take it personal,' but it's totally personal. They're my babies." At one time hosting an estimated 1,500 pieces of wall art, Los Angeles is the nation's mural capital, but that's a fading distinction thanks to prolific graffiti taggers, a legal morass over classifying the artworks as illegal signs, and neglect. "I never thought 30 years ago that I would have to save works from being destroyed," said muralist Judith]]></description>
			<content:encoded><![CDATA[<p><b>LOS ANGELES (AP).-</b> Every so often, Ernesto de la Loza drives around the city to check on the state of his murals. It&#8217;s a short tour these days. Out of 42 swirling, vivid pieces he&#8217;s painted, only seven remain, the rest lost to graffiti, whitewash and withering sun. &#8220;It&#8217;s really painful,&#8221; said the 61-year-old artist whose works depict Angeleno life from Mexican heritage to the dangers of drugs. &#8220;People say &#8216;don&#8217;t take it personal,&#8217; but it&#8217;s totally personal. They&#8217;re my babies.&#8221; At one time hosting an estimated 1,500 pieces of wall art, Los Angeles is the nation&#8217;s mural capital, but that&#8217;s a fading distinction thanks to prolific graffiti taggers, a legal morass over classifying the artworks as illegal signs, and neglect. &#8220;I never thought 30 years ago that I would have to save works from being destroyed,&#8221; said muralist Judith</p>
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		<title>New Works by British Artist Darren Almond at White Cube</title>
		<link>http://www.artdaily.org/index.asp?int_sec=11&#038;int_new=40525</link>
		<comments>http://www.artdaily.org/index.asp?int_sec=11&#038;int_new=40525#comments</comments>
		<pubDate>Sun, 05 Sep 2010 03:10:32 +0000</pubDate>
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		<description><![CDATA[<b>LONDON.-</b> <a href="http://www.whitecube.com/" target="_blank">White Cube</a> Mason's Yard presents an exhibition of new works entitled 'The Principle of Moments' by British artist Darren Almond. Known for works that meditate on notions of time, landscape and travel, as well as political and historical memory, Almond brings these themes together in two bodies of work: a series of time-lapse photographs taken in the Faroe Islands, and a film installation shot in northern Siberia. 'Anthropocene: The Prelude', is a new three screen film installation which continues Almond's ongoing interest in the city of Norilsk, about which he first began making works in 2002. Originally a gulag, Norilsk is now predominantly an industrial city that mines large amounts of valuable ores in particular nickel. On entering the basement gallery, the viewer is confronted with a pair of vertical, floor-to-ceiling screens]]></description>
			<content:encoded><![CDATA[<p><b>LONDON.-</b> <a href=http://www.whitecube.com/ >White Cube</a> Mason&#8217;s Yard presents an exhibition of new works entitled &#8216;The Principle of Moments&#8217; by British artist Darren Almond. Known for works that meditate on notions of time, landscape and travel, as well as political and historical memory, Almond brings these themes together in two bodies of work: a series of time-lapse photographs taken in the Faroe Islands, and a film installation shot in northern Siberia. &#8216;Anthropocene: The Prelude&#8217;, is a new three screen film installation which continues Almond&#8217;s ongoing interest in the city of Norilsk, about which he first began making works in 2002. Originally a gulag, Norilsk is now predominantly an industrial city that mines large amounts of valuable ores in particular nickel. On entering the basement gallery, the viewer is confronted with a pair of vertical, floor-to-ceiling screens</p>
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		<title>Landscape Exhibition Opens at New York State Museum</title>
		<link>http://www.artdaily.org/index.asp?int_sec=11&#038;int_new=40519</link>
		<comments>http://www.artdaily.org/index.asp?int_sec=11&#038;int_new=40519#comments</comments>
		<pubDate>Sun, 05 Sep 2010 03:10:31 +0000</pubDate>
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		<description><![CDATA[<b>ALBANY, NY.-</b>  &#8220;Not Just Another Pretty Place: The Landscape of New York&#8221; opens at the <a href="http://www.nysm.nysed.gov" target="_blank">New York State Museum</a> September 3 showcasing the many different ways views of New York have been captured and used by artists, photographers, scientists and others during the past 200 years. This is the first exhibition of landscape art to be completely culled from the State Museum&#8217;s vast collections. On display in the Museum&#8217;s West Gallery, this exhibition takes a unique look at the landscape art form, looking beyond the purely aesthetic. It features more than 100 landscape scenes and includes paintings, photographs, prints, ceramics, furniture and much more. The rich and varied landscape of New York State has been a subject of interest to artists, photographers, historians, and scientists alike for hundreds of years.  Artists have used the landscape in their work to draw tourists to Niagara Falls or the Adirondacks, cre]]></description>
			<content:encoded><![CDATA[<p><b>ALBANY, NY.-</b>  &#8220;Not Just Another Pretty Place: The Landscape of New York&#8221; opens at the <a href=http://www.nysm.nysed.gov >New York State Museum</a> September 3 showcasing the many different ways views of New York have been captured and used by artists, photographers, scientists and others during the past 200 years. This is the first exhibition of landscape art to be completely culled from the State Museum&#8217;s vast collections. On display in the Museum&#8217;s West Gallery, this exhibition takes a unique look at the landscape art form, looking beyond the purely aesthetic. It features more than 100 landscape scenes and includes paintings, photographs, prints, ceramics, furniture and much more. The rich and varied landscape of New York State has been a subject of interest to artists, photographers, historians, and scientists alike for hundreds of years.  Artists have used the landscape in their work to draw tourists to Niagara Falls or the Adirondacks, cre</p>
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		<title>Pulitzer-Winning Cartoonist Paul Conrad Dies at 86 in Los Angeles</title>
		<link>http://www.artdaily.org/index.asp?int_sec=11&#038;int_new=40523</link>
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		<pubDate>Sun, 05 Sep 2010 03:10:31 +0000</pubDate>
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		<description><![CDATA[<b>LOS ANGELES (AP).-</b> Paul Conrad, the political cartoonist who won three Pulitzer Prizes and used his pencil to poke at politicians for more than 50 years, died Saturday, his son said. He was 86. Conrad died before dawn at his home in the Los Angeles suburb of Rancho Palos Verdes surrounded by his family, David Conrad said. He said the death was from natural causes, but did not offer specifics. Paul Conrad took on U.S. presidents from Harry S. Truman to George W. Bush, mostly in the Los Angeles Times, where he worked for 30 years and helped the newspaper raise its national profile. He was fierce in his liberalism and expressed it with a stark, unmistakable visual style. Southern California political junkies for decades would start their day either outraged or delighted at a Conrad drawing. The Times said in a Saturday story that its longtime]]></description>
			<content:encoded><![CDATA[<p><b>LOS ANGELES (AP).-</b> Paul Conrad, the political cartoonist who won three Pulitzer Prizes and used his pencil to poke at politicians for more than 50 years, died Saturday, his son said. He was 86. Conrad died before dawn at his home in the Los Angeles suburb of Rancho Palos Verdes surrounded by his family, David Conrad said. He said the death was from natural causes, but did not offer specifics. Paul Conrad took on U.S. presidents from Harry S. Truman to George W. Bush, mostly in the Los Angeles Times, where he worked for 30 years and helped the newspaper raise its national profile. He was fierce in his liberalism and expressed it with a stark, unmistakable visual style. Southern California political junkies for decades would start their day either outraged or delighted at a Conrad drawing. The Times said in a Saturday story that its longtime</p>
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		<title>Adolph Gottlieb Retrospective Opens at the Peggy Guggenheim Collection</title>
		<link>http://www.artdaily.org/index.asp?int_sec=11&#038;int_new=40516</link>
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		<pubDate>Sun, 05 Sep 2010 03:10:31 +0000</pubDate>
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		<description><![CDATA[<b>VENICE.-</b> From September 4 to January 9, 2011 the <a href="http://www.guggenheim-venice.it" target="_blank">Peggy Guggenheim Collection</a> presents Adolph Gottlieb. A Retrospective, the first retrospective exhibition of this great American Abstract Expressionist painter to be shown in Italy. Like those previously dedicated to William Baziotes and Richard Pousette-Dart at the Peggy Guggenheim Collection, this exhibition brings to Italy a better understanding of a generation of New York artists that in the 1950s came to form American Abstract Expressionism. The origins of this movement in the 1940s is closely linked to the career of Peggy Guggenheim herself, and to her New York museum-gallery Art of This Century. The exhibition has been organized in partnership with the Adolph and Esther Gottlieb Foundation, New York, which has lent numerous paintings and sculptures from its holdings. The exhibition also]]></description>
			<content:encoded><![CDATA[<p><b>VENICE.-</b> From September 4 to January 9, 2011 the <a href=http://www.guggenheim-venice.it >Peggy Guggenheim Collection</a> presents Adolph Gottlieb. A Retrospective, the first retrospective exhibition of this great American Abstract Expressionist painter to be shown in Italy. Like those previously dedicated to William Baziotes and Richard Pousette-Dart at the Peggy Guggenheim Collection, this exhibition brings to Italy a better understanding of a generation of New York artists that in the 1950s came to form American Abstract Expressionism. The origins of this movement in the 1940s is closely linked to the career of Peggy Guggenheim herself, and to her New York museum-gallery Art of This Century. The exhibition has been organized in partnership with the Adolph and Esther Gottlieb Foundation, New York, which has lent numerous paintings and sculptures from its holdings. The exhibition also</p>
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