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Over there is Marlon Brando in "Apocalypse Now" (1979) and John Belushi in "The Blues Brothers," (1980). And Johnny Depp in "Sleepy Hallow," 1999 and Nicole Kidman in "Australia," 2008.
The name dropping is inevitable in Mark's first solo show at Weinstein in more than a decade. The gallery persuaded the photographer to sift through 40 years of her behind-the-scenes shots taken on film sets over the decades. The photos are, for the most part, candid and casual snaps made during rehearsals or while the cameras are rolling --but taken from a different vantage and without a story line to drive a narrative. So we'll see Sean Penn in his New York dressing room and Woody Allen adrift on his Manhattan balcony, and even the "Lone Ranger" (Clayton Moore) at home in Los Angeles.
Mark herself will be on hand for the opening party, 6 p.m. to 8:30 p.m. Thursday, June 6, free. Weinstein Gallery, 908 W. 46th St., Minneapolis. "Seen Behind the Scene/ Forty Years of Photographing on Set," runs through July 27, free. 612-822-1722 or .www.weinstein-gallery.com/
Celebrating leisure and sensuality, Henri Matisse used bold colors to depict voluptuous models in lush settings. At his aerie overlooking the sea in Nice, France, he turned out images of nudes and exotically garbed models that have long been prized by discerning collectors of early 20th century art.
“Matisse: Masterworks From the Baltimore Museum of Art,” will bring about 80 of the master’s works to the Minneapolis Institute of Arts from February 23 through May 18, 2014. The show is expected to have 32 paintings, 16 sculptures and more than 30 works on paper including drawings, original prints and books.
All of the work comes from the legendary collection of Dr. Claribel Cone and her sister Etta Cone of Baltimore who, in the early decades of the 20th century, spent much of their inherited textile fortune gathering some 3000 artworks including key pieces by Matisse (1869-1954), Picasso, Paul Cezanne, Vincent van Gogh, Paul Gauguin, and others.
Their 500 Matisses, now in the collection of the Baltimore Museum of Art, are among the largest single collections of the artist’s work anywhere. In quantity and quality, their hoard rivals those of the eccentric writer Gertrude Stein and her brother Leo, and the pharmacist Alfred C. Barnes who left his to a namesake museum in Philadelphia.
In Minneapolis, a complimentary exhibit will feature selections from 40 Matisses owned by the Minneapolis museum. Among them will be the famous 1907 “Boy with a Butterfly Net” which depicts Leo Stein’s nephew; “White Plumes,” a 1919 portrait of a favorite model; and “Les Pensees de Pascal,” a lovely 1924 still life.
The show replaces a previously announced exhibition of portraits on loan from the Centre Pompidou in Paris. Plans for that exhibition were scratched when the French institution withdrew key paintings that Minneapolis had counted on getting. The Matisse show offered a promising alternative with pictures whose provenance and quality set a high mark among American collections of early 20th century French art.
Ticket prices are expected to be $20 on weekends and $18 weekdays.
Image of Walker Art Center's crinkled skin by Star Tribune photographer Stormi Greener.
Minnesota artists are invited to a Q & A session Tuesday evening at Walker Art Center where officials from ArtPrize, a Michigan organization, will lay out the ground rules for the ArtPrize Pitchfest. Described as a "competitive grant program," the Pitchefest sounds more like speed dating.
Five artist finalists will be picked by a Twin Cities jury and given five minutes each to show five slides to five jurors in hopes of getting $5,000.The initial phase is open to all artists; the five finalists will give their pitches to the jury on "ArtPrize Pitch Night" sometime in June.
Winner of the local event will then go on to the big deal ArtPrize competion held annually in Grand Rapids, Michigan. That event was founded five years ago by Rick DeVos, a "social media entrepreneur" who, naturally, has built audience participation into the deal. Viewers get to vote on their Top 10 favorites who also get prize money.
Last year's grand prize winner, Adonna Khare, got $200,000 for a mural-sized drawing, "Elephants." A $75,000 second prize went to Martijn van Wagtendonk for a kinetic sculpture, "Song of Lift," and Frits Hoendervanger took home a $50,000 third prize for a painting, "Rebirth of Spring."
The 2012 competition attracted 1,517 entrants. Six of those entrants shared an additional $200,000 in prize money.
An offshoot of the Grand Rapids program, Minnesota's event is co-sponsored by Walker Art Center, mnartists.org and ArtPrize. For more details check out the info session at 7 p.m., Walker Art Center, 1750 Hennepin Av., Minneapolis. 612-375-7600.
The museum this month has undergone a bruising round of layoffs and restructuring in the face of rising admission prices and falling revenues. Two weeks ago Walker management laid off Film and Video Program Manager Kathie Smith, with Assistant Curator Dean Otto, who handled primarily programming responsibilities, assuming Smith's administrative duties. Otto and Film and Video Curator Sheryl Mousley are now the department’s remaining fulltime staff.
With a $1 million gift from the Edina-based Bentson Foundation, Walker extensively remodeled its cinema in June 2012, yet the museum’s film programming has declined. Longrunning film series including “Women in the Director’s Chair,” the “Global Lens” world cinema survey, and the gay-themed “Queer Takes” are gone from the calendar, and the cinema sits dark most days. Screenings have fallen by about 20 percent in the last five years, from an average of 170 to 140 a year, said Ryan French, the Walker’s director of marketing and public relations. Visual and performing arts programs also have been curtailed. Walker's most successful recent film event was last summer's festival of Internet kitten videos.
“The Walker has been reducing its overall programming and budget to overcome a gap between income and expenses. We’re reducing program levels and the staff that support those programs,” French said. He said the free summer Music and Movies in the Park program and the popular, ticket-selling British Arrows television advertising showcase will remain. “Having a reduction in programming from 170 to 140 but having a great space to do it in is a good thing.”
Stand by for outrage, people. Also lightening bolts from Heaven, assuming God the Father wields such things. Zeus was very good with a lightening bolt, but GTF, who knows?
In any case, Minneapolis performance artists Jason Wade and Jaime Carrera are about to test the proposition that God is Not Yet Dead. If He is still perking about, He is likely to be extremely peeved by their performance on Easter Sunday.
Wade, pictured here, has apparently drawn the star straw and will assume the role of First Son in this new performance piece designed, choreographed, and otherwise slapped together by Carrera. In it, Carrera "continues exploring his recent obsession with terribleness."
As the press release helpfully explained, "Cheesus shoves the traditional story of the passion through a wood chipper of pyschedelia & ridiculous blasphemy. Aided by the unnatural talents of shock rock celebrity & filmmaker, Jason Wade, this performance piece promises to be horrifyingly sacrilicious."
(7 p.m. Sunday, March 31, $5. Soolocal (next to Pat's Tap), 3506 Nicollet Av. S., Minneapolis. www.soovac.org)