EXHIBITIONS

richard serra
richard serra
out-of-round X, 1999, Paintstick on handmade Hiromi paper, Collection of the artist, Richard Serra © 2010 Artist Rights Society (ARS), New York. Photo: Rob McKeever (top left)
Untitled, 1971, Charcoal on paper, Private Collection, Richard Serra © 2010 Artist Rights Society (ARS), New York Photo: Savage (top center)
September, 2001, Paintstick on handmade paper, Collection of the artist, Richard Serra © 2010 Artist Rights Society (ARS), New York, Photo: Rob McKeever (top right)
Taraval Beach, 1977, Paintstick on Belgian linen, Shown installed at the Whitney Museum of American Art, Whitney Biennial, Collection of the artist, Richard Serra © 2010 Artist Rights Society (ARS), New York, Photo: BeVan Davies (bottom left)
Heir, 1973, Paintstick and graphite on paper, The Museum of Modern Art, New York. Acquired with matching funds from Mr. and Mrs. S.I. Newhouse Jr. and the National Endowment for the Arts, Richard Serra © 2010 Artist Rights Society (ARS), New York, Photo: Thomas Greisel (bottom center)
Diamond, 1974/2011, Paintstick on Belgian linen, Collection of the artist, Richard Serra © 2010 Artist Rights Society (ARS), New York, Photo: Rob McKeever (bottom right)

EXHIBITION
RICHARD SERRA
THE METROPOLITAN MUSEUM OF ART, New York, New York

Richard Serra Drawing: A Retrospective
April 13, 2011 - August 28, 2011
If you've ever experienced a Richard Serra sculpture, then you've felt the awakening and emotional impact Serra's rising metal spaces exude. Equally striking are the artist's drawings, which The Metropolitan Museum of Art has assembled into Serra's first drawing retrospective. Richard Serra Drawing: A Retrospective traces Serra's use of drawing as an activity both independent from and linked to his sculptural practice. Serra's drawings have played a crucial role in his work for more than forty years, yet they have not been as widely recognized as his sculptures. This exhibition features some sixty works from the 1970s to the present.
Serra's drawings began as a means of exploring formal and perceptual relationships between his sculpture and the viewer, as seen in his works from the early 1970s. With time they evolved into more autonomous works of art and increased in scale. Serra made the first of his monumentally scaled Installation Drawings in the mid-1970s, some of which hang from floor to ceiling. To make these works, the artist attached linen directly to the wall and applied black paint-stick using repetitive and vigorous physical gestures. Over the last twenty-five years, working primarily on paper, Serra has continued to invent new drawing techniques and radically change the practice and definition of drawing. The exhibition will culminate with new large-scale works completed specifically for this presentation. For more information about this exhibition, please check this link:
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utagawa hiroshige
Georgia O'Keeffe, 1918, Platinum print by Alfred Stieglitz, Gift of Georgia O'Keeffe, through the generosity of The Georgia O'Keeffe Foundation
and Jennifer and Joseph Duke, 1997. (left)
The Pond – Moonrise, 1904, Platinum print with applied color by Edward Steichen, Alfred Stieglitz Collection, 1933. (center)
Wild Iris, Maine, 1927-28, Gelatin silver print by Paul Strand, Alfred Stieglitz Collection, 1955,
Courtesy Aperture Foundation, Inc., Paul Strand Archive (right)

EXHIBITION
ALFRED STIEGLITZ, EDWARD STEICHEN and PAUL STRAND
THE METROPOLITAN MUSEUM OF ART, New York, New York

Stieglitz, Steichen, Strand
November 10, 2010 - April 10, 2011
The Metropolitan Museum of Art is showcasing three giants of 20th-century American photography — Alfred Stieglitz, Edward Steichen and Paul Strand in an exhibtion that runs from November 10, 2010 through April 10, 2011. The stories of these three giants of early twentieth-century photography are interwoven. At the center is Alfred Stieglitz (1864-1946), a photographer who made icons of his subjects and one of America’s greatest champions of the era’s most advanced examples of artistic photography, Parisian avant-garde art and American painting. Edward Steichen (1879-1973) and Paul Strand (1890-1976) are, in a sense, bookends marking the beginning and end of Stieglitz’s influential role as artistic impresario during the period of the Photo-Secession, a name given to the loose-knit group of photographers Stieglitz exhibited, published and promoted between 1902 and 1917. Edward Steichen’s large and painterly portraits, nudes, and landscapes were heralded by Stieglitz as the finest examples of artistic photography at the start of the Photo-Secession and were celebrated in early issues of Stieglitz's publication Camera Work. Steichen was also Stieglitz’s link to modern European art and, beginning in 1905, his collaborator on exhibitions at the Little Galleries of the Photo-Secession, also called “291” for its address on Fifth Avenue. Strand, by contrast, was a decade younger and represented a new generation of photographers influenced not by the fin-de-siecle Symbolist painting that inflected Steichen’s early work but instead by the very type of European avant-garde art that Steichen had helped Stieglitz present to the American public. Strand’s photographs of 1915-17, published in the final issues of Camera Work, led the way to an era of straightforward, modern photography unencumbered by the allegorical themes, celebrity subjects and painterly techniques of earlier artistic photography. For more information about this exhibition, please check this link:

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Joan Mitchell
Row Row, 1982, Oil on canvas, © Estate of Joan Mitchell. Courtesy of the Joan Mitchell Foundation.

EXHIBITION
JOAN MITCHELL
THE GAGOSIAN GALLERY, 456 North Camden Drive, Beverly Hills, California

The Last Decade
November 13, 2010 - December 23, 2010
Curated by art historian Richard D. Marshall, The Last Decade, is a Gagosian Gallery exhibition of fourteen paintings by Joan Mitchell produced during the last ten years of her life. Mitchell is recognized as a principal figure in the second wave of American Abstract Expressionists who followed the aesthetic breakthroughs of Willem de Kooning and Franz Kline. Her early works are characterized as turbulent and were related to personal bereavement. Their turbulence is often expressed in opposites: dense brushwork versus transparent strokes, warm tones versus cool palettes, gridded structure versus chaos, and choppy line versus continuous brushstrokes. Working for the most part on multiple panels and large-scale canvases, her inhibited use of color and expansive gestures proclaim a natural, rather than constructed, rhythm from the composition.

Many of the later works reflect the circumstances of Mitchell’s own life. From the death of her friends to struggles with her own health. Her paintings became an extension of her experiences, as well as a temporary respite from them. With a palette alternating between optimism and sobriety, Mitchell’s paintings reflect the full emotional range of her reactions and memories during these years. For more information about this exhibition, please check this link:
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joe sorren
Given the Difference Between, number 1, 2010, Oil on canvas, © Joe Sorren. (left)
Given the Difference Between, number 2, 2010, Oil on canvas, © Joe Sorren. (right)

EXHIBITION
JOE SORREN
CALIFORNIA STATE UNIVERSITY FULLERTON GRAND CENTRAL ART CENTER, 125 N. Broadway, Santa Ana, California

COCONINO CENTER FOR THE ARTS, 2300 North Fort Valley Road, Flagstaff, Arizona

Interruption
November 6, 2010 - January 7, 2011
In every art movement, whether commercial Illustration or in Fine Art, there are followers - and there are innovators: artists whose use of aesthetics change what was accepted and seemingly overnight create a new genre of their own. Joe Sorren is one of those artists. Quick to emerge from the sometimes forced 90s style-factory that was/is Los Angeles' La Luz de Jesus Gallery, Joe Sorren's emotional mindscape paintings pulse with Odilon Redon bursts of color and Willem de Kooning painterly inventions. Sometimes somber, sometimes containing small comical details melded into a larger narrative or poem, Sorren's work always makes his audience reflect. However, it is Sorren's ability at abstracting color into sentiment that sets him apart from his contemporaries. The impact of his work today is reminiscent to what N.C. Wyeth brought to book illustration during the early 20th Century or Frank Frazetta's use of color and shape to deepen the experience of American fantasy and science fiction paintings.

The Grand Central Art Center (GCAC) at California State University Fullerton in southern California has organized Joe Sorren's first museum retrospective. The exhibition which contains of twenty paintings and eight sculptures is called Interruption. A book with the same title will be released at the same time. This exhibition opens on Nov. 6, 2010 and runs through Jan. 2, 201, when it travels to Sorren’s hometown and will be presented by Flagstaff Cultural Partners at the Coconino Center for the Arts, Jan. 22 through Feb. 25, 2011. The show debuts ten new paintings and a retrospective of work lent from worldwide private collectors and created throughout the last decade. Also included in the exhibition are new bronze sculptures Sorren created in collaboration with Jud Bergeron. For more information about these exhibitions, please check this link:
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utagawa hiroshige
The One Hundred Thousand Acre Plain at Susaki in Fukugawa, 1857, from One Hundred Famous Views of Edo, Color woodblock, oban,
Norton Simon Museum, Gift of Barbara Steele Williams. (left)
Shono: Driving Rain, circa 1833-34, from The Fifty-Three Stations of the Tokaido Road, Color woodblock, oban, Norton Simon Museum,
Gift of Mrs. Audrey Steele Burnand (center)
The Sea off Satta in Suruga Province, 1858, from The Thirty-Six Views of Mt. Fuji, Color woodblock, oban, Norton Simon Museum,
Gift of Mrs. Edward C. Crossett (right)

EXHIBITION
UTAGAWA HIROSHIGE
THE NORTON SIMON MUSEUM, Pasadena, California

Hiroshige: Visions of Japan
June 4, 2010 - January 17, 2011
Drawn from the Norton Simon Museum's extensive Japanese woodblock-print collection, Hiroshige: Visions of Japan features approximately 175 prints by Utagawa Hiroshige (1797-1858), one of the most celebrated and prolific artists of his time. Born Ando Tokutaro in Edo (now known as Tokyo) in 1797, Hiroshige was accepted as a student by Utagawa Toyohiro, a master artist of the Utagawa school of designers, print-makers and painters in or around 1810. Under Toyohiro's tutelage, the young artist honed his skills in the genre of ukiyo-e, or "pictures of the floating world." The school's successful apprentices formally adopted Utagawa as their surname and received new given names; by 1813 Ando Tokutaro had officially become Utagawa Hiroshige. Hiroshige: Visions of Japan was curated by Christine Knoke, outgoing curator at the Norton Simon Museum. For more information about this exhibition, please check this link:

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Kandinsky Guggenheim
Blue Painting (Blaues Bild), January 1924, Oil on canvas, mounted on board, Solomon R. Guggenheim Museum, New York, Gift, Fuller Foundation, Inc. 76.2277, © 2010 Artists Rights Society (ARS), New York/ADAGP, Paris. (left)
Several Circles (Einige Kreise), January-February 1926, Oil on canvas. olomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, By gift 41.283, © 2010 Artists Rights Society (ARS), New York/ADAGP, Paris (right)

EXHIBITION
VASILY KANDINSKY
THE SOLOMON R. GUGGENHEIM MUSEUM, New York, New York

Kandinsky at the Bauhaus
Ongoing

In 1922, Vasily Kandinsky accepted a teaching position at the Bauhaus: the state-sponsored Weimar school of art and applied design founded in 1919 by architect Walter Gropius. The school’s curriculum was based on the principle that the crafts were equal to the traditional arts and was organized according to a medieval-style guild system of training where a young artist was apprenticed to experienced masters. Kandinsky conducted the Wall Painting Workshop and Preliminary Course and taught at all three of the school’s sequential locations in Weimar, Dessau, and Berlin until 1933, when the Bauhaus was closed due to pressure from the National Socialist (Nazi) government.

Geometric shapes played a dominant role in Kandinsky’s pictorial vocabulary at the Bauhaus. As an artist during this phase of his career, he was interested in uncovering a universal aesthetic language and increased his use of overlapping, flat planes and clearly delineated forms. This change was due, in part, to his familiarity with the Suprematist work of Kazimir Malevich and the art of the Constructivists. Kandinsky’s turn toward geometric forms was also likely a testament to the influence of industry and developments in technology. Drawn from the Guggenheim's permanent collection, this intimate presentation features paintings and works on paper from a prolific period of Kandinsky's career. For more information about this exhibition, please check this link:
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gregory crewdson
Untitled (17), 2009
Pigmented inkjet print
28 1/2 x 35 1/4 inches (72.4 x 89.5 cm)
Ed. of 6
Courtesy Gagosian Gallery
© Gregory Crewdson

EXHIBITION
GREGORY CREWDSON
THE GAGOSIAN GALLERY, 980 Madison Avenue, New York, New York

Sanctuary
September 23, 2010 - October 30, 2010
Scenographic architecture as the principal subject underscores photographer Gregory Crewdson's new exhibition - Sanctuary, a group of 41 black-and-white photographs which were produced digitally with minimal reworking. Crewdson's imaginary stems from the impulses that have shaped the surreal visions of American artists from Albert Bierstadt to Stephen Spielberg. Shot on location at the legendary Cinecittà studios in Rome, Crewdson has made abandoned outdoor film sets the subject of, rather than the mere setting for, his pictures. The characteristics of the hidden life of movies and their artifacts are exposed. Devoid of human presence, the underlying structure of the façades and scaffolding of decaying sets and period buildings are framed by cobbled streets. Heightened by the ambient light of dawn and dusk, open ground, overtaken by grasses and weeds, convey the eerie absence of life. Crewdson's images have added a new layer to the genre by searching for his particular form of verité within the artificial leftovers of cinematic reality. A fully illustrated catalogue of the complete series with an essay by The New York Times film critic A.O. Scott is being published by Abrams to coincide with the exhibition. Sanctuary will be exhibited at Gagosian Gallery Rome, Italy in January 2011. For more information about this exhibition, please check this link:
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A talk with Gregory Crewdson, writer/director Noah Baumbach and New York Times film critic A.O. Scott entitled: Stories & Pictures will be held on October 5, 2010 at 6:30pm. For more information about this Times Talks, please see this link:
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still kline rothko
1944-N No. 2, 1944, Oil on canvas. The Sidney and Harriet Janis Collection, © Clyfford Still Estate. (left)
Chief, 1950, Oil on canvas. Gift of Mr. and Mrs. David M. Solinger © 2010 The Franz Kline Estate / Artists Rights Society (ARS), New York (center)
No. 3/No. 13, 1949, Oil on canvas. Bequest of Mrs. Mark Rothko through The Mark Rothko Foundation, Inc.
© 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York (right)

EXHIBITION
ABSTRACT EXPRESSIONISTS
THE MUSEUM MODERN OF ART, New York, New York

Abstract Expressionist New York: The Big Picture
October 3, 2010 - April 25, 2011
Drawn entirely from the vast holdings of the Museum of Modern Art, Abstract Expressionist New York underscores the achievements of a generation of artists that catapulted New York City to the center of the international art world during the 1950s. Its legacy yielded some of the twentieth century’s greatest masterpieces. On MoMA's fourth floor - Abstract Expressionist paintings, sculptures, prints, drawings, photographs, films, and archival materials in a display subtitled The Big Picture mark the first time in the history of the new Museum building that a full floor has been devoted to a single theme. The exhibition continues on the floors below, where focused shows - Rock Paper Scissors in the second-floor Prints and Illustrated Books Galleries, and Ideas Not Theories in the third-floor Drawings Galleries - reveal distinct facets of the movement as it developed in diverse mediums, adding to a historical overview of the era and giving a sense of its great depth and complexity. For more information about this exhibition, please check this link:

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rockwell
Boy on High Dive, 1947,Oil on canvas. Collection of Steven Spielberg (left)
Peach Crop, 1935, Oil on canvas. Collection of George Lucas (center)
A Time for Greatness, 1964, Oil on canvas. Collection of Steven Spielberg (right)

EXHIBITION
NORMAN ROCKWELL
SMITHSONIAN AMERICAN ART MUSEUM, Washington, D.C.

Telling Stories: Norman Rockwell from the Collections of George Lucas and Steven Spielberg
July 2, 2010 - January 2, 2010
This is the first major exhibition to explore the connections between Norman Rockwell's images of American life and the movies. Two of America's best known filmmakers - George Lucas and Steven Spielberg recognized a kindred spirit in Rockwell and formed significant collections of his work. Rockwell's paintings and the films of Lucas and Spielberg evoke love of country, small town values, children growing up, unlikely heroes, acts of imagination and life's ironies. For more information about this exhibition, please check this link:

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rockwell

matisse
Portrait of Yvonne Landsberg, 1914,Oil on canvas. The Louise and Walter Arensberg Collection, 1950. (left)
The Moroccans. Issy-les-Moulineaux, late 1915 and fall 1916, Oil on canvas. Gift of Mr. and Mrs. Samuel A. Marx (center)
Goldfish and Palette, 1914, Oil on canvas. Gift and Bequest of Florene M. Schoenborn and Samuel A. Marx (right)
© 2010 Succession H. Matisse/Artists Rights Society (ARS), New York

EXHIBITION
HENRI MATISSE
THE MUSEUM MODERN OF ART, New York, New York

Matisse: Radical Invention, 1913 - 1917
July 18, 2010 - October 11, 2010
In the time between his return from Morocco in 1913 and his departure for Nice in 1917, Henri Matisse produced some of his most experimental, exacting and lasting works of art. These abstract paintings were anchored in representation but also purged their subjects of descriptive detail. Geometric and sharply composed, many of these works were dominated by shades of black and gray and impeccably accented with color. Works from this period have typically been treated as unrelated to one another, as an aberration within the artist's development, or as a response to Cubism or World War One. Matisse: Radical Invention, 1914 -1917 moves beyond the surface of these paintings to examine their physical production and the essential context of Matisse's studio practice. For more information about this exhibition, please check this link:

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picasso
Head of a Woman, 1922, Chalk on paper. Bequest of Scofield Thayer, 1982 (left)
Bacchanalia with Kid and Spectator, 1959, The Mr. and Mrs. Charles Kramer Collection, Gift of Mr. and Mrs. Charles Kramer, 1979 (center)
Seated Harlequin, 1901, The Metropolitan Museum of Art, Purchase, Mr. and Mrs. John L. Loeb, Gift 1960 (right)
© Estate of Pablo Picasso/Artists Rights Society (ARS), New York

EXHIBITION
PABLO PICASSO
THE METROPOLITAN MUSEUM OF ART, New York, New York

Picasso in The Metropolitan Museum of Art
April 27, 2010 - August 15, 2010
For the first time, The Metropolitan Museum of Art focuses exclusively on works by Pablo Picasso in this landmark exhibition. Featured are three hundred works, including the Museum's complete holdings of paintings, drawings, sculptures and ceramics by Picasso -- never before seen in their entirety -- as well as a selection of the artist's prints. The Museum's collection reflects every facet of the artist's multi-sided genius as it asserted itself over the course of his long and influential career. For more information about this exhibition, please check this link:

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nancy rubins
Work for New Space, Stainless Steel, Aluminum, Monochrome I, 2010
Stainless steel, stainless steel wire, aluminum
© Nancy Rubins.
23'4" x 37' x 43'
Courtesy Gagosian Gallery.
Photography by Erich Koyama

EXHIBITION
NANCY RUBINS
THE GAGOSIAN GALLERY, 456 North Camden Drive, Beverly Hills, California

Works For New Space
July 16, 2010 - September 3, 2010
The Gagosian Gallery in Beverly Hills, California has changed out and added new works to their ongoing exhibition of sculptor, Nancy Rubins. The main gallery on the first floor and the upstairs galleries feature new work by the artist, while the south gallery on the first floor retains Rubins' work from the earlier installation done in June 2010. For more information about this exhibition, please check this link:
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Skins, Structures, Landmasses
June 3, 2010 - July 9, 2010
Pre-eminent American sculptor, Nancy Rubins takes discarded industrial objects and transforms them into monumental sculptures whose scale have a forceful and overwhelming physical impact. This exhibition at the Gagosian Gallery marks her first exhibit in Los Angeles since 2001. It features new sculptures, assembled on site at the gallery, drawing and photographic collages. For more information about this exhibition, please check this link:

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red
Alfred Molina as Mark Rothko and Eddie Redmayne as Ken in the Donmar Warehouse production of RED, a new American play by John Logan, directed by Michael Grandage at the Golden Theatre (252 West 45th Street).
© 2010 Johan Persson

BROADWAY PLAY
RED
GOLDEN THEATER, New York, New York

A play about Mark Rothko
April 12, 2010 - June 27, 2010
Red, a new play by John Logan, stars Alfred Molina as Abstract Expressionist painter Mark Rothko. Told as a duet between Rothko and his young apprentice, Red is set in the late 1950s and follows Rothko’s life during the period when he accepted the commission to create a new series of canvases for Park Avenue's Four Seasons Restaurant in the Seagram Building. For more information about this play, please check this link:

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william kentridge
William Kentridge, South African, born 1955
Drawing for Stereoscope, "Untitled," 1998-99
Charcoal, pastel, and colored pencil on paper
47 1/4 x 63" (120 x 160 cm)
Gift of The Junior Associates of The Museum of Modern Art, with special contributions from Anonymous, Scott J. Lorinsky, Yasufumi Nakamura, and The Wider Foundation
The Museum of Modern Art, New York
© 2009 William Kentridge

EXHIBITION
WILLIAM KENTRIDGE
THE MUSEUM OF MODERN ART, New York, New York

William Kentridge: Five Themes
February 24, 2010 - May 17, 2010
Large-scale exhibition of the work of South African artist William Kentridge spans nearly three decades of his prolific career. Best known for his animated films based on charcoal drawings, this exhibition explores five primary themes in Kentridge's art through a comprehensive selection of his work from the 1980s to the present. For more information about this exhibition, please check this link:

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pae white
Pae White, Smoke Knows, 2009. Cotton and polyester, 114 x 258 in. (289.6 x 655.3 cm). Collection of the artist; courtesy greengrassi, London and 1301PE, Los Angeles. Photograph by Fredrik Nilsen

EXHIBITION
WHITNEY BIENNIAL
THE WHITNEY MUSEUM OF ART, New York, New York

Whitney Biennial
February 25 - May 30, 2010
The Whitney Museum's web page hosts a discussion with curators Francesco Bonami and Gary Carrion-Murayari who share their ideas for the upcoming Whitney Biennial. The Biennial exhibit at the Whitney, held every other year, is widely regarded as one of the leading shows in the art world. For more information about this exhibition, please check this link:

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EXHIBITION
ALEXANDER CALDER
THE GAGOSIAN GALLERY, New York, New York

Alexander Calder
February 26, 2010 - April 10, 2010
The Gagosian Gallery hosts an exhibition of large-scale sculptures created by Alexander Calder made between 1957 - 1962. For more information about this exhibition, please check this link:

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EXHIBITION
GEORGIA O'KEEFFE
THE WHITNEY MUSEUM OF ART, New York, New York

Georgia O'Keeffe: Abstraction
September 17, 2009 - January 17, 2010
In 1915, O'Keeffe leaped into abstraction with a group of charcoal drawings that were among the most radical creations produced in the United States at that time. The exhibition includes more than 125 paintings, drawings, watercolors, and sculptures by Georgia O'Keeffe as well as selected examples of Alfred Stieglitz's famous photographic portrait series of O'Keeffe. For more information about this exhibition, please check this link:

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EXHIBITION
THE WALT DISNEY FAMILY MUSEUM
San Francisco, California

The Walt Disney Family Museum was co-founded by Walt Disney's daughter Diane Miller Disney and is a site devoted to the life and legacy of Walt Disney. Located in the Presidio in San Francisco, California, The Walt Disney Family Museum is a non-profit organization established by Disney heirs and is not formally associated with the Walt Disney Company. You can learn more about this museum devoted to Walt Disney by hitting this link:
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EXHIBITION
YAYOI KUSAMA
THE GAGOSIAN GALLERY, Milan, Italy
at The Padiglione d'Arte Contemporanea

I Want To Live Forever
November 28, 2009 - February 14, 2010
The Gagosian Gallery hosts a unique, exclusive event for Italy, dedicated to the unquestioned protagonist of Japanese contemporary art. In addition to recent figurative and abstract paintings, large-scale sculptures and installations from the last decade, there will be a selection of formative drawings from the 1950s and 60s. For more information about this exhibition, please check this link:

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