If you admired the four colorful, tightly packed confetti cubes that disintegrated over the run of the 2013 Carnegie International, they’re now part of the Carnegie Museum of Art’s permanent collection.
The museum announced Monday its third and final round of acquisitions of contemporary artworks related to the 2013 Carnegie International. Previous acquisitions were revealed in December and February.
In all, 124 artworks have been added to the museum’s collection by gift or purchase. Represented are 27 of the 35 artists who participated in the International, including work that was exhibited therein or other work by those artists.
Lara Favaretto’s “Jestem,” the confetti cubes, was a visitor favorite, according to the Carnegie. Mladen Stilinovic’s brief video “Potatoes, Potatoes (Krumpira, Krumpira)” showed the artist crouching by an improvised table in a snow-covered forest calling out “potatoes.” But the objects on display were squares of cake, a political comment entwining peasant food and the Marie Antoinette symbol of aristocratic decadence, or simply a commentary on life’s absurdity.
They join two Stilinovic works in the collection. A dozen films by seminal Iranian filmmaker Kamran Shirdel were acquired, most of them screened during the International, representing the fullness of his oeuvre from surrealistic student work to the moving meditation “Solitude Opus.”
At the close of the International, Philadelphia artist Zoe Strauss gifted to the museum 215 portraits taken in residence in a storefront studio in Homestead. The museum has purchased an additional 15 photographs taken in the neighborhood beyond the portrait studio.
Acquisitions of three works not exhibited in the International are included through Sept. 1 in “Outtakes,” video and photography that picture alternative views of everyday life, installed in the permanent collection galleries. They are Taryn Simon‘s “CHAPTER XVII, A Living Man Declared Dead and Other Chapters I-XVIII,” of 2011, a series of images made over four years that explore the mapping of contemporary human relations through chance, blood and other components of fate. One of the most provocative chapters, XVII, has as subject a group of Ukrainian orphans who, according to Ms. Simon, may stay in an orphanage until age 16, when they are released to the streets and become prey to unsavory trafficking.
Also in “Outtakes” are Rodney Graham’s “Phonokinetoscope,” a film made while the artist was riding a bicycle through a Berlin park while tripping on acid. The film is put into play when the visitor lowers the needle of a turntable onto a vinyl record. The sound and image eventually get out of sync, somewhat akin to the disjunct between the hallucinating artist and the park’s calm.
In “Arbus Bonus” French artist Pierre Leguillon -- who installed the piece down to texts written on walls -- presents 256 photographs by Diane Arbus pulled from magazines that focus on her editorial photography as opposed to the tough street and portrait images for which she is most known. This is the most comprehensive Leguillon Arbus installation to date, the “bonus” of the title referring to fashion spreads incorporated in the Carnegie version.
Acquisitions from earlier rounds are also exhibited in “Outtakes,” including Wade Guyton’s “Untitled,” Henry Taylor’s “That Was Then,” both included in the 2013 International, and Joel Sternfeld’s photographs from his “American Prospects” series, and photographs from Zoe Strauss’ “I-95” series.
In September additional works by Carnegie International artists will be hung in the collection galleries including photographs from Zanele Muholi’s “Faces and Phases,” the painting “Aria’s Salon” by Nicole Eisenman, and work by Mladen Stilinovic and Sadie Benning,
ART HISTORY CLASSES
Carnegie Museum of Art is offering a series of lectures related to the exhibition “Small Prints, Big Artists: Masterpieces From the Renaissance to Baroque” that will begin July 17 and continue Thursdays through Aug. 7. Sessions are offered from 10:15 a.m. to 12:15 p.m. or 6 to 8 p.m. Instructor Saskia Beranek will address “Extraordinary Experiments: The Prints of Bruegel, Durer, Schongauer and Rembrandt,” situating them within the broader visual and social context of German, Flemish and Dutch art. Ms. Beranek holds a Ph.D. in art and architectural history from the University of Pittsburgh and has taught undergraduate courses at Carlow University, Saint Vincent College and Pitt. Cost is $72, members $60; information: 412-622-3131 or www.cmoa.org.
Post-Gazette art critic Mary Thomas: email@example.com or 412-263-1925.