- The Corey Helford Gallery Presents New Works by Ron English
- The Fabien Castanier Gallery To Show Pop Artist Maximilian Wiedemann
- David LaChapelle portrait of Alexander McQueen and his 'Muse' Isabella Blow at National Portrait Gallery
- Ballina Arts Centre Will Reveal To The Public ~ Altered Images
- Picasso ~ Painting Against Time ~ at Albertina Museum Wien
- Janaina Tschäpe solos at the Irish Museum of Modern Art
- London's National Portrait Gallery To Feature Lucian Freud's Final Painting
- ‘Frida Kahlo & Diego Rivera: Masterpieces from the Gelman Collection’ at the Pallant House Gallery
- Scottish National Portrait Gallery Invites Supporters to Join Its Gallery of Stars
- Olyvia Fine Art to exhibit Modern and Contemporary Drawings in London
- The Arizona State University Art Museum Presents Animal Prints From its Collection
- MoMA to show Gabriel Orozco's Body of Work that is Unique in its Intellectual Rigor
- Christian Ferreira Presents "Heringa/Van Kalsbeek: Drie" at the Wapping Project, London
- Carrie Marill's latest body of work at Lisa Sette Gallery in Scottsdale
- Richard Avedon's Lively Fashion Images at the Museum of Fine Arts, Boston
- Top-Photographers at Flo Peters Gallery
- National Portrait Gallery Unveils New Portrait of Camila Batmanghelidjh
- The Schirn Kunsthalle Shows a Comprehensive Solo Exhibition of Francesco Clemente
- Art Knowledge News Presents "This Week In Review"
Posted: 21 May 2012 09:09 PM PDT
Culver City, California.- The Corey Helford Gallery is proud to present "Ron English: Seasons In Supurbia" on view at the gallery from November 19th through December 10th. This highly anticipated solo exhibition features original new works by Ron English, renowned street artist and master pop surrealist painter. Considered one of the most prolific artists of our generation, English is the father of POPaganda, a term he coined to define his signature mash-up of high and low cultural touchstones, from superhero mythology to totems of art history, creating a visual language of evolution. Recognized for his stunning technique and inventive use of color, English's artistic presence continues to evolve from illegal street murals to movie screens, where he is crowned "the Greatest Living Artist" in Morgan Spurlock's 2011 film "The Greatest Movie Ever Sold."
For his first solo exhibition with Corey Helford Gallery, English captures intimate moments in suburban life — dosed with a cocktail of subversive visuals, consumer culture, and POPaganda politics. In this series the artist explores the inability of the 21st century oversaturated American soul to distinguish between political realities and pop culture illusions, constructing doll-house depictions of comic-contrived reality to compete against global belief systems. In short: Suburban Surrealism. Many of English's archetypal characters serve as denizens of Supurbia, including MC Supersized, the corpulent fast-food spokesman, Hulk Baby, the oversized Enfant Terrible, Combrats, the child soldiers, sexualized cowgirls, alien rabbits, proletariat turtles, sad sacks and sinister Grins.
Outside, grazing the lawns of Supurbia, are herds of Camo Deer, with coats of camouflage that change with the seasons, protecting them from the hunter's scope while preserving them like a romantic memory from the last days of baby boomer youth. "Seasons In Supurbia" features 18 new paintings, including the original poster artwork for Pearl Jam's recent Vancouver performance. The exhibition follows English 101, English's print, toy and sculpture show at Post No Bills in Venice, California that runs from October 6 through 30. The opening reception for "Seasons In Supurbia" takes place on Saturday, November 19, 2011 at Corey Helford Gallery and is free and open to the public. The exhibition will be on view through December 10, 2011.
One of the most prolific and recognizable artists alive today, New York-based painter and street artist Ron English has bombed the global landscape with unforgettable images, on the street, in museums, in movies, books, television, and album covers. In addition to his fine art painting, English is widely considered a catalytic figure in the advancement of street art away from traditional wild-style lettering and into clever statement and masterful trompe l'oeil based art. Creating illegal murals and billboards that blend stunning visuals with biting political, consumerist and surrealist statements, English has hijacked public space worldwide for the sake of art. Featured in the hit movies "Supersize Me" and "Exit Through the Gift Shop," English has also made numerous television appearances worldwide. He is the subject of the 2006 award-winning documentary, "POPaganda, the Art and Crimes of Ron English" and the 2009 documentary "Abraham Obama."
His work resides in the permanent collections of Rome's Museum of Contemporary Art (MACRO), Paris' Museum of Modern Art, and others. He is prominently featured in every major book about Street Art and has produced several art books, including "Popaganda," "Son of Pop," "Abject Expressionism," "Lazarus Rising," and "Abraham Obama." Ron English continues to create art that propels unstated cultural norms just beyond the bounds of comfort into a disconcerting realm simultaneously hilarious and terrifying.
Located in the Culver City Art District, Corey Helford Gallery was established in April 2006 by Jan Corey Helford and her husband, television producer and creator, Bruce Helford (The Drew Carey Show, George Lopez, The Oblongs). Passionate art collectors, the Helfords are producers on the art documentary The Treasures of Long Gone John and have partnered to open their first gallery. Corey Helford Gallery presents a wide range of artists, from members of the new fine art movement, such as Ron English, Josh Agle (SHAG), Buff Monster, COOP, Natalia Fabia, Korin Faught, Sylvia Ji, Eric Joyner, Chloe Early, Ray Caesar, and award-winning photographer Chris Anthony, to early Modernist William S. Schwartz. Renowned for its notable exhibitions, the gallery has presented "Charity By Numbers," which was co-curated by Gary Baseman and featured an unprecedented lineup of artists including Mark Ryden, Marion Peck, Shepard Fairey, Todd and Kathy Schorr, Camille Rose Garcia, and Michael Hussar, as well as "La Noche de la Fusion," an epic Carnivalesque festival and solo exhibition for Pervasive artist Gary Baseman. In 2010, Corey Helford Gallery partnered with Bristol's City Museum & Art Gallery for the transatlantic collaboration "Art From The New World," a world-class United Kingdom museum exhibition showcasing work by a formidable group of 49 of the finest emerging and noted American artists. Corey Helford Gallery presents new exhibitions approximately every four weeks. Visit the gallery's website at ... http://www.coreyhelfordgallery.com/
Posted: 21 May 2012 09:07 PM PDT
Studio City, CA.- The Fabien Castanier Gallery is proud to present "Pump up the Valium" a solo show of work by British pop-art sensation Maximilian Wiedemann. "Pump up the Valium" opens on June 4th and is on view until July 3rd. The exhibition will feature brand new works by German-born London-based Wiedemann, including collaborative pieces with mega celebrity photographer, Tyler Shields. Working together, the duo have created graffiti-splashed portraits of actresses Lindsay Lohan, Alessandra Torresani, and Elena Satine, all three of which will be on display. The exhibition will also feature a range of mixed media on canvas, silkscreens, neon sculptures, stenciled artworks and several spectacular installations.
Posted: 21 May 2012 09:04 PM PDT
LONDON.- 'Burning Down the House', a portrait by David LaChapelle of the late Alexander McQueen and his 'muse' Isabella Blow has been acquired by the National Portrait Gallery. This is the first portrait by LaChapelle to enter the Gallery's Collection and will be exhibited in the United Kingdom for the first time from Friday 14 October 2011. The double portrait of McQueen and Blow was originally published in the March 1997 'Swinging London' edition of Vanity Fair. Shot at Hedingham Castle in Essex on 1 December 1996, the photograph shows McQueen in the foreground brandishing a flaming torch, accompanied by a playful Blow, with the castle dramatically burning in the background. Both were dressed in McQueen, with Blow also sporting a Philip Treacy hat, and the article named them 'The Provocateurs'. At the time of the shoot McQueen was just 27 years old and had recently debuted his first couture collection for the House of Givenchy. Blow, 38 at the time of the shoot, was considered McQueen's muse.
Posted: 21 May 2012 09:00 PM PDT
CO MAYO, IRELAND. - An exhibition of works from the Collections of Mayo County Council, South Tipperary County Council and the Irish Museum of Modern Art opens to the public on Friday 14 August 2009 at the Ballina Arts Centre, Ballina, Co Mayo. Altered Images includes work by artists Thomas Brezing, David Creedon, Alice Maher, Caroline McCarthy and Abigail O'Brien, with especially commissioned works by Amanda Coogan and Daphne Wright. The exhibition will be officially opened by Aidan Dunne, Art Critic, The Irish Times, on Thursday 13 August 2009.
Posted: 21 May 2012 08:58 PM PDT
Vienna, Austria - Nobody has marked the art of the 20th century more lastingly than Pablo Picasso. Amongst the many phases and stylistic periods of his creative output, the late works take a special position. The exhibition in the Albertina is especially devoted to this period. Werner Spies, former director of the Centre Pompidou in Paris and one of the most renowned Picasso researchers nowadays, has functioned as its curator. On exhibition 22 September 2006 – 7 January 2007.
More than 200 works from some 60 lenders, including paintings, drawings, prints and sculptures, document Picasso's specific working processes and the uniqueness of the style in his late art, focusing on the dialectics of painting and drawing: the masterfully quick, "wild" and infinitely sensual paintings are contrasted by the meticulous and detailed drawings. It is an exciting dialogue, showing the greatest artist of the 20th century racing against time.
Lenders: Musée Picasso, Paris; Bernard Picasso, Metropolitan Museum, and Museum of Modern Art, New York; Tate Modern, London; Museo Reina Sofia, Madrid; Fondation Beyerler and Kunstmuseum, Basel; Museum Ludwig, Cologne; Museum Frieder Burda, Baden- Baden; as well as numerous private collections.
Werner Spies on the exhibition Picasso
Picasso – Painting Against Time :
A STYLE OF PAINTING, A STYLE OF DRAWING
The »topicality« of Picasso's late work, which is referred to in numerous exhibitions to authorize the art scene's wild and expressive manner of painting, seems superficial, even a fake. Something decisive is being overlooked here: the »wild« Picasso had always, even during his very last years, had a reflective counterpart employing his memory and craft masterfully in the drawings. The contrast we encounter is so conspicuous and so significant that one feels bound to find a plausible reason for it. Obviously, Picasso's distinction between a painter's and a draughtsman's style may be explained by his panic fear of time running out.
A RACE AGAINST DEATH
Horror of and resistance against old age and death were reflected in the organization of working time. The work Picasso accomplished day after day seems to have been a rebellion against temporality and disappearance. This utilization of time leads us back to the »time in Mougins«, into the studio of Notre-Dame-de-Vie. One has the impression that the constant glimpse at the clock was in the foreground. To each of the daily performances in front of the easel or on the drawing sheet, the artist used to assign a certain amount of time. Starting out from this ever identical amount of time the artist invested in a work, a painting, drawing, etching, or sculpture was created. Thus the challenge the artist faced in the case of a large-sized canvas painting was much greater in terms of scope and organization than that of a drawing.
RESTLESS CANVAS PAINTING
That is why, taking this rule into account, a painting, for which there was not more time available than for an etching, could not be treated with the same meticulousness we generally encounter in the late graphic works. Restlessness was meant to exorcise death: this is illustrated by the late works that cling to sensuality and embrace with every fiber and display kissing and copulation as close-ups. We recognize a type of frenzy that is in no way inferior to Pollock's or De Kooning's. It leads to open pictures. No part of the canvas is privileged.
LOVE SCENES, SELF-PORTRAITS, NUDES
Everything strives for swiftness and abbreviation. In this context, Picasso developed a kind of hieroglyphic language that treats a subject contractively. The »fa presto« he employs leaves entire areas of the picture blank, i.e., white, all over again. This procedure tends to dissolve form. Colored areas overlap irregularly, with colors blending into one another. The paintings focus practically exclusively on the representation of the figure or couple. There are only few motifs: masquerades of cloak-and-dagger scenes (pictures of musketeers), self-portraits, amorous pastoral scenes, the subject of poorly matched lovers, nude figures. In retrospect one realizes that Picasso addressed dominant subjects of his time.
METICULOUSNESS IN THE DRAWINGS
In his drawings and prints, the artist continued to employ a meticulous technique. Outlines and graphic details remain largely precise and keenly observed. The time the artist has at his disposal in the medium of drawing, when working on smaller, reduced formats, is transformed into detail and accuracy. Also the variety of subject matters is guided by this temporal rhythm. The late drawings are marked by a unique love for narration. The exhibition Picasso – Painting Against Time attempts to trace these questions – questions of technique, iconography, and the works' position in art history. Some 70 paintings, 40 drawings, 80 prints, and several »folding sculptures« underline the dialectic principle revealed by the drawn and painted oeuvres from the »years in Mougins«.
Visit the Albertina Museum Wien at : www.albertina.at
Posted: 21 May 2012 08:55 PM PDT
Dublin, Ireland - The first solo exhibition in Ireland by the exciting German/Brazilian artist Janaina Tschäpe opened to the public at the Irish Museum of Modern Art on Wednesday 25 June 2008. Janaina Tschäpe: Chimera is structured around the genetics of the fabled beast, to create a very specific atmosphere. Comprising some 20 works, the exhibition focuses mainly on Tschäpe's recent paintings that embody a sense of the extraordinary through colourful botanical notations. Displayed and intertwined amongst these paintings are her film and photographic works. On view until 28 September 2008.
Posted: 21 May 2012 08:50 PM PDT
London - The final painting by artist Lucian Freud before his death in July will be going on show for the first time at London's National Portrait Gallery in February 2012. The painting, entitled "Portrait of the Hound 2011" depicts Freud's assistant David Dawson posing nude alongside his dog Eli. The painting is being hung as part of a show which will see more than 100 paintings and works on paper by Freud go on display. Currently being billed as "most ambitious exhibition of the artist's work for 10 years", the show will also feature some of Freud's earliest pieces, created in the '40s.Lucian Freud Portraits will open on 9 February and will run through 27 May, 2012.
Posted: 21 May 2012 08:42 PM PDT
CHICHESTER, UK - Pallant House Gallery is presenting 'Frida Kahlo and Diego Rivera: Masterpieces from the Gelman Collection'. This major touring exhibition, which is in Chichester for its only UK showing, brings together the iconic paintings of Frida Kahlo (1907 – 1954) and Diego Rivera (1886 – 1957), the two central figures of Mexican Modernism, for the first time in this country. Few artists have captured the public's imagination with the force of Mexican painter Frida Kahlo and her husband, the Mexican painter and muralist Diego Rivera. The myths that surrounded them in their lifetime arose not only from their significant body of work, but also from their active participation in the life of their time, their friendships (and conflicts) with leading figures, their striking physical appearance and spirited natures.
Their work speaks of a fierce loyalty to and pride in Mexico, the ideals of the 1910 revolution and a commitment to the conditions of the common man. Rivera is a socialist hero, famous for his large scale political murals depicting workers and class struggle. Kahlo is a feminist icon, whose self portraits present a challenging view of the female role and address emotional issues of love, pain and heartbreak. On exhibition through October 9th.
The exhibition includes key images by Kahlo such as Self Portrait with Monkeys, and Self Portrait as a Tehuana or Diego in My Thoughts, and the major work by Rivera, Calla Lily Vendors (all 1943). The paintings are supplemented by a display of the rarely-seen photographs by Frida Kahlo' s father Guillermo Kahlo (1872-1941) depicting churches and cloisters around Mexico City and Tepotzlan, alongside views from the Palace in Chapultepec Park. Their inclusion allows, for the first time in this country, the work of Frida Kahlo to be placed alongside and put into context with the two most important men in her life.
The exhibition is further extended with a selection of photographs by another key artistic couple who offer a significant glimpse of Mexico's cultural history, the photographers Manuel Álvarez Bravo (1902-2002) and Lola Álvarez Bravo (1905-1993). Manuel famously photographed the Mexican Muralists, and his cinematic images of Mexico speak of the mystery of everyday life and contemporary political and social problems. Lola began taking photographs under the influence of her husband in the 1920s and worked in a number of photographic genres such as nudes, still life, landscape, photomontage and portraits. She was a close friend of Frida Kahlo, and hosted Frida's first solo exhibition in Mexico in her gallery (Galería de Arte Mexicano) in 1953.
Behind the Jacques and Natasha Gelman Collection, widely regarded as the world's most significant private holding of 20th-century Mexican art, lies the story of two art enthusiasts who saw their acquisitions as a vital way to connect with their adopted culture in Mexico.
The Gelman Collection now stands testament to the artistic developments in Mexico throughout the past century, but the country was once foreign to Jacques and Natasha, who were both from Eastern Europe. Jacques Gelman, who was born in St. Petersburg, Russia, in 1909, grew fond of cinema during his youth, going on to later start film distribution companies in France and Mexico. In the late 1930s, he met Natasha Zahalka, an immigrant from Czechoslovakia, while she was traveling in Mexico City. The couple married in 1941, during the height of the World War II. The Gelmans were both Jewish and the war prevented them from returning to the Old World, leading them to instead become Mexican citizens and settle in Mexico City.
Soon after, Jacques found considerable wealth in producing movies starring the popular comic, Mario Moreno, also known as "Cantinflas" Jacques' success in the film industry enabled the Gelmans to start accruing a remarkable collection of both European and Mexican modern art at a time when there were very few collectors in Mexico.
Reflecting the Gelmans' personal tastes, their collection of Mexican art includes many portraits of themselves, such as Rufino Tamayo's Portrait of Mrs. Natasha Gelman (1948) and Ángel Zárraga's Portrait of Mr. Jacques Gelman (1945). The collection also includes self-portraits of artists whom the Gelmans knew personally, including Frida Kahlo's Self-Portrait with Monkeys (1943).
Throughout the post-World War II artistic boom in Mexico, the Gelmans befriended a long list of renowned artists, including Kahlo, Diego Rivera and David Alfaro Siqueiros. Consequently, their collection of Mexican works reveals not only their passion for art, but also their blossoming relationships with such artists.
The exhibition comes to Chichester for its only UK showing following the Pera Museum, Istanbul, and the Irish Museum of Modern Art in Dublin.
Pallant House Gallery boasts one of the best collections of Modern British art in the UK. donated over the past thirty years, the collections tell the story of a number of individuals, all passionate collectors of art who generously donated their lifetimes' labours to the Gallery for the benefit of the public. A new wing was opened in June 2006, designed by Sir Colin Wilson and Long & Kentish. The £8.6 million project was funded by the Heritage Lottery Fund, Arts Council England, the local council, and other donors. The unashamedly modern block, which stands next to and integrates with the original Queen Anne building, won the 2007 Gulbenkian Prize. Visit : www.pallant.org.uk/
Posted: 21 May 2012 08:39 PM PDT
EDINBURGH.- The National Galleries of Scotland launched a unique fundraising initiative, in support of Portrait of the Nation, the ambitious project to refurbish and redefine the Scottish National Portrait Gallery. "Gallery of Stars" gives the public the chance to associate their name (or that of a loved one) with a very special element in this remarkable building's decorative scheme. At the heart of the initiative is William Hole's beautifully detailed mural mapping the night sky, painted in the late 1890s, which decorates the ceiling of the Gallery's magnificent entrance hall. Since Friday, October 2, visitors to the National Galleries' website have been able to navigate their way amongst the 47 constellations, comprising 2,222 individual stars, contained within Hole's vision of the firmament, and claim for themselves their own little piece of heaven.
Posted: 21 May 2012 08:37 PM PDT
LONDON.- Olyvia Kwok is to present an exhibition of exquisite drawings by modern and contemporary masters, including Pablo Picasso, Henri Matisse, Marc Chagall, Salvador Dali, Christo, Alexander Calder and Keith Haring at her London gallery in October. "Black on Paper" heralds the expansion of Olyvia Oriental, a gallery specialising in contemporary Chinese and Asian art, into Western modern and contemporary art. To emphasize this extra dimension of the gallery, it will be re launched as Olyvia Fine Art. Whilst much less expensive than oil paintings, drawings can take the viewer closer to the mind and working methods of the artist, providing a stepping stone to collecting modern art.
Posted: 21 May 2012 08:31 PM PDT
Tempe, Arizona.- The Arizona State University Art Museum is pleased to present "Just Animals: Selections from the ASU Art Museum Print Collection" on view at the museum through January 21st 2012. The word animal evokes many impressions: everything from friendly pets, like dogs and cats, to wild creatures like bears and elephants. The word brings to mind images (fur, eyes, tails), sounds (purr, bark) and events (family zoo trip, pet adoption center visit). We all have memories that make recognizing animals in art easy. But sometimes artists will add something extra. Maybe it is a little humor, as in Walton Ford's reflection on Audubon's nature studies in his print "Nila", or a more serious commentary on our ecological destruction, as in Oscar's monoprint "Pooch". Or it can be the remarkable ability to capture a personality on paper, as Beth Van Hoesen does in "Puff".
The Arizona State University Art Museum is located on he university's main campus in Tempe, Arizona. The Art Museum has some 12,000 objects in its permanent collection and describes its primary focuses as contemporary art, including new media and "innovative methods of presentation"; crafts, with an emphasis on American ceramics; historic and contemporary prints; art from Arizona and the Southwestern United States, with an emphasis on Latino artists, and art of the Americas, with one historic American pieces and modernist and contemporary Latin American works. The art collection was established in 1950. The museum is located in two buildings. The main exhibition space is the Nelson Fine Arts Center, designed by architect Antoine Predock. A second museum facility, the Ceramics Research Center lies just to the north, in the Tempe Center. Admission to the museum is free. In April 1989, the ASU Art Museum moved into the newly-completed Nelson Fine Arts Center, designed by architect Antoine Predock, where the museum remains today.
The Nelson Center is 49,700 square feet (4,620 m2) and includes five galleries as well as administrative offices and storage and processing areas. In 1992, Marilyn A. Zeitlin became the museum's director. Zeitlin was praised for expanding the museum's collections eightfold during her tenure. In March 2002, the Ceramics Research Center opened in the Tempe Center just to the north of the Nelson Center. The center was designed by Gabor Lorant Architects, Inc. and includes 7,500 square feet (700 m2) with two galleries, open storage stacks and a research library. Additional facilities at the library's two buildings include a lecture room, a print study room, and a "nymphaeum" (courtyard).
Works of contemporary art held by the museum include works by Hung Liu, Karel Appel, Derek Boshier, Deborah Butterfield, Sue Coe, Vernon Fisher, Jon Haddock, William Kentridge, Lynn M. Randolph, Frances Whitehead, and William T. Wiley. The focus of ASU Art Museum's Latin American art holdings is on Mexican art from the 20th century, Mexican ceramics and folk art; and contemporary Cuban art. The core of the Latin American collection was donated to the museum in 1950 and includes works by David Alfaro Siqueiros, Diego Rivera, and Rufino Tamayo. Later acquisitions of pieces by Mexican artists include works by Carlos Mérida, Leonel Góngora, Rafael and Pedro Coronel; José Guadalupe Posada, Leopoldo Mendez, and other members of the Taller de Gráfica Popular; and the contemporary artists Alejandro Colunga, Lucio Muniain, and Nestor Quiñones. Works by Cuban artists in the museum collection include works by Yamilys Brito, Pedro Alvarez, Tonel (Antonio Eligio Fernández), Osvaldo Yero, Abel Barroso, René Francisco, Jacqueline Brito, Fernando Rodríguez, José A. Toirac, and Kcho. The museum has also acquired pieces by Brazilian artists Tiago Carneiro da Cunha, Efrain Almeida, and Oscar Oiwa. American works comprises one of the ASU Art Museum's smallest collections. ASU's holdings of American art began with the museum's original contributions from Oliver B. James. Earlier works in the collection include early American limner painters, while the most recent works are from 20th century modernists, including Charles Demuth, Yasuo Kuniyoshi and Stuart Davis. Among the holdings in the American collection are various 19th-century Romantic landscape paintings from the 19th century, Ash Can School works, and portraits, include Gilbert Stuart's Mrs Stephen Peabody (1809). The museum holds Georgia O'Keeffe's Horse's Skull on Blue (1930), a depiction of a sun-bleached skull that is the first in a series of skull paintings created by O'Keeffe after bones found in the desert around her ranch. The painting's blue background are a reference to the skies of New Mexico and the painting is in the memento mori tradition of still lifes. The museum also holds Edward Hopper's House by a Road (1942); and Albert Pinkham Ryder's The Canal (1915). The print collections at the ASU Art Museum include some 5,000 prints held in the Jules Heller Print Study Room. A focus of the museum's print collection is dealing with social and political issues; works include pieces by William Hogarth, Honoré Daumier, Francisco Goya, José Guadalupe Posada, Leopoldo Mendéz, and Francesc Torres. The collection includes some 50 prints and paper works by contemporary Cuban artists and 123 lithographs and intaglios by Sue Coe. The print collection also includes examples of Japanese ukiyo-e. The museum's ceramics collection includes some 3,500 pieces, of which half are displayed at any one time at the Ceramics Research Center. Visit the museum's website at ... http://asuartmuseum.asu.edu
Posted: 21 May 2012 08:28 PM PDT
NEW YORK, NY.- Gabriel Orozco (Mexican, b. 1962) emerged at the beginning of the 1990s as one of the most intriguing and original artists of his generation and one of the last to come of age in the twentieth century, with a body of work that is unique in its formal power and intellectual rigor. Orozco resists confinement to one medium, and roams freely and fluently among drawing, photography, sculpture, installation, and painting. He has chosen a life and an artistic approach that could be called nomadic, ignoring any possible narrowness implied by national or regional identification. His native Mexico, New York, Paris, and working trips throughout the world all provide essential inspiration. On view 13 December through 1 March, 2010.
Posted: 21 May 2012 08:24 PM PDT
London.- Christian Ferreira is delighted to present a solo exhibition of Heringa/Van Kalsbeek's sculptural work. Titled "Drie" the exhibition will feature an elegantly curated selection of three of the Dutch duo, Heringa/Van Kalsbeek's abstracted sculptures housed in the industrial surrounds of the Accumulator Tower of The Wapping Project, London. The exhibition opens on May 6th and is on view until June 19th 2011. Chaotic in their appearance the works are reminiscent of bestial wildlife photography caught in motion. Created from steel, resin and polyurethane mixed with found objects such as feathers, cloth and coral the work has a rich assemblage like quality.
Posted: 21 May 2012 08:21 PM PDT
SCOTTSDALE, AZ.- Exquisitely attuned to the graphic signals of the universe, painter Carrie Marill translates the ephemera of the visual world into intriguing and sophisticated works. The artist's unflinching aesthetic curiosity threads through series inspired by such disparate influences as 18th century European landscapes and Asian textile design. Hi n Lo, Marill's latest body of work, addresses a question that struck her after a trip to New York City's Museum of Modern Art and, subsequently, the American Folk Art Museum: "Why is an Op Art piece valued as 'high' art and an intricate quilt considered 'low'?" On exhibition through January 28th at Lisa Sette Gallery.
Posted: 21 May 2012 08:19 PM PDT
BOSTON, MA.- Richard Avedon (1923–2004) was the man who brought fashion photography to life. Instead of perpetuating static images of human mannequins posing stiffly in magazines, Avedon depicted his models as real women whose energy and exuberance complemented their modern lifestyles. Considered one of the great image-makers of the 20th century, he redefined fashion photography and his lasting contributions are explored in the traveling exhibition Avedon Fashion 1944–2000, a major retrospective devoted exclusively to his work in this medium. On view in the Foster Gallery at the Museum of Fine Arts, Boston (MFA), from August 10, 2010, through January 17, 2011, the exhibition highlights approximately 140 objects, including photographs, magazines, engravers' prints, and contact sheets that span almost six decades of his successful career.
Posted: 21 May 2012 08:16 PM PDT
HAMBURG, GERMANY - Flo Peters Gallery presents Alfred Wertheimer "Elvis at 21" and "Music": 140 photographs by international top-photographers like Marc Seliger, Bob Gruen, Jim Marshall, Gordon Parks, Mick Rock, Don Schlitten, Jonathan Mannion, Harry Benson and Frank Stefanko.
Posted: 21 May 2012 08:13 PM PDT
LONDON - A new portrait of "Kids Company" founder Camila Batmanghelidjh, who has helped transform the lives of young people in inner-city London, goes on display at the National Portrait Gallery for the first time today. The portrait of Batmanghelidjh, the Iranian-born psychotherapist and social reformer, is the work of artist Dean Marsh, and was commissioned as part of the First Prize for his winning the BP Portrait Award competition at the Gallery in 2005.
Posted: 21 May 2012 08:10 PM PDT
Frankfurt.- The Schirn Kunsthalle is pleased to present a comprehensive solo exhibition, with monumental works by the Italian painter Francesco Clemente. "Francisco Clemente: Palimpsest" is on view now and remains on exhibit through September 4th. Francesco Clemente, born in 1952 in Naples, has pioneered an extraordinary pictorial language that draws on a variety of timeless symbols, myths, cultures, and philosophies. Frequently charged with eroticism, his oeuvre also has a profound religious quality. The variety of mediums which he employs and the subject matter of his work are deeply informed by Clemente's nomadic artistic life. Since the 1970s he has continually travelled between Italy and India, adding New York City to his preferred places of residency since 1980. This exhibition at the Schirn Kunsthalle is the first comprehensive showing of his paintings and drawings in Germany in more than a quarter century. The exhibition brings together some forty works made between 1978 and 2011.
Taking as its starting point Clemente's early works on paper, the show also includes both large format paintings and more recent, spectacular monumental watercolours. Conceptualized in close cooperation with the artist, the exhibition brings to light for the first time the close resemblance of Clemente's aesthetic to the manner in which references are actualized in a palimpsest: effacement, partial erasure, and superimposition of writing surfaces. In so doing it reveals a concern at the centre of his oeuvre: Clemente's conviction in his role as an artist as a kind of universal witness of consciousness. Realized in a variety of media such as pastel, fresco, oil, gouache and watercolor, Clemente's work interweaves traditional likenesses and narratives with more personal motifs and stories. In his paintings forms and lines seem to emerge and recede forming multilayered records of experience. This aesthetic is quite similar to the technique of the palimpsest, employed in Antiquity and the Middle Ages. Applied on used scrolls of parchment, it involved scraping, erasing and washing the older manuscripts to yield a clean sheet for reuse, although in fact traces of the original texts often remained visible. The similarity of his method of working to a palimpsest is far from coincidental. Instead such a technique points back to the origins of his artistic inclinations. As Clemente recently put it: "The original impulse in my life as an artist was to write and to break from writing into image." His concern with language was already evident at the young age of twelve, when a collection of his poems, Castelli di Sabbia was published. Thereafter he studied Greek and Latin in high school, before moving to Rome in 1970, where he increasingly came to believe that art was the "last oral tradition alive in the West." It was then that he first saw it as his task to make work that had a political consciousness was the call of the day.
Since then he has single-mindedly pursued giving form to images that might help bring about an increased awareness of the need to break with established notion of Self in order to expand awareness. It was this goal and his deep interest in philosophy and spirituality that led Clemente to India for the first time in 1973. He would spend more than half of the 1970s, at irregular intervals, particularly in the southern city of Madras on the east coast, present-day Chennai. He lived a simple life with actress Alba Primiceri, whom he met in 1974 and married soon after. It wasn't long before he had set up a studio, begun to collaborate with local artists and exchange ideas with members of the Theosophical Society there. In the late 1970s art critics increasingly linked his work the so-called "Italian Transavantgarde." Although the "group," which also included painters Sandro Chia, Enzo Cucchi and Mimmo Paladino, attracted a great deal of international attention, Clemente soon disassociated his work from theirs. Clemente visited New York for the first time in 1980. Soon after arriving he not only began to collaborate with such writers as Allen Ginsberg and Robert Creeley, but the contemporary composer Morton Feldman. In 1981 – at the same time the so-called death of painting was being fervently proclaimed – Clemente decided to explore even more intensively the possibilities of this medium. Part of this activity resulted in his collaborations with Jean-Michel Basquiat and Andy Warhol.
His non-conventional techniques of painting as well as his openness to collaborating with other artists contributed to Clemente rapidly becoming a rising star of the international art scene. His works were exhibited both at documenta 7 in Kassel (1982) and the Venice Biennial (1988, 1993 and 1995). Solo shows were held at such renowned institutions as the Nationalgalerie Berlin (1984), Kestnergesellschaft in Hanover (1984/85), Centre Georges Pompidou, Paris (1994), Solomon R. Guggenheim Museum, New York (1999), and MADRE Museum, Naples (2009). The exhibition "Francesco Clemente. Palimpsest" at Schirn Kunsthalle is divided into three distinct gallery spaces. The first section is dedicated to three monumental watercolors, collectively entitled "A History of the Heart in Three Rainbows" (2009), each measuring over 18 meters long and 185 centimeters high. With their scroll-like format and fluid, metamorphosing forms, the works, appear to be almost natural, powerful palimpsests of the human spirit – landscapes, as it were, of spiritual evolution. These large format watercolors, composed of constantly changing layers of color, evoke various states of consciousness, which ebb away only to then take on new dimensions. For the second gallery space the artist has created a series of large, semi-abstract photographic images transformed into a kind of "wallpaper." Applied directly to the walls of the Schirn rotunda and extending more than fourteen meters in length, it features fragments of letters, objects, works and snapshots from his Broadway studio in New York City. This "wallpaper" evokes the poetic and culturally eclectic context from which Clemente's art continues to emerge. In the third and last gallery space visitors encounter some thirty of Clemente's key works from 1978 to 2011.
More or less installed chronologically, they unfold as a kind of painted palimpsest. At once epigrammatic and expansive, these works attest to the artists' continual processing of visual information in which some forms survive, while others die out. Following the September 11, 2001 attack on the Twin Towers in New York City, a site just a few blocks from Clemente's studio, he increasingly felt the urgency to continue making art that might help building bridges between people and worlds. Such works as "For an History of Women" (2009) and "Camouflage Paradise" (2010) push even further to the limit the possibilities of using "contemplative languages still alive in spite of the onslaught perpetrated by industrial society." Their expanding and contracting sequential like forms, articulate to his growing conviction in his role as an artist as a kind of universal witness of consciousness. Far more than a mere collagist, over the past 40 years Clemente has been steadily pioneering a new kind of history painting with a quiet, yet insistent mediative power.
The Schirn Kunsthalle Frankfurt is one of Germany's most renowned exhibition institutions. Since its founding in 1986, the Schirn has mounted approximately 180 exhibitions, including major survey shows devoted to the Vienna Jugendstil, Expressionism, Dada, and Surrealism, to women Impressionists, to subjects such as "shopping — a century of art and consumer culture," the visual art of the Stalin era, new Romanticism in contemporary art, and the influence of Charles Darwin's theories on the art of the nineteenth and twentieth centuries. Large solo exhibitions have featured artists such as Wassily Kandinsky, Alberto Giacometti, Henri Matisse, Julian Schnabel, James Ensor, James Lee Byars, Yves Klein, Peter Doig, Lászlo Moholy-Nagy, and Georges Seurat. And artists such as Thomas Hirschhorn, Ayse Erkmen, Carsten Nicolai, Jan De Cock, Jonathan Meese, John Bock, Michael Sailstorfer, Terence Koh, Aleksandra Mir, Eberhard Havekost, and Mike Bouchet have developed new exhibitions for the Schirn. The Schirn Kunsthalle Frankfurt showcases highly charged themes and topical aspects of artists' oeuvres with an incisive voice and from a contemporary standpoint. As a site of discoveries, the Schirn offers its visitors an original, sensory exhibition experience as well as active participation in cultural discourse. Visit the kunsthalle's website at ... http://www.schirn.de
Posted: 21 May 2012 08:09 PM PDT
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