CURRENT Sandback
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Dal Colore Al Segno O I Z
A ARTE STUDIO INVERNIZZI DAL COLORE AL SEGNO. SULLE TRACCE DI UN’ESTETICA RELAZIONALE GIORGIO VERZOTTI S D U L A L E L T R A C C C O A E a D L r G t I O e i U o S r N g t R u i ’ o E d S V i E o T e E r I n z T A o v I e C t L t r i A n i z R z S E i E L A G Z I O N N A O L E DAL COLORE AL SEGNO SULLE TRACCE DI UN’ESTETICA RELAZIONALE a cura di Giorgio Verzotti 3 ottobre - 3 dicembre 2002 A arte Studio Invernizzi Via D. Scarlatti 12 20124 Milano Tel. Fax 02 29402855 [email protected] www.aarteinvernizzi.com www.artnet.com GIANNI ASDRUBALI ALAN CHARLTON HELMUT DORNER HELMUT FEDERLE BERNARDFRIZE PINOPINELLI GÜNTER UMBERG Dal colore al segno. Sulle tracce di un’estetica relazionale Si parla oggi di una estetica relazionale come del apparente mancanza di relazioni col mondo esterno. tratto distintivo che contrassegna i lavori artistici In realtà l’opera raramente smette di relazionarsi più significativi della nostra contemporaneità. con l’altro da sé, e lo vediamo nella storia del L’opera si pone, in questa prospettiva, al centro di monocromo che gli anni Sessanta e Settanta un insieme di relazioni di senso che concorrono hanno riattualizzato dopo le premesse nate in a determinarla, a partire dal punto di vista del- seno alle avanguardie storiche. l’osservatore per finire con le oggettive condizio- Al pari della griglia, il monocromo può essere ni di visibilità dell’opera stessa. -
The Armory Show September 9–12, 2021 Jacob K
the armory show september 9–12, 2021 jacob k. javits convention center new york, usa On the occasion of The Armory Show 2021, Nara Roesler is pleased to present a selection of recent works by South American artists, with punctuations by European artists, creating a dialogue between different regional and generational practices. The presentation foregrounds the artists’ echoing yet diverging approaches to understanding the limits of abstraction, figuration, and dimensionality, offering a formal and procedural conversation between works, that aims to explore how artists have consistently grappled to come to terms with certain pillars of artistic processes and cannons. armory online Elian Almeida Maria Auxiliadora da Silva (Vogue Brasil), 2021 [detail] rodolpho parigi ‘My work grows from a conflict between reality and fiction. From drawings to paintings and performance works, I have explored the possibilities of a self-imagined sci-fi world inhabited by hybrid or androgynous figures of strange beauty and shapes that come to the surface like living bodies that could breath or move. I make drawings and paintings as a way to transfigure ideas of body and gender while exploring the boundaries between material and artificial.’ —Rodolpho Parigi Rodolpho Parigi Black Phtalo Magenta Suit, 2020 oil paint on linen unique 100,5 x 70,3 x 3 cm 39.6 x 27.7 x 1.2 in rodolpho parigi selected solo exhibitions b. 1977, São Paulo, Brazil • Fancy Performance, Pinacoteca do Estado de São Paulo, São Paulo, lives and works in São Paulo, Brazil Brazil (2017) • Levitação, Galeria Nara Roesler, São Paulo, Brazil (2015) • solo presentation, Casa Modernista, São Paulo, Brazil (2013) Rodolpho Parigi is part of a new generation of Brazilian artists who emerged in • AtraQue, Galeria Nara Roesler, São Paulo, Brazil (2011) the early 2000s. -
Bernd & Hilla Becher Biography
P A U L A C O O P E R G A L L E R Y Bernd & Hilla Becher Biography Bernd Becher Born: Siegen, Germany 1931 Died: 2007 Hilla Becher Born: Potsdam, Germany 1934 Died: 2015 EDUCATION Bernd Becher 1976 Professor of photography at Staatlich Kunstakademie Düsseldorf 1972 Guest lecturer Hochschule für Bildende Künste, Hamburg 1957-1961 Studies in typography at Staatliche Kunstakademie Düsseldorf 1953-1956 Studies in lithography and painting at Staaliche Kunstakademie Stuttgart under Karl Rösing Hilla Becher 1972-1973 Guest Lecturer Hochschule für bildende Künste, Hamburg 1958-1961 Studies in photography at Kunstakademie Düsseldorf GRANTS & AWARDS 2014 Rheinischer Kulturpreis der Sparkassen-Kulturstiftung Rheinland 2002 The Erasmus Prize 1991 The Leon D’Oro award for sculpture at the Venice Biennale ONE-PERSON EXHIBITIONS 2019 “Bernd & Hilla Becher: Industrial Visions,” National Museum Cardiff, Wale, UK (10/26/19 – 3/1/20) “Bernd & Hilla Becher: 1962-2000,” PKM Gallery, Seoul, Korea “Bernd & Hilla Becher: Kohlebunker,” Kunstarchiv Kaiserwerth, Düsseldorf, Germany 2018 “Bernd & Hilla Becher,”Konrad Fischer Galerie, Berlin, Germany 2014 “Bernd & Hilla Becher,” Fotografien aus fünf Jahrzehnten, Konrad Fischer Galerie, Düsseldorf “Bernd & Hilla Becher,” Sprüth Magers, London 2013 “Photographische Sammlung der SK Stiftung Kultur, Cologne Dia Art Foundation, New York Siegerländer Fachwerkhäuser, Orts- und Dorfansichten des Siegerlandes, Siegerländer Gruben und Hütten, Holzfördertürme in Pennsylvania, Museum für Gegenwartskunst, Siegen 2012 galerija TR3, Ljubljana, Slowenia Coal Mines. Steel Mills., Galerie Rudolfinum, Prague Bernd and Hilla Becher, Sonnabend Gallery, New York Bernd & Hilla Becher. Imprimés 1964-2010, Grand Palais, Paris 2011 Bergwerke und Hütten, Industrielandschaften, Fotomuseum Winterthur 534 WEST 21ST STREET, NEW YORK, NEW YORK 10011 TELEPHONE 212.255.1105 FACSIMILE 212.255.5156 P A U L A C O O P E R G A L L E R Y Blick in die Sammlung: Bernd und Hilla Becher. -
(Exhibition Catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin
SOL LEWITT SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2018 American Masters 1940–1980 (exhibition catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin. Canberra: National Gallery of Australia, 2018: 186–187, illustrated. Cameron, Dan and Fatima Manalili. The Avant-Garde Collection. Newport Beach, California: Orange County Museum of Art, 2018: 57, illustrated. Destination Art: 500 Artworks Worth the Trip. New York: Phaidon, 2018: 294, 374, illustrated. LeWitt, Sol. “Sol LeWitt: A Primary Medium.” In Auping, Michael. 40 Years: Just Talking About Art. Fort Worth, Texas and Munich: Modern Art Museum of Fort Worth; DelMonico BooksꞏPrestel, 2018: 84–87, illustrated. Picasso – Gorky – Warhol: Sculptures and Works on Paper, Collection Hubert Looser (exhibition catalogue). Edited by Florian Steininger. Krems an der Donau, Austria and Zürich: Kunsthalle Krems; Fondation Hubert Looser, 2018: 104, illustrated. Sol LeWitt: Between the Lines (exhibition catalogue). Texts by Francesco Stocchi. Rem Koolhaas and Adachiara Zevi. Milan: Fondazione Carriero, 2018 Sol LeWitt: Wall Drawings. Edited by Lindsay Aveilhé. [New York]: Artifex Press, 2018. 2017 Sol LeWitt: Selected Bibliography—Books 2 The Art Museum. London: Phaidon, 2017: 387, illustrated. Booknesses: Artists’ Books from the Jack Ginsberg Collection (exhibition catalogue). Johannesburg, South Africa: University of Johannesburg Art Gallery, 2017: 129, 151, 221, illustrated. Delirious: Art at the Limits of Reason 1950–1980 (exhibition catalogue). Texts by Kelly Baum, Lucy Bradnock and Tina Rivers Ryan. New York: Met Breuer, 2017: pl.21, 22, 23, 24, illustrated. Doss, Erika. American Art of the 20th–21st Centuries. New York and Oxford: Oxford University Press, 2017: fig. 113, p.178, illustrated. Gross, Béatrice. -
Michael Heizer Selected Bibliography
G A G O S I A N Michael Heizer Selected Bibliography Selected Books and Catalogues: 2019 Fox, William. Michael Heizer: The Once and Future Monuments. New York: Monacelli Press. 2017 Voorhies, James. Beyond Objecthood: The Exhibition as a Critical Form since 1968. Boston: MIT Press. Celant, Germano and Chiara Costa. Virginia Dwan: Dwan Gallery. Lausanne: Skira. 2015 Fine, Ruth E., Kara Vander Weg and Michael Heizer. Michael Heizer: Altars. New York: Gagosian Gallery. 2014 Cameron, Dan. The Avant-Garde Collection. Newport Beach, CA: Orange County Museum of Art. Kaz, Leonel, ed. Inusitada Coleção De Sylvio Perlstein. São Paolo: Museu de Arte de São Paolo Assis Chateaubriand. 2013 Allen, Gwen L., Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, et al. When Attitudes Become Form: Bern 1969/Venice 2013. Milan: Fondazione Prada. 2012 Lippard, Lucy R. and Jeff Khonsary. 4,492,040 (1969–74). Vancouver: New Documents 2010 Jensen, Susanne, Susanne Lenze, and Reinhard Onnasch. “Michael Heizer: Untitled.” In Nineteen Artists. Berlin: El Sourdog Hex; Bielefeld, Germany: Kerber Verlag. 2011 Reifenscheid, Beate. Die Letzte Freiheit: Von den Pionieren der Land-Art der 1960er Jahre bis zur Natur im Cyberspace. Milan: Silvana. 2010 Goldman, Judith. Robert & Ethel Scull: Portrait of a Collection. New York: Acquavella Gallery. Marcoci, Roxana, ed. The Original Copy: Photography of Sculpture, 1839 to Today. New York: Museum Of Modern Art. 2009 Grabner, Roman, Thomas Kellein, and Felicitas von Richthofen. 1968: Die Große Unschuld. Cologne: DuMont. 2008 Semff, Michael. Künstler Zeichnen. Sammler Stiften, 250 Jahre Staatliche Graphische Sammlung München. Ostfildern, Germany: Hatje Cantz. Lara, Cathy, ed. -
Andy Warhol Shadows Exhibition Brochure.Pdf
Andy Warhol Shadows On Tuesday I hung my painting(s) at the Heiner Friedrich gallery in SoHo. Really it’s presentation. Since the number of panels shown varies according to the available and altered through the abstraction of the silkscreen stencil and the appli- one painting with 83 parts. Each part is 52 inches by 76 inches and they are all sort size of the exhibition space, as does the order of their arrangement, the work in cation of color to reconfigure context and meaning. The repetition of each of the same except for the colors. I called them “Shadows” because they are based total contracts, expands, and recalibrates with each installation. For the work’s famous face drains the image of individuality, so that each becomes a on a photo of a shadow in my office. It’s a silk screen that I mop over with paint. first display, the gallery accommodated 83 panels that were selected and arranged stand-in for non-individuated and depersonalized notions of celebrity.5 The I started working on them a few years ago. I work seven days a week. But I get by Warhol’s assistants in two rooms: the main gallery and an adjacent office. replication of a seemingly abstract gesture (a jagged peak and horizontal the most done on weekends because during the week people keep coming by extension) across the panels of Shadows further minimizes the potential to talk. The all-encompassing (if modular) scale of Shadows simultaneously recalls to ascribe any narrative logic to Warhol’s work. Rather, as he dryly explained, The painting(s) can’t be bought. -
From Surrealism to Now
WHAT WE CALL LOVE FROM SURREALISM TO NOW IMMA, Dublin catalogue under the direction of Christine Macel and Rachael Thomas [Cover] Wolfgang Tillmans, Central Nervous System, 2013, inkjet print on paper mounted on aluminium in artist’s frame, frame: 97 × 82 cm, edition of 3 + 1 AP Andy Warhol, Kiss, 1964, 16mm print, black and white, silent, approx. 54 min at 16 frames per second © 2015 THE ANDY WARHOL MUSEUM, PITTSBURG, PA, COURTESY MAUREEN PALEY, LONDON. © WOLFGANG TILLMANS A MUSEUM OF CARNEGIE INSTITUTE. ALL RIGHTS RESERVED. FILM STILL COURTESY OF THE ANDY WARHOL MUSEUM. PHOTO © CENTRE POMPIDOU, MNAM-CCI, DIST. RMN-GRAND PALAIS / GEORGES MEGUERDITCHIAN CONTENTS E 1 FOREWORD Sarah Glennie 6 WHAT WE CALL LOVE Christine Macel 13 SURREALISM AND L’AMOUR FOU FROM ANDRÉ BRETON TO HENRIK OLESEN / FROM THE 1920s TO NOW 18 ANDRÉ BRETON AND MAD LOVE George Sebbag 39 CONCEPTUAL ART / PERFORMANCE ART FROM YOKO ONO TO ELMGREEN AND DRAGSET / FROM THE 1960s TO NOW 63 NEW COUPLES FROM LOUISE BOURGEOIS TO JIM HODGES / FROM THE 1980s TO NOW 64 AGAINST DESIRE: A MANIFESTO FOR CHARLES BOVARY? Eva Illouz 84 THE NEUROBIOLOGY OF LOVE Semir Zeki 96 LOVE ACTION Rachael Thomas WHAT 100 LIST OF WORKS 104 BIBLIOGRAPHY WE CALL LOVE CHAPTER TITLE F FOREWORD SARAH GLENNIE, DIRECTOR The Irish Museum of Modern Art (IMMA) is pleased to present this publication, which accompanies the large scale group exhibition, What We Call Love: From Surrealism to Now. This exhibition was initially proposed by Christine Macel (Chief Curator, Centre Pompidou), who has thoughtfully curated the exhibition alongside IMMA’s Rachael Thomas (Senior Curator: Head of Exhibitions). -
The Museum of Modern Art: the Mainstream Assimilating New Art
AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions. -
Newsletter/Fall 2016 the DAS DAS the Decorative Arts Society, Inc
newsletter/fall 2016 Volume 24, Number 2 Decorative Arts Society The DAS DAS The Decorative Arts Society, Inc. in 1990 for the encouragement of interest in, the appreciation of and the exchange of information about the decorative arts. To, is pursuea not-for-profit its purposes, New theYork DAS corporation sponsors foundedmeetings, Newsletter programs, seminars, tours and a newsletter on the decorative arts. Its supporters include museum curators, academics, collectors and dealers. Please send change-of-address information by e-mail to [email protected]. Board of Directors Editor President Gerald W. R. Ward Gerald W. R. Ward Senior Consulting Curator & Susan P. Schoelwer Senior Consulting Curator Katharine Lane Weems Senior Curator Robert H. Smith Senior Curator Katharine Lane Weems Senior Curator of of American Decorative Arts and George Washington’s Mount Vernon American Decorative Arts and Sculpture Emeritus Mount Vernon, VA Sculpture Emeritus Museum of Fine Arts, Boston Museum of Fine Arts, Boston Boston, MA Boston, MA Treasurer Stewart G. Rosenblum, Esq. Robert C. Smith Award Committee Coordinator Jeannine Falino, Chair Ruth E. Thaler-Carter Secretary Independent Curator Freelance Writer/Editor Moira Gallagher New York, NY Rochester, NY Research Assistant Metropolitan Museum of Art Lynne Bassett New York, NY Costume and Textile Historian Program Chairperson Dennis Carr Emily Orr Carolyn and Peter Lynch Curator of The DAS Newsletter is a publication Assistant Curator of Modern and American Decorative Arts and of the Decorative Arts Society, Inc. The Contemporary American Design Sculpture purpose of the DAS Newsletter is to serve as Cooper Hewitt, Smithsonian Design Museum of Fine Arts, Boston, MA a forum for communication about research, Museum Boston, MA exhibitions, publications, conferences and New York, NY other activities pertinent to the serious Emily Orr study of international and American deco- Margaret Caldwell Assistant Curator of Modern and rative arts. -
Tomma Abts Francis Alÿs Mamma Andersson Karla Black Michaël
Tomma Abts 2015 Books Zwirner David Francis Alÿs Mamma Andersson Karla Black Michaël Borremans Carol Bove R. Crumb Raoul De Keyser Philip-Lorca diCorcia Stan Douglas Marlene Dumas Marcel Dzama Dan Flavin Suzan Frecon Isa Genzken Donald Judd On Kawara Toba Khedoori Jeff Koons Yayoi Kusama Kerry James Marshall Gordon Matta-Clark John McCracken Oscar Murillo Alice Neel Jockum Nordström Chris Ofili Palermo Raymond Pettibon Neo Rauch Ad Reinhardt Jason Rhoades Michael Riedel Bridget Riley Thomas Ruff Fred Sandback Jan Schoonhoven Richard Serra Yutaka Sone Al Taylor Diana Thater Wolfgang Tillmans Luc Tuymans James Welling Doug Wheeler Christopher Williams Jordan Wolfson Lisa Yuskavage David Zwirner Books Recent and Forthcoming Publications No Problem: Cologne/New York – Bridget Riley: The Stripe Paintings – Yayoi Kusama: I Who Have Arrived In Heaven Jeff Koons: Gazing Ball Ad Reinhardt Ad Reinhardt: How To Look: Art Comics Richard Serra: Early Work Richard Serra: Vertical and Horizontal Reversals Jason Rhoades: PeaRoeFoam John McCracken: Works from – Donald Judd Dan Flavin: Series and Progressions Fred Sandback: Decades On Kawara: Date Paintings in New York and Other Cities Alice Neel: Drawings and Watercolors – Who is sleeping on my pillow: Mamma Andersson and Jockum Nordström Kerry James Marshall: Look See Neo Rauch: At the Well Raymond Pettibon: Surfers – Raymond Pettibon: Here’s Your Irony Back, Political Works – Raymond Pettibon: To Wit Jordan Wolfson: California Jordan Wolfson: Ecce Homo / le Poseur Marlene -
Danh Vō Bà Rja, Vietnam, 1975 Lives and Works in Berlin, Germany
kurimanzutto danh vō Bà Rja, Vietnam, 1975 lives and works in Berlin, Germany education & residencies 2013 Villa Medici Artist Residency, Rome. 2009 Kadist Art Foundation Residency, Paris. 2006 Villa Aurora Artist Residency, Los Angeles. 2002–2004 Städelschule, Frankfurt. 2000–2001 Royal Academy of Fine Arts, Copenhagen. grants & awards 2015 Arken Art Prize, Denmark. 2012 Hugo Boss Prize awarded by the Solomon R. Guggenheim Foundation, United States. 2009 Nominee for the Nationalgalerie Prize for Young Art, Germany. 2007 BlauOrange Kunstpreis der Deutschen Volksbanken und Raiffeisenbanken, Germany. solo exhibitions 2020 Danh Vo. Wising Art Place Atelier, Taipei, Taiwan. Danh Vo oV hnaD. The National Museum of Art, Osaka, Japan. Danh Vo Presents. The Nivaagaard Collection, Denmark. Chicxulub. White Cube Bermondsey, London. 2019 The Mudam Collection and Pinault Collection in dialogue. Mudam, Luxemburg. Dahn Vo: Untitled. South London Gallery. kurimanzutto To Each his Due. Take Ninagawa, Tokyo. We The People. Media Gallery, New York. Danh Vo. kurimanzutto, Mexico. Danh Vo. Cathedral Block Prayer Stage Gun Stock. Marian Goodman, London. 2018 Garden with Pigeons at Flight. Estancia FEMSA – Casa Luis Barragán, Mexico City. Take My Breath Away. Guggenheim Museum, New York. Noguchi for Danh Vo: counterpoint. M+ Pavilion, West Kowloon, Hong Kong. Take My Breath Away, SMK, Copenhagen. Danh Vo. Musée d’art contemporain de Bordeaux, France. 2017 Ng Teng Fong Roof Garden Commission, National Gallery, Singapore. 2016 We the People. Aspen Art Museum, United States. Ng Teng Fong Roof Garden Commission: Danh Vo. National Gallery Singapore. Danh Vo. White Cube, Hong Kong. 2015 Destierra a los sin rostro / Premia tu gracia (Banish the Faceless / Reward your Grace). -
The Book House
PETER BLUM GALLERY HELMUT FEDERLE Born 1944, in Solothurn, Switzerland Lives and works in Vienna, Austria and Camaiore, Italy SELECTED ONE PERSON EXHIBITIONS 2021 Basics on Composition, Peter Blum Gallery, New York, NY 2020 Basics on Composition / Informal Multitudes, Parra & Romero, Madrid, Spain 2019 Basics on Composition 1992 & 2019 Horizont der sieben Seen, Galerie nächst St. Stephan, Vienna, Austria 19 E. 21 ST., 6 Large Paintings, Kunstmuseum Basel, Basel, Switzerland 2017 2017 Abstract Matter [Paintings and Ceramics], Calouste Gulbenkian Museum, Lisbon, Portugal, catalogue, texts by Edmund de Waal and Elisabeth von Samsonow 2016 Dark Night Three, M-ARCO, Marseille, France 2013 The Ferner Paintings, Peter Blum Gallery, New York 2012 American Songline, Kunstmuseum Luzern, Switzerland. Hatje Cantz, Ostifildern, Germany, texts by Robert Storr, Fanni Fetzer, Joseph Masheck, and John Yau (cat.) Esencial, Fundación Bancaja, Valencia, Spain (cat.) 2010 Helmut Federle, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria. Curated by Roman Kurzmeyer (cat.) 2009 Scratching Away at the Surface, Peter Blum, New York Échafaudages, FRAC Picardie, Collège Marcelin Berthelot, Nogent-sur-Oise, France, (with Paul Pagk) 2005 Zeichnungen 1975 bis 1997 aus Schweizer Museumsbesitz, Rudolf Steiner Archiv /Haus Duldeck, Dornach, Switzerland (cat.) 2004 Edelweiß (performance), Colloquiums Friedrich Nietzsche – Rechtfertigung der Welt durch die Kunst, Nietzsche haus, Sils-Maria, Switzerland (cat.), through 2005 Helmut Federle – A Nordic View