International 01 Art Exhibitions 2021 International 06.01.2021 > 06.02.2021 Art Exhibitions 2021

Jeremy Olson

1 1 The Likes of Others

Unit London Jeremy Olson’s work delves into the 1 darker aspects of the human condition, Housesitter into the deafening loneliness of a hyper- 2020, Oil on panel connected world and the anxiety of a 61 x 50.8 cm cancelled future. Through a cleverly 1 deployed cast of anthropomorphic Dissociative Plane characters, Olson captures what it feels 2020, Oil on canvas like to be human in a digitised society. 30.5 x 22.8 cm (each) He grasps the asphyxiating uncertainty, 2 the shackling vanity and vapid Charm Eater materialism and lays it out for the viewer 2020, Oil on panel

London to engage with in a moment of catharsis, 50.8 x 40.6 cm a moment that turns a bleak subject 3 matter into something lighter, more Horixontalist Object optimistic, even comforting. In the likes 2020, Oil on canvas of others, Olson’s characters are 35.6 x 30.5 cm compound beings comprised of two or more distinct ideas: a pipe and a woman, creatures, allow the viewer to connect a face and a tree, a fox and a snake. with the work in a more profound way – redolent of when we recognise relatable They come together in varying combina- emotions in animals. The tions and achieve differing degrees of depersonalisation of these beings elicits familiarity. Their aim is to bridge what a more personal response; the viewer the artist perceives as an empathy deficit can connect in the kind of emotive way in contemporary society. Through being that is commonly thought of as lacking familiar but not personally recognisable in contemporary society. these surreal, often rather grotesque creatures, allow the viewer to connect Olson’s characters are liminal, existing with the work in a more profound way – on the boundary between one state of redolent of when we recognise relatable being or another. Much like our own, emotions in animals. 2 5 their existence is a precarious, rootless

The depersonalisation of these beings 4 elicits a more personal response. Boundaries of Sentiment Olson’s characters are liminal, existing 2020, Oil on canvas on the boundary between one state of 91.4 x 76.2 cm being or another. Much like our own, 5 their existence is a precarious, rootless Dawn of Aloning one that plays out in sometimes 2020, Oil on panel Second Story Sunlight daunting, always decaying surroundings. 76.2 x 61 cm 1960, Oil on canvas They often have a disarming aesthetic, 102.1 x 127.3 cm rendered like a character from a Whitney Museum of American children’s book or, more appropriately, Art, 3 4 a digital avatar. www.unitlondon.com International 07.01.2021 > 13.02.2021 Art Exhibitions 2021

Emily Mason

1 Chelsea Paintings

Miles McEnery Gallery Gallery Miles McEnery Chelsea Paintings – A new show of Opposite page 22 works from the painter Emily Mason The Green In Go (1932-2019); BFA , 1955). 1983, Oil on canvas Coinciding with a retrospective at the 132.1 x 122.6 cm Bruce Museum in Connecticut on view 1 through March 2021, it is the late artist’s July’s Amethyst first posthumous gallery exhibition in 1982, Oil on canvas New York following her December 2019 122.6 x 132.7 cm death. The exhibition comprises twenty 2 works made between 1978 and 1989, Within The Orchard and two works completed in the 1990s. 1986, Oil on canvas 132.7 x 132.7 cm Emily Mason was just a few years old 3 when she began to experiment with Tocopherol professional-grade art materials in her 1983, Oil on canvas mother’s studio. 152.4 x 132.1 cm 4 Pigeon’s Blood Rock 1983, Oil on canvas 132.1 x 111.8 cm

New York 5 Hell’s Kitchen 1994, Oil on canvas 137.8 x 128.3 cm

All works © Emily Mason Courtesy the artist and Miles 2 3 McEnery Gallery, New York

Mason, born in in 1932 to Mason credits the small female on-the-scene painter Alice Trumbull contingent of the Club, especially Elaine Mason, came of age in the 1940s-1950s de Kooning and Joan Mitchell, with New York art world, attending her empowering her to chart her own mother’s regular social engagements at stylistic course. An avidly independent- the Eighth Street Club with Jackson minded colourist and mark-maker, the Pollock, Lee Krasner, Franz Kline, Robert early works on view in Chelsea Paintings Motherwell, Helen Frankenthaler, John were created when stark Minimalism Cage, Mark Rothko, and others. was on trend in the Chelsea art scene; Mason’s vivid, chromatically intense Mason’s family was particularly close abstractions evolved in a contrasting with Sally and Milton Avery, as well as manner to the formal restraint being Willem and Elaine de Kooning; the latter exercised by her peers such as Donald 4 would babysit Mason from time to time. Judd, Carl Andre, and Sol LeWitt. 5 www.milesmcenery.com International 07.01.2021 > 13.02.2021 Art Exhibitions 2021

Wolf Kahn

1 The Last Decade 2010-2020

Miles McEnery Gallery Gallery Miles McEnery Looking at paintings from the final Opposite page decade of ’s life, it is easy to White Greenhouses find an aesthetic pleasure that makes it Oil on canvas effortless to focus on the relations of 132.1 x 167.6 cm colour and form. While these relation- 1 ships are carefully ordered, for Kahn Two Levels of Green, they are never merely restful. The pain- One of Orange tings’ vivid colour palettes are engaged 2018, Oil on canvas by the experiences and sensations of 132.1 x 172.7 cm the natural world. Wolf Kahn’s land- 2 scapes are also connected to a social Redwoods imagination. 2019, Oil on canvas 132.1 x 132.1 cm 3 Olive Green 2018, Oil on canvas 132.1 x 132.1 cm 4 Woodland Density 2019, Oil on canvas

New York 32.1 x 132.1 cm 5 Horticulture 2012, Oil on canvas 2 3 61 x 61 cm

By reveling in the sensorial effects of nature but also defamiliarizing its con- ventions through modernist form and colour, Kahn’s landscapes achieve a dis- tinctive blend of affect and rigor.

The paintings are above all resolutely ordinary landscapes elevated by virtue of the artist’s intervention – slices of American history devoid of famous names and dates, but immortalized by his close attention. 456

All works Kahn’s paintings reveal forceful arche- tings remind us of our own mani- fold ‘I want people to participate freely 6 © Wolf Kahn types of the American landscape in its connections to the land – even those of in my paintings... to connect my Winchester Barn Courtesy the artist and neglected corners, quiet tributes to the us for whom it is seen mainly from the paintings as directly as possible 2015, Oil on canvas Miles McEnery Gallery, untold stories of unseen occupants, window of a car or a train, or indeed on to their surroundings’. 132.1 x 132.1 New York past and present. In so doing, his pain- the wall of a gallery. Wolf Kahn (1988) www.milesmcenery.com International 08.01.2021 > 04.04.2021 Art Exhibitions 2021

Opposite page James Gleeson We inhabit the corrosive Surrealism littoral of habit 1940, oil on canvas 1 1920s to Now 40.7 × 51.3 cm

National Gallery of National Gallery Victoria Surrealism emerged out of Dada, an aggressively anti-aesthetic movement created in 1916 in Zurich, where many political refugees had fled at the outbreak of World War One. Dada soon spread to other cities in Europe and to North America, and ultimately to Australia. Barry Humphries memorably introduced Dada to an easily shockable Melbourne public in the early 1950s.

Surrealism was a more ambitious matter. For André Breton, a former Dadaist who formulated its manifesto in Paris in 1924, Surrealism was not merely a movement but an entire way of thinking, of trans- forming existence itself. The Surrealists were against war, Nazi repression, religion, conventional morality, and other concerns of the times. Surrealist painting was introduced to Australia in the early 1930s by Sam Atyeo and later by Eric Thake and James Gleeson. 2

1 Melbourne Russell Drysdale The Rabbiters 1947, Oil on canvas 76.6 x 102.5 cm 2 Salvador Dalí Trilogy of the Desert: Mirage 1946, Oil on canvas 36.1 x 59.3 cm 3 Max Ernst Forest and Sun 4 c1926-27, Oil on canvas 22.0 x 27.0 cm All works In the following decade, Surrealism was 4 National Gallery of Victoria, developed by artists who worked in the Petrina Hicks Melbourne shadow of war: Sidney Nolan (a devoted Bird’s Eye Courtesy the individual artist s reader of Rimbaud), Arthur Boyd, Albert 2018, pigment inkjet print 3 Tucker and Joy Hester. 120.0 x 120.0 cm

www.ngv.vic.gov.au International 13.01.2021 > 20.02.2021 Art Exhibitions 2021

1 Sedrick Chisom Different Strokes Untitled 2020, Oil on canvas 1 Curated by Marcus Jahmal 20.3 x 28 cm

Almine Rech Marcus Jahmal brings together fourteen contemporary American artists whose works explore the possibilities of pain- ting. ‘Different strokes’ will include artists who examine the parametersof painting, not only by questioning ideas of content or form, but also through probing the nature of painting in and of itself. Jahmal, who has worked with Almine Rech since 2018, was drawn to the idea of how an exhibition could bring together a group

London of artists whose work has challenged him to consider these questions within his own artistic practice. The show will function as a hypothesis, a temporary 6 tonic, to the concerns which continue to motivate artists to paint, whether in two 2 or three dimensions. Marcus Jahmal Pillar of Heaven 2020, Oil on canvas 152.4 x 121.9 cm 3 Haley Josephs Taking Root 2020, Oil on canvas 213.4 x 152.4 cm 4 Chris Martin Vein Melter (Came For The Funk, Stayed For The Funk) 2020, Oil, acrylic, glitter, sequins, and collage on canvas 195.6 x 167.6 cm 23 5 4 Gerasimos Floratos To that end, the presentation will include Untitled Spencer Sweeney wall-based works as well as sculptures, 2020, Oil, acrylic and collage Lady Ponders Painting Music Food so that painting can be imagined as a on canvas 2020, Acrylic, distemper, charcoal and sensibility and an outlook, as well as a 123 x 123 cm oil on canvas set of technical limits. The exhibition will 6 321 x 443 x 7.5 cm (framed) include recent works by artists spanning Katherine Brasford different generations and who are based Parents and Child All works courtesy of the artists & Almine Rech. mainly in New York, Marcus Jahmal’s 2019-20, Acrylic on canvas Photography: Melissa Castro Duarte. 45 place of residence. 153 x 121.5 cm

www.alminerech.com International 27.01.2021 > 30.05.2021 Art Exhibitions 2021

3 Elina Brotherus My Dog is Cuter Than Your Ugly Baby 2013, Pigment ink print on Mother! paper Louisiana Museum of Modern Louisiana Museum of Modern Art Louisiana Museum of Modern Art Present or absent, warm or diabolical – Art, acquired with funding from everyone has a Mother! And the Mother The Augustinus Foundation – elucidated through changing views in 4 the history of art and culture through- René Magritte out the 20th and 21st century – will be The Spirit of Geometry the focus of the first major Louisiana 1936, Gouache on paper experience in 2021. The exhibition 37.5 x 29.2 cm combines art, religion, literature, music, Photo: Tate / Tate Images film, myth and cultural history in a © René Magritte, The Estate prismatic exploration of the Mother of Magritte/ VISDA figure. The Mother marks our entry into 5 the world – and the relationship with Egon Schiele the Mother thus belongs among the Blinde Mutter eternally valid existential themes. But 1914, Oil on canvas motherhood is also always historical 99 x 120 cm and political. Leopold Museum, Vienna Humelbæk 34 6

1 2 The narrative of motherhood in western The narrative of the show culminates in 6 Alice Neel Henry Heerup culture ranges from prehistoric fertility a new generation of artists who with an Alberto Giacometti Ginny and Elizabeth Vanløse-madonna amulets through religious Madonna autobiographical point of departure Spoon-Woman 1975, Oil on canvas 1935 images to the 20th century’s politicisa- explore the experience of giving life and 1926-27, Bronze 106.7 x 76.2 cm Kunsten Museum of Modern Art tion of motherhood and post-feminism’s the importance of the mother as an 145 x 51 x 20 cm Photo: Courtesy The Estate of Alice Aalborg ‘bad girls’. It is closely linked to stories of existential mirror. Dangerous mother Louisiana Museum of Neel and David Zwirner Photo: Niels Fabæk female power and emancipation – but figures of mythology, from Medea to the Modern Art © The Estate of Alice Neel © Henry Heerup also to both the physical and psycho- wicked stepmothers of the folk tales will © Succession Alberto logical relations between mothers and be represented together with important Giacometti / VISDA 2019 their (artist) children – daughters as well works by, among others, Egon Schiele, Photo: Poul Buchard / 5 as sons. Max Beckmann, Käthe Kollwitz. Brøndum & Co. www.louisiana.dk International 29.01.2021 > 02.01.2022 Art Exhibitions 2021

Opposite page Soft Self-Portrait with Fried Bacon Dalí 1941, Oil on canvas 61 x 51 cm 1 The Endless Enigma Gala-Salvador Dalí Foundation

Atelier des Lumières ‘Dali: The Endless Enigma’ encompasses 1 more than sixty years in the career of Slave Market with the the Catalan master, who developed and Apparition of the Invisible invented various artistic styles, including Bust of Voltaire his famous‘Paranoiac-Critical Method’. 1940, Oil on canvas His works are exhibited around the world 46.2 x 65.2 cm (the Gala-Salvador Dalí Foundation at The Dali Museum, St Petersburg, Figueres, the Dalí Museum in Florida, Florida the Reina Sofía Museum in Madrid, and 2 MoMA in New York) They are brought to The Persistence of Memory life on the floors and ten-metre-high 1931, Oil on canvas walls of the Atelier. Paintings, drawings, 21.4 x 33 cm photographs, installations, films, and Museum of Modern Art, archive images will focus on the unique New York personality of the painter with the 3 famous moustache, as well as on his Atavistic Ruins after the Rain obsessions with the strange and the 1934, Oil on canvas supernatural, and his fascination with his 65 x 54 cm wife Gala, his muse and collaborator. Private collection Paris

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Emblematic masterpieces, such as The Discover, from a fresh perspective, the 4 Persistence of Memory, the Face of Mae painter’s hallucinations and dreamlike Figure at a Window West (Usable as Surrealist Apartment), delirium, which he channelled into 1925, Oil on canvas Atomic Leda, and the Temptation of artistic works. ‘Dali: The Endless Enigma’, 105 x 74.5 cm Saint Anthony, highlight Dalí’s immense reflects the painter’s inner world in an Museo Nacional Centro talent as a creator of new languages and almost hypnotic atmosphere. Dalí’s deep de Arte Reina Sofia, unique canvases. colours and voluminous forms emerge Madrid on the walls to the sound of Pink Floyd’s 5 inspired by the greatest masters of tracks from legendary albums such as Pieta painting, ranging from Diego Velasquez, The Dark Side of the Moon and The Wall. 1958, Oil on canvas Raphael, Michelangelo and Johannes The entire digital exhibition will be set to 115 x 123 cm 4 Vermeer to Jean-François Millet. 7 the music of Pink Floyd. Private collection www.atelier-lumieres.com International 03.02.2021 > 26.02.2021 Art Exhibitions 2021

1 2 5 The Corn Harvest The Hunters in the Snow Landscape by Water (after Bruegel) (after Bruegel) (The Blue Hill) Oil pastel Oil pastel Oil pastel 60 x 60 cm 60 x 60 cm 5 Jake Attree 50 x 70 cm

David Messum Fine Limited Art Drawing is the way that I explain the world to myself wordlessly… We have been drawing – or some- thing very like it – since the time of the cave paintings at Lascaux and Altamira – human art works that date back almost forty thousand years`… Drawing, like all truly creative activity is not an enter- tainment or pastime, but rather something fundamental to our psychic health as a species… I don’t 6 7 8 feel I have signed up to be seen as a figurative or an abstract painter. As 6 the works progress in their making, Ochre Key they suggest to me the direction Oil on panel they best need to be travelling in 122 x 122 cm to reach some kind of resolution. 7 Jake Attree Light Emerging Oil on canvas Drawing is the foundation of his work – 50 x 50 cm Attree recognizes this deeply, and hence 8 he draws, daily. I do believe that it is not First Sister until we have drawn something that we Oil on panel have truly looked at it. 30 x 30 cm 9 Red Abstract (York) Oil on panel

London 67 x 66 cm 10 Red Roofs (York from the Bar Walls) Oil on panel 86 x 90 cm

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3 4 This is what most artists realise, and it is predecessors, and the sense of place times to the work of the sixteenth All works Haymaking The Magpie on the Gallows amazing to think that drawing was once they evoke, is seen most closely in century Flemish artist, because he still © Jake Attree and courtesy (after Bruegel) (after Bruegel) ‘out of fashion’ in art schools and colleges. Attree’s series of paintings inspired by feels he has not yet made a series of oil the artist and Messum Fine Art Oil pastel Oil pastel The importance of the influence of – Pieter Bruegel the Elder. He has over the pastels based on the artist’s work that Limited, London & Marlow 60 x 60 cm 60 x 60 cm or inspiration provided by – his artistic course of his career returned numerous fully satisfied him. www.messums.com International 05.02.2021 > 16.05.2021 Art Exhibitions 2021 Magnetic North Imagining Canada in Painting 1 1910-1940

Schirn KunsthalleSchirn ‘Magnetic North: Imagining Canada in Opposite page Painting 1910-40’, examines the works of Lawren S Harris the artists linked to the Group of Seven Mount Lefroy from Toronto that continue to be very 1930, Oil on canvas popular in Canada. Ninety paintings 133.5 x 153.5 cm and drawings, as well as video works McMichael Canadian Art and documentary material are featured Collection for the first time in Germany. Driven to © Family of Lawren S Harris experiment creatively in the early 1 twentieth century, artists like Franklin J E H MacDonald Carmichael, Emily Carr, J E H MacDonald, The Beaver Dam Lawren Harris, Edwin Holgate, Arthur 1919, Oil on canvas Lismer, Tom Thomson and F H Varley left Art Gallery of Ontario the cities and forayed deep into nature. 2 These true icons of Canadian modern- Franklin Carmichael ism sought to create a new pictorial Autumn Hillside

Frankfurt vocabulary for a young nation coming 1920, Oil on canvas into its own cultural identity. 76 x 91.4 cm © Art Gallery of Ontario For us it was thus important to show 3 how the popular Group of Seven is Emily Carr currently being explored and to Blunden Harbour integrate indigenous perspectives into c1930, Oil on canvas the presentation. 129.8 x 93.6 cm National Gallery of Canada, Ottawa 4 A Y Jackson Lake Superior Country 1924, Oil on canvas 117 x 148 cm McMichael Canadian Art Collection 5 2 3 J E H MacDonald Falls, Montreal River The show subjects Canadian modernist 1920, Oil on canvas painting to a critical revision as well as 121.9 x 153 cm raising issues relating to the formation © Art Gallery of Ontario of a national identity. The works portray a breathtaking landscape beyond the reality of the Indigenous population, modern city life, and the expanding 45 industrial exploitation of nature.

www.schirn.de International 06.02.2021 > 10.03.2021 Art Exhibitions 2021

1 Seated Figure No 2 2020, Acyrlic on canvas Adam Neate 119.9 x 1000.1 cm 2 Madelena Seated Figure No 1 2020, Acyrlic on canvas Allouche Gallery Allouche Gallery Born in Colchester in England in 1977, 119.9 x 1000.1 cm Adam Neate now lives and works in 3 Sao Paulo in Brazil. Neate introduced The Market himself to the public via a guerilla style 2020, Acyrlic on canvas circulation of his work: hand-painting 119.9 x 1000.1 cm pieces on cardboard which he 4 distributed around the streets of The Padaria London in the early 2000s. 2020, Acyrlic on canvas 119.9 x 1000.1 cm He gradually gained acknowledgement 5 and further transitioned to staging Woman with Cat his pieces in galleries in the UK. Adam 2020, Acyrlic on canvas Neate is now internationally known, 119.9 x 1000.1 cm specifically throughout the art markets 6 in the Far East, accounting for his most Man with Cat

New York eager audience and now passionate 2020, Acyrlic on canvas 1 3 5 collector base. 119.9.2 x 1000.1 cm

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Adam Neate’s inimitable compositions mode: Dimensional Materialism. Sao Paulo where he lives. With such a 7 examine subjects as he experiments Neate has mastered the essence of 4D diverse mix of people in Sao Paulo he Red Portrait No 8 with new themes, all the while in most of his older work, and now, as he wanted to create a unity amongst the 2020, Acyrlic on canvas 2 4 6 remaining identifiable to his brand. mimics human life and nature, he gives figures he painted. He decided upon 31 x 31 cm the viewer a sense of dimensionality, painting the figure’s flesh in gold for it 8 His technique of expressing the essence con- fronting his come-to-life human to react to the light that shines upon it – The Mods of portraiture has exemplified his efforts figures. Regarding ‘Madalena’, his giving the figures a luminosity. From 2020, Acyrlic on canvas to avoid limitations. In 2012, art historian upcoming show, which will include 24 this he went on to produce a series of 119.9 x 1000.1 cm Ben Jones pointed out that in Neate’s pieces of new work, Neate wanted to portraits painted in gold, giving them a 9 most recent work, space itself becomes revert back to the traditional 2D painted mixture of expressionism and cartoon- Black Portrait No 2 the medium. The accumuated plasticity canvas. Since moving to Brazil in 2018, ish-ness painting them with a black line, 2020, Acyrlic on canvas of Cubism’s two distinct phases has he has wanted to capture daily life in but still trying to convey a sense of 50.5 x 50.5 cm been re-energized by his own distinctive and around Vila Madalena, an area in feeling and emotion within the faces.

www.allouchegallery.com International 06.02.2021 > 02.05.2022 Art Exhibitions 2021

Opposite page Wayne Thiebaud 100 Betty Jean Thiebaud and Book 1 Paintings | Prints | Drawings 1965-69, 91.4 x 76.2 cm Toledo Museum of Art

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Wayne Thiebaud was born in Arizona in 1920. He is known for his colourful works depicting common-place objects – pies, lipsticks, paint cans, ice cream cones, pastries and hot dogs – as well as for his landscapes and figure paintings. He is associated with the pop art movement

Toledo because of his interest in objects of mass culture, although his early works, executed during the fifties and sixties, slightly predate the works of the classic 6 pop artists. Thiebaud uses heavy pig- ment and exaggerated colours to depict 1 his subjects, and the well-defined Bow Ties shadows characteristic of advertise- 1993, 24.8 x 33 cm ments are almost always included in his 2 work. Marking the artist’s 100th birthday, Boston Cremes ‘Wayne Thiebaud 100: Paintings, Prints 1962, 35.6 x 45.7 cm and Drawings’ celebrates the breadth of 3 Thiebaud’s accomplishments and career. Street and Shadow Thiebaud’s bright palette, iconic con- 1982-83, 90.8 x 60.3 cm sumerist imagery and graphic presenta- 4 tion were well suited to the Pop art Pies, Pies, Pies moment that was starting to capture the 1961, 50.8 x 76.2 nation’s attention in the 1960s. 3 5 Self-Portrait His style and use of paint seemed both renders people in figure studies and (4 Hour Study) remarkably lifelike and tantalizingly fully realized individuals on canvas, and 1989, 29.2 x 30.5 cm delicious. In addition to painting, Wayne over time, landscapes have appeared 6 Thiebaud’s work spans drawings, water- with increasing frequency in the artist’s Watermelon and Knife 4 colours and prints. He also beautifully paintings and works on paper. 1989, 21.9 x 24 cm

www.toledomuseum.org International 10.02.2021 > 12.03.2021 Art Exhibitions 2021

Angela Fraleigh

7 Fluttering Still

Hirschl & Adler Modern Is it discomfort, or excitement, that you 1 feel when you watch these women Fluttering still languidly roust, or subtly drift asleep? 2021, Oil on linen Do you happily play the voyeur, 228.6 x 167.6 cm seduced by their beauty and the 2 opulence of their surroundings? Do you Rooted in constellations feel that nagging tug from your mind 2021, Oil on linen that you are being watched, as well? 228.6 x 167.6 cm Angela Fraleigh has spent her career 3 exploring narrative art’s hierarchical A pang of livid light patterns. Keenly observing how images 2021, Oil and watercolour and roles from Western art history on linen over panel intersect with contemporary represen- 121.9 x 91.4 cm tation and attitudes, Fraleigh uncovers 4 why certain tropes remain relevant, Tumbling into light who they benefit, and how. Hirschl & 2021, Oil on canvas over panel Adler Modern is proud to present 61 x 45.72 cm ‘Fluttering Still’, the artist’s debut solo 5 1 2 3 exhibition with the gallery. 8 Silent sparks 2021, Oil on canvas over panel Fraleigh has awoken them within a new 45.72 x 61 cm

New York context, wherein their agency exists 6 for their own, and each other’s, sake. The stars rise, the moon In rearranging the images of the past, bends her arc the artist changes how we see ourselves 2021, Oil on linen in the present. Fraleigh, deftly and subtly, 101.6 x 76.2 cm empowers her subjects through a 7 variety of strategies. Removing the Installation view original art historical context from these 8 figures removes any ‘traditional’ value- From sunset to sunrise based judgments of femininity. In the 2021, Oil on linen void, Fraleigh injects additional con- 76.2 x 101.6 cm ceptual layers. In Shaking to sound the 9 silent skies and A pang of livid light, the Wait for me there swirling, abstract patterning surround- 2021, Oil on canvas over panel ing the figures comes from the fin de 45.72 x 61 cm siècle illustrations rendered by Gerda Wegener and Ethel Reed, two female Courtesy of the artist and Hirschl 4 5 6 9 design pioneers who upended the social & Adler Modern, New York norms of their era. Their graphics offer Photos © Eric W Baumgartner In these ten new paintings, Angela political dynamics. The women in Fraleigh’s figures a haven as well as a Fraleigh depicts women in liminal states ‘Fluttering Still’ are not here to satisfy any lineage. Another key element to Angela between wakefulness and sleep to outdated notion of their role nor the Fraleigh’s paintings is her depiction of perfectly encapsulate today’s social and viewer’s predatory desire. women together.

www.hirschladler.com International 11.02.2021 > 09.01.2022 Art Exhibitions 2021

Opposite page Sinebrychoff Art Museum Allessandro Allori (follower) Portrait of a Lady 1 Collections on Tour 1590-1600

Finnish National Gallery Its one hundred years since Paul & Fanny 1 Sinebrychoff donated their collection Cornelis de Vos to the museum. Art collections tell us Two Sisters stories about the art and the ideals of 1610-15 their era, and particularly about the 2 collectors themselves. The exhibition Carl Fredrik von Breda presents treasures from the collections Per Otto Adelborg of Otto Wilhelm Klinckowström, Hjalmar 1814-18 Linder, Herman Antell, and Ester and 3 Jalo Sihtola, among others. Sir Peter Lely (Studio) Elisabeth Wriothesley, The works of art represent a period Countess of Northumberland spanning the 15th to the 19th centuries – 4 the stars of the exhibition include, for Allessandro Allori (follower) instance, Rembrandt van Rijn, Giovanni Portrait of a Lady Battista Tiepolo and Allessandro Allori. Jorma Puranen (photographer) 2010 5 Giovanni Battista Tiepolo Year 2021 marks the 100th anniversary of The Rape of the Sabine the donation of Paul and Fanny Women Sinebrychoff’s collection, and highlights 1717-18

Helsinki of their collection are also featured in the 6 Rembrandt Harmenszoon van Rijn Self-Portrait (frowning) 1630

All works Sinebrychoff Constance Museum, 2 3 Sinebrychoff Art Museum

4 5 6 sinebrychoffintaidemuseo.fi International 18.02.2021 > 27.03.2021 Art Exhibitions 2021

3 Pia Fries 1 2 4 Parapylon 5 Parapylon 10 Pia Fries Pylon VS 2019, Oil and silkscreen on wood 2019, Oil and silkscreen on wood 2020, Oil and silkscreen on wood 240 x 150.2 cm 240.7 x 150.8 cm Farnese 145.1 x 100.3 cm Miles McEnery Gallery Gallery Miles McEnery

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Pia Fries was born in Beromünster, Switzerland in 1955. She completed her

New York studies in studio art at the Lucerne University of Applied Science and Arts. (1977-1980). She then studied painting under Gerhard Richter at the Kunst- akademie Düsseldorf (1980-1986).

Her ability to transform pictorial space is conveyed through the textured and intricately layered elements of her paintings. The materiality of the applied paint rises from the surface. By inter- weaving copious amounts of oil paint with screen printed images and geo- metric structures, Fries produces a sense 1 | 2 of movement for the viewer to follow. 4 6 5 All works Fries reinterprets abstraction by For more than a decade, Fries has been Fries’s paintings invite close scrutiny. Pylon AR © Pia Fries sensationally combining a variety of deeply engaged with the engravings of Tracing the contours of her gestures, tex- 2020, Oil and silkscreen on wood Courtesy the artist and textures and pigments to create striking the innovative Dutch printmaker and tures and materials used to merge an 170.2 x 120 cm Miles McEnery Gallery, and multi-dimensional gestural compo- draftsman Hendrick Goltzius (1558-1617). array of energetic colours across a bright 6 New York sitions. Working with an assortment of In ‘Parapylon’ and ‘Pylon’, the two series void of space become apparent. A visual Disloziert 10 mediums, Fries alters the way in which of paintings included in this exhibition, unity is achieved by means of applying 2018, Acrylic and silkscreen the materials interact on her luminous, Fries considers Goltzius’s best-known colour, unpredictable layers of imagery on handmade paper white wooden surfaces. engraving, ‘The Farnese Hercules’ (1592). and the viscousness of her medium. 75.9 x 56.8 cm www.milesmcenery.com International 18.02.2021 > 30.04.2021 Art Exhibitions 2021 Iώ Rebecca Brodskis | DianeDal-Pra

1 1 Maria Fragoso | Bambou Gili 5

Cassina Milan Projects Opposite page Rebecca Brodskis Head stand 2020, Oil on linen 162 x 130 cm 1 Bambou Gili Distance of the moon 2020, Oil on canvas 142 x 183 cm 2 Bambou Gili Captain Vhd Vhd’s wife 2 2020, Oil on canvas 155 x 142 cm The myth of Iώ – first priestess of Hera, 3 the wife of Zeus – is quintessentially a Diane Dal-Pra story of torment, metamorphosis and, Your heart scarf above all, lust. Desire, regarded as a 2020, Oil on linen gravitational force transcending 90 x 70 cm aesthetics and form, governs immortal 4 gods and humans alike. Rebecca Brodskis L’aurore The show brings together a selection of 2020, Oil on linen, wood figurative works by four contemporary artist frame artists, exploring the notion of identity 55 x 46 cm with an emphasis on the sublimation of 5 desires and unconscious drives that Maria Fragoso define female experience. the drama of Installation view the human body encapsulates the Where is my heart 1 | 2 | 3 multidimensionality of today existence. 3 2021, Coloured pencil on paper, 35.5 x 28 cm (each) Rebecca Brodskis’ (born 1988) repertoire persona blends with the image we of graceful characters plays out against construct. Bambou Gili’s (born 1996) All works anonymous backgrounds. Stripped of uncanny paintings elicit a fluid tension Courtesy the Artists and any context and suspended in a perma- as cerulean tones and light shards loom Cassina Projects nent motionless present, their distinct- over her nonchalant long-armed figures. iveness can only be inferred by their Vivid with symbolism and imbued with pose. In her resonant compositions, the aesthetics of her Mexican heritage. Diane Dal-Pra (born 1991) dissects and Maria Fragoso’s (born 1995) works on reconstructs identity into a convoluted paper have an alluring tactile quality. entanglement of accessories, costumes Through her use of red colour as a passe- and body. Figures and objects which partout, the artist unlocks inner desires 4 bury them merge into one as our and the instinctive quest for intimacy. www.cassinaprojects.com International 19.02.2021 > 18.04.2021 Art Exhibitions 2021

Opposite page Zandile Tshabalala Enter Paradise I 2020, Acrylic on canvas 1 Enter Paradise 60 x 70 cm

ADA Zandile Tshabalala’s latest series of 1 paintings, places the Black female figure Portrait of Zandile Tshabalala at the heart of her sensual dreamscapes, © Courtesy Unit London thereby revisiting the representation of 2

| the Black woman throughout art history. Study of a Nude (Self) contemporary art gallery contemporary gallery art 2021, Acrylic on canvas 90 x 120 cm 3 Ode to Rousseau 1 2021, Acrylic on canvas 90 x 120 cm 4 Ode to Rousseau 2 2021, Acrylic on canvas 90 x 120 cm 34 5 February Flowers The figurative canvases depict confident, Combining a vibrant colour scheme and 2021, Acrylic on canvas steady women, controlled and empower- animal print patterns, her semi- abstract 200 x 120 cm ed in their beauty, intelligence and backgrounds are at one with her highly subtle allure, affirming ownership over pigmented skin-toned figures as they Courtesy of the artist and 2 their own body and sexual nature. fuse into a unique sensual dreamscape. ADA | contemporary art gallery

Zandile Tshabalala was born in 1999 in Soweto, South Africa. Currently com- pleting her (BA) FINA, Tshabalala creates a distinct visual narrative and artistic expression by challenging and decon-

| Accra structing art historical canons of repre- sentation – recurrent motives which often margin-alize and obliterate the Black female figure. Struck by this persistent absence or subtle exclusion of Black women, she investigates the ways in which they have been and continue to be depicted, interrogating alternate forms of portrayal. Guided by this analytic yet deeply personal impulse, she challenges existing representations which have come to prevail. In their place, she sheds light on the numerous ways, states and postures, in which Black women can be represented – whether real or entirely constructed. 5 www.ada-accra.com International 21.02.2021 > 20.06.2021 Art Exhibitions 2021

Opposite page David Hockney Hockney | Van Gogh Woldgate Vista 2005, Oil on canvas 1 The Joy of Nature Collection of the artist

The Museum of Fine Houston Arts Inaugurated in 2019 by the Van Gogh Museum in Amsterdam, this exhibition will be the first time an American museum will examine the common ground between Hockney (born 1937) and Van Gogh (1853-1890). It will reveal Van Gogh’s unmistakable influence on Hockney’s work through a collection of 57 carefully selected landscape pain- tings and drawings by the two artists. Although separated in time and space, Hockney and Van Gogh are united by a shared fascination with nature, bold use of colour, and experimentation with perspective. 2

1 David Hockney Kilham to Langtoft II 2005, Oil on canvas Collection of the artist 2 David Hockney The Arrival of Spring in Woldgate, East Yorkshire 2011, Oil on canvas Gift of David Hockney with support of Centre Pompidou 3 David Hockney May Blossom on the 3 Roman Road 2009, Oil on canvas Each crafted a painterly world that is The central David Hockney works Collection of the artist utterly individual and true to himself, selected for this exhibition were 4 yet offers immense universal appeal. painted in the 2000s in the Yorkshire Vincent van Gogh The exhibition brings together forty- Wolds, where Hockney returned after The Harvest seven of David Hockney’s vibrant works – almost 40 years in Los Angeles to visit 1888, Oil on canvas ranging from intimate sketchbook his ailing mother and a terminally ill 73.4 x 91.8 cm studies to monu- mental paintings, as friend. There, he executed landscapes Van Gogh Museum, well as his experimental videos and iPad en plein air, revealing through Amsterdam drawings – alongside ten carefully observations of the changing seasons chosen paintings and drawings by how light, space, and nature are 4 Vincent Van Gogh. constantly in flux. www.mfah.org International 27.02.2021 > 30.03.2021 Art Exhibitions 2021

Emily Mae Smith

1 Speculative Objects

Galerie Rodolphe Janssen Galerie Painting is often seen as an act of thaumaturgy – an act of working form into wonders. This process is similarly performed through the material manipulation of paint on a canvas.

As space akin to a site of piety often reserved for the veneration of the holy, or as a container for associated artifacts of praxis, the artist’s studio is considered a sacred space for studied acts of speculation and imagination. A place for giving form to ideas, equal parts conceptual maneuvering, visual expression and ardent periods of 5 isolation. Similar to the lone sorceress breathing life into a broom as assistant Opposite page to her bidding, the artist employs equal The Studio tactics of imbuing objects with (Speculative Objects) speculative tools for critical, and at times 2021, Oil on linen individual, reflection. 213.4 x 170.2 cm 1 The Brush and The Flame 2021, Watercolour and ink Brussels on paper 2 The Field, The Gleaner and Me 2021, watercolour and ink on paper 14.6 x 20.3 cm 3 2 3 Brush with Flame 2021, Oil on linen In the exhibition, the paintings of Emily Smith utilizes the broom’s objectivity to 170.2 x 129.5 cm Mae Smith evoke a transfiguration of art address the perception of women in art 4 historical allusions that harmoniously, and to act out roles of historical feminini- Taste Test while humorously, coexist by maintain- ty. In this new body of work Smith turns 2021, Oil on linen ing each referent’s specific legibility. her chosen avatar towards the represen- 25.4 x 20.3 cm Throughout the artist’s body of work the tation of the painter, a role Smith herself 10.2 x 15.2 cm (unframed) broom becomes a form repeatedly equally enacts as a subject. The broom 5 transposed as a variety of subjects. has become an instrument to imbue Sizzler It is a tool for both the cleaning and codified notions of femininity without 2021, oil on linen 4 cleansing of space, a token of renewal. explicitly rendering the female form. 25.4 x 20.3 cm www.rodolphejanssen.com International 27.02.2021 > 13.06.2021 Art Exhibitions 2021

Opposite page Extra Ordinary O Louis Guglielmi Tenements Magic, Mystery & Imagination 1939, Oil on canvas 90.2 x 64.8 cm 1 in American Realism Georgia Museum of Art 1 Georgia Museum of Art Georgia Museum of Art ‘Extra Ordinary’ surveys a range of George Ault American artists who embraced realism, Black Night: Russell’s Corners representation and classical artistic 1943, Oil on canvas techniques in the face of the rising tide 45.7 x 24 61.2 cm of abstraction at mid-century. The show Courtesy of the Pennsylvania is drawn primarily from two private Academy of the Fine Arts collections with holdings in the magical 2 realist genre, as well paintings in our Eldzier Cortor own collection by Paul Cadmus, O Louis Southern Landscape Guglielmi, John Brock Lear, and others. 1941, Oil on Masonite It takes as its point of departure the 1943 87 x 66 cm show ‘American Realists & Magic Realists’ Virginia Museum of Fine Arts, at the Museum of Modern Art. Richmond 3 Peter Blume South of Scranton 1930, Oil on canvas 71 x 50.8 cm Vero Beach Museum of Art, 4 Charles Rain

Athens The Eclipse 2 1946, Oil on panel 45.7 x 61 cm The Schoen Collection: Magic Realism 5 Helen Lundeberg Selma 1957, Oil on canvas 76.2 x 61 cm Louis Stern Fine Arts and the Feitelson/ Lundeberg Art 2 3 Foundation

By bringing together significant works prevailing in the American art world by Ivan Albright, Paul Cadmus, Philip during this period highlights a wider Evergood, Jared French, Henry Koerner, constellation of artists – including such George Tooker and John Wilde, along women as Gertrude Abercrombie and with a number of lesser known artists, Honoré Sharrer, such artists of colour as ‘Extra Ordinary’ reveals the difficulty of Eldzier Cortor and Hughie Lee-Smith, categorizing this eccentric group of and other artists from farther-flung painters into a single style – ‘magic regions such as Everett Spruce and 4 realists’. The extreme eclecticism Patrick Sullivan. 5 www.georgiamuseum.org International 03.03.2021 > 26.03.2021 Art Exhibitions 2021

Michael Upton

1 1938-2002

David Messum Fine Limited Art Michael Upton ‘barfly, raconteur, name-dropper and beautiful child of the Sixties’, as one old friend recalled him …

And yet Upton’s subdued, carefully crafted paintings and watercolours seem to reveal little of the extraordinary man behind them. The work from the second half of his career, the 1980s and 1990s, which makes up the body of this new exhibition, sits upon deep, almost unexpected layers of innovation and experience that only careful study of his life and work fully reveals. Exploring his 5 origins and development, experiments and changing processes as an artist 1 across the course of four decades – gives Telephones, a remarkable window into his practice Lots More! and process, and into the mind of a man Oil on board who spent his life searching for ways in 20 x 28 cm which the modern artist might properly 2 reflect the modern environment. It’s like Large Northern Town a lesson in British art history through the Oil on board second half of the twentieth century, 52 x 86 cm filled with the famous names that dot 3 Upton’s career from its very beginning City Window I up to his premature death in 2002. (Birmingham)

London Oil on board 36 x 22 cm 4 Metro VIII Oil on board 19 x 28 cm 5 London Garden II Oil on board 2 3 29 x 23 cm

Back Yards, New York Upton’s interest in urban subjects often Upton moved more towards the colour- All works Oil on board evokes the subtle colour and vision of ful abstraction of Hitchens, using blocks © Michael Upton and courtesy 38 x 38 cm Sickert or Coldstream. They are, none- of solid colour. This was to be seen in the artist and Messum Fine Art theless, filled with an appreciation for the many watercolours that formed an Limited, London & Marlow 4 the evocative beauty. In his landscapes important part of his later output.

www.messums.com International 04.03.2021 > 02.04.2021 Art Exhibitions 2021

3 Blue Moon 2020, Woodcut printed in Eileen Cooper colours on Japanese paper by Blackbird Editions, London 3 Nights at the Circus Sheet: 24 x 31 cm Sims Reed Gallery Sims Reed Gallery London 4 7

Angela Carter’s novel ‘Nights at the 4 Circus’ formed the point of departure for Little Dancer 1 Eileen Cooper’s new exhibition. The 2020, Collage with linocut, show shares the same name as Carter’s etching, screenprint, mono- book, which weaves fairy tales into print and hand-colouring magical realism – themes that frequently 38 x 26 cm appear in Eileen’s work. Revisiting the 5 novel elicited deep connections that The Ring Master tied Carter’s characters with imagery in 2019, Collage with linocut, Eileen’s work and subconscious. A very monoprint, screenprint and personal interpretation of the story is gouache told through Eileen’s eyes. 38 x 25.5 cm 6 A colour palette is established and paves Kissing Couple the way for Eileen to create handmade, 2020, Linocut printed in screenprinted papers, which are then colours by Blackbird Editions, torn, cut, layered and assembled as ‘back- London 1 | 2 drops’ for the composition. 5 28 x 37.5 cm 7 1 2 This way of working involves a mixture Vibrant red, blue and ochre tones form Dance Little Pig Dark Angel Arieliste of printmaking, flat expanses of colour the colour palette for the present 2020, Collage with linocut, 2019, Collage with linocut, 2019,Collage with linocut, and drawing, collaged together to pro- exhibition. These colours resonate with etching and monoprint monoprint and gouache monoprint, screenprint and duce unique works. This has become a her personal memories of the circus and 38 x 26 cm 38 x 25.5 cm hand-colouring new way of working for Eileen, a process create a visual ambiance for the story’s 38 x 25.5 cm 6 first seen at her 2019 show ‘Short Stories’. setting. All images © Eileen Cooper www.simsreed.com International 11.03.2021 > 24.04.2021 Art Exhibitions 2021

Jim Shaw

1 Before & After Math

Metro Pictures Metro Pictures presents eight new paintings and five videos by Jim Shaw. The paintings are all made on found theatrical backdrops, a signature of the artist’s, with two that incorporate three-dimensional sculptural elements. Shaw’s work draws from an expansive breadth of references and idiosyncratic associations to present a surrealistic take on American consumer culture. The pastiche of vintage film, advertising, and television imagery that Shaw poignantly combines in these works engenders

New York them with a pervasive sense of nostalgia and critique for a mythologized, bygone era of American history. 5

Jim Shaw was born in Michigan in 1952, Opposite page and lives and works in Los Angeles. He It's for You was the subject of a major retrospective, 2021, Hair and acrylic on muslin The End is Here, at the New Museum, 121.9 x 152.4 cm New York, in 2015 and participated in the 2 55th Venice Biennale in 2013. Jim Shaw 2 Alt Right Myths #3 Frankfurt Schoolhouse Rocks! 2020, Acrylic on muslin 127 x 101.6 cm 3 Lovely on the Water 2021, Acrylic on muslin 195.6 x 121.9 cm 4 Splendor in the Grass 2021, Acrylic on muslin 86.4 x 116.8 cm 5 2 3 Long About Now 2021, Acrylic on muslin His work has been featured in important Museum of Modern Art, New York; 121.9 x 91.4 cm exhibitions at the Walker Art Center, Centre Pompidou, Paris; and the Minneapolis; Los Angeles County Museum of Contemporary Art, Los Courtesy of the artist and 4 Museum of Art; New Museum, New York; Angeles. Metro Pictures, New York www.metropictures.com International 11.03.2021 > 24.04.2021 Art Exhibitions 2021

Opposite page Lee Krasner Seated Figure 1938-39, Oil and collage on linen 1 Collage Paintings 1938-1981 63.5 x 45.7 cm

Kasmin Gallery Kasmin Gallery 1 Lee Krasner, Springs, NY (Not on show) Photo by Irving Penn, 1972 © The Irving Penn Foundation 2 Imperfect Indicative 1976, Collage on canvas 198.1 x 182.9 cm 3 Untitled 1954, Oil, glue, canvas and paper collage on Masonite 122 x 102 cm New York Private Collection, New York City 2 4 To the North Featuring several masterpieces from the 1980, Oil and paper collage 1955 debut of Krasner’s collage paintings on canvas at the Stable Gallery, as well as signifi- 148.6 x 162.6 cm cant works from the artist’s 2019-21 5 traveling European retrospective, this The Farthest Point exhibition provides American audiences 1981, Oil and paper collage with the opportunity to further examine on canvas one of Lee Krasner’s most innovative 144.1 x 94.6 cm practices. Throughout her indelible career, Krasner’s tireless and fierce self- All works: examination compelled the artist to © 2021 Pollock-Krasner destroy previous works and reconstitute Foundation / Artists Rights Society their elements into new compositions. 3 (ARS), New York.

This practice of reclaiming past works of Included in the show are works from the her own, as well as those of her husband, Stable Gallery 1955 exhibition, which Jackson Pollock, resulted in many of Clement Greenberg would later proclaim Krasner’s most novel bodies of work in as a ‘major addition to the American art which elements of painting, drawing, scene of the era.’ Reviewing the show, and collage coexist in dramatic composi- painter Fairfield Porter remarked, ‘When tions. Increasingly regarded as one of nature is photographed in detail, its the most philosophical and unwavering orderliness appears: Krasner’s art, which pioneers of the Abstract Expressionist seems to be about nature, instead of movement in America, Lee Krasner’s making the spectator aware of a grand collage paintings represent some of the design, makes [them] aware of a subtle artist’s most conceptual and emotionally disorder greater than [they] might 4 charged works. otherwise have thought possible’. 5

www.kasmingallery.com International 18.03.2021 > 25.07.2021 Art Exhibitions 2021

Opposite page Cubism in Colour Still Life with Newspaper 1916, Oil on canvas 1 The Still-Lifes of Juan Gris 73.7 x 60.3 cm

Dallas Museum of Art Dallas Museum of Art Born José Victoriano Carmelo Carlos 1 González Pérez in Madrid, Juan Gris Guitar and Fruit Dish (1887-1927) was one of the primary 1918, Oil on canvas contributors to the development of 60 x 73 cm Cubism in the early 20th century. 2 The exhibition highlights the artist’s Newspaper and Fruit Dish pioneering and revolutionary con- 1916, Oil on canvas tributions to the Cubist movement by 93.5 x 61 cm focusing on his fascination with subjects 3 drawn from everyday life. Through Guitar and Pipe nearly 40 paintings and collages that 1913, Oil and charcoal span all major periods of the artist’s on canvas evolving practice. 65.1 x 50.2 cm Dallas

2 3 5

The exhibition reveals thetransformation increasingly abstract and dynamic 4 of Gris’s innovative style and principal compositions characterized by complex The Painter’s Window motifs from 1911 until 1926, one year patterns and dazzling colours applied in 1925, Oil on canvas before his tragically early death at age 40. daring and novel combinations. Juan 99.7 x 80.6 cm His exquisite compositions explore the Gris drastically reinvented his style once 5 boundary between abstraction and more between 1916-20, adopting a more Still Life with Flowers representation, tension and stasis, colour sombre palette, simplifying both his 1912, Oil on canvas and form. From about 1913 to early 1916, motifs and the organizational structure 112.1 x 70.2 cm Gris experimented with trompe-l’oeil, of his compositions, and seeking a 4 collage, and Pointillist techniques in greater fusion of subject and ground. www.dma.org International 07.03.2021 > 08.08.2021 Art Exhibitions 2021

Soutine| de Kooning 3 Conversations in Paint h ansFudto Foundation Barnes The The expressive force of Chaïm Soutine’s 1 paintings, coupled with his image as a Chaïm Soutine struggling bohemian artist living in Woman in Pink Paris during the interwar years, impart- c1924, Oil on canvas ed a particular influence on a new 73 x 54.3 cm generation of postwar painters in the Saint Louis Art Museum . 2 Chaïm Soutine Soutine was viewed by many as a herald The Little Pastry Cook of American abstract expressionism, 1922–23, Oil on canvas and his gestural, richly impastoed can- 73 x 54 cm vases were presented as an antecedent Musée de l’Orangerie, Paris for contemporary American painting. 3 Chaïm Soutine Landscape with House and Tree c1920–21, Oil on canvas 55 x 73 cm) The Barnes Foundation, Philadelphia 4

Philadelphia Willem de Kooning Queen of Hearts 1943–46, Oil and charcoal on fiberboard 117 x 70 cm Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington 5 Willem de Kooning Woman II 1 | 2 4 5 1952, Oil on canvas 149.9 x 109.3 cm This show considers how Soutine’s work He, more than any other artist of that The Museum of Modern Art, had a decisive impact on de Kooning, time, understood the tension between New York especially following Soutine’s posthu- the opposing poles in Soutine’s work: 6 mous retrospective at MoMA in 1950, a search for structure and a passionate Willem de Kooning which de Kooning undoubtedly visited. connection to art history. De Kooning Untitled XIII In 1977, de Kooning declared:‘I think I was the only abstract expressionist who 1975, Oil on canvas would choose Soutine [as my favourite continued to praise Soutine and to 221.6 x 195.6 cm artist]… I’ve always been crazy about credit him with being important for the Yale University Art Gallery, 6 Soutine – all of his paintings.’ development of his own work. New Haven

barnesfoundation.org