DOCSLIB.ORG

03 – 06 March 2011 )

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
03 – 06 March 2011 ) FAIR PROGRAM THE ARMORY SHOW ( 03 – 06 MARCH 2011 ) TABLE OF CONTENTS I ERIK BULATOV P03 II SOPHIE CALLE P15 II WILLIAM CORDOVA P20 III WIM DELVOYE P28 IV THOMAS HIRSCHHORN P34 V ILYA KABAKOV P42 VI JITISH KALLAT P45 VII JON KESSLER P49 VIII ENRIQUE MARTINEZ CELAYA P54 IX VIK MUNIZ P58 X NEDKO SOLAKOV P65 XI ENA SWANSEA P70 ERIK BULATOV with sales price Dans le train, 2006 Oil on canvas 33 x 46 cm | 12.99 x 18.11 in # BULA0047 ERIK BULATOV with sales price Mon bus s’en va, 2003 Crayon on paper, image size 20 x 20 cm 29,7 x 30 cm | 11.69 x 11.81 in # BULA0048 ERIK BULATOV with sales price La voûte - La pente, 2001 Crayon on paper, image size 20 x 20 cm 29 x 28 cm | 11.42 x 11.02 in # BULA0049 ERIK BULATOV with sales price Quoi? Où? Quand?, 2005 Crayon on paper, image size 20 x 20 cm 29 x 28 cm | 11.42 x 11.02 in # BULA0050 ERIK BULATOV with sales price Au aéroport, 2008 Crayon on paper, image size 21,7 x 15 cm 28,2 x 21 cm | 11.1 x 8.27 in # BULA0051 ERIK BULATOV with sales price Paradis, 1994 Crayon on paper, image size 22 x 18 cm 34 x 28 cm | 13.39 x 11.02 in # BULA0052 ERIK BULATOV with sales price Notre temps est venu, 2008 Crayon on paper, image size 19 x 22 cm 28 x 30 cm | 11.02 x 11.81 in # BULA0055 ERIK BULATOV with sales price Notre temps est venu, 2009 Crayon on paper, image size 20 x 22 cm 27 x 29,5 cm | 10.63 x 11.61 in # BULA0056 ERIK BULATOV with sales price D’ici - là-bas, là-bas, de là - ici, 1999/ 2001 Crayon on paper, image size 12 x 56 cm 20 x 58 cm | 7.87 x 22.83 in # BULA0057 ERIK BULATOV with sales price Là-bas, la ,ici; ici-là-bas; celui-ci, celui-la; là-bas, de là, 2001 Crayon on paper, image sizes 18 x 20 cm, 16 x 30 cm, 18 x 18 cm, 19 x 19 cm 42 x 58 cm | 16.54 x 22.83 in # BULA0058 Erik Bulatov - Available Works Erik Bulatov Horizontale III, 1966-2005 Oil on canvas 140 x 140 cm | 55.12 x 55.12 in # BULA0016 Erik Bulatov Automne, Boulevard Sebastopol, 2010 Oil on canvas 120 x 80 cm | 47.24 x 31.5 in # BULA0059 Erik Bulatov O, 2008 Crayon on paper framed 26 x 35,5 x 4 cm | 10.24 x 13.98 x 1.57 in # BULA0038 POTSDAMER STRASSE 96 D - 1 0 8 7 5 BERLIN T E L + 4 9 3 0 2 0 6 1 3 8 7 0 FAX + 4 9 3 0 2 0 6 1 3 8 7 2 0 WWW.ARNDTBERLIN.COM [email protected] THE ARMORARMORYARMORYY SHOW PIERPIERPIER 94 BOOTH 1103 ERIK BULATOVBULATOV born in 1933 in Sverdlovsk, Russia, lives and works in Paris Erik Bulatov numbers, along with Ilya Kabakov, among a small but significant group of Russian artists who, at a remove from the governmental regulations of the Soviet art system, attained completely independent forms of artistic expression. Erik Bulatov’s drawings and paintings have an extraordinary coherence. His unique, stringent pictorial system was first expressed in his word pictures of the 1970s, where he analyzed the interplay of contrasting symbolic systems, such as language and images or abstraction and illusion – a theme he is still concerned with today. The meaning of his work and the symbolic codes he uses are products of his cultural background. Bulatov lived most of his life in Russia, only moving to Paris in 1991, and the emblems and typography of socialist glorification are unmistakable themes throughout his oeuvre. He attended the Moscow School of Painting, Sculpture and Architecture and then the Surikov Art Institute between 1947 and 1958, but only fully developed his visual repertoire within the sphere of unofficial art and was almost entirely unexposed to new international artistic trends. Despite difficult working conditions, Bulatov did not emigrate, but continued to develop his work in Russia until the collapse of the Soviet Union, when he moved to France. Bulatov’s paintings can be situated in the realm of political art, despite their lack of unequivocal political or ideological messages. His particular modes of artistic expression are bound to a particular time and place, while also giving rise to multiple visual associations. It is characteristic of Bulatov’s manner of political commentary that he subversively unites opposing impulses. His paintings leave the viewer undecided as to whether this is a relieved or a yearning look into the past and the defunct communist system. Bulatov can therefore be seen as one of the most important living artists from Russia and Eastern Europe. CVCVCV Erik Bulatov is a Russian artist born in Sverdlovsk in 1933 and raised in Moscow. He studied painting at the Surikov Art Institute in Moscow, graduating in 1958. He began working as a children’s book illustrator with friend and collaborator, Oleg Vassiliev for which he won numerous awards. His works have appeared in nearly every important exhibition on 20th century Russian art, including “RUSSIA!” at the Guggenheim Museums in New York (2005) and Bilbao (2006), and “Berlin- Moscow / Moscow-Berlin 1950–2000”, Tretyakow-Galerie, Moskau (2003), and Martin-Gropius- Bau, Berlin (2004), or „Traumfabrik Kommunismus. Die visuelle Kultur der Stalinzeit“, Schirn Kunsthalle, Frankfurt / Main (2003). He was also featured at the 43rd Venice Biennale (1988) and the Third Moscow Biennale (2009). His solo exhibitions have appeared at mamco – Musee d’art moderne et contemporain in Geneva (2009/2010) and at the Musée d’Art Moderne de la Ville de Paris (2007), at the kestnergesellschaft, Hannover (2006), and the Tretyakow-Galerie, Moskau (2003 and 2006). SOPHIE CALLE with sales price Wait For Me, 2010 from the series: Les Autobiographies Digital print, aluminium, text, frames (x2) 170 x 100 cm | 66.93 x 39.37 in + 50 x 50 cm | 19.69 x 19.69 in # CALL0335 SOPHIE CALLE with sales price Wait For Me, 2010 from the series: Les Autobiographies Digital print, aluminium, text, frames (x2) 170 x 100 cm | 66.93 x 39.37 in + 50 x 50 cm | 19.69 x 19.69 in # CALL0335 Sophie Calle - Available Works Sophie Calle North Pole / Pôle nord variable from 7 1/4 feet x 16 1/4 feet to 26 1/4 feet, 2009 1 Light box, 3 sandblasted porcelain plaques, 1 video screen, 7 colour photographs, framed edition Edition 1/5 englisch + 1AP # CALL0310 Sophie Calle Chromatic Diet - Installation view, 1997 7 digital prints (6: 30x30cm, 1 50x73,5 cm, all framed), 7 menus holders, 7 menu cards, wooden board (max 500cm when installed), 1 book (Leviathan by Paul Auster) each 0 x 0 cm | 0 x 0 in edition 2/5 engl Sophie Calle Ecrivain public / Public letter writer, Rafaèle Decarpigny, 2007 from the series: Prenez soin de vous 1/2: Photo 113 x 140 cm, Text 53 x 53 cm edition 1/3 + 1AP English # CALL0319 Sophie Calle To Victor Hasselblad, 2010 from the series: Les Autobiographies Digital print, aluminium, text, frames (x2) 170 x 100 cm | 66.93 x 39.37 in + 50 x 50 cm | 19.69 x 19.69 in # CALL0336 Sophie Calle Historienne du XVIIIème / Historian of the eighteenth century, Arlette Farge, 2007 from the series: Prenez soin de vous 1/2: Photo: 83 x 103 cm, Text: 70 x 103 cm edition 2/3 English; edition of 3 + 1 AP # CALL0246 Sophie Calle Juge / Judge, X , 2007 from the series: Prenez soin de vous 1/2: Photo: 123,3 x 83 x 4 cm / 48,54 x 32,68 x 1,57 in, Text: 103,3 x 143 x 4 cm / 40,67 x 53,3 x 1,27 in 103,3 x 143 x 4 cm | 40.67 x 56.3 x 1.57 in edition 2/3 English; edition of 3 + 1 AP Sophie Calle Officier traitant de la DGSE / French intelligence officier, Louise, 2007 from the series: Prenez Soin de Vous Photo 53 x 65,5 cm / 20.87 x 25.78 in Text 31,1 x 32,8 cm / 12.24 x 13 in edition edition of 3 +1AP # CALL0321 Sophie Calle Universitaire, 2007 from the series: Prenez soin de vous Photo 99x123cm Text 40x123cm edition 1/3 English # CALL0327 POTSDAMER STRASSE 96 D-10875 BERLIN TEL +49 30 206 138 70 FAX +49 30 206 138 720 WWW.ARNDTBERLIN.COM [email protected] THE ARMORY SHOW PIER 94 BOOTH 1103 SOPHIE CALLE born in 1963 in Paris; lives and works in Malakoff, France Each “Autobiography” consists of two elements, combining a text with a black/white or colour photography. Sophie Calle takes us through various phases of her life and work: her childhood and youth in Paris; the stories about her husband, the arguments and rituals they share and continue to share even after their break up and divorce; the famous “Sleepless Night” Sophie Calle spent on top of the Eiffel Tower, asking visitors to tell her stories that would prevent her from falling asleep… More than any other series, the “Autobiographies” reveal how Sophie Calle’s life and work form a unified whole, an uncommon congruity which both fascinates and irritates her public. The French artist’s work inhabits a peculiar space between fact and fiction. She crosses private boundaries to explore the hidden codes which shape our interaction; meanwhile, she exploits public spaces by investing them with a sense of intimacy, such Paris-Roissy airport, where she solemnly stages her own wedding dream, wearing a beautiful red dress (“Dream Wedding“, 2001).
Load more

Recommended publications
  • Fall/Winter 2014
    publications + distribution fall/winter 2014 FALL/WINTER 2014 Frontlist 3 New Publisher Backlist 58 Backlist 61 Index 127 Order & Trade Information 134 rampub.com Architecture Architecture FORENSIS The Architecture of Public Truth Forensis (Latin for “pertaining to the forum”) engages the testimony of material objects—such as bones, ruins, toxic substances—as a method of central importance in interpreting how subjects are policed and governed by their states. Developed through the Forensic Architecture Project by theorist Eyal Weizman at Goldsmiths College, University of London, Forensis seeks to expand the scope of contemporary forensics to include a broader historical, theoretical, political and aesthetic context. At the heart of the book is a methodological experiment in which participating architects, artists, filmmakers, lawyers, and theorists employed new technologies and spatial research methods to investigate contemporary issues such as border regimes, urban warfare, and climate change. Investigations were undertaken in Pakistan, Palestine, the Amazon basin, Guatemala, Chile, Bangladesh, Yemen, the United States and the former Yugoslavia among others places. Evidence of state or corporate violence was unearthed for use by prosecution teams, civil society organizations, activist networks, human rights groups, and the United Nations. Innovative investigations aimed at producing new kinds of evidence in this rich collection of essays and research reports suggest many new ways that international prosecutorial teams, political organizations,
    [Show full text]
  • Sculptor Nina Slobodinskaya (1898-1984)
    1 de 2 SCULPTOR NINA SLOBODINSKAYA (1898-1984). LIFE AND SEARCH OF CREATIVE BOUNDARIES IN THE SOVIET EPOCH Anastasia GNEZDILOVA Dipòsit legal: Gi. 2081-2016 http://hdl.handle.net/10803/334701 http://creativecommons.org/licenses/by/4.0/deed.ca Aquesta obra està subjecta a una llicència Creative Commons Reconeixement Esta obra está bajo una licencia Creative Commons Reconocimiento This work is licensed under a Creative Commons Attribution licence TESI DOCTORAL Sculptor Nina Slobodinskaya (1898 -1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 TESI DOCTORAL Sculptor Nina Slobodinskaya (1898-1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 Programa de doctorat: Ciències humanes I de la cultura Dirigida per: Dra. Maria-Josep Balsach i Peig Memòria presentada per optar al títol de doctora per la Universitat de Girona 1 2 Acknowledgments First of all I would like to thank my scientific tutor Maria-Josep Balsach I Peig, who inspired and encouraged me to work on subject which truly interested me, but I did not dare considering to work on it, although it was most actual, despite all seeming difficulties. Her invaluable support and wise and unfailing guiadance throughthout all work periods were crucial as returned hope and belief in proper forces in moments of despair and finally to bring my study to a conclusion. My research would not be realized without constant sacrifices, enormous patience, encouragement and understanding, moral support, good advices, and faith in me of all my family: my husband Daniel, my parents Andrey and Tamara, my ount Liubov, my children Iaroslav and Maria, my parents-in-law Francesc and Maria –Antonia, and my sister-in-law Silvia.
    [Show full text]
  • FRONT DESK / BACK Office
    FRONT DESK / BACK OffIce The secret world of galleries in xxx candid pictures and two texts. There’s something not quite the past five years, but allready right about commercial galleries. since the 1990s I look at the They are a kind of schizophrenic back rooms – the other side of space. On the one hand they the art machine – and became explicitly present things with an obsessed by the understatement intellectual and immaterial val- of the façades, the messy, clut- ue, while on the other hand it is tered desks in the small galleries clear that one could eventually and the cold professionalism of possess these things; the expe- the major players’ offices, and, rience has a price tag attached. above all, the uniformity of the They represent two different re- design. They all have the same alities or systems: the discourse MacBooks and iMacs, the same and the market. The discourse desk lamp by Michele de Lucchi is more at home in art institu- and the same designer furniture tions and artist- and curator-run by Charles & Ray Eames, Arne spaces, where looking at art is Jacobsen and Dieter Rams. not corrupted by finance. Selling Have you ever taken a good is, of course, the commercial look at the front desks? It was gallery’s main function, but the at Air de Paris that I first saw a discourse is equally important. gallery position its office partly It is for this reason that looking as a front desk in the midst of and buying are kept apart and the white cube.
    [Show full text]
  • B. 1973 in Seoul, South Korea; Lives and Works in Baltimore, New York, and Seoul
    Mina Cheon CV 2021 Mina Cheon (천민정) (b. 1973 in Seoul, South Korea; lives and works in Baltimore, New York, and Seoul) Mina Cheon is a new media artist, sCholar, eduCator, and activist best known for her “Polipop” paintings inspired by Pop art and Social Realism. Cheon’s practice draws inspiration from the partition of the Korean peninsula, exemplified by her parallel body of work created under her North Korean alter ego, Kim Il Soon, in which she enlists a range of mediums inCluding painting, sCulpture, video, installation, and performanCe to deConstruCt and reConCile the fraught history and ongoing coexistence between North and South Korea. She has exhibited internationally, including at the Busan Biennale (2018); Baltimore Museum of Art (2018); American University Museum at the Katzen Arts Center, Washington, DC (2014); Sungkok Art Museum, Seoul (2012); and Insa Art SpaCe, Seoul (2005). Her work is in the colleCtions of the Baltimore Museum of Art; Smith College Museum of Art, Northampton; and Seoul Museum of Art, Seoul. Currently, she is working on her participation for the inaugural Asia SoCiety Triennial 2020-2021 titled, “We Do Not Dream Alone.” Her digital interactive art piece, EatChocopieTogether.com for global peaCe, was launChed on August 15, 2020 and will remain active for virtual participation as a lead up to the physical exhibition of Eat Chocopie Together at the end of the Triennial. Mina Cheon is the author of Shamanism + CyberspaCe (Atropos Press, Dresden and New York, 2009), contributor for ArtUS, Wolgan Misool, New York Arts Magazine, Artist Organized Art, and served on the Board of Directors of the New Media CauCus of the College Art AssoCiation, as well as an AssoCiate Editor of the peer review aCademiC journal Media-N.
    [Show full text]
  • Shapiro Auctions
    Shapiro Auctions RUSSIAN EUROPEAN AMERICAN FINE ART & ANTIQUES Saturday - September 29, 2012 RUSSIAN EUROPEAN AMERICAN FINE ART & ANTIQUES 1: A MONUMENTAL AND VERY RARE ENGRAVING ILLUSTRATING A USD 10,000 - 15,000 A MONUMENTAL AND VERY RARE ENGRAVING ILLUSTRATING A VIEW OF THE SOLOVETSKII MONASTERY, 1765. Original tool engraving by Dmitry Pastukhov, mid-18th Century copper engraver, printed at the Solovetskii Monastaery, 1320 x 850 mm with margins, printed from seven copper plates, depicting a view of the Monastery in the center, with large figures of SS. Zosima and Savvaty overlooking the Monastery and surrounding buildings, the borders depicting scenes from the lives of SS. Zosima and Savvaty, signed and inscribed with date in Cyrillic in the plate bottom left, 'Shtikhoval na medi Dmitrei Pastukhov 765 pechatan v toy zhe lavry'. Relined on acid-free Japanese paper. Good state, good condition. REFERENCES: N. Sobko, "Slovar Russkikh khudozhnikov," St. Petersburg, 1899, Vol. 3, p. 50; D. Rovinsky, "Podrobnyi slovar' Russkikh graverov XVI-XIX vekov," St. Petersburg, 1895, Vol. 2, p. 759. 2: [XVIII CENTURY RUSSIAN LITERATURE AND HISTORICAL PAM USD 5,000 - 6,000 [XVIII CENTURY RUSSIAN LITERATURE AND HISTORICAL PAMPHLETS, 1771-1790]. A sammelband of nine works, bound in contemporary Russian 1/4 calf. 240 x 180 mm. Untrimmed. PROVENANCE: P.A. Efremov (bookplate); V.I. Klochkov, St. Petersburg Bookdealer (label on back endpaper). Nine very rare limited publications in good condition. Comprising: (a) V. RUBAN, "Nadpis' na vnezapnoe pribytie ego siialte'stva Grafa Alekseiia Grigor'evicha Orlova iz Arkhipelaga v Sanktpeterburg. Marta dnia 1771 goda," Saint Petersburg: Academy of Science, 1771.
    [Show full text]
  • John Rule Art Book Distribution Stocklist Stocklist
    John Rule Art Book Distribution Stocklist Stocklist SBN Title Author Format £ Status ARD_P 9781934510346 A Line in the Andes Felipe Correa and Ramiro Almeida Hb 35.00 NYP 9780982622612 Ganges Water Machine: Designing New India Anthony Acciavatti et al Hb 30.00 NYP 9781941806043 Rise Tectonic Machines! Construct Marcus Shaffer et al Pb 18.00 NYP 9781941806067 Zen Spaces in Neon Places: Reflections Vinayak Bharne Pb 30.00 NYP Atlantic Press 9780955734830 A Book Made of Tears Dean Owens Hb 9.99 9780955734823 A Postcard From The Mountains Richard Dinnis Pb 9.99 9780957154902 Authorial Illustrator: 10 Years of the Falmouth Steve Braund, Mat Osmond Pb 9.99 9780955734892 Beyond the Wire Alys Jones Pb 12.99 9780955734816 Coasters Poetry Anthology Ed. Elaine Ruth White (Ed.) Pb 9.99 9780953354382 Drawing on Water Mat Osmond Hb 11.99 9780953354344 Fried Eggs in Brine Paul Slater Hb 24.99 9780953354313 Grimm’s Fairy Tales: Three Illustrated Stories Simon Davies, Darryl de Beugny Pb 4.99 9780955734885 Micanopy Murders Elizabeth Blue Pb 9.99 9780955734847 Phantom Laura Wady Pb 9.99 9780953354399 Ratio : Pan dimensional Film Guide Thomas Barwick Pb 4.99 9780953354306 Something Amiss On The Moor Steve Braund Hb 14.99 9780955734854 Sophie’s Story Belinda Whiting Hb 9.99 9780955734861 The Case Helena Pertl Pb 5.99 9780953354337 The Funeral Barnaby Richards Pb 4.99 9780955734809 The Riddlers Steve Braund Pb 9.99 9780953354351 The Speckled Egg: Fifteen Visual Narratives Steve Braund & Michael Venning Pb 9.99 BedBury 9780955370908 Cuba: Land of Spirit James
    [Show full text]
  • 1 Life Between Two Panels Soviet Nonconformism in the Cold War Era
    Life Between Two Panels Soviet Nonconformism in the Cold War Era DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Clinton J. Buhler, M.A. Graduate Program in History of Art * * * * * The Ohio State University 2013 Dissertation Committee: Dr. Myroslava M. Mudrak, Advisor Dr. Kris Paulsen Dr. Jessie Labov Dr. Aron Vinegar 1 Copyright by Clinton J. Buhler 2013 2 Abstract Beneath the façade of total conformity in the Soviet Union, a dynamic underground community of artists and intellectuals worked in forced isolation. Rejecting the mandates of state-sanctioned Socialist Realist art, these dissident artists pursued diverse creative directions in their private practice. When they attempted to display their work publicly in 1974, the carefully crafted façade of Soviet society cracked, and the West became aware of a politically subversive undercurrent in Soviet cultural life. Responding to the international condemnation of the censorship, Soviet officials allowed and encouraged the emigration of the nonconformist artists to the West. This dissertation analyzes the foundation and growth of the nonconformist artistic movement in the Soviet Union, focusing on a key group of artists who reached artistic maturity in the Brezhnev era and began forging connections in the West. The first two chapters of the dissertation center on works that were, by and large, produced before emigration to the West. In particular, I explore the growing awareness of artists like Oleg Vassiliev of their native artistic heritage, especially the work of Russian avant-garde artists like Kazimir Malevich. I look at how Vassiliev, in a search for an alternative form of expression to the mandated form of art, took up the legacy of nineteenth-century Realism, avant-garde abstraction, and Socialist Realism.
    [Show full text]
  • Oleg Vassiliev Memory Is a Fickle Thing
    Oleg Vassiliev Memory is a fickle thing. Why do we remember some things and forget others? What is it that brings certain memories to our attention at a particular time? Artist Oleg Vassiliev has grappled with questions such as these for more than 60 years. “Memory is capricious in its choice of subjects,” he explains. “Often one recalls something quite unimportant; at first glance, it seems incomprehensible why memory retains some things and lets others go.” While it is quite common to struggle to remember certain details from our past, it is equally common for an incidental smell, sound, or object to cause some long-forgotten and seemingly insignificant memory to come flooding back with tremendous impact. At other times, memories will suddenly be re-played in our heads for no apparent reason. Oftentimes, these flashes of memory are bittersweet, for while they may take us back to a happy time in our lives, they also serve as stark reminders that the moment has passed and cannot by any amount of will be returned to us. Throughout his artistic life, Vassiliev’s central theme has been memory—how it works and how it is constructed. Vassiliev made the painting depicted on this card, Memory of Kira (2011), approximately a year after the death of his wife. Although Kira had served as the subject of a number of Vassiliev’s paintings, this one has a unique poignancy. As is often the case when we lose someone close to us, the physical absence heightens the vividness of our memories of the person lost.
    [Show full text]
  • Shapiro Auctions
    Shapiro Auctions RUSSIAN AND INTERNATIONAL FINE ART & ANTIQUES Saturday - October 25, 2014 RUSSIAN AND INTERNATIONAL FINE ART & ANTIQUES 1: A RUSSIAN ICON OF HOLY MARTYR PARASKEVA WITH LIFE USD 30,000 - 40,000 A RUSSIAN ICON OF HOLY MARTYR PARASKEVA WITH LIFE SCENES, NORTHERN SCHOOL, LATE 16TH-EARLY 17TH CENTURY, the figure of Saint Paraskeva, venerated as the healer of the blind as well as the patron saint of trade and commerce, stands in a field of flowering plants, she holds her martyr`s cross in one hand and an open scroll in the other, a pair of angels places a crown upon her head, surrounding the central image are fourteen scenes from the saint`s life, including the many tortures she endured under Emperor Antoninus Pius and the Roman governor Tarasius. Egg tempera, gold leaf and gesso on wood panel with kovcheg. Two insert splints on the back, one missing, one-half of the other present. 103 x 80 cm (40 ½ x 31 1/2 in.)PROVENANCESotheby`s, New York, June 10-11, 1981, lot 541.Collection of Bernard Winters, Armonk, New York (acquired at the above auction)Bernard J. Winters was a philanthropist and art collector who was captivated by Russian icons. Over a fifty-year period, he worked closely with Sotheby`s, Christie`s, and private collectors to cultivate his collection. His monumental icons, as well as those purchased from Natalie Hays Hammond, daughter of John Hays Hammond, diplomat, were some of his favored items. 2: A RUSSIAN ICON OF THE VENERABLE SERGIUS OF RADONEZH, USD 10,000 - 15,000 A RUSSIAN ICON OF THE VENERABLE SERGIUS OF RADONEZH, YAROSLAVL SCHOOL, CIRCA 1600, the saint depicted holding a scroll featuring an excerpt from his last words to his disciples, "Do not be sad Brothers, but rather preserve the purity of your bodies and souls, and love in a disinterested manner," above him is an image of the Holy Trinity - a reference to his Monastery of the Holy Trinity, as well as to the icon painted by Andrei Rublev under Sergius` successor, on a deep green background with a red border.
    [Show full text]
  • Marcel Dzama Born 1974 in Winnipeg, Canada
    This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Marcel Dzama Born 1974 in Winnipeg, Canada. Lives and works in Brooklyn. EDUCATION 1994-1997 B.F.A., University of Manitoba, Winnipeg, Canada SOLO EXHIBITIONS 2021 Marcel Dzama: An End to the End Times, The Savannah College of Art and Design Museum, Savannah, Georgia Marcel Dzama: The Moon is Following Me, Tim Van Laere Gallery, Antwerp [catalogue forthcoming] 2020 Marcel Dzama: Blue Moon of Morocco, David Zwirner, Paris Marcel Dzama: Pink Moon, David Zwirner Online [online presentation] 2019 Marcel Dzama: Be good little Beuys and Dada might buy you a Bauhaus, Sies + Höke, Düsseldorf Marcel Dzama: Crossing the Line, David Zwirner, Hong Kong [catalogue] 2018 Marcel Dzama: A Jester’s Dance, University of Michigan Museum of Art, Ann Arbor, Michigan Marcel Dzama: Ya es hora, Galería Helga de Alvear, Madrid 2017 Marcel Dzama: Revolution Blues, Galleri Magnus Karlsson, Stockholm Marcel Dzama: Drawing on a Revolution, La Casa Encendida, Madrid 2016 Marcel Dzama and Raymond Pettibon: Forgetting the Hand, David Zwirner, New York [limited edition zine Dzama/Pettibon] [two-person exhibition] Marcel Dzama and Raymond Pettibon: Let us compare mythologies, David Zwirner, London [limited edition zine] [two-person exhibition] Marcel Dzama: A Flower of Evil, Sies + Höke, Düsseldorf 2015 Campeonato de Guadalajara: Marcel Dzama and Eduardo Sarabia, Travesía Cuatro, Guadalajara [two-person exhibition] Marcel
    [Show full text]
  • THE INSTITUTE of MODERN RUSSIAN CULTURE at BLUE LAGOON NEWSLETTER No
    THE INSTITUTE OF MODERN RUSSIAN CULTURE AT BLUE LAGOON NEWSLETTER No. 40, August, 2000 STATUS This is the fortieth biannual Newsletter of the IMRC and follows the last issue that appeared in February, 2000. The information presented here relates primarily to events connected with the IMRC during the spring and summer of 2000. Back copies of previous Newsletters can be sent on request and, for the benefit of new readers, data on the present structure of the IMRC is given on the last page of this issue. Enquiries should be sent to: IMRC, Mail Code 4353, USC, Los Angeles, Ca. 90089-4353, USA; tel.: (213) 740-2735 or (213) 740-6120; fax: (213) 740-8550; e: [email protected]; website: http://www.usc.edu./dept/LAS/IMRC RUSSIA If you drop by a Moscow grocery-store such as the Dorogomilovskii gastronom you'll find Turkish butter, French sugar, German sausage, Chilean kiwis, Finnish smetana, Hungarian chickens, Italian tomatoes, and American porridge, all to be checked out at the express cash register instead of the high seated solid lady with the old abacus. At first glance, such a swish, international selection seems commendable, indicating an immediate accessibility to the gobal villlage and an open tolerance of imported commodities. But the impression of diversity is misleading, because you also realize that delicious Russian milk products, for example, have vanished from the shelves, that rough and ready Soviet toothpaste has surrendered to sweet Colgate, and that salubrious Georgian mineral water has been overtaken by generic sources with new and strange names such as "Holy Source".and "Acqua Buona".
    [Show full text]
  • ROBERT LONGO Born 1953, in Brookly, New York Lives and Works
    ROBERT LONGO Born 1953, in Brookly, New York Lives and works in New York EDUCATION Accademia di Belle Arti in Florence, Italy. Buffalo State College AWARDS 2005 Goslar Kaiser Ring SOLO EXHIBITIONS 2014 Gang of Cosmos, Metro Pictures, New York Strike the Sun, Petzel Gallery, New York 2013 Phantom Vessels, Galerie Thaddaeus Ropac, Salzburg 2012 The Capitol Project, The Aldrich Museum, Connecticut STAND, Capitain Petzel Gallery, Berlin 2011 God Machines, Galerie Thaddaeus Ropac, Paris Mysterious Heart, Galeria Soledad Lorenzo, Madrid 2010 Robert Longo, Kunsthalle Weishaupt, Ulm Robert Longo: Survey Exhibition 1980-2009, Museum Berardo, Lisbon 2009 No Wave, SAKS Gallery, Geneva Robert Longo: Survery Exhibition 1980-2009, Musee d’Art Moderne et d’Aty Contemporain, Nice Surrendering the Absolutes, Metro Pictures, New York Dancing With Chains On, Galerie Hans Mayer, Düsseldorf 2008 Nights Bright Days, Margo Leavin Gallery, Los Angeles Intimate Immensity, galleria Soledad Lorenzo, Madrid 2007 Children of Nyx, Metro Pictures, New York Beginning of the World, Galerie Hans Mayer, Düsseldorf 2006 The Outward and Visible Signs of an Inward and Invisible Grace, Metro Pictures, New York Ouroboros, Galerie Daniel Templon, Paris 2005 Robert Longo: Fire, Water, Rock (2003-2005), Galleria Emilio Mazzoli, Modena, curated by Richard Milazzo Something Wicked This Way Comes, Margo Leavin Gallery, Los Angeles Robert Longo: Deep Silence, Metro Pictures, New York 2004 The Sickness of Reason, Metro Pictures, New York 2003 Lust of the Eye, Galeria Soledad Lorenzo,
    [Show full text]