DOCSLIB.ORG

Powered by Julie Mehretu Lot 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

PARTICIPATING ARTISTS Manal Abu-Shaheen Andrea Galvani Yoko Ono Golnar Adili Ethan Greenbaum Kenneth Pietrobono Elia Alba Camille Henrot Claudia Peña Salinas Hope Atherton Brigitte Lacombe Leah Raintree Firelei Báez Anthony Iacono Gabriel Rico Leah Beeferman Basim Magdy Paul Mpagi Sepuya Agathe de Bailliencourt Shantell Martin Arlene Shechet Ali Banisadr Takesada Matsutani Rudy Shepherd Mona Chalabi Josephine Meckseper Hrafnhildur Arnardóttir/Shoplifter Kevin Cooley Julie Mehretu Elisabeth Smolarz William Cordova Sarah Michelson Sarah Cameron Sunde N. Dash Richard Mosse Michael Wang Sandra Erbacher Vik Muniz Meg Webster Liana Finck Rashaad Newsome Tim Wilson AUCTION COMMITTEE Waris Ahluwalia, Designer and Actor Anthony Allen, Director, Paula Cooper Gabriel Calatrava, Founder, CAL Andrea Cashman, Director, David Zwirner Brendan Fernandes, Artist Michelle Grey, Executive Creative and Brand Director, Absolut Art Prabal Gurung, Designer, Founder and Activist Peggy Leboeuf, Director, Galerie Perrotin Michael Macaulay, SVP, Sotheby's Yoko Ono, Artist Bettina Prentice, Founder and Creative Director, Prentice Cultural Communications Olivier Renaud-Clément Olympia Scarry, Artist and Curator Andrea Schwan, Andrea Schwan Inc. Brent Sikkema, Founder and Owner, Sikkema Jenkins & Co Powered by Julie Mehretu Lot 1 Mind-Wind Fusion Drawings #5 2019 Ink and acrylic on paper 26 x 40 in (66 x 101.6 cm) Courtesy of the artist and Marian Goodman Gallery, New York Estimated value: $80,000 Mehretu’s work is informed by a multitude of sources including politics, literature and music. Most recently her paintings have incorporated photographic images from broadcast media which depict conflict, injustice, and social unrest. These graphic images act as intellectual and compositional points of departure; ultimately occluded on the canvas, they remain as a phantom presence in the highly abstracted gestural completed works. Mehretu’s practice in painting, drawing and printmaking equally assert the role of art to provoke thought and reflection, and express the contemporary condition of the individual and society. Mehretu has also engaged in creative collaborations; most recently as Set Designer for Only the Sound Remains , Peter Sellars’ staging of Kaija Saariaho’s opera in 2016 commissioned by the Dutch National Opera; and MASS (HOWL, eon) , a recording and installation with artist and musician Jason Moran for Performa 2017. Julie Mehretu, (b. 1970, Addis Ababa, Ethiopia) lives and works in New York City. She received a BA from Kalamazoo College, Michigan and a Master’s of Fine Art with honors from The Rhode Island School of Design in 1997. She has received prestigious awards including the MacArthur Fellowship and the US Department of State Medal of Arts Award. Her work has been exhibited extensively in museums and biennials including the Carnegie International (2004–05), Sydney Biennial (2006), Solomon R. Guggenheim Museum, New York (2010), DOCUMENTA (13) (2012), Sharjah Biennial (2015), Museu de Arte Contemporânea de Serralves, Porto, Portugal (2017), and the 58th International Art Exhibition, La Biennale di Venezia, (2019). In November 2019 a career survey opened of Mehretu’s work at the Los Angeles County Museum of Art, and will travel to The Whitney Museum of American Art, New York; The High Museum, Atlanta, and The Walker Museum of Art, Minneapolis. Mona Chalabi Lot 2 Undulation 2020 Ink and felt tip pens on Bristol Paper 7 x 10 in (18 x 26 cm) Courtesy of the artist and Absolut Art Estimated value: $1,500 Tides caused by the gravitational pull of the moon and the sun are one of the most reliable phenomena in the word. When wind speeds are low, the rise and fall of sea waves become faster. So a gentle sea wave will happen more frequently than a stormy one. Source: Coastal Engineering, 2009 & Brysbaert, M. (2019, April 12) Mona Chalabi is a writer and artist. Her wonderfully simple, direct and affective visualizations bring to life what is often lost in text and numbers. Covering everything from body hair removal to the popularity of nose jobs in the US to voting statistics, Mona’s clear tongue-in-cheek approach to information communication strives to make sure as many people as possible can find and question the data they need to make informed decisions about their lives. This poetic work immediately slows the viewer down, and creates a portal of shifting awareness away from the mundane towards the profound, in an instant repositioning the individual within the greater context of the natural world. Mona Chalabi (b. London, England) is a data journalist, illustrator and producer who lives in New York. Chalabi studied international relations in Paris and Arabic in Jordan. Her writing has appeared in The New Yorker, The New York Times, The New York Review of Books, New York Magazine, The Guardian and many more. Her artwork has been featured at several galleries, including Tate Gallery and the Design Museum, London. As a producer and presenter, Chalabi is one half of the team that created the Emmy-nominated video series, Vagina Dispatches. Hrafnhildur Arnardóttir / Shoplifter Lot 3 Blue Bliss 2020 Synthetic fiber on wood. 20” diameter 20 x 20 x 4 in (51 x 51 x 10 cm) Courtesy of Hrafnhildur Arnardottir / Shoplifter Estimated value: $10,000 Working with both synthetic and natural hair, Shoplifter’s sculptures, wall murals and site- specific installations explore themes of vanity, self-image, fashion, identity, beauty, consumer culture and popular myth. Her fascination with hair began as a child when she saw her grandmother store one of her cut-off braids in a drawer, leading to the artist’s exploration of the medium as a material that is beautiful and comforting, yet can also spark disgust. Manipulating hair in ways both familiar – like braiding and knotting – and unfamiliar, like separating it into multi-coloured tufts and grafting it to the wall to resemble overgrowths of fungus or moss, her work appear as manifestations of excited exuberance as well as more oblique references to growth, decay and death. Hrafnhildur Arnardóttir / Shoplifter (b. 1969, Reykjavik, Iceland) lives and works in New York. Her most recent works include solo exhibitions at Kiasma - the Finnish National Gallery (2019); the National Gallery of Iceland (2017); the Walt Disney Concert Hall, Los Angeles (2017); and the Queensland Art Gallery of Modern Art, Australia (2016). Notable projects and awards include her large window installation created in collaboration with art collective assume vivid astro focus (avaf) for The Museum of Modern Art, New York (2008); The Nordic Award in Textiles; and The Prince Eugen Medal for artistic achievement from the King and Royal Crown of Sweden (2011). Hrafnhildur Arnardóttir was part of LMCC’s Workspace 2006 - 2007 and Swing Space 2008 artist residency programs. Vik Muniz Lot 4 Seaward Skerries, after Anders Zorn (Pictures of Wire) 2013 Archival ink jet print 16 x 20 in (40.6 x 50.8cm), work created specially to benefit LMCC Courtesy of Vik Muniz and Sikkema Jenkins & Co. Estimated Value: $5,000 Vik Muniz painstakingly constructs small and large-scale objects and images out of a wide variety of commonplace materials such as string, wire, paper, dust, and garbage, in order to photograph the work and render it in two-dimensions. Interested in visual illusion as it relates to the world all around us, the artist plays on the moment when one thing turns into another, and back again, drawing out this point of realization for the viewer. This work is part of Muniz' Wire series, a collection in which the artist creates three dimensional forms out of delicately threaded and molded wire to then photograph. Often the image is an appropriation of a work by a well known artist, in this instance it is Swedish artist Anders Zorn’s etching, Seaward Skerries. The work invites one to look deeply, to double check assumptions, and to see the possibility in everything. Vik Muniz (b. 1961 São Paulo, Brazil) is best known for repurposing everyday materials for intricate and heavily layered recreations of canonical artworks. Muniz’s recent solo exhibitions were held at Gary Tatintsian Gallery, Moscow, Russia (2018); Mauritshuis, The Hague, Netherlands (2016); Taubman Museum of Art, VA (2015); and Museo de La Universidad Tres de Febrero- Buenos Aires, Argentina (2015), and his photographs are featured in many collections, including The Metropolitan Museum of Art; the Museum of Modern Art; the Tate Gallery; and the Victoria and Albert Museum. Firelei Báez Lot 5 Wayward 2020 Acrylic and oil on yupo paper 14 x 11 in (35.5 x 28 cm) Courtesy of the artist and James Cohan, New York Estimated value: $6,500 New York-based artist Firelei Báez reconfigures visual references drawn from the past to explore new possibilities for the future. The artist’s intricate works explore the ways in which personal and collective identities are shaped by inherited histories. By rendering spectacular bodies that traverse and defy boundaries, Báez carries portraiture into an in-between space where subjectivity is rooted in historical narratives as much as it can likewise become untethered by them. This vibrant new work is an extraordinary example of Báez’s layered and complex portraits. Here, fluid forms are grounded by piercing eyes that hold the gaze of the viewer in a surreal relay of connection. With remarkable skill, Báez energizes her works with powerful and emotional narratives that exist beyond linguistics, and instead reveal themselves with time across the surface of her work. Firelei Báez (b. 1981, Dominican Republic) lives and works in New York. Her recent solo exhibitions were presented by the Studio Museum, Harlem, NY; Contemporary Arts Center Cincinnati, OH; Kemper Museum of Contemporary Art, Kansas City, MO; DePaul Art Museum, Chicago, IL; Taller Puertorriqueno, Philadelphia, PA; and Utah Museum of Contemporary Art, Salt Lake City, UT. Báez is the recipient of many awards, including the Smithsonian Artist Research Fellowship (2019), Soros Arts Fellowship (2019), the United States Artists Fellowship (2019), among others.
Recommended publications
  • Awai, Nicole CV (Opens New Window)

    Awai, Nicole CV (Opens New Window)

    https://www.lesleyheller.com/artists/nicole-awai EDUCATION Master of Fine Arts, Multi-media Art, University of South Florida, Tampa, FL (1996) Bachelor of Arts, University of South Florida, Tampa, FL (1991) ACADEMIC APPOINTMENTS & RELATED EXPERIENCE 08/15- Assistant Professor, Painting & Drawing, University of Texas at Austin, Department of Art & Art History, Austin, TX 12/14 Visiting Artist/ Critic, Tyler School of Art, Temple University 9/09-5/15 Critic, Yale School of Art, Department of Painting and Printmaking, New Haven, CT 1/14-5/14 Visiting Assistant Professor, Yale School of Art, Department of Painting and Printmaking, New Haven, CT 9/12-12/12 Visiting Assistant Professor, Cooper Union, School of Art, NY 11/12 Visiting Artist/ Critic, University of Kentucky, College of Fine Arts 04/12 Visiting Artist/ Critic, Parsons, The New School, Art and Design History and Theory, Fine Arts (MFA) 1/11-5/11 Visiting Assistant Professor, Yale School of Art, Department of Painting and Printmaking, New Haven, CT 6/10 Artist/ Instructor, Norfolk Residency Program, Yale School of Art 8/18/08-5/15/09 Visiting Assistant Professor, University of Illinois at Chicago, School of Art and Art History, College of Architecture, Design and the Arts, Chicago, IL 1/08-5/08 Critic, Yale School of Art, Department of Painting and Printmaking, New Haven, CT 9/07 Visiting Artist/ Artist Talk, Parsons, The New School, Art and Design, Fine Art 1/07- 5/08 Visiting Assistant Professor, Pratt Institute, School of Art and Design, Brooklyn, NY 1/07-5/08 Adjunct Instructor, Stern College for Women, NY 8/05-5/15 Adjunct Assistant Professor, York College CUNY, Department of Performing and Fine Arts, Jamaica, Queens, NY 2/02-8/05 Artist/Educator, Whitney Museum of American Art, New York, NY Created and implemented art education programs for students (grades 3-12) based on exhibitions at the museum.
  • A Brainy Timber Heiress with a Passion for Sculpture, Virginia Wright

    A Brainy Timber Heiress with a Passion for Sculpture, Virginia Wright

    A brainy timber heiress with a passion for sculpture, Virginia Wright brought some of the nation’s best contemporary artists Museum Whatcom Jack Carver by (’40); courtesyPhoto to Western’s Outdoor Sculpture Collection By Sheila Farr (’94) Virginia Wright (right) poses with Mark di Suvero as he assembles “For Handel” in 1974. Wright bought the soaring I-beam sculpture for Western after losing out on a different di Suvero work that would eventually resurface at Dartmouth College. ow much art can you buy with a million bucks? Those are qualities that set that Virginia Wright and her late That was the question Virginia Wright faced in 1969, husband, Bagley, apart from the crowd and made them a power whenH her father, Northwest timber baron Prentice Bloedel, couple whose impact on this region’s cultural life began well gave her a million dollar endowment and a mandate to buy before Prentice Bloedel endowed the Virginia Wright Fund. public artworks for the region. Their work has since extended far beyond it. Mr. Bloedel’s gift came as a surprise: He didn’t really like For starters, Bagley Wright was president of Pentagram, the contemporary art. But he knew what made his daughter tick corporation that built that quirky tower for the 1962 Century – and that she had the passion, the knowledge and the connec- 21 World’s Fair. Who knew the Space Needle would become tions to make his investment a pretty safe bet. Seattle’s premier landmark? At a time when Seattle’s theatrical He was right. Since that time, the Virginia Wright Fund scene was nearly non-existent, Bagley helped found the Seattle has reshaped the landscape of Northwest art and provided the Repertory Theater and served as its first president.
  • Ali Banisadr / MATRIX 185 at the Wadsworth Marks Artist's First Solo

    Ali Banisadr / MATRIX 185 at the Wadsworth Marks Artist's First Solo

    FOR IMMEDIATE RELEASE Media Contact: Kim Hugo, (860) 838-4082 [email protected] Image files to accompany publicity of this exhibition will be available for download at http://press.thewadsworth.org. Email to request login credentials. Ali Banisadr / MATRIX 185 at the Wadsworth Marks Artist’s First Solo Museum Exhibition in the U.S. Hartford, Conn. (September 15, 2020)—Ali Banisadr draws freely from an encyclopedic knowledge of the history of painting to create a distinctive visual language, resulting in works that explore a “between space,” like those of hallucinations and dreams. Ali Banisadr / MATRIX 185 at the Wadsworth Atheneum Museum of Art is the artist’s first solo museum exhibition in the U.S. Ten paintings and two prints by Banisadr join a selection of works from the Wadsworth collection chosen by the artist, as well as a video collage that Banisadr created to show additional inspiration works from the museum’s collection. The exhibition opens October 22, 2020 and will be on view through February 14, 2021. “Banisadr’s depictions of abstracted masses feel especially relevant right now,” says Patricia Hickson, Emily Hall Tremaine Curator of Contemporary Art at the Wadsworth. “His compositions echo the disquiet we are witnessing across the world today, including political rallies, protest marches, and street riots. And yet, as timely as they are, they are equally timeless.” Banisadr’s process has been related to synesthesia as sounds instruct the energy and rhythm in his painterly compositions. His perception of sound as inextricably linked to color and form began in his native Tehran, Iran during the Iran-Iraq War (1980–1988)— the artist recalls drawing while sheltering at home.
  • Arlene Shechet Skirts

    Arlene Shechet Skirts

    FOR IMMEDIATE RELEASE Arlene Shechet Skirts February 28 – April 25, 2020 540 West 25th Street New York Opening Reception: Thursday, Feb 27 6–8 PM Image: Arlene Shechet, In my view, 2020, glazed ceramic, wood, paint, 58” × 26” × 20” © Arlene Shechet, Photography by Jeremy Liebman New York — Pace Gallery is pleased to present Skirts, its first solo exhibition of works by Arlene Shechet, from February 28 through April 25. Running concurrently with the Whitney Museum’s exhibition Making Knowing, which also features works by Shechet, Skirts brings together more than a dozen of the artist’s most recent sculptures, including large-scale works and a monumental outdoor piece, to be displayed on the second-floor galleries and terrace of Pace’s new flagship building at 540 West 25th street. Rich in idiosyncrasies, Shechet’s latest pieces combine disparate mediums, from ceramics to wood and metalwork, with playfully ambiguous titles that prompt endless associations. Utilizing a title that is both a noun and a verb, Skirts is a testament to the artist’s fluid and unformulaic process. Though her works appear effortless and forgiving of imperfections, they are the belabored products of an intuitive and technically fastidious approach, involving casting, painting, firing, carving, stacking, undoing and redoing with no predetermined endpoint. Her expansive approach to sculpture and materials is reminiscent of artists Shechet admires, such as Sophie Taeuber- Arp and Sonia Delaunay, whose work transcends the divisions of painting and sculpture and encompassed innovative multimedia practices, distinguishing their work from that of their male peers. Shechet’s title, Skirts, also reclaims misogynist slang.
  • Meg Webster Content

    Meg Webster Content

    MEG WEBSTER CONTENT About Meg Webster 3 Installation Views 4 Selected Sculptures with Prices 6 Selected Biography 11 Cover Image: Meg Webster, Model for Polished Tetrahedron for Sometimes Containing Water, Sometimes Containing Rain, 2013 All images © Meg Webster Courtesy Paula Cooper Gallery and Anne Mosseri-Marlio Galerie, Basel 2 MEG WEBSTER Meg Webster (US, 1944) works in post-minimal, land and conceptual art forms. Using natural materials, resources and metal to create monochromes, small and large sculptures is natural to Meg Webster. Origins matter - process as well. The polished “Copper Disk Sometimes Warmed by the Sun”, 2015, is reminiscent of an ancient object seen in a museum and the desire to touch it. In creating a larger disk and allowing it to be heated by the sun, one sees the energy flow and time pass. The inviting shape, warm metal and reflection react in unison to activate and channel energy. The Model for Polished Tetrahedron for Sometimes Containing Water, Sometimes Containing Rain, 2013 is 9 x 9 x 9 inches (ca. 23 x 23 x 23 cm) but is conceived as model for a larger sculpture approximately 1 meter high to be placed outdoors. As a model (edition of 6), it is an object of desire and reflection that can be placed facing up or on its side. Outside, it can contain rain and be looked into. This perfect shape executed in polished stainless steel allows light re- flections and confirms Webster as a post-minimalist, interested in the quality of our environment and well-being. The Titanium Hemisphere, 2008, symbolizes the perfect object made of very hard metal.
  • Arlene Shechet Arlene Newcomb Art Department Tulane University 6823 St

    Arlene Shechet Arlene Newcomb Art Department Tulane University 6823 St

    Arlene Shechet Arlene Newcomb Art Department Tulane University 6823 St. Charles Ave. New Orleans, LA 70118 504.865-5327 http://tulane.edu/liberal-arts/art 2016 Sandra Garrard Memorial Lecture Series Sandra Garrard Memorial Lecture Memorial Garrard Sandra Thursday, November 17, 2016, 7 pm Working Over Time an artist’s talk by Arlene Shechet Arlene Shechet artist 2016 Sandra Garrard Memorial Lecture Series Arlene Shechet is a sculptor living and working in New York City and the Hudson Valley. All at Once, a major, critically-acclaimed 20-year survey of Shechet’s work, was on view at the Institute of Contemporary Art, Boston in 2015. Sebastian Smee of The Boston Globe wrote: “It’s in the harmonies and tensions between these colors and textures, between suggestions of both order and anarchy, decay and blooming freshness, that these works cough, sputter, and sing. If they really are the great analogs to interior life that I feel them to be, it’s because Shechet knows that this life, expertly attended to, has its own folds and wrinkles, its own hollows and protuberances; that it is at once fugitive and monumental … and ultimately unknowable.” All at Once was also hailed by The New York Times as “some of the most imaginative American sculpture of the past 20 years, and Arlene Shechet some of the most radically personal.” In recent years, Shechet’s work has included historical museum installations. Porcelain, No Simple Matter: Arlene Shechet and the Arnhold Collection, on view at The Frick Collection from May Working Over Time : an artist’s talk 2016 to April 2017, is described in The New Yorker as “a balancing act of respectful and radical” with “whimsical beauty and deep smarts.” From Here on Now, Shechet’s solo museum exhibition at the Phillips Collection in Washington, D.C., opens October 2016.
  • Sito STORIA2 RS INGLESE REVISED

    Sito STORIA2 RS INGLESE REVISED

    You may download and print this text by Roberta Serpolli, solely for personal use THE PANZA COLLECTION STORY “The Panza Collection is entirely a couple’s affair. When my wife Giovanna and I discover works by a new artist, I look at her and she looks at me. I can see in her eyes if she wants to buy or not. So even between my wife and me, ‘looking’ is an issue.” Giuseppe Panza, 20091 Giuseppe Panza di Biumo, along with his wife Giovanna, is recognized as one of the world’s foremost collectors of contemporary art. The collection, originally composed of around 2,500 works of art, is mainly representative of the most significant developments in American art from post- World War II to the 21st century. Along with a need to fulfill spiritual and inner quests, both intuition and reflection have inspired the collectors’ choice that would demonstrate, retrospectively, their far- sightedness. By devoting themselves to an in-depth focus on emerging artists and specific creative periods, the Panzas contributed to acknowledging the new art forms among both the general public and the art market. The Beginnings of the Collection: On the Road to America The collection ideally began in 1954 when Giuseppe, at the age of thirty years, traveled to South America and the United States, from New York to Los Angeles, where he discovered the continents’ captivating vitality of economy and culture. Upon his return to Milan, he felt the need to take part in the international cultural milieu. In 1955, shortly after his marriage with Giovanna Magnifico, Giuseppe purchased his first work of art by Italian abstract painter Atanasio Soldati.
  • American Academy of Arts and Letters NEWS RELEASE

    American Academy of Arts and Letters NEWS RELEASE

    American Academy of Arts and Letters NEWS RELEASE 633 WEST 155 STREET, NEW YORK, NY 10032 Contact: Souhad Rafey (212) 368-5900 [email protected] www.artsandletters.org EXHIBITION THE AMERICAN ACADEMY OF ARTS AND LETTERS ANNOUNCES ARTISTS 2011 INVITATIONAL EXHIBITION OF VISUAL ARTS Rosaire Appel MARCH 10 – APRIL 10 Amy Bennett Willard Boepple February 17, 2011 – Over 110 paintings, photographs, sculptures, and works on paper by 35 con- temporary artists will be exhibited at the galleries of the American Academy of Arts and Letters John Bradford on historic Audubon Terrace (Broadway between 155 and 156 Streets) from Thursday, March 10 Katherine Bradford through Sunday, April 10, 2011. Exhibiting artists were chosen from a pool of nearly 200 nominees Troy Brauntuch submitted by the 250 members of the Academy, America’s most prestigious honorary society of Nathan Carter architects, artists, writers, and composers. Robert Chambers Willie Cole ART AWARDS AND PURCHASE PROGRAM The Academy’s art awards and purchase programs serve to acknowledge artists at various stages of Adam Cvijanovic their careers, from helping to establish younger artists to rewarding older artists for their accumu- Donna Dennis lated body of work. Paintings and works on paper are eligible for purchase and placement in mu- Bryan Drury seum collections nationwide through the Hassam, Speicher, Betts and Symons Funds. Works by Jim John Duff Nutt (The Morgan Library & Museum, New York, NY), Chris Martin (Museum of Contemporary Angela Dufresne Art, Chicago, IL), Judy Linn (Dallas Museum of Art, Dallas, TX), and Charles Gaines (Minneapo- lis Institute of Arts, Minneapolis, MN) are among the twelve works purchased last year.
  • Danh Vō Bà Rja, Vietnam, 1975 Lives and Works in Berlin, Germany

    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 STORY of LAND ART a Film by James Crump

    THE STORY of LAND ART a Film by James Crump

    VITO ACCONCI CARL ANDRE GERMANO CELANT PAULA COOPER WALTER DE MARIA VIRGINIA DWAN GIANFRANCO GORGONI MICHAEL HEIZER NANCY HOLT DENNIS OPPENHEIM CHARLES ROSS PAMELA SHARP WILLOUGHBY SHARP ROBERT SMITHSON HARALD SZEEMANN LAWRENCE WEINER THE STORY OF LAND ART a film by james crump PRESENTED BY SUMMITRIDGE PICTURES AND RSJC LLC PRODUCED BY JAMES CRUMP EXECUTIVE PRODUCER RONNIE SASSOON PRODUCER FARLEY ZIEGLER PRODUCER MICHEL COMTE EDITED BY NICK TAMBURRI CINEMATOGRAPHY BY ALEX THEMISTOCLEOUS AND ROBERT O’HAIRE SOUND DESIGN AND MIXING GARY GEGAN AND RICK ASH WRITTEN AND DIRECTED BY JAMES CRUMP photograph copyright © Angelika Platen, 2014 troublemakers THE STORY OF LAND ART PRESS KIT Troublemakers: The Story of Land Art A film by James Crump Featuring Germano Celant, Walter De Maria, Michael Heizer, Dennis Oppenheim, Robert Smithson, Nancy Holt, Vito Acconci, Virginia Dwan, Charles Ross, Paula Cooper, Willoughby Sharp, Pamela Sharp, Lawrence Weiner, Carl Andre, Gianfranco Gorgoni, Harald Szeemann. Running time 72 minutes. Summitridge Pictures and RSJC LLC Present a Film by James Crump. Produced by James Crump. Executive Producer Ronnie Sassoon. Producer Farley Ziegler. Producer Michel Comte. Edited by Nick Tamburri. Cinematography by Alex Themistocleous and Robert O’Haire. Sound Design Gary Gegan and Rick Ash. Written and Directed by James Crump. Troublemakers unearths the history of land art in the tumultuous late 1960s and early 1970s. The film features a cadre of renegade New York artists that sought to transcend the limitations of paint- ing and sculpture by producing earthworks on a monumental scale in the desolate desert spaces of the American southwest. Today these works remain impressive not only for the sheer audacity of their makers but also for their out-sized ambitions to break free from traditional norms.
  • View Exhibition Brochure

    View Exhibition Brochure

    1 Renée Cox (Jamaica, 1960; lives & works in New York) “Redcoat,” from Queen Nanny of the Maroons series, 2004 Color digital inket print on watercolor paper, AP 1, 76 x 44 in. (193 x 111.8 cm) Courtesy of the artist Caribbean: Crossroads of the World, organized This exhibition is organized into six themes by El Museo del Barrio in collaboration with the that consider the objects from various cultural, Queens Museum of Art and The Studio Museum in geographic, historical and visual standpoints: Harlem, explores the complexity of the Caribbean Shades of History, Land of the Outlaw, Patriot region, from the Haitian Revolution (1791–1804) to Acts, Counterpoints, Kingdoms of this World and the present. The culmination of nearly a decade Fluid Motions. of collaborative research and scholarship, this exhibition gathers objects that highlight more than At The Studio Museum in Harlem, Shades of two hundred years of history, art and visual culture History explores how artists have perceived from the Caribbean basin and its diaspora. the significance of race and its relevance to the social development, history and culture of the Caribbean: Crossroads engages the rich history of Caribbean, beginning with the pivotal Haitian the Caribbean and its transatlantic cultures. The Revolution. Land of the Outlaw features works broad range of themes examined in this multi- of art that examine dual perceptions of the venue project draws attention to diverse views Caribbean—as both a utopic place of pleasure and of the contemporary Caribbean, and sheds new a land of lawlessness—and investigate historical light on the encounters and exchanges among and contemporary interpretations of the “outlaw.” the countries and territories comprising the New World.
  • L I B R a I R I E M a R I a N G O O D M

    L I B R a I R I E M a R I a N G O O D M

    L I B R A I R I E M A R I A N G O O D M A N MULTIPLES INC. Artists & Photographs March 20 – May 22, 2021 Robert Rauschenberg Ger Van Elk Two Reasons Birds Sing, 1979, Conversation Piece from "Missing Persons", 1976 Screenprint on paper, on fabric, on Arches roll A set of two chromogenic prints, mounted on board stock paper Sheet: 23 1/4 x 33 in. (59.1 x 83.8 cm) (each); Image: 30 3/4 x 19 1/2 in. (78.1 x 49.5 cm); Sheet: Frame: 24 1/2 x 31 x 1 1/2 in. (62.2 x 78.7 x 3.8 cm) (each) 30 3/4 x 23 1/8 in. (78.1 x 58.7 cm); Frame: 33 1/2 x Edition of 45 plus 10 artist's proofs 25 3/4 x 1 7/8 in. (85.1 x 65.4 x 4.8 cm) (0158) Edition of 100 (2069) Jan Dibbets Andy Warhol Sea / Land, 1974 Merce Cunningham II, 1979 Set of 2; 5 color photographs, mounted on rag Screenprint on Japanese deacidified imported Florentine paper gift paper Sheet: 29 x 39 in. (73.7 x 99.1 cm) (each); Frame: 31 Plate: 27 1/8 x 18 7/8 in. (68.9 x 47.9 cm); Sheet: 30 x 20 1/2 x 41 5/8 x 1 3/4 in. (80 x 105.7 x in. (76.2 x 50.8 cm) ; Frame: 32 5/8 x 22 3/4 x 1 1/2 in.