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C100 Trip to Houston

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Presented in partnership with: Trip Participants Doris and Alan Burgess Tad Freese and Brook Hartzell Bruce and Cheryl Kiddoo Wanda Kownacki Ann Marie Mix Evelyn Neely Yvonne and Mike Nevens Alyce and Mike Parsons Your Hosts San Jose Museum of Art: S. Sayre Batton, deputy director for curatorial affairs Susan Krane, Oshman Executive Director Kristin Bertrand, major gifts officer Art Horizons International: Leo Costello, art historian Lisa Hahn, president Hotel St. Regis Houston Hotel 1919 Briar Oaks Lane Houston, Texas, 77027 Phone: 713.840.7600 Houston Weather Forecast (as of 10.31.16) Wednesday, 11/2 Isolated Thunderstorms 85˚ high/72˚ low, 30% chance of rain, 71% humidity Thursday, 11/3 Partly Cloudy 86˚ high/69˚ low, 20% chance of rain, 70% humidity Friday, 11/4 Mostly Sunny 84˚ high/63 ˚ low, 10% chance of rain, 60% humidity Saturday, 11/5 Mostly Sunny 81˚ high/61˚ low, 0% chance of rain, 42% humidity Sunday, 11/6 Partly Cloudy 80˚ high/65˚ low, 10% chance of rain, 52% humidity Day One: Wednesday, November 2, 2016 Dress: Casual Independent arrival into George Bush Intercontinental/Houston Airport. Here in “Bayou City,” as the city is known, Houstonians take their art very seriously. The city boasts a large and exciting collection of public art that includes works by Alexander Calder, Jean Dubuffet, Michael Heizer, Joan Miró, Henry Moore, Louise Nevelson, Barnett Newman, Claes Oldenburg, Albert Paley, and Tony Rosenthal. Airport to hotel transportation: The St. Regis Houston Hotel offers a contracted town car service for airport pickup for $120 that would be billed directly to your hotel room. Alternatively, the average taxi rate is $60 – 75. The commute time from the airport to the St. Regis during the late afternoon is an estimated 45 minutes. 3 PM Check in on your own at the: St. Regis Houston Hotel 1919 Briar Oaks Lane Houston, Texas, 77027 Phone: 713.840.7600 Located between River Oaks and the Uptown Galleria district in Houston, the Hotel St. Regis offers 5-Star luxury and true southern hospitality. 6:30 PM Gather in the hotel lobby to meet study tour leader Leo Costello and Art Horizons International President Lisa Hahn. We will enjoy a welcome cocktail and hors d’oeuvres reception in the Ambassador Room, located on the Mezzanine floor of the hotel. Dinner is on your own. A list of suggested restaurants will be provided in the welcome packet, along with the final copy of this itinerary Day Two: Thursday, November 3, 2016 Dress: Casual Day/Business Casual Evening 6:30 – 9 AM Enjoy breakfast at The Remington Restaurant, located on the hotel lobby level, at your leisure. Vouchers will be provided. 9 AM Gather in the hotel lobby to promptly depart by bus. 9:15 AM Depart for private art collection. 9:30 AM Enjoy a visit to a private art collection. This distinctive private collection features exceptional twentieth-century, contemporary, and tribal masterworks. Gallerist and advisor Robert McClain, who will lead the walkthrough, describes the owners’ collecting vision as intensely personal with powerful, visceral works that strike a primal or expressive chord. The majority of the collection falls into two sub-themes: figurative sculpture and portraiture with works by Francis Bacon, Louise Bourgeois, Alberto Giacometti, Henry Moore, Edvard Munch, Pablo Picasso, and Chaim Soutine; and abstract expressionist works by Willem de Kooning, Joan Mitchell, and Jackson Pollock. Also collected are works by living artists such as Berlinde de Bruyckere, Adrian Ghenie, Magdelene Odundo, and Gerhard Richter. 10:45 AM Depart for another private art collection located nearby. Enjoy a visit to a private art collection in Houston’s River Oak’s neighborhood. These two Houston art patrons and their children live with an extensive contemporary collection that includes paintings, works on paper, photography, and sculpture. The art leans toward representational work, sometimes conceptual, and usually with an ironic twist. Artists represented include many working in Texas, other important American artists (George Condo, John Currin, Carroll Dunham, Barkley Hendricks, Jim Nutt, David Salle, Laurie Simmons, Philp Taafee, Fred Tomaselli, William Wegman), and artists from Japan (Yasumasa Morimura, Yoshitomo Nara, and Hiroshi Sugimoto), Great Britain (Peter Blake, Julian Opie, Richard Patterson, and Yinka Shonibare), Latin America (Monica Costillo, Luis Gonzales Palma, Liliana Porter, and Vik Muniz), and elsewhere in the world (Wim Delvoye and Stephen Balkenhol). The pieces in the home range from a 1930s painting by Francis Picabia (temporally the oldest piece in the collection), to mid-century work (among notable others, a 1956 drawing by Larry Rivers and a 1969 John Wesley work on paper), to pieces made in the last year (such as an amusing outdoor sculpture by artist Ray Smith). 12:30 PM Depart by bus for lunch. 12:45 PM Lunch at Canopy Restaurant. Enjoy seasonal fare in a dining room decorated with murals of trees and other eco-chic touches. 2:30 PM Depart for an artist’s studio. 3 PM Enjoy a visit to the studio of Trenton Doyle Hancock. Influenced equally by the history of painting as by the pulp imagery of pop-culture, the Texas-born artist transforms traditionally formal decisions—such as the use of color, language, and pattern—into opportunities to build narrative, develop sub-plots, and convey symbolic meaning. Hancock’s works are suffused with personal mythology presented at an operatic scale. He often reinterprets Biblical stories that he learned as a child from his family and church community. His exuberant and subversive narratives employ a variety of cultural tropes that range in tone from comic-strip superhero battles to medieval morality plays. He is influenced in style by Hieronymus Bosch, R. Crumb, Henry Darger, Max Ernst, and Philip Guston. Text embedded within the paintings and drawings both drives the narrative and acts as a central visual component. Hancock's resulting installations often sprawl beyond the edges of the canvas and onto surrounding gallery walls. Meanwhile, in New York… 291 GRAND ST | OCT 21 – NOV 28, 2016 James Cohan is pleased to present Pandemic Pentameter, Trenton Doyle Hancock’s sixth solo exhibition with the gallery. The exhibition, presenting a group of large scale paintings produced this year, opens Friday, October 21, and will be on view through November 27 at the gallery’s Lower East Side location. Click here for full press release For more reading re: Hancock, see Art Ltd Magazine: http://www.artltdmag.com/index.php?subaction=showfull&id=1473465834&archive=&start_fr om=&ucat=28& 4:15 PM Return to the hotel by bus. 4:45 PM Arrival at hotel. 6 PM Depart for Rice University. 6:15 PM Special sunset visit to the James Turrell’s Twilight Epiphany skyspace. Located adjacent to the Shepherd School of Music on the Rice University campus is the Suzanne Deal Booth Centennial Pavilion, site of James Turrell's Twilight Epiphany skyspace. Twilight Epiphany (2012) is acoustically engineered to host musical performances and to act as a laboratory for music school students. Constructed of grass, concrete, stone, and composite steel, the structure is equipped with a LED- light sequence that projects onto the ceiling and through an aperture in the 72-foot square knife-edge roof just before sunrise and at sunset. Turrell's composition of light complements the natural light present at twilight and transforms the skyspace into a locale for experiencing beauty and reflective interactions with the surrounding campus and the natural world. (Sunset is at 6:34 PM) 7:15 PM Depart for a private art collection by bus. 7:30 PM Visit a collecting couple’s private gallery residence. Buffet dinner to be served at 8:30 PM. Return to the hotel after dinner. Day Three: Friday, November 4, 2016 Dress: Casual Day 6:30 – 9:15 AM Enjoy breakfast at The Remington Restaurant, located on the hotel lobby level, at your leisure. Vouchers will be provided. 9:15 AM Gather in the hotel lobby to depart by bus. 9:30 AM We will begin our day with a visit to the non-denominational Rothko Chapel, which houses fourteen canvases by Mark Rothko. Architect Philip Johnson collaborated with Rothko on the design of the chapel. 10 AM After our visit to the Rothko Chapel, we will enjoy a before-hours visit to the Menil Campus, located in Houston’s Museum District. The Menil Campus is anchored by Renzo Piano’s first American building, the Menil Collection. We will begin with an exclusive tour, led by modern and contemporary curator Toby Kamps, of the Menil’s “Treasure Rooms”—where great works of art are stored when not on view. To learn the story of the creation of the Treasure Rooms, see this blog from the perspective of Curator Michelle White. http://houston.culturemap.com/news/arts/10-03-11-hidden-treasures- the-menil/#slide=0 11 AM Introduction to the Menil collection by Toby Kamps. The Menil’s permanent collection is one of the most important privately assembled collections of the twentieth century. The museum opened in 1987 to preserve and exhibit the art collection of John and Dominique de Menil. Designed by Renzo Piano, this understated but elegant expanse of gray clapboard features a roof of white louvers, used both in the gallery spaces and on the building’s exterior, to unify the structure. The “leaves” function as a method of controlling light levels and also as a means of returning air flow. The Menil Collection houses approximately 15,000 paintings, sculptures, prints, drawings, photographs, and rare books. Masterpieces from antiquity; the tribal cultures of Africa, Oceania, and the American Pacific Northwest; and the major modern and contemporary art movements are particularly well represented. Highlights of the museum include its surrealist holdings, particularly the works of Max Ernst; it is widely regarded as one of the world’s foremost collections of its kind.
Recommended publications
  • BLACK Baselitz, De Kooning, Mariscotti, Motherwell, Serra

    BLACK Baselitz, De Kooning, Mariscotti, Motherwell, Serra

    Upsilon Gallery 404 Fifth Avenue, New York, NY 10018 [email protected] www.upsilongallery.com For immediate release BLACK Baselitz, de Kooning, Mariscotti, Motherwell, Serra April 13 – June 3, 2017 Curated by Marcelo Zimmler Spanish Elegy I, Lithograph, on brown HMP handmade paper, 13 3/4 x 30 7/8 in. (35 x 78.5 cm), 1975. Photo by Caius Filimon Upsilon Gallery is pleased to present Black, an exhibition of original and edition work by Georg BaselitZ, Willem de Kooning, Osvaldo Mariscotti, Robert Motherwell and Richard Serra, on view at 146 West 57 Street in New York. Curated by Marcelo Zimmler, the exhibition explores the role played by the color black in Post-war and Contemporary work. In the 1960s, Georg BaselitZ emerged as a pioneer of German Neo–Expressionist painting. His work evokes disquieting subjects rendered feverishly as a means of confronting the realities of the modern age, and explores what it is to be German and a German artist in a postwar world. In the late 1970s his iconic “upside-down” paintings, in which bodies, landscapes, and buildings are inverted within the picture plane ignoring the realities of the physical world, make obvious the artifice of painting. Drawing upon a dynamic and myriad pool of influences, including art of the Mannerist period, African sculptures, and Soviet era illustration art, BaselitZ developed a distinct painting language. Upsilon Gallery 404 Fifth Avenue, New York, NY 10018 [email protected] www.upsilongallery.com Willem de Kooning was born on April 24, 1904, into a working class family in Rotterdam, the Netherlands.
  • Mapplethorpe: Assault with a Deadly Camera

    Mapplethorpe: Assault with a Deadly Camera

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  • Washington University Record, July 2, 1987

    Washington University Record, July 2, 1987

    Washington University School of Medicine Digital Commons@Becker Washington University Record Washington University Publications 7-2-1987 Washington University Record, July 2, 1987 Follow this and additional works at: http://digitalcommons.wustl.edu/record Recommended Citation "Washington University Record, July 2, 1987" (1987). Washington University Record. Book 414. http://digitalcommons.wustl.edu/record/414 This Article is brought to you for free and open access by the Washington University Publications at Digital Commons@Becker. It has been accepted for inclusion in Washington University Record by an authorized administrator of Digital Commons@Becker. For more information, please contact [email protected]. I '/^OH/MGr / O/N/ /V//i/5/7V ,~*:-- § Washington WASHINGTON ■ UNIVERSITY- IN • ST- LOUIS ARCHIVES u*«ry JUL i '87 RECORD Vol. 11 No. 36/July 2, 1987 Science academy's medical institute elects two faculty Two faculty members at the School of Medicine have been elected mem- bers of the prestigious Institute of Medicine of the National Academy of Sciences. New members of the institute are Michel M. Ter-Pogossian, Ph.D., and Samuel A. Wells Jr., M.D. Ter- Pogossian is professor of radiology at the School of Medicine and director of radiation sciences for Mallinckrodt Institute of Radiology. Wells is Bixby Professor and chairman of the De- partment of Surgery at the medical school. He is also chief of surgery at Barnes and Children's Hospitals in the Washington University Medical Center. The two are among 40 new members elected to the institute in recognition of their contributions to health and medicine or related fields. As members of the institute, which was established in 1970, Wells and Ter-Pogossian will help examine health policy issues and advise the federal government.
  • George Condo: 'I Was Delirious. Nearly Died' He Worked for Warhol, Jammed with Basquiat – and Now Designs Albums for Kanye West and Handbags for Kim Kardashian

    George Condo: 'I Was Delirious. Nearly Died' He Worked for Warhol, Jammed with Basquiat – and Now Designs Albums for Kanye West and Handbags for Kim Kardashian

    The Guardian S. Jeffries, ‘George Condo: ‘I was delirious. Nearly died’ 10 February 2014 George Condo: 'I was delirious. Nearly died' He worked for Warhol, jammed with Basquiat – and now designs albums for Kanye West and handbags for Kim Kardashian. But has a recent near-death experience made George Condo's work even weirder BY Stuart Jeffries 'I describe what I do as psychological cubism' … George Condo at the Simon Lee Gallery in London. Photograph: Sarah Lee for the Guardian Last May, George Condo had a near-death experience. The American artist was visiting Berlin after finishing a suite of ink drawings. "I guess my immune system was down and I was in a weird state of mind." "Weirder than usual?" I ask, as we look at those drawings at the Skarstedt Gallery, one of two London venues showing his work this month. "Much weirder," he says. He points to the silhouette of a head dominating the foreground of a work called The Prisoner. Behind the silhouette are iron bars, and behind those is a prisoner facing us, whose head seems to have been flayed to reveal the throbbing orange cranium beneath. "That's where my mind was at." The ink drawings were to be the final portraits of a weird menagerie of archetypal figures – among them banker, butler, alcoholic, and an odd French guy called Jean Louis, who cropped up in various improbable guises including that of a French maid – that Condo had culled from his imagination and worked on for a quarter of a century. "It's the last hurrah of the pods," he says.
  • Arnold) Glimcher, 2010 Jan

    Arnold) Glimcher, 2010 Jan

    Oral history interview with Arne (Arnold) Glimcher, 2010 Jan. 6-25 Funding for this interview was provided by the Widgeon Point Charitable Foundation. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Arne Glimcher on 2010 January 6- 25. The interview took place at PaceWildenstein in New York, NY, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. Funding for this interview was provided by the Widgeon Point Charitable Foundation. Arne Glimcher has reviewed the transcript and has made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview JAMES McELHINNEY: This is James McElhinney speaking with Arne Glimcher on Wednesday, January the sixth, at Pace Wildenstein Gallery on— ARNOLD GLIMCHER: 32 East 57th Street. MR. McELHINNEY: 32 East 57th Street in New York City. Hello. MR. GLIMCHER: Hi. MR. McELHINNEY: One of the questions I like to open with is to ask what is your recollection of the first time you were in the presence of a work of art? MR. GLIMCHER: Can't recall it because I grew up with some art on the walls. So my mother had some things, some etchings, Picasso and Chagall. So I don't know.
  • October 30 – December 30, 2021

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    ST 71 OCTOBER 30 – DECEMBER 30, 2021 EXHIBITION 71st A•ONE – A•ONE is a national competition/exhibition highlighting the diversity of work that is currently being made by established and emerging artists. Eligibility – Open to all artists, 18 years of age and older, residing in the United States. Original artwork in any media will be considered. Giclée reproductions of original works will not be accepted. Eligible artwork must have been completed after January 1, 2019, and fall within the restrictions. Awards – Grand Prize, awards an artist a solo exhibition at Silvermine Arts Center with a $1,000 stipend for show related expenses. The Juror has additional awards to give at their discretion. Entry Fee – $50 for up to 5 entries. To be considered for the Grand Prize Award, artists are required to enter a minimum of three works. Online entry – Complete the 71st A•ONE entry form on Slideroom – https://silvermineart.slideroom.com JUROR Richard Klein is a curator, artist, and writer. Since 1999 he has been Exhibitions Director of The Aldrich Contemporary Art Museum in Ridgefield, Connecticut. In his two decade long career as a curator of contemporary art he has organized over 80 exhibitions, including solo shows of the work of Janine Antoni, Sol LeWitt, Mark Dion, Roy Lichtenstein, Hank Willis Thomas, Brad Kahlhamer, Kim Jones, Jack Whitten, Jessica Stockholder, Tom Sachs, and Elana Herzog. Major curatorial projects at The Aldrich have included Fred Wilson: Black Like Me (2006), No Reservations: Native American History and Culture in Contemporary Art (2006), Elizabeth Peyton: Portrait of an Artist (2008), Shimon Attie: MetroPAL.IS.
  • Art in 1960S

    Art in 1960S

    Abstract Expressionism 1940s-1960s A form of abstract art that emphasized spontaneous, intuitive creation of unstructured expressions of the artist’s unconscious Action Painting: emphasized the dynamic handling of paint and techniques that were partly dictated by chance. The act of painting was as significant as the finished work: Jackson Pollock, Willem de Kooning Jackson Pollock, Blue Poles, 1952 William de Kooning, Untitled, 1975 Color-Field Painting: used large, soft-edged fields of flat color: Mark Rothko, Ab Reinhardt Mark Rothko, Lot 24, “No. 15,” 1952 “A square (neutral, shapeless) canvas, five feet wide, five feet high…a pure, abstract, non- objective, timeless, spaceless, changeless, relationless, disinterested painting -- an object that is self conscious (no unconsciousness), ideal, transcendent, aware of no thing but art (absolutely no anti-art). Ad Reinhardt, Abstract Painting,1963 –Ad Reinhardt Minimalism 1960s rejected emotion of action painters sought escape from subjective experience downplayed spiritual or psychological aspects of art focused on materiality of art object used reductive forms and hard edges to limit interpretation tried to create neutral art-as-art Frank Stella rejected any meaning apart from the surface of the painting, what he called the “reality effect.” Frank Stella, Sunset Beach, Sketch, 1967 Frank Stella, Marrakech, 1964 “What you see is what you see” -- Frank Stella Postminimalism Some artists who extended or reacted against minimalism: used “poor” materials such felt or latex emphasized process and concept rather than product relied on chance created art that seemed formless used gravity to shape art created works that invaded surroundings Robert Morris, Felt, 1967 Richard Serra, Cutting Device: Base Plat Measure, 1969 Hang Up (1966) “It was the first time my idea of absurdity or extreme feeling came through.
  • Jan Feb Mar Apr 2021 from the Director

    Jan Feb Mar Apr 2021 from the Director

    FROM THE DIRECTOR JAN FEB MAR APR 2021 FROM THE DIRECTOR Submit your story I am sure you would agree, let us put 2020 behind us and anticipate a better year in 2021. With this expectation in mind, your Art Center teams are moving ahead with major plans for the new year. Our exhibitions We continue to include The Path to Paradise: Judith Schaechter’s accept personal Stained-Glass Art; Justin Favela: Central American; stories in response and Louis Fratino: Tenderness revealed along with to Black Stories. Iowa Artists 2021: Olivia Valentine. An array of print gallery and permanent collections projects, including Enjoy this story an exhibition that showcases our newly conserved submission from painting by Francisco Goya, Don Manuel Garcia de Candace Williams. la Prada, 1811, and another that features our works by Claes Oldenburg, will augment and complement Seen. I felt seen as I walked these projects. The exhibitions will continue to through the Black Stories address our goals of being an inclusive and exhibition with my friend. welcoming institution, while adding to the scholarship As history and experiences of the field, engaging our local communities in were shared through art, meaningful ways, and providing a site for the I remembered my mom community to gather together, at least virtually taking my sister and I to (for now), to share ideas and perspectives. the California African- Our Black Stories project has done just this American Museum often. as we continue to receive personal stories from She would buy children’s the community for possible inclusion in a books written by Black publication.
  • Cardi Gallery Louise Nevelson

    Cardi Gallery Louise Nevelson

    CARDI GALLERY Louise Nevelson, Untitled, 1964, Painted wood, 241 x 216 x 49.5 cm (94 7/8 x 85 1/8 x 19 1/2 in) LOUISE NEVELSON 55-70 October 7-December 20, 2014 Corso di Porta Nuova 38, Milan Cardi Gallery is pleased to present Louise Nevelson: 55-70, an exhibition of over thirty important collages and sculptures created between 1955 and 1970 that reveal the formalist achievements of Louise Nevelson (1899-1988), an icon of the Feminist art movement and one of the most significant American sculptors of the 20th century. Louise Nevelson: 55-70, is on view October 9 – December 20, 2014. Louise Nevelson: 55-70 features works created between 1955 and 1970, a period when the artist’s signature modernist style emerged, with labyrinthine wooden assemblages and monochrome surfaces, and evolved, as Nevelson incorporated industrial materials such as Plexiglas, aluminum and steel in the 1960s and 1970s. The exhibition at Cardi Gallery presents more than twenty-five collages and ten sculptures from private collections around the world, including large-scale monochrome reliefs, freestanding large-scale sculptures, and mixed media collages on paper and board, incorporating newsprint, paint, vinyl, metal, and other found objects. “I go to the sculpture, and my eye tells me what is right for me,” explained Nevelson. “When I compose, I don’t have anything but the material, myself, and an assistant. I compose right there while the assistant hammers. Sometimes it’s the material that takes over; sometimes it’s me that takes over. I permit them to play, like a seesaw.
  • RICHMOND BURTON I AM Paintings (The Return) March 30 – May 8, 2016

    RICHMOND BURTON I AM Paintings (The Return) March 30 – May 8, 2016

    ART 3 109 INGRAHAM ST. BROOKLYN NY 11237 art-3gallery.com For immediate release: RICHMOND BURTON I AM paintings (the return) March 30 – May 8, 2016 Opening: Wednesday, March 30, 6-9 PM Richmond Burton, I AM (SWEET SPOT), 2001, Oil on linen, 63 x 99 in. Photo: courtesy of the artist and ART 3 gallery Brooklyn, NY – ART 3 gallery is pleased to represent works and projects by Richmond Burton as well as his Solo Exhibition RICHMOND BURTON: I AM paintings (the return) featuring works from the artist’s groundbreaking I AM series of paintings. This exhibition will mark a 15-year anniversary and return to the seminal works, originally shown in 2001 at Cheim & Read, New York, NY. Richmond Burton’s works are known for their kaleidoscopic color, undulating patterns, and lyrical handling of expressionistic mark making. The I AM paintings manage to simultaneously hold two truths without becoming one or the other. They exist both as geometric, structured, formal, while concurrently being relaxed, visceral, seductive, and organic compositions. The works play with decorative patterning without compromising a conceptual backbone. Their intensity of vision allows for transcendent thought, experience, and connection while challenging any preconceived norms or rules defining abstract painting. The paintings hold a tension between ruptured grids and naturalistic, diffused light with jolts of intense jewel-like color. Metallic colors are used—gold, silver, and copper thread through the work and coalesce into details, concentrated inlay or patterned punctuation. Abstracted forms break and congeal, with imagery reminiscent of swirling sperm, egg yolks, rocks, petals, leaves, and shells.
  • New Books on Art & Culture

    New Books on Art & Culture

    S11_cover_OUT.qxp:cat_s05_cover1 12/2/10 3:13 PM Page 1 Presorted | Bound Printed DISTRIBUTEDARTPUBLISHERS,INC Matter U.S. Postage PAID Madison, WI Permit No. 2223 DISTRIBUTEDARTPUBLISHERS . SPRING 2011 NEW BOOKS ON SPRING 2011 BOOKS ON ART AND CULTURE ART & CULTURE ISBN 978-1-935202-48-6 $3.50 DISTRIBUTED ART PUBLISHERS, INC. 155 SIXTH AVENUE 2ND FLOOR NEW YORK NY 10013 WWW.ARTBOOK.COM GENERAL INTEREST GeneralInterest 4 SPRING HIGHLIGHTS ArtHistory 64 Art 76 BookDesign 88 Photography 90 Writings&GroupExhibitions 102 Architecture&Design 110 Journals 118 MORE NEW BOOKS ON ART & CULTURE Special&LimitedEditions 124 Art 125 GroupExhibitions 147 Photography 157 Catalogue Editor Thomas Evans Architecture&Design 169 Art Direction Stacy Wakefield Forte Image Production Nicole Lee BacklistHighlights 175 Data Production Index 179 Alexa Forosty Copy Writing Sara Marcus Cameron Shaw Eleanor Strehl Printing Royle Printing Front cover image: Mark Morrisroe,“Fascination (Jonathan),” c. 1983. C-print, negative sandwich, 40.6 x 50.8 cm. F.C. Gundlach Foundation. © The Estate of Mark Morrisroe (Ringier Collection) at Fotomuseum Winterthur. From Mark Morrisroe, published by JRP|Ringier. See Page 6. Back cover image: Rodney Graham,“Weathervane (West),” 2007. From Rodney Graham: British Weathervanes, published by Christine Burgin/Donald Young. See page 87. Takashi Murakami,“Flower Matango” (2001–2006), in the Galerie des Glaces at Versailles. See Murakami Versailles, published by Editions Xavier Barral, p. 16. GENERAL INTEREST 4 | D.A.P. | T:800.338.2665 F:800.478.3128 GENERAL INTEREST Drawn from the collection of the Library of Congress, this beautifully produced book is a celebration of the history of the photographic album, from the turn of last century to the present day.
  • George Condo Artist George Condo Maps His Return

    George Condo Artist George Condo Maps His Return

    Artist George Condo Maps His Return to Health in a New Show Of his new show at Skarstedt Gallery this month: “As an artist you’re able to take negatives and turn them into positives.” By Lane Florsheim | Nov. 26 2019 In late July, the artist George Condo went to the hospital with terrible chest pains. He was told he needed heart surgery immediately. “They said, ‘If you didn’t come in today, you would have been dead tonight,’” he says. After his surgery, Condo’s surgeon showed him black-and-white images of what his artery looked like before and after. “I said, ‘Oh wow, it was really bad,’” he remembers. “He said, ‘Yeah, you would have had a heart attack.’” Condo took the scans home. For his recovery in August, he went to the Hamptons, where he watched TV, played Scrabble with his two daughters and worked on a series of drawings. His larger-scale paintings, which require a ladder, were out of the question. “Then, eventually, I kind of felt perfectly fine,” he says. The drawings he completed during that period of rest are on view in a new exhibit of his work this month in Manhattan. Though the show is titled simply George Condo: Paintings & Works on Paper, it tells the story of a complex year for the artist. Condo, 61, made all of the 25 works in the new show while also working on a 13-foot tall sculpture covered in 24-karat gold leaf, currently on view at Lincoln Center Plaza. When he got back to New York City in September, Condo didn’t have enough new work to fill a show.