John Chamberlain
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Galerie Karsten Greve Ag
GALERIE KARSTEN GREVE AG Louise Bourgeois, New Orleans, oil on cardboard, 1946, 66 x 55.2 cm / 26 x 21 1/4 in LOUISE BOURGEOIS December 19, 2020 – extended until March 30, 2021 Opening: Tuesday, December 29, 2020, 11 am – 7 pm Galerie Karsten Greve AG is delighted to present its third solo exhibition of works by Louise Bourgeois (1911-2010) in its St. Moritz gallery space. Twenty-three distinctive pieces created during a period of six decades (1946-2007) are on show. The exhibition pays homage to one of the most significant artists of our time, reflecting thirty years of close collaboration between Galerie Karsten Greve and Louise Bourgeois. Following the artist’s first retrospective in Europe, shown at Frankfurter Kunstverein in 1989, Karsten Greve organized his first solo show of works by Louise Bourgeois in his recently opened Paris exhibition space in 1990. On the occasion of the opening of his gallery in St. Moritz in 1999, Karsten Greve dedicated a comprehensive show to the artist, followed by presentations in Paris and Cologne. Born in Paris in 1911, Louise Bourgeois grew up in a bourgeois family in Choisy-le-Roi near Paris, where her parents ran a workshop for restoring tapestries; at an early age, she made the drawings for missing sections in tapestry designs. After dropping out of mathematics at the Sorbonne, she completed her art studies, between 1932 and 1938, at the École des Beaux-Arts and selected studios and academies in Paris, taking lessons with Fernand Léger, among others. In 1938, she was married to Robert Goldwater, the American art historian, and went with him to New York. -
Galerie Karsten Greve
GALERIE KARSTEN GREVE Georgia Russell in her studio, Méru, 2021 photo: Nicolas Brasseur, Courtesy Galerie Karsten Greve, Cologne Paris St. Moritz GEORGIA RUSSELL Ajouré September, 3 – October 30, 2021 Opening on Friday, September 3, 2021, 11 am – 10 pm a DC OPEN GALLERIES 2021 event The artist will be present. Galerie Karsten Greve is delighted to show a solo exhibition featuring new work by Scottish artist Georgia Russell, who has been represented by the gallery since 2010. The show, which will be Georgia Russell's sixth solo exhibition with Galerie Karsten Greve, is a DC OPEN GALLERIES 2021 event. New works on canvas will be presented, created at her Méru studio between 2020 and 2021 during a worldwide state of crisis that was characterised by confinement and social distancing measures. By contrast, Georgia Russell has created her most recent works by breaking through matter. Her pieces epitomise the idea of the permeability of matter and breaking through the surface – ajouré – to bring this materiality to life by deliberately incorporating daylight and air into space. Born in Elgin, Scotland, in 1974, Georgia Russell, studied fine art at the Robert Gordons University of Aberdeen (until 1997) and the Royal College of Art, graduating with an MA in printmaking in 2000. Thanks to a scholarship from the Royal College of Art, the artist set up a studio in Paris. Her work has regularly been presented internationally in solo and group exhibitions. Works by Georgia Russell are also held in notable private and public collections, such as the Victoria & Albert Museum, London, the Centre Georges Pompidou, Paris, the E.On Art Collection, Düsseldorf, and the Museum Pfalzgalerie Kaiserslautern. -
Andy Warhol Shadows Exhibition Brochure.Pdf
Andy Warhol Shadows On Tuesday I hung my painting(s) at the Heiner Friedrich gallery in SoHo. Really it’s presentation. Since the number of panels shown varies according to the available and altered through the abstraction of the silkscreen stencil and the appli- one painting with 83 parts. Each part is 52 inches by 76 inches and they are all sort size of the exhibition space, as does the order of their arrangement, the work in cation of color to reconfigure context and meaning. The repetition of each of the same except for the colors. I called them “Shadows” because they are based total contracts, expands, and recalibrates with each installation. For the work’s famous face drains the image of individuality, so that each becomes a on a photo of a shadow in my office. It’s a silk screen that I mop over with paint. first display, the gallery accommodated 83 panels that were selected and arranged stand-in for non-individuated and depersonalized notions of celebrity.5 The I started working on them a few years ago. I work seven days a week. But I get by Warhol’s assistants in two rooms: the main gallery and an adjacent office. replication of a seemingly abstract gesture (a jagged peak and horizontal the most done on weekends because during the week people keep coming by extension) across the panels of Shadows further minimizes the potential to talk. The all-encompassing (if modular) scale of Shadows simultaneously recalls to ascribe any narrative logic to Warhol’s work. Rather, as he dryly explained, The painting(s) can’t be bought. -
The Lightning Field Walter De Maria Catron County, NM, USA
The Lightning Field Walter De Maria Catron County, NM, USA On a high desert plain in western New Mexico, Walter De Maria (b.1935) had 400 stainless-steel poles installed as lightning rods. Each of the polished metal poles is spaced about 67 m (220 ft) apart, and together the 16 rows of 25 poles form a grid measuring 1.6 × 1 km (1 × 0.62 miles). The poles are all 5 cm (2 in ) in diameter but they vary in height from 4.5 to 7.9 m (14.8 to 25.9 ft) and are installed into the earth at varying depths so that their tips form a level plane regardless of the fluctuations in height of the uneven desert ground below. However, the art of this work is not to be found in the form of the grid, but in its interaction with the forces of nature. The Dia Art Foundation, who originally commissioned the work, continues to maintain the site and provide transport and overnight accommodation for visitors with advance reservations. During the visiting season, which runs from May until the end of October, up to six people at a time can stay for one night in a wooden cabin at the site. One can never predict when lightning will strike, but when a storm does occur it is an awesome phenomenon to behold. Striking the terrain not far from the viewers’ cabin, the lightning bolts provide a sublime, fearsome and breathtaking experience. When a lightning storm is not raging, the site still provides visitors with a beautiful and contemplative experience. -
Die Science-Fiction-Literatur Der DDR
Die Science-Fiction-Literatur der DDR Dissertation zur Erlangung des Grades eines Doktors der Philosophie am Fachbereich Philosophie und Geisteswissenschaften der Freien Universität Berlin vorgelegt von Karsten Greve Berlin 2015 Die Science-Fiction-Literatur der DDR 1. Gutacher: Professor Doktor Hans Richard Brittnacher 2. Gutacher: Professor Doktor Linus Hauser Tag der Disputation: 01.09.2016 2 Die Science-Fiction-Literatur der DDR Danksagung Die vorliegende Dissertation ist im Herbst 2015 an der Freien Universität Berlin eingereicht worden. Dafür, dass ich sie fertigstellen konnte, bin ich vielen Menschen zu Dank verpflichtet. Zu allererst und besonders meinem Doktorvater Herrn Professor Doktor Hans Richard Brittnacher. Ich danke ihm für seine Betreuung und seine wertvollen Ratschläge, mehr aber noch für seine Schriften, die mir ein Vorbild dafür geworden sind, was es heißt, Literaturwissenschaft couragiert und klar zu betreiben. Mein Dank gilt außerdem Herrn Professor Doktor Linus Hauser, der sich bereit erklärte, meine Arbeit als Zweitgutachter zu begleiten. Endlich danke ich den Teilnehmerinnen und Teilnehmern des Kolloquiums, das ich über viele Jahre besuchte, für ihren Zuspruch, ihre Hinweise und ihre Kritik. 3 Die Science-Fiction-Literatur der DDR Because it is there George Mallory 4 Die Science-Fiction-Literatur der DDR Inhalt Einleitung ..........................................................................................................8 1. Methodische Vorüberlegungen ...................................................................15 -
The Work of John Chamberlain ©2009 the Chinati Foundation/La Fundación Chinati and Authors
It’s All in the Fit: The Work of John Chamberlain ©2009 The Chinati Foundation/La Fundación Chinati and authors. All rights reserved. No part of this book may be reproduced in any form without permission in writing from the publisher and the authors. All works by John Chamberlain ©John Chamberlain/Artists Rights Society (ars), ny. For rights to other artists’ works, see p.262. “For John Chamberlain” from Later ©1975 by Robert Creeley. Reprinted by permission of New Directions Publishing Corp., New York. Excerpts from Donald Judd’s writings on John Chamberlain are reprinted courtesy of Judd Foundation. “A Six Inch Chapter — in Verse” and “’It is a nation of nothing but poetry…’” from The Collected Poems of Charles Olson ©1987 by the estate of Charles Olson. Reprinted by permission of the University of California Press, Berkeley and Los Angeles, California. Library of Congress Control Number 12345678900000 isbn 978-1-60702-070-7 First Edition The Chinati Foundation/La Fundación Chinati 1 Cavalry Row, P.O. Box 1135 Marfa, Texas 79843 www.chinati.org a look at john chamberlain’s lacquer paintings Adrian Kohn color and lacquer The lush yet matter-of-fact colors of junkyard sheet metal intrigued several of the first art critics to write about John Cham- berlain’s sculptures.1 Donald Judd, for one, coined the odd adverb “Rooseveltianly” in characterizing how Chamberlain juxtaposed the hues of automobile scrap in works such as Essex of 1960 (see fig. 1, p.212) and Huzzy of 1961 (fig. 1). Chamberlain’s palette, he remarked, “involves the hard, sweet, pastel enamels, frequently roses and ceruleans, of Detroit’s imitation elegance for the poor — coupled, Rooseveltianly, with reds and blues.”2 Some asso- ciations of Chamberlain’s colors emerge in this sentence. -
Gerhard Richter
GERHARD RICHTER Born in 1932, Dresden Lives and works in Cologne EDUCATION 1951-56 Studied painting at the Fine Arts Academy in Dresden 1961 Continued his studies at the Fine Arts Academy in Düsseldorf 2001 Doctoris honoris causa of the Université Catholique de Louvain-la-Neuve SELECTED SOLO EXHIBITIONS 2017 About Painting S.M.A.K Museum of Contemporary Art, Ghent 2016 Selected Editions, Setareh Gallery, Düsseldorf 2014 Pictures/Series. Fondation Beyeler, Riehen 2013 Tepestries, Gagosian, London 2012 Unique Editions and Graphics, Galerie Löhrl, Mönchengladbach Atlas, Kunsthalle im Lipsiusbau, Staatliche Kunstsammlungen Dresden, Dresden Das Prinzip des Seriellen, Galerie Springer & Winckler, Berlin Panorama, Neue und Alte Nationalgalerie, Staatliche Museen zu Berlin, Berlin Editions 1965–2011, me Collectors Room, Berlin Survey, Museo de la Ciudad, Quito Survey, Biblioteca Luis Ángel Arango del Banco de la República, Bogotá Seven Works, Portland Art Museum, Portland Beirut, Beirut Art Center, Beirut Painting 2012, Marian Goodman Gallery, New York, NY Ausstellungsraum Volker Bradtke, Düsseldorf Drawings and Watercolours 1957–2008, Musée du Louvre, Paris 2011 Images of an Era, Bucerius Kunst Forum, Hamburg Sinbad, The FLAG Art Foundation, New York, NY Survey, Caixa Cultural Salvador, Salvador Survey, Caixa Cultural Brasilia, Brasilia Survey, Pinacoteca do Estado de São Paulo, São Paulo Survey, Museu de Arte do Rio Grande do Sul Ado Malagoli, Porto Alegre Glass and Pattern 2010–2011, Galerie Fred Jahn, Munich Editions and Overpainted Photographs, -
Dan Flavin Was Born in 1933 in New York City, Where He Later Studied Art History at the New School for Social Research and Columbia University
DAN FLAVIN Dan Flavin was born in 1933 in New York City, where he later studied art history at the New School for Social Research and Columbia University. His first solo show was at the Judson Gallery, New York, in 1961. Flavin made his first work with electric light that same year, and he began using commercial fluorescent tubes in 1963. Fluorescent light was commercially available and its defined systems of standard sized tubes and colors defied the very tenets of Abstract Expressionism and Pop Art, from which the artist sought to break free. In opposition to the gestural and hand-crafted, these impersonal prefabricated industrial objects offered, what Donald Judd described as “…a means new to art.”1 Seizing the anonymity of the fluorescent tube, Flavin employed it as a simple and direct means to implement a whole new artistic language of his own. He worked within this self-imposed reductivist framework for the rest of his career, endlessly experimenting with serial and systematic compositions to wed formal relationships of luminous light, color, and sculptural space. Vito Schnabel Gallery presented Dan Flavin, to Lucie Rie and Hans Coper, master potters in St. Moritz from December 19, 2017 — February 4, 2018. The exhibition featured nine light pieces from the series dedicated to Rie, nine works from his series dedicated to Coper, and a selection of ceramics by Rie and Coper from Flavin’s personal collection. Major solo exhibitions of Flavin’s work have been presented at the National Gallery of Canada, Ottawa; Staatliche Kunsthalle, Baden- Baden; St. Louis Art Museum, Missouri; Morgan Library and Museum, New York; and Dan Flavin: A Retrospective, an international touring exhibition that included the National Gallery of Art, Washington, D.C.; Modern Art Museum of Fort Worth, Texas; Museum of Contemporary Art, Chicago; Hayward Gallery, London; the Musée d’Art Moderne de la Ville de Paris; Los Angeles County Museum of Art; and Pinakothek der Moderne, Munich. -
Size, Scale and the Imaginary in the Work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim
Larger than life: size, scale and the imaginary in the work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim © Michael Albert Hedger A thesis in fulfillment of the requirements for the degree of Doctor of Philosophy Art History and Art Education UNIVERSITY OF NEW SOUTH WALES | Art & Design August 2014 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Hedger First name: Michael Other name/s: Albert Abbreviation for degree as given in the University calendar: Ph.D. School: Art History and Education Faculty: Art & Design Title: Larger than life: size, scale and the imaginary in the work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim Abstract 350 words maximum: (PLEASE TYPE) Conventionally understood to be gigantic interventions in remote sites such as the deserts of Utah and Nevada, and packed with characteristics of "romance", "adventure" and "masculinity", Land Art (as this thesis shows) is a far more nuanced phenomenon. Through an examination of the work of three seminal artists: Michael Heizer (b. 1944), Dennis Oppenheim (1938-2011) and Walter De Maria (1935-2013), the thesis argues for an expanded reading of Land Art; one that recognizes the significance of size and scale but which takes a new view of these essential elements. This is achieved first by the introduction of the "imaginary" into the discourse on Land Art through two major literary texts, Swift's Gulliver's Travels (1726) and Shelley's sonnet Ozymandias (1818)- works that, in addition to size and scale, negotiate presence and absence, the whimsical and fantastic, longevity and death, in ways that strongly resonate with Heizer, De Maria and especially Oppenheim. -
Art on the Texan Horizon
Set out on a fascinating journey through the desert of West Texas for an unforgettable stay in Marfa. Immerse yourself in the landscapes that inspired hundreds of brilliant sculptures and installations and learn more about the vibrant artistic community built by Donald Judd and his minimalist contemporaries. Wake up to beautiful sunrises and take in the dramatic sunsets as you explore the region. Compliment your adventures through the desert with a stay in Houston, Texas, a city with a wealth of Modern and Contemporary artwork and see fascinating works by artists such as Dan Flavin, Mark Rothko, and Cy Twombly. Join us for an enriching voyage to see remarkable contributions made by some Art on the of America’s greatest artists. Itinerary Overview* Texan Horizon TUESDAY, OCTOBER 29, 2019 MARFA & HOUSTON Arrivals October 29 – November 3, 2019 Fly to Midland airport, take a private group transfer to Marfa, and enjoy an enchanting welcome dinner. WEDNESDAY, OCTOBER 30, 2019 An Insider’s Marfa Begin the day at Donald Judd’s compound, which houses a collection of his works, follow a guided tour in downtown Marfa to learn more about the man who became this great figure of American Minimalism, and visit vibrant and eclectic local galleries. THURSDAY, OCTOBER 31, 2019 Conversations with Nature Take a scenic drive to the Chihuahuan Nature Center, enjoy breathtaking views of the mountains and rock formations of the area, walk through the Botanical Gardens, and have a lovely outdoor picnic in a beautiful setting. This afternoon, return to Marfa for a guided tour of the Chinati Foundation, including Donald Judd’s series of aluminum sculptures, Dan Flavin’s light installations, and Robert Irwin’s From Dawn to Dusk Special Experiences sunset experience. -
Andy Warhol: Motifs from Areas of Consumer Society—He Pushed at and Extended the Limits of Art, Design, and Commerce
founder and director of DASMAXIMUM, has had a long career presenting large-scale exhibitions such as these, Ayn Foundation in including for the DIA Art Foundation. collaboration with In 1949, after completing his studies in commercial art from the Carnegie Institute of Technology in Pittsburgh, Warhol moved to New York, where he quickly earned a DASMAXIMUM reputation as one of the most highly regarded graphic designers in the city. After 1960, he devoted himself ex- clusively to art and, as a co-founder of Pop Art, became presents: one of the world’s most prominent artists. By legitimiz- ing the silkscreen technique that previously had been employed only for commercial use—and by selecting Andy Warhol: motifs from areas of consumer society—he pushed at and extended the limits of art, design, and commerce. The Original Warhol’s level of technical skill and in-depth knowledge of color is most vividly on display in this exhibition of original silkscreens. He is most recognized for his Silkscreens sensitivity to social trends, subtle political commentary, and ability to stylize everyday objects into masterpieces; but he was also an excellent craftsman. His unusually large formats and special treatments of the surface— diamond dust, relief printing, or fluorescent ink—give this encounter a particularly special experience. The works on view include Marilyn Monroe (1967), Campbell’s Soup Can (1968), Mao (1972), Flowers (1970), Skulls (1976), Lenin (1987), Kimiko (1981), Sunset (1972) the Love series (1982-83), and Saint Apollonia (1984)— will be on view. Within the overall oeuvre, they set varying points of emphasis, demonstrating Warhol’s un- matched precision, creativity, and confidence, unreserv- edly reinforcing his status as one of the most important artists of all time. -
CURRICULUM VITAE Professor Alex Potts
CURRICULUM VITAE Professor Alex Potts Date of Birth 1 October 1943 Education 1965 BA(Hons) in mathematics, physics and chemistry, University of Toronto, Canada: first class 1966 Diploma in Advanced Mathematics, University of Oxford l966-9 Research in theoretical chemistry at University of Oxford 197O Diploma in the History of Art, University of Oxford (special subject ‘Baudelaire and the Artists of his Time’): distinction l97O-3 Registered as a full-time research student in art history at the Warburg Institute, University of London l978 PhD, University of London (thesis title: Winckelmann's Interpretation of the History of Ancient Art in its Eighteenth Century Context) Teaching Appointments 1971-3 Part-time Lecturer in the Department of Fine Art, Portsmouth Polytechnic l973-81 Lecturer in the history of art at the University of East Anglia, Norwich l98l-9 Senior Lecturer in the history of art at Camberwell College of Arts; from 1984, Principal Lecturer; Acting Head of Department (Art History and Conservation) in 1987 and 1989 l984 Guest Professor for one term at the University of Osnabrück, Germany 1989-95 Senior Lecturer in the history of art and Head of Art History, Department of Historical and Cultural Studies, Goldsmiths College, University of London 1992 Visiting Professor for one month at University of California, Berkeley 1993 Visiting Professor for the Spring semester at University of California, Berkeley 1994 Visiting Professor for the Summer semester at University of California, Irvine 1996-2002 Professor of History of Art,