Richard Artschwager, from the Factory to the Studio: Reoccurring Motifs September 12 – October 28, 2006

Total Page：16

File Type：pdf, Size：1020Kb

Richard Artschwager, From the Factory to the Studio: Reoccurring Motifs September 12 – October 28, 2006 From the Factory to the Studio: Reoccurring Motifs is exhibition of Richard Arstschwager’s sculptures, paintings and drawings from the 60s, 70s, and 80s. Especially interesting are some preparatory studies that have never been seen before. Artschwager’s distinctive art was shaped by Pop Art as well as Conceptualism and Minimalism, competing styles during the period. His unique work is a synthesis of these movements and it continues to be highly influential. Artschwager was born in 1923 in Washington, DC but his family soon moved to Las Cruces, New Mexico. He served in the army and participated in the liberation of Berlin. Upon his return, he attended Cornell University where he studied art history. In 1949 he entered the atelier of Amedee Ozenfant. Having a family and needing a steady salary Artschwager began to produce furniture in 1953, and by 1956, he was building mass-quantities for commercial sales. It was in this environment that Artschwager began to develop ideas for his art. Counter, 1962, is one of his earliest and possibly the first sculpture in this vein, and it strongly holds a furniture-like element. During the same period Artschwager started to paint stark landscapes reminiscent of the Southwestern desert, such as Juniper Matrix, 1962, and Untitled, 1964. Acknowledging his familiarity with industrial materials, he painted on Celotex, an insulation material with a pebbly surface. While his later paintings were mainly based on architectural interiors, the horizontal lines that surfaced in his earlier landscapes remained a constant theme. If Artschwager’s chosen medium for painting is Celotex, then Formica is his chosen medium for sculpture. Walker, 1964 is one of the earliest examples of his use of Formica. The following year Artschwager had his first exhibition at Castelli where Walker along with Grey Painting, 1964, was first shown. For further information please contact Jessica Mastro at 212.249.4470 or [email protected] .

Copy Link

Recommended publications

Richard Artschwager °1923 (Washington DC, USA) — † 2013 (Albany, USA)
Richard Artschwager °1923 (Washington DC, USA) — † 2013 (Albany, USA) Biography Selected One-Person Exhibitions 2021 — Richard Artschwager, Gagosian Gallery, Rome, Italy 2020 — Richard Artschwager, Guggenheim Museum Bilbao, Bilbao, Spain — Live in Your Head: Richard Arstchwager’s Cabinet of Curiosities, Gagosian Gallery, London, UK 2019 — Richard Artschwager, Museum of Modern and Contemporary Art of Trento and Rovereto, Rovereto, Italy — Richard Artschwager, Hall Art Foundation, Reading, VT, USA — Primary Sources, Gagosian, New York, NY, USA 2016 — Richard Artschwager, Peter Lund, Oslo, Norway 2014 — Richard Artschwager!, Nouveau Musée National de Monaco, Monaco — No More Running Man, Gagosian Gallery, Madison Avenue, New York, NY, USA 2013 — Portraits!, Sprüth Magers Berlin London, Berlin, Germany — Richard Artschwager!, Haus der Kunst, Munich, Germany — Richard Artschwager: Blps, LAND, The Hammer Museum, and The Cosmopolitan of Las Vegas, Los Angeles and Las Vegas, CA, USA 2012 — Richard Artschwager!, Whitney Museum of American Art, New York, NY, USA 2010 — Richard Artschwager, Xavier Hufkens, Brussels, Belgium — Richard Artschwager: Hair, Contemporary Art Museum St. Louis, St. Louis, MO, USA 2009 — Richard Artschwager, Sprüth Magers Berlin London, Berlin, Germany 2008 — Sculptures, Palais provincial, Liège, Belgium — Richard Artschwager, Gagosian gallery, West 24th Street, New York, NY, USA — Richard Artschwager, Gagosian gallery, Madison Avenue, New York, NY, USA — Richard Artschwager, Objects as Images of Objects: 1967- 2008, David
[Show full text]
Dick Polich in Art History
ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship.
[Show full text]
Richard Artschwager Richard Artschwager
Press release Opening on February 29 Richard Artschwager Richard Artschwager ● Dates: 29 February – Autumn 2020 ● Curators: Germano Celant and Manuel Cirauqui, curator of the Guggenheim Museum Bilbao - Halfway between painting and sculpture, Artschwager develops a unique language using the new domestic materials of his time, always working toward the fusion of figuration and abstraction, artistic innovation and design, and ironically seeks to combine the functional and the useless. - Designed as an open labyrinth, the exhibition features a comprehensive selection of paintings and sculptures dating from the early 1960s to the first decade of this century. - Artschwager represents places, scenes from everyday life, and common objects such as tables, chairs, and dressers, interpreting them in ordinary, standardized industrial materials such as Formica, Celotex, acrylic paint, and rubberized horsehair. - Artschwager’s work continually questions appearance and essence, offering us a delicate and realistic, humorous yet monumental interpretation of the world. The Guggenheim Museum Bilbao presents the exhibition Richard Artschwager, a unique occasion to survey the creative career of Richard Artschwager (Washington, D.C., 1923 – Albany, New York, 2013), an artist who worked halfway between painting and sculpture and who developed a unique language using the new domestic materials of his time. This ambitious project, conceived by world-renowned curator Germano Celant and co-organized by the Guggenheim Museum Bilbao and MART – Museo di Arte Moderna
[Show full text]
ARTSCHWAGER Publikation.Pdf
Richard Artschwager! Whitney Museum of American Art Yale University Art Gallery Distributed by Yale University Press Jennifer R. Gross With contributions by Cathleen Chaffee | Ingrid Schaffner | Adam D. Weinberg New York New Haven New Haven and London Richard Artschwager! vi Foreword adam d. weinberg viii Acknowledgments 1 Absolutely Original jennifer r. gross 67 The Shifting Locations of Richard Artschwager cathleen chaffee 101 Richard Artschwager: Different Ways to Blow the Whistle Contents adam d. weinberg 149 Recollection (Artschwager) ingrid schaffner 188 Chronology 190 Exhibition History 214 Bibliography 229 Checklist of the Exhibition 234 Lenders to the Exhibition 236 Index Throughout this volume Richard Artschwager is variously described as “an outsider,” distinctive voices of individual artists who are as important for their differences as “an inveterate oddball,” “idiosyncratic,” and as using “design materials with a high they are for their connections to each other. And few are as distinctive in this period ick factor to create paintings and sculptures that have continued to strike just the as Richard Artschwager. right notes of offbeat realism and abstraction.” Indeed, since he arrived on the scene in the late 1950s Artschwager’s work has resisted stylistic definition. Even My most profound thanks are due to Richard and Ann Artschwager who have worked today, almost fifty years after his early exhibitions at Leo Castelli Gallery in 1964 — closely with Jennifer Gross to create a distinctive survey, which embodies the artist’s where his work was presented with that of Christo, Andy Warhol, Roy Lichtenstein, unique sensibility at critical moments in his career. Together they identified works and and Frank Stella — his art, having been extensively exhibited, collected, and written helped secure loans essential to the success of the exhibition.
[Show full text]
A Finding Aid to the Richard Artschwager Papers, 1959-2013, in the Archives of American Art
A Finding Aid to the Richard Artschwager Papers, 1959-2013, in the Archives of American Art Joy Goodwin and Rihoko Ueno Funding for the digitization of this collection was provided by the Roy Lichtenstein Foundation. 2014 February 13 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Correspondence, circa 1970-2013............................................................ 5 Series 2: Talks and Lecture, 1985-2009................................................................ 17 Series 3: Exhibition Files, 1973-2007...................................................................
[Show full text]
Richard Artschwager
Richard Artschwager Bibliographie/ Bibliography Bücher und Kataloge / Books and Catalogues 2019 Celant, Germano. Richard Artschwager, Silvana Editoriale, Milan, 2019. 2015 Yau, John: 'Richard Artschwager: Into the Desert’, Blackdog Publishing, London, 2015. 2013 Morgan, Robert: 'Richard Artschwager: No More Running Man’, Gagosian Gallery, New York, 9 January – 22 February, Gagosian, New York, 2013. 2012 'Richard Artschwager!', catalogue of the exhibition 'Richard Artschwager!', Whitney Museum of American Art, New York, October 25, 2012-February 3, 2013, travelling to Hammer Museum, Los Angeles, June 16-September, 1, 2013, Yale University Press, New Haven and London. 'Richard Artschwager', catalogue of the exhibition 'Richard Artschwager', Gagosian Gallery, Rome, September 27-October 31, 2012. 2009 Ackermann, Marion: 'Drei: das Triptychon der Moderne', Kunstmuseum Stuttgart, Stuttgart. 2008 Bidner, Stefan: 'Franz West - Souffle, eine Massenausstellung', Kunstraum Innsbruck, Innsbruck. Meyer-Stoll, Christiane. 'Sammlung Rolf Ricke: ein Zeitdokument', Kunstmuseum St. Gallen, Sankt Gallen/ Kunstmuseum Liechtenstein, Vaduz. Oetker, Brigitte: 'Gedichte der Fakten', Stiftung Galerie für Zeitgenössische Kunst, Leipzig. 'Richard Artschwager', Gagosian Gallery, New York. 'Richard Artschwager, Objects as Images of Objects.' David Nolan Gallery, New York. 2007 Francis, Mark: 'Pop Art is... ', Gagosian Gallery, New York. Guadagnini, Walter: 'Pop art 1956-1965', Scuderie del Quirinale, Rom. Gardner, Belinda Grace, Buhrs, Michael, Luckow, Dirk, Matt, Gerald: 'True Romance. Allegorien der Liebe von der Renaissance bis heute', Kunsthalle Wien, Wien. 2006 Ackermann, Marion: 'Piktogramme - Die Einsamkeit der Zeichen', Berlin. Brockhaus, Christoph: 'Das Jahrhundert Moderner Skulptur I', Köln. 'Richard Artschwager Interactions', David Nolan Gallery, New York. 2005 Reinhardt, Ad, Donald Judd and Agnes Martin: 'Imageless Icons: Abstract Thoughts', Gagosian Gallery, London. Temkin, Ann: 'Contemporary Voices: Works from The UBS Art Collection', Museum of Modern Art, New York.
[Show full text]
RICHARD ARTSCHWAGER Metropol Kunstraum Portrait Zero, Holz Und Metallschrauben, 114,8 X 66,5 X 13,9 Cm, 1961 Ausrufezeichen – Fragenzeichen
RICHARD ARTSCHWAGER Metropol Kunstraum PORTRAIT ZERO, HOLZ UND METALLSCHRAUBEN, 114,8 x 66,5 x 13,9 cm, 1961 AUSRUFEZEICHEn – FRAGENZEICHEN Manchmal findet nicht der Sammler die Kunstwerke, sondern die Kunstwerke die Sammler. Dies ist mir mit der Skulptur „Portrait Zero“ von 1961 so gegangen. Aufgrund meines Interessengebietes US Kunst 60er Jahre wurde mir von einer Galerie dieses Erstlings- werk von Richard Artschwager angeboten und obwohl ich sofort auf die Arbeit reagierte, mich mit Artschwa- ger darüber spannend austauschte, entschied ich mich gegen eine Erwerbung. Später begegnete die Arbeit dann im Haus der Kunst bei der Retrospektive des Künstlers und ich bedauerte meine Entscheidung so- fort. Seitdem hatte ich die Arbeit immer als Lücke bei mir, kaufte ab und an weiter Zeichnungen und trauerte – bis ich bei einer Auktion die Arbeit wiederentdeckte und erwerben konnte. Dies war der Anstoß, mich auch mit den Ölbildern zu beschäftigen, deren systema- tische Nutzung des Materials und der Farblichkeit an meine Vorliebe der Conceptual Art anknüpfte. Dies gilt auch für die systematische Objektwelt, die er geschaf- fen hat. Noch immer hinterlassen mich die Arbeiten von Richard Artschwager mit großen Fragezeichen und ich freue mich auf die nächsten Monate, in denen die Zeichnungen, die Ölbilder und die Objekte zusammen- kommen und mich weiter zum Denken anregen. Ich bin Dr. Ulrich Wilmes, der die Retrospektive im Haus der Kunst verantwortete, dankbar, dass er einen kleinen Text geschrieben hat, und auch Zissa von L’Estocq, die wieder das schöne Heft gestaltet hat. München, den 20.2.2019 MM (DEEPL TRANSLATION IN THE BACK OF THE BOOKLET) RICHARD ARTSCHWAGER – DER MALER UND renddessen die Geschwister zur Schule gingen und ZEICHNER Deutsch lernten.
[Show full text]
Make an Object to Be Lost: Multiples and Minimalism
15 “Make an Object to Be Lost” Multiples and Minimalism Liz Kotz How do we understand the historical project of “the multiple” in relation to Minimalism? How do these two models of artistic practice intersect, and what do they produce? At the outset, we should note that this intersection appears fraught. At the very least, it is under-populated—vastly outnumbered by the burgeoning Pop multiple, the profusion of Neo-Realism, and the myriad box- and kit-type multiples associated with Fluxus. Amidst the many upheavals of the s—artistic, social, technological—and amidst the widespread turn to the common object and everyday object experience as models for sculptural production, what we might call the “minimalist mul- tiple” never took hold with the same fervor. Why might this be so? Why was Minimalism resistant to the multiple? Untitled [275] is an enigmatic object. Donald Judd’s contribution to the Ten from Leo Castelli portfolio [274] was the artist’s ﬁrst editioned sculpture, and one of only three multiples that he produced in this period (before mak- ing several multiple wall-works in the s and early s). Untitled occupies a provocatively peripheral place in Judd’s production. While it is included in the catalogue raisonée of Judd’s prints and works in editions, 1 to my knowl- edge, there is no signiﬁcant critical discussion of it, or the other multiples, in the increasingly voluminous Judd litera- ture, nor have they been included in the recent Judd retro- spectives. Even in the catalogue, the “works in editions” appear in the back of the book with rather minimal notations, and they are not discussed in either of the catalogue essays.
[Show full text]
“Down Under No More”, Art in America, April 2005
_____REPORT FROM AUSTRALIA;;;---____ Down Under No More With globalization now an art-worldfait accornpl~ Australia /uu; outgrown its status as a prornising outpost and become, increasingly, an art center in its own right. BY RICHARD KALINA 'd been twbocing a desire to travel to AusI.nlIia hughl one. From the ma..<a tr&nSpOIU1ion I and New Zea1and for the pasI. four or ftve yean., !Ill of eonvIcts from Eng1and and thelr IUbse lilt sp ring (autumn down there), blessed with a quent brutaillatlon, to the shameful chunk of free time, plenty or frequent-Dier miles and ~Whi t e Australia- Imm igration policies !lOme helpful Introductions, my wife and I set orr for that persisted into the late 196Os, to the six weeks-four In Australia and two In New O'o'ertly genoddal treatment of Ahoriginal Zea1and. The trip PI'O\'ed to be an eye~pener in cult~ , Australia has frequently stumbled tenna of art, culture, 8OC1aJ orde~ and, not sur· trylng to create a aense of what. it was, Is, prlslngly, landscape. Those a1x weeks yielded such a and might one day be. Whlle the U.K. pro plethora of material tha1 one report could scarcely vided the bulk of Australia', early aeUlers do It ,tustke. Australia and New Zealand certainly and for many )'tars Its domln&llt culture deserve separate coverage, and Aust ralian (the Angloph11la of Its richer tltbens was Aboriginal art raises ao ITW\)' questions thai. It, too, no doubt respOiulble lor the enervating needs to be examined on its own. llaving 1anded In sludge or V1ctorlana clogging up 10 much Australia lint, I"" decided to make It the subject of of Its museum space), there was, and con my InlUaJ report.
[Show full text]
The ADAA Announces Program Highlights at the 2016 Edition of the Art Show
The ADAA Announces Program Highlights at the 2016 Edition of The Art Show Images (left to right): Barbara Kasten, Architectural Site 15 , 1986, Cibachrome, Courtesy the artist and Bortolami, New York; Jules Olitski, Moon Momma , 1992, Acrylic on canvas. Courtesy Paul Kasmin Gallery, Licensed by VAGA, New York, NY; Henri Matisse, Femme à l’ombrelle , 1919, Oil on canvas board, Courtesy Acquavella Galleries, New York. Program Features Keynote Speech by Americans for the Arts President and CEO Robert Lynch and the Annual Art Show Gala ADAA Member Galleries Will Present Ambitious Solo Exhibitions, Group Shows, and New Works at The Art Show, March 2 – 6, 2016 New York, January 28, 2016 —The Art Dealers Association of America (ADAA) today announced program highlights of the 2016 edition of The Art Show. The nation’s most respected and longest-running art fair, will take place on March 2 -6, 2016 at the Park Avenue Armory in New York, with a Gala Preview on March 1 to benefit Henry Street Settlement . This year the ADAA is pleased to welcome Robert Lynch, President and CEO of Americans for the Arts, as The Art Show’s keynote speaker who will discuss the role of the arts in America’s economic landscape on Friday, March 4, at 6:00 p.m. Organized by the ADAA, a nonprofit membership organization of art dealers from around the country, The Art Show offers collectors, arts professionals, and the public the opportunity to engage with artworks of the highest quality through intimately scaled and thoughtfully curated exhibitions that encourage close looking and active conversation with gallerists.
[Show full text]
The ADAA Announces Highlights of the 2016 Edition of the Art Show
The ADAA Announces Highlights of the 2016 Edition of The Art Show ADAA Member Galleries Will Present Ambitious Solo Exhibitions, Group Shows, and New Works at The Art Show, March 2 – 6, 2016 Images (left to right): Barbara Kasten, Architectural Site 15, 1986, Cibachrome, Courtesy the artist and Bortolami, New York; Jules Olitski, Moon Momma, 1992, Acrylic on canvas. Courtesy Paul Kasmin Gallery, Licensed by VAGA, New York, NY; Henri Matisse, Femme à l’ombrelle, 1919, Oil on canvas board, Courtesy Acquavella Galleries, New York. New York, November 20, 2015—The Art Dealers Association of America (ADAA) today announced highlights of the 72 presentations at the 2016 edition of The Art Show. The nation’s most respected and longest-running art fair will take place on March 2-6, 2016 at the Park Avenue Armory in New York, with a Gala Preview on March 1 to benefit Henry Street Settlement. Selected from over 100 proposals from ADAA member galleries, this year’s presentations include ambitious solo exhibitions, thought-provoking group shows, and new works presented for the first time—providing audiences a rich selection of works from the late 19th century through today by artists of a variety of genres, practices, and national and international origin. Organized by the ADAA, a nonprofit membership organization of art dealers from around the country, The Art Show offers collectors, arts professionals, and the public the opportunity to engage with artworks of the highest quality through intimately scaled and thoughtfully curated exhibitions that encourage close looking and active conversation with art experts. Notable solo exhibitions for The Art Show 2016 include a joint presentation by Marianne Boesky Gallery and Dominque Levy Gallery of painting, drawing, and sculpture by Frank Stella, and early work by Marilyn Minter presented by Salon 94.
[Show full text]
THE WHITNEY to PRESENT a MAJOR RETROSPECTIVE of the ART of RICHARD ARTSCHWAGER October 25, 2012—February 3, 2013
THE WHITNEY TO PRESENT A MAJOR RETROSPECTIVE OF THE ART OF RICHARD ARTSCHWAGER October 25, 2012—February 3, 2013 Description of Table, 1964. Melamine laminate on plywood, 26 1/8 x 31 7/8 x 31 7/8 in. (66.4 x 81 x 81 cm). Whitney Museum of American Art, New York; gift of the Howard and Jean Lipman Foundation, Inc. 66.48© Richard Artschwager Photo credit: © 2000 Whitney Museum of American Art, New York. Photograph by Steven Sloman “Art = a step into the unknown.” -- Richard Artschwager NEW YORK, August 28, 2012 – Richard Artschwager!, the most comprehensive retrospective to date of the artist’s work, opens on October 25 at the Whitney Museum of American Art. Organized by the Whitney in association with the Yale University Art Gallery, and curated by Jennifer Gross, Seymour H. Knox, Jr. Curator, Modern and Contemporary Art, Yale University Art Gallery, the show will be installed in the Emily Fisher Landau Galleries on the Whitney’s fourth floor through February 3, 2013; it will travel next summer to the Hammer Museum in Los Angeles, June 16–September 2, 2013. Now 88, Richard Artschwager (b. 1923) has remained steadily at the forefront of contemporary art for fifty years. He began making art in the 1950s, had his first one-person exhibition at the age of 42 at the Leo Castelli Gallery in New York in 1965, and made his first appearance in a Whitney Annual in 1966. Associated with Pop, Minimalism, and Conceptual art, he has never fit neatly into any of these categories. His work has consistently explored questions regarding his own visual and physical engagement with the world; his objects straddle the line between illusion and reality.
[Show full text]