2019 International 25.05.2019 > 01.09.2019 Art Exhibitions 2019

International 05 Art Exhibitions 2019 International 25.05.2019 > 01.09.2019 Art Exhibitions 2019

Opposite page Portrait of Pope Benedict XVI 2010, Mixed media on board Michael Triegel 100.5 x 76 cm Institut Papst Benedikt XVI, Harmony in Discord Regensburg Museum de Fundatie

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Michael Triegel was born in Efurt, From 1990 to 1997 Michael Triegel The members of this association largely 1 Germany in 1968. He is a painter, studied at the renowned Hochschule use the same ﬁgurative form language, Persephone and Orpheus illustrator and graphic artist. His pain- für Graﬁk und Buchkunst (Academy of though they vary widely in terms of 2012, Mixed media on board

Zwolle tings catapult us back in time. His body Fine Arts) in Leipzig, where he was their technique. 200 x 110 cm of work looks like it was created in the taught by Arno Rink and Ulrich Hachulla. Museum Barberini Potsdam early European Renaissance, but on The academy is closely associated with Having grown up in the secular GDR, 2 closer inspection it really is contempo- the Neue Leipziger Schule (New Leipzig Triegel converted to Christianity after Deus absconditus rary. It is a celebration of pure ﬁgurative School), a movement in German art the Bishop of Regensburg commi- 2013, Mixed media on canvas painting, with classic religious and pro- that arose following the fall of the Berlin ssioned him to paint a portrait of Pope 160 x 260 cm fane motifs, but Triegel also gives it an Wall, of which Neo Rauch is the most Benedict XVI in 2010. The portrait 3 entirely new look. important representative. brought Triegel international fame. Sleeping Ariadne 2010, Mixed media on canvas In terms of their subject matter and 130 x 90 cm execution, the paintings of Michael Private collection Triegel are imbued with the atmosphere 4 of the early Renaissance. He works in the Selfportrait style of the old masters, applying layer 2016, Mixed media on board upon layer with a very reﬁned tech- 70 x 45 cm nique that makes his ability to depict Collection Fritz P Mayer fabric unparalleled. Frankfurt am Main | Leipzig 5 His paintings look like altarpieces, there- Persephone fore it is no coincidence that he often 2003, Mixed media on board receives commissions from the church, 80 x 60 cm but at the same time there is something alienating and surreal about them. He All works does not glorify his motifs, but strips © Pictoright Amsterdam 2019 3 4 them of any form of devotion. Photo: Galerie Schwind

www.museumdefundatie.nl International 29.05.2019 > 26.08.2019 Art Exhibitions 2019

Opposite page Travis 2006, Oil on canvas Bernard Frize 285 x 240 cm Private collection 1 Without Remorse 1 Suite Segond 120F Centre Pompidou Bernard Frize was born in Saint-Mandé 1980, Alkyd-urethane lacquer in 1954. He is regarded as an important on canvas French painter on the international art 130 x 195 cm scene. In this exhibition, the Centre Kunstmuseum Basel Pompidou reviews his work from as 2 early as 1977. Known for his conceptual Isaac abstract paintings, Frize integrated 2004, Oil on canvas ﬁgurative elements into his practice 190 x 220.5 cm in the 1980s and also developed an Private collection interest in photography. 3 ST78 No2 The exhibition takes the form of a 1978, Alkyd-urethane lacquer non-directive theme-based tour with on canvas no particular order, blurring the serial 35 × 27 cm approach that is characteristic of the Private collection artist’s work. With a rich collection of 4

Paris some sixty works, the project was LedZ designed in close collaboration with the 2018, Acrylic and resin on canvas artist and introduces us to the very act 280.5 x 522.5 cm of creation, revealing the intellectual Courtesy Perrotin & Bernard Frize strategies and challenges underlying the painter’s work. 2 © Bernard Frize/Adagp, Paris 2019

The tour is structured around six Oulipo- inspired and deliberately paradoxical themes: With unreason, Without effort, With system, Without system, With mastery, Without stopping. 4

www.centrepompidou.fr International 30.05.2019 > 30.06.2019 Art Exhibitions 2019

Bill Jacklin

1 Paintings & Monotypes 2

Marlborough Fine Art Marlborough Fine Art is pleased to Opposite page present an exhibition of recent works Singer in the Square I by Bill Jacklin, an artist who has shown 2019 with the gallery for almost 40 years. 106.7 x 121.9 cm 1 On show will be 20-25 paintings and The Feast a selection of monotypes. Although 2019, Triptych | 198.1 x 76.2 | mainly figurative in presentation, many 198.1 x 152.4 | 198.1 x 76.2 cm of the works show underlying systems 2 and abstractions of design, harking Bill Jacklin back to Jacklin's earlier style which 3 focused on the structures within natural Dance of the Clouds and orders. In his work there is a coexistence Breezes I of representation and abstraction, 2019 provoking a tension which results in 127 x 139.7 cm an augmented viewing experience. 4 Despite his success, Jacklin felt impelled Celebration of the Animals I to return to figuration, and since 2019 moving to Manhattan in 1985 he has 40.6 x 50.8 cm painted numerous scenes of the 5 London pulsating energy of crowds in Times Umbrella Crossing VII Square and the concourse of Grand 2018 Central Station. 3 76.2 x 61 cm

For this exhibition, Jacklin has created 'The Singer in the Square' series, focusing on the concentric movement of crowds, and has continued to paint pedestrians crossing the street. Jacklin is fascinated by states of transition and finding systems of geometry in his painting to depict this constant movement. This is evident in his Triptych painting 'The Feast', which the artist has been working on since 2004, shows a seated group eating in a Venetian square whilst a crowd passes around them. In a new series of storm paintings, influenced by the artist's move out of 5 New York to Rhode Island, the storm morphs into the knitted shapes of the All works clouds which shed their representa- Courtesy the artist and tional character and become moving Marlborough Fine Art. 4 forms devoid of a pictorial setting. Photographs by Boris Apple

www.marlboroughfineart.com International 30.05.2019 > 01.09.2019 Art Exhibitions 2019

1 Installation View Lee Krasner Assault on the Solar Plexus Lee Krasner Springs, NY, 1972 1961 Photo by Irving Penn © Tristan Fewings/Getty Images 1 Living Colour © The Irving Penn Foundation

Barbican Art Gallery Gallery Barbican Art This is the first retrospective in Europe of American artist Lee Krasner (1908-1984) for over 50 years. One of the pioneers of abstract expressionism, Krasner made work reflecting the feeling of possibility and experiment in New York in the post-war period. The exhibition features nearly 100 works – many on show in the UK for the first time – from across her 50-year career, and tells the story of a formidable artist, whose importance has often been eclipsed by her marriage to Jackson Pollock. The show celebrates Krasner’s spirit for invention – including striking early self-portraits; a body of energetic charcoal life drawings; original photographs of her proposed department store window displays, designed during London the war effort; and her acclaimed ‘Little Image’ paintings from the 1940s with their tightly controlled geometries. 2

2 Polar Stampede 1960 The Doris & Donald Fisher Collection at the San Francisco Museum of Modern Art 3 Prophecy 1956 Private Collection Photo by Christopher Stach 4 Another Storm 1963, 4 Private Collection Photo by Diego Flores It also features collages comprised of I like a canvas to breathe and be alive. torn-up earlier work and a selection of Be alive is the point. All works her most impressive large-scale abstract Lee Krasner – a key figure in American © The Pollock-Krasner Foundation paintings. This is accompanied by rare art, whose energetic work reflects the Courtesy Kasmin Gallery, 3 photography and ﬁlm from the period. spirit of possibility in post-war New York. New York

www.barbican.org.uk International 31.05.2019 > 26.08.2019 Art Exhibitions 2019

Frank

3 Bowling

Tate Britain Since the early 1960s Bowling) has explored and expanded the possibilities of paint, influencing generations of artists through his spectacular kaleidoscopic paintings. This long overdue major retrospective of his work will be the first exhibition to span the full breadth of Bowling’s practice, bringing together rarely seen works and iconic series that 6 highlight the quality and range of the artist’s remarkable six-decade career. 1 London Ah Susan Whoosh 1981, Acrylic paint on canvas 241.5 x 175 cm Private collection, London 2 Ziff 1974, Acrylic paint on canvas 201 x 146 x 5 cm Private collection, London Courtesy of Jessica McCormack 3 South America Squared 1967, Acrylic and spray paint on canvas 243 x 274 cm Rennie Collection, Vancouver 4 Bartica Born I 1968, Acrylic on canvas 235.6 x 121.9 cm Tate 5 1 | 2 4 5 Frank Bowling Photo: Mathilde Agius Tate Britain will chart Frank Bowling’s Living and working between London Highlights will include poignantly auto- 6 rise to becoming one of Britain’s most and New York, he has continuously biographical works such as a selection Cover Girl visionary painters. Born in Guyana (then reinvented painting fueled by a of canvases from the 1960s that bridge 1966, Acrylic, oil paint, and British Guiana) in 1934 and part of the knowledge of European tradition and pop and colour field painting and silkscreened ink on canvas Windrush generation, Bowling moved post-war abstraction, and infuses his feature stenciled images of Bowling’s 144.8 x 101.6 cm to London in 1953. He went on to study works with deeply personal narrative. childhood home. The show will end Private Collection at the Royal College of Art and became For the first time, early figurative work with a section dedicated to paintings the first Black artist nominated as a including Cover Girl (1966), will be on made over the last decade, a period of All works © Frank Bowling Royal Academician. show. productivity and experimentation. All Rights Reserved, DACS 2019

www.tate.org.uk International 01.06.2019 > 20.07.2019 Art Exhibitions 2019

David LaChapelle

1 Act of Nature 2

Reflex Reﬂex Amsterdam is delighted to Opposite page announce the latest solo exhibition of Behold the celebrated and accomplished photo- 2017 grapher David LaChapelle. After almost 1 ten years since his last solo exhibition, Gas am pm LaChapelle is back to present his most 2012 Amsterdam recent work. The exhibition, his third at 2 the gallery, includes highlights from the We Forgave Deeply Then past ten years, as well as a selection of Love Flooded Our Hearts previously unseen work which will 2017 debut in Amsterdam. ‘Act of Nature’ sits 3 at the intersection of the earthly and A New World the transcendental, of a utopian fantasy 2017 and a dystopian reality, with humanity 4 and nature living both in harmony and Praise Dance in conﬂict with one another. 3 2009

2 Drawing from his immediate surround- 2 ings and his previous experience as a 2 photographer to the stars, from religion 2 and spirituality, and from the art 2 historical canon, LaChapelle crafts 2 images that not only capture the visual 2 senses, but also the mind and the heart. 2 A gas station depicted in the middle of the jungle shines brightly as an illuminated beacon of consumerism, radiating otherworldliness in the midst of abundant vegetation. The narrative laden image suggests a struggle between wilderness and domestic. Is this an act of human interference? 4 Or is nature ﬁghting back? 5

Paradise, one of David LaChapelle’s 5 more recent series, imagines the Early Fall utopian interaction between nature and 2008-11 humans. Shot in his native Hawaii and 6 filled with mystical symbolism the series Self-Portrait as House emanates magic and bursts with colour. 2013 In 2006, LaChapelle decided to minimise his participation in commercial photo- All works graphy and return to his roots by © David LaChapelle focusing on fine art photography. 6 Courtesy Reflex Amsterdam

www.reflexamsterdam.com International 05.06.2019 > 29.07.2019 Art Exhibitions 2019

Opposite page Rogi André Dora Maar c1937, Gelatin-silver print 29.9 x 39.4 cm Dora Maar Collection Centre Pompidou, Paris Centre Pompidou 1 Dora Maar Model-star 1936, Gelatin-silver print Thérond Collection 2 Dora Maar 29 rue d’Astorg 1 c1936, Gelatin-silver print enhanced with colour With the collaboration of the J Paul 29.4 x 24.4 cm Getty Museum and in partnership with Collection Centre Pompidou, the Tate Modern, the exhibition Paris organized by the Centre Pompidou 3 aims to highlight, for the ﬁrst time in a Dora Maar French museum, Dora Maar’s work as Fashion photography,

Paris an artist, and not only as the muse and Untitled mistress of the Spanish painter Pablo Mannequin sitting in profile Picasso. Although for many she remains in dress and evening jacket the model of ‘La femme qui pleure’, c1932-35, Gelatin-silver print Dora Maar has never- theless recently enhanced colours enjoyed critical acclaim and recognition 29.9 x 23.8 cm in studies dedicated to Surrealism and Purchase in 1995 photography. Several shows organized Collection Centre Pompidou, by the Musée National d’Art Moderne, Paris accorded a special place to Dora Maar’s 4 Surrealist work, with enigmatic photo- Dora Maar graphs such as ‘Portrait d’Ubu’ and ‘Le Self-portrait with fan Simulateur’, joining the museum’s Paris, early 1930s, Negative collections in 1973. 2 gelatin-silver on a flexible support in cellulose nitrate 11 x 6.5 cm 5 Pablo Picasso Portrait of Dora Maar, profile, 6th state 1936-37, Gelatin-silver print 30 x 24 cm Picasso National Museum, Paris © Picasso Succession 2019

All works 3 45 © Adagp, Paris 2019 www.centrepompidou.fr International 06.06.2019 > 03.08.2019 Art Exhibitions 2019

Francis Bacon

1 Couplings 5

Gagosian Gallery Gallery Gagosian An exhibition of Bacon’s double-figure Opposite page paintings. Francis Bacon’s disturbing Two Figures with a Monkey images – his portrayals of friends and 1973, Oil on canvas fellow artists, and the deformations and 198 x 147.5 cm stylistic distortions of classical subjects – 1 radically altered the genre of figurative Installation view painting in the twentieth century. 2 In Bacon’s paintings, the human Two Figures in the Grass presence is evoked sometimes viscerally, 1954, Oil on canvas at other times more fleetingly, in the 152 x 117cm form of a shadow or a blurred, watchful 3 figure. In certain instances, the portrayal Two Figures takes the form of a composite in which 1953, Oil on canvas male and female bodily traits are 152.5 x 116.5 cm transposed or fused. 4 Installation view London 5 Installation view 6 Two Figures On A Couch 1967, Oil on canvas 155 x 140 cm

Photos: Opposite page | 2 | 3 Prudence Cuming Associates Ltd Photos 1 | 4 | 5 Mike Bruce

This selective exhibition explores a seen publicly together since the major theme that preoccupied Bacon retrospective of Bacon’s work at the throughout his career: the relationship Grand Palais, Paris, in 1971. After between two people, both physical and completing Two Figures in the Grass, psychological. Bacon did not return to the subject until 1967, the year that homosexual acts in At the heart of the exhibition are two of private were decriminalized in England the most uninhibited images that and Wales. That same year he painted Bacon ever painted: Two Figures (1953) Two Figures on a Couch (1967), which and Two Figures in the Grass (1954). was last exhibited in London in 1968 4 These interrelated works have not been and is also included in Couplings. 6

www.gagosian.com International 06.06.2019 > 08.09.2019 Art Exhibitions 2019

1 Untitled 2010, Oil on canvas Etel Adnan 24 x 30 cm Collection Andrée Sfeir-Semler 8 & Modernism 2 Untitled Mudam Luxembourg Born in Beirut to a Greek mother and links between the image and text; relationship with the work and ideas 2010, Oil on canvas Syrian father in 1925, Adnan was raised Eastern and Western cultures; Modern- of some of the key protagonists within 24 x 30 cm in a multi-cultural and multi-lingual ism and contemporary art. Her work modern art, first and foremost Paul 3 environment acquiring a knowledge reflects a sensitive, dynamic relation- Klee who she once described as Untitled of Greek, Arabic, Turkish, French and ship with the world, exploring ‘the first painter she fell in love with’. 2016, Oil on canvas English language. Following her studies questions of landscape, abstraction, This dialogue with Modernism is 32 x 41 cm in Paris, New York and Berkeley, she colour, writing, memory and history. explored through a series of works that 4 travelled extensively in Northern and Her exhibition at Mudam assembles a have been selected in collaboration Untitled Central America, as well as in North broad spectrum of her work, including with Adnan. The selection includes a 2012, Oil on canvas Africa. Since the 1960s, the poet, writer paintings, works on paper and number of important works by Klee in 32 x 41 cm and painter Etel Adnan has built up a tapestries from the early 1960s to the addition to paintings by Kandinsky, Collection Andrée Sfeir-Semler 1 2 body of work that makes significant present day. At its heart lies the artist’s De Staël and Mathieu. 5 Untitled 2012, Oil on canvas 32 x 41 cm Collection Andrée Sfeir-Semler 6 Untitled 2010, Oil on canvas

Luxembourg 24 x 30 cm 7 Untitled 2010, Oil on canvas 24 x 30 cm 3 4 5 9 8 Etel Adnan at 91 © The Financial Times Limited, 2019 9 Untitled 1988-89, Oil on canvas Private collection, Paris Photo © Remi Villaggi 10 Untitled 2018, Oil on canvas 41 x 33 cm 6 7 Collection Andrée Sfeir-Semler 11 All works Low Tide (Marée Basse) unless otherwise stated 1967-73 | 2017, Oil on canvas Courtesy Etel Adnan and Sfeir- 200 x 160 cm Semler Gallery, Beirut / Hamburg © Etel Adnan Photos © Etel Adnan 10 6 11 Courtesy Galerie Lelong & Co

www.mudam.com International 07.06.2019 > 22.09.2019 Art Exhibitions 2019

Opposite page 1 Otto Baumberger Hilla von Rebay Mass Zero Hour With Tenderness 1936, Oil on canvas 1946, Oil on canvas 117.5 x 100 cm Art from 1933 to 1955 84 x 77 cm

Kunsthaus Zürich How did artists respond to the historical rift created by Fascism and the Second World War? And how, once the conflict was over, did they find new ways to give shape to existence – and indeed the existence of art itself? This exhibition looks for answers in the Kunsthaus Collection, with a presentation of around 70 works including many paintings and sculptures that have not been shown for decades.

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The art of this period is characterized 2 by drastic change and massive contrasts. Sophie Taeuber-Arp After the war – which culminated in Twelve Spaces ‘Zero Hour ’ as the fighting finally came 1939, Oil on canvas to an end – there came a shift, from a 80.5 x 116 cm reckoning with the conflict’s far- 3 reaching consequences to the creation Jackson Pollock of a new artistic language accompanied Number 21 by a new freedom of expression. Overall, 1951, Synthetic resin the presentation reveals just how much painting energy was tied up by the war and then 145 x 94 cm released by its conclusion. It shows how 4 figuration and abstraction endured side Fritz Glarner by side as underlying idioms of modern Painting art and contributed to the fundamental 1937, Oil on canvas renewal of artistic creativity. 34 81.5 x 71 cm www.kunsthaus.ch International 08.06.2019 > 29.06.2019 Art Exhibitions 2019

Opposite page Ellis Rise John Knuth 2019 Acrylic/ﬂyspeck on canvas 1 The Origin of the New World 152.4 x 203.2 cm (diptych)

Hollis Taggart Galleries ‘I have always been fascinated by 1 and taken inspiration from artist East Side Gustave Courbet, and in particular 2017 his focus on portraying the realities Acrylic/flyspeck on canvas of the common man. For me, this is 91.4 x 152.4 cm where the fly paintings begin, with 2 the fly serving as a stand-in for man Manhattanhenge and the final painting encapsulating 2019 what can be created when we work Acrylic/flyspeck on canvas together. At the same time, human 152.4 x 203.2 cm (diptych) production has, and continues to, 3 rapidly reshape the world, in ways West Side that we cannot yet fully understand. 2017 Exploring the ramifications of that Acrylic/flyspeck on canvas change, particularly to the natural 91.4 x 152.4 cm landscape, is another important 4 underlying theme to the fly works Soundset and to my practice at large’. 2019 John Knuth Acrylic/flyspeck on canvas 121.9 x 91.4 cm Hollis Taggart is pleased to present the 5

New York first solo exhibition in New York City for Rare Earth Metals Los Angeles-based artist John Knuth. 2 2019 Painted plastic globe with The artist is recognized for his engage- The exhibition at Hollis Taggart, which is format for Knuth’s fly works. As part of flyspeck ment with environmental concerns curated by independent curator and art the presentation, and to highlight Height 33 cm | Width 30.5 cm and a singular use of fly regurgitations dealer Paul Efstathiou, will feature a Knuth’s process, several of the new fly Depth 38.1 cm to produce vibrant and seemingly selection of new “fly paintings” and also globes will be made through the luminescent abstract paintings. debut a three-dimensional globe duration of the show.

3 4 5 www.hollistaggart.com International 11.06.2019 > 16.08.2019 Art Exhibitions 2019

Opposite page Charlotte Park Untitled Painters c1965, Oil and oil crayon on canvas of the East End 76.8 x 76.8 cm Courtesy Berry Campbell, New Kasmin Gallery Kasmin Gallery The show explores the commonalities York and Kasmin Gallery and distinctions of the work produced © James & Charlotte Brooks amongst the coterie culture of Long Foundation Island’s South Fork during the mid-20 1 th century, including Mary Abbott, Nell Jane Freilicher Blaine, Perle Fine, Helen Frankenthaler, Landscape with Ploughed Jane Freilicher, Elaine de Kooning, Lee Potato Field Krasner, Joan Mitchell, Charlotte Park, 1966, Oil on linen Betty Parsons, and Jane Wilson. Artists 152.4 x 101.6 cm have historically converged on Long Courtesy of the Estate of Jane Island seeking inspiration from the land- Freilicher and Kasmin Gallery scape and an escape from their con- 2 ﬁned urban studios, while still retaining Nell Blaine access to the energy of New York City. Merry-Go Round New York 1955, Oil on canvas 177.8 x 137.2 cm Courtesy Reynolds Gallery and Kasmin Gallery 3 Nell Blaine Shell and Wine Bottle 1967, Oil on canvas 45.7 x 61 cm Courtesy Reynolds Gallery and Kasmin Gallery 4 Jane Freilicher Landscape in Water Mill 1962, Oil on linen 45.7 x 50.8 cm Courtesy of the Estate of Jane 1 2 Freilicher and Kasmin Gallery

With the mass inﬂux of the European painters who set up there not only avant-garde following the onset of because of their practical advantages – World War II and the subsequent larger studios, relative quiet – but for establishment of the New York School, the opportunity to contemplate rural a thriving and collaborative artist-based landscapes, the horizon and bodies of community was born in the East End. water. Even more important than the The Hamptons of the New York School beautiful surroundings and the ease of was untamed, inexpensive, and a access from New York City was the bastion of bohemian living. The oppor- magnetism of association, as artists tunities provided by the area’s open attracted one another to form a vibrant 3 spaces were developmental for the community that continues to this day. 4

www.kasmingallery.com International 12.06.2019 > 02.08.2019 Art Exhibitions 2019

Opposite page Robert Vickrey Eight Balloons 1 Reinventing 1995, Egg tempera on gessoed panel All works courtesy of the artists and Hirschl & Adler Modern, New York The Real 56.5 x 69.9 cm

Hirschl & Adler Modern ‘Reinventing the Real’ which features over 20 paintings by American artists, explores personal visions of reality in 20th and 21st-century American life. With the end of the Victorian era and the ascendancy of the machine age, and with the dark clouds of two world wars and countless international con- ﬂicts threatening on the horizon, 20th- century artists actively searched for ways to represent a society confronted with an uncertain future. As their desire to reproduce the human experience unfolded, subject matter transitioned from the ideal to the commonplace to offer fresh observations of everyday life. Looser lines, experimental forms, and shifts in colour came to deﬁne the era. 2 5

This show explores Realism’s ability to 1 make visible the human experience by Honoré Sharrer

New York presenting works by John White Nursery Rhyme Alexander, Raimundo de Madrazo y 1971, Oil on canvas Garreta, Robert Henri, Jane Peterson, 124.5 x 226.1 cm Everett Shinn, Thomas Fransioli, Everett 2 Gee Jackson, Roger Medearis, Winold Thomas Fransioli Street Scene, South Boston 1951, Oil on canvas 55.9 x 76.2 cm 3 Alan Feltus One Afternoon in Tuscany 1986, Alkyd on canvas 177.8 x 121.9 cm 4 Everett Gee Jackson The Fishing Barge c1933, Oil on canvas 95.3 x 113 cm 4 5 Winold Reiss Reiss, Honoré Sharrer, Robert Vickrey, John Koch, Robert Minervini, John ‘Montana Red’ Shy Frederick Brosen, Louisa Chase, James Moore, Stone Roberts, Bill Traylor, Marc c1931, Pastel on Whatman board 3 Deeds, Alan Feltus, Angela Fraleigh, Truijillo and Purvis Young. 99.1 x 66 cm www.hirschlandadler.com International 15.06.2019 > 22.09.2019 Art Exhibitions 2019

1 War 2003, Pastel and paper Paula Rego mounted on aluminium 160 x 120 cm 3 Obedience & Defiance © Paula Rego, Tate MK Gallery MK Gallery Milton Keynes Milton

4 5610 2 ‘Paula Rego: Obedience & Defiance’, is Exhibition highlights include; ‘Abortion Angel the first major retrospective of the Series’ (1998-9), Rego’s response to the 1998, Pastel on paper artist’s work in England for over 20 years. failure of the 1998 referendum in mounted on aluminium The exhibition will span Paula Rego’s Portugal and the government’s decision 180 x 130 cm entire career since the 1960s with more not to legalise abortion, ‘Painting him 3 than 80 works, including never- before- Out’ (2011) which reverses the traditional Salazar Vomiting seen paintings and works on paper art historical relationship between male The Homeland from the artist’s family and close friends. artist and female muse; ‘War’ (2003), 1960, Oil on canvas Rego’s response to a newspaper 94 x 120 cm The exhibition presents paintings, photograph published in the Guardian 4 | 5 | 6 pastels, drawings and prints related to showing the bombing of civilians in Triptych political injustices and cultural clichés in Iraq, and ‘Angel’ (1998), an invented 1997-8, Pastel on paper broad subjects from dictatorship to figure who avenges the death of a mounted on aluminium backstreet abortion and female genital young girl Amélia, seduced and Each panel 110 x 100 cm 1 2 7 mutilation. ill-treated by a priest. 7 Paula Rego in her Studio This is the first show in Britain to present Photo © 2019 Nick Willing Rego’s paintings made in the 1960s 8 | 9 during the regime of the dictator Salazar. Dancing Ostriches 1995, Pastel on paper Paula Rego’s remarkable, nuanced mounted on aluminium work addresses the moral challenges Left panel 162.5 x 155 cm to humanity, particularly in the face Right panel 160 x 120 cm of violence, poverty, political 10 tyranny, gender discrimination and Untitled No 5 grief. The selected pictures reflect 1998, Pastel on paper her perspective as an empathetic, 110 x 100 cm courageous woman and a defender of justice. Images 2-10 © Paula Rego 8 9 Catherine Lampert Curator Courtesy Marlborough Fine Art

www.mkgallery.org International 15.06.2019 > 22.09.2019 Art Exhibitions 2019

1 Copy after ‘Le Pont de Courbevoie’ by Georges Seurat 1959, Oil on canvas Bridget Riley 71.1 x 91.4 cm Private collection Royal Scottish Academy Over the course of a remarkable career, 2 which has spanned seven decades, Movement in Squares Riley (born 1931), has developed a 1961, Synthetic emulsion on unique visual language, making dazz- board ling and compelling abstract paintings 123.2 x 121.2 cm which explore the fundamental nature Arts Council Collection, of our perception. Her earliest abstract Southbank Centre, London works were closely associated with the 3 emergence of Op Art, one of the last Over modern movements in art, which 1966, Emulsion on board appeared in the mid-1960s. In the 101.50 x 101.30 cm following 50 years she forged a singular National Galleries of Scotland, path, extending her means in new and Collection, purchased 1974 ground-breaking ways, and her work 4 has been exhibited and collected across Blaze I the world. This will be the ﬁrst major 1962, Emulsion on hardboard survey of Riley’s work to be held in the 109.20 x 109.20 cm UK for 16 years. Organised by the NGS in Private collection, on long loan collaboration with Riley, it is partnered to National Galleries of Scotland by the Hayward Gallery in London. 1 2017

Through her observations of nature and Edinburgh the world around us, Riley’s careful study of the work of other painters – in particular Georges Seurat (1859-91), Claude Monet (1840-1926), Paul Cézanne (1839-1906), Henri Matisse (1859-91), Piet Mondrian (1872-1944) and Paul Klee (1879-1940) – and through her own sustained experimentation, the artist has made a long and penetrating investigation into the art of picture- making, and how we see. 2 3 4

High Sky This major retrospective will place 5 1991 Oil on canvas particular emphasis on the origins of Pink Landscape 165 x 227 cm Riley’s work, and will trace pivotal, 1960, Oil on canvas Private collection decisive movements in her acclaimed 101.5 x 101.5 cm career. It will feature early paintings and Private collection All works drawings, iconic black-and-white 6 © Bridget Riley 2019 paintings of the 1960s, expansive Chant 2 All rights reserved canvases in colour, wall paintings and 1967, Acrylic emulsion on canvas recent works, as well as studies that 231 x 228.6 cm 5 6 reveal Riley’s working methods. Private collection

www.nationalgalleries.org International 19.06.2019 > 08.09.2019 Art Exhibitions 2019

1 Cyril Power Cutting Edge The Tube Station c1932 1 Modernist British Printmaking © The Estate of Cyril Power All Rights Reserved (2019) Dulwich Picture Gallery Gallery Picture Dulwich The focus of this show is the brief but Bridgeman Images intense period of inspirational print- Photo: Osborne Samuel, London making during the 1930s, with the ﬁrst 2 major show of work by artists from the Cyril Power Grosvenor School, including the teacher Whence & Whither and artist Claude Flight and his students c1930 Sybil Andrews, Cyril Power, Lill Tschudi, © The Estate of Cyril Power William Greengrass and Leonard All Rights Reserved (2019) Beaumont. The Grosvenor School, Bridgeman Images which was founded in Pimlico, London Photo: Osborne Samuel, London in 1925, played a key role in the story of 3 modern art and quickly became a Leonard Beaumont leading force in the production of Nymphs, Errant modern printmaking, and in particular, 1934 linocuts. © The Estate of Leonard Beaumont Photo: Museums Shefﬁeld 4 Sybil Andrews Speedway 1934

London © The Estate of Sybil Andrews Photo: Osborne Samuel, London 5 Lill Tschudi Gymnastic Exercises 1931 © The Estate of Lill Tschudi Courtesy of Mary Ryan Gallery, New York 2 3 Photo: Bonhams

Cyril Power Sybil Andrews The students became renowned for Arranged thematically, this show will The Eight The Windmill their iconic, vibrant prints that reﬂected focus on the key components which c1930 1933 the energy of contemporary life in the made up the dynamic and rhythmic © The Estate of Cyril Power © The Estate of Sybil Andrews inter-war years. Whilst considering the visual imagery of the Grosvenor School All Rights Reserved (2019) Photo: Osborne Samuel, London radical expressions of the avant-garde including speed and movement, Bridgeman Images values of Futurism, Vorticism and industry and labour, wart, sport and Photo: Elijah Taylor Cubism, the Grosvenor School brought leisure, whilst also looking at materials (Brick City Projects) their own unique interpretation of the and technique. Vibrant and bold with contemporary world, incorporating saturated colours, the Grosvenor School elements of art deco, a punchy geo- broke new ground in the practice of the metric style and a vivid palette which new block-print medium of the 4 went on to deﬁne the medium of linocut. linoleum cut. 5

dulwichpicturegallery.org.uk International 20.06.2019 > 26.07.2019 Art Exhibitions 2019

1 Still-Life with Juggling Rings © Farah Atassi, 2019, Oil and Glycerol on canvas Courtesy of the Artist and Almine Rech 130 x 162 cm Photos: Rebecca Fanuele Farah Atassi 2 Women on Set Almine Rech New York Characterised by vibrantly coloured 2019, Oil and Glycerol on canvas geometric shapes and plays on perspec- 180 x 200 cm tive, Farah Atassi’s paintings create 3 imaginary yet inhabited spaces that, by Woman in Rocking Chair 4 means of their visual trickery confusing 2019, Oil and Glycerol on canvas depth and imminence, are impossible 200 x 160 cm to fully grasp. The artist employs two main, methodological building blocks: a meticulous collection of images and a masking tape grid laid out in order to systematise the patterns produced within the abandoned interiors or scenes akin to still lifes she depicts. Situated on the fringes of narration, her paintings mix textile patterns and motley mosaics, referencing Modern- ism and Folk Art in equal measure. In the artist’s own words what we are dealing with are ‘ﬁgurative paintings that depict abstraction’. 1 4

3 5 4 Farah Atassi was born in Brussels, Model in Studio 2 Belgium in 1981. In 1990 she moved with 2019, Oil and Glycerol on canvas her family to Paris where nine years later, 200 x 180 cm she enrolled in the Paris École des 5 Circus 2 Beaux-Arts where she experimented Studio with Pilea 2019, Oil and Glycerol on canvas with all sorts of subjects, although her 2019, Oil and Glycerol on canvas 200 x 240 cm 2 paintings were originally pretty abstract. 162 x 130 cm www.alminerech.com International 20.06.2019 > 15.09.2019 Art Exhibitions 2019

Opposite page Self-Portrait 1980, Acrylic and silkscreen Andy Warhol ink on linen The Andy Warhol Museum, Portraits Pittsburgh; Founding Collection, Contribution Dia Center for the McNay Museum Art ‘Andy Warhol: Portraits’ features over 120 Arts paintings, prints, photographs, and 1 ﬁlms that depict the artist’s favourite Prince genre: the portrait. This exhibition c1984, Acrylic and silkscreen presents a snapshot of New York’s art ink on linen and social scene from the 1960s through 2 the 1980s through portraits of Warhol’s Debbie Harry friends and patrons, movie stars and 1980, Acrylic and silkscreen musicians and celebrities of the day. ink on linen San Antonio

1 2 5

Personalities who populated Warhol’s Garments by Halston, Yves Saint 3 inner circle are represented; some Laurent, Pucci, Mary McFadden, among Mick Jagger widely recognized names include Joan others, illustrate the highly fashionable 1975, Screen print on Arches Collins, Debbie Harry, Dennis Hopper, circle surrounding Andy Warhol during Aquarelle (Rough) paper Mick Jagger, Robert Rauschenberg and this infamous period. 4 Andy Warhol himself. The presentation Jamie Wyeth takes a multi-dimensional approach to 1976, Acrylic and silkscreen the work, exploring the formal, concep- ink on linen tual, social, and political implications 5 of portraiture, identity, and fame. The Roy Lichtenstein show examines the artist’s personal life, 1975, Polaroid Polacolor Type 108 his studio process, and use of a variety of mediums. Over a dozen fashion Unless otherwise stated, ensembles created by some of the all images are from The Andy designers pictured in the exhibition, as Warhol Museum, Pittsburgh; well as those worn by one of Warhol’s Founding Collection, Contribution Texas art dealers, Shaindy Fenton, The Andy Warhol Foundation for 3 accompany the artworks on view. 4 the Visual Arts Inc

www.mcnayart.org International 22.06.2019 > 15.09.2019 Art Exhibitions 2019

1 Jan Stel The Gasometer 2 All works courtesy of the artist and the Eduard Planting Gallery, Amsterdam 3 Manmade | No Human Cooling Tower | Circulating

Museum aan het Vrijthof Maastricht Museum aan het Vrijthof in Maastricht presents a retrospective exhibition of ﬁne art photographer Jan Stel. The exhibition ‘Manmade | No Human’ comprises 75 photographic artworks of abandoned buildings with characteristic architecture; locations that were once bustling with life and activity. The photographer impressively demon- strates the beauty of decay.

Jan Stel explores and photographs desolate places of our time. A forgotten world from which the human presence has disappeared. Over the past twenty years he has photographed numerous 4 7 locations at home and abroad, including an old gas tank, steel plant, cooling tower, power station, wine cathedral, casino and stately mansions. The ten cabinets and period rooms of the monumental museum form a suitable décorfor the exhibition.

The artist has a great fascination for the aesthetics of past glory. It is the essence of his photographic work. The history of precious, authentic buildings, the absence of people and lost craftsman- ship play a prominent role. The past left behind is photographed with pure, natural light, without ﬂash or studio 1 | 2 lights. 5 8

The intriguing photographs reﬂect the Jan Stel was born in Purmerend in 1970. 3 philosophical vision of Jan Stel where He started drawing and illustrating at Desolate Casino the input of people and society leave a young age. He also pioneered with 4 their mark and can be clearly felt. After grafﬁti murals. Around 1998, as an auto- Cathedral de Vino all, abandoned buildings are slowly didact, he became interested in faded 5 decaying and can disappear, or be glory and the capturing of this through Chamber of Commerce taken over by nature or be given a new photography. His autonomous work has 6 destination with a very different future. been internationally awarded and Fabrica Textile It is a process that begins at the very included in the collections of companies 7 & 8 6 start and is ongoing. and private collectors. Desolate Casino

www.museumaanhetvrijthof.nl International 26.06.2019 > 13.10.2019 Art Exhibitions 2019

Humble & Human

IMPRESSIONIST ERA TREASURES FROM THE ALBRIGHT-KNOX ART GALLERY AND THE DETROIT INSTITUTE OF ARTS – 1 AN EXHIBITION IN HONOUR OF RALPH C WILSON JR

Detroit Institute of Arts Detroit Institute of Arts In Humble and Human, a selection of Opposite page more than forty Impressionist and Claude Monet post-Impressionist treasures from the Rounded Flower Bed Albright-Knox Art Gallery and the 1876, Oil on canvas Detroit Institute of Arts traces the arc of Detroit Institute of Arts a period that elevated the irreducible 1 beauty of the everyday to the status of Georges Pierre Seurat ﬁne art. View of Le Crotoy from Upstream A testament to the power of collabora- 1889, Oil on canvas tion among artists, museums, and cities, Detroit Institute of Arts the exhibition explores the pioneering 2 work of leading Impressionist and Gustave Caillebotte post–Impressionist artists, including Le Pont de l’Europe (study) Paul Cézanne, Edgar Degas, Vincent van 1876, Oil on canvas Gogh, Claude Monet, and Berthe Albright-Knox Art Gallery, Morisot. 2 Bequest of A Conger Goodyear, by exchange 3 Paul Cézanne Morning in Provence

Detroit c1900-06, Oil on canvas Albright-Knox Art Gallery, Gift of Mr & Mrs Charles A Ribbel through the Frank E Ribbel Bequest 4 Claude Monet Towpath at Argenteuil Winter 1875-76, Oil on canvas Albright-Knox Art Gallery, 3 4 Gift of Charles Clifton 5 It also celebrates the life and vision of Ralph C Wilson Jr was born in Columbus, Pierre-Auguste Renoir Ralph C Wilson Jr, who saw in the art of Ohio in 1918. He died in Grosse Point Woman in an Armchair these late nineteenth-century avant- Shores, Michigan in 2014, aged 95. 1874, Oil on canvas gardists, especially that of Claude On the one hundredth anniversary of Detroit Institute of Arts Monet, evocations of values and ideas Mr Wilson’s birth, both institutions are that were close to his own heart, proud to celebrate these extraordinary capturing the ephemerality of the every- works and Mr Wilson’s legacy as a day experience while dignifying hard philanthropist, business leader, and work, simple pleasures, and ordinary advocate for the citizens of Detroit 5 people. and Buffalo.

www.dia.org International 26.06.2019 > 27.10.2019 Art Exhibitions 2019

1 Untitled Watercolour on paper 2 Grete Marks Head of a Child All works 1945, Charcoal on paper © Courtesy of the artist’s estate 2 An Intimate Portrait 17.5 x 20 cm

Pallant House Gallery Pallant House Gallery Grete Marks (1899-1990) was an artist who fought for her artistic integrity during some of the most turbulent moments the 20th century. One of the ﬁrst female students to be admitted to the famed Bauhaus school of art and design, Grete Marks is best known for her ceramics, which were declared ‘degenerate’ by the Nazis.

This summer, Pallant House Gallery continues its mission to celebrate overlooked artists by telling Grete Marks’ story through a free display of her previously neglected watercolour portraits. 5

3 Untitled Watercolour on paper Chichester 4 Untitled Watercolour on paper 5 Untitled 1933, Watercolour on paper 40 x 30 cm 6 Hebrew Teacher 1939, Watercolour on paper 43 x 32 cm

The exhibition explores how Marks placed barriers in her way. The show It is part of ‘Insiders/Outsiders’, a nation- forged an uncompromising path dedi- focuses on a series of intimate portrait wide arts festival taking place through- cated to making art on her terms during paintings and drawings from the 1920s out 2019 to celebrate refugees from a period when her gender, religion, and 30s. It also marks the centenary of Nazi Europe and their contribution to 1 artistic medium and nationality each the foundation of the Bauhaus in 1919. British culture. 6

www.pallant.org.uk International 27.06.2019 > 15.09.2019 Art Exhibitions 2019

Opposite page Untitled #204 (framed) 1 Cindy Untitled #577 2 1 Sherman Untitled #74

National Portrait Gallery National Portrait Gallery unveils Cindy Sherman’s first major UK Retrospective. It includes the complete ‘Untitled Film Stills’ series, rarely exhibited early photographs and films, and a new work on public display for the first time.

The exhibition explores the develop- ment of the Cindy Sherman’s work from the mid-1970s to the present day, including rarely exhibited photographs and ﬁlms created while Sherman was an art student at the State University College at Buffalo from 1972 to 1976, and a new work Untitled #602 created in 2019 from a collaboration with Stella McCartney. 2 4

Widely regarded as one of the world’s leading contemporary artists, Cindy Sherman, (born 1954), first gained widespread critical recognition for ‘Untitled Film Stills’, the series that she London commenced shortly after moving to New York in 1977. Comprising 70 images, the work was the artist’s first major artistic statement and defined her approach. With Sherman herself as model wearing a range of costumes and hairstyles, her black and white images captured the look of 1950s and 60s Hollywood, film noir, B movies and European art-house films. 5

The show focuses on the artist’s mani- 3 pulation of her own appearance and her Untitled #602 deployment of material derived from 4 a range of cultural sources in order to Untitled #413 create imaginary portraits that explore 5 3 the tension between façade and identity. Untitled Film Still #15

The exhibition features over 190 works Cindy Sherman’s studio in New York, Cindy Sherman is famous for her use All images from international public and private providing an unprecedented insight of make-up, costumes, props and pros- Courtesy of the artist and collections, as well as a recreation of into the artist’s working processes. thetics to create ambiguous images. Metro Pictures, New York

www.npg.org.uk International 29.06.2019 > 13.10.2019 Art Exhibitions 2019

Opposite page Ivon Hitchens Red Centre 1972, Oil on canvas 1 Space through Colour Pallant House Gallery

Pallant House Gallery Pallant House Gallery A fresh look at one of Britain’s most admired modern artists, whose paintings brought continental colour to the English landscape.

Ivon Hitchens was born in London in 1893. He is much-loved for his landscape paintings featuring swathes of bright colour, many painted in the open air surrounding his secluded Sussex home. Yet there is more to the artist than the post-war work for which he is best known. This exhibition of over 70 works, the largest on Hitchens since 1989, considers the whole scope of the British painter’s career, which spanned a remarkable six decades. 2

1 Curved Barn Chichester 1922, Oil on canvas Pallant House Gallery 2 Arno II 1965, Oil on canvas 51 x 117 cm Private collection 3 Roof Painting No 2 1977, Oil on canvas 45.7 x 11.6 cm Private collection 3 4 Spring in Eden Hitchens was a progressive artist in He also produced ﬂower paintings, 1925, Oil on canvas the 1920s and 1930s. He was one of the interiors and studies of the nude and 49 x 59.5 cm earliest members of the experimental of family members. His retreat from Swindon Museum and Seven and Five Society alongside Ben London to Petworth at the outset of the Art Gallery Nicholson, Henry Moore and Barbara Second World War gave rise to an extra- Hepworth. ordinary body of paintings that were All works international in spirit despite them © The Estate of Ivon Hitchens He also took an interest into what was being local to his home near Petworth, happening in France, but chose to focus and the surrounding area – Heyshott, primarily on the landscapes of Sussex. Didling and Iping Common in particular. 4 www.pallant.org.uk International 30.06.2019 > 29.09.2019 Art Exhibitions 2019

Opposite page The Ball (Corner of the park with child playing with a ball) Félix Vallotton 1899, Oil on card on wood 48 x 61 cm 1 Painter of Disquiet Musée d’Orsay, Paris

Royal Academy of Arts This exhibition reveals the vision of Félix Vallotton (1865-1925), a masterful painter and printmaker who captured the emotional undercurrents of Paris at the turn of the last century. By the end of the 19th century, Paris was the un- rivalled capital of the Western art world. Impressionism had transformed the visual arts, and Post-Impressionism was ﬂourishing in its wake. Meanwhile, new boulevards and parks had modernised the medieval city, while theatres and department stores provided endless opportunities for entertainment and consumption. Artists, alongside scientists and industrialists, were seen by many as the leaders, the avant-garde, of a new society. Into this dynamic world arrived the 16-year-old Swissartist, Félix Vallotton, who would make Paris

London his home for the rest of his life. He became closely involved with a group of artists known as Les Nabis, which included Bonnard and Vuillard, 2

He adopted their decorative painterly 1 language, sharing their interest in Sandbanks on the Loire journalistic illustration and Japanese 1923, Oil on canvas ukiyo-e prints. Offering witty and often 73 x 100 cm unsettling observations of domestic Kunsthaus Zurich and political life, Vallotton’s woodcuts 2 were frequently published in the press The Visit and he is now considered one of the 1899, Gouache on cardboard greatest printmakers of his age. As his 55.5 x 87 cm work evolved, the sharp realism and Kunsthaus Zurich cool linearity of his later style – drawn 3 from such sources as Holbein and Ingres Bathing on a Summer made him one of the most distinctive Evening artists of the early 20th century. This is 1892-93, Oil on canvas the ﬁrst comprehensive survey of Félix 97 x 131 cm Vallotton’s career to be held in the UK. Kunsthaus Zurich The show explores an extraordinary body of work through more than 80 3 paintings and prints.