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T Want There to Be Anything Mysterious About the Way That I Work,' She Says
NG BR text pp1-78 270x230mm v8_AJ / text / pp1-64 / 5 21/10/2010 16:23 Page 14 NG BR text pp1-78 270x230mm v8_AJ / text / pp1-64 / 5 21/10/2010 16:23 Page 15 Fig. 7 Bridget Riley Red with Red 1, 2007 Oil on linen, 177.5 ¥ 255 cm Private collection Fig. 8 Raphael (1483–1520) Saint Catherine of Alexandria, about 1507 (detail) Oil on poplar, 72.2 ¥ 55.7 cm The National Gallery, London (ng 168) and she is happy for them to be seen. ‘I don’t want there to be anything mysterious about the way that I work,’ she says. ‘I mean there is doubt and uncertainty, and the very act of enquiry means that things go wrong and have to be changed and revised. But to me this is part of the pleasure of working.’4 These are just three of the many surviving studies that Seurat used to gather the visual information with which he built his final composition. One study selected by Riley, A River Bank (The Seine at Asnières), about 1883 (plate 20), establishes the location, where he pins down the diagonal division between water and river bank. Seurat makes special use of the striped tidal-measuring post, which helps to carefully balance the compositional components of horizontal, diagonal and vertical. In Study for ‘Bathers at Asnières’, 1883–4 (plate 19), he makes notations of some of the figures that will eventually relate to this location. Lastly, in The Rainbow: Study for ‘Bathers at Asnières’, 1883 (plate 21), he begins to integrate the figures into the space. -
Bridget Riley's Paintings Continue to Mesmerize, Six Decades On
Galerie Max Hetzler Berlin | Paris | London Artsy Cohen, Alina: Bridget Riley‘s Paintings Continue to Mesmerize, Six Decades On November 2019 Bridget Riley’s Paintings Continue to Mesmerize, Six Decades On Alina Cohen Nov 1, 2019 11:47am Bridget Riley, 1963. Photo by Ida Kar. © National Portrait Gallery, Bridget Riley Blue Dominance, 1977 London. ARCHEUS/POST- MODERN British artist Bridget Riley, who is known for bold, blocky, and striped canvases of brilliant hues and contrasts, got her Drst taste of international celebrity back in 1965. Curator William Seitz included two of her paintings, Current (1964) and Hesitate (1964), in his groundbreaking exhibition at the Museum of Modern Art, titled “The Responsive Eye.” The eye-popping black-and-white squiggles of Riley’s Current adorned the catalogue cover, asserting Riley’s prominent position within the show. The exhibition situated her among an impressive roster of global artists whose artwork reconsidered ideas about perception. The group included American painters ranging from Morris Louis to Agnes Martin, along with Brazilian artist Almir da Silva Mavignier and a Spanish collective called Equipo 57. Along with Mavignier, Riley was considered part of a new wave of “Op artists” who exploited visual principles to make work that seemed to vibrate with new energy. Josef Albers, Salvador Dalí, and the museum-going public all swooned at Riley’s work. maxhetzler.com Galerie Max Hetzler Berlin | Paris | London While Op art has gone in and out of style, Riley herself is still working and is beloved on both sides of the pond. London’s Hayward Gallery is displaying a major Riley retrospective through January 26th, celebrating over six decades of the artist’s bold geometric abstratractions. -
Impressionist & Modern
Impressionist & Modern Art New Bond Street, London I 10 October 2019 Lot 8 Lot 2 Lot 26 (detail) Impressionist & Modern Art New Bond Street, London I Thursday 10 October 2019, 5pm BONHAMS ENQUIRIES PHYSICAL CONDITION IMPORTANT INFORMATION 101 New Bond Street London OF LOTS IN THIS AUCTION The United States Government London W1S 1SR India Phillips PLEASE NOTE THAT THERE IS NO has banned the import of ivory bonhams.com Global Head of Department REFERENCE IN THIS CATALOGUE into the USA. Lots containing +44 (0) 20 7468 8328 TO THE PHYSICAL CONDITION OF ivory are indicated by the VIEWING [email protected] ANY LOT. INTENDING BIDDERS symbol Ф printed beside the Friday 4 October 10am – 5pm MUST SATISFY THEMSELVES AS lot number in this catalogue. Saturday 5 October 11am - 4pm Hannah Foster TO THE CONDITION OF ANY LOT Sunday 6 October 11am - 4pm Head of Department AS SPECIFIED IN CLAUSE 14 PRESS ENQUIRIES Monday 7 October 10am - 5pm +44 (0) 20 7468 5814 OF THE NOTICE TO BIDDERS [email protected] Tuesday 8 October 10am - 5pm [email protected] CONTAINED AT THE END OF THIS Wednesday 9 October 10am - 5pm CATALOGUE. CUSTOMER SERVICES Thursday 10 October 10am - 3pm Ruth Woodbridge Monday to Friday Specialist As a courtesy to intending bidders, 8.30am to 6pm SALE NUMBER +44 (0) 20 7468 5816 Bonhams will provide a written +44 (0) 20 7447 7447 25445 [email protected] Indication of the physical condition of +44 (0) 20 7447 7401 Fax lots in this sale if a request is received CATALOGUE Julia Ryff up to 24 hours before the auction Please see back of catalogue £22.00 Specialist starts. -
The Greatest Artists of the Twentieth Century
This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Greatest Artists of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5785 Chapter 2: The Greatest Artists of the Twentieth Century Introduction The masters, truth to tell, are judged as much by their influence as by their works. Emile Zola, 18841 Important artists are innovators: they are important because they change the way their successors work. The more widespread, and the more profound, the changes due to the work of any artist, the greater is the importance of that artist. Recognizing the source of artistic importance points to a method of measuring it. Surveys of art history are narratives of the contributions of individual artists. These narratives describe and explain the changes that have occurred over time in artists’ practices. It follows that the importance of an artist can be measured by the attention devoted to his work in these narratives. The most important artists, whose contributions fundamentally change the course of their discipline, cannot be omitted from any such narrative, and their innovations must be analyzed at length; less important artists can either be included or excluded, depending on the length of the specific narrative treatment and the tastes of the author, and if they are included their contributions can be treated more summarily. -
Dorothea Tanning
DOROTHEA TANNING Born 1910 in Galesburg, Illinois, US Died 2012 in New York, US SOLO EXHIBITIONS 2022 ‘Dorothea Tanning: Printmaker’, Farleys House & Gallery, Muddles Green, UK (forthcoming) 2020 ‘Dorothea Tanning: Worlds in Collision’, Alison Jacques Gallery, London, UK 2019 Tate Modern, London, UK ‘Collection Close-Up: The Graphic Work of Dorothea Tanning’, The Menil Collection, Houston, Texas, US 2018 ‘Behind the Door, Another Invisible Door’, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain 2017 ‘Dorothea Tanning: Night Shadows’, Alison Jacques Gallery, London, UK 2016 ‘Dorothea Tanning: Flower Paintings’, Alison Jacques Gallery, London, UK 2015 ‘Dorothea Tanning: Murmurs’, Marianne Boesky Gallery, New York, US 2014 ‘Dorothea Tanning: Web of Dreams’, Alison Jacques Gallery, London, UK 2013 ‘Dorothea Tanning: Run: Multiples – The Printed Oeuvre’, Gallery of Surrealism, New York, US ‘Unknown But Knowable States’, Gallery Wendi Norris, San Francisco, California, US ‘Chitra Ganesh and Dorothea Tanning’, Gallery Wendi Norris at The Armory Show, New York, US 2012 ‘Dorothea Tanning: Collages’, Alison Jacques Gallery, London, UK 2010 ‘Dorothea Tanning: Early Designs for the Stage’, The Drawing Center, New York, US ‘Happy Birthday, Dorothea Tanning!’, Maison Waldberg, Seillans, France ‘Zwischen dem Inneren Auge und der Anderen Seite der Tür: Dorothea Tanning Graphiken’, Max Ernst Museum Brühl des LVR, Brühl, Germany ‘Dorothea Tanning: 100 years – A Tribute’, Galerie Bel’Art, Stockholm, Sweden 2009 ‘Dorothea Tanning: Beyond the Esplanade -
Christie's Presents the Impressionist & Modern Art
PRESS RELEASE | N E W Y O R K | 23 OCTOBER 2013 FOR IMMEDIATE RELEASE CHRISTIE’S PRESENTS THE IMPRESSIONIST & MODERN ART WORKS ON PAPER AND DAY SALES ON NOVEMBER 6 OVER 250 LOTS TO BE OFFERED, INCLUDING MASTER WORKS BY DALÍ, MOORE, PICASSO, PISSARRO AND SISLEY New York – On November 6, Christie’s Impressionist & Modern Art Works on Paper Sale and Day Sale in New York will present a strong offering of fresh-to-the-market paintings, drawings and sculptures from the leading Impressionist and Modern masters. With pieces ranging in style, medium and estimate, the sales present an exciting opportunity for collectors of all levels to acquire works by artists such as Pablo Picasso, Camille Pissarro, Henri Matisse, Salvador Dalí, Henry Moore, among others. In total, Christie’s will offer over 250 works between the two sales, with a combined total that is expected to realize in excess of $31 million. WORKS ON PAPER PABLO PICASSO (1881-1973) | Mousquetaire, buste colored wax crayons and brush and India ink and gray wash on paper Executed on 19 July 1967 Estimate: $600,000 - $800,000 Several museum-quality works by Pablo Picasso demonstrate the artist’s enduring originality, including his whimsical Mousquetaire, buste, which perfectly captures his fascination with the subject of musketeers in the 1960s. Picasso’s interest in depicting mousquetaires may be traced to a combination of his love of classic literature, such as the works of Góngora, Vega, Dickens, and Dumas, as well as the artwork of old masters such as Rembrandt van Rijn and Velázquez. CAMILLE PISSARRO (1830-1903) | La foire de Gisors gouache over pencil on silk laid down on canvas Painted in 1889 Estimate: $400,000 - $600,000 Camille Pissarro’s La foire de Gisors is a highly worked gouache that depicts a lively fair in the town of Gisors. -
52 Brook's Mews. Mayfair, W1K 4ED T: 02074953101 E: [email protected]
Press Release Not So Original: Carlos Cruz-Diez, León Ferrari, Terry Frost, Cipriano Martinez, Bridget Riley, Jesus Soto and Emilia Sunyer 8th November – 25th January 2014 This November Maddox Arts will be staging ‘Not So Original’ an exhibition that delves into the symbiotic relationship between the print and the original. Though printmaking is often assumed to be an afterthought in an artist’s practice ‘Not So Original’ demonstrates the variety of roles it may play, spurring the artist’s imagination and engaging in a dialogue with their primary practices. Taking Walter Benjamin’s seminal ‘The Work of Art in the Age of Mechanical Reproduction’ as it's starting point, ‘Not So Original’ features the work of five, celebrated 20th century printmakers: Bridget Riley, Carlos Cruz-Diaz, Leon Ferrari, Terry Frost and Jesus Soto, alongside the emerging talents of Cipriano Martinez and Emilia Sunyer. From the Middle Ages to the advent of the digital era, technology has allowed artists to disseminate their images in the form of reproductions to a wider audience than a single canvas would ever be able to reach. In facing the prospect of engaging a wider audience artists are often compelled to formalize their style so that a singular print may surmise an artist’s catalogue. Likewise such technologies have enabled art lovers to acquire a ‘piece’ of an original via a process in which the artist may have had no hand. The rise of e-editions and 3D printing ask further questions as to how we distinguish the original from the reproduction, when an infinite number of copies can be instantly and flawlessly reproduced indefinitely. -
Oral History Interview with Irving Petlin, 2016 September 13-15
Oral history interview with Irving Petlin, 2016 September 13-15 Funding for this interview was provided by the Lichtenberg Family Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Irving Petlin on September 13-15, 2016. The interview took place in Petlin's home in New York, NY, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JAMES MCELHINNEY: Good. This is James McElhinney speaking with Irving Petlin at his home in New York, on Tuesday, the 13th of September, 2016, at quarter of 3:00 in the afternoon. The cat's playing with a wire. IRVING PETLIN: The cat's playing with— JAMES MCELHINNEY: That's—it's—[laughs]. IRVING PETLIN: Okay. JAMES MCELHINNEY: Yeah, the microphone wire. IRVING PETLIN: Okay. JAMES MCELHINNEY: It's okay. The transcriber can ignore that. I was reading your bio, and actually, a book that Doug Walla gave me of your pastels, when I attended the Kyle Staver opening the other night. When he was kind enough— IRVING PETLIN: Mm-hmm. [Affirmative.] JAMES MCELHINNEY: —to give me the book, which I hope you'll sign. And, I get—I get the sense that you had a kind of an interesting childhood growing up in Chicago. -
Viewership and How These Binaries Function and Appear Within Abstract Painting
Contextualizing Epiphanies and Theories on a Surface of a Painting THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Maija Helena Miettinen-Harris Graduate Program in Art The Ohio State University 2015 Master’s Examination Committee: Laura Lisbon, Advisor George Rush Amanda Gluibizzi Copyright by Maija Helena Miettinen-Harris 2015 Abstract In this thesis I intend to explore the complex, confusing and often paradoxical nature of my painting practice and the way I see it being influenced by historical, socio-political and ideological underpinnings of my reality. During the course of my thesis, I hope to establish a conceptual and contextual basis for my usage of allover pattern-like configurations, rejection of linear perspective, and the manipulation of competing forms and colors in my abstract paintings. I will focus on to the often-elliptical nature of my paintings through variety of ideas and theories and I hope to demonstrate how cultural theory has helped me to contextualize the essential features of my practice. I will first map out the mostly intuitive epiphanies that are rooted in the observations of my reality, which in turn informs the constructions and orientations of my paintings. I will study these in relation to the notions of artist Bridget Riley. I find her writing especially useful in terms of articulating the dichotomy and paradox between active and passive viewership and how these binaries function and appear within abstract painting. I will then examine the circular and expanding theory of liminality by cultural anthropologist Victor Turner, and centers and margins as well as cultural dirt by anthropologist Mary Douglas. -
Bridget Riley Born 1931 in London
This document was updated March 3, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Bridget Riley Born 1931 in London. Live and works in London. EDUCATION 1949-1952 Goldsmiths College, University of London 1952-1956 Royal College of Art, London SOLO EXHIBITIONS 1962 Bridget Riley, Gallery One, London, April–May 1963 Bridget Riley, Gallery One, London, September 9–28 Bridget Riley, University Art Gallery, Nottingham 1965 Bridget Riley, Richard Feigen Gallery, New York Bridget Riley, Feigen/Palmer Gallery, Los Angeles 1966 Bridget Riley, Preparatory Drawings and Studies, Robert Fraser Gallery, London, June 8–July 9 Bridget Riley: Drawings, Richard Feigen Gallery, New York 1967 Bridget Riley: Drawings, The Museum of Modern Art (Department of Circulating Exhibitions, USA): Wilmington College, Wilmington, February 12–March 5; and Talladega College, Talladega, March 24–April 16 Bridget Riley, Robert Fraser Gallery, London Bridget Riley, Richard Feigen Gallery, New York 1968 Bridget Riley, Richard Feigen Gallery, New York British Pavilion (with Phillip King), XXXIV Venice Biennale, 1968; Städtische Kunstgalerie, Bochum, November 23–December 30, 1968; and Museum Boijmans Van Beuningen, Rotterdam, 1969 1969 Bridget Riley, Rowan Gallery, London Bridget Riley: Drawings, Bear Lane Gallery, Oxford [itinerary: Arnolfini Gallery, Bristol; Midland Group Gallery, Nottingham] 1970 Bridget Riley: Prints, Kunststudio, Westfalen-Blatt, Bielefeld Bridget Riley: Paintings and Drawings 1951–71, Arts -
Y9 Graphics: Op Art
Y9 Graphics: Op Art Does this picture make your eyes go funny? Don't worry it's not you – it's Op art! Op art is short for 'optical art'. The word optical is used to describe things that relate to how we see. Have you seen an optical Illusion before? Op art works in a similar way. Artists use shapes, colours and patterns in special ways to create images that look as if they are moving or blurring. Op art started in the 1960s and the painting here is by Bridget Riley who is one of the main op artists. What shapes can you see in the Some op artists made artworks picture below? It is by an Op artist that don't just look as if they are called Victor Vasarely. moving – they actually ARE aAlong with Bridget Riley and moving! Art that moves is another artist called Jesus Rafael sometimes called kinetic art. Soto were three of the most important Op artists. The artwork below is by an artist called Julio Le Parc who often created mobiles. To make this work he has hung lots of tiny bits of metal onto almost invisible suspended threads. These bits of metal jiggle and move slightly with any breeze, and their shadows on the white background also jiggle and move. Can you see the shadows? There are also some abstract artists who don't always make op artworks but sometimes slip into it. This picture by Frank Stella uses bright and jazzy colours that create a buzzy effect on our eyes. -
2013-2014 Newsletter
WILLIAMS GRADUATE PROGRAM IN THE HISTORY OF ART OFFERED IN COLLABORATION WITH THE CLARK ART INSTITUTE WILLIAMS GRAD ART THE CLARK 2013–2014 NEWSLETTER LETTER FROM THE DIRECTOR Marc Gotlieb Dear Alumni, Art Department in the field of African Art, and who will be teaching in the graduate program this spring. Greetings from Williamstown. I hope you enjoy our redesigned alumni newsletter, the last and The newsletter includes a special conversation with most significant phase of a visual identity project Michael Ann Holly, Starr Director of Research that includes the launch of a new website and Emeritus at the Clark, and this year’s Robert other communications pieces designed to capture Sterling Clark Visiting Professor. Many thanks to some of the freshness and contemporaneity of the program and its Ashley Lazevnick MA ’12 and Oliver Wunsch setting. By now many of you have had the opportunity to visit the MA ’11 for taking this on! And many thanks, too, new Clark and its spectacular new wing, including renovated galleries to our post-doctoral fellow, Kristen Oehlrich, for and a reflecting pool looking out over Stone Hill. But there is more to putting this splendid newsletter together. Most of come—the Manton Building, which houses the Graduate Program and all, thanks to our alumni for contributing updates the library, will reopen to the public this summer, with a new spacious to the newsletter! reading room, a new works on paper study center and gallery, and facil- With all best wishes, ities that will bring the entire complex fresh new life. If you do visit, please stop by and say hello—Karen, George, Kristen and I would be Marc delighted to see you.