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Paulacoopergallery.Com
P A U L A C O O P E R G A L L E R Y FOR IMMEDIATE RELEASE JENNIFER BARTLETT Grids & Dots 243A Worth Ave, Palm Beach January 16 – February 7, 2021 PALM BEACH—Opening on Saturday, January 16, 2021 in Paula Cooper Gallery’s Palm Beach location is a focused presentation of work by Jennifer Bartlett titled “Grids and Dots.” On view will be five examples of Bartlett’s pioneering steel and enamel plate works, made between 1971 and 2011. Installed in an interior room of the gallery, the presentation is in dialogue with the concurrent exhibition “Sol LeWitt: Cubic Forms,” highlighting both artists’ parallel interest in geometric forms and programmatic strategies as the foundation for complex and exuberant works of art. Bartlett first began making paintings on white enameled, square-cut steel plates in late 1968. The idea was born from her interest in the metal signs found inside New York City subway stations. “They looked like hard paper,” Bartlett explained. “I needed paper that could be cleaned and reworked. I wanted a unit that could go around corners on the wall, stack for shipping. If you made a painting and wanted it to be longer, you could add plates. If you didn’t like the middle you could remove it, clean it, replace it or not.”1 Inspired by LeWitt's application of the grid and serial systems, Bartlett begins with vertical and horizontal lines silkscreened onto the baked enamel surfaces. Using Testors brand enamel paint, she then plots out various dot patterns within the framework, following simple mathematical schemes. -
Diminishing Connections Mary Jane King Clemson University, M.J [email protected]
Clemson University TigerPrints All Theses Theses 5-2016 Diminishing Connections Mary Jane King Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation King, Mary Jane, "Diminishing Connections" (2016). All Theses. 2369. https://tigerprints.clemson.edu/all_theses/2369 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. DIMINISHING CONNECTIONS ___________________________________________________ A Thesis Presented to the Graduate School Of Clemson University ___________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts Visual Art ___________________________________________________ by Mary Jane King May 2016 ___________________________________________________ Accepted by: Professor Todd McDonald, Committee Chair Professor Kathleen Thum Professor Todd Anderson Dr. Andrea Feeser ABSTRACT I explore our skin’s durability as it protects our inner being, but its fragility in our death. Paint allows me to understand the physical quality of skin and the structure underneath it’s surface. We experience the world and one another through this outermost layer of our selves, providing the ability to feel touch and to establish corporeal bounds and connections. Skin provides a means of communication and interaction, of touch and intimacy. It contains, protects, and stretches with the growth of the body, adapting to the interior bodily demands. It is through this growth that there is also a regression or a slow decay of the body. In addition to exterior exploration, I also investigate the vitality of our viscera even when disease destroys it and claims our lives. -
Why the Whitney's Humanist, Pro-Diversity Biennial Is a Revelation
Why the Whitney’s Humanist, Pro-Diversity Biennial Is a Revelation Roberta Smith March 16, 2017 Since moving downtown, the Whitney Museum of American Art has grown up, thanks to a larger, dashing new building, more ambitious exhibitions and new responsibilities brought by rising attendance and membership. No surprise, its biennial has grown up, too. Perhaps less expected: So has the art in it. This show’s strength and focus make it doubly important at a time when art, the humanities and the act of thinking itself seem under attack in Washington. The 2017 Biennial, the first held in the expansive Renzo Piano-designed structure on Gan- sevoort Street, is an adult affair: spatially gracious to art and visitors alike, and exceptionally good looking, with an overall mood of easy accessibility. My first thought: It needs a little more edge. Yet this show navigates the museum’s obligations to a broader public and its longtime art-world audience with remarkable success. Organized by Christopher Y. Lew, the Whitney’s associate curator, and Mia Locks, an independent curator, it has some immature inclusions and other letdowns. But once you really start looking, there’s edge all over the place. The show spotlights 63 artists and collectives working at the intersection of the formal and the social, and in this it announces a new chapter of so-called political art — though one already brewing in small museums, galleries and studios. Many of these artists confront such Ameri- can realities as income inequality, homelessness, misogyny, immigration, violence, hatred and biases of race, religion and class. -
Gagosian Gallery
Artsy April 2, 2019 GAGOSIAN How Takashi Murakami Got His Start as an Artist Scott Indrisek “At the studio I rented for $80 a month on Lorimer Street in Brooklyn, uncertain whether I would have anything to eat the next day.” © Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy of Gagosian. In the second installment of a new series, we continue to shine a light on the tumultuous early days of artists who have since become household names. Takashi Murakami, 57, may now be an international art star and a cultural icon, but he was once a disgruntled student, bored with his conservative schooling and dreaming of better things. Indeed, when he was just starting out, Murakami claimed no special status as an artist. “I was never particularly talented at drawing or painting,” he said; hard work, practice, and determination would sharpen those skills. He had his first solo show in 1989, at Tokyo’s Ginza Surugadai Gallery, and began traveling from his native Japan to New York City around that time. Murakami always thought of New York as one of the art world’s vital centers, and he was willing to struggle in order to absorb what it had to offer. He recalled once renting a studio on Lorimer Street in Brooklyn for a mere $80 a month (“uncertain whether I would have anything to eat the next day,” he added). In 1994, he landed a residency in the prestigious PS1 International Studio Program. These early experiences helped shape Murakami’s unique artistic vision. The hyperconfident artist would eventually become a global brand, his manga-inspired creations taking over the world—one wild sculpture and painting at a time. -
PRESS RELEASE Face Time: an Exhibition in Aid of the Art Room
PRESS RELEASE Face Time: An exhibition in aid of The Art Room Threadneedle Space, Mall Galleries, London SW1 Monday 16 – Saturday 21 June 2014 10 am – 5 pm, Free Admission Over 60 works of art by international leading artists will be offered for sale in aid of The Art Room in Face Time, a week-long exhibition at the Threadneedle Space, Mall Galleries, London, SW1. Working in partnership with the Threadneedle Foundation, The Art Room, a national charity offering art as a therapeutic intervention to children and young people, have invited artists to contribute a clock or original piece of work for this important fundraising exhibition. Painters, sculptors, illustrators, architects and photographers have all contributed to Face Time and many have chosen to produce a clock face which reflects a key element of The Art Room’s methodology and practice. Face Time artists include: Emma Alcock ▪ Nicola Bayley ▪ Paul Benney ▪ Alison Berrett ▪ Tess Blenkinsop ▪ Anthony Browne ▪ Sarah Campbell ▪ Jake & Dinos Chapman ▪ Lauren Child ▪ Robert James Clarke ▪ Lara Cramsie ▪ Martin Creed ▪ Miranda Creswell ▪ Emma Faull ▪ Eleanor Fein ▪ Jennie Foley ▪ Antony Gormley ▪ Nicola Gresswell ▪ David Anthony Hall ▪ Maggi Hambling ▪ Kevin Harman ▪ The Art Room (Oxford) Oxford Spires Academy, Glanville Road, Oxford OX4 2AU (Registered Address) T 01865 779779 E [email protected] W www.theartroom.org.uk Founder Director Juli Beattie Chair Jonathan Lloyd Jones Patrons Micaela Boas, Anthony Browne, His Honour Judge Nicholas Browne QC, Dr Mina Fazel, MRCPsych -
For Immediate Release
For Immediate Release: As Is Is George Condo, John Currin, Chris Johanson, Emily Wardill, Lynette Yiadom-Boakye with a film program curated by Mary Helena Clark & Josh Minkus including Tony Buba, Jem Cohen, Kevin Jerome Everson, Liz Magic Laser, Saul Levine, Joan Logue, Anne McGuire May 7 – June 27, 2015 Opening reception May 7, 5:30 – 7:30 p.m. In 1874, the photographer Julia Margaret Cameron went to work on a series of photographic illustrations for Alfred Tennyson’s Arthurian series of poems, Idylls of the King. Cameron was neighbors with Tennyson on the Isle of Wight, and often enlisted him to sit for her. Cameron once complained, “I want to do a large photograph of Tennyson, and he objects! Says I make bags under his eyes.” In one picture, now one of the indelible images of the poet, Tennyson, outfitted in monastic robes, appears reflective, pious, and in need of a nap. Tennyson dubbed the photograph “The Dirty Monk.” In 1957, Richard Avedon was contracted to photograph the Duke and Duchess of Windsor. The media savvy couple arrived at Avedon’s studio prepared for a stock photo shoot. Knowing they were avid pug lovers (they kept several– Mr. Disraeli, Mr. Chu, Trooper, Imp, Davy Crockett) Avedon, intent on disrupting their carefully composed media face, told them that on his way over his taxi had run over a dog. While they winced in horror he snapped the now famous picture. In 1984, Don Bachardy painted the official gubernatorial portrait of Jerry Brown. One legislator described the work as looking like it was painted with “spilled ketchup and soy sauce.” The portrait proved so unpopular that it was moved to a third floor landing in the state capitol building, far from the other official portraits. -
JOHN CURRIN: New Paintings
G A G O S I A N G A L L E R Y October 23, 2010 PRESS RELEASE GAGOSIAN GALLERY 980 MADISON AVENUE T. 212.744.2313 NEW YORK NY 10075 F. 212.772.7962 GALLERY HOURS: Tue - Sat 10:00am - 6:00pm JOHN CURRIN: New Paintings Thursday, November 4 – Thursday, December 23, 2010 Opening reception for the artist: Thursday, November 4th, from 6 to 8 pm The people I paint don’t exist. The only thing that is real is the painting. It’s not like a photograph where there’s another reality that existed at a certain moment in time in the past. The image is only happening right now and this is the only version of it. To me, that’s fascinating. It’s an eternal moment. --John Currin Gagosian Gallery is pleased to present new paintings by John Currin. Currin’s depictions of the female figure enchant and repel, often in equal measure. Labeled as mannerist, caricaturist, radical conservative or satirist, Currin continues to confound expectations and evade categorization. While his meticulous and virtuosic technique is indebted to the history of classical painting, the images themselves engage startlingly contemporary ideas about the representation of the human figure. With inspirations as diverse as Old Master portraits, pin-ups, and mid-twentieth century B-movies, Currin continues to paint ideational yet challengingly perverse images of female subjects, from lusty nymphs to more ethereal feminine prototypes. With his uncanny ability to locate the point at which the beautiful and the grotesque are held in perfect balance, he continues to produce subversive portraits of idiosyncratic women in conventional settings. -
Artist: Period/Style: Patron: Material/Technique: Form
TITLE:Vietnam Veterans Memorial LOCATION: Washington, D.C., U.S. DATE: . 1982 C.E. ARTIST: Maya Lin PERIOD/STYLE: Minimalism PATRON: The Commision of Fine Arts MATERIAL/TECHNIQUE: Granite FORM: Highly reflective black granite with incised names of 58,000 names ofVietnam Veterans who sacrificed their lives during the conflict. The name is an abstraction that means more to the family and friends than a pictorial representation. The two walls start very short and get progressively taller until they meet at an oblique angle at the monument’s center. One wall points towards the Washington Monument; the other points to the Lincoln Memorial. FUNCTION: It functions as a memorial to the soldiers that died during the Vietnam War. It is an ideal place for people to come and spend quiet time reflecting on the names and perhaps leaving mementos to the deceased. CONTENT: The walls are made of a dark igneous rock called gabbro, a type of granite, which is highly reflective when polished.The surface of the monument is etched with the 58,195 names of the Americans who died or remained missing in action in the Vietnam War. The names are listed in the order in which they were reported killed or missing in action. This makes the names harder to find, and re- quires a listing and numeric system of organization for visitors. CONTEXT: There were 1400 anonymous entries for this commission. There was a real backlash once her identity was known because of latent racism in the post Vietnam era. She defended her design in front of the United States Congress, who eventually reached a compro- mise: A group of more “traditional” sculptures, called “The Three Soldiers,” was erected near the monument. -
Gagosian Gallery
Financial Times January 20, 2020 GAGOSIAN Living with Damien Hirst and friends Robert Tibbles was an early collector of the Young British Artists — now he is preparing to sell many of his acquisitions Melanie Gerlis Caption (TNR 9 Italicized) Everyone likes to say that they discovered an artist before they were famous, but in the case of the London bond salesman Robert Tibbles, the claim is true. Back in the 1980s, the late art dealer Karsten Schubert introduced Tibbles to the work of an art student called Damien Hirst. Alongside Charles Saatchi, Tibbles then became one of the now-superstar artist’s first buyers. So began an intense, 15-year collecting spree, mostly of works by Hirst and other Young British Artists. These now dominate Tibbles’s Victorian ground-floor flat in London’s leafy Kensington, where an early Hirst spot painting, “Antipyrylazo III” (1994), has loomed almost too large over the living room fireplace since Tibbles bought it in the year it was made. Hanging nearby is another early purchase — Hirst’s degree-show medicine cabinet “Bodies” (1989) — a work that demonstrates Tibbles’s aptitude for picking the right time in the art market as well as the debt markets. He bought the cabinet for £600 (again, in the year it was made) and now, as Tibbles prepares to sell much of his YBA collection at auction at Phillips in London, the cabinet is valued between £1.2m and £1.8m. “There’s no question that the medicine cabinet and other works were not liked or understood by many of my friends. -
Gagosian Gallery
Artforum January, 2000 GAGOSIAN 1999 Carnegie International Carnegie Museum of Art Katy Siegel When you walk into the lobby of the Carnegie Museum, the program of this year’s International announces itself in microcosm. There in front of you is atmospheric video projection (Diana Thater), a deadpan disquisition on the nature of representation (Gregor Schneider’s replication of his home), a labor-intensive, intricate installation (Suchan Kinoshita), a bluntly phenomenological sculpture (Olafur Eliasson), and flat, icy painting (Alex Katz). Undoubtedly the best part of the show, the lobby is also an archi-tectural site of hesitation, a threshold. Here the installation encapsulates the exhi-bition’s sense of historical suspen-sion, another kind of hesitation. Ours is a time not of endings but of pause. My favorite work, viewed through the museum’s huge glass wall, was the Eliasson, a fountain of steam wafting vertically from an expanse of water on a platform through which trees also rise up. It’s a heart-throbbing romantic landscape. Romantic, but not naive: The work plays on the tradition of the courtyard fountain, and the steam is piped from the museum’s heating system. Combining the natural and the industrial in a way peculiarly appro-priate to Pittsburgh on a quiet Sunday morning in early autumn, it echoed two billows of steam (or, more queasily, smoke?) off in the distance. When blunt physical fact achieves this kind of lyricism, it is something to see. Upstairs in the galleries, Ernesto Neto’s Nude Plasmic, 1999, relies as well on the phenomenology of simple form, but the Brazilian artist avoids Eliasson’s picturesque imagery. -
[Brand × Artist] Collaborations
FROM HIGH ART TO HIGH TOPS : THE IMPACT OF [ BRAND × ARTIST ] COLLABORATIONS WORD S A NYA FIRESTO N E On the world-map of today’s creative brands, we increasingly find Margiela. That art is being called upon as branding’s new muse, and collaborations with art — contemporary or otherwise — where × signifies a drive to create something more complex than that which marks the spot: can be achieved through fashion. It is logical that this nouveau artistic collaborative wave hits hard Don Perignon × Jeff Koons today, an epoch when magic is no longer required to see almost Perrier × Andy Warhol anything and everything thanks to the world’s new beloved fairy Supreme × Damien Hirst godmother: #socialmedia. With the advent of digital platforms comes Raf Simons × Sterling Ruby the collective impulse to display not only a style, but perhaps more COMME des GARÇONS × Ai Weiwei importantly, lifestyle. Look at any creative company’s Instagram and Lacoste × Zaha Hadid we find not only pictures of its gadgets and gizmos, but a cultivated Opening Ceremony × René Magritte existence around them — tastes and sensibilities, filtered through adidas × Jeremy Scott “Keith Harring” specific lenses: urban landscapes, graffiti, perfectly frothed lattes, Pharell’s hat, Kanye’s pout, and various other facades of society And so the formula of [Brand by Artist] is written, etched onto that visually amalgamate to project a brand’s metaphysical culture skateboards and sneakers, from H&M to Hermés, on Perignon to in time and space. Perrier, strutting down catwalks and stacking grocery aisles at a prolific It is no wonder then why brands are increasingly seduced by art; rate. -
PICASSO: Mosqueteros
G A G O S I A N G A L L E R Y February 14, 2009 PRESS RELEASE GAGOSIAN GALLERY 522 WEST 21ST STREET T. 212.741.1717 NEW YORK, NY 10011 F. 212.741.0006 GALLERY HOURS: Mon – Sat: 10:00am– 6:00pm PICASSO: Mosqueteros Thursday, March 26 – Saturday, June 6, 2009 Opening reception: Thursday, March 26th, from 6 to 8pm I enjoy myself to no end inventing these stories. I spend hour after hour while I draw, observing my creatures and thinking about the mad things they're up to. --Pablo Picasso, 1968 “Picasso: Mosqueteros” is the first exhibition in the United States to focus on the late paintings since “Picasso: The Last Years: 1963-1973” at the Solomon R. Guggenheim Museum in 1984. Organized around a large group of important, rarely seen works from the collection of Bernard Ruiz-Picasso, as well as works from The Museum of Modern Art, New York, the Museo Picasso Málaga and other private collections, “Picasso: Mosqueteros” aims to expand the ongoing inquiry regarding the context, subjects, and sources of the artist’s late work. Building on new research into the artist’s late life through the presentation of selected paintings and prints spanning 1962-1972, the exhibition suggests how the portrayal of the aged Picasso, bound to the past in his life and painting, has obscured the highly innovative and contemporary nature of the late work. The tertulia, an Iberian tradition of gregarious social gatherings with literary or artistic overtones, played a major part in Picasso’s everyday life, even after he moved to the relative seclusion of Notre-Dame-de-Vie in the 1960s.