International 01 Art Exhibitions 2016 International 07.01.2016 > 20.02.2016 Art Exhibitions 2016

1 Zhu Jinshi

Blum & Poe New York This is Beijing-based painter Zhu Jinshi’s first solo exhibition in New York and his second solo presentation with the Blum & Poe Galleries.

Zhu’s painting practice is divided into two parts: all-over paintings which literally cover the canvases end to end with paint often the depth of the human hand, and what are known as Liu Bai paintings (direct Chinese translation: leaving blank). Liu Bai, a traditional aesthetic approach to compositional 5 balance in Chinese painting, was con- ceived as a form of ‘blankness’, rather Opposite page than ‘emptiness’, embodying great Dancing with the Devil 1 philosophical nuance. In parallel with 2013, Oil on canvas works such as these, Zhu has recently 160 x 140 cm explored the flat application of the 1 black monochrome, with all of its mini- Volcanic Rock malist and philosophical implications. 2010, Oil on canvas One all-black painting, Kant (2015), 140 x 160 cm with its 2.5 cm deep surface scored by 2 a delicate web of shallow grooves and Beam 3 ripples is on display, but not shown here. 2 1990, Oil on canvas 65 x 65 cm This exhibition will also feature three Zhu Jinshi was born in Beijing in 1954. That year, after being denied a show 3 sculptural works, consisting of enor- Although being made to work in at the National Gallery in Beijing, they Head Sculpture mous slabs of paint laid upon plinths; factories, he managed to develop his staged an unauthorized exhibition 2015, Oil paint, canvas and Nine Levels (2015), a minimal, modu- early identity as an artist. Zhu joined a outside the museum. This has since 81.3 x 60 x 50.2 cm lar installation conceived especially for group of artists of similar age called been widely recognized as a break- 4 the gallery terrace. the Stars (Xing Xing) in 1979. through in Chinese cultural expression. Green and Yellow Thereafter, Zhu and others began to 2010, Oil on canvas explore abstraction. All the works in the 140 x 160 cm exhibition are accumulations of Chinese 5 aesthetic and socio-political histories Power and Country 2 drawn from growing up during the 2012, Oil on canvas Cultural Revolution. By the mid 1980s, 180 x160 cm many Chinese artists had relocated to Western countries, including Zhu Jinshi All works and Qin Yufen, who moved to Berlin in Courtesy of the artist 1986. After living in the West for twenty and Blum & Poe, years, Zhu Jinshi moved back to Beijing, Los Angeles, New York 34 where he currently lives and works. & Tokyo www.blumandpoe.com International 08.01.2016 > 15.03.2016 Art Exhibitions 2016

Opposite page Ellen de Meijer Burning Ambition 2015, Oil on canvas Dissolution 180 x 130 cm

Unix Gallery Houston Unix Gallery In ‘Dissolution’, de Meijer’s works express The series ‘Digital Divide’ is about a ruminative perspective from what you all of us. The last 20 years we have don’t see to what you feel everyday. experienced an enormous evolution mainly driven by technology and De Meijer intends to capture the impact the digital revolution. But our of our postmodern society on human human instincts have not changed, behaviour and the conflict between our despite that our modern society basic human instincts of love, greed, often expects us to ignore these. It’s fear and community, and our constant this tension that inspires my work. 1 desire to progress and succeed. Ellen de Meijer. 3 1 This exhibition showcases artworks Facebook from her ‘Digital Divide’ series which 2015, Oil on canvas highlights the ever-evolving interplay 150 x 90 cm between personal connectivity and 2 post-modern technology. Virtual Love 2012, Oil on canvas Ellen de Meijer’s paintings tend to give 140 x 99 cm the viewer a unique feeling of sympa- 3 thetic tension and pathos, simultan- Ellen de Meijer eously. Her portraits show figures of 4 successful repute, yet vulnerable with Followers empty gazes. Her figures are armed with 2015, Oil on canvas digital gadgets such as Google Glasses 229 x 130 cm or iPhones, which refer to our zeitgeist of access to information and power. All images courtesy This proliferation of technology of Unix Gallery becomes a point of dependency while our human instincts docilely move to the background. Often her figures are portrayed with small, bizarre objects or wearing rubber cleaning gloves that are symbolic of a societal obsession with sterilization and unattainable perfec- tion and allude to the subtle physical boundaries that enable the disconnect mimicked in our duplicitous relation- ship with advancing technologies.

Ellen de Meijer was born in Holland in 1955 and studied at the Academy of Fine Arts in Tilburg. She is known in Europe for her fine technique and for the level of detail in her work. 2 4 www.unixgallery.com International 15.01.2016 > 03.04.2016 Art Exhibitions 2016

Opposite page Lisa Asschecker 1999, Gouache and Yuskavage graphite on paper 26 x 18.1 cm 1 The Brood 1 Installation view Contemporary Museum St Louis Art The first solo museum exhibition of 2 New York-based artist Lisa Yuskavage in Day the United States in over fifteen years. 1999-2000, Oil on linen It illustrates her vision for contemporary 195.6 x 157.5 cm figurative painting over the 25 year 3 perion until the present day. Merging Fireplace the grand tradition of portraiture with 2009, Oil on linen the expansive vocabulary of female 33 x 27.9 cm transgression and empowerment, 4 Yuskavage’s sensuous palette, refined Brood paint application, and confrontational 2005-06, Oil on linen subject matter provoke the imagination 195.6 x 175.3 cm and create a sometimes polarizing 5 space, presenting the female body as a The Ones That Don’t Want To: site of defiance and decadence. 23 Buttons 1991, Oil on linen 86.4 x 76.2 cm 6 The Ones That Can’t: Tea 1991-92, Oil on linen 66 x 61 cm

Images Courtesy the artist and David Zwirner, New York/London

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‘The Brood’ is is not so much a compre- hensive survey as a thorough account of Yuskavage’s development and identity as an artist, presenting her signature paintings in three composi- tional formats: diptychs, triptychs, and what the artist calls ‘symbiotic portraits.’ While the first two categories conven- tionally describe artworks in two and three parts, the third, symbiotic portraits, refers to single-panel pain- tings that feature multiple figures, often 4 elaborately intertwined. 6

www.camstl.org International 20.01.2016 > 01.03.2016 Art Exhibitions 2016

1 | 2012 Puzzle A Satisfying Project! (Tiziano, Man with Glove, the evolution of communication 1520) 2 | 2012 Sebastiano Navarra Samarcanda (Bronzino, Portrait of a Miaja Gallery Miaja Gallery Born in Milan, Italy, Sebastiano Navarra Young Man, 1540) has been producing portraits of famous 3 | 2015 people by hand since the age of 16. Llegó a Medelln Se Escribió Upon graduating from the Accademia a La Faculta De Arquitectura Delle Belle Art in Milan, he worked for J (Sandro Botticello 1503) Walter Thompson in Bogota, Colombia. 4 | Navarra quickly rose to the position of My First Doll Creative Director and a key figure in the (Botticelli, Birth of Venus advertising world. Within the decade he 1428) had forged artistic collaborations, 5 | 2015 gravitating towards the exploration of Futurismo concepts like ‘The Beauty of Allure’, and (Alonso Sanchez Coello

Singapore ‘The Evolution of Communication’ in the Infante Isabela Clara) modern age, combining art, creativity 6 | 2016 and marketing, capturing the essence of Mona Lisa Pop Art in the 1960’s. He began his (Cardo, Papavero, Tulipano) professional career as an artist after a 7 | 2013 sell-out show at The National Museum Proud, A Stupendous Design! 1 2 in Bogota, titled ‘The Disappeared Cities’. (Giorgione,Portrait of Greatly influenced by Picasso, Navarra Francesco Maria della recognises and loves all of his phases in Rovere 1502) history. The same could be said for 8 | 2012 Raphael, Michelangelo, Leonardo da Robot My Love Vinci and all those who he represents (Leonardo Da Vinci, Lady within his art. 5 with Ermine, 1490)

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All works His life’s work has been about By his first exhibition of the ‘Puzzle Art’ playfully into the present. Like those 9 | 2013 Acrylic on wood | 122 x 122 cm translating those personalities – the series in Monte Carlo, Navarra had found masters of the Renaissance, Navarra’s Those Flowers So Beautiful great masters – into the world of today such a union with the masters of the intention is to make us stop and wonder, (Domenico Ghirlandaio, and to make them relevant, so that they Renaissance. He aptly puzzles his compo- and to evoke emotions and questions, Portrait of Giovanna can live with him in this lifetime. sitions together, bringing the past so so it is to them that he dedicates his art. Tornabuorni, 1468)

www.miajagallery.com International 29.01.2016 > 22.05.2016 Art Exhibitions 2016

Signac

1 Une vie au fil de l'eau

Fondation d’Hermitage This unique collection was assembled Opposite page by a family with a passion for Paul L’arc-en-ciel (Venice) Signac’s art and constitutes the largest 1905, Oil on canvas set of his works to be held in private 73 x 92 cm hands. It offers a complete panorama of Private collection Signac’s artistic development, from his 1 early Impressionist paintings through Croix-de-Vie the heroic years of neo-Impressionism, 1929, Watercolour the dazzle of Saint Tropez and flam- 20.3 x 28.6 cm boyant portrayals of Venice, Rotterdam Private collection and Constantinople to the late water- colours of the Ports of France series. The collection is also exceptional for the diversity of techniques on display, juxtaposing the Impressionist ardour of the studies from nature with the serene polychromy of the divided paintings and the bold Japonism of the water- colours with the freedom of the plein air works. 2 4

Lausanne Meanwhile, the great preparatory 2 washes with drawings in Indian ink Saint-Briac, Les balises, reveal the secrets of serene composi- opus 210 tions that were long pondered in the 1890, Oil on canvas studio. So as well as an introduction 65 x 81 cm to Signac’s chromatic harmonies, this Private collection exhibition will also be a true voyage of 3 discovery. There will be a tour arranged Juan-les-Pins. Soir by chronology and theme, enabling 1914, Oil on canvas thediscovery of the many facets of a 73 x 92 cm man of conviction, fascinated by the Private collection sea and boats, and to experience the 4 chromatic harmonies of this painter Saint-Tropez, le chantier whose first love was colour. An exten- naval et le phare sive documentary section will provide 1893, Lithograph, enhanced an introduction to the colour theories with watercolour of the neo-Impressionists, including a 31.3 x 42.2 cm room showing paintings by the move- Private collection ment’s main exponents (Pissarro, Luce, 3 Van Rysselberghe, Cross). © photo Maurice Aeschimann

The exhibition comprises almost 140 oil Later in 2016, ‘Signac’ moves to Museo paintings, watercolours and drawings. d’Arte della Svizzera italiana, Lugano. www.fondation-hermitage.ch International 30.01.2016 > 17.04.2016 Art Exhibitions 2016

John Bratby Everything but the Kitchen Sink, Opposite page including the Kitchen Sink Diane in Sun Hat

Jerwood Gallery Jerwood Gallery Bratby was a prolific artist (painting over 3,000 works), a writer and something of an enfant terrible on the British art scene during the 50s & 60s. Born in 1928, he died in his adopted home town of Hastings, a day after his 64th birthday, while walking home from the chippy. Hastings

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Rather than create a traditional retro- The gallery was overwhelmed with Bratby painted a whole raft of notable 1 spective of Bratby’s painting, Jerwood submissions of privately owned Bratby’s, figures and celebrities during his life, Jean Reading Gallery launched a rare opportunity for along with personal recollections, including Sir Paul McCartney, Sir Malcom c1964 the UK public to shape the style and letters and photos and we discovered Bradbury, Michael Palin, Tom Bell, Claire Jerwood Collection content of a major gallery exhibition. some wonderful works. Rayner and Lord & Lady Attenborough. ©The Bridgeman Art Library 2 Nude Julian Sands Collection 3 First for Three Years 1981 4 Portrait of David Julian Sands Collection 5 Rain in June 1961 Francesca Bellamy Collection

All images 345 ©The Artist’s Estate

www.jerwoodgallery.org International 06.02.2016 > 01.05.2016 Art Exhibitions 2016

American Epics Thomas Hart Benton and Hollywood

Amon Museum of American Carter Art Thomas Hart Benton (1889-1975) was Benton’s awareness that movies were Opposite page born into an influential family in the best and most popular means of Bootleggers Missouri, his father being a lawyer and telling American tales inspired a 1927, Egg tempera and oil on congressman. Rebelling against his signature artistic style that melded linen, mounted on panel father’s wish for Benton to become a centuries-old traditions with movie- 1 politician, he studied art, first in Chicago production techniques to create images Shipping Out and later in Paris. This will be the first that appealed to a broad range of 1942, Oil on canvas major exhibition in more than 25 years Americans. 2 to feature his life and works. The show Self-Portrait with Rita explores the previously overlooked The exhibition brings together nearly c1924, Oil on canvas relationship between Benton’s art and 100 works by Thomas Hart Benton, 3 movie making. Benton’s associations including more than thirty of his The Kentuckian with the film industry began on the paintings and murals, as well as a 1954, Oil on canvas silent film sets of Fort Lee, New Jersey – selection of his drawings, prints, and 4 the first ‘Hollywood’ – and extended to illustrated books in juxtaposition with Hollywood an intimate career-long association with scenes from some of Hollywood’s 1937-38, Tempera with oil on 1 Hollywood’s movers and shakers. greatest films. canvas, mounted on panel

2 Fort Worth

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www.cartermuseum.org International 10.02.2016 > 05.03.2016 Art Exhibitions 2016

Javier Banegas

Plus One Gallery Plus One Gallery Javier Banegas was born in Madrid in Spain in 1974. This solo exhibition features new paintings (shown here) which continue to examine his interest in depicting used objects, devoid of human presence but reminiscent of their trace. The works adopt the popular hyper-realist tendency of dramatically increasing the scale of the actual object, which in turn abstracts the still-life paintings. Javier Banegas works in a traditional hyper-realist manner, yet his subject matter takes an alternative turn. Present in all his works is the essence of human interaction. These used objects

London denote a passing of time, one that has 3 been stopped and captured. 1

Just as you would paint flowers in full Opposite page bloom, Javier Banegas paints objects Clips Box in a period of transition. The difference Oil on board being that the objects are inanimate. 120 x 120 cm They are not suspended in life but 1 instead are captured after action. Colours VIII The compositions he chooses (often Oil on board close ups) and the choice of subject 85 x 190cm matter are the result of an action by a 2 human; whether it is the shaving from Colours VII a pencil or ink pots often left with their Oil on board lids off, there is a feeling that someone, 85 x 190 cm somewhere is not quite finished. 2 3 Shavings VII In this world of globalised instant Oil on board images, painting continues to main- 80 x 80 cm tain a significant role inrecording 4 the permanence of emotion, the Shavings VI footsteps of man through the world Oil on board that he inhabits and the objects 80 x 80 cm that surround him. I avoid creating the spectacular images in order to All images create those which encapsulate © Plus One Gallery these areas. Javier Banegas 3 4 www.plusonegallery.co.uk International 12.02.2016 > 15.05.2016 Art Exhibitions 2016

Leonard Rickhard

1 Between War and Peace

Aros Hushed emptiness. Noisy reality. Lyrical melancholia. Contrasts meet in the works by the Norwegian Leonard Rickhard, known as the

Aarhus ‘painter of stillness’.

Leonard Rickhard was born in 1945 in Norway. For more than 30 years, he has been one of Norway’s leading painters. He is part of a painting tradition addres- sing history’s great questions and his interest in painterly composition from the Renaissance and Baroque is clear. We sense the Cold War’s fear of annihila- tion in his works from the 70s and 80s where a scarred landscape forms the backdrop for an encounter between idyllic buildings and military vehicles or installations. In his recent works, the pivotal point is often the position of the individual in a disintegra ted reality. His paintings are never non- figurative and his painterly process shows clear references to the tradition emerging in the wake of French Impressionism. Featuring 65 paintings and some 200 drawings, it is the first large-scale show outside Norway. 2

Rickhard is an expert when it comes Leonard Rickhard’s favourite themes Opposite page to capturing stillness and emptiness. and preferred motifs include the model Back-Turned Figure Anxiety and drama lurk just beneath plane constructor, bird collections, in Nocturnal Interior II and the contrast makes his works military barracks, snow landscapes, 2007-09 interesting and relevant. The visitor is contemplating man, quiet forest views, 1 drawn to his melancholic imagery and red barracks and stuffed birds. At times, Hard Festive Atmosphere his special pictorial space. The show his paintings are enclosed by over- 1975-77 allows visitors to muse on stillness for dimensioned frames where the human 2 a while. Rickhard’s art provides food for presence in the painting is merely repre- Scene after Sunset thought: detailed, sensitive, and rich. sented by a melancholy figure stead- 2008-09 At the same time, it projects grave fastly trying to bring order to the chaos 3 stories relevant to most people. The of this world. At other times, his people Doorway with Two exhibition strikes new chords in are literally split in several parts. In this Characters in Summer contemporary art and their resonance way, he creates a contrast between Light II 3 skilfully embraces a complex reality. fragmentation and symmetry and order. 2008-09 www.aros.dk International 18.02.2016 > 13.06.2016 Art Exhibitions 2016

Munch

1 and Expressionism

Neue Galerie Neue Galerie Opposite page Edvard Munch The Scream 1895, Pastel on board in the original frame 79 x 59 cm Private Collection © 2015 Artists Rights Society (ARS), New York 1 Edvard Munch Two Human Beings New York The Lonely Ones 1905, Oil on canvas 80 x 100 cm Lynn G Straus © 2015 Artists Rights Society (ARS), New York 2 Edvard Munch Bathing Man 2 3 1918, Oil on canvas 160 x 110 cm This exhibition presents major works The exhibition will be comprised of The National Museum of Art, by the Norwegian artist in the context approximately 35 paintings and 50 Architecture & Design, Oslo of masterworks of German and Austrian works on paper from both public and © 2015 Artists Rights Society Expressionism. It will examine Edvard private collections worldwide. (ARS), New York Munch’s influence on his German and Although much has been written about 3 Austrian contemporaries, as well as the relationship between Munch’s Erich Heckel their influence upon him. The exhibition personal life and his art, this show is Girl with Doll (Fränzi) will offer a compelling new look at the first thorough study of the artist’s 1910, Oil on canvas works by Munch, whose painting ‘The work in the context of his German 65 x 70 cm Scream’ has become a symbol of angst and Austrian peers.The German artists Private Collection in the modern era. included in the exhibition are Max © 2015 Artists Rights Society Beckmann, Erich Heckel, Ernst Ludwig (ARS), New York/ Edvard Munch (1863-1944) was highly Kirchner, Gabriele Münter and Emile VG Bild-Kunst, Bonn regarded for his exploration of dark Nolde, and the Austrians included are 4 themes, including alienation, sin, and Richard Gerstl, Oskar Kokoschka and Egon Schiele human vulnerability. Munch’s use of Egon Schiele. The exhibition compares Self-Portrait with Raised vivid colour intensifies the emotional all of these artists’ approaches to key Bare Shoulder power of his subject matter, an themes such as adolescence, urban 1912, Oil on wood 4 approach which helped to pave the way anxiety, and self-portraiture, and to 42.2 x 33.9 cm for an entirely new attitude towards art innovative developments in print- Leopold Museum, Vienna during the early twentieth century. making during this time. www.neuegalerie.org International 19.02.2016 > 19.06.2016 Art Exhibitions 2016

Easy Virtue Prostitution in French Art 1 1850-1910

Van Museum Amsterdam Gogh Opposite page František Kupka Gallien’s Girl 1909-10, Oil on canvas 108 x 98.4 cm Národní Gallery, Prague 1 Bed After 1860, painted, gilt and carved wood, Ville de Neuilly-sur-Seine Photo: Jan-Kees Steenman 2 André Derain Woman in a Chemise or Dancer 1906, Oil on canvas, 99.7 x 81.3 cm 2 3 Statens Museum for Kunst, Copenhagen In Paris, during the second half of the brothels. Three themes take you back to ‘Easy Virtue’ examines over 100 paintings 3 19th century, prostitution was a subject Paris in the Belle Époque: the dance halls and works on paper by more than 40 Charles Carolus-Duran favoured by artists. They painted and cafés where women picked up their different artists, including big names Portrait of Julia Tahl women soliciting on the boulevards, customers, the hidden world of brothels, like Vincent Van Gogh, Edgar Degas, known as Mademoiselle wealthy courtesans in their salons and and prisons where illegal prostitutes Henri de Toulouse-Lautrec Andre Alice de Lancey the prematurely aged prostitutes in with venereal diseases were locked up. Derain and Pablo Picasso. 1876, Oil on canvas 152.5 x 211 cm Petit Palais, Musée des Beaux- Arts de la Ville de Paris, Paris 4 Louis Anquetin Woman on the Champs-Élysées at Night 1891, Oil on canvas 83.2 x 100 cm Van Gogh Museum, Amsterdam 5 4 Jean-Louis Forain 2 The Customer 4 1878, Watercolour and gouache on paper 24.8 x 32.7 cm Collection of the Dixon Gallery 5 and Gardens, Memphis

www.vangoghmuseum.nl International 24.02.2016 > 05.06.2016 Art Exhibitions 2016

Opposite page Maneira Agnolo Bronzino St Sebastian Pontormo, Bronzino c1528-29, Oil on wood 87 x 76.5 cm & Medici Florence Museo Thyssen-Bornemisza

Städel Museum Frankfurt With the aid of some 120 prominent loans, this exhibition will acquaint the public with a key chapter in the history of Italian art – Florentine Mannerism. Works by Jacopo Pontormo, Agnolo Bronzino, Andrea del Sarto, Rosso Fiorentino, Giorgio Vasari and others will be on view. Devoted to Florence as the first centre of European Mannerism, the large-scale exhibition will cover the period from the return of the Medici to that city in 1512 and the early artistic forays by the new generation around Pontormo and Rosso to the 1568 public- ation of Vasari’s ‘Lives of the Artists’. 4 1 Raphael Virgin and Child with the Young Saint John the Baptist (The Esterházy Madonna) c1508, Oil on wood 29 x 21.5 cm © Szépművészeti Múzeum, Budapest 2 Agnolo Bronzino Portrait of a Lady in Red (Francesca Salviati?) c1533, Oil on poplar 89.8 x 70.5 cm Städel Museum, Frankfurt 12 3 Jacopo Pontormo More than 50 paintings, but also over 50 The project is being carried out with St Jerome as Penitent drawings and 8 sculptures will offer an special support from the museums of c1528-29, Oil on poplar experience hitherto possible only in Florence, above all the Uffizi, the 105 x 80 cm Florence – a broad survey of a stylistic- Galleria dell’Accademia and the Galleria Niedersächsisches Landes- ally formative epoch characterised by Palatina, each of which are contributing museum Hannover the Vasari with the colourful term exceptional works. Further key loans 4 ‘maniera’. One of the most exquisite come from such prominent institutions Giorgio Vasari works in the Städel holdings – Portrait of as the Metropolitan Museum of Art in Venus at her Toilet a Lady in Red (Francesca Salviati?), c1533 New York, the J Paul Getty Museum in c1558, Oil on wood by Bronzino – forms the point of Los Angeles, the National Gallery of Art 154 x 124.7 cm 3 departure for this show. in Washington, the Paris Louvre, © Staatsgalerie Stuttgart, www.staedelmuseum.de International 28.02.2016 > 29.05.2016 Art Exhibitions 2016

1 Vik Muniz

High Museum of Art Atlanta High Museum of Art Vik Muniz was born in São Paulo, Brazil Opposite page in 1961. He is distinguished as one of the Marat (Sebastião) from the most innovative and creative artists of Pictures of Garbage series the 21st century. Renowned for creating 2008, Chromogenic print what he calls ‘photographic delusions’, Courtesy of Sikkema, Muniz works with a dizzying array of Jenkins & Co unconventional materials – including 1 sugar, tomato sauce, diamonds, New Car, from the series magazine clippings, chocolate syrup, Album dust and junk – to painstakingly design 2014 narrative subjects before recording Courtesy of Sikkema, them with his camera. His resulting Jenkins & Co photographs often quote iconic images 2 from popular culture and the history of Action Photo, after Hans art while defying easy classification and Namuth from the Pictures playfully engaging a viewer’s process of of Chocolate series perception. 3 1997 Art © Vik Muniz and the Estate of Hans Namuth/Licensed by VAGA, New York, NY 3 Leda and the Swan, after Leonardo da Vinci from the Pictures of Junk series 2009, Chromogenic print High Museum of Art, Atlanta, purchase through funds provided by patrons of the Second Annual Collectors Evening, 2011, 2011.6. Art © Vik Muniz/Licensed by VAGA, New York, NY 2 3 4 Jackie, from the Pictures His more recent work utilizes electron of Diamonds series microscopes and manipulates micro- 2005 organisms to unveil both the familiar Courtesy of Sikkema, and the strange in spaces that are Jenkins & Co typically inaccessible to the human eye. 5 The exhibition will examine the full Burg Eltz, from the series breadth of this imaginative artist’s Sand Castles career and will feature nearly 150 photo- 2013 graphs, including many of Muniz’s most Courtesy of Sikkema, 45 recent works. Jenkins & Co

www.high.org International 01.03.2016 > 19.06.2016 Art Exhibitions 2016

Opposite page Wyeth Andrew Wyeth Christina Olson Andrew & Jamie 1947, Tempera on panel 83.82 x 63.5 cm 1 in the Studio © Andrew Wyeth, Myron Kunin Collection of American Art Museo Thyssen-Bornemisza 1 Jamie Wyeth Portrait of Andrew Wyeth 1969, Oil paint on canvas 61 x 81.3 cm ©Jamie Wyeth, Private collection 2 Jamie Wyeth Andy Warhol working on Piss series 2007, Acrylic, oil and watercolour on cardboard 121.9 x 76.2 cm ©Jamie Wyeth, The Phyllis & Jamie Wyeth Collection 3 2 3 Andrew Wyeth Faraway This exhibition features more than 60 Never before has an exhibition 1952, Drybrush on paper works executed in a variety of media: displayed their work together on this 33 x 50.8 cm pen and ink, graphite, charcoal, water- scale and in the shared context of their ©Jamie Wyeth, The Phyllis colour, dry brush, tempera, oil and autobiographies, studio practices and & Jamie Wyeth Collection mixed media. imaginations. 4 Andrew Wyeth

Madrid By looking at their creative processes It explores the connection between two Night Sleeper through the lens of their studio practice, artists who are inextricably linked by 1970, Tempera on panel an understanding of the discipline, their shared artistic habits of mind, 121.9 x 182.9 cm mastery of technique and imagination while each maintaining his own unique © Andrew Wyeth, The Andrew inherent in the work becomes apparent. artistic voice. 4 & Betsy Wyeth Collection 5 ‘Wyeth’ is the first exhibition to deeply Andrew Wyeth examine the common threads that run My Young Friend through their works, while illuminating 1970, Tempera on masonite each artist’s distinctive practice. 81.3 x 63.5 cm ‘I want to be known as the father of the © Andrew Wyeth, Museo artist Jamie Wyeth,’ Andrew once stated. Thyssen-Bornemisza Jamie has claimed that he learned the 6 most about art from his father. Andrew Wyeth Those who are new to the work of Trodden Weed Andrew and Jamie Wyeth, and those 1951, Tempera on panel who know these artists well, will delight 50.8 x 46.36 cm in seeing their art converge and diverge © Andrew Wyeth, The Andrew 5 6 over the years. & Betsy Wyeth Collection www.museothyssen.org International 03.03.2016 > 06.03.2016 Art Exhibitions 2016

Opposite page CMYK Colour registration head 2015, Acrylic on B&W photo Douglas Coupland laminated onto canvas 51 x 71 cm at the Armory Show | New York Courtesy the artist Daniel Faria Gallery

1 2 34 1 Among the many characteristics of Party Girl 3 his practice, Douglas Coupland is 2 Toronto known for his re-contextualization of Spreadsheet Boy 3 contemporary cultural trends and how 3 they are articulated by the latest Racer X4 technology. His work at The Armory 4 Show in New York addresses larger Red Yellow Blue Hunk 3 societal obsessions by revealing the 1 | 2 | 3 | 4 artist’s personal ones. These are divided 2016, Acrylic, latex and gesso on in his new bodies of work: ‘Deep Face’ C-Print, laminated onto Dibond and ‘Trash Vortex’. 121.9 x 152.4 cm 5 Deep Face explores Facebook’s recent Installation view corporate initiative to identify all faces 6 posted to the website by using facial Pacific Trash Gyre No 12 recognition algorithms – a somewhat 2016, Manufactured globe, intrusive proposition, but one that will steel, latex paint be implemented, regardless. 5 48.3 x 38.1 cm

Facebook’s proposition is a small taste The camouflage is painted as opposed In ‘Trash Vortex’ Coupland drips coats of the retrograde privacy invasion that to digitally applied over the top of the of toxic paint onto vintage globes. The will typify the near and distant future. large, high-resolution photos to create paint is applied directly over the Pacific images that are neither masks nor Trash Gyre, a garbage patch consisting ‘Deep Face’ presents portraits that recall generic abstraction. These ‘deep faces’ of plastics and other particulates that photographs by Thomas Ruff or screen dually conceal and technologically have been cast off by society, but still shots by Andy Warhol that have been reveal our identity, representing the very much present on the earth. By way obscured through scientific camouflage state of in-between-ness that pervades of ocean currents, this debris accumu- and deflection techniques. the modern mind. lates, resulting in the Gyre’s formation. 6

www.danielfariagallery.com International 05.03.2016 > 05.06.2016 Art Exhibitions 2016

Opposite page Abstract Composition 6 1920, Oil on canvas Marthe Donas 63 x 48 cm Private collection The Belgian Avant-Gardist © Cedric Verhelst 1 Museum of Fine Ghent Arts Cubist Head 1917, Pencil on paper 27.5 x 22 cm Private Collection 2 Head of a Child 1918-19, Oil on panel 25 x 18.5 cm Private Collection 3 Self-Portrait 1920, Oil on canvas 92 x 71.5 cm Private Collection 4 Still Life M 123 1918-19, Oil on panel 53 x 38 cm Just after World War I, the enigmatic Yale University Art Gallery, ‘Tour Donas’ enjoyed a glittering career New Haven in the European art world. Concealed Gift of Katherine Dreier behind this pseudonym was the young & Société Anonyme Antwerp artist Marthe Donas (1885-1967), 5 the only Belgian woman in the inter- The Picture Book national avant-garde. 1917-18, Oil on panel 67.5 x 46.5 cm Marthe Donas was born into an upper- Private Collection middle-class family from Antwerp. Courtesy Roberto Polo Gallery, Her father was against Marthe’s plans Brussels to become a painter, however Marthe 6 persevered and took lessons at the Marthe Donas in her Studio Academy of Antwerp and, then during 26 rue du Départ, Paris the first World War, studied stained glass 1920 in Dublin. In 1916, she moved to Paris Marthe Donas Foundation, and discovered Cubism. 45 Ghent

At first, Donas works with her partner, Each of these artists influenced her This will be the first major retrospective the revolutionary Ukrainian sculpter painting style significantly. During the ever devoted to this remarkable woman. Alexander Archipenko. Through him, interbellum, Donas achieves internation- The emphasis is on Donas’ most creative she comes into contact with the inter- al fame. She exhibits 35 important works years between the end of 1916, when national art world and has the chance to in the prestigious Berlin art gallery Der she settled in Paris, and 1927, which exhibit her works alongside Modigliani, Sturm. Man Ray and Duchamp draw marked the beginning of a long hiatus Van Doesburg, Picasso, Léger, Mondrian attention to Donas and artists from the from painting. In 1947, however, she did and Sonja Delaunay. European avant-garde in the US. resume painting with renewed vigour. 6 www.mskgent.be International 05.03.2016 > 03.07.2016 Art Exhibitions 2016

Opposite page Sandro Botticelli Ideal Portrait of a Lady Botticelli (Simonetta Vespucci) 1475-85, Tempera on Poplar Reimagined Städel Museum, Frankfurt

Victoria Museum London & Albert This innovative exhibition explores the 1 variety of ways artists and designers Yin Xin from the Pre-Raphaelites to the present Venus, after Botticelli have responded to the artistic legacy of 2008, Oil and acrylic on canvas Sandro Botticelli (1445-1510), assembling Guillaume Duhamel, courtesy 150 works from around the world. Duhamel Fine Art, Paris Botticelli is now celebrated as one of 2 the greatest artists of all time, but was Sandro Botticelli largely forgotten after his death until his Venus work was progressively rediscovered in 1490s, Canvas the 19th century. ‘Botticelli Reimagined’ Gemäldegalerie Staatliche is the largest Botticelli exhibition in Museen zu Berlin Britain since 1930. It includes around 50 3 original works by Botticelli from great Andy Warhol collections across the world shown Birth of Venus (1482), alongside more recent masterpieces of after Sandro Botticelli art and design including work by Dante 1984, Acrylic and silkscreen ink Gabriel Rossetti, Edward Burne-Jones, on linen René Magritte, Elsa Schiaparelli, Andy The Andy Warhol Museum, Warhol, Yin Xin and Cindy Sherman. 1 Pittsburgh, Founding Collection

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www.vam.ac.uk International 18.03.2016 > 21.08.2016 Art Exhibitions 2016

Opposite page The Other Christ (The Interpretation of Andres Serrano Dreams Series) 2001, Cibachrome, silicone, 1 Uncensored Photographs plexiglas, wood frame 114.3 x 96.5 cm Royal Brussels Museums of Fine of Belgium Arts Born in 1950 in New York, Andres © Andres Serrano & Galerie Serrano studied painting and sculpture Nathalie Obadia, Paris/Brussels at the Brooklyn Museum in New York. 1 Although he takes photographs, the Ahmed Osoble artist does not consider himself a (Denizens of Brussels Series) photographer, but more a visual artist 2015 who uses photography as a medium. © Andres Serrano The work of Serrano, like that of Royal Museums of Fine Arts Mapplethorpe, was at the centre of of Belgium cultural wars in 1989, when his photo- 2 graphy ‘Piss Christ’ ignited a national Infectious Pneumonia debate on the freedom of artistic (The Morgue Series) expression and the public financing of 1992, Cibachrome, silicone, controversial artworks. The exhibition plexiglass, wood frame offers a comprehensive overview of the 88.9 x 114.3 cm artist’s series by placing them in their © Andres Serrano historical and social context: provoca- Courtesy Galerie Nathalie tion and iconoclasm, blasphemy and Obadia, Paris/Brussels critical testimony of a world in derelic- 3 tion, a human story of the individual in Death Unknown its singularity. 2 (The Morgue Series) 1992, Cibachrome, silicone, This way, it takes us into the world and plexiglass, wood frame mind of the artist. Beyond the provo- 114.3 x 96.52 cm cation that his work is often too quickly © Andres Serrano reduced to, Serrano has a desire to show Private Collection the world we have created. Relgion, 4 death, sex or violence are omnipresent Blood on the Flag in the retrospective exhibition – the (The Interpretation of largest one ever organized. But beyond Dreams Series) these powerful topics and past the ‘Piss 2001, Cibachrome Christ’ controversy, the exhibition 165.1 x 139.7 cm reveals Serrano as an attentive witness © Andres Serrano to the world and mankind. Five works Private Collection which were judged as scandalous and destroyed during previous exhibitions will also be on display, thus questioning the limits of censorship.

Simultaneously, the Museums will, in the streets of Brussels, present Andres Serrano’s brand new series ‘Denizens of Brussels’ striking portraits of the 3 capital’s homeless. 4

www.fine-arts-museum.be