International 07 Art Exhibitions 2014 International 10.09.2014 > 07.10.2014 Art Exhibitions 2014

Jim Dine Opposite page 64 Blocks A History of Communism 2009, Lithograph paper Courtesy of the artist and 1 Printmaker Alan Cristea Gallery

Alan Cristea Gallery Alan Cristea Gallery ‘A History of Communism’ is an extra- Images 1, 2, 3, 4 & 5 ordinary series of new prints by the A History of Communism seminal American artist Jim Dine made 2012 from lithographic stones found in what One of a suite of 45 stone was previously a socialist art academy lithographs with additional in the German Democratic Republic. etching and engraving Dine received the stones from his Edition of 10 friends Sarah Dudley and Ulie Kuhle, Courtesy of Alan Cristea Gallery lithographic printers based in Berlin. 6 The recovered stones had been un- Remembering Wallace Ting touched for years and most intriguingly 2010, Woodcut with lithograph for the artist, still possessed 40 years’ paper worth of preserved images drawn by Courtesy of the artist and 2 students under the oppressive regime. 5 Alan Cristea Gallery

The anonymous drawings, remnants of a government and country that no longer formally exists, immediately

London appealed to the artist. The process of creating this exhibition took two and a half years, with Dine working on top of the original drawings, careful not to ‘subvert’ the images he had inherited.

‘The thrill for me is inventing, and adding or taking out, changing from one state to another. Handcolouring over a woodcut that’s in black and white, then printing the block again 3 over the colour that I painted on, 5 then taking a rag soaked in turpen- tine and rubbing it over the print, then putting an etching over that. It’s more than that though; it’s the freedom to change when I want to and for the image to grow.’ Jim Dine

‘Jim Dine: Printmaker’, comprises a selection of recent editions and classic prints by the artist. It tells the story of Dine’s 50 years as a printmaker. He made his first print at the age of 17 and has since gone on to make prints in every 4 conceivable medium. 6 6

www.alancristea.com International 13.09.2014 > 22.11.2014 Art Exhibitions 2014

Greg Gorman

1 Portraits

Galerie HiltawskyGalerie Berlin An exhibition of over 30 portraits by the American photographer Greg Gorman It includes images of Holly- wood stars such as Sharon Stone, Sophia Loren, Robert De Niro, Leonardo Di Caprio, Marlon Brando, Johnny Depp, Jeff Bridges as well as musiclegends like David Bowie, Jim Morrison, Tom Waits, Michael Jackson, Frank Zappa, Philip Glass, Pop-Art Icon Andy Warhol etc. Greg Gorman was born in Kansas City, Missouri in 1949. Initially, he wanted to become a photojournalist, but when in 1968 he photographed Jimi Hendrix at his concert in Kansas City, it signalled the beginning of a 40 year career as a 5 portrait photographer. Opposite page Having obtained his Masters in Fine Michael Jackson Lace Arts in 1968 he started photographing Archival pigment print actors and musicians. Many of these 51 x 41 cm iconic black-and-white images became 1 movie posters, covers of CDs or maga- Leonardo Di Caprio zines like Life, Newsweek, Vogue and Archival pigment print Rolling Stone. Gorman’s photographs 61 x 51 cm (cropped) were adopted more than 20 times to 2 accompany Andy Warhol’s Interview. 2 Grace Jones with Hat 1991, Archival pigment print Parallel to his portraiture, Gorman 102 x 76 cm created a remarkable body of work in 3 the area of nude photography. With his Andy Warhol Glasses unique style involving sharp contrasts, 1986, Archival pigment print 3 extreme lighting and shadows, he 51 x 41 cm concentrates on the graphic aspect of 4 face and body creating a classic Iman aesthetic which combines the timeless Archival pigment print beauty of human nature with erotic 102 x 76 cm charisma. Greg Gorman’s images of 5 David Bowie’s wife Iman and male star- Michael Jackson Spider models Tony Ward and Mickey Hardt 1987, Silver gelatin print are legendary. 68 x 57 cm

4 3 4

www.hiltawsky.com International 20.09.2014 > 13.01 2015 Art Exhibitions 2013

The Moderns

1 Art during the Great War

KMSKA KMSKA Before the Great War, the futuristic work Opposite page of Jules Schmalzigaug exuded a sense Rik Wouters of progress, speed and technology, and Self Portrait the art of Rik Wouters was a celebration in Green Hat of vigour and vitality. Then came the Oil on canvas on shock of war, the waves of which would cardboard continue to ripple through art and 42 x 38 cm

| Koningin Fabiolazaal Antwerp literature for years to come. Some artists KMSKA/Lukasweb and writers fled to the Netherlands or 1 Great Britain, where they came into Jakob Smits contact with foreign movements. In the Trenches Oil on panel 32 x 40 cm KMSKA/Lukasweb 2 Oscar Jespers 4 The Man with the Pull-over 1917, Bronze 112.5 x 64.5 x 43 cm KMSKA/Lukasweb © Sabam 3 Jan Kiemeney Friendship 1921, Oil on canvas 5 90 x 80 cm KMSKA/Lukasweb 2 3 4 Rik Wouters Others stayed at home, capturing life Self Portrait with on and behind the frontline. Paul van Black Eye Patch Ostaijen gave expression to his traumas Oil on canvas in the books of experimental poetry 102 x 85 cm Bezette Stad and De Feesten van Angst KMSKA/Lukasweb en Pijn. Other authors and artists from 5 Antwerp and Flanders were equally Floris Jespers deeply affected by the carnage. Portrait of Paul van Ostaijen This exhibition testifies to the impact 1928 of the Great War on the lives and work Collectie Letterenhuis, of six authors and artists, including Antwerp Rik Wouters, Emile Verhaeren and © Sabam Paul van Ostaijen. 4 5

www.kmska.be International 24.09.2014 > 18.10.2014 Art Exhibitions 2014

Opposite page CRW Nevinson Returning to the Trenches 1 A Printmaker in War & Peace 1916, Drypoint 15.2 x 20.4 cm Osborne Samuel LondonOsborne Samuel This major exhibition of prints by 1 Christopher Richard Wynne Nevinson Blackfriars (1889-1946) is the most comprehensive 1926-27, Etching exhibition of his prints since 1999-2000. 38.2 x 49.8 cm 2 Acetylene Welder 1917, Lithograph 40.4 x 29.7 cm 3 Troops Resting 1916, Drypoint 18.5 x 23.5 cm 4 The Bomber 1918, Lithograph 28 x 22 cm 5 Place du Tertre, Montmartre 1919-20, Lithograph 2 3 40.4 x 45.2 cm

Nevinson made 148 prints; etchings, In May 1919 Nevinson visited New York drypoints, mezzotints and lithographs for his exhibition at the Keppel Gallery between 1916-33. His war experience which was a critical and commercial greatly influenced his subject matter success; the city was also a dizzying and he produced some of the most stimulus and resulted in a number of poignant images of war in printmaking New York subjects in painting, later history. These include the iconic translated into various prints in all ‘Returning to the Trenches’, 1916, media rivalling work produced by any ‘Troops Resting’, 1916, and the set of six of his New Yorker contemporaries. lithographs titled ‘Britain’s Efforts and Equally stimulating were his prints of Ideals: Building Aircraft’. London. ‘The Workers’, 1919 ‘London Bridges’, c1920, ‘London from Parliament Hill’, c1923, ‘Waterloo Bridge from a Savoy Window’, c1924-26, ‘Westminster from a Savoy Window’, c1924, ‘Leicester Square’, c1926-27 and many more are included in this exhibition. He was a devoted Francophile and a frequent visitor to Paris and included in the show are (From) ‘A Paris Window’, 1922, ‘La Butte Montmartre’, 1922, ‘La Cité, Paris’, 4 c1926 among others. 5

www.osbornesamuel.com International 27.09.2014 > 11.01.2015 Art Exhibitions 2014

Neo-Impressionism and the Dream of Realities

1 Painting | Poetry | Music

The Phillips Collection Washington Highlighting fifteen artists and more Opposite page than seventy works, the exhibition Camille Pissarro demonstrates that the Neo-Impres- Peasant Women Planting sionists, a group generally identified by Poles in the Ground its pointillist technique and emphasis 1891, Oil on canvas on the representation of reality, were 54 x 46 cm in fact influenced by their literary On loan from a Private Symbolist contemporaries and created Collection, Museums evocative, suggestive compositions Sheffield, UK inspired by ideas and dialogue between 1 the two groups. The lush exhibition Georges Seurat focuses on the Neo-Impressionist move- Seascape at Port-en- ment in Brussels and Paris around 1890. Bessin, Normandy During this time, the exchange of ideas 1888, Oil on canvas and interactions between painters, 64.8 x 81.3 cm poets, and musicians were particularly National Gallery of Art, fruitful and compelled the Neo-Impres- Washington, Gift of the sionists to create works that accentua- W Averell Harriman ted an evocative atmosphere. 2 Foundation in memory of Marie N Harriman, 1972.9.21 Their paintings and works on paper 2 often transformed reality in a way that Henri-Edmond Cross seemed to be a departure from the Beach at Cabasson group’s beginnings in 1886; at that time, (Baigne-Cul) it was hailed as an alternative to Impres- 1891-92, Oil on canvas sionism that offered a fresh opportunity 65.4 x 92.4 cm to focus on light and contemporary life. The Art Institute of Chicago, Neo-Impressionist painters were close L L & A S Coburn, and Bette friends with Symbolist writers and & Neison Harris funds; discussed passionately how to express Charles H & Mary F S their ideas in poetry and painting. Worcester Collection; The painters wanted to transform reality through prior acquisition of in order to evoke a mood or an emo- the Kate L Brewster Collection tional experience, rather than find a way 3 to reproduce what they saw in front of Alfred William Finch them. Like many of their contempo- Country Road near the raries, the painters were fascinated by North Sea the expressive power of music and used 1888-89, Oil on canvas it as inspiration for their work, some- 64.1 x 76.8 cm times even thinking of their works in Turku Art Museum, Nils terms of musical movements. Though Dahlström Collection, their subject matter is always rooted in Finland reality, Neo-Impressionists were 3 primarily addressing an inner world.

www.phillipscollection.org International

Opposite page Reality David Hockney Modern & Contemporary My Parents British Painting Tate, on loan to Sainsbury Centre

Sainsbury CentreSainsbury for Visual Arts Uncompromising and direct, the work The painters in this exhibition have of each artist represented retains a been selected under the banner of strong reference to the real world, ‘the Realism through their interest in every- day subject matter. Each painter is diverse range of subjects, referencing the body, relationships, history, politics, and yet the exhibition will present an war, the urban environment and social extraordinary overview of artists with highly individual approaches to the ces, the works are all united by two making of a painting. things – the harsh realities that have concerned key British artists over the decades and the simple act of painting. contemporary painters, including: Walter Sickert’s ‘Ennui’ is an ideal Francis Bacon, Tony Bevan, John Bratby, introduction to the show; capturing Cecily Brown, Katarzyna Coleman, the banality of everyday life at the Graham Crowley, Ken Currie, Dexter Dalwood, Lucian Freud, Anthony Green, This exhibition celebrates the strength Hockney’s ‘My Parents’ beautifully Gwen Hardie, Philip Harris, Clive Head, John Keane of British painting by some of the most complements Sickert’s work painted David Hepher, David Hockney, Luke Hopeless in Gaza (Road to Settlement) While, to an extent, painting has been instilled the painting with symbolic John Keane, Laurence Stephen Lowry, eclipsed in recent decades by the references and is a dedication to love Paula Rego, Alan MacDonald, Jock Minimal and Conceptual movements, and commitment; to the reality of McFadyen, Ray Richardson, Terry Setch, © John Keane, courtesy of Flowers relationships and growing old; to the George Shaw, Walter Sickert, Stanley Gallery, London and New York Spencer, Chris Stevens, Caroline Walker, medium and its impact in Britain today. and separate us. Alison Watt, Carel Weight. Caroline Walker Consulting the Oracle

Norwich © Caroline Walker

Philip Harris S P Behind a Glass Door

© Reserved by the artist Photo: John Jones

Walter Sickert Ennui

© Ashmolean Museum, University of Oxford

www.scva.ac.uk International 27.09.2014 > 01.04.2015 Art Exhibitions 2014

Spanish Sojourns

1 Robert Henri & The Spirit of Spain

Mississippi Museum of Art Jackson Mississippi Museum of Art Opposite page Dorita 1924, Oil on canvas 132 x 101.6 cm Robert Henri Estate, LeClair family collection 1 Spain 1902, Oil on canvas 65.4 x 81.3 cm Private collection 2 La Madrileñita 1910, Oil on canvas 234 104.1 x 87.8 cm Telfair Museum of Art, Organised by Telfair Museums in Henri played a pivotal role in the history Spain and its people held a particular Savannah, Georgia, Savannah, Georgia, this groundbreaking of American art as one of the key organi- fascination for Henri, who was attracted Museum purchase, 1919.1 show is the first museum exhibition sers of the progressive 1908 exhibition to the nation’s sunny climate, ancient 3 dedicated to the Spanish paintings of of the Eight, a group of artists who culture, and spirited citizens. He first The Green Fan Robert Henri (1865-1929), one of the stood against the ultra- conservative visited Spain in 1900 and returned six (Girl of Toledo, Spain) most influential American artists of the National Academy of Design. Through- times between 1906 and 1926, often for 1912, Oil on canvas early 20th century and a leading figure in out his career, Henri championed the extended stays. Henri’s portraits reflect 104.1 x 83.8 cm the Ashcan School. realistic portrayal of contemporary life. his admiration for the Spanish masters Gibbes Museum of Art, Jusepe de Ribera, and Diego Velázquez, Charleston, South Carolina, Many of Henri’s paintings from his whose works he studied closely. An avid 1914.002.0001 extended sojourns in Spain, as well as traveler, Henri produced some of his 4 those which were profoundly boldest and most compelling likenesses Celestina influenced by his experience of Spain, in Spain, drawing from a wide range of 1908, Oil on canvas but painted in his New York studio, are bohemian cultural figures including 62.2 x 50.8 cm true masterpieces. However, they are singers, dancers, musicians, bullfighters, Collection of Hirshhorn less well-known than his Irish oeuvre, gypsies, and peasants. He was attracted Museum & Sculpture Garden, because the greatest works remain in by the emotional expressions and wild Smithsonian Institution, private hands or were acquired undercurrents he perceived in Spanish Washington DC. relatively early by museums all over the culture and by the nation’s rich traditions Gift of Joseph H Hirshhorn, United States, some of which are off the of music, dance, and bullfighting. The 1966 66.2427. beaten path. The paintings in Lincoln, exhibition showcases 38 major paintings 5 Nebraska, and Waterville, Maine, for borrowed from major museums and Portrait of El Matador instance, come to mind, as well as the private collections around the country. Felix Asiego two splendid portraits found here in 1906, Oil on canvas Mississippi: ‘Young Woman in Yellow ‘It is harder to see than it is to express. 195.6 x 91.4 cm Satin’ (1907) in our own collection, and The whole value of art rests in the Robert Henri Estate, ‘The Brown Wrap’ (1911) in the Lauren artist's ability to see well into what is LeClair Family Collection 5 Rogers Museum of Art in Laurel. before him.’ Robert Henri

www.msmuseumart.org International 02.10.2014 > 11.01.2015 Art Exhibitions 2014

Opposite page Richard Lindner Leopard Lilly 1966, Oil on canvas 177.8 x 152.4 cm 1 Ludwig Goes Pop Museum Ludwig, Cologne 1 Museum Ludwig Cologne ‘Popular, mass produced, expendable, Mel Ramos cheap, witty, sexy, playful, conspicuous, Hippopotamus seductive’ – according to Richard 1967, Oil on canvas Hamilton these are the characteristics 180 x 247 cm that make something interesting and Ludwig Forum für lnternationale that he also demanded of his own Kunst, Aachen artistic work. 2 Robert Indiana Love Rising (Black & White Love for Martin Luther King) 1968, Acrylic on canvas Museum Moderne Kunst Stiftung Ludwig, Vienna ©Morgan Art Foundation I ARS, New York, 2014 3 Tom Wesselmann Landscape No 4 1965, Acrylic on fibreboard 2 3 129 x 159 cm Ludwig Museum/Museum of What the British artist formulated in This exhibition brings together for the Contemporary Art, Budapest 1957 as a new standard was considered first time around 150 key works by the © The Estate of Tom Wesselmann scandalous at the time. A rejection of leading figures of this art movement. 4 the prevailing art and its sublime values When Peter Ludwig first encountered Andy Warhol of originality, authenticity, and ‘depth’. a Pop Art sculpture by George Segal at Portrait of Peter Ludwig Pop Art was a liberation for some – and MoMA in the mid-1960s, the collector, 1980, Acrylic screenprint on a trivial affront for others. who together with his wife had up to canvas then collected chiefly antique and 105 x 105 cm In the 1960s the ‘everyday’ had arrived – medieval art, was shocked. Shortly Museum Ludwig, Cologne it had made its way into art: in all thereafter, however, both became © 2014 The Andy Warhol manner of play, from humorously ironic enthusiastic collectors of these then- Foundation for the Visual Arts, to biting and critical, artists explored current works. 5 Inc / Artists Rights Society (ARS), the Zeitgeist in their art, integrated New York fragments and quotes from the world of Wesselman’s ‘Landscape No 4’, featuring 5 consumerism and advertising, comics, a Ford driving through a country road Jasper Johns science, technology, erotic, and mass in the mountains, was among the first Target media. purchases; soon followed key works by 1974, Encaustic and newsprint Roy Lichtenstein, James Rosenquist, on canvas Thanks to Peter & Irene Ludwig, the RobertRauschenberg and Jasper Johns. 40.6 x 40.6 cm Museum Ludwig in Cologne holds one These artists belonged to the same Museum Ludwig, Cologne of the most internationally significant generation as the Ludwigs; they repre- collections of American as well as sented modern life, and the couple Images: Opposite page, 1,2,3,5 British Pop Art. 4 visited many of them in their studios. © VG Bild-Kunst, Bonn, 2014

www.museum-ludwig.de International 02.10.2014 > 11.01.2015 Art Exhibitions 2014

Helene Schjerfbeck

1 1862-1946

Schirn KunsthalleSchirn Frankfurt An exhibition of the most important Opposite page Finnish artist of the first half of the Family Heirloom twentieth century – Helene Schjerfbeck. 1885, Oil on canvas While her painterly oeuvre attracts a 63 x 44.5 cm great deal of attention in Scandinavia, Ateneum Art Museum, she is largely unknown abroad. The Finnish National Gallery, Helsinki show will concentrate on aspects of © VG Bild-Kunst, Bonn 2014 motif repetition and the manner of 1 employing visual sources that perme- The Convalescent ates her entire body of work and comes 1927, Oil on canvas to bear in realistically painted works of 58 x 75 cm the end of the 19th century as well as Private collection those of her late phase characterised by © VG Bild-Kunst, Bonn 2014 an abstract and simplified formal 2 language. Her works bear witness to an Self-Portrait impressive intensity. Within this context, 1912, Oil on canvas the striking self-portraits the artist 55 x 47 cm produced from the 1880s until her death Ateneum Art Museum, in 1946 play a pivotal role, as do the Finnish National Gallery, Helsinki works in which she re-uses her own © VG Bild-Kunst, Bonn 2014 motifs or appropriates those she finds 3 in prominent works by other artists such Self-Portrait as El Greco or Hans Holbein. Organized with Silver background in collaboration with the Ateneum, 1915, Oil on canvas Finland’s national art museum, the show 47 x 34.5 cm will assemble more than 80 works from Ateneum Art Museum, numerous public and private collections Finnish National Gallery, Helsinki as well as from Ateneum’s holdings. 2 © VG Bild-Kunst, Bonn 2014 4 Self-Portrait 1884-85, Oil on canvas 50 x 40 cm Ateneum Art Museum, Finnish National Gallery, Helsinki © VG Bild-Kunst, Bonn 2014 5 Self-Portrait with Black background 1915, Oil on canvas 45.5 x 36 cm Ateneum Art Museum, Finnish National Gallery, Helsinki © VG Bild-Kunst, Bonn 2014 3 45 www.schirn.de International 03.10.2014 > 15.02.2015 Art Exhibitions 2014

Robert Jacks

1 Order & Variation

National Gallery of National Gallery Victoria From his first sell-out solo exhibition at influences from the major exponents of Opposite page Gallery A in Melbourne in 1966, through contemporary abstraction, minimalism Kentish fire to his ongoing exploration of abstrac- and conceptual practice. and heavy boots tion in painting, sculpture, drawing and 1982, Oil on canvas printmaking, his work has charted a It is also this experience which makes 197 x 296.5 cm distinctive and influential path through Robert Jacks a unique figure within the Art Gallery of New South late twentieth and early twenty-first history and development of twentieth Wales, Sydney, century Australian art. century Australian art. Purchased 1983

Born in 1943 Jacks studied sculpture at Prahran Technical College from 1958-60 and painting at RMIT University in 1961-62. His first solo exhibition was held to great acclaim in 1966 and in 1968 his work was included in the landmark exhibition, The Field, at the National Gallery of Victoria.

Beginning in 1968, Robert Jacks spent ten years living and working in Canada and the United States. It was during this period, much of which was spent in New York, that Jacks met such artistic luminaries as Sol LeWitt and Donald Judd, and that his unique visual Melbourne language matured, incorporating 2 1 Robert Jacks 2009 2 3 Transit of shadows in nocturnal predominance no 2 1987, Oil on canvas 198 x 267 cm Estate of the artist, Victoria 3 Timbrel and harp soothe 1965, Oil on canvas 175.4 x 256.4 cm This exhibition represents the first large- National Gallery of Victoria, scale retrospective of Robert Jacks who Melbourne, Purchased, 1966 is one of Australia’s most significant and accomplished abstract artists. 3 All works © Robert Jacks

www.ngv.vic.gov.au International 08.10.2014 > 08.11.2014 Art Exhibitions 2014

Aleah Chapin Maiden | Mother | Child | Crone

Flowers London Gallery Since winning the BP Portrait Award at the National Portrait Gallery in 2012 for her portrait of a family friend, Aleah Chapin has attained critical acclaim on both sides of the Atlantic. Chapin is renowned for her ongoing ‘Aunties Project’, which are figural depictions of a group of the same women that she grew up with and has known all her life, who themselves are unrelated, but all reside in Chapin’s hometown island north of Seattle in the US. Chapin captures the women unashamedly nude, with every sag, roll, crease and wrinkle apparent, as a mark of the journey they’ve been on in their lifetime. A sense of realism is cleverly conveyed as the faces and bodies of the women exude the colour and texture of older flesh, yet their bodies are also presented as play- ful, exaggerated and Rubenes- que in style. Chapin chose the title of thisshow based on a theme that derived from several schools of thought, but pre- dominantly Neopaganism, symbolis- ing each stage in a woman’s life cycle. 1

These stages are represented both as Her exhibition is multi-genera tional, Opposite page separate phases and as part of a larger and therefore offers a new perspective Jumanji and Gwen and necessary whole. The new works to Chapin’s previous works. It includes 2014, Oil on linen expand on the archetypal female image, portraits of children from two years, 213.4 x 182.9 cm to include a more complete portrayal. through to young women, middle-aged 1 In this showcase, Chapin focuses on the women and beyond. In examining It was the Sound exploration of the intricate relationships these differing life stages, such as of their Feet between a range of generations, and motherhood and childhood, from baby 2014, Oil on linen the vital importance of each. A sense of to toddler, middle-age to the elderly, 213.4 x 304.8 cm fondness for her subjects exudes from Chapin examines the impact life can 2 her portraits, whether as a result of her have on a person, not just physically but The Air was full relationship with them, or because they also mentally. Chapin has chosen to 2014, Oil on linen are very honest representations of the create her new works in a larger format, 213.4 x 147.3 cm people she chooses to paint. Either way each piece is seven foot tall and the the viewer is drawn in to her paintings, subjects are double life-size. The impact All images © Aleah Chapin, to examine each and every detail and to is intense, the subjects fascinating, her Courtesy of Flowers Gallery, 2 have a genuine reaction to the subject. skill enthralling. London & New York

www.flowersgallery.com International 09.10.2014 > 19.01.2015 Art Exhibitions 2014

Opposite page Portrait of Johann Harms Egon Schiele 1916, Oil with wax on canvas The Solomon R Guggenheim 1 Portraits Museum, New York

Neue Galerie Neue Galerie This is the first exhibition at an American museum to be devoted exclusively to portraiture created by the masterful Austrian artist Egon Schiele. Egon Schiele (1890-1918) is considered one of the twentieth century’s most important artists. A protégé of Gustav Klimt, Schiele is celebrated for his singular style of draftsmanship, unusual use of colour, and physically raw, often sexually provocative depictions of his sitters. Schiele’s expressive style and New York controversial subject matter played an important role in the advancement of modernism in Europe. The exhibition will include appoximately 125 paintings, drawings, and sculpture. 2 | 3

The show focuses on six groupings of 1 the artist's work: Family and Academy; Wally in Red Blouse Fellow Artists; Sitters and Patrons; with Raised Knees Lovers; Eros; and Self-Portraits and 1913, Watercolour, gouache Allegorical Self-Portraits. In addition, and pencil there will be a special display high- Private collection lighting a traumatic and pivotal period 2 in Schiele's life: his arrest and imprison- Reclining Woman ment during the spring of 1912. The with Green Stockings exhibition documents an evolution of 1917, Gouache and black the artist's style, both pre-and-post- crayon on paper imprisonment. Schiele’s controversial Private collection, courtesy achievements and untimely death at Galerie St Etienne, New York the age of 28 add a mythic quality to his 3 abbreviated career. Self-Portrait with Arm Twisted above Head Several extraordinary loans have been 1910, Watercolour and charcoal assembled for this exhibition, from Private Collection both American and European museums 4 and private collections. These include The Family Portrait of Gerti Schiele (1909); (Squatting Couple) Portrait of Johann Harms (1916); 1918, Oil on canvas Portrait of the Artist’s Wife, Standing Belvedere, Vienna (Edith Schiele in Striped Dress) (1915); and Self-Portrait with Peacock 4 Waistcoat, Standing (1911).

www.neuegalerie.org International 10.10.2014 > 25.01.2015 Art Exhibitions 2014

Egon Schiele Egon Jenny Opposite page Agony Schiele Saville 1912, Oil on canvas 70 x 80 cm 1 1890-1918 1970- Neue Pinakothek, Bavarian State Painting Collection,

Kunsthaus Zürich Munich 1 Self-Portrait with Chinese Lantern Plant 1912, Oil and body colour on canvas 32.2 x 39.8 cm Leopold Museum Private Foundation, Vienna 2 2 Portrait of Wally Neuzil The distinctive works of Austrian artist 1912, Oil on wood Egon Schiele, produced in less than a 32 x 39.8 cm decade, confront the large paintings Leopold Museum Private and drawings by British artist Jenny Foundation, Vienna Saville. These two young stars, born 80 3 years apart, adopted divergent artistic The Truth Was Revealed methods, but consistently distilled in 1913, Pencil, watercolour their work a strong sense of the body as and gouache on paper the locus of lived experience. Schiele’s 48.3 x 32.1 cm poses, deliberately low angles and Private collection, Berlin painterly style imbue his mostly small- scale self-portraits with a concentrated Jenny Saville strength that is every bit as intense as 4 that of Saville’s gigantic formats. It is this The Mothers stark difference in size that constitutes 2011, Oil & charcoal on canvas, the visual challenge of presenting two 270 x 220 cm positions in painting that for all their Collection of Lisa & Steven apparent expressionism are calculated Tananbaum down to the smallest brushstroke. 4 © 2014 ProLitteris, Zurich 5 Ruben’s Flap 1998-99, Oil on canvas 305 x 244 cm George Economou Collection © 2014 ProLitteris, Zurich 6 Rosetta II 2005-06, Oil on watercolour paper, mounted on board 252 x 187.5 cm Private collection © 2014 ProLitteris, Zurich 356 www.kunsthaus.ch International 11.10.2014 > 22.11.2014 Art Exhibitions 2014

Kerry James Marshall

1 Look See

David Zwirner For his first show with David Zwirner, Opposite page Kerry James Marshall presents new Untitled (Pink Towel) paintings that collectively examine 2014, Acrylic on PVC panel notions of observing, witnessing, and 62.5 x 55.5 cm exhibiting. While central to the relation- © Kerry James Marshall, 2014 ship between viewer and artwork, these All rights reserved overarching concepts are typically Courtesy David Zwirner, London steeped in conventions that render 1 them passive acts. Yet, Marshall’s works Kerry James Marshall subtly defy genre expectations and © Felix Clay, 2014 invite idiosyncratic, often ambiguous All rights reserved interpretations. Entitled ‘Look See’, the Courtesy David Zwirner, London exhibition takes its point of departure 2

London in the etymological difference between Untitled (Club Couple) looking and seeing, which embodies 2014, Acrylic on PVC panel varying degrees of attentiveness. 155 x 155 cm While ‘looking’ is generally understood © Kerry James Marshall, 2014 to be a removed, detached action, All rights reserved ‘seeing’ involves perception and making Courtesy David Zwirner, London connections between elements. 3 Untitled (Crowning Moment) With a career spanning almost three 3 2014, Acrylic on PVC panel decades, Marshall is well known for 62.4 x 55.6 cm his paintings depicting actual and © Kerry James Marshall, 2014 imagined events from African-American All rights reserved history. 2 Courtesy David Zwirner, London

Marshall’s complex and multilayered Marshall assimilates the limitations portrayals of youths, interiors, nudes, and contradictions inherent in its styles, housing estate gardens, landscapes and subjects, and chronologies, creating seascapes synthesize different tradi- highly personalised works that appear tions and genres, while seeking to recognisable and unfamiliar at the 3 counter stereotypical representations same time. of black people in society. Engaging with issues of identity and individualism, Marshall also produces drawings in he often depicts his figures in an the style of comic strips, as well as extreme opaque, black colour, which sculptural installations, photography, 4 stylizes their appearance while being a and video. Like his paintings, these 4 literal and rhetorical reference to the works accumulate various stylistic Untitled (Beach Towel) term black and its diametric opposition influences to address the historio- 2014, Acrylic on PVC panel to the white ‘mainstream’. With art graphy of black art, while at the same 154.4 x 184.5 cm history today acknowledged as having time drawing attention to the fact © Kerry James Marshall, 2014 been written from the perspective of that they are not inherently partisan All rights reserved 4 3 white Western artists, Kerry James because their subjects are black. Courtesy David Zwirner, London

www.davidzwirner.com International 11.10.2014 > 18.01.2015 Art Exhibitions 2014

Encounters with Memling

Scuderie del Quirinale del Quirinale Scuderie Opposite page Hans Memling Triptych of Adriaan Reins 1480, Oil on board 43.8 x 35.8 cm (central panel without frame) 44.5 x 13.5 cm (unframed compartments) Bruges, Stedelijke Musea Brugge, Hospitaalmuseum 1 Rogier van der Weyden (and aid) Lamentation of Christ 1460-65, Oil on canvas 111 x 95 cm Galleria degli Uffizi, Florence 23 2 Master of the Legend A sweeping retrospective of the art of of St Catherine

Rome Hans Memling, an artist who after the Annunciation death of his master Rogier van der c1490-95, Oil on panel Weyden in the second half of the 15th 78 x 51 cm century rose to become the most Museo Nazionale del important painter in Bruges, the finan- Bargello 6, Florence cial hub of Flanders and one of the 3 most advanced centres of artistic Master of the Legend of output in the region. This monographic St Catherine display, a first in Italy, highlights all of Presentation in the Temple the outstanding features that characte- c1490-95, Oil on panel rise the art of this absolute master of the 78 x 51 cm Flemish Renaissance, exploring every Museo Nazionale del aspect of his career and work from his Bargello 6, Florence monumental altarpieces to his small 4 4 portable triptychs, in addition to his Hans Memling famous portraits, a genre in which he Memling was to become the favourite Portrait of a Woman perfected the style that sets the sitter painter of the Italian community of (fragment) against a landscape backdrop – a style merchants and businessmen in Bruges, c1480-85,Oil on wood (oak) which was to have a major influence outshining all others and becoming 23.2 x 18.4 cm on numerous early 16th century Italian the true heir to an earlier generation of Ambassador J William artists. The exhibition also focuses on much-admired Flemish painters. Middendorf II Collection the aspect of patronage, which played He managed to forge a synthesis of the such a crucial role in forging the remarkable achievements of the earlier 1 artist's career. masters already held in high esteem.

www.scuderiequirinale.it International 11.10.2014 > 25.01.2015 Art Exhibitions 2014

Opposite page Van Gogh to Kandinsky Vincent van Gogh Pollard Willows at Sunset Expressionism in Germany 1888, Oil on canvas on card 31.6 x 34.3 cm 1 and France 1900-1914 Kröller Müller Museum, Otterlo

Montreal Museum of Fine Arts This exhibition, a century after the start of the Great War in 1914, studies the rich dimensions of the exchange between France and Germany and the range of responses that it prompted.

One hundred paintings, together with several documents will be on display from masters such as Cézanne, Gauguin, Derain, Delaunay, Signac, Seurat, Van Gogh, Vlaminck…on the French side and Heckel, Jawlenski, Kandinsky, Kirchner, Nolde, Schmidt-Rottluff, Pechstein…on the German side. Despite the fact that German artists’ had exposure to and engagement with French art, ‘Expressionism’ has come to be considered distinctly German. 2 1 However, in its early twentieth century Wassily Kandinsky beginnings, Expressionism was not Arabian Cemetry assigned any specific nationality, and it 1909, Oil on cardboard evolved as a lively exchange between 71.5 x 98 cm artists based in Germany and new Hamburger Kunsthalle developments in modern French art. © Estate of Wassily Kandinsky / SODRAC (2014) This exhibition will feature works that 2 the Expressionists encountered in Franz Marc exhibitions and collections in Germany Stables and during their travels to Paris, show- 1913, Oil on canvas casing French masterpieces once seen 73.6 x 157.5 cm at important exhibition venues like Paul The Solomon R Guggenheim Cassirer’s gallery in Berlin, Emil Richter’s Museum, New York, gallery in Dresden, the Berlin Secession, Solomon R Guggenheim Museum and the Sonderbund in Cologne of 1912. Founding Collection 3 It will also include works that once Erich Heckel were part of important early twentieth Girl with Doll century German private collections of 1910, Oil on canvas French art such as that of Kessler, for 65 x 70 cm example. Sabarsky Collection Courtesy Neue Galerie, New York © Estate of Erich Heckel / SODRAC 3 (2014) www.mbam.qc.ca