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Archives of Women Artists Research & Exhibitions a W A A Archives W A of Women Artists R Research E & Exhibitions A W A R E Press kit Foreword 2 Let’s consider this for a minute: how many women artists are Camille Morineau, there, hiding behind the Great Masters of Art History? co-founder and chairwoman of AWARE How many were forgotten in favour of their male counterparts? Current, Paris-based, director of exhibitions and collections at the The few women artists we know of today have only just Monnaie de Paris, she has worked recently come to the public’s attention: Sonia Delaunay for twenty years in public cultural waited half a century to be brought out of the shadow of her institutions in France, ten of which husband Robert… Louise Bourgeois was 96 years old when the were at the Centre Pompidou as a curator of the contemporary musée national d’Art moderne – Centre Pompidou held its first collections. She has been the curator of French retrospective of her work… Niki de Saint Phalle enjoyed numerous exhibitions and the hanging a certain degree of fame during her lifetime, but mainly for her elles@centrepompidou (2009-2011) Nanas, despite the fact that her whole body of work was far dedicated solely to female artists from the collections of the musée national more complex… Only in 2005 was Annette Messager the first d’art moderne. She was also the woman to be chosen to represent France at the Venice Biennale, curator of the comprehensive survey also winning the Golden Lion prize that same year… of Niki de Saint Phalle at the Grand Hundreds, thousands of women artists have sunken into Palais in Paris and the Guggenheim Bilbao and of the exhibitions L’autre oblivion simply because their work was neither shown, continent. Femmes, artistes, africaines acknowledged, celebrated in major exhibitions, nor officially at Museum d’histoire naturelle in rewarded. Le Havre (2016) and Women House at Monnaie de Paris (2017-2018). These are the reasons why I created AWARE: Archives of Women Artists, Research and Exhibitions in 2014, so that we could rewrite art history from a more gender-equal perspective. It is high time we place women artists at the same level as their male counterparts by bringing their work into the spotlight. Camille Morineau A few dates on the visibility of © Photo : Christophe Beauregard women artists in the 20th century 1 900 1 97 1 First studio for women opens at the Exhibition Where We At. Black Women Less than 20% of solo exhibitions École nationale supérieure des beaux- Artists. 1971 at Acts of Art Galleries in between 2007 and 2014 were devoted arts in France. New York. to women artists at MoMA and LACMA, and 30% at the Whitney 1 91 1 1 972 Museum. European institutions Sculptress Lucienne Heuvelmans is Exhibition Womanhouse organised by show similar numbers, with less the first woman to be awarded the Judy Chicago and Miriam Schapiro, than 20% at the Centre Pompidou Grand Prix de Rome in art. co-founders of the Feminist Art and barely more at Tate Modern Program in CalArts, Los Angeles. 1 953 London, according to the 2015 Exhibition Women in Art at the 1 982 statistics published by Maura Reilly Houston Contemporary Art Museum First retrospective exhibition of in ARTnews. (Texas). Louise Bourgeois at the Museum of Modern Art in New York. Her first Only nineteen women in 2018 ranked 1 968 retrospective in France occurs only in among the artists with the highest British Bridget Riley is the first 2008 at the Centre Pompidou. worldwide visibility, according to woman to receive the International Artindex rankings. Prize at the Venice Biennale. 1 987 Opening of the National Museum of 1 97 1 Women in the Arts in Washington, Art historian Linda Nochlin writes D.C. the founding article “Why Have There Been No Great Women Artists?” in ARTnews. A WA R E PRESENTATION What is AWARE? 3 Works by women artists have seldom Backed by 4 programmes AWARE is a non-profit organisation been shown, acquired and discussed Who are They ? founded by 7 women from diverse throughout the 20th century despite The AWARE website backgrounds but all driven by the them being an animating force, (awarewomenartists.com) is a same enthusiasm: particularly in the avant-gardes. documentary platform in its own Margot Mérimée Dufourcq It is precisely this lack of information right, complete with illustrated LAW Y ER that makes the valorisation of their biographical presentations of Daphné Moreau work more difficult today. artists, academic articles on ongoing LAW Y ER This observation, shared by many art research, exhibition reviews, and a Camille Morineau historians and curators, is what led section listing current exhibitions CURATOR Camille Morineau, on the initiative featuring women artists, updated of the 100% women’s art exhibition daily. Elisabeth Pallas elles@centrepompidou held at the VIOLINIST Centre Pompidou in 2009-2010, to The creation of a documentation Nathalie Rigal found AWARE . centre AWARE, a resource centre LAW Y ER based in Paris, in partnership with Alexandra Vernier-Bogaert Restoring the presence of universities and the documentation PUBLIC ACCOUNTANT 20th-century women artists centres of major modern and Julie Wolkenstein in the history of art contemporary art museums, allows WRITER Archives of Women Artists, Research for the constitution of a documentary and Exhibitions is a non-profit collection of digital publications and organisation founded in 2014. resources aimed at consolidating Faced with the under-representation information on women artists. Six permanent staff members and of women in the art world, AWARE’s a team of volunteers, students, and aim is to balance out the presence of Let’s Talk about Them professionals from major cultural these women artists, these “forgotten In partnership with universities and institutions also contribute to its figures of art history”, in order to museums, AWARE organises round existence. improve their visibility through the tables, symposiums and study days in sharing of free access resources. France and abroad. And the AWARE The organisation promotes an Prizes for Women Artists reward an educational and professional emerging artist and a confirmed approach through partnerships with artist each year. universities and museums. Artists, collectors, institutions, Where are They? historians, students and the general AWARE organises each month public can use the archives to find the museum visits to discover women information they need about artists and their art. women artists of the 20th century. All about Them AWARE’s goal is to encourage the sharing of information on the works of women artists by way of printed publications intended for both the general and specialised public, particularly via the publication of artists’ interviews, the proceedings of the symposiums organised by AWARE every year. A WA R E PRESENTATION AWARE: a few key figures 4 4 4 symposiums 8 study days 19 round tables organised in France and abroad since 2014 1 A contemporary art award dedicated to women, with the exceptional support of 530 the French Ministry of Culture 530 biographical presentations of women artists published on the website, complete with exhibition reviews and abstracts of research dissertations 2 2 committees: a scientific committee, chaired by Bruno Racine and an editorial committee, chaired by Jean-Pierre Criqui 1,800 More than 1,800 international exhibitions, monographic and collective, of women artists, listed on the website. 4 4 programmes 2,000 More than 2,000 books references on women artists, feminist art and theory, consulted by appointment at the documentation centre 11 11 free visits, accessible to all, organised every year in museums, to reveal the works of women artists 20,000 An average of 20,000 monthly visitors on the website A WA R E WHO ARE T HEY? A website and a documentation centre dedicated to 20th-century 5 women artists The website The documentation centre In order to give more visibility to AWARE’s website is paired with 20th-century women artists and a documentation centre in Paris rewrite a more gender-equal art which had compiled more than 2,000 history, AWARE works towards references – monographs, exhibition the promotion of resources and catalogues, essays, and reviews – on information on women artists around women artists, feminist art and the world, both in French theory. and English. The AWARE website (awarewomenartists.com) is a free- The documentation centre is access work tool which features the currently being developed with organisation’s latest news and gathers donations, exchanges, and information and collective initiatives acquisitions. on the subject. The site also highlights ongoing The documentation centre is open exhibitions organised by museums to researchers and students from in the Exhibitions section, updated Monday to Friday. To make an daily. The Magazine section offers appointment, please contact us at interviews, reports, articles written by [email protected] researchers, and monthly exhibition reviews. The list of publications up for consultation or exchange is available The site’s goal is to encourage and on demand. give visibility to research on Elles. Video recordings, symposium The site is specifically designed as proceedings, and study days a digital resource centre featuring organised by AWARE are accessible to written, iconographic, and audiovisual all online. contents. At the heart of the project, it provides access to an index of The site also enables the public to illustrated biographical presentations follow the organisation’s initiatives of women artists in the field of visual and news, including the Visites du arts, from Camille Claudel to more 8 programmes, symposiums, study recent creators. The interface offers a days, AWARE Prize, and regular keyword research tool (by discipline, updates on women artists! © Photo : Christophe Beauregard country, period, subject) and the possibility to link the artists to the Address: 110 boulevard Saint-Germain, great movements in art history.
Recommended publications
  • Judit Reigl: Artist Biography by Janos Gat
    Judit Reigl: Artist Biography by Janos Gat Upon seeing works from Judit Reigl’s Center of Dominance series (1958–59), the great violist, Yossi Gutmann, exclaimed, “Here is someone who paints exactly the way I play. I don’t produce the sound; the sound carries me. I don’t change the tonality; the tonality changes me.” Judit Reigl, who often applies musical terms to painting, said she could not have put it better, explaining, “Time is given to us as a present that demands equal return. When I paint, fully present in every moment, I can live every moment in the present. What I do, anyone could do, but nobody does. I turn into my own instrument. Destroying as I make, taking from what I add, I erase my traces. I intervene in order to simplify. The control I exercise in each stroke of paint is like the pianist’s when touching a key. You are one with the key, the hammer and the wire. You are in a knot with the composer and the listener, forever unraveling. The chord matches your state and the sound your existence.”1 The flux motif is paramount in the Reigl Saga. According to family lore, Reigl’s father’s ancestors were aristocratic refugees from revolutionary France, sheltered on the princely estate of Eszterháza. Her mother came from a Saxon settlement in northeastern Hungary that kept its German language and culture intact over eight centuries. At the start of World War I, Judit’s father, entombed for three days beneath the rubble of an explosion at Przemysl, miraculously rose from the dead.2 A prisoner of war in Siberia for six years after his resurrection, he escaped repeatedly and fought his way home through civil-war-torn Russia.
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  • Judit Reigl (1923-2020)
    JUDIT REIGL (1923-2020) Judit Reigl was one of the few women artists to be part of the post-war action painting movement. Reigl’s work was the result of a grappling with her materials, springing from the very motion of her creative gestures, a physical energy taking place in space-time. BIOGRAPHY Simon Hantaï, Claude Georges and Claude Viseux. In the THE PAINTER JUDIT REIGL’S EARLY LIFE AND same year, she began working with the Galerie Kléber ARTISTIC TRAINING in Paris, which was directed by Jean Fournier. The gallery Born in 1923 in Kaposvár, Hungary, Judit Reigl studied at presented three solo exhibitions of Reigl’s work in 1956, the Academy of Fine Arts in Budapest between 1941 and 1959 and 1962. 1945. Thanks to a scholarship, Reigl was able to travel to Italy, where she spent nearly two years studying in Rome, JUDIT REIGL AND THE CENTRE DE DOMINANCES Venice and Verona between 1946 and 1948. After several SERIES (1958–1959) failed attempts, Reigl succeeded in fleeing Hungary but Reigl’s ongoing gestural exploration of painting led her was arrested in Austria, where she was imprisoned for a to create the series Centre de dominances [Centre of fortnight before escaping again. After a long journey— Dominance], in which her gestural marks swirled in a partly on foot—that took Reigl through Munich, Brussels rotating movement as if siphoned towards the centre of and Lille, she finally arrived in Paris in June 1950. the canvas. Describing the series, Marcelin Pleynet wrote: JUDIT REIGL AND SURREALISM (1950–1954) “On the face of the canvas, the centre presents itself as a maelstrom, abyss, vortex, delving into the depths of the In Paris, Reigl was reunited with her friend, the Hungarian work, moving and opening, forming and coming undone painter Simon Hantai, who introduced her to André while constituting itself.
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  • MUNICH (May, 2021) – Luxury Fashion Online Retailer Mytheresa Is
    MYTHERESA PARTNERS WITH LE CENTRE POMPIDOU : WOMEN IN ABSTRACTION EXHIBITION MAY 19 - AUGUST 23, 2021 L’artiste américaine Lynda Benglis réalisant un projet commande par l’Université de Rhode Island, Kingston, Rhode Island, 1969. © Adagp, Paris 2021. Photo by Henry Groskinsky /The LIFE Picture Collection via Getty Images MUNICH (May, 2021) – Luxury fashion online retailer Mytheresa is honored to be a sponsor of the “Women in Abstraction” exhibition, to support and give recognition to female artists around the globe. The “Women in Abstraction” exhibition, which should be presented at the Centre Pompidou from May 19th to August 23th 2021, offers a new take on the history of abstraction - from its origins to the 1980s - and brings together the specific contributions of around one hundred and ten “women artists”. FOR FURTHER INFORMATION PLEASE CONTACT: MYTHERESA SANDRA ROMANO PHONE: +49 89 12 76 95-236 EMAIL: [email protected] MYTHERESA PARTNERS WITH LE CENTRE POMPIDOU : WOMEN IN ABSTRACTION EXHIBITION MAY 19 - AUGUST 23, 2021 “Les amis du Centre Pompidou and the Centre Pompidou express their warmest thanks to Mytheresa and to its CEO, Michael Kliger, for their so generous support and positive commitment to the pivotal Women in Abstrac- tion exhibition, which opens in May at the Centre Pompidou”, commented Floriane de Saint Pierre, Chair of the Board of the amis du Centre Pompidou and Serge Lasvignes, President of the Centre Pompidou. “We are very proud and excited to sponsor this outstanding exhibition, in the globally renowned museum such as Le Centre Pompidou. Empowering women is a mission truly close to our heart at Mytheresa and this exhibition shows the importance and impact at women's art work and gives them the recognition they deserve within the Abstract movement on a global scale”, says Michael Kliger, CEO of Mytheresa.
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  • JUDIT REIGL Entrance–Exit (1986-89)
    JUDIT REIGL Entrance–Exit (1986-89) October 30th – December 14th, 2013 SHEPHERD W & K GALLERIES JUDIT REIGL ENTRANCE–EXIT (1986-89) October 30th through December 14th, 2013 Exhibition organized by Robert Kashey, David Wojciechowski, Alois Wienerroither and Eberhard Kohlbacher SHEPHERD W & K GALLERIES 58 East 79th Street New York, N.Y. 10075 Tel: 212 861 4050 Fax: 212 772 1314 [email protected] www.shepherdgallery.com JUDIT REIGL ENTRANCE-EXIT (1986-89) October 30th through December 14th, 2013 Shepherd W & K Galleries are proud to present an exhibition of works by Judit Reigl centered on an extraordinary series from the late 1980s, the Entrance–Exit paintings. The series, which is distinguished by the image of an open portal, is emblematic of the life and career of a fiercely independent artist who is now recognized as one of the most original painters of the late 20th century. This event coincides with our associates W & K Fine Arts’ Viennese introductory exhibition of Judit Reigl (Entrée–Sortie, October 8th through November 16th). By a quirk of fate, the artist is deeply connected to Austria. Judit Reigl was born in 1923 in Kapuvár on Hungary’s Austrian border. In 1946, on her way to Italy to study at the Hungarian Academy in Rome, Reigl spent four months in Vienna waiting for her Italian visa. Although she lacked a ration card, the opportunity to see the paintings of Bruegel, Correggio, and Rubens and to attend concerts made up for the deprivation she endured. A new world opened to her. After two years in Italy, Reigl returned home.
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  • FY2009 Annual Listing
    2008 2009 Annual Listing Exhibitions PUBLICATIONS Acquisitions GIFTS TO THE ANNUAL FUND Membership SPECIAL PROJECTS Donors to the Collection 2008 2009 Exhibitions at MoMA Installation view of Pipilotti Rist’s Pour Your Body Out (7354 Cubic Meters) at The Museum of Modern Art, 2008. Courtesy the artist, Luhring Augustine, New York, and Hauser & Wirth Zürich London. Photo © Frederick Charles, fcharles.com Exhibitions at MoMA Book/Shelf Bernd and Hilla Becher: Home Delivery: Fabricating the Through July 7, 2008 Landscape/Typology Modern Dwelling Organized by Christophe Cherix, Through August 25, 2008 July 20–October 20, 2008 Curator, Department of Prints Organized by Peter Galassi, Chief Organized by Barry Bergdoll, The and Illustrated Books. Curator of Photography. Philip Johnson Chief Curator of Architecture and Design, and Peter Glossolalia: Languages of Drawing Dalí: Painting and Film Christensen, Curatorial Assistant, Through July 7, 2008 Through September 15, 2008 Department of Architecture and Organized by Connie Butler, Organized by Jodi Hauptman, Design. The Robert Lehman Foundation Curator, Department of Drawings. Chief Curator of Drawings. Young Architects Program 2008 Jazz Score July 20–October 20, 2008 Multiplex: Directions in Art, Through September 17, 2008 Organized by Andres Lepik, Curator, 1970 to Now Organized by Ron Magliozzi, Department of Architecture and Through July 28, 2008 Assistant Curator, and Joshua Design. Organized by Deborah Wye, Siegel, Associate Curator, The Abby Aldrich Rockefeller Department of Film. Dreamland: Architectural Chief Curator of Prints and Experiments since the 1970s Illustrated Books. George Lois: The Esquire Covers July 23, 2008–March 16, 2009 Through March 31, 2009 Organized by Andres Lepik, Curator, Projects 87: Sigalit Landau Organized by Christian Larsen, Department of Architecture and Through July 28, 2008 Curatorial Assistant, Research Design.
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  • Solomon R. Guggenheim Museum Teacher Resource Unit
    MAY 24, 2019–JANUARY 12, 2020 Solomon R. Guggenheim Museum Teacher Resource Unit Artistic License: Six Takes on the Guggenheim Collection, the first artist-curated exhibition mounted at the Guggenheim, occupies the entire rotunda and celebrates the museum’s extensive holdings of twentieth-century modern and contemporary art. Curated by six contemporary artists who each have helped to shape the Guggenheim’s history with their own pivotal solo shows—Cai Guo-Qiang, Paul Chan, Jenny Holzer, Julie Mehretu, Richard Prince, and Carrie Mae Weems—the presentation brings together collection highlights and rarely seen works from the turn of the century to 1980. Artistic License features nearly three hundred paintings, sculptures, works on paper, and installations, some never before exhibited, that engage with the cultural discourses of their time—from the utopian aspirations of early modernism to the formal explorations of mid-century abstraction to the sociopolitical debates of the 1960s and ’70s. On view during the sixtieth anniversary of the Guggenheim’s iconic Frank Lloyd Wright–designed building, the exhibition honors the museum’s artist-centric ethos, furthers its commitment to art as a force for upending expectations and expanding perspectives, and offers a critical examination of its collection. Artistic License: Six Takes on the Guggenheim Collection is made possible by Major support is provided by Support is also provided by The Kate Cassidy Foundation. The Leadership Committee for Artistic License: Six Takes on the Guggenheim Collection is gratefully acknowledged for its support, with special thanks to Stefan Edlis and Gael Neeson; Larry Gagosian; Fundación Almine y Bernard Ruiz-Picasso para el Arte; Marian Goodman Gallery; Nahmad Contemporary; Peter Bentley Brandt; Hauser & Wirth; Allison and Neil Rubler; and those who wish to remain anonymous.
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  • Simon Hantaï Les Noirs Du Blanc, Les Blancs Du Noir
    SIMON HANTAÏ LES NOIRS DU BLANC, LES BLANCS DU NOIR Paintings 1951–97 October 13, 2019–June 27, 2020 Le Bourget SIMON HANTAÏ Acknowledgments Larry Gagosian and Gagosian Paris would like to thank Zsuzsa Hantaï, Daniel Hantaï, Marc Hantaï, Jérôme Hantaï, Pierre Hantaï, and Anna Hantaï, as well as the Archives Simon Hantaï, for entrusting them with the promotion and defense of Simon Hantaï’s oeuvre on the international stage. Larry Gagosian and Gagosian Paris would also like to recognize the grand- children of Zsuzsa Hantaï: Paul, Marie, Thomas, Suzanne, Noé, Félix, Lou, Gabriel, Rémi, and Joseph. Finally, Gagosian would like to warmly thank Zsuzsa Hantaï and her children Daniel, Marc, Jérôme, Pierre, and Anna for their indispensable aid in realizing the first Hantaï exhibition at Gagosian Le Bourget: LES NOIRS DU BLANC, LES BLANCS DU NOIR. We are also sincerely grateful to Bernard Boubat, Aurélia Chevalier, Jean Haury, Kálmán Makláry, Kamill Major, Marina Saura, Antonio Semeraro, and Olivier Weber-Caflisch for their benevolent support. Zsuzsa Hantaï and her children and grandchildren would like to thank Anne Baldassari, a friend of Simon Hantaï and a leading specialist in his work, for her gracious and tireless help in generously designing the LES NOIRS DU BLANC, LES BLANCS DU NOIR exhibition and writing the booklet. Their thoughts also go to Jean Fournier and his gallery. GAGOSIAN SIMON HANTAÏ ÉTUDES SERIES 1969–73 Flat now. Not only the paint that is spread, but above all the relationship between the painted and the unpainted is radically modified, reversed. The painted is no longer there in for its own sake but exclusively to activate the unpainted.
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  • The Louvre's Big Move
    Asian Art hires logo 15/8/05 8:34 am Page 1 ASIAN ART The newspaper for collectors, dealers, museums and galleries june 2005 £5.00/US$8/€10 THE LOUVRE’S BIG MOVE Te Louvre has got a march on the history of the museum swung climate change. Te museum is into action. Te cost of the project is located by the Seine, in Paris, in a covered by the Louvre Endowment zone prone to fooding – and, since Fund, with the total price projected 2002, the Paris Prefecture, within to be about Euro 60 million. Te the framework of the food risk answer to the problem was Te protection plan (PPRI), has warned Louvre Conservation Centre, located the Louvre of the risks centennial in Liévin, near Lens, in northern fooding could pose to the museum’s France. Completed in 2019, the collections. Around a quarter of a semi-submerged building stands million works are currently stored in next to the Louvre-Lens Museum, more than 60 diferent locations, which itself was completed in 2012. both within the Louvre palace Te conservation centre makes it (mainly in food-risk zones), and possible to store the reserve elsewhere in temporary storage collections together in a single, spaces – all waiting to be moved to functional, space and allows for the new storage location. optimal conservation conditions. It In 2016, this risk was emphasised also improves access for the scientifc when the Seine fooded its banks, community, researchers, and and the rise in water levels was so conservationists. Te project gave the severe that museum staf had to museum freedom not only to plan, trigger the emergency plan: a 24- but also to have the opportunity to The Musée du Louvre, in Paris, is in the middle of moving its reserve collections to northern France, away from the flood plain hour operation to wrap, pack and modernise the conservation, study, take thousands of objects out of the and work conditions, as well as Lens Museum, a special interpretation at any one time.
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  • Essay Doris Von Drathen Comp
    doris von drathen painting space fabienne verdier design photo credits we-we / Marine Gille p. 10 (left) © Joseph Beuys, by SIAE 2012; polyphony of gravitation p. 10 (right) © Johannes Stüttgen; editorial coordination p. 14 (left) Photo courtesy Fred Sandback Estate. prologue 4 Filomena Moscatelli All works by Fred Sandback © 2012 Fred Sandback Archive; copyediting p. 14 (top right) Photo © 2012 Digital Image, The Studio as Tool Charles Gute Lorenze Kienzle/The Museum of Modern Art, Painting as a Manifestation of Space New York/Scala, Florence, © Richard Serra, translations by SIAE 2012; The Cosmos as Standard of Measurement (Main text) Translated from German p. 14 (bottom right) Photo akg-images/Marion by George Frederick Takis Kalter, © Richard Serra, by SIAE 2012; i. the World in a single point 20 (Conversation) Translated from p. 16 Photos by John Cliett. Courtesy Dia Art French by Elaine Briggs, Foundation, New York, © Walter De Maria; edited by George Frederick Takis p. 17 (top) © Anish Kapoor; The Circle as an Open Question p. 17 (bottom) © Kimsooja; iconography p. 18 © Max Neuhaus; Sound as Spatial Energy Clarisse Deubel p. 22 (left) Photo Gottfried Wilhelm Leibniz The Polyphony of the Number One Bibliothek - Niedersächsische Landesbibliothek copywriting and press Office Hannover; Silvia Palombi p. 23 Photos © Henry Graber, © Anthony McCall; ii. being on the path 40 p. 26 Photo © Leemage, © Fondazione Lucio Spacial Traces as Crystallized Time promotion and Web Fontana, Milano, by SIAE 2012; Polyphony of Footprints Elisa Legnani p. 31 (top) Photo © Leemage; p. 31 (bottom) Photo © 2012 Digital Image, Between the Speed of Light and Rootedness… distribution The Museum of Modern Art, New York/Scala, Anna Visaggi Florence, © Gerhard Richter; p.
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  • Judit Reigl, May 1954 to June 1955 (Annus Mirabillis, Annus Horribilis) by Janos Gat
    Judit Reigl, May 1954 to June 1955 (Annus Mirabillis, Annus Horribilis) by Janos Gat Everything one can say about the oeuvre of Judit Reigl is conditional. Reigl is the exceptional nonagenarian who enjoys the present without questioning the past. But when she is questioned about her work, she volunteers enough information to support an equally valid theory for each possible point of view. One can share with her in all the facts, but not in the actual act of painting; thus one might talk about paintings, but not painting itself, which the more one understands, the less one can explain. How could one pin down what is elusive by nature and which cannot be addressed in absolute terms?1 Reigl is the missing link between two concurrent movements of abstract art: the New York School, informed by Gorky and Surrealism, and the School of Paris, by Wols and World War II. The Americans achieved revolutionary effects with traditional means, the Europeans traditional effects with revolutionary means.2 The American artists started with the surface of the painting, the Europeans the support.3 While the American artists were erasing the past, the Europeans were rebuilding on what little remained of it. A 1945 Allied bombing raid created the vast and desolate square à la de Chirico with teetering façades and a broken marble statue that was the first Surrealist landscape Reigl encountered.4 Reigl overcame history through art history: she studied art in the killing-field of Budapest; painted the Arcadian scenery of the Carpathian foothills not far from the front lines; and spent all her time in museums while going hungry in occupied Vienna.
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  • Judit Reigl and the Case of the Haptic Versus the Optical
    Judit Reigl and the case of the Haptic versus the Optical. Gwenaël Kerlidou After hearing of Judit Reigl’s passing in August (Kapuvar, Hungary 1923- Marcoussis, France 2020), this text first started as a sort of extended obituary, but soon veered toward a reexamination of a unique artistic legacy. If Judit Reigl is not completely unknown in the US, where she is usually treated with a distant respect by the critics, her unorthodox evolution, with its back and forth between abstraction and representation, has often led to confusion and misinterpretations. We will attempt here to anchor her work in the French art context from the nineteen fifties to the nineteen eighties, where it developed. In recent years, her presence in New York and the US has been relatively steady, albeit very low key, and it barely registers in today’s conversation on abstract painting. Most recently, her painting “Guano (Menhir), 1959-64” was included in the Metropolitan Museum of Art’s 2018 Survey “Epic Abstraction”, a well- suited title in her case. In 2016, the Allen Memorial Art Museum, in Oberlin, Ohio, organized a comprehensive survey of her work titled “Body of music”. In New York, between 2007 and 2009, the Janos Gat Gallery presented three different bodies of work, and in the last ten years the Ubu Gallery organized a few presentations showcasing different series of her work as well. There were also a few “Déroulements” (Unfoldings) paintings on view in Paul Rodgers’ Chelsea gallery in 2013. Guano (Menhir), 1959-64, mixed media on canvas, 73” x 83.5”, The Metropolitan Museum of Art, NYC 1 As she recounted in the French periodical Art Press in 1977, Reigl finally escaped out of Communist Hungary in 1950 on her eighth attempt at crossing the all too real mine fields of the iron curtain.
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  • Die Gemälde Von Judit Reigl Von Marcia E
    1 JUDIT REIGL ENTRÉE-SORTIE 2 JUDIT REIGL ENTRÉE-SORTIE WIENERROITHER & KOHLBACHER 1010 VIENNA, STRAUCHGASSE 2, AUSTRIA SHEPHERD W&K GALLERIES 58 EAST 79TH STREET, NEW YORK, NY 10075, USA TEL. +43 1 533 99 77 FAX +43 1 533 99 88 [email protected] www.austrianfineart.com EDITION Special thanks to Maurice Goreli, Sabine and Philippe Boudreaux between two states but belonging to none The Paintings of Judit Reigl by Marcia E. Vetrocq between two states but belonging to none – The Paintings of Judit Reigl by Marcia E. Vetrocq I In one of the 17th century’s most dazzling feats of artistic legerdemain, Velázquez made the deep and soaring space of his studio in the Real Alcázar of Madrid appear on a great plane of canvas: Las Meninas. Velázquez further claimed the space in front of the canvas for his illusion. He portrayed himself gazing outward and revealed the object of his attention—the king and queen—by capturing their reflections in a beveled mirror positioned on the studio’s rear wall. The mirror hangs beside an open door, and in the passageway beyond the door stands the queen’s chamberlain, who draws aside a drape to expose a rectangle of light. The chamberlain pauses. Is he entering or exiting? We cannot be sure. But we see that another spatial realm lies beyond the studio, through the image, “behind” the canvas. The mirror tells us who is standing right before Velázquez’s eyes. The door opens to another space that will remain a mystery to ours. Diego Rodríguez de Silva y Velázquez Las Meninas, or The Family of Felipe IV, ca.
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