Richard Serra Born 1938 in San Francisco, California
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Fabienne Verdier Rhythms and Reflections
FABIENNE VERDIER RHYTHMS AND REFLECTIONS A COMET Do all roads that lead to truth lie underground? Do all depths lie in darkness? dostoevsky And is the word Truth anything else but snow? One day, as I went round a gallery, luminous like an artist’s studio where work is left exposed to its own light, I happened on a painting by Fabienne Verdier. To me, her painted line seemed like the branch of a tree, broad as an artery, a tunnel in a badger’s sett, a cocoon in air, and at the same time like none of those things, but a thing of mystery whose exacting gaze takes your breath away! A reptile whose hiss lingers around the walls. Then it disappears, it loses itself elsewhere, leaving you with the feeling nonetheless that you were there the very moment its untamed presence so unexpectedly appeared. Of course, such an event never occurs twice. It was the painting that arrested the flight of this fugitive presence for an instant, like water holding on to air, yet expressing an instant of perception and the path taken to grasp it. As if, in fact, all the patience of the world had transformed into a lightning flash – the watchfulness of a lighthouse-keeper who knows to be neither fully awake nor asleep. Whenever solitude is put to the creative test, it becomes the key to a world. How to describe the solitude that is a crowd, unable to bloom into thousands of individuals. How to describe the crowd that blooms into a single world. -
Gagosian Gallery
Artsy April 2, 2019 GAGOSIAN How Takashi Murakami Got His Start as an Artist Scott Indrisek “At the studio I rented for $80 a month on Lorimer Street in Brooklyn, uncertain whether I would have anything to eat the next day.” © Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy of Gagosian. In the second installment of a new series, we continue to shine a light on the tumultuous early days of artists who have since become household names. Takashi Murakami, 57, may now be an international art star and a cultural icon, but he was once a disgruntled student, bored with his conservative schooling and dreaming of better things. Indeed, when he was just starting out, Murakami claimed no special status as an artist. “I was never particularly talented at drawing or painting,” he said; hard work, practice, and determination would sharpen those skills. He had his first solo show in 1989, at Tokyo’s Ginza Surugadai Gallery, and began traveling from his native Japan to New York City around that time. Murakami always thought of New York as one of the art world’s vital centers, and he was willing to struggle in order to absorb what it had to offer. He recalled once renting a studio on Lorimer Street in Brooklyn for a mere $80 a month (“uncertain whether I would have anything to eat the next day,” he added). In 1994, he landed a residency in the prestigious PS1 International Studio Program. These early experiences helped shape Murakami’s unique artistic vision. The hyperconfident artist would eventually become a global brand, his manga-inspired creations taking over the world—one wild sculpture and painting at a time. -
Daros Latinamerica. Une Collection D'art Contemporain À L'ère
Unicentre CH-1015 Lausanne http://serval.unil.ch 2012 Daros Latinamerica. Une collection d’art contemporain à l’ère de la globalisation Cynthia Ramos Villalobos Cynthia Ramos Villalobos, 2012, Daros Latinamerica. Une collection d’art contemporain à l’ère de la globalisation. Originally published at : Mémoire de maîtrise, Université de Lausanne. Posted at the University of Lausanne Open Archive. http://serval.unil.ch Droits d’auteur L'Université de Lausanne attire expressément l'attention des utilisateurs sur le fait que tous les documents publiés dans l'Archive SERVAL sont protégés par le droit d'auteur, conformément à la loi fédérale sur le droit d'auteur et les droits voisins (LDA). A ce titre, il est indispensable d'obtenir le consentement préalable de l'auteur et/ou de l’éditeur avant toute utilisation d'une oeuvre ou d'une partie d'une oeuvre ne relevant pas d'une utilisation à des fins personnelles au sens de la LDA (art. 19, al. 1 lettre a). A défaut, tout contrevenant s'expose aux sanctions prévues par cette loi. Nous déclinons toute responsabilité en la matière. Copyright The University of Lausanne expressly draws the attention of users to the fact that all documents published in the SERVAL Archive are protected by copyright in accordance with federal law on copyright and similar rights (LDA). Accordingly it is indispensable to obtain prior consent from the author and/or publisher before any use of a work or part of a work for purposes other than personal use within the meaning of LDA (art. 19, para. 1 letter a). -
Hans Ulrich Obrist a Brief History of Curating
Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist. -
(Exhibition Catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin
SOL LEWITT SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2018 American Masters 1940–1980 (exhibition catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin. Canberra: National Gallery of Australia, 2018: 186–187, illustrated. Cameron, Dan and Fatima Manalili. The Avant-Garde Collection. Newport Beach, California: Orange County Museum of Art, 2018: 57, illustrated. Destination Art: 500 Artworks Worth the Trip. New York: Phaidon, 2018: 294, 374, illustrated. LeWitt, Sol. “Sol LeWitt: A Primary Medium.” In Auping, Michael. 40 Years: Just Talking About Art. Fort Worth, Texas and Munich: Modern Art Museum of Fort Worth; DelMonico BooksꞏPrestel, 2018: 84–87, illustrated. Picasso – Gorky – Warhol: Sculptures and Works on Paper, Collection Hubert Looser (exhibition catalogue). Edited by Florian Steininger. Krems an der Donau, Austria and Zürich: Kunsthalle Krems; Fondation Hubert Looser, 2018: 104, illustrated. Sol LeWitt: Between the Lines (exhibition catalogue). Texts by Francesco Stocchi. Rem Koolhaas and Adachiara Zevi. Milan: Fondazione Carriero, 2018 Sol LeWitt: Wall Drawings. Edited by Lindsay Aveilhé. [New York]: Artifex Press, 2018. 2017 Sol LeWitt: Selected Bibliography—Books 2 The Art Museum. London: Phaidon, 2017: 387, illustrated. Booknesses: Artists’ Books from the Jack Ginsberg Collection (exhibition catalogue). Johannesburg, South Africa: University of Johannesburg Art Gallery, 2017: 129, 151, 221, illustrated. Delirious: Art at the Limits of Reason 1950–1980 (exhibition catalogue). Texts by Kelly Baum, Lucy Bradnock and Tina Rivers Ryan. New York: Met Breuer, 2017: pl.21, 22, 23, 24, illustrated. Doss, Erika. American Art of the 20th–21st Centuries. New York and Oxford: Oxford University Press, 2017: fig. 113, p.178, illustrated. Gross, Béatrice. -
Tomma Abts Francis Alÿs Mamma Andersson Karla Black Michaël
Tomma Abts 2015 Books Zwirner David Francis Alÿs Mamma Andersson Karla Black Michaël Borremans Carol Bove R. Crumb Raoul De Keyser Philip-Lorca diCorcia Stan Douglas Marlene Dumas Marcel Dzama Dan Flavin Suzan Frecon Isa Genzken Donald Judd On Kawara Toba Khedoori Jeff Koons Yayoi Kusama Kerry James Marshall Gordon Matta-Clark John McCracken Oscar Murillo Alice Neel Jockum Nordström Chris Ofili Palermo Raymond Pettibon Neo Rauch Ad Reinhardt Jason Rhoades Michael Riedel Bridget Riley Thomas Ruff Fred Sandback Jan Schoonhoven Richard Serra Yutaka Sone Al Taylor Diana Thater Wolfgang Tillmans Luc Tuymans James Welling Doug Wheeler Christopher Williams Jordan Wolfson Lisa Yuskavage David Zwirner Books Recent and Forthcoming Publications No Problem: Cologne/New York – Bridget Riley: The Stripe Paintings – Yayoi Kusama: I Who Have Arrived In Heaven Jeff Koons: Gazing Ball Ad Reinhardt Ad Reinhardt: How To Look: Art Comics Richard Serra: Early Work Richard Serra: Vertical and Horizontal Reversals Jason Rhoades: PeaRoeFoam John McCracken: Works from – Donald Judd Dan Flavin: Series and Progressions Fred Sandback: Decades On Kawara: Date Paintings in New York and Other Cities Alice Neel: Drawings and Watercolors – Who is sleeping on my pillow: Mamma Andersson and Jockum Nordström Kerry James Marshall: Look See Neo Rauch: At the Well Raymond Pettibon: Surfers – Raymond Pettibon: Here’s Your Irony Back, Political Works – Raymond Pettibon: To Wit Jordan Wolfson: California Jordan Wolfson: Ecce Homo / le Poseur Marlene -
PRESS RELEASE Art Into Life!
Contact: Anne Niermann / Sonja Hempel Press and Public Relations Heinrich-Böll-Platz 50667 Cologne Tel + 49 221 221 23491 [email protected] [email protected] PRESS RELEASE Art into Life! Collector Wolfgang Hahn and the 60s June 24 – September 24, 2017 Press conference: Thursday, June 22, 11 a.m., preview starts at 10 a.m. Opening: Friday, June 23, 7 p.m. In the 1960s, the Rhineland was already an important center for a revolutionary occurrence in art: a new generation of artists with international networks rebelled against traditional art. They used everyday life as their source of inspiration and everyday objects as their material. They went out into their urban surroundings, challenging the limits of the art disciplines and collaborating with musicians, writers, filmmakers, and dancers. In touch with the latest trends of this exciting period, the Cologne painting restorer Wolfgang Hahn (1924–1987) began acquiring this new art and created a multifaceted collection of works of Nouveau Réalisme, Fluxus, Happening, Pop Art, and Conceptual Art. Wolfgang Hahn was head of the conservation department at the Wallraf Richartz Museum and the Museum Ludwig. This perspective influenced his view of contemporary art. He realized that the new art from around 1960 was quintessentially processual and performative, and from the very beginning he visited the events of new music, Fluxus events, and Happenings. He initiated works such as Daniel Spoerri’s Hahns Abendmahl (Hahn’s Supper) of 1964, implemented Lawrence Weiner’s concept A SQUARE REMOVAL FROM A RUG IN USE of 1969 in his living room, and not only purchased concepts and scores from artists, but also video works and 16mm films. -
Aus Datenschutz- Bzw. Urheberrechtlichen Gründen Erfolgt Die Publikation Mit Anonymisierung Von Namen Und Ohne Abbildungen
Provenienzbericht zu Pablo Picasso, „Tête de femme, de profil“, 40,9 x 37,5 cm (Lostart-ID: 533083) Version nach Review v. 20.03.2018 ǀ Projekt Provenienzrecherche Gurlitt (Stand: 17.09.2017) Aus datenschutz- bzw. urheberrechtlichen Gründen erfolgt die Publikation mit Anonymisierung von Namen und ohne Abbildungen. © A. W. © A. W. Abschlussbericht zu Lostart-ID: 533083 - Pablo Picasso: Tête de femme, de profil Ev-Isabel Raue 1. Daten Künstler Pablo Picasso (1881-1973) Titel Tête de femme, de profil (vgl. WVZ) Alternativer Titel Frauenkopf im Profil (vgl. Ausst.kat. Barcelona/Bern 1992) Maße 40,9 x 37,5 cm (Blattgröße) [vgl. Zustandsprotokolle] Technik Kaltnadelradierung [?] [Papierart ?] Wasserzeichen / Signatur / Datierung der Druckplatte 1905 Befund der Blattvorderseite Beschriftung: a) Unten links handschriftlich in Bleistift [?]: „G. 7.“ [Beschriftung bezieht sich vermutlich auf das WVZ von Bernhard Geiser bzw. von Geiser/Baer.] b) Unten rechts handschriftlich in Bleistift [?]: „350.- „ Seite 1 von 17 Provenienzbericht zu Pablo Picasso, „Tête de femme, de profil“, 40,9 x 37,5 cm (Lostart-ID: 533083) Version nach Review v. 20.03.2018 ǀ Projekt Provenienzrecherche Gurlitt (Stand: 17.09.2017) [Verkaufspreis der Kunsthandlung Aug. Klipstein vorm. Gutekunst & Klipstein, Bern] c) Unten rechts Prägestempel: „L. Fort Imprimeur Paris“ Rückseitenbefund Beschriftung: a) Unten links in Bleistift: „B/32“ [umrahmt] b) Unten links in Bleistift: „350.-“ [Verkaufspreis der Kunsthandlung Aug. Klipstein vorm. Gutekunst & Klipstein, Bern] c) Unten links in Bleistift: „180_83“ d) Mitte in Bleistift: „05937“ [Bestands-Nr. der Kunsthandlung Aug. Klipstein vorm. Gutekunst & Klipstein, Bern] Werkverzeichnisse (WVZ) a) Bloch 1968, S. 21, Kat.-Nr. 6. b) Geiser/Baer 1990, Bd. -
Order Reconstruction by Ping Jie
Order Reconstruction By Ping Jie Innovators of ink often have two orientations of value: look inward and look outward. People who look inward pay attention to traditional subversion and innovation, while people who look outward pay attention to the connection and achievements within the history of contemporary art. Inward looking artists disregard Western art, and their works exhibit an oriental aesthetic mood that the literati is fond of. Outward looking artists, on the other hand, try to seek consensus and resonance from an international art stage while their works present both the purity of artistic body and the mystery of Oriental charm. Although the two are not completely disconnected, an ink artist's value orientation has a consequential impact on his artistic direction. Whether it is looking in or looking out, innovation of art always encompasses a lineage of heritage and reconstruction. The former triggers a leap of the Chinese art history, whereas the latter integrates with contemporary art history. Most importantly, the artists are always sticklers of their own ideas and never become ‘the others' (losing themselves). We can see traces of appropriation and reference in the works of contemporary art masters, but they are not indeed ‘captured' by those elements they looked into. In mid-1980s, New York minimalist master Brice Marden's style suddenly turned in favor of abstract expression. He created the piece<Han Shan Research 1-35> (1988-1990) based on his study of the Chinese Tang Dynasty poet monk Hanshan's work. In this piece Brice Marden uses calligraphic strokes at liberty in regard of the cursive script. -
Oral History Interview with Mimi Haas, 2018 Oct. 26
Oral history interview with Mimi Haas, 2018 Oct. 26 Funding for this interview was provided by Barbara Fleischman. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Mimi Haas on October 26, 2018. The interview took place at Haas's home in San Francisco, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution, and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection. Mimi Haas and Mija Riedel have reviewed the transcript. Their corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel, interviewing Mimi Haas at her home in San Francisco on October 26, 2018, for the Archives of American Art, Smithsonian Institution, and The Frick Collection. This is card number one. So, thanks for making time today. I'm glad we could make this happen. Today we're going to talk about the Mimi and Peter Haas Fund, your work with the San Francisco Museum of Modern Art, the Museum of Modern Art in New York, and also your art collection. You have currently, from what I've seen from the inventory, a couple hundred pieces in that collection, right, about 225? MIMI HAAS: I really don't know the total. -
Brice Marden Bibliography
G A G O S I A N Brice Marden Bibliography Selected Monographs and Solo Exhibition Catalogues: 2019 Brice Marden: Workbook. New York: Gagosian. 2018 Rales, Emily Wei, Ali Nemerov, and Suzanne Hudson. Brice Marden. Potomac and New York: Glenstone Museum and D.A.P. 2017 Hills, Paul, Noah Dillon, Gary Hume, Tim Marlow and Brice Marden. Brice Marden. London: Gagosian. 2016 Connors, Matt and Brice Marden. Brice Marden. New York: Matthew Marks Gallery. 2015 Brice Marden: Notebook Sept. 1964–Sept.1967. New York: Karma. Brice Marden: Notebook Feb. 1968–. New York: Karma. 2013 Brice Marden: Book of Images, 1970. New York: Karma. Costello, Eileen. Brice Marden. New York: Phaidon. Galvez, Paul. Brice Marden: Graphite Drawings. New York: Matthew Marks Gallery. Weiss, Jeffrey, et al. Brice Marden: Red Yellow Blue. New York: Gagosian Gallery. 2012 Anfam, David. Brice Marden: Ru Ware, Marbles, Polke. New York: Matthew Marks Gallery. Brown, Robert. Brice Marden. Zürich: Thomas Ammann Fine Art. 2010 Weiss, Jeffrey. Brice Marden: Letters. New York: Matthew Marks Gallery. 2008 Dannenberger, Hanne and Jörg Daur. Brice Marden – Jawlensky-Preisträger: Retrospektive der Druckgraphik. Wiesbaden: Museum Wiesbaden. Ehrenworth, Andrew, and Sonalea Shukri. Brice Marden: Prints. New York: Susan Sheehan Gallery. 2007 Müller, Christian. Brice Marden: Werke auf Papier. Basel: Kunstmuseum Basel. 2006 Garrels, Gary, Brenda Richardson, and Richard Shiff. Plane Image: A Brice Marden Retrospective. New York: Museum of Modern Art. Liebmann, Lisa. Brice Marden: Paintings on Marble. New York: Matthew Marks Gallery. 2003 Keller, Eva, and Regula Malin. Brice Marden. Zürich : Daros Services AG and Scalo. 2002 Duncan, Michael. Brice Marden at Gemini. -
John Anthony Thwaites (1909-1981)
Originalveröffentlichung in: Zuschlag, Christoph (Hrsg.): Brennpunkt Informel : Quellen, Strömungen, Reaktionen; [Ausstellung Brennpunkt Informel des Kurpfälzischen Museums der Stadt Heidelberg...], Köln 1998, S. 166-172 Christoph Zuschlag »Vive la critique engagee!« Kunstkritiker der Stunde Null: John Anthony Thwaites (1909-1981) »Heu te will uns scheinen, daß er in Deutschland neben Albert Schulze Vellinghausen wohl die bedeutendste Kritiker-Figur der fünfziger Jahre gewesen ist.« Walter Vitt hat in seinem Nachruf auf John Anthony Thwaites im Kölner Stadt-Anzeiger vom 23. November 1981 nicht übertrieben. Im Zusammenhang mit der westdeutschen Kunstszene der 50er und 60er Jahre begegnet man immer wieder dem Namen John Anthony Thwaites (Abb.). Obwohl Thwaites in Tageszeitungen und Zeitschriften, Katalogen und Monographien, in Vorträgen und im Rundfunk regelmäßig an die Öffentlichkeit trat, obwohl er zahlreiche heute anerkannte Künstler über Jahrzehnte publizistisch begleitete, beschränken sich die Angaben über ihn in der Literatur auf knappe Erwähnungen. Der vorliegende Aufsatz möchte erstmals ausführlicher mit Thwaites' Biographie, seinem kunstkritischen Werk und dessen Bedeutung bekannt machen. Grundlage sind zum einen die Veröffentlichungen des Kritikers, zum anderen die Unterlagen in seinem Archiv, das sich im Besitz des Sohnes, Barnabas Thwaites, befindet. Es umfaßt Manuskripte von gedruckten und ungedruckten Texten, Publikationen, Presseausschnitte, Photographien, persönliche Aufzeichnungen und umfangreiche Korrespondenzen mit Künstlern,