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Galerie Karsten Greve Ag
GALERIE KARSTEN GREVE AG Louise Bourgeois, New Orleans, oil on cardboard, 1946, 66 x 55.2 cm / 26 x 21 1/4 in LOUISE BOURGEOIS December 19, 2020 – extended until March 30, 2021 Opening: Tuesday, December 29, 2020, 11 am – 7 pm Galerie Karsten Greve AG is delighted to present its third solo exhibition of works by Louise Bourgeois (1911-2010) in its St. Moritz gallery space. Twenty-three distinctive pieces created during a period of six decades (1946-2007) are on show. The exhibition pays homage to one of the most significant artists of our time, reflecting thirty years of close collaboration between Galerie Karsten Greve and Louise Bourgeois. Following the artist’s first retrospective in Europe, shown at Frankfurter Kunstverein in 1989, Karsten Greve organized his first solo show of works by Louise Bourgeois in his recently opened Paris exhibition space in 1990. On the occasion of the opening of his gallery in St. Moritz in 1999, Karsten Greve dedicated a comprehensive show to the artist, followed by presentations in Paris and Cologne. Born in Paris in 1911, Louise Bourgeois grew up in a bourgeois family in Choisy-le-Roi near Paris, where her parents ran a workshop for restoring tapestries; at an early age, she made the drawings for missing sections in tapestry designs. After dropping out of mathematics at the Sorbonne, she completed her art studies, between 1932 and 1938, at the École des Beaux-Arts and selected studios and academies in Paris, taking lessons with Fernand Léger, among others. In 1938, she was married to Robert Goldwater, the American art historian, and went with him to New York. -
Galerie Karsten Greve
GALERIE KARSTEN GREVE Georgia Russell in her studio, Méru, 2021 photo: Nicolas Brasseur, Courtesy Galerie Karsten Greve, Cologne Paris St. Moritz GEORGIA RUSSELL Ajouré September, 3 – October 30, 2021 Opening on Friday, September 3, 2021, 11 am – 10 pm a DC OPEN GALLERIES 2021 event The artist will be present. Galerie Karsten Greve is delighted to show a solo exhibition featuring new work by Scottish artist Georgia Russell, who has been represented by the gallery since 2010. The show, which will be Georgia Russell's sixth solo exhibition with Galerie Karsten Greve, is a DC OPEN GALLERIES 2021 event. New works on canvas will be presented, created at her Méru studio between 2020 and 2021 during a worldwide state of crisis that was characterised by confinement and social distancing measures. By contrast, Georgia Russell has created her most recent works by breaking through matter. Her pieces epitomise the idea of the permeability of matter and breaking through the surface – ajouré – to bring this materiality to life by deliberately incorporating daylight and air into space. Born in Elgin, Scotland, in 1974, Georgia Russell, studied fine art at the Robert Gordons University of Aberdeen (until 1997) and the Royal College of Art, graduating with an MA in printmaking in 2000. Thanks to a scholarship from the Royal College of Art, the artist set up a studio in Paris. Her work has regularly been presented internationally in solo and group exhibitions. Works by Georgia Russell are also held in notable private and public collections, such as the Victoria & Albert Museum, London, the Centre Georges Pompidou, Paris, the E.On Art Collection, Düsseldorf, and the Museum Pfalzgalerie Kaiserslautern. -
Joel Shapiro Press Release FINAL
FOR IMMEDIATE RELEASE DOMINIQUE LÉVY TO PRESENT THE FIRST COMPREHENSIVE SURVEY OF JOEL SHAPIRO’S EARLY WOOD WALL RELIEF SCULPTURES ALONGSIDE A MAJOR NEW INSTALLATION Joel Shapiro October 28, 2016 – January 7, 2017 Dominique Lévy 909 Madison Avenue, New York New York … Dominique Lévy is pleased to present the first survey of early wood reliefs by the American sculptor Joel Shapiro, organized with Olivier Renaud-Clément. These works, created between 1978 and 1980, will be on view alongside a new site-specific installation. The exhibition will foreground work from the late 1970s, demonstrating the trajectory of Shapiro’s career, over the course of which the artist has continually pursued ideas of color and mass, culminating in a recent body of room-size sculptural installations. Dominique Lévy will publish a monograph in conjunction with the exhibition featuring texts by David Raskin and Phyllida Barlow and poems by Peter Cole and Ange Mlinko, as well as full documentation of the wood reliefs. This marks the Untitled, 1978. Wood and paint. 5 1/4 x 5 1/4 x 3 inches (13.3 x 13.3 x 7.6 cm). © 2016 Joel Shapiro first time the series will be comprehensively surveyed. / Artists Rights Society (ARS), New York. Shapiro has worked with the idea of form collapsing since 2002; he views his work until this point as building up to this “moment of discovery that I can get the work off the floor and be more playful in the air.”1 He describes these large-scale installations as being “the projection of thought into space without the constraint of architecture.” Shapiro will create a new site-specific installation for the exhibition, which will occupy the second floor of Dominique Lévy Gallery. -
Final Report Provenance Research
Provenance Research on the Baumgart-Möller Donation Final Report Project management Dr. Thorsten Sadowsky, Director Annick Haldemann, Registrar [email protected] Project handling and report Julia Sophie Syperreck MA, Research Assistant [email protected] 31 August 2018 Kirchner Museum Davos Provenance Research on the Baumgart-Möller Donation 2 Contents 3 I. Work report 4 a. The situation and state of research at the beginning of the project 5 b. Work performed by the project staff and project schedule 6 c. Methodical approach and manner of publication of the findings 7 d. Object statistics 9 e. List of the historical agents (individuals and institutions) relevant to the project 10 f. Documentation of the findings for third parties 11 II. Summary 12 a. Evaluation of the findings 12 b. Unresolved issues and need for further research 13 III. Appendix: List of works Kirchner Museum Davos I. Work report Provenance Research on the Baumgart-Möller Donation 4 a. The situation and state of research at the beginning of the project At the beginning of the project an assessment was made which groups of works within the collection are more likely to be linked to the “liquidation” of private and public collections during the Nazi dictatorship in Germany in the years from 1933 to 1945. It was found that there is only very patchy provenance information for the forty-two artworks donated in 2000 to the Kirchner Museum Davos by “Rosemarie and Konrad Baumgart-Möller in memory of Ferdinand Möller, Berlin.” Since “Möller” is one of the red-flag names in provenance research, the investigation of this part of the collection was given priority. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Kees Van Dongen Max Ernst Alexej Von Jawlensky Otto Mueller Emil Nolde Max Pechstein Oskar Schlemmer
MASTERPIECES VIII KEES VAN DONGEN MAX ERNST ALEXEJ VON JAWLENSKY OTTO MUELLER EMIL NOLDE MAX PECHSTEIN OSKAR SCHLEMMER GALERIE THOMAS MASTERPIECES VIII GALERIE THOMAS CONTENTS ALEXEJ VON JAWLENSKY MAX ERNST STILL LIFE WITH JUG AND APPLES 1908 6 FEMMES TRAVERSANT UNE RIVIÈRE EN CRIANT 1927 52 PORTRAIT C. 191 616 ALEXEJ VON JAWLENSKY MAX PECHSTEIN HOUSE WITH PALM TREE 191 4 60 INTERIEUR 1922 22 OSKAR SCHLEMMER EMIL NOLDE ARCHITECTURAL SCULPTURE R 191 9 68 YOUNG FAMILY 1949 30 FIGURE ON GREY GROUND 1928 69 KEES VAN DONGEN ALEXEJ VON JAWLENSKY PORTRAIT DE FEMME BLONDE AU CHAPEAU C. 191 2 38 WOMAN IN RED BLOUSE 191 1 80 EMIL NOLDE OTTO MUELLER LANDSCAPE (PETERSEN II) 1924 44 PAIR OF RUSSIAN GIRLS 191 9 88 4 5 STILL LIFE WITH JUG AND APPLES 1908 ALEXEJ VON JAWLENSKY oil on cardboard Provenance 1908 Studio of the artist 23 x 26 3/4 in. Adolf Erbslöh signed lower right, Galerie Otto Stangl, Munich signed in Cyrillic and Private collection dated lower left Galerie Thomas, Munich Private collection Jawlensky 21 9 Exhibited Recorded in the artist’s Moderne Galerie, Munich 191 0. Neue Künstlervereinigung, II. Ausstellung. No. 45. photo archive with the title Galerie Paul Cassirer, Berlin 1911 . XIII. Jahrgang, VI. Ausstellung. ‘Nature morte’ Galerie Otto Stangl, Munich 1948. Alexej Jawlensky. Image (leaflet). Musée National d’Art Moderne, Paris; Haus der Kunst Munich, 1966. Le Fauvisme français et les débuts de l’Expressionisme allemand. No. 164, ill. p.233. Ganserhaus, Wasserburg 1979. Alexej von Jawlensky – Vom Abbild zum Urbild. No. 18, ill. p.55. -
Joel Shapiro 2015 Bibliography Goldberg, Edwin C., Janet Ross Marder, Sheldon Joseph Marder, and Joel Shapiro
Joel Shapiro 2015 Bibliography Goldberg, Edwin C., Janet Ross Marder, Sheldon Joseph Marder, and Joel Shapiro. Mishkan HaNefesh: Machzor for the Days of Awe. New York: CCAR Press, 2015: illustrated. International Sculpture Center Lifetime Achievement Award Gala Honoring Joel Shapiro. New York: International Sculpture Center; Sculpture Magazine, 2014. Miller, Dana, ed. Whitney Museum of American Art: Handbook of the Collection. Text by Adam D. Weinberg. New York: Whitney Museum of American Art, 2015: 344, illustrated. 2014 Joel Shapiro (exhibition catalogue). Texts by Lorand Hegyi and Richard Shiff. Saint-Étienne, France: Musée de l'Art Moderne Saint-Etienne Métropole, 2014. Joel Shapiro: Works on Paper 2011–2013 (exhibition catalogue). Text by Peter Cole. New York: Pace Gallery, 2014. 2013 Delong, Lea Rosson, ed. Des Moines Art Center Collects. Des Moines, Iowa: Des Moines Art Center, 2013: 84, 85, illustrated. Drawing Line into Form: Works on Paper by Sculptors from the Collection of BNY Mellon (exhibition catalogue). Text by Rock Hushka. Tacoma, Washington: Tacoma Art Museum, 2013: 9, illustrated. From Picasso to Jasper Johns. Aldo Crommelynck’s Workshop (exhibition catalogue). Paris: Bibliothèque nationale de France, 2014: 91, illustrated. Joel Shapiro: Sculpture and Drawings 1969–1972 (exhibition catalogue). New York: Craig F. Starr Gallery, New York, 2013. Kiasma Hits: Kiasma Collections (exhibition catalogue).Helsinki: Kiasma Museum of Contemporary Art, 2013: 118, illustrated. Pierrette Bloch. Zurich: JPR Ringier, 2013: 54, illustrated. 2012 Davidson Collects: 100 Writers Respond to Art. Texts by Brad Thomas, Jessica A. Cooley et al. Davidson, North Carolina: Davidson College, 2012: 230–231, illustrated. Joel Shapiro: Untitled (exhibition catalogue). Texts by Kimberly Davenport and Richard Shiff. -
Remembering Hugh Gourley
Colby Magazine Volume 101 Issue 3 Fall 2012 Article 5 September 2012 Remembering Hugh Gourley Gabriella De Ferrari Bree Jeppson Paul Schupf Follow this and additional works at: https://digitalcommons.colby.edu/colbymagazine Part of the Fine Arts Commons Recommended Citation De Ferrari, Gabriella; Jeppson, Bree; and Schupf, Paul (2012) "Remembering Hugh Gourley," Colby Magazine: Vol. 101 : Iss. 3 , Article 5. Available at: https://digitalcommons.colby.edu/colbymagazine/vol101/iss3/5 This Contents is brought to you for free and open access by the Colby College Archives at Digital Commons @ Colby. It has been accepted for inclusion in Colby Magazine by an authorized editor of Digital Commons @ Colby. REMEMBERING HUGH GOURLEY, WHO NURTURED THE COLBY MUSEUM OF ART It was our summer to visit colleges, and as we walked around the lude to the museum. A site-specific piece that stands at the entrance, beautiful Colby campus we arrived at the museum. Standing at the it alerts the visitor to the depth and range of the collection within the door was Hugh Gourley. He was wearing his characteristic impeccably museum walls. pressed kakis and a colorful tailored shirt. A slight, very proper man, In our opinion, one of Hugh’s boldest accomplishments during his Hugh appeared large as he stood at the door of his museum. tenure was the commissioning of Sol Lewitt’s Seven Walls. This was a This was Hugh’s kingdom, a place he built with dedication, deter- brave move that created a heated but healthy debate about the role mination, and creativity. Slowly he guided us through the galleries. -
Untitled (Forever), 2017
PUBLISHERS DISTRIBUTED BY D.A.P. SP21 CATALOG CAPTIONS PAGE 6: Georgia O’Keeffe, Series I—No. 3, 1918. Oil on Actes Sud | Archive of Modern Conflict | Arquine | Art / Books | Art Gallery of York board, 20 × 16”. Milwaukee Art Museum. Gift of Jane University | Art Insights | Art Issues Press | Artspace Books | Aspen Art Museum | Atelier Bradley Pettit Foundation and the Georgia O’Keeffe Foundation. PAGE 7: Georgia O’Keeffe, Black Mesa Éditions | Atlas Press | August Editions | Badlands Unlimited | Berkeley Art Museum | Landscape, New Mexico / Out Back of Marie’s II, 1930. Oil on canvas. 24.5 x 36”. Georgia O’Keeffe Museum, Gift Blank Forms | Bokförlaget Stolpe | Bywater Bros. Editions | Cabinet | Cahiers d’Art of the Burnett Foundation. PAGE 8: (Upper) Emil Bisttram, | Canada | Candela Books | Carnegie Museum Of Art | Carpenter Center | Center For Creative Forces, 1936. Oil on canvas, 36 x 27”. Private collection, Courtesy Aaron Payne Fine Art, Santa Fe. Art, Design and Visual Culture, UMBC | Chris Boot | Circle Books | Contemporary Art (Lower) Raymond Jonson, Casein Tempera No. 1, 1939. Casein on canvas, 22 x 35”. Albuquerque Museum, gift Museum, Houston | Contemporary Art Museum, St Louis | Cooper-Hewitt | Corraini of Rose Silva and Evelyn Gutierrez. PAGE 9: (Upper) The Editions | DABA Press | Damiani | Dancing Foxes Press | Deitch Projects Archive | Sun, c. 1955. Oil on board, 6.2 × 5.5”. Private collection. © Estate of Leonora Carrington. PAGE 10: (Upper left) DelMonico Books | Design Museum | Deste Foundation for Contemporary Art | Dia Hayao Miyazaki, [Woman] imageboard, Nausicaä of the Valley of the Wind (1984). © Studio Ghibli. (Upper right) Center For The Arts | Dis Voir, Editions | Drawing Center | Dumont | Dung Beetle | Hayao Miyazaki, [Castle in the Sky] imageboard, Castle Dust to Digital | Eakins Press | Ediciones Poligrafa | Edition Patrick Frey | Editions in the Sky (1986). -
ARTSCHWAGER Publikation.Pdf
Richard Artschwager! Whitney Museum of American Art Yale University Art Gallery Distributed by Yale University Press Jennifer R. Gross With contributions by Cathleen Chaffee | Ingrid Schaffner | Adam D. Weinberg New York New Haven New Haven and London Richard Artschwager! vi Foreword adam d. weinberg viii Acknowledgments 1 Absolutely Original jennifer r. gross 67 The Shifting Locations of Richard Artschwager cathleen chaffee 101 Richard Artschwager: Different Ways to Blow the Whistle Contents adam d. weinberg 149 Recollection (Artschwager) ingrid schaffner 188 Chronology 190 Exhibition History 214 Bibliography 229 Checklist of the Exhibition 234 Lenders to the Exhibition 236 Index Throughout this volume Richard Artschwager is variously described as “an outsider,” distinctive voices of individual artists who are as important for their differences as “an inveterate oddball,” “idiosyncratic,” and as using “design materials with a high they are for their connections to each other. And few are as distinctive in this period ick factor to create paintings and sculptures that have continued to strike just the as Richard Artschwager. right notes of offbeat realism and abstraction.” Indeed, since he arrived on the scene in the late 1950s Artschwager’s work has resisted stylistic definition. Even My most profound thanks are due to Richard and Ann Artschwager who have worked today, almost fifty years after his early exhibitions at Leo Castelli Gallery in 1964 — closely with Jennifer Gross to create a distinctive survey, which embodies the artist’s where his work was presented with that of Christo, Andy Warhol, Roy Lichtenstein, unique sensibility at critical moments in his career. Together they identified works and and Frank Stella — his art, having been extensively exhibited, collected, and written helped secure loans essential to the success of the exhibition. -
ABRIR CAPÍTULO 4 OBJETO REPRESENTADO-OBJETO PRESENTADO Relación Entre Naturaleza Muerta E Instalación En Richard Artschwager
ABRIR CAPÍTULO 4 OBJETO REPRESENTADO-OBJETO PRESENTADO Relación entre naturaleza muerta e instalación en Richard Artschwager - CONCLUSIONES - CONCLUSIONES La presente Tesis, en su propia formulación, plantea dos vías de investigación concurrentes, que plantean como resultado dos conclusiones fundamentales: La primera, de carácter más general, trata de la relación existente entre la presentación y la representación plástica de objetos (de la que se da cuenta en el apartado CA) La segunda se refiere a la relación entre la naturaleza muerta (como aplicación plástica del concepto objeto representado), y la instalación <en relación al de objeto presentado>, en la práctica artística de Richard Artschwager <tratada en el apartado C.2) Del propio desarrollo de la investigación, por otra parte, se derivan una serie de conclusiones de carácter general en relación a la confluencia entre naturaleza muerta e instalación (a las que se refiere el apartado C.3) 443 : C. 1: EL PROCESO DE PRESENTACIÓN ARTÍSTICA COMO VARIABLE REPRESENTATIVA. Una vez diferenciados los conceptos de presencia y presentación, y desgajados. de éste las contaminaciones derivadas de una interpretación extensiva de la presencia prereflexíva o de determinadas cualidades gestálticas de la obra de arte (véase la introducción acerca del concepto de representación y el capítulo 3.1, sobre la presencia como cualidad, y la diferencia entre presencia y presentación), la presentación artistica aparece como una determinada forma de representación. Las características más sobresalientes de -
DONALD JUDD Born 1928 in Excelsior Springs, Missouri
This document was updated January 6, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. DONALD JUDD Born 1928 in Excelsior Springs, Missouri. Died 1994 in New York City. SOLO EXHIBITIONS 1957 Don Judd, Panoras Gallery, New York, NY, June 24 – July 6, 1957. 1963–1964 Don Judd, Green Gallery, New York, NY, December 17, 1963 – January 11, 1964. 1966 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, February 5 – March 2, 1966. Donald Judd Visiting Artist, Hopkins Center Art Galleries, Dartmouth College, Hanover, NH, July 16 – August 9, 1966. 1968 Don Judd, The Whitney Museum of American Art, New York, NY, February 26 – March 24, 1968 [catalogue]. Don Judd, Irving Blum Gallery, Los Angeles, CA, May 7 – June 1, 1968. 1969 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, January 4 – 25, 1969. Don Judd: Structures, Galerie Ileana Sonnabend, Paris, France, May 6 – 29, 1969. New Works, Galerie Bischofberger, Zürich, Switzerland, May – June 1969. Don Judd, Galerie Rudolf Zwirner, Cologne, Germany, June 4 – 30, 1969. Donald Judd, Irving Blum Gallery, Los Angeles, CA, September 16 – November 1, 1969. 1970 Don Judd, Stedelijk Van Abbemuseum, Eindhoven, The Netherlands, January 16 – March 1, 1970; traveled to Folkwang Museum, Essen, Germany, April 11 – May 10, 1970; Kunstverein Hannover, Germany, June 20 – August 2, 1970; and Whitechapel Art Gallery, London, United Kingdom, September 29 – November 1, 1970 [catalogue]. Don Judd, The Helman Gallery, St. Louis, MO, April 3 – 29, 1970. Don Judd, Leo Castelli Gallery, 4 East 77th Street, and 108th Street Warehouse, New York, NY, April 11 – May 9, 1970.