DOCSLIB.ORG

(O)Soba S Pogledom: Poetika Prozorskog Okna U Slikarstvu Pjera Bonara

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(O)Soba S Pogledom: Poetika Prozorskog Okna U Slikarstvu Pjera Bonara Jagor Bučan UDC 75.071.1:929 Bonnard P. Sveučilište u Zagrebu doi: 10.5937/ZbAkU2008169B Akademija likovnih umjetnosti Originalni naučni rad Hrvatska (O)soba s pogledom: Poetika prozorskog okna u slikarstvu Pjera Bonara Apstrakt: Slika se tradicionalno poima kao prozor u svijet. Pogled na svijet ujedno je i svjetonazor, a svjetonazor se u slikarstvu u pravilu izražava likovnim sredstvima. Autor ukazuje na učestalost motiva prozorskog okna u slikarstvu Pjera Bonara, predstavljajući ga kao slikarevo poetičko sredstvo. Motiv prozora sagledan je u tri problemska aspekta: u formalnom, teleološkom i ontološkom. Formalni aspekt odnosi se na kontekst likovnih datosti. Prozor je format, a format u slikarstvu ima formativna svojstva i tvori morfogenetsko polje. Teleološki aspekt odnosi se na prozorsko okno kao sredstvo kojim se u naslikanom prizoru ostvaruje svrha objedinjavanja vanjskog i unutarnjeg prostora. Ta svrhovitost različite predmetne sastavnice eksterijera i interijera svodi na zajednički oblikovni nazivnik putem likovnog podudaranja (oblik, ton, boja, tekstura, itd.). Konačno, ontološki aspekt dovodi se u vezu s Bonarovim određenjem vlastitog djela kao „panteističkog slikarstva“. Iz spomenute svrhovitosti proizlazi istovrsna i istobitna narav prikazanoga. Sve što je u slici prikazano pripada istom ontološkom redu; svemu je podarena jednaka pažnja; sve se međusobno zrcali, podudara i preklapa. Riječju, oblikovni, ikonografski i svjetonazorni aspekt objedinjeni su pripadajućom svrhovitošću tog motiva. Ključne riječi: Pjer Bonar, likovna poetika, prozor, format, panteističko slikarstvo. U muzeju su od svega najljepši prozori. Pjer Bonar Zacijelo će i površni promatrač pri susretu s monografskim pregledom Bonarovog (Pierre Bonnard) opusa primijetiti učestalost motiva prozora na njegovim slikama. Taj se motiv javlja u mnogim radovima koji su sačinjeni tijekom slikarovog šezdesetgodišnjeg stvaralaštva. Najčešće je riječ o interijerima koji uključuju i prikaz manjeg ili većeg isječka krajolika, sagledanog kroz prozorsko okno. Katkad je riječ o uobičajenim prozorima, ponekad o francuskome prozoru, katkad o vratima, a ponekad 169 TEORIJA I ISTORIJA UMETNOSTI/THEORY AND HISTORY OF ARTS pak o zrcalu, koje u kompozicijskoj razdiobi slikovne površine ima posve istu ulogu kao i prozorsko okno. Ono, naime, omeđujući dio slikovne površine stvara svojevrsnu sliku u slici. Bonar nerijetko usvaja oblikovnu funkciju kadriranja, odnosno uokviravanja, čak i u slučajevima kod kojih izostaje konkretni motiv prozora. To najčešće čini tako da rubne dijelove slike pretvara u bordure sačinjene od krošnji stabala, kavanskih tendi, zidova ulica. No, čak i kada nema oslonac u spomenutim motivima, on strukturu kompozicije često zasniva na grupiranju (odnosno razdvajanju) motivskih sastavnica, pri čemu se skupovi oblika doimaju kao virtualni okviri unutar slike. Neovisno o tim inačicama, funkcija prozorskog okna uvijek biva istom. Riječ je o posredništvu između vanjskog i unutarnjeg prostora, odnosno o posredništvu između samog prizora i dvodimenzionalne naravi slikovne površine (prozor je format, poput same slike). Motiv prozorskog okna nalikuje polupropusnoj membrani koja istodobno spaja i razdvaja prostorne planove i predmetne sadržaje. Kroz okno prozora pruža se pogled na trodimenzionalni svijet krajolika. U tom smislu, on je vizir kojim se pogled usmjerava u prostornu dubinu. Okvir okna, međutim, obnaša i estetsku funkciju sažimanja: on uokvirenim pojavnostima takorekuć oduzima dimenziju dubine, svodeći ih na plošne odnose dekorativnog reda (pr. 1 i 2). Bonarova sklonost afirmaciji plošne naravi slikovne površine potječe još iz razdoblja njegovog pripadništva Nabi (Les Nabis) grupi. Programatski stav članova grupe o nuždi sjedinjavanja umjetnosti i života naveo ih je da svoja djela integriraju u životni prostor svakodnevice. Dekorativne panoe, paravane za presvlačenje, naslovnice časopisa – jednako kao i same slike – oni su oblikovali na naglašeno dekorativan način, ističući plošnost površine stiliziranim oblicima lišenima reljefnih značajki. Proizašla iz takvog poimanja slikarske svrhovitosti, Bonarova poetika je i u poznim radovima zadržala srodna obilježja, iako lišena svog manifestnog, doktrinarnog aspekta. Upravo je motiv prozora slikaru pružio formativni okvir za diskretno uvođenje dekorativne teme u raznorodne žanrovske obrasce poput krajolika i interijera, mrtve prirode i portreta. S tog motrišta gledajući, slikarsko djelo i motiv prozora združeni su na osobiti način. Naime, slika je u tradicionalnom smislu bila poimanom upravo kao prozor. Prvenstvo uvođenja te prispodobe pripada Albertiju (Leon Battista Alberti). U svom glasovitome traktatu „O slikarstvu“ on je izrijekom bio upotrijebio tu usporedbu: „U početku na površini koju treba oslikati ucrtam četverokut pravih kutova, veličine koju hoću, koji mi služi kao otvoren prozor kroz koji se promatra prizor […]“ (Alberti, 2008: 73). U skladu s tim teorijskim prijedlogom, renesansna slikarska djela mahom su podražavala ideal prozorskog okna. Osebujnu likovnu estetiku koja je proizašla iz takvog ideala ovdje nećemo razmatrati. Dovoljno nam je istaknuti temeljni aspekt koji prispodoba prozora sa sobom nosi. Riječ je naprosto o prozirnosti kao osnovnom 170 TEORIJA I ISTORIJA UMETNOSTI/THEORY AND HISTORY OF ARTS perceptivnom svojstvu okna. Ono ne smije zastirati prizor koji se pruža iza njega, već ga svojom prozirnošću treba učiniti posve vidljivim. Ta se uloga slike u kontekstu povijesnog razvoja slikarstva postepeno mijenjala. Pikturalna, odnosno materijalna svojstva slikovne površine sve su više dolazila do izražaja, čime je spomenuti ideal postepeno gubio na značaju i utjecaju. U razvojnoj perspektivi slikarstva slika je u sve većoj mjeri postajala svijetom za sebe, objektom po sebi. No, u laika je i danas uvriježeno slikarsko djelo doživljavati kao prozor u svijet. Ukoliko se slika nalazi obješenom na zidu sobe građanskoga doma, ona nerijetko biva svojevrsnim nadomjestkom prozora. Slike koje ispunjaju te površine (u malograđanskoj sredini) uglavnom nastoje kompenzirati sivilo urbanih vizura. U tmurnoj svakodnevici cilj im je rastvoriti zidove u svijet koji se – u bližoj ili udaljenijoj, stvarnoj ili idealiziranoj projekciji – rasprostire iza njih. Tako stoji s većinom slika koje prikazuju krajolike. No, u biti, to je značajka svih onih djela koje podražavaju spomenuti ideal. Ona, dakle, nastoje promatrača (koji je uskraćen za stvarno sudjelovanje u prizoru koji ga privlači) doživljajno uvući u virtualni svijet i tako mu pružiti privid stvarnog iskustva. Za razliku od tog uvriježenog (uvjetno rečeno tradicionalnog) pristupa motivu krajolika, projekt moderne s kulminacijom u apstraktnom slikarstvu, nastojao je osujetiti mimetički privid pejzaža i uživljavanje utemeljeno u njemu. Umjesto da – po uzoru na prozorsko okno – slika bude tek nevidljivo sučelje koje svojom prozirnošću prizor čini vidljivim, sada sama površina slike postaje prijemčiva, i time znakovita. Prvo dolazi do stupnjevite interferencije – promatrač istodobno prikazanom prizoru vidi i način na koji je on prikazan (pinelatura, faktura površine, itd.). Zatim se sama površina razlaže na strukturne fasete koje razgrađuju opažajnu cjelovitost prizora (sintetizam Nabi grupe, koloristička rascjepkanost u fovista, kristalična fasetiranost analitičnog kubizma). U daljnjim razvojnim fazama moderne dolazi do postupnog obrtanja stupnja razlučivosti prikaza i sredstava kojima je on uprizoren. Prizor postaje sve manje mimetički razaznatljiv; istodobno s njegovom stilizacijom sama površina slike (zaslon prozorskog okna) u sve većoj mjeri zaokuplja promatračevu pažnju. Na koncu tog razvojnog puta, u razdoblju visoke moderne, zaslon okna – kažimo to tako – posve se zamutio. On više nije providan, nego svojom neprozirnošću zadržava pogled na površini. A ta je površina svedena na posve apstraktne oblike i njihove odnose. Ponekad je u njoj očuvano sjećanje na polazište prirodnog okoliša, od kojeg se postupnom redukcijom udaljila – Mondrian (Piet Mondrian), de Stal (Nicolas de Staël). Ponekad se pak površina slike svela na pojavni sukus krajolika, na protežnost koja kao da seže izvan našeg vidokruga – Njuman (Barnett Newman), Rotko (Mark Rothko). No, redovito je slika sâma postala svojevrsni „krajobraz“ koji promatrač razgleda u razloženosti njegove površine. Grinbergovim (Clement Greenberg) riječima 171 TEORIJA I ISTORIJA UMETNOSTI/THEORY AND HISTORY OF ARTS rečeno: „Dok su stari majstori stvarali iluziju prostora u kojem se moglo zamisliti sebe kako hodamo, iluzija koju su stvorili modernisti je iluzija u koju se može samo gledati, kroz nju putovati samo okom“ (Greenberg, 2003: 777). Taj pikturalni krajolik postao je nova stvarnost uvjetovana slikarskim medijem. Slika je postala zaseban, samosvojan svijet koji počiva na pretpostavci – štoviše imperativu – očuvanja bitne odlike slikovne površine: njene dvodimenzionalnosti. Prostornost treće dimenzije (u vidu prizora uokvirenoga prozorskim oknom) u plošnom svijetu ‘zamućenoga okna’ prestala je biti mimetičkim prividom. Ona je postala privilegijom kreativnog postupka, virtualnim efektom koji proizlazi iz dinamike specifičnog opažajnog kretanja po slikovnoj površini. Pokrenutost je bila ostvarena rezonancijom pulsirajućeg ritma boja, ritmičkim odnosima ostvarenima kontrastno uređenom razdiobom plohe. Odbacivši trompe-l’oeil kao iluzionističku varku oka, slikar je ipak bio kadar ovladati trećom dimenzijom, no sada tek kao optičkom sugestijom posve pikturalnih datosti.1 Još je samo jedan korak bio
Load more

Recommended publications
  • Haber, John. “Pure Plastic Painting.” Haberarts.Com. April 9, 2013
    Haber, John. “Pure Plastic Painting.” Haberarts.com. April 9, 2013. Christian Haub calls his constructions Floats, at Kathryn Markel through April 13, for they seem to float away from the wall. I like them almost as much for how firmly they hold. Haub constructs them from dyed acrylic, cast or cut into rectangular sheets. A separate strip, bolted to the wall, holds up the art, which can easily weigh twenty-five pounds. The work gains in mass from its typically vertical dimensions and repeated horizontals, but it looks ever so much lighter—and not just because of one’s expectations for plastics. I wanted to lift one off its mount and carry it away. It looks so light because it collects light, like oils. The work may sound like sculpture, but Haub is still painting. No wonder Jeremy Gilbert-Rolfe has compared him to both media, in Charles Biederman and Ilya Bolotowsky. Haub’s broadest acrylic sheets are most often opaque, the narrower strips nearly transparent, with the simplicity of red, yellow, and blue. Both are at once his canvas and his color fields. They also allow a third dimension to the vertical and horizontal fields, coming right out of the picture plane—but they are first and foremost colors. Seeing them as color has its danger, too, though. One might mistake the hard edges, right angles, asymmetry, and all-over compositions for Piet Mondrian in Lucite. After all, Mondrian’s movement did call itself Neo-Plasticism. That (or Burgoyne Diller’s stringent adaptations of Mondrian to Joe Strummer Float, 2013, 52 x 48 x 4 inches America) would miss the third dimension and the luminous.
    [Show full text]
  • New Editions 2012
    January – February 2013 Volume 2, Number 5 New Editions 2012: Reviews and Listings of Important Prints and Editions from Around the World • New Section: <100 Faye Hirsch on Nicole Eisenman • Wade Guyton OS at the Whitney • Zarina: Paper Like Skin • Superstorm Sandy • News History. Analysis. Criticism. Reviews. News. Art in Print. In print and online. www.artinprint.org Subscribe to Art in Print. January – February 2013 In This Issue Volume 2, Number 5 Editor-in-Chief Susan Tallman 2 Susan Tallman On Visibility Associate Publisher New Editions 2012 Index 3 Julie Bernatz Managing Editor Faye Hirsch 4 Annkathrin Murray Nicole Eisenman’s Year of Printing Prodigiously Associate Editor Amelia Ishmael New Editions 2012 Reviews A–Z 10 Design Director <100 42 Skip Langer Design Associate Exhibition Reviews Raymond Hayen Charles Schultz 44 Wade Guyton OS M. Brian Tichenor & Raun Thorp 46 Zarina: Paper Like Skin New Editions Listings 48 News of the Print World 58 Superstorm Sandy 62 Contributors 68 Membership Subscription Form 70 Cover Image: Rirkrit Tiravanija, I Am Busy (2012), 100% cotton towel. Published by WOW (Works on Whatever), New York, NY. Photo: James Ewing, courtesy Art Production Fund. This page: Barbara Takenaga, detail of Day for Night, State I (2012), aquatint, sugar lift, spit bite and white ground with hand coloring by the artist. Printed and published by Wingate Studio, Hinsdale, NH. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher.
    [Show full text]
  • Exploring an Art Paradigm and Its Legacy, Luxembourg & Dayan Presents the Shaped Canvas, Revisited with Works from 1959 - 2014
    For Immediate Release Media Contact Andrea Schwan, Andrea Schwan Inc. [email protected], +1 917 371.5023 EXPLORING AN ART PARADIGM AND ITS LEGACY, LUXEMBOURG & DAYAN PRESENTS THE SHAPED CANVAS, REVISITED WITH WORKS FROM 1959 - 2014 THE SHAPED CANVAS, REVISITED Luxembourg & Dayan 64 East 77th Street New York City May 11 – July 3, 2014 Opening Reception: Sunday, May 11th, 6-8PM New York, NY…In the early 1960s, the shaped canvas emerged as a new form of abstract painting that reflected the optimistic spirit of a postwar space-race era when such forms as parallelograms, diamonds, rhomboids, trapezoids, and triangles suggested speed and streamlined stylization. The shaped canvas is frequently described as a hybrid of painting and sculpture, and its appearance on the scene was an outgrowth of central issues of abstract painting; it expressed artists’ desire to delve into real space by rejecting behind-the- frame illusionism. The defining moment for the paradigm occurred in 1964 with The Shaped Canvas, an exhibition at the Solomon R. Guggenheim Museum, curated by influential critic Lawrence Alloway with works by Paul Feeley, Sven Lukin, Richard Smith, Frank Stella, and Neil Williams. Alloway’s show defined a key feature of abstraction and revealed the participating artists’ desire to overthrow existing aesthetic hierarchies. Half a century later, the shaped canvas remains robust in art, encompassing an array of approaches and provoking questions about the continued relevance of painting. Coinciding with the 50th anniversary of the Guggenheim Museum’s historic show, Luxembourg & Dayan will present The Shaped Canvas, Revisited, a cross-generational exhibition examining the enduring radicality of the painted shaped canvas and introducing such parallel movements as Pop Art and Arte Povera into discussion of the paradigm’s place in the history of modern art.
    [Show full text]
  • Annual Exhibition by the Society for Contemporary American Art
    Society for Contemporary Art 29th Annual Exhibition THE ART INSTITUTE OF CHJCA60 April 22, 1969 -June 1, 1969 Josef Albers Varient: Grey Turns Violet, 1958 Sidney Janis Gallery 2 Milton Avery Nude by Red Sea, 1942 Richard Gray Gallery 3 Francois & Bernard Baschet Musical Sculpture with Three Cones- Amiens (for percussion and/ or bow), 1967 Waddell Gallery 4 Mary Bauermeister Cross-out, 1967 Galeria Bonino 5 Fernando Botero El Nino, 1961 Anonymous 6 Allan D'Arcangelo Landscape Q, 1969 Fischbach Gallery 7 Jordan Davies Untitled, 1967 Phyllis Kind Gallery 8 Dominick Di Meo Opaque Hysteria, 1966-67 Fairweather Hardin Gallery 9 Helen Frankenthaler Four Color Space, 1966 Andre Emmerich Gallery 10 Paul Feeley Alphard, 1964 Betty Parsons Gallery 11 Frank Gallo Girl in Leather Hat, 1969 Gilman Galleries 12 Jack Harris White Whale, 1968 Lent by the Artist 13 AI Held B W y_, 1967-68 Andre Emmerich Gallery 14 Charles Hinman Kookaburra, 1969 Richard Feigen Gallery 15 David Hockney Hollywood Garden, 1967 landau-Alan Gallery 16 Robert Hudson Black lift Allan Frumkin Gallery 17 Donald Judd Untitled, 1968 leo Castelli Gallery 18 Alex Katz Rudy and Edwin, 1968 Phyllis Kind Gallery 19 Donald Kaufman Two Buttes, 1969 Richard Feigen Gallery 20 Ellsworth Kelly Red and White, 1966 Sidney Janis Gallery 21 Phillip King Slant, 1965 Richard Feigen Gallery 22 Nicholas Krushenick Outspan, 1968 The Pace Gallery 23 June leaf The American Box-A Tin Theater Allan Frumkin Gallery 24 Sol lewitt A9-B9 from Serial Project #1, 1966 Dwan Gallery, Inc. 25 Heinz Mack Forest of light, 1968 Kovler Gallery 26 Marisol Couple, 1965-66 Sidney Janis Gallery 27 Joan Mitchell La Seine (quadriptychl Martha Jackson Gallery 28 Robert Motherwell Untitled, 1966 Marlborough-Gerson Gallery Inc.
    [Show full text]
  • PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar Archive of Abstract Expressionist Art, 1913-2005
    PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Pavia, Philip, 1915-2005. Title: Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Call Number: Manuscript Collection No. 981 Extent: 38 linear feet (68 boxes), 5 oversized papers boxes and 5 oversized papers folders (OP), 1 extra oversized papers folder (XOP) and AV Masters: 1 linear foot (1 box) Abstract: Philip Pavia and Natalie Edgar archive of abstract expressionist art including writings, photographs, legal records, correspondence, and records of It Is, the 8th Street Club, and the 23rd Street Workshop Club. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2004. Additions purchased from Natalie Edgar, 2018. Citation [after identification of item(s)], Philip Pavia and Natalie Edgar archive of abstract expressionist art, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Russey and Elizabeth Stice, October 2009. Additions added to the collection in 2018 retain the original order in which they were received. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Philip Pavia and Natalie Edgar archive of abstract expressionist art, Manuscript Collection No.
    [Show full text]
  • The Shape of Painting in the 1960S Author(S): Frances Colpitt Source: Art Journal, Vol
    The Shape of Painting in the 1960s Author(s): Frances Colpitt Source: Art Journal, Vol. 50, No. 1, Constructed Painting (Spring, 1991), pp. 52-56 Published by: College Art Association Stable URL: http://www.jstor.org/stable/777086 Accessed: 19-12-2016 18:06 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Taylor & Francis, Ltd., College Art Association are collaborating with JSTOR to digitize, preserve and extend access to Art Journal This content downloaded from 128.112.225.81 on Mon, 19 Dec 2016 18:06:08 UTC All use subject to http://about.jstor.org/terms The Shape of Painting in the 1960s Frances Colpitt T he shaped canvas was the dominant form of abstract ited his selections to work having a "one-sided 'continuous painting in the 1960s. That optimistic, space-age surface,'"6 omitting artists such as Hinman (fig. 1). Also decade was especially appropriate for the charac- noting the exclusion of tondos and diamonds, the reviewer Jill teristic forms, enumerated by Lucy Lippard, of "parallelo- Johnson outlined the alternatives for the shaped canvas: grams, diamonds, rhomboids, trapezoids, triangles- Lukin's work was
    [Show full text]
  • 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.
    [Show full text]
  • SUBTEXTS: Creativity, Criminality, and the Secret Life of Paintings by Ed Mccormack (P
    AGALLERYPRIL/MAY 2006 www.galleryandstudiomagazine.com&STUDIO VOL. 8 NO. 4 New York The World of the Working Artist , 1948, Egg yolk tempera on masonite, 23 1/2 " x 17 1/2" (sight) Georgia Museum of Art, , 1948, Egg yolk tempera on masonite, 23 1/2 " x 17 University of Georgia; University purchase Copyright: The Estate of Paul Cadmus, Courtesy DC Moore Gallery Cadmus, Courtesy DC Estate of Paul The Copyright: purchase of Georgia; University University Paul Cadmus, Playground Paul SUBTEXTS: Creativity, Criminality, and the Secret Life of Paintings by Ed McCormack (p. 16) Vincent Arcilesi’s Earth Angel Graces the Whitney Biennial (p. 3) Anne Bachelier: Do Ya Think She’s Sexy? (p. 24) STEPHEN PACE JOHN GRILLO “Early and Recent Work: Recent Paintings and Paintings and Works on Paper, Watercolors 1950ʼs -2006” April 1 – 29, 2006 May 3 – 31, 2006 Catalogue Available KATHARINA RICH PERLOW GALLERY Contemporary Painting Sculpture Photography The Fuller Building, 41 East 57th Street, New York, NY 10022 Phone 212/644-7171 Fax 212/644-2519 Email [email protected] “Flaxen” (Detail) Thread and Wash on Paper 30" x 23" Thread and Wash “Flaxen” (Detail) GRETL BAUER APRIL 26 - MAY 20, 2006 PHOENIX GALLERY 210 ELEVENTH AVE. @ 25TH ST., SUITE 902 212-226-8711 WWW.PHOENIX-GALLERY.COM HRS. TUES. – SAT. 11-5:30 GALLERY&STUDIO APRIL/MAY 2006 “Hero” 47" x 35" 2005 Photo: Karen Bell ZARVIN SWERBILOV MAY 2 - MAY 20, 2006 530 West 25th St., 4th Fl, Chelsea, NYC, 10001 212 367 7063 Tues - Sat 11 - 6pm Sun. and Mon. by appt.
    [Show full text]
  • 2014.09.06+Charles+Hinman+CV
    MARC STRAUS Charles Hinman b. 1932 Lives and Works in New York SELECTED SOLO EXHIBITIONS 2013 Charles Hinman - 6 Decades. MARC STRAUS, New York 2012 MARC STRAUS, New York 2011 GEMS at the Butler Institute of American Art, Youngstown, OH, USA 2008 Butler Institute of American Art, Youngstown, OH, USA 2006-7 Butler Institute of American Art, Youngstown, OH, USA 2005 Wooster Art Space, New York, NY, USA 2004 Boca Raton Museum of Art Margot Stein Gallery, Lake Worth, FL, USA 2001-5 Landing Gallery, Boca Raton Museum of Art, Boca Raton, FL, USA 1999 Gallery Camino Real, Boca Raton, FL, USA Fairfield University Museum, Fairfield, CT, USA 1998 Bergen County Museum of Art, Paramus, NJ, USA 1995 Ewing Gallery, University Of Tennesee, Knoxville, TN, USA 1994 Georgia Museum of Art, Athens, GA, USA 1993 Chassie Post Gallery, Atlanta, GA, USA 1990-3 Douglas Drake Gallery, New York, NY, USA North Carolina State University Museum, Raleigh, NC, USA 1989 Virginia Lust Gallery, New York, NY, USA 1986-7 I. Irving Feldman Galleries, West Bloomfield, MI, USA 1985 Gallery 99, Bay Harbor Island, FL, USA 1984 I. Irving Feldman Galleries, Southfield, MI, USA 1983 Galleri Bellman, New York, NY, USA 1982 I. Irving Feldman Galleries, Sarasota, FL, USA 1981 Museum of Art, Fort Lauderdale, FL, USA Laguna Gloria Art Museum, Austin, TX, USA Medici-Berenson Gallery, Bay Harbor Island, FL, USA 1980 Everson Museum of Art, Syracuse, NY, USA 1979 Donald Morris Gallery, Detroit, MI, USA Grace Hokin Gallery, Chicago, IL, USA 1977 Grace Hokin Gallery, Palm Beach, FL, USA 1976
    [Show full text]
  • E Museum of Modern Art No. 12A for RELEASE: It 53 Street, New York, N.Y
    e Museum of Modern Art No. 12A FOR RELEASE: it 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Wednesday, February 17 I965 NEWLY ACQUIRED WORKS ON VIEW AT THE MUSEUM OF MODERN ART This year's exhibition of recently acquired paintings and sculpture at The Museum of Modern Art will be on view from February IT through April 11. The 73 works selected from those acquired by gift or purchase during the past two years are arranged in four main groupings: recent constructions utilizing light and motion; faces and figures; recent abstract painting and sculpture; and a gallery of works by older twentieth century artists including important paintings by Picasso and Matisse, a LSger mural, a bronze portrait by Lipchitz and a plaster head by Reuben Nakian. To these should be added paintings by Rothko and Sievan on the third floor. The works date from 1907 to I96U and are by tk artists from 12 countries. In addition 31 paintings and sculptures in the permanent exhibition of the Museum Collection on the second and third floors have been marked with red disks indicating that they were acquired recently and exhibited as accessions for the first time when the new galleries opened last May. They include major works by Redon, Denis, Feininger, Picasso, Rauschenberg and Segal, the great Mir6 mural painting in the Museum Main Hall, aad three capital pieces by Calder, Ferber and Ipousteguy in the Sculpture Garden. The gallery of faces and figures includes such diverse works as a 19^6 portrait by Dubuffet; a painting by Fausto Pirandello, son of the famous Italian playwright; two paintings by Thomas Mukarobgwa v£ Southern Rhodesia; thirty-year-old James Gill's tragic three^paneled painting Marilyn; Frank Gallo's polyester-resin sculpture of a girl in a sling chair; and paintings by Renato Guttuso, Joseph Hirsch, Sidney Goodman, Lester Johnson, and Tom Wesselmann's Great American Nude.
    [Show full text]
  • The ADAA Announces Program Highlights at the 2016 Edition of the Art Show
    The ADAA Announces Program Highlights at the 2016 Edition of The Art Show Images (left to right): Barbara Kasten, Architectural Site 15 , 1986, Cibachrome, Courtesy the artist and Bortolami, New York; Jules Olitski, Moon Momma , 1992, Acrylic on canvas. Courtesy Paul Kasmin Gallery, Licensed by VAGA, New York, NY; Henri Matisse, Femme à l’ombrelle , 1919, Oil on canvas board, Courtesy Acquavella Galleries, New York. Program Features Keynote Speech by Americans for the Arts President and CEO Robert Lynch and the Annual Art Show Gala ADAA Member Galleries Will Present Ambitious Solo Exhibitions, Group Shows, and New Works at The Art Show, March 2 – 6, 2016 New York, January 28, 2016 —The Art Dealers Association of America (ADAA) today announced program highlights of the 2016 edition of The Art Show. The nation’s most respected and longest-running art fair, will take place on March 2 -6, 2016 at the Park Avenue Armory in New York, with a Gala Preview on March 1 to benefit Henry Street Settlement . This year the ADAA is pleased to welcome Robert Lynch, President and CEO of Americans for the Arts, as The Art Show’s keynote speaker who will discuss the role of the arts in America’s economic landscape on Friday, March 4, at 6:00 p.m. Organized by the ADAA, a nonprofit membership organization of art dealers from around the country, The Art Show offers collectors, arts professionals, and the public the opportunity to engage with artworks of the highest quality through intimately scaled and thoughtfully curated exhibitions that encourage close looking and active conversation with gallerists.
    [Show full text]
  • The ADAA Announces Highlights of the 2016 Edition of the Art Show
    The ADAA Announces Highlights of the 2016 Edition of The Art Show ADAA Member Galleries Will Present Ambitious Solo Exhibitions, Group Shows, and New Works at The Art Show, March 2 – 6, 2016 Images (left to right): Barbara Kasten, Architectural Site 15, 1986, Cibachrome, Courtesy the artist and Bortolami, New York; Jules Olitski, Moon Momma, 1992, Acrylic on canvas. Courtesy Paul Kasmin Gallery, Licensed by VAGA, New York, NY; Henri Matisse, Femme à l’ombrelle, 1919, Oil on canvas board, Courtesy Acquavella Galleries, New York. New York, November 20, 2015—The Art Dealers Association of America (ADAA) today announced highlights of the 72 presentations at the 2016 edition of The Art Show. The nation’s most respected and longest-running art fair will take place on March 2-6, 2016 at the Park Avenue Armory in New York, with a Gala Preview on March 1 to benefit Henry Street Settlement. Selected from over 100 proposals from ADAA member galleries, this year’s presentations include ambitious solo exhibitions, thought-provoking group shows, and new works presented for the first time—providing audiences a rich selection of works from the late 19th century through today by artists of a variety of genres, practices, and national and international origin. Organized by the ADAA, a nonprofit membership organization of art dealers from around the country, The Art Show offers collectors, arts professionals, and the public the opportunity to engage with artworks of the highest quality through intimately scaled and thoughtfully curated exhibitions that encourage close looking and active conversation with art experts. Notable solo exhibitions for The Art Show 2016 include a joint presentation by Marianne Boesky Gallery and Dominque Levy Gallery of painting, drawing, and sculpture by Frank Stella, and early work by Marilyn Minter presented by Salon 94.
    [Show full text]