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Biography [PDF]
NICELLE BEAUCHENE GALLERY THE GEE’S BEND QUILTMAKERS Live and work in Boykin, AL EXHIBITION HISTORY 2020-21 In the Presence of Our Ancestors: Southern Perspectives in African American Art, Minneapolis Institute of Art, Minneapolis, MN (forthcoming) 2020 The Gee’s Bend Quiltmakers, Alison Jacques Gallery, London, UK (forthcoming) Power in My Hand: Celebrating Women’s Suffrage, Palmer Museum of Art at Penn State University, University Park, PA My Way: The Gee’s Bend Quiltmakers and Contemporary Abstraction, Parts & Labor Beacon, Beacon, NY Out of Place: A Feminist Look at the Collection, Brooklyn Museum, Brooklyn, NY Trip to the Mountaintop: Recent Acquisitions from the Souls Grown Deep Foundation, Toledo Museum of Art, Toledo, OH We Will Walk: Art and Resistance in the American South, Turner Contemporary, Margate, UK Souls Grown Deep: Artists of the African American South, Philadelphia Museum of Art, Philadelphia, PA The Power of She: A Permanent Collection Exhibition, Myrtle Beach Art Museum, Myrtle Beach, SC 2019-20 The Quilt’s of Gee’s Bend, New Orleans Museum of Art, New Orleans, LA A Different Mountain: Selected Works from The Arnett Collection, Marlborough Gallery, New York, NY 2019 Women of Gee’s Bend, Cincinnati Art Museum, Cincinnati, OH Cosmologies from the Tree of Life: Art from the African American South, Virginia Museum of Fine Arts, Richmond, VA 2018-19 Outliers and American Vanguard Art, National Gallery of Art, Washington, D.C. (Jan-May 2018); High Museum of Art, Atlanta, GA (Jun-Sept 2018); Los Angeles County Museum of -
Introduction*
Introduction* CLAIRE GILMAN If Francesco Vezzoli’s recent star-studded Pirandello extravaganza at the Solomon R. Guggenheim Museum and the Senso Unico exhibition that ran con- currently at P.S.1 Contemporary Art Center are any indication, contemporary Italian art has finally arrived.1 It is ironic if not entirely surprising, however, that this moment occurs at a time when the most prominent trend in Italian art reflects no discernible concern for things Italian. Rather, the media-obsessed antics of Vezzoli or Vanessa Beecroft (featured alongside Vezzoli in Senso Unico) are better understood as exemplifying the precise eradication of national and cultural boundaries that is characteristic of today’s global media culture. Perhaps it is all the more fitting, then, that this issue of October returns to a rather different moment in Italian art history, one in which the key practition- ers acknowledged the invasion of consumer society while nonetheless striving to keep their distance; and in which artists responded to specific national condi- tions rooted in real historical imperatives. The purpose of this issue is twofold: first, to give focused scholarly attention to an area of post–World War II art history that has gained increasing curatorial exposure but still receives inadequate academic consideration. Second, in doing so, it aims to dismantle some of the misconceptions about the period, which is tra- ditionally divided into two distinct moments: the assault on painting of the 1950s and early ’60s by the triumverate Alberto Burri, Lucio Fontana, and Piero Manzoni, followed by Arte Povera’s retreat into natural materials and processes. -
February 16, 2008 Luhring Augustine Is Pleased to Present Red Sky, A
FOR IMMEDIATE RELEASE Red Sky January 12 – February 16, 2008 Luhring Augustine is pleased to present Red Sky, a group exhibition featuring painting, sculpture and installation by eight key artists associated with the Arte Povera movement. The exhibition includes work by Alighiero e Boetti, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Giulio Paolini, Michelangelo Pistoletto and Gilberto Zorio. The term arte povera translates to poor art, but the movement as a whole encompassed far more than the use of humble materials. During the sixties and seventies, several young artists based in Italy strove to create work in a spirit of experimentation and openness. The loosely defined movement was coined Arte Povera by the prominent art critic and curator Germano Celant in 1967. In response to art historical tradition and the slick commercialism of the day, these artists turned instead to organic and industrial materials and employed unconventional methods of art- making. Recurrent themes include metamorphosis, alchemy, entropy and relational aesthetics resulting in works which emphasize the metaphysical, the symbolic and the poetic. Alighiero e Boetti’s work is often defined by systematic mark-making reflecting his interest in order and logic. For example, uno2due3tre4quattroecc is rendered on graph paper and the multiplication of black squares appears to follow a precise mathematical formula. The works of Gilberto Zorio include his trademark motifs of star and javelin, both of which are archetypal symbols suggestive of purity, energy and movement. Pier Paolo Calzolari’s Untitled installation involves a metallic grid frozen over time and is characteristic of Calzolari’s use of machinery, neon and freezing elements to explore the notion of transformation. -
Don't Miss Magazzino's Re-Opening! Published on Iitaly.Org (
Don't Miss Magazzino's Re-Opening! Published on iItaly.org (http://www.iitaly.org) Don't Miss Magazzino's Re-Opening! I. i. (March 02, 2018) Magazzino's latest exhibition "Arte Povera: From the Olnick Spanu Collection" presents a comprehensive overview on the artistic practice of 12 artists associated with the Italian Arte Povera movement such as Giovanni Anselmo, Alighiero Boetti, Pierpaolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto and Gilberto Zorio. This exhibition represents the Olnick Spanu Collection's [2]core of Post-war Italian art, allowing the space to be an environment solely devoted to this generation of Italian artists. Their work came at a defining moment in the 1960s, as Italy was transitioning into an era of Page 1 of 2 Don't Miss Magazzino's Re-Opening! Published on iItaly.org (http://www.iitaly.org) burgeoning industrialization, student rebellion, and a decline of the “economic miracle” of the 1950s allowed by the Marshall Plan [3]. The artists aimed to eradicate the boundaries between media as well as between nature and art, their mantra was “Art is Life.” The term Arte Povera, coined by art critic Germano Celant [4]in 1967 to mean "impoverished art," grew out of the radical stance artists were taking in response to their dissatisfaction with the values established by political, industrial and cultural institutions in Italy. Following the movement’s inception by Celant, 1968 was a year of seismic social and political change across the globe which percolated into the time's art scene. -
Museo D'arte Contemporanea
MUSEO D’ARTE CONTEMPORANEA Piazza Mafalda di Savoia - 10098 Rivoli (Torino) - Italia tel. +39/011.9565222 – 9565280 fax +39/011.9565231 e-mail: [email protected] – www.castellodirivoli.org Le Collezioni del Castello di Rivoli Museo d’Arte Contemporanea Le Collezioni del Castello di Rivoli Museo d’Arte Contemporanea includono opere dei principali artisti italiani e internazionali che hanno dato forma all’evoluzione dell’arte contemporanea, dagli anni sessanta al presente. Dal 1984, anno di nascita del Museo, per volontà in primis della Regione Piemonte, le collezioni sono cresciute in dialogo organico con l’attività espositiva e si sono costantemente arricchite grazie ad acquisizioni, donazioni e comodati. Dopo le mostre di esordio Ouverture, che hanno tracciato una prima ipotesi di Collezione, le prime acquisizioni sono state formalizzate nel 1986, con opere quali Yurupari – Stanza di Rheinsberg (1984) di Lothar Baumgarten, Casa di Lucrezio (1981) di Giulio Paolini, Persone Nere (1984) di Michelangelo Pistoletto. Tra i capolavori della Collezione figurano Ambiente Spaziale (1967) di Lucio Fontana, Novecento (1997), l’opera iconica di Maurizio Cattelan e la Venere degli Stracci (1967) di Pistoletto, che sono diventate fondamentali nella costruzione dell’identità del Museo. Negli anni successivi, il costante impegno degli Amici del Castello di Rivoli, gruppo composto da collezionisti e mecenati italiani e internazionali, ha contribuito ad accrescere le opere di proprietà del Castello. Dal 2000, la storia delle Collezioni è inoltre scandita dal ruolo svolto dalla Fondazione CRT per l’Arte Moderna e Contemporanea. Il costante impegno della Fondazione contribuisce alla crescita delle Collezioni del Castello di Rivoli attraverso l’acquisizione di opere date in comodato, su proposta del direttore del Museo e avvalendosi di un comitato scientifico. -
Episode 4 What Is Art?
Every effort has been made to provide correct and accurate information. The institutions and artists have generously granted permission to use their images. They hold the copyrights to their images. For personal use only. For permission to reproduce multiple copies, please contact us at [email protected]. Episode 4 What is Art? Floral Still Life Jacob van Walscapelle 1682 Oil on canvas 40 ¼" x 35 ³⁄₁₆" Gift of Eleanor Bingham Miller and Barry Bingham, Sr. in honor of Mary Caperton Bingham Item number 1987.1 The Speed Art Museum Louisville, Kentucky www.speedmuseum.org Venus de' Medici Joel Tanner Hart 1873 Marble 61 ⅞" x 18 ⅜" x 20 ¼" Gift of the Louisville Free Public Library Conservation funded by The Alliance of The Speed Art Museum Item number 1996.9.1 The Speed Art Museum Louisville, Kentucky www.speedmuseum.org © 2011 The Kentucky Quilt Project, Inc. All rights reserved. www.whyquiltsmatter.org Page 1 of 19 July at Noon in Umbria Billy Hertz 2004 Oil on paper on panel 29" x 20" www.billyhertzgallery.com Dish Workshop of the Fontana family After designs by Battista Franco c. 1560 Maiolica 2 ⅜" x 17 ⁷⁄₁₆" Bequest from the Preston Pope Satterwhite Collection; conservation funded by Mr. & Mrs. William O. Alden, Jr., 2002 Item number 1949.30.244 The Speed Art Museum Louisville, Kentucky www.speedmuseum.org Blighted Kay Polson Grubola 2010 Hawthorn leaves, silk chiffon, thread 22 ¾" x 15 ¾" www.grubola.com Subduction Caldron Walter Hyleck 2007 Ceramic, black earthenware, deflocculated slip, ash glaze, slate, oak 14" x 14" x 12" Courtesy of the Kentucky Museum of Art & Craft Louisville, Kentucky www.kentuckyarts.org © 2011 The Kentucky Quilt Project, Inc. -
The Kunstmuseum Liechtenstein Presents the Historic Years of the Arte Povera with More Than 130 Works
The Kunstmuseum Liechtenstein presents the historic years of the Arte povera with more than 130 works >“What is to be done?” asks the large scale Arte povera exhibition which the Kunstmuseum Liechtenstein has realized for its 10 year anniversary. The exhibition focuses on the time between 1967 and 1972 and includes works by all principal artists of the Arte povera movement. The artists of the Arte povera movement sought to bridge the gap between art and life, expanding consciousness by reducing the distance between the artwork and the spectator. The familiar, ordinary things that we tend to regard as worthless were to be rediscovered as new, art-worthy materials; previously neglected everyday items were to be transformed into meaningful works of art. The new art was to be more simple and more modest in its means, and more authentic in its materials. In this way, Arte povera was to open up a poetic and sensual window on the world and the energies behind all that exists, creating metaphors of the life-force that flows from primor- dial sources – metaphors, above all, of the spiritual energies that seek to change rigid structures. The exhibition centres around the leading topics of the Arte povera: time, the history of the earth, energy and alchemy. Che fare? Arte povera includes works by Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Piero Gilardi, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto, Emilio Prini, Salvo and Gilberto Zorio. Many of the works shown will be from the collection of the museum. -
Curators' Choice on Art and Politics
Curators’ Choice on Art and Politics Experts from the Metropolitan Museum of Art and the Museum of Fine Arts, Boston, choose their favorite works with a political message. By Ted Loos March 9, 2020 “Vote Quilt” (1975) by Irene Williams Pamela Parmal, chair of textile and fashion arts Quilts such as this example by Irene Williams of Gee’s Bend, Ala., are a reminder of how women, primarily restricted to the domestic sphere, have often turned to needlework to express themselves. We can only speculate that in using the VOTE fabric, Irene Williams might be recalling her community’s struggle over voting rights during the tumultuous civil rights movement of the 1960s. But as Williams understood, it is only by making our voices heard that we can move toward greater understanding and create change. Hanging trees and hollering ghosts: the unsettling art of the American deep south The porch of artist Emmer Sewell. Photograph: © Hannah Collins From lynching and slavery to the civil rights movement, Alabama’s artists expressed the momentous events they lived through – as a landmark new exhibition reveals Lanre Bakare Wed 5 Feb 2020 The quilters of Gee’s Bend make art out of recycled cloth. Lonnie Holley crafts sculptures out of car tyres and other human detritus. Self-taught luthier Freeman Vines carves guitars out of wood that came from a “hanging tree” once used to lynch black men. The “yard shows” of Dinah Young and Joe Minter are permanent exhibitions of their art – a cacophony of “scrap-iron elegies”. Almost all of this art comes from Alabama, and it all features in We Will Walk, Turner Contemporary’s groundbreaking new exhibition of African-American art from the southern state and its surroundings. -
LUCIANO FABRO Biography
P A U L AC O O P E R G A L L E R Y LUCIANO FABRO Biography Born. 1936. Turin, Italy Died: 2007. Milan, Italy Awards: 2004 Accademico d’onore, Accademia di Belle Arti, Florence, 2004 1994 Coutts Contemporary Art Award, Zurich 1994 1993 Premio Antonio Feltrinelli awarded by the Accademia Nazionale dei Lincei, Rome, 1993 1987 Sikkens Prize given by the Sikkens Stichting, Rotterdam, 1987 1983 Art Prize, Aachen, given by The Ludwig Forum, Aachen, 1983 1981 Louis-Price Award, 1981 Teaching: Accademia di Belle Arti di Carrara, Carrara, Italy 1979 - 1982 Accademia di Belle Arti di Brera, Milan, Italy 1983 - 2002 Selected One-Person Exhibitions: 2019 C’est la vie, Casamadre arte contemporanea Gallery, Naples, Italy 2017 Luciano Fabro, Simon Lee Gallery, London, UK 2016 Luciano Fabro, Micheline Szwajcer Gallery, Bruxelles, Belgium 2015 Luciano Fabro, Marian Goodman Gallery, New York Fabro, Christian Stein Gallery, Milan, Italy Fabro, Casamadre arte contemporanea Gallery, Naples, Italy 2014 Luciano Fabro, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain 2013 Luciano Fabro. Disegno In-Opera, GAMeC, Galleria d’Arte Moderna e Contemporanea, Bergamo, Italy; Centro Italiano Arte Contemporanea (CIAC), Foligno, Italy Luciano Fabro: 100 disegni, Kunstmuseum Winterthur, Zurich, Switzerland 2009 À Luciano Fabro, Progetti Gallery, Rio de Janeiro, Brazil 2008 Permanent installation: Il cielo di Gennaro, Museo d’Arte Contemporanea Donnaregina (MADRE), Naples, Italy 2007 Luciano Fabro e amici, Galerie Lelong, Zurich, Switzerland Luciano Fabro, Didactica Magna Minima Moralia, Museo d’Arte Contemporanea Donnaregina (MADRE), Naples, Italy Preview: Colonna di Genk, Bonnefantenmuseum, Maastricht, Netherlands 524 WEST 26TH STREET, NEW YORK, NEW YORK 10001 TELEPHONE 212.255.1105 FACSIMILE 212.255.5156 P A U L AC O O P E R G A L L E R Y 2005 Permanent installation: Il cielo di Gennaro, Museo d’Arte Contemporanea Donnaregina (MADRE), Naples, Italy Permanent installation: Luciano Fabro. -
At the Met, a Riveting Testament to Those Once Neglected
JAMES FUENTES 55 Delancey Street New York, NY 10002 (212) 577-1201 [email protected] ART REVIEW At the Met, a Riveting Testament to Those Once Neglected History Refused to Die NYT Critic's Pick By Roberta Smith May 24, 2018 Thornton Dial’s two-sided relief-painting-assemblage, “History Refused to Die” (2004), also gives this Metropolitan Museum of Art exhibition its title. His work is in conversation with quilts by, from left, Linda Pettway (“Housetop,” circa 1975); Lucy T. Pettway (“Housetop” and “Bricklayer” blocks with bars, circa 1955); and Annie Mae Young (“Work-clothes quilt with center medallion of strips,” from 1976).Credit2018 Estate of Thornton Dial/Artists Rights Society (ARS), New York; Agaton Strom for The New York Times JAMES FUENTES American art from the 20th and 21st centuries is broader, and better than previously acknowledged, especially by museums. As these institutions struggle to become more inclusive than before, and give new prominence to neglected works, they rarely act alone. Essential help has come from people like William Arnett and his exemplary Souls Grown Deep Foundation. Their focus is the important achievement of black self-taught artists of the American South, born of extreme deprivation and social cruelty, raw talent and fragments of lost African cultures. The foundation is in the process of dispersing the entirety of its considerable holdings — some 1,200 works by more than 160 artists — to museums across the country. When it is finished, it may well have an impact not unlike that of the Kress Foundation, which from 1927 to 1961 gave more than 3,000 artworks to 90 museums and study collections. -
Lumley, Robert Habitable Art: in and Around Piero Gilardi
Lumley, Robert Habitable Art: In and Around Piero Gilardi Main Image: Installation view,“Gilardi, Piacentino, Pistoletto. Arte Abitabile”, Galleria Sperone, Torino, June-July 1966 © Gian Enzo Sperone, Courtesy Sperone Westwater, New York My purpose is very simple - to situate Piero Gilardi as a key figure at the genesis of what has come to be known as Arte Povera. Recently light has been thrown on a phase when Gilardi was a mercurial weaver of networks connecting artists across Europe and North America in the late 1960s, a moment marked by two landmark exhibitions of 1969. Christian Rattemeyer's Exhibiting the New Art: 'Op Losse Schroeven' and 'When Attitudes Become Form' 1969 contains interviews that point clearly to Gilardi's role as go- between, including Francesco Manacorda's interview with Gilardi himself[1]. Less attention, however, has been paid to Gilardi's practice as an artist who was very much part of the art scene in Turin that by 1968 included not only members of an older generation, such as Mario Merz then aged 43, but young artists in their early twenties, such as Giovanni Anselmo, Alighiero Boetti, Gianni Piacentino, and Gilberto Zorio. In Germano Celant's account Pre-cronistoria, 1966-69, the year 1966 is treated as a watershed: in New York there were two exhibitions that marked both the affirmation of Minimalism and the emergence of Post-Minimalism, notably 'Primary Structures' at the Jewish Museum and 'Eccentric Abstraction' at the Fischbach Gallery. Meanwhile in Turin there was the exhibition 'Arte Abitabile' at the Gian Enzo Sperone Gallery[2]. Much, of course, has been written about the New York shows. -
Sol Lewitt Biography
SOL LEWITT BIOGRAPHY BORN 1928-2007, Hartford, CT SELECTED SOLO EXHIBITIONS 2018 By Hand: Sol LeWitt; The Mattatuck Museum; Waterbury, CT Sol LeWitt Wall Drawings: Expanding a Legacy; Yale University Art Gallery; New Haven, CT Sol LeWitt: Between the Lines; Fondazione Carriero; Milan, Italy Sol LeWitt: Progression Towers ; Miami Design District & Institute of Contemporary Art; Miami, FL Sol LeWitt; Honor Fraser; Los Angeles, CA Sol LeWitt: 1 + 1 = 1 Million; Vito Schnabel Gallery; St. Moritz, Switzerland Sol LeWitt: Large Gouaches; Paula Cooper Gallery; New York, NY 2016 Sol LeWitt; Paula Cooper Gallery; New York, NY Sol LeWitt; Cardi Gallery; Milan, Italy Sol LeWitt: Seven Weeks, Seven Wall Drawings; Barbara Krakow Gallery; Boston, MA 2015 Soll LeWitt in Connecticut; James Barron; Kent, CT Sol LeWitt: 17 Wall Drawings 1970-2015; Fundacion Botin; Santander, Spain Sol LeWitt; Noire Gallery; Cappella del Brichetto, San Sebastiano, Italy Sol LeWitt: Wall Drawings, Grids on Color; Konrad Fischer Galerie; Dusseldorf, Germany Sol LeWitt: Wall Drawings, Grids on Black and White; Konrad Fischer Galerie; Berlin, Germany Sol LeWitt: Structures & Related Works on Paper 1968-2005; Barbara Krakow Gallery; Boston, MA Sol LeWitt: 40 Years at Annemarie Verna Gallery Part I; Annemarie Verna; Zurich, Switzerland Sol LeWitt; GalerÃa Elvira González; Madrid, Spain 2014 Sol LeWitt: Creating Place; Asheville Art Museum; Asheville, NC Sol LeWitt: Wall Drawing #370; The Metropolitan Museum of Art; New York, NY Sol LeWitt: Your Mind is Exactly at that Line; Art Gallery of New South Wales; Sydney, Australia Sol LeWitt: Prints; Pace Prints; New York, NY Sol LeWitt: Horizontal Progressions; Pace Gallery; New York, NY 2013 Sol LeWitt: Cut Torn Folded Ripped; James Cohan Gallery; New York, NY Sol LeWitt: Shaping Ideas; Laurie M.