Stedelijk Museum 1957-1984 176 Exhibition Catalogues L’ARENGARIO STUDIO BIBLIOGRAFICO Via Pratolungo 192 - 25064 Gussago BS - Italia Tel

Total Page:16

File Type:pdf, Size:1020Kb

Stedelijk Museum 1957-1984 176 Exhibition Catalogues L’ARENGARIO STUDIO BIBLIOGRAFICO Via Pratolungo 192 - 25064 Gussago BS - Italia Tel Stedelijk Museum 1957-1984 176 exhibition catalogues L’ARENGARIO STUDIO BIBLIOGRAFICO Via Pratolungo 192 - 25064 Gussago BS - Italia tel. ++390302522472 - fax ++390302522458 mail: [email protected] - website: www.arengario.it Instagram - Facebook: @arengariostudiobibliografico A.L.A.I. Associazione Librai Antiquari d’Italia I.L.A.B. International League Antiquarian Booksellers Stedelijk Museum 1957-1984 176 exhibition catalogues a cura di Andrea Bono graphic design di Valentino Tonini 1. SANDBERG Willem (Jonkheer Willem Jacob Henri Berend Sandberg, Amersfoort 1897 - Amster- dam 1984) - GKF [Federatie van Beroepsverenigingen van Kunstenaars], Hand en machine, 1957 (maggio), 25,8x19 cm., brossura, pp. 28 n.n., copertina illustrata in rosa e cobalto su fondo bianco e impaginazione di Willem Sandberg, 40 illustrazioni b.n. n.t. con riproduzioni di manufatti. Testo di Bert Schierbeek. In appendice nomi e indirizzi degli artisti operanti nei diversi campi del design, dall’arre- damento, alla fotografia, alla grafica. Il catalogo documenta la mostra organizzata in occasione del 12° anniversario della liberazione dell’Olanda, a cura del GKF (Federatie van Beroepsverenigingen van Kun- stenaars / Federazione delle Associazioni dei Designers). Questa mostra, curata da Wim Brusse, è una anticipazione della partecipazione dell’Olanda (il cui padiglione sarà allestito da G. Rietveld) alla Trienna- le di Milano 1957 e costituisce un importante tentativo di mettere in comunicazione i diversi ambiti delle arti decorative. Catalogo originale della mostra (Amsterdam, Stedelijk Museum, 5 maggio 1957). € 180 2. VAN DEN BERGHE Frits (Gand, Belgio 1883 - Gand, Belgio 1939), Frits van den Berghe, 1957, 25,9x18,9 cm, punto metallico, pp. [36], copertina illustrata con un’immagine fotografica a colori. Cata- logo illustrato con 28 immagini in bianco e nero (riproduzioni fotografiche di opere). Testo in olandese di Em. Langui (Inlelding). Edito in occasione della mostra (Amsterdam, Stedelijk Museum, 15 febbraio - 18 marzo 1957). Catalogo nr. 165. € 30 3. GUSTON Philip [Philip Goldstein] (Montréal, Canada 1913 - Woodstock, New York 1980), Philip Guston, 1962, 25,8x18,9 cm, punto metallico, pp. [16], copertina illustrata con un’immagine fotografica a colori. Catalogo illustrato con 8 immagini a colori (riproduzioni fotografiche di opere). Un testo in olan- dese dell’artista (Uitspraken). Impaginazione e design a cura di Willem Sandberg. Edito in occasione della mostra (Amsterdam, Stedelijk Museum, 20 settembre - 15 ottobre 1962). Catalogo nr. 317. € 60 4. VERHULST Hans (Steenbergen, Paesi Bassi 1921 - 2005), Verhulst, 1962, 25,1x15,2 cm (chiuso) 44,2x60 cm (aperto), catalogo / poster ripiegato in otto parti; illustrato con 11 immagini in bianco e nero. Testo in olandese di A. M. Hammacher (s.t.). Impaginazione e design a cura di Willem Sandberg. Edito in occasio- ne della mostra (Amsterdam, Stedelijk Museum, 21 settembre - 22 ottobre 1962). Catalogo nr. 316. € 40 5. DEFESCHE Pieter (Maastricht, Paesi Bassi 1921 - Ulestraten, Paesi Bassi 1998), Pieter Defesche, 1963, 25,8x18,9 cm, punto metallico, pp. [16], copertina illustrata con un disegno al tratto stampato a colori. Catalogo illustrato con 13 immagini in bianco e nero (riproduzioni fotografiche di opere). Edito in occasione della mostra (Amsterdam, Stedelijk Museum, 3 maggio - 3 giugno 1963). Catalogo nr. 336. € 40 6. DIEDEREN Jef (Heerlen 1920 - Amsterdam 2009), Jef Diederen, 1963, 25,9x19 cm, punto metallico, pp [12], copertina illustrata con un disegno al tratto nero su fondo verde e titolo in bianco. Catalogo illu- strato con 7 immagini in bianco e nero e 2 a colori (riproduzioni fotografiche di opere). Un testo in olan- dese di Bert Schierbeek (s.t.). Impaginazione e design a cura di Wim Crouwel GKf-AGI (TD). Edito in oc- casione della mostra (Amsterdam, Stedelijk Museum, 3 maggio - 2 giugno 1963). Catalogo nr. 334. € 40 7. HARTUNG Hans (Lipsia 1904 - Antibes 1989), Hartung, 1963, 27,4x18,4 cm, brossura, pp. [44], co- pertina illustrata con una composizione tipografica in verde su sfondo blu. Catalogo illustrato con 32 im- magini in bianco e nero (riproduzioni fotografiche di opere e un ritratto dell’artista). Estratti in olandese di una conversazione fra H. Hartung e Dr. Werner Hofmann avvenuta il 14 marzo 1963 al Museum des 20. Jahrhunderts di Vienna. Impaginazione e design a cura di Wim Crouwel (TD Associatie). Edito in occasione della mostra (Amsterdam, Stedelijk Museum, 12 dicembre 1963 - 26 gennaio 1964). Catalogo nr. 349. € 80 8. ARMAN [Armand Pierre Fernandez] (Nizza 1928 - New York 2005), Arman, 1964, 27,4x18,4 cm, bros- sura, pp. [26], copertina tipografica con intesto di Yves Klein in francese stampata in nero su fondo rosso. Catalogo illustrato con 14 immagini in bianco e nero e 1 monocolore rossa (riproduzioni fotografiche di opere). Testi in francese di Pierre Restany (Arman et la logique formelle de l’objet), Arman (s.t.) e Claude Pascal (Introduction à la peinture d’Arman). Impaginazione e design a cura di Wim Crouwel (Gif AGI TD Associatie). Allegati 5 fogli pinzati con le traduzioni dei testi dal francese all’olandese. Edito in occasione della mostra (Amsterdam, Stedelijk Museum, 22 settembre - 2 novembre 1964). Catalogo nr. 365. € 100 9. DIEDEREN Jef (Heerlen 1920 - Amsterdam 2009) - CROUWEL Wim (Groningen 1928), Jef Diede- ren, 1964, 27,5x18,4 cm, punto metallico, pp. [8], copertina illustrata con una composizione tipografica in nero su sfondo rosso. Catalogo illustrato con 3 riproduzioni fotografiche di opere a colori. Testi in olandese Bert Schierbeek tratti dal suo libro “Ezel mijn bewoner” del 1963. Impaginazione e design a cura di Wim Crouwel (TD Associatie). Edito in occasione della mostra (Amsterdam, Stedelijk Museum, 6 novembre - 14 dicembre 1964). Catalogo nr. 368. € 30 10. HOFLEHNER Rudolf (Linz 1916 - Colle di Val d’Elsa 1995), Rudolf Hoflehner, 1964, 27,5x18,5 cm, brossura, pp. [20], copertina illustrata in bianco e nero. Catalogo illustrato con 10 immagini in bianco e nero (riproduzioni fotografiche di opere e un ritratto dell’artista). Testo in olandese di Werner Hofmann (s.t.). Impaginazione e design a cura di Wim Crouwel (TD Associatie). Edito in occasione della mostra (Amsterdam, Stedelijk Museum, 4 febbraio - 4 marzo 1964). Catalogo nr. 353. € 40 11. HUNDERTWASSER Friedensreich (Wien 1928 - Oceano Pacifico 2000) - CROUWEL Wim (Gro- ningen 1928), Hundertwasser, 1964, 27,5x18,5 cm, brossura, pp. [32], copertina tipografica a colori. Catalogo illustrato con 12 riproduzioni fotografiche di opere a colori. Testi in olandese e tedesco di Wie- land Schmied (Hundertwasser) e Hundertwasser (testo tratto da “Verschimmelungsmanifest gegen den Rationalismus in der Architektur, 1958” / Das Farben-Gedicht). Impaginazione e design a cura di Wim Crouwel. Edito in occasione della mostra (Amsterdam, Stedelijk Museum, 23 ottobre - 7 dicembre 1964. Catalogo nr. 367. € 60 12. JENSEN Alfred (Guatemala City 1903 - Livingston 1981), Alfred Jensen, 1964, 27,4x18,4 cm, punto metallico, pp. [16], copertina illustrata con un’immagine fotografica monocolore rossa e titolo in bianco. Catalogo illustrato con 6 immagini in bianco e nero e 3 a colori (riproduzioni fotografiche di opere). Intro- duzione in olandese di E. W. Kornfeld. Impaginazione e design a cura di Wim Crouwel Gkf-AGI (TD As- sociatie). Edito in occasione della mostra (Amsterdam, Stedelijk Museum, 15 maggio - 15 luglio 1964). Catalogo nr. 362. € 40 13. KROP Hildo [Hildebrand Lucien Krop] (Steenwijk, Paesi Bassi 1884 - Amsterdam, Paesi Bassi 1970), Hildo Krop, 1964, 27,4x18,4 cm, brossura, pp. [24], copertina illustrata con un’immagine fotogra- fica in bianco e nero e titolo bianco. Catalogo illustrato con 20 immagini in bianco e nero (riproduzioni fotografiche di opere). Testi in olandese di J. Voetelink (Steenwijk, january 1964) e L. P. J. Braat (Hildo Krop en de nederlandse beeldhouwkunst). Impaginazione e design a cura di Wim Crouwel GKf AGI (TD Associatie). Edito in occasione della mostra (Amsterdam, Stedelijk Museum, 24 aprile - 24 maggio 1964). Catalogo nr. 360. € 30 14. MICHAUX Henri (Namur 1899 - Parigi 1984) - CROUWEL Wim (Groningen 1928), Henry Michaux, 1964, 27,5x18,5 cm, brossura, pp. [72], copertina illustrata a colori. Catalogo illustrato con 25 immagini in bianco e nero e 8 a colori (riproduzioni fotografiche di opere). Testi e poesie in francese e olandese di Geneviève Bonnefoi (Parij, november 1963), René Bertelé (Henri Michaux poète et peintre / Henri Mi- chaux, dichter en schilder) e Henri Michaux (poesie s.t.). Impaginazione e design a cura di Wim Crouwel (TD Associate). Edito in occasione della mostra (Amsterdam, Stedelijk Museum, 7 febbraio - 22 marzo 1964). Catalogo nr. 354 . € 60 15. MULLER Robert (Zurigo 1920 - Villiers-le-Bel 2003), Robert Muller, 1964, 27,5x18,5 cm, brossura, pp. [32], copertina tipografica di colore nero su fondo bianco. Catalogo illustrato con 34 immagini in bianco e nero (riproduzioni fotografiche di opere). Introduzione in olandese di René de Solier (Robert Muller). Impaginazione e design a cura di Wim Crouwel (Gif-AGI TD Associatie). Edito in occasione della mostra (Amsterdam, Stedelijk Museum, 27 novembre 1964 - 18 gennaio 1965). Catalogo nr. 370 . € 40 16. SAURA Antonio (Huesca 1930 - Cuenca 1998), Antonio Saura / Tekeningen, 1964, 27,5x18,5 cm, brossura, pp. [36], copertina illustrata con una composizione tipografica bianca su sfondo grigio. Cata- logo illustrato con 23 riproduzioni fotografiche di opere in bianco e nero. Testo in olandese di Jose Ayllon (De tijd
Recommended publications
  • Staring Back at the Sun: Video Art from Israel, 1970-2012 an Exhibition and Public Program Touring Internationally, 2016-2017
    Staring Back at the Sun: Video Art from Israel, 1970-2012 An Exhibition and Public Program Touring Internationally, 2016-2017 Roee Rosen, still from Confessions Coming Soon, 2007, video. 8:40 minutes. Video, possibly more than any other form of communication, has shaped the world in radical ways over the past half century. It has also changed contemporary art on a global scale. Its dual “life” as an agent of mass communication and an artistic medium is especially intertwined in Israel, where artists have been using video artistically in response to its use in mass media and to the harsh reality video mediates on a daily basis. The country’s relatively sudden exposure to commercial television in the 1990s coincided with the Palestinian uprising, or Intifada, and major shifts in internal politics. Artists responded to this in what can now be considered a “renaissance” of video art, with roots traced back to the ’70s. An examination of these pieces, many that have rarely been presented outside Israel, as well as recent, iconic works from the past two decades offers valuable lessons on how art and culture are shaped by larger forces. Staring Back at the Sun: Video Art from Israel, 1970-2012 traces the development of contemporary video practice in Israel and highlights work by artists who take an incisive, critical perspective towards the cultural and political landscape in Israel and beyond. Showcasing 35 works, this program includes documentation of early performances, films and videos, many of which have never been presented outside of Israel until now. Informed by the international 1 history of video art, the program surveys the development of the medium in Israel and explores how artists have employed technology and material to examine the unavoidable and messy overlap of art and politics.
    [Show full text]
  • By Fernando Herrero-Matoses
    ANTONIO SAURA'S MONSTRIFICATIONS: THE MONSTROUS BODY, MELANCHOLIA, AND THE MODERN SPANISH TRADITION BY FERNANDO HERRERO-MATOSES DISSERTATION Submitted as partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor Jonathan D. Fineberg, Chair Associate Professor Jordana Mendelson, New York University Assistant Professor Terri Weissman Associate Professor Brett A. Kaplan Associate Professor Elena L. Delgado Abstract This dissertation examines the monstrous body in the works of Antonio Saura Atares (1930-1998) as a means of exploring moments of cultural and political refashioning of the modern Spanish tradition during the second half of the twentieth century. In his work, Saura rendered figures in well-known Spanish paintings by El Greco, Velázquez, Goya and Picasso as monstrous bodies. Saura’s career-long gesture of deforming bodies in discontinuous thematic series across decades (what I called monstrifications) functioned as instances for artistic self-evaluation and cultural commentary. Rather than metaphorical self-portraits, Saura’s monstrous bodies allegorized the artistic and symbolic body of his artistic ancestry as a dismembered and melancholic corpus. In examining Saura’s monstrifications, this dissertation closely examines the reshaping of modern Spanish narrative under three different political periods: Franco’s dictatorship, political transition, and social democracy. By situating Saura’s works and texts within the context of Spanish recent political past, this dissertation aims to open conversations and cultural analyses about the individual interpretations made by artists through their politically informed appropriations of cultural traditions. As I argue, Saura’s monstrous bodies incarnated an allegorical and melancholic gaze upon the fragmentary and discontinuous corpus of Spanish artistic legacy as an always-retrieved yet never restored body.
    [Show full text]
  • Israel Culture Scene
    Israel Culture Scene UPCOMING EVENTS Israel Magic 3 - Summer in Istria Numerous visitors had a chance to enjoy magic of Israeli artists, musicians, dancers and singers that performed during last two summers in Croatia as part of the cultural program organized by the Art &Culture Embassy. This year, summer cultural Mona Lisa Live Exhibition, Tel Aviv. July 1-August 1, 2013. program will take place in Hatachana, the Old Railway Station in Tel Aviv beautiful Istria from August 3-9, Mona Lisa Live, a groundbreaking multimedia exhibition bringing the works of the 2013. Renaissance period including Da Vinci and Michelangelo, will come to Tel Aviv during July 2013. Mona Lisa Live will combine music, animation and special effects, with huge "Israel Magic 3 - Summer in Istria" projections to bring new life to classical works of art within the setting of the quaint will present number of Israeli artist, alleyways of Florence in the Renaissance period. Great for art lovers and families alike, including Carmel A-Cappella, with kids activities following the exhibition. Sheketak, The mentalist Lior Mona Lisa Live comes to Tel Aviv from July 1 to August 1, 2013, and is open seven days Suchard, Carmel Quartet, wind a week. instruments artist Amir Gwirtzman, Acollective, Chef Shaul Ben Aderet will present Israeli Cuisine, and more… Conceptual and Minimalist Art Herzliya Museum of Contemporary Art American-Israeli Professor Michael Adler whose 50 piece art collection covering a period between the 1960 and 1990s, donated to the Herzliya Museum of Contemporary Art six years ago, is currently on display. Israel Coming Festivals: In focus is an underrated but truly significant period in Israeli art when some dozen young Israelis, despite resistance from the local art establishment, turned to conceptual (ideas) art, sometimes with a socio-political slant.
    [Show full text]
  • Benni Efrat Born in 1936, Beirut, Lebanon Education 1966-68 St
    Benni Efrat Born in 1936, Beirut, Lebanon Education 1966-68 St. Martin's School of Art, London 1962-65 Avni Institute of Art and Design, Tel-Aviv Selected Solo Exhibitions 2018 "Double X", Hezi Cohen Gallery, Tel- Aviv "Doom's Path, Winter 2065", Petach Tikva Museum of Art 2016 “Primal Scent”, "Post Post-modernism ≠ Utopia" Haifa Museum of Art. 2014 “The Dove , Summer 2062”, Contemporary By Golconda Gallery Tel-Aviv 2013 ”ADDING TO SUBTRACT” wall Painting, Oranim University Gallery 2012 “Adding to Subtract” , Contemporary By Golconda Gallery Tel-Aviv 2010 “Until The Last Breath”, Haifa Mediterranean Biennale 2004 "Where Have the Bee Gone, Spring 2052, The Art Gallery, University of Haifa, Israel 2002 Robert Fulton Fine Art, San Francisco 1999 Fist Full of Candies, Fall 2048, Tel Aviv Museum of Art, Tel Aviv 1998 "Nature's Factory, Winter 2046 ( Benni Efrat and Ronny Someck)", The Israel Museum, Jerusalem, at HaMumcheh Alternative Space, Tel Aviv 1997 Gallery Robert Bonneville, Montreal "Hide-and-Seek in a Minefield, Fall 2045", Chelouche Gallery, Tel Aviv 1996 "Internationaal Cultureel, centrum, Antwerp", macht Onmacht, de Zomer van de Fotografie" Mark Bogart Fine Art, Chicago 1995 "Ararat Express, 2034", First Art Biennale, Johannesburg: Gallery Robert Bonneville, Montreal 1994 Basel Art Fair (Chelouche Gallery) "Roots Diversion by Push Button, winter 2042", Chelouche Gallery, Tel Aviv 1991 "Natural Shape of Things, Winter 2040", Aleph Contemporary Arts, Almere, The Netherlands MUHKA, Museum of Contemporary Art, Antwerp 1990 Elisabeth
    [Show full text]
  • Re·Bus: Issue 4 (Winter 2009) Edited by Matthew Bowman and Stephen Moonie
    re·bus: Issue 4 (Winter 2009) edited by Matthew Bowman and Stephen Moonie Décor: A Conquest by Marcel Broodthaers, (La Bataille de Waterloo), 1975, ICA, 2 London, Natasha Adamou Ideological Conceptualism and Latin America: Politics, Neoprimitivism and 22 Consumption, Zanna Gilbert Shadows of Femininity: Women, Surrealism and the Gothic, 37 Kimberley Marwood Strategies of Ambiguity in Rembrandt’s Naked Woman Seated on a Mound, 54 c. 1631, Michelle Moseley-Christian Dada, MAVO and the Japanese Avant-Garde: A prologue to the introduction of 80 Surrealism to Japan, Majella Munro Cy Twombly: Writing after Writing, 94 Abigail Susik On Becoming and Sites of Encounter in the work of Daniel Shoshan, 121 Merav Yerushalmy Review: Charles Harrison, Since 1950: Art and its Criticism, 133 Stephen Moonie Review: Art of Two Germanys/Cold War Cultures, 139 Alexandra Oliver Review: Renée Green. Ongoing Becomings. Retrospective 1989-2009, 146 Katherine Whitebread Contact details School of Philosophy and Art History University of Essex, Wivenhoe Park, Colchester, Essex CO4 3SQ, UK [email protected] © Natasha Adamou, 2009 Décor: A Conquest by Marcel Broodthaers, (La Bataille de Waterloo), 1975, ICA, London Natasha Adamou Abstract This essay seeks to examine Marcel Broodthaers’ last exhibition Décor: A Conquest by Marcel Broodthaers, (La Bataille de Waterloo) 1975, ICA, London, in the light of two seminal essays in the field of aesthetics and political theory. It starts by looking at Walter Benjamin’s ‘The Author as Producer’, which introduces issues of artistic intentionality, political commitment and its relation to the aesthetic quality of an artwork. It then goes on to address ‘The Politics of Aesthetics’ by Jacques Rancière, which incorporates the notion of the ‘distribution (or partition) of the sensible’ as its main analytical tool.
    [Show full text]
  • Re-Seeing the Permanent Collection: the VIEWER’S VOICE
    RE-SEEING THE PERMANENT COLLECTION: THE VIEWER’S VOICE 1 RE-SEEING THE PERMANENT COLLECTION: THE VIEWER’S VOICE The exhibition Re-Seeing the Permanent Collection: The Viewer’s Voice engages individuals from the museum’s audience in an experiment of interpretation. A work of art can elicit countless reactions and readings, depending on the perspective of the viewer. This exhibition seeks to provide a platform for Marquette University students, faculty, and staff from across the academic disciplines to share their personal observations about objects from the museum’s permanent collection. Participants were invited to write a brief reflection on the artwork of their choosing. The selected works include a range of historical and contemporary artistic styles and media, which represents the depth and breadth of the Haggerty’s holdings and reflects the diverse intellectual and creative interests of the Marquette community. Some participants describe the qualities that draw them to a particular work of art, others explain how the work is relevant to their teaching practices, and still others consider the myriad ways that thinking about their areas of specialization through the lenses of the visual arts stimulates new insight and understanding. All participants provide fresh interpretations that fall outside the scope of standard museum wall labels. This exercise demonstrates the collaborative spirit that is unique to a teaching museum like the Haggerty. By making its permanent collection available to the community, the museum enriches the educational experience at Marquette. It is the museum’s hope that Re-Seeing the Permanent Collection: The Viewer’s Voice will inspire visitors of all kinds to embrace the value of visual analysis and creative thinking and explore their own potential to derive personal meaning from the visual arts.
    [Show full text]
  • Spanish Art of the 1950S and Its International Projection
    Please, return this text to box no. 406 available at museoreinasofia.es Spanish Art of the 1950s and Its International Projection Between the years 1957 and 1960 Spain joined the international circuit of modern art thanks to an idiosyncratic contribution to Art Informel that appealed to both European and American abstract trends (the tradition of the new) and to the great tradition of Spanish art as exemplified by Velázquez and Goya. The context in which this autochthonous trend appeared was that of the end of autocracy and the diplomatic and economic openness promoted by the Franco regime. (perhaps as a result of the influence of Dubuffet and Fautrier, the formulators of Art Brut) introduced a new element in his painting, the wall, which replaced the dominant feature of his self-portraits, i.e. the face. Matter and texture established themselves over colour, line and contrasts, transforming painting into a continuum in which references either disappear or are concealed and the beholder faces the challenge of carrying out alternative vi- sual paths. Matter is also the central motif in the oeuvre of Modest Cuixart (1925), In 1958 Juan Eduardo Cirlot wrote in La Estafeta Literaria that Art Informel was ‘a ge- another member of Dau al Set who paid nuine mutation compared to abstraction,’ an idea on a par with Clement Greenberg’s his debt to Surrealism in Lyon, where he account of the vitality, ambition and inventiveness of Abstract Expressionism in his settled in 1951. Omorka (1957) illustrates 1955 essay ‘American-Type Painting,’ which the influential critic attributed to a new, the refinement to which Cuixart submit- pragmatic and American reading of the European classical avant-garde.
    [Show full text]
  • International-Pop.Pdf
    INTERNATIONAL POP INTERNATIONAL 4 BILLY APPLE 42 WALLY HEDRICK 8 ARMAN 44 JAN HENDERIKSE POP 10 EVELYNE AXELL 46 KEY HIRAGA 12 IMRE BAK 48 ALLEN JONES 14 RAFAEL CANOGAR 52 LUO BROTHERS 16 SISTER MARY CORITA KENT 54 ROBERT MALLARY 15 JUNE ‒ 29 JULY 2020 18 GERARD DESCHAMPS 56 DÉCIO NOVIELLO 20 ANTONY DONALDSON 58 MARIO SCHIFANO ONLINE AND BY APPOINTMENT ONLY 22 ERRÓ 60 COLIN SELF BOOK A VIEWING: [email protected] 26 FERDI 62 BOB STANLEY 28 STANO FILKO 64 EMILIO TADINI 30 CLAUDE GILLI 66 SHINKICHI TAJIRI 34 JOE GOODE 68 JOHN TWEDDLE 38 RICHARD HAMILTION 70 ANDY WARHOL THE 40 JANN HAWORTH 72 LIST OF WORKS MAYOR GALLERY BILLY APPLE® b. 1935 Auckland, New Zealand Born in New Zealand in 1935, Apple (then known as Barrie Bates) studied at the Royal College of Art between 1959 and 1962 exhibiting alongside fellow artists such as David Hockney, Derek Boshier and Pauline Boty in the annual Provenance: Young Contemporaries exhibitions. Acquired directly from the artist In 1962 after graduating he notoriously changed his name Exhibited: and altered his appearance becoming ‘Billy Apple®’ in a London, Hilton Hotel, British D&AD Professional self-conscious art action that doubled as a canny exercise Awards, 1963 in re-branding. In 1964 he moved to New York working London, RBA Galleries, 2 April – 24 April 1962 with Andy Warhol in the pivotal exhibition The American London, Victoria and Albert Museum, Rewind: 40 Supermarket including Oldenburg, Wesselmann and years of Design and Advertising from the D&AD Johns. In 1969, the artist opened Apple at 161 West 23rd Awards, 7 November 2002 – 2 February 2003, ill.
    [Show full text]
  • Lot 1 Pablo Ruiz Picasso
    Lot 1 Pablo Ruiz Picasso (Málaga, 1881 - Mougins, 1973) "Nature morte à la pastèque" Linoleum cut lithograph in colors, 1962. Signed in pencil and numbered 113/160. Published by Galerie Louise Leiris. Printed by Arnera Baer 1301. Bloch 1098. Provenience: Sala Gaspar Barcelona. “Picasso 15 Linóleums recientes", in 1964. Acquired by the present owner in that exhibition. The exhibition triptych, in which the work is reproduced, will be given to the buyer. 62 x 75,5 cm. Estimate: 7.000 / 15.000 euros Lot 2 Pablo Ruiz Picasso (Málaga, 1881 - Mougins, 1973) "Nature morte a la bouteille" Linoleum cut lithograph, 1962. Signed in pencil and numbered 6/50, on Arches wove paper. Published by Galerie Louise Leiris. Bloch 1099. Provenience: Sala Gaspar Barcelona. “Picasso 15 Linóleums recientes", in 1964. Acquired by the present owner in that exhibition. The photocopy of the exhibition triptych, in which the work is reproduced, will be given to the buyer. 75,5 x 62 cm. Estimate: 7.000 / 15.000 euros Lot 3 Pablo Ruiz Picasso (Malaga, 1881 - Mougins, 1973) "Le repos du sculpteur devant le jaune chevalier". Suite Vollard. Etching. Signed in pencil. Bloch 164. Sheet measurements: 34 x 44.5 cm. Etching measurement: 19.5 x 26.5 cm. Estimate: 4.000 / 6.000 euros Lot 4 Pablo Ruiz Picasso (Malaga, 1881 - Mougins, 1973) "Le repos du sculpteur II". Suite Vollard. Etching plate. Signed in pencil. Bloch 172. Sheet measurements: 34 x 44 cm. Etching measurements: 19 x 26.2 cm. Estimate: 4.000 / 6.000 euros Lot 5 Pablo Ruiz Picasso (Malaga, 1881 - Mougins, 1973) "Le repos du sculpteur devant un centaure et une femme".
    [Show full text]
  • Nahum Tevet an Exhibition for the Israel Museum
    several Israeli artists of this sensibility were also living and working in New York City, either as long-term binationals or on extended fellowships. Tevet himself eventually joined the American ranks, 132 East 68th Street New York, NY 10065 arriving here in 1979. By coincidence, Rauschenberg was in Jerusalem in 1974, preparing Nahum Tevet an exhibition for the Israel Museum. Encountering Tevet’s work in a gallery, he acquired several of the glasses included in the present December 2016 exhibition. At that moment, the Yom Kippur War had just ended. Tevet served in that conflict, and this wartime experience may have spurred Born on a kibbutz in 1946, Nahum Tevet was by his midtwenties an certain changes in his art: his move to somewhat larger, more distinctly ascendant figure in Israeli art. This exhibition surveyed twenty-six of rectangular sheets of Plexiglas and his introduction of a generative new his works on glass—virtually the entirety of this subtle body of work— figure derived from the circle. After all, it is not solely the dialectics of produced between 1972 and 1975. The informative catalogue by modernism—the famed formalist triad: thesis, antithesis, synthesis— Thierry de Duve, the exhibition’s curator, explains that, in the forty that transforms style. years since their creation, a few of these works have been lost, a few repaired, while others are not on glass at all but rather are on Plexiglas. By the mid-’70s, Tevet occupied a secure niche within an extraordinary generation of Israeli artists—Joshua Neustein, Benni Efrat, Buky To create the works, Tevet taped, pinned, clipped, or otherwise Schwartz, among many others.
    [Show full text]
  • Antonio Saura Crucifixions I Crucifixiones Antonio Saura
    ANTONIO SAURA CRUCIFIXIONS I CRUCIFIXIONES ANTONIO SAURA. Cuenca, 1984. © Ad Petersen ACKNOWLEDGEMENTS I AGRADECIMIENTOS Esta obra se ha publicado con ocasión de la exposición This work was published on the occasion of the exhibition, Antonio Saura, Crucifixiones Antonio Saura, Crucifixions coproducida por el Musée d’art moderne et contemporain de Estrasburgo coproduced by the Musée d’art moderne et contemporain of Strasbourg La exposición y el catálogo se han realizado gracias a la colaboración The exhibition and catalogue were possible thanks to the collaboration of de la Sucesión Antonio Saura. the Succession Antonio Saura. Debemos expresar nuestra profunda gratitud a We wish to express our deep gratitude to MERCEDES BELDARRAIN MERCEDES BELDARRAIN MARINA SAURA MARINA SAURA OLIVIER WEBER-CAFLISCH OLIVIER WEBER-CAFLISCH Debemos también expresar nuestra gratitud And for their decisive contribution, por su decisiva contribución a we also wish to thank FABRICE HERGOTT FABRICE HERGOTT AD PETERSEN AD PETERSEN EXHIBITION I EXPOSICIÓN CATALOGUE I CATÁLOGO Artist I Artista Publishing I Producción editorial ANTONIO SAURA EDICIONES DEL UMBRAL Curator I Comisario Design and lay-out I Diseño y maqueta EMMANUEL GUIGON JAVIER CABALLERO Coordination I Coordinación Photography I Fotografía MARTA RINCÓN Cortesía I Courtesy SUCCESSION I SUCESIÓN ANTONIO SAURA Cortesía I Courtesy MUSÈE D’ART ET D’HISTOIRE DE GENÈVE AD PETERSEN ORONOZ Translation I Traducción WADE MATTHEWS, LAURA GUTIÉRREZ MINISTERIO DE ASUNTOS EXTERIORES SOCIEDAD ESTATAL PARA LA ACCIÓN
    [Show full text]
  • DECEBMBER 1ST JANUARY 15TH ENGLISH < 15 < 1
    DECEBMBER 1ST ` JANUARY 15TH ` ENGLISH 1 בדצמבר _ 15 בינואר _ עברית /ODMHMF3DFLDMS #TQ@SNQR.@NLH!UHU .N@L3DF@K !QSHRSHBCHQDBSNQ.N@L3DF@K [email protected] 'Q@OGHB$DRHFM"HF%XDR!FDMBX %CHSHMF,H@S%KJ@X@L 4Q@MRK@SHNM-HBG@K3@OHQ )MRS@KK@SHNMCHQDBSNQ@MC SDBGMHB@KOQNCTBSHNM!CH-@G@KT 3XRSDLR%X@K"NTSANTK 4GDOQNIDBSV@ROQNCTBDC@MC RTOONQSDCAX4GD.DV)RQ@DKH &NTMC@SHNMENQ#HMDL@@MC46 $HQDBSNQ'DMDQ@K$NQHS)MA@Q $DOTSX$HQDBSNQ2HJX:@JR !QSHRSHB-@M@FDQ2NM'NKCL@M /EĹBD-@M@FDQ/QDK4TQMDQ )MBNKK@ANQ@SHNMVHSG4GD)RQ@DKH &HKL#NTMBHK ¢#NOXQHFGS2NSGRBGHKC HMEN QNSGRBGHKCBNHK VVVQNSGRBGHKCBNHK 2NDD2NRDM^RVNQJVHSGSGDRTOONQSNE 71 /ODMHMF3DFLDMS.&#4 $NQHS)MA@Q Experimental film, by its very nature, explores the limits of cinematic creation. It challenges existing formats and subject matters within the existing frameworks in the field of cinema and television, offering a fresh take on the topics dealt with, the formal structures and the interrelations between cinema and a constantly changing reality. The New Foundation for Cinema and Television has been at the forefront of filmmaking for 16 years, and alongside the creation of a wide-ranging body of hundreds of documentaries and dramas, has been at the forefront of experimental film and “new media” in Israel, with new and challenging projects that examine and expand the boundaries of filmmaking as we know it. The Foundation is proud to see the completion of the experimental film project Neo-Barbarism, made in cooperation with “Rothschild 69”, and congratulates the filmmakers, and the directors of the project Noam Segal and Naomi Aviv, for the works inspired by the project’s complex subject, a subject that calls for the individual to grapple with reality and its governing forces, demanding his or her attention, reaction and even resources and life.
    [Show full text]