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Van Gogh, Dali and Beyond

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Van Gogh, Dali and Beyond Van Gogh, Dalí, and Beyond Gogh, Van the world reimagined Samantha Friedman Art Gallery of Western Australia, Perth The Museum of Modern Art, New York Published in conjunction with the exhibition Published by 6 Directors’ Foreword Van Gogh, Dalí, and Beyond: The World The Museum of Modern Art Reimagined (June 22 – December 2, 2013), 11 West 53 Street stefano carboni and glenn d. lowry organized by Samantha Friedman, Assistant New York, New York 10019 Curator, Department of Drawings, The and Museum of Modern Art, in collaboration with 8 Who, What, Where (and How) Art Gallery of Western Australia Gary Dufour, Deputy Director | Chief Curator, Perth Cultural Centre samantha friedman and Glenn Iseger-Pilkington, Associate Perth WA 6000 Curator of Indigenous Objects and Photog- raphy, Art Gallery of Western Australia. © 2013 The Museum of Modern Art, 14 New York. Copyright credits for certain Landscape Van Gogh, Dalí, and Beyond: The World illustrations and texts are cited Reimagined is a collaboration between The on pp. 166 – 67. All rights reserved Museum of Modern Art, New York, and 58 Still Life the Art Gallery of Western Australia, Perth. Distributed in the United States The exhibition was made possible by and Canada by ARTBOOK | D. A. P. 98 155 Sixth Avenue, 2nd floor Portrait Government Funding Partner Government Funding Partner New York, New York 10013 www.artbook.com 144 Compendium of Quotations Distributed outside the United States Principal Series SponsorPrincipal Series Sponsor GovernmentPrincipal Series Funding Sponsor Partner and Canada by Thames & Hudson Ltd Government Funding Funding Partner Partner 152 Checklist of the Exhibition 181 High Holborn, London WC1V 7QX Government Funding Partner www.thamesandhudson.com 162 Acknowledgments PrincipalAirline Sponsor Series SponsorAirline Sponsor PrincipalAirline Sponsor Series Series Sponsor Sponsor Library of Congress Control Number: samantha friedman 2012954961 ISBN: 978-0-87070-875-6 (hardcover) Principal Series Sponsor ISBN: 978-0-87070-885-5 (paperback) 168 Board of the Art Gallery of Western Australia Airline Sponsor Sponsor Accommodation Sponsor Sponsor AccommodationAirline Sponsor Sponsor Front cover: Vincent van Gogh, The Olive Trees Trustees of The Museum of Modern Art (detail), June – July 1889 (plate 1). Salvador Dalí, Illumined Pleasures (detail), 1929 (plate 15). Accommodation SponsorMedia Partners MediaAccommodation Partners Partners Sponsor Back cover: Gerhard Richter, Self-Portrait Airline Sponsor (detail), 1996 (plate 132). Back flap: Giorgio Morandi, Still Life (detail), 1949 (plate 59). Advertising, Communications & Brand PageDesign 2: Wayne Thiebaud, Cut Meringues Advertising, Communications Communications & Brand & Brand Design Design Media Partners (detail), 1961 (plate 60). Page 8: Paul Cézanne, Media Partners Château Noir (detail), 1903 – 4 (plate 2). Page 144: František Kupka, Mme Kupka among Annual Gallery SponsorsAnnual Gallery Sponsors Annual Gallery Gallery Sponsors Sponsors Verticals (detail), 1910 – 11 (plate 92). Page 146, Advertising,Accommodation Communications Wesfarmers Sponsor Arts & –Brand Principal Design Partner, 303LOWE, Audi, Channel Nine, Sunday Times Advertising,Wesfarmers Arts Communications – Principal Partner, 303LOWE, & Brand Audi, Design Channel Nine, Sunday Times Wesfarmers Arts—Principal Partner, top: Vincent van Gogh, The Olive Trees (detail), 303LOWE, Audi, Channel Nine, Sunday Times June – July 1889 (plate 1). Page 146, bottom: JoAnn Verburg, Olive Trees after the Heat Annual Gallery Sponsors Annual Gallery Sponsors (detail), 1998 (plate 39). Page 148, top: Paul ProducedWesfarmers Artsby the– Principal Department Partner, 303LOWE, of Publications, Audi, Channel Nine, Sunday Times Wesfarmers Arts – Principal Partner, 303LOWE, Audi, Channel Nine, Sunday Times Cézanne, Still Life with Ginger Jar, Sugar Bowl, The Museum of Modern Art, New York Media Partners and Oranges (detail), 1902 – 6 (plate 42). Page Edited by Nancy Grubb 148, bottom: Urs Fischer, Untitled (detail), 2000 Designed by Margaret Bauer (plate 75). Page 150, top: Henri de Toulouse- Production by Nerissa Dominguez Vales Lautrec, La Goulue at the Moulin Rouge (detail), 1891 – 92 (plate 88). Page 150, bottom: Printed and bound by OGI /1010 Printing Advertising, Communications & Brand DesignElizabeth Peyton, Jake at the New Viet Huong Group Ltd., China. This book was typeset (detail), 1995 (plate 134). Page 152: Fairfield in The Sans and Sabon Pro by Mary Gladue. Porter, Schwenk (detail), 1959 (plate 57). The paper is 157 gsm Gold East Matte. Page 165: Georges Braque, Road near L’Estaque (detail), late summer 1908 (plate 3) Annual Gallery Sponsors Wesfarmers Arts – Principal Partner, 303LOWE, Audi,Printed Channel in China Nine, Sunday Times Directors’ Foreword Van Gogh, Dalí, and Beyond: The World Reimagined is the documenting ever-changing relationships to nature, the Government Funding Partner, Eventscorp, and the third exhibition in a dynamic, multiyear partnership objects, ourselves, and each other. Principal Series Sponsor, Ernst & Young, for their key between The Museum of Modern Art and the Art Gallery The partnership between The Museum of Modern support of the Great Collections of the World series from of Western Australia. To date, AGWA’s audience has had Art and the Art Gallery of Western Australia has continued the outset, and Creative Agency Sponsor, 303LOWE, for the opportunity to immerse itself in the individual achieve- to strengthen with each exhibition. Hardworking mem- its passion in developing wonderfully original platforms ments of modern art’s pioneers, with Picasso to Warhol: bers of nearly every department in both museums — from for the series. Fourteen Modern Masters, and to explore the energy Conservation and Registration to Education and Com- of New York through photographs, in Picturing New York: munications — have contributed to the success of this stefano carboni Photographs from The Museum of Modern Art. Exhibitions ambitious project. A core team steered the effort forward Director, Art Gallery of Western Australia still to come will investigate design in the domestic sphere, with commitment and camaraderie: Samantha Friedman, offer encounters with cutting-edge contemporary art, Assistant Curator, Department of Drawings at MoMA, glenn d. lowry and highlight Post-Impressionist masterpieces. Encompass- organized the exhibition in collaboration with Gary Dufour, Director, The Museum of Modern Art ing a range of periods, mediums, and approaches, this Chief Curator | Deputy Director, and Glenn Iseger-Pilking- program reflects not only the breadth of MoMA’s unparal- ton, Associate Curator of Indigenous Objects and Photog- leled collection but the diversity of modern art itself. raphy, at AGWA. The efforts of Brian Stewart, Deputy Prepared exclusively for presentation in Perth, Director | Chief Operating Officer; Lynne Hargreaves, Van Gogh, Dalí, and Beyond: The World Reimagined will General Manager, Collections and Exhibitions; Di Yarrall, allow viewers to observe how over ninety artists have General Manager, Community Relations; Jude Savage, reinvented landscape, still life, and portraiture from the Registrar of Collections; and Sharyn Beor, Marketing and late nineteenth century to the present day. By adopting Promotions Manager, all at AGWA, were indispensable in these traditional genres, modern artists have gestured bringing this exhibition to fruition. We are equally grateful toward art historical precedents even as they have invented to Ramona Bronkar Bannayan, Senior Deputy Director radical new languages to describe the people, places, and for Exhibitions, Collections, and Programs; Maria DeMarco things of their own times. Beardsley, formerly Coordinator, Exhibition Programs; and 6 From Vincent van Gogh’s twisted olive trees to Jodi Hauptman, Curator, Department of Drawings, all at 7 Lawrence Weiner’s seascape in words, we see the definition MoMA, who expertly managed the manifold aspects of of a landscape expand to include not only the representa- both this particular exhibition and the overall collaboration. tion of a site but our own experience of it. If Paul Cézanne’s Such an ambitious project requires significant faceted oranges were revolutionary at the dawn of the resources beyond our two institutions. We would like to twentieth century, Urs Fischer’s hybrid of a real apple and acknowledge the commitment of the State Government pear shows us what a still life can be at the dawn of the of Western Australia and the Department of Treasury and twenty-first. The solidity of Auguste Rodin’s portrait of Finance for their continuous support of a program that Honoré de Balzac sculpted in the 1890s gives way to Gerhard contributes to the long-term cultural enrichment of Perth Richter’s self-portrait in the 1990s, in which the subject and Western Australia. Warm thanks go to AGWA’s Chair dissolves in a blur of paint. Together, the 134 paintings, of the Board, Fiona Kalaf, and to the entire Board, who sculptures, drawings, photographs, prints, and media works have been enthusiastic in leading the strategies behind gathered here reflect shifting conceptions of the world, such an important project. We would also like to thank Landscape 14 “People will tell me that mountains are not like that . .” 15 In September of 1889, Vincent van Gogh sent several paintings or invented certain elements for compositional or expressive to his brother Theo from the asylum in Saint­Rémy­de­Provence, ends, other aspects of these canvases accurately
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