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2014 International 21.06.2014 > 13.09.2014 Art Exhibitions 2014 International 06 Art Exhibitions 2014 International 21.06.2014 > 13.09.2014 Art Exhibitions 2014 Catherine Opie Opposite page Only miss the sun when it starts Kara 2013, Pigment print 1 to snow 83.8 x 63.5 cm Peder Lund Lund Peder Oslo 2 3 45 1 Since the early 1990s, Catherine Opie, The photographs on view at Peder Lund Concurrently, Opie began to document Installation view who was born in 1961, has produced a are part of Opie’s most recent series of architectural, and through architectural, 2 diverse body of work in genres such as portraits and landscapes. Transgendered conventional, America with black-and- Kara studio portraiture, landscape photo- acquaintances from the lesbian and white film and an extra-wide-angle 2013 graphy and street photography, with transsexual communities in Los Angeles panoramic camera. Seen as a whole, Pigment print which she has investigated notions of and San Francisco, artists and high Opie’s work confronts the apparent 127 x 97.8 cm (oval) communal, sexual and cultural identity achievers appear heavily-lit against dark disparity between the subcultural and 3 in contemporary America. In this show, backgrounds or in the silhouette shape the traditional. Opie’s work remains Idexa Opie will be presenting 14 new portraits customary in the seventeenth century. highly aesthetic and technically 2012, Pigment print and landscapes that refer to both her Central to Opie’s works are the notions masterful, whilst tackling both societal 127 x 97.5 cm (oval) long-standing interest in the relation- of the individual’s relationship to and art-historical subject matters. 4 ship between figure and landscape, as community, and the place of the sub- Set against the portraits is a series of Ron well the tradition of portraiture and the cultural within the political and social sublime landscapes in sharp, though 2013, Pigment print history of photography. norms and events of modern America. simultaneously grainy, colours. 127 x 97.5 cm (oval) 5 Catherine Opie‘s work has been the Cecilia subject of numerous solo exhibitions 2013, Pigment print throughout the United States and 83.8 x 63.5 cm Europe. In 2008, she was honoured with 6 a mid-career survey at the Solomon Untitled No 10 R Guggenheim Museum in New York. 2013, Pigment print Her work is represented in the 195.6 x 129.5 cm collections of a number of prestigious 7 public institutions in the US as well as John the Tate in London. Opie has been a 2013, Pigment print professor of photography at UCLA since 83.8 x 63.5 cm 2001, and was a professor at Yale from 6 7 2000 to 2001. All images: © Catherine Opie Courtesy of Peder Lund www.pederlund.no International 22.06.2014 > 22.09.2014 Art Exhibitions 2014 Opposite page Still Life 1892-94, Oil on canvas The World is an Apple 73 x 92.4 cm © 2012 The Barnes Foundation 1 The Still-Lifes of Paul Cézanne 1 Still Life with Fruit The Barnes Foundation Barnes Foundation The Comprised of more than 15 Cézanne and Glass of Wine masterpieces, in addition to a clutch of 1877-79, Oil on canvas works by related artists, ‘The World is an 26.7 x 32.7 cm Apple: The Still Lifes of Paul Cézanne’ Philadelphia Museum of Art, seeks to render succinctly the richness 1950-134-32 and novelty of still lifes created by an 2 artist of rare intuition and unerring Sugar Bowl, Pears aesthetic sensibility. and Blue Cup c1866, Oil on canvas 30 x 40.6 cm Musée d’Orsay, RF 1982 44 3 Apples and Cakes 1873-77, Oil on canvas 46 x 55.2 cm Private Collection 4 Three Skulls c1900, Oil on canvas 50.8 x 76.2 cm 2 3 Detroit Institute of Arts Philadelphia Premiering at the Barnes Foundation, this tightly curated exhibition charts a thematic and chronological sweep of Cézanne’s still life painting, showing how the ‘Master of Aix’ recast the genre and set it on a new course. Traversing the breadth of his still life production – from early paintings engaging with past masters to very late works unique to him, and treating the range of themes, including apples, flowers and skulls – this select gathering of paintings offers viewers a brief re- appraisal of Cézanne’s monumental achievement in this genre. Cézanne’s art remains central to enduring concerns of art making, touching on materiality and represen- tation, as well as on the interpretive foundations of art history itself. 4 www.barnesfoundation.org International 24.06.2014 > 13.10.2014 Art Exhibitions 2014 Magritte The Mystery of the Ordinary 1 1926-1938 Art Institute of Chicago Seeking to make ‘everyday objects Opposite page shriek aloud’, or make the familiar Attempting the Impossible unfamiliar, Belgian artist René Magritte 1928, Oil on canvas created some of the 20th century’s most 116 x 81 cm extraordinary and indelible images. Toyota Municipal Museum of Art, Japan This exhibition, the first major museum 1 show to focus on the artist’s most Photographer unknown profoundly inventive and experimental René Magritte and The years, features over 100 paintings, Barbarian collages, drawings and objects, along 1938, Gelatin silver print with a selection of photographs, period- 18.8 x 25 cm icals, and early commercial work, that The Baltimore Museum of Art trace the birth of the themes and 2 strategies Magritte would go on to use The Secret Double throughout his long, productive career, 1927, Oil on canvas and which make his paintings so 114 x 162 cm unforgettable today. 2 Centre Pompidou, Paris. Musée national d'art moderne/ The exhibition begins in 1926 in Brussels, He returned to Brussels in 1930, and in Throughout this period, Magritte used Centre de création industrielle. where Magritte created paintings and 1933 began a series of paintings that displacement, transformation, metamor- Purchase. works on paper that first gained him provoked disturbing and unexpected phosis, and the ‘misnaming’ of objects 3 recognition as a Surrealist. It follows the associations between things that make as well as the representation of visions The Red Model artist to Paris in 1927, where he met the ordinary and daily life strange. The seen in half-waking states, consistently 1937, Oil on canvas Surrealists like André Breton, Salvador exhibition concludes with a remarkable unsettling the balance between nature 183 x 136 cm Dalí, and Joan Miró, and created his first group of works made in London and in and artifice, truth and fiction, reality and Museum Boijmans van breakthrough word-image paintings. Brussels between 1937 and 1938. surreality. Beuningen, Rotterdam. 4 The White Race 1937, Oil on canvas 81 x 60 cm The Art Institute of Chicago. Promised gift of Ruth Horwich 5 On the Threshold of Liberty 1937, Oil on canvas 238.8 x 185.4 cm The Art Institute of Chicago. Gift of Mary & Leigh Block, 1988.141.10. All works © Charly Herscovici 3 4 5 ADAGP/ARS, 2014 www.artic.edu International 25.06.2014 > 09.08.2014 Art Exhibitions 2014 Opposite page The Deferred Promise of Complete Satisfaction 2014, Oil on linen 94 x 71.1 cm 1 Will Cotton 1 Will Cotton in his studio Ronchini Gallery This, Will Cotton’s first UK solo exhibition, Museum, New York (2007); Triennale di His work is in the collections of the 2 comprises new large-scale oil on linen Milano, Italy (2007); Musée Marmottan National Portrait Gallery, Washington Candy Curls paintings. Based in New York, Cotton Monet, Paris (2008); Museo Nacional de DC; Smithsonian American Art 2006, Oil on linen is known for his works depicting land- Bellas Artes, Havana (2009); Albright- Museum,Washington DC; Seattle Art 86.4 x 61 cm scapes of a flawed utopia composed of Knox Art Gallery, New York (2009); Andy Museum, Washington; Columbus 3 sweets, pastries and melting ice cream, Warhol Museum, Pittsburgh (2013); and Museum of Art, Ohio; as well as many Frosting Flowers often occupied by pinup style models. Virginia MOCA (2013). prominent private collections. 2013, Oil on linen 86.4 x 61 cm Elegantly created, his works are layered 4 with cultural references from European Beyond the Pleasure 18th century masters to American mid- Principle century pin-up painting. He makes pain- 2014, Oil on linen tings about the pure, the fragrant, the 203.2 x 274.3 cm land of plenty, the desirable and the dream of perfection and complete All the above images courtesy London indulgence. Through works which are of the artist, Mary Boone Gallery, sincere and masterfully executed, he New York and Ronchini Gallery, uses food as an allegory for the human London condition; sweets become a substitute 5 for everything desirable and a metaphor Cupcake Katy for pure pleasure. Cotton explains: 2010, Oil on linen ‘Sweetness taken to an extreme degree, 165.1 x 99.1 cm as it is in my paintings, becomes cloying, Courtesy of the artist and even repulsive and that’s where it gets National Portrait Gallery, interesting for me.’ 23 Washington, DC Cotton starts his process by building maquettes in his New York studio to paint from. These can range from table- top scenery to life-sized sets occupied by models dressed in confectionary costumes that Cotton has created. Constructing these sets allows Will Cotton to see surprising and often un- expected details, enabling him to recreate textures and details in such a way that viewing the works becomes a tactile experience. Cotton’s paintings have been shown at the San Francisco Museum of Art (2000); Seattle Art Museum (2002); Kunsthalle Bielefeld, Germany (2004); Hudson River 4 | 5 www.ronchinigallery.com International 25.06.2014 > 05.10.2014 Art Exhibitions 2014 Alma-Tadema and Victorian Painting 1 in the Pérez Simón Collection Museo Thyssen-Bornemisza Museo Thyssen-Bornemisza Opposite page Dante
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