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 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 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 representation, 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 Art 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 London 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 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 unexpected 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 Opposite page Dante Gabriel Rossetti Venus Verticordia 1867‐68, Pastel on board 79.6 x 65.3 cm 1 Lawrence Alma‐Tadema Agrippina visiting the Ashes of Germanicus 1866, Oil on board 27 x 37.5 cm 2 Edward Coley Burne‐Jones Pygmalion: 2 3 4 The Heart Desires 1871, Watercolour and coloured pencil on paper mounted on canvas 57.8 x 44.5 cm 3 John William Godward Classical Beauty 1908, Oil on canvas 51 x 40.9 cm 4 William Clarke Wontner Madrid Valeria c1916, Oil on canvas 63.5 x 53.3 cm 5 6 Sir Frederic Leighton Crenaia, The exhibition comprises 50 works on different to the moralising attitudes of the Nymph of the Dargle loan from the Pérez-Simón Collection, the day, including a return to classical 1880, Oil on canvas one of the most important private antiquity, an interest in the nude, rich 76.8 x 27.2 cm collections in the field of Victorian art. decorative effects and references to 6 It offers visitors the chance to discover medieval themes inherited from the Lawrence Alma‐Tadema the aesthetic sensuality of some of the Pre-Raphaelites. The exhibition includes Her Eyes are with her most celebrated 19th century English a selection of works, among them Thoughts, and they are artists. In their paintings Sir Lawrence icons of British art such as ‘The Roses of far away Alma-Tadema, Edward Coley Burne- Heliogabalus’ by Alma-Tadema; ‘Greek 1897, Oil on board Jones, Sir Frederic Leighton, Albert Girls collecting Pebbles from the Sea’ by 23.3 x 38.1 cm J Moore and Dante Gabriel Rossetti Leighton: ‘The Quartet’ by Moore; and 5 emphasised values that were strikingly ‘Andromeda’ by Poynter.

www.museothyssen.org International 27.06.2014 > 19.10.2014 Art Exhibitions 2014

Opposite page Split-Rocker (Orange/Red) 1999, Polychromed aluminum Jeff Koons 34.3 × 36.8 × 33 cm Collection of B Z & M Schwartz Retrospective © Jeff Koons 1 Whitney Museum of American Art This will be the most comprehensive Saint John the Baptist retrospective ever devoted to the 1988, Porcelain groundbreaking art of Jeff Koons. 143.5 x 76.2 x 62.2 cm) This unprecedented exhibition will be The Sonnabend Collection, the artist’s first large-scale museum Nina Sundell & Antonio Homem presentation in New York and also the © Jeff Koons first time that a single artist’s work will 2 fill nearly the entire Whitney Museum. Aqualung The exhibition surveys more than three 1985, Bronze decades of Koons’s art and includes 68.6 x 44.5 x 44.5 cm) approximately 120 works across a Private Collection, New York variety of mediums. During the course © Jeff Koons of his career, he has pioneered new 3 approaches to the readymade, tested Loopy the boundaries between advanced art 1999, Oil on canvas and mass culture, and challenged the 274.3 x 200.7 cm limits of industrial fabrication in works Bill Bell Collection of great beauty and emotional intensity. © Jeff Koons New York

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Outside of his studio, Jeff Koons has Jackson and Bubbles (1988), Made in 4 transformed the relationship of artists Heaven (1989), and Balloon Dog New Hoover Celebrity III’s to the cult of celebrity and the global (1994-2000), all of which can be seen in 1980, Two vacuum cleaners, market to become one of the best- the Whitney retrospective. In addition, Plexigas, fluorescent lights known visual artists alive today. the Whitney will premiere several new 142.2 × 27.9 × 31.8 cm Above all, he is the maker of some of the pieces by Jeff Koons, including the Collection of Jeffrey Deitch most indelible icons of contemporary monumental Play-Doh, which the artist © Jeff Koons art, including One Ball Total Equilibrium has been working on for more than 2 Tank (1985), Rabbit (1986), Michael twenty years.

www.whitney.org International 01.07.2014 > 26.10.2014 Art Exhibitions 2014

Barbara Rae Prints

Pallant House Gallery Pallant House Gallery Barbara Rae RA has made printmaking Opposite page an integral part of her artistic activity Harbour Night since her student days. Monoprints, 2005, Coloured etching and screenprints and etchings inform her collagraph on Zerkall paper approach to painting which combines Edition of 16, Artist’s Proof the inﬂuence of landscape and travel Printed by Peacock Visual with painterly abstraction. Although Arts, Aberdeen she rejects the term ‘landscape painter’, 1 the importance of place is evidently South of Granada apparent in her works; in particular the 2006, Etching and collagraph human traces and patterns of history on Zerkall paper that are left on a landscape. Edition 11 of 18 Printed by Peacock Visual Arts, Aberdeen 2 Achill Fence 2013, Screenprint on paper with glazes Edition 37/125 3 Chichester Tuscan Sun 1997, Carborundum on paper Printer’s Proof Printed at Graphic Studio, 12 Dublin 4 Summer Vineyard Carborundum on paper Edition 2 of 30 5 Inishkeas 2011, Screenprint with metallic ink on paper Edition 111/125 Printed by Coriander Studio, London

345 All works on loan from the Artist

Focusing on Rae’s innovative etchings In particular, the show reveals Barbara and screenprints, the show presents Rae’s unwavering commitment to print- landscapes the artist experienced in her making as an independent medium, travels from New Mexico, Spain and and her continued experimentation Ireland to her homeland of Scotland. with its methods and materials.

www.pallant.org.uk International 05.07.2014 > 28.09.2014 Art Exhibitions 2014

Barbara Hepworth

1 Within the Landscape

Abbot Hall Art Gallery Gallery Abbot Hall Art Dame Barbara Hepworth (1903-75) was Opposite page one of the greatest artists of the 20th Two Figures (Menhirs) century. The exhibition at Abbot Hall 1964, Slate on wooden base will contain some of Hepworth’s most © Tate, London 2014 / iconic sculptures including Stringed Hepworth Estate, Bowness Figure (Curlew), 1956, Torso III (Galatea), 1 1958, and Moon Form, 1968, alongside Oval Form (Trezion) prints, photographs and ephemera Barbara Hepworth at work detailing the artist’s life long relation- on the plaster in the Palais ship with the landscape. Lakeland Arts de Danse studio, St Ives are working closely with the Hepworth 1963 Estate to secure key works as well as Photograph: Val Wilmer borrowing from national institutions for Courtesy Hepworth Estate, this important exhibition. 2 Bowness 2 Group I (Concourse) 1951, Serravezza marble © Tate, London 2014 / Hepworth Estate, Bowness 3

Kendal, Cumbria Configuration: Phira 1955 Leeds Museums & Galleries (Leeds Art Gallery) / The Bridgeman Art Library © Hepworth Estate, Bowness 4 Torso III (Galatea) 3 4 5 1958, Bronze Height 55.2 cm The landscape provided unending Born in Wakefield in 1903, she trained Hepworth was an active member of the Lakeland Arts Trust inspiration for Hepworth’s art. From the as a sculptor at Leeds School of Art and St Ives School of artists which included Photograph: Tony West rough and rugged West Riding land- the Royal College of Art. Alongside her husband, Ben Nicholson as well as © Hepworth Estate, Bowness scape experienced in her childhood to Henry Moore, Hepworth became a Naum Gabo, Peter Lanyon and Patrick 5 the idyllic views of St Ives in Cornwall, leading figure in the ‘new movement’ Heron. Her international standing was Summer Dance for Hepworth landscape was formative, associated with direct carving. Her first confirmed when she was awarded the 1972, Bronze multifaceted and constantly stimulating. retrospective show was held at Temple Grand Prize at the 1959 São Paolo Bienal. Height 91.5 cm Hepworth’s commentary on the subject Newsam, Leeds in 1943, and she Private collection is extensive and this exhibition will draw represented Britain at the 25th Venice ‘I, the sculptor, am the landscape. © Hepworth Estate, Bowness on her words, her photographs and Biennale in 1950. During the 1950s she I am the form and I am the hollow, ephemera alongside her sculptures to became increasingly established, the thrust and the contour.’ give a unique insight into what she was receiving several major commissions for Barbara Hepworth both inspired by, and how she contribu- public sculpture, including a commis- ted to a perception of landscape. sion for the Festival of Britain in 1951.

www.abbothall.org.uk International 05.07.2014 > 19.10.2014 Art Exhibitions 2014

Opposite page The Scottish Colourist Grace McColl 1930, Oil on canvas, J D Fergusson Private collection, Courtesy of the Richard 1 1874-1961 Green Gallery, London 1 Pallant House Gallery Pallant House Gallery Bringing together over 60 paintings and Bathers, the Parasol sculptures from major public and 1951, Oil on canvas private collections from across the UK, The Fergusson Gallery, the exhibition celebrates the impor- Perth & Kinross Council, tance of one of the UK’s greatest 20th presented by the J D Fergusson century artists. With a career encom- Art Foundation (1991) passing the birth of modern art in Paris, 2 to re‐vitalising the arts scene in Glasgow The Blue Hat, after the outbreak of World War II, Closerie des Lilas, Fergusson is the most international and 1909, Oil on canvas diverse of the Scottish Colourists. City Art Centre, The only Colourist to make sculpture, he City of Edinburgh Museums was also involved with the performing and Galleries; purchased arts through his partner the dance from Margaret Morris, 1962 pioneer Margaret Morris. An artist of 3 passion and sensuality, he is best known Hortensia for his depictions of women. 1910, Oil on canvas The University of Aberdeen Museums, Scotland Bequeathed by Eric Linklater Chichester 4 Danu, Mother of the Gods 1952, Oil on canvas On loan to the Scottish National Portrait Gallery, Edinburgh from The Fergusson Gallery, Perth & Kinross Council 5 Souvenir de Jumieges 2 3 1931, Oil on canvas The Fergusson Gallery, Perth & Kinross Council, presented by the J D Fergusson Art Foundation (1991) 6 Christmas Time in the South of France 1922, Oil on canvas The Fergusson Gallery, Perth & Kinross Council, purchased with the assistance of the Heritage Lottery Fund (1998)

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www.pallant.org.uk International 09.07.2014 > 05.10.2014 Art Exhibitions 2014

Light Images Photography at the Städel 1 from the beginnings to 1960

Städel Museum Frankfurt am Main Opposite page Otto Steinert La Comtesse de Fleury 1952, Gelatin silver print on baryta paper mounted on hardboard 39.2 x 29.1 cm © Nachlass Otto Steinert, Museum Folkwang, Essen 1 Exhibition view 2 Dora Maar Mannequin with Perm 1935, Gelatin silver print on 3 baryta paper mounted on cardboard 23.4 x 17.7 cm Property of Städelscher 2 3 Museums-Verein eV 3 In 1845, the Frankfurt Städel was the Carlo Naya first art museum in the world to exhibit Venice: photographic works. The invention of View of the Marciana the new medium had been announced Library, the Campanile in Paris just six years earlier, making 2014 and the Ducal Palace the 175th anniversary of that momen- c1875, Albumen print tous event. In keeping with the tradition 4 mounted on cardboard it thus established, the Städel is now 41.3 x 54.1 cm devoting a comprehensive special show Property of Städelscher to European photo art, presenting the Museums-Verein eV photographic holdings of the museum’s 4 Modern Art Department, which have Man Ray recently undergone significant Black and White expansion. In addition to such pioneers 1926, Gelatin silver print as Nadar, Gustave Le Gray, Roger Fenton by Pierre Gassmann, 1993 and Julia Margaret Cameron, the show 24.8 x 35.3 cm will also feature photography heroes of the twentieth century. 4 All images Städel Museum, August Sander, Albert Renger-Patzsch, While giving an overview of the Städel’s Museum from the Beginnings to 1960’ Frankfurt am Main Man Ray, Dora Maar and Otto Steinert, early photographic holdings and the will also shed light on the history of the Photo: Städel Museum – will be represented plus virtually some acquisitions of the past years, ‘Light medium over the one hundred and Artothek forgotten members of the profession. Images: Photography at the Städel seventy-five year period. © VG Bild-Kunst, Bonn 2014

www.staedelmuseum.de International 13.07.2014 > 14.09.2014 Art Exhibitions 2014

Beyond Pop Art Opposite page A Tom Wesselmann Seascape No 22 1967, Oil on shaped canvas 1 Retrospective 230.5 x 150.5 cm

Denver Museum Art ‘Beyond Pop Art: A Tom Wesselmann 1 Retrospective’ features the work of Landscape No 5 American painter Tom Wesselmann, 1965. Oil on canvas and who is widely regarded as one of the Liquitex and collage on canvas leading ﬁgures of American pop art. 213.4 x 367 x 45.7 cm 2 Organized chronologically, this Screen Star exhibition follows the development of 1999-2003, Oil on cut-out Wesselmann’s work, series by series, aluminum from the earliest abstract collages to his 376.9 x 353 x 109.2 cm well-known series, ‘The Great American 3 Nude’, and still lifes of his pop period to Monica the cut-steel drawings and ‘Sunset sitting with Mondrian Nudes’ of his late work. (Variation No 4) 1988, Enamel on cut-out steel Beyond Pop Art features approximately 154.9 x 105.4 cm 100 works, including the larger-than- 4 life ‘Still Life No 60’, which is more than Still Life No 60 twenty-five feet long, and ‘Screen Star’, 1973, Oil on canvas which weighs more than 2,000 pounds. 2 310.5 x 845.8 x 219.7 cm

This exhibition continues the museum’s There will be the opportunity to explore All works tradition of bringing exhibitions to Wesselmann’s personal and creative Lent by Claire Wesselmann Denver, like ‘Becoming Van Gogh’, that journey through preliminary drawings, © Estate of Tom Wesselmann/ provide an inside look into an artist’s maquettes, archival documents, bill- Licensed by VAGA, New York, NY process. boards, photographs and letters. Photos: Jeffrey Sturges

www.denverartmuseum.org International 22.07.2014 > 31.12.2015 Art Exhibitions 2014

Opposite page Human, Self-Portrait with Ophthal- mological Teaching Models All Too Human c1928-30, Oil on wood Städtische Galerie im Lenbach- 1 New Objectivity at Lenbachhaus haus und Kunstbau, Munich 1 Lenbachhaus In 1911, the young Otto Dix read Josef Scharl Nietzsche’s ‘Human, All Too Human’, Fallen Soldier a book for ‘free spirits’ from which our 1932, Oil on canvas exhibition takes its title. The engage- Städtische Galerie im Lenbach- ment with Nietzsche’s philosophy haus und Kunstbau, Munich informs Dix’s entire oeuvre, which takes 2 an unflinching look at humankind. George Grosz Man and Woman Haunting portraits and depictions of 1926, Oil on canvas social life also constitute a major subset Private collection, Estate of of the Lenbachhaus’s ‘New Objectivity’ George Grosz, Princeton NJ collection. The experiences of the Great 3

Münich War radically changed how people saw Georg Schrimpf the world and their fellow men. Portrait of Oskar Maria Graf Profoundly shaken, many artists of the 1918, Oil on canvas Weimar Republic focused on a starkly Städtische Galerie im Lenbach- realistic rendition of reality. haus und Kunstbau, Munich

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Their works illustrate the critical gaze contrasted with others that affirmatively Scharl’s ‘Fallen Soldier’ will once again be 4 with which they observed the world in capture the spirit of the era. Portraits of on display, together with art by Georg Chtistian Schad the period leading up to the outbreak the individual and pictures that probe Schrimpf, Wilhelm Heise, Heinrich Maria Surgery of World War II, a time rich in contrasts his or her thoughts and sentiments Davringhausen, and Franz Radziwill. 1929, Oil on canvas and disruptions. At the heart of new will appear next to images of leading The presentation will be rounded out Städtische Galerie im Lenbach- presentation at the Lenbachhaus will representatives of the era. Works that by pictures by Erna Dinklage, Herbert haus und Kunstbau, Munich be the ‘human condition,’ the vision of have become iconic such as Christian Ploberger, and Karl Hofer that have not Christian Schad Foundation the human being. Works of political art, Schad’s Surgery, Rudolf Schlichter’s been on public display in a long time, Aschaffenburg / VG Bild-Kunst, social critique, and verism will ‘Portrait of Bertolt Brecht’, and Josef as well as paintings by Karl Hubbuch. Bonn 2014

www.lenbachhaus.de International 01.08.2014 > 01.01.2015 Art Exhibitions 2014

Alex Colville

1 1920-2013

Art Gallery of Ontario Gallery Art Nearly 100 works by Canadian icon Alex Opposite page Colville will be presented at the Art Woman in Bathtub Gallery of Ontario (AGO) this summer, 1973, Acrylic polymer emulsion marking the largest exhibition of the Overall (sight) 87.8 x 87.6 cm late artist’s work to date. The exhibition Purchase with assistance from will honour Colville’s legacy and explore Wintario, 1978 the continuing impact of his work from © AC Fine Art Inc the perspectives of several prominent 1 popular culture figures from film, Circus Woman literature and music. Known for painting 1959-60, Oil and synthetic resin decidedly personal subject matter, Overall (sight) 66 x 76 cm Colville’s painstakingly precise images Gift of Dr Helen J Dow, 1991 depict an elusive tension, capturing © AC Fine Art Inc moments perpetually on the edge of 2 change and the unknown, often imbued Horse and Train with a deep sense of danger. 1954, Glazed oil on hardboard Alex Colville’s exacting methods and Art Gallery of Hamilton, Gift of often uneasy scenes created an entirely Dominion Foundries and Steel new genre of Canadian art. 2 Limited (Dofasco), 1957 © AC Fine Art Inc Toronto Born in Toronto in 1920, Colville was a 3 painter, printmaker and veteran who Low Tide drew his inspiration from the world 1987, Acrylic on masonite around him, transforming the seeming- Frame 60 x 101.4 cm ly mundane figures and events of every- Overall 41 x 81.3 cm day life into archetypes of the modern Gift from the Estate of R Fraser condition. He was made a Companion Elliott, 2005 2 of the Order of Canada in 1982 and won © AC Fine Art Inc a Governor General's Visual and Media 4 Arts Award in 2003. The AGO has 89 Three Horses works by Colville in its collection, 1946, Oil on canvas including seven paintings currently on Overall 51 x 66.4 cm display. The Gallery last presented a Purchase, 1946 3 retrospective of his works in 1983. © AC Fine Art Inc

Alex Colville’s death in July last year, at Featuring works assembled from home in Wolfville, Nova Scotia, has left a museums and private collections void in our cultural landscape, but his nationwide, many of which have never work continues to have a profound been shown publicly, the exhibition impact on artists here and abroad. We spans Colville’s entire career, including look forward to exploring this vibrant iconic paintings such as: ‘Horse and legacy with the help of several creative Train’ (1953); ‘To Prince Edward Island’ thinkers who have been touched and (1965); ‘Woman in Bathtub’ (1973); and inspired by his vision. ‘Target Pistol and Man’ (1980). 4

www.ago.net International 06.09.2014 > 04.01.2015 Art Exhibitions 2014

Marlene Dumas

1 The Image as Burden

Stedelijk Museum Amsterdam A unique survey of the remarkable oeuvre of Marlene Dumas. This retrospective exhibition brings together over 100 of her most important works, from the late 1970s to the present day. Dumas is considered one of the most signiﬁcant and inﬂuential painters working today. With her work, she gives new content to the meaning that painting can still have today, in an era dominated by visual culture. Her intense, emotionally charged paintings and drawings address existentialist themes and reference art historical motifs and current political issues. 2 3 3

The exhibition presents a compelling Opposite page overview of her oeuvre from the late Naomi 1970s to the present. In addition to her 1995 most important and iconic works, the Collection De Heus-Zomer exhibition also presents lesser-known 1 paintings and drawings, including The Image as Burden many works never before seen in the 1993 Netherlands, and a selection of her Private collection, Belgium most recent paintings. The title of the 2 exhibition is derived from the work The Wall ‘The Image as Burden’ (1993), which 2009 refers to the conflict between the Collection Gayle & Paul Stoffel painterly gesture and the illusion of 3 4 5 the painted image. Helena No 2 2001 Dumas often finds inspiration in Dumas does not shy away from contro- The exhibition closely examines the Private collection, Brussels, newspaper and magazine images from versial topics. In both her visual work key themes and motifs that Dumas has Belgium, courtesy Zeno X her immense visual archive. The artist and her writings, Dumas reflects on developed throughout her artistic Gallery, Antwerp, Belgium believes that the endless stream of contemporary painting and what it career. Attention is given to the works 4 photographic images that bombards us means to be an artist. With over one on paper that she produced in the early Helena’s Dream every day influences how we see each hundred drawings and paintings from years after her arrival in the Netherlands, 2008 other and the world around us. Dumas private and museum collections when she also exhibited her work for Kunsthalle Bielefeld addresses this onslaught by revealing throughout the world, ‘Marlene Dumas: the first time at the Stedelijk Museum. 5 the psychological, social, and political The Image as Burden’ is the first major Themes such as love, death and longing, Moshekwa aspects of these images. Her drawings solo exhibition of Dumas in the and the use of texts and images found 2006 and paintings have a directness and Netherlands in 20 years. It is the most in the mass media – which are also Private collection, Brussels, expressiveness, which the artist couples comprehensive retrospective survey explored in her late paintings – are Belgium, courtesy Zeno X with a certain analytical distance. of her work in Europe to date. evident in these early works, too. Gallery, Antwerp, Belgium

www.stedelijk.nl International 06.09.2014 > 11.01.2015 Art Exhibitions 2014

Richard Koppe

1 1916-1973

Elmhurst Art Museum Chicago Elmhurst Art Elmhurst Art Museum is staging the ﬁrst museum exhibition in more than forty years of works by Richard Koppe, reintro- ducing an American modernist and one of the early stalwarts of abstraction in Chicago. Well-respected as a painter, sculptor, printmaker and designer, Koppe exhibited his work widely during his lifetime, yet is now largely unknown. Including 70 rarely seen paintings, prints and drawings, EAM’s exhibition highlights Koppe’s signature canvases from the mid-20th century – from his playful compositions of stylised ﬁsh and birds to his distinctive versions of abstract expressionism and hard-edge abstraction. The exhibition was organized in cooperation with the University of Illinois at Chicago’s College of Architecture, Design and the Arts. 2 | 3

Combining aspects of cubism and Opposite page surrealism, Koppe explored line, colour, Untitled composition and space, producing 1947, Tempera on paper board works that are both playful and intricate. 1 A special section including photographs, Three Figures studies, textiles, tableware and related 1946, Oil on canvas objects is dedicated to the artist’s 2 celebrated murals and designs for Falconer Chicago’s famous ‘Well of the Sea’ 1951, Oil on canvas restaurant in 1948. 3 Winged Duo Koppe’s experimentation with form, his 1961, Oil on canvas mastery of diverse media and interest in 4 design came from being a student of Untitled European modernists like László Moholy- 1951, Oil on linen canvas Nagy and Alexander Archipenko at 5 Chicago’s New Bauhaus in the late 1930s. 5 Untitled Crayon and chalk on paper Koppe went on to promote the modern- This exhibition is largely drawn from ist program as Head of Visual Design UIC’s Campus Collection, to which and Fine Arts at the Institute of Design Koppe’s estate donated nearly one All works: (ID) at the Illinois Institute of Technology thousand of his works shortly after UIC Campus Collection 4 (IIT) and later as Professor of Art at UIC. his death. All photos: James Prinz

www.elmhurstartmuseum.org International 07.09.2014 > 18.01.2015 Art Exhibitions 2014

1 Gustave Courbet

Fondation Beyeler Basel Gustave Courbet’s oeuvre had a deter- Opposite page mining influence on the development The Man Mad with Fear of modern painting. The exhibition, (Portrait of the artist) which includes 50 to 60 works, will c1844-45, concentrate on his role as the first Oil on paper on canvas avant-garde painter. With his provoca- 60.5 x 50.5 cm tive canvases and his emphasis on his The National Museum of Art, individuality as an artist, Courbet Architecture, and Design, Oslo developed into a precursor of Modern- 1 ism who broke with the conventions of Seascape, Low Tide traditional academic training. Courbet’s 1865-69, Oil on canvas famous painting ‘L’Origine du Monde’ 64.7 x 79.3 cm will be at the heart of the exhibition. Bristol Museums & Art Gallery This will be its first public presentation 2 anywhere in Europe other than France. Self-Portrait Dating from 1866, the painting is the with Black Dog unknown masterpiece of the 19th Oil on canvas century, a work which few saw at the 46.5 x 55.5 cm time but which everyone talked about Petit Palais, Musée des Beaux- and which retains its provocativeness Arts de la Ville de Paris even today. 2 © bpk / RMN – Grand Palais / Jacques L’Hoir / Jean Popovich Featuring self-portraits, representations 3 of women and pictures of grottos and The Sea at Palavas seascapes, the exhibition will highlight 1854, Oil on canvas Courbet’s innovative use of colour and 38 x 46.2 cm his strategy of ambiguity. Other themes © Musée Fabre, Montpellier of the show will be the break with Agglomération / academic tradition and the develop- Frédéric Jaulmes ment of Realism in art, Courbet’s revolu- 4 tionary impasto painting technique, The Three Bathers 3 which expressed his individuality as 5 Oil on paper on canvas an artist, and his playful treatment of 126.5 x 95 cm traditional motifs and symbols. Courbet was an a master of suggestion, © Petit Palais, Musée des Depicting the springs, caves, steep a true painter of the invisible who Beaux-Arts de la Ville de Paris / limestone cliffs and thick forests found established new pictorial ideas. Eric Emo in the Jura around Ornans where he was The room entitled ‘Tracks in the Snow’, 5 born, Courbet’s landscapes are often where Courbet’s snowscapes will be Snow Scene combined with representations of the displayed, illustrates how he, through c1868, Oil on canvas female nude. Human beings, sexuality his painting, transformed colour into an 72 x 92 cm and untouched nature are united in a object. Pastose and expressive, yet of a French & Company, New York fascinating equilibrium. Other canvases dynamic lightness, the colour white centre on the impenetrable darkness of becomes snow in those works, seeming 4 his Jurassian mountain caves. to create its own reality.