Cecily Brown Biography
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Gagosian Gallery
Artsy April 2, 2019 GAGOSIAN How Takashi Murakami Got His Start as an Artist Scott Indrisek “At the studio I rented for $80 a month on Lorimer Street in Brooklyn, uncertain whether I would have anything to eat the next day.” © Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy of Gagosian. In the second installment of a new series, we continue to shine a light on the tumultuous early days of artists who have since become household names. Takashi Murakami, 57, may now be an international art star and a cultural icon, but he was once a disgruntled student, bored with his conservative schooling and dreaming of better things. Indeed, when he was just starting out, Murakami claimed no special status as an artist. “I was never particularly talented at drawing or painting,” he said; hard work, practice, and determination would sharpen those skills. He had his first solo show in 1989, at Tokyo’s Ginza Surugadai Gallery, and began traveling from his native Japan to New York City around that time. Murakami always thought of New York as one of the art world’s vital centers, and he was willing to struggle in order to absorb what it had to offer. He recalled once renting a studio on Lorimer Street in Brooklyn for a mere $80 a month (“uncertain whether I would have anything to eat the next day,” he added). In 1994, he landed a residency in the prestigious PS1 International Studio Program. These early experiences helped shape Murakami’s unique artistic vision. The hyperconfident artist would eventually become a global brand, his manga-inspired creations taking over the world—one wild sculpture and painting at a time. -
Gagosian Gallery
Financial Times January 20, 2020 GAGOSIAN Living with Damien Hirst and friends Robert Tibbles was an early collector of the Young British Artists — now he is preparing to sell many of his acquisitions Melanie Gerlis Caption (TNR 9 Italicized) Everyone likes to say that they discovered an artist before they were famous, but in the case of the London bond salesman Robert Tibbles, the claim is true. Back in the 1980s, the late art dealer Karsten Schubert introduced Tibbles to the work of an art student called Damien Hirst. Alongside Charles Saatchi, Tibbles then became one of the now-superstar artist’s first buyers. So began an intense, 15-year collecting spree, mostly of works by Hirst and other Young British Artists. These now dominate Tibbles’s Victorian ground-floor flat in London’s leafy Kensington, where an early Hirst spot painting, “Antipyrylazo III” (1994), has loomed almost too large over the living room fireplace since Tibbles bought it in the year it was made. Hanging nearby is another early purchase — Hirst’s degree-show medicine cabinet “Bodies” (1989) — a work that demonstrates Tibbles’s aptitude for picking the right time in the art market as well as the debt markets. He bought the cabinet for £600 (again, in the year it was made) and now, as Tibbles prepares to sell much of his YBA collection at auction at Phillips in London, the cabinet is valued between £1.2m and £1.8m. “There’s no question that the medicine cabinet and other works were not liked or understood by many of my friends. -
Gagosian Gallery
Artforum January, 2000 GAGOSIAN 1999 Carnegie International Carnegie Museum of Art Katy Siegel When you walk into the lobby of the Carnegie Museum, the program of this year’s International announces itself in microcosm. There in front of you is atmospheric video projection (Diana Thater), a deadpan disquisition on the nature of representation (Gregor Schneider’s replication of his home), a labor-intensive, intricate installation (Suchan Kinoshita), a bluntly phenomenological sculpture (Olafur Eliasson), and flat, icy painting (Alex Katz). Undoubtedly the best part of the show, the lobby is also an archi-tectural site of hesitation, a threshold. Here the installation encapsulates the exhi-bition’s sense of historical suspen-sion, another kind of hesitation. Ours is a time not of endings but of pause. My favorite work, viewed through the museum’s huge glass wall, was the Eliasson, a fountain of steam wafting vertically from an expanse of water on a platform through which trees also rise up. It’s a heart-throbbing romantic landscape. Romantic, but not naive: The work plays on the tradition of the courtyard fountain, and the steam is piped from the museum’s heating system. Combining the natural and the industrial in a way peculiarly appro-priate to Pittsburgh on a quiet Sunday morning in early autumn, it echoed two billows of steam (or, more queasily, smoke?) off in the distance. When blunt physical fact achieves this kind of lyricism, it is something to see. Upstairs in the galleries, Ernesto Neto’s Nude Plasmic, 1999, relies as well on the phenomenology of simple form, but the Brazilian artist avoids Eliasson’s picturesque imagery. -
Dana Schutz Born 1976 in Livonia, Michigan
This document was updated October 23, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Dana Schutz Born 1976 in Livonia, Michigan. Lives and works in Brooklyn, New York. EDUCATION 2002 M.F.A., Columbia University, New York 2000 B.F.A., Cleveland Institute of Art, Ohio 1999 Skowhegan School of Painting and Sculpture, Skowhegan, Michigan 1999 Norwich School of Art and Design, Norwich, England SOLO EXHIBTIONS 2020 Dana Schutz: Shadow of a Cloud Moving Slowly, Thomas Dane Gallery, London 2019 Dana Schutz: Imagine Me and You, Petzel Gallery, New York 2018 Dana Schutz: Eating Atom Bombs, Transformer Station, Cleveland, Ohio [organized by The Cleveland Museum of Art, Ohio] 2017 Dana Schutz, Institute of Contemporary Art, Boston 2016 Dana Schutz: Waiting for the Barbarians, Contemporary Fine Arts, Berlin [catalogue] 2015 Dana Schutz: Fight in an Elevator, Petzel Gallery, New York Dana Schutz, Musée d’art contemporain de Montréal [catalogue] 2013 Dana Schutz: God Paintings, Contemporary Fine Arts, Berlin Dana Schutz, The Hepworth Wakefield, England [itinerary: kestnergesellschaft, Hannover, Germany] [catalogue Dana Schutz: Demo] 2012 Dana Schutz: Götterdämmerung, The Metropolitan Opera, New York Dana Schutz: Piano in the Rain, Petzel Gallery, New York Dana Schutz: Works on Paper, Museum of Contemporary Art, Denver 2011-2013 Dana Schutz: If the Face Had Wheels, Neuberger Museum of Art, Purchase College, State University of New York [itinerary: Miami Art Museum; Denver Art Museum] [catalogue] -
Listed Exhibitions (PDF)
G A G O S I A N G A L L E R Y Anish Kapoor Biography Born in 1954, Mumbai, India. Lives and works in London, England. Education: 1973–1977 Hornsey College of Art, London, England. 1977–1978 Chelsea School of Art, London, England. Solo Exhibitions: 2016 Anish Kapoor. Gagosian Gallery, Hong Kong, China. Anish Kapoor: Today You Will Be In Paradise. Gladstone Gallery, New York, NY. Anish Kapoor. Lisson Gallery, London, England. Anish Kapoor. Lisson Gallery, Milan, Italy. Anish Kapoor. Museo Universitario Arte Contemporáneo, Mexico City, Mexico. 2015 Descension. Galleria Continua, San Gimignano, Italy. Anish Kapoor. Regen Projects, Los Angeles, CA. Kapoor Versailles. Gardens at the Palace of Versailles, Versailles, France. Anish Kapoor. Gladstone Gallery, Brussels, Belgium. Anish Kapoor. Lisson Gallery, London, England. Anish Kapoor: Prints from the Collection of Jordan D. Schnitzer. Portland Art Museum, Portland, OR. Anish Kapoor chez Le Corbusier. Couvent de La Tourette, Eveux, France. Anish Kapoor: My Red Homeland. Jewish Museum and Tolerance Centre, Moscow, Russia. 2013 Anish Kapoor in Instanbul. Sakıp Sabancı Museum, Istanbul, Turkey. Anish Kapoor Retrospective. Martin Gropius Bau, Berlin, Germany 2012 Anish Kapoor. Museum of Contemporary Art, Sydney, Australia. Anish Kapoor. Gladstone Gallery, New York, NY. Anish Kapoor. Leeum – Samsung Museum of Art, Seoul, Korea. Anish Kapoor, Solo Exhibition. PinchukArtCentre, Kiev, Ukraine. Anish Kapoor. Lisson Gallery, London, England. Flashback: Anish Kapoor. Longside Gallery, Yorkshire Sculpture Park, West Bretton, England. Anish Kapoor. De Pont Foundation for Contemporary Art, Tilburg, Netherlands. 2011 Anish Kapoor: Turning the Wold Upside Down. Kensington Gardens, London, England. Anish Kapoor: Flashback. Nottingham Castle Museum, Nottingham, England. -
Listed Exhibitions (PDF)
G A G O S I A N G A L L E R Y Alexander Calder Biography Born in 1898, Lawnton, PA. Died in 1976, New York, NY. Education: 1926 Académie de la Grande Chaumière, Paris, France. 1923–25 Art Students League, New York, NY. 1919 B.S., Mechanical Engineering, Stevens Institute of Technology, Hoboken, NJ. Solo Exhibitions: 2015 Alexander Calder: Imagining the Universe. Sotheby’s S|2, Hong Kong. Calder: Lightness. Pulitzer Arts Foundation, Saint Louis, MO. Calder: Discipline of the Dance. Museo Jumex, Mexico City, Mexico. Alexander Calder: Multum in Parvo. Dominique Levy, New York, NY. Alexander Calder: Primary Motions. Dominique Levy, London, England. 2014 Alexander Calder. Fondation Beyeler, Basel. Switzerland. Alexander Calder: Gouaches. Gagosian Gallery, Davies Street, London, England. Alexander Calder: Gouaches. Gagosian Gallery, 980 Madison Avenue, New York, NY. Alexander Calder in the Rijksmuseum Summer Sculpture Garden. Rijksmuseum, Amsterdam, Netherlands. 2013 Calder and Abstraction: From Avant-Garde to Iconic. Los Angeles County Museum of Art, Los Angeles, CA. 2011 Alexander Calder. Gagosian Gallery, Davies Street, London, England. 2010 Alexander Calder. Gagosian Gallery, W. 21st Street, New York, NY. 2009 Monumental Sculpture. Gagosian Gallery, Rome, Italy. 2005 Monumental Sculpture. Gagosian Gallery, W. 24th Street, New York, NY. Alexander Calder 60’s-70’s. GióMarconi, Milan, Italy. Calder: The Forties. Thomas Dane, London, England. 2004 Calder/Miró. Foundation Beyeler, Riehen, Switzerland. Traveled to: Phillips Collection, Washington, D.C. (through 2005). Calder: Sculpture and Works on Paper. Elin Eagles-Smith Gallery, San Francisco, CA. 590 Madison Avenue, New York, NY. 2003 Calder. Gagosian Gallery, Los Angeles, CA. Calder: Gravity and Grace. -
New Directions in Figurative Painting at Whitechapel Gallery Radical Figures
New directions in figurative painting at Whitechapel Gallery Radical Figures: Painting in the New Millennium 6 February – 10 May 2020 Galleries 1, 8 & 9 Radical Figures: Painting in the New Millennium brings together a new generation of artists who represent the body in radical ways to tell stories and explore vital social concerns. Presenting for the first time this new direction in painting, the exhibition features ten painters at the heart of this zeitgeist: Michael Armitage, Cecily Brown, Nicole Eisenman, Sanya Kantarovsky, Tala Madani, Ryan Mosley, Christina Quarles, Daniel Richter, Dana Schutz and Tschbalala Self. Painting had its last big hurrah in the 1980s when the stock market boom fuelled the brash brushwork and swagger of Neo-Expressionism. Leading critics were quick to pronounce its death. Through 40 canvases created over the last two decades, Whitechapel Gallery’s spring 2020 exhibition surveys the renewed interest in expressive and experimental modes of figuration among painters who have come to prominence since 2000. The artists explore contemporary subjects including gender and sexuality, society and politics, race and body image. Pushing the notion of what figurative painting can be, the bodies they depict may be fragmented, morphed, merged and remade but never completely cohesive. They may also be fluid and non-gendered; drawn from news stories; represented by animals; or simply formed from the paint itself. Embodying the painterly gesture to critique from within or broaden the lineage of a style long associated with canonical Eurocentric male painters, each artist references and creates work in dialogue with 19th and 20th- century painters including Victor Eugene Delacroix (1798–1863), Paul Gauguin (1848–1903), Willem de Kooning (1904–1997) and Maria Lassnig (1919–2014). -
Artist Resources – Cecily Brown (British, B. 1969) Brown at Saatchi Gallery, London Brown at the Gagosian Gallery
Artist Resources – Cecily Brown (British, b. 1969) Brown at Saatchi Gallery, London Brown at the Gagosian Gallery “I’ve always thought of myself as a figurative painter,” Brown reflected in a video interview from her New York studio in 2014. “There’s always been a strong element of abstraction, but it’s something that happens very naturally…I’m far more interested in the moment where figuration breaks down...if I don’t have some figural idea, I get completely lost.” The National Gallery of Art in D.C. hosted Brown for a conversation about her sources of inspiration in 2016, including Fragonard, Goya, and Bruegel. “I was always really obsessed with art of the past. I never really understood why anyone wouldn’t be…I just felt a really close relationship with art from a hundred years ago. I never felt any distance from it,” Brown explained. “When you’re feeling lost, you can go back to these sources.” Drawing and painted studies are a central part of Brown’s practice. The Drawing Center in New York hosted the first museum exhibition dedication to her works on paper in 2016. The Whitworth, at the University of Manchester, followed in 2018 with drawings of shipwrecks inspired by Gericault and Delacroix. An intimate portrait in photographs by W Magazine showcased Brown her studio as she worked through these studies. Apollo Magazine interviewed Brown as she prepared for her 2018 exhibition at the Louisiana Museum of Modern Art in Denmark. “Seeing a group of works together in a show is like the final part of the whole process of making paintings: seeing how they relate, what story they tell, and what they mean Brown, 2019 once they’re in the world,” Brown explained. -
Cecily Brown
G A G O S I A N G A L L E R Y August 25, 2008 PRESS RELEASE GAGOSIAN GALLERY 555 WEST 24TH STREET T. 212.741.1111 NEW YORK NY 10011 F. 212.741.9611 GALLERY HOURS: Tuesday – Saturday: 10:00am–6:00pm CECILY BROWN Saturday, September 20 – Saturday, October 25, 2008 Opening reception for the artist: Saturday, September 20th, from 6 to 8pm “I’m more interested in sublimation. I love the way Francis Bacon talked about the grin without the cat, the sensation without the boredom of its conveyance…I’ve always wanted to be able to convey figurative imagery in a kind of shorthand, to get it across in as direct a way as possible. I want there to be a human presence without having to depict it in full.” --Cecily Brown Gagosian Gallery is pleased to announce an exhibition of recent paintings by Cecily Brown. Brown’s vigorous and tactile oil paintings evoke the breadth of human experience, particularly the emotions associated with touch, pleasure, and passion. Widely inspired by the history of painting, from the figurative orders of Nicolas Poussin, Edouard Manet, and William Hogarth to the heady abstract expressionism of Willem de Kooning, Brown brings to the conventions of the genre a bold and, at times, ribald femininity. Throughout her oeuvre, Brown has repeated certain motifs yet ascribes them different significations over time. For example the tent form -- a primary image in her work that she associates with childhood books and nomads as well as paintings by Picasso, Goya and Bosch—is, in the new work, layered with fresh imagery that obfuscates the original form in varying degrees. -
Nathalie Karg/ Cumulus Studios Functional Objects by Contemporary Artists
NATHALIE KARG/ CUMULUS STUDIOS FUNCTIONAL OBJECTS BY CONTEMPORARY ARTISTS CECILY BROWN Born in 1969, London. Lives and works in New York. EDUCATION 1989-1993 BA in Fine Arts, Slade School of Art, London. 1987-1989 Drawing and Printmaking classes, Morley College, London. 1985-1987 B-TEC Diploma in Art and Design, Epsom School of Art, Surrey, England. SOLO EXHIBITONS 2014 Cecily Brown, Gagosian Gallery, Paris, France Cecily Brown. Galleria Civica d’Arte Moderna e Contemporanea, Turin, Italy. 2013 Cecily Brown, Gagosian Gallery, Beverly Hills, CA Cecily Brown, Gagosian Gallery, Madison Ave, New York, NY 2012 Cecily Brown, Essl Museum, Klosterneuburg, Austria 2011 Cecily Brown, Gagosian Gallery, Davies Street, London, UK Cecily Brown, Kukje Gallery, Korea 2010 Cecily Brown, Contemporary Fine Arts, Berlin. Based On A True Story, GEM. Traveled to: Museum of Contemporary Art, The Hague, Netherlands; Kestner Gesllschaft, Hannover, Germany 2009 Cecily Brown, Deichtorhallen Hamburg, Germany. 2008 Cecily Brown, Gagosian Gallery, New York. 2006 Cecily Brown, Museum of Fine Arts, Boston, MA. Cecily Brown: New Paintings, Gagosian Gallery, London. Cecily Brown (curated by Jef Fleming), Des Moines Art Center, IA. 2005 Cecily Brown: Paintings, Kunsthalle Mannheim, Germany. Cecily Brown: Paintings (curated by Suzanne Cotter), Modern Art Oxford, England Cecily Brown: Recent Paintings, Gagosian Gallery, New York (Chelsea). 2004 Cecily Brown, Contemporary Fine Arts, Berlin. Cecily Brown, Museo Reina Sofía, Madrid. Cecily Brown, Galerie Lisa Ruyter, Vienna 2003 Cecily Brown, Museo d’Arte Contemporanea Roma, Rome. Cecily Brown, Gagosian Gallery, Beverly Hills. 2002 Directions—Cecily Brown, Hirshhorn Museum and Sculpture Garden, Washington, D.C. Cecily Brown, Gagosian Gallery, New York. -
Dana Schutz Painting of Emmett Till, Titled Open Casket
Dana Shutz’s Painting of Emmett Till Jay Miller Warren Wilson College One of the most exciting things about working in aesthetics and philosophy of art is that the pursuit of questions about art and beauty allows us, and sometimes forces us, into other fields of inquiry—to the ethical, the political, the metaphysical, the scientific, and so on. We are, by nature if not necessity, interdisciplinary. We enjoy a special kind of intellectual freedom to talk about nearly anything. That doesn’t always mean, however, that we should. I’ve recently been thinking about the Dana Schutz painting of Emmett Till, titled Open Casket. Like many of us, I was drawn to the complex interrelation of aesthetics, politics, and ethics that gave rise to the now infamous controversy that erupted when the painting was featured at the 2017 Whitney Biennial. The painting, a medium-large,1 semi-abstract depiction of Till’s disfigured visage facing upward in an open funeral casket, is based on documentary photographs taken after the gruesome 1955 lynching of the 14 year-old boy in rural Mississippi, wrongly accused of flirting with a white woman in a grocery store. The unavoidable question that this high-profile case raises has to do with a certain kind of normative relation between the image, the painting, and the artist. And this question—call it The Question—struck me as a profoundly philosophical question, one especially well-suited for the philosophy of art. Certainly, there are plenty of straightforward aesthetic critiques that can be made about the painting. We might say, for example, that the playfulness of its gestural brushstrokes belie the gravity of its subject matter. -
The Rage: Some Closing Comments on “Open Casket” About:Reader?Url=
The Rage: Some Closing Comments on “Open Casket” about:reader?url=http://contemptorary.org/the-rage-sexton/ contemptorary.org The Rage: Some Closing Comments on “Open Casket” Emmett Till is dead. I don’t know why he can’t just stay dead. – Roy Bryant This is what our dying looks like. – Jericho Brown What can one say, in response to Dana Schutz’s Open Casket? To say even this, out loud, would sound, without further inquiry, like a reference to a funeral service, a wake or a viewing. To say this loudly, while out and about, before the uninitiated or uninformed, would sound like a question about a eulogy for the artist. No color, no texture, no context, no points or lines or planes in the medium of the vast spacetime continuum. What was the cause? They would ask that, among other things, because they would care about all of the above. They would care even if they only overheard the opening question: How to speak well of the dead? Emmett Till, a fourteen-year old black boy from Chicago, was abducted, tortured and killed in Money, Mississippi on August 28, 1955 by two local white men. Roy Bryant and J.W. Milam (and perhaps others) murdered and mutilated him and attempted to disappear his body in the Tallahatchie River. The violence done to him was not unique, but its meaning and significance, its symbolic and material force, may be uniquely obscure. Till has been the subject of voluminous literary and artistic output among African Americans over the last half-century or so, much as an accompaniment to the black freedom movement that Till’s martyrdom, as it came to be known, would help catalyze.