David Zwirner
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Experience the Flemish Masters Programme 2018 - 2020
EXPERIENCE THE FLEMISH MASTERS PROGRAMME 2018 - 2020 1 The contents of this brochure may be subject to change. For up-to-date information: check www.visitflanders.com/flemishmasters. 2 THE FLEMISH MASTERS 2018-2020 AT THE PINNACLE OF ARTISTIC INVENTION FROM THE MIDDLE AGES ONWARDS, FLANDERS WAS THE INSPIRATION BEHIND THE FAMOUS ART MOVEMENTS OF THE TIME: PRIMITIVE, RENAISSANCE AND BAROQUE. FOR A PERIOD OF SOME 250 YEARS, IT WAS THE PLACE TO MEET AND EXPERIENCE SOME OF THE MOST ADMIRED ARTISTS IN WESTERN EUROPE. THREE PRACTITIONERS IN PARTICULAR, VAN EYCK, BRUEGEL AND RUBENS ROSE TO PROMINENCE DURING THIS TIME AND CEMENTED THEIR PLACE IN THE PANTHEON OF ALL-TIME GREATEST MASTERS. 3 FLANDERS WAS THEN A MELTING POT OF ART AND CREATIVITY, SCIENCE AND INVENTION, AND STILL TODAY IS A REGION THAT BUSTLES WITH VITALITY AND INNOVATION. The “Flemish Masters” project has THE FLEMISH MASTERS been established for the inquisitive PROJECT 2018-2020 traveller who enjoys learning about others as much as about him or The Flemish Masters project focuses Significant infrastructure herself. It is intended for those on the life and legacies of van Eyck, investments in tourism and culture who, like the Flemish Masters in Bruegel and Rubens active during are being made throughout their time, are looking to immerse th th th the 15 , 16 and 17 centuries, as well Flanders in order to deliver an themselves in new cultures and new as many other notable artists of the optimal visitor experience. In insights. time. addition, a programme of high- quality events and exhibitions From 2018 through to 2020, Many of the works by these original with international appeal will be VISITFLANDERS is hosting an Flemish Masters can be admired all organised throughout 2018, 2019 abundance of activities and events over the world but there is no doubt and 2020. -
Llyn Foulkes Between a Rock and a Hard Place
LLYN FOULKES BETWEEN A ROCK AND A HARD PLACE LLYN FQULKES BETWEEN A ROCK AND A HARD PLACE Initiated and Sponsored by Fellows ol Contemporary Art Los Angeles California Organized by Laguna Art Museum Laguna Beach California Guest Curator Marilu Knode LLYN FOULKES: BETWEEN A ROCK AND A HARD PLACE This book has been published in conjunction with the exhibition Llyn Foulkes: Between a Rock and a Hard Place, curated by Marilu Knode, organized by Laguna Art Museum, Laguna Beach, California, and sponsored by Fellows of Contemporary Art, Los Angeles, California. The exhibition and book also were supported by a grant from the National Endowment for the Arts, Washington, D.C., a federal agency. TRAVEL SCHEDULE Laguna Art Museum, Laguna Beach, California 28 October 1995 - 21 January 1996 The Contemporary Art Center, Cincinnati, Ohio 3 February - 31 March 1996 The Oakland Museum, Oakland, California 19 November 1996 - 29 January 1997 Neuberger Museum, State University of New York, Purchase, New York 23 February - 20 April 1997 Palm Springs Desert Museum, Palm Springs, California 16 December 1997 - 1 March 1998 Copyright©1995, Fellows of Contemporary Art, Los Angeles All rights reserved. No part of the contents of this book may be reproduced, in whole or in part, without permission from the publisher, the Fellows of Contemporary Art. Editor: Sue Henger, Laguna Beach, California Designers: David Rose Design, Huntington Beach, California Printer: Typecraft, Inc., Pasadena, California COVER: That Old Black Magic, 1985 oil on wood 67 x 57 inches Private Collection Photo Credits (by page number): Casey Brown 55, 59; Tony Cunha 87; Sandy Darnley 17; Susan Einstein 63; William Erickson 18; M. -
R.B. Kitaj Papers, 1950-2007 (Bulk 1965-2006)
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf0wf No online items Finding Aid for the R.B. Kitaj papers, 1950-2007 (bulk 1965-2006) Processed by Tim Holland, 2006; Norma Williamson, 2011; machine-readable finding aid created by Caroline Cubé. UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2011 The Regents of the University of California. All rights reserved. Finding Aid for the R.B. Kitaj 1741 1 papers, 1950-2007 (bulk 1965-2006) Descriptive Summary Title: R.B. Kitaj papers Date (inclusive): 1950-2007 (bulk 1965-2006) Collection number: 1741 Creator: Kitaj, R.B. Extent: 160 boxes (80 linear ft.)85 oversized boxes Abstract: R.B. Kitaj was an influential and controversial American artist who lived in London for much of his life. He is the creator of many major works including; The Ohio Gang (1964), The Autumn of Central Paris (after Walter Benjamin) 1972-3; If Not, Not (1975-76) and Cecil Court, London W.C.2. (The Refugees) (1983-4). Throughout his artistic career, Kitaj drew inspiration from history, literature and his personal life. His circle of friends included philosophers, writers, poets, filmmakers, and other artists, many of whom he painted. Kitaj also received a number of honorary doctorates and awards including the Golden Lion for Painting at the XLVI Venice Biennale (1995). He was inducted into the American Academy of Arts and Letters (1982) and the Royal Academy of Arts (1985). -
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. -
Wilhelm Sasnal's Transitional Images — MIEJSCE
Wilhelm Sasnal’s Transitional Images — MIEJSCE 15.03.2021, 18:49 Title Wilhelm Sasnal’s Transitional Images Author Katarzyna Bojarska Source MIEJSCE 6/2020 DOI https://www.doi.org/10.48285/8kaewzjo3p URL http://miejsce.asp.waw.pl/en/english-wilhelm-sasnals-transitional-images/ Abstract In her article the author offers a reframing of the discussion of how communities productively deal with their troubled pasts. The case in question is that of the post-war Polish national community, and its refusal to face so-called dark sides or shameful episodes of the historical past. The author concentrates on Wilhelm Sasnals’ artworks which deal with this gloomy heritage and reinterprets them in light of Donald W. Winnicott’s concept of transitional objects (as transitional images) thus pointing towards new possibilities in finding ways out of both discursive, political and pedagogical impasses in collective memory in Poland. I believe cure at its root means care.”1 From the mid-1990s onwards the visual arts in Poland have been responding to a changing memory culture shaped in the aftermath of the political and social transformation of 1989. Art’s potential for addressing the most troubling, contested and painful elements of collective identity seems unique. Its ability to cause productive confusion both on a cognitive and affective level cannot be overestimated, even if the immediate public response, encouraged by misunderstanding and refusal, might be disappointing and frustrating. The public have oftentimes felt offended or wounded as a result of a confrontation with strongly suppressed ambivalence about its own position vis-à-vis traumatic historical events such as the Holocaust, related memory and affect towards those to whom it happened, and towards oneself. -
Luc Tuymans in the Dark Regions of The
Luc Tuymans In the Dark Regions of the My project is an effort to avert the critical gaze from the racial object to the racial World subject; from the described and the imagined to the describers and imaginers; from the serving to the served. - Toni Morrison" "Mwana Kitoko, The beautiful White Man." Thus did the people of the In Tuymans' oeuvre, a painting often acquires additional layers of Congo address their sovereign, Baudouin, king of the Belgians. Luc meaning through the precisely devised context of its first exhibition, Tuymans painted him descending the narrow stairs of his airplane in the frequently involving spaces that require a certain number and mid-fifties, wearing an immaculate white Navy uniform, looking just a combination of works. Even while painting, Tuymans often has a little too stiff for the elegance of his slim figure, one hand firmly precise notion of how the picture is to operate alone, together with grasping his sword, his eyes hidden behind sunglasses to protect them others, and in the room where it is first to be presented. In his most from the sun and the intrusive gaze of others. The painting of Baudouin, recent cycle for the David Zwirner Gallery in New York, the full- MWANA KITOKO (2000), shows a grand entrance in bright light that length portrait of the monarch is placed— among others—opposite a oscillates between the dazzling effect of a media event and the light of slightly smaller three-quarter portrait of a black man titled STATUE the tropics. The dark lens gives the figure an insect-like appearance. -
Lives and Works in New York
Jon Kessler Lives and works in New York Selected Solo Exhibitions 2008 Unlimited, Art Basel, Basel Jon Kessler, Reg Vardy Gallery, University of Sunderland, UK Jon Kessler, Louisiana Museum of Moderne Kunst, Copenhagen 2007 Galerie Hans Mayer, Dusseldorf Arndt and Partner, Berlin Jon Kessler, The Drawing Center, New York, NY 2006 The Place at 4 AM, Phoenix Kulturstiftung/Sammlung Falckenberg 2005 Hermes, Tokyo, Japan Jon Kessler, MOMA P.S. 1, Long Island City, NY 2004 Deitch Projects, New York, NY Hermes, Forum Gallery, Tokyo 2003 Hermes, Tokyo, Japan 2002 Hermes, Tokyo, Japan 1999 Luhring Augustine Gallery, New York, NY 1997 Jon Kessler, The University of the Arts, Philadelphia, PA 1996 Jon Kessler, The Augustus Saint Gardens Memorial, Cornish, NH 1994 Luhring Augustine Gallery, New York Jon Kessler’s Asia, Kestner-Gesellschaft, Hannover; Neue Galerie am Landesmuseum Joanneum, Graz Jon Kessler, Salzburger Kunstverein, Salzburg Jon Kessler, Puerto de Santander, Santander 1993 Jon Kessler, Kunstverein, Hamburg 1992 Galerie Max Hetzler, Cologne Luhring Augustine Gallery, New York, NY Jon Kessler, Nanba City Hall, Osaka Jon Kessler, Spiral Garden, Tokyo 1991 Galerie Metropol, Vienna Jon Kessler, Carnegie Museum of Art, Pittsburgh, PA 1990 Luhring Augustine Gallery, New York, NY Jon Kessler, Centre d'Art d'Ivry 1989 Galerie Crousel - Robelin, Paris Galerie Ursula Schurr, Stuttgart Luhring Augustine Hetzler Gallery, Santa Monica Multiples, Galerie Gisela Capitain, Cologne 1988 Galerie Max Hetzler, Cologne 1987 Luhring, Augustine & Hodes, New -
Luc Tuymans Good Luck
Luc Tuymans Good Luck October 27 – December 19, 2020 5–6/F, H Queen’s, 80 Queen’s Road Central Hong Kong Luc Tuymans, Still, 2019 © Luc Tuymans Courtesy the artist and David Zwirner David Zwirner is pleased to present an exhibition of new work by the renowned Belgian artist Luc Tuymans (b. 1958) at the gallery’s Hong Kong location—his first solo presentation in Greater China. On view will be a selection of recent paintings and a new single-channel animated video that are drawn from a range of historical and contemporary images. Together the works share an undercurrent, as suggested by the exhibition’s title, of paradox and uncertainty. Tuymans has become known for a distinctive style of painting that demonstrates the power of images to simultaneously communicate and withhold. Emerging in the 1980s, Tuymans pioneered a decidedly non-narrative approach to figurative painting, instead exploring how information can be layered and embedded within certain scenes and signifiers. Based on preexisting imagery culled from a variety of sources, his works are rendered in a muted palette that is suggestive of a blurry recollection or a fading memory. Their quiet and restrained appearance, however, belies an underlying moral complexity, and they engage equally with questions of history and its representation as they do with quotidian subject matter. Tuymans’s canvases both undermine and reinvent traditional notions of monumentality through their insistence on the ambiguity of meaning. The present exhibition brings together a wide range of global, historical, and contemporary references that reflect ongoing themes of interest for the artist. -
Felix Gonzalez-Torres American, B
This document was updated November 27, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Felix Gonzalez-Torres American, b. Guáimaro, Cuba 1957, d. Miami, Florida 1996. EDUCATION 1987 M.F.A., International Center of Photography, New York University 1983 Independent Study Program, Whitney Museum of American Art, New York 1983 B.F.A., Pratt Institute, Brooklyn, New York 1981 Independent Study Program, Whitney Museum of American Art, New York SELECTED SOLO EXHIBITIONS 2021 Felix Gonzalez-Torres: The Politics of Relation. Museu d'Art Contemporani de Barcelona (MACBA), Barcelona, Spain. Mar. – Sep. 2021. Cur. Tanya Barson. 2020 Felix Gonzalez-Torres, “Untitled” (Fortune Cookie Corner), 1990. Fortune cookies, endless supply. Overall dimensions vary with installation. Original installation: approximately 10,000 fortune cookies. Various venues. 25 May – 5 Jul. 2020. Cur. Andrea Rosen. 2017 Felix Gonzalez-Torres. David Zwirner, New York. 27 Apr.– 24 Jun. 2017. 2016 Felix Gonzalez-Torres. Rockbund Art Museum, Shanghai, China. 30 Sept. – 25 Dec. 2016. Cur. Larys Frogier and Li Qi. Felix Gonzalez-Torres. Andrea Rosen Gallery, New York. 3 May – 18 Jun. 2016. Cur. Julie Ault and Roni Horn. Felix Gonzalez-Torres. Massimo De Carlo, Milan. 21 May – 20 Jul. 2016. Cur. Julie Ault and Roni Horn. Felix Gonzalez-Torres. Hauser & Wirth, London. 27 May – 30 Jul. 2016. Cur. Julie Ault and Roni Horn. 2015 Felix Gonzalez-Torres: This Place. Metropolitan Arts Centre, Belfast, Northern Ireland. 30 Oct. 2015 – 24 Jan. 2016. Cur. Eoin Dara. 2012 Felix Gonzalez-Torres, Double. PLATEAU and Leeum, Samsung Museum of Art, Seoul, South Korea. -
Dallas Museum of Art Horchow Auditorium
Artist Talk: Luc Tuymans June 3, 2010 Dallas Museum of Art Horchow Auditorium Jeffrey Grove: Good evening. Welcome to the Dallas Museum of Art. I'm Jeffrey Grove. I'm the Hoffman Family Senior Curator of Contemporary Art, and I am proud and privileged to introduce to you Luc Tuymans. [Applause] I hope you all had a chance to preview the exhibition before you came in for the talk. We are going to be very casual this evening. I'm not going tell you everything about Luc’s life story because you probably already know it or you wouldn’t be here, or you’ve seen it in the paintings down the hall. What we’re going to do is we’re sort of breaking our evening into three segments. Luc and I are going to talk first about the installation that you will see here at the DMA, about the exhibition overall, some of the pictures covering the arc, the trajectory of his career up to now. And then we’re going to take a break and Luc’s going to move over to the podium and do a presentation on pictures and some of his work and some aspects of his career that are not necessarily encapsulated in the exhibition we have on view at the DMA. And he’ll spend about 15 minutes on that then we’ll return over here. He and I will have a short dialog, and then we’re going to open up the floor to you for conversation and questions because I think that you’ll find what he has to say provocative, thought provoking and really will challenge some of your assumptions about what you may think you’ve seen in the work. -
Form Vision Hans Theys
Form Vision Hans Theys Form Vision Artists on Art Tornado Editions 2019 To Tamara Van San In 1983, a fellow student handed me this Banda copy, suggesting it might be interesting for me – as an aficionado of art and literature – to study the writings of Kafka without interpreting them. The origin of the book you are holding now lies within this generous gesture. Thirty years later, when I accidently rediscovered it, I realised that the text quotes a book by Susan Sontag, translated and typewritten by an unknown hand. Everyone has a sort of individual form vision. In all the greatest artists the seeds of this form vision has been present even in their early work, and to some extent their work has been a gradual unfolding of this rhythm throughout. (…) It’s something the artist can’t control – it’s his make up. (…) The less conscious you are of your own individual form rhythm, the more likely it is, I think, to get richer and fuller and develop. Henry Moore, 1941 What is important now is to recover our senses. We must learn to see more, to hear more, to feel more. Our task is not to find the maximum amount of content in a work of art, much less to squeeze more content out of the work than is already there. Our task is to cut back content so that we can see the thing at all. (…) The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means. -
Diana Thater Born 1962 in San Francisco
This document was updated November 25, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Diana Thater Born 1962 in San Francisco. Lives and works in Los Angeles. EDUCATION 1990 M.F.A., Art Center College of Design, Pasadena, California 1984 B.A., Art History, New York University SOLO EXHIBITIONS 2020 Diana Thater: Yes there will be singing, David Zwirner Offsite/Online: Los Angeles [online presentation] 2018 Diana Thater, The Watershed, Institute of Contemporary Art, Boston 2017-2019 Diana Thater: A Runaway World, The Mistake Room, Los Angeles [itinerary: Borusan Contemporary, Istanbul; Guggenheim Bilbao, Bilbao, Spain] 2017 Diana Thater: The Starry Messenger, Moody Center for the Arts at Rice University, Houston, Texas 2016 Diana Thater, 1301PE, Los Angeles 2015 Beta Space: Diana Thater, San Jose Museum of Art, California Diana Thater: gorillagorillagorilla, Aspen Art Museum, Colorado Diana Thater: Life is a Timed-Based Medium, Hauser & Wirth, London Diana Thater: Science, Fiction, David Zwirner, New York Diana Thater: The Starry Messenger, Galerie Éric Hussenot, Paris Diana Thater: The Sympathetic Imagination, Los Angeles County Museum of Art [itinerary: Museum of Contemporary Art Chicago] [catalogue] 2014 Diana Thater: Delphine, Saint-Philibert, Dijon [organized by Fonds régional d’art contemporain Bourgogne, Dijon] 2012 Diana Thater: Chernobyl, David Zwirner, New York Diana Thater: Oo Fifi - Part I and Part II, 1310PE, Los Angeles 2011 Diana Thater: Chernobyl, Hauser &