International 04 Art Exhibitions 2019 International 19.04.2019 > 26.04.2019 Art Exhibitions 2019

Opposite page Vanessa Gardiner Cape Sounion 6 Acrylic on board 1 Peninsula 45 x 57 cm 1 Thackeray Gallery Always drawn towards the natural In Attica the clear, sharp light in spring Trevalga 20 geometry of landscape, Vanessa, for enhances the purity of the lines, at the Acrylic on plywood this presentation, focusses on the Attica same time revealing the lyric contours 50 x 72 cm peninsula of Greece and the north of its pale grey hills. The sea often an 2 Cornish coastline. Both landscapes intense cobalt blue, which at times Godrevy Point 33 manifest the absorbing combination of appears to float as a solid band of dense Acrylic on paper sea-cliffs and intersecting view points colour across and between the head- 60 x 37 cm which form the raw material for Vanessa lands. By contrast the darkly weathered 3 Gardiner’s work. The paintings in this and slatey Cornish cliffs with their deep Trevalga 12 exhibition were inspired by particular turquoise inlets, as found at Boscastle Acrylic on board aspects of these two locations, both of and Godrevy Point, result in a more 58 x 58 cm which have proved long-standing monumental grandeur. They feature 4 subject matter for the artist. the high panoramas from which Harbour Entrance 3 Vanessa draws, looking simultaneously Acrylic on board In Greece, Vanessa was struck once down onto rocks and the sea, then 61 x 61 cm more by the unlikely similarities across to take in distant landforms. Both 5 between the linearity of the coastal places have a compelling beauty and Godrevy Point 12 London landscape at Sounion and that of her richness; both are peninsulas, separate Acrylic on board 2 chosen areas of Cornwall. yet remaining part of the mainland. 60 x 30 cm

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Vanessa Gardiner was born in 1960 in Oxford. She did her Foundation year at Oxford Polytechnic going on to study Fine Art at the Central School of Art and Design in London. She lives in Dorset.

After six major solo shows at the Hart Gallery in London, she had her first solo show at the Thackeray Gallery in 2015. She has had three previous solo shows at Sladers Yard in 2008, 2012 and 2016. 4 5

www.thackeraygallery.com International 19.04.2019 > 04.05.2019 Art Exhibitions 2019

Johnnie Cooper

1 Throe on Throe

Saatchi Gallery Saatchi Gallery This exhibition comes at a time of heightened interest in the artist. In 2018, as part of its initiative to re-evaluate key twentieth and twenty-first-century artists, art publisher Black Dog Press produced a monograph documenting Johnnie Cooper’s 50-year career; and this eagerly-awaited presentation – his first in London in three decades – will be complemented by further shows in the UK and America. Displayed across two galleries, the show is comprised of more than 50 paintings and sculptures, including works from the 1970s. In 1977 London Cooper was offered a solo exhibition to coinside with the Wakefield Silver Jubilee Festival, which featured sculpture by Henry Moore and Barbara Hepworth. 2 5

Throe on Throe tracks this progression Opposite page with examples primarily drawn from Anstel five bodies of work: 2018, Oil and acrylic on canvas Longdon Marsh (1996-2006) 80 x 100 cm ‘ A Long Series of Events (2014) 1 Continuums (2011-16) The Grand Tour The Levant Series (2018-19) 2019, Acrylic on panel The Listener Series (2018-19) – a suite 81.5 x 110 cm of paintings that display broad gestural 2 brush strokes and reflect Cooper’s love Pearl City, Shanghai for the natural landscape. 2007, Acrylic on paper 53 x 73 cm 3 Reflected Pools 2018, Oil and acrylic on paper 94 x 148 cm 4 3 Wudu 2018, Oil and acrylic on canvas Born in 1950 in Wolverhampton, Cooper physicality of the surface’, a quality 152 x 122 cm describes his approach to painting as evident in all his paintings. Since the 5 three dimensional; hence this exhibition late 1980s, Cooper has tirelessly investi- The Eye of the Needle begins with a collection of his early gated the formal limits of painting, 2018, Acrylic on paper sculptural works which illustrates his experimenting in many genres at his 145 x 97 cm attraction to, in his own words, ‘the rural Worcestershire studio. 4

www.saatchigallery.com International 19.04.2019 >15.06.2019 Art Exhibitions 2019

1 Woman III 1952-53, Oil on canvas De Kooning 172.7 x 123.2 cm Private collection 3 Five Decades 2 Woman Mnuchin Gallery Mnuchin Gallery Mnuchin Gallery is proud to announce 1953 Oil, enamel paints, and De Kooning: Five Decades. This will be charcoal on paper mounted the gallery’s eleventh de Kooning on canvas exhibition and its most ambitious in 74 x 54.6 cm scope. The exhibition highlights key Glenstone Museum moments from every decade of de 3 Kooning’s mature career, underscoring Untitled VI the tireless experimentation and 1981, Oil on canvas stylistic reinvention that defined his 195.6 x 223.5 cm oeuvre. Private collection 4 Two Women 1964, Oil on vellum mounted on canvas 154.94 x 93.98 cm

New York Private collection 5 Untitled 1977, Oil on canvas 223.5 x 194.9 cm Private collection 6 Untitled III 1983, Oil on canvas 223.5 x 195.6 cm Private collection 7 Hostess 1973, Bronze 124.5 x 94 x 73.7 cm 1 2 45 Private collection

The presentation begins with a group De Kooning entered the Rotterdam of seminal Women drawings from the Academy of Fine Arts & Letters, in 1916 late 1940s and early ’50s and goes on to where he studied until 1925. He immigra- trace his oscillation between figuration ted to the United States in 1926 and and abstraction, woman and landscape, worked as a house painter in Hoboken, from 1947 through 1983, demonstrating New Jersey, before relocating to New his mastery across painting, drawing, York City in 1927. and sculpture. In mid 1938, de Kooning began his first Willem de Kooning, a leading figure of celebrated ‘Women’ series – a subject the Abstract Expressionist School, was that he would consistently return to 6 born in Rotterdam, Netherlands in 1904. throughout the remainder of his career. 7

www.mnuchingallery.com International 25.04.2019 > 15.06.2019 Art Exhibitions 2019

Opposite page Portrait of Julia Warhola September 1974, Acrylic and silkscreen ink on canvas 101.6 x 101.6 cm Warhol | Women 1 Ladies and Gentlemen Lévy Gorvy Gorvy Lévy An exhibition devoted exclusively to Forever undecidable, these portraits c1974-75, Synthetic polymer Andy Warhol’s portraits of women offer up both the glittering surface and and silkscreen inks on canvas covering the full scope of his career the raw humanity of Warhol’s art, which 303.5 x 205.1 x 3.8 cm from the early 1960s through the 1980s. pulses with the evidence of his halftone 2 The show ponders the artist’s complex silk-screen process and, in works of his Red Jackie and often contradictory relationship to later years, fluid strokes of synthetic 1964, Acrylic and silkscreen ink myths and ideals of femininity, beauty, paint. Over the course of his career, 101.6 x 101.6 cm and power. Whether intimate or monu- Warhol depicted an astonishing range Photo and Courtesy Froehlich mental in scale, each canvas embodies of women, from heiresses and Holly- Collection, Stuttgart the ambiguities that animate his oeuvre. wood stars to drag queens and deni- 3 Using his signature silkscreen process, zens of New York’s underground art Aretha Franklin New York they seem at first glance to submit to scene. Through paintings riotous and 1986, Synthetic polymner paint impersonal iteration – the machine-like defiant, vulnerable and demure, ‘Warhol and silkscreen ink on canvas detachment of the Factory production Women’ sheds fresh light on both the 101.6 x 101.6 cm line. Yet, upon sustained viewing, they artist’s oeuvre and our present moment, 4 convey something indelible about their wherein questions of female empower- Judy Garland (Multicolor) sitters: an aura of intimacy that by turns ment and the construction of identity 1978, Acrylic and silkscreen 1 intrigues and unsettles. through images are as urgent as ever. on canvas 101.6 x 101.6 cm 5 Kimiko Powers 1972, Acrylic and silkscreen ink on canvas 101.6 x 101.6 cm

All works © 2019 The Andy Warhol Foundation for the Visual Arts Inc Licensed by Artists Rights Society (ARS), New York All photos Tim Nighswander 2 (with the exception of Red Jackie)

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www.levygorvy.com International 26.04.2019 > 13.07.2019 Art Exhibitions 2019

Opposite page Behavioral Surplus Capture 2019, Oil, acrylic, inkjet print on Pieter Schoolwerth canvas (unique PS/M 19-05/U) 220.98 x 170.18 x 7.62 cm 1 Virtual Relief 1 Installation view Kraupa-Tuskany Zeidler Pieter Schoolwerth was born in 1970. 2 He lives and works in Brooklyn, New Model for Behavioral York. His work has been exhibited inter- Surplus Capture nationally in solo and group exhibitions 2019, Oil, acrylic, inkjet print, at Hessel Museum of Art, Annandale-on- mixed media on foamcore, Hudson (2018); Miguel Abreu Gallery, wood (unique PS/M 19-03/U) New York (2017, solo); Capitain Petzel, 261.62 x 182.88 x 91.44 cm Berlin (2017, solo); Whitney Museum of 3 American Art, New York (2016); 356 Compromised Personality Mission, Los Angeles (2015, solo); Gallery Inventory SKE, New Delhi (2014, solo); Galerie 2019, Oil, acrylic, inkjet print on Nathalie Obadia, Brussels (2013, solo); canvas (unique PS/M 19-07/U) Museum of Modern Art, New York 177.8 x 147.32 x 7.62 cm (2006); Elizabeth Dee Gallery, New York (2005, solo); Centre Georges Pompidou, Paris (2002); American Fine Arts, New York (2001, solo) and Greene Naftali Gallery, New York (1996, solo).

Pieter Schoolwerth’s works are in the collections of the Museum of Contem- porary Art, Los Angeles, Denver Art Berlin Museum; the Orange County Museum of Art, Santa Ana; Phoenix Art Museum, Phoenix; and San Francisco Museum of Modern Art, San Francisco. His first monograph ‘Model as Painting’ will be published by Sequence Press, New York in 2019. 2 5

Pieter Schoolwerth’s new cycle of work 4 ‘Painting in the last instance’ captures Personality Settings Retraction, invisible flows of abstraction that 2019, Oil, acrylic, inkjet print on structure contemporary experience. canvas (unique PS/M 19-06/U) 172.72 x 147.32 x 7.62 cm The recurring use of compression and 5 superimposition in his imagery turns Privacy Futures Market these elusive flows into motifs for an 2019, Oil, acrylic, inkjet print on elaborate new kind of figurative canvas (unique PS/M 19-08/U) painting focusing on group portraiture. 190.5 x 147.32 x 7.62 cm In his work, the materiality of paint itself appears at the end of a process of All photos: Stephen Faught layering a wide range of media, supple- Courtesy: the artist and 3 4 menting an already constituted image. Kraupa-Tuskany Zeidler, Berlin

www.k-t-z.com International 27.04.2019 > 11.08.2019 Art Exhibitions 2019

1 The Bicycle wheel 1964, (replica of 1913 original) Essential wheel, painted wood 59.7 x 64.8 cm 3 Duchamp 2 Fountain Art Gallery of New South Gallery WalesArt The most in-depth survey of the art and 1950, (replica of 1917 original) life of Marcel Duchamp ever to be seen porcelain urinal in the Asia-Pacific region Including 30.5 x 38.1 x 45.7 cm approximately 125 works from the 3 Philadelphia Museum of Art’s world- Female fig leaf renowned Duchamp collection and 1961, Painted plaster archives, this major exhibition will give 9 x 14 x 12.5 cm audiences an informative and compre- 4 hensive introduction to one of the Bride twentieth century’s most original and 1912, Oil on canvas influential artists. 89.5 x 55.6 cm Sydney

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The exhibition will feature important The exhibition will be shown at the 5 early works that have not before been Tokyo National Museum, Japan, to Portrait of the artist’s father seen in the Asia-Pacific region including mark the 50th anniversary of Marcel 1910 paintings from the formative years of Duchamp’s death, before travelling to 6 Duchamp’s practice. It will also present the National Museum of Modern and The chess game iconic works such as Nude descending Contemporary Art in Seoul, Korea, and 1910 a staircase (no 2) 1912, which scandalised the Art Gallery of New South Wales. 7 American audiences when it was ‘The Essential Duchamp’ is organised Nude descending a exhibited at New York’s Armory Show by the Philadelphia Museum of Art. staircase in 1913, and Duchamp’s infamous urinal The international tour has been made (no 2) readymade, Fountain 1950 (a replica of possible by the Terra Foundation for 1912, Oil on canvas 6 1917 original). American Art. 147 x 89.2 cm

www.artgallery.nsw.gov.au International 01.05.2019 > 08.09.2019 Art Exhibitions 2019

Opposite page The Couple 1980, Woodcut with embossing Lichtenstein on Arches Cover paper 101.9 x 91.3 cm 1 Multiple Visions © Estate of Roy Lichtenstein

Museo della Culture The MUDEC presents a great American Master and one of the most important figures in the art of the 20th Century: Roy Lichtenstein comes to the Museum of Cultures of Milan with the exhibition Roy Lichtenstein. Multiple Visions. His sophisticated art that can be recog- nized at first sight and apparently easy to understand, has fascinated right from the first heroic years of pop art genera- tions of creatives, from painting to advertising, from photography to design and fashion and the seductive power that it exercises on contempo- rary visual culture is still very strong. The exhibition will show about 100 works between prints, even of large size, sculptures, tapestries, a wide selection

Milan of editions coming from prestigious museums, institutions, and private European and American collections (the Roy Lichtenstein Foundation, the National Gallery of Art of Washington, the Walker Art Center of Minneapolis, the Carmignac Foundation and the 5 Ryobi Foundation, Gemini GEL Collec- tion), as well as videos and photographs. 2

The exhibition reveals how the 1 elements of different cultures merge As I Opened Fire with his work of deconstruction and 1964 reconstruction of the image, and then 2 developed from a pop point of view Crying Girl with his personal language: from the 1963 story of the birth of the United States to 3 the heroic deeds of the Far West, from The Mask the vernaculars and the ethnographic 1989 artistic expressions of the native 4 Americans to the pop culture which I Love Liberty exploded following the expansion of 1982 world economy of the second postwar period, from the European artistic Photos 1-4 are masked culture of the avant-gardes to the con- from installation views 34 templative spirit of oriental landscapes. by Carlotta Coppo

www.mudec.it International 02.05.2019 > 15.06.2019 Art Exhibitions 2019

Candida Höfer

All works courtesy of the artist and VNH Gallery 1 Paris | Faces des Espaces 5

VNH Gallery Paris VNH Gallery VNH Gallery is delighted to announce Opposite page the solo exhibition by German artist La Salle Labrouste (La Biblio- Candida Höfer. Comprising a selection thèque de l’INHA Paris I) of new photographs made following 2017 | image 180 x 197 cm her many visits to Paris, this exhibition 1 is the result of a collaboration with Cité Refuge de l’Armée du the photographer whom we have Salut (Le Corbusier) II Paris accompanied to the high places of 2018 | image 180 x 242.3 cm modern and contemporary architecture, 2 each holding an essential place in Cité Refuge de l’Armée du France’s heritage and the history of Salut (Le Corbusier) III Paris architecture. 2018 | image 180 x 167.9 cm

In the 1970s, Candida Höfer was a student of photographers Bernd & Hilla Becher at the Academy of Fine Arts of Düsseldorf where she soon started developing the specific aesthetic which consists in shooting buildings from the point of view of their interiors and where the human abscence is surprising. Indeed, Candida Höfer sublimes theatres, libraries and empty churches through the effort of objectiveness and detach- ment, both being strong characteristics of the Düsseldorf School (Andreas Gursky, Thomas Struth, Thomas Ruff). 2 6

Candida Höfer offers us a journey 3 through the history of Parisian architec- Monnaie de Paris II ture while emphasizing the stylistic 2018 | image 180 x 154.9 cm characteristics of each construction. 4 Institut de France Paris I Her great fasination for Le Corbusier’s 2018 | image 180 x 153.4 cm work is here transcribed by the selection 5 of many of his creations, from the Cité Villa Savoye (Le Corbusier) Refuge de l’Armée du Salut to the Poissy VIII Maison La Roche or the Villa Savoye 2018 | image 180 x 269.6 cm which also inspired her a few small 6 abstract formats, here shown through Villa Savoye (Le Corbusier) an unprecedented dialogue with Poissy VI photographs that are more traditional 2018 | image 180 x 145 cm 34 of her artistic practice.

www.vnhgallery.com International 03.05.2019 > 22.06.2019 Art Exhibitions 2019

Picasso’s Women Fernande to Jacqueline A TRIBUTE TO SIR JOHN RICHARDSON

Gagosian Gallery Gallery Gagosian 1 Tête de femme 1963, Oil on canvas 73 x 55 cm 2 Le réve (Marie-Thérèse) 1932, Oil on canvas 130 x 98 cm 3 La femme-fleur (Françoise Gilot) 1946, Oil on canvas 174 x 66 cm 3 4 Buste de femme In the early 1960s, Richardson was (Dora Maar) New York planning to write a study of Picasso’s 1940, Oil on canvas portraits and spent hours with the artist, 74 x 60 cm poring over reproductions of his works. 5 As Picasso spoke about the complex- Portrait de femme profil ities of his pictorial thinking – pointing gauche sur fond vert out, for example, that a portrait of Dora et brun Maar might also contain elements 1939, Oil on canvas, referring to her romantic predecessor 73 x 60 cm Marie-Thérèse Walter, and her successor 6 Françoise Gilot – Richardson began to Portrait de femme a la believe that a detailed biographical queue de cheval, Sylvette treatment of Picasso’s portraiture would 1954. Oil on canvas close a notable gap in Picasso scholar- 100 x 81 cm ship. Decades later he would sit down to write what would become the monu- © 2019 Estate of Pablo Picasso/ mental multivolume biography, ‘A Life Artists Rights Society (ARS), 1 | 2 of Picasso’. 4 New York. Courtesy Gagosian

Maar once told Richardson that when a It is through this process that Picasso’s new woman entered Picasso’s life, every- work was constantly reinvented and thing changed. And yet, Maar’s observa- renewed. Picasso was as eclectic in his tion is a bit misleading, for within the choice of muse as he was in style: the era of each successive muse, Picasso bohemian Fernande Olivier; disciplined never settled on a singular style. Each Olga Khokhlova; blonde Venus Marie- woman was a catalyst for experiments Thérèse; passionate artists Dora and in colour and form that would continue Françoise; Sylvette David, the woman to change as the contours of the with a high ponytail; and Jacqueline 5 relationship shifted. Roque, the devoted, romantic beauty. 6

www.gagosian.com International 08.05.2019 > 31.05.2019 Art Exhibitions 2019

Coco Dávez

7 Faceless

Maddox Gallery Born in Madrid in 1989, Coco Dávez is 1 the alter-ego of Valeria Palmeiro. Le Corbusier Self-taught and interested in utilising 130 x 97 cm different artistic mediums such as 2 photography, fashion illustration and George painting, Dávez began her career in 130 x 97 cm London in 2010 whilst working as an 3 illustrator for Spanish newspaper El Yves Mundo. Quickly recognised for her 130 x 97 cm vibrant, identifiable style, Dávez has 4 since collaborated with a vast number Warhol of high-end brands. Inspired by popular 162 x 130 cm culture and illustrated realism, Coco 5 Dávez is a multi-faceted artist whose Keith work primarily plays with colour and 162 x 130 cm London shape. Renowned for her pure use of 6 acrylic paint and unconstrained Hockney brushwork, Dávez cites Fauvism as a 162 x 130 cm 1 2 3 major influence on her practice. 7 & 11 Coco Dávez in her studio 8 Albert 65 x 54 cm 9 Boy George 144 x 111 cm 10 Steve 65 x 54 cm

9 All works acrylic on canvas

For her most recent series, Faceless, Coco Dávez pays tribute to an array of cultural and historical icons by using them as the focus of each painting. Dávez’s work has been shown at 4 5 6 8 galleries in Paris, Lisbon, Barcelona, Brussels, Madrid and Queensland. Filling large-scale canvases with care- Recently, Dávez was listed in Forbes’ fully shaped outlines of each character ’30 under 30’ list as one of the most in contrasting, acrylic colours, the works influential artists in the world and was are faceless, adding a semi-abstract the only Spanish artist to be included in quality to the painted representations. 10 GQ’s ‘10 Best Artists Working Today.’ 11 www.maddoxgallery.com International 08.05.2019 > 22.09.2019 Art Exhibitions 2019

1 Portrait of Ahko c1937, Oil on canvas Arshile Gorky 49.5 x 38.1 cm Private collection 3 1904-1948 2 Portrait of Master Bill Ca’ Pesaro of Modern Art Gallery Arshile Gorky, an Armenian-American c1937, Oil on canvas painter, who had a seminal influence 132.4 x 101.9 cm on Abstract Expressionism. Along with Private collection Mark Rothko, Jackson Pollock and 3 Willem de Kooning, Gorky has been Portrait of Myself and My hailed as one of the most powerful Imaginary Wife American painters of the 20th century. 1933-34, Oil on paperboard This major Gorky retrospective, a first 21.7 × 36.2 cm for Italy, examines the stages of Gorky’s Hirshhorn Museum & Sculpture remarkable career from his earliest Garden, Smithsonian Institution, works during the 1920s, where his inter- Washington DC rogation of Cézanne’s compositions 4 permeated his approach to painting, The Liver Is the Cock’s Comb through to the culmination of his 1944, Oil on canvas autodidactic study of modern masters 186.1 x 249.9 cm and movements, to the point where the Collection of Albright-Knox Art elements from these various stimuli Gallery, Buffalo, New York explicitly coalesced into Gorky’s 5 singular and powerful vision. 4 Landscape-Table 1945, Oil on canvas The final section of the exhibition will 92 x 121 cm illustrate the extent to which Gorky’s Centre Pompidou, Musée pictorial energy and imagination national d’art moderne / Centre merged with his renewed encounter de création industrielle, Paris with nature in the landscapes of Virginia 6 7 and Connecticut over the summers of Self-Portrait 1942-1945. A strong selection of these c1937, Oil on canvas mature masterworks, with their array 141 x 86.4 cm of surreal, abstract, and figurative, Private collection

Venice reveal an artist at the very height of his extraordinary creative power. 1 | 2 The inimitable quality of the late work was recognised by Surrealist poet André Breton who, in a catalogue preface for 8 an exhibition of Gorky’s work in 1945, described it as a ‘hybrid’, thereby acknowledging the complexity of Gorky’s evocation of the natural world 5 united with a myriad of personal memories and differing influences. It will seek to highlight that Gorky’s masters, and strengthened as his work In addition to paintings, the exhibition artistic voice is present from the earliest progressed. The show brings together will include a selection of Gorky’s stages of his career, when he was 80 works borrowed from international works on paper, which demonstrate seemingly in thrall to the work of past institutions and private collections. his remarkable draughtsmanship. 6 www.capesaro.visitmuve.it International 10.05.2019 > 22.06.2019 Art Exhibitions 2019

1 Green Valley Installation Photos Frank Bowling 2018, Acrylic on collaged Angus Mill (1, 3 & 4) canvas Anna Arca (2 & 5) 2 More Land than Landscape 170.7 x 125 cm

Hales Gallery Hales Gallery Frank Bowling OBE RA was born in Guyana in 1934. He moved to London in 1953, where his artistic career started shortly after his arrival at the Royal College of Art (1959-62). Bowling began as a figurative painter incorporating personal and political subject matter, before moving to New York in 1966, where he made a decisive turn towards abstraction. In this career-defining moment, he developed a process-based practice – initially one committed to

London formalism, exploring the nature and possibilities of paint. 3 6

Through his monumental colour field 2 paintings, he cemented himself in the Jedimcgee competitive New York scene. Whilst 2019, Acrylic paint and acrylic Bowling erred towards a formal modern- gel with found additions on ism, there has been the suggestion of collaged canvas place in his work: in the delineated 206.6 x 291 cm maps and stencils of his mother’s house; 3 or in his titles referring to Bartica, Flying creature out of Kaieteur, the Thames and his various women’s skirt material and studio spaces. 4 cotton duck acrylic 2019, Acrylic paint and acrylic The exhibition at Hales London takes its gel with found additions on title from Bowling’s 2017 painting ‘More collaged canvas Land than Landscape’. Characteristic 170.5 x 310.4 cm of Bowling’s titling, the artist includes 4 snippets from his personal world, Green Valley weaving memory and experience with with Kasia’s sprigs illusory narrative. Poetic and often 2018, Acrylic on collaged elusive, the titles act almost as a diary canvas for the artist, helping him to recall the 100.3 x 252.8 cm time of making the work. The complex 5 and engaging paintings in ‘More Land According to Lorca than Landscape’ have all been made in 2019, Acrylic on collaged the last year. Now 85, Frank Bowling canvas draws on a sixty-year practice and 183.6 x 293 cm continues to push the boundaries of 6 paint – revisiting past formal devices, Frank Bowling portrait such as pouring, staining, stencilling (cropped) 1 5 and collaging canvas. Photo © Alastair Levy

www.halesgallery.com International 10.05.2019 > 22.09.2019 Art Exhibitions 2019

In the Light of the North Opposite page Vilhelm Hammershøi Danish Painting from the A Young Girl Sewing 1887, Oil on canvas 1 Ordrupgaard Collection 37 x 35 cm

Hamburger Kunsthalle The Ordrupgaard Museum is home to one of the most spectacular collections of Danish painting of the 19th and early 20th centuries. The featured works will present an overview of the major trends in Danish painting across an entire century while highlighting exceptional achievements. The exhibition follows the trajectory from the pioneers of the so-called ‘Golden Age’ of Danish art (Christoffer Wilhelm Eckersberg, 5 Christen Købke, Wilhelm Marstrand), to representatives of the National 1 Romantic style, who primarily explored Lauritz Andersen Ring the beauties of their own country A Creek at Frederiksværk (Johan Thomas Lundbye, Peter Christian in Spring Skovgaard, Vilhelm Kyhn), to the 1900, Oil on canvas Fynboerne, or Funen Painters, who 27.5 x 45.5 cm practiced open-air painting on the 2 Danish island of that name (Peter Lauritz Andersen Ring Hansen, Johannes Larsen, Fritz Syberg). At the Window, Hamburg Finally, paintings by Theodor Philipsen, Ole Ring looks at Roskilde a close friend of Paul Gauguin, will 1925, Oil on canvas illuminate the signature aspects of 36.5 x 28 cm Danish Impressionism. A highlight of 3 the show are the large groups of works Vilhelm Hammershøi by Vilhelm Hammershøi and Lauritz Interior with Piano & Woman Andersen Ring, the key figures in Danish in Black (Strandgade 30) Symbolism. Nine of Hammershøi’s 1901, Oil on canvas fascinating interior scenes will be 63 x 52.5 cm presented in the final gallery. 2 4 Vilhelm Hammershøi The unique collection housed in the Sunbeams or Sunlight Ordrupgaard Museum, located a few 1900, Oil on canvas kilometres north of Copenhagen, was 70 x 59 cm assembled from the 1890s onwards by 5 insurance company director Wilhelm P C Skovgaard Hansen and his wife, Henny, and View from Frederiksborg opened to the public in 1953 as a state- Castle run museum. The present renovation 1842, Oil on canvas and expansion of the museum presents 140 x 150 cm a one-off opportunity to show major works from this collection in Hamburg © Ordrupgaard, Copenhagen 3 4 in Germany. All photos: Anders Sune Berg

www.hamburger-kunsthalle.de International 11.05.2019 > Art Exhibitions 2019

1 Giacomo Balla Cerruti Abstract speed 1913, Oil on canvas 1 Collection 76.7 x 108 cm 2 Castello di Rivoli Museum of Contemporary Art .For the first time, it’s possible for the Umberto Boccioni public to discover the priceless legacy Antigrazioso of Francesco Federico Cerruti (1922-2015), 1912, Oil on canvas a secretive and reserved entrepreneur 80 x 80 cm and passionate collector who passed 3 awayat the age of 93. From the 1950s Amedeo Modigliani until his death in 2015, he collected Woman in the yellow some 300 works of sculpture and dress painting, ranging from the Middle 1918, Oil on canvas Ages to today, plus approximately 200 92 x 60 cm rare and ancient books with exquisite book bindings, and over 300 furnish- ings including carpets and desks by renowned cabinet makers.

Cerruti assembled a primarily Euro- pean collection – very strong in Italian art – including extraordinary work ranging from Segno di Bonaventura, Bernardo Daddi, Pontormo, Ribera and Zubarán to Renoir, Modigliani, Kandinsky, Giacometti, Picasso, Klee, Severini, Boccioni, Balla, and Magritte, as well as Bacon, Burri, Fontana, Warhol, De Dominicis, and Paolini. 2 6

4 Giorgio de Chirico Metaphysical Muses 1918, Oil on canvas 55 x 35 cm 5 Giovanni Boldini Nude lying down c1893, Oil on canvas 74 x 65 cm 6 Alberto Burri 5 Sacco and Red 1954, jute, thread, acrylic- Agnolo Gaddi Castello di Rivoli is the first museum vinyl on black canvas Triptych of contemporary art in the world that 100 x 86 cm Turin Archangel Gabriel 100 x 38.5 cm | Christ the Redeemer 98 x 38.3 cm | Virgin Mary 100.3 x 38.4 cm integrates the art of the past into the 1387-88, Tempera and gold on board 3 4 heart of a contemporary institution.

www.castellodirivoli.org International 14.05.2019 > 16.08.2019 Art Exhibitions 2019

1 Erwin Olaf Grief series | Irene Portrait 2007, Chromogenic print 7 Women 133 x 100 cm | Edition of 10 2 Hamiltons Gallery Hamiltons Gallery With female talents I can be fairly Beyond this, the show reveals turning Keyhole series | Keyhole 5 critical and say exactly what I want points in Olaf’s work when he begins to 2012, Chromogenic print them to do, whereas beautiful boys shoot in colour, adopts carbon printing 60 x 45 cm | Edition of 10 can throw stardust in my eyes… and explores new themes. He emerged 3 It is very inspiring to work with the on to the international art scene in 1988 Catwalk Series | sensitivity of women – I love the when he was awarded first prize in the The Helena Slicher emotion that is layered under the Young European Photographer compe- Wedding Dress, 1759 skin and in the eyes and it is one of tition, closely followed by an award at Model: Ymre Stiekema my joys to work with women in this the Ludwig Museum in Cologne, Ger- 2015, Chromogenic print way… many. In his early work, Olaf addressed 133 x 100 cm (large format) They are my muses in my work. subjects such as race, class, sexuality Edition 10 Erwin Olaf | 2019 and beliefs, defining his own subjects 80 x 60 cm (small format) and exploring these in black and white Edition 10 A selection of the works in the show (Chessmen, Squares and Blacks) and in 4 are vintage prints and have never been colour (Rain, Hope, Grief, Dusk & Dawn). Waiting series | shown in a gallery setting before now, In more recent years he has been creat- Portrait 2, Shenzhen others are journalistic images, and early ing images that resemble paintings or 2014, Gelatin silver bromide London pictures comprising some of the first cinematic scenes, adopting the role of print on Baryta paper 1 2 3 8 photographs Olaf took in his studio. director as well as photographer. 47.5 x 34 cm | Edition of 7 5 In celebration of Erwin Olaf’s 60th year Vogue NL series | and long collaboration with the gallery, Vogue NL 10 Hamiltons is presenting photographs 2012, Chromogenic print of women from across Olaf’s career. 80 x 59 cm | Edition of 10 6 Hamiltons Gallery owner Tim Jefferies Palm Springs series | has selected these works from Olaf’s The Family Visit , The Niece oeuvre of 40 years, comprising photo- 2018, Chromogenic print graphs from Chessmen (1987-88), 119 x 89.4 cm (large format) Squares (1983-2018), Blacks (1990), Edition of 12 Mature (1999), Fashion Victims (2000), 75 x 56.4 cm (small format) Royal Blood (2000), Hope (2005), Grief Edition of 15 (2007), Hotel (2010), Keyhole (2011-13), 7 Vogue (2012), Berlin (2012), Jewish Erwin Olaf Portrait (2013), Waiting (2014), Catwalk (2015), 8 Skin Deep (2015), Shanghai (2017) and Jewish series | Palm Springs (2018), and so encompass- Sephardic Jewish, Ellen ing women of all ages, skin tones, body 2013, Carbon print 4 5 6 shapes and attitudes. 40 x 30 cm | Edition of 3 9 All works Olaf believes that he can photograph Squares series | Sisters © Erwin Olaf women with more clarity than men, as 1984, Gelatine silver bromide Courtesy Hamiltons Gallery, without distractions he can be more print on Baryta paper London precise in expressing his feelings. 9 37.5 x 37.5 cm | Edition of 15

www.hamiltonsgallery.com International 17.05.2019 > 15.09.2019 Art Exhibitions 2019

1 Gustave Gustave Caillebotte Perspective Street Study Caillebotte 1877, Pencil & charcoal on paper 30.3 × 46.5 cm 1 THE PAINTER PATRON OF THE IMPRESSIONISTS Art Institute of Chicago

Alte Nationalgalerie Gustave Caillebotte (1848–1894) was one of the central figures of French Impressionism, yet he is among those artists who remain to be discovered today. His fame was initially founded on his role as a patron, and only later did he gain full recognition as a painter. Caillebotte’s painting “Paris Street; Rainy Day” (“Rue de Paris, temps de pluie”), completed in 1877 and now an icon of Impressionism, is coming to the Alte Nationalgalerie. It is considered one of the artist’s principle works, and is a showpiece of the Art Institute of Chicago. The monumental painting has rarely travelled to Europe in the past, and this will be its very first appearance in Berlin. 2 4 Berlin Close consideration of Caillebotte’s 2 paintings and methods opens new Gustave Caillebotte perspectives on French Impressionism. Pont de l’Europe Pure painterly appearance is not (preliminary study) paramount in his work – his paintings 1876, Oil on canvas captivate with bold perspectives and 33 × 45.7 cm structured pictorial space. The seeming Musée des Beaux-Arts, randomness of his framing of the view, Rennes and the striking immediacy of the 3 image are what particularly underscore Edgar Degas the modernity at play here. This focus- The Conversation sed exhibition will will also highlight c1882-83, Pastel on cardboard Caillebotte’s role as a patron. At only 29 65 x 86 cm years old in 1877, he was the youngest © National Museums in Berlin and most active member of this group. Nationalgalerie As a man of considerable wealth, he 4 played a leading role in financing and Gustave Caillebotte organising the first group shows. For Couple under an umbrella 3 such occasions he would often lend (study on street in Paris, works – by fellow artists such as Renoir, rainy weather) Gustave Caillebotte Caillebotte’s groundbreaking piece with Carefully selected studies and prepara- Manet, Degas, Cezanne and Monet – 1877, Pencil on parchment Paris Street, Rainy Day its almost life-sized figures and uncon- tory sketches for his principal work from his own collection. Caillebotte paper 1877, Oil on canvas ventional perspective exemplifies the allow visitors to the exhibition to better functioned as both friend and 47 x 30.8 cm 212.2 x 276.2 cm Impressionists‘ vision’ and Caillebotte’s understand this atypical Impressionist supporter within the tight network of Private collection Art Institute of Chicago adoption of modern urban motifs. 2019s creative process. Impressionists he became part of. © Comite Caillebotte, Paris www.smb.museum International 18.05.2019 > 20.07.2019 Art Exhibitions 2019

Opposite page Kehinde The Siesta 2019, Oil on linen Wiley 183 x 244 cm 1 1 Tahiti Installation view

Galerie TemplonGalerie Kehinde Wiley is back in Paris for his first exhibition since the 2016 show at Petit Palais. He will be unveiling a new series of paintings and a video- installa- tion based on his time spent this past year in Tahiti. Wiley’s new works are focused on Tahiti’s Māhū community, the traditional Polynesian classifica- tion of people of a third gender, between male and female. The Māhū were highly respected within their society until they were banned by Catholic and Protestant missionaries. Wiley’s portraits of transgender Tahitian women reference Gauguin’s celebrated

Paris works, which also feature subjects from 5 2 the transgender community. 3

2 Portrait of Kea Loha Mahuta 2019, Oil on linen 92 x 78 cm 3 Portrait of Kea Loha Mahuta II 2019, Oil on linen 162.5 x 213.5 cm 4 The Call 2019, Oil on linen 271.5 x 210 cm 5 4 5 6 Portrait of Tahiatua Maraetefau All images Building on Wiley’s earlier portraits Kehinde Wiley’s encounter with Tahiti 2019, Oil on linen Courtesy Templon, Paris & Brussels that addressed issues of masculine joins with the artist’s continued journey 183 x 153,2 cm Photography by Diane Arques identity and virility, these new portraits across the contemporary world, 6 ADAGP, Paris, 2019 explore issues of identity through the following his explorations of North Portrait of Kea Teuru lens of transformation. Over the past America, South Asia and West Africa. 2019, Oil on linen fifteen years, Wiley has developed a True to his oeuvre, this exhibition 152 x 122 cm remarkable body of work that at once presents a uniquely political and 7 questions and participates in the aesthetic perspective on the power of Portrait of Tuatini Manate western art-historical canon of art to shift perception and to make 2019, Oil on linen 7 portraiture. visible history’s forgotten figures. 114.5 x 92 cm

www.templon.com International 24.05.2019 > 01.09.2019 Art Exhibitions 2019

Opposite page Installation view 1 Huguette My Parents 1978, Acrylic on linen 1 Caland 38.7 x 51.4 cm

Tate Tate Born Huguette El Khoury in Lebanon in 1931, her father, Bechara El Khoury, became the first post-independence president of Lebanon in 1943. She

St Ives studied art at the American University in Beirut and lived in Paris and then California for many years, before returning to Beirut in 2013. Tate St Ives will be her first solo museum venue in the UK. Shifting between figuration and abstraction in large, colourful paintings and detailed drawings, the works reveal 4 the delicate balance between the suggestive and the explicit in Caland’s practice. Taken from the late 1960s to the early 80s, many of the works will be shown in the UK for the first time. Caland’s exploratory practice has had a key, if under-recognised, role in the development of international modern art. In the 1970s, after moving to Paris from Beirut, she created exuberant and erotically-charged paintings, which challenged traditional conventions of beauty and desire. 2 5

The female physique is a recurrent motif to liberate and control how her own series from the 1970s, moving from 2 in her work, depicted as landscapes or body and the bodies of other women abstraction into figuration, with shapes Bribes de corps amorphous forms. Caland has often are depicted. The exhibition will include doubling as flesh. Alongside these pain- (Body Parts) used her own body as a subject, and her large canvases with bright colours, such tings are Caland’s intricate drawings, 1973, Oil paint on linen self-representation comes from a desire as her Bribes de corps (Body Parts) which demonstrate her mastery of line. 152.4 x 152.4 cm 3 Installation view 4 Madame visage (Mrs Face) 1980, Oil paint on linen 81.3 x 81.3 cm 5 Monsieur visage (Mr Face) 1980, Oil paint on linen 81.3 x 81.3 cm

All images are courtesy 3 Huguette Caland

www.tate.org.uk International 24.05.2019 > 11.09.2019 Art Exhibitions 2019

Ruth Borchard

1 Self-Portrait Prize 2019

Piano Nobile The Ruth Borchard Self-Portrait Prize Opposite page celebrates contemporary British and David Dawson (winner) Irish self-portraiture. It offers a unique Looking at Self Reflection opportunity for both established and 2019, Oil on canvas emerging artists to compete for a 91 x 61 cm £10,000 prize, the chance to be included in a curated, four-month exhibition 1 at Piano Nobile Kings Place and the Isobel Johnstone opportunity for their work to be Studio Portrait purchased by the Ruth Borchard Next 2019, Oil on canvas Generation Collection – the UK’s only 39 x 50 cm collection of self-portraits. 2 London Graham Rees Self Portrait with Scarf 2019, Acrylic on board 37 x 32 cm 3 Colin Davidson The Day I heard that Mark Hollis had Died 2019, Oil on linen 105 x 97 cm 4 Amelia Webster Self-Portrait (September 2018) 2 3 2019, Oil on board 47 x 65 cm 5 Angela Lambert Portrait of the Artist as a Middle Aged Woman 2019, Gouache 23.5 x 28.5 cm 6 Judith Cummings Self Portrait 2019, Oil on board 45 x 37 cm

4 5 6 www.piano-nobile.com International 25.05.2019 > 20.07.2019 Art Exhibitions 2019

Philip Opposite page Female Model Reclining Pearlstein on Indian Rug 1974, Oil on canvas 1 At 95 122 x 152.4 cm

Galerie TemplonGalerie To celebrate Philip Pearlstein’s 95th birthday, Galerie Templon is taking a look back over the journey of a deeply original artist. Despite studying along- side Andy Warhol in his youth, he took a totally different path, with a return to studio painting and the exclusive use of live nude models in complex yet incon- gruous compositions. Over a dozen paintings, produced between 1969 and 2018, reveal a principled approach that has always been innovative despite the apparent simplicity of his subjects. As early as the 1960s, Philip Pearlstein defined a radical protocol that he still

Paris follows today, as part of his daily 5 practice. He puts together strange scenes where his models, male or 1 female, masked or undressed, pose for Model in Japanese Robe many hours over the course of many with African Carvings weeks. Compulsive bargain hunter and 2009, Oil on canvas passionate collector, he immerses them 121.9 x 152.4 cm in his skilfully crafted settings where he 2 mixes mismatched furniture, patterned Standing Male, carpets, vintage toys, African sculptures, Sitting Female Nudes ethnic masks, gadgets, and more. 1969, Oil on canvas He then meticulously paints his models 188 x 157.5 cm with a neutral yet thorough touch, 3 quashing any attempt to introduce a Two Models in Masks psychological aspect. 2 with African Chair 2015, Oil on canvas The uncompromising and realistic 152,4 x 122 cm result is free from any narrative inter- 4 pretation and poses a disruptive Model on Horn Chair and question about the power of painting, Model on African Birth perception, and the conventions of Chairon Navajo Rug with representation. He has thus invented a Fish Kite depiction of the human body which has 2018, Oil on canvas nothing of the academic about it and 152.4 x 122 cm gives new meaning to the notion of the 5 portrait. In today’s politically correct Model with Chrome Chair All images world, the radicality of his nudes and and Dotted Felt Rug © Courtesy of the artist’s estate choice of straightforward settings are 2009, Oil on canvas and Templon, Paris & Brussels 34 still remarkably relevant. 121.9 x 91.4 cm www.templon.com