Robert Gober the Heart Is Not a Metaphor
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P R E S S R E L E a S E DIANE ARBUS Christ in a Lobby and Other Unknown Or Almost Known Works Whenever I Give A
P R E S S R E L E A S E DIANE ARBUS Christ in a lobby and Other Unknown or Almost Known Works SELECTED BY ROBERT GOBER January 7 – March 6, 2010 Whenever I give a talk about my work I am invariably asked who my influences are. Not what my influences are, but who. As if the gutter, misunderstandings, memories, sex, dreams, and books matter less than forebears do. After all, in terms of influences, it is as much the guy who mugged me on Tenth Street, or my beloved dog who passed away much too early, as it was Giotto or Diane Arbus. -- Robert Gober Fraenkel Gallery is pleased to present Christ in a lobby and Other Unknown or Almost Known Works by Diane Arbus, on view from January 7 through March, 6, 2010. The exhibition has been selected and assembled by the sculptor Robert Gober. In 1976, Gober made an untitled still-life drawing depicting the cover of the 1972 monograph Diane Arbus, along with other household items: a pack of cigarettes, sunglasses, coins, an ashtray. That drawing – still in the artist’s collection, and to be included in the forthcoming exhibition – signaled an early appreciation of Arbus’s photographs, and Gober’s subsequent body of work evidences certain affinities with hers, including Arbus’s willingness “to look at everything that you weren’t supposed to” [Gober, in a 2005 interview]. In the summer of 2009 Gober was invited to study a heretofore little known body of Arbus’s photographs, and to select a group for exhibition. -
New Work: Christopher Wool
[HRl�TOPHf R WOOl NEW WORK SAN FRANCISCO MUSEUM OF MODERN ART NEW WORK: CHRISTOPHER WOOL JULY 6 - SEPTEMBER 3, 1989 Although he has explored other art forms, including film,what Christopher Wool considers his mature work began with paintings he made in 1984. At that time, he was dissatisfied with the work he was producing (for example, a painting called Bigger Questions, which was simply a question mark on its side). Like many artists before him, he began to investigate the basic processes of painting itself, "strug gling to find some kind of meaningful imagery."1 A work he called Zen Exercise con sisted of three large, violent pours of paint. Looking back today he considers this work crucial because the pours were random, and he was "looking for location:• In the following year, with an enamel on plywood painting entitled Houdini, Wool continued his arbitrary paint application by dripping and spattering white paint onto a black surface. At first glance, Houdini looks like a Jackson Pollock achieved by recourse to the methods of John Cage: the evidently random drops of paint occasionally coalesce into larger, driplike patterns. One suspects that this adventitious painterliness was both too lush and too ambiguous for the artist, because for the next two years he produced paintings in which the application of paint was rigorously even. The result was paintings with allover compositions that although random were everywhere uniform, with no runs and only occasional larger dots of paint where one drop collided with another: Standing before such paintings for the first time is a curious experience. -
Dick Polich in Art History
ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship. -
Presskitsq1 Eng2
Sequence 1 Painting and Sculpture in the François Pinault Collection Saturday 5 May – Sunday 11 November 2007 1 Index I/ Sequence 1. Painting and Sculpture in the François Pinault Collection Palazzo Grassi to initiate new exhibition series Painting Sculpture New commissions and special projects Sequence 1 works list Catalogue of the exhibition II/ Historical Milestones of Palazzo Grassi Palazzo Grassi: a Venetian story From Gianni Agnelli to François Pinault The Board of Directors The Advisory of Board Tadao Ando’s renovation The Palazzo Grassi’s cultural direction Punta della Dogana III/ Biographies François Pinault Jean-Jacques Aillagon Alison M. Gingeras The artists of Sequence 1 Tadao Ando IV/ General information V/ Press office contacts VI/ Captions of the images available in the press kit 2 I / Sequence 1. Painting and Sculpture in the François Pinault Collection Palazzo Grassi to initiate new exhibition series On May 5, 2007,Palazzo Grassi presented Sequence 1:Painting and Sculpture in the François Pinault Collection, the first exhibition in a succession of shows highlighting the particularities and strengths of the contemporary art holdings of the François Pinault Collection. Curated by Alison M. Gingeras, the newly-appointed chief curator at Palazzo Grassi, Sequence 1 features a diverse range of work by six- teen artists from the Collection, as well as new commissions and special projects. The exhibition will be on view until November 11th, 2007. International and multi-generational, the artists in Sequence 1 all engage in the practice of painting or sculpture to varying degrees. Eschewing theme or narrative, Sequence 1 reminds us that contempo- rary artists have never abandoned these supposedly “traditional” disciplines—choosing instead to modify them with constant conceptual revisions and ever-evolving techniques. -
Tomma Abts Francis Alÿs Mamma Andersson Karla Black Michaël
Tomma Abts 2015 Books Zwirner David Francis Alÿs Mamma Andersson Karla Black Michaël Borremans Carol Bove R. Crumb Raoul De Keyser Philip-Lorca diCorcia Stan Douglas Marlene Dumas Marcel Dzama Dan Flavin Suzan Frecon Isa Genzken Donald Judd On Kawara Toba Khedoori Jeff Koons Yayoi Kusama Kerry James Marshall Gordon Matta-Clark John McCracken Oscar Murillo Alice Neel Jockum Nordström Chris Ofili Palermo Raymond Pettibon Neo Rauch Ad Reinhardt Jason Rhoades Michael Riedel Bridget Riley Thomas Ruff Fred Sandback Jan Schoonhoven Richard Serra Yutaka Sone Al Taylor Diana Thater Wolfgang Tillmans Luc Tuymans James Welling Doug Wheeler Christopher Williams Jordan Wolfson Lisa Yuskavage David Zwirner Books Recent and Forthcoming Publications No Problem: Cologne/New York – Bridget Riley: The Stripe Paintings – Yayoi Kusama: I Who Have Arrived In Heaven Jeff Koons: Gazing Ball Ad Reinhardt Ad Reinhardt: How To Look: Art Comics Richard Serra: Early Work Richard Serra: Vertical and Horizontal Reversals Jason Rhoades: PeaRoeFoam John McCracken: Works from – Donald Judd Dan Flavin: Series and Progressions Fred Sandback: Decades On Kawara: Date Paintings in New York and Other Cities Alice Neel: Drawings and Watercolors – Who is sleeping on my pillow: Mamma Andersson and Jockum Nordström Kerry James Marshall: Look See Neo Rauch: At the Well Raymond Pettibon: Surfers – Raymond Pettibon: Here’s Your Irony Back, Political Works – Raymond Pettibon: To Wit Jordan Wolfson: California Jordan Wolfson: Ecce Homo / le Poseur Marlene -
Exhibition Brochure, Robert Gober.Pdf
ROBERT GOBER SelectedBibliography: SiteMap ( Flood, Richard, "Robert Gober: Special Robert Gober, Paris, Galerie Nationale Editions, An Interview", The Print du Jeu de Paume, 1991. Texts by Collector's Newsletter, March-April Catherine David, Joan Simon. 1990, pp.6-9. Robert Gober, Rotterdam , Museum + Gober, Robert , "Cumulus" , Parkett, Boymans-van Beuningen, 1990. Texts by no.19 , 1989, pp.169-171. Trevor Fairbrother, Karel Schampers, Parkett, no.27, March 1991, Special Ulrich Loock. Edition: Louise Bourgeois & Robert Sherlock, Maureen P., "Arcadian Elegy: Gober, Texts by Gregg Bordowitz, Nancy The Art of Robert Gober", Arts, Spector, Harald Szeemann. September 1989, pp.44-49. BE ~ ( C :,.. + $ ~ <:i ';; § a c§l ] ...,§ ~ + Robert Gober was born September 12, 1954 in Wallingford, Connecticut. He currently ~ b ,? lives and works in New York City. Since his first show in 1984 he has exhibited widely, C ""0.. in numerous exhibitions in North America, Japan and Europe. Major funding for this project has been received from the Lannan Foundation and the National Endowment for the Arts, a federal agency, Washington D.C., with additional scenic painting funding from the Dia Art Council, the major annual support group of the Dia Center for + rat bait the Arts, and the Dia Art Circle. Support for the 1992-93 exhibitions program has also prison windows been provided through a generous grant from The Andy Warhol Foundation for the I \ Visual Arts, Inc . sink C § newspapers A book documenting the installation is forthcoming. - Maureen Sherlock, Associate Professor of Critical Theory in the Film Department of the September24, 1992-June 20, 1993 School of the Art Institute of Chicago, will give a lecture on the installation on Thursday, January 14, 1993 at 6:30pm. -
No Problem Press5.Indd
525 & 533 West 19th Street New York, NY 10011 David Zwirner 537 West 20th Street Telephone 212 517 8677 For immediate release NO PROBLEM: COLOGNE/NEW YORK 1984-1989 May 1 – June 14, 2014 David Zwirner is pleased to present an exhibition of work that examines the 1980s through the lens of the Cologne and New York art scenes of the period. Spanning the gallery’s exhibition spaces at 525 and 533 West 19th Street and 537 West 20th Street, the exhibition will include Werner Büttner, George Condo, Walter Dahn, Jiri Georg Dokoupil, Peter Fischli/David Weiss, Günther Förg, Robert Gober, Georg Herold, Jenny Holzer, Mike Kelley, Martin Kippenberger, Jeff Koons, Barbara Kruger, Sherrie Levine, Albert Oehlen, Raymond Pettibon, Richard Prince, Cindy Sherman, Rosemarie Trockel, Franz West, and Christopher Wool. The contemporary art that was created and presented in New York and Cologne during the 1980s shaped a certain creative discourse Martin Kippenberger between artists, curators, and gallerists on both sides of the The Person Who Can’t Dance Says the Band Can’t Play, 1984 Atlantic. This exhibition proposes an examination of this dialogue Oil on canvas 64 x 53 1/2 inches by focusing on the international artists who showed in both New 162.6 x 135.9 cm © Estate of Martin Kippenberger York and Cologne between 1984 and 1989 and the key gallery and Galerie Gisela Capitain, Cologne museum exhibitions of the period that took place in both cities. For the better part of the 1980s until the fall of the Berlin Wall in 1989, Cologne was arguably the European center of the contemporary art world. -
A FUND for the FUTURE Francis Alÿs Stephan Balkenhol Matthew
ARTISTS FOR ARTANGEL Francis Alÿs Stephan Balkenhol Matthew Barney Janet Cardiff and George Bures Miller Vija Celmins José Damasceno Jeremy Deller Rita Donagh Peter Dreher Marlene Dumas Brian Eno Ryan Gander Robert Gober Nan Goldin Douglas Gordon Antony Gormley Richard Hamilton Susan Hiller Roger Hiorns Andy Holden Roni Horn Cristina Iglesias Ilya and Emilia Kabakov Mike Kelley + Laurie Anderson / Kim Gordon / Cameron Jamie / Cary Loren / Paul McCarthy / John Miller / Tony Oursler / Raymond Pettibon / Jim Shaw / Marnie Weber Michael Landy Charles LeDray Christian Marclay Steve McQueen Juan Muñoz Paul Pfeiffer Susan Philipsz Daniel Silver A FUND FOR THE FUTURE Taryn Simon 7-28 JUNE 2018 Wolfgang Tillmans Richard Wentworth Rachel Whiteread Juan Muñoz, Untitled, ca. 2000 (detail) Francis Alÿs Stephan Balkenhol Matthew Barney Janet Cardiff and George Bures Miller Vija Celmins José Damasceno Jeremy Deller Rita Donagh Peter Dreher Marlene Dumas Brian Eno ADVISORY GROUP Ryan Gander Hannah Barry Robert Gober Erica Bolton Nan Goldin Ivor Braka Douglas Gordon Stephanie Camu Antony Gormley Angela Choon Richard Hamilton Sadie Coles Susan Hiller Thomas Dane Roger Hiorns Marie Donnelly Andy Holden Ayelet Elstein Roni Horn Gérard Faggionato LIVE AUCTION 28 JUNE 2018 Cristina Iglesias Stephen Friedman CONDUCTED BY ALEX BRANCZIK OF SOTHEBY’S Ilya and Emilia Kabakov Marianne Holtermann AT BANQUETING HOUSE, WHITEHALL, LONDON Mike Kelley + Rebecca King Lassman Laurie Anderson / Kim Gordon / Prue O'Day Cameron Jamie / Cary Loren / Victoria Siddall ONLINE -
MIGUEL ABREU GALLERY 88 Eldridge Street / 36 Orchard Street
MIGUEL ABREU GALLERY R. H. QUAYTMAN R. H. Quaytman approaches painting as if it were poetry: when reading a poem, one notices particular words, and how each is not just that one word, but other words as well. Quaytman's paintings, organized into chapters structured in the form of a book, have a grammar, a syntax, and a vocabulary. While the work is bounded by a rigid structure on a material level—appearing only on beveled plywood panels in eight predetermined sizes derived from the golden ratio—open-ended content creates permutations that result in an archive without end. Quaytman's practice engages three distinct stylistic modes: photo-based silkscreens, optical patterns such as moiré and scintillating grids, and small hand-painted oil works. Each chapter is developed in relation to a specific exhibition opportunity, and consequently, each work is iconographically bound to its initial site of presentation. However, Quaytman's work is ultimately not about site-specificity, but about painting itself, and its relation to the archive. It seeks to graft subject matter and context onto a foundation of abstraction by engaging, in equal measure, the legacies of modernist painting and institutional critique. In her work, the self-involvement of the former and the social-situatedness of the latter paradoxically coexist. The content of Quaytman's work betrays a labyrinthine encyclopedia of interests; she excavates social and institutional histories and places them alongside autobiographical and literary references. Her practice is further characterized by a backwards glance: its conceptual and historical scaffolding is fashioned out of the work of other artists as well as her own; earlier works reappear in subsequent chapters to create a mise-en-abyme of referentiality. -
Download Artist's CV
Vija Celmins 1938 Born in Riga, Latvia 1962 Graduated from John Herron School of Art, Indianapolis, B.F.A. 1962 Graduated from University of California, Los Angeles, M.F.A. Selected One-Person Exhibitions 2020 Vija Celmins: To Fix the Image in Memory, The Met Breuer, New York, NY 2019 Ocean Prints, Matthew Marks Gallery, New York 2018 Matthew Marks Gallery, Los Angeles ARTIST ROOMS: Vija Celmins, The New Art Gallery Walsall, United Kingdom To Fix the Image in Memory, San Francisco Museum of Modern Art. Traveling to Art Gallery of Ontario, Toronto; and The Met Breuer, New York (catalogue) 2017 Matthew Marks Gallery, New York (catalogue) Selected Prints, The Drawing Room, East Hampton, NY 2015 Secession, Vienna (catalogue) Selected Prints, Gemini G.E.L. at Joni Moisant Weyl Project Space, New York National Centre for Craft and Design, Sleaford, United Kingdom 2014 Intense Realism, Saint Louis Art Museum Double Reality, Latvian National Art Museum, Riga (catalogue) 2012 Artist Rooms: Vija Celmins, Tate Britain, London. Traveled to National Centre for Craft & Design, Sleaford, United Kingdom 2011 Prints and Works on Paper, Senior and Shopmaker Gallery, New York Desert, Sea, and Stars, Ludwig Museum, Cologne. Traveled to Louisiana Museum, Humlebaek, Denmark (catalogue) 2010 New Paintings, Objects, and Prints, McKee Gallery, New York Television and Disaster, 1964–1966, Menil Collection, Houston. Traveled to Los Angeles County Museum of Art (catalogue) 2006 Drawings, Centre Pompidou, Paris. Traveled to Hammer Museum, Los Angeles (catalogue) 2003 Prints, Herron School of Art, Indianapolis The Paradise [15] , Douglas Hyde Gallery, Trinity College, Dublin 2002 Works from The Edward R. -
Brice Marden Bibliography
G A G O S I A N Brice Marden Bibliography Selected Monographs and Solo Exhibition Catalogues: 2019 Brice Marden: Workbook. New York: Gagosian. 2018 Rales, Emily Wei, Ali Nemerov, and Suzanne Hudson. Brice Marden. Potomac and New York: Glenstone Museum and D.A.P. 2017 Hills, Paul, Noah Dillon, Gary Hume, Tim Marlow and Brice Marden. Brice Marden. London: Gagosian. 2016 Connors, Matt and Brice Marden. Brice Marden. New York: Matthew Marks Gallery. 2015 Brice Marden: Notebook Sept. 1964–Sept.1967. New York: Karma. Brice Marden: Notebook Feb. 1968–. New York: Karma. 2013 Brice Marden: Book of Images, 1970. New York: Karma. Costello, Eileen. Brice Marden. New York: Phaidon. Galvez, Paul. Brice Marden: Graphite Drawings. New York: Matthew Marks Gallery. Weiss, Jeffrey, et al. Brice Marden: Red Yellow Blue. New York: Gagosian Gallery. 2012 Anfam, David. Brice Marden: Ru Ware, Marbles, Polke. New York: Matthew Marks Gallery. Brown, Robert. Brice Marden. Zürich: Thomas Ammann Fine Art. 2010 Weiss, Jeffrey. Brice Marden: Letters. New York: Matthew Marks Gallery. 2008 Dannenberger, Hanne and Jörg Daur. Brice Marden – Jawlensky-Preisträger: Retrospektive der Druckgraphik. Wiesbaden: Museum Wiesbaden. Ehrenworth, Andrew, and Sonalea Shukri. Brice Marden: Prints. New York: Susan Sheehan Gallery. 2007 Müller, Christian. Brice Marden: Werke auf Papier. Basel: Kunstmuseum Basel. 2006 Garrels, Gary, Brenda Richardson, and Richard Shiff. Plane Image: A Brice Marden Retrospective. New York: Museum of Modern Art. Liebmann, Lisa. Brice Marden: Paintings on Marble. New York: Matthew Marks Gallery. 2003 Keller, Eva, and Regula Malin. Brice Marden. Zürich : Daros Services AG and Scalo. 2002 Duncan, Michael. Brice Marden at Gemini. -
Christopher Wool
CHRISTOPHER WOOL 1955 Born in 1955. Lives and works in New York. EDUCATION Sarah Lawrence College The New York Studio School. SELECTED SOLO EXHIBITIONS 2014 The Art Institute of Chicago, Chicago, IL 2013 Guggenheim, New York, NY 2012 Musee d’Art Moderne de la Ville de Paris, Paris, France 2011 Galerie Gisela Capitain, Cologne, Germany 2010 Gagosian Gallery, Rome Corbett vs. Dempsey, Chicago, IL 2009 Galerie Micheline Szwajcer, Antwerp, Belgium "Christopher Wool: Editions," Artelier Contemporary, Graz 2008 Luhring Augustine, New York "Porto-Köln," Museum de Arte Contemporanea de Serralves, Porto, traveled to Museum Ludwig, Köln; 2007 "Pattern Paintings, 1987-2000," Skarstedt Gallery, New York Galerie Max Hetzler, Berlin Eleni Koroneou Gallery, Athens 2006 Instituto Valenciano de Arte Moderno, Valencia; traveled to Musee d'Art Moderne et Contemporain, Strasbourg ETH (Swiss Federal Institute of Technology), Zurich Gagosian Gallery, Los Angeles Simon Lee Gallery, London 2005 Gio Marconi, Milan Christian Stein, Milan 2525 Michigan Ave., Unit B2, Santa Monica, CA USA 90404 T/ 310 264 5988 F/ 310 828 2532 www.patrickpainter.com 2004 Camden Arts Centre, London Galerie Micheline Szwajcer, Antwerp Luhring Augustine, New York Taka Ishii Gallery, Tokyo 2003 Galerie Gisela Capitain, Cologne 2002 "Crosstown Crosstown," Le consortium, Dijon; traveled to Dundee Contemporary Arts, Dundee, Scotland Galerie Max Hetzler, Berlin 2001 "9th Street Run Down," 11 Duke Street, London; traveled to Galerie Micheline Szwajcer, Antwerp Secession, Vienna Luhring Augustine,