DOCSLIB.ORG

Than 400000 Visitors to the Peggy Guggenheim Collection. from Postwar Art to Tancredi Via the New Figuration in Italian Ar

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Than 400000 Visitors to the Peggy Guggenheim Collection. from Postwar Art to Tancredi Via the New Figuration in Italian Ar MORE THAN 400,000 VISITORS TO THE PEGGY GUGGENHEIM COLLECTION. FROM POSTWAR ART TO TANCREDI VIA THE NEW FIGURATION IN ITALIAN ART IN THE 1960S: WHAT’S ON AT PEGGY’S MUSEUM IN 2016. A new record has been made at the Peggy Guggenheim Collection, which closed 2015 by exceeding 400,000 visitors for the first time since the opening of the museum in 1980. 400,741 people, averaging 1,266 a day over the course of 316 open days, included 8,350 participants in exhibition openings, special visits, private and institutional events. 2016 will center on postwar art: three exhibitions, each of them curated by Luca Massimo Barbero, Associate Curator of the Venice museum, with some of the great names that have left their mark on the national and international artistic stage in the second half of the 20th century, will shine light on three aspects of Italian, European and American art beginning after the end of World War II up to the 1970s, with a focus on developments in Italy in the 1960s. Three exhibitions that also traverse the enlightened career of patron and collector Peggy Guggenheim. The season opens with the imminent inauguration, 23 January (through 3 April), of Postwar Era: A Recent History. Homages to Jack Tworkov and Claire Falkenstein. Drawn from the collection of Peggy Guggenheim as well as acquisitions by the Foundation after Peggy Guggenheim’s death, almost a hundred works—some of which are infrequently exhibited—will be grouped and matched based on theme, style, affinity and a less-than-usual attention to chronology. The exhibition draws on a sensibility that goes beyond canonical art movements and trends, comparable to the refined approach that Peggy Guggenheim learned and cultivated through her activity as a collector. The exhibition offers a fresh perspective on American and European art in the period between two critical dates—the end of World War II and 1979, the year that Peggy Guggenheim passed away. Drawn from the collection of Peggy Guggenheim as well as from acquisitions by the Guggenheim Foundation after her death, the works—some of which are infrequently exhibited—will be grouped and matched based on theme, style, affinity and an unorthodox chronology. The exhibition draws on a sensibility that goes beyond canonical art movements and trends, comparable to the refined approach that Peggy Guggenheim learned and cultivated through her activity as a collector, both far-sighted and vanguard. This context also offers insight into the work of two artists in the Foundation’s collections: Jack Tworkov (1900– 1982) and Claire Falkenstein (1909–1997). The former, a Polish-born American, was an exponent of Abstract Expressionism; the latter is celebrated for her entrance gates to Palazzo Venier dei Leoni, commissioned by Peggy Guggenheim for her former home, Palazzo Venier dei Leoni, now the Peggy Guggenheim Collection, in 1960, and which will undergo conservation in time for this exhibition. A further component of the exhibition is a room dedicated to the late Carlo Ciussi (1930-2012), Italian painter of geometric abstraction. From 23 April (through 19 September), the Peggy Guggenheim Collection presents Imagine. New Figuration in Italian Art 1960-1969. This exhibition explores for the first time an ideal mapping of artistic research in Italy in the 1960s, along an axis between Rome and Turin, that deployed new ideas of figuration and of the image. Approximately 50 works of art will document this prolific and inventive decade, including that of Franco Angeli, Mario Ceroli, Domenico Gnoli, Giosetta Fioroni, Tano Festa, Jannis Kounellis, Fabio Mauri, Francesco lo Savio, Giulio Paolini, Michelangelo Pistoletto, and Mario Schifano. This exhibition offers examples, trends, insights and peculiarities, and sheds light on the bond and continuity between tradition and contemporaneity defining this generation of artists, representing Italy’s contribution to the international avant-garde of the time. Opening 12 November, the Peggy Guggenheim Collection pays homage to Tancredi Parmeggiani (1927–1964), a painter of huge talent discovered by Peggy Guggenheim in the richly creative postwar period of the 1950s in Venice. Tancredi made an instant impact as one Italy’s most original painters of his time in Italian contemporary art. He was the only artist after Jackson Pollock to be placed under contract by Peggy Guggenheim, who energetically promoted his work, gave him studio space, and organized exhibitions, including a memorable solo show in Palazzo Venier dei Leoni in 1954. With approximately 50 works, the show surveys his Venetian beginnings and his dense production in the 1950s. Worth noting are two other exhibitions which the Peggy Guggenheim Collection is helping to organize and promote in the course of the year: from 19 March (through 24 July), the much- awaited exhibition From Kandinsky to Pollock. The Art of the Guggenheim Collection will be held in Palazzo Strozzi, Florence, in collaboration with the Fondazione Strozzi. This major event brings to Florence more than one hundred works, many of them masterpieces, of European and American art, in a narrative that reconstructs relationships and ties across two sides of the Atlantic through two leading American collectors and their museums, Peggy Guggenheim and Solomon Guggenheim. Secondly, from 10 June to 9 October, the exhibition Art of This Century. Peggy Guggenheim in Photographs at the Ikona Gallery, the historic gallery of a Živa Kraus in the Campo del Ghetto Nuovo, Venice, will mark the 500th anniversary of the Jewish Ghetto. A selection of approximately 20 images, mainly from the archives of the Peggy Guggenheim Collection, will render homage to this great patroness, a key figure in 20th century western art. Among the well-known photographers whose photographs will be in the exhibition are Berenice Abbott, Man Ray, Roloff Beny, Gianni Berengo Gardin, and Gisèle Freund. From Monday 11 January for approximately a month, the Museum Shop, on the Fondamenta Venier dai Leoni, 710 Dorsoduro, will be closed for improvements. With more than 120,000 followers, the Peggy Guggenheim Collection confirms its position among the most “social” museums in Italy. Almost 90,000 fans on Faceboook, more than 8,000 followers on Twitter, 24,000 followers on Instagram. In this way the museum tells its story on social networks and engages with its audience. Let these numbers will continue to increase, and we trust our followers will continue to grow a, and to find us at Palazzo Venier dei Leoni. To share together the art and beauty with which Peggy loved to surround herself. .
Load more

Recommended publications
  • Peggy Guggenheim @ Ordovas
    PEGGY GUGGENHEIM @ ORDOVAS Peggy Guggenheim (1898-1979) is probably best known for her Venice collection, but the American born socialite turned art collector actually first exhibited her pieces in London and New York before settling in Italy. In fact, she even established a gallery in Britain, Guggenheim Jeune, which ran between 1938 and 1939, and which is now the subject of a new exhibition Peggy Guggenheim and London at Ordovas in Mayfair. Herbert Read and Peggy Guggenheim in her London gallery, circa 1939 © IMEC, Fonds MCC, Dist. RMN-Grand Palais/Gisele Freund © ARS, NY and DACS, London 2019 Located at 30 Cork Street, the location of Guggenheim’s London outfit is still a hub of contemporary art today and is just around the corner from the exhibition that is now commemorating its existence on Savile Row. Open between January 1938 and June 1939, Guggenheim Jeune exhibited the work of Jean Cocteau, Pablo Picasso, Salvador Dali, Henry Moore, Rene Magritte and Max Ernst against many others. The first ever artwork she acquired was a sculpture by Jean (Hans) Arp, Tete et coquille (1933), who featured in a quarter of all exhibitions in London. And, it is the work of Arp, along with Yves Tanguy – the artist behind the gallery’s most successful exhibition, Exhibition of Paintings by Yves Tanguy (6-16 July 1938) – whose work is on display at Ordovas today, 80 years after Guggenheim Jeune’s closure. Installation shot of Peggy Guggenheim and London at Ordovas, London, 2019. Photo: Andrew Smart The name – Guggenheim Jeune – was the idea of Guggenheim’s friend Winifred Henderson and it associates itself with both Guggenheim as the younger of two Guggenheim art giants (the elder being her uncle Solomon), as well as comparing itself to Bernheim Jeune, the leading Parisian gallery at the time.
    [Show full text]
  • Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
    Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963.
    [Show full text]
  • Dada Bros Man Ray & Picabia
    MAN RAY & PICABIA DADA BROS MAN RAY & PICABIA The Avant-Garde Masters at Vito Schnabel Gallery By Ines Valencia April 26, 2021 Man Ray, The Tortoise, 1944. Oil on canvas, 20 x 24 inches (50.8 x 61 cm) © Man Ray 2015 Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2021. Vito Schnabel Gallery, in New York, is hosting the historical different media types (including painting, photography, exhibition Man Ray & Picabia. This show brings together collage, and sculpture,) although he considered himself a two of the most legendary artists of the avant-garde and painter. In Paris, he joined the Dadaist group and became essential contributors to the Dada movement. It runs well known for his photography (his subjects included through May 15, 2021. some of the biggest names in the art world, including Pablo Picasso, Salvador Dalí, Peggy Guggenheim, Gertrude Stein, Man Ray & Picabia focuses on nine carefully selected and Jean Cocteau). However, he abandoned the medium for paintings produced between the late 1920s and mid-1950s painting in 1937. (some of which have not been on display to the public for decades.) Both artists did meet briefly in 1915 (Marcel Francis Picabia (1879-1953) was a French artist specializing Duchamp introduced them). Still, the dialogue presented in in painting, poetry, and typography. Like Man Ray, he was the exhibition is an imaginary one between the two, one one of the central figures in the Dada movement. Having that uses juxtaposition to bring their similarities to light. moved on from Impressionism, Pointillism, and Cubism, Both were prominent figures in the Dada and Surrealist Picabia identified with the provocative spirit of Dada and movements, and breaking rules played significant roles was active in both Paris and Zürich but renounced his ties in redefining what can be considered art and what it can to the movement in 1921, the same year Man Ray arrived in contain and do.
    [Show full text]
  • Max Ernst Was a German-Born Surrealist Who Helped Shape the Emergence of Abstract Expressionism in America Post-World War II
    QUICK VIEW: Synopsis Max Ernst was a German-born Surrealist who helped shape the emergence of Abstract Expressionism in America post-World War II. Armed with an academic understanding of Freud, Ernst often turned to his work-whether sculpture, painting, or collage-as a means of processing his experience in World War I and unpacking his feelings of dispossession in its wake. Key Ideas / Information • Ernst's work relied on spontaneity (juxtapositions of materials and imagery) and subjectivity (inspired by his personal experiences), two creative ideals that came to define Abstract Expressionism. • Although Ernst's works are predominantly figurative, his unique artistic techniques inject a measure of abstractness into the texture of his work. • The work of Max Ernst was very important in the nascent Abstract Expressionist movement in New York, particularly for Jackson Pollock. DETAILED VIEW: Childhood © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org Max Ernst was born into a middle-class family of nine children on April 2, 1891 in Brühl, Germany, near Cologne. Ernst first learned painting from his father, a teacher with an avid interest in academic painting. Other than this introduction to amateur painting at home, Ernst never received any formal training in the arts and forged his own artistic techniques in a self-taught manner instead. After completing his studies in philosophy and psychology at the University of Bonn in 1914, Ernst spent four years in the German army, serving on both the Western and Eastern fronts. Early Training The horrors of World War I had a profound and lasting impact on both the subject matter and visual texture of the burgeoning artist, who mined his personal experiences to depict absurd and apocalyptic scenes.
    [Show full text]
  • Visionaries: Creating a Modern Guggenheim Opens February 10
    Visionaries: Creating a Modern Guggenheim Opens February 10 Guggenheim Foundation Celebrates 80 Years of Innovation with Presentation of More Than 170 Modern Works by Nearly 70 Artists, from Camille Pissarro to Jackson Pollock Exhibition Explores History of Avant-Garde through Museum Founder and Patrons Who Shaped the Guggenheim Permanent Collection Exhibition: Visionaries: Creating a Modern Guggenheim Venue: Solomon R. Guggenheim Museum, 1071 Fifth Avenue, New York Location: Rotunda Levels 1–6, Tower Level 2 Galleries Dates: February 10–September 6, 2017 (NEW YORK, NY – February 9, 2017) –– Opening on February 10, 2017, on the occasion of the eightieth anniversary of the Solomon R. Guggenheim Foundation, Visionaries: Creating a Modern Guggenheim features more than 170 modern objects from the permanent collections of the Solomon R. Guggenheim Museum, New York, and the Peggy Guggenheim Collection, Venice. Assembling many of the foundation’s most iconic works along with treasures by artists less familiar, this celebratory exhibition explores avant-garde innovations of the late nineteenth through mid-twentieth centuries, as well as the groundbreaking activities of six pioneering arts patrons who brought to light some of the most significant artists of their day and established the Guggenheim Foundation’s identity as a forward- looking institution. Visionaries includes important works by artists such as Alexander Calder, Paul Cézanne, Marc Chagall, Vasily Kandinsky, Paul Klee, Fernand Léger, Piet Mondrian, Pablo Picasso, Jackson Pollock, and Vincent van Gogh. Visionaries: Creating a Modern Guggenheim is organized by Megan Fontanella, Curator, Collections and Provenance, Solomon R. Guggenheim Museum, with support from Ylinka Barotto, Curatorial Assistant, Solomon R. Guggenheim Museum.
    [Show full text]
  • The Nature Ofarp Live Text-78-87.Indd 78
    modern painters modernpaintersAPRIL 2019 PHILIPP THE COLORS OF ZEN: A CONVERSATION WITH HSIAO CHIN FÜRHOFER EXPLAINS HIS INSPIRATION TOP 10 ART BOOKS KIM CHONG HAK: THE KOREAN VAN GOGH BLOUINARTINFO.COM APRIL APRIL BLOUINARTINFO.COM + TOP 10: CONTEMPORARY POETS TO READ IN 2019 2019 04_MP_COVER.indd 1 19/03/19 3:56 PM 04_MP_The nature ofArp_Live text-78-87.indd 78 © 2019 ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/VG BILD-KUNST, BONN / © JEAN ARP, BY SIAE 2019. PHOTO: KATHERINE DU TIEL/SFMOMA 19/03/19 4:59PM Jean (Hans) Arp, “Objects Arranged according to the Laws of Chance III,” 1931, oil on wood, 10 1/8 x 11 3/8 x 2 3/8 in., San Francisco Museum of Modern Art. THE NATURE OF ARP THE SCULPTOR REFUSED TO BE CATEGORIZED, AS AN ARTIST OR AS A HUMAN BEING, MAKING A RETROSPECTIVE AT THE GUGGENHEIM IN VENICE A PECULIAR CHALLENGE TO CURATE BY SARAH MOROZ BLOUINARTINFO.COM APRIL 2019 MODERN PAINTERS 79 04_MP_The nature of Arp_Live text-78-87.indd 79 19/03/19 4:59 PM pursue this matter without affiliations with Constructivism and knowing where I’m going,” Surrealism, 1930s-era sinuous sculptures, Jean Arp once said of his collaborative works with Sophie Taeuber- intuitive approach. “This is Arp (his wife, and an artist in her own the mystery: my hands talk right) and the work made from the après- “to themselves.I The dialogue is established guerre period up until his death in 1966. between the plaster and them as if I am Two Project Rooms adjacent to the absent, as if I am not necessary.
    [Show full text]
  • Dorothea Tanning
    DOROTHEA TANNING Born 1910 in Galesburg, Illinois, US Died 2012 in New York, US SOLO EXHIBITIONS 2022 ‘Dorothea Tanning: Printmaker’, Farleys House & Gallery, Muddles Green, UK (forthcoming) 2020 ‘Dorothea Tanning: Worlds in Collision’, Alison Jacques Gallery, London, UK 2019 Tate Modern, London, UK ‘Collection Close-Up: The Graphic Work of Dorothea Tanning’, The Menil Collection, Houston, Texas, US 2018 ‘Behind the Door, Another Invisible Door’, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain 2017 ‘Dorothea Tanning: Night Shadows’, Alison Jacques Gallery, London, UK 2016 ‘Dorothea Tanning: Flower Paintings’, Alison Jacques Gallery, London, UK 2015 ‘Dorothea Tanning: Murmurs’, Marianne Boesky Gallery, New York, US 2014 ‘Dorothea Tanning: Web of Dreams’, Alison Jacques Gallery, London, UK 2013 ‘Dorothea Tanning: Run: Multiples – The Printed Oeuvre’, Gallery of Surrealism, New York, US ‘Unknown But Knowable States’, Gallery Wendi Norris, San Francisco, California, US ‘Chitra Ganesh and Dorothea Tanning’, Gallery Wendi Norris at The Armory Show, New York, US 2012 ‘Dorothea Tanning: Collages’, Alison Jacques Gallery, London, UK 2010 ‘Dorothea Tanning: Early Designs for the Stage’, The Drawing Center, New York, US ‘Happy Birthday, Dorothea Tanning!’, Maison Waldberg, Seillans, France ‘Zwischen dem Inneren Auge und der Anderen Seite der Tür: Dorothea Tanning Graphiken’, Max Ernst Museum Brühl des LVR, Brühl, Germany ‘Dorothea Tanning: 100 years – A Tribute’, Galerie Bel’Art, Stockholm, Sweden 2009 ‘Dorothea Tanning: Beyond the Esplanade
    [Show full text]
  • 'Biographical Notes'
    Originalveröffentlichung in: Spies, Werner (Hrsg.): Max Ernst : life and work, Köln 2005, S. 17-31 ‘BIOGRAPHICAL NOTES’ How Max Ernst Plays with a Literary Genre Julia Drost Self-assessments and Influences ‘Max Ernst is a liar, gold-digger, schemer, swindler, slanderer andboxer. ’ The words of a character assessment which Max Ernst drafted for an exhibition poster in T92T. They can be seen as the accompanying text alongside a photograph of the artist below a few important works and collages dating from his Dadaist period. Provocative and mocking self-assessments such as these are typical of Max Ernst, the ‘agent provocateur ’ and ‘most highly intellectual artist of the Surrealist movement ’, who mostly spoke of himself in the third person, and yet wrote more about his own oeuvre than almost any other artist.1 This constant reflection on his own work is characteristic of Max Ernst’s entire artistic career: he had already begun to comment on his curriculum vitae and his artistic creative process at an early date. His self- assessments in writing were continually revised and added to, and were finally published for the first time for the Cologne/Zurich exhibition cata­ logue in 1962 as Biographical Notes. Tissue of Truth - Tissue of Lies.1 This first detailed description of his entire life was preceded by various other writ­ ings, of which I shall briefly mention some here. In November 1921 the 17 JULIA DROST journal Das Junge Rheinland published a short article written by the artist himself, entitled simply Max Ernst ? In a special edition of Cahiers d ’Art devoted to the artist in Z936, Max Ernst reflected on his own creative process in the essay Au deld de la peinture (Beyond Painting).4 In 1942 the American magazine View brought out a special edition on Max Ernst, in which a first self-description by the artist was printed under the title Some data on the youth ofM.
    [Show full text]
  • The Nature of Arp
    Press release The Nature of Arp April 13 – September 2, 2019 Curated by Catherine Craft, Nasher Sculpture Center Peggy Guggenheim Collection, Venice From April 13 through September 2, 2019 the Peggy Guggenheim Collection presents The Nature of Arp, curated by Catherine Craft and organized by the Nasher Sculpture Center, Dallas, first venue of the show. The Peggy Guggenheim Collection is particularly pleased to host the exhibition in light of their close relationship dating from 1995 when the Venice garden was named the Nasher Sculpture Garden in recognition of the Nashers’ generous support towards its renovation. This exhibition investigates in depth the achievements of Jean (Hans) Arp (1886-1966), one of the most important and multifaceted artists of the modern era, whose experimental approach to creation, radical rethinking of traditional art forms, and collaborative proclivities resonate with the wide-ranging character of art today. Over a career spanning more than six decades, Arp produced a remarkably influential body of work in a rich variety of materials and formats. A founder of the Dada movement and pioneer of abstraction, he developed a vocabulary of curving, organic forms that moved fluidly between abstraction and representation and became a common point of reference for several generations of artists. The seven works by Arp nowadays belonging to the Peggy Guggenheim Collection provide a rich starting point for this exhibition, as Arp was the first artist to enter Peggy Guggenheim’s collection with his small bronze sculpture Head and Shell (Tête et coquille) dated 1933. “The first thing I bought for collection was an Arp bronze.
    [Show full text]
  • The World of Interiors
    This page, clockwise from top left: Guggenheim supported Alexander Calder, whose Arc of Petals (1941) is shown here; Bacon’s Study for Chimpanzee (1957) is a blur of movement; the collector loved artist-made jewellery; Tanguy’s surreal pink earrings, a gift, were to be worn to the launch of Guggenheim Jeune in 1938. But the heiress smudged one of the freshly painted ovals, and he redid it in blue. Opposite: Guggenheim acquired the Perspex-and-chrome Sphere by Franco Costalonga – a Venetian, who died this year – in 1969 NEW YORK/DACS, LONDON. BACON: COLLEZIONE PEGGY GUGGENHEIM, VENEZIA © THE ESTATE DI VENEZIA, 2005. ALL WORKS BY ALEXANDER CALDER: © 2019 CALDER FOUNDATION, CASSA DI RISPARMIO PHOTO ARCHIVIO CAMERAPHOTO EPOCHE. GIFT, PORTRAITS: SOLOMON R. GUGGENHEIM FOUNDATION. COLLEZIONE PEGGY GUGGENHEIM, VENEZIA SIAE 2011. COSTALONGA: PURCHASED WITH FUNDS GIVEN BY THE FRIENDS OF PEGGY GUGGENHEIM COLLECTION, 2011.2 © YVES TANGUY, SOLOMON R. GUGGENHEIM FOUNDATION. OF FRANCIS BACON. ALL RIGHTS RESERVED, SIAE 2019. TANGUY: 12-19PeggyGuggenheim.indd 112 14/10/2019 21:36 AVANT-GARDE ADVENTURER Devoted to Modernist art, Peggy Guggenheim had the money and the moxie to be fearless in her judgements. Though wartime Paris is where the heiress became a self-confessed ‘art addict’, acquiring ‘a picture a day’, it was in London and Venice – the focus of two exhibitions – that her career began and ended. But whatever European OF FRANCIS BACON. ALL RIGHTS RESERVED, SIAE 2019. TANGUY: SOLOMON R. GUGGENHEIM FOUNDATION. PURCHASED WITH FUNDS GIVEN BY THE FRIENDS OF THE PEGGY GUGGENHEIM COLLECTION, 2011.2 © YVES TANGUY, SIAE 2011. COSTALONGA: COLLEZIONE PEGGY GUGGENHEIM, VENEZIA SIAE 2011.
    [Show full text]
  • Pico (Moving Point Series) - Claire Falkenstein, 1966 Acrylic on Canvas Spotlight Paper by Susan Gresto, 2019
    Pico (Moving Point Series) - Claire Falkenstein, 1966 Acrylic on canvas Spotlight paper by Susan Gresto, 2019 Artist’s Background • Claire Falkenstein, American, b. Coos Bay, OR 1908, d. Venice Beach, CA 1997 • Education: UC Berkeley (BA Art, Minors Philosophy and Anthropology), Mills College Master’s Class with Alexander Archipenko • Influences: Nature, Science, and artists Gaudi, Tobey, Still, Brancusi, Arp, Giacometti (although she wasn’t specific about artists of influence, rather she stated, “I think I influenced a lot of people.”)1 • Art movement and groups affiliated with: Modern, Art Autre (French counterpart of American Abstract Expressionism), Gutai Group (Japan), • Medium: charcoal, ink, wood, ceramic, metal and glass sculpture, print-making, oil and acrylic painting, jewelry • Impact on art world: Respected by peers and promoted by art critic Michel Tapie, commissioned by Peggy Guggenheim along with numerous public art commissions - yet not well-known nor fully recognized for her avant-garde, prolific and varied body of work !1 of !7 Artist’s Background Claire Falkenstein was born in Coos Bay, Oregon July 22, 1908 and remained there until she was twelve. It was a very small community and her father was the manager of the local lumber mill. She recalls with fondness memories of time spent on the beach riding horseback and exploring shells, rocks, seaweed and driftwood. Her interest in these forms in nature certainly remained a part of her and later influenced her work. As a young adult, Falkenstein studied at the University of California, Berkeley where she obtained a Bachelor’s in Art and Minors in Philosophy and Anthropology.
    [Show full text]
  • Renate Wiehager 31: Women—An Introduction
    Renate Wiehager 31 : Women—An Introduction 31 : Women, the Daimler Art Collection’s new Berlin show, references two groundbreaking presentations held at Peggy Guggenheim’s New York gallery Art of This Century, the Exhibition by 31 Women, 1943, and The Women, 1945. Initiator and co-curator was Guggenheim’s friend and advisor, the artist Marcel Duchamp. These were the first exhibitions in the United States that focused, to this extent, exclusively on women artists. The women represented a young generation, from eleven different countries. In terms of content, representatives of Surrealism found themselves alongside abstract painters, Dada-influenced artists and previously unknown new trends. Taking its lead from these important founding documents of feminist art history, the exhibition 31 : Women, with some sixty works from the Daimler Art Collection, brings two longstanding emphases of the collection into sharper focus. The concentration on leading female figures in twentieth- and twenty-first-century art and the research and projects conducted since 2016 on Duchamp, curatorial practice, and the readymade. Our 31 : Women show begins, in historical terms, with works from the Bauhaus and concrete art traditions, moves on to European and American movements such as Zero and Minimalism, and then broadens the horizon with younger artists from India, South Africa, Nigeria, Chile, Israel, the United States, and other countries. The exhibition brings together early feminist trends and global perspectives of contemporary art in surprising constellations and thematic stagings. 31 : Women is part of a wider Daimler Art Collection project planned for the period from March 2020 to February 2021. This includes the publication of a book, Duchamp and the Women: Friendship, Cooperation, Network, and a series of lectures, supplementing and accompanying the Berlin exhibition at Daimler Contemporary.
    [Show full text]