International 07 Art Exhibitions 2014 International 10.09.2014 > 07.10.2014 Art Exhibitions 2014 Jim Dine Opposite page 64 Blocks A History of Communism 2009, Lithograph paper Courtesy of the artist and 1 Printmaker Alan Cristea Gallery Alan Cristea GalleryAlan ‘A History of Communism’ is an extra- Images 1, 2, 3, 4 & 5 ordinary series of new prints by the A History of Communism seminal American artist Jim Dine made 2012 from lithographic stones found in what One of a suite of 45 stone was previously a socialist art academy lithographs with additional in the German Democratic Republic. etching and engraving Dine received the stones from his Edition of 10 friends Sarah Dudley and Ulie Kuhle, Courtesy of Alan Cristea Gallery lithographic printers based in Berlin. 6 The recovered stones had been un- Remembering Wallace Ting touched for years and most intriguingly 2010, Woodcut with lithograph for the artist, still possessed 40 years’ paper worth of preserved images drawn by Courtesy of the artist and 2 students under the oppressive regime. 5 Alan Cristea Gallery The anonymous drawings, remnants of a government and country that no longer formally exists, immediately London appealed to the artist. The process of creating this exhibition took two and a half years, with Dine working on top of the original drawings, careful not to ‘subvert’ the images he had inherited. ‘The thrill for me is inventing, and adding or taking out, changing from one state to another. Handcolouring over a woodcut that’s in black and white, then printing the block again 3 over the colour that I painted on, 5 then taking a rag soaked in turpen- tine and rubbing it over the print, then putting an etching over that. It’s more than that though; it’s the freedom to change when I want to and for the image to grow.’ Jim Dine ‘Jim Dine: Printmaker’, comprises a selection of recent editions and classic prints by the artist. It tells the story of Dine’s 50 years as a printmaker. He made his first print at the age of 17 and has since gone on to make prints in every 4 conceivable medium. 6 6 www.alancristea.com International 13.09.2014 > 22.11.2014 Art Exhibitions 2014 Greg Gorman 1 Portraits Galerie Hiltawsky Galerie Hiltawsky An exhibition of over 30 portraits by the American photographer Greg Gorman It includes images of Holly- wood stars such as Sharon Stone, Sophia Loren, Robert De Niro, Leonardo Di Caprio, Marlon Brando, Johnny Depp, Jeff Bridges as well as musiclegends like David Bowie, Jim Morrison, Tom Waits, Michael Jackson, Frank Zappa, Philip Glass, Pop-Art Icon Andy Warhol etc. Greg Gorman was born in Kansas City, Missouri in 1949. Initially, he wanted to become a photojournalist, but when in 1968 he photographed Jimi Hendrix at his concert in Kansas City, it signalled the beginning of a 40 year career as a 5 Berlin portrait photographer. Opposite page Having obtained his Masters in Fine Michael Jackson Lace Arts in 1968 he started photographing Archival pigment print actors and musicians. Many of these 51 x 41 cm iconic black-and-white images became 1 movie posters, covers of CDs or maga- Leonardo Di Caprio zines like Life, Newsweek, Vogue and Archival pigment print Rolling Stone. Gorman’s photographs 61 x 51 cm (cropped) were adopted more than 20 times to 2 accompany Andy Warhol’s Interview. 2 Grace Jones with Hat 1991, Archival pigment print Parallel to his portraiture, Gorman 102 x 76 cm created a remarkable body of work in 3 the area of nude photography. With his Andy Warhol Glasses unique style involving sharp contrasts, 1986, Archival pigment print 3 extreme lighting and shadows, he 51 x 41 cm concentrates on the graphic aspect of 4 face and body creating a classic Iman aesthetic which combines the timeless Archival pigment print beauty of human nature with erotic 102 x 76 cm charisma. Greg Gorman’s images of 5 David Bowie’s wife Iman and male star- Michael Jackson Spider models Tony Ward and Mickey Hardt 1987, Silver gelatin print are legendary. 68 x 57 cm 4 3 4 www.hiltawsky.com International 20.09.2014 > 13.01 2015 Art Exhibitions 2013 The Moderns 1 Art during the Great War KMSKA Before the Great War, the futuristic work Opposite page of Jules Schmalzigaug exuded a sense Rik Wouters of progress, speed and technology, and Self Portrait the art of Rik Wouters was a celebration in Green Hat of vigour and vitality. Then came the Oil on canvas on shock of war, the waves of which would cardboard continue to ripple through art and 42 x 38 cm | Koningin Fabiolazaal Fabiolazaal Koningin literature for years to come. Some artists KMSKA/Lukasweb and writers fled to the Netherlands or 1 Great Britain, where they came into Jakob Smits contact with foreign movements. In the Trenches Oil on panel 32 x 40 cm KMSKA/Lukasweb 2 Oscar Jespers 4 The Man with the Pull-over 1917, Bronze 112.5 x 64.5 x 43 cm KMSKA/Lukasweb © Sabam 3 Jan Kiemeney Friendship 1921, Oil on canvas 5 90 x 80 cm KMSKA/Lukasweb Antwerp 2 3 4 Rik Wouters Others stayed at home, capturing life Self Portrait with on and behind the frontline. Paul van Black Eye Patch Ostaijen gave expression to his traumas Oil on canvas in the books of experimental poetry 102 x 85 cm Bezette Stad and De Feesten van Angst KMSKA/Lukasweb en Pijn. Other authors and artists from 5 Antwerp and Flanders were equally Floris Jespers deeply affected by the carnage. Portrait of Paul van Ostaijen This exhibition testifies to the impact 1928 of the Great War on the lives and work Collectie Letterenhuis, of six authors and artists, including Antwerp Rik Wouters, Emile Verhaeren and © Sabam Paul van Ostaijen. 4 5 www.kmska.be International 24.09.2014 > 18.10.2014 Art Exhibitions 2014 Opposite page CRW Nevinson Returning to the Trenches 1 A Printmaker in War & Peace 1916, Drypoint 15.2 x 20.4 cm Osborne Samuel This major exhibition of prints by 1 Christopher Richard Wynne Nevinson Blackfriars (1889-1946) is the most comprehensive 1926-27, Etching exhibition of his prints since 1999-2000. 38.2 x 49.8 cm 2 Acetylene Welder 1917, Lithograph 40.4 x 29.7 cm 3 Troops Resting 1916, Drypoint 18.5 x 23.5 cm 4 The Bomber 1918, Lithograph London 28 x 22 cm 5 Place du Tertre, Montmartre 1919-20, Lithograph 2 3 40.4 x 45.2 cm Nevinson made 148 prints; etchings, In May 1919 Nevinson visited New York drypoints, mezzotints and lithographs for his exhibition at the Keppel Gallery between 1916-33. His war experience which was a critical and commercial greatly influenced his subject matter success; the city was also a dizzying and he produced some of the most stimulus and resulted in a number of poignant images of war in printmaking New York subjects in painting, later history. These include the iconic translated into various prints in all ‘Returning to the Trenches’, 1916, media rivalling work produced by any ‘Troops Resting’, 1916, and the set of six of his New Yorker contemporaries. lithographs titled ‘Britain’s Efforts and Equally stimulating were his prints of Ideals: Building Aircraft’. London. ‘The Workers’, 1919 ‘London Bridges’, c1920, ‘London from Parliament Hill’, c1923, ‘Waterloo Bridge from a Savoy Window’, c1924-26, ‘Westminster from a Savoy Window’, c1924, ‘Leicester Square’, c1926-27 and many more are included in this exhibition. He was a devoted Francophile and a frequent visitor to Paris and included in the show are (From) ‘A Paris Window’, 1922, ‘La Butte Montmartre’, 1922, ‘La Cité, Paris’, 4 c1926 among others. 5 www.osbornesamuel.com International 27.09.2014 > 11.01.2015 Art Exhibitions 2014 Neo-Impressionism and the Dream of Realities 1 Painting | Poetry | Music The Phillips Collection Phillips Collection The Highlighting fifteen artists and more Opposite page than seventy works, the exhibition Camille Pissarro demonstrates that the Neo-Impres- Peasant Women Planting sionists, a group generally identified by Poles in the Ground its pointillist technique and emphasis 1891, Oil on canvas on the representation of reality, were 54 x 46 cm in fact influenced by their literary On loan from a Private Symbolist contemporaries and created Collection, Museums evocative, suggestive compositions Sheffield, UK inspired by ideas and dialogue between 1 the two groups. The lush exhibition Georges Seurat focuses on the Neo-Impressionist move- Seascape at Port-en- ment in Brussels and Paris around 1890. Bessin, Normandy During this time, the exchange of ideas 1888, Oil on canvas and interactions between painters, 64.8 x 81.3 cm poets, and musicians were particularly National Gallery of Art, fruitful and compelled the Neo-Impres- Washington, Gift of the sionists to create works that accentua- W Averell Harriman ted an evocative atmosphere. 2 Foundation in memory of Marie N Harriman, 1972.9.21 Washington Their paintings and works on paper 2 often transformed reality in a way that Henri-Edmond Cross seemed to be a departure from the Beach at Cabasson group’s beginnings in 1886; at that time, (Baigne-Cul) it was hailed as an alternative to Impres- 1891-92, Oil on canvas sionism that offered a fresh opportunity 65.4 x 92.4 cm to focus on light and contemporary life. The Art Institute of Chicago, Neo-Impressionist painters were close L L & A S Coburn, and Bette friends with Symbolist writers and & Neison Harris funds; discussed passionately how to express Charles H & Mary F S their ideas in poetry and painting.