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Expositions, Art contemporain, Art moderne, Photographie, Design, Patrimoine, Architecture, Art vidéo, Films, l'image dans toutes ses dimensions, Publications

Art Exhibitions, Art Fairs, Visual Arts, Photography, Graphic Arts, Design, Video Art, Architecture, Films, Photo / Imaging Equipments, Publications


October 31, 2015

Expo Georgia O’Keeffe, Musée de Grenoble

Georgia O’Keeffe et ses amis photographes
Musée de Grenoble
7 novembre 2015 - 7 février 2016



Première monographie consacrée en France à l’artiste peintre américaine Georgia O’Keeffe, cette exposition au musée de Grenoble constitue un événement exceptionnel. Réalisée avec la participation de la Fondation O’Keeffe de Santa Fe (Nouveau Mexique, Etats-Unis) et le soutien du réseau franco-américain de musées FRAME, elle retrace la carrière d’une icône de l’art américain aussi célèbre aux Etats-Unis que Jackson Pollock. Celle-ci se développe sur plus d’un demi-siècle, des débuts du modernisme américain à l’abstraction des années 1960. De ses premières créations à New York à son installation au Nouveau Mexique en 1949, O’Keeffe fut fortement influencée par la photographie moderne. L’exposition fera ainsi dialoguer ses peintures avec les images de ses amis photographes et formera, un ensemble total de 80 œuvres issu de quinze prestigieux musées américains mais également de grandes institutions allemandes, espagnoles et françaises.

Georgia O’Keeffe occupe une place singulière dans le contexte de l’art américain. Ses peintures, reconnaissables entre toutes, se distinguent par leur immédiateté, la sensualité de leurs couleurs et la clarté de motifs qui s’imposent, avec insistance, à la mémoire. La force de ces images, qui viennent question- ner le visible, tient au trouble créé par des formes énigmatiques oscillant sou- vent entre abstraction et figuration. Abandonnant l’abstraction organique de ses débuts, l’artiste se fait connaître, dans les années 1920, par des pein- tures de fleurs et de buildings au réalisme photographique. Elle assimile alors l’esthétique précisionniste des peintres du cercle de Stieglitz – Arthur Dove, John Marin, Charles Demuth et Marsden Hartley, pour ensuite donner corps à un répertoire formel unique, profondément marqué par sa vie dans le désert du Nouveau Mexique. A partir des années 1960, en communion spirituelle avec son environnement du Sud-Ouest, O’Keeffe peint des compositions abstraites, dont la pureté formelle et la sensualité des tons se font l’écho des travaux de Mark Rothko, Ellsworth Kelly ou Agnes Martin.

Née en 1887, dans le Wisconsin à Sun Prairie, Georgia O’Keeffe élabore très jeune une œuvre personnelle inspirée par les vastes plaines du Texas et marquée par les arabesques de l’art nouveau. A la suite de sa rencontre avec le photographe et défenseur des avant-gardes, Alfred Stieglitz, elle s’installe à New York en 1918 pour se consacrer exclusivement à son œuvre. Muse puis épouse du photographe en 1924, O’Keeffe découvre l’avant-garde européenne à la galerie 291 et fréquente le cercle de Stieglitz.

Fruit d’une individualité forte, son œuvre unique puise ses sources dans la nature. Entre abstraction et figuration, son travail se développe en séries selon un parti pris résolument moderniste. Ses compositions naissent avant tout de son observation du monde. Ce sont d’abord les ciels du Texas, les montagnes de Lake George, les buildings de New York et les fleurs. A partir de 1929, l’artiste choisit de passer ses étés à Santa Fe avant de s’installer définitivement au Nouveau-Mexique en 1949. Elle vit alors en communion intime avec la nature, goûtant la solitude des grands espaces, conduisant sa voiture à travers le désert. Cette expérience lui inspire de nouveaux sujets : architecture vernaculaire, canyons, os, ciels et rivières. 

Tout au long de sa carrière, Georgia O’Keeffe est attentive aux développements de la photographie moderne. La vision photographique qu’elle assimile explique en partie la force de ses images. Aussi jalonnant le parcours de l’exposition, au-delà des célèbres clichés de Stieglitz qui le premier sut saisir la beauté de l’artiste, sept photographes qui ont marqué son œuvre peint, qu’elle a elle-même influencés – Alfred Stieglitz, Paul Strand, Edward Weston, Imogen Cunningham, Ansel Adams, Eliot Porter et Todd Webb - seront présentés. Georgia O’Keeffe partageait avec eux non seulement une communauté de motifs mais des lieux de prédilection – New York, le Nouveau-Mexique – qui forgèrent leurs regards respectifs.

Commissariat de l’exposition
Guy Tosatto, conservateur en chef, directeur du musée de Grenoble
Sophie Bernard, conservateur, chargée des collections modernes et contemporaines

Musée de Grenoble
5, place Lavalette
38000 Grenoble
www.museedegrenoble.fr

October 29, 2015

Art Basel Hong Kong 2016: The Discoveries sector

Art Basel Hong Kong 2016: The Discoveries sector
March, 24-26, 2016

The Discoveries sector will present its strongest showcase of emerging artists so far with solo- and two-person exhibitions presented by 24 galleries. For this year’s edition, five of the galleries will be completely new to the show, while another six return after a brief hiatus. Highlights of the sector include intricate ink drawings by Pakistani artist Waqas Khan (b. 1982, Pakistan), presented by Sabrina Amrani (Madrid); Galerie Isabella Bortolozzi (Berlin) showing parts of Wu Tsang’s (b. 1982, United States) new body of work ‘Duilan’, exploring the close female relationship between revolutionary poet Qin Jin and calligrapher Wu Zhiying; an installation by Jess Johnson (b. 1979, New Zealand) presented by Darren Knight Gallery (Sydney) which will comprise 13 works on paper and one video work overlaid on a wall covered with wallpaper designed by the artist; Gallery Side 2’s (Tokyo) installation of work by Yusuke Saito (b. 1981, Japan), an artist usually known for his sculptures of food, who will be presenting boxed collages and resin sculptures surrounding ideas of digestion; Experimenter (Kolkata) offers a joint installation of work by Ayesha Sultana (b. 1985, Bangladesh) and Rathin Barman (b. 1984, India) who will share the theme ‘Sculpting in Time’; a focus on the abstraction located at the heart of today’s industry and society, featuring work by Sean Raspet (b. 1981, United States) and Ned Vena (b. 1983, United States), presented by Société (Berlin); and Joel Kyack’s (b. 1972, United States) sculptural installation presented by Workplace Gallery (Gateshead, London), which will explore the conflicts and parallels between intense consumerism, cultural conditions and the historical conditions of Hong Kong.

313 Art Project
www.313artproject.com

Wan Lee
Product, 2015
Courtesy the artist and the gallery

Thomas Erben Gallery
www.thomaserben.com

Newsha Tavakolian
Mahud, climbing the wall of the abandoned empty swimming pool, 
which is the only quiet place he can find to practice singing, 2014
Courtesy the artist and the gallery

Yeo Workshop
www.yeoworkshop.com

Edward Clydesdale Thomson
The Distracted Gardner and the Plumbing Subverter, 2013, Installation View
Courtesy the artist and the gallery

Night Gallery
http://nightgallery.ca

Mira Dancy
Courtesy the artist and the gallery

11R Eleven Rivington
http://11rgallery.com

Evan Nesbit
Courtesy the artist and the gallery

Art Basel Hong Kong 2016: The Insights sector

Art Basel Hong Kong 2016: The Insights sector
March, 24-26, 2016

The Insights sector will be dedicated to curatorial projects by 28 galleries with spaces in Asia and the Asia-Pacific region and will feature solo shows, exceptional historical material, and strong thematic group exhibitions. This year’s edition features a particularly strong presentation of Modern work, with around half of the galleries presenting material from this period. This year’s Insights will provide a particularly diverse and in-depth overview of art from across the region with featured artists from Australia, Bangladesh, India, Iran, Japan, Mainland China, South Korea, the Philippines, Singapore, Taiwan and Turkey. 

Highlights include eight large photographic works by Michael Cook (b. 1968, Australia), forming a panoramic narrative reflecting on colonial histories and drawing on the artist’s Bidjara heritage, presented by This Is No Fantasy + dianne tanzer gallery (Melbourne); Antenna Space (Shanghai) presents sculpture by artists Guan Xiao (b. 1983, Mainland China) and Yu Honglei (b. 1984, Mainland China) each responding to themes of ‘postproduction’ and ‘reproduction’; a new body of work by Stella Zhang (b. 1965, Mainland China), a continuation of her existing series ‘0-Viewpoint’ and comprising sculptural paintings and an installation, brought to Art Basel by Galerie du Monde (Hong Kong); experimental ink work by Li Huasheng (b. 1944, Mainland China), presented by Ink Studio (Beijing); ceramic sculptures by Kimiyo Mishimo (b. 1932, Japan), many of which will not have previously been seen outside of Japan, brought by MEM (Tokyo); performative video work by Tadasu Takamine (b. 1968, Japan), an artist whose work draws attention to the societal effects of the Fukushima nuclear disaster, presented by Arataniurano (Tokyo); and, brought by Pi Artworks (Istanbul, London), new sculptures by Tayeba Begum Lipi (b. 1969, Bangladesh) reflecting on her childhood, accompanied by video and audio work.

1335Mabini
www.1335mabini.com

Kiri Dalena
Courtesy the artist and the gallery

Gallery EM
www.galleryem.co.kr

Hyemin Lee
White Dream 2015
Courtesy the artist and the gallery

Ink Studio
www.inkstudio.com.cn

Li Huasheng
0699, 2006
Image courtesy: INK studio and the artist.

Lawrie Shabibi
www.lawrieshabibi.com

Farhad Ahrarnia
Intuitive Notion of a Rotation, 2015
Courtesy: The artist and Lawrie Shabibi

Leeahn Gallery
www.leeahngallery.com

Ja Hyun Koo
Untitled, 2012
Courtesy the artist and the gallery

Liang Gallery
www.lianggallery.com

Hsu Chia-Wei
Courtesy of the artist and the gallery


October 27, 2015

Art Basel Hong Kong 2016 : Galleries sector & more

Art Basel Hong Kong
March 24 - March 26, 2016

Art Basel announced today the details of its fourth edition in Hong Kong, taking place for the second time in March. The Hong Kong show of Art Basel, whose Lead Partner is UBS, will feature 239 premier galleries from 35 countries and territories, presenting works of the highest quality that range from the Modern period of the early 20th century to the most contemporary artists of today. 

Once again, Art Basel will be a showcase for art from the region of Asia and Asia-Pacific, where half of its galleries have exhibition spaces. Art Basel in Hong Kong will open to the public from Thursday, March 24 to Saturday, March 26, 2016, and will take place at the Hong Kong Convention and Exhibition Centre (HKCEC).

de Sarthe Gallery 

Zao Wou-Ki
Untitled, 1963
Courtesy the artist and de Sarthe Gallery

Gallery Exit

LUI Chun Kwong
Courtesy of the artist and the gallery

Alongside a strong presence of returning galleries from across the globe, this year’s edition features 28 galleries that will participate in the Hong Kong show of Art Basel for the first time. Nine new galleries join from Asia including Antenna Space (Shanghai), galerie nichido (Tokyo, Nagoya, Fukuoka, Karuizawa, Kasama, Paris), Gallery 100 (Taipei), Ink Studio (Beijing), Lawrie Shabibi (Dubai), Longmen Art Projects (Shanghai), MEM (Tokyo), Vanguard Gallery (Shanghai) and Yeo Workshop (Singapore). 

Art Basel in Hong Kong will also see the addition of 18 leading Western galleries for the first time including Cardi Gallery (Milan, London), Carlos/Ishikawa (London), David Kordansky Gallery (Los Angeles), Galerie 1900 – 2000 (Paris), Galerie Isabella Bortolozzi (Berlin), Galerie Jocelyn Wolff (Paris), Galerie Nagel Draxler (Berlin, Cologne), gb agency (Paris), Greene Naftali (New York), In Situ – fabienne leclerc (Paris), Kewenig (Berlin, Palma), Metro Pictures (New York), P.P.O.W (New York), Sabrina Amrani (Madrid), Société (Berlin), team (gallery, inc.) (New York, Los Angeles), Xavier Hufkens (Brussels) and Zeno X Gallery (Antwerp). Selma Feriani Gallery (Sidi Bou Said, London) also joins Art Basel as the first African gallery outside of South Africa to ever participate in an Art Basel show.

James Cohan Gallery

Fred Tomaselli
Untitled, 2013
Courtesy the artist and the gallery

Project Fulfill Art Space

Sung-chih Chen
Courtesy the artist and the gallery

The upcoming edition features a particularly strong representation of galleries with exhibition spaces in Japan, Singapore, South Korea and Taiwan, in addition to those with spaces in Hong Kong and Mainland China. The participating galleries have exhibition spaces in: Australia, Austria, Belgium, Brazil, Cuba, France, Germany, Greece, Hong Kong, India, Indonesia, Ireland, Italy, Japan, Mainland China, New Zealand, Norway, Pakistan, the Philippines, Poland, Romania, Saudi Arabia, Singapore, South Africa, South Korea, Spain, Sweden, Switzerland, Taiwan, Thailand, Tunisia, Turkey, the United Arab Emirates, the United Kingdom and the United States.

Taka Ishii Gallery

Ushio Shinohara
“Boxing Painting”, 2009
© Ushio Shinohara / Courtesy of Taka Ishii Gallery, Tokyo

Tokyo Gallery + BTAP

Ushio Shinohara
Samurai Sword, 1967
Courtesy the artist and the gallery

The main sector of the show, will feature 187 Modern and contemporary art galleries, presenting the highest quality of painting, sculpture, drawing, installation, photography, video and editioned works. Exhibitors returning after a brief hiatus include Marianne Boesky Gallery (New York) and Applicat-Prazan (Paris), while many Asian galleries have moved from other sectors of the show into Galleries, where they will present a wider range of their gallery programs. These galleries are: Athr (Jeddah), Blindspot Gallery (Hong Kong), Chambers Fine Art (Beijing, New York), Galerie Ora-Ora (Hong Kong), Gallery Isabelle van den Eynde (Dubai, Brussels), Nanzuka (Tokyo), Nature Morte (New Delhi), Project Fulfill Art Space (Taipei), Taro Nasu (Tokyo), TKG+ (Taipei, Beijing), Yavuz Gallery (Singapore) and Yumiko Chiba Associates (Tokyo). Francesca Minini (Milan) and Galeria Plan B (Cluj, Berlin) are also showing for the first time in the Galleries sector.

Tyler Rollins Fine Art

Tiffany Chung
13 Oct 2013 NY Times/ UNHCR: Syria 4,250,000; Jordan 543,000; Turkey 504,000; Lebanon 790,000; iraq 197,00-; Egypt 126000, 2014
Courtesy of the artist and Tyler Rollins Fine Art

Insights sector : link to the post

Discoveries sector : link to the post

Last year saw the inaugural BMW Art Journey, a collaboration between BMW and Art Basel to support emerging artists, awarded to Hong Kong-based artist Samson Young (b. 1979). At the 2016 show in Hong Kong, first works from Samson Young’s project, ‘For Whom the Bell Tolls: A Journey Into the Sonic History of Conflict' will be on view and the next shortlist for the BMW Art Journey will be announced.

The Encounters sector will show artworks on an institutional scale, presenting largescale sculptural installation pieces and performances, sited in prominent locations throughout the two exhibition halls. Alexie Glass-Kantor, Executive Director of the contemporary art institution Artspace in Sydney, will return for this edition to curate the sector for the second time. Further information on the works in the Encounters sector will be released in the coming months.

The popular Film sector will return this year, and will once again be curated by Beijingand Zurich-based curator, multi-media artist and producer Li Zhenhua. The program will be presented in collaboration with the Hong Kong Arts Centre adjacent to the HKCEC. The program will also be expanded to include feature-length and documentary films, with screenings taking place at the HKCEC for the first time.

Conversations, the long-established morning program of talks and panel discussions offers audiences first-hand access to renowned cultural speakers and opinion-formers from across the international art world. Complementing the Conversations program, the afternoon Salon series serves as a platform for shorter, more freestyle presentations, including artist talks, panel discussions, lectures and book launches. Full details on the talks program will be released in the coming months.

In addition, Art Basel is working closely with key cultural organizations across the city, including Asia Art Archive (AAA); the Asia Society; Para/Site Art Space; Spring Workshop; and M+, Hong Kong’s future museum for visual culture, offering an associated program of events onsite and throughout the city that takes place during the week of the show. Once again, Art Basel will be collaborating with Hong Kong’s International Commerce Centre (ICC), which will see a new light installation by an internationally renowned artist to be projected on to the side of the 108-storey skyscraper.

This November, Art Basel will support the annual Hong Kong Art Gallery Week organized by the Hong Kong Art Gallery Association, and will once again collaborate with the association to organize the gallery night prior to the opening of the show in March.

    Website: www.artbasel.com

October 26, 2015

Zeng Fanzhi @ Gagosian New York : Paintings, Drawings, and Two Sculptures

ZENG FANZHI:
Paintings, Drawings, and Two Sculptures
Gagosian Gallery, New York
November 6 - December 23, 2015

Zeng Fanzhi
ZENG FANZHI 
Blue, 2015
Oil on canvas, 157 1/2 × 275 9/16 inches (400 × 700 cm) 
© Zeng Fanzhi Studio

Gagosian New York presents paintings, sculpture, and works on paper by Zeng Fanzhi. This is his first exhibition with the gallery in New York, following major exhibitions at Gagosian Hong Kong (2011) and Gagosian London (2012).

Zeng Fanzhi is at the forefront of a generation of Chinese artists who have achieved national and international prominence in the wake of the Cultural Revolution of the 1970s. Over the past three decades he has probed the place of the unconscious in the construction of human experience while reflecting on the collective national psyche in the face of broad and accelerated change. In his formative years, he was particularly inspired by the works of German Expressionism and French Romanticism, in which he found precedents for exploring the psychology of selfhood in the throes of societal flux. His searing Hospital Triptych No. 1 (1991), an early example of his virtuosic application of historical styles and techniques to interpret contemporary national realities, was shown in the pivotal exhibition “China's New Art, Post-1989” at the Hong Kong Arts Center in 1993.

With time, Zeng Fanzhi has tempered the direct impact of Western Expressionism with the local influence of traditional guohua painting methods. His eloquent and confrontational work is charged with melancholy, unfolding in a succession of dystopic themes, both introspective and overtly socially critical. After the nightmarish Hospital paintings came the visceral Meat paintings that juxtapose figures with butchered flesh; then the enigmatic Mask paintings that treated social alienation; and the densely skeined landscapes with their obscured figures, alluding to the Taoist perception of human transience within nature's boundless permanence. With the painting From 1830 till now No. 4 (2014), exhibited at the Musée du Louvre last year, Zeng Fanzhi depicts Eugene Delacroix's Liberty Leading the People (1830) as a neglected stone monument in an overgrown thicket.

Recent paintings include large-scale nocturnal landscapes, some populated by anonymous figures or identifiable historical subjects; and smaller, more abstract canvases in which schematic black branches stand out in sharp relief against backgrounds of sweeping horizontal brushstrokes. In the landscape paintings, traditional techniques blend seamlessly with modern abstraction: in an idiosyncratic method originally adopted out of necessity due to injury, Zeng sometimes works with multiple brushes in each hand, undermining his own precision through a process that has become a continuous cycle of creation and destruction. The “abstract landscape” paintings evolve as if autonomously through the rhythmic processual vitality with which Zeng Fanzhi approaches his persistent motifs. Invoking a lineage beginning with Song Dynasty depictions of idyllic, imaginary vistas rendered in calligraphic strokes, he envisages vast scenes of bleak terrains spontaneously lit with bright pinks and blues, and eclipsed by jagged black branches, graphic in their concise and sinister silhouettes.

In the cast metal sculptures, the tree, a symbol of growth and aspiration, is reduced to the melancholic figure of a single gnarled and wintry limb. For the first time, Zeng will show related mixed-media drawings, developed over many years.

Other paintings juxtapose carefully adapted art-historical subjects with spontaneous brushwork, oscillating between a meticulous cut-and-paste sensibility and gestural mark-making. An exacting close-up of Laocoön's head—an homage to the classical Western depiction of agonizing ordeal—is cast against a mercurial, nebulous sky; while a Nativity scene is partially obscured by yellow paint drips against a dark landscape. Depicting Greco-Roman and Christian subjects and motifs within fields that merge restrained traditional Chinese techniques with the unleashed energies of action painting, Zeng has forged a poignant, potent, and topical expressionism that reaches across culture and history.

A fully illustrated book is published to document the exhibition.

ZENG FANZHI was born in Wuhan, China in 1964, and lives and works in Beijing. Solo museum exhibitions include “Zeng Fanzhi: Idealism,” Singapore Art Museum (2007); “Zeng Fanzhi,” Musée d'Art Moderne de Saint-Etienne de Metropole (2007); “Zeng Fanzhi,” Fundacion Godia, Barcelona (2009); and “2010: Zeng Fanzhi,” Rockbund Art Museum, Shanghai (2010). Zeng's work was the subject of a major retrospective at the Musée d'Art Moderne de la Ville de Paris in 2013–14. In a specially commissioned exhibition at the Musée du Louvre in 2014, his painting From 1830 till now No. 4 (2014) was shown alongside Eugene Delacroix's Liberty Leading the People (1830). Zeng's work was included in the 53rd Venice Biennale (2009); “The World Belongs to You,” Palazzo Grassi, Venice (2011–12); “Passage to History: 20 Years of La Biennale di Venezia and Chinese Contemporary Art,” Arsenale di Venezia and Museum of Contemporary Art Chengdu (2013); “Ink Art: Past as Present in Contemporary China,” Metropolitan Museum of Art, New York (2013–14); and “Post Pop: East Meets West,” Saatchi Gallery, London (2014–15).

GAGOSIAN GALLERY, NEW YORK
555 West 24th Street
New York, NY 10011
www.gagosian.com

Anselm Kiefer, BnF, Paris

Anselm Kiefer, l'alchimie du livre
BnF François Mitterrand, Paris
Jusqu'au 7 février 2016

Anselm Kiefer
Shevirat Ha-Kelim (Le bris des vases), 2011
© Anselm Kiefer, Photo Avraham Hay

La Bibliothèque nationale de France organise une exposition consacrée aux livres d’Anselm Kiefer. Avec une scénographie inédite signée par l’artiste allemand, l’exposition dévoilera plus d’une centaine de livres réalisés entre 1968 et 2015, associés à des sculptures et des tableaux récents. Une occasion unique de découvrir l’aspect le plus intime du travail de cet artiste contemporain majeur et de comprendre le rôle essentiel que joue le livre dans son processus de création.

« Au moment même où il réfléchissait à sa grande rétrospective au Centre Pompidou, Anselm Kiefer nous a confié son désir de mettre en valeur séparément l’aspect le plus personnel et le moins exposé de son œuvre. J’ai immédiatement répondu à ce vœu, en lui donnant carte blanche pour présenter ses livres à la BnF », déclare Bruno Racine, président de la BnF.

Exposé dans le monde entier, Anselm Kiefer est connu essentiellement pour ses tableaux et ses sculptures alors que ses livres qui fondent l’œuvre et représentent soixante pour cent de son travail, n’ont, paradoxalement, jamais fait l’objet d’une rétrospective en France.

Anselm Kiefer 
Für Jean Genet, 1969
Photographies en noir et blanc, gouache, roses séchées, aquarelle sur papier 
et mine de plomb sur carton relié
Collection privée © Anselm Kiefer, Photo Charles Duprat

Existant en un seul exemplaire, ces livres sont des œuvres uniques dont les formats et la présentation évoluent au cours des décennies. Pouvant atteindre de grandes dimensions, ils intègrent dans leurs pages divers matériaux, tels que l’argile, le sable, la cendre, les cheveux, les plantes, la paille, des photos… et bien sûr, le plomb, medium privilégié de l’artiste, d’abord utilisé sous forme de feuilles ou de fragments, avant de devenir, vers la fin des années 1980, les livres eux-mêmes, pesant alors entre 70 et 200 kg. Pour l’artiste, outre sa plasticité, le plomb se caractérise par sa puissance poétique et spirituelle.

Dans une mise en espace conçue par Anselm Kiefer pour la BnF, l’exposition recrée tour à tour l’atelier, la bibliothèque de l’artiste, projetant le visiteur dans son univers le plus intime, inaccessible habituellement au public. L’exposition présente deux cabinets de lecture, ses premiers livres conceptuels utilisant la photographie, autre medium privilégié de Kiefer, indissociable de son œuvre depuis 1968. Elle explore les différents thèmes traités par l’artiste depuis plus de 40 ans, à travers une sélection de plus d’une centaine de pièces. On y voit ainsi un ensemble de livres consacrés aux écrivains, aux cosmogonies (The secret life of plants), aux grands mythes antiques (Gilgamesh et Enkidu) ; mais aussi des livres de sable, des livres brûlés, des livres de plomb et les livres, récents, d’aquarelles érotiques, réalisées sur des pages enduites de plâtre.

Pour la première fois, les livres d’Anselm Kiefer sont installés, dans un dialogue stimulant, en parfait écho avec une dizaine d’œuvres, sculptures et tableaux évoquant le livre. Une bibliothèque, Shevirat Ha-Kelim (Le bris des vases), est également exposée. Composée d’une trentaine de volumes de plomb et de verre brisé, elle évoque le mythe kabbalistique de la Création divine selon Isaac Louria. Cette exposition spécialement créée pour la BnF, révèle le cheminement de la pensée d’Anselm Kiefer dont le livre est au cœur du processus artistique. De même, elle éclaire la manière dont l’artiste évolue d’un medium à l’autre. Elle met également en évidence combien l’écrit est au centre de son œuvre et comment les références littéraires, philosophiques et historiques irriguent son art.

Anselm Kiefer 
Vue d’installation, Croissy, 2015 
© Anselm Kiefer, Photo Charles Duprat

ANSELM KIEFER, BIOGRAPHIE
Né le 8 mars 1945, à la fin de la Seconde Guerre mondiale, à Donaueschingen dans le Bade-Wurtemberg, Anselm Kiefer étudie le droit et la littérature, avant de bifurquer vers l’école des Beaux-arts de Karlsruhe. Depuis ses débuts sur la scène artistique dans les années 1960, Anselm Kiefer consacre une rare énergie à analyser les possibilités de créer après l’Holocauste. Il réalise une série de performances appelées Occupations qui consistent à se faire photographier « occupant » différents lieux d’Europe, en parodiant le salut hitlérien. Acte d’identification conceptuelle, ses « autoportraits » seront utilisés dans ses premières œuvres peintes et dans ses livres : Heroische Sinnbilder, Für Jean Genet qui témoignent d’un travail sur la mémoire individuelle et collective pour lutter contre l’oubli et le refoulement du souvenir. Il n’aura, dès lors, de cesse, d’interroger son identité d’Allemand, son histoire, ses racines, sa culture par cet important travail de mémoire.
A partir des années 1970, son œuvre prend progressivement la forme d’une quête spirituelle à la portée universelle, qui sait prendre en compte l’Histoire, les mythes germaniques, grecs, assyriens, la religion, les femmes, mais aussi le cosmos, la mystique juive et la Kabbale qui traverse l’œuvre sous diverses formes depuis 1983. Grand lecteur, Kiefer nourrit son œuvre de ses lectures : Ingeborg Bachmann, Paul Celan, Céline, Paul Valéry, Velimir Khlebnikov, Ossip Mandelstam, Robert Fludd… 
Installé en France depuis 1993, il a travaillé d’abord à Barjac, dans le Gard, avant d’établir son atelier en région parisienne en 2007. 

Commissariat de l'exposition : Marie Minssieux-Chamonard, conservateur, Réserve des livres rares, BnF

Publication : Anselm Kiefer, l’alchimie du livre. Sous la direction de Marie Minssieux-Chamonard, 256 pages, 366 illustrations, 39 euros, Éditions du Regard/BnF

BnF François Mitterrand, Paris
www.bnf.fr

A voir également sur Wanafoto : Anselm Kiefer au Centre Pompidou

October 23, 2015

Joachim Koester @ Turner Contemporary, Margate, UK

Joachim Koester: The Other Side of the Sky
Turner Contemporary, Margate

4 February - 8 May 2016

 

Joachim Koester
My Frontier is an Endless Wall of Points (after the mescaline drawings of Henri Michaux), 2007.
16mm film, black and white, silent 10 min. 24 sec.
Courtesy the artist and Jan Mot, Brussels.

Joachim Koester
Tarantism, 2007.
16 mm film, black and white, silent 6 min. 30 sec.
Courtesy the artist and Jan Mot, Brussels.

Turner Contemporary presents the first UK solo exhibition of work by Danish artist Joachim Koester, whose atmospheric films, installations and photography track the boundaries of the unknown, where fact and fiction crossover. Joachim Koester’s subtle yet sensuous works explore the medium of film.

Presenting a comprehensive series of works by Joachim Koester across the first floor gallery spaces, this will be Turner Contemporary’s largest film exhibition to date. Two new 16mm films will be showcased alongside works produced by the artist in the past 10 years, many of which will be shown in the UK for the first time.

Central to the exhibition is a new film inspired by Joachim Koester’s research into JMW Turner, The Other Side of the Sky (2015). This film explores Turner’s depiction and experience of storms via the analogy of psychedelic trips. Relating to surrealism and the 20th century mescaline experiments by Henri Michaux, it continues Joachim Koester’s interest in both physical journeys and psychological exploration. The Other Side of the Sky will be shown within a specially-built structure reminiscent of an abandoned shack, offering glimpses to a group of late watercolours by JMW Turner, which will be hung alongside it.

Joachim Koester is organised in collaboration with Fórum Eugénio de Almeida, Portugal and curated by Filipa Oliveira and Turner Contemporary.

TURNER CONTEMPORARY

Rendezvous, Margate, CT9 1HG
www.turnercontemporary.org

October 22, 2015

Contemporary Latin American Art at the Museum of Fine Arts, Houston

Contingent Beauty: Contemporary Art from Latin America
Museum of Fine Arts, Houston

November 22, 2015 - February 28, 2016

In November, the Museum of Fine Arts, Houston, presents Contingent Beauty: Contemporary Art from Latin America, an exhibition featuring a selection of major works by 21 established artists from Argentina, Brazil, Colombia, Cuba, Mexico, and Venezuela. Encompassing a variety of media including drawing, sculpture, video, and interactive object- and video-based installations, the exhibition highlights contemporary artists who use seductive and engaging materials to convey their social, political, and environmental concerns. Curated by Mari Carmen Ramírez, Wortham Curator of Latin American Art and director of the International Center for the Arts of the Americas (ICAA), with Rachel Mohl, curatorial assistant, Latin American art, Contingent Beauty is on view in Houston from November 22, 2015, to February 28, 2016.

Drawn primarily from the Museum’s permanent collection of modern Latin American art—one of the most comprehensive collections of its kind in any public institution—nearly all of the 32 works on view have been acquired by the Museum over the last five years through the Caribbean Art Fund, a special initiative of the Museum and Fundación Gego. Established in 2010, the goal of this fund is to research, promote, and collect works by artists from the greater Caribbean. Since its inception, the Caribbean Art Fund has sponsored the acquisition of 37 major works by artists from Colombia, Cuba, and Venezuela. Works by Central American artists are presently under consideration. 

“While the Latin American art department has an international reputation for its unrivaled Modernist and Constructivist collection, Contingent Beauty demonstrates the breadth of the Museum’s holdings of contemporary Latin American and Caribbean art,” said MFAH director Gary Tinterow. “With this installation, we invite Museum visitors to discover artists active in the region today, many of whom have made significant contributions to the global art scene.”

“In the hands of these artists, the work of art—while formally sophisticated and seductive—becomes not an end in itself but a tool to heighten viewers’ awareness of critical factors shaping their everyday environment,” said Ramírez. “The works employ conceptual, sensory-based or interactive strategies that playfully elicit the viewer’s active participation. As visitors become key elements in unfolding the work’s meaning, this exhibition promises to provide them with an exciting, fun-filled, and eye-opening experience.”  

Artists
In addition to artists whose works were acquired through the Caribbean Art Fund, Contingent Beauty features works by exceptional mid-career Latin American artists, generating a dynamic dialogue that cuts across chronological and geographic borders. Featured artists include Tania Bruguera (Cuba), Johanna Calle (Colombia), Yoan Capote (Cuba), María Fernanda Cardoso (Colombia), Los Carpinteros (Cuba), José Gabriel Fernández (Venezuela), Magdalena Fernández (Venezuela), Víctor Grippo (Argentina), Carmela Gross (Brazil), Grupo Mondongo (Argentina), Guillermo Kuitca (Argentina), Oscar Muñoz (Colombia), Roberto Obregón (Venezuela), Gabriel Orozco (Mexico), José Alejandro Restrepo (Colombia), Miguel Ángel Ríos (Argentina-Mexico), Miguel Ángel Rojas (Colombia), Teresa Serrano (Mexico), Regina Silveira (Brazil), Javier Téllez (Venezuela), and Tunga (Brazil).

Material and Message
The artists in Contingent Beauty intertwine aesthetic refinement with biting critiques of timely issues grounded in the complex realities of Latin America and its long history of colonization, political repression, and economic crisis. These issues range from poverty, violence, gender, government corruption, and globalization, to the war on drugs and the legacy of colonialism. The “beauty” of these works is contingent upon contextual interpretation. Each piece harbors a tension between opposing elements, such as beauty and violence, seduction and repulsion, or elegance and brutality.

Miguel Ángel Rojas’ Broadway (1996/2010) illustrates the idea at the core of this exhibition: A trail of more than 3,000 coca leaves precariously pinned to the wall functions as both a poetic statement and a powerful indictment of illegal drug trafficking. From a distance, the leaves could be a line of ants; up close, the allusion to farm laborers and the narcotics trade becomes apparent. María Fernanda Cardoso’s Woven Water: Submarine Landscape (1994)—26 clusters of dried, preserved starfish suspended in constellations at various heights—entices visitors into a mysterious undersea environment, while serving as an overt criticism of commercial tourism and the commodification of nature.

Estadística (Statistics) (1996–2000), by the renowned Cuban artist Tania Bruguera, was produced communally as the artist invited her friends and neighbors to donate and assemble locks of their own hair into a Cuban flag. By echoing women’s collectives who secretly sewed Cuban flags during the Cuban War of Independence, Bruguera’s flag creates an analogous resistance to Fidel Castro’s regime. Similarly, Yoan Capote spent eight years collecting teeth from friends, family members, and acquaintances in Cuba for his work Stress (in memoriam) (2004–12). The piece presents a metaphor for resistance in that a heavy concrete block is precariously balanced on top of rows of these teeth, and rocks back and forth in a grinding motion.

In the same vein, Johanna Calle and Regina Silveira employ everyday materials to create non-traditional drawings and explore issues of urban disenfranchisement. In Obra negra (Black Opus) (2007–08), Calle sews chicken wire onto cardboard to produce schematic drawings of the precarious dwellings of Colombia’s shantytowns and the feet of the children who inhabit them. Silveira, in turn, applies to the wall vinyl impressions of bare feet belonging to hundreds of Brazilian street children in her work Irruption (Oval) (2005).

Guillermo Kuitca’s Le Sacre (1992) is emblematic of these artists’ critical relationship with local and global concerns. Kuitca presents a series of 54 child-size mattresses that invite visitors to walk among them, discovering hand-painted city maps of unknown locations in the world that serve to unify the extremes of the personal and the global. Kuitca’s piece is among a number of large-scale works that draw viewers in for closer inspection. Tunga’s Lezart (1989)—a monumental sculpture made of elemental materials, such as copper, iron, and magnets in the shapes of combs, lizards, and strands of hair, arranged in disturbing juxtapositions—hints at a mythological narrative that is never clearly revealed. Towering at 9 feet tall, A negra (The Black Woman) (1997) by Carmela Gross is an imposing black tulle skirt on wheels that engages issues of race and gender in Brazilian society.

A significant aspect of Contingent Beauty is a suite of video installations that provide insight into the innovative scope and experimental range that the medium has attained since the 1990s, when Latin American artists turned to video as a means to reexamine history and question cultural constructs. José Alejandro Restrepo’s Paso del Quindío I (Quindío Passage I) (1992) is an immersive installation that confronts the viewer with footage from different locations of the Quindío Pass, a trade route leading from the central region of the Andes to the Pacific coast, thereby stimulating viewers to reconsider the history of colonialism in the region. In La passion de Jeanne d’Arc (Rozell Hospital) [The Passion of Joan of Arc (Rozelle Hospital)] (2005), Javier Téllez examines the biases surrounding mental disorders by enlisting psychiatric patients to reinterpret and reenact the 1928 French film classic. In the two-channel video Mecha (2010), Miguel Ángel Ríos uses strategies and resources derived from film to capture the violence and war-like atmosphere of the popular ancient Colombian game of tejo. In Teresa Serrano’s La piñata (2003), we watch as a man beats to death a piñata that is shaped and dressed to look like a woman from the Mexico–United States border. Using geometric patterns to connect to the natural world, Magdalena Fernández creates a video environment in which she synchronizes dots and lines of light with the sound of rain in 2iPM009 (2009).

Exhibition Schedule
Contingent Beauty: Contemporary Art from Latin America debuts in Houston before touring internationally. The Houston opening occurs in the context of the sixth Latin American Experience Weekend, a biennial event that supports the Museum’s Latin American art acquisitions program and the International Center for the Arts of the Americas (ICAA). The 2015 edition is dedicated to Colombia and will feature a significant representation of Colombian artists in the four-day program, which includes talks, lectures, a gala, and live and silent auctions with works by artists highlighted in Contingent Beauty as well as other historic and contemporary artists from Latin America. The event takes place from November 19 to 22, 2015.

Catalogue
The International Center for the Arts of the Americas at the Museum of Fine Arts, Houston, is publishing a fully illustrated, 250-page catalogue to accompany the exhibition. Distributed by Yale University Press, the catalogue consists of introductory essays, individual texts on the artworks in the exhibition, and artists’ biographies. It features contributions by María Gaztambide, Rachel Mohl, Beatriz Olivetti, Mari Carmen Ramírez, Gabriela Rangel, Tahía Rivero, Osvaldo Sánchez, Michael Wellen, and Daniela Wüstenberg.

This exhibition is organized by the Museum of Fine Arts, Houston.

Museum of Fine Arts, Houston
www.mfah.org

Picasso Sculpture @ MOMA, NYC

Picasso Sculpture
The Museum of Modern Art, New York

Through February 7, 2016



Picasso Sculpture offers a broad survey of Pablo Picasso’s work in three dimensions, spanning the years 1902 to 1964. The largest museum presentation of Picasso’s sculptures to take place in the United States in nearly half a century, the exhibition brings together approximately 140 sculptures from Picasso’s entire career via loans from major public and private collections in the U.S. and abroad, including 50 sculptures from the Musée national Picasso–Paris. With many works on view for the first time in the U.S., it provides an opportunity to explore a rarely seen aspect of Picasso’s long and prolific career. The installation occupies the entirety of MoMA’s fourth floor galleries, allowing sufficient space for the sculptures to be viewed fully in the round. Picasso Sculpture is presented by MoMA in collaboration with the Musée national Picasso–Paris, and is organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, and Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture, MoMA; with Virginie Perdrisot, Curator of Sculptures and Ceramics at the Musée national Picasso–Paris.

Pablo Picasso (Spanish, 1881–1973) was trained as a painter but not as a sculptor; from the start, this facilitated a natural disregard for tradition in his sculptural work. Although Picasso’s sculpture is a relatively unfamiliar aspect of his career, it is one that has been profoundly influential throughout the 20th and 21st centuries. It is characterized primarily by the sheer pleasure of invention and experimentation. Over the course of six decades, Picasso redefined the terms of sculpture again and again, setting himself apart not only from what his colleagues were doing but also from what he himself had previously done. Whether portraying humans, animals, or objects, he invested his sculptures with a powerful charisma that belies their inanimate status. Relative to painting, sculpture occupied a deeply personal place in the artist’s work. During his lifetime, Picasso kept most of his sculptures, living among them as if they were family members. After his death, many became part of the founding collection of the Musée national Picasso–Paris.

Picasso’s commitment to sculpture was episodic rather than continuous, and every gallery or pair of galleries in this exhibition represents a distinct chapter of his sculptural career. The passages from gallery to gallery parallel Picasso’s moves from one studio to the next. Each new phase brought with it a new set of tools, materials, and processes, and often a new muse and/or technical collaborator.

Organized by The Museum of Modern Art in collaboration with the Musée national Picasso–Paris.

The initial gallery focuses on Picasso’s earliest work in three dimensions, including his first sculpture, made in Barcelona in 1902 when he was 20. Known as Seated Woman, this small figure was modeled in clay in the studio of a local sculptor. Following his move to Paris in 1904, Picasso continued to rely on the tools and studios of friends and explore subjects parallel to those of his paintings. As with many of his works, The Jester (1905) began as a portrait of someone he knew, in this case the poet Max Jacob. Head of a Woman (Fernande) (1906) and Kneeling Woman Combing Her Hair (1906) are modeled on Picasso’s lover Fernande Olivier. In 1907, Picasso visited the Musée d’Ethnographie du Trocadéro in Paris at the urging of fellow artist André Derain. His powerful encounter with the African and Oceanic sculptures catalyzed a new way of seeing. The visit also encouraged Picasso’s exploration of wood carving, and the largest of the surviving wood sculptures from this period is the unfinished standing Figure (1908), carved from an old oak beam. The angular shapes and faceted surfaces of Head of a Woman (1909) make tangible the fractured planes and sharp inclines of Picasso and Braque’s Cubist paintings, and the work quickly became one of Picasso’s best-known sculptures. This work once belonged to the American photographer Alfred Stieglitz and was included in the legendary 1913 Armory Show in New York City.

The following gallery continues with the fall of 1912, when Picasso returned to making sculpture after a hiatus of three years. Among the first works he realized was the cardboard Guitar, whose open structure allowed Picasso to introduce negative space into the solid forms customary to sculpture at that time. Its humble still-life subject was also a first, as was Picasso’s decision to employ simple craft processes like cutting, folding, and threading. In early 1914, Picasso reiterated his Guitar in sheet metal. The hybrid character of these works is typical of works in this gallery. Picasso’s ongoing project during these years was to upend categorical distinctions. Still Life (1914), with its distinctive upholstery fringe and protruding tabletop, displaying a particularly complex series of inversions. In spring 1914 Picasso created an edition of six unique versions of the sculpture Glass of Absinthe. All six are reunited here for the first time since leaving the artist’s studio. Conventionally, works within a bronze edition are identical. However, working against tradition, Picasso decorated the surfaces of each of his six small sculptures differently. Each of the six actual absinthe spoons incorporated in the sculptures is different from the others.

Picasso’s return to sculpture at the end of the 1920s had roots in a commission to create a monument for the tomb of the poet and critic Guillaume Apollinaire, who had died in 1918. Picasso’s acceptance of the task paid homage to a writer who had been not only a close friend but also an early and eloquent champion of Picasso’s work. Despite several rounds of effort, none of the ideas that Picasso offered the memorial committee were accepted. The profoundly varied works on view in this and the adjacent gallery bear no obvious reference to Apollinaire. Picasso’s proposals included the thick, almost comically grotesque volumes of Metamorphosis I (1928) and Metamorphosis II (1928); diagrammatic wire constructions that Picasso’s art dealer, Daniel-Henry Kahnweiler, would christen “drawings in space”; and complex works in welded metal, realized in collaboration with the sculptor Julio González. Picasso’s monumental Woman in the Garden (1929–30) was his final and most ambitious effort to create a memorial sculpture for Apollinaire. It is composed from a large number of salvaged metal elements, welded together and unified by an overall coating of white paint.

The subsequent gallery focuses on Picasso’s work from the early 1930s, when Picasso purchased the Château de Boisgeloup, a property 45 miles northwest of Paris. There, for the first time, he had enough space to set up his own sculpture studio. The first sculptures Picasso made in Boisgeloup were delicately slender carved wood figures whittled from pieces of discarded painting stretchers and branches found on the forest floor. His signature Boisgeloup material, however, was luminous white plaster, which was relatively easy to obtain, dried quickly, and could be modeled, incised, carved, and added to over time. It was in Boisgeloup that Picasso produced his first truly monumental figures in the round, including an imposing series of simultaneously female and phallic heads. Noses, mouths, and eyes double as male and female sexual organs, and the sculptures’ surfaces conjure both the softness of flesh and the unforgiving hardness of bone. Picasso’s Boisgeloup busts were complemented by a host of smaller female bathers, strange creatures and birds, and anatomical fragments.

Beginning in 1933, Picasso started to explore the process of imprinting plaster using everyday objects and materials. The narrow ridges of corrugated cardboard, for example, served to articulate the drapery of Woman with Leaves (1934) and The Orator (1933–34). He also used plaster to bind together a variety of found items, combining the expedient solutions of bricolage with those of conventional modeling to create works such as Head of a Warrior (1933), whose eyes began as tennis balls. In February and March 1933, Picasso gave free rein to sculptural invention in a series of finely detailed pencil drawings collectively referred to as An Anatomy. Imaginary sculptures of freestanding figures are built from whimsical combinations of individual elements, with firmly drawn contours and smoothly modeled forms that cast shadows on the ground. Picasso was forced to leave the Château de Boisgeloup for good in 1936, as part of a separation agreement with his wife, Olga Ruiz-Picasso. Never sent off for exhibition or sale, the sculptures created there remained unseen by the public. Then, in spring 1937, coincident with the Nazis’ saturation bombing of the Spanish town of Guernica, Picasso selected five of his Boisgeloup sculptures to accompany his antiwar mural Guernica as part of the Spanish Pavilion in that summer’s World’s Fair in Paris.

Picasso was one of the few artists designated by the Germans as “degenerate” to remain in occupied Paris during World War II. Nonetheless, this grim period brought with it Picasso’s enthusiastic return to the enterprise of sculpture after a hiatus of several years. Picasso returned to modeling, somehow managing to obtain enough clay and plaster to produce an imposing population of human and animal figures for his crowded studio spaces. All bronze casting was prohibited, as precious metal was reserved for wartime purposes; but Picasso had his sculptures secretly transported to and from the foundry by night. As exemplified by the harrowing Death’s Head (1941), the spirit of these sculptures is understandably solemn. The largest work of this period is the seven-foot-tall Man with a Lamb, modeled in clay in early 1943. Although this sculpture was made in one day, frantically assembled on an armature that was too weak for the quantities of clay Picasso piled upon it, it was the product of months of reflection and sketches dating back to the previous summer. Picasso’s fondness for witty assemblage did not altogether disappear during these somber times. Bull’s Head (1942) is simply a strategic pairing of a leather bicycle seat and a pair of metal handlebars, a relatively instantaneous sculpture later cast in bronze. Even more reductive is The Venus of Gas (1945), which is nothing more than the iron burner of a gas stove that caught the artist’s eye as a modern incarnation of an ancient fertility goddess.

The adjacent gallery features 25 photographs of Picasso’s sculptures, taken by Brassaï (French, 1899–1984). Picasso and Brassaï first met in Paris in December 1932 at Picasso’s studio at rue La Boétie. Brassaï had been commissioned by the editors of the new Surrealist periodical Minotaure to photograph Picasso’s studio in Paris and the sculpture studio at the Château de Boisgeloup. The Brassaï photographs on view represent a selection of the many images he took of Picasso’s sculptures between 1932 and 1946. From the Minotaure commission on, there was no one Picasso trusted more when it came to photographing his three-dimensional works.

Paris was liberated in August 1944, and the following summer Picasso visited the French Riviera for the first time in many years. This renewed contact with the Mediterranean’s sun, sand, and light, along with its deep connections to classical Greek and Roman culture, brought about a new phase in Picasso’s sculpture. During the summer of 1946 he visited the ceramics workshop of George and Suzanne Ramié in the town of Vallauris and began to experiment in a medium that dated back to ancient times but was new to him, learning and then pushing the limits of what could be done with the classic shapes of ceramic vessels, along with the range of surface effects obtainable using slips and glazes. In 1949 he bought an abandoned perfume factory, which he converted to a studio for the making of a series of assemblages created from a vast array of found objects held together by plaster and armatures of wood and metal. Ceramic vessels, or bits of them, made their way into many of his sculptures (for example, the breasts and belly of Pregnant Woman from 1950). Cake molds, spades, screws, and a watering can were used to make sculptures of birds and bouquets. Having become part of wholly new creations, these everyday items nevertheless retain their original identities. This remains true even when the assemblages were cast in bronze, and then in some cases vibrantly painted.

Picasso’s work in assemblage intensified throughout the early 1950s, as he produced larger and ever more complex sculptures constructed from everyday objects. His renewed status as a family man also informs the subjects of many of these sculptures. Baboon and Young (1951), with a head formed by his son’s toy cars, reads convincingly as a self-portrait of this proud and exuberant parent. No matter how improbable the sculptures’ components were, or how whimsical their subjects, naturalism was always Picasso’s goal. Little Girl Jumping Rope (1950–54) seems to defy gravity like a real child in midair. Picasso happily declared that She-Goat (1950), with ribs provided by a wicker basket and udders from ceramic vessels, “seems more real than a real goat.”

The next chapter of Picasso’s sculptural work took an unpredictable turn away from the robustly modeled forms of the Vallauris ceramics and assemblages, toward constructions that were decidedly planar and frontal in nature. In 1955, the artist moved with his new partner Jacqueline Roque to the villa La Californie, outside Cannes. This elegant residential neighborhood had no junkyard readily at hand, as in Vallauris, but the artist found new ways to satisfy his passion for scavenging. Wood sculptures made from lumber scraps and other salvaged items took center stage in the years 1956–58. Bits of old furniture, crates, and tree branches from Picasso’s garden now formed the basis for his playful transformations. A commanding group of six charismatic Bathers (1956) materialized from a variety of wooden planks and found objects, including painting stretchers from his studio. Arranged in a sequence devised by the artist, it is the only multi-figured sculptural ensemble of Picasso’s career.

Picasso’s final phase of making sculpture, on view on the fourth floor Sculpture Platform, centered on sheet metal, a popular material for both design objects and utilitarian purposes. In 1954, he became acquainted with the products of a commercial sheet metal workshop in Vallauris. That year, and again in 1957, he created a number of heads in cut and folded paper or cardboard, and had these templates fabricated as sheet metal sculptures at 1:1 scale. Picasso played with the possibilities of multiple perspectives through both the contours of the metal planes and the painted details he applied after the sculpture was assembled. This led to a phase of nonstop creativity that produced more than 120 sheet metal sculptures over the course of a year and a half. Many portray the striking profile of his wife Jacqueline, while bathers, mothers, and other friendly characters share a lightness of spirit that belies their complex conception and intricate execution. Picasso’s longtime dreams of monumentally scaled work were finally realized during this final phase of his career. Sylvette was among the many sheet metal sculptures that became outdoor works; its 20-foot-tall concrete enlargement was erected in 1968 outside a New York University housing complex on Bleeker Street and La Guardia Place, where it remains today. The Maquette for Richard J. Daley Center Sculpture, the artist’s last sculpture, was translated into a 50-foot-tall work of Cor-Ten steel that was unveiled in the plaza of the Chicago Civic Center in 1967 and quickly became a landmark of that city.

MOMA - The Museum of Modern Art, New York
www.moma.org

Jacqueline de Ribes: The Art of Style, Costume Institute, The Metropolitan Museum of Art, New York

Jacqueline de Ribes: The Art of Style
Costume Institute, The Metropolitan Museum of Art, New York
November 19, 2015 – February 21, 2016

Jacqueline de Ribes in Christian Dior, 1959
Courtesy of The Metropolitan Museum of Art,
Photograph by Roloff Beny, Roloff Beny Estate

The Costume Institute’s Fall 2015 exhibition, Jacqueline de Ribes: The Art of Style, will focus on the internationally renowned style icon Countess Jacqueline de Ribes, whose originality and elegance established her as one of the most celebrated fashion personas of the 20th century. The exhibition will be on view in The Metropolitan Museum of Art’s Anna Wintour Costume Center from November 19, 2015 through February 21, 2016.

“A close study of de Ribes’s life of creative expression yields illuminating insights into her strategies of style,” said Harold Koda, Curator in Charge of The Costume Institute, who is organizing the exhibition. “Her approach to dress as a statement of individuality can be seen as a kind of performance art. When she established her own fashion house, her friend Yves Saint Laurent gave his blessing to the venture as a welcome projection of her elegance.”

Exhibition Overview
The thematic exhibition will feature approximately 60 ensembles of haute couture and ready-to-wear primarily from de Ribes’s personal archive, dating from 1962 to the present. Also included will be her creations for fancy dress balls, which she often made by cutting up and cannibalizing her haute couture gowns to create unexpected, thematic, and conceptually nuanced expressions of her aesthetic. These, along with photographs and ephemera, will tell the story of how her interest in fashion developed over decades, from childhood “dress-up” to the epitome of international style. 

A muse to haute couture designers, they placed at her disposal their drapers, cutters, and fitters in acknowledgment of their esteem for her taste and originality. Ultimately, she used this talent and experience to create her own successful design business, which she directed from 1982 to 1995.

While the exhibition will focus on her taste and style methodology, extensive documentation from her personal archives will illustrate the range and depth of her professional life, including her roles as theatrical impresario, television producer, interior designer, and director and organizer of international charity events.

Designers in the exhibition will include Giorgio Armani, Pierre Balmain, Bill Blass, Marc Bohan for House of Dior, Roberto Cavalli, Jacqueline de Ribes, John Galliano, Madame Grès (Alix Barton), Valentino Garavani, Jean-Paul Gaultier, Norma Kamali, Guy Laroche, Ralph Lauren, Ralph Rucci, Yves Saint Laurent, Fernando Sanchez for Révillon Frères, and Emanuel Ungaro.

Biography
Countess Jacqueline de Ribes (born 1929 in Paris to aristocratic parents) is seen by many as the ultimate personification of Parisian elegance. She was, with the American and Italian beauties Gloria Vanderbilt and Marella Agnelli, among the small flock of “Swans” photographed by Richard Avedon and written about by Truman Capote in 1959.

Married at age 19 to Édouard, Vicomte de Ribes (he became the Count de Ribes upon the death of his father in 1981), the traditions of her in-laws precluded her from becoming a career woman. An independent spirit, she channeled her creativity into a series of ventures linked by fashion, theater, and style. In 1956, de Ribes was nominated for Eleanor Lambert’s Best-Dressed List. At the time, she had only a handful of couture dresses, as most of her wardrobe was comprised of her own designs, which she made herself or with a dressmaker. Four more nominations followed, and resulted in her induction into the International Best-Dressed List Hall of Fame in 1962.

Photographed by the world’s leading talents including Slim Aarons, Richard Avedon, David Bailey, Cecil Beaton, Robert Doisneau, Horst, Jean Baptiste Mondino, Irving Penn, Francesco Scavullo, Victor Skrebneski, and Juergen Teller, her image came to define an effortless elegance and a sophisticated glamour.

In 1999, Jean Paul Gaultier dedicated his haute couture collection to her with the title “Divine Jacqueline,” and in 2010, she received the Légion d’Honneur from French President Nicolas Sarkozy for her philanthropic and cultural contributions to France.

The Metropolitan Museum of Art
www.metmuseum.org

October 21, 2015

Sony VPL-VW5000ES Home Cinema Projector

Sony VPL-VW5000ES Home Cinema Projector

Sony has recently announced the introduction of the VPL-VW5000ES, a 5,000 lumens 4K SXRD™ laser light source projector. Sony’s new reference-quality unit is the first projector designed specifically for the largest and most lavishly equipped home cinema rooms that features 4K resolution powered by a laser light engine that provides a spectacular brightness of 5,000 lumens. The projector is also compatible with High Dynamic Range (HDR), emulates the new BT.2020 colour gamut, and covers the full DCI colour space.

Sony continues to be the only manufacturer designing projectors specifically for the home theatre market that provides native 4K resolution. Sony’s advanced SXRD panels are designed to produce outstanding native device contrast and when coupled with the laser light engine, the VPL-VW5000ES provides an infinite dynamic contrast ratio and 5,000 lumens of colour light output.

The VPL-VW5000ES covers the full DCI-P3 colour gamut. By taking advantage of its professional calibration tools the VPL-VW5000ES allows the user to choose to emulate the BT.2020 colour space, ensuring compatibility with upcoming home video formats. And by bringing together high brightness, infinite dynamic contrast and the latest signal processing technology, the VPL-VW5000ES provides compatibility with High Dynamic Range (HDR), enabling the viewer to see wider ranges of contrast and colours than ever before.

Sony's Advanced Motionflow feature reduces blur and maintains brightness and VPL-VW5000ES’ extremely fast imagers allow viewing of fast action content – especially sporting events – with great smoothness, even with 4K signals. Along with HDR and BT.2020 capabilities, the VPL-VW5000ES also includes an HDMI input that is HDCP 2.2 compatible. That same input has enough bandwidth to accept 4K 60p signals up to YCbCr 4:4:4 8bit or YCbCr 4:2:2 12bit, thus helping to ensure that the VPL-VW5000ES is prepared to handle all types of video content now and in the future.

The VPL-VW5000ES can be tilted as much as 30 degrees, allowing for flexible installations that take advantage of mirrors to place larger screens in smaller spaces, such as rear projection. Thanks to a newly developed liquid cooling system with low noise operation, the projector can also be located near viewers without impacting the enjoyment of a programme´s audio. The unit ships with a standard powered lens with a zoom ratio from 1.27 to 2.73:1 and lens shift capability of +/- 80% vertical and +/- 31% horizontal.

Benefits of the VPL-VW5000ES’ laser light engine include fast on/off times with no waiting for the projector to cool down – which means you can immediately turn it back on to resume binge-watching your favourite show. The light engine delivers a long operational life with a linear decrease in brightness, so the colour shifts seen with traditional lamp wear are not expected. But if the colour settings do shift over time, the VPL-VW5000ES includes a built-in re-calibration function that can be used to test how much the projector has drifted from its original factory calibration and reset it.

“The VPL-VW5000ES projector is truly the ultimate home cinema solution, joining an impressive line-up of Sony home theatre projectors specifically designed for the high-end installer market, like the VPL-GTZ1 and Lifespace UX´s LSPX-W1S Ultra Short Throw models,” said Thomas Issa, Product Manager at Sony Professional Europe. “Our new projector combines the best technologies found in our professional cinema projectors to offer spectacular image quality as well as reliability, bringing the home theatre experience to the next level.”

The VPL-VW5000ES will be available in Europe in the first quarter of 2016.

Joan Mitchell : Retrospective, Museum Ludwig, Cologne

Joan Mitchell : Retrospective. Her Life and Paintings
Museum Ludwig, Cologne

November 14, 2015 - February 21, 2016

In partnership with the Kunsthaus Bregenz and in close cooperation with the Joan Mitchell Foundation in New York, the Museum Ludwig is presenting a major retrospective of the legendary artist Joan Mitchell (1925–1992). The show focuses on her painting, ranging from early works from the 1950s to her later work during the final years of her life. Joan Mitchell’s work is placed within the art-historical context of the period following Abstract Expressionism or in the milieu of the New York School. With some thirty paintings, some of which are very large-format and span several panels, the show at the Museum Ludwig presents one of the most important figures in twentieth-century art.

Museum Ludwig, Cologne
www.museenkoeln.de

Audubon to Warhol: The Art of American Still Life @ Philadelphia Museum of Art

Audubon to Warhol: The Art of American Still Life
Philadelphia Museum of Art

October 27, 2015 - January 10, 2016

This fall, the Philadelphia Museum of Art will present a major exhibition surveying nearly two centuries of the most intimate, intricate, and varied genre of painting practiced in the United States. Audubon to Warhol: The Art of American Still Life will explore the nature and development of still-life painting in this country from the days of the early American republic to the emergence of Pop Art in the early 1960s, providing a fresh perspective on the evolution of this genre over time and the various ways in which it has reflected our history and culture. Nearly one hundred artists will be represented, ranging from Philadelphia’s Peale family of painters and masters of trompe l’oeil such as William Michael Harnett to modern masters like Charles Sheeler, Georgia O’Keeffe, and Roy Lichtenstein.
Timothy Rub, The George D. Widener Director and Chief Executive Officer, said, “Still life is an important subject that continues to fascinate us today. It can be a meditative study of a single, small object and yet also serve as a metaphor for the world. The story of American still life begins in Philadelphia, and we are delighted to have an opportunity to share this exhibition with our audiences. This is the first major show of its kind in more than thirty years and brings together works of great beauty and historical significance from collections around the country.”
The exhibition surveys the history of American still life. The earliest section addresses the interest of late 18th and early 19th-century painters, a period interested in precise visual description. In their efforts to understand and categorize nature, art and science were linked in the minds of such leading figures of this period as John James Audubon, whose Carolina Parrot (about 1828) depicts a species now extinct and provides a signal example of the combined artistic and scientific ambition that motivated his celebrated Birds of America. The exhibition also explores the pleasures of the senses and sensuality that became the primary focus of American still-life painters at the beginning of the Victorian era. The works of this period exemplify a spirit of newfound prosperity and abundance, as can been seen in Severin Roesen’s vivid floral still lifes and in tables overflowing with nature’s bounty, such as Andrew J. H. Way’s Oysters in Half Shell (1863). Discerning appetites and distinctions of the affluent after the Civil War, as recorded in images such as The Blue Cup (1909) by Joseph DeCamp will be highlighted along with works that address the technological and psychological preoccupations of early 20th-century American artists.

Visitors will encounter audio and visual representations of the iconic 20th Century Limited locomotive, the subject of Charles Sheeler’s classic Rolling Power (1939). Signaling the reach of a burgeoning media culture, the installation will dramatize how masterfully the artist evoked power and modernity, extending the idea of what still life could be. The exhibition concludes with a selection of Pop Art icons, including Roy Lichtenstein's Still Life with Goldfish (1974).

The exhibition will evoke the different ways of looking that American still-life painters have explored of the course of more than two centuries, immersing visitors in fully developed environments. The still lifes of the mid-19th century, for example, were typically created for parlors and dining rooms. A re-created Victorian parlor will invite visitors to appreciate these semipublic social settings, where educated and erudite conversations were sparked by artworks such as Edward A. Goods’s Fishbowl Fantasy (1867). The artworks themselves will be arranged in small groups to encourage comparison and discussion among visitors, as they did for their early audiences. The exhibition will also include evocations of Theodore Stewart’s famous New York City saloon, which drew crowds from nearby City Hall and around the world to admire William Michael Harnett’s large-scale After the Hunt (1885), which was displayed there in its own theatrical setting for many years. Themes such as music, literature, popular media, and science—including tangible ephemera such as bird specimens, magazines, and pocket watches—will bring forward the immediate inspirations and contemporary contexts of the art.

The impact of the Philadelphia region on the emergence and development of American still life is a theme that spans the entire exhibition. Mark D. Mitchell, the Associate Curator of American Art and Manager of the Center for American Art, said: “We examine not only still life’s development in America—motivated as much by wider cultural dynamics as by artistic taste—but also the distinctively regional association of American still life as a Philadelphia story.”

Catalogue
A fully illustrated catalogue, with essays by Bill Brown (University of Chicago), Carol Troyen (Museum of Fine Arts, Boston), Katie Pfohl (Harvard University), and Mark D. Mitchell (Philadelphia Museum of Art) will accompany the exhibition and be distributed by Yale University Press. The catalogue will be available in October.

Sponsorship
The exhibition is made possible by the National Endowment for the Humanities, The Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the National Endowment for the Arts, the Peter R. & Cynthia K. Kellogg Foundation, and The Annenberg Foundation Fund for Major Exhibitions. Additional support is provided by Leigh P. and John S. Middleton, Mr. and Mrs. William C. Buck, the Estate of Phyllis T. Ballinger, Frank J. Hevrdejs, Bonnie and Peter McCausland, Russell C. Ball III, Sondra and Martin Landes, Jr., Washburn and Susan Oberwager, Sarah Miller Coulson, Leslie Miller and Richard Worley, an anonymous donor, other generous individuals, and by an indemnity from the Federal Council on the Arts and the Humanities. Related educational programming and resources are supported by The Center for American Art at the Philadelphia Museum of Art. The publication is supported by the Davenport Family Foundation, the Wyeth Foundation for American Art and The Andrew W. Mellon Fund for Scholarly Publications at the Philadelphia Museum of Art.

Curator
Mark D. Mitchell, formerly Associate Curator of American Art and Manager, Center for American Art, now The Holcombe T. Green Curator of American Paintings and Sculpture at the Yale University Art Gallery.

Location
Dorrance Special Exhibition Galleries, first floor

Philadelphia Museum of Art
www.philamuseum.org