February 28, 2011

French drawings US traveling exhibition - Storied Past: Four Centuries of French Drawings from the Blanton Museum of Art at The Frick, Pittsburg, The Blanton, Austin and Stanford University Center for Visual Arts

Storied Past: Four Centuries of French Drawings from the Blanton Museum of Art 

This traveling  Exhibition featuring 56 drawings chronicling a 400-year period in France, between 1500 and 1900, makes its debut at the Frick in Pittsburgh, where it is on view through April 17, 2011. Following its showing at the Frick, the exhibition will be on view at the Blanton Museum of Art at The University of Texas from September 18 - December 31, 2011, and the Iris and B. Gerald Cantor Center for Visual Arts at Stanford University from May 28 - August 24, 2012.

The Frick Art & Historical Center, Pittsburg
February 5 - April 17, 2011 
The Blanton Museum of Art, Austin, Texas
September 18 - December 31, 2011 
Iris & B. Gerald Cantor Center for Visual Arts at Stanford University
May 28 - August 24, 2012 

Storied Past: Four Centuries of French Drawings from the Blanton Museum of Art chronicles the full range of artistic uses of the medium, from quick sketches to finished compositional studies, to drawing as an end in itself. The Blanton Museum at the University of Texas at Austin has organized the exhibition from their permanent collection, which was supplemented a bit more than a decade ago by a large gift of drawings. The French drawings from this gift had not received systematic academic study, nor had most of them been published. 

Especially rich in 17th and 18th century drawings, the exhibition illustrates the rise to dominance of the Académie royale de peinture et de sculpture as one of the most dominant cultural and political institutions in Europe.  

The exhibition includes works by François Boucher (1703-1770), Jean-Baptiste Greuze (1725-1805), and Nicolas Lancret (1690-1743), among others, with the nineteenth century represented by choice sheets from François-Marius Granet (1777-1849), Théodore Rousseau (1812-1867), Jean Forain (1852-1931), Théophile-Alexandre Steinlen (1859-1923), and others who reflect shifts in the approach to drawing in the modern era. 

At the Frick, the exhibition find a perfect counterpart in the museum’s permanent collection, which visitors enter as they exit the traveling drawings show. Paintings by Jean-Marc Nattier (1685-1766), Lancret (1690-1743), Jean-Baptiste Pater (1695-1736), Boucher, Hubert Robert (1733-1808), and Nicolas-Bernard Lepicié (1735-1784), are displayed with examples of decorative arts from the period. Interpretation links the Frick’s collection to the Blanton exhibition through specific Collection Connection labels, and with a printed gallery guide. 
Frick Director Bill Bodine comments, “The Frick’s presentation of Storied Past: Four Centuries of French Drawings from the Blanton Museum of Art reflects an institutional interest in French art established by Helen Clay Frick, founder and benefactor of the museum. We are delighted to be the first museum to host this exhibition of the Blanton’s magnificent drawings, many of which are unpublished and unfamiliar to the art world at large. This exhibition also provides us with the opportunity to highlight select French drawings and paintings in our collection that were purchased by Miss Frick and relate to the body of work on loan from the Blanton Museum of Art.”


The exhibition begins in a period of transition from the mannerism of the late Renaissance to the Baroque period. Two sheets showing designs for a powder flask made by an artist associated with the School of Fontainebleau show the sophisticated sense of decoration that prevailed among artists working around the court of Francis I. Two drawings attributed to seminal printmaker Jacques Callot (1592-1635) and his circle date to the period he spent in Florence, and show his interest in melding his observations of life around him into his expressive and inventive finished compositions. The fluid chalk Study of a Man with a Turban, c. 1617, attributed to Callot, is characteristic of his elegant figures and displays a masterful ability at controlling light and shade and swiftly capturing the spirit of a figure, as well as its contours.  

The Académie royale de peinture et de sculpture was founded in 1648. Modeled on Italian examples, the Académie provided training for and official recognition of artists, and allowed for artists to categorize themselves more highly than craftsman or tradespeople. Instruction at the Académie was based on a combination of lectures and studio classes. By the 1680s the Académie royale was an extremely influential organization, with well-established rules, a code of practice, lectures, regular competitions and prizes, exhibitions, and life-drawing-classes.  

The Académie, like those in Italy, considered drawing a fundamental part of the training of an artist and a necessary skill for a successful painter. Engrained in the academic system was a hierarchy of importance with history painting (narrative painting of religious, classical or mythological subject matter) being the most important, followed by portraiture, genre, landscape, and still-life painting. As the exhibition progresses through the Baroque period, examples of typical classical, mythological and religious subjects are prevalent, featuring an annunciation by Michel Dorigny (1616-1665) and a fascinating Elevation of the Cross attributed to Raymond LaFage (1656-1684). Religious and mythological subjects, along with the occasional classical landscape, dominate for about 50 years, until the emergence of the Rococo. 

The style of Jean-Antoine Watteau (1684-1721) is represented in this exhibition by Landscape in a Venetian Manner, c. 1715-1716 (Circle of Watteau). Watteau is best known for his fêtes galantes, a term invented by the Académie in 1717 to describe the artist's variation on the traditional theme of outdoor feasts. This drawing depicts the type of classicized, pastoral setting that might have been populated by fashionable couples in one of Watteau’s finished paintings. The artist kept bound albums of his landscape drawings —some made from nature and others copied from earlier artists— which he later incorporated into his painted compositions. This drawing exhibits the distinctive featherlike touch and delicacy of Watteau that suggests life's fragility and transience. 

The drawings of the Rococo period have exceptional crossover in artists and subject matter with the permanent collection at the Frick, both collections include Watteau’s contemporary Lancret, as well as Jean-Marc Nattier and François Boucher, and demonstrate the period’s interest in portraiture, allegory, mythology, and idealized landscapes. The favorite painter of Louis XV’s mistress, Madame de Pompadour, Boucher is represented by two drawings in this exhibition. Mucius Scaevola Putting His Hand in the Fire, c. 1726-1728, an early drawing, shows the influence of his teacher, François Le Moyne (1688-1737), whose work is also included in the exhibition. A later sheet by Boucher, Juno Commanding Aeolus to Unleash the Winds,1769, is executed in a markedly different style than the earlier drawing and was made in preparation for a painting now in the collection of the Kimbell Art Museum in Fort Worth, Texas. 

The neoclassical period is exemplified by François-Marius Granet, who studied in the studio of Jacques-Louis David (1748-1825) along with Jean-Auguste-Dominique Ingres (1780-1867). Granet traveled to Italy early in the 19th century and there developed a market for his works focusing on church interiors, ruins, and monuments. His drawing Monks Entering a Cloister, c. 1802-1819, shows his fascination with the atmosphere of classical architecture, and his typical skill at employing dramatic light effects.

By the mid-19th century, the hold of academic training on the art world began to weaken, and the lure of Italy as the land of both ideal landscape and ideal architecture collapsed as younger artists, like Théodore Rousseau, began to find deeper meaning in creating images of their own landscape. Rousseau’s small charcoal drawing on pink paper A Marshy River Landscape, c. 1845, illustrates his interest in responding directly to nature. The decidedly unpicturesque view of scrubby growth and wintry trees growing alongside a chill and grey looking river bordered by swampy land, has his characteristic manner of close observation combined with sketchy, more poetic passages. The pink paper and the use of white chalk on the horizon create an effect of either sunrise or sunset, and an atmosphere of sublimity and transcendence. As the exhibition concludes at the cusp of the 20th century we see artists exploring a variety of more moderns subjects—from the late realism of Workers Loading Ballast by Frédéric Jacque (1859-1931), to the more academic and conservative orientalism of Alexandre-Louis Leloir (1843-1884) and his Moroccan Girl Playing a Stringed Instrument, 1875, to the graphic sensibility employed by Théophile Alexandre Steinlen in preparatory drawings for his famous lithographs.


A catalogue published by Hudson Hills Press accompanies the exhibition. Storied Past: Four Centuries of French Drawings from the Blanton Museum of Art includes essays by Cheryl K. Snay, the Blanton’s former Associate Curator of Prints and Drawings; Jonathan Bober, Senior Curator of Prints, Drawings and European Paintings; and Kenneth M. Grant, Paper Conservator, Harry Ransom Center. The catalogue includes entries on all works, which are accompanied by full-color images. 

Four Centuries of French Drawings from The Blanton Museum of Art
By Jonathan Bober, Kenneth M. Grant, and Cheryl K. Snay
Hudson Hills Press, March 2011 
Hardcover - 304 pages - 10 x 11 in. - 25 x 27 cm 
100 color plates - 30 black & white

Storied Past: Four Centuries of French Drawings from the Blanton Museum of Art is organized by the Blanton Museum of Art at the University of Texas at Austin. Support for the exhibition is provided by Continental Airlines and the Still Water Foundation.  

Upcoming exhibitions at the Frick

A Closer Look: France and the Automobile, 1890-1925
March 8 - April 17, 2011

PAN–Fin de Siècle Prints: Art Nouveau on Paper 
May 21 - September 11, 2011 

Fabergé: The Hodges Family Collection
October 22, 2011 - January 15, 2012 

Pittsburgh, PA 15208 

Eileen Cooper, Collages - RA exhibition

Exhibition: Eileen Cooper RA, Collages
Royal Academy of Arts, London 
Until 16 March 2011 

The Royal Academy of Arts presents a collection of previously unseen works on paper by EILEEN COOPER RA. All of the works are unique and made during 2009 or 2010, they share an experimental quality linking together Cooper’s experience as a painter and printmaker. The works are created using assembled fragments of drawing, print and Japanese paper and  include lino-cut, painted and charcoal-drawn components. A group of larger collages with gouache are shown alongside smaller works made during a residency in Alayrac, Tarn, France. It is the first time that Cooper has exhibited work of this nature. 

BRIEF BIOGRAPHY EILEEN COOPER was born in Glossop, Derbyshire and studied at Goldsmith’s College and the Royal College of Art. She is Head of Printmaking at the RA Schools. Her first solo exhibition was held in 1979 at the Air Gallery, London and she has extensively exhibited her work both nationally and internationally in group and solo shows since. 
Her work is held in public collections including the Victoria and Albert Museum, Whitworth Art Gallery, Manchester, Arts Council of Great Britain and the British Council.  Eileen Cooper was elected as a Royal Academician in 2001 and is a regular contributor to the Summer Exhibition. In 2008 she was one of the Summer Exhibition Co-ordinators and in 2009 was Curator for the Print Room.  

Works in the exhibition are available for sale.

RA Friends Room
3 December 2010 - 16 March 2011

Admission Free


Maison de l'Amérique Latine, Monaco - Programmes des expositions 2011

Maison de l'Amerique Latine, Monaco
Programme des expositions pour l'année 2011

Jacques COURTENS, 11 - 30 janvier 2011
L'Ecole de CUZCO, 2 - 19 février 2011
Dominique BOUTAUD, 23 février - 11 mars 2011
Reinhard GADE, 16 - 30 mars 2011
Vladimir SHESTAKOV, 6 avril - 14 mai 2011
Beata BARTHOLOMEW, 7 - 25 avril 2011
L'Art de Mexico, 18 mai - 4 juin 2011
Elisheva COPIN, 8 - 25 juin 2011
ERRANI, 29 juin - 5 juillet 2011

Les Naïfs Brésiliens, 20 juillet - 27 août 2011
Hervé ALEXANDRE, 31 août - 17 septembre 2011
Patricia SOLER, 21 septembre - 8 octobre 2011
Claude GAUTHIER, 12 - 29 octobre 2011
Maurizio STELLA, 2 - 19 novembre 2011
Stella d’ORLANDO, 16 novembre - 6 décembre 2011
Sergio LOPEZ, 23 novembre - 10 décembre 2011
Boris KRUNIC, 14 décembre 2011 - 4 janvier 2012

Maison de l’Amérique Latine de Monaco
Europa Résidence, Place des Moulins
Monte-Carlo - 98000 MONACO

February 27, 2011

David Hilliard & David Rathman at Mark Moore Gallery, Culver City, California

David Hilliard & David Rathman 
Great Expectations 
Mark Moore Gallery, Culver City 
Through April 2, 2011 

David Rathman, Wonderings, 2010
Watercolor on paper 
30 x 40 inches
© David Rathman - Courtesy Mark Moore Gallery 

GREAT EXPECTATIONS at Mark Moore Gallery in Culver City (the MM Gallery was previously located in Santa Monica), California, is a two-person exhibition featuring new works by DAVID HILLIARD and DAVID RATHMAN. This exhibition explores concepts of modern masculinity through two divergent mediums: photography and watercolor.

David Hilliard's distinctive command of a cinematic narrative is at once romantic and disconsolate, oftentimes crafting bittersweet vignettes that grapple with notions of sexuality, faith, mortality and nostalgia. His subtle manipulation of perspective and depth alludes to a similar distortion in our recollected memories, wistful snapshots drawn upon to form a chronicled identity unique to the artist yet relevant to all. Similarly, David Rathman's mottled watercolors illustrate iconic emblems of strength and struggle, luminary and the underdog. Loosely rendered scenes beckon to their pop cultural origins – films, album covers and advertisements alike – while also acting as collated excerpts from a lost Americana memoir. Mirage-like figures seem pulled from the hazy recesses of a sentimental male mind, or from the filmic cutting room floor as Rathman delineates composites of the modern idol. Together, Hilliard and Rathman produce a sagacious survey of the tradition of hero-worship, and foster insightful tension between conventional and unorthodox imagery of virility. With a tempered use of cliché and common expectation, Hilliard and Rathman's work yield frank complexities often overshadowed by mythic constructs of machismo.

DAVID HILLIARD (b. 1964) first showed with Mark Moore Gallery in 2000. Since then, he has had solo exhibitions in Boston, Seattle, New York, Frankfurt, Atlanta, Portland and New Orleans – and has been included in exhibitions at DeCordova Museum and Sculpture Park (MA), Museum of Fine Arts, Boston (MA), Oregon Center for the Photographic Arts (OR) and Miami Art Museum (FL), among others. His work is also featured in over twenty collections of note, including the Museum of Contemporary Art, Los Angeles (CA), Philadelphia Museum of Art (PA), the Community of Madrid (Spain) and the Art Institute of Chicago (IL). He is also represented by Carroll and Sons (Boston), Yancey Richardson Gallery (New York) and Jackson Fine Art (Atlanta). Hilliard received his MFA from Yale University, and lives and works in Boston (MA). 

DAVID RATHMAN (b.1958) was first included in Ultrasonic V: It's Only Natural at Mark Moore Gallery in 2010, and is newly represented by the gallery. He has had solo exhibitions New York, Chicago, Minneapolis and Los Angeles, and has been included in exhibitions at the Walker Art Center (MN), Hallwalls Contemporary Art Center (NY) and Arts Center of St. Petersburg (FL). His work has been acquired by more than a dozen collections, including the Walker Art Center (MN), The New Museum of Contemporary Art (NY), The Art Institute of Chicago (IL), the J. Paul Getty Museum (CA) and Boston Public Library (MA). He is also represented by Larissa Goldston Gallery (NY). Rathman received his BFA from the Minneapolis College of Art and Design (MN), and lives and works in Minneapolis.

5790 Washington Blvd. 

Upcoming exhibitions at the Mark Moore Gallery:

Josh Azzarella, Works: 2004 - 2011, April 9 - May 14, 2011
Cindy Wright, New Work, May 21 - July 9, 2011
Mark Fox, New Work, May 21 - July 9, 2011
Cordy Ryman & Kiel Johnson, Construct, July 16 - August 27, 2011
Ultrasonic VI  Annual Group Exhibition, September 10 - October 22, 2011
Jeremy Fish & Kenichi Yokono, Rise of the Underground, October 29 - December 17, 2011 

February 26, 2011

Expo Francois Morellet Centre Pompidou Beaubourg

Exposition rétrospective: 
François Morellet, Réinstallations 
Centre Pompidou, Beaubourg, Paris 
Commissaires de l'exposition : 
Alfred Pacquement et Serge Lemoine 
2 mars - 4 juillet 2011 

Le Centre Pompidou à Paris présente une exposition d'oeuvres de l'artiste FRANCOIS MORELLET. Cette exposition se situe dans le cadres de la série des grandes rétrospectives que le Centre Pompidou consacre aux grandes figures de l'art actuel. Cette exposition inédite propose une relecture du travail de François Morellet. L'exposition met l’accent  sur un aspect original et pionnier de l’œuvre de l’artiste, les installations.

En collaboration avec les commissaires de l’exposition, Alfred Pacquement et Serge Lemoine, François Morellet a sélectionné vingt-six œuvres de dimensions variées qui retracent les grands tournants de sa carrière de 1963 à aujourd’hui. De nature très différentes les unes des autres et faites de matériaux divers - tubes de néon, lumières avec projection, pièces de bois, papier sérigraphié, bandes adhésives aux murs, toiles sur châssis, tubes d’aluminium, plaques de métal, elles sont installées dans l’espace et sur les murs.

L’ensemble est « réinstallé » dans la galerie 2, au 6e étage du Centre Pompidou, de façon à créer un parcours varié plein de contrastes et réservant des surprises, de nature à provoquer des chocs visuels comme de susciter du plaisir tant par l’élégance du propos que par la beauté de l’effet.

Galerie 2, Niveau 6

Les catalogues Artcurial ont la cote

Lors de sa 41e compétition, le Club des directeurs artistiques a distingué, dans la catégorie « Edition », les catalogues « Tabloïds » imaginés en avril 2009 par LAURENT FETIS pour la maison de vente ARTCURIAL.

Pages intérieurs d'un catalogue Artcurial au format tabloid 
pour une vente Design contemporain
Photo © Courtesy Artcurial

Ces nouveaux catalogues, de grand format et imprimés sur papier « offset », sont destinés à la promotion de nombreuses ventes organisée à Paris à l’Hôtel Marcel Dassault : « Intérieurs du 20e siècle/ Art déco, Design », Bijoux et Montres, « Arts décoratifs du XVIe au XIXe siècle » etc. 

Photo © Courtesy Artcurial

Dans un communiqué de presse, Artcurial considère que : 
« Ces catalogues sont devenus en quelques années l’une des « signatures » de la maison prouvant sa singularité et sa capacité d’innovation.
Enfin, ces catalogues, par leur présentation simple et accessible, ont conquis une nouvelle génération d’enchérisseurs »

February 23, 2011

Nick van Woert: Breaking and Entering at Yvon Lambert New York

NICK VAN WOERT, Breaking and Entering 
Yvon Lambert New York
February 26 - April 6, 2011

© Nick van Woert, Courtesy of Yvon Lambert, Paris-New York

Yvon Lambert presents Breaking and Entering, NICK VAN WOERT's first solo exhibition in the United States. Breaking and Entering will feature all new sculpture by the artist, and a sixty-eight-page color catalogue of Nick van Woert's work will  accompany this exhibition. 

Nick van Woert's practice is rooted in the artist's interest in architecture, ancient history, and nature. Growing up in Reno, Nevada situated the artist between the city's gaudy, over-accessorized buildings and the raw, unadorned natural landscape of the surrounding desert. The stark contrast between the way elements are made in nature -with the landscape constantly changing through erosion and accretion- and the way they are fabricated in the city provides both figurative and conceptual inspiration for Nick van Woert.  

In college, Nick van Woert studied architecture, a discipline that greatly influences his work. For the artist, the focus is on the evolution of building materials (from stone to styrofoam), and using that to develop a material language. His architectural interests are diverse, including Vitruvius's Primitive Hut, the Modernist school's emphasis on being true to materials and not concealing structural forces, as well as the modified architecture of radical “back-to-nature” groups. Nick Van Woert even borrows material recipes from these ecoterrorists, using elements such as polyurethane, packing peanuts, steel, fiberglass, as well as hair gel and chlorine (which when mixed can become destructive). 

For this exhibition, Nick van Woert dissects found sculptures, often  presenting the works as manipulated versions of their former selves. Breaking and Entering also refers to a recent robbery at van Woert's studio, in which thieves broke a window to enter the space. This was a formative experience for the artist, as the force used by the intruders to enter and alter his environment reflects the motives behind Nick van Woert's own sculptural practice. 

NICK VAN WOERT (b.1979, Reno, Nevada) lives and works in Brooklyn, New York. He has been featured in exhibitions at venues including Yvon Lambert, Paris; Yvon Lambert, New  York;  Collection Lambert, Avignon, France; Grimm Gallery, Amsterdam; Nevada Museum of Art, Reno, NV; Nudashank, Baltimore, MD; and Fourteen30, Portland, OR. 

Yvon Lambert New York
550 West 21 Street, New York

February 18, 2011

Roberto Capucci' Exhibition - PMA - Philadelphia Museum of Art

Roberto Capucci: Art into Fashion 
Philadelphia Museum of Art 
Curator: Dilys Blum 
March 16, 2011 - June 5, 2011 


Roberto Capucci, a master of color, form, and innovative silhouettes, was one of the founders of modern Italian fashion in the early 1950s. Today, after six decades of creative achievement, he remains one of Italy’s most influential and imaginative artist-couturiers. Roberto Capucci (b. 1930) captured the attention of the international press at an early age, drawing praise from designers such as Christian Dior when he was still a teenager. His work has appealed to Italian aristocrats like the noblewoman Maria Pace Odescalchi, Italian actress Elsa Martinelli, whom he helped project to fame, and American actresses Marilyn Monroe, Esther Williams, and Gloria Swanson. Today, Capucci fascinates and inspires contemporary designers such as Ralph Rucci, who admires Capucci’s dedication to the purity of his art. 

Covering his couture designs from the 1950s to his recent sculptures, ROBERTO CAPUCCI: ART INTO FASHION (March 16 - June 5, 2011) is the first major survey of his work in the United States. It is organized by the PHILADELPHIA MUSEUM OF ART and the FONDAZIONE ROBERTO CAPUCCI in Florence and will be seen only in Philadelphia.
Timothy Rub, The George D. Widener Director and CEO of the Philadelphia Museum of Art, stated: “Roberto Capucci breaks down the boundaries between art and fashion. The architectural and sculptural quality of his work, his innovative techniques and his extraordinary use of color will have exceptionally wide appeal to those interested in style and design.”
“Capucci is what every designer aspires to be—an artist who is true to himself,” added Dilys Blum, the Jack M. and Annette Y. Friedland Senior Curator of Costume and Textiles at the Museum. “While he was considered an international ‘boy wonder’ during the 1950s, creating wonderfully exciting pieces in the aesthetic tradition associated with the work of Cristobal Balenciaga and Charles James, he ultimately chose to leave the commercial world to pursue interests that went well beyond fashion. In his work one can see the pure joy of creativity.”
Capucci frequently finds inspiration in nature, sculpture and architecture. He considers his dresses to be “habitats” and thus does not restrict his work to the shape of a woman’s body.

Roberto Capucci: Art into Fashion is comprised of nearly 90 works spanning the artist’s career, with supplementary film clips and historical photographs that document the parallels between his designs and the Italian fashion world. The exhibition will trace Capucci’s artistic career chronologically, from his discovery in 1951 to his sculptures from 2007. Early works include a cocktail dress with train from 1952-1953, and the Rosebud dress from 1956, as well as the iconic Nine Dresses (1956), inspired by the rings of water produced by tossing a stone. His revolutionary box silhouette—shaped with four seams instead of the usual two—represented a bold departure from the traditional fitted form of the period and garnered him the prestigious Filene’s Fashion Award in 1958. The international press declared him to be Italy’s best designer and the New York Times lauded his “vigor, imagination, and uninhibited originality.”


Roberto Capucci was born in Rome in 1930 and studied at the Accademia delle Belle Arti. He briefly worked as an apprentice to the designer Emilio Schuberth and opened his first atelier in Via Sistina in Rome in 1950, moving to Via Gregoriana in 1955, where he remains today. During this time, Capucci was introduced to Giovan Battista Giorgini, a buying agent for high-end American department stores who became his champion. Giorgini organized the first Italian high-fashion show in Florence in 1951 and continued to produce shows until 1965. Capucci presented his first collection in the second of Giorgini’s fashion shows in July 1951.

From 1962 to 1968, Capucci presented his collections in Paris to much acclaim and was praised for his inventive use of plastic, his Op Art-inspired designs made from woven ribbons (the 1965 Optical dress) that paid homage to the artist Victor Vasarely, and embroidered evening dresses that glowed in the dark. Upon his return to Rome in 1968, Capucci continued his experimentation with commonplace materials such as raffia, wire, and stones in the tradition of the Italian Arte Povera movement of the same period. In 1978, he created the white satin Colonna dress, modeled after a Doric column. The dress represented a key turning point in Capucci’s career, as he started to explore the idea of dress as actual sculpture. The exhibition will contain dramatic sculpture dresses from the 1980s and early 1990s, such as the intricate Bougainvillea (1989) that reveal the striking use of pleating and exploration of color and form that are now his signature.

As he continued to explore new directions in the use of line, color, texture, and volume, Capucci refused to compromise his vision in the service of purely commercial concerns, and in 1980, he resigned from the Italian couture system. Instead, he presented a singular collection each year in a different city including Tokyo, New York, and Berlin. Since 1992, he has continued to conceive and exhibit unique sculptures, including a landmark series presented at the 1995 Venice Biennale. Among the works on view will be the series of eight dress sculptures, Return to Origins: Homage to Florence, from 2007.

Exhibition catalogue, Roberto Capucci: Art into Fashion (ISBN 978-0-87633-229-0; $50), written by organizing curator Dilys Blum, consists of 210 pages with 22 black-and-white illustrations and 182 color illustrations. Cloth cover binding. 

This exhibition is organized by the Philadelphia Museum of Art and the Fondazione Roberto Capucci, and funded by The Women's Committee of the Philadelphia Museum of Art, The Pew Charitable Trusts, The Annenberg Foundation Fund for Exhibitions, the Robert Montgomery Scott Fund for Exhibitions, and The Kathleen C. and John J. F. Sherrerd Fund for Exhibitions.. Additional funding is provided by The Wyncote Foundation as recommended by Frederick R. Haas and Daniel K. Meyer, M.D., Barbara B. and Theodore R. Aronson, Mr. and Mrs. Jack M. Friedland, and Martha McGeary Snider, and by members of Le Capuccine, a group of generous supporters including Marla Green DiDio, Mr. and Mrs. Robert A. Fox, and Mrs. and Mrs. Bernard Spain. Promotional support is provided by NBC 10 WCAU.

Benjamin Franklin Parkway at 26th Street 
Dorrance Special Exhibition Galleries 


February 17, 2011

Maria Cristina Carlini' Sculptures in Miami

Exhibition: Maria Cristina Carlini. Miami. 
Sculpt Miami park 
Dade College, Miami International Sculpture Park  
Miami Beach Botanical Garden  
Coral Gables Museum 

It has been postponed till February 28, 2011 the exhibition entitled 

This new stage for the creativity of Maria Cristina Carlini, who, accepting the invitation of the city of Miami, has brought her monumental works to the attention of the public in Florida with several events that highlight not only her production but also her own personality as an artist.

Inaugurated on November 30 as  part of the art show Sculpt Miami 2010 - a side-event of Art Basel Miami Beach – the exhibition goes ahead in full autonomy sustained by the excellent interest shown by art lovers and collectors who till December 5 have been packing the numerous appointments of the fair.

The exhibition is held in four prestigious locations. In the former exhibition park of Sculpt Miami in Wynwood art district are placed two imposing corten steel sculptures: Gran Via,  wonderful alternating volumes along perpendicular and diagonal lines that play with space and void and La Vittoria di samotracia (The winged Victory of Samothrace - about 3 metres high), with the vigor of her forward-thrusting body representing the young goddess Nike, daughter of Zeus. 

Maria Cristina Carlini 
La Vittoria di Samotracia, 2008 
corten steel, 280 x 200 x 70 cm
Photo © AstudioF

The renown Miami Dade College, the largest university in Florida, which this year celebrates the 50th anniversary of its opening, hosts in its Miami International Sculpture Park Isole (Islands), a perfect marriage between the ductility of the clay and the solidity of the corten steel (300x150x20 cm).

Maria Cristina Carlini
Isole, 2010
acciaio corten e creta, 300 x 150 x 200 cm
Photo © AstudioF

Inside the luxuriant Miami Beach Botanical Garden the sculpture Mistero (Mystery) finds its ideal location and the birch trunks coming out from the corten steel elements find a true link to the surrounding setting. 

Maria Cristina Carlini 
Mistero, 2008 
corten steel, birch trunks, 350 x 170 x 20 cm
Photo © AstudioF

At Coral Gables Museum stands Maria Cristina Carlini's sculpture Icaro (Icarus), whose pierced corten steel lightens its massive structure calling to mind the flight.

Maria Cristina Carlini 
Icaro, 2009 
corten steel , 280 x 250 x 130 cm
Photo © AstudioF

For this tireless artist, it is essential to be given the opportunity to exhibit her sculptures in public places. As it has often been stressed when commenting on the ‘en plein air’ exhibitions of Maria Cristina Carlini’s works, her “culture making”, as well as having aesthetic and artistic implications, is aimed to interact and relate – even psychologically - with the surrounding environment.

Power and materiality are the main features of the monumental works of Maria Cristina Carlini. The Milanese sculptress, always looking for an expressive means and for spontaneous chromaticity, goes far beyond sculpture meant as celebration. 

From quite some time now the artistic development of sculptor Maria Cristina Carlini has enjoyed a breath and echo at the international level, and 2010 proved to be a very significant year for the artist and his art.


Maria Cristina Carlini started working ceramics in the early Seventies in Palo Alto, California. She returned to Europe in 1978. In 1983 she held a solo exhibition in the Rocca Borromea, a Fortress located in Angera.

During the artistic activity of Maria Cristina Carlini, exhibitions in numerous international public and private venues, including the following solo exhibitions: in Rome at  the State Archives; Turin, in the monumental complex of the Royal Palace and at the National Museum of Villa Pisani in Strà-Venice; at the National Library of Cosenza and at the State Archive of Milan.

In 2009 the city of Paris housed her monumental sculptures in the Mairie of the 5th Arrondissement and in the streets of the historic centre. In Loreto she holds a solo exhibition and in Spain several monumental sculptures are housed in the streets of Madrid. In the same year at Guggenheim Collection in Venice there is the presentation of her monograph Maria Cristina Carlini.

In 2010 in Reggio Calabria is held a solo exhibition of her works in the Aragonese Castle and along the promenade. 

On the occasion of the celebrations for the 40th anniversary of the diplomatic relations between Italy and China, her monumental work Viandanti (Wayfarers) was installed permanently in front of the Italian Embassy in Beijing. Always in Beijing, in the  Forbidden City, the solo exhibition “Colloquio tra giganti” (“A Talk amongst Giants”) is inaugurated. Maria Cristina Carlini is the first contemporary sculptress to exhibit in the imperial complex.

On the occasion of the 4th Art Biennial of Beijing her corten steel sculptures, Dancers, is exhibited for the first time. Maria Cristina Carlini is then in Shanghai with two of her monumental sculptures in conjunction with the World Expo 2010. 

In the same period her works are exhibited in Denver, USA and in Cap D’Agde in Southern France.

Her production has been followed by prominent curators and art critics, such as Luciano Caramel, Gillo Dorfles, Yacouba Konatè, Elena Pontiggia.

Some of Maria Cristina Carlini’s large scale sculptures are permanently set in the following places: City Museum of Pesaro, Central State Archive in Rome Eur, Court of Auditors of Milan, new establishment in Rho of Milan International Fair, Pizza dei Valdesi in Cosenza, Paris, Gardens of Porta Marina in Loreto, on Italo Falcomatà Promenade of Reggio Calabria, in the Chinese cities of Beijing, Jinan and Tianjin and in the USA, Denver.

February 16, 2011

Expo Espace Beaurepaire Paris organisée par Karima Celestin avec les artistes Anabelle Soriano, Damien Valero, Felix Pinquier, Mustapha Sedjal et Sami Trabelsi

Galerie Karima Celestin, Hors-les-Murs
Crossing Over 

Anabelle Soriano, Damien Valero, 
Felix Pinquier, Mustapha Sedjal, 
Sami Trabelsi
Espace Beaurepaire, Paris
22 - 26 mars 2011

Courtesy Galerie Karima Celestin

Crossing Over - L’enjambement d’une frontière réelle ou imaginaire est une exposition présentant les oeuvres de 5 artistes rassemblés par Karima Celestin. Galeriste et commissaire, celle-ci a choisi d’aborder une question qui lui tient beaucoup à cœur : celle du lien entre les différents média et l'importance du trait en tant que passerelle ou frontière. Crossing Over représente l’enjambement, la traversée, le croisement : le trait dans sa forme symbolique. Ce trait sépare les éléments, les rapproche, les joint, les raie. Il définit les frontières, détermine un caractère. Autour de ce thème, Karima Celestin a réuni, Anabelle Soriano, Damien Valero, Felix Pinquier, Mustapha Sedjal et Sami Trabelsi, cinq artistes aux parcours différents, abordant ce sujet chacun à leur manière.

ANABELLE SORIANO "manipule les repères spatiaux" avec autant d'habileté qu’elle passe  d'un medium à l'autre (dessin, photographie, sculpture). L’espace et sa perception sont au centre de ses réflexions. De plus son expérience en escalade apporte une logique déconcertante à ses œuvres qu’elles soient inspirées du réel ou de l’imaginaire. 

Courtesy Galerie Karima Celestin
DAMIEN VALERO voit la frontière corporelle comme ce qui sépare les êtres humains les uns des autres mais aussi comme ce qui les rapproche, ce qui leur permet un contact. La profondeur et la minutie de son travail sont mises en exergue par la technique utilisée par l'artiste. De plus ils révèlent la peau comme une démarcation vivante et changeante.

Courtesy Galerie Karima Celestin
FELIX PINQUIER travaille sur les sens, nous faisant découvrir l'enjambement du son à la sculpture. Pour lui, ce sujet signifiera l’entre-croisement des arts visuels et celui des arts sonores. Crossing Over sera une recombinaison de ces deux manières d’aborder la création, par la vue et par l’ouïe. 

Courtsy Galerie Karima Celestin
MUSTAPHA SEDJAL a choisi de parler à travers son errance artistique, de la difficulté à enjamber : l’incapacité de choisir entre la mort, le renoncement, l’exil ou bien la vie, l’espoir et l’asile. Cette hésitation l’installe  dans une quête permanente de « l’entre deux ».

Courtesy Galerie Karima Celestin

SAMI TRABELSI présente des lieux de vie épurés de leur population. Sa pratique s’articule autour de la photographie et de la vidéo, tout en restant attentif aux autres média. Pour Crossing Over, il parle de voyage sans retour. L'esthétisme de ses images, associé au message énoncé donne à son travail une force et une dimension contemplative. A noter que la galerie Martine et Thibault de La Chatre, Paris, expose jusqu'au 2 mars des oeuvres de Sami Trabelsi.

Vernissage le mardi 22 mars de 18H à 21 h. 
Exposition ouverte du 23 au 26 Mars 2011 de 11h à 19h  

28, rue Beaurepaire 
75010 PARIS - France 

Métro République 


La Galerie Karima Celestin est le nouveau nom de L'Espace K, galerie d'art contemporain, que Karima Celestin avait créé et dirigé. Les expositions sont pour l'instant organisées hors-les-murs. 

February 15, 2011

Classic Book: The Art of Photography by Bruce Barnbaum - Updated and newly revised edtion published by Rocky Nook

Rocky Nook’s Books
The Art of Photography 
An Approach to Personal Expression 
By Bruce Barnbaum

The Art of Photography: An approach to personal expression
Courtesy Rocky Nook, Santa Barbara, CA
This is an updated and newly revised edition of the classic book THE ART OF PHOTOGRAPHY: AN APPROACH TO PERSONAL EXPRESSION (originally published in 1994), which has often been described as the most readable, understandable, and complete textbook on photography.

With well over 100 beautiful photographic illustrations in both black-and-white and color, as well as numerous charts, graphs, and tables, this book presents the world of photography to beginner, intermediate, and advanced photographers seeking to make a personal statement through the medium of photography. Without talking down to anyone, or talking over anyone's head, Bruce Barnbaum presents "how to" techniques for both traditional and digital approaches. Yet he goes well beyond the technical, as he delves deeply into the philosophical, expressive, and creative aspects of photography so often avoided in other books.

Barnbaum is recognized as one of the world's finest landscape and architectural photographers, and for decades has been considered one of the best instructors in the field of photography. This latest incarnation of his textbook, which has evolved, grown, and been refined over the past 35 years, will prove to be an ongoing, invaluable photographic reference for years to come. It is truly the resource of choice for the thinking photographer.

BRUCE BARNBAUM, of Granite Falls, WA, entered photography as a hobbyist in the 1960s, and after four decades, it is still his hobby. It has also been his life's work for the past 30 years.

Barnbaum's educational background includes Bachelor's and Master's degrees in mathematics from UCLA. After working for several years as a mathematical analyst and computer programmer for missile guidance systems, he abruptly left the field and turned to photography.

Barnbaum has authored several books, some of which have become classics. The Art of Photography was first published in 1994 and remained in print until 2007. Barnbaum has been self-publishing the book ever since, but with limited distribution (until now).

Barnbaum is a frequent contributor to several photography magazines. His series "The Master Printing Class" is featured in each issue of Photo Techniques, and his articles are published regularly in LensWork. Through his workshops, articles, lectures, books, and innovative photography, Barnbaum has become a well-known and highly respected photographer, educator, and pioneer.

Barnbaum is recognized as one of the finest darkroom printers, both for his exceptional black-and-white work, as well as for his color imagery. He understands light to an extent rarely found, and combines this understanding with a mastery of composition, applying his knowledge to an extraordinarily wide range of subject matter. His work is represented by more than ten galleries throughout the United States and Canada, and is in the collections of museums and private collectors worldwide.

By Bruce Barnbaum 
Published by Rocky Nook 
364 p. - $44.95 US -  $55.95 CA 

February 13, 2011

Expo Van Dongen – MAM Paris - Musée d’Art moderne de la Ville de Paris/ARC

D'après Kees Van Dongen,
Le Doigt sur la joue 1910
Détournement -
Hommage à Van Dongen,
Shara Jeung, 2011
Exposition : Van Dongen
Fauve, anarchiste et mondain
Musée d'Art moderne de la Ville de Paris / ARC
25 mars - 17 juillet 2011

Le Musée d’Art moderne de la Ville de Paris / ARC consacre à KEES VAN DONGEN (1877-1968) une exposition centrée sur sa période parisienne qui présente les multiples facettes de l'artiste : peintre hollandais contestaire, artiste d’avant-garde et figure du fauvisme, devenu un personnage marquant de la scène parisienne des années folles.

L’exposition reprend et complète celle du Musée Boijmans Van Beuningen de Rotterdam : All eyes on Kees Van Dongen, 18 septembre 2010 - 23 janvier 2011.

20 ans après la rétrospective réalisée en collaboration avec le Musée Boijmans – Van Dongen, le peintre, en 1990 –, cette exposition centrée sur sa période parisienne témoigne du succès de l’artiste. Les recherches et les expositions récentes sur le personnage, fulgurant dans ses trouvailles et déroutant par la diversité de ses sujets, ont permis de mieux comprendre l’ampleur des découvertes de l’artiste et sa stratégie artistique.

Le titre de l’exposition évoque moins une succession de périodes qu’une superposition de postures artistiques : hollandais  rebelle proche des milieux anarchistes autour de 1895, prompt à la caricature et la dénonciation sociale, artiste d’avant-garde notamment du fauvisme, dans lequel il occupe une place originale et un rôle décisif quant à sa diffusion à l’étranger (Hollande, Allemagne, Russie). Fauve « urbain », Kees Van Dongen se focalise sur le corps féminin, en particulier le visage fardé jusqu’à la  déformation par la lumière électrique empruntée à Degas et Toulouse-Lautrec, devenant en quelque sorte sa griffe.

Par la couleur, Van Dongen reste l’artificier du fauvisme. Il la régénère lors de ses voyages au Maroc, en Espagne et en Egypte au début des années 1910 où il réinvente l’Orient. Mais Paris reste le sujet principal de sa peinture : Montmartre – il y rencontre Picasso et Derain - au début du siècle, qui le séduit par la verve populaire et la vie de bohème ; Montparnasse, avant et après la guerre de 1914 dont il est l’un des principaux animateurs, mettant en scène une nouvelle femme à connotation plus érotique. Et enfin, le Paris des « années folles » que Van Dongen qualifie de « période cocktail », où il se consacre exclusivement à la nouvelle élite parisienne : hommes et femmes de lettres, stars du cinéma et de la scène, aujourd’hui oubliés, annonçant avec quarante ans d’avance l’univers des « beautiful people » d’Andy Warhol. La pose est outrée, le costume et l’accessoire théâtralisés révélant le factice de ses personnalités qui n’existent qu’à travers leur rôle.

Le succès de Van Dongen qu’on peut comparer à celui d’un Foujita et sa participation aux avant-gardes en font un artiste singulier, qui fascine encore par sa verve et sa liberté.

L’exposition présente environ 90 peintures, dessins et un ensemble de céramiques, de 1895 au début des années trente. Conçue par le Musée Boijmans Van Beuningen et organisée en collaboration avec le Musée d’Art moderne de la Ville de Paris, elle a bénéficié de prêts de grandes institutions nationales et internationales et de grandes collections privées.

A l’occasion de l’exposition, un CATALOGUE est publié aux éditions Paris Musées.

Commissaire général : Fabrice HERGOTT

Autres expositions 2011 au Musée d'Art moderne de Paris
Inci Eviner, Broken Manifestos
Haute Culture : General Idea
Marc Desgrandchamps
Mexical, expo de jeunes artistes méxicains
Baselitz sculpteur

11, avenue du Président Wilson
75016 PARIS - France

Post-War & Contemporary Art - Christie’s London Auctions lead by Andy Warhol and Jeff Koons works

Post-War & Contemporary Art Auctions Christie’s London
16-17 February 2011

CHRISTIE’S AUCTIONS OF POST-WAR AND CONTEMPORARY ART will take place on 16 and 17 February 2011 in London and are expected to realise a combined total of £46,246,000 to £66,447,000 (corresponding auctions in February 2010 - £34.9 million to £50.5 million). Highlights from the Evening auction were on public exhibition at Christie’s New York from 24 to 26 January. The full auctions is on public exhibition in London from 12 to 16 February.


Francis Outred, Head of Post-War and Contemporary Art, Christie’s Europe: “I am very excited by the upcoming auction which is probably the strongest and most diverse we have had in London since I joined Christie’s in January 2009. Showing some of the most important art from Europe and America of the last fifty years, it also showcases the best art which has emerged across the globe over the last decade. Anchored by the re-discovery of the outstanding monumental self-portrait by Andy Warhol, it is also great to offer Jeff Koons’ seminal ‘Winter Bears’. An incredible life-like representation in wood which is child-size, this re-fashioning of the Adam and Eve story as cutesy Alpine bears clutching a heart shaped bag, where all seems too perfect to be true, represents one of Koons' greatest musings on the nature of modern relationships. It seems very apt to be offering this work in Valentine's week.”


Executed in 1967 and an addition to an historically important series of 10 self-portraits, the picture has been in a private collection since 1974 when it was acquired from Leo Castelli, Warhol’s primary dealer. It will be offered at the Post-War and Contemporary Art Evening Auction on Wednesday 16 February 2011 in London and is expected to realise £3 million to £5 million. The picture was exhibited in public for the first time at Christie’s New York from 22 to 26 January 2011.

The present work is one of an historic series of 11 large-scale self-portraits executed in 1967, five of which are in museums (Tate, London; The Staatsgalerie Moderne Kunst, Munich; the San Francisco Museum of Modern Art; and two at the Detroit Institute for Arts). Such is the importance of the series that eight of the known works were included in the artist’s landmark retrospective at MOMA two years after his death in 1989. The present work is completely unpublished and has been in the same private collection since 1974.

Francis Outred, Head of Post-War and Contemporary Art, Christie’s Europe: “I’m incredibly excited at the prospect of offering this rediscovered masterpiece by Andy Warhol. At the time of its execution Warhol was at the peak of his creative powers and this very rare series of works were the largest self-portraits he had made. This work shows a classic image of the artist in an imposing, larger than life scale, with an extraordinary presence of thick, red paint. That 5 of the works from this series are in museums is a testament to their importance.”

The image of Warhol with his hand to his mouth is one of the most representative and iconic images of the artist. Warhol first used the image for a group of works in 1966 painted in a much smaller, life-size scale. The following year he used the same image in producing 11 monumental works in a large-scale format of six foot square, of which the present example is one. Six works from this series were exhibited in the American Pavilion at the 1967 International and Universal Exposition in Montreal which was visited by tens of millions of people, and which saw the portraits dominate an exhibition including works by Jasper Johns, Roy Lichtenstein, Barnett Newman and Robert Rauschenberg.

By 1967 Warhol had reached a point in his career when he was internationally recognized as the most important and controversial figure in American Pop Art. The present series of self-portraits represent the high point of his career when he has achieved great wealth and fame, and when as a celebrity he brashly and confidently presented his own image in a truly monumental fashion to a global audience of millions.


Another leading highlight is Winter Bears, 1988, a seminal work from Jeff Koons (b. 1955) highly acclaimed Banality series which launched him as an international art star in the late 1980s. At over 120 cm in height, the pair of child-sized sculptures, with their wide eyes, matching ‘his and hers’ clothing and cartoonish faces, wave to us and welcome us into the distinct world of Jeff Koons. If the Banality series was Koons’ idealised human civilisation or ‘Garden of Eden’, the Winter Bears represented Adam and Eve, the perfect depiction of human unity, as an Alpine European couple. Painstakingly carved out of wood which has then been polychromed in the traditional manner redolent of the great Medieval church sculpture in Germany, Koons has here lent a human and spiritual air to a cartoon-like creation. Their size and physicality lends them a thoroughly human quality which begins to jar the lines between cartoon and reality, and high and low art. Offered at auction for the first time having been in the present collection since 1994, it is expected to realise £2.5 million to £3.5 million. Another version of Winter Bears resides in the collection of the Tate Modern in London.


Dina Amin, Director and Head of Evening Auction: “The global personality of the sale is reflected in works from China, Brazil, India and Iraq as well as major works from America and Europe. We are particularly pleased to have strong representations of Eduardo Chillida, Gerhard Richter and Lucio Fontana, alongside an extremely rare pioneering portrait by Martial Raysse.”


The dawn of conceptual art is represented at the auction through two Italian pioneers of the movement; Lucio Fontana (1899-1968) and Piero Manzoni (1933-1963). In the late 1950s and early 1960s, these two artists transformed the landscape of contemporary art with works that went on to inspire, among others, Warhol, Koons, Hirst and Gursky.

Concetto spaziale, 1961, by Lucio Fontana (1899-1968) is a sumptuous symphony of gold which explores the ideas and concepts of space and the immaterial in the same year that Yuri Gagarin would become the first man in space. From the artist’s breakthrough series Olii, which includes the celebrated Venice series of the same year, the present work relates very closely to Concetto spaziale, Venezia era tutta d’oro, now in the Museo Thyssen-Bornemisza, Madrid. It is expected to realise £2 million to £3 million. Also by the artist, Concetto spaziale, Attesa was executed in 1964 and is a beautiful, crisp minimalist work in white which emphasizes the purity of the slash against a background reminiscent of Manzoni, whom he had strongly influenced and who had died the previous year. It is expected to realise £1 million to £1.5 million.

Achrome by Piero Manzoni (1933-1963) is an early, majestic example of the artist’s most celebrated series of works. Executed in 1958-59, it is of a relatively large scale of 60cm by 80cm and is offered at auction for the first time. Created through the marriage of soaked kaolin and canvas, the work has been allowed to develop autonomously to mesmerizing effect. It is expected to realise £1.8 million to £2.5 million.

United States

Untitled by Jean-Michel Basquiat (1960-1988) is an important, early work executed in 1981, the year in which the artist moved from the street to the studio. Acquired by the current Italian owner circa 1982, the year after it was painted, this important, early and rarely seen work captures the raw energy and power of the artist before his star rose in the art world. It is expected to realise £1 million to £1.5 million. ‘While I was there looking at the painting [the present work], the owner came closer to me and said: ‘When Basquiat knew that the painting was here, he came back to see it again. As soon as he saw the painting, he started crying. He said that he would never be able to do paintings like this again’ (T. Lo Porto, quoted in Phoebe Hoban, ‘Vita Lucente e Breve di un Genio dell’arte’, Rome, 2006).


L'année dernière à Capri (titre exotique) by Martial Raysse (b. 1936) is one of the artist’s most important works. Painted in 1962, it captures the point at which Nouveau Réalisme the movement that he pioneered, met with Pop Art in striking fashion. An exceptionally early milestone from the early history of Pop Art, this vibrant, larger than life work measures 184cm x 134.6cm and is offered at auction for the first time having been in the same private collection since circa 1975. It is expected to realise £1 million to 1.5 million with proceeds to benefit a charitable Foundation.


Branded by Jenny Saville (b. 1970) is an epic, early portrait measuring 7 foot in height and 6 feet in width. Painted in 1992, it was one of the first works by the artist acquired by Charles Saatchi as he began to champion her work and it was subsequently exhibited in 2000 at the National Portrait Gallery’s Painting the Century: 101 Portrait Masterpieces 1900-2000. It was acquired at auction by the present owner in 2000 for a then world record price for the artist and is expected to realise £700,000 to £1,000,000. 

Arginine Decarboxylase by Damien Hirst (b. 1965) was executed in 1994, the year that he was nominated for the Turner Prize, and is one of the largest of the artist’s early, celebrated spot paintings. It is expected to realise £400,000 to £600,000.


Athanor by Anselm Kiefer (b. 1945) is a haunting and provocative presentation of a Reichstag-like building as a vast, ruined and burnt-out brick oven painted in 1991, the period soon after German reunification. A monumental and highly important work that represented both a warning and an image of hope and possibility to the German people, it is expected to realise £800,000 to £1,200,000.

Gerhard Richter (b. 1932) is widely regarded as the father of post-modern painting and the auction will offer 4 of his works each from different, influential periods in his career:
Stadtbild, is an almost abstract townscape painted in 1969 as the artist moved away from the photo-realist style that had dominated his output during that decade (estimate: £400,000 to £600,000).
Gilbert & George, 1975, is one of a series of six portraits of the celebrated British artists, two of which are in museums (Tate Modern, London and National Gallery, Canberra) (estimate: £600,000 to £800,000).
Abstraktes Bild, 1990, is a mesmerizing work that represents the pinnacle of the artist’s move into abstraction (estimate: £1 million to £1.5 million)
o Ausschnitt (Kreutz), 1971, is a masterly painting, a photo-realist depiction of a brushstroke (estimate: £1.2 million to £1.8 million).

Untitled V, 1997, by Andreas Gursky (b. 1955) is one of the most important and recognisable of the artist’s works, showing 6 rows of sport shoes – a symbol representing consumerism and popular culture in the 1990s. Executed in 1997 and measuring 4 metres in length, the present work is one of an edition of only six, another of which established a then world auction record price for the artist in 2002. Offered from an important private European collection, it is expected to realise £800,000 to £1,200,000.


The auction will offer three outstanding works by Eduardo Chillida (1924-2002), each a powerful example of the artist’s command of form and space executed in three vastly differing materials. Lo profundo es el Aire XX (How Profound is the Air XX), 1998, is carved from a vast block of translucent alabaster in such a way that it mpoetically explores and demonstrates the conceptual penetration of solid material by light and space (estimate: £600,000 to £800,000); Elogio del Vacío V (Eulogy of the Void V), 1984, is made from cor-ten steel and expected to realise £350,000 to £450,000; and Mural G-46, a large and comparatively rare clay work from 1984 carries an estimate of £300,000 to £400,000.

Tres equis, 1990, by Miquel Barceló (b. 1957) belongs to one of the most celebrated series of paintings by the artist in which he portrays images and interpretations of Bullfights. Offered from an important European collection, it is expected to realise £400,000 to £600,000.

21st century global artists

A strong group of global artists from the 21st century will be presented at the auction including works by Charti Kher from India, Yan Pei Ming from China and Adriana Vãrejao from Brazil. Parede com Incisões a la Fontana II (Wall with Incisions a la Fontana II), 2001, is an important masterpiece by Adriana Vãrejao (b. 1964), one of Brazil’s most prominent contemporary artists. The work shows a vast representation of a tiled wall which has been dramatically punctuated with slashes which recall the work of Lucio Fontana. However, these slashes allow a glimpse through to an apparently fleshy background, giving the illusion of an existence beneath the surface. One of the most important works of South American contemporary art to be offered on a global auction platform, it is expected to realise £200,000 to £300,000.
The Post-War and Contemporary Art Day Auction will take place on Thursday 17 February 2011 and will offer 215 lots with a combined pre-sale estimate of £10,246,000 to £14,507,000, with individual estimates from £10,000.

*Estimates do not include buyer's premium

Sale 7955: Post-War & Contemporary Art Evening Auction, 16 February 2011
Sale 7956: Post-War & Contemporary Art Day Auction, 17 February 2011


February 8, 2011

Exposition personnelle de Eric Baudart : Avec & Sans

Exposition personnelle de Eric Baudart : Avec & Sans
Fondation d’entreprise Ricard, Paris
11 février - 26 mars 2011

Eric Baudart, Portrait avec Crystal Rose
Courtesy de la galerie Chez Valentin, Paris & Fondation d'entreprise Ricard

Pour sa première exposition personnelle dans une institution parisienne, l'artiste Eric Baudart (né en 1972) présente un ensemble de pièces qui témoignent d’une pratique  instinctive constante où se combinent jeux de matière, texture, reflets, illusion et détournement. Ainsi la « grande déchirure » (Big Rip), ce modèle cosmologique  prédisant que  la densité de l’univers se mettra à augmenter avec le temps, trouvera un écho tout particulier, d’une part dans le choix des oeuvres, d'autre part par leur mise en tension à la Fondation d’entreprise Ricard.

Eric Baudart, Méduse, 2010
Courtesy de l'artiste & de la galerie Chez Valentin, Paris & Fondation d'entreprise Ricard

Eric Baudart, Cosmos, 2010
Courtesy de l'artiste & de la galerie Chez Valentin, Paris & Fondation d'entreprise Ricard

Eric Baudart, Crystal, 2010
Courtesy de l'artiste & de la galerie Chez Valentin, Paris & Fondation d'entreprise Ricard

Eric Baudart, Atmosphères, 2010
Courtesy de l'artiste & de la galerie Chez Valentin, Paris & Fondation d'entreprise Ricard

Exacerber la réalité par la manipulation a minima de l’image, révéler des réalités que l’on dit fausses, mais finalement plus denses, plus profondes et surtout plus véridiques que le réel qu'elles sont censées refléter, les oeuvres présentées ne cesseront de questionner l’origine des choses et leur représentation.
Nathalie Viot, janvier 2011

Fondation d'entreprise Ricard
12, rue Boissy d’Anglas - 75008 Paris