tag:blogger.com,1999:blog-275377922024-03-14T11:25:14.895+00:00The Painting SpaceModern Art, History of Art, Abstract painting, Exhibitions, Art Books, England, London and beyond..Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.comBlogger56125tag:blogger.com,1999:blog-27537792.post-4240079050882443282011-10-27T17:18:00.002+00:002011-10-29T17:18:39.925+00:00Abstract paintings of Beatriz Milhazes, Galerie Max Hetzler, Berlin..<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, Helvetica, sans-serif;">There is something appealling about the work of Beatriz Milhazes, something on the edage of textile design yet with a traditional collage quality, symetrical shapes and interplay with the surface...last week at <a href="http://www.maxhetzler.com/index.php?id=1036&tx_hetzlergallery_exhibitionlist%5Bexhibitions%5D=589&tx_hetzlergallery_exhibitionlist%5Btt_modus%5D=current&tx_hetzlergallery_exhibitionlist%5Baction%5D=overview&tx_hetzlergallery_exhibitionlist%5Bcontroller%5D=Exhibitions&cHash=66492d4fc72d831d0ac3ecf9305a45d0">Galerie Max Helzler, Berlin</a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">'Milhazes plays cultural cliché and tropicalist kitsch against the unyielding rationalism of hard lines, surrounding chaos with cool areas of unfettered colour. It’s an approach which lends her paintings a tension and dynamism that steers familiar iconography into less obviously charted territory. Geometric abstraction lurks behind flourishes of an unfettered brightness' wrote Jennifer Higgie, Frieze Magazine. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">'Beatriz Milhazes’ work calls to mind cross-cultural references ranging from local flora, Rio's urban verve or Brazilian Baroque. Equally present are echoes of Henri Matisse's papiers découpés, Bridget Riley's early paintings or Brazilian Modernism established by artists such as Tarsila do Amaral in the late 1920s, which reworked and renewed external stimuli by incorporating them into the context of local history and culture.'</span></div>
</div>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com3tag:blogger.com,1999:blog-27537792.post-78453442047768822172011-10-21T23:39:00.000+00:002011-10-21T23:41:04.576+00:00Ann Edholm, 'Where is the sky, where?', new Minimalist paintings, Galerie Nordenhake, Stockholm<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A new Malevich?...<a href="http://www.nordenhake.com/php/artist.php?RefID=5">Ann Edholm</a> '</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><em style="font-style: normal;">Where is the sky? Where?' </em></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.nordenhake.com/php/exhibition.php?id=152&year=2011">Galerie Nordenhake</a>, Stockholm. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">'Here are a new body of paintings by recent Carnegie Art Award recipient, Ann Edholm. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Work</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">ing in extended series Edholm stages large, occasionally even monumental, paintings that straddle both geometric abstraction and subtle expressionism. The latter reveals itself in barely perceptible marks made by the brush or, more often, the palette knife, thus destabilizing the seemingly solid compositional patterns of basic geometric shapes.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="color: #363636;"><br /><span class="Apple-style-span" style="line-height: 20px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Ann Edholm, </span></span></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span class="Apple-style-span" style="color: #363636; line-height: 20px;"><em style="font-style: normal;">'Var är himlen? Var?' </em>Oil and wax on canvas, </span><span class="Apple-style-span" style="color: #363636; line-height: 20px;">200 x 200 cm</span></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">With an elaborate network of cultural, religious and symbolic references Edholm meticulously merges classical painting with elemental geometric shapes and slight painterly gestures. The size of the canvases and the relationship between form, scale and colour in the compositions subtly define the meeting between viewer and painting.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Over recent years Edholm’s work has become increasingly autobiographical, tying in her mother’s experience of living through the bombings of Berlin at the end of World War II. The exhibition at Galerie Nordenhake is titled after a line in one of Paul Celan’s Romanian poems, t<em style="font-style: normal;">he night before the deportations began.</em> Here Edholm presents a group of paintings of varying sizes and proportions that take on the theme of psychologically and historically loaded site. The paintings are not narrative but deal more with a physical sense of presence in which site can be place, city, or the location of transfer or deportation.'</span></div>
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</div>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com3tag:blogger.com,1999:blog-27537792.post-90367281292161787582011-09-28T20:20:00.000+00:002011-09-28T20:20:47.561+00:00New paintings, Elizabeth Neel at Pillars Corrias, London<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">'When I was three years old, a fox raided the chicken coop on my parent’s farm. The site of the massacre was strewn with evidence of its swift violence. One particular bird had only been partially consumed - almost perfectly bisected in such a way that it’s entire reproductive system was revealed. I could see a series of stages beginning with a yolk and ending with a perfect, shelled egg within that body - fixed at the moment of death in pristine order. This visual experience represented a turning point in my relationship to the world. I now see it as my first clear instantiation that life, and nature underneath it, is a baroque, mysterious thing that hangs precariously on a framework of elegant reason.' </span></div>
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> Elizabeth Neel (Deitch)</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Some intriguing works are on show at the <a href="http://www.pilarcorrias.com/artists/?show=grid">Pillars Corrias Gallery</a>, by the American artist Elizabeth Nee (and grandaughter of <a href="http://www.aliceneel.com/">Alice Neel</a>). There is a certain naivety to the paintings that are refreshing, what I mean by this is that there are some classic 'no-no's' from art school being totally ignored here, like using masking tape and to make it look like you are using masking tape. But there are some good exploratory works here that push paint around and produce interesting surfaces and juxtapositions of the picture plain's push and pull. Even though much of them are abstract paintings, there are also some that explore everyday domestic settings. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 14px;">Elizabeth Neel, 'The Grounds', 2011, </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 16px;">Acrylic on Paper</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small; line-height: 14px;">72.4 x 59.7 cm, (c) Pillars Corrias</span></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times; font-size: 13px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">In these paintings there is an attempt at gravitas, at suggesting death, to me there remains a nihilistic quality, some of the paintings are based on real life disasters, there are the traces of Romanticism, of Abstract Expressionism and yet the Minimalism of Frank Stella and Ad Reinhardt..</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Already making a splash in New York, I think we have a future great artist here....</span></span></span></div>
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Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com0tag:blogger.com,1999:blog-27537792.post-56138399081188331352011-09-23T22:54:00.001+00:002011-09-23T23:03:46.271+00:00Pia Fries, Krapprhizom Luisenkupfer at Staatliche Kunsthalle, Karlsruhe, Germany<div dir="ltr" style="text-align: left;" trbidi="on"><iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/_5nlXVKpaLg?fs=1" width="480"></iframe><br />
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an interesting film from a show earlier this year...</div>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com0tag:blogger.com,1999:blog-27537792.post-19709845245423151002011-09-13T20:02:00.002+00:002011-09-14T08:40:12.374+00:00Black paintings, 'Antumbra', Daniel Lergon, Galerie Christian Lethart, Koln, Germany<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It's time to 'darken the glim' with the fascinating black paintings of <a href="http://artnews.org/daniellergon/?s=2#2">Daniel Lergon</a>, 'Antumbra' at <a href="http://www.christianlethert.com/">Gallerie Christian Lethart.</a> These are reminiscent of the classic minimalist paintings of Frank Stella, Ad Reinhardt or Rauschenberg's painterly abstractions some 40 years ago now. However these have a slick contemporary feel to them, especially the yellow green paintings (see below) for more retrospective paintings click on Daniel Lergon link above.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Daniel Lergon 'Antumbra' oil on canvas, 2011</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">From the press release: 'For this year’s 'DC OPEN', the Galerie Christian Lethert is presenting a fourth solo exhibition of works by Daniel Lergon (born in 1978). Since beginning his studies at the Universität der Künste (UdK) in Berlin with Professor Lothar Baumgarten, in his painting, Daniel Lergon has been dealing with the correlative interplay between light and surface, and the optical effects and perceptions that result from this. Whereas in his early works, Lergon used color pigments within the range of the color spectrum, applying them to all kinds of transparent, reflecting, and absorptive material surfaces, he later also included colors at the very extremes of the spectrum into his work. His intensive study of the colors was thus always tied to the materiality of the painting’s ground and the question regarding this influence this would have on the viewer’s perception.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Since 2007, Lergon has been working without using color pigments directly, painting instead with colorless, clear lacquer on technical grounds. These initially grey, later white, retro reflexive materials behave unusually concerning how they reflect the light. By using them, Lergon creates a painting that dispenses with color pigments, and which essentially comes about in the special reflection of the light upon the varnish and painting’s ground.'</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">'Antumbra'. Here, the theme of light has been linked to the notion of shadows. In his new, black works, instead of using bright, light, reflecting materials Lergon paints on a black ground, which, due to its consistency, reflects the light less intensively. The varyingly dense traces of the transparent painting lacquer yield extremely different intensities of darkness. Hence, the title of the exhibition, 'Antumbra' - a technical term that comes from astronomy and geometric optics and describes the area of a shining surface located behind the occluding shadow of an object.'</span><br />
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Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com3tag:blogger.com,1999:blog-27537792.post-56549193427241751982011-09-07T21:11:00.001+00:002011-09-07T21:17:39.002+00:00Robert Rauschenberg, 'Botanical Vaudaville' Inverleith House, Edinburgh<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Robert Rauschenberg is such an accessible and versatile artist, always surprising you with his juxtapositions of materials and ideas, questioning your thinking and approach to art and life. This show at <a href="http://www.rbge.org.uk/the-gardens/edinburgh/inverleith-house">Inverleith House</a>, Edinburgh, is yet another example of quality curating in Scotland, especially after their <a href="http://www.abstraktion.org/2010/07/joan-mitchell-at-inverleith-house.html">Joan Mitchell exhibition</a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">. How great it would be to see such a show 'South of the Border' especially in London, can't believe it's the first show of his in the UK for 30 years, ho hum...Part of the press release for the show goes like this: </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">'<span class="Apple-style-span" style="line-height: 18px;">The American artist Jasper Johns (b.1935) once said of Robert Rauschenberg (1925-2008) that he had invented more than any artist since Picasso. Rauschenberg has altered the cultural landscape and continues to exert a profound influence on contemporary artists. Robert Rauschenberg <a href="http://www.rbge.org.uk/the-gardens/edinburgh/inverleith-house/current-exhibitions">'Botanical Vaudeville'</a> is the first museum exhibition devoted to the artist to take place in the UK in thirty years – and it features thirty seven works made between 1982 and 1998.</span></span></div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-3NF_fBvVIds/TmfTeynbK_I/AAAAAAAAAlc/BNn5jShZI60/s1600/Inverleith+House%252C+Robert+Rauschenberg+Botanical+Vaudeville%252C+Tropical+Mill+Glut.+Photos+by+Michael+Wolchover.+Courtesy+Gagosian+Gallery+and+Royal+Botanic+Garden+EdinburghRESIZE.bmp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-3NF_fBvVIds/TmfTeynbK_I/AAAAAAAAAlc/BNn5jShZI60/s320/Inverleith+House%252C+Robert+Rauschenberg+Botanical+Vaudeville%252C+Tropical+Mill+Glut.+Photos+by+Michael+Wolchover.+Courtesy+Gagosian+Gallery+and+Royal+Botanic+Garden+EdinburghRESIZE.bmp" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Robert Rauschenberg 'Tropical Mill Glut' 1989.<br /> courtesy Royal Botanic Garden Edinburgh/Gagosian Gallery</span></span></td></tr>
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<span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">During this time, Rauschenberg was exploring the reflective, textural, sculptural and thematic effects of metal, glass and other reflective surfaces in several series of works. All are represented here, and the paintings and sculptures on display vary from the highly polished glamorous metallic works from the '<span style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Shiner' </span>and '<span style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Borealis'</span> series that celebrate energy and motion, to the <span style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Kabal American 'Zephyr' </span>and '<span style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Gluts'</span> series which represent Rauschenberg’s; fascination with the discarded object. </span></span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">He once stated: </span></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; line-height: 18px;"><b>'I think painting is more like the real world when it is made out of the real world. These works in particular benefit from being shown in natural light which is such a feature of exhibitions at Inverleith House, revealing their true colour - enhanced by multiple reflections of the viewer and garden which become part of the work.''</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; line-height: 18px;">There are none of the big works like 'Monogram' (see below) or <a href="http://www.moma.org/collection/object.php?object_id=78712">'Bed'</a> and the 'Combines', you have to go to Moma for them, however this looks like a an interesting exhibition because they are small, intimate and poetic works, in the way only Rauschenberg can make detritus look poetic.. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; line-height: 18px;"><b>Click below for that great interview where he discusses buying the goat for the 'Monogram' piece at the Guggenheim show back in the 1990's.</b></span></div>
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<tr><td style="text-align: center;"><span class="Apple-style-span" style="margin-left: auto; margin-right: auto;"><a href="http://draft.blogger.com/goog_1926799141"><img border="0" src="http://2.bp.blogspot.com/-vbl4emxg7kY/TmfaQL3V1pI/AAAAAAAAAlg/hRnEfGbvMA8/s1600/images-1.jpeg" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><a href="http://www.youtube.com/watch?v=PiCnCN2NV-E">Robert Rauschenberg interview about 'Monogram' Guggenheim retrospective, 1990's</a></span></span></td></tr>
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Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com0tag:blogger.com,1999:blog-27537792.post-91750819975789108662011-08-31T19:36:00.001+00:002011-08-31T19:41:42.697+00:00A re-interpretation of Rodin and the figure, Rodin Museum, Paris<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://2.bp.blogspot.com/-EtjMCfzNXjs/Tl6MP96I1eI/AAAAAAAAAlQ/EqNCgsMieC0/s1600/affiche1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://2.bp.blogspot.com/-EtjMCfzNXjs/Tl6MP96I1eI/AAAAAAAAAlQ/EqNCgsMieC0/s640/affiche1.jpg" width="296" /></a></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I love the <a href="http://www.musee-rodin.fr/welcome.htm">Rodin Museum</a>, but I must admit, I have'nt been for years..However, this is the last few days of a very interesting exhibition of works by a variety of artists entitled '<a href="http://www.musee-rodin.fr/welcome.htm">Work in Progress, Rodin and the Ambassadors'</a> this exhibition is until 4th September.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jean Arp, Marcel Duchamp, Joan Miro, Jean Fautrier, Lucio
Fontana, Jean Dubuffet, Alberto Giacometti, Willem De Kooning, Joseph Beuys,
Marcel Broodthaers, Eduardo Paolozzi, Anthony Caro, Cy Twombly, Eric Cameron,
Richard Serra, Bruce Nauman, Haim Steinbach, Sophie Ristelhueber, Ugo
Rondinone, Douglas Gordon, Urs Fischer...</span></div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-0ucv9QBIem8/Tl6HpDEsvqI/AAAAAAAAAlE/EzIc0y7DFBA/s1600/s.146_numCB002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-0ucv9QBIem8/Tl6HpDEsvqI/AAAAAAAAAlE/EzIc0y7DFBA/s320/s.146_numCB002.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">Auguste Rodin, 'Etude de robe de chambre pour Balzac'<br />© Musée Rodin. Photo: Christian Baraja</span></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">'Works in Progress, Rodin and the Ambassadors' examines the way in which Rodin’s work is perceived and strives to show not only how his sculpture developed but also how it was and continues to be reinterpreted. The exhibition compares 100 or so works by Rodin (1840-1917) with about 30 post-1945, modern and contemporary works.'</span></div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-6X3SGDe17tQ/Tl6IBqOr7mI/AAAAAAAAAlM/n9VkJ4byZEs/s1600/06-519343.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-6X3SGDe17tQ/Tl6IBqOr7mI/AAAAAAAAAlM/n9VkJ4byZEs/s320/06-519343.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;">Joseph Beuys, 'Infiltration homogène pour piano à queue; La Peau'<br />© Adagp, Paris 2011. Photo: CNAC/MNAM Dist.RMN</span></span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">'This re-appraisal of Rodin’s work also owes something to art, eg. the production of several artists from the postwar period to the present day. Their preoccupations, not only with material and modelling but also with highlighting fragments or combining different components, have had repercussions on the manner in which Rodin is considered and contemporary art is viewed. From <a href="http://www.metmuseum.org/toah/hd/duch/hd_duch.htm">Marcel Duchamp</a> (1887-1968) to <a href="http://www.sadiecoles.com/urs_fischer/index.html">Urs Fischer </a>(born 1973), each of these artists has become an “ambassador” for a certain way of looking at the world, at art, at present and past works.'...</span></div>
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Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com0tag:blogger.com,1999:blog-27537792.post-34554224546700805232011-08-27T22:57:00.001+00:002011-08-27T23:06:12.921+00:00Mondrian I I Nicholson: In Parrellel, Courtauld Gallery, London<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ben Nicholson, June, 1937</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; line-height: 20px;"><span lang="EN-US">An exciting exhibition at the <a href="http://www.courtauld.ac.uk/gallery/exhibitions/future/index.shtml">Courtauld Gallery</a>, London, shall be taking place early next year (</span>from February to May 2012), exploring the relationship between two enigmatic modernist abstract painters of the early 20th Century...</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">'The story of the creative relationship between the artists
<a href="http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=1651&page=1">Piet Mondrian</a> and <a href="http://www.tate.org.uk/stives/exhibitions/bennicholson/">Ben Nicholson</a> is largely untold. Yet during the 1930s they
were leading forces of avant-garde art in Europe.</span></div>
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<span lang="EN-US" style="color: black;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This exhibition will be the first to offer a comprehensive
account of the parallel artistic paths charted by Mondrian and Nicholson during
this remarkable decade. It will bring together an extraordinary group of
paintings and reliefs to show how each artist was driven by a profound belief
in the potential of abstract art to attain the highest aesthetic and spiritual
power.' </span></span></div>
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<span lang="EN-US" style="color: black;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I'll keep you posted of developments...</span></span><span lang="EN-US" style="color: black;"><o:p></o:p></span></div>
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Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com0tag:blogger.com,1999:blog-27537792.post-62691034604473360812011-08-22T20:59:00.002+00:002011-08-22T21:06:00.935+00:00Exhibition of early abstractions by Kandinsky at Guggenheim Museum, New York<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Wassily Kandinsky, ‘Painting with White Border’, May 1913 </span></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">and ‘Sketch I’
for ‘Painting with White Border' (Moscow) </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Guggenheim Museum’s
conservation lab </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">© 2011 Solomon R. Guggenheim Foundation</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span lang="EN-US">I am not a huge fan of <a href="http://en.wikipedia.org/wiki/Wassily_Kandinsky"><span style="color: #0000ee;">Kandinsky</span></a>,
but I understand his significance as an artist and what he brought to early
modernist thinking. This exhibition at the Guggenheim, New York, from
21st </span><span lang="EN-US">October until 15th January 2012 reunites
the key early works Kandinsky painted. </span><span lang="EN-US">This
particular painting above, entitled 'Painting with White Boarder', was
completed nearly 100 years ago. Inspired by a trip the artist took to Moscow at
the end of 1912. When he returned to Munich, hanging out with artists who would
form 'Der Blaue Reiter' group and where he had been living intermittently since
1896, Kandinsky searched for a way to visually record the “extremely powerful
impressions” of his native Russia that lingered in his memory. Over a period of
five months, he explored various motifs and compositions in study after study,
moving freely between pencil, pen and ink, watercolor, and oil. After he
produced at least sixteen studies, Kandinsky finally arrived at the pictorial
solution to the painting: the white border.</span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span lang="EN-US">From the Guggenheim: 'This exhibition,
co-organized with the <a href="http://www.phillipscollection.org/exhibitions/upcoming/index.aspx"><span style="color: #0000ee;">Phillips Collection</span></a>, Washington, D.C., will
reunite for the first time the Guggenheim’s final version of the painting from
May 1913 with twelve related drawings and watercolors and one major oil sketch
and will feature the results of an extensive conservation study of the Guggenheim
and Phillips paintings. This study revealed a previously unknown painting
beneath the surface of the Phillips’s 'Sketch I' for 'Painting with White
Border' (Moscow). A rare glimpse into Kandinsky’s creative process, this
presentation reveals the gradual and deliberate way the artist sought to
translate his ideas into a bold new language of abstraction.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span lang="EN-US">Tracing Kandinsky’s working method through a
roughly chronological display of twelve drawings and watercolors and one major
oil sketch related to 'Painting with White Border'. According to a May 1913
essay Kandinsky wrote about the picture, later published in an album entitled
Kandinsky 1901–1913 (1913), the artist executed the first oil sketch (owned by
the Phillips Collection) “immediately upon my return from Moscow in December
1912.” The orientation of his preliminary studies evolved from a vertical to a
horizontal format, and he used pencil, pen and ink, and watercolor throughout
the many iterations.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span lang="EN-US">Kandinsky explored key motifs reminiscent of
his native Russia, including 'the troika' (a three-horse sled) and 'Saint
George'. Ultimately the artist executed more studies than he had for any of his
previous paintings before resolving the composition with a soft, undulating
white border that he compared to a white wave. In his seminal 1911 treatise
('On the Spiritual in Art: And Painting in Particular'), Kandinsky wrote that
the color white expresses a “harmony of silence. . .pregnant with
possibilities.”</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span lang="EN-US">The conservation study supports
interpretations of Kandinsky’s working method. For example, the direct
application of the brush to canvas of 'Sketch I' implies a more spontaneous
technique as compared to the more methodical treatment of the final work,
'Painting with White Border', in which Kandinsky used a graphite pencil to lay
out compositional elements before painting. Studies of microscopic samples of
paint from both works show that Kandinsky created his own palette out of
combinations of as many as ten different pigments per hue.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span lang="EN-US">The conservation team also discovered a
previously unknown painting beneath the surface of 'Sketch I' for 'Painting
with White Border' (Moscow). The underpainting, a representational landscape
with figures, has been attributed to the German artist Gabriele Münter, Kandinsky’s
companion from 1903 to 1916, based on its similarity to Münter’s gouache,
Garden Concert on view in this exhibition, and a canvas on the same subject in
a private collection. While there are few known instances of Kandinsky painting
over an existing canvas and no other known instance of him painting over a work
by Münter, limited study has been done of Kandinsky’s canvases to date. Future
research and conservation analysis may better clarify the attribution of the
underpainting.'</span><span lang="EN-US"><o:p></o:p></span></span></div>
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Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com0tag:blogger.com,1999:blog-27537792.post-32218748811789216882011-06-26T12:12:00.001+00:002011-06-26T12:13:49.929+00:00Picasso painting 'Buste de Femme' in Palestine<div dir="ltr" style="text-align: left;" trbidi="on"><br />
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</tbody></table><div style="font-family: Arial,Helvetica,sans-serif;">For the first time a <a href="http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=1767&page=1">Picasso</a> painting entitled 'Buste de Femme' from 1943 has come to Palestine to be shown at the <a href="http://www.vanabbemuseum.nl/en/?no_cache=1&cHash=6bca090a07">International Art Academy</a>. It's a cubist deconstruction of a woman's face, dominated in grey. This exhibition was two years in the making and is a very exciting opportunity to build a new cultural international cultural dialogue in the occupied territory of Ramallah in Palestine. The Picasso painting costs £4.5 million and is on loan from the <a href="http://www.vanabbemuseum.nl/en/browse-all/?tx_vabdisplay_pi1[ptype]=18&tx_vabdisplay_pi1[project]=863&cHash=d56b07668a">Van Abbemuseum</a> in Eindhoven. Only three people at a time will be able to see it to ensure the humidity, in the purpose-built viewing room, does not get damaged. </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-t8mtGc7QIq8/TgYgFnwslRI/AAAAAAAAAjs/YTIsCrqZl78/s1600/640x392_97315_154739.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="196" src="http://2.bp.blogspot.com/-t8mtGc7QIq8/TgYgFnwslRI/AAAAAAAAAjs/YTIsCrqZl78/s320/640x392_97315_154739.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Van Abbe museum's employees hang Pablo Picasso's "Buste de Femme" on a wall at the International Academy of Art Palestine in Ramallah. </span></td></tr>
</tbody> </table>What is also interesting is how Picasso can still stir the waters. Why does a Picasso, who died in 1973, still have such resonance in 2011? Also, perhaps art can play a more central role in difficult world zones where conflict has become the norm and cultural life is in limbo. Could we see other paintings being loaned from other prestigious galleries and what works would they be?..<br />
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</div><div style="font-family: Arial,Helvetica,sans-serif;">At a cost of £50,000 in insurance and transport, the project began when Khaled Hourani, the director of the <a href="http://www.artacademy.ps/">International Art Academy in Ramallah</a>, visited the museum in 2008 and suggested a loan. "This started off as a crazy idea to bring a European masterpiece to a war-zone but I was only half-joking, " he said.</div><div id="article-body-blocks" style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-w22qnj4MIrI/TgYi_a3uBFI/AAAAAAAAAjw/azlM-B5Jdx0/s1600/Picasso_Buste-de-femme_-007.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="192" src="http://3.bp.blogspot.com/-w22qnj4MIrI/TgYi_a3uBFI/AAAAAAAAAjw/azlM-B5Jdx0/s320/Picasso_Buste-de-femme_-007.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of Picasso's, 'Buste de Femme' (1943) , oil-on-canvas work. Photograph: Peter Cox for the Guardian</td></tr>
</tbody></table>From the <a href="http://www.guardian.co.uk/world/2011/jun/24/picasso-coup-for-palestine">Guardian</a> Newspaper UK: "I want this to appeal to people like my mother and art students. Picasso remains inspirational because his work is related to war, peace and freedom."<br />
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Hourani hopes that 'Buste de Femme' will not be the last masterpiece to be exhibited in the territory. "We want this to become a normality but it is the last time I will do it. It has taken two years to bring one painting but the taboo has been broken and it will be easier for someone else to do it," he said. "The journey here adds meaning to the painting. It highlights issues of the freedom of movement and political agreement."<br />
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Read more on<a href="http://www.vanabbemuseum.nl/en/browse-all/?tx_vabdisplay_pi1[ptype]=18&tx_vabdisplay_pi1[project]=863&cHash=d56b07668a"> Van Abbemuseum</a> here and <a href="http://english.alarabiya.net/articles/2011/06/25/154739.html">AL Arabiya News </a></div></div>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com3tag:blogger.com,1999:blog-27537792.post-39202711344056314312011-06-23T10:45:00.000+00:002011-06-23T10:45:50.845+00:00Kurt Schwitters/MERZ updates, exhibitions and Merzbarn UK<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><div style="text-align: right;"></div><span style="font-size: small;">I have always been influenced by the work of Schwitters, since my first few days at art school. In the UK his influence is everywhere, in fact it is hard to 'sweat it out' as Hoffman, once said about Cubism. In British art, it seems a default setting in fine art practice..this isn't necessarily a bad thing, but his influence runs deep. So I thought I'd put a post together of the diverse 'Schwitteresque' goings on out there.</span><br />
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<span style="font-size: small;">It is the last few days of the <a href="http://www.princetonartmuseum.org/news/Schwitters/">'Kurt Schwitters: Colour and Collage' </a>exhibition at Princeton University Art Museum, New Jersey. This is an excellent exhibitions of small scale collage works and a recreation of the Merzbau, see below, runs </span><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">until 26th</span></span></span><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"> June.</span></span></span><br />
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<tr style="font-family: Arial,Helvetica,sans-serif;"><td style="text-align: center;"><span style="font-size: x-small;"><a href="http://3.bp.blogspot.com/-DG3l14VjqnI/TgMKkRDqdmI/AAAAAAAAAjk/3_dBrxr24Yk/s1600/CRI_128567.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-DG3l14VjqnI/TgMKkRDqdmI/AAAAAAAAAjk/3_dBrxr24Yk/s320/CRI_128567.jpg" width="253" /></a></span></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Kurt Schwitters, 'The Cherry Picture' 1921, hear an excellent audio guide from MOMA <a href="http://www.moma.org/explore/multimedia/audios/29/726">here.</a></span> </td></tr>
</tbody></table></div><div style="text-align: justify;"><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">'From now through</span></span></span><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">, 2011, the Princeton University Art Museum this is </span></span></span><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">the first survey of this</span></span></span><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"> pioneering artist's work in the United States since his retrospective at</span></span></span><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"> the <a href="http://www.moma.org/">Museum of Modern Art (MoMA)</a> in 1985. The exhibition will provide an</span></span></span><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"> unparalleled opportunity to view Schwitters's experiments in depth,</span></span></span><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"> including a full-scale reconstruction of his groundbreaking Merzbau, which</span></span></span><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"> has never before been seen in this region.'</span></span></span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Born in Hannover, Germany, Schwitters (1887-1948) is one of the most influential artists from the interwar avant-garde. During a period of social and economic turmoil, he developed a unique practice, one that merged art and life, embraced disparate media and utilized found objects and printed materials, most of them the discarded remnants of everyday life. </span></span><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">'Kurt Schwitters: Color and Collage' was organized by the Menil Collection in Houston, see my earlier <a href="http://thepaintingspace.blogspot.com/2010/11/kurt-schwitters-still-crazy-after-all.html#links">Schwitters post</a> on this. It's about time, there was show like this in the UK.</span></span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">A recording of Schwitters performing his phonetic poem </span></span><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">(1922-32), will also be highlighted<span style="font-size: x-small;"> <span style="font-size: small;">at the exhibition,</span></span></span></span><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"> <a href="http://www.ubu.com/sound/schwitters.html">Ursonate</a> listen to a version by the artists himself here. </span></span></div><div style="text-align: justify;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"> </span></span><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"> </span></span></div><div style="text-align: justify;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">There is a reconstruction of Schwitters's first <a href="http://www.tate.org.uk/research/tateresearch/tatepapers/07autumn/orchard.htm">Merzbau</a>, destroyed by Allied bombs in 1943. In the UK, there has been an extensive project to restore the Merzbarn, in Elterwater, near Ambleside, in the Lake District. He was working on this before his death, see it <a href="http://www.merzbarn.net/">here</a>. Also there is <a href="http://www.merzman.co.uk/index.html">Merzman</a>, this an ongoing series of projects based in the UK that explores the infliuence of Schwitters, and is well worth looking at.</span></span></div><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-MMzUdoEzJ38/TgMEX8H9bOI/AAAAAAAAAjY/NMk03bBVsvw/s1600/Kurt_Schwitters-24-1-2011.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-MMzUdoEzJ38/TgMEX8H9bOI/AAAAAAAAAjY/NMk03bBVsvw/s320/Kurt_Schwitters-24-1-2011.jpg" width="215" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Kurt Schwitters, 'MZ 371' collage, 1922 (C) Menil Collection</span></td><td class="tr-caption" style="text-align: center;"><br />
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</span></div><div style="text-align: justify;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Some background on Schwitters: In 1919, Schwitters named this body of work Merz-a neologism derived from the German kommerz (commerce)-which culminated in a series of collages, assemblages, experimental poems, prints and sculptures; the most famous being the Merzbau, a three-dimensional environment the artist began in the 1920s. Schwitters's work bridges some of the period's most important artistic movements, including <a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=48">Expressionism</a>, <a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=81">Dada</a>, <a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=75">Constructivism </a>and <a href="http://www.abstraktion.org/">Abstraction</a>. Schwitters exerted a profound influence on artistic developments after World War II; <a href="http://www.gagosian.com/exhibitions/2010-10-29_robert-rauschenberg/">Robert Rauschenberg</a> and <a href="http://www.metmuseum.org/toah/hd/john/hd_john.htm">Jasper Johns</a>, among others, considered him a source of inspiration, and contemporary installation art is inconceivable without the Merzbau. </span></span><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Schwitters was trained as a painter, and despite his experiments with other media, he never ceased painting. Indeed, painting informs almost all of his work, as witnessed by the passages of gouache, chalk, oils, paste and watercolor in his collages and assemblages-additions that transform the materials they cover. </span></span></div><div style="text-align: justify;"><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-dOTLW0pASIE/TgMW0nJ4IGI/AAAAAAAAAjo/xEMUwTlCo2c/s1600/orchard_fig2c_small.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-dOTLW0pASIE/TgMW0nJ4IGI/AAAAAAAAAjo/xEMUwTlCo2c/s320/orchard_fig2c_small.jpg" width="208" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Merzbau Reconstruction, see <a href="http://www.tate.org.uk/research/tateresearch/tatepapers/07autumn/orchard.htm">Tate Research Papers</a> here.</span></td></tr>
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</span></span></div><div class="separator" style="clear: both; text-align: center;"></div><span style="font-size: x-small;"> </span></div>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com2tag:blogger.com,1999:blog-27537792.post-1131935055544626792011-06-17T14:45:00.003+00:002011-09-02T22:02:05.258+00:00'Cy Twombly & Nicholas Poussin: Arcadian Painters', Dulwich Picture Gallery, London<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: small;">This is a great opportunity to consider the work of <a href="http://www.cytwombly.info/twombly_gallery.htm">Cy Twombly </a>with one of his hero's Poussin at the <a href="http://www.dulwichpicturegallery.org.uk/exhibitions/coming_soon/twombly_and_poussin.aspx">Dulwich Picture Gallery</a> in South London from 29th June until 25th September.</span></div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-9YbZg3kEQkk/TftlpQi9VvI/AAAAAAAAAjE/cyY0d6vys1E/s1600/herolanderander_1984.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="http://1.bp.blogspot.com/-9YbZg3kEQkk/TftlpQi9VvI/AAAAAAAAAjE/cyY0d6vys1E/s320/herolanderander_1984.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;">Cy Twombly, 'Hero and Leander' (To Christopher Marlowe) Rome , 1985</span></span></td></tr>
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<span style="font-size: small;">This is a fascinating insight into the different approaches both artists have to their work with over two centuries dividing them. Both artists have explored a sensibility to their work that retains a romanticism, mystic and enigmatic quality through the use of materials and paint.</span></div>
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<span style="font-size: small;">'I would've liked to have been Poussin, if I'd had a choice, in another time.'<i></i> </span>Cy Twombly</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Nicolas Poussin, 'Rinaldo and Armida', oil on canvas, c.1760</span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">This exhibition will look at these two figures side by side for the first time, though they are separated by three centuries, the two artists nonetheless share remarkable similarities. The connections are highlighted through the key themes of Arcadia and the pastoral, Venus and Eros, anxiety and theatricality and mythological figures that are central to both artists' work. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">As part of the exhibition, the Gallery is also extremely fortunate to have the opportunity to display Poussin's 'Sacrements' painted between 1637 and 1642 for his Roman friend and patron Cassiano dal Pozzo. As a set, Poussins 'Sacrements' represent a high point in Western European art. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><u closure_uid_lv96ai="110">A Conversation with Sir Nicholas Serota, July 19th 6-9PM</u></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Sir Nicholas Serota, Director of Tate, talks to Dr Nicholas Cullinan, Curator of International Modern Art at Tate Modern and of the exhibition Twombly and Poussin 'Arcadian Painters' about his long involvement curating Cy Twombly’s work and the exhibition at Dulwich Picture Gallery.</span></div>
Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com0tag:blogger.com,1999:blog-27537792.post-18064405125254549772011-06-17T08:35:00.000+00:002011-06-17T08:35:48.109+00:00Eva Rothschild at The Hepworth, Yorkshire<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">This is a powerful exhibition of an artist at the top of her game, Eva Rothschil, creates enigmatic three dimensional abstractions and is the first artist to be shown at the UK's new premier artspace in Yorkshire, <a href="http://draft.blogger.com/goog_1690859794">The </a></span><span style="font-size: small;"><a href="http://www.hepworthwakefield.org/visit/">Hepworth</a>... </span><span style="font-size: small;">Celebrating the legacy of sculptor <a href="http://www.tate.org.uk/stives/hepworth/">Barbara Hepworth.</a></span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Eva Rothschild, (c) </span><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The Hepworth, Wakefield</span></span></td></tr>
</tbody></table><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"> ' 'Hot Touch' is a group of new and recent sculptures and photographs by <a href="http://www.tate.org.uk/britain/exhibitions/evarothschild/">Eva Rothschild</a>. Her sculptures are made from a range of materials including fabric, leather and wood, bringing together the hand-made and the industrially produced. The works often combine the forms and strategies of modernist art; squares, triangles, holes and repetition, with an array of visual associations and symbols, such as totemic columns of piled heads and draped snakes.<br />
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This exploration of the power and meaning of objects produces an encounter between the minimal and the magical. Leaning against walls, suspended in mid-air, or balancing impossibly, Rothschild’s sculptures have an ambiguous and powerful presence, exploring universally recognised forms and symbols.'</span><span style="font-size: small;"><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-QM2SGIPJfu4/TfsPzrpjr9I/AAAAAAAAAi0/cX42IPvwXUE/s1600/-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="160" src="http://4.bp.blogspot.com/-QM2SGIPJfu4/TfsPzrpjr9I/AAAAAAAAAi0/cX42IPvwXUE/s400/-2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">The Hepworth, Wakefield, Yorkshire, England</span></span></td></tr>
</tbody></table><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">The exhibition is accompanied by a new publication with an essay by Prof. Anne Wagner, author 'Mother Stone: The vitality of modern British Sculpture'</span><span style="font-size: small;"> (Yale University Press, 2005).<em></em></span></div></div>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com3tag:blogger.com,1999:blog-27537792.post-86750795412145917162011-06-10T10:02:00.003+00:002011-06-10T16:13:04.204+00:00Egon Schiele: 'Women' unseen paintings and drawings at Richard Nagy, London<div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-zhqyDOntUUk/TfHfTTtNJYI/AAAAAAAAAiQ/vRDgH6118kc/s1600/20110507014140-rn.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-zhqyDOntUUk/TfHfTTtNJYI/AAAAAAAAAiQ/vRDgH6118kc/s320/20110507014140-rn.jpg" width="205" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Egon Schiele, painting on paper, gouache. c.191</span><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">0. Richard Nagy Ltd.</span></span></td></tr>
</tbody></table><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Another powerful exhibition, not seen in London for some time, is currently on show at the <a href="http://www.richardnagy.com/current/?object_id=100&view=images">Richard Nagy Gallery</a>. Check out Jonathan Jones's article in the <a href="http://www.guardian.co.uk/artanddesign/gallery/2011/may/16/egon-schiele-women-in-pictures#/?picture=374579578&index=12">Guardian</a> here, there are also more slides of the works on show.</span><span style="font-family: Arial,Helvetica,sans-serif;"> The work continues until 30th July.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">For many, Schiele is still a controversial painter and his lifestyle still provocative. In my view, there are few painters from the twentieth century that are not controversial, from Schiele's contemporary Kilmt, to Picasso. Jonathan, states in his article: </span><br />
<div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">'There is a definite sense of discovering secrets, trespassing on hidden private lives, at the Schiele show,...The exhibition collects nearly 50 masterpieces – fragile works on paper – that dealer Richard Nagy has sold throughout his career and has borrowed back from private collectors to mount one of the most spectacular Schiele shows ever seen in the UK.'</span><br />
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</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">This exhibition exhibits drawings on paper in watercolour and gouache. He creates poses that are intimate and yet for public consumption, many of these poses reflect the wider feelings explored by <a href="http://www.moma.org/explore/collection/ge/">German Expressionism</a> and <a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=193">New Objectivity</a> movements across Germany and Europe in the 1920's and 30's. In my ways he predicted the voyeuristic desire that is so prevalent in society since WWI. </span><span style="font-size: small;">He died at 28 of influenza in 1918. </span><span style="font-size: small;">There are some self-portraits in the exhibition, including the infamous 'Eros'... </span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td style="text-align: center;"><span style="font-size: x-small;"><a href="http://1.bp.blogspot.com/-ScZS2rNHkPE/TfHj91WvXUI/AAAAAAAAAiU/bW93H6ngyoU/s1600/Unseen-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="214" src="http://1.bp.blogspot.com/-ScZS2rNHkPE/TfHj91WvXUI/AAAAAAAAAiU/bW93H6ngyoU/s320/Unseen-2.jpg" width="320" /></a></span></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span align="top" class="pie_g" style="font-size: x-small;">Egon Schiele, Reclining Female Nude with Violet Stockings, 1910. Gouache, watercolour and black crayon on paper, 31.6 x 44.9 cm (12 ½ x 17 5/8 in). Private Collection, Courtesy of Richard Nagy Ltd, London.</span></td></tr>
</tbody></table></div>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com0tag:blogger.com,1999:blog-27537792.post-84188885240279580142011-06-04T12:24:00.001+00:002011-06-04T12:27:04.436+00:00Picasso, Miro, Dali-Angry Young Men: The Birth of Modernity<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">This is a fascinating exhibition on the relationships between the Picasso, Dali and Miro, currently exhibited at the Foundation <a href="http://www.palazzostrozzi.org/SezionePicasso.jsp?idSezione=907">Palazzo Strozzi</a>, Florence, Italy until 17th July. This exhibition documents the influences each artist had on each other, the wider painting scene in Spain, and in turn, the legacy they left on the culture of the early Twentieth Century and the development of modernism. What is also interesting about this exhibition is how the strong political convictions are explored especially with regard to the early Picasso and Miro pieces, many not exhibited before. there is also some strong abstract, semi-abstract works by both artists. There is a walk through each room <a href="http://www.palazzostrozzi.org/SezionePicasso.jsp?titolo=Introduction&idSezione=912">here</a>.</span> The show is curated by <span style="font-size: small;">Eugenio Carmona, Christoph Vitali.</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-KJvY57ckUVY/TeoXQhgKKwI/AAAAAAAAAh4/xsinNTYIFRw/s1600/8_Pushkin_Saltimbanchi_QuartoPensiero.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-KJvY57ckUVY/TeoXQhgKKwI/AAAAAAAAAh4/xsinNTYIFRw/s320/8_Pushkin_Saltimbanchi_QuartoPensiero.jpg" width="260" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Pablo Picasso 'Harlequin and his Girlfriend' 1901, Pushkin Museum</span></td></tr>
</tbody></table><div class="separator" style="clear: both; font-family: Arial,Helvetica,sans-serif; text-align: center;"><span style="font-size: small;"></span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">'The exhibition is dedicated to the early work of<b> </b></span> <span style="font-size: small;"><b><b>Picasso, Miró and Dalí</b>,</b> which played a decisive role in the beginning of modern art in Spain. The exhibition concentrates on Picasso's pre-cubist period 1900 - 1905, whilst Juan Miró's works of 1915-1920 are presented along with Salvador Dali's from 1920-1925, both artists painting in the period before the discovery of surrealism. Each artist will be represented by 25 - 30 masterpieces selected to show aspects of the three artists in their earliest periods, works that are rarely shown in mainstream catalogues and exhibitions. For instance, Picasso's early work was often coloured by his strong political convictions.</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-g8Rv3BpFvAY/TeoW6mYyg6I/AAAAAAAAAh0/ENmjWRn3C9M/s1600/5_Volkart_SPeinturepoeme_PrimoPensiero.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-g8Rv3BpFvAY/TeoW6mYyg6I/AAAAAAAAAh0/ENmjWRn3C9M/s400/5_Volkart_SPeinturepoeme_PrimoPensiero.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Joan Miro 'Poem Painting' c.1925</td></tr>
</tbody></table><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">In Madrid in 1901, Picasso and his anarchist friend Francisco de Asís Soler founded the magazine Arte Joven (Young Art), which published five issues. Picasso illustrated the journal, mostly contributing grim cartoons depicting and sympathizing with the state of the poor. Miró too understood art as political, and Miró's oft-quoted assassination of painting is derived from a dislike of bourgeois art of any kind, especially when used as a way to promote cultural identity among the wealthy. Specifically, Miró saw Cubism in this way, and he is quoted as saying I will break their guitars, referring to Picasso and Braque's early Cubist paintings. Much younger than Picasso and Miró, Dalí was expelled from the Academia in 1926 shortly before his final exams when he stated that no one on the faculty was competent enough to examine him. His mastery of painting skills is well documented in his early works, such as the flawlessly realistic Girl at the window, which was painted in 1926. That same year he made his first visit to Paris where he met with Pablo Picasso, whom young Dalí revered - Picasso had already heard favourable things about Dalí from Joan Miró.'</span><span style="font-size: small;"><br />
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</div></div>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com5tag:blogger.com,1999:blog-27537792.post-34353078294426449192011-06-01T23:53:00.054+00:002011-06-06T11:07:53.512+00:00'Zig Zag: Deliberations on construction, sequence and colour' @ Charlie Dutton Gallery, London<div dir="ltr" style="text-align: left;" trbidi="on"><style>
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<h2 style="text-align: center;"></h2><h2 style="text-align: center;"></h2><h2 style="text-align: center;"></h2><h2 style="text-align: center;"></h2><h2 style="text-align: center;"><img border="0" height="400" src="http://2.bp.blogspot.com/-0qOVvONKITw/Ted3ZlkW4nI/AAAAAAAAAhc/i5a0uhbaRpw/s400/_Zig-Zag-invite-back-web.jpg" width="303" /></h2><h2 style="text-align: center;"><span style="font-family: Arial; font-size: 12pt; font-weight: normal;"> </span></h2><div style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.halesgallery.com/artists/_ANDREW%20BICK/">Andrew Bick</a>, <a href="http://www.katrinablannin.com/">Katrina Blannin</a>, <a href="http://ishabohling.com/home.html">Isha Bohling</a>, <a href="http://patrickhowlett.com/">Patricj Howlett</a>, <a href="http://www.poussin-gallery.com/site.php?artist=17">Vaness jackson</a>, <a href="http://martamarce.com/">Marta Marce</a>, <a href="http://jostmuenster.net/">Jost Munster</a>, <a href="http://julian%20wakelin/">Julian Wakelin </a></span></div><br />
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<div class="MsoNormal"><span style="font-family: Arial,Helvetica,sans-serif;">This is an innovative and diverse exhibition of new developments in abstraction. The exhibition which is opening this week at <a href="http://www.charlieduttongallery.com/ZIGZAG/Zig%20Zag.html">Charlie Dutton Gallery</a> (Holborn Tube) Princeton Street, London from this Friday (Private View) 9th June-2nd July, 2011.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">These artists have developed an understanding for the possibility of an ‘internal logic’ in their work; an idea which artists such as <a href="http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=1586&page=1">Mary and Kenneth Martin</a> talked about in their teaching in the 1950s, as well as explore ideas of ‘colour interaction’ and ‘colour juxtaposition’. </span><br />
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<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Isha Bohling</span></td></tr>
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<a href="http://draft.blogger.com/goog_2036790441"></a><br />
<span style="font-family: Arial,Helvetica,sans-serif;">'In her essay, ‘The Writings of Mary Martin’ 1990, <a href="http://www.katrinablannin.com/ideas/m_martin.htm">Hilary Lane</a> discusses Mary Martin’s idea that all ‘words’ or information needed to describe the artworks should be embedded in the work it</span><span style="font-family: Arial,Helvetica,sans-serif;">self; that written language cannot always express or explain the processes and decisions made during their construction. Mary Martin wanted the story of how her work was made to be clear to the person when looking at it. And although proportion, rhythm and measurement were key she wanted to emphasise the unexpected and a need to remain inventive. Of the process of construction itself Martin wrote that it is: ‘a thinking making process, not necessarily in three dimensions. Internal logic is the key. The success of such a process is wholly dependent on a right choice of symbols. The choice is based on intuition and experience.’</span><br />
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<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;">Jost Munster, similar works in 'Zig Zag'</td></tr>
</tbody></table><span style="font-family: Arial,Helvetica,sans-serif;">The work in this show examines how artists are still discovering new visual ideas, through the complex and technically challenging process of applying paint and other materials onto a ‘blank canvas’. It is hoped that through the process of contrasting and comparing an opportunity is provided for debate and discussion with regard to visual language: a small critical forum for artists and audience to consider these works and the concepts, methods or systems behind their construction.'</span><br />
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</style></div></div>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com1tag:blogger.com,1999:blog-27537792.post-200692235576637892011-06-01T13:12:00.010+00:002011-06-05T19:03:41.525+00:00Otto Dix at the Institute of Foreign Affairs Gallery, Berlin<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">There is an interesting exhibition of the works of Otto Dix, the fascinating German artist who worked in both Expressionism and Dada at the <a href="http://www.ifa.de/en/exhibitions/exhibitions-abroad/bk/otto-dix/">Institute of Foreign Affairs </a>Gallery in Berlin, Germany. The exhibition Otto Dix : Social Criticism Prints 1920-1924, 'Der Kreig (war) Etching Set 1924 runs until 7th August.</span></div><style>
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<div class="MsoNormal" style="font-family: Arial, Helvetica, sans-serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-RoSo533ku9w/TebX7v_UG_I/AAAAAAAAAhY/HPUQ4zzrzPA/s1600/dix.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-RoSo533ku9w/TebX7v_UG_I/AAAAAAAAAhY/HPUQ4zzrzPA/s320/dix.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Otto Dix, etching, circa 1920</td></tr>
</tbody></table><span style="font-family: Times; font-size: 10pt;"><span style="font-size: small;">'</span></span><span style="font-size: small;">With more than 600 drawings from the years 1914 to 1918 were done at various theatre's of war in Belgium, France and Russia, in the course of his military service. These protocols of war, created on the spot and of high artistic value, together with his own memories of the horrors of World War I, also formed the basis of a later grandiose serial work entitled "The War", published in 1924 by Karl Nierendorf in Berlin.</span></div><div class="MsoNormal" style="font-family: Arial, Helvetica, sans-serif;"><br />
</div><div class="MsoNormal" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"></span></div><div class="MsoNormal" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"></span></div><div class="MsoNormal" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">The cycle, consisting of fifty separate drawings and often compared to <a href="http://www.tate.org.uk/liverpool/ima/rm6/wif/context_img.htm">Goya's 'Desastres de la Guerra'</a>, (Disasters of War) does not only give an authentic and horrifying portrayal of the terrible trench fighting that took place in the great battles of this first world war-it also unmasks the 'moloch' of war for what it truly is. This series of etchings, which ranks particularly highly among the main works of Dix's oeuvre, forms the center of attention of this exhibition. </span></div><div class="MsoNormal" style="font-family: Arial, Helvetica, sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-m-xfPHgfVd0/TeYsIzR3WUI/AAAAAAAAAhA/zI6Lw4-ZWI8/s1600/resize_dix_01-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-m-xfPHgfVd0/TeYsIzR3WUI/AAAAAAAAAhA/zI6Lw4-ZWI8/s320/resize_dix_01-1.jpg" width="220" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;">Otto Dix, etching, c.1920</span></span></td></tr>
</tbody></table><span style="font-size: small;">Dix never imagined that he could change people, i.e. humanity as such, by means of his works. But for these works, paintings and prints against war, he drew the rage and the hate, up to and including defamation, of the Nazi regime, which, after coming to power in 1933, removed him from his chair, as one of the first Academy professors to suffer this, and forbade him to exhibit.</span></div><div class="MsoNormal" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"></span></div><br />
<div style="font-family: Arial, Helvetica, sans-serif;"></div><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Arial, Helvetica, sans-serif;">The truth was important for Dix, also in his focus upon marginalized social groups of the postwar era, such as war veterans who had lost limbs, etc. and prostitutes; the collection included in this exhibition shows characteristic examples of such unfortunates. This inexorable drive to show the truth was already a source of agitation and protest among his contemporaries before the Nazis were in power. </span></span><br />
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<span style="font-family: Times; font-size: 10pt;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">'I will either be famous or infamous', he once said as a young man. He has become both.'</span></span></div><span style="font-size: small;"></span><br />
<span style="font-family: Times; font-size: 10pt;"></span></div>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com2tag:blogger.com,1999:blog-27537792.post-40521419777939497562011-06-01T11:10:00.001+00:002011-06-02T00:30:29.394+00:00Abstraction: Thomas Muller @ Fruehsorge|contemporary drawings, Berlin<div dir="ltr" style="text-align: left;" trbidi="on"><div class="date-posts"><div class="post-outer"><div class="post hentry"><div class="post-header"></div><div class="post-body entry-content"><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-1TDtpdKk1wA/TeVavkEw_YI/AAAAAAAAAgk/A5nTQ2ZmvWs/s1600/5603.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-1TDtpdKk1wA/TeVavkEw_YI/AAAAAAAAAgk/A5nTQ2ZmvWs/s320/5603.jpg" width="232" /></a></td></tr>
<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Thomas Müller, 'Untitled' 2010, pencil chalk and ink on handmade paper, 160 x 115 cm</span></td></tr>
</tbody></table><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b><span style="color: black;">It's the last couple of days of <a href="http://draft.blogger.com/goog_1941491849">Thomas </a></span><a href="http://www.fruehsorge.com/index.php?erste_ebene=4&zweite_ebene=10">Müller</a><span style="color: black;"> at <a href="http://www.fruehsorge.com/index.php?erste_ebene=1">Fruehsorge | contemporary drawings</a>, </span><span style="color: black;">Heidestrasse, Berlin, next to the contemporary art museum Hamburger Bahnhof.</span><span style="color: black;"> This exhibition will run until </span><span style="color: black;">3rd June 2011</span>.</b></span><span style="font-size: small;"> </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Muller is an artist who works in abstraction and only uses the medium of drawing, and I can't think of a better place for an exhibition than the Fruehsorge. He has shown at the <a href="http://www.drawingcenter.org/">New York Drawing Centre</a> and in the exhibition “Linea, Linie, Line” at the <a href="http://www.ifa.de/en">Institute for Foreign Cultural Relations</a> extensive drawing overview in Bonn. His work is also present among numerous German and international collections such as <a href="http://www.hamburger-kunsthalle.de/">Kunsthalle Hamburg</a>, <a href="http://www.pinakothek.de/en/node/9001">Pinakothek der Moderne München</a>, the <a href="http://www.smb.museum/smb/standorte/index.php?objID=39&p=2">Kupferstichkabinett Berlin</a> and the <a href="http://www.centrepompidou.fr/">Centre Pompidou</a> in Paris, France. In 2010 Müller was nominated for the <a href="http://www.fondationdfguerlain.com/fondation_e.html">Fondation Guerlain</a>’s renowned “Prix de dessin contemporain”.</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Müller's work explores 'the substance and nature of drawing and the drawing process itself, which materializes as a stroke or trace on the page and means the line doesn’t depict nor describe but becomes the subject matter itself.' What is also interesting is the use of such diverse materials such as chalk, ink, oils, acrylics, ballpoint pen, colour and led pencil and yet he retains a coolness to the final image in that he doesn't make that use of the materials the main thing about it. He explored the space of the picture plain with minimal markings in a rythmn of interwoven grids and wave-like structures, that have a zen like quality. Gorgeous..</span></div></div></div></div></div></div></div>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com1tag:blogger.com,1999:blog-27537792.post-50461175059845395912011-05-17T22:49:00.000+00:002011-05-17T22:49:36.030+00:00‘A Sort of Night to the Mind, A KIND OF NIGHT FOR OUR THOUGHTS’ exhibition @ Arch 402 Gallery, London<div dir="ltr" style="text-align: left;" trbidi="on"><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">This is an interesting mixed show of contemporary painters in London at the <a href="http://londonsartistquarter.org/visit-quarter/galleries-venues-and-places/arch-402-gallery">Arch 402 Gallery</a>, some abstract, some semi-abstract, figurative and cross-disciplinary. This is showing <span style="color: black; font-family: Arial,Helvetica,sans-serif;">until 10 June, 2011 (gallery hours: Wed-Fri 11-6, Sat-Sun 11-3 PM).</span></span></div></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Arial,Helvetica,sans-serif; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-size: small;"><a href="http://3.bp.blogspot.com/-_FeHCzcDq8w/TcleFsAaK1I/AAAAAAAAAfs/qZ0ZluXRBmg/s1600/rogerkellyseparator+cropped.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" id=":current_picnik_image" src="http://3.bp.blogspot.com/-_FeHCzcDq8w/TcleFsAaK1I/AAAAAAAAAfs/qZ0ZluXRBmg/s320/rogerkellyseparator+cropped.jpg" width="271" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Roger Kelly, 'Separator' 2011</span><br />
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</tbody></table><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><span style="font-size: small;">Phillip Allen, Edwin Aitken, Andrew Bick, Simon Burton, Varda Caivano, Leigh Clarke,<o:p></o:p> Nigel Cooke, </span><span style="font-size: small;">Moyra Derby, Pamela Golden, Mark Hampson, Beth Harland, </span><span style="font-size: small;">Mark Harris</span><span style="font-size: small;"><span style="color: black;">, Vincent Hawkins, Claude Heath, Paul Housley, </span></span><span style="font-size: small;"><span style="color: black;">Roger Kelly, Bob Matthews, Andrea Medjesi-Jones,<o:p></o:p> Jost Münster, Martina Schmid, Joel Tomlin, Phoebe Unwin, </span><span style="color: black;">Julian Wakelin</span><i><span lang="EN-US" style="color: #333333;"><o:p></o:p></span></i></span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-size: small;"><span lang="EN-US" style="color: black; font-family: Arial,Helvetica,sans-serif;">'A Sort of Night to the Mind, A KIND OF NIGHT FOR OUR THOUGHTS'</span><span lang="EN-US" style="color: black;"><span style="font-family: Arial,Helvetica,sans-serif;">, an exhibition of twenty-three UK based artists engaged with painting. Curated by Moyra Derby and Bob Matthews</span><i style="font-family: Arial,Helvetica,sans-serif;">, </i><span style="font-family: Arial,Helvetica,sans-serif;">the exhibition</span><i style="font-family: Arial,Helvetica,sans-serif;"> </i><span style="font-family: Arial,Helvetica,sans-serif;">will also host a series of talks and educational events led by some of the featured artists.</span><o:p></o:p></span></span> </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><span style="font-size: small;"><span lang="EN-US" style="color: black;"> </span><span lang="EN-US" style="color: black;"><br />
Two alternative translations of </span><span lang="EN-US" style="color: black;">Honoré de Balzac’s </span><span lang="EN-US" style="color: black;">description of illusion from the 1832 short story ‘The Purse’ provide the title for this exhibition. </span><span lang="EN-US" style="color: black;">First shown at <a href="http://www.ucreative.ac.uk/article/29725/Herbert-Read-Gallery">The Herbert Read Gallery at the University for the Creative Arts in Canterbury</a>, ‘</span><span lang="EN-US" style="color: black;">A Sort of Night to the Mind, </span><span lang="EN-US" style="color: black;">A KIND OF NIGHT FOR OUR THOUGHTS’ demonstrates the recurring relevance of illusion and in counterpoint, materiality.</span><span lang="EN-US" style="color: black;"> </span><span lang="EN-US" style="color: black;">Illusion and materiality can be argued as so inevitable in the context of painting as to hardly warrant remark, but at the same time they muster such historically resonant responses and strength of feeling that they can feel like a prompt to take sides<i>.</i> </span><span lang="EN-US" style="color: black;">However it is an interest in the productive play between these two qualities of a marked surface that has brought this group of works together, an acknowledgment of the imaginative potential of oppositions; “In the half light the physical tricks used by art to make things seem real disappear completely.... At that hour illusion reigns supreme; perhaps it comes with the night? Is not illusion a kind of night for our thoughts, a night which we furnish with dreams.'</span></span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-PxQYTKSK-ig/TcleQZMaKLI/AAAAAAAAAfw/xrfD8Lw1yXQ/s1600/Andrew+Bick.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-PxQYTKSK-ig/TcleQZMaKLI/AAAAAAAAAfw/xrfD8Lw1yXQ/s320/Andrew+Bick.jpg" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Andrew Bick, oil on canvas, 2010</span></td></tr>
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</div></div>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com0tag:blogger.com,1999:blog-27537792.post-6674691017803190002011-05-16T22:30:00.000+00:002011-05-16T22:30:31.640+00:00A few thoughts on abstraction/political art and 'Joan Miro: The Ladder of Escape' exhibition, Tate Modern, London<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Arial,Helvetica,sans-serif;">We shouldn't underestimate the significance of Joan Miro, currently on show at Tate Modern, <a href="http://www.tate.org.uk/modern/exhibitions/joanmiro/default.shtm">'Joan Miro: The Ladder of Escape'</a>. We can see the 20th Century unfold through his work, about 150 works on show, from early Fauvist pieces, through Cubism and into Surrealism. By the 1960's he was responding to the developments in abstraction taking place in both Europe and America. I wonder if we'd have <a href="http://www.cobra-museum.nl/">CoBrA</a>, <a href="http://www.dubuffetfondation.com/index_ang.htm">Dubuffet</a>, <a href="http://www.fundaciotapies.org/site/spip.php?rubrique64">Tapies</a>, the playfulness of <a href="http://www.tate.org.uk/modern/exhibitions/artepovera/default.htm">Arte Povera</a> and many other movements that have the same 'naivety' yet retain a strong political presence, if not for the likes of Miro. This work entitled 'Fireworks, I,II,II' is a great triptych about space and spontaneity, from a man in his eighties with fire in his belly.<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-M6qkANJ30XU/TdGPi_57UPI/AAAAAAAAAf0/I_Mh3iI0b3Q/s1600/Joan-Miro-The-Ladder-of-Escape-from-14April-to-11-September-2011-at-Tate-Modern-London_561.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="214" src="http://1.bp.blogspot.com/-M6qkANJ30XU/TdGPi_57UPI/AAAAAAAAAf0/I_Mh3iI0b3Q/s320/Joan-Miro-The-Ladder-of-Escape-from-14April-to-11-September-2011-at-Tate-Modern-London_561.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Joan Miro 'Fireworks, I,II,III' oil on canvas, 1974 (c) Artobserved</span></td><td class="tr-caption" style="text-align: center;"><br />
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</tbody></table><div style="font-family: Arial,Helvetica,sans-serif;">Parallels to Robert Motherwell and especially his 'Elegy to the Spanish Republic' as well as his 'Zen' lithographs abound here, they almost echo each other across the Atlantic. Many of the critics in the British press have focused on the early Miro works as the most significant, but I think the curators (see BBC interview with <a href="http://www.bbc.co.uk/news/entertainment-arts-13055685">Matthew Gale</a> here and <a href="http://draft.blogger.com/goog_624193754">Marko Danie</a><a href="http://blog.tate.org.uk/?p=4470">l)</a> have done well in bringing a sympathetic understanding to the late works, showing his experimental and versatile approach to his art-making in the last few rooms of the exhibition.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-4xN03Ox6IXY/TdGRanUiWEI/AAAAAAAAAf4/r7EI_t9CZY0/s1600/h2_65.247.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="193" src="http://2.bp.blogspot.com/-4xN03Ox6IXY/TdGRanUiWEI/AAAAAAAAAf4/r7EI_t9CZY0/s320/h2_65.247.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Robert Motherwell 'Elegy to the Spanish Republic' oil on canvas, 1961. (c) Metropolitan Museum</span></td></tr>
</tbody></table><div style="font-family: Arial,Helvetica,sans-serif;"><div style="font-family: Arial,Helvetica,sans-serif;">Most poignant was the last painting in Room 13, entitled 'Tete' (Head) (I unfortunately can't find an image for it). It was a painting started in the 1940's and finished in 1974. It is a black, dark mass with one red beady eye in the centre and a hand in the top left, is it waving or drowning? It has a subtle power suggesting imprisonment, it reminds me of Paul Klee's 'Captive' or 'Embrace' from 1939, that echo a different oppressive era. This is where the strength of Miro lies, in his emotional and political sensibilities with paint as his tool. </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-BeQWK7dwUXQ/TdGZkeSsTEI/AAAAAAAAAf8/jxYnFnIZS4w/s1600/klee-embrace.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-BeQWK7dwUXQ/TdGZkeSsTEI/AAAAAAAAAf8/jxYnFnIZS4w/s1600/klee-embrace.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Paul Klee 'Embrace' oil on paper, 1939</span></td><td class="tr-caption" style="text-align: center;"><br />
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</tbody></table><div style="font-family: Arial,Helvetica,sans-serif;">Downstairs we passed through the Turbine Hall and saw what remains of Ai Weiwei's 'Sunflower Seeds' being demounted and bagged up. There were signs reminding the public of his subsequent arrest and I thought how apt that last Miro painting of show was, but also how powerful abstraction in painting can be in such difficult times.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><b style="font-family: Arial,Helvetica,sans-serif;">'I understand that an artist is someone who, in the midst of others' silence, uses his own voice to say something and who makes sure that what he says is not useless, but something that is useful to mankind.' </b><span style="font-family: Arial,Helvetica,sans-serif;">Joan Miro</span><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-q3L5MDLu2rQ/TdGbau4ZyFI/AAAAAAAAAgA/-rPFTv6tTx4/s1600/download.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://4.bp.blogspot.com/-q3L5MDLu2rQ/TdGbau4ZyFI/AAAAAAAAAgA/-rPFTv6tTx4/s320/download.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-family: Arial,Helvetica,sans-serif; text-align: center;"><span style="font-size: x-small;">Ai Weiwei's bagged up 'Sunflower seeds', Turbine Hall, Tate Modern (c) David Moxon</span></td><td class="tr-caption" style="text-align: center;"><br />
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</div>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com5tag:blogger.com,1999:blog-27537792.post-37399697489459951842011-03-07T12:05:00.001+00:002011-03-07T12:07:47.331+00:00Gillian Ayres exhibition at Arnolfini, Bristol<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Arial,Helvetica,sans-serif;"><b>May 12 -3 July 2011</b></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">There is to be a new exhibition of the artist Gillain Ayres at Arnolfini, Bristol. She was considered one of the most important British painters working in abstraction in the post-war period. Particularly noted for her wide variety of mark-making styles and use of rhythm and colour. Ayres exhibited at Arnolfini during its early days, and her painting 'Break-Off', 1961, painted the year Arnolfini was established, has been selected for this exhibition by Annabel Rees, co-founder of Arnolfini especially for our 50th anniversary programme. Break-off is presented alongside a new work that Ayres painted this year. </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: x-small;">Gillian Ayres 'Break Off', Oil on Canvas, 1961 (c) Tate Gallery</span><br />
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</tbody></table><div style="font-family: Arial,Helvetica,sans-serif;">See more of her paintings at the <a href="http://www.alancristea.com/collectionimages.php?a=88&g=449">Alan Cristea Gallery</a></div></div>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com0tag:blogger.com,1999:blog-27537792.post-62726965770308142392011-01-19T10:21:00.000+00:002011-01-19T10:21:13.534+00:00Modernist film and Talk: 'Franco Albini and Museums design in Genoa in the 1950's'<div style="color: black; font-family: Arial,Helvetica,sans-serif;"></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><a href="http://2.bp.blogspot.com/_ZyVmQ_iL6yA/TTa0UMh76_I/AAAAAAAAAdQ/tw0nQJd2uxU/s1600/Device+crop+xsm01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="http://2.bp.blogspot.com/_ZyVmQ_iL6yA/TTa0UMh76_I/AAAAAAAAAdQ/tw0nQJd2uxU/s320/Device+crop+xsm01.jpg" width="320" /></a><span style="font-size: small;"><strong><em style="font-weight: normal;"><span style="color: black;"> </span></em></strong></span></div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: black; font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><strong><em style="font-weight: normal;"><span style="color: black;">'</span>New Museum: Franco Albini and Museum Design in Genoa in the 1950s'</em><br />
<span style="font-weight: normal;">Tuesday 8 March 2011 at 18.45 (doors open at 18.00) at <a href="http://www.estorickcollection.com/events.php">Estorick Museum</a>, London</span></strong></span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><strong style="font-weight: normal;">'New Museum' </strong>is the latest 16mm film by artists <a href="http://www.ellardjohnstone.com/assets/work03.html#">Graham Ellard and Stephen Johnstone</a>.</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Focussing on the radical, Modernist exhibition designs of Franco Albini and his collaboration with museum director Caterina Marcenaro in the early 1950s, the film features material shot in the galleries of the <a href="http://en.wikipedia.org/wiki/Palazzo_Bianco">Palazzo Bianco</a> and <a href="http://www.360cities.net/image/genoa-palazzo-rosso#99.15,-3.28,70.0">Palazzo Rosso</a> in Genoa. The screening will be accompanied by a discussion between the artists and <a href="http://www.ucl.ac.uk/italian/staff/academicandadmin/robertlumley">Professor Robert Lumley of University College London</a>. Tickets £8 or £5 for full-time students and Estorick members.</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td class="tr-caption" style="text-align: center;">Stills from <em>New Museum</em></td></tr>
</tbody></table>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com0tag:blogger.com,1999:blog-27537792.post-49499528976962453352011-01-10T00:06:00.000+00:002011-01-10T00:06:53.517+00:00<div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><span style="font-size: small;"><iframe frameborder="0" height="344" src="http://www.youtube.com/embed/pkHszvzAlVo?fs=1" width="425"></iframe></span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><span style="font-size: small;">Nam June Paik </span><span style="font-size: small;">(1932-2006) </span><span style="font-size: small;">was a truly visionary artist. He took <a href="http://en.wikipedia.org/wiki/The_medium_is_the_message_%28phrase%29">Marshall McLuhan </a>literally with regard to the <a href="http://en.wikipedia.org/wiki/The_medium_is_the_message_%28phrase%29">'Medium is the Message'</a>. An early pioneer of video art and influenced heavily by <a href="http://www.pbs.org/wnet/americanmasters/episodes/john-cage/about-the-composer/471/">John Cage</a> as a performance artist and composer. Paik was one of the most innovative artists of the 20th century and <a href="http://www.tate.org.uk/liverpool/">Tate Liverpool</a>, in collaboration with <a href="http://www.fact.co.uk/">FACT</a> (Foundation for Art and Creative Technology) are presenting the first major retrospective of his work since the artist’s death and the first exhibition of Paik’s work in the UK since 1988.</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><span style="font-size: small;">Nam June Paik at Tate Liverpool showcases around ninety works from all phases of his career, many shown in the UK for the first time, which we should realize is an important aspect of this exhibition, introducing Paik to a young technology savvy generation for the first time, may have long lasting creative consequences...</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><span style="font-size: small;">The exhibition celebrates Paik as the inventor of 'media art', mixing together through <a href="http://en.wikipedia.org/wiki/Abstract_art">abstraction</a>, diverse media from paint to technology, from low tech to satellite works. At a time when television was still a novelty, Paik foresaw the future popularity of this new and exciting medium. Thought provoking works like 'TV Buddha' (1989), explore the clashing cultures of East and West, old and new, while 'Video Fish' (1979-992) considers nature versus the man made, featuring both television sets and live fish in aquariums.</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><span style="font-size: small;">With artworks ranging from scores of early music performances and Paik’s involvement in the Fluxus movement to TV works, impressive robot sculptures and large-scale video installations; Tate Liverpool’s exhibition looks likely to be a memorable show.</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><span style="font-size: small;">The exhibition continues at FACT. Focusing on Paik's innovative use of creative technology, FACT will showcase the major laser installation 'Laser Cone '(1998) for the first time in the UK, along with sixteen single channel video works, including 'Global Groove' 1973 and groundbreaking satellite videos 'Good Morning Mr Orwell' 1984 and 'Bye Bye Kipling' 1986. The 21st Century is here at last....</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><span style="font-size: small;"><br />
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</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><span style="font-size: small;">See the Tate/FACT Nam June Paik trailor <a href="http://www.youtube.com/watch?v=3vLNCTDkScU&feature=related">here</a></span><br />
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<span style="font-size: small;">A similar post on Nam June Paik also appears on <a href="http://abstraktion.org/">Abstraktion.org</a> </span></div>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com1tag:blogger.com,1999:blog-27537792.post-3997780809155891532011-01-08T22:30:00.002+00:002011-01-08T23:24:31.191+00:00Modern British Art in 'Restless Times: Art in Britain 1914-1945'<iframe frameborder="0" height="295" src="http://www.youtube.com/embed/6qxfPLPeLFA?fs=1" width="480"></iframe><br />
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<div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;">This is an excellent exhibition of British art on show at the <a href="http://www.museums-sheffield.org.uk/coresite/html/whatson.asp?calendar=exhibitions-1#/?i=1">Millennium Gallery</a> in Sheffield until 30th January. It explores the social impact of WWI on the wider society but also how modern art was attempting to break out of the the very conventional visual culture that existed between the wars. This exhibitions shows us through the sculptures and drawings of Henry Moore, the geometric abstract paintings of David Bomberg in his painting 'In The Hold', the famous 'Bird Swallowing a Fish' sculpture by Henri Gaudier Brzeska, and many others, how powerful these works remain nearly a century later. </div><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;">David Bomberg, 'In the Hold' (c) Tate, London</span></td><td class="tr-caption" style="text-align: center;"><br />
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</tbody></table><div style="text-align: justify;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">We must remember how British modern art is a complicated response to our wider connection with the world. On one hand Europe and the other America. We have never totally embraced 'Modernism' as warmly as our European friends did in these intervening decades, we had to somehow 'translate' modernism into our own identity. Hence we have a fusion of styles and processes, from landscapes, figuration and social commentary, through semi-abstraction, a Surreal form of Realism (see below </span><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Evelyn Dunbar's, 'A Land Girl and the Bail Bull' 1945) </span><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">and a strange form of 'British' Cubism that became our form of Abstraction. All these styles never seem to coalesce as a body of work, in the way our French or German counterparts do and yet through exhibitions like this one, we come to understand that this is the beauty of modern twentieth century British art, it is eccentric and eclectic, yet it's honest and innovative.</span></div><div style="text-align: justify;"><br />
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<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Evelyn Dunbar, A Land Girl and the Bail Bull, 1945 © Tate, London 201</span></td><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">0 </span></td><td class="tr-caption" style="text-align: center;"><br />
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<tr><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">From the devastating impact of war and a retreat from the harsh realities of life, to the celebration of the pastoral idyll and the embracing of new ideas and technologies, the exhibition examines how artists engaged with both the uncertainties and possibilities of the time. </span></tr>
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<tr><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">We are, some hundred years later, beginning to appreciate our approach to modernity through our modern art, and for that reason this type of exhibition would have travelled well around the country. The <a href="http://www.tate.org.uk/">Tate</a> and its <a href="http://greatbritishartdebate.tate.org.uk/">Great British Art Debate</a> and the <a href="http://www.museums-sheffield.org.uk/coresite/html/whatson.asp?calendar=exhibitions-1#/?i=1">Millenium Gallery</a> as well as other regional collections that have lent work, have done well in curating such an interesting and educational exhibition.</span></span></tr>
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<tr style="font-family: Arial,Helvetica,sans-serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Clive Branson, 'Bombed Women and Searchlights' 1940 © The Estate of Clive Branson / Tate, London 2010</span></td><td class="tr-caption" style="text-align: center;"><br />
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</tbody></table><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">'Restless Times' brings together over 150 significant works drawn from national and regional collections including Tate, Norfolk Museums and Archaeology Service, Tyne & Wear Archives & Museums and Museums Sheffield. other works on display are: <a alt="" href="http://www.artrepublic.com/artists/485-cyril-power.html">Cyril Power</a>, 'The Tube Station' (1932), CRW Nevinson, 'Twentieth Century',<a alt="" href="http://www.artrepublic.com/artists/502-john-nash-ra.html"> John Nash</a>, 'The Cornfield' (1918), William Roberts, 'The Cinema' (1920), Clive Branson, 'Selling the 'Daily Worker' outside Projectile Engineering Works' (1937), <a alt="" href="http://www.artrepublic.com/artists/296-barbara-hepworth.html">Barbara Hepworth</a>, 'Mother and Child' (1934), <a alt="" href="http://www.artrepublic.com/artists/268-henry-moore.html">Henry Moore</a>, 'Shadowy Shelter' (1940) and Ceri Richards, 'Blossoms' (1940). The exhibition will also include a number of contemporary works including a new commission by Hew Locke.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Again, it is a shame this exhibition is not touring across the country...</span>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com0tag:blogger.com,1999:blog-27537792.post-77836987340465227702010-12-26T22:32:00.000+00:002010-12-26T22:32:50.309+00:00Drawing exhibition 'On Line' at MOMA, NY<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
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</tbody></table><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;">This is an interesting exhibition exploring the development of drawing in the Twentieth Century. Though this exhibition shows a diverse approach it also seems quite conceptual in nature.. <i><br />
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</div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><i>Press Release: <a href="http://moma.org/visit/calendar/exhibitions/971">On Line</a></i> explores the radical transformation of the medium of drawing throughout the twentieth century, a period when numerous artists subjected the traditional concepts of drawing to a critical examination and expanded the medium's definition in relation to gesture and form. In a revolutionary departure from the institutional definition of drawing, and from the reliance on paper as the fundamental support material, artists instead pushed line across the plane into real space, thus questioning the relation between the object of art and the world. </div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><i>On Line</i> includes approximately three hundred works that connect drawing with selections of painting, sculpture, photography, film, and dance (represented by film and documentation). In this way, the exhibition makes the case for a discursive history of mark making, while mapping an alternative project of drawing in the twentieth century. The exhibition includes works by a wide range of artists, both familiar and relatively unknown, from different eras of the past century and from many nations, including <a href="http://www.moma.org/interactives/exhibitions/1998/rodchenko/index.html">Aleksandr Rodchenko</a>, <a href="http://www.calder.org/">Alexander Calder</a>, Karel Malich, <a href="http://www.evahesse.com/index.php">Eva Hesse</a>, Anna Maria Maiolino, <a href="http://www.pbs.org/art21/artists/tuttle/">Richard Tuttle</a>, Mona Hatoum, and Monika Grzymala.</div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; text-align: justify;">This is a great gallery for an archive of a variety of 20th Century (and earlier) drawings, etchings and other works on paper. <a href="http://www.spaightwoodgalleries.com/Pages/Artists.html">Spaightwood Galleries</a>, USA. </div>Davidhttp://www.blogger.com/profile/14093893626768308340noreply@blogger.com3