Dan Flavin, Chiesa Rossa and Fondazione Prada, Milan

Dan Flavin 
Chiesa Rossa and Fondazione Prada, Milan
29 November 1997 - 31 January 1998

The Fondazione Prada presents two important projects by Dan Flavin (1933-1996) who, with Sol Le Witt, Donald Judd, Robert Morris and Carl Andre, was one of the main protagonists of the American minimalist art movement: Untitled 1996 is a permanent installation at the church Santa Maria in Chiesa Rossa while Works 1964 - 1981 is a selection of historically important works housed at the Fondazione Prada itself.

The work at the Chiesa Rossa was the last project conceived and designed by Dan Flavin before his death, and consists of a permanent site-specific installation donated to the Chiesa Rossa by the Fondazione Prada. This system of fluorescent lights was especially designed by the artist for the main nave and transepts of the Chiesa Rossa, perhaps with the intention of bringing a metaphysical dimension to the immateriality of his minimalist work.

The installation consists of fluorescent tubes of different colours and lengths which are placed horizontally and vertically, symmetrically and asymetrically about the space which, combined with the architecture of renowned architect Giovanni Muzio who designed the Chiesa Rossa in 1932, create a spectacular visual effect. This work continues the tradition of dialogue between visual research and places of worship, a significant theme in modern and contemporary art as well as in architecture from Matisse to Rothko, from Nevelson to Cucchi. The project also owes its existence to the cultural and pastoral initiatives of Don Giulio, parish priest at the Chiesa Rossa.

The second project involves two thematic installations of Dan Flavin's works at the Fondazione Prada of Milan curated by Michael Govan, director of the Dia Center for the Arts in New York.

The first of these consists of works of the series European Couples, 1966-1976, a group of six 8 ft.-wide squares of fluorescent tubing, each in a different colour. The composition is extremely simple: in each set of four tubes, the two vertical ones are pointed towards the wall while the horizontal ones are aimed towards the installation space. Each ensemble is placed diagonally with respect to the corner of the room. The Milan exhibition use a linear architectural layout designed by Dan Flavin himself.

The second part of the show consists of a selection of Monuments for V.Tatlin, 1964-1981. These pseudo-monuments - Dan Flavin used the term 'pseudo' to underline the ephemeral and temporary effect of the fluorescent tubes which produce light for 2100 hours before burning out - call to mind the image of the Monument at the Third International by Tatlin. They become an homage to the fleeting and communicative existence of light. This presentation also makes use of a zigzag architectural project conceived by the artist and so both European Couples and Monuments for V .Tatlin may be considered as fresh, new readings and re-presentations of historical works by this classic minimalist.

Because of the complexity of this ambitious project which documents the meeting between a contemporary artist and architecture, in particular that of the historic Chiesa Rossa designed by Muzio, the Fondazione Prada has decided to produce a book that brings together reflections and theoretical essays on the interweaving of art and the sacred, contemporary research and places of worship, sculpture and the church, a space of ritual socialisation and an imaginary one. The main aim of this volume, edited by Germano Celant, is to decode or interpret the relationships existing between religious and secular projects in order to identify a point of cohesion or osmosis between the two different perspectives. For this reason theoreticians, philosophers, architects and historians such as Carlo Bertelli and Germano Celant, Hubert Damish and Christine Gluckman, Michael Govan and Vittorio Gregotti, Fulvio Irace and Don Pier Luigi Lia, Mario Perniola and Gianni Vattimo have been invited to write on this theme.

FONDAZIONE PRADA, MILAN
www.fondazioneprada.org

Vincent Desiderio, Marlborough Gallery, New York - Recent Paintings Exhibition

Vincent Desiderio: Recent Paintings 

Marlborough Gallery, New York 

December 2, 1997 - January 3, 1998

Marlborough New York presents en exhibition of recent paintings by VINCENT DESIDERIO (b. 1955). The exhibition consists of fifteen oil paintings, including nine in triptych form, painted during the past four years.

For Vincent Desiderio, the importance of painting to the life of the imagination is absolute. The act of painting makes available to the artist realms of understanding which are unforseeable outside of its processes. It is through the narrative, the fictional reconstruction of events, both personal and public, that Desiderio attempts to chart the vague and often elusive character of man at the end of the 20th century.

The works are composed in rich tonalities with optical layerings of cool and warm color. Viewing them, the visitor is conscious of a strong connection with pre-modernist painting. Yet, it is with an informed and discerning eye that Vincent Desiderio aligns himself with his historical antecedents. The process of creating the works takes a central place serving as a metaphor for being. What is most intriguing to him is the strong connection between his process and how one thinks through an image to its final resolution. Vincent Desiderio's technique, in fact, allegorizes the artist's quest for a replenished imaginative space.

Though Vincent Desiderio is undisputedly a painter of reality, that description alone only begins to describe what he accomplishes in his work. His intense blend of autobiography and dislocation, reveal him as influenced by existential thought and experience as well. The results are the portrayal of seemingly real situations through a dreamlike veil of trance and trauma.

In the painting entitled The Interpretation Of Color, the levels of meaning begin to reveal themselves from the choice of its title onward. Vincent Desiderio pays homage to his modernist past choosing a title which refers to Joseph Albers' life-long work (The Interaction Of Color). The painting's subject is a figure who, overfed on culture, has collapsed on the floor in a post-prandial stupor. Around him, one sees the emblems of his history. Art texts strewn about evoke a spiral of centrifugal movement. The nuanced paint handling contributes to the effect of slow movement as one descends into the vortex of this vertiginous space. He is a man of the land of Cockaigne, the mythical realm of human excess, conjuring in his slumber a narrative regarding the whole future of painting.

In the triptych entitled Mimetic Composition, three images present contrasting visions recording grief. In the center, a haunting image of a man's face appears as if staring into a mirror. Thus, the image of the sick man symbolizes passage through life. To the right, a wedding banquet or birthday celebration is set up for video-taping. But at the same time, it is abandoned and frozen in time, becoming a metaphor for the desire to record the celebration of events as if to eulogize them. Finally to the left, the most receding of the panels presents a life cast of a woman's face grimacing. It represents the inability of the signifier and the signified to meet, or the failure of words or images to touch the object itself. Vincent Desiderio's work continues to explore life's deeply rooted mysteries, hopes, and fears in a taught balance of change and stasis.

Born in Philadelphia in 1955, VINCENT DESIDERIO joined Marlborough Gallery in 1991, and had his first one man show in 1993. He has exhibited extensively in galleries and museums worldwide and his works are included in numerous private and public collections including The Metropolitan Museum of Art, New York; the Denver Art Museum; the Everson Museum of Art, Syracuse, NY; Galerie Sammlung Ludwig, Aachen, Germany; the Greenville County Museum of Art, Greenville, SC; and the Indiana University Museum of Art, Indiana, PA; among others.

In 1996, Vincent Desiderio became the first American artist to receive the prestigious International Prize of Contemporary Art presented by the Monaco-based Prince Pierre Foundation.

Beginning January 7th., three exhibitions, Motherwell: Works On Paper, Juan Genovès: Works On Paper and Still Lifes: Prints & Photographs will be on view continuing through the month of January, 1998.

MARLBOROUGH GALLERY

40 West 57th Street, New York, NY 10019

www.marlboroughgallery.com

Rosalie Gascoigne, The Art Gallery of New South Wales, Sydney

Rosalie Gascoigne: Material as Landscape
The Art Gallery of New South Wales, Sydney
14 November 1997 - 11 January 1998

In 1974 Rosalie Gascoigne had her first art exhibition. In 1994, just 20 years later, she was awarded an AM for service to the arts, particularly as a sculptor. Now, at 80 years of age, her work is represented in all Australian state and national galleries and in many overseas collections including the Metropolitan Museum in New York.

Material as Landscape is not a retrospective of Rosalie Gascoigne's career but an exhibition which focuses specifically on Gascoigne's relationship with the natural environment and the ways in which Rosalie Gascoigne expresses rather than describes, nature and the landscape in her work. The exhibition will include approximately thirty works ranging from the late 1970s to the present day, including a number of her major works.

A fully-colour illustrated catalogue accompanies the exhibition with essays by James Mollison and Deborah Edwards, Curator of the exhibition.

Rosalie Gascoigne settled in Australia in 1943 when she joined her astronomer husband at the Mt. Stromlo Observatory in the A.C.T.. It was the artist's response to the landscape of Australia there over 20 years that led her to attend the Japanese Sogetsu School of Ikebana in 1962. Ikebana can well be translated as 'awareness of nature' and Rosalie Gascoigne rapidly mastered this discipline which enriched her appreciation of form and line. Not to be limited by this tradition, she began collecting a variety of abandoned and naturally weathered items, during her regular excursions into the landscape around Canberra.

In her work Rosalie Gascoigne uses commonplace objects, often scavenged from the tips and pastures around Canberra, arrranging them with the most minimal of means to create evocative works of great clarity and power. Rosalie Gascoigne's work incorporates both a refined formal sensibility and a poetic inspiration that she finds in the landscape. Everyday objects cease to have a conventional function as they are arranged in such a way that the focus is on them as art objects, with their own inherent qualities and meaning. " I try to provide a starting point from which people can let their imagination's wander - what they discover may be the product of their own experience as much as mine," said Rosalie Gascoigne.

THE ART GALLERY OF NEW SOUTH WALES
Art Gallery Road, The Domain, Sydney NSW 2000
www.artgallery.nsw.gov.au

Laureats du Prix Paris Photo 1997

Lauréats du Prix Paris Photo 1997

Le prix Paris Photo 1997, Salon International de la Photographie,  a récompensé 9 artistes photographes dont les photographies sont présentées dans le cadre du salon au Caroussel du Louvre à Paris lors de l'exposition Regards croisés, du 21 au 24 novembre 1997.

Genin Andrada, Espagne,  1963
Valérie Belin, France, 1964
Stéphane Couturier, France, 1957
Lin Delpierre, France, 1962
Roland Fischer, Allemagne, 1958
Delphine Kreuter, France, 1973
Vik Muniz, Brésil, 1961
Mabel Palacin, Espagne 1964
Mark Segal, Etats-Unis, 1968

Paris Photo 1997
Caroussel du Louvre
99, rue de Rivoli
75001 Paris

Andy Warhol: After the Party - Works 1956-1986 at the Irish Museum of Modern Art, Dublin

Andy Warhol

After the Party - Works 1956-1986
Irish Museum of Modern Art, Dublin
20 November 1997 - 22 March 1998

The first major exhibition in Ireland of the work of Andy Warhol, one of the defining figures of 20th-century art, opens to the public at the Irish Museum of Modern Art on 20 November. Andy Warhol: After the Party - Works 1956-1986 is sponsored by ACCBank and comprises some 100 works drawn mainly from the collections of the Warhol Museum in Pittsburg, Pennsylvania, the most comprehensive single-artist museum in the world. It includes early drawings from the 1950s as well as better-known iconic works from the 1960s and ‘70s, such as the Marilyn, Jackie, Mao and Campbell’s Soup Can paintings. Examples ofAndy Warhol’s Cow Wallpaper, Cloud Pillows, disaster paintings and a range of source material are also included; plus a series of angel and cat drawings by Warhol’s mother, Julia Warhola. The exhibition will be officially opened by Ms Sile de Valera, TD, Minister for Arts, Heritage, Gaeltacht and the Islands at 6.00pm on Wednesday 19 November. 

The exhibition explores Andy Warhol’s work at a number of levels, providing an opportunity to see both his apparently uncritical celebration of the mass culture image as a commodity and his simultaneous subversion of that celebration. A constant, though often unacknowledged, refrain of death, culminating in the memento mori images towards the end of his life, is the core theme of the exhibition. The Director of the Irish Museum of Modern Art, Declan McGonagle, says ‘It is interesting how new readings of Warhol’s work and influence are beginning to develop. Warhol was not just a chronicler of consumer culture. It is increasingly clear that, as a late 20th-century artist using contemporary language, media and forms, he was exploring ideas of life and death which have always formed the basis of great art. This exhibition both asks people and gives them the opportunity to look at Warhol differently by representing his total practice as an artist’. 

In the context of this full retrospective, the Museum will also present a series of Gun paintings, which were made in 1982-83. The series was shown at the Anthony d’Offay Gallery in London earlier this year, their first showing as a group in over a decade. In these images, ‘so beautiful, so desirable’; Andy Warhol evokes the appeal of the gun as a commodity and a cinematic prop and draws on American mass culture to create a powerful symbol of life and death. This repetitive, intense exploration of a single image represents a powerful coda to the main exhibition. The Irish Museum of Modern Art is grateful to the d’Offay Gallery for lending the works for this element of the overall project. 

Born in Pittsburg in 1928 to East European parents, Andy Warhol moved to New York in 1949, where he became one of American’s leading commercial artists. By the early 1960s he had turned his attention to the field of fine art and was exhibiting his Pop paintings and sculpture - including Heinz Boxes, Marilyns and Campbell’s Soup Cans - in New York and Los Angeles. At this time he was already making images about death and disaster, which remain among his most critically-acclaimed series. Despite a near fatal shooting in 1968, Warhol continued to be enormously prolific. During the 1970s and ‘80s though widely known for his celebrity portraits, he also made some of his most ambitious and greatest paintings during this period, including Skull 1976, After the Party 1979, and Last Supper, made in the year of his death 1986. 

Over the course of a 30-year-long career, Andy Warhol transformed contemporary art. The power of his work comes from its concentration on fundamental human themes - the beauty and glamour of youth and fame, material culture and the passing of time, and the presence of death. Employing mass-production techniques, Warhol challenged preconceived notions about the nature of art and erased traditional distinctions between fine art and popular culture. 

Irish Museum of Modern Art
Royal Hospital, Military Road, Kilmainham, Dublin 8
www.modernart.ie

Rita McBride, Alexander and Bonin, NYC - New Sculpture

Rita McBride:  New Sculpture

Alexander and Bonin, New York

November 14 - December 20, 1997

Alexander and Bonin presents an exhibition of recent sculpture by Rita McBride. This is McBride's first exhibition with the gallery.

Rita McBride's work has often focused on architecture -- both the promises of Modernism and the blemishes of its manifestation. She has worked in a variety of materials including rattan, photography, plaster and cardboard. At Alexander and Bonin she exhibits both bronzes and works executed in glass. The bronzes are based on parking garage architecture -- both as buildings and as ramp systems. The glass works also relate to architectural details, i.e. a balcony, spaceframe or awning. The glass sculptures were produced in Murano, Italy.

Concurrent with the show in New York is a large exhibition at Witte de With Center for Contemporary Art in Rotterdam where Rita McBride exhibits two installations, each of which occupy an entire floor of the museum. One of these, Arena, a coliseum like structure executed in contemporary materials will remain installed at Witte de With after Rita McBride's exhibition, as a forum for programming through Summer 1998.

Rita McBride received an MFA from CalArts in 1987 and has exhibited internationally since 1990. She has had three one-person exhibitions at Margo Leavin Gallery in Los Angeles and two with Michael Klein Gallery in New York. In the past two years she has made collaborative installations with Hsin-Ming Fung, Catherine Opie and Lawrence Weiner.

ALEXANDER AND BONIN

132 Tenth Avenue, New York, NY 10011

www.alexanderandbonin.com

David Moore, The Art Gallery of New South Wales, Sydney

David Moore: the unseen images
The Art Gallery of New South Wales, Sydney
7 November 1997 - 18 January 1998

David Moore is Australia's most significant living photographer. This exhibition celebrates his 70th year. David Moore's career was forged at the high point of international photojournalism. He was assigned by Life, Time, Fortune and The New York Times in the U.S. and The Observer in the U.K.. He photographed the building of the Sydney Opera House in the 1960s and the Glebe Island Bridge in the 1990s. He has worked in many parts of the world and published eight books of photographs.

David Moore's accumulated archives now amount to more than 200,000 images. The breadth and depth of his working life, over 50 years, has produced an extraordinary collection of material which documents facets of life in Australia and the United States as well as events in Britain.

This exhibition consists of a selection of 87 photographs that have not been seen before by the public. They represent a wide variety of David Moore's working life. Included are pictures of politicians and artists, people in remote regions, urban design, landscape, the rich fabric of daily life and personal observations which illustrate a continued search for expression and communication. A fully illustrated catalogue published by Chapter & Verse accompanies the exhibition. David Moore and Judy Annear, Curator of the exhibition, will discuss the unseen images on Friday 14 November within the show.

There is a thread which joins these photographs regardless of whether they are black & white or colour, or whether they were taken in the 1950s or forty years later - it is the photographer's ongoing fascination with the structure of the image within the frame: its geometry, and, within that geometry, the relationship between all the elements depicted, no matter how small they may be.

David David Moore's modernist stance in photography is the overriding aspect of this exhibition. From a very early stage in his career the impulse to formalism and abstraction in his work is quite clear. While there are images of spontaneity and intimacy in some of the early photographs, it is in the patterns of light and shade over form, particularly architectural and natural from, which becomes paramount in his work.

David Moore has been instrumental in advancing Australian photography throughout his career and in the early 1970s was instrumental in setting up the Australian Centre for Photography in Sydney. In 1994 he was awarded an Australian Artists' Creative Fellowship. He has exhibited in London, Paris, China, Korea, Japan, Hong Kong, and New Zealand, as well as throughout Australia. His work is included in major collections throughout the world, for example, The Museum of Modern Art, New York, le Bibliotheque Nationale, Paris and the Smithsonian Institution, Washington, D.C..

THE ART GALLERY OF NEW SOUTH WALES
Art Gallery Road, The Domain, Sydney NSW 2000
www.artgallery.nsw.gov.au

Icon / Iconoclast at Marlborough Chelsea, NYC - An Exhibition of Works by: Francis Bacon, Francesco Clemente, David Hockney, Robin Kahn, Alex Katz, R.B. Kitaj, Ouattara, Ad Reinhardt, Philip Taaffe, Fred Tomaselli, Terry Winters, Curated by Raymond Foye

Icon / Iconoclast

Marlborough Chelsea, New York

November 8 - December 27, 1997

An Exhibition of Works by:

Francis Bacon

Francesco Clemente

David Hockney

Robin Kahn

Alex Katz

R.B. Kitaj

Ouattara

Ad Reinhardt

Philip Taaffe

Fred Tomaselli

Terry Winters

Curated by Raymond Foye

Marlborough Chelsea presents an exhibition of paintings, Icon/Iconoclast. The exhibition, consisting of one work each by eleven artists, is about the persistent power of images in modern life. Even though creative strategies in the arts have varied widely in the past three decades, challenges to pictorialism seem only to strengthen the hold that certain images possess over us. Attempting to break or destroy imagery, artists have, in fact, created entirely new pictorial conceptions expanding our definition of what constitutes a picture. This paradox is expressed by the title of the exhibition.

Beginning with Ad Reinhardt's black painting as an ultimate statement of both the iconic and the iconoclastic impulses in art, the exhibition explores the many ways in which contemporary painters have sought to re-define the image within the formal traditions of Western art. 

Like Ad Reinhardt, Francis Bacon has served as a touchstone for subsequent generations of artists: in this case, painters who have sought to pursue aspects of figuration, portraiture, and the passions of the flesh. Yet, the attempt to instill in modern painting the secular equivalence of the experience of ecstasis - so integral to the art of the Renaissance - was a lifelong preoccupation with both these artists, each in their own way.

The iconic image stands as an object of mediation and contemplation and embodies a system of belief which may be communicated through narrative, metaphor, or allegory. The painters chosen in this exhibition may all be characterized by their commitment to expanding conceptions of picture-making by means of investigating the image itself. The mistrust for iconoclastic images, which persists to this day, springs from similar origins: that artists are conjurers of illusions, and may propagate false beliefs. Recently, similar criticism has been most sharply directed at artists employing figuration and representation such as David Hockney, R.B. Kitaj, Alex Katz, and Francesco Clemente.

In the work of Philip Taaffe and Fred Tomaselli, figurative elements are deployed in the service of abstraction while preserving the flatness and frontality of the icon. Both artists explore a diagrammatic language akin to the mandala or symbolon: ritual configurations that speak to the inner working of an image and its correspondence to archaic forms. The wider perspective of the primacy of the aesthetic experience itself is the basis of the work of Terry Winters whose imagery finds its analogy in the complex nexus of biology and cognitive science.

Conceptualizations of the female body and aspects of women's roles in society have been the subject of recent work by Robin Kahn who draws on sources as diverse as history, alchemy and anthropology. The legacy of symbols which is the inheritance of iconography from Medieval and Renaissance times have functioned as source material for many of her works. In the work of Ouattara, an African artist from the Ivory Coast, the icon comes closest to its animist origins as mediator between the worlds of the human and the divine.

All of the living artists in Icon/Iconoclast are represented by new work. A centerpiece of the exhibition is a major ensemble of paintings and drawings by R.B. Kitaj constituting a single work, The Killer Critic Assassinated by his Widower, Even, (1997). The subject of a controversial exhibition earlier this year at London's Royal Academy, the work is a visual rebuttal to the critical malign following Kitaj's retrospective and the subsequent death of his wife, Sandra, events which the artist relates in the work itself. It is Kitaj's farewell address to London, a final salvo launched at the same philistine cultural establishment that Ezra Pound once lampooned in his famous suite of poems, Hugh Selwyn Mauberley.

Icon/Iconoclast has been organized by Raymond Foye. Along with Francesco Clemente he is co-publisher of Hanuman Books, a press devoted to poetry, Hinduism, and writings by artists (a list that include William Burroughs, Rene Ricard, Francis Picabia, Willem deKooning, Cookie Mueller, René Daumal, Jack Kerouac, Robert Frank, Max Beckmann, Patti Smith and others). He has curated (with Ann Percy) a full scale retrospective of the works of Francesco Clemente, Three Worlds (Philadelphia Museum of Art), and over the past twenty years has edited books, catalogues and livres d'artiste by numerous artists in the exhibition, including David Hockney, R.B. Kitaj, Philip Taaffe, Terry Winters and Francesco Clemente. His published works on poets and poetry include James Schuyler (Farrar, Strauss & Giroux), John Wieners (Black Sparrow Press), Bob Kaufman (New Directions) and Edgar Allan Poe (City Lights Books). He presently lives and works in New York City.

MARLBOROUGH CHELSEA

211 West 19th Street, New York, NY 10011

www.malgoroughgallery.com

Etudes Photographiques - Frontieres de l'image / Le territoire et le document

Frontières de l'image / Le territoire et le document

Collections publiques / Lieux de mémoire

Sommaire du numéro 3 de novembre 1997

André Gunthert, Au doigt ou à l'oeil

Document

Helmut Gernsheim, La première photographie au monde

Collections publiques

Sylvie Aubenas, Le petit monde de Disdéri

Un fonds d'atelier du Second Empire

Frontières de l'image

Michel Frizot, La parole des primitifs

À propos des calotypistes français

Jean-Luc Gall, Photo/sculpture

L'invention de François Willème

Le territoire et le document

Luce Lebart, La "restauration" des montagnes

Les photographies de l'Administration des forêts dans la seconde moitié du XIXe siècle

Dominique Gauthey, Les archives de la reconstruction

(1945-1979)

Lieux de mémoire

Christian Delage et Vincent Guigueno, " Ce qui est donné à voir, ce que nous pouvons montrer "

Georges Perec, Robert Bober et la rue Vilin

Notes de lecture

Michel Poivert

Anna AUER (éd.), Die vergessenen Briefe und Schriften, Vienne, Photographische Gesellschaft in Wien, 1997, 91 p., ill. NB.

André Gunthert

Walter BENJAMIN, Sur l'art et la photographie (textes traduits par C. Jouanlanne et M. B. de Launay, présentation de C. Jouanlanne), Paris, Carré, 1997, 96 p., 35 F.

Véronique Figini

Françoise DENOYELLE, La Lumière de Paris (t. I, Le Marché de la photographie, 1919-1939,211 p., ann., ill., 130 F ; t. II, Les Usages de la photographie, 1919-1939, 365 p., 39 ill. NB, ann., bibl., 190 F), Paris, Éd. L'Harmattan, 1977.

André Gunthert

Georges DIDI-HUBERMAN, "La ressemblance par contact. Archéologie, anachronisme et modernité de l'empreinte", in G. Didi-Huberman (dir.), L'Empreinte, Paris, Centre Georges Pompidou, 1997, p. 15-192.

Paul-Louis Roubert

Alain FLEIG, Rêves de papier. La photographie orientaliste, 1860-1914, Neuchâtel, Éd. Ides et Calendes, 1997, 177 p., ill. NB, 290 F.

Michel Poivert

Fotogeschichte, "Die Geschichte der Geschichte" (actes coll.) 17e année, n°63 et 64, 1997.

Xavier Martel

Irma NOSEDA et al., Die Fotografendynastie Linckin Winterthur und Zürich, Zurich, OZV, 1996, 247 p., nb. ill. NB.

Marta Braun

Laurent MANNONI, Marc de la FERRIÈRE, Paul DEMENY, Georges Demenÿ, pionnier du cinéma, Douai, Éd. Pagine, 1997, 192 p., ill. NB, bibl., filmographie, 195 F.

Vincent LavoieAnthony HERNANDEZ, Fils d'Adam : Paysages pour les sans-abri II, Paris/Lausanne (cat. exp.), textes de Régis Durand et Christophe Blaser, Paris, Lausanne, Centre national de la photographie/musée de l'Élysée, 1997, 72 p., ill. coul., 150 F.

Emmanuel HermangeJean-Marc HUITOREL, Francis LACLOCHE, Photographie d'une collection, 2. OEuvres photographiques de la Caisse des dépôts et consignations, Paris, Hazan, 1997, 173 p., ill. NB et coul., invent.

Michel Poivert

Hans P. KRAUSS Jr, Larry J. SCHAAF, Sun Pictures. The Rubel Collection Fine Photographs (cat. de vente), New York, 1997, 78 p., 25 pl. bichr., CD-Rom (195 ill. coul.).

David A. HANSON, Sydney TILYM, Photographs in Ink (cat. exp.), Teaneck (New Jersey), University College Art Gallery, Fairleigh Dickinson University, 41 p., 30 pl. coul., glossaire, ind., CD-Rom (glossaire illustré).

Sylvie Aubenas

Ken JACOBSON, Anthony HAMBER, Étude d'après nature. 19th Century Photographs in Relation to Art, Petches Bridge, K. & J. Jacobson, 1996, 192 p., 400 ill. NB et coul., bibl., ann.

[Serge PLANTUREUX], Objets du désir, Paris, S. Plantureux, 1997 (catalogue n°5), 224 p., env. 500 ill. NB, 100F.

Larry Rivers, Marlborough Gallery, New York - Fashion and The Birds

Larry Rivers: Fashion and The Birds

Marlborough Gallery, New York

October 29 - November 29, 1997

Marlborough Gallery presents an exciting exhibition of new work by the inimitable American painter, Larry Rivers. This is Larry Rivers' twelfth one-man show at Marlborough since his joining the gallery in 1964. Larry Rivers was born Yitzroch Loiza Grossberg, in the Bronx, New York in 1923 to Russian Jewish immigrants. He began his career in music as a jazz saxophonist. In 1947, at the suggestion of a friend, he began to paint at Hans Hoffman's school in Provincetown, Mass. His success was such that two years later he was given his first New York show. In 1950, Clement Greenberg and Meyer Schapiro selected him to be part of a New Talent show, and since that time he has become one of America's most important and innovative painters.

Larry Rivers' exhibition is comprised of approximately twenty-five paintings and ten drawings. Larry Rivers likes to work in a series using a central subject such as in his previous show called Art and the Artist. In this show, many of the works are based on a series derived from his recent interest in James Audubon and The Birds of America. (His first painting based on this subject was painted in 1985/86, entitled Twenty-five Birds of the Northeast, taken from a place mat at his table at his favorite diner). Among the new works are two brilliant portraits of Audubon as well as several works devoted to single bird studies such as a striking Great Blue Heron (50 x 48 inches), Black Neck Stilt (30 x 34 inches) and Comorant (48 x 40 inches). In other works, Larry Rivers has taken female models from the world of fashion and mixed them with bird images creating an intriguing visual Gestalt from separate elements of experience and emotion. This eclectic mixture is at once provocative, surprising, and enjoyably fresh. The medium for these works is based in some cases on the relief technique which Larry Rivers has developed into his own personal style. In some of these, he has deepened their relief increasing thereby the work's tactile exuberance. In other works, Larry Rivers has continued to use the flat canvas to magnificent expressive effect.

What stands out in all Larry Rivers' work is the superiority of his draughtsmanship, the lightness of his touch, the presence of his hand, and a unique color palette. It has been said that "Rivers' stubborn individualism has become his signature." He has been called a "maverick and innovative artist," "enterprising and mercurial," "a reactionary." Art International called him "contrariness incarnate." Rivers himself has said, "I have my own agenda," reflecting Arthur Jones' statement that "Rivers has constantly challenged the status quo." Rivers was painting figurative works when the tide was high on Abstract Expressionism. He was the first American artist to use commercial images in fine art which led the London Sunday Telegraph later to call him "the grand old man of Pop Art." In the same article, the Telegraph said Larry Rivers "has always stayed true to his talent as a figurative draughtsman and interested in relating the contemporary image to the tradition of western painting." In his brilliant new work, Rivers once again adds to the lexicon of stimulating contemporary images that one hasn't seen before. Rivers' style has always been hard to pin down. John Ashberry, who described Rivers' work as "handsome and dazzling original," summarized that "Rivers has always been out of sync" and Roberta Smith of the New York Times called him "a consummate synthesizer who seems to have considered any artist or art work fair game." But perhaps the wellspring for the strength, sensitivity and enormous individuality by which his work can be measured has been best sounded by John Gruen who wrote the following:

"Early on, Rivers had developed a painting style he could call his own. It might be categorized as being semi-abstract, semi-realistic, pop-artist, post-romantic, or neo-classic. But whatever the label, it reflected (and still does) an untrammeled imagination, an extraordinary draughtsmanship, a color sense that has no truck with garishness or vulgarity, and an innate vitality that springs from Rivers' own restlessness and reflects itself with charged-up spontaneity, into whatever he paints."

Larry Rivers is represented in numerous public collections in the United States. Among them are the following: The Baltimore Museum of Art; The Art Institute of Chicago; Dallas Museum of Art; De Menil Foundation, Houston; The Nelson-Atkins Museum of Art, Kansas City; Los Angeles County Museum of Art; The Minneapolis Institute of Art. In New York City, he is represented in the Solomon R. Guggenheim Museum, The Jewish Museum, the Metropolitan Museum of Art, the Museum of Modern Art and the Whitney Museum of American Art. In Washington, D.C., he is represented at the Corcoran Gallery of Art, the Hirshhorn Museum & Sculpture Garden and the National Gallery of Art. He is also represented by the Tate Gallery, London, the Museo Rufino Tamayo, Mexico City and the Museo de Arte Contemporaneo, Caracas.

An illustrated color catalogue of the Rivers Fashion and The Birds is available.

This exhibition is accompanied in the small gallery by a show of small sculptures by Arnaldo Pomodoro.

Following Larry Rivers' exhibition in December will be an exhibition of paintings by Vincent Desiderio.

MARLBOROUGH GALLERY

40 West 57th Street, New York, NY 10019

www.marlboroughgallery.com

Kiki Smith at the Irish Museum of Modern Art, Dublin - Convergence

Kiki Smith: Convergence
Irish Musuem of Modern Art, Dublin
24 October 1997 - 15 February 1998

The first major solo exhibition in Ireland of the work of Kiki Smith, one of America’s leading contemporary artists, opens to the public at the Irish Museum of Modern Art on 24 October. Kiki Smith: Convergence ranges over ten years of Kiki Smith’s work from 1988 and reflects her main concerns in terms of subject matter and use of colour and materials. It features a number of her characteristic sculptures based on the human body, a number of more recent drawings from 1996 and 1997, and mixed-media works using materials such as glass, crystal and neon, which mark a shift in focus from the human to animal forms and the natural world. 

Kiki Smith is best known for her works based on the female body which she presents in stark, often provocative terms - its flesh, blood, secretion and excretions suggesting fundamental questions of life and death. As an artist Smith gives birth to adult forms still grimy with the process of delivery. Indeed, a paradox of her works is that one cannot tell if they are coming into existence or passing out of it through decay and disintegration. Both formally and psychologically, these sculptures break with traditional notions of the depiction of the human figure in art. 

Using the physical body as her starting point, Kiki Smith explores the wider female condition in works suggesting pain, humiliation and subservience. There are also allusions to religious rituals and beliefs, which reflect her Catholic upbringing. The artist has selected works for this exhibition by using the device of colour for individual rooms at the museum - red, yellow, blue, green, brown and silver - colours which have been a strong force in her work. 

Kiki Smith was born in Nuremberg, Germany, in 1954. She moved to the United States as a child and in 1976 moved to New York where she now lives and works. In 1979-80 she began to work with the body using Gray’s Anatomy as a reference. She had her first solo exhibition Life Wants to Live at The Kitchen in New York in 1982. Since then she has exhibited to considerable critical acclaim in solo and group shows worldwide. Kiki Smith’s sculpture was included in From Beyond the Pale at the Irish Museum of Modern Art in 1994. 

Irish Museum of Modern Art
Royal Hospital, Military Road, Kilmainham, Dublin 8
www.modernart.ie

Compact Nikon Coolpix 300

Nikon Coolpix 300

Sortie en 1997, après le Coolpix 100, sortie également en 1997, le Nikon Coolpix 300 est le second appareil photo numérique fabriqué par Nikon.

Liens vers d'autres messages connexes du blog : Anciens Compacts Nikon - Nikon Coolpix 100 - Nikon Coolpix 600 - Nikon Coolpix 700 - Nikon Coolpix 775 - Nikon Coolpix 800 - Nikon Coolpix 880 - Nikon Coolpix 885 - Nikon Coolpix 900 - Nikon Coolpix 950 - Nikon Coolpix 990 - Nikon Coolpix 995 - Nikon Coolpix 2000 - Nikon Coolpix 2100 - Nikon Coolpix 2500 - Nikon Coolpix 3100 - Nikon Coolpix 3500 - Nikon Coolpix 3700 - Nikon Coolpix 4300 - Nikon Coolpix 4500 - Nikon Coolpix 5000 - Nikon Coolpix 5400 - Nikon Coolpix 5700 - Nikon Coolpix SQ

Compact numérique Nikon Coolpix 100

Nikon Coolpix 100

Sortie en 1997, c'est le premier appareil photo compact numérique Nikon. Il ouvre la longue série des COOLPIX. Avant le Coolpix 100, Nikon avait produit des appareils numériques mais ceux-ci n'étaient pas des compacts.

Liens [A VENIR] vers d'autres messages connexes du blog [INACTIFS POUR L' INSTANT] : Anciens Compacts Nikon - Nikon Coolpix 300 --- Nikon Coolpix 600 --- Nikon Coolpix 700 --- Nikon Coolpix 775 --- Nikon Coolpix 800 --- Nikon Coolpix 880 --- Nikon Coolpix 885 --- Nikon Coolpix 900 --- Nikon Coolpix 950 --- Nikon Coolpix 990 --- Nikon Coolpix 995 --- Nikon Coolpix 2000 --- Nikon Coolpix 2100 --- Nikon Coolpix 2500 --- Nikon Coolpix 3100 --- Nikon Coolpix 3500 --- Nikon Coolpix 3700 --- Nikon Coolpix 4300 --- Nikon Coolpix 4500 --- Nikon Coolpix 5000 --- Nikon Coolpix 5400 --- Nikon Coolpix 5700 --- Nikon Coolpix SQ

Photo (c) Nikon - Tous droits réservés

Sol LeWitt Wall Drawing 830 Sackler Museum

A new wall drawing by conceptual artist Sol LeWitt (b. 1928), Wall Drawing #830: Four Isometric Figures with Color Ink Washes Superimposed, has been installed in the Arthur M. Sackler Museum's lobby – Harvard University Art Museums. Comprising four large-scale geometric shapes on fields of primary colors, the drawing dramatically amplifies and animates the Sackler's double-height entry space. The project was organized by James Cuno, director of the Art Museums, to create a friendlier, more inviting space for visitors, while at the same time giving the public easy access to a major work by one of our generation's premier draftsmen.

Sol LeWitt has been a dominating influence in contemporary art for several decades. His wall drawings have been installed in major museums worldwide. Although his work emphasizes conception rather than implementation, the final product is always visually pleasing.

"This is a beautiful work of art in its own right, but all the more beautiful for how it transforms and enhances the lobby of the Sackler Museum," said James Cuno. "We believe it demonstrates our commitment to working with contemporary artists and to offering our public new, exciting, and easily accessible aesthetic experiences. Anyone walking down Quincy Street or Broadway can now take refuge in the midst of a great work of art."

The installation of Wall Drawing #830 was led by Anthony Sansotta, who has worked with LeWitt for nineteen years, with the help of other assistants to LeWitt, local students and artists and staff at the Art Museums. The project was supported by the Contemporary Art Sub-Committee of the Art Museums Collections Committee, led by Gabriella de Ferrari and Bruce Beal.

The museum is located at 485 Broadway, Cambridge, Massachusetts.

Landscape Painter Tomas Sanchez joins Marlborough Gallery

LANDSCAPE PAINTER TOMAS SANCHEZ 

JOINS MARLBOROUGH GALLERY

Marlborough Gallery announces that the esteemed landscape painter, TOMAS SANCHEZ, has joined its stable of artists.

Tomas Sanchez was born in 1948 in Cuba. He graduated in 1971 from the National School of Art in Havana. In 1980, he won first place in the 19th International Juan Miro Prize of drawing in Barcelona and in 1981 had his first one-man show of drawings at the Miro Foundation in the same city. In 1984, he won the Amelia Palaez National award for painting in the first Biennial of Havana and the following year he was honored by his first retrospective exhibition at the National Museum of Fine Arts in Havana. In 1988, Tomas Sanchez, received Cuba's National Culture Merit Award given by the State Council. He has had several successful exhibitions in South America, Mexico and Florida where the artist now lives and works. His most recent exhibition (1996) was a one-man show at the Museum of Art in Fort Lauderdale, Florida.

There are currently two books published on Tomas Sanchez's work: Tomas Sanchez and His Pictorial Universe (Palette Publications, 1996) and Tomas Sanchez, Paisaje Interior (Petroleos Mexicanos, 1994). Writing in the text to the former work, Roberto J. Cayuso says that Tomas Sanchez can be associated with Spanish realist painters who understand their art not from a photographic vision, but born from meditation and...prompted by life and authentic visual perceptions. Continuing, he states:

When we admire one of his landscapes, whether it deals with junkyards or interpretations of nature, the first thing that impresses us is the surprising magnificence of the theme and then, the treatment of it. Here, we can almost count the leaves of the trees and the waves of the waters. His clouds seem to be pieces of cotton torn and tossed by the wind that create an exquisite symphony of lights and colors without neglecting the smallest detail, however small it may be. He delivers us with a work of lyricism and unsuspected yearnings.

MARLBOROUGH GALLERY

www.marlboroughgallery.com

Roy Dowell at Margo Leavin Gallery, Los Angeles - New Work

Roy Dowell: New Work

Margo Leavin Gallery, Los Angeles

4 October - 1 November 1997

The Margo Leavin Gallery presents an exhibition of new works by ROY DOWELL (b. 1951). The exhibition, which marks the artist’s second one-person show at Margo Leavin Gallery, includes nine mixed-media paintings on wood panel and sixteen mixed-media collages on paper.

With a background in photography from Oakland’s College of Arts and Crafts and painting from the California Institute for the Arts, Roy Dowell has been able to unite these two seemingly disparate mediums. Roy Dowell’s work combines collage elements from printed video images and advertisements with abstract painted forms to create a coherent overall composition.

Roy Dowell’s imagery refers to the abundance of visual information disseminated through television, outdoor media, printed matter, and commercial products. In Roy Dowell’s work, however, specific images are distorted or altered so that no one reference is necessarily identifiable. The layering and juxtaposition of the collage elements with the painted elements in Roy Dowell’s work create patterns and colors that function similarly to brushstoke passages found within more traditional abstract painting.

Roy Dowell’s work has been included in numerous exhibitions across the country and has been the subject of one-person exhibitions at the Santa Monica Museum of Art, Santa Monica; Otis College of Art and Design, Pasadena; and the Los Angeles Institute of Contemporary Art.

MARGO LEAVIN GALLERY

812 North Robertson Boulevard, Los Angeles, CA 90069

Tracey Moffatt at Dia Center for the Arts, NYC

Tracey Moffatt: Free-falling
Dia Center for the Arts, New York
October 9, 1997 - June 14, 1998

Dia Center for the Arts presents an exhibition of the work of Australian photographer and filmmaker, Tracey Moffatt. This exhibition, entitled Free-falling, will be on view on the fourth floor of Dia's galleries at 548 West 22nd Street, New York City.

Free-falling includes two newly commissioned works: a suite of twenty-five photographs called Up in the Sky (1996) and a video installation, Tracey Moffatt's first in this medium. The subject of this video piece will be a surfer, a figure close to the heart of Australia's contemporary self-image. By contrast, Up in the Sky, which was shot near Broken Hill in the Outback, draws on imagery and a landscape that have long been central to the Australian mythos. In addition, the exhibition includes Guapa (Goodlooking), a series of twelve monochrome photographs loosely based on the theme of the roller derby, which Tracey Moffatt made in 1995 while on a residency at ArtPace in San Antonio, and Night Cries: A Rural Tragedy (1990), her early but prophetic short film. Guapa explores the intersection of violence with eroticism as sanctioned under the umbrella of sport. Silhouetted against neutral backdrops, the carefully choreographed female contestants create formally compelling images recalling at times sculptural groupings from the art of the past: artifice is as intrinsic to this sport as it is to Tracey Moffatt's aesthetic.

Of Abori-ginal descent, Tracey Moffatt has gained increasing international attention in the past several years. In 1995 she was awarded a prize at the Kwangju Biennale in Korea, and two of her films were shown at the Cannes Film Festival. Given that she is also included in this year's Venice Biennale and Site Santa Fe exhibitions, Tracey Moffatt, who was born in 1960 in Brisbane, is among the preeminent Australian artists of her generation. Free-falling is her most substantial exhibition to date.

Major funding for this exhibition has been provided by the Lannan Foundation, The Andy Warhol Foundation for the Visual Arts, The Embassy of Australia on behalf of the Department of Foreign Affairs and Trade, and The Australia Council for the Arts with an additional generous contribution by the Wolfensohn Family Foundation.

Dia Center for the Arts
www.diacenter.org

Willie Cole, Alexander and Bonin, NYC - New Sculpture

Willie Cole: New Sculpture

Alexander and Bonin, New York

September 27 - November 8, 1997

Alexander and Bonin presents its inaugural exhibition at 132 Tenth Avenue (between 18th and 19th Streets) in New York.

WILLIE COLE (American, born 1955) have his first New York exhibition since 1994. Willie Cole exhibits recent sculptures which continue several of his intersets and themes. Some of these works are based on the form of an iron -- an image which he began investigationg in 1989. Willie Cole was first attracted to the iron for both its form and for its perceived embodiment of the spirit of the person who used the iron. The earliest versions, which he referred to as Household Gods and Domestic Demons, dealt with these ideas by utilizing found objects. More recently, Willie Cole has been constructing enlarged versions (i.e. an iron 600 times actual size) made from diverse materials both found (banisters, pullies) and constructed or carved (two egg 'beaters' that resemble African sculpture and which were carved out of two large sections of porch post).

Since his last New York show, Willie Cole has been an artist-in-residence at Pilchuck Glass School, Seattle; The Contemporary, Baltimore and Capp Street Project, San Francisco. His work is currently featured in the group exhibitions Biennial for Public Art, Neuberger Museum, Purchase and Performance Anxiety organized by MCA, Chicago and now on view at Museum of Contemporary Art, San Diego.

Willie Cole's Sculptures are included in permanent museum collections in Chicago, Dallas, Newark, New York, Philadelphia, Saint Louis and Stanford. Simultaneous with his show at Alexander and Bonin is his first one-person exhibition in Europe at the Galerie Almine Rech, Paris.

ALEXANDER AND BONIN

132 Tenth Avenue, New York, NY 10011

www.alexanderandbonin.com

Thomas Moran Exhibition at National Gallery of Art, Washington

Thomas Moran 

National Gallery of Art, Washington 

September 28, 1997 - January 11, 1998 

The first retrospective of paintings by THOMAS MORAN (1837-1926), long recognized as one of America's foremost landscape artists, is on view at the National Gallery of Art. The exhibition features approximately 100 of Thomas Moran's finest watercolors and oil paintings, which provided Americans with breathtaking views of the American West, including the first images of Yellowstone. Viewers can see a selection of Thomas Moran's paintings of Yellowstone that inspired Congress to establish the first national park in the United States. The Thomas Moran exhibition coincides with the 125th anniversary celebration of the creation of Yellowstone National Park. Also included in the exhibition is the painting, The Three Tetons, which hangs in the Oval Office of the White House.

The Thomas Moran exhibition is being organized by the National Gallery of Art, in association with the Gilcrease Museum, Tulsa, Oklahoma, which holds the largest collection of works by Thomas Moran. After its showing in Washington, the exhibition will be at the Gilcrease Museum, February 8 - May 10, 1998, and the Seattle Art Museum, Seattle, Washington, June 11 - August 30, 1998.

In the period of renewal following the Civil War, the government sponsored survey teams to explore and map the vast resources of the American West. Thomas Moran's original watercolors, completed on the first survey expedition to Yellowstone in 1871, are being lent by the National Park Service as part of its anniversary celebration. They are installed with photographs by the noted photographer William Henry Jackson who traveled with Thomas Moran on the historic expedition.

Thomas Moran's watercolors of Yellowstone played a decisive role in the creation of the first national park in the United States just a few months after being seen by the public and the U.S. Congress. Thomas Moran subsequently rose to national prominence when his first great painting of the American West, The Grand Canyon of the Yellowstone (1872), with its vast, spectacular landscape, was purchased by Congress to hang in the U.S. Capitol.

The exhibition includes Thomas Moran's three most famous oil paintings, hung together for the first time as the western triptych he intended: Grand Canyon of the Yellowstone (1872) and Chasm of the Colorado (1873 - 1874) from the Department of the Interior, and Mountain of the Holy Cross (1875) from the Autry Museum of Western Heritage, Los Angeles.

While Thomas Moran's great Western paintings form the heart of the exhibition, visitors also have an opportunity to see his rarely exhibited Italian, English, and Mexican scenes, as well as his little known Pre-Raphaelite-style landscapes of the eastern United States.

In addition to loans from private collectors, public lenders to the exhibition include the Gilcrease Museum; The White House; the National Park Service; the Smithsonian Institution; the Buffalo Bill Historical Center, Cody, Wyoming; the Museum of Western Art, Denver; the Nelson-Atkins Museum of Art, Kansas City, Missouri; The Metropolitan Museum of Art, New York; the Art Institute of Chicago; the North Carolina Museum of Art, Raleigh; the Detroit Institute of Arts; Berea College, Berea, Kentucky; the Union Pacific Museum Collection, Omaha; the National Archives, Washington, D.C.; and the Museum of Fine Arts, Boston.

Accompanying the exhibition is a comprehensive, fully illustrated catalogue with contributions from Nancy Anderson, associate curator of American and British paintings, National Gallery of Art, along with other leading Thomas Moran scholars including Anne Morand, curator of art, Gilcrease Museum; Joni Kinsey, professor of art history, University of Iowa; and Thomas Bruhn, acting director, Benton Museum, University of Connecticut, Storrs. The catalogue, published by the National Gallery of Art in association with Yale University Press, is the first extensive, scholarly work on Thomas Moran. It includes an illustrated chronology, color plates of every painting in the exhibition, and appendices of rare Moran documents available in part for the first time. One of the appendices includes illustrations of the series of chromolithographs that Thomas Moran did for Louis Prang in 1876, widely recognized as the finest chromolithographs done in nineteenth-century America. For the first time these are reproduced in color together with original text.

NATIONAL GALLERY OF ART

Fourth Street at Constitution Avenue, N.W., Washington, DC 20565

www.nga.gov

Willy Ronis Retrospective, Galleria Carla Sozzani, Milan

WILLY RONIS - Retrospective 1926-1983
Galleria Carla Sozzani, Milan
13 September - 31 November 1997

“Geometries modulated by the heart” produced “during free excursions, with no specific goal, on the edge of chance”.

This is the story in images (149) of Willy Ronis, photographer and poet, sentimental walker from the Thirties to the Eighties, whose photographs, the product of an unconscious process, approach “automatic writing”.

Affected by events in history in his time – he was born in 1910 – and the changes and upheavals resulting from the popular front, and then war, Ronis always maintains a modest distance from man and his environment in order to find a poetry that is not immediately apparent.

He comments: “This activity involves a lot of risk, not physical risk – for I rarely cover distant places – but risk of failure.

While on some days subjects are served up to us as if on a plate, on other days we don’t see anything, not because there is nothing to see, but because we do not see what is clearly there. This is why the enterprises is rarely fun; it demands concentration, and therefore solitude, and is, at least as far as I am concerned, founded on rejection of the picturesque, the exceptional”.

A humanist photographer and a “polygraph”, as he liked to call himself, Willy Ronis worked in a variety of different areas: reporting, illustration, fashion, teaching, and was involved in many image-related professions.

In this exhibition focusing on people, he portrays a variety of subjects: Paris in the ’40s and its post-war people; nudes and public scenes; children’s games and young brides and grooms; Marie-Anne, the love of his whole life, and famous people (Sartre, Picasso, etc…). His snapshots are tender, funny or serious, expressing his bewildered search for communion with human beings. “Where does it fit in, the search, the truth? In the familiar, the universal dimension. Not in that which surprises us, but in that which moves us”.

Galleria Carla Sozzani
Corso Como 10 – 20154 Milano, Italia
www.galleriacarlasozzani.org

Richard Serra at Dia Center for the Arts, New York

Richard Serra: "Torqued Ellipses"
Dia Center for the Arts, New York
September 25, 1997 - June 14, 1998

Dia Center for the Arts presents an exhibition of new sculpture by the American artist RICHARD SERRA. Titled "Torqued Ellipses," this exhibition will mark the debut of Dia's second exhibition building for temporary exhibitions, at 545 West 22nd Street, located directly across the street from its current facility at 548 West 22nd Street, New York City.

The Torqued Ellipses mark a new departure in Richard Serra's oeuvre, one which involves bending steel in a totally unprecedented manner. Four years ago, Serra conceived this group of approximately twenty sculptures in the form of lead models. A CATIA computer program was developed from the models to enable a rolling machine to torque the steel plates. After a protracted search, Serra finally located Beth Ship, a shipyard and rolling mill at Sparrow's Point outside Baltimore, which was willing to undertake the project. To date, four sculptures from this series have been realized, three of which will be on view at Dia this fall.

As Mark Taylor writes in his essay for the catalogue that will accompany the exhibition:

The effect of these works is extraordinary. Though made of heavy industrial materials and massive in size, they have the delicacy of finely folded ribbon or even paper twisted to form a Möbius strip that never quite reaches closure. As one moves from outside to inside by passing through the gap in these works, everything shifts. Lines that appear straight on the outside bend and buckle on the inside; arcs that seem to tilt away when viewed from without bend inward to enfold subject in object when experienced from within. As twisted space surrounds or even circulates through the perceptive body, the space and time of the work of art become utterly destabilizing and disorienting.

Born in San Francisco in 1939, RICHARD SERRA has a longstanding engagement with steel. After financing his college degree by working in steel mills, Serra adopted steel as his preferred material in the late sixties: he has continued to use it in different ways, propped, bent, forged, and rolled for over three decades.

Since his first solo show in Rome in 1966, Richard Serra has had numerous exhibitions throughout the world, including a 1986 retrospective at the Museum of Modern Art, New York. In addition, he has created a number of seminal site-specific sculptures in public venues in both North America and Europe. Most recently, as his contribution to the current Sculpture Projects in Münster, Germany, Serra was commissioned to make a permanent installation at one of that city's most renowned historic buildings, the Haus Rüschhaus designed by the Baroque architect J.C. Schlaun. Serra recently installed Snake, a 100-feet-long, 13-feet-high sculpture commissioned by the Guggenheim's new museum in Bilbao. In the fall of 1998, he will open an exhibition of large-scale installations at the Geffen Contemporary at the Museum of Contemporary Art, Los Angeles.

Dia Center for the Arts
www.diacenter.org

Sensation - Young British Artists from the Saatchi Collection, Royal Academy of Arts, London

Sensation - Young British Artists from the Saatchi Collection

Royal Academy of Arts, London

18 September - 28 December 1997

The achievements of a generation of young British artists whose original and challenging work has received international acclaim are the focus of this major exhibition. Entitled Sensation, the show presents work by artists selected from The Saatchi Collection. As well as highlighting the vitality and inventiveness of current British art, the exhibition also demonstrates the commitment that Charles Saatchi has shown in collecting the work of these young artists.

This recent explosion of creativity and excitement in the visual arts has not been seen since the emergence of Pop Art in the early 1960s. This current phenomenon was originally identified in the late 1980s through exhibitions in the east end of London, most notably Freeze and Modern Medicine. These exhibitions were organised by a group of young artists who, having just graduated from art school, sought venues that lay outside the traditional institutions of the art world in order to show their work. Since then the energy and ingenuity that many artists have shown in promoting their own work has been one of the factors of their success.

The individuality of their work makes it impossible to brand this generation of young artists as a movement, even though many of the artists know and support each other. By showing their work together, which ranges in media from paintings and sculpture to video, photography and ready-made objects, it is possible to appreciate the interaction and shared concerns of their work which can, in turn, be exuberantly humorous or brutally forthright.

The artists represented in Sensation are: Darren Almond, Richard Billingham, Glenn Brown, Simon Callery, Jake & Dinos Chapman, Adam Chodzko, Mat Collishaw, Keith Coventry, Peter Davies, Tracey Emin, Paul Finnegan, Mark Francis, Alex Hartley, Marcus Harvey, Mona Hatoum, Damien Hirst, Gary Hume, Michael Landy, Abigail Lane, Langlands & Bell, Sarah Lucas, Martin Maloney, Jason Martin, Alain Miller, Ron Mueck, Chris Ofili, Jonathan Parsons, Richard Patterson, Simon Patterson, Hadrian Pigott, Marc Quinn, Fiona Rae, James Rielly, Jenny Saville, Yinka Shonibare, Jane Simpson, Sam Taylor-Wood, Gavin Turk, Mark Wallinger, Gillian Wearing, Rachel Whiteread and Cerith Wyn Evans.

CATALOGUE

The catalogue accompanying the exhibition examines the rise of these young British artists and places their work in a historical and critical context. Norman Rosenthal, Exhibitions Secretary at the Royal Academy, writes an introduction to the exhibition, Richard Shone charts the story over the past 10 years from the Freeze exhibition to Rachel Whiteread's 'House' and Lisa Jardine looks at the role of the collector in the twentieth century. Martin Maloney focuses on the works in the exhibition and Brooks Adams examines the work of the young British artists from an international perspective. The catalogue has over 180 illustrations including photographs of the artists by Johnnie Shand Kydd. Published by Thames & Hudson, the catalogue will be available both in softback (£21.95 and £19.95 for Friends) from the Royal Academy during the exhibition and in hardback from shops nationwide.

ROYAL ACADEMY OF ARTS

Burlington House, Piccadilly, London W1V 0DS

www.royalacademy.org.uk

Durst Lambda 76 - Medium Format Digital Laser Imager

Durst Lambda 76 

Medium Format Digital Laser Imager 

DURST LAMBDA 76

© Durst Phototechnik AG

Durst Phototechnik AG, manufacturer of the first and most popular Large Format Digital Photo Printer with no size limitations, the Durst Lambda 130, is announcing deliveries of the 32" Lambda 76 to start by the end of 1997.

The Medium Format Digital Laser Imager Durst Lambda 76 exposes digital image and text data via laser directly onto photographic silver halide materials (color negative papers, color reversal papers and blacklit materials, etc.).It features a patented continuous roll to roll exposure with an automatic paper take-up device. The prints generated with the Durst Lambda 76 feature unsurpassed photographic quality.

The Lambda 76 is the perfect device for portrait and people as well as commercial photo labs for doing high volume of small and medium print sizes. The 81.2 cm/32" paper width makes the Lambda 76 ideal for printing pop-up displays with no print length limitations.

Durst Lambda 76: Key Features 

Direct to photographic media

- Straight from a digital file, the Durst Lambda can print any creation directly onto photographic media (reflective -> paper / backlit -> transparent or opaque film)

- It combines the advantages of classical silver halide photography with the potential of the latest laser and digital technology, without an intermediate film stage - and without the compromises of CMYK output.

- Because the receiving media is photgraphic paper, the color space is RGB, the same as any designer`s monitor.

- The photographic media is still the best when it comes to reproduce images combined with text and logos. It can reproduce the finest details, as it does not require any form of screening / dittering.

Total flexibility

No size limitations thanks to the unique, patented flatbed continuous roll to roll laser exposing system (for paper widths from 20.3 cm/8" to 81.2 cm /32"), from "icons" to large murals. (with auto- and custom paneling functions). One seamless print can be as long as one entire 81.2 cm/32" roll (50 m / 160ft))

High Image and Text Quality

Dual resolution of 200 and 400 ppi for superior image sharpness of small print sizes. The Lambda 76 features high color saturation and color fidelty, better image quality, more details and sharper type than other alternatives.

High Output Speed

Exposes all medias at a linear speed of 12"/min. Compared with other digital systems the Lambda is "remarkably faster" and can produce up to 270 prints 20x25 cm / 8x10" an hour.

High Productivity 

- Same as the Lambda 130 and unlike other large format digital photo printers, the Lambda 76 features a simultaneous exposure and paper transport, exposing a print size of 80 x 260 cm / 32 x 100" ready to process in less than 10 minutes.

- DEC-Alpha workstation with 64-Bit Digital UNIX Operating System for on-the-fly image processing and short ripping times (Cheetah-RIP by DICE America: 100 MB in approx. 1 Minute).

- Small prints are automatically printed side by side for fast multiple printing and optimal use of large paper widhts.

Open System: Exposes image and text files from major systems and application programs (PC,Mac and Workstations).

Supported File Formats:

     - RGB and Grayscale - TIFF /TIFF/LZW

     - RGB and Grayscale - JPEG

   - PostScript Level 2 (PS, inculding images in CMYK, RGB, EPS, JPEG, Grayscale etc.). with automatic conversion of CMYK to RGB during the ripping process.

The marketplace expects the highest in quality and short turn-around times. The Lambda 76 is the ultimate production machine and "work horse" providing high quality prints with neutral grays matching exactly from edge to edge, with text and edge sharpness far surpassing the ability of any enlarger, even if the original is from a high resolution film recorder. Panel color and consistency is unmatched.

Becasue of the high image quality and productivity and the total size flexibility, the Durst Lambda 76 will allow the commercial and portrait/people labs to increase their productivity with shorter turn-around times and less paper waste.

The Durst Lambda 76 is sold as a complete working system, including the imager, DEC- Alpha workstation with Lambda software, integrated Cheetah-RIP by Dice America, X-Rite densitometer, etc.

DURST PHOTOTECHNIK AG

www.durst-online.com

Updated Post

Marlborough new gallery in Chelsea, Manhattan's newest art district

MARLBOROUGH GALLERY, NEW YORK, 

TO OPEN A NEW GALLERY IN CHELSEA

Pierre Levai, Director of Marlborough Gallery, New York, has announced that Marlborough will open a gallery in Chelsea, Manhattan's newest art district, on September 18, 1997. The addition of Marlborough Chelsea marks the ninth venue for Marlborough, which, in addition to its 57th Street location in Manhattan, has galleries in London, Madrid, and Santiago, Chile, and offices in Buenos Aires, Hong Kong, Tokyo and Zurich.

Marlborough Gallery's program in Chelsea will include exhibitions of work by artists represented by Marlborough as well as exhibitions organized by independent curators that will feature artists represented by Marlborough in addition to other artists. Furthermore, Marlborough Chelsea will house the offices of International Public Art, Ltd. the independent corporation of Marlborough Gallery Inc. formed last fall, which-under the direction of Dale M. Lanzone, formerly Director of the United States Federal Government's public art program-is committed to the development of international public art projects, with an emphasis on the integration of art, architecture, and the urban and natural environments.

"Marlborough Chelsea provides an excellent opportunity for us to continue our commitment to an expanded international presence on behalf of our artists. Moreover, the new gallery will give us an alternate forum to mount exhibitions that are unique and separate from Marlborough Gallery's 57th Street program," stated Pierre Levai.

Located at 211 West 19th Street, Marlborough Chelsea is comprised of architectural elements characteristic of downtown exhibition spaces. The 4,000 square-foot, glass storefront-which has been designed by Mr. Lanzone in collaboration with architect Eli King-features 14 foot ceilings, a concrete floor and a central row of columns.

The Marlborough Chelsea inaugural exhibition, which will be on view September 18 through October 25, will feature large-scale sculpture by gallery artists Magdalena Abakanowicz and Sir Anthony Caro, as well as Louise Bourgeois. This is Anthony Caro's first exhibition with Marlborough since joining the gallery this month. Marlborough Chelsea, 211 West 19th Street, opens to the public Thursday, September 18th. 1997. Gallery hours are Tuesday to Saturday from 10:00 a.m. to 5:30 p.m. 

MARLBOROUGH GALLERY

www.marlboroughgallery.com

British sculptor Anthony Caro - Marlborough Gallery - The artist is represented by the gallery in the USA

BRITISH SCULPTOR SIR ANTHONY CARO 

REPRESENTED BY MARLBOROUGH GALLERY 

IN THE USA

Marlborough Gallery, New York, announces that renowned British sculptor Sir Anthony Caro has joined the gallery and will be represented by Marlborough throughout the United States.

Sir Anthony Caro was born in Surrey, England in 1924. He attended the Royal Academy in London and, during that time, served as assistant to sculptor Henry Moore. Throughout his career Sir Anthony has been a dedicated educator, holding teaching positions at St. Martin's School of Art in London and Bennington College in Vermont. In 1982, he founded the Triangle Artists' Workshop, an annual gathering of sculptors and painters in Pine Plains, New York. In 1987, he was knighted for his contribution to art. Sir Anthony Caro lives and works in London.

One of the most accomplished and respected sculptors working today, Sir Anthony's work is among the most innovative of the 20th century. He has been a driving force in contemporary sculpture, and as a teacher has inspired an entire generation of younger British sculptors including Barry Flannagan, Richard Long, William Tucker, Bruce McLean and Gilbert & George. His sculptural language has evolved over the years to include works in various materials ranging from steel in different forms such as I-beams and ship's buoys, to ceramic, bronze, silver, lead and wood. Sir Anthony is continuously reinventing his art by challenging his own perceptions of scale and exploring new means with which to express his artistic vision.

Sir Anthony Caro first came to the forefront of the British contemporary art scene in the early 1960s, when he began to produce abstract, welded steel sculpture, painted in bright colors. In 1966, Sir Anthony turned his attention toward small-scale steel forms. His best-known work of this period is a series called Table Pieces. Unlike his large-scale steel sculptures which were set directly on the ground, these smaller-scale sculptures rested on table tops, making the table itself an integral part of the work. In the 1970s, he began to examine sculpture on a monumental scale and abandoned his use of painted steel for materials such as raw, unfinished steel, iron, bronze and wood. In May 1970, while a critic for The New York Times, Hilton Kramer wrote of Sir Anthony: "He is unquestionably the most important sculptor to come out of England since Henry Moore...One has the impression of an artist who, having totally mastered a new and difficult area of sculptural syntax, is now permitting himself a freer margin of lyric improvisation".

Since 1980, Sir Anthony has been predominantly interested in architecturally related sculpture. He was profoundly moved by a trip he made to Greece in 1985, in which he marveled at the relationship between the sculpture and architecture at such sites as the Parthenon, Delphi, Mycenae and Olympia. In 1987, he executed a series of works inspired by Greek pedimental sculpture, including After Olympia, a monumental work inspired by the west pediment of the Temple of Zeus. In the 1980s, Sir Anthony's interest shifted toward what he calls "sculpitecture", or works that examine the relationship and create a dialogue between architecture and sculpture. In more recent years, he has collaborated with numerous architects such as: Frank Gehry, with whom he realized the 1978 Architectural Village, a network of freely constructed wooden forms and linking walkways; and Sir Norman Foster, with whom he helped produce a winning entry for the 1996 Millennium Bridge Design competition for the first footbridge to be built over the river Thames in more than a century.

In a 1995 interview with Robert Hopper, Sir Anthony stated: "One thing that I like about the nineties is that possibilities are broader for me than they have been. I can tackle things in a fresh way. And the way forward is not clear."

Among Sir Anthony Caro's innumerable one-man exhibitions in galleries and museums worldwide are a 1992 exhibition organized by The British Council and installed amid the ruins of the Trajan Markets in the ancient Roman Forum, and the largest retrospective of his work to date organized in 1995 by the Museum of Contemporary Art in Tokyo. His sculpture is represented in more than one hundred public collections worldwide including: Boston Museum of Fine Arts; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC; Museum of Modern Art, New York; National Museum of Art, Osaka; Tate Gallery, London; and the Tel Aviv Museum, Israel.

Large-scale sculpture by Sir Anthony Caro will be included in the inaugural exhibition opening September 18 at Marlborough's new gallery in Chelsea at 211 West 19th Street, New York City. His work will also be featured in a solo exhibition at Marlborough Chelsea in the spring of 1998.

MARLBOROUGH GALLERY

www.marlboroughgallery.com