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.