Dessins de Gauguin et Le Lorrain Records mondiaux à Drouot

Marché de l’art > Enchères > Résultat des ventes > Paul Gauguin (1848-1903)
Marché de l’art > Enchères > Résultat des ventes > Claude Gellée dit Le Lorrain (1600-1682)

Drouot Richelieu, 26 mars 2003

PIASA SA

Le 26 mars à Drouot Richelieu, la Maison de Ventes PIASA, assistée des experts MM. de Bayser, organisait une vente consacrée aux dessins anciens et aux dessins des XIXème et XXème siècles. La vente a totalisé un produit vendu de 2 252 294 € frais compris.

Une « Tête de tahitienne, de profil à gauche, vers 1892 », un pastel, crayon noir et rehauts de gouache dorée de Paul GAUGUIN (1848-1903) a été vendu 1.461.460 €. Ce dessin était signé du monogramme PGO en haut à droite. Ce prix constitue un record mondial pour un dessin de l’artiste.

« La chasse d’Ascagne dans un paysage classique », un dessin à la plume et encre brune, lavis brun et rehauts de gouache blanche et oxydées, de Claude GELLEE dit LE LORRAIN (1600-1682) a été emporté à 341.860 € par un collectionneur américain privé. Ce prix constitue un record mondial pour un dessin de l’artiste.

Argentinean artist Marcelo Pombo, Marvelli Gallery, New York

Marcelo Pombo: New Paintings

Marvelli Gallery, New York

March 27 - April 26, 2003

Marvelli Gallery presents the first New York exhibition of Argentinean artist Marcelo Pombo. This painter is part of a generation of Latin American artists exploring new forms of painting through a Surrealist inspired vocabulary. The exhibition features new paintings that suggest fantastic landscapes, cellular structures and geometric abstractions.

Marcelo Pombo’s paintings are at once primitive, romantic and extremely expressive. The images are built with layers of drips and liquid paint that skip across fields of color suggesting exploding fireworks and geometric abstractions. However, a close examination reveals that nothing in Marcelo Pombo's environment exists by accident. Each panel consists of thousands of tiny droplets of paint gently laid on top of each other to form target-like configurations. Combining visual richness with wide interpretative possibility, Marcelo Pombo employs impeccable craftsmanship and an understanding of the sensuality of his materials.

Marcelo Pombo is a prominent figure in contemporary South American art. He has exhibited at many museums and cultural centers in South America, as well as with the traveling show Space of Time, organized by the Americas Society in New York. His work has also been traveling in the USA and Colombia with Amnesia, a group exhibition of contemporary Latin American art.

MARVELLI GALLERY

526 West 26th Street, New York, NY 10001

www.marvelligallery.com

World Creative Forum at The London Design Festival

World Creative Forum launched at
The London Design Festival
23/24/25 September 2003

The inaugural World Creative Forum will be launched during The London Design Festival. This two and a half day conference on 23/24/25 September 2003, for delegates from around the world, will explore the impact of creativity on business and society. The Forum aims to become the annual focal point for the development of new ideas about creativity by attracting an international network of key people from design, business, science, education and the arts. Attending the Forum will be a mix of international and UK based delegates. They will be drawn from a broad range of sectors and backgrounds united by an interest in creative thinking and activity, enabling new dialogues and relationships to build. As well as an exploration of new thinking and ideas the Forum will offer opportunities for new business networking.

This year the Forum will take place over three floors at Bloomberg’s state of the art space in the City of London. There will be three ‘theatres’ staged simultaneously over the entire two and a half days. This means delegates will be able to make choices across keynotes, panel discussions, and ‘Insights’ from internationally renowned designers, involving over seventy speakers. The emphasis of the Forum will be to encourage participation through panel discussion, with individual keynote addresses to inspire and provide food for thought.

The speakers will be high level, international, diverse, and inspirational. The combination of speakers will draw together different perspectives around a common issue or theme. For example, dealing with IPR concerns under the heading of ‘espionage’ involving a spy, hacker, private investigator, designer, and lawyer promises a dynamic session.

There will be over 70 speakers in total, including: designer and retailer Sir Terence Conran; artist Anthony Gormley; scientist and Director of the Royal Institution Baroness Susan Greenfield; writer Iain Sinclair; educationalist Professor Stephen Hepple; Director of Artangel James Lingwood, from advertising Andy Law, and over 20 designers from a broad range of disciplines, including; Will Allsop, Rashied Din, Richard Seymour, Thomas Heatherwick, David Marks and Julia Byfield, Delegates to the World Creative Forum will be invited to attend a special reception to open both The London Design Festival and the World Creative Forum on Monday 22 September in the newly refurbished Museum of London. They will also be invited tovthe closing party for the Festival and Forum on Friday 26 September.

WORLD CREATIVE FORUM
Bloomberg LP, City Gate House, 39-45 Finsbury Square, London EC2A 1PQ
www.worldcreativeforum.com

First London Design Festival, September 2003

First London Design Festival 
20 - 28 September 2003

Details of the first London Design Festival, an innovative annual event which want to promote and celebrate London as the creative capital of the world, have been revealed the 25 March 2003.

This year’s Festival runs from 20 - 28 September. With the unique collaboration of over 30 organisations, an exciting programme of openings, exhibitions, receptions, seminars, screenings, lectures, tours and parties is planned.

The inaugural World Creative Forum will be launched during the Festival. This two and a half day conference on 23/24/25 September, for delegates from around the world, will explore the impact of creativity on business and society. The Forum aims to make London the annual focal point for the development of new ideas about creativity by attracting an international network of key people from design, business, science, education and the arts.

The Festival kicks off with London Open House weekend, followed by a stimulating series of events and activities which will be staged by Festival partners. Activities for the following partners have being announced: 100% Design and 100% Detail; The Museum of London; the Royal Society of Arts; the CBI; the DBA; the Design Museum; Designers Block; the National Portrait Gallery; D&AD; the CSD; the Barbican; the Victoria and Albert Museum; the London Institute; the Royal College of Art; the Helen Hamlyn Research Centre; the Royal Institution; the RIBA and the Crafts Council.

Many other leading organisations are supporting and/or planning events and activities. These include: the British Council; Trade Partners UK; the Design Council; APGDI; NESTA; Central London Partnership; Channel 4; London Tourist Board; as well as government departments, including the DTI and DCMS. 

John Sorrell, originator of the Festival and its chairman, said:
“I believe London is unique in its amazing range of creative talent, especially in design. It’s about time we had an annual event which celebrates and promotes London as the creative capital of the world and as the gateway to the UK’s brilliant creative industries. 

The Festival will be stimulating and great fun, but through events such as the World Creative Forum, it will also provide an international focal point for new thinking about the impact of creativity on business and society. This will enhance our international reputation and has the potential to help create new work, new jobs and new inward investment”. 

The Rt Hon Tessa Jowell MP, Secretary of State for Culture, Media and Sport said:
"I have always sought to encourage design and creative organisations to work more closely together. The London Design Festival is doing exactly that. This partnership approach is key to demonstrating the major regenerative power of design and creativity on both the economy and the quality of life of communities." 

Sir Terence Conran said:
"London is rightly recognised as one of the world's great creative centres and the World Creative Forum is a fantastic celebration of this. It should be an opportunity for informed and lively debate, to learn and share knowledge and act as the catalyst for making London the creative capital of the world." 

Lord Puttnam said:
"Britain's creative industries are not some glitzy bit-player in the UK economy, they are increasingly important as exporters and wealth creators. The London Design Festival will, I believe, both promote and enable opportunity for the wealth of creative talent we have here." 

Dame Judith Mayhew of the London Development Agency, said:
“London is the world capital for design. It is one of the fastest growing sectors in London and has a major impact on the capital’s economic base. We want to support the Festival in strengthening the design and creative sectors, attracting inward investment and encouraging new, young talent.”

LONDON DESIGN FESTIVAL
www.londondesignfestival.com

Helen Mirra, Stephen Friedman Gallery, London

Helen Mirra

Stephen Friedman Gallery, London

21 March – 19 April 2003

Stephen Friedman Gallery presents the first solo exhibition in London of new works by Chicago-based artist Helen Mirra.

Helen Mirra's varied practice includes sculpture, film, video, language and sound. The artist's minimalist works often refer to the earth, sea and sky through the consistent use of a green, blue and brown palette. Throughout her practice, an interest in the relationship between the natural world and the people who inhabit it motivate works that are elegant and poignant. A further interest in both cinema history and film structure manifests most explicitly in an ongoing group of works made of lengths of 16mm cloth, which Helen Mirra thinks of as "silent silent films".

In the front gallery, the floor sculpture Sky-wreck is constructed of large triangles cut from a coarse indigo cloth. Fragments of a flattened polyhedral form, Sky-wreck materializes an idea of the sky as firmament, literally mapping a section. A distopic Paul Celan poem and the utopian experiments of Buckminster Fuller are reference points in this sculpture.

In the back gallery, Helen Mirra presents Arrow, a sound and video work in which images of the violent Babylonian tomboy "The Mountain Girl" (Constance Talmadge) from D.W. Griffith's epic Intolerance (1916), appear briefly out of complete darkness. The work is made with the structure and timing of a thunderstorm: the flashes of image have the irregular lengths of lightning and guitar and bass parallel rain and thunder. The work can be seen as a meditation on both natural and human manifestations of violence.

Helen Mirra has exhibited in the United States and Europe. Recent solo shows in 2002 have been held at The Renaissance Society, Chicago and the Whitney Museum of American Art in New York. Group shows in 2003 include Paper Sculpture at the Sculpture Center, New York, USA; Land, Land!, at Kunsthalle Basel, Switzerland and in 2002, Art Projects, curated by James Rondeau, Art Basel, Miami, USA; Here and Now, Chicago Cultural Center, Chicago; Sudden Glory, CCAC Institute, San Francisco, USA; and in 2001, Tirana Biennial, Albania.

STEPHEN FRIEDMAN GALLERY

25-28 Old Burlington Street, London W1S 3AN

www.stephenfriedman.com

Ron Mueck: Making Sculpture at the National Gallery, London

Ron Mueck: Making Sculpture at the National Gallery, London

19 March - 22 June 2003

Ron Mueck was invited to become the National Gallery’s fifth Associate Artist in 1999, with the brief of making new work in response to the collection and this exhibition marks the culmination of his time at the Gallery. Ron Mueck is a London-based Australian-born sculptor whose extraordinary skills and manipulations of scale have produced a remarkable body of work as surprising as it is unsettling. A sculptor of the human figure, Ron Mueck has produced four new works for this exhibition, loosely related by the theme of birth and motherhood.

His career as a fine artist began when his small sculpture, 'Dead Dad' was exhibited to much critical acclaim, as part of the 'Sensation' exhibition held at the Royal Academy in 1997. Ron Mueck had worked for many years producing special effects for the film and television industry and the techniques he now uses draw heavily on the skills that he acquired during this time.

Ron Mueck starts by making an initial model of his figures in clay, from which he takes a mould and then casts out the finished pieces in silicone and fibre-glass. His work is highly realistic, with individual hairs appearing to grow through the skin, and moles, veins and blemishes that look entirely convincing. His figures seem to breathe and think and feel. However, their uncanny realism is tempered with unexpected and startling alterations of scale that can have a deep psychological effect on the spectator.

While at the Gallery, Ron Mueck was particularly struck by the fact that the infant Christ is almost always represented in paintings as a strangely unrealistic baby. As a result, he began to investigate the subject of birth and babies within his own work. 'Mother and Child', is a small and intense sculpture that shows a mother with her newborn infant, just a few seconds after its birth. 'Pregnant Woman' is a work that stands at around eight feet high. It shows a woman at the very end of her term, weighed down both literally and metaphorically by the burden she carries within her. 'Swaddled Baby' is a tiny infant securely wrapped and placed gently on a pillow. They are beautiful and poignant works that add a further dimension to this highly traditional subject of birth and motherhood. Finally, 'Man in a Boat' makes use of a battered old rowing boat in which Ron Mueck has placed a small figure of a naked man who cranes his neck as if trying to see what lies ahead.

Central to the Associate Artist scheme is the idea of making new works in response to the art of the past. The first Associate Artist was Paula Rego, in 1990. Since then Ken Kiff, Peter Blake, Ana Maria Pacheco and now Ron Mueck, have held the position. The artist is given a studio in the gallery, that he or she occasionally opens to the public. The artist also meets with pre-booked groups of art students to discuss the work they are making.

THE NATIONAL GALLERY

Trafalgar Square, London WC2N 5DN

www.nationalgallery.org.uk

Pentax - Fin de la commercialisation de certains produits photo

En application de la norme RoHS européenne, PENTAX arrête la commercialisation de certains de ses produits photo

A partir du 1er juillet 2006, certains produits Pentax ne pourront plus être commercialisés. En effet, à compter de cette date, tous les fabricants de l'Union Européenne concernés par la norme RoHS se verront dans l'obligation de ne plus vendre les produits ne répondant pas à cette directive.

La norme RoHS, abréviation de "Restriction of the Use of Certain Hazardous Substances in Electrical and Electronic Equipment" (restrictions sur l'usage de certaines matières dangereuses dans l'équipement électrique et électronique), s'applique aux produits contenant des soudures en plomb.

Pour cette raison, certains articles Pentax seront retirés de la vente dès juin 2006. Cette liste fait état de produits moyen-format notamment, essentiellement du 6x7 et de focales spécifiques.

Cependant, Pentax affirme être en cours de développement d'un boîtier moyen-format numérique et de nouvelles optiques sur 2006, compatibles avec les boîtiers moyen-format numériques et argentiques.

Vous pouvez consulter la liste des produits concernés ci-dessous.

• 39207 Station d'accueil (seulement pour l'Optio S4i)
• 39117 Batterie rechargeable Li-Ion D-LI7
• 39219 Convertisseur grand angle L-WC17 (pour Optio MX et MX4)
• 39536 Câble USB I-USB2
• 39526 Courroie O-ST5
• 39483 Batterie Li-Ion D-LI2
• 39538 Câble USB I-USB6 (pour les Optio 330RS et 430RS)
• 39487 Câble USB I-USB2 (pour les Optio 330 et 430)
• 39221 Caisson étanche O-WP2 pour Optio S4i et S5i
• 39226 Caisson étanche O-WP3 pour Optio S30 et S40
• 39185 Housse reflex O-CC10 (seulement pour le *istD)
• 27727 smc FA J 18 - 35 mm f/ 4 ~ 5,6 AL
• 27189 smc A 35 - 80 mm f/ 4,0 ~ 5,6
• 27577 smc A 80 - 200 mm f/ 4,7 ~ 5,6
• 30771 Verre dépoli GF-60
• 30772 Verre dépoli GG-60
• 37184 Dos dateur FJ MZ7/MZ-50/MZ-
• 37182 Dos dateur FG MZ-5
• 30098 Déclencheur souple 30 cm
• 37252 Adaptateur câble CA-10 pour MZ
• 37247 Câble TS 110 pour MZ-S
• 30562 Base pour fixation rapide QS-B1
• 30561 Adaptateur 645/67 pour fixation rapide QS-20
• 30560 Adaptateur 35mm pour fixation rapide QS-10
• 15742 Boîtier 645N II
• 38491 Bouchon arrière boîtier 645
• 10291 Boîtier 67II
• 38000 Viseur prisme cellule 67II AE
• 29120 smc 67 35 mm f/ 4.5 Fish Eye
• 29294 smc 67 120 mm f/ 3.5 Soft
• 29415 smc M*67 400 mm f/ 4.0 ED IF
• 29404 smc 67 500 mm f/ 5.6
• 29436 smc M*67 800 mm f/ 6.7 ED IF
• 37943 Bague d’inversion objectif Ø 49 mm
• 30367 AF-500 FTZ avec étui
• 30376 AF-160 SA
• 30324 AF- 201 SA
• 39261 Caisson étanche O-WP4 pour Optio S50
• 37209 TR Kraftteil
• 30369 Housse
• 30381 AF-280 T avec étui
• 30307 AF-220 T

Shirin Neshat, Miami Art Museum

Shirin Neshat
Miami Art Museum
March 20 - June 1, 2003

Miami Art Museum presents a compelling exhibition by celebrated Iranian-born artist SHIRIN NESHAT. The exhibition offers visitors an unprecedented opportunity to experience Shirin Neshat's work in depth through six of her internationally acclaimed video-and-sound environments and related photographs in her first major solo exhibition currently touring North America.

The exhibition, which will only be seen in Montréal, Minneapolis, Miami, and then in Houston, brings together the largest collection of Shirin Neshat's video environments ever presented including: Soliloquy of 1999, Pulse and Passage of 2001, as well as Turbulent, Rapture, and Fervor-a trilogy of films made in 1998, 1999, and 2000, respectively. The films are accompanied by mesmerizing soundtracks by such contemporary composers as Sussan Deyhim and Philip Glass.

Born in Iran in 1957, Shirin Neshat immigrated to the United States at age 17 to attend the University of California at Berkeley. In 1986, she returned to Iran for the first of several visits and found the country transformed by the Islamic Revolution. Her resulting sense of displacement and exile inspired her to create works that investigate the collision of tradition and modernity in the East and West within an increasingly globalized world. According to Shirin Neshat, she engages in "universal dialogues while keeping within the specificity of the Islamic culture."

Shirin Neshat's epic tales are told through sweeping panoramas of striking opposites: the desert and the sea; the architecture of East and West; and women of Islam in black chadors and Muslim men in crisp white shirts. The installations differ from traditional cinema in that they are seven to 17 minutes in length and present wall-sized projections, often two to a room, that play continuously. The viewers, positioned between sound and image, enter and leave as they choose.

The exhibition, presented in MAM's Upper Level Gallery, also includes 12 stunning, large-scale photographs related to the videos. Interspersed between the video rooms, the photographs encourage further contemplation by placing us at the threshold of two cultures, illuminating the differences and similarities between them.

"In presenting Shirin Neshat MAM fulfills two important aspects of its mission," said Suzanne Delehanty, MAM Director. "We are pleased to present the work of this internationally acclaimed artist to audiences in South Florida and we are committed to serving as a forum for the exchange of ideas. In this way, MAM reflects Miami's globalism and diversity."

Organized by the Musée d'art contemporain de Montréal in Quebéc, Canada. The exhibition's Miami presentation is coordinated by Lorie Mertes, curator, MAM.

A fully illustrated exhibition catalogue published by the Musée d'art contemporain de Montréal in English and in French is available. 

Shirin Neshat Biography

Born 1957 in Qazvin, Iran. Lives and works in New York. Shirin Neshat's photographs and videos have been included in many major international exhibitions, including Documenta 11, Kassel, Germany; Moving Pictures, Solomon R. Guggenheim Museum of Art, New York 2002; Arte Contemporaneo Internacional, Museo de Arte Moderno, Mexico City 2001; Lyon Biennial, Lyon, France 2000 ; Whitney Biennial, Whitney Museum of American Art, New York 2000; Carnegie International, Carnegie Museum of Art, Pittsburgh, PA 1999; the Venice Biennale, Venice, Italy 1999 ; and Trade Routes: History and Geography: 2nd Johannesburg Biennale 1997. Solo exhibitions of her work have been presented at: Castello di Rivoli, Turin, Italy 2002; Irish Museum of Art, Dublin, Ireland 2001; Barbara Gladstone Gallery, New York 2001; Serpentine Gallery, London 2000; Dallas Museum of Art, Dallas 2000; Wexner Center, Columbus, Ohio 2000; and the Art Institute of Chicago, Chicago 1999. In 1996 Shirin Neshat was awarded a grant from the Louis Comfort Tiffany Foundation.

MIAMI ART MUSEUM
101 West Flagler Street, Miami, FL 33130
www.miamiartmuseum.org

Eizo Introduces ColorEdge Series of LCD Monitors

Eizo's New LCD Monitors ColorEdge CG18 and ColorEdge CG21 for the Graphics Market at CeBIT 2003

Calibration support provides accurate color management for CTP printing, DTP, and digital photography.

CeBit, Hannover, Germany, March 12, 2003

Eizo Nanao Corporation today introduced the ColorEdge Series of LCD monitors for graphics professionals.

This series combines advanced monitor technology, Eizo's new ColorNavigation calibration software, and compatibility with the GretagMacbeth Eye-One spectrophotometer to provide accurate and consistent color performance on both the Windows and Macintosh platforms.

The first two models in the new series are the ColorEdge CG21 and the ColorEdge CG18.

EIZO is currently exhibiting both models at CeBIT 2003 in Hall 12 Booth B35.

Photo (c) Eizo Corporation - All rights reserved

David Graham, Photographs: Alone Together

 

Alone Together 

Photographs by David Graham

at The Print Center, in Philadephia

 

Photographer David Graham is best known for his portrayal of the idiosyncrasies of the American cultural landscape. The exhibition, Alone Together, on view at The Print Center, in Philadelphia, is strikingly different. The images capture a forgotten home on a small island off of the coast of Maine, called Placentia. Only David Graham would find an abandoned home in which nothing has been moved or changed for several years; although, it appears as if the owners, a retired couple, have only left for a short trip to the market. Captured in Graham's characteristically observant and direct manner, the series leads us from the shore, through the garden, into the house and the shed, and out back to the path towards the shore again. Although individually beautiful, the images as a group provide a complete impression of the couple's lifestyle: simple, organized, and efficient.

David Graham has published a number of books including Only In America (1991), American Beauty (1987), and Taking Liberties (1997). His photographs are shown extensively in the United States and Europe and have been featured in The New York Times, Newsweek, Time and Fortune.

In addition, his works are in the collections of the Art Institute of Chicago and both New York and San Francisco's Museum of Modern Art. Currently, David Graham teaches at the University of the Arts in Philadelphia.

 

Currently at The Print Center:

Forgotten Wisdoms: Prints by Linda Schwarz

Bad Girls, Good Girls: Prints by Ann Chernow 

 

ALONE TOGETHER: PHOTOGRAPHS BY DAVID GRAHAM

February 28 - May 3, 2003

THE PRINT CENTER
1614 Latimer Street
Philadelphia, PA 19103

Ann Chernow, Prints: Bad Girls, Good Girls

 

Bad Girls, Good Girls

Prints by Ann Chernow

at The Print Center, in Philadephia

 

Ann Chernow is a master of blending opposites. Past cinematic moments are overlaid with contemporary feminine attitudes; heroines become temptresses, and illusions are made familiar. By conflating these counterparts, Ann Chernow addresses concerns of the human condition.

In her prints, Ann Chernow appropriates charged cinematic moments from American movies of the 1930s and 1940s. She almost exclusively selects film-stills that feature a female character or a group of women. Although periodically a male character is incorporated into the scene, the male gaze is always present outside the picture plane. Most of Chernow's women glance out of the picture to meet his gaze-some seductively, others with vengeance and a few with confidence.

In the exhibition at The Print Center, in Philadelphia, Bad Girls, Good Girls, Ann Chernow empowers her women by adding text to each image. The women appear as objects of desire but at the same time, loudly voice their own desires, anger or revenge. Once again, Chernow blends opposing elements. The film goddess becomes an ordinary woman who is in the process of seeking and forming an identity. How her story ends is not revealed, rather it is left to the audience to complete.

Ann Chernow has exhibited widely in the United States and Europe and has been listed in Who's Who in America; Who's Who in American Art. Chernow's work is in public collections that include the Metropolitan Museum of Art, The Brooklyn Museum, Yale University Art Gallery and The National Museum of Women in the Arts.

 

Currently at The Print Center:

Forgotten Wisdoms: Prints by Linda Schwarz

Alone Together: Photographs by David Graham

 

BAD GIRLS, GOOD GIRLS: PRINTS BY ANN CHERNOW

February 28 - May 3, 2003

THE PRINT CENTER
1614 Latimer Street
Philadelphia, PA 19103

Linda Schwarz, Prints: Forgotten Wisdoms

 

Forgotten Wisdoms

Prints by Linda Schwarz

at The Print Center, in Philadelphia

 

Linda Schwarz is one of the most innovative printmakers active today. Appropriation and alteration of existing imagery lies at the heart of her work. She commonly uses text fragments, musical scores or historically based documents as a starting point. She then applies an intricate process of repeated alteration and overprinting of images (often printing on both sides of the paper) to fashion richly textured and highly detailed visual amalgams in which form and content become closely linked. Along the way, historical references are made her own, culminating in unique and compelling personal expressions.

At The Print Center, in Philadelphia, the prints exhibited by Linda Schwarz derived from historical literary sources: "Daniel Pfisterer" and "Dioskurides." Daniel Pfisterer (1651-1728), a protestant minister at Königen near Stuttgart, Germany, began a sketch-book in 1716, which he used to record personal observations of plants, insects, birds, and people. "Dioskurides" is derived from the most significant Byzantine manuscript of secular content. It is also the oldest illuminated version of the writings of Dioscorides. For more than 1500 years this work, concerning medicines and other treatments drawn from the plant, animal and mineral kingdoms, formed the undisputed basis of knowledge for doctors and pharmacists.

Linda Schwarz's print processes range from such traditional techniques as woodcut, etching and chine collé to modern innovations that include Xerox transfers, viscosity printing and acrylic glazes. Her editioned work is commonly printed on handmade paper and sometimes features handpainted additions in tempera, ink, or varnish.

Linda Schwarz's prints are collected privately and can be found in many public institutions in the United States and Europe including the Graphische Sammlung der Staatsgalerie Stuttgart, Neuer Berliner Kunstverein, Staatliche Museen zu Berlin, The Minneapolis Institute of Arts, The New York Public Library, Busch-Reisinger Museum, Boston Museum of Fine Art and the Baltimore Museum of Fine Arts.

 

Currently at The Print Center:

Bad Girls, Good Girls: Prints by Ann Chernow

Alone Together: Photographs by David Graham

 

FORGOTTEN WISDOMS: PRINTS BY LINDA SCHWARZ

February 28 - May 3, 2003

THE PRINT CENTER
1614 Latimer Street
Philadelphia, PA 19103

Ruth Weisberg, Jack Rutberg Fine Arts, Los Angeles - Love, Sacred and Profane

Ruth Weisberg: Love, Sacred and Profane

Jack Rutberg Fine Arts, Los Angeles

March 7 - April 30, 2003

Love, Sacred and Profane serves as the subject and title of an exhibition of paintings, drawings and monotypes by Los Angeles-based artist RUTH WEISBERG at Jack Rutberg Fine Arts.

In this exhibition entitled Ruth Weisberg: Love, Sacred and Profane, the artist extends her explorations to the convergence of art history and personal or collective history through layered images which express both time and memory. The exhibition derives its title from Titian’s 16th century masterpiece, Amor Sacro e Profano.

In the centerpiece of the exhibition, Ruth Weisberg echoes Titian’s painting, but disrupts its Italian landscape by inserting a large scale modern-day couple passionately embraced in dance. Ruth Weisberg says that in creating these dancers “...I also became fascinated with the history of the Tango, which like Jazz arose out of a culture of exile. Tango is the embodiment for us of attraction and passionate engagement... Overall I hope for a collision of worlds; an encounter between a Renaissance paradise and dancers in the modern world in which a core of mystery and longing persists.”

The exhibition also includes several drawings from Canto V: A Whirlwind of Lovers, a series of works especially created for The Huntington Library’s recent exhibition, in which Ruth Weisberg was the first contemporary painter ever to be commissioned for a solo exhibition at that institution. Invited to create an exhibition inspired by a work in the Huntington’s collection, Ruth Weisberg selected William Blake’s engravings for Dante’s Inferno, in which condemned lovers are endlessly buffeted in a whirlwind; close but never able to touch.

Ruth Weisberg’s work has been exhibited and represented in national as well as international museum collections such as The Whitney Museum, The Metropolitan Museum of Art, New York; National Gallery, Washington, DC; Bibliothèque Nationale de France, Paris; and Instituto Nationale per la Grafica, Rome, Italy. Ruth Weisberg is currently Dean of Fine Arts at the University of Southern California.

JACK RUTBERG FINE ARTS

357 N. La Brea Avenue, Los Angeles, CA 90036

www.jackrutbergfinearts.com

Rodney Graham, Madison Art Center - Films and Videos Retrospective

Rodney Graham
Madison Art Center
March 9 - May 25, 2003

The Madison Art Center presents the first North American retrospective of the films and videos of Vancouver-based artist Rodney Graham. In six works dating from 1994 through 2001, Graham explores the power of film and the nature of illusion. The exhibition touches on the mechanics of cinema as well as the lasting appeal of such well-known genres as the Western and the adventure movie.

In Corruscating Cinnamon Granules (1996), an apparent celestial vision is revealed to be the result of spreading household spice on an electric cooking element in a darkened kitchen. As with much of the artist’s output, the works transcend the apparent banality of their subject matter to raise profound questions about nature, technology and the human condition in a highly engaging and original way.

A trilogy of short Hollywood-inspired 35mm films starring the artist himself forms the centerpiece of the exhibition. In Vexation Island (1997), How I Became a Ramblin’ Man (1999) and City Self/Country Self (2000), Rodney Graham appears in various historical guises performing simple, ritualized actions that run the gamut from maudlin to slapstick. The events depicted are made all the more enigmatic—though no less captivating—by the fact that the films are viewed on a continuous loop.

The exhibition is framed by two works in which Graham embarks on solitary journeys. Halcion Sleep (1994) is a single-take video of the pajama-clad artist asleep in the back of a van as it travels the outskirts of Vancouver. The Phonokinetoscope (2001), Graham’s latest film, has the artist bicycling through a Berlin park after taking a hallucinogenic.

Documentary in style, these works forgo the psychedelia typically associated with altered states, focusing instead on the social and historical underpinnings of escapism.

At 53, Rodney Graham is prototypical of a generation of artists to come of age in the 1970s: conceptually oriented, fluent in various media, and highly literate in both academic and popular culture. While the artist has said he would like to have been a writer or a musician, in fact he not only scripts but records the soundtracks for his films. But Graham may best be described as a philosopher for the twenty-first century, or a kind of Everyman for the Information Age—equally at home with Freud and MTV, making meaning where art and entertainment meet. 

Rodney Graham’s work has been the subject of numerous museum and gallery exhibitions throughout North America and Europe, including a major survey last fall at the Whitechapel Art Gallery, London. In 1997 Rodney Graham represented Canada in the Venice Biennale. A photographer as well as a film maker and recording artist, he is best known for an ongoing series of large-format photographs of inverted oak trees.

Rodney Graham is organized by the Madison Art Center. The exhibition has been made possible through the generous support of J.H. Findorff & Son Inc.; the Dane County Cultural Affairs Commission with additional funds from the Madison Community Foundation and the Overture Foundation; the Elizabeth Firestone Graham Foundation; Duncan Highsmith; The Art League of the Madison Art Center; the Exhibition Initiative Fund; the Madison Art Center’s 2002-2003 Sustaining Benefactors; and a grant from the Wisconsin Arts Board with funds from the State of Wisconsin.

MADISON ART CENTER
211 State Street, Madison WI 53703
www.madisonartcenter.org

Artist Yek, Glare at Galerie Richard in Paris

 

For the first time in Europe, Galerie Jean-luc & Takako Richard exhibits YEK, a young artist born in Singapore in 1968 who lives and works in Las Vegas.

Since he was classified these recent  years by the international art press among « Best of  the 90’s », « The Best of the Op’art », and « The Top ten year », his art is very demanded and it’s a big opportunity for the European Collectors to discover his new paintings.

Presented in the recent book Vitamin P, new perspectives in painting, Yek revitalizes and reaffirms the visual power of Painting. Since 1998, he has concentrated on the square shape. His paintings aspire the viewer into an unlimited space. Yek succeeds in getting this quasi hypnotic effect by the density of color as an informal fog, by a curved canvas and by the convergence of lines focusing to the center of the painting. The result is an extraordinary visually powerful painting catching the viewer. He tends to move back and forth and sideways as if he feels a volumetric presence of the painting. 

By using airbrush painting Yek makes us penetrate into a perfectly colored space. He is a master in adventurous color combinations. Although he is using neon colors, the fluorescent colors never seem garish but subtle and sweet. There is something magic in Yek’s use of colors, or is it his ability to catch a magic moment of a combination of colors ? Could it be related to living around the neon of Las Vegas seeing it everyday in clear desert light ?

We feel that Yek draws a line in front of this color space. This line follows a rhythm of manga and cartoon, all in curves and clear-cut lines. It penetrates on the third outer space of a picture and  goes out intermittently by  extending  itself  into an  imaginary space out of  the picture.  It  is a new contemporary calligraphy. The colors of  these lines subtely vary according to the color space. This baroque line with its rhythm and shape suggests a space of dance.

Yek can be considered as a virtuoso master in his ability to give an ecstasic and dyonisac  perceptual excitement with apparently so limited means : color, space, the rhythm of a line.

YEK, Glare
March 8 - April 23, 2003

Galerie Jean-Luc & Takako Richard
51-53, rue Saint-Louis en l’Ile  
75004 PARIS

 

Previous exhibitions at this contemporary art gallery

Risa SATO, Risa Campaign, February 1 - February 26, 2003

Estelle ARTUS, Christophe AVELLA-BAGUR, Richard CONTE, Anne-Valérie GASC, Bernard GUELTON, Risa SATO, Yann TOMA, Christophe VIART, Qu'est-ce que l'Art domestique?, January 22 - 28, 2003

Kiyoshi NAKAGAMI, Recent paintings, November 30, 2002 - January 21, 2003

Christophe AVELLA-BAGUR, On the Edge (Paintings 1990-2002), October 5 - November 7, 2002

 

Next exhibitions at this contemporary aty gallery

Paul Henry RAMIREZ, Elevatious Transcendsualistic, April 26 - June 7, 2003

Hervé HEUZE, Paysages - Peintures récentes, June 14 - August 30, 2003

Carl FUDGE, September 6 - October 14, 2003

Adam ROSS, The City at Night Dreaming of Itself, October 18 - November 18, 2003

Stefan HOENERLOH, Cities made in Magrathea, November 22, 2003 - January 13, 2004

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Portable Photography with Digital Benefits - Henrik Hakonsson Point of View

PMA 2003 - Phase One announces a wide range of portable solutions. Henrik Hakonsson, CEO at Phase One states: “Portability is one of the buzzwords in our business today. However, ‘being portable’ is much more than just memory cards and cables. It is about providing a digital solution that helps the professional photographer to carry out his work on location WHILE benefiting from the great advantages that digital photography provides! This is very important to keep in mind!” Henrik Hakonsson also remarks that location work can be expensive: Travelling expenses, model salaries, equipment leasing. For this money clients require perfect pictures. And perfect pictures require flexible solutions. On location you face several challenges, most of them you would never have to worry about in a controlled studio environment. There are four basic requirements that must be met in order to fully benefit from shooting digitally on location: 1. The ability to validate the image quality (exposure, focus, grey balance) as well as the subject (expression, distance, angle). 2. Unlimited storage capacity. 3. Easy camera handling and freedom of movement. 4. Maximum productivity from capture to final image. A fashion photographer would prioritize these requirements differently from a nature photographer. However, whether photographer feel preview capabilities are more important than complete portability, the important point is that he should not compromise. “Most suppliers of portable solutions focus on portability and freedom of movement. Good argument! However, what about making sure the image is in the box? Your clients pay for perfect pictures not wireless cameras. With film you did a polaroid, with Phase One you look at the raw file on a detailed 6.4” high resolution screen or as an extra security the image is processed at review in Adobe Photoshop®. The software enables you to quickly check focus, set the grey balance and make sure that the entire composition is okay.” Henrik Hakonsson remarks. Computers are easy to bring on location, which is why it is possible to focus on the advantages of two component solutions: Today you can store up to a 1,000 images on a 20 GB hard disk on the world’s smallest full blown computers. The capture software gives audio warnings if the exposure is off. The 6,4” monitor provides user with the very best preview options. And by attaching a tiny Vaio U3 computer to Phase One’s very handy belt solution photographer can climb ladders, rocks or walk on beaches without even noticing the computer. “Our portable philosophy is to never limit ourselves in term of technology. We want to move forward all the time and continue to test new hardware components. As soon as these comply with our requirements and more importantly the photographer’s: Ease of use, flexible connectivity and intuitive workflow, we have a brand new portable solution”. “You can even bring Phase One’s award-winning workflow software with you if you prefer shooting with your Nikon’s or Canon’s PRO DSLR camera. We have portable solutions for all photographic applications: 1. Working with crew: Phase One camera back, G4 titanium and advanced Capture workflow software. 2. Working alone: Phase One camera back, belt solution with Vaio U3 and advanced Capture One workflow software. 3. Nikon/Canon PRO DSLR cameras and advanced Capture One workflow software. All of these solutions can be combined anyway you prefer in order to fulfil your personal needs. That’s what we call flexibility!” - Henrik Hakonsson.

Phase One H 25 announced at PMA 2003

PMA 2003 In September last year Phase One announced the up-coming release of the Phase One H 25. Henrik Hakonssen, CEO at Phase One states: “Our commercial knock-out: the Phase One H 25 is on schedule and will be released in July 2003 exactly like we promised in September. Many photographers have already shown a huge interest in the product, and the first orders have already been placed.” Best in every class: 6, 11, 16, 22: The Phase One H 25 is the camera back for the commercial photographer, to whom quality and workflow are equally important. Phase One’s mission is to always deliver the best image quality within every CCD sensor class and the new H 25 with a 22 megapixel CCD and imaging area of 1.4 x 1.9”/ 36 x 48 mm is no exception. On top of this, the H 25 delivers moiré free images and a broader dynamic range that any other camera back. “We made a promise to our customers a long time ago that if you buy a Phase One digital back you can be absolutely sure that it delivers the best image quality in its sensor class”. 40 captures per minute! Quality is not everything professional photographers often face tight deadlines and it is therefore equally important that their digital workflow is optimized for high volume production. To meet this demand the H 25 is based on an entirely new high performance hardware platform that has a huge affect on the overall productivity of the back i.e. capture rate and raw-file handling. The H 25 will become the industry’s benchmark both in terms of image quality and productivity. No need to wait for the new release: “It is essential for our business that we produce a camera back that targets new segments within commercial photography and at the same time is available as an attractive upgrade for our huge and loyal customer base. Professional photographers, who wish to buy Phase One should not put their decision on hold due to a new release. Therefore, we offer them a unique upgrade opportunity: Buy an H 10 or H 20 now and upgrade to an H 25 later and we’ll only charge the price difference between the two backs.”, says Henrik Hakonsson. The Phase One H 25 mounts on Hasselblad 6x6, Mamiya RZ and large format cameras via Phase One's FlexAdaptor. The Phase One H 25 starts shipping in September 2003. Suggested retail price is $29,990.00. 71242 Phase One H 25 for Hasselblad 71244 Phase One H 25 for Mamiya RZ