WANAFOTO: 12/2014

27/12/14

The photograph and Australia, Art Gallery of NSW, Sydney

The photograph and Australia
Art Gallery of New South Wales, Sydney
21 March - 8 June 2015
Queensland Art Gallery
June - September 2015

DAVID MOORE

Migrants arriving in Sydney 1966

Gelatin silver photograph

Art Gallery of New South Wales, gift of the artist 1997

The photograph and Australia at the Art Gallery of NSW is the largest exhibition of Australian photography held since 1988 that borrows from collections nationwide and looks at the history of the medium.

Reflecting an evolving image of Australia from the 1840s until today, The photograph and Australia presents more than 400 photographs by more than 120 artists, including Morton Allport, Richard Daintree, Paul Foelsche, Samuel Sweet, JJ Dwyer, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Tracey Moffatt, Robyn Stacey, Ricky Maynard, Anne Ferran and Patrick Pound.

The works of renowned artists and those considered to be national icons are shown alongside those by unknown photographers and everyday material, such as domestic albums and postcards. The photographs in this exhibition tell people’s stories, illustrate where and how they lived, and communicate official public narratives. Scientific photography such as the earliest Australian X-rays and astronomical photographs appear alongside contemporary representations of people and place.

Sourced from more than 35 private and public collections across Australia, England and New Zealand, including the National Gallery of Australia, the National Library of Australia and the State Library of Victoria, The photograph and Australia uncovers hidden gems dating from 1845 until now.

From mass media’s evolution in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography has been harnessed to create the idea of a nation and reveals how our view of the world, ourselves and each other has been changed by the advent of photography.

It also explores how photography operates aesthetically, technically, politically and in terms of distribution and proliferation, in the Australian context. Highlights include works by Australia’s first professional photographer, George Goodman and recent works by Simryn Gill.

Curated from a contemporary perspective, the exhibition takes a thematic rather than a chronological approach looking at four interrelated areas: Aboriginal and settler relations; exploration: mining, landscape and stars; portraiture and engagement; collecting and distributing photography.

Exhibition curator, Judy Annear, senior curator, photographs, Art Gallery of NSW, said: ‘We are proud to present The photograph and Australia, an exhibition that considers how the photograph invented modern Australia.

Audiences are invited to experience the richness of Australian photography, past and present, and the sense of wonder the photograph can still induce through its ability to capture both things of the world and the imagination.’

Director Michael Brand stated: ‘We hope that The photograph and Australia will contribute to an understanding of the richness and complexity of the medium and provide impetus for further explorations of the photograph’s production, function and dissemination in this country. We trust that in doing so, it will also help place Australian photography in a broader international context.’

A richly illustrated publication will accompany the exhibition, reflecting the exhibition themes and investigating how Australia itself has been shaped by photography.

There will be related education programs, digital resources, a substantial film program and live events. A major symposium will also be held at the Art Gallery of NSW on 18 April addressing the proliferation and distribution of photographic images.

The photograph and Australia will be open to the public at the Art Gallery of NSW in the major exhibition gallery from 21 March to 8 June 2015, before travelling to the Queensland Art Gallery, where it will be open to the public from June to September 2015.

Art Gallery of NSW - Sydney - Australia
www.artgallery.nsw.gov.au

Taking it all away: MCA Collection, Sydney

Taking it all away: MCA Collection
Museum of Contemporary Art , Sydney, Australia
Through 22 February 2015

Stuart Ringholt

Untitled (Clock), 2014, clockwork, tubular bells, world globe, steel, glass, electronics

Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2014

Installation view Stuart Ringholt: Kraft, Monash University Museum of Art, Melbourne, 2014

Image courtesy the artist and Milani Gallery, Brisbane © the artist, photograph: Andrew Curtis

What might happen if you took away time, so a 24-hour day passed in just 18 hours? What are you left with once 260 volunteers have spent five years erasing a magazine by hand – page by page? These questions about our relationship to time, and how it might be spent and measured, represent one line of enquiry within Taking it all away, an exhibition of works drawn from the Museum of Contemporary Art Collection that is on display this summer.

Taking it all away: MCA Collection presents works that speculate upon the continued importance of Minimalism and conceptual art, the processes of erasure and abstraction, and the social impact of art.

The exhibition includes work by Gordon Bennett, Christian Capurro et. al. (featuring Chris Bond), Peter Cripps, Gail Hastings, Robert Hunter, Rose Nolan and Stuart Ringholt. It presents recent works acquired by the MCA Foundation, along with artworks drawn from the MCA Collection.

Exhibition highlights include Christian Capurro’s erased magazine, which passed through the hands of 250 people over five years and Stuart Ringholt’s 18-hour clock, which explores not only the potential impact of time being taken away but also cosmology and our place within a vast universe.

In different ways Peter Cripps, Gail Hastings and Robert Hunter explore how art activates our senses of spatiality and temporality, requiring not only our occupation of space but also our input of time and contemplation. Through mirrored surfaces, subtle painted grids or objects to walk around, these works map out the interaction between gallery and spectator.

Gordon Bennett’s soft ground etchings featuring black squares directly reference the origins of abstraction, while Rose Nolan’s banners recall the radical aesthetics of Constructivism’s political slogans. Yet hers are a call to arms of a more individualistic nature, in which party ideology is pared down to personal anxiety.

Natasha Bullock, MCA Senior Curator said ‘If there is a link between the diverse works by the artists featured in Taking it all away it is in their exploration of the dynamics of space and time, set against the complexities of modern life.’

The museum dedicates this exhibition to the memory of artists Gordon Bennett and Robert Hunter, who both sadly passed away during its development.

ARTIST LIST
Gordon Bennett was born 1955, Monto, Queensland. Lived and worked Brisbane. Died Brisbane 2014.
Christian Capurro was born 1968, Dampier, Western Australia. Lives and works Melbourne.
Peter Cripps was born 1948, Melbourne. Lives and works Melbourne.
Gail Hastings was born 1965, Perth. Lives and works Sydney.
Robert Hunter was born 1947, Melbourne. Lived and worked Melbourne. Died Melbourne 2014.
Rose Nolan was born 1959, Melbourne. Lives and works Melbourne.
Stuart Ringholt was born 1971, Perth. Lives and works Melbourne.

Museum of Contemporary Art Australia
www.mca.com.au

26/12/14

Weegee: At the Movies! Bow Tie Chelsea Cinemas, NYC

Weegee: At the Movies!

Bow Tie Chelsea Cinemas, NYC

Through June 14, 2015

WEEGEE, [Girls laughing at movie, New York], ca. 1943.

with infrared film

Fourteen images by Weegee—best known for his tabloid photographs of New York City’s crime scenes, urban crowds, and nightlife in the 1930s and ’40s—are on display on the second floor of the Bow Tie Chelsea Cinemas (260 West 23rd Street) to celebrate the theater’s reopening. The photographs are part of a series Weegee made in New York City theaters in the mid-1940s with infrared film.

From bemused children to entwined couples, lonely sleepers to exhilarated teenage girls, this gallery of portraits constitutes a powerful, unique, and moving tribute to cinema lovers. The passion conveyed in these images—their lyricism, magic, and poetry— remind us of the quintessential role played by the arts, and specifically still and moving images, in our society.

The photographs exhibited here are part of the Weegee archive, representing the largest holding of this master photographer’s work, which is housed at the International Center of Photography. The archive containing nearly 20,000 prints, negatives, tear sheets, manuscript drafts, correspondence, and other personal memorabilia.

Weegee: Biography

Weegee was born Usher Fellig on June 12, 1899, in the town of Lemburg (now in Ukraine). He first worked as a photographer at age fourteen, three years after his family immigrated to the United States, where his first name was changed to the more American-sounding Arthur. Self-taught, he held many other photographyrelated jobs before gaining regular employment at a photography studio in lower Manhattan in 1918. This job led him to others at a variety of newspapers until, in 1935, he became a freelance news photographer.

He centered his practice around police headquarters, and in 1938 he obtained permission to install a police radio in his car. This allowed him to take the first and most sensational photographs of news events and offer them for sale to publications such as the Herald-Tribune, Daily News, Post, the Sun, and PM Weekly, among others.

During the 1940s, Weegee’s photographs appeared outside the mainstream press and met success there as well. New York’s Photo League held an exhibition of his work in 1941, and the Museum of Modern Art began collecting his work and exhibited it in 1943. Weegee published his photographs in several books, including Naked City (1945), Weegee’s People (1946), and Naked Hollywood (1953). After moving to Hollywood in 1947, he devoted most of his energy to making 16-millimeter films and photographs for his “Distortions” series, a project that resulted in experimental portraits of celebrities and political figures. He returned to New York in 1952 and lectured and wrote about photography until his death on December 27, 1968.

Weegee’s photographic oeuvre is unusual in that it was successful in the popular media and respected by the fine-art community during his lifetime. His photographs’ ability to navigate between these two realms comes from the strong emotional connection forged between the viewer and the characters in his photographs, as well as from Weegee’s skill at choosing the most telling and significant moments of the events he photographed. ICP’s retrospective exhibition of his work in 1998 attested to Weegee’s continued popularity; his work is frequently recollected or represented in contemporary television, film, and other forms of popular entertainment.

About Bow Tie Cinemas, New York

Founded by B.S. Moss in 1900, four generations of family ownership have guided Bow Tie Cinemas from its origins in Vaudeville to its current holdings of fifty-five theaters in the eastern United States. 2015 marks the 115th anniversary of Bow Tie Cinemas and the completed renovation of its flagship Chelsea Cinemas in Manhattan. In addition to a permanent photography exhibit curated by The International Center of Photography, the all-new Chelsea Cinemas’ upgrades will include: luxury seating and reserved seating, a new lobby and interior box office, concession stands and enhanced food offerings.

About ICP, New York

The International Center of Photography (ICP) is the world’s leading institution dedicated to the practice and understanding of photography and the reproduced image in all its forms. Through our exhibitions, educational programs, and community outreach, we offer an open forum for dialogue about the role images play in our culture. Since our founding, we have presented more than 700 exhibitions and offered thousands of classes, providing instruction at every level. ICP is a center where photographers and artists, students and scholars can create and interpret the world of the image within our comprehensive educational and archival facilities. Visit www.icp.org for more information.

23/12/14

On Kawara, Silence at the Guggenheim Museum, New-York

On Kawara, Silence

Solomon R. Guggenheim Museum, New-York

February 6 - May 3, 2015

The Solomon R. Guggenheim Museum will present the first comprehensive exhibition of the work of ON KAWARA (1933-2014), the broadest representation to date of his practice since 1963. On Kawara—Silence invites the viewer to consider a body of work that engages the nature and experience of time and place.

Installed along the spiral ramps of the museum according to a framework of 12 sections, or “chapters,” devised by the artist, the exhibition features work from 1963 through 2013 and includes every category of On Kawara’s output, much of it produced during his travels across the globe: monochrome Date Paintings (from the Today series); telegrams (the I Am Still Alive series); stamped tourist postcards (the I Got Up series); city maps marked with the route taken by the artist on a given day (the I Went series); lists of names of people encountered that day (the I Met series); newspaper cuttings (the I Read series); a complete inventory of paintings (the Journals); and vast calendars (One Hundred Years and One Million Years). Numerous drawings produced in Paris and New York in 1964, which are fascinating proposals for unrealized works, and Kawara’s only two extant paintings of 1965, Location and Title, which herald the Today series, offer a historical perspective and indicate the emergence of the pictorial idiom he continued to pursue throughout his career. The exhibition also presents three months of consecutive Today paintings, identified by the artist collectively as Everyday Meditation, part of which was displayed in the 1971 Guggenheim International Exhibition. As part of the One Million Years project, a continuous live recitation of dates from an immense ledger will occur three days a week during the run of the exhibition on the ground floor of the Guggenheim rotunda.

Born in Kariya, Japan, ON KAWARA achieved early recognition during the 1950s as a young member of the Tokyo avant-garde. The artist left Japan in 1959, moving first to Mexico City and then to Paris before settling in New York City. During that period of relocation, he abandoned his early surrealistic representations of the body. In 1966 his practice acquired the form it would take thereafter—the intermittent yet persistent production of paintings and other works, most of which serve to identify the time and place of the artist’s whereabouts on the day they were made.

On Kawara’s work is often associated with the rise of Postminimal and Conceptual art. Yet in its complex wit and existential reach, it also stands well apart. At the heart of On Kawara—Silence are paintings from the Today series, created over the course of seven decades according to intensive protocols. With each painting, the date is inscribed in white acrylic against a monochromatic ground in variants of blue, red, or very dark gray, in the language of the place where the painting was made. The strict range of dimensions for the Date Paintings is preordained, and the process of making them is seemingly mechanical, although the paintings were, in fact, meticulously produced by hand. A painting was either finished in the course of a given day or destroyed. On some days, two, and, very occasionally, three, were made. The exhibition presents over 150 Date Paintings, many accompanied by the handmade storage boxes that Kawara often lined with cuttings from the daily press. Such cuttings, representing topics both historical and banal—politics, natural disaster, celebrity, space exploration, sports—place Kawara’s work in a context of current events, although any logic of selection is difficult to discern.

“I Got Up.” “I Went.” “I Read.” “I Met.” Much of Kawara’s work deploys such first-person declarations, which seem to designate little more—yet nothing less—than his very being in the world. More than 1,500 tourist postcards, addressed, stamped, and mailed to friends and acquaintances including artists, gallerists, collectors, critics, and curators such as John Baldessari, Germano Celant, Herman Daled, Kasper König, Sol LeWitt, Lucy Lippard, Toshiaki Minemura, and Adrian Piper bearing the message “I GOT UP AT,” followed by the precise time Kawara began his day, are featured in On Kawara—Silence. The exhibition also includes city maps upon which the artist traced his route in a single day, and more than 100 telegrams delivered between 1969–2000, each bearing the simple message “I AM STILL ALIVE.” These series, produced according to their own set of rules, record the basic activities of the artist’s life. Like the Date Paintings, they appear to be purely systematic. While close examination reveals the work’s unexpectedly personal qualities—not least the discipline and endurance implied by the artist’s relentless record keeping—indications of personal experience are elusive. Throughout his lifetime, the artist’s official biography consisted only of the number of days he had been alive. The schematic nature of his oeuvre means that, despite its subjective nature and focus on self-examination, it remained surprisingly abstract.

On Kawara said very little about his art and preferred to leave much about it unexplained. He did, however, identify one central theme: human consciousness, an individual’s heightened awareness of his or her existence in the world. Kawara also said that a Date Painting represents a paradox—that each painting forever signifies the present by bearing the name and date of the day it was made, yet once the day is over, that present belongs only to the past.

Exhibition curator Jeffrey Weiss observes that Kawara’s work represents an expansive practice, a field of operations and activities that occur over time according to remarkably consistent terms: “The artist believed the best way for us to engage his work was by direct encounter, through which we can discover its relevance to our own lives.”

On Kawara—Silence is organized by Jeffrey Weiss, Senior Curator, Solomon R. Guggenheim Museum, with Anne Wheeler, Assistant Curator, Solomon R. Guggenheim Museum, in close cooperation with the artist.

The Leadership Committee for On Kawara—Silence is gratefully acknowledged for its support, with special thanks to David Zwirner, New York/London; Glenstone; Leonard and Louise Riggio; and Konrad Fischer Galerie, Düsseldorf and Berlin.

This exhibition is also supported by the National Endowment for the Arts.

On Kawara—Silence: Exhibition Catalogue

On Kawara—Silence will be accompanied by an exhibition catalogue with essays contributed by Jeffrey Weiss and Anne Wheeler as well as artist Daniel Buren; Whitney Davis, George C. and Helen N. Pardee Professor of History and Theory of Ancient and Modern Art, University of California at Berkeley, and Visiting Professor of History of Art, University of York; Maria Gough, Joseph Pulitzer Jr. Professor of Modern Art, Harvard University; Ben Highmore, Professor of Cultural Studies, University of Sussex; novelist and critic Tom McCarthy; and Susan Stewart, Avalon Foundation University Professor of the Humanities and Director of the Society of Fellows in the Liberal Arts, Princeton University. Featuring more than four hundred images and available in four different colors of cover that correspond with the monochromes of artist’s Date Paintings, the book will offer authoritative descriptions of each category of the artist’s work and will be available for $65 in a hardcover edition beginning in February at guggenheimstore.org.

14/12/14

Austin Osman Spare, Charles Joshua Chaplin, Jean-Gabriel Domergue, Albert Houthuesen at Roseberys Fine Art Auction, London

Austin Osman Spare, Charles Joshua Chaplin, Jean-Gabriel Domergue, Albert Houthuesen

Roseberys Fine Art Auction, London

9 December 2014

Having trained initially as a draughtsman through a scholarship at the Royal College of Art, Austin Osman Spare (1886 - 1956) went on to be the youngest entrant at the 1904 Royal Academy Summer Exhibition. Despite initial acclaim Spare’s career went in to decline after a spell as the official war artists during the First World War, and he spent the 1920s living in abject poverty in London. A growing interest in surrealism during the 1930s saw his career resurrected by a small following of critics and collectors citing him as an early precursor to the surrealist movement. Spare’s work draws on preoccupations with symbolism and art nouveau, as well as his emphasis of the unconscious mind, much of which can be seen in “Galaxy”.

The old master section of the auction saw classic French artists achieve high prices with an oil on canvas by the salon painter and printmaker Charles Joshua Chaplin (1825 - 1891) selling for £4,560. Entitled “The Seamstress” the beautiful portrait of a young lady, for which Chaplin is most famous. Dated 1869, the picture encompasses elements of the artists later, more sensual, style which was popular with members of the French high society during the French Third Republic. A member of the Académie royale de peinture et de sculpture, and an artist who exhibited widely, Charles Joshua Chaplin was one of the most popular and celebrated artists of his time.

Three oil on panels entitled “Carnaval à Venise” by the French painter Jean-Gabriel Domergue (1889 - 1962) also attracted a great deal of interest. Created between 1927 and 1928, the works were produced for a Parisian restaurant and are signed by the artist who is best known for his portraits of Parisian women. Within his lifetime Jean-Gabriel Domergue painted over 3,000 portraits of women, and his classical but fashionably elegant style makes him an instantly recognisable artist, and one that was popular amongst high society. During his career the artist turned his hand to designing dresses and accessories for various couturiers including Paul Poiret and Henry Marque, an influence which can very much be seen in the costumes in “Carnaval à Venise”. The three panel painting sold for £4,320.

Elsewhere in the sale a selection of six works by the Dutch born British artist Albert Houthuesen (1903 - 1979) from the art collection of the former St. Gabriel’s College in Camberwell, London sold well above estimate. A former teacher at the college, it was the artwork he had collected that formed the art collection that was curated by his wife Catherine Dean. Albert Houthuesen worked alongside Henry Moore, Barbara Hepworth, Edward Burra, Ceri Richards and Cecil Collins at The Royal College of Art during the 1920s, but worked in isolation for the remainder of his career. Heralded as one of the future great figures of post-World War II Western art, his work has been acquired by many of the most prominent art galleries and collectors. From the six painting collection offered for sale, an oil on canvas of a colliers miner smoking a pipe drew the greatest interest. Albert Houthuesen himself said of painting the miners at the Point of Ayre Colliery “In the evening, I would watch the colliers walking back from the Point of Ayre Colliery. It was the first time I’d seen these fellows. They came into that village absolutely black so that until eventually I came to know them and saw them washed, I couldn’t recognise them as being the same men. Sometimes I would just begin to ask one or two colliers if they would sit.” The portrait sold for £3,600.

ROSEBERYS

70-76 Knights Hill, London SE27 0JD

www.roseberys.co.uk

13/12/14

Gu Changwei at MoCA Shanghai - “ i ” Contemporary Art of GU Changwei

“ i ” Contemporary Art of GU Changwei
Museum of Contemporary Art, Shanghai
December 13, 2014 - March 31, 2015

The Museum of Contemporary Art Shanghai presents an exhibition of works by Gu Changwei.

One of China’s most famous film directors today, Gu Changwei began studying art in his pre-college days. In 1978 he was enrolled into the Cinematography Department of Beijing Film Academy as his entry to the movie industry. His practice and exploration of contemporary art, however, has so far remained largely unknown to the public. In this sense, “ i ” Contemporary Art of Gu Changwei is a presentation of his art works after years of silent accumulation.

In this exhibition, the artist used different media including video, two dimensional pieces, and installation. All the works are closely linked to our day-to-day lives and yet they have represented an unexpected and extraordinary splendor. In front of these works, we question on ourselves and derive all kinds of solutions, which also hide behind the artist's interpretation of the contemporary social values, and thinking of the current physical existence.

This solo exhibition is not intended as a summary or extension of Gu Changwei’s achievements as an artist. Rather, it marks a beginning with a unique perspective, a sober-minded meditation expressed with passion. Here and now, we will see an old friend of ours opening up his brave new world of “ i ” to us.

To explain his motivation in creating these works, Gu Changwei quotes from Marcel Duchamp: “Art is not about itself but about the attention we bring to it.”

The curator of this exhibition, Kong Chang’an was among the curators and organizers of the China/Avant Garde ‘89. In the early 1990s, as an eminent art critic, he introduced China’s contemporary art to the West through Flash Art, a world-famous art magazine. Besides, he is the first Chinese curator to work for the 45th Venice Biennale in “Aperto” in 1993. In recent years, Kong has been more involved in research and practice on visual/video art in the United States.

“ i ” Contemporary Art of Gu Changwei at the MoCA Shanghai is a display of contemporary art based on the trans-disciplinary cooperation between a celebrated film director and a senior curator and on an intellectual dialogue by means of visual/video art. For China’s art circles, it will be the year’s finale notable for its flickering novelty.

Organized by the Museum of Contemporary Art, Shanghai

Curator: KONG Chang’an

MUSEUM OF CONTEMPORARY ART, SHANGHAI
People's Park, 231 West Nanjing Road, Shanghai
www.mocashanghai.org

Updated 30.06.2019

07/12/14

Bon Boullogne (1649-1717), Musée Magnin, Dijon - Un chef d’école au Grand Siècle

Bon Boullogne (1649-1717)

Un chef d’école au Grand Siècle

Musée Magnin, Dijon

5 décembre 2014 – 5 mars 2015

Cette rétrospective a pour vocation de faire redécouvrir l’oeuvre de Bon Boullogne qui, avec Charles de La Fosse, Jean Jouvenet, Antoine Coypel et Louis de Boullogne, fut l’un des cinq plus célèbres peintres d’histoire de la fin du règne de Louis XIV. Lors des expositions Les Peintres du Roi-Soleil (1968), Les Amours des Dieux (1990), La Peinture française au Grand Siècle (1994), aucune peinture de Bon Boullogne n’était présentée.

La production de Jouvenet, La Fosse et Coypel nous est connue par de nombreux travaux ; le cabinet des arts graphiques du Musée du Louvre a consacré une exposition aux dessins de Louis de Boullogne en 2010. Bon Boullogne n’a quant à lui jamais été l’objet d’un travail de fond, ce qui tient sans doute à la difficulté à reconstituer son oeuvre. De fait, dès 1745, Dézallier d’Argenville avait remarqué le caractère protéiforme de la production de Bon Boullogne. Et s’il est vrai que son oeuvre tend à échapper aux méthodes de classement, il adopta néanmoins une manière relativement constante : passées les années 1690, un véritable répertoire formel commença à voir le jour. C’est ainsi qu’une trentaine d’oeuvres de sa main ont pu être identifiées dans les musées de France et collections privées.

L’oeuvre de Bon Boullogne est diversifié, tant du point de vue des genres que des techniques. Tantôt imite-t-il les grands Bolonais, tantôt réalise-t-il des pastiches des petits maîtres hollandais du Siècle d’or. Cette dimension insolite apparaîtra dans l’exposition, de même que le rôle considérable que Bon Boullogne joua sur le plan de l’enseignement. Non seulement la plupart des peintres français actifs au tournant du siècle furent formés dans son atelier, mais en multipliant les sujets mythologiques peuplés de nudités, Bon Boullogne posa également les bases du goût qui allait prévaloir dans la première moitié du XVIIIe siècle. L’exposition permet d’enrichir notre perception de l’histoire de l’art, au nom de laquelle une rupture aurait eu lieu à partir de la Régence. Dès les années 1690, les tableaux de Bon Boullogne montrent que la transformation était déjà en cours.

Cette exposition est organisée par la Réunion des musées nationaux - Grand Palais et le musée Magnin.

Commissariat général : Rémi Cariel, conservateur en chef, directeur du musée national Magnin

Commissariat scientifique : François Marandet, historien de l’art, spécialiste de Bon Boullogne

MUSÉE MAGNIN

4 rue des Bons-Enfants, 21000 Dijon

www.musee-magnin.fr

03/12/14

Editions limitées, Galerie Maeght, Paris

Editions limitées

Galerie Maeght, Paris

5 décembre 2014 - 17 janvier 2015

La Galerie Maeght met à l’honneur la richesse du métier d’éditeur d’art. « Editions limitées » originales : gravures, lithographies, phototypies et livres de bibliophilie des plus grands maîtres dialoguent avec les oeuvres récentes de jeunes artistes.

L’exposition présente des oeuvres rares de Valerio Adami, Jean Bazaine, Georges Braque, Pol Bury, Alexandre Calder, Marc Chagall, Eduardo Chillida, Jean Cortot, François Fiedler, Gérard Gasiorowski, Joan Miró, Jean-Paul Riopelle, Guy de Rougemont, Pierre Tal-Coat, Antoni Tapiès, Raoul Ubac, Manolo Valdès et Bram Van Velde. Leur répondront Enzo Cucchi, Marco Del Re, Luc Doerflinger, Cécile Granier de Cassagnac, Ra’anan Levy, Pierre Roy-Camille et W4.

Valerio Adami, Placard Derrida, 1976.

Lithographie originale, 74 x 100 cm.

Des chefs d’oeuvre. L’exposition présentera des oeuvres gravées de Georges Braque ou Eduardo Chillida aux côtés de gravures ou lithographies originales de Joan Miró, Bram Van Velde ou encore Jean-Paul Riopelle.

L’ensemble réuni par Isabelle Maeght parcourt plus de cinquante années d’édition et témoigne de la richesse du dialogue entre artistes, poètes, imprimeurs, relieurs et graveurs. Ensemble, ils dépassent les limites de l’édition traditionnelle pour réaliser des oeuvres gravées et ouvrir de nouveaux horizons. « Un très bel ouvrage de bibliophilie, une gravure originale de Joan Miró ou une lithographie originale de Georges Braque, ce sont des années de patience et de ferveur, des techniques virtuoses, une immense poésie : des oeuvres d’art à part entière », précise Isabelle Maeght. Avec plus de 12 000 titres publiés, Maeght Éditeur est aujourdhui reconnu comme le plus important éditeur de lithographies et de gravures originales au monde.

La collection des « Placards » porte l’empreinte de ces échanges entre arts graphiques, littérature et poésie. Ainsi, à l’initiative de la Galerie Maeght, poètes, écrivains et artistes collaboré étroitement sur des lithographies originales de grand format : Valerio Adami et Jacques Derrida, Jean Bazaine et André Frénaud, Pol Bury et Honoré de Balzac, Eduardo Chillida et Edmond Jabes, Jean Cortot et Guillaume Apollinaire, Gérard Gasiorowski et Gilbert Lascault, Pierre Tal-Coat et Jean Daive, Antoni Tapiès et Brossa Joan Brossa, etc. A redécouvrir.

Pierre Tal-Coat, Placard Daive, 1978.

Lithographie originale, 55,7 x 76,2 cm.

Jean Bazaine, Placard Frénaud, 1977.

Lithographie originale, 65 x 85 cm.

Jean Cortot, Placard Apollinaire,1996.

Lithographie originale, 68 x 99 cm.

Eduardo Chillida, Placard Jabes, 1975.

Lithographie originale, 60 x 96,5 cm.

La série des eaux-fortes originales de Jean Cortot témoigne du lien étroit entre artistes, écrivains et poètes. Dès 1974, Jean Cortot réalise une oeuvre singulière, fondée sur une étonnante symbiose entre écriture et peinture. Dans cette série, l’artiste rend hommage aux grands écrivains, philosophes, poètes et musiciens qu'il aime, notamment Guillaume Apollinaire, Jacques Audiberti, Blaise Cendrars, René Char, Michel Déon, Paul Éluard, Max Jacob, Pierre-Jean Jouve, Mallarmé, Fernando Pessoa, Pétrarque, Raymond Queneau et Jean Tardieu.

Jean Cortot, Paul Eluard, 2008.

Eau-forte originale éditée à 35 exemplaires, 25 x 33 cm.

Jean Cortot, Guillaume Apollinaire, 2002.

Eau-forte originale éditée à 35 exemplaires, 25 x 33 cm.

Jean Cortot, Max Jacob, 2008.

Eau-forte originale éditée à 35 exemplaires, 25 x 33 cm.

Jean Cortot, Audiberti, 2002.

Eau-forte originale éditée à 35 exemplaires, 25 x 33 cm.

La Galerie Maeght propose également des oeuvres récentes de Marco Del Re, Luc Doerflinger, Cécile Granier de Cassagnac, Ra'anan Levy, Pierre Roy-Camille et W4, témoignant de l’intérêt sans cesse renouvelé des artistes pour l’édition. De grandes eaux-fortes originales de Pierre Roy-Camille dialogueront avec des linogravures originales de Marco Del Re, des gravures originales rehaussées à l’aquarelle de Cécile Granier de Cassagnac, des impressions numériques sur plexiglas originales de W4 ainsi que des monotypes originaux de Luc Doerflinger et des gravures originales de Ra’anan Levy.

Pierre Roy-Camille, Bouliki

Lithographie, 2014. 51,5 x 76 cm.

Ra’anan Levy, Mains III

Gravure, 2014, 53 x 56,5 cm

Arianna d’Enzo Cucchi et Nanni Ballestrini. Depuis 1998, poètes et artistes se rencontrent à travers la collection de bibliophilie « Duos ». Ces ouvrages de poésie, illustrés de lithographies, eaux-fortes ou phototypies originales, sont édités en un nombre limité d’exemplaires. Le dernier de ces livres-objets, Arianna, est le fruit du dialogue entre l’artiste Enzo Cucchi et le poète Nanni Ballestrini.

Enzo Cucchi et Nanni Ballestrini, Arianna, 2014.

Collection de bibliophilie « Duos ».

Programmation de la Galerie Maeght, Paris :

Jean-François Spricigo, « Carnets du ciel » : 7 - 29 novembre 2014

« Éditions limitées » : 5 décembre 2014 - 17 janvier 2015

« Bronzes » : 22 janvier - 7 mars 2015

Ra’anan Levy : 13 mars - 16 mai 2015

01/12/14

Tatyana Franck, directrice du Musée de l'Elysée, Lausanne

Tatyana Franck, directrice du Musée de l'Elysée, Lausanne

Le Conseil d'Etat du canton de Vaud a désigné au poste de directrice du Musée de l'Elysée (musée cantonal de la photographie) TATYANA FRANCK, actuellement directrice des Archives Claude Picasso. Son entrée en fonction est prévue pour le 1er mars 2015.

En raison du départ de Sam Stourdzé qui a repris, dès le 1er octobre 2014, la direction des Rencontres photographiques d'Arles, le poste de directeur-trice du Musée de l'Elysée a été mis au concours.

Suite à la procédure de mise au concours, durant laquelle 29 dossiers ont été examinés et à l'issue de laquelle aucune candidature n'a été retenue par le Département de la formation, de la jeunesse et de la culture, la conseillère d'Etat Anne-Catherine Lyon, cheffe du DFJC, a proposé l'engagement par voie d'appel de Tatyana Franck à la tête de l'institution, à partir du 1er mars 2015. Elle anticipera cependant son entrée en fonction sur certains dossiers.

Née le 12 mai 1984, de nationalité suisse, domiciliée à Genève, Tatyana Franck est titulaire d'une licence d'histoire de l'art et de droit (2006) et a obtenu un Master en droit des affaires en 2007 (Université Paris I) ainsi qu'en 2008 (Université Lyon III), un Master 2 en droit du marché de l'art. Elle suit actuellement l'EMBA-Global Asia (Executive master of business administration), formation en cours d'emploi qu'elle terminera en 2016. Depuis 2007, Tatyana Franck est la directrice des Archives Claude Picasso, à Genève, qui contiennent notamment plusieurs milliers de photographies; elle assure en particulier la mise en valeur du fonds photographique de David Douglas Duncan. Depuis 2010 elle a réalisé plusieurs commissariats d'expositions internationales, dont l'exposition itinérante Picasso at work, through the lens of David Douglas Duncan. Madame Franck est par ailleurs trésorière du Conseil d'administration de la Fondation Henri Cartier-Bresson, membre du Sotheby's European Advisory Board ainsi que du conseil d'administration d'Amis Maison Rouge – Fondation Antoine de Galbert.

Tatyana Franck a présenté une vision stratégique claire pour l'avenir du Musée, que ce soit en termes de gestion des collections, de leur valorisation, de leur numérisation ou encore sur le développement de l'inscription de l'institution dans le réseau international. La vision de son rôle comme directrice à la tête de l'équipe du Musée a aussi fait montre d'une approche stimulante par sa capacité et sa volonté de valoriser les compétences et l'engagement de cette équipe tout en formulant précisément les priorités qu'elle entend fixer à la direction de l'institution. Alliant jeunesse et maturité, Tatyana Franck s'est montrée très motivée à relever le défi de reprendre les rênes du Musée en s'engageant avec enthousiasme dans le développement du projet de pôle muséal.

D'ici son entrée en fonction, l'intérim est assuré par le Conseil de direction du musée.

Source : Bureau d'information et de communication de l'Etat de Vaud, Communiqué de presse, 5 novembre 2014

ETAT DE VAUD