Duane Hanson, Olivier Mosset @ Gagosian Gallery, Paris

Duane Hanson et Olivier Mosset
Gagosian Gallery, Paris
29 Septembre  - 12 November 2016 

Je n'aime pas la fiction, j'aime l'histoire.
—Duane Hanson

Une peinture c'est simplement un objet matériel mais, à cause du contexte, du discours, de l'histoire, c'est aussi inévitablement quelque chose d'autre.

—Olivier Mosset

Gagosian Gallery présente une exposition d'œuvres de Duane Hanson et d'Olivier Mosset. Les sculptures hyperréalistes de Duane Hanson et les peintures minimalistes d'Olivier Mosset sont exposées ensemble pour la première fois. Les deux artistes, radicalement différents et tout aussi extrêmes dans leurs champs de recherche respectifs, s'emploient, chacun à leur manière, à tester les limites de la perception humaine.

Pour Duane Hanson, la figuration extrêmement détaillée et précisément réalisée est devenue un outil pour résister à l'objectivité et à la neutralité. Les figures humaines d'Hanson au réalisme saisissant, qui dépeignent des personnes en mettant l'accent sur la classe ouvrière américaine, ont été au cœur de son œuvre pendant plus de quarante ans. Au début de sa carrière, Hanson a réalisé des scènes de bouleversements sociaux traumatisants et violents, comme Abortion (1966) et Race Riot (1969–71), dont il détruisit la plupart par la suite, car il souhaitait que l'on se souvienne de lui pour ses œuvres plus subtilement évocatrices de sa période mature; parmi les œuvres exposées Window Washer (1984) et Housepainter I (1984–88) caractérisent cela. Les représentations d'américains ordinaires par Hanson, s'inscrivant dans une tradition et notamment dans le Réalisme français du dix-neuvième siècle, évoquent la narration cathartique et le pathos. La précision qu'il apporte aux petits détails comme les cheveux, l'élasticité de la peau, la texture des vêtements, et l'expressivité du visage perdu dans ses pensées, provoquent des émotions fortes allant de l'empathie à la répulsion.

A la recherche de la rigueur formelle et des origines physiques de la peinture, l'art d'Olivier Mosset est direct et évident, rejetant la figuration, la subjectivité, le symbole et la métaphore dans une pratique qui, à la fois, retient et rejette l'histoire dialectique de la peinture. Membre du groupe minimaliste BMPT aux côtés de Daniel Buren, Michel Parmentier et Niele Toroni, la recherche de Mosset se consacre à l'interrogation des idées fixes à propos de la paternité créatrice. BMPT était en phase avec une vague intellectuelle de théorie critique du vingtième siècle impliquée dans la déconstruction d'idées à propos de la création et de l'interprétation de la culture, «La mort de l'auteur» de Roland Barthes en étant un exemple majeur.

Les 200 peintures à l'huile, ou davantage, identiques, que Mosset a produites entre 1966 et 1974, représentant un petit cercle noir au centre d'une toile blanche carrée, sont considérées comme l'apogée de l'approche expérimentale de la peinture de BMPT, qui cherchait aussi à défier la fonction sociale de l'artiste. Associées à l'abstraction conceptuelle, les œuvres de Mosset se caractérisent par une forme et une couleur pures, provoquant des expériences physiques illimitées de la surface, de l'échelle et du motif. A travers cinq nouvelles toiles monochromatiques, chacune ayant une nuance de couleur sourde ou intense, Mosset poursuit son exploration des possibilités de la forme pure.

Dans une juxtaposition forte qui met en contraste l'aspiration vers la neutralité sublime avec le désir de représenter le pathos de la réalité humaine, deux axes de l'art du vingtième siècle créent des expériences physiques saisissantes, dans lesquelles le spectateur peut considérer sa propre manière de voir.

OLIVIER MOSSET est né en 1944 à Berne, en Suisse. Parmi ses expositions personnelles on peut citer: «Olivier Mosset: Fakes, fêlures and walls,» Musée Régional d'Art Contemporain, Sérignan (2013); «Sous apparence,» Opéra National de Paris, Palais Garnier, Paris (2012); «Leaving the Museum,» Kunsthalle Zurich (2012); FIAC, cour du Louvre (2010); «A step backwards,» Musée d'art contemporain de Lyon (2010); Museo d'Arte, Mendrisio, Ticino, Suisse (2009); «Olivier Mosset - Windows,» Palais de Tokyo, Paris (2007); «Arbeiten/travaux/works 1966–2003,» Musée Cantonal des Beaux-Arts, Lausanne (2003); Musée Saint- Pierre Art Contemporain, Lyon (1987); Centre d'art contemporain, Genève (1986); «Olivier Mosset 65-85,» Musée Sainte-Croix, Poitiers (1985); Centre d'Art Contemporain, Châteauroux; Musée des Beaux-Arts, La Chaux-de-Fonds, Suisse (1985). Il vit et travaille à Tucson, Arizona.

DUANE HANSON est né en 1925 à Alexandria, Minnesota et décédé en 1996 à Boca Raton, Floride. Hanson a obtenu son BA au Macalester College, Minnesota et son MA à la Cranbrook Academy of Art, Michigan. Parmi ses expositions personnelles on peut citer : le Louisiana Museum of Modern Art, Humlebæk, Danemark (1975); le Des Moines Art Center, Iowa (1977); la Corcoran Gallery of Art, Washington, D.C. (1978); le Whitney Museum of American Art, New York (1979); la Kunsthaus Wien, Austriche (1992); le Montreal Museum of Fine Arts, Canada (1994; exposition itinérante au Modern Art Museum of Fort Worth, Texas); le Daimaru Museum of Art, Tokyo (1995; exposition itinérante au Genichiro-Inkuma Museum of Contemporary Art, Kagawa; et au Kintetsu Museum of Art, Osaka); la Saatchi Gallery, Londres (1997); «Duane Hanson, A Survey of his Work from the '30s to the '90s,» au Museum of Art, Fort Lauderdale, FL (1998; exposition itinérante au Flint Institute of Arts, Michigan; au Whitney Museum of American Art, New York; et au Memphis Brooks Museum of Art, Memphis); «Duane Hanson: More than Reality, 2001,» à la Schirn Kunsthalle, Frankfort (2001; exposition itinérante au Padiglione d'Arte Contemporanea, Milan; à la Kunsthal Rotterdam, Pays-Bas; aux National Galleries of Scotland, Edimbourg; et à la Kunsthaus, Zürich); «Duane Hanson: A Midwestern Perspective,» au Columbus Museum of Art, Ohio (2004); «Duane Hanson: Real life,» au Michener Museum of Art, Doylestown (2006); «Sculptures of the American Dream,» Kunsthalle Krems, Austriche (2009, exposition itinérante au Arken Museum for Moderne Kunst, Copenhague, Danemark; au Helsinki City Art Museum, Helsinki, Finlande; à l'UNESCO Weltkulturerbe Völklinger Hütte, Völklingen, Allemagne; à la Fundación Canal, Madrid, Spain); et «Duane Hanson,» à la Serpentine Gallery, Londres (2015).

GAGOSIAN GALLERY, PARIS
4 rue de Ponthieu - 75008 Paris
www.gagosian.com

Karl Lagerfeld and Babeth Djian, Numéro Couture - Photographs by Karl Lagerfeld

Karl Lagerfeld / Babeth Djian
Numéro Couture
Steidl

Karl Lagerfeld / Babeth Djian  

Numéro Couture 

Steidl, 2016

320 pages - 27.5 x 35.5 cm / 10.8 x 14 in.

Four-color process - Clothbound hardcover - € 85.00

ISBN 978-3-95829-057-0

Karl Lagerfeld  

Numéro #86, September 2007

© Karl Lagerfeld

This book features Karl Lagerfeld’s most beautiful photographs of Haute Couture garments shot for French fashion magazine Numéro, to celebrate its fifteen years of collaboration with the famous fashion designer. Who else but Karl Lagerfeld could better reveal the timeless and intricate beauty of Haute Couture? With all his innate imagination and indulgence, Karl Lagerfeld has immortalized the iconic models of our time within the covers of Numéro—Cara Delevingne, Linda Evangelista, Natasha Poly, Anja Rubik, Lara Stone, Stella Tennant, Natalia Vodianova… all these and more have participated in his game, often framed by sumptuous decors worthy of the greatest Hollywood productions. Karl Lagerfeld’s spectacular stagings visualize our most daring fantasies of female archetypes, from fairytale princesses to contemporary muses.

Karl Lagerfeld  

Numéro #111, March 2010

© Karl Lagerfeld

Karl Lagerfeld  

Numéro #141, March 2013

© Karl Lagerfeld

KARL LAGERFELD, fashion designer, publisher and book dealer, began working as a photographer in 1987. Karl Lagerfeld has since received the Lucky Strike Design Award from the Raymond Loewy Foundation, the cultural prize from the German Photographic Society, and the ICP Trustees Award from the International Center of Photography. Steidl has published most of Karl Lagerfeld’s books, including A Portrait of Dorian Gray (2004), Room Service (2006), The Beauty of Violence (2010) and the best-selling The Little Black Jacket (2012).

Karl Lagerfeld  

Numéro #151, March 2014

© Karl Lagerfeld

Karl Lagerfeld  

Numéro #141, March 2013

© Karl Lagerfeld

Fashion editor BABETH DJIAN, whose first magazine Jill is still a reference point today, has been at the origin of dozens of cult images published in French and Italian Vogue, Glamour, Mixte and now Numéro. With her visionary eye, Babeth belongs to the few who make a tangible difference in today’s universe of appearances. A large number of photographers, stylists, make-up artists, hairdressers and models began their careers under her direction. In 2008, Edition 7L published her book Babeth.

NUMERO COUTURE by  KARL LAGERFELD and BABETH DJIAN is published by Steidl :
www.steidl.de

Jean Tinguely @ Stedelijk Museum Amsterdam: Machine Spectacle

Jean Tinguely
Machine Spectacle
Stedelijk Museum Amsterdam
1 October 2016 - 5 March 2017 

Swiss artist JEAN TINGUELY (1925–1991) is famous for his playful, boldly kinetic machines and explosive performances. Everything had to be different, everything had to move. Precisely twenty-five years after his death, on October 1st, the Stedelijk opens a Tinguely retrospective: the largest-ever exhibition of the artist to be mounted in a Dutch museum. With over a hundred machine sculptures, most of which are in working order, paired with films, photos, drawings, and archive materials, the presentation takes the public on a chronological and thematic journey of Tinguely’s artistic development and ideas, from his love of absurd play to his fascination for destruction and ephemerality.

The presentation features his early wire sculptures and reliefs, in which Jean Tinguely imitated and animated the abstract paintings of artists such as Malevich, Miró, and Klee; the interactive drawing machines and wild dancing installations constructed from salvaged metal, waste materials, and discarded clothing; and his streamlined, military-looking black sculptures.

First-ever presentation in the Netherlands: the imposing Mengele-Totentanz installation

Jean Tinguely’s self-destructive performances are a special feature of the Stedelijk presentation. The enormous installations Tinguely created between 1960–1970 (Homage to New York, Étude pour une fin du monde No. 1, Study for an End of the World No. 2, and La Vittoria) were designed to spectacularly disintegrate in a barrage of sound. The presentation also spotlights the exhibitions Tinguely organized at the Stedelijk, Bewogen Beweging (1961) and Dylaby (1962), and the gigantic sculptures he later produced: HON – en katedral (“SHE – a cathedral,” 1966), Crocrodrome (1977) and the extraordinary Le Cyclop (1969–1994), which is still on display outside Paris. The survey ends with a dramatic grand finale, the remarkable, room-filling installation, Mengele-Totentanz (1986), a disturbing display of light and shadow never previously shown in the Netherlands. Tinguely realized the work after witnessing a devastating fire, reclaiming objects from the ashes to piece together his installation: scorched beams, agricultural machinery (made by the Mengele company), and animal skeletons. The final piece is a gigantic memento mori, yet also an invocation of the Nazi concentration camps. Its juddering movements and piercing sounds evoke a haunting, grisly mood.

Play, interaction, spectacle!

Jean Tinguely created his work as a rejection of the static, conventional art world; he sought to emphasize play and experiment. For Tinguely, art was not about standing in a sterile white space, distantly gazing at a silent painting. He produced kinetic sculptures to set art and art history in motion, in works that animated the boundary between art and life. With his do-it-yourself drawing machines, Tinguely critiqued the role of the artist and the elitist position of art in society. He renounced the unicity of “the artist’s hand” by encouraging visitors to produce work themselves.

Collaboration was integral to Tinguely’s career. He worked extensively with artists like Daniel Spoerri, Niki de Saint Phalle (also his wife), Yves Klein, and others from the ZERO network, as well as museum directors such as Pontus Hultén, Willem Sandberg, and Paul Wember. Thanks to his charismatic, vibrant personality and the dazzling success with which he presented his work (and himself) in the public sphere, Tinguely was a vital figure within these networks, acting as leader, inspirator, and connector.

Relationship with Amsterdam and the Stedelijk

Amsterdam has enjoyed a dynamic history with Jean Tinguely. The exhibitions Bewogen Beweging (1961) and Dylaby (1962), for which Tinguely was (co)curator, particularly underline the extraordinarily close relationship that sprang up between the museum and the artist. Not only did he bring his kinetic Méta machines to the Netherlands, he also brought his international, avant-garde network, leaving an enduring impression on museumgoers who flocked to see these experimental exhibitions. Close relationships with Willem Sandberg, then director of the Stedelijk Museum, and curator Ad Petersen prompted various retrospectives and acquisitions for the collection: thirteen sculptures, including his famous drawing machine, Méta-Matic No. 10 (1959), Gismo (1960), and the enormous Méta II (1971). 

Catalogue

A catalogue will be published to mark the exhibition. Based on years of research conducted by the Stedelijk Museum and Museum Kunstpalast, Düsseldorf, the publication contains essays by several Tinguely experts, among them Margriet Schavemaker, Barbara Til, and Beat Wismer.

This exhibition is organised by the Stedelijk Museum Amsterdam in collaboration with Museum Kunstpalast, Düsseldorf.

This exhibition is made possible with generous support of the Turing Foundation, All Art Initiatives B.V., the Blockbusterfonds, the LUMA Foundation and additional support by the Swiss Arts Council Pro Helvetia, the Prins Bernhard Cultuurfonds, the Walter A. Bechtler Foundation, Switzerland and Museum Tinguely, Basel.

Stedelijk Museum Amsterdam
www.stedelijk.nl

Miles Aldridge, Please Return Polaroid

Miles Aldridge 
Please Return Polaroid
Steidl

Miles Aldridge 

Please Return Polaroid

Steidl, 2016

204 pages - 29.5 x 29.5 cm / 11.6 x 11.6 in.

Four-color process - Clothbound - € 38.00

ISBN 978-3-95829-099-0

In this book Miles Aldridge revisits his Polaroid archive of twenty very prolific years of magazine assignments. Many of these Polaroids were intentionally or accidentally damaged while working on different shoots — trimming, adjusting, marking, cutting, pasting, outlining specific details in order to enhance, modify, reassemble or discard. Liberated from their original context, the images take on a life of their own and create an almost dreamlike narrative. By partly enlarging and arranging the Polaroids in unexpected ways, Aldridge treats them as singular, independent images that deserve due respect. We are granted a rare insight into a photographer’s storyboard and work process while learning to appreciate the importance of flaws and imperfections, but also of playfulness, on the journey to the finished photograph.

MILES ALDRIDGE: Short biography

Miles Aldridge, born in London in 1964, has published his photographs in such influential magazines as American and Italian Vogue, Numéro, The New York Times, and The New Yorker. His work has been exhibited in numerous group shows, and his solo shows include those at Brancolini Grimaldi in Florence, Hamiltons Gallery in London, and Steven Kasher Gallery in New York. Miles Aldridge’s work is held in the National Portrait Gallery and the Victoria and Albert Museum in London, and in the International Center for Photography in New York.

PLEASE RETURN POLAROID by MILES ALDRIDGE is published by Steidl :
www.steidl.de

Edward Burtynsky, Salt Pans - Little Rann of Kutch, Gujarat, India

Edward Burtynsky 
Salt Pans - Little Rann of Kutch, Gujarat, India
Steidl

Edward Burtynsky 

Salt Pans - Little Rann of Kutch, Gujarat, India

Steidl, 2016

60 pages - 36.4 x 28.8 cm / 14.3 x 11.3 in.

Four-color process - Clothbound - € 68.00

ISBN 978-3-95829-240-6

Salt Pans is Edward Burtynsky’s newest book in his acclaimed ongoing series of photographs exploring different industrialized landscapes across the world. Consisting of 31 aerial photos of the salt pans in the Little Rann of Kutch, the project is the result of months of intricate negotiations and preparations. These striking geometric images, taken in an intense ten-day period during which Burtynsky photographed from a helicopter, present the pans, wells and vehicle tracks as abstract, painterly patterns: subtly colored rectangles crossed by grids of gestural lines.

And yet the reality behind the ironic beauty of Edward Burtynsky’s pictures is a harsh one. Each year 100,000 poorly paid Agariya workers toil in the pans, extracting over a million tons of salt from the floodwaters of the nearby Arabian Sea. Furthermore, receding groundwater levels, combined with debt, diminishing market values as well as a lack of governmental support, threaten the future of this 400-year-old tradition and the lives dependent on it.

EDWARD BURTYNSKY: short biography

Edward Burtynsky was born in 1955 and is one of the world’s most respected photographers. His remarkable depictions of global industrial landscapes are held in the collections of over sixty major museums including the National Gallery of Canada; the Museum of Modern Art and Guggenheim Museum in New York; Tate Modern, London; Museo Reina Sofia, Madrid; and the Los Angeles County Museum of Art. Burtynsky’s distinctions include the TED Prize, the Rencontres d’Arles Outreach Award. In 2006 he was made an Officer of the Order of Canada, and in 2016 he received a Governor General of Canada Award in Visual and Media Arts. He holds six honorary doctorate degrees. Edward Burtynsky’s previous publications with Steidl are China (2005), Quarries (2007), Oil (2009) and Water (2013).

SALT PANS by EDWARD BURTYNSKY is published by Steidl :
www.steidl.de

Berenice Abbott, Paris Portraits 1925-1930

Berenice Abbott
Paris Portraits 1925-1930 
Steidl / Commerce Graphics 

Berenice Abbott

Paris Portraits 1925-1930

Steidl / Commerce Graphics, 2016

368 pages - 24 x 30 cm / 9.4 x 11.8 in.

Clothbound - € 68.00

ISBN 978-3-86930-314-7

This is one in a series of books to be published by Steidl that will explore Berenice Abbott’s exceptional body of work. Abbott began her photographic career in 1925, taking portraits in Paris of some of the most celebrated artists and writers of the day including Marie Laurencin, Jean Cocteau, Peggy Guggenheim and James Joyce. Within a year her pictures were exhibited and acclaimed. Paris Portraits 1925–1930 features the clear, honest results of Abbott’s earliest photographic endeavor, which illustrates the philosophy that shaped all of her subsequent work. For this landmark book, 115 portraits of 83 subjects have been scanned from the original glass negatives, which have been printed in full.

Co-published with Commerce Graphics, New York

BERENICE ABBOT: Short Biography

Berenice Abbott, born in Springfield, Ohio in 1898, was a dominant figure in twentieth-century American photography. Abbott moved to Paris from New York in 1921 and in 1923 was hired by her friend Man Ray, who was looking for an assistant who knew nothing about photography and whom he could teach. Abbott learned quickly and within a year was taking her own photographs. Over the next 65 years Abbott mastered a wide range of subjects, executing the monumental project Changing New York, photographing rural America and scientific and natural phenomena, establishing the reputation of Eugène Atget, and founding the first university photography program in the United States. Steidl published the two-volume retrospective Berenice Abbott (2008), Documenting Science (2011) and The Unknown Abbott (2013).

PARIS PORTRAITS 1925-1930 by BERENICE ABBOT published by Steidl: www.steidl.de

Kehinde Wiley @ Petit Palais, Paris

Kehinde Wiley
Lamentation
Petit Palais, Paris
20 octobre 2016 - 15 janvier 2017

Kehinde Wiley

The Lamentation over the dead Christ, 2008

© Kehinde Wiley Studio

Le Petit Palais présente la première exposition personnelle en France de l’artiste afro-américain Kehinde Wiley. À cette occasion, le public découvrira un ensemble inédit de dix oeuvres monumentales, vitraux et peintures, présentées au coeur des collections permanentes du musée.

S’inspirant des maîtres de la peinture classique tels que Titien, Van Dyck ou encore Ingres et David, Kehinde Wiley réalise des portraits saturés de couleurs et d’ornementations de jeunes noirs ou métisses, modèles anonymes rencontrés lors de castings de rue sauvages. L’artiste créé ainsi des collisions entre l’histoire de l’art et la culture populaire. L’artiste héroïse, érotise, les « invisibles » traditionnellement exclus des représentations du pouvoir. Son oeuvre réinterprète le vocabulaire de la puissance et du prestige, oscillant entre critique politique et aveu de fascination face au luxe et à la grandiloquence des symboles de notre société.

Kehinde Wiley

Saint Ursula and the Virgin Martyrs, 2015

Courtesy Galerie Templon, Paris et Bruxelles

© Kehinde Wiley Studio

Pour le Petit Palais, Kehinde Wiley poursuit l’exploration de l’iconographie religieuse en faisant référence au Christ et pour la première fois à la figure de la Vierge. Ainsi, six vitraux seront installés sur une structure hexagonale au sein de la Galerie des Grands formats. Ils seront accompagnés par trois peintures monumentales qui occuperont les murs d’une des salles des collections du XIXe siècle au rez-de-chaussée.

KEHINDE WILEY : COURTE BIOGRAPHIE

Né en 1977 à Los Angeles, Kehinde Wiley vit et travaille entre New York, Pékin et Dakar. Elevé dans un quartier défavorisé, ce peintre virtuose, diplômé de Yale, est souvent décrit comme un «superlatif vivant». Kehinde Wiley a exposé dans plusieurs importantes institutions américaines telles que le Studio Museum de Harlem (2008) et le Jewish Museum de New York (2012). En 2014, une première rétrospective ‘Kehinde Wiley : A New Republic’, lui est consacrée par le Brooklyn Museum. Elle a ensuite voyagé au Modern Art Museum of Forth Worth, Texas (2015), au Seattle Art Museum, Washington et au Virginia Museum of Fine Arts, Richmond, Virginia (2016). Ses oeuvres sont présentes dans plus de 35 collections publiques dont le Brooklyn Museum of Art et le Metropolitan Museum of Art à New York, le Hammer Museum et le LACMA à Los Angeles, le Walker Art Center de Minneapolis.

Exposition organisée avec le soutien de la Galerie Templon

Commissaire de l'exposition : Susana Gallego Cuesta, conservatrice au Petit Palais

PETIT PALAIS
Musée des Beaux-Arts de la Ville de Paris
www.petitpalais.paris.fr

Expo Oscar Wilde, Petit Palais, Paris : L'impertinent absolu

Oscar Wilde
L’impertinent absolu
Petit Palais, Paris
28 septembre 2016 - 15 janvier 2017

Oscar Wilde

L’impertinent absolu

Affiche de l'exposition au Petit Palais

Napoleon Sarony (1821-1896), Portrait d’ Oscar Wilde #15, 1882.

© Bibliothèque du Congrès, Washington.

Napoleon Sarony, Portrait d’ Oscar Wilde #22, 1882.

© Bibliothèque du Congrès, Washington.

Napoleon Sarony, Portrait d’ Oscar Wilde #26, 1882.

© Bibliothèque du Congrès, Washington.

Le Petit Palais présente la première grande exposition française consacrée au célèbre écrivain Oscar Wilde (né en 1854 à Dublin - mort en 1900 à Paris). En effet, bien que l’auteur soit mort dans la capitale, le centenaire de sa disparition n’ y a pas été commémoré, alors que Londres lui consacrait deux grandes expositions en cette année 2000, l’une à la British Library, essentiellement littéraire et biographique, l’autre au Barbican Center autour des rapports de Wilde avec les artistes de son époque.

Pour cette grande première, le Petit Palais retracera la vie et l’oeuvre de ce parfait francophone et ardent francophile à travers un ensemble de plus de 200 pièces rassemblant documents exceptionnels, inédits pour certains, manuscrits, photographies, dessins, caricatures, effets personnels, et tableaux empruntés en Irlande et en Angleterre bien sûr, mais aussi aux Etats-Unis, au Canada, en Italie, dans les musées français (musée d’Orsay, BnF...) et dans différentes collections privées.

Il était donc bien naturel pour Paris d’accueillir une exposition célèbrant Oscar Wilde tant ce dernier tissa des liens multiples et féconds avec de nombreux représentants de la scène artistique et du milieu intellectuel parisien à la fin du XIXe. En effet, Wilde fit de nombreux séjours à Paris entre 1883 et 1894 et fut ami avec plusieurs écrivains français, tels André Gide et Pierre Louÿs. Il fréquenta Mallarmé, Verlaine et même Victor Hugo. Wilde écrivit directement en français sa pièce de théâtre Salomé dont il destinait le rôle-titre à Sarah Bernhardt. Et c’est enfin à Paris qu’en 1900 il mourut dans le dénuement et la misère après sa condamnation en 1895 à Londres pour homosexualité. Son tombeau, surmonté d’une sculpture de Jacob Epstein est situé au cimetière du Père Lachaise.

La partie biographique de l’exposition présentera un caractère inédit en réunissant plusieurs portraits jamais vus ensemble jusqu’ici, notamment celui peint par Harper Pennington (UCLA, William Andrews Clark Memorial Library, Los Angeles). De même, la présentation conjointe de 13 tirages photographiques originaux de portraits réalisés par Napoleon Sarony, pendant la tournée américaine de Wilde, sera une première.

Harper Pennington (1854-1920), Portrait d’Oscar Wilde, 1884.

© The William Andrews Clark Memorial Library - University of California, Los Angeles

Mais on retrouvera aussi des portraits célèbres ou inattendus comme celui peint par Toulouse-Lautrec qui l’a représenté de dos sur le décor de la baraque de la Goulue, au premier plan à gauche de La Danse mauresque (musée d’Orsay).

Divers portraits de parents, d’amis et de familiers (sa femme Constance, Lord Alfred Douglas…) permettront d’évoquer sa vie personnelle, complétés par quelques memorabilia et plusieurs dessins et aquarelles, paysages et portraits réalisés par Oscar Wilde lui-même.

L’exposition comportera bien sûr les manuscrits des oeuvres les plus importantes de l’écrivain ainsi que des exemplaires de ses livres dédicacés à des auteurs français et diverses correspondances. L’accent sera mis notamment sur Salomé, publié en français en 1893 et ses fameuses illustrations par Beardsley.

John Roddam Spencer Stanhope (1829-1908), L’Amour et la jeune fille, 1877.

© Fine Arts museum de San Francisco

Achat du musée, du European Art Trust Fund, du Grover A. Magnin

Besquest Fund and du Dorothy Spreckels Munn Bequest Fund

Evelyn Pickering (De Morgan) (1855-1919), La Nuit et le Sommeil, 1878.

© De Morgan Foundation

Afin de donner un aspect visuel fort à l’accrochage au-delà des vitrines de manuscrits, l’exposition regroupera un choix de tableaux préraphaélites montrés à la Grosvenor Gallery de Londres en 1877 et 1879 et qui suscitèrent d’abondants commentaires de Wilde, critique d’art, où l’on retrouvera les noms de Watts, Millais, Hunt, Crane, Tissot, Stanhope... Le parcours sera également ponctué d’extraits de films mémorables, d’interviews de Merlin Holland, petit-fils d’Oscar Wilde, et de Robert Badinter, auteur de la pièce C.3.3. consacrée au procès et à l’incarcération d’Oscar Wilde, et d’enregistrements de textes lus par l’acteur britannique Rupert Everett.

Enfin, l’exposition sera enrichie d’une application mobile, à la fois guide de visite et catalogue numérique. Le parcours de l’exposition sera composé de 25 points d’intérêts, avec des commentaires audio des deux commissaires et d’images en haute définition. Le catalogue numérique quant à lui aura pour objectif de faire découvrir Wilde et son influence par différentes entrées : une chronologie, une mappemonde, ou encore un abécédaire. Il reprendra également les interviews filmées présentées dans l’exposition.

Oscar Wilde,

l’impertinent absolu

Catalogue de l'exposition

Paris Musées

Format : 22 x 28 cm

Relié toilé

256 pages (2 papiers) / 250 illustrations

Prix TTC : 39,90 euros

L’ouvrage est dirigé par Dominique Morel, conservateur au Petit Palais et Merlin Holland, petit-fils d’Oscar Wilde, avec les contributions de Robert Badinter et de Charles Dantzig.

Commissariat de l'exposition :
Dominique Morel : conservateur en chef au Petit Palais
Merlin Holland : conseiller scientifique

PETIT PALAIS, PARIS
Musée des Beaux-Arts de la Ville de Paris
Avenue Winston Churchill - 75008 Paris
www.petitpalais.paris.fr

Jessica Eaton at M+B, Los Angeles

Jessica Eaton
M+B, Los Angeles
September 24 - November 12, 2016
 

JESSICA EATON
Transition H45, 2016 

Courtesy Jessica Eaton and M+B, Los Angeles

M+B presents a solo exhibition of new work by JESSICA EATON, the artist’s second at the gallery.

Created with a large-format analog camera, Jessica Eaton’s latest works further investigate the fundamental properties of photography. The exhibition features three new bodies of work that challenge the photographic medium as a surrogate for human vision. The Transitions series builds on the artist’s acclaimed Cubes For Albers and LeWitt (cfaal) series, utilizing additive color techniques and layering of multiple exposures to produce increasingly complex, geometric compositions in rich, saturated hues. Also on view will be a selection of Pictures for Women, celebrated examples of artwork by female artists as interpreted through Jessica Eaton’s experimental camera techniques. In part influenced by her earlier works such as cfaal 18 (mb RGB) where Jessica Eaton used motion blur to move the film, these new pictures are photographed on kinetic sets to create dynamic, looped forms bathed in luminous color. Images from the Revolutions series also use these kinetic set-ups, but where the Pictures for Women have real world references, the Revolutions are set against black backgrounds, with colors that emerge from Jessica Eaton’s own grayscale patterns through her trademark color separation techniques.

JESSICA EATON

Jessica Eaton (b. 1977, Regina, Saskatchewan) received her BFA from the Emily Carr University in Vancouver. Solo exhibitions include Wild Permutations at the Museum of Contemporary Art in Cleveland; Flash: Jessica Eaton at the California Museum of Photography, Riverside; and Ad Infinitum, The Photographers’ Gallery, London. Eaton has been featured in numerous group exhibitions, including Under Construction – New Positions in American Photography, Foam Fotografiemuseum, Amsterdam; Process and Abstraction at the Cleveland Museum of Art’s Transformer Station; Color Acting: Abstraction Since 1950 at the Museum of Fine Arts, St. Petersburg, Florida; Québec Triennial at the Musée d'art contemporain de Montréal; Photography is Magic, Daegu Photography Biennale; and Phantasmagoria at Presentation House Gallery, Vancouver. Jessica Eaton was nominated this year for the prestigious Sobey Art Award. In 2015, Eaton was selected by the Capture Photography Festival to create a major public art commission for the city of Vancouver. Notable press includes The New York Times, The New Yorker, Art in America, ARTnews (cover) and The Guardian. Her work can be found in the public collections of the National Gallery of Canada and the Musée d'art contemporain de Montréal, among others. Jessica Eaton lives and works in Montréal.

M+B
612 North Almont Drive, Los Angeles, California 90069
www.mbart.com

Barbara Kruger @ National Gallery of Art, Washington, DC

In the Tower: Barbara Kruger
National Gallery of Art, Washington, DC
September 30, 2016 – January 22, 2017

Barbara Kruger

Untitled (Know nothing, Believe anything, Forget everything), 1987/2014

screenprint on vinyl

overall: 274.32 x 342.05 cm (108 x 134 11/16 in.)

National Gallery of Art, Washington, Gift of the Collectors Committee, Sharon and John D. Rockefeller IV, Howard and Roberta Ahmanson, Denise and Andrew Saul, Lenore S. and Bernard A. Greenberg Fund, Agnes Gund, and Michelle Smith

© Barbara Kruger

The striking works of BARBARA KRUGER (American, b. 1945) will be featured in a focused exhibition at the National Gallery of Art, Washington, timed to celebrate the newly renovated East Building galleries. On view September 30, 2016, through January 22, 2017, In the Tower: Barbara Kruger is the first exhibition in the Tower Gallery in three years, renewing the series devoted to the presentation of works by leading contemporary artists. The exhibition presents fifteen of Kruger's profile works — images of faces and figures in profile over which the artist has layered her attention-grabbing phrases and figures of speech — from the early 1980s to the present, varying in scale from magazine-size to monumental.

Inspired by the Gallery's recent acquisition of Barbara Kruger's Untitled (Know nothing, Believe anything, Forget everything) (1987/2014), the exhibition centers on the artist's profile works, among her strongest commentaries on cultural production. They present Barbara Kruger's distinctive direct-address texts (using active verbs and personal pronouns) that confront the viewer head-on and contrast with the underlying images of (mostly passive, often female) figures looking off the picture plane, and receiving or denying the viewer's attention. This tension creates conceptual works of great visual power.

Barbara Kruger's works are by turns so strong, shocking, or humorous that they grab the viewer's attention. This is due to her signature style which includes pronouncements printed in white Futura Bold Italic typeface across red bands reminiscent of the Life and Look magazine banners from the golden age of picture magazines. Kruger's text slashes the black-and-white images beneath, effectively shattering the clichés represented in both words and images. Using the language, color, image, and scale derived from the media-saturated world she queries, Kruger's work illuminates and interrupts cultural tropes to encourage an active visual readership.

"Barbara Kruger's profile works count among her most iconic images," said Earl A. Powell III, director, National Gallery of Art, Washington. "We are delighted to present to our visitors from around the world this exhibition featuring such an outstanding artist."

Exhibition Highlights

Among the key works on view will be Kruger's Untitled (Your gaze hits the side of my face) (1983) that served as inspiration for Craig Owens's 1983 essay, "The Medusa Effect, or The Specular Ruse." At the time they were made, Kruger's 1980s works powerfully engaged and promoted theoretical discussion of "the gaze" around the construct of the viewer and the subject of representation. More broadly, these works resound with the use of the profile in the genre of portraiture in the long arc of history, while also probing matters of identity in contemporary philosophy. For this work and others, the exhibition will present Kruger's original paste-ups to illuminate the artist's process.

Untitled (Know nothing, Believe anything, Forget everything) (1987/2014), acquired for the Gallery by the Collectors Committee and a group of generous patrons, presents an image of a woman in profile, lying prostrate and receiving medical treatment to her eye through a large, funnel-like device. Over the image are three red bands with the artist's admonitions emblazoned in white text that warn against the pleasures and perils of our "truthy" photography-based mass media and the knowledge, beliefs, and memories that it imparts.

Untitled (Half Life) (2015), a monumental wall work measuring fifty-five feet wide and twenty-five feet high and covering the entire west side of the Tower Gallery, was created by the artist for the exhibition. As visitors enter the large Tower Gallery they will confront the stare of the floor-to-ceiling, black and white female face, half in profile and the other half covered by a sculptural mold. On the upper right of the image read the words "Half Life" in white letters on a block of red.

A new five-minute film will feature excerpts from an interview with the artist discussing works in the exhibition. Made possible by the H.R.H. Foundation, the film will play continuously in the anteroom of the Tower Gallery.

Related Programs

Barbara Kruger, a professor in the art department at UCLA since 2006, has long maintained a commitment to teaching as a part of her practice. In December she will visit the National Gallery to talk with high school art students from DC Public Schools. The students will participate in education programs throughout the fall with Gallery educators, studying Kruger's work in the Tower exhibition and exploring the construction of identity in artworks across the museum's collection. This program marks the first time that an artist with an exhibition currently on view has worked with local students at the Gallery, and highlights Kruger's commitment to teaching and inspiring the next generation.

As a former film and television critic for Artforum, Kruger has acknowledged a deep interest in the moving image. In December the Gallery will feature an extensive film series, "Barbara Kruger Selects," chosen by the artist around the theme of the show and the artist's methodologies.

Exhibition curator Molly Donovan, associate curator, department of modern art, National Gallery of Art, will present a lecture on Sunday, October 23, 2016, at 2:00 p.m.

BARBARA KRUGER (b. 1945): Short biography

Barbara Kruger's higher education began at Syracuse University and continued at Parson's School of Art and Design in New York, where she studied with Diane Arbus and Marvin Israel in 1966. Beginning in 1967 Kruger worked as a layout editor at Condé Nast for twelve years, including posts at Mademoiselle, House and Garden, and Aperture. In 1969 Barbara Kruger began to make her own art while also writing poetry and film and television reviews. A decade later she had developed her "picture practice" with photographs repurposed from 1940s–1970s manuals and magazines that she overlaid with her own texts or commonplace phrases. The completed works alter her found materials, inscribing her admonitions and questions over the images to stimulate and rouse the viewer from passive acceptance.

Barbara Kruger's background in design is evident in these works, for which she is internationally renowned. Owing to her interest in the public arena and the everyday, Kruger's work has appeared on billboards, bus cards, posters, T-shirts, matchbook covers, in public parks, and on train station platforms. Recent work has included immersive installations of room-wrapping images and text, and multiple-channel videos.

Prior to teaching at UCLA, Barbara Kruger taught at California Institute of the Arts, the School of the Art Institute of Chicago, and the University of California, Berkeley. In 2005 Kruger received the Golden Lion for Lifetime Achievement at the Venice Biennale. Her work was featured in the Whitney Biennial in 1973, 1983, 1985, and 1987; the Venice Biennale in 1982, 1993, and 2005; and Documenta 8 in 1987. Notable solo exhibitions include P.S. 1, Long Island City, New York (1980); Institute of Contemporary Art, London (1983); Los Angeles County Museum of Art (1985); Museum of Contemporary Art, Los Angeles (1999, traveled to Whitney Museum of American Art in 2000); South London Gallery (2001); Gallery of Modern Art, Glasgow (2005); the Moderna Museet, Stockholm (2008); the Museum Of Modern Art, Oxford (2014), and the Hirshhorn Museum and Sculpture Garden (2012–2016). Kruger lives and works in Los Angeles and New York City.

The exhibition is presented with support from the Tower Project.

NATIONAL GALLERY OF ART
www.nga.gov

Walasse Ting @ Musée Cernushi, Paris : Le voleur de fleurs

Le voleur de fleurs
Walasse Ting (1929 - 2010)
Musée Cernushi, Paris
7 octobre 2016 - 26 février 2017

Walasse Ting (1929 - 2010)

1967

Photographie John Lefebre

© Marion Lefebre

Walasse Ting (1929 - 2010)

1980

Photographie Marc Trivier

© Marc Trivier

L’itinéraire de WALASSE TING (1929 - 2010), artiste inclassable né à Shanghai, actif à Paris, puis New-York et Amsterdam, préfigure l’internationalisation de l’art contemporain chinois survenue dans les années 1990.

Après avoir quitté la Chine pour Hong-Kong en 1946, Walasse Ting gagne Paris en 1952. Ses créations, qui mettent l’accent sur l’expressivité du geste pictural, sont en phase avec les réalisations du groupe CoBrA dont certains membres, comme Pierre Alechinsky, manifestent leur intérêt pour les pratiques asiatiques de l’art du pinceau. A cette époque il rencontre aussi Sam Francis, qu’il retrouvera à New-York quelques années plus tard. C’est dans cette ville que Walasse Ting découvre son univers, fait d’allers et retours entre l’encre et la couleur pure, entre les codes de la peinture chinoise et la spontanéité de l’Action Painting. Il s’inscrit alors dans le paysage de la création new yorkaise à travers des réalisations collectives, comme le projet 1 Cent Life (1964), qui réunit aux côtés de Pierre Alechinsky et Sam Francis, Jean-Paul Riopelle, Asger Jorn, Robert Indiana, Robert Rauschenberg, Andy Warhol…

En 1970, Walasse Ting a fait don au musée Cernuschi de 80 peintures représentant de manière quasi-exhaustive son univers foisonnant et ludique. Depuis les compositions monumentales mettant en scène des femmes au corps végétal jusqu’aux feuilles d’un livre-confession, cet ensemble est indissociable de la figure subversive du « voleur de fleurs », double imaginaire de l’artiste.

Cette collection, qui n’a jamais été exposée, a fait l’objet d’une très importante campagne de restauration au cours des dernières années. A la suite de la récente rétrospective consacrée à l’artiste par le Musée d’art moderne de Taipei en 2011, largement composée d’oeuvres des années 1980 et 1990, le musée Cernuschi revient sur l’ensemble du parcours de Walasse Ting en accordant une place privilégiée aux échanges qu’il a su tisser au sein des milieux artistiques européens et américains.

Parmi les 70 oeuvres exposées, la moitié provient des collections du musée Cernuschi, l’autre moitié de collections européennes et américaines.

Publication d'un catalogue aux Editions Paris Musées.

Commissariat de l'exposition :
Éric Lefebvre, conservateur en chef et directeur du musée Cernuschi
Mael Bellec, conservateur au musée Cernuschi

MUSÉE CERNUSCHI
MUSÉE DES ARTS DE L’ASIE DE LA VILLE DE PARIS
7, Avenue Vélasquez - 75008 Paris
www.cernuschi.paris.fr

Alicja Kwade @ Whitechapel Gallery, London

Alicja Kwade: Whitechapel Commission
Whitechapel Gallery, London
28 September 2016 – 25 June 2017

For Alicja Kwade’s (b. 1979) first project for a major UK gallery, unveiled on Wednesday 28 September, the Berlin-based artist creates a captivating installation of astronomical data and our position in the universe.

Bronze casts of giant vertebrae stand at either side of the gallery accompanying a projection depicting a slowly rotating, biomorphic form. The film is inspired by NASA data of extrasolar meteors, referencing the cataclysmic event believed to have caused the extinction of the dinosaurs. At the centre of the work and gallery, a large mobile of 24 electronic star maps is suspended from the gallery ceiling, slowly rotating in concentric circles, visualising astronomical data that demonstrates the earth’s position in the known galaxy.

Daniel F. Hermann, Eisler Curator and Head of Curatorial Studies said: “Since 2005, artist commissions have been a core part of the Whitechapel Gallery’s programme that provides a vital forum for the development of artists’ practice. Alicja Kwade’s work represents some of the most interesting developments in sculpture today – with meticulous attention to detail and a sincere appreciation for craftsmanship and quality of materials, her work emphasises the skill that is necessary to give artistic form to philosophical inquiry. We’re delighted to premier her work to the UK audience this autumn.”

Alicja Kwade said: “Material objects are events in time. I am interested in understanding how time operates and how we, in our own lifespan, are also part of these occurring events.”

Alicja Kwade’s sculptures often defy the conventional understanding of time and space: concrete columns melt in the sun, bicycles bend around themselves and everyday objects seem to take on a life of their own. From manipulating the mechanical workings of a clock, to creating liquid pools of mirrored glass, Kwade transforms common materials into extraordinary artworks that challenge our perceptions. Her diverse sculptures are inspired by the intangible ways we try to make sense of the modern world, from theories of astrophysics to stock market analysis.

Alicja Kwade’s new Commission is on display until 23 November in Gallery 2, a dedicated space for site-specific works of art until 25 June 2017.

WHITECHAPEL GALLERY
www.whitechapelgallery.org

Peter Saul: Some Terrible Problems @ Michael Werner Gallery, London

Peter Saul: Some Terrible Problems
Michael Werner Gallery, London
23 September - 5 November 2016

Michael Werner Gallery, London, presents Some Terrible Problems, an exhibition of new paintings by American artist Peter Saul. This is the first London exhibition by Peter Saul, who remains a vital presence in American painting through more than fifty years.

Peter Saul was born in San Francisco in 1934. Following his studies at the California School of Fine Arts and Washington University, St. Louis, he settled for six years in Paris, an unusual choice for a young artist at a time when New York City was the place to be. Saul has remained something of an outsider ever since. Neither a believer in the promise of abstraction, nor a disciple of the Existentialist philosophies underlying the artspeak of the day, Peter Saul remained true to his personal influences and obsessions: French academic painting, MAD magazine, artists such as Paul Cadmus and Rosa Bonheur. Peter Saul embraced narrative and figuration in painting when painting was supposed to be non-objective (if one didn’t already believe painting to be dead). His ironic and caustic humour, love of the grotesque and dogged insistence on the necessity of a picture to tell a story, have left him at odds with every dominant style and “-ism” of the past five decades. Peter Saul has developed into a profound history painter whose ambivalent politics and lurid imagery further complicate the reception of his painting. Consequently, he has long existed outside the canon of acceptable contemporary artists, a radical fringe figure who nonetheless exerts profound influence on younger artists.  

In 1967, Peter Saul said, “Not to be shocking means to agree to be furniture”. This statement outlines the exceptional attitude with which Saul gleefully skewers the conventions of world politics and culture. “Pictures with problems” are Peter Saul’s abiding interest. Some Terrible Problems features seven new large-scale canvases, each dissecting to humorous, gruesome and often offensive effect a range of subjects and attitudes. These remarkable new works revisit genres of history painting and portraiture while remaining thoroughly contemporary and visually unlike anything else in recent painting.

Since his first solo exhibition, in Chicago in 1961, Peter Saul has exhibited his work throughout the United States and internationally. His works are found in numerous museum collections worldwide, including the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Art Institute of Chicago; Carnegie Museum, Pittsburgh; Centre Pompidou, Paris; Los Angeles County Museum of Art; Moderna Museet, Stockholm; Museum Ludwig, Cologne; and Stedelijk Museum, Amsterdam. Peter Saul lives and works in New York.

The exhibition is accompanied by a full-colour catalogue featuring an interview between Peter Saul and artist Joe Bradley. 

MICHAEL WERNER GALLERY
22 Upper Brook Street, London W1K 7PZ
michaelwerner.com

Adriaen van de Velde @ Dulwich Picture Gallery, London

Adriaen van de Velde: Dutch Master of Landscape
Dulwich Picture Gallery, London
12 October 2016 – 15 January 2017

Adriaen van de Velde

Panoramic summer landscape with a horseman and a post wagon, 1661

Oil on panel

Private Collection

In collaboration with the Rijksmuseum, Amsterdam, Dulwich Picture Gallery will host the first-ever exhibition devoted to the painter and draughtsman ADRIAEN VAN DE VELDE (1636 - 1672), one of the finest landscape artists of the Dutch Golden Age.

Over a career of less than two decades Van de Velde produced a varied body of paintings and drawings that earned him tremendous posthumous fame in the eighteenth and nineteenth centuries, when he was one of the most sought-after names among collectors in Germany, France and England.

Van de Velde was born in Amsterdam, the son and brother respectively of the marine painters Willem van de Velde the Elder and Willem van de Velde the Younger. Adriaen van de Velde, however, pursued an independent career as a landscape painter to focus on tranquil landscapes that depict both typically Dutch and Italianising views populated by figures in peaceful harmony with animals and the surrounding landscape.

Adriaen van de Velde: Dutch Master of Landscape will bring together 60 of his most accomplished works, including landscapes and beachscapes as well as an extraordinary selection of exquisite preparatory studies, many of them in red chalk. Displayed alongside the artist’s paintings, these studies offer a rare glimpse of a seventeenth-century landscape painter at work, from conception to completion. The show will also include pen-and-ink drawings and watercolours that stand alone as works of art in their own right, revealing the extent of the young artist’s talent.

Bart Cornelis, curator of the exhibition, commented:

This exhibition provides an opportunity for the public to get to know the work of one of those exceptionally gifted and refined artists of the Dutch Golden Age who has more recently slipped through the net of history but who deserves to be rediscovered as the great painter and draughtsman that he is. What’s more, his drawings provide a fascinating opportunity to see a seventeenth-century Dutch artist at work: we can, as it were, look over his shoulder to see how he composed his landscapes.

The exhibition opens with Van de Velde’s most accomplished paintings, made when the artist was still in his early twenties. Blissful scenes such as the masterly Beach at Scheveningen, 1658 (Gemäldegalerie Alte Meister, Kassel)introduce Van de Velde’s highly individual style, in which everything stands out in the pure light of a summer’s day. Especially in his later work Van de Velde succeeded in incorporating the sun-drenched atmosphere of Italianate painters such as Karel Dujardin in his works, but brought a refinement to his subjects that was rarely matched by his contemporaries. Van de Velde probably never travelled outside Holland; the mountainous scenery and Italianate character of some of his landscapes and drawn studies sprung from the imagination and were inspired by the work of fellow artists. Examples include the Pastoral scene from the Museo Thyssen-Bornemisza, Madrid, and the preparatory composition drawing for this painting from the Morgan Library & Museum, New York.

There are few artists whose working procedures can be illustrated as well as in the case of Van de Velde, making it possible to follow precisely the various phases of his creative process. For the first time Van de Velde’s famous painting of The Hut (Rijksmuseum) will be displayed alongside the drawn studies that the artist made in preparation for the painting, providing insight into the work’s genesis.Such studies include Seated woman with basket and Resting cow with three sheep (both Amsterdam Museum), as well as a drawing from a private collection depicting the hut that lends the picture its name. These and other studies in the exhibition reveal Van de Velde’s almost obsessive attention to detail and how he proceeded from a rough composition sketch in pen and ink to separate studies of animals and figures from life, often executed in the medium of red chalk.

Few seventeenth-century Dutch landscapists devoted so much time and energy to sketching from models in the studio and the exhibition will showcase some of the artist’s remarkable figure studies, including a sheet with Two Studies of a Reclining Shepherd (Rijksmuseum), which in its elegance and exquisite use of red chalk prefigures the work of eighteenth-century French artists such as Antoine Watteau and François Boucher.

Van de Velde excelled in the depiction of the human figure and their integration into a landscape and was frequently asked to paint the staffage in the landscapes of his contemporaries; his figures can be found in works by artists such as Jacob van Ruisdael and Meindert Hobbema, and, for example, in Dulwich Picture Gallery’s Two Churches and a Town Wall (1660s) by Jan van der Heyden, which will feature in the exhibition.

The exhibition includes a selection of the artist’s cabinet-sized works and concludes with his larger paintings. Together they illustrate the enormous variety of subject-matter in Van de Velde’s oeuvre, from panoramic views to hunting scenes, pastoral subjects or depictions of winter. The larger works include the monumental Portrait of a Family in a Landscape (Rijksmuseum) and the idyllic Landscape with cattle and figures (Fitzwilliam Museum, Cambridge). Together these works show a Dutch Arcadia as it was imagined by this exceptionally refined artist.

Adriaen van de Velde: Dutch Master of Landscape is curated by Bart Cornelis, former Deputy Editor of The Burlington Magazine, London, in collaboration with Marijn Schapelhouman, Senior Curator of Drawings at the Rijksmuseum.

The exhibition includes works from over 20 lending institutions and private collections, including the Royal Collection, Ashmolean Museum, Oxford, Fitzwilliam Museum, Cambridge, Gemäldegalerie Alte Meister, Dresden, The Morgan Library & Museum, New York, Musée du Louvre, Paris, and The National Gallery, London.

The exhibition is part of Dulwich Picture Gallery’s Rediscovering Old Masters: The Melosi Series. This exhibition is supported by a grant from the American Friends of Dulwich Picture Gallery Inc., made possible through the generosity of The Arthur and Holly Magill Foundation.

Adriaen van de Velde: Dutch Master of Landscape has been organised by Dulwich Picture Gallery, London, and the Rijksmuseum, Amsterdam.

DULWICH PICTURE GALLERY

Gallery Road, London, SE21 7AD

www.dulwichpicturegallery.org.uk

Art Basel Miami Beach 2016: Survey Sector: 14 historical projects in the spotlight

Survey Sector: 14 historical projects in the spotlight at Art Basel in Miami Beach
Art Basel Miami Beach
1 - 4 December 2016

Now in its third year, Survey will present artworks created by 14 artists prior to the year 2000. Curated booths by leading galleries from North and South America, Europe and Asia will provide insight into the work of Carmelo Arden Quin, Romare Bearden, Graciela Carnevale, Ibrahim El-Salahi, Margaret Kilgallen, Giorgio Morandi, Howardena Pindell, David Reed, George Rickey, Mimmo Rotella, Betye Saar, Barbara T. Smith, Kishio Suga and Jacques Villeglé.

Four of the 14 global galleries exhibiting in Survey will participate in the show for the first time, including Los Angeles’ The Box, which will present works by the artist Barbara T. Smith (b. 1931). Exploring intersections between the artist’s long-standing feminist performance practice and her deeply-rooted interest in ritualistic methodologies, The Box will feature video and sculptures related to her seminal work ‘Field Piece’ (1968/1971).

Also marking its debut at Art Basel in Miami Beach will be Galleria d’Arte Maggiore G.A.M. from Bologna, with a selection of museum-quality works by Giorgio Morandi (b.1890, d. 1964). A painter and printmaker best known for his restrained composition of hard, smooth forms and ambiguous distortions of perspective, Morandi worked in a range of media – painting, drawing, watercolor and etching – all of which will be included in the gallery’s presentation.

Another first-time exhibitor will be Vigo Gallery from London, which will present historic works on paper by Sudanese artist Ibrahim El-Salahi (b. 1930). Produced between 1976 and 1977, the pieces mark a key period after the artist’s release from jail – an experience that was highly influential in his career – and will be paired with rare early works from the 1950s and 1960s. El-Salahi’s work incorporates Cubism, Surrealism, Muslim iconography and Arabic calligraphy, and in 2013 he was the first African artist to have a retrospective at Tate Modern.

Simões de Assis Galeria de Arte from Curitiba, Brazil, also new to the show, will exhibit a set of 16 critically significant works by the Uruguayan avant-garde artist CAMELO ARDEN QUIN (b. 1913). The works, which were produced in the 1930s, 1940s and early 1950s, portray this key historical period within Quin’s career. Quin was instrumental within the Latin American vanguards in the 1940s and co-created the Madi Art Group – a group that inspired other artists such as Ellsworth Kelly.

Carmelo Arden Quin

Roâ, 1950

Courtesy of the artist and Simões de Assis Galeria de Arte

espaivisor will present ‘El encierro’ (1968) by Graciela Carnevale (b. 1942), one of the most significant works of sociopolitical art in Latin America from the late 1960s. Responding to Argentina’s repressive government at the time, Carnevale’s experimental action locked an unwitting audience in an empty gallery, from which the only way to exit was by breaking through a glass wall. The gallery will present photographic documentation of the historic performance paired with a poster display recreated across the booth’s wall.

Maxwell Davidson Gallery will present rare and early works by GEORGE RICKEY (b. 1907, d. 2002). Rickey’s kinetic sculptures will trace the development of his evolving creative oeuvre in the 1950s and 1960s.

George Rickey

Ship,1958-1965

Courtesy of the artist and Maxwell Davidson Gallery

DC Moore Gallery will feature rare photographic works by ROMARE BEARDEN (b. 1911, d. 1988), widely recognized as one of the most innovative visual artists of the 20th century. Centered on Bearden’s ‘Projections’, a series of photostatic enlargements and collages from the 1960s, this exhibition will reflect his interest in Cubism, Dadaism, civil rights, jazz and blues performance, as well as personal memories of the rural South.

Romare Bearden

Evening 9:10 461 Lenox Avenue, 1964

Courtesy of the artist and DC Moore Gallery

Jacques Villeglé’s (b. 1926) series ‘Painting within Non Painting’, created between the 1950s and the end of the 1970s, will be on view at Galerie Georges-Philippe & Nathalie Vallois. The works reflect Villeglé’s skepticism around ideas of authorship, traditional aesthetics and pre-determination.

Tokyo Gallery + BTAP will present a solo show of KISHIO SUGA (b. 1944), one of the central figures of the Mono-ha movement that emerged in Tokyo during the late 1960s and early 1970s. The installation of Suga’s cylindrical and fan-shaped 'PROTRUSION’ series will include two pieces that have never been exhibited.

Kishio Suga

Protrusion KX87, (1987)

Photo courtesy the artist and Tokyo Gallery+BTAP

Ratio 3 will feature Margaret Kilgallen’s (b. 1967, d. 2001) candid representation of the female figure, including women surfing, smoking, embracing and brawling. Notably, this will be the first time her works will be available on the primary market since her death.

Best known for his décollages, Mimmo Rotella (b. 1918, d. 2006) was also a great experimenter who sought to reject the imposition of traditional artistic ‘languages’. Robilant + Voena’s presentation of Rotella’s work will focus on four distinct and important techniques that he pioneered from the 1950s through the 1980s.

At Peter Blum Gallery, early and rarely seen paintings by DAVID REED (b. 1946) will be paired with a short film that the artist based on a John Wayne Technicolor VistaVision Western. While film has played a pivotal role in influencing Reed’s paintings, much of the public has not known his work as a filmmaker. The gallery’s show will coincide with the opening of a solo exhibition of David Reed’s new paintings at the Perez Art Museum in Miami.

David Reed

Study 10, 1978

Courtesy of the artist and Peter Blum Gallery

Three monumental paintings – two of which have never been exhibited previously – by Howardena Pindell (b. 1943) at Garth Greenan Gallery will draw upon the artist’s first foray into abstraction. Layered onto unprimed canvases, these works have the appearance of vast fields from which light emanates.

Organized under the unifying idea of ritual, BETYE SAAR’s (b. 1926) presentation at Roberts & Tilton will be centered around her seminal work ‘MTI’ (1973), a freestanding altarpiece fusing Gypsy, Indian and Voodoo cultural symbols. Visitors will be invited to participate in the piece by placing a personal offering at its base. The resulting presentation aims to renegotiate the aestheticization of ritualized action, concepts of power and display, and the relationship between installations and sculpture.

Betye Saar

Mti, 1973 – present

Courtesy of Roberts & Tilton

ART BASEL l Miami Beach
www.artbasel.com