Park Kyung Ryul @ DOOSAN Gallery Seoul - To Counterclockwise

Park Kyung Ryul: To Counterclockwise
DOOSAN Gallery Seoul
Through July 11, 2020

DOOSAN Gallery Seoul presents To Counterclockwise, a solo exhibition by PARK KYUNG RYUL. Park was selected to participate in the DOOSAN Residency New York through an open call in 2019. After her solo exhibition in Korea, Park will commence her residency in New York, followed by her solo exhibition at DOOSAN Gallery New York. 

Park doesn’t see her works as typical paintings that convey or capture a certain story and illusion. Her works, which she calls ‘sculptural paintings’ herself, focus on the gesture of ‘drawing’, and involve spreading outside of her images the various elements that lie within them. She then experiments with the different spatial elements like the exhibition floor, stairs, walls and ceilings, as well as immaterial aspects including light and time, as the conditions for her paintings.

While the physical gesture of “painting” lies on the premise of a certain intention, the artist’s physical actions of applying brush strokes on an empty canvas construct unpredicted forms that are different from her intentions and create unexpected images depending on the materials used. Therefore, Park’s sculptural paintings are coincidental records left by the artist’s physical movements via the materials of paint and brush. They’re images of forms that are not representational of anything, rather than being part of a certain narrative structure. Park’s images of forms send the viewer back in time through which the forms are made, inviting them to imagine the body’s movement and temporality within the images.

An exhibition displaying approximately 10 works, To Counterclockwise maintains the form of a typical painting exhibition where paintings hang on the wall, while delving into the rectangular frames of the painting. And by doing so, Park sheds light on the gesture of painting and material properties of the medium, making new fascinating explorations into paintings that are material rather than narrative. 

PARK KYUNG RYUL (b. 1979) received B.F.A. and M.F.A. from Hongik University and Master's degree of Fine Art from Chelsea College of Art and Design. She has held solo exhibitions at Baik Art Seoul (2019, Seoul, Korea), Lungley Gallery (2018, London, UK), Madame Lillie Gallery (2017, London, UK), SIDE ROOM Gallery (2017, London, UK) and has participated in numerous group exhibitions at venues including Gyeonggi Museum of Modern Art (2020, Ansan, Korea), Mine Project (2019, Hong Kong), SongEun Art Space (2018, Seoul, Korea), SeMA Buk-Seoul Museum of Art (2017, Seoul, Korea), Doosan Gallery (2015, Seoul, Korea), COMMON CENTER (2014, Seoul, Korea), and Willing n Dealing (2012, Seoul, Korea), etc.

DOOSAN Gallery Seoul
15, Jongno 33-gil, Jongno-gu, Seoul
doosanartcenter.com

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Valerie Jaudon @ DC Moore Gallery, NYC - Prepositions

Valerie Jaudon: Prepositions
DC Moore Gallery, New York
July 14 - October 3, 2020

VALERIE JAUDON

Adagio, 2018

Oil on linen, 72 x 54 inches

© Valerie Jaudon, Courtesy of DC Moore Gallery

VALERIE JAUDON’s recent paintings continue her longstanding examination, begun in the mid-1970s, of the bounded, yet infinitely expandable world of the finely wrought, intricate, and maze-like abstract image. This exhibition is titled Prepositions, and refers – obliquely of course – to a word or words governing, and usually preceding, a noun or pronoun and expressing a relation to another word or element in the clause. These paintings function as abstract connectors, as visual demonstrations of organizing, placing, locating, and explaining. Prepositions are most often simple words – “inside,” “outside,” “next to,” “before,” “after” – but they allow for complexity, accuracy, and comprehensibility.

Valerie Jaudon’s paintings are similarly complex, exact, and knowable. They combine clarity, flatness, precision, and ready apprehension with a slowed down, demanding part-to-part, part-to-whole read. It is an arena where sensual, carefully worked and refractive surfaces push up against the steady rhythm of structured lines – forms laid out in arrays that seem to be on one hand perfectly logical and legible, useful and practical (in a metaphorical way), and on the other, tantalizingly elusive and austerely romantic. Most of her titles come from the world of music, and the musical underpinnings of her work show themselves in multifaceted contrapuntal organizations combined with visually melodic passages nearly undone by carefully implanted dissonance, and by the persistence of organizing themes and articulated movements. A simplified palette, evocative of the classical world – white, black, the rich umber of exposed linen, the occasional blued steel gray – gives the work a certain deliberate (and deliberative) cadence and calm. It turns the eye to the painting as a whole, away from the artist’s evident virtuosity and steady hand, her involvement in every part of the carefully crafted object.

VALERIE JAUDON

Sonatina, 2018

Oil on linen, 60 x 72 inches

© Valerie Jaudon, Courtesy of DC Moore Gallery

This work has been long in the making and Prepositions is the latest phase of a career that has approached painting with the gravity and seriousness it deserves, but also with a sense of playfulness, pleasure, and visual wit. These are paintings to think about, experience, and enjoy.

VALERIE JAUDON is the recipient of numerous awards and grants and her work has been collected by and exhibited in major museums. Among them are The Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Hirshhorn Museum and Sculpture Garden, Washington DC; McNay Art Museum, San Antonio; St. Louis Art Museum, St. Louise; Albright-Knox Art Gallery, Buffalo; Städel Museum, Frankfurt, Germany; the Louisiana Museum of Modern art, Humlebaeck, Denmark; Ludwig Forum Internationale Kunst, Aachen, Germany.

Recent museum exhibitions including Valerie Jaudon’s work include With Pleasure: Pattern and Decoration in American Art 1972-1985, Museum of Contemporary Art, Los Angeles, CA (2019-2020); Less is a Bore: Maximalist Art & Design, Institute for Contemporary Art, Boston, MA (2019); Pattern and Decoration: Ornament as Promise, Ludwig Forum, Aachen, Germany, traveled to mumok Vienna and Ludwig Museum, Budapest, Hungary (2018-2019); Pattern, Decoration & Crime, MAMCO, Geneva, Switzerland, traveled to Le Consortium, Dijon, France (2018-2019).

DC MOORE GALLERY
535 West 22nd Street, New York, NY 10011
dcmooregallery.com

I.M.A.gination @ Christie’s Paris & Online - Charity Sale to Benefit the Claude and France Lemand I.M.A. Fund

I.M.A.gination 
Charity Sale to Benefit the Claude and France Lemand I.M.A. Fund
Christie’s Paris & Online
24 June - 16 July 2020

DIA AL-AZZAWI

Search for a symbol, 2006

Claude and France Lemand Collection

Estimate: €20,000-30,000

Claude and France Lemand, Parisian collectors and gallery owners, who presented Middle Eastern Art in the capital as early as 1988, have decided to donate 44 works by Middle Eastern, Japanese and French artists from their personal collection to be sold by Christie’s Paris to help young artists who are in great need due to the Covid 19 crisis and to benefit the Claude & France Lemand-IMA Fund at the Institut du Monde Arabe. The fund aims to secure future acquisitions, organise exhibitions, undertake research work, publish exhibition catalogues.

The format of the sale will be an online auction, starting on 24 June and closing on 16 July. Some selected highlights will be on view at Christie’s Paris from 26 and to 30 June, during the Post-War and Contemporary Art Paris sales, then from 4 to 10 July again, during the exhibition of Christie’s new concept Evening sale ‘ONE’ taking place in 4 cities. Estimates range from €1,000 to €40,000 and works by each artist are already present in the collections of the Institut du Monde Arabe and many of the 26 artists are also represented in permanent collections of other international institutions.

In October 2018, Claude and France Lemand have generously donated more than 1300 works by Middle Eastern artists to the Institut du Monde Arabe museum, the largest donation in the history of the institution, founded in 1980 by 18 Arab countries in Paris. One year later, the number of works donated reached 1500.

The 44 works are spanning 60 years of artistic development throughout the Middle East, starting with the top lot of the sale Shafic Abboud’s 1959 work entitled Saison, and estimated at €40,000-60,000 and finishes with a series of 9 works produced in 2019-2020 as tributes to the Notre-Dame fire in April 2019. Claude Lemand initiated this project as the Institut du Monde Arabe directly oversees Notre-Dame and hence was a first-hand witness on the destruction of the historical monument.

Jack Lang, Former French Minister of Culture and President of the Institut du Monde Arabe comments: “Claude and France Lemand were among the first to believe in the creativity of contemporary artists in the Arab world. They are also known for their generosity. A donation is always a human adventure. It continues and grows, since the benefactors of the IMA Museum are now also becoming benefactors of artists from the Arab world. I am pleased to bring my patronage to this charity sale”.

Valérie Didier, Christie’s Impressionist and Modern Art Specialist: “What a pleasure and honour to organize a sale in Paris to benefit the Claude and France Lemand - IMA Fund. I personally have immense admiration for the couple, in particular for their unprecedented generosity, as Claude and France have devoted their whole life to defend these artists. I am convinced collectors will be present to support their latest great cause and to reinvigorate the Institut du Monde Arabe’s activity.”

SHAFIC ABBOUD

Saison, 1959

Estimate: €40,000-60,000 

SHAFIC ABBOUD

Composition, 1960

Estimate: €5,000-7,000

SHAFIC ABBOUD (1926-2004) is one of the foremost Arab artists of the 20th century. His paintings are a manifesto for freedom, colour, light and joy, as well as being a permanent bridge between the art scenes of France and Lebanon and that of Europe and the Middle East. Both Lebanese and Parisian, he was very attached to Lebanon, to its landscapes, its light and his own childhood memories. The stories of his grandmother, who was the village’s story-teller, left an indelible mark on him, at a very early age. Shafic Abboud arrived in 1947 in Paris. He is represented with two works: Saison 1959, estimate €40,000-60,000, and a nice Composition done the following year, estimate €5,000-7,000.

DIA AL-AZZAWI

Arabic Letter, 2008

Estimate: €15,000-20,000

DIA AL-AZZAWI (born 1939, Baghdad), started his artistic career in 1964, after graduating from the Institute of Fine Arts and Archaeology in Baghdad. His studies of ancient civilizations and Iraqi heritage had a profound impact on his art, and a key objective in the early formation of his artistic style was to link the visual culture of the past to the present. He is internationally recognised as one of the pioneers of modern Arab art. Defined by its powerful visual impact and brilliant colour, Al-Azzawi’s art covers a range of subjects executed in a variety of media, including painting, sculpture, drawing, prints and art books. He lives and works in London since 1976, but continues to derive inspiration from his homeland, Iraq. With exhibitions of his work held worldwide, his art features in numerous private and public collections. Dia Al-Azzawi in his own words about his art: "My work is part of the Renaissance of Arab Art trend, yet it is universal in its dimension and interlocked within contemporary history and culture." Dia Al-Azzawi is represented with three works in this auction: Search for a Symbol, 2006, estimate €20,000-30,000, Arabic Letter, 1984-2005, estimate €15,000-20,000 and was also part of the group of artists creating tributes to the fire of Notre-Dame My tribute to Notre Dame, 2019, estimate: €20,000-30,000.

NAJIA MEHADJI

La Vierge à l’enfant, 2019

Estimate : €15,000-20,000 

Another artist who paid tribute to the fire of Notre-Dame is French-Moroccan female artist NAJIA MEHADJI (b. 1950), who created a vibrant and unusually large 180 x 110 cm painting of La Vierge à l’Enfant, 2019, estimate: €15,000-20.000. "This is the painting I made as a tribute to Our Lady, based on the sculpture of the Madonna and Child at the entrance to the choir near the left transept (at Notre Dame) and the many blue drapes that feature the mantle of the Virgin in Bellini's or Fra Angelico's paintings. Its dimensions, 180 x 110 cm, are those of the sculpture of Our Lady, and the red background refers both to the fire and to the colours of the stained-glass windows in the cathedral's rosettes. ", commented Najia Mehadj on, 27 May 2019 about her work.

All artists represented in the auction are: Shafic Abboud - Youssef Abdelke - Etel Adnan - Nasser Al-Aswadi - Boutros Al-Maari - Dia Al-Azzawi - Assadour - Abdallah Benanteur - Mahjoub Ben Bella - Halida Boughriet - Chaouki Choukini - Dahmane - Khaled Dawwa - Fatima El-Hajj - Abdelkader Guermaz - Mohamed Kacimi - Mohammed Khadda - Mohammad Omar Khalil - Manabu Kochi - Mohamed Lekleti - Hussein Madi - Najia Mehadji - François Sargologo - Hussein Taï - Khaled Takreti - Hani Zurob

Online Auction: 24 June to 16 July 2020
Exhibition: From 26 and to 30 June, then from 4 to 10 July, each time from 10 am to 6pm
Venue: Christie’s: 9 avenue Matignon, 75008 Paris

*Estimates do not include buyer’s premium. Sales totals are hammer price plus buyer’s premium and are reported net of applicable fees. 

CHRISTIE'S
www.christies.com

Shirley Baker. A Different Age, James Hyman Gallery, London - Online Exhibition

Shirley Baker. A Different Age

James Hyman Gallery, London 

Online Exhibition

22 June - 24 July 2020

James Hyman Gallery presents an online exhibition of largely unseen photographs by Shirley Baker selected from the photographer's estate. The exhibition includes her rare colour work as well as iconic black and white images.

The exhibition focuses on Shirley Baker's celebrated street scenes photographed around Manchester and Salford and explores her depiction of older adults.

Nan Levy, Shirley Baker's daughter, who has curated the show with James Hyman, explains:

"Having been in lockdown for the past weeks and only just being allowed out, it made me think of our elderly folk who are still unable to see their loved ones. They cannot even visit their sons and daughters or take pleasure from playing their grandchildren for fear of catching the virus. I have put a collection of Shirley's photographs of the elderly taken from the 60s to the 80s showing them taking pleasure from the simple things in daily life that sadly are not possible at the moment."

Shirley Baker, writing of her motivations captures a world of street life that seems like a distant memory: 

"I love the immediacy of unposed, spontaneous photographs and the ability of the camera to capture the serious, the funny, the sublime and the ridiculous. Despite the many wonderful pictures of the great and famous, I feel that less formal, quotidian images can often convey more of the life and spirit of the time."

All works are for sale, subject to availability with prices starting at £1,800 + vat

JAMES HYMAN GALLERY

PO Box 72888, London N2 2FH

jameshymangallery.com

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20th Century & Contemporary Art Sales @ Phillips, New York & Online

20th Century & Contemporary Art Sales
Phillips, New York
July 2, 2020

JOAN MITCHELL

Noël, 1961-1962

Estimate: $9,500,000 – 12,500,000

© The Estate of Joan Mitchell, Courtesy of Phillips

Phillips announces its forthcoming 20th Century & Contemporary Art Evening Sale in New York City via livestream to bidders worldwide on July 2, 2020 at 5pm EDT. The sale will debut an enriched digital experience on Phillips.com, including augmented multimedia content, enhanced visuals, and art historical and market analysis that will allow for deep viewer engagement. A dynamic live auction streamed on their online platform will bring the live auction experience to collectors and viewers around the world using a virtual international bidding room of Phillips specialists.

“Phillips has been at the forefront of identifying the future of the bidding and buying experience online with the ability to bid on our app along with live streaming for nearly half a decade. We’re thrilled to bring our marquee Evening Sale to collectors worldwide in a format that will capture the intimacy and excitement of being in the room,” states Jean-Paul Engelen, Phillips Deputy Chairman and Worldwide Co-Head of 20th Century & Contemporary Art.

Featuring more than 20 lots, the sale includes works by artists highly sought after in today’s market including Joan Mitchell, Helen Frankenthaler, Gerhard Richter, Jean-Michel Basquiat, Matthew Wong, David Hammons, Amoako Boafo, Albert Oehlen, Lucas Arruda, Christina Quarles, Charles White, Banksy, KAWS and others.

“The works presented in our 20th Century & Contemporary Sale mark the bellwether of the art market today, featuring artists who have demonstrated collector demand across the globe with a focus on African American, female, and cutting-edge contemporary artists,” states Robert Manley, Phillips Deputy Chairman and Worldwide Co-Head of 20th Century & Contemporary Art.

JEAN-MICHEL BASQUIAT

Victor 25448, 1987

Valued at $10 million

© The Estate of Jean-Michel Basquiat, Courtesy of Phillips

Evening Sale Highlights

Two superlative works by artists of the 20th century include Joan Mitchell’s Noël and Helen Frankenthaler’s Head of the Meadow. An exceptional 1994 painting by Gerhard Richter hails from the height of his abstract period coincides with the highly regarded retrospective currently at the Met Breuer, Gerhard Richter: Painting After All.

Following the house’s stellar result for Jean-Michel Basquiat’s Flexible, which sold for more than $43 million in 2018 more than doubling the pre-sale low estimate of $20 million, Phillips will offer an impressive work executed in 1987, just one year before his untimely death. Last offered publicly more than a decade ago, Victor 25448 captures the singular coalescence of text and imagery that is a hallmark of the artist’s celebrated practice.

An Old Master replica tagged with a stenciled monkey guzzling gasoline from a child’s juice box represents a significant work by master-interventionist Banksy to come to auction this season from his Crude Oil series. Fellow disruptor KAWS is represented with a large-scale early Companion painting from 2000.

BANSKY

Monkey Poison, 2004

Estimate: $1,800,000 – 2,500,000

© Bansky, Courtesy of Phillips

On the heels of Phillips’ strong debut offering of American art in the 20th Century & Contemporary Sales with Norman Rockwell’s Before the Shot in November 2019, marking the first time the artist was ever included in a 20th Century and Contemporary Evening Sale and achieving a price of $4.7 million, this sale will offer a rare, never publicly-seen painting by Maxfield Parrish. Humpty Dumpty, 1921, hailing from The du Pont Family, captures the technical prowess and imagery which hovers between popular kitsch and surreal that has cemented the artist’s position as the “Grand Pop” of American Pop Art by Time magazine.

MAXFIELD PARRISH

Humpty Dumpty, 1921

Estimate: $400,000 – 600,000

© The Estate of Maxfield Parrish, Courtesy of Phillips

Phillips continues to debut artists with significant primary market following to auction. This season the sale will feature a painting by Matthew Wong, the self-taught artist known for this interior scenes and landscape depictions, marking one of the first paintings by Matthew Wong offered in an Evening Sale context. Other contemporary artists debuting this season include Otis Kwame Kye Quaicoe and Robert Nava.

MATTHEW WONG

Mood Room, 2018

Estimate: $60,000 – 80,000

© Matthew Wong, Courtesy of Phillips 

CHARLES WHITE

Sometimes I Feel Like a Motherless Child, 1958

Estimate: $700,000 – 1,000,000

© The Estate of Charles White, Courtesy of Phillips 

Charles White’s Sometimes I Feel Like a Motherless Child from 1958, painted shortly after the artist moved to Los Angeles where he became an important teacher and mentor for African American artists at Otis College of Art and Design. Taking its title from an African American spiritual, which regained popularity in the civil rights movement, the work is a significant example of his signature draftsmanship utilizing ink wash in color. With an estimate of $700,000 – $1,000,000, the work is poised to make a world record for the artist in this medium. David Hammons’ Untitled (Jordan begins his 8th season as no. 1) from 1991 transforms a copy of the Amsterdam News from November 2, 1991 into a work of contemporary realism.

CHRISTINA QUARLES

Placed, 2017

Estimate: $70,000 – 100,000

© Christina Quarles, Courtesy of Phillips 

Phillips continues to bring to market works by artists for which we have achieved world record results across our sales globally. The sale includes a painting Lucas Arruda whose world record was achieved at Phillips London in February 2020, realizing a price of £300,000, as well as a painting by Christina Quarles for whom we achieved the world record this past November 2019, $275,000, more than five times the low estimate of $50,000, after debuting the artist in a Phillips’ Day Sale New York November 2018. In addition, the sale will feature a work by Amoako Boafo, whose world record was achieved at Phillips London in February 2020 with his auction debut The Lemon Bathing Suit, which achieved a price of £675,000 more than twenty times its low estimate of £30,000.

Francis Picabia’s 1941-42 Portrait de Femme hails from a late period in the artist’s career devoted to painting pin-ups, which have gone on to have a significant influence on contemporary artists working today including John Currin and David Salle.

Julio González’s bronze sculpture, L’arlequin / Pierrot ou Colombine represents his pioneering practice in light of his collaborative work with Pablo Picasso.

Day Sale Highlights 

Phillips 20th Century & Contemporary Art Day Sale will be livestreamed to bidders worldwide on July 2 across two sessions, starting at 11am EDT and later at 2pm EDT. The sale will champion numerous artists from the 20th and 21st centuries, featuring more than 170 lots across both sessions. 

JOHN CHAMBERLAIN

Pure Drop, 1983

Estimate: $600,000 – 800,000

© The Estate of John Chamberlain, Courtesy of Phillips

Leading the Morning Session is John Chamberlain’s monumental Pure Drop, 1983, from the artist's Giraffe series. Pure Drop exemplifies Chamberlain's novel sandblasting technique, which began to define his oeuvre after his move to Florida in the early 1980s. Also featured in the sale is a remarkable landscape painting from 1995 by Cuban artist Tomas Sánchez, Meditador, its title referring to Tomas Sánchez’s conception of landscape playing a meditative role between man and nature. Another top lot is Kenneth Noland’s Resect, 1979, one of the artist’s renowned asymmetrically shaped canvases. Other notable works include sculptures by Anne Truitt and Joseph Cornell, and two works by Henri Laurens, culminating the selection of works from the Collection of Florence Knoll Bassett, which have been offered across Phillips’ 20th Century & Contemporary Art & Design Sales over the past year.

NOAH DAVIS

100 Years of Entertainment 1-5, 2008

Estimate: $120,000 – 180,000

© The Estate of Noah Davis, Courtesy of Phillips

The Afternoon Session will feature works by important contemporary artists, including Jonathan Lyndon Chase, Matthew Wong, Amoako Boafo and Noah Davis—notably Noah Davis’s 100 Years of Entertainment 1-5, 2008, which exemplifies the abstracted figuration for which the artist is known. This comes to auction on the heels of a new world auction record for the artist, set this past March at Phillips, with a painting selling for $400,000, over six times its low estimate. Another highlight will be Vivian Springford’s Untitled (Tanzania Series), 1972, the first work by the artist to be offered at Phillips. While an active figure in the New York art scene from the 1950s to the 1970s, Vivian Springford withdrew from the public eye until her work was rediscovered in the late 1990s just before her death, and more recently shown at Almine Rech Gallery in New York in 2018. 

VIVIAN SPRINGFORD

Untitled (Tanzania Series), 1972

Estimate: $60,000 – 80,000 

© The Estate of Vivian Springford, Courtesy of Phillips

JOHN BALDESSARI

Double Bill (Part 2): ...and Ernst, 2012

Estimate: $200,000 – 300,000

© The Estate of John Baldessari, Courtesy of Phillips

The sale will also include John Baldessari’s Double Bill (Part 2): …and Ernst, 2012—a quintessential example of John Baldessari’s unmistakable semiotic wordplay—from the Collection of Blake Byrne, Los Angeles.

*Estimates do not include buyer’s premium; prices achieved include the hammer price plus buyer’s premium.

20th Century & Contemporary Art Day Sale, Morning Session
Auction: 2 July 2020, 10am EDT
Location: 450 Park Avenue, New York
Click here for more information: https://www.phillips.com/auctions/auction/NY010420

20th Century & Contemporary Art Day Sale, Afternoon Session
Auction: 2 July 2020, 2pm EDT
Location: 450 Park Avenue, New York
Click here for more information: https://www.phillips.com/auctions/auction/NY010520

20th Century and Contemporary Art Evening Sale
Auction: 2 July 2020, 5pm EDT
Location: 450 Park Avenue, New York
Click here for more information: https://www.phillips.com/auctions/auction/NY010320

PHILLIPS
www.phillips.com

Sarah Moon @ Musée d'Art Moderne de Paris - PasséPrésent

Sarah Moon, PasséPrésent
Musée d'Art Moderne de Paris
Réouverture du musée : 7 juillet
Jusqu'au 16 août 2020

SARAH MOON

Yohji Yamamoto II, 1996

© Sarah Moon

« C’est à la fois pour m’approcher et m’échapper de la réalité qu’instinctivement j’ai regardé à travers l’objectif d’un appareil photographique. » – Sarah Moon

Le Musée d’Art Moderne de Paris présente l’exposition « PasséPrésent » autour de l’oeuvre de SARAH MOON. Reconnue comme une grande photographe de mode, active en France et à l’étranger depuis la fin des années soixante, ses réalisations débordent pourtant ce seul domaine, et l’exposition souhaite faire découvrir la singularité de son travail, tant photographique que cinématographique, oscillant entre reflets et transparence, mirages et obscurité.

Dans le prolongement de sa carrière de mannequin, au début des années soixante, Sarah Moon commence à pratiquer la photographie en autodidacte et reçoit ses premières commandes. En 1968, sa collaboration avec Corinne Sarrut pour l’image de la marque Cacharel bénéficie d’un écho international dans la photographie de mode, dominée par les hommes. Elle façonne un imaginaire immédiatement reconnaissable au fil de ses campagnes, affiches et magazines. Les femmes qui peuplent ses photographies semblent suspendues dans le cours d’un récit où affleurent les références littéraires et cinématographiques.

En 1985, à la mort de son assistant, Mike Yavel, Sarah Moon développe une pratique personnelle, au-delà des commandes qui continuent d’affluer. Des thématiques apparaissent de façon rémanente dans ses photographies, à travers une recherche perpétuelle de l’imprévisible et de l’instant suspendu.

A rebours de tout déroulé chronologique, Sarah Moon a souhaité croiser pour cette exposition les époques, les typologies, les sujets, afin de montrer leurs porosités. Le parcours est constitué autour d’un choix de films, pour la plupart des adaptations de contes populaires, qui forment un fil narratif à partir duquel le visiteur est invité à évoluer. Chaque film – Circus (2002), Le Fil rouge (2005), Le chaperon noir (2010), L’Effraie (2004), Où va le blanc ? (2013) - fonctionne comme une escale autour de laquelle les images s’organisent et s’animent.

L’exposition est complétée par une salle, dans le parcours des collections permanentes, dédiée à ROBERT DELPIRE (1926-2017), qui partagea la vie de Sarah Moon durant quarante-huit ans. Elle présente des photographies, des affiches, des livres, des films, qui restituent les activités plurielles de ce personnage phare de l’histoire culturelle française, l’un de ses plus importants éditeurs, mais aussi directeur artistique de l’agence de publicité Delpire qu’il a créée, et fondateur du Centre National de la Photographie qu’il a dirigé de 1983 à 1996.

Un catalogue comprenant des essais et des témoignages est publié aux Editions Paris Musées.

Commissaire de l'exposition : Fanny Schulmann

MUSEE D'ART MODERNE DE PARIS
11 Avenue du Président Wilson, 75016 Paris
www.mam.paris.fr

Tailor-Made: Fashion Photographs from the Collection of Peter Fetterman – Phillips Online Auction

Tailor-Made: Fashion Photographs from the Collection of Peter Fetterman
Phillips online auction
June 18 – 25, 2020

SARAH MOON

Fashion 10 (N.Y. Times), 1998

Estimate: $20,000 – 30,000

Photo © Sarah Moon, Courtesy of Phillips

Phillips announces Tailor-Made: Fashion Photographs from the Collection of Peter Fetterman, an exclusive online auction that celebrates a century of fashion photography, tracing the history of women’s fashion through 64 quintessential images spanning from the 1920s to today. Drawn from the collection of esteemed gallerist and collector Peter Fetterman, Tailor-Made includes work by legendary fashion photographers Lillian Bassman, Sarah Moon, Sheila Metzner, Gordon Parks, Ormond Gigli, William Klein, and Horst P. Horst, among many others. The sale will be live to bidders worldwide June 18 - 25 on Phillips.com. A portion of the proceeds will be donated to the Equal Justice Initiative to help further their mission to end mass incarceration and excessive punishment in the US, and to challenge racial and economic injustice, and to protect basic human rights for the most vulnerable people in American society.

GORDON PARKS

James Galanos Fashion, Hollywood, California, 1961

Estimate: $5,000 – 7,000

Photo © Gordon Parks, Courtesy of Phillips

For more than 30 years, Peter Fetterman has collected and championed the work of the photographers represented in this sale, with many of them becoming close personal friends. “While the essence of fashion is beauty and dreams,” states Peter Fetterman, “these photographers taught me so much about the context in which their images were made. The photographers represented here shaped my eye and my taste, for which I owe them all a great debt. Further, in the context of rampant injustice now being foregrounded in this country, I’m pleased to support the Equal Justice Initiative whose work I deeply admire.”

Sarah Krueger, Head of the Photographs Department in New York, states: “It is a pleasure to partner once again with Peter Fetterman on a sale of such exciting material. While fashion photography is a regular presence in our auctions, it is a new and entirely thrilling experience to work with a collection like this, assembled over the years with such singular focus and flare.”

Fashion photography has long been a driver of innovation in the medium, both technically and aesthetically, and this depth and breadth of creativity is demonstrated throughout Tailor-Made.

Highlighting the sale are works by Sarah Moon, whose bold, impressionistic use of color and deft manipulation of light and movement result in images that defy expectations. Sheila Metzner is another of fashion photography’s iconoclasts, and her Campidoglio plays with scale and movement within a setting that is simultaneously classical and surreal. Lillian Bassman rounds out this trio of women photographers for whom mood, atmosphere, and gesture embody elegance and style.

SARAH MOON

Fashion 4, Yohji Yamamoto, 1996

Estimate: $40,000 – 60,000

Photo © Sarah Moon, Courtesy of Phillips

SHEILA METZNER

Campidoglio, 1986

Estimate: $12,000 – 18,000

Photo © Sheila Metzner, Courtesy of Phillips

LILLIAN BASSMAN

More Fashion Mileage Per Dress, Barbara Vaughn, 

Harper's Bazaar, New York, 1954

Estimate: $12,000 – 18,000

Photo © Lillian Bassman, Courtesy of Phillips

Driven to create ever-new imagery to keep pace with the evolving styles, photographers continually created new modes and innovative ways to showcase fashion. Melvin Sokolsky placed his models in bubbles on location in New York and Paris, creating iconic images of mid-century technology and culture, while Ormond Gigli surmounted the many logistical and technical challenges in making his instantly recognizable Models in the Windows, New York City.

ORMOND GIGLI

Girls in the Windows, New York City, 1960

Estimate $30,000 – 50,000

Photo © Ormond Gigli, Courtesy of Phillips

William Klein abandoned the controlled confines of the studio to make images that have more in common with his street work than conventional fashion photography. Jerry Schatzberg and Gordon Parks, who both worked in cinema, bring a sense of movement and narrative to their imagery. While Georges Dambier, Norman Parkinson, Brian Duffy, and William Helburn create impossibly elegant images of modern women moving through the metropolis.

The photographs in Tailor-Made: Fashion Photographs from the Peter Fetterman Collection demonstrate their makers’ expansive understanding of what makes a great, compelling, and enduring fashion photograph, and the auction offers collectors a unique opportunity to acquire works from this remarkable collection. 

*Estimates do not include buyer’s premium; prices achieved include the hammer price plus buyer’s premium.

PHILLIPS NEW YORK - 450 Park Avenue, New York, NY 10022
PHILLIPS LONDON - 30 Berkeley Square, London, W1J 6EX
PHILLIPS HONG KONG - 14/F St. George’s Building, 2 Ice House Street, Central Hong Kong
PHILLIPS GENEVA - Hôtel La Réserve, 301 Route de Lausanne, Geneva

www.phillips.com

Michael Wolf @ Flowers Gallery, Hong Kong - Inaugural Exhibition

Spotlight on Michael Wolf
Flowers Gallery, Hong Kong
Through 8 August, 2020

Flowers Gallery announces a new gallery space in Hong Kong, its first location in Asia. The new gallery opens in the city’s Sheung Wan district, with a spotlight exhibition of works by the celebrated German photographer Michael Wolf (1954 - 2019), who lived and worked in Hong Kong.

Established in 1970 in London by Angela Flowers, Flowers Gallery is one of the longest-running international contemporary art galleries, celebrating its 50th Anniversary throughout 2020. The gallery currently represents more than 50 international artists and artist's estates. The Hong Kong space complements the global programme of exhibitions with a dedicated series of Spotlight exhibitions to introduce international gallery artists to the region. 

MICHAEL WOLF

Industrial #26, 2015

Chromogenic Print, 177 x 251 cm

© The Estate of Michael Wolf, Courtesy of Flowers Gallery

The inaugural exhibition Spotlight on Michael Wolf showcases examples of his extensive investigation of the lives of ordinary Hong Kong inhabitants. Michael Wolf devoted his career to exploring the complexity of life in megacities, focusing in particular on the dense urban environment of Hong Kong. The exhibition presents examples of iconic works, including the internationally renowned series Architecture of Density, presenting an abstracted view of Hong Kong’s seemingly endless residential and industrial facades. Alongside the large-scale photographs are works from Informal Solutions, a series of photographic typologies and vernacular sculptures that show an intimate perspective of the city from within its hidden network of back alleys. 

The exhibition also includes Cheung Chau Sunrises, Michael Wolf's last project before his death in 2019. Marking the end of his intensive focus on the confined metropolis, in which the sky was conspicuously absent, Michael Wolf's discovery of the horizon in this contemplative series can be understood as a gesture of liberation from the modern city, representing the hopeful prospect of peace and renewal. Every morning over two years, Michael Wolf photographed the rising sun from his home above the Cheung Chau shore, capturing the transient daily spectacle in a state of boundless transformation.

MICHAEL WOLF

Cheung Chau Sunrises 17, 2018

Archival Pigment Print, 101.6 x 76.2 cm

© The Estate of Michael Wolf, Courtesy of Flowers Gallery

MICHAEL WOLF

Cheung Chau Sunrises 57, 2018

Archival Pigment Print, 101.6 x 76.2 cm

© The Estate of Michael Wolf, Courtesy of Flowers Gallery

Managing Director Matthew Flowers says: "Our expansion into a permanent location in Asia reflects the development of strong relationships with artists, collectors, curators and Museums in the region. Hong Kong is an extremely vibrant and influential global hub, connecting collectors with art from around the world. Timing this opening with the gallery's 50th anniversary demonstrates our commitment to build a new and exciting future while celebrating the achievements of the past."

ABOUT MICHAEL WOLF

Michael Wolf is known for capturing the hyper-density of cities, such as Hong Kong, Tokyo and Chicago in his large-scale photographs of high-rise architecture and intimate studies of the lives of city dwellers. Michael Wolf’s work on life in cities was always driven by a profound concern for the people living in these environments and for the consequences of massive urbanization on contemporary civilization. This commitment and engagement remained central throughout his career, first as a photojournalist and then as an artist. Born in Munich in 1954, Michael Wolf grew up in Canada, Europe, and the United States, studying at University of California, Berkeley and under Otto Steinert at the Folkwang School in Essen, Germany. He moved to Hong Kong in 1994, where he worked for eight years as a contract photographer for Stern Magazine, before moving on from photojournalism in 2003 to focus on his personal work. Michael Wolf published over 30 books, including the critically acclaimed titles Tokyo Compression and Architecture of Density.

Michael Wolf won first prize in the World Press Photo competition in 2005 and 2010 and received an honourable mention in 2011. In 2010 and 2016 he was nominated for the Prix Pictet photography award. His work features in many permanent collections, including those of the Metropolitan Museum of Art in New York; the Museum of Contemporary Photography, Chicago; Museum Folkwang, Essen; Rijksmuseum, Amsterdam and Gemeentemuseum, Den Haag and M+ Museum, Hong Kong. Wolf’s first major retrospective, Michael Wolf - Life in Cities, was held in 2017, premiering at the prestigious Rencontres de la Photographie festival in Arles, then moving on to The Hague Museum of Photography (2018), the Fondazione Stelline in Milan (2018), Deichtorhallen Hamburg (2018 - 2019), and Urania, Berlin (2019). His work has also been exhibited at the bienal de arquitetura, Sáo Paulo, Brazil; Museum of Contemporary Photography, Chicago; Gallery of the Goethe Institute, Hong Kong, and the Victoria and Albert Museum, London.

FLOWERS GALLERY HONG KONG
49, Tung Street, G/F - Sheung Wan, Hong Kong
www.flowersgallery.com

Kuzma Vostrikov & Ajuan Song, Absolutely Augmented Reality, Scheidegger & Spiess

Kuzma Vostrikov and Ajuan Song
Absolutely Augmented Reality
Scheidegger & Spiess, 2020

KUZMA VOSTRIKOV AND AJUAN SONG

Absolutely Augmented Reality

Published by Scheidegger & Spiess, 1st edition, 2020 

Hardback, 160 pages, 110 color illustrations, 24 x 30 cm

ISBN 978-3-85881-863-8

Edited by Anna Gvirts. With contributions by Rosa JH Berland, Anthony Haden-Guest, and Lilly Wei, and with conversations with Kuzma Vostrikov and Ajuan Song conducted by Arnau Salvadó and Iona Whittaker.

Kuzma Vostrikov and Ajuan Song’s Absolutely Augmented Reality takes as its subject the intersection of fine art, photography, and the idea of authorship through a series of richly saturated, theatrical, and symbolic images that use costume, character, and allegory to create a sense of exploration and melancholic intrigue. In this dream world of strange and alluring portraiture, the viewer is delighted by a host of archetypal images, hybrid creatures, surreal motifs, and canonical postures, as well as inversions of iconic art historic references.

KUZMA VOSTRIKOV AND AJUAN SONG

Angry Birds, 2017 

© Kuzma Vostrikov & Ajuan Song

Courtesy the artists and Scheidegger & Spiess

KUZMA VOSTRIKOV AND AJUAN SONG

Chapter 433, 2017 

© Kuzma Vostrikov & Ajuan Song

Courtesy the artists and Scheidegger & Spiess

KUZMA VOSTRIKOV AND AJUAN SONG

Travel Into a Good Mood, 2017 

© Kuzma Vostrikov & Ajuan Song

Courtesy the artists and Scheidegger & Spiess

Appealing to fine art, design, and photography fans alike, this new book features some one hundred color images from Kuzma Vostrikov and Ajuan Song’s previously unpublished collaborative work. Alongside the photographs it features a brief introductory text by art historian Rosa J. H. Berland and critical essays by art critic Anthony Haden-Guest and Lilly Wei, as well as two interviews with the artists conducted by Iona Whittaker and Arnau Salvadó.

KUZMA VOSTRIKOV, born 1977 in Russia, is multidisciplinary artist working in the fields of experimental photography, film, and writing. He lives in New York.

AJUAN SONG, of Chinese origin, lives and works in New York as an artist and photographer whose practice includes analog, digital photography, and multimedia works.

ANNA GVIRTS is an artist, photographer and book designer who lives and works in her native Moscow and New York City.

SCHEIDEGGER & SPIESS
www.scheidegger-spiess.ch

Samantha Rosenwald @ Steve Turner, Los Angeles - Schadenfreude

Samantha Rosenwald: Schadenfreude
Steve Turner, Los Angeles
June 20 - July 18, 2020

Steve Turner presents Schadenfreude, a solo exhibition featuring recent work by Los Angeles- based Samantha Rosenwald. "Schadenfreude", a German word that does not neatly translate into English, denotes the complex feeling of pleasure in witnessing another person’s misfortune. This cruel form of satisfaction relates to the Zanni—a clownish character of 16th century Italian Commedia dell’arte. A Zanni, a foolish, ignorant servant, through self-humiliation and idiocy, is always the butt of the joke, both to his onstage superiors and to the audience. The English word “zany” comes from this character.

Peepee, the comically rendered insect that is central to all of the works in the exhibition, embodies the meaning of schadenfreude and the spirit of the Zanni. The comedy and cuteness of her circumstances please her onlooker while her deeper pain, anxiety, and humiliation lurk just below the surface. In this way, Peepee is herself a Zanni—she provides comic relief as a foolish inferior who undergoes humiliation for the sake of the observer’s pleasure.

These non-stinging passive bugs, blown up in scale, cartoonized and given human traits, are Samantha Rosenwald’s self-portraits and serve as allegories of the pressure on women to perform, serve, and entertain. They also relate to the fetishized and idealized female at large, both past and present. The perfect woman is small. She is slight and sweet, cute and passive. The name Peepee originated as a nickname given to Samantha Rosenwald by her boyfriend. She describes it as the perfect name for her goofy caterpillar alter-ego, both absurd and embarrassing, yet also cute, especially at first read.

SAMANTHA ROSENWALD (b. 1994, Los Angeles) received her BA in Art History from Vassar College (2016) and her MFA in Fine Art from California College of the Arts (2018). Her work has been exhibited at MCLXVII, San Francisco; Eve Leibe Gallery, London and Zevitas Marcus, Los Angeles. This is her first exhibition at Steve Turner.

STEVE TURNER
6830 Santa Monica Boulevard., Los Angeles, CA 90038
steveturner.la

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James Welling @ Regen Projects, Los Angeles - Archaeology

James Welling: Archaeology
Regen Projects, Los Angeles
Online Exhibition - Through June 20, 2020

JAMES WELLING

Erechtheion. Western facade. Sacred olive tree, karyatids 

and old temple of Athena Polias in foreground, 2019.

© James Welling. Courtesy the artist and Regen Projects, Los Angeles

Regen Projects presents Archaeology, an exclusive online exhibition of new photographs by James Welling. The works in this exhibition reflect James Welling's long-standing interest in the history and technological processes of the photographic medium, propelling forth a decades long career driven by relentless experimentation. Through a series of distinct printing processes, Welling employs his findings to create images that revive the ancient world.

In describing the genesis of this project, James Welling said:

"I first photographed Greek and Roman antiquities on a fateful visit to the Metropolitan Museum in 2018. The most haunting of the photographs I took that day was of a defaced bust of Julia Mamaea, a third-century Syrian noblewoman, the mother and regent of Emperor Alexander Severus. Her face and head had been violently damaged but her eyes still seemed to shine and she appeared to address me directly. 

I had been researching early photographic processes for a number of years and I decided to print 'Julia Mamaea' using a modified nineteenth-century printing process, collotype, in which I substituted colored dye for lithographic ink. This technique produced aqueous tints ranging from turquoise to lavender to salmon. I printed over 200 'Julia Mamaeas' from the same negative and due to variables of the process, and the fact that I printed some of them backwards, each image was different. The cumulative effect of these multiple Julias was uncanny. It seemed that her clothing, her gaze, even her gender were fluid, changing dramatically from image to image. 

Last summer I visited Athens, where I became fascinated by Greek architecture and sculpture. I took scores of photographs while I was there. When I returned to my studio I adjusted the digital files so that the photographs would mimic black and white nineteenth-century film. The earliest film was not sensitive to blue light and skies were rendered a uniform white while red and yellow tones read darker. In doing this I felt that I was turning photography into a veritable time machine. 

I began printing the Athens work as photolithographs. As I ran the plates through my press, I noticed that the richly inked surfaces were more interesting in themselves than the impressions I was getting. So, I began to think of the inked plate as the final work. Initially I printed the Athens work in black and white but I soon began working in color. Like many photographers I came to the medium through books, and these lithographic plates that I am exhibiting recall the intense black and white, and strange color, photogravures found in my first photography books. 

'Cento' is what I call this part of Archaeology. A cento is a poem made up of quotations and I think of these photographs of Athenian architecture, sculptures, and objects as articulate fragments of the material culture of Greece. 

For 'The Earth, the Temple and the Gods,' the third component of Archaeology, I used multilayered digital filters to color photographs of architecture and sculpture. In antiquity, statues and significant buildings were commonly painted using intense hues and covered with gold leaf that emphasized textile, hair and skin. Modern approximations of these objects are jarring; viewers still accustomed to the blanched surfaces of neoclassic art are repelled by the intense polychromy. I was not interested in recovering the precise colors of antiquity with 'The Earth, the Temple and the Gods'; my hope is that the 'unnatural' colors in which I clothe these works, will seep into the ancient stone and take on a life of their own. 

What have I learned in making this work? The brute violence evident on Julia Mamaea’s head and the horrific disfigurements on almost every Greek and Roman sculpture brought me face to face with the history of intolerance that nearly obliterated the science, literature, and philosophy of antiquity. With Archaeology, I am hoping to restore the spirit and vivacity of the ancient world in all its beauty and complexity." 

James Welling
New York City, 2020

JAMES WELLING (b. 1951) studied Fine Art at Carnegie-Mellon University and Modern Dance at the University of Pittsburgh. He received his MFA degree from the California Institute of the Arts in 1974. Over the past 40 years he has lived in New York and Los Angeles, where he was a professor in the Department of Art and Area Head of Photography at the University of California Los Angeles from 1995 – 2016. Since 2012 he has been a Lecturer with the rank of Professor in the Visual Arts Program at the Lewis Center for the Arts, Princeton University.

Surveys of James Welling’s work have been held at museums throughout the United States and Europe including the George Eastman Museum, Rochester (2020); Stedelijk Museum voor Actuele Kunst, Ghent (2017); Henry Art Gallery, Seattle (2016); Brandywine River Museum of Art, Chadds Ford (2015); Art Institute of Chicago (2014-2015); Fotomuseum Winterthur (2013-2014); Hammer Museum, Los Angeles (2013-2014); Cincinnati Art Museum (2013); Palais des Beaux-Arts, Brussels (2002); The Museum of Contemporary Art, Los Angeles (2001); Wexner Center for the Arts, Columbus (2000); The Baltimore Museum of Art (2000); Carnegie Museum of Art, Pittsburgh (1998-1999); Kunstmuseum Luzern (1998); and Kunstnernes Hus, Oslo (1992).

James Welling’s work has also been included in major museum exhibitions at Museum of Contemporary Art Chicago (2013, 2012); Institute of Contemporary Art, Boston (2012-2013, 1988); Wadsworth Atheneum, Hartford (2012); Walker Art Center, Minneapolis (2012, 2003-2004); Metropolitan Museum of Art, New York (2009); the Whitney Biennial at the Whitney Museum of American Art, New York (2008); Los Angeles County Museum of Art (2002, 1987); Kunsthalle Bern (1997, 1990); Denver Art Museum (1994); and Moderna Museet, Stockholm (1987).

REGEN PROJECTS
6750 Santa Monica Boulevard, Los Angeles, CA 90038
www.regenprojects.com

David Leggett @ Steve Turner Gallery, Los Angeles - Why you really mad?

David Leggett: Why you really mad?
Steve Turner, Los Angeles
June 20 - July 18, 2020

Steve Turner presents Why you really mad?, a solo exhibition by Los Angeles-based DAVID LEGGETT which features paintings and works on paper from the last few years that utilize a comic style to deal with serious subjects like racial injustice and police brutality alongside lighter ones like art history and pop culture. While he makes his works accessible with colorful depictions of Bart Simpson, Fat Albert, Alfred E. Newman and other somewhat familiar blobby characters coupled with catchy phrases, he does so to get you in. Once there, you will have to face the more difficult issues that are part of every work. The question in the title is David Leggett’s, one he poses to anyone who might take offense at his work. 

David Leggett (born 1980) earned a BFA at Savannah College of Art and Design (2003) and an MFA at the School of the Art Institute of Chicago (2007) before attending Skowhegan School of Painting and Sculpture (2010). He has had solo exhibitions at Shane Campbell Gallery, Chicago (2017 & 2019) and his work has been included in group exhibitions at Zidoun & Bossuyt Gallery, Luxembourg; James Fuentes Gallery, New York; Kunstverein Langenhagen, Germany and the Contemporary Art Museum, Raleigh, North Carolina. This is his first exhibition at Steve Turner, Los Angeles.

STEVE TURNER
6830 Santa Monica Blvd., Los Angeles, CA 90038
steveturner.la

_________________________________________

Peter Frie @ Galerie Forsblom, Helsinki - Merenranta

Peter Frie: Merenranta
Galerie Forsblom, Helsinki
June 4 - August 9, 2020

Galerie Forsblom presents an exhibition by the Swedish artist PETER FRIE (b. 1947). Frie invokes a sense of the sublime by filling the gallery with the awe-inspiring, elemental forces of nature. His images of endless sea and low-hanging sky are universally identifiable. They have very powerful genius loci, yet they also possess a metaphorical universality that transcends the physical location. Peter Frie’s timeless landscapes have an experiential resonance to which everyone can relate. He transports us to places that exist in our memories – indeed, this is the only place they exist, for Frie paints only from memory, never by replicating real landscapes. 

Peter Frie’s paintings are informed by the legacy of landscape painting, particularly the romantic tradition of imbuing scenery with a powerful emotive presence. His canvases present nameless scenes that remind us of places we know or foreign lands we have visited, or they might equally represent landscapes within ourselves. Either way, our encounter with the landscape is a highly personal experience, evoking ineffable feelings and memory traces that are unnecessary to verbalize.

Much as Peter Frie’s landscapes metaphorically capture states of mind, they are devoid of all human presence. He focuses purely on painting the sea in dialogue with the sky resting upon the horizon. He captures ray of light rising from the sea, glistening in hues from cool, clear blue to shades of radiant gold. 

PETER FRIE is one of Sweden’s most renowned contemporary artists. He has exhibited widely across Europe and taken part in numerous solo and group exhibitions in the United States and Asia. His work is found in museums such as Stockholm’s Moderna Museet and Kiasma Museum of Contemporary Art in Helsinki. He is also represented in numerous private collections across Europe and the United States. Peter Frie won the Ars Fennica Award in 1998.

GALERIE FORSBLOM
Yrjönkatu 22 - 00120 Helsinki
galerieforsblom.com

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