WANAFOTO: 09/2023

24/09/23

Karolina Krasouli @ Grey Noise, Dubai - "Arodo" Exhibition

Karolina Krasouli: Arodo

Grey Noise, Dubai

September 18 – November 7, 2023

Karolina Krasouli presents a series of new and old works, paintings, drawings, sketches and photographs. Whether in painting, photography, or film, her works explore the intersection of abstraction and figuration. Through a process of reading and writing, she extracts a set of operations for ‘rewriting’ meanings and sensations, seeking to invent a novel language. Central to her work is the attempt to toss together different fragments, forms of which are both formally and conceptually inspired by her collection of books, papers and envelopes. Through the representation of optical phenomena related to memory and language, the use of color and light replace the role and functions of the written and the spoken word, thus resulting in different modes of verbal address. These works are produced in meditative-like process reached through repetition, prolonged to an extent that they contain time. Most of them are detached from any recognizable references to the physical world. The viewer may stand in front of them as in front of a visual field, creating continually a different relationship between proximity and distance.

The exhibition Arodo (which borrows its name from a nautical term used for the temporary stop of a ship outside a port, at the open sea due to bad weather) is conceived as the outcome of moments of stillness, contemplation and the passage of time beyond words that inhabit the works.

KAROLINA KRASOULI

Born 1984, Athens, Greece / Lives and works in Athens, Greece

Following her studies in Clinical Psychology (Greece and France), Karolina Krasouli obtained a Master’s in Fine Arts at the École nationale supérieure des Beaux-Arts in Lyon, in 2014. Whether in painting, photography, or film, her works explore the intersection of abstraction and figuration. Through a process of reading and writing, she extracts a set of operations for ‘rewriting’ meanings and sensations, seeking to invent a novel language. In 2015, she co-founded Alfabeto, a group for theoretical and practical research on the concept of transmission in art; Alfabeto organised a series of lectures and exhibitions at the French Academy in Rome. Krasouli received a two-year fellowship for a residency at the Cité des Arts in Paris (2015) and a fellow of the Stavros Niarchos Foundation’s Artist Fellowship Program, Artworks (2019). From January to March 2022, she was artist in residence at the Delfina Foundation in London.

Her work has been exhibited at Gallery of the Municipality of Athens, Athens, Greece (2023) / Cité Internationale des arts, Paris, France (2023) / One Minute Space (OMS), Athens Greece (2023) / Kalfayan Galleries, Athens, Greece (2023) / Embassy of Greece, London (2022) / Paris Internationale, Paris, France (2022) / Phenomenon 4, Phenomenon Association and Kerenidis Pepe Collection, Anafi, Greece (2022) / Seccma Trust, Athens, Greece (2022) / Two thirds art project space, Athens, Greece (2022) / Callhirrhöe, Athens, Greece (2022) / Archaeological museum of Agios Nikolaos, Crete, France (2021) / City of Athens Arts Centre, Parko Eleftherias, Athens, Greece (Promise, solo exhibition, 2021) / Mega Livadi, Serifos,Greece (2021) Eleftherias Park, Athens, Greece (2020) / La vitrine, Frac île de France, le plateau, Paris, France (Bring me the sunset in a cup, solo exhibition, 2020) / Gabriella, 3 137, Athens, Greece (2019) / Daily Lazy et Kunstraum am Schauplatz, Vienna, Austria (2019) / Frac Bretagne, Rennes, France (museum collection exhibition, 2019) / Pauline Perplexe, Paris, France (2018) / Daily Lazy, Athens, Greece (2018) / galerie Nicolas Sillin, Paris, France (2017) / galerie Eva Meyer ( 2017) / Galerie Raymond Hains, Saint-Brieuc, France (A thousand hours, solo exhibition, 2016 / Biennale de Rennes, France (2016) / La Tôlerie, Clermont-Ferrand, France (2016) / 60e Salon de Montrouge, Paris, France (2015) / Villa Medici, Italy (2015) / Le Creux de l’Enfer, Thiers, Austria (2015).

GREY NOISE

Unit 24, Alserkal Avenue, Street 8, Al Quoz 1, Dubai

www.greynoise.org

Ruth Asawa @ Whitney Museum of American Art, NYC + Menil Drawing Institute, Houston - Ruth Asawa Through Line

Ruth Asawa Through Line

Whitney Museum of American Art, New York

September 16, 2023 - January 15, 2024

Ruth Asawa Through Line is the first exhibition to examine Ruth Asawa’s oeuvre through the lens of her lifelong drawing practice. Co-organized by the Whitney Museum of American Art and the Menil Collection, this presentation reveals the complexity and richness of the materials and processes she experimented with, emphasizing the foundational role that drawing played in developing her distinct visual language. While now widely recognized as a sculptor, Ruth Asawa (1926–2013) practiced drawing daily, referring to the act as her “greatest pleasure and the most difficult.” Through drawing, Ruth Asawa explored the world around her and the boundaries of the medium itself, turning everyday encounters into moments of profound beauty and endowing ordinary objects with new aesthetic possibilities.

Positioning drawings, collages, and watercolors alongside stamped prints, copper foil works, and sketchbooks, the exhibition exposes the breadth of Ruth Asawa’s innovative practice through over one hundred works from public and private collections, many of which have not been previously exhibited. Organized thematically, the presentation begins with foundational lessons the artist absorbed and built upon at Black Mountain College in the late 1940s. Subsequent galleries examine the function of repetition and the development of specific motifs and approaches—from the Greek meander to the paper fold—and how they recur throughout her work. The exhibition shows how drawing emerged as a cornerstone of Ruth Asawa’s practice in San Francisco, later becoming a key component of her role as an educator and community leader in the Bay Area. Surveying the artist’s impressive range and expansive approach, Ruth Asawa Through Line offers an unparalleled window into Ruth Asawa’s exploratory and resourceful approach to materials, line, surface, and space.

This exhibition is co-organized by Kim Conaty, Steven and Ann Ames Curator of Drawings and Prints at the Whitney Museum of American Art, and Edouard Kopp, John R. Eckel, Jr. Foundation Chief Curator of the Menil Drawing Institute, with Scout Hutchinson, Curatorial Fellow at the Whitney Museum, and Kirsten Marples, Curatorial Associate at the Menil Drawing Institute.

After the exhibition closes at the Whitney, it will travel to the Menil Drawing Institute in Houston.

WHITNEY MUSEUM OF AMERICAN ART

99 Gansevoort Street, New York, NY 10014

whitney.org

22/09/23

Tessa Perutz @ Casino Luxembourg - Exposition How to Map the Infinite

Tessa Perutz

How to Map the Infinite

Casino Luxembourg

7 octobre 2023 - 7 janvier 2024

Tessa Perutz

Isabelle’s Hibiscus Bourgogne #2 (Esprit du Roi Soleil)

Huile sur toile, 100 x 80 cm, 2019

Tessa Perutz

Dune Pilat #2 (Arcachon, La France)

Gouache et crayon sur papier, 50 x 40 cm, 2022

Tessa Perutz

Coucher de Soleil (Sunset) at Cité Radieuse (Marseille, La France)

Gouache et crayon sur papier, 17 3/8 x 22 1/8 in, 2022

Le Casino Luxembourg - Foum d'art contemporain présente une exposition monographique de l’artiste TESSA PERUTZ.

Les œuvres de Tessa Perutz nous plongent dans des champs et des vallées, paysages à la fois réels et psychologiques, miroirs d’un état intérieur. Ses œuvres sont le fruit d’une exploration intime et spontanée, ponctuées d’anecdotes, de notes hâtives et de réflexions existentielles. Son travail est façonné par des processus de conceptualisation et d’intuition qui s’informent mutuellement, de manière organique. Les peintures font écho à d’autres, reflétant la sérialité par la répétition des motifs et l’utilisation de couleurs lumineuses. Par ailleurs, l’artiste intègre sable, lavande ou plantes connues pour leurs vertus curatives et transformatrices dans ses tableaux.

Au Casino Luxembourg, pour sa première exposition institutionnelle, l’artiste américaine a rassemblé des peintures sur toile et sur papier représentant pour la majeure partie des paysages étudiés et visités lors de son séjour en Europe. L’exposition combine œuvres existantes et nouvelles peintures, dont une étude au grand format de Bordighera, une ville sur la Riviera italienne près de la frontière française. L’artiste a désiré partir sur les traces de l’impressionniste français Claude Monet, se laissant tour à tour envoûter par la lumière méditerranéenne ainsi que par la faune et la flore si particulières, les mêmes étudiées par l’avant-garde plus d’un siècle avant elle.

Aux paysages encadrés s’ajoutera une fresque murale représentant la ligne d’horizon de Marseille vue depuis la célèbre Cité Radieuse de Le Corbusier. Faisant de ce lieu le point de départ pour son œuvre, Perutz entend revisiter les pratiques académiques historiquement masculines – la peinture et l’architecture – à travers une intuition et un regard artistiques féminins contemporains.

TESSA PERUTZ (née en 1988 à Chicago ; vit et travaille à New York) est diplômée de la School of the Art Institute of Chicago. Son travail a fait l’objet de plusieurs expositions à l’international : The Drawing Center, New York ; Musée d’art contemporain, Anvers (BE) ; Atlanta Contemporary, Atlanta ; Magenta Plains, New York ; Jack Hanley Gallery, New York, ou encore Basis, Francfort (DE). Parmi ses expositions personnelles, mentionnons : Baronian ; Knokke (BE) et Baronian Xippas, Bruxelles (BE) ; Stems Gallery, Bruxelles (BE) ou encore 3-D Foundation, Verbier (CH). En 2022, elle a été artiste en résidence à la Fondation CAB à Saint-Paul-de-Vence (FR). Dans la presse, des articles lui ont été consacrés, entre autres, dans : Artforum, The Washington Post, Modern Painters, Artnet, Milk Magazine et Hart Magazine. L'artiste est représentée par la galerie Baronian à Bruxelles.

Curateur : Stilbé Schroeder

CASINO LUXEMBOURG - FORUM D'ART CONTEMPORAIN

41, rue Notre-Dame, L-2240 Luxembourg

casino-luxembourg.lu

Joanna Logue @ Dowling Walsh Gallery, Rockland

Joanna Logue

Dowling Walsh Gallery, Rockland

October 6 - 28, 2023

Joanna Logue

Bullrushes, 2022

Oil on cradled birch panel, 16" x 20"

Joanna Logue

Lily Pond, 2022

Oil on linen, 20" x 24-1/2"

Dowling Walsh Gallery presents solo exhibition of new work by artist JOANNA LOGUE.

Joanna Logue paints richly textured, color-saturated paintings of the Maine landscape. She moved to the state from her native Australia in 2017, settling in a small village on Mount Desert. In this relatively short time, Logue has come to know the island landscape intimately through her extensive hikes into the hidden corners of its woods, marshes, and mountains. Like John Marin and John Walker, two artists she admires, her paintings balance on the knife edge between abstraction and representation. Nature is presented close-up, encompassing and challenging, reflecting the changing light and colors of the seasons. She says, "My paintings need to be tough and innovative but soft and seductive at the same time." Using various painting tools to animate each area of the composition, she extends the image beyond its edges—a reminder that we are seeing just a piece of the much larger whole.

Joanna Logue was born in the Hunter Valley in North South West Australia and graduated from the City Art Institute in Sydney with a BA in Visual Arts and a Graduate Diploma in Painting. She has had twenty-two solo exhibitions and has exhibited extensively throughout Australia and internationally. Logue received the Country Energy Prize for Landscape Painting in 2006 and the Central West Regional Artist Award in 2009. In 2014, she was awarded a residency in Bruny Island, Tasmania. Her work is in significant corporate, private, and public collections. Joanna Logue works on Mount Desert Island in Maine and from her Essington Park, Australia studio.

This exhibition is debut presentation for Joanna Logue at Dowling Walsh Gallery.

DOWLING WALSH GALLERY

365 Main Street, Rockland, Maine 04841

www.dowlingwalsh.com

21/09/23

Art Brut in Poland @ Olomouc Museum of Art - Harbours of Unease - Exhibition + Catalogue

Harbours of Unease. Art Brut in Poland

Olomouc Museum of Art

19 October 2023 - 25 February 2024

Ryszard Kosek

Woman, 1980s–1990s

Toothpaste, hardboard, 56 x 32 cm

Andrzej Kwasiborski’s collection, Płock

Dionizy Purta

Dog, 1993

Wood, polychromy, 27 x 25 x 13 cm

Leszek Macak’s collection, Kraków

Maria Wnęk

St. Veronica Wiping The Lord’s Face, N/A,

Oil, paper, 60 x 43 cm

Silesian Museum, Katowice

Edmund Monsiel

For the Worshipping of the Madonna of Częstochowa by Believers,1960

Pencil, paper, 42.7 x 51 cm,

Leszek Macak’s collection, Kraków

A motionless human face with a moustache and hundreds of watching eyes filling every millimetre of the paper. You can feel the tension, the fear, the anxiety, the eyes are everywhere, watching you until it gives you chills. The pencil drawings of Edmund Monsiel (1897-1962), who hid from the Nazis in the attic of his brother's house in Poland during World War II, depict one theme almost obsessively endlessly. The author eventually became completely isolated, suffering from autism and hallucinations.

This story also illustrates what art brut is - the art of untrained artists growing out of their inner tension, the urge to express themselves. Often these are people with mental issues or living marginalized. Olomouc Museum of Art will present their art at the exhibition Harbours of Unease. Art Brut in Poland. "Raw or crude art - art brut - differs from folk art, which is often linked to craftsmanship, or naive art that captures and often or idealises the surrounding world. Art brut artists draw from their inner self, they have their own inner universe whose vision they transfer into sculptures and paintings," explains the curator Šárka Belšíková. "They don't create for presentation, but out of an inner pressure for their own sake."

Julian Stręk

Polish Kings’ Gallery, 1990s

Wood, polychromy, 115 x 98 x 39 cm

Leszek Macak’s collection, Kraków

Krzysztof Grodzicki

Adam’s Creation, 2015

Wood, polychrome, 78 x 60 x 15 cm

Leszek Macak’s collection, Kraków

Stanisław Zagajewski

An Animal, 1989

Fired clay, 29.5 x 43 x 27 cm

Andrzej Kwasiborski’s collection, Płock

For the first time ever in the Czech Republic, the Olomouc Museum of Art presents a comprehensive exhibition of Polish art brut. On view are around 200 paintings, drawings and three-dimensional objects by thirty artists from the first half of the 20th century to the present day.

In Poland, as in Czechoslovakia in the 1970s, interest in art brut was triggered by a wave of private collecting and survey. "Of particular note is the collection of the Krakow lawyer Lezsek Macak, from which a large part of our exhibition comes. Leszek Macak not only collected the works, but also took care of them and materially helped the creators of art brut, people on the margins, socially disqualified, yet with great creative potential," says Anežka Šimková, co-author of the exhibition. A new generation of collectors and theoreticians has emerged in 1990s who are striving to bring art brut closer to a wider audience and present this phenomenon abroad.

Thanks to these collectors, art brut is gradually becoming part of the world's leading collections and exhibitions. "A groundbreaking event was the inclusion of a selection of works by representatives of art brut and imaginative art from around the world in the main exhibition 55. Venice Biennale in 2013, where the work of the Czech artist Anna Zemánková shone. Another important world event was the inclusion of the gift of the collection of art brut collector Bruno Dechamp in the Centre Georges Pompidou's collection in 2021. The Paris museum has set a separate space for it in the permanent exhibition of modern and contemporary art, where Czech artists Adéla Ducháčová, Vlasta Kodríková, Slávka Lelková and others are also represented," Šimková lists. "Centre Pompidou has set out to make professional research on art brut one of its special long-term projects."

Adam Dembiński

Two Women and a Man, 1980s

Markers, paper, 29.5 x 41.8 cm

Leszek Macak’s collection, Kraków

Roman Rutkowski

no title, 2006

Crayon, paper, 100 x 70 cm

Andrzej Kwasiborski’s collection, Płock

Genowefa Magiera

no title, 2013

Ferment, cardboard, 79 x 108 cm

Andrzej Kwasiborski’s collection, Płock

Justyna Matysiak

Pilgrimage, 2006

Markers, paper, 23.8 x 30 cm

Lue Lu / Brut Now Foundation, Poznań

HARBOURS OF UNEASE. ART BRUT IN POLAND - PUBLICATION

The exhibition is also accompanied by the first ever major entry of the topic in the Czech Republic, the Czech-English publication Harbours of Unease. Art Brut in Poland including rich pictorial accompaniment and expert studies. The curators of the exhibition - Šárka Belšíková and Anežka Šimková - map the history of art brut in the Polish environment. Polish theoretician Grażyna Borowik contributes to the understanding of the activities of the centres associated with psychiatric care, Małgorzata Szaefer opens up the issue of the current status of art brut in Poland. Barbora Kundračíková writes about the authenticity of art in relation to art brut. The book designed by Petr Šmalec, with two hundred pictures in it, includes a comprehensive catalogue of medallions of the artists accompanied by examples of their works. As a bonus, there is a chronology highlighting important art brut events in Poland and around the world.

CURATORS: Šárka Belšíková, Anežka Šimková

OLOMOUC MUSEUM OF ART

MUZEUM UMĚNÍ OLOMOUC

státní příspěvková organizace

Denisova 47, 771 11, Olomouc

www.muo.cz

Julian Schnabel @ Pace Gallery, New York - Bouquet of Mistakes - New velvet paintings

Julian Schnabel

Bouquet of Mistakes

Pace Gallery, New York

September 15 – October 28, 2023

Julian Schnabel

Glimpse, 2022

Pace presents Bouquet of Mistakes, an exhibition of new velvet paintings by Julian Schnabel, at its 540 West 25th Street flagship in New York. The works on display in Julian Schnabel’s show were made in concert with the preparation of his seventh feature film, In the Hand of Dante, an adaptation of Nick Tosches’s novel of the same name.

For the past 40 years, Julian Schnabel has been on a quest to express the inexpressible. He began painting on velvet in 1980, and, in 1984, his velvet paintings were the subject of his first exhibition with Pace Gallery on 57th Street. For Julian Schnabel, filmmaking and painting exist in a continuum in which subject matter crosses between mediums, assuming myriad forms. This relationship resonates throughout the exhibition, where indecipherable narratives emerge from a process of imagery central both to Schnabel’s film and to the paintings on view.

Celebrated for his vast and experimental practice that extends into the realms of sculpture and filmmaking, the artist has always been a painter first and foremost. Since 1978, when he created the first plate painting, The Patients and the Doctors—a work which abandoned traditional canvas in favor of a surface composed of broken plates—his use of unconventional, found materials has led to the invention of entirely new modes of painting. Dispensing with traditional distinctions between abstraction and figuration, Julian Schnabel’s plate paintings, and his works on velvet, reinvigorated interest in painting as a medium for contemporary art. Moreover, in the early years of his practice, Julian Schnabel decided to make paintings that incorporated the history and materiality of the medium itself, embracing a singular approach to both form and subject.

Julian Schnabel’s exhibition in New York marks his twenty-second solo presentation with Pace. With these new velvet paintings, Julian Schnabel considers the ways that the material appears as subject matter throughout the history of art—particularly in the works of Titian, Goya, and other Old Masters—and its symbolic weight in the history of humanity itself. But rather than creating illusionistic depictions of velvet, the artist uses the material for the surfaces of his works, inventing a new, contemporary kind of history painting in the process.

Among Julian Schnabel’s recent velvet works in the exhibition is the ten-panel Buñuel Awake (for Jean-Claude Carrière) or Bouquet of Mistakes (2022), a large-scale composition that evokes the grandeur of retablos, architecturally scaled paintings that loom behind the altars of Renaissance and Baroque churches across southern Europe. Also included in this body of new works is Gesù Deriso. Jesus Mocked (2023), which refers directly to an enigmatic Renaissance fresco by the Dominican monk Fra Angelico in the famous monastery of San Marco in Florence.

Concurrently with his exhibition at Pace in New York, Julian Schnabel is showing in the Amsterdam Sculpture Biennale ARTZUID through September 24.

PACE GALLERY

540 West 25th Street, New York, NY

www.pacegallery.com

20/09/23

Rachel Gloria Adams @ Dowling Walsh Gallery, Rockland

Rachel Gloria Adams

Dowling Walsh Gallery, Rockland

October 6 - 28, 2023

Rachel Gloria Adams

Night Swim, 2022

Cotton and linen, 24" x 24"

Rachel Gloria Adams

Night Swim 2, 2022

Cotton and linen, 24" x 24"

Dowling Walsh Gallery presents a solo exhibition of new work by artist RACHEL GLORIA ADAMS.

Rachel Gloria Adams is a multi-disciplinary artist who works across mediums, creating paintings, murals, quilts, and graphic and textile designs. She brings a passion for dynamic color combinations and bold, clear patterns to all her work. The striking abstract compositions of her recent pieced and sewn textile works honor the celebrated quilts of the women of Gee's Bend, Alabama. For the artist, “they serve as a way of piecing together memories within an heirloom framework.” Her latest paintings draw inspiration from the Maine landscape, combining the beauty of plant forms with the color and movement of the ocean.

Rachel Gloria Adams received her BFA from Maine College of Art in 2015. She has shown her work in exhibitions throughout Maine, including the 2023 Biennial Exhibition at the Center for Maine Contemporary Art. In 2022, Adams received a David C. Driskell Fellowship and Black Seed Studio Residency at Indigo Arts Alliance. She has also attended residencies at Speedwell Projects and the Stephen Pace House. In addition to her studio practice, Adams maintains a textile design business, TACHEE, and with her husband, artist Ryan Adams, has created numerous public art murals, including a recent large-scale commission for the Farnsworth Art Museum. She lives in Portland, where she serves as a board member for Space Gallery.

This exhibition is debut presentation for Rachel Gloria Adams at Dowling Walsh Gallery.

DOWLING WALSH GALLERY

365 Main Street, Rockland, Maine 04841

www.dowlingwalsh.com

12/09/23

Jenni Rope @ Galerie Forsblom, Helsinki - Bracken Exhibition

Jenni Rope: Bracken

Galerie Forsblom, Helsinki

September 15 – October 15, 2023

Jenni Rope employs a highly intuitive method devoid of advance planning. For Rope, this means letting chance take the reins – her process unfolds in a free, holistic stream of consciousness. Her technique is based on rhythmic movement and repetition, allowing her thoughts to flow freely, harnessing her intuitive knowledge. According to Jenni Rope, it is important to also listen to the material, allowing it to speak its own language and suggest new directions. Rope strives to notice surprising new paths proposed by her materials, keeping her process open to fresh, unexpected ideas.

Jenni Rope is interested in the spatial dimensions of painting, in the way shapes interact with space and with each other. Through unruly forms, her paintings infiltrate their surroundings, skirting the straight edges of the walls and surreptitiously crossing over into the domain of three-dimensionality, hovering somewhere between painting and sculpture. In her new exhibition, Rope enters fresh territory by juxtaposing rectangular canvases with organic cut-outs. The two offer a diametrically opposed viewing experience: we are so accustomed to seeing paintings in the form of rectangular canvases that a slanting oval seems challenging to conceive as a canvas. The rhythms of Rope’s paintings invoke strange natural phenomena, their forms and movements often being reminiscent of plan Jenni ts and other organisms. Her swirling patterns evoke unfurling fern shoots, immersive tangles of foliage, powerful water currents, or eruptions.

JENNI ROPE (b. 1977) is a multidisciplinary artist who works across the media of painting, mobile sculpture, print design, artist’s books, and public art. She studied at Helsinki’s Free Art School, London’s College of Printing, the University of Art and Design Helsinki, and the Academy of Fine Arts Helsinki. She is represented in numerous private collections and in major public collections such as the Saastamoinen Foundation, HAM Helsinki Art Museum, Oulu Art Museum, and the State Art Deposit Collection. Her latest public mobile sculpture will be unveiled in October 2023 at the Radisson Red Hotel in Helsinki.

GALERIE FORSBLOM

Yrjönkatu 22 - 00120 Helsinki

www.galerieforsblom.com

Photographs of Early NASA Missions in Dorotheum online auction - "The Beauty of Space" Collection

The Beauty of Space

Iconic Photographs of Early NASA Missions

Dorotheum online auction

15 to 27 September 2023, 2 am

Lot Nr. 115, Buzz Aldrin (Apollo 11, 16 - 24 July 1969):

The only photograph of Neil Armstrong on the Moon,

20.3 x 25.4 cm, estimate € 15,000 - 25,000, starting bid € 12,000

Lot Nr. 40, Buzz Aldrin (Gemini XII, 11 - 15 November 1966):

The first selfie in outer space, 20.3 x 25.5 cm,

estimate € 7,000 - 10,000, starting bid € 6,000

Lot Nr. 108, Neil Armstrong (Apollo 11, 16 - 24 July 1969):

The first photograph taken by humans from the surface of

another world, signed and inscribed by the crew of Apollo 17

and last men on the Moon, 20.3 x 25.4 cm,

estimate € 6,000 - 8,000, starting bid € 3,000

Prepare to be "Moonstruck" as the "Beauty of Space" collection takes you on a mesmerizing journey through time and space. This remarkable single-owner collection of 229 vintage photographs, curated from NASA's early space missions, encapsulates the profound significance of our giant leap into the cosmos. These extraordinary visual treasures will be available for auction in the Dorotheum online event titled "The Beauty of Space - Iconic Photographs of Early NASA Missions," taking place between September 15 and 27, 2023.

Starting mostly at just 100 euros with no reserve, these photographs invite collectors and enthusiasts to participate in a cosmic and artistic journey. Parts of the Martin-Malburet-Collection have previously graced the walls of prestigious museums worldwide, including the Grand Palais in Paris, the Kunsthaus in Zürich, the Museum der Moderne in Salzburg, and the Louisiana Museum of Art in Denmark.

Auction Highlights: Iconic Moments in Space History

The "Beauty of Space" collection includes iconic and rare photographs from the Victor Martin-Malburet Collection, featuring historic moments that defined the golden age of astronautics and graced the covers of LIFE or National Geographic magazines at the time.

• Neil Armstrong (Apollo 11, 16-24.7.1969): The iconic image of Buzz Aldrin on the Moon with Neil Armstrong and the Lunar Module Eagle reflected in his gold-plated visor. Estimated at € 4,000–6,000, starting bid € 2,000.

• Crew of the Mercury Seven (July 1960): A captivating portrait of NASA's first astronauts in their silver space suits, extremely rare in color. The legendary Mercury Seven were the inspiration for "The Right Stuff." Estimated at € 1,200–1,800, starting bid € 600.

• Buzz Aldrin (Gemini XII, 11-15 November 1966): The first space selfie, a historic moment when humanity captured its own history in the making, thanks to Buzz Aldrin. Estimated at € 7,000 - 10,000, starting bid € 6,000.

• William Anders (Apollo 8, 21-27 December 1968): The first human-taken photograph of Planet Earth, a major milestone of photography, when humans were contemplating for the first time their home planet as a celestial body like any other. Estimated at € 3,000-5,000, starting bid € 1,500.

Lot Nr. 117, Neil Armstrong (Apollo 11, 16 – 24 July 1969):

Buzz Aldrin's gold plated sun visor reflects the photographer

(Neil Armstrong) and the LM Eagle, 20.3 x 25.4 cm,

estimate € 4,000 – 6,000, starting bid € 2,000

Lot Nr. 58, William Anders (Apollo 8, 21 – 27 December 1968):

The first human-taken photograph of the whole Planet Earth,

20.3 x 25.4 cm, estimate € 3,000 – 5,000, starting bid € 1,500

Lot Nr. 1, Crew of Mercury Seven, NASA's first astronauts,

in their silver spacesuits, iconic color portrait, July 1960,

20.3 x 25.4 cm, Photo Ralph Morse,

estimate € 1,200 - 1,800, starting bid € 600

Space and Photography: A Pioneering Visual Legacy

In 1969, humanity achieved a monumental milestone by setting foot on the Moon. This historic moment also marked a significant chapter in the history of photography.

While the primary objective of the astronauts was to scientifically record their activities, they were inspired by vistas never seen before, as well as a new understanding of what it is to be human. Each and every shot was a historic treasure, a once in a lifetime opportunity that would never be able to be captured again. Equipped with the most advanced camera technology, they recorded, with skill and daring, images which immediately transcended documentation, inspiring awe and wonder. It is not just the splendor of what is portrayed; or the significance of humanity's giant leap into the cosmos; there is also the sheer aesthetic appeal of these images. Today, they have achieved iconic status, standing alongside the earliest cave paintings as powerful symbols of human curiosity, ingenuity, and the unending quest for discovery.

The "Beauty of Space" collection, carefully curated by the French collector Victor Martin-Malburet, is a testament to this extraordinary convergence of science and art and to the dedication and pioneering spirit of NASA's early astronauts.

In today's digital age, it is easy to forget that this golden age of space coincided with the era of analog photography, which relied on light-sensitive chemistry, film, and photographic papers. These vintage prints, final products of the analog technology, were developed, both in color and black-and-white, primarily for scientific purpose, in the same year the photographs were taken, just after the missions returned to Earth. Historic and aesthetic artifacts bearing negative numbers, legends, logos from NASA, manufacturer watermarks, quality control stamps and print marks from its photographic laboratories, these photographic treasures are now appreciated for their artistic value as well as their historical and scientific significance.

While some of the images were released to the press, the vast majority was largely hidden from the public eye. They will now be made available for space enthusiasts and collectors alike. The online auction offers approximately 200 NASA photographs, spanning from the early 1960s to the early 1970s, capturing the genesis of manned spaceflight, including the Mercury Program (1958 - 1963), the Gemini Program (1965 - 1966), and the Apollo Missions (1961 - 1972).

A Spectacle of Never Seen Before Moments in Space and on another world

Starting in his teenage years Victor Martin-Malburet's journey into the cosmos began when his father gifted him his first space photograph at auction. Over the course of 25 years, Victor Martin-Malburet assembled an unparalleled collection comprising thousands of vintage photographs, originating mostly from NASA’s Manned Spacecraft Center in Houston, the vast majority unreleased and hidden from public view during decades until they were progressively made available through the internet. His early dedication and access to NASA's unreleased photographs and mission transcripts allow us to step back in time and experience these pivotal moments in human history through the astronauts’ eyes.

Among the exceptional unreleased photographs, space enthusiasts can bid on:

One of the first human-taken photographs from space by John Glenn, the first American to orbit the Earth. Estimated at 2,500 to 4,000 euros, starting bid € 1,200.

The first photograph of the Moon rising over the Earth, as seen from space taken during Gemini VII, which broke the record for spaceflight duration at the time. Estimated at 1,200 to 1,800 euros, starting bid € 600.

A legendary rarity: Buzz Aldrin, the second man on the Moon, captured the only photograph of the first man on the Moon, Neil Armstrong, during the historic Apollo 11 mission. Estimated at 15,000 to 25,000 euros, starting bid € 12,000.

The first human-taken photograph of the Moon's surface, immortalized by Neil Armstrong during Apollo 11. Estimated between 6,000 and 8,000 euros, and signed and inscribed by the Apollo 17 crew, the last humans to walk on the Moon (starting bid € 3,000).

The first Earthrise photographed after transearth injection, over the curved Moon, on Apollo 11. Estimated at 3,000 to 5,000 euros, starting bid € 1,500.

An extraordinary original panorama from Apollo 15 of the Valley of Hadley-Apennine. Initially made so that scientists on Earth could reconstruct the location of the station visited on the Moon, this panoramic mosaic reveals the surreal beauty of the lunar scenery. Estimated at 2,500 to 3,500 euros, starting bid € 1,200.

And incredible photographs taken during the trouble plagued journey of Apollo 13, ghostly views of the Moon from orbit, unbelievable views of the Earth as seen as a small island of life hanging in the void of space or rising over the lunar horizon, and of course fascinating views from the Moon's surface.

As space travel continues to captivate imaginations, the "Beauty of Space" collection offers an unprecedented opportunity to own a piece of history.

DOROTHEUM

Palais Dorotheum, Dorotheergasse 17 I 1010 Wien

Online auction on www.dorotheum.com

Stig Baumgartner @ Galerie Forsblom, Helsinki - Things Falling Into Place

Stig Baumgartner

Things Falling Into Place

Galerie Forsblom, Helsinki

September 15 – October 15, 2023

For Stig Baumgartner, painting is a process of becoming visible. The form and subject find their shape through the process, which invariably entails identification with something as yet strange and unknown. Upon completion, what initially presents itself as an indeterminate geometric composition finally falls into place and in doing so, the identity of the work also finds its consummate shape. The finished work is like a joyful exclamation: This is exactly how I was supposed to look!

In Stig Baumgartner’s oeuvre, predictable geometry is contrasted with expressive gestures and details emphasizing temporality and the momentary nature of the process. His compositions shine, splatter, shake, or sweat in their own joy of emerging. Each painting constitutes its own significant event while at the same time possessing its own unique personality. Stig Baumgartner’s stylized brushstrokes assert themselves as self-contained visual motifs equal in status to his geometric shapes.

For Stig Baumgartner, painting is a dialogue between conscious and controlled versus unconscious and playful expression. He deliberately invites imperfections and deviations that push his abstract expression in a more human direction. Visually, his paintings take their cue from the laws of geometry, while his process is shaped by intuitive choices that endow his conceptual structures with recognizable forms. His figurative abstractions obey the laws of gravity, creating space for a shared bodily experience. In their materiality and spatiality, his geometric subjects also reveal something about how we make observations and how we always look for meaning in what we see.

Stig Baumgartner (b. 1969) is an artist and a lecturer in drawing and perception at the Finnish Academy of Fine Arts. He is also noted for his long career in public art. His latest public piece was completed in the summer of 2020 for the campus of Turku University. Stig Baumgartner’s paintings are found in Finland’s leading collections, including the Saastamoinen Foundation and the Museum of Contemporary Art Kiasma.

GALERIE FORSBLOM

Yrjönkatu 22 - 00120 Helsinki

www.galerieforsblom.com

11/09/23

Early Photographs of African American Life @ National Gallery of Art, Washington with the Acquisition of the Ross J. Kelbaugh Collection

National Gallery of Art Acquires the Ross J. Kelbaugh Collection of 19th- and early 20th-Century American Photographs

Portrait of a Man, c. 1855

American 19th Century

Daguerreotype with applied color

Image (visible): 7 x 5.7 cm (2 3/4 x 2 1/4 in.)

Mat: 8 x 7 cm (3 1/8 x 2 3/4 in.)

Case (closed): 9.5 x 8.3 x 1.6 cm (3 3/4 x 3 1/4 x 5/8 in.

National Gallery of Art, Washington

Ross J. Kelbaugh Collection,

Purchased with support from the Ford Foundation

2023.39.6

The National Gallery of Art has acquired the Ross J. Kelbaugh Collection, one of the most important holdings of 19th- and early 20th-century American vernacular photographs, purchased with support from the Ford Foundation. Formed over 50 years, it includes 248 photographs of and by African Americans made from the 1840s through the early 20th century that provide compelling insights into the forces that have helped shape modern America and the lives of everyday people. The collection will be featured as part of the National Gallery’s commemoration in 2026 of the 250th anniversary of the nation’s founding, presenting an opportunity to reflect on our past as depicted and lived by artists and look to the future.

“The exceptional photographs in the Ross J. Kelbaugh Collection,” said Kaywin Feldman, director of the National Gallery of Art, Washington, “include images by celebrated early Black photographers and powerful depictions of African Americans—some renowned, some unknown—that expand the story of 19th and early 20th century American photographic portraiture.”

“As a young social studies teacher in the Baltimore County public schools some 50 years ago, Ross Kelbaugh recognized that he could use photographs as a springboard for learning in his classroom,” said Sarah Greenough, senior curator and head of the department of photographs at the National Gallery. “He knew that the numerous photographs of African Americans that he discovered as he built his collection—pictures that were largely overlooked by other collectors at the time—could engage his racially diverse students, allowing them to see that everyone’s past, as he has written, ‘is an integral part of this nation’s story of E pluribus unum, out of many, one.’”

“After decades of collecting adventures, I am honored to have this portion of my photographic treasures now join the National Gallery of Art, where they can be studied and appreciated by everyone. These photographers and the people preserved in their photographs can finally become a permanent part of the American memory,” said Ross J. Kelbaugh.

The Kelbaugh collection includes 11 rare photographs by the three most celebrated early Black photographers: James Presley Ball, Glenalvin Goodridge, and Augustus Washington.

James Presley Ball (1825–1905) was a freeman born in Frederick County, Virginia, who learned photography at an early age. By 24, he had opened Ball’s Great Daguerrean Gallery of the West in Cincinnati, where he became an award-winning artist, internationally celebrated for his portraits of well-known white individuals, such as Jenny Lind, and African Americans, including Frederick Douglass. He also employed the African American painter Robert Seldon Duncanson to hand color and retouch photographs.

Glenalvin Goodridge (1829–1867) was the son of a formerly enslaved man turned entrepreneur whose home in York, Pennsylvania, was a stop on the Underground Railroad. Goodridge opened a daguerrean studio there in 1847, which prospered until 1862 when he was falsely convicted of a crime and sentenced to five years in prison; he was subsequently pardoned by the governor.

Augustus Washington (1820/1821–1875), the son of a freeman and an Asian woman, learned how to make daguerreotypes while he was a student at Dartmouth College. He set up a daguerrean studio in Hartford, Connecticut, in 1846 where he photographed both Black and white clients. He ran the studio until 1854, when he emigrated to Liberia to avoid discrimination and enjoy equal rights.

“With their compelling stories, these three men represent important examples of Black entrepreneurship and the struggle for equality and justice in the years before and after Emancipation,” said Diane Waggoner, curator of photographs at the National Gallery.

The Kelbaugh collection contains many pictures of African Americans—several were made without the consent of their subjects, often to support white concepts of family, wealth, and status. Among these images are disquieting photographs of African American women shown attentively caring for their white charges while they were denied the ability to form their own stable family units. In one haunting picture of two young African American girls holding hands, a label pasted on the front states “Peculiar Institution”—the euphemism used by John C. Calhoun and other defenders of slavery in the South. Other images were taken to aid abolitionist causes and sold to support the education of newly freed people; for example, the carte de visite entitled Wilson Chinn, a Branded Slave from Louisiana depicts a man wearing a spiked neck collar, ankle chains, and an iron leg brace. While the purpose of other photographs is not known, the picture of two men—one Black, one white—holding hands could reflect the widely embraced abolitionist slogan “Am I not a Man and a Brother?”

Most of the pictures in the Kelbaugh collection were made to bear witness to Black pride and accomplishment. Although the identity of several of the people depicted is unknown, their elegant clothing and determined, self-confident expressions suggest that they were freemen and freewomen eager to record their prosperity. Many were made to ensure that history remembered their subjects, such as the tintype with color applied by an unknown artist that included a slip of paper inscribed “Annie/Remember Me.” Several images celebrate acts that were previously denied to African Americans. For example, an unknown Civil War soldier paid extra for the photographer to highlight with gold not only his ring, brass buttons, and belt buckle, but also his knife and revolver, which he, like other African Americans, had previously been prohibited from possessing. After Emancipation, in an important rebuttal to the practice of depicting enslaved women with white children, some prosperous African American women had themselves recorded with their own children, while others had their children depicted carrying haversacks, as if on their way to school, another right previously denied to African Americans. Still others depicted themselves with books, proudly projecting an air of defiance.

The Kelbaugh collection also includes photographs of celebrated African Americans, such as Frederick Douglass and Josiah Henson (whose courage and resilience inspired Harriet Beecher Stowe’s portrayal of the hero in her book Uncle Tom’s Cabin). Several pictures directly address the history of enslavement, such as depictions of the “Slave Pen” in Alexandria, Virginia (1861); enslaved people on Edisto Island (1862); and recently freed enslaved people on the Bullard Plantation, Louisiana (1864). Other pictures address Reconstruction, such as one of an African American cowboy and images from the Jim Crow era. The collection extends into the 20th century, with compelling portraits of distinguished African American members of the Knights of Pythias and World War I and II soldiers.

NATIONAL GALLERY OF ART

www.nga.gov

08/09/23

Erik Weisenburger (1968-2023) @ Dowling Walsh Gallery, Rockland - A Tribute

Erik Weisenburger (1968-2023)

Dowling Walsh Gallery, Rockland

September 1 - 30, 2023

ERIK WEISENBURGER paints the natural world as a place of mystery and beauty. His precisely crafted images resonate with intricate detail and a sense of wonder, reflecting his interests in folk tales, myths, and history. His exquisitely rendered scenes are created using a painting method developed by the early Northern European masters that imparts an internal glow to the finished compositions. After preparing a wood panel with layers of gesso and sanding it smooth, the subject is sketched in, and the image is built up through multiple layers of thinned oil paint and varnish to achieve a satiny, lustrous finish. Erik Weisenburger has said this method "best allows me to explore and interpret the mingling of memories, monuments, permanence, and impermanence." A recent painting, Red Shirt, is a pastel-hued landscape, sparsely populated by bare-limbed trees and tiny conifers. A hush falls over the vast space, the only human presence appearing in the lone cabin with laundry on the line. In Erik Weisenburger’s painted world, nature persists in its timeless splendor.

Erik Weisenburger (1968-2023) spent many years living and working in Chicago before moving to South Portland, Maine, in 2005. He studied at the Parsons School of Design in Paris and earned his BFA in sculpture from the School of the Art Institute of Chicago and his MFA from the University of Wisconsin-Madison. His work is in the permanent collections of the Madison Museum of Contemporary Art, the Racine Art Museum, and the University of Wisconsin-Madison. It has been included in numerous solo and group exhibitions throughout the United States, including the Perimeter Gallery, Chicago; Dean Jensen Gallery, Milwaukee; the Kohler Art Center, Sheboygan; the Wright Museum of Art at Beloit College, and the Center for Maine Contemporary Art in Rockland.

The planned exhibition of Erik Weisenburger’s work, organized in collaboration with the artist, opened as scheduled at Dowling Walsh Gallery with the support of his family as a tribute to his life and work.

DOWLING WALSH GALLERY

365 Main Street, Rockland, Maine 04841

www.dowlingwalsh.com

07/09/23

Lee Miller @ Bucerius Kunst Forum, Hamburg - A Photographer between War and Glamour

Lee Miller

A Photographer between War and Glamour

Bucerius Kunst Forum, Hamburg

Through 24 September 2023

Lee Miller

Nude bent forward [thought to be Noma Rathner], Paris, 1930

Lee Miller

Untitled [woman with hand on head], Paris, 1931

Lee Miller

Floating head, Mary Taylor, New York, 1933

Elizabeth "Lee" Miller (1907 - 1977) is one of the most versatile photographers and photojournalists of the 20th century. Her oeuvre combines the contrasting genres of surrealism, fashion, portrait and travel photography, all the way to war reporting. The Bucerius Kunst Forum documents with the show Lee Miller. Photographer between War and Glamour, how Miller went her own way as an artist and war reporter, repeatedly breaking conventions both in terms of content and form. For the first time, her life's work will be on view in its entirety in Hamburg.

The exhibition presents 150 photographs from the period 1929 to 1973 and thus shows the entire breadth of Lee Miller's life's work. Organised in cooperation with the Museum für Gestaltung Zürich and the Lee Miller Archives, the exhibition divides Lee Miller’s creative phases into the chapters Modelling, Fashion and Portraits, Surrealism, Women at War, Miller’s War, Concentration Camps, Liberated Paris and Food, Friends, Farley Farm.

Lee Miller

Picasso and Lee Miller in his studio, Paris, 1944

In the 1920s, Lee Miller posed for the pre-eminent photographers of the twentieth century. After two years in front of the camera, she then switched sides. She met the surrealist Man Ray in Paris and worked with him on joint photo projects and experiments with the solarisation technique. Lee Miller also made contact with other fellow artists among the Parisian avant-garde and dabbled in the Surrealist style before developing her own artistic language.

In 1932 Lee Miller left Paris and returned to her native New York, where she ran a highly successful photography studio for two years. She married the Egyptian businessman Aziz Eloui Bey in 1934 and moved with him to Cairo. The natural forms she chose as subjects for her landscape scenes from this period attest to her keen eye for the ambiguous character of reality, schooled as it was in the Surrealist point of view. The Egyptian desert was the setting for many of her best-known Surrealist works, such as Portrait of Space.

Lee Miller

Portrait of Space, Egypt, 1937

Lee Miller

Fire masks, London, 1941

Lee Miller

David E. Scherman, dressed for war, London, 1942

When the Second World War broke out, Lee Miller was living in London with a new partner, the English artist Roland Penrose. In 1940 she worked as a photographer for Vogue. Her photographs for the fashion magazine are often artfully staged and plainly betray the influence of Surrealism. In her photojournalism, by contrast, Lee Miller compellingly captured the social impact and disastrous consequences of the war. In 1942 she was one the few female Americans to be accredited by the US Army as a war reporter, and from 1944 onward she reported from the front lines for Vogue. Lee Miller followed the Allied conquest of Normandy with her camera and proceeded to move across Europe with the advancing US troops. She was one of the reporters who witnessed and documented the liberation of Paris. Beginning in 1945, Lee Miller turned her lens on the aftermath of war in Germany and Austria. She was among the first to document the crimes that had been committed by the Nazis in the newly liberated concentration camps in Dachau and Buchenwald. During a stopover in Munich, the photographer stayed in what had once been Adolf Hitler’s private apartment, in the meantime occupied by American soldiers. It was there that she took the famous photo of herself in the dictator’s bathtub. The boots she wore during her visit to the concentration camp in Dachau are on the dirty bathmat in front of the tub. The seizure of the intimacy of the defeated enemy is staged just on the day of his death.

Lee Miller’s haunting accounts of the war for Vogue made her one of the most renowned photojournalists of the twentieth century. The impact of Surrealism on her photographic practice would give her a unique way of approaching the gruesome sights she encountered at the recently liberated concentration camps of Dachau and Buchenwald in a special, fearless way. Lee Miller’s pictures indeed seem absurd at times, and yet these are uncensored scenes of the real-life horrors of war. Traumatised by her wartime experiences, Lee Miller returned to England after the end of the war and ceased work as a professional photographer. She discovered cooking as a new pursuit, creating her own recipes and welcoming many prominent figures on the European art scene to her home in East Sussex.

Lee Miller. A Photographer between War and Glamour is an exhibition of Museum für Gestaltung Zürich, in cooperation with the Lee Miller Archives, East Sussex.

The exhibition is under the patronage of the Ambassador of the United States of America, Dr. Amy Gutmann.

BUCERIUS KUNST FORUM | BKF | HAMBURG

Alter Wall 12 - 20457 Hamburg

www.buceriuskunstforum.de

LEE MILLER. A PHOTOGRAPHER BETWEEN WAR AND GLAMOUR - 10.6. — 24.9.2023

Elizabeth Abrams: Photography exhibit @ New Mexico Farm & Ranch Heritage Museum, Las Cruces - Antidotes: Seeing Beauty, Finding Connection

Elizabeth Abrams: Photography exhibit

Antidotes: Seeing Beauty, Finding Connection

New Mexico Farm & Ranch Heritage Museum, Las Cruces

August 19 - December 2, 2023

ELIZABETH ABRAMS

Desert Horizon

Courtesy New Mexico Farm & Ranch Heritage Museum

For Elizabeth Abrams, the art of photography offers an opportunity to connect deeply with the world around us, especially in the form of nature.

The show features 24 beautiful landscape and wildlife images by Elizabeth Abrams, who lives in Las Cruces. The show also includes a “Death and Life” display, a memorial work dedicated to horses and other animals.

“My own journey of reconnecting with the landscape of the Chihuahuan Desert has brought experiences of deep healing and meaning,” Elizabeth Abrams says in her Artist Statement. “I think about photography as a practice of seeing the land and animals with love, care, and attention, and acknowledging our interdependence. This is my way of contemplating the mutual antidotes humans and the rest of nature might be able offer each other in facing the unique challenges of the times we live in.”

Her landscape photographs reflect the light and texture of the environment and the seasons, whether it’s the Rio Grande or the Organ Mountains. The 12 wildlife images in the show feature everything from a bobcat to a variety of birds.

Elizabeth Harvey Abrams is a nature photographer and interdisciplinary artist. She grew up in Alamogordo and Las Cruces with multiple generations of farming and ranching on both sides of her family. Abrams returned to Las Cruces after a 15-year career in federal government and related work in Washington, D.C. After changing careers, she now practices as a mental health counselor focusing on grief, trauma, and ecotherapy.

NEW MEXICO FARM AND RANCH HERITAGE MUSEUM

4100 Dripping Springs Road, Las Cruces, New Mexico 88011

www.nmfarmandranchmuseum.org