30/11/23

Gerhard Richter @ David Zwirner Gallery, London

Gerhard Richter
David Zwirner Gallery, London
Opening January 25, 2024

Gerhard Richter
Gerhard Richter
11.8.2023 (3), 2023
Colored ink and pencil on paper
© Gerhard Richter 2024 (25012024)
Courtesy the artist and David Zwirner

David Zwirner presents an exhibition of new and recent work by renowned German artist Gerhard Richter (b. 1932) at the gallery’s 24 Grafton Street location in London. This considered installation reaffirms Gerhard Richter’s unwavering commitment to pushing the boundaries of abstraction through formal and conceptual experimentation. 

On view are important recent works that illustrate the ease and fascination with which Gerhard Richter moves across different mediums and modes of display in his practice. Centrally featured will be an abstract painting created in 2015—just two years before Richter’s decision to move away from oil paint and turn toward works on paper and installations with increasing dedication. A suite of new works on paper, all on view for the first time in this presentation, illuminates the newfound urgency and prominence that the artist has placed on process and technique in drawing. The exhibition is also include one of the largest examples of the artist’s digitally derived Strip paintings (begun in 2011), a selection of reflective Spiegel (Mirror) installations, and a group of works made with lacquer behind glass, highlighting his expansive approach to the painted medium. Together, these works speak to Gerhard Richter’s sustained inquiry into the fixity of perception and fundamentally examine the way in which we relate to images and visual abstraction.

This is the gallery’s first exhibition of Gerhard Richter’s work in London since announcing his representation in December 2022, and follows the artist’s recent debut at David Zwirner in New York, which took place in Spring 2023. A fully illustrated catalogue commemorating the 2023 exhibition is now available for purchase from David Zwirner Books. The publication includes a newly commissioned essay by Dieter Schwarz, one of the foremost experts on Gerhard Richter’s work.

DAVID ZWIRNER LONDON
24 Grafton Street, London

Gerhard Richter @ David Zwirner Online - "PAMUL" Print

Gerhard Richter, PAMUL
David Zwirner Online
Launching December 8, 2023

Gerhard Richter
Gerhard Richter 
PAMUL, 2023
© Gerhard Richter 2023 (08122023)
Courtesy the artist and David Zwirner

David Zwirner Online is pleased to debut PAMUL, a new print by Gerhard Richter. This new work is an inkjet print based on a 2023 drawing by the artist. During the printing process, the artist subjected the original composition to a series of notable alterations—including enlarging the overall image size, augmenting the drawing with additional markings and elements, removing the signature and date, and adding a light cream border around the edge of the entire image—so that the final editioned work expresses a subtle but intentional visual evolution from its drawn predecessor.

Celebrated worldwide as one of the most important and influential artists of his generation, with a career spanning six decades, Gerhard Richter has pursued a diverse practice that is grounded in nuanced investigations of history, memory, and representation. Prints and editions have played a crucial role in Richter’s oeuvre since 1965. His vast body of editioned works—which are often derived from the artist’s own artworks, as well as clippings from family archives and mass media—have constantly served as a way for him to experiment with the production of visual facsimiles and the iterative translation and interplay of mediums.

DAVID ZWIRNER

Art Basel Miami Beach 2023 - Artists, Artworks, Galleries Highlights

Art Basel Miami Beach 2023
Miami Beach Convention Center
December 8 – 10, 2023

For the 2023 edition of Art Basel’s premier global fair in the Americas, Art Basel brings together 277 leading international galleries to present the highest quality artworks across all media – from painting and sculpture to photography and digital works – by artists ranging from early-twentieth-century Modern pioneers to contemporary practitioners. Nearly two-thirds of this year’s galleries hail from North and South America, joined by an exceptional array of exhibitors from Europe, Asia, and Africa.


Andy Warhol 
Man Ray, 1974
Presented by Vedovi Gallery
Courtesy of Vedovi Gallery
Vedovi Gallery is a leading secondary market gallery specializing in works by modern, post-war, and contemporary European and American artists. Renowned for its fine connoisseurship in the trade of high quality works, the gallery has gained a solid reputation and expertise over the past 25 years.
Zheng Chongbin
Floating Zone No.2, 2023
Presented by Altman Siegel
Courtesy of the artist and Altman Siegel, San Francisco
Altman Siegel was founded by Claudia Altman-Siegel in 2009. The program focuses on internationally recognized, museum-level artists whose work contributes to the cultural dialogue domestically and abroad. 
Etel Adnan 
Untitled, 2014
Presented by Barbara Mathes Gallery
Courtesy of Barbara Mathes Gallery
Barbara Mathes Gallery was founded in 1978 and specializes in paintings, sculpture, and works on paper by modern and contemporary masters. The gallery is known for its tightly focused one-person shows and for imaginative thematic exhibitions that present artists in new and illuminating contexts.
Antonio Tarsis 
Untitled, 2023
Presented by Carlos/Ishikawa
Courtesy the artist and Carlos/Ishikawa, London
© Antonio Tarsis 2023
Photography by Damian Griffiths
Founded in 2011, Carlos/Ishikawa’s program is dedicated to considered and ambitious exhibitions that offer diverse artists’ perspectives on structural, socio-cultural, and political questions. The program focuses on international artists with often wide-ranging, multi-disciplinary and experimental practices. 
Vânia Mignone 
Untitled, 2022
Presented by Casa Triângulo
Coutersy Casa Triângulo, São Paulo, Brazil
Photographer Credit: Filipe Berndt
Inaugurated in 1988, Casa Triângulo figures as one of the most renowned and respected Brazilian contemporary art galleries. The gallery plays an important role on the construction and consolidation of the careers of some of the most prominent names of the contemporary scene.
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Noah Horowitz, CEO, Art Basel, says: ‘Having led our Miami Beach fair for six years as Director, Americas, I know first-hand the galvanizing role our show plays within the creative ecosystem of Miami, the broader region, and the global arts community. Art Basel Miami Beach continues to exceed expectations year after year, in the quality and range of the art on view, and in the singularly magnetic experience within and beyond the halls which continues to attract both established and entirely new audiences and bring out the best of the local cultural scene each December. Our offering this year demonstrates yet again the strength of our show as an engine of the world of art in the Americas and globally, and as an utterly transformative cross-cultural experience – made possible by our premier exhibitors, our world-renowned cultural partners and collaborators in Miami Beach and South Florida, and our exceptional team.’
Spearheading the 2023 edition, Vincenzo de Bellis, Director, Fairs and Exhibition Platforms, says: ‘Visitors to our Miami Beach show this year will be met with surprises, and an expanded platform for discovering a diversity of artistic voices and perspectives, which echo and reverberate across Miami Beach’s ever-growing cultural offer. With new participants from Mexico to Poland and Egypt, and a program both within and beyond the fair like we have never done before, there is an injection of freshness to the fair, and a vigor of experience which we look forward to playing out in full in December.’
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Luz Lizarazo  
Eclipse #9, 2023
Presented by Casas Riegner
Courtesy Casas Riegner, Bogotá.
Casas Riegner was established in Miami in 2001. In 2004, after achieving an important position within the Miami art world, the gallery embarked on a challenging project: the promotion and dissemination of contemporary art within Colombia and abroad. 
Ernesto Neto 
Caminho pelas nações com o corpo cheio de gente, 2020
Presented by Galería Elba Benítez
Cortesy Ernesto Neto and Galería Elba Benítez, Madrid
Photo: Jonás Bel
Since 1990, Galería Elba Benítez has freely embraced the diverse and ever-changing facets of contemporary art. The gallery exhibits artists working with a wide range of media – installation, sculpture, video, photography, painting, performance, collective action – while also striving to explore channels of artistic expression formed by the interplay of art with other disciplines, such as architecture, film, tourism, urbanism and the production of projects for public spaces. Above all, Galería Elba Benítez remains committed to art’s fluid capacity to change with changing times.
Albarrán Cabrera 
The Mouth of Krishna #60133, 2015
Presented by Galería Elvira González
Courtesy Galería Elvira González
The Elvira González Gallery opens in Madrid in 1994. Founded by Elvira González, who owned and directed the Theo Gallery for 30 years (from 1966 to 1991) it is currently directed by her daughters, Elvira Mignoni and Isabel Mignoni. The gallery specializes in modern and contemporary European and American art and has produced important exhibitions.
Doug Aitken 
Endless Oceans (1), 2023
Presented by Galerie Eva Presenhuber
Courtesy the artist and Galerie Eva Presenhuber, Zurich / Vienna
© the artist
Photo: Stefan Altenburger Photography, Zürich
Galerie Eva Presenhuber is a leading contemporary art gallery located in Zurich and Vienna. Eva Presenhuber is committed to representing and nurturing an international and intergenerational roster of artists that reflects both historical and current discourses within contemporary art. 
Christine Tien Wang 
Marx cat with blue blanket, 2023
Presented by Galerie Nagel Draxler
Courtesy: the artist and Galerie Nagel Draxler Berlin/Cologne/ Munich
Galerie Nagel Draxler (formerly Galerie Christian Nagel) was founded in Cologne in 1990 and operates in Cologne, Berlin, Munich and Meseberg. It is a gallery that has a history, a present and a future. An emphasis lies on an established artist generation, that has been showing with them since the beginning and whose work has been strongly influential for following generations. 
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The show's main sector will feature 222 of the world’s leading galleries, showcasing painting, sculpture, drawing, installation, photography, video, and digital works of the highest quality, including 10 exhibitors presenting editioned works, prints, and multiples.

Dedicated to galleries presenting works created within the last three years by one, two, or three artists, the Nova sector will feature 21 presentations from 22 galleries.

This year’s Positions sector will feature 16 standalone presentations by emerging artists from around the world. Highlights include: a presentation of Brazilian artist Allan Weber, known for his work on everyday life in Rio de Janeiro's favelas, including a new photo series shot during the COVID-19 pandemic, when Weber worked as a mobile food app delivery driver, presented by Galatea (Rio de Janeiro); four works by Mexican artist Andrew Roberts made especially for the fair and exploring the ocean as a geopolitical space of violence, including a three-channel video work, in which an assembly of computer generated and animated sea monsters hauntingly sing to their extinction, an animatronic sculpture depicting an aquatic humanoid creature in a state of deep sleep, and two large scale bas-reliefs made of silicone, presented by Pequod Co. (Mexico City); a new series of photographs by American artist Texas Isaiah, in which transmasculine, nonbinary, and gender-expansive subjects act in a lush landscape, shown alongside an altar installation dedicated to Ki'tay Davidson, a Black transmasculine disability justice advocate, and Blake Brockington, the first openly trans high school homecoming king in North Carolina, presented by Residency Art Gallery (Inglewood); and an installation of mixed-media wall and floor sculptures by Brazilian artist Mano Penalva, in dialogue with the wooden beaded backrests used by professional drivers in Brazil and various parts of the world, presented by Llano (Mexico City).

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Evelyn Statsinger
Sky Dive, 1991
Presented by GRAY
Courtesy of GRAY
GRAY: Established in Chicago in 1963, Richard Gray Gallery specializes in modern and contemporary artwork and represents an international roster of artists who work in a variety of media, including sculpture, photography, installation and painting. Expanding to New York City in 1997 and opening a capacious second location in Chicago in 2017, Gray is identified with its support of leading contemporary artists and offers artworks of exceedingly high quality. 
Marsden Hartley 
Black and White Decoys, 1940-41
Presented by Hirschl & Adler Modern
Courtesy Hirschl & Adler Modern
Photo by Eric W. Baumgartner
Hirschl & Adler Modern, founded in 1981, specializes in art from 1913 to the present, with a strong emphasis on American Modernism and the post-war period. It also represents a select group of established and mid-career contemporary artists who are featured regularly through scheduled solo and group exhibitions in its 11,000 square-foot gallery space at the crossroads of 57th Street and Madison Avenue in New York City.
Fulton Leroy Washington (Mr. Wash) 
From Behind the Glass, 2022
Presented by Jeffrey Deitch
Courtesy of the artist and Jeffrey Deitch, New York and Los Angeles
Photo by Charles White
Jeffrey Deitch began his art career with a small gallery in Lenox, Massachusetts, in 1972. After working as Assistant Director at the John Weber Gallery from 1974-76 and earning an MBA at the Harvard Business School, he developed and co-managed Citibank’s Art Advisory Service from 1979-88. Deitch established his own art advisory and private dealing business in 1988. From 1993-2000, he represented Jeff Koons and co-produced the artist’s Celebration series. In 1996, he opened Deitch Projects, which presented more than 250 exhibitions and projects. He closed the gallery in 2010 to become Director of the Museum of Contemporary Art, Los Angeles. In 2014, Deitch reopened his New York gallery, focusing on projects with major artists and curated thematic exhibitions. Deitch opened his gallery in Los Angeles, designed by Frank Gehry, in September 2018. In addition to his commercial career, Deitch has curated influential exhibitions in museums and foundations.
Judy Chicago 
Transformation Painting, 1973
Presented by Jessica Silverman
Courtesy of the artist and Jessica Silverman, San Francisco
Jessica Silverman is a contemporary art gallery with an international reputation for curating compelling exhibitions, building artists’ careers, and collaborating with collectors who are keen on positive provenance. Their mission is to support artists whose relevance to contemporary culture is such that museums want to understand and embrace their work.
Ana Sacerdote 
Untitled, 1967
Presented by Jorge Mara - La Ruche
Courtesy Jorge Mara - La Ruche
The Jorge Mara • La Ruche Gallery, inaugurated in late 2001, is a new space continuing the tradition of the Galería Jorge Mara, renown in Buenos Aires in the 1980s, and based in Madrid during the 1990s. The new space focuses mainly on the work of established artists active in mid twentieth century Argentinean and Latin American art, while also spotlighting the work of emerging artists.
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Featuring works created before 2000, Survey will host 17 galleries. Highlights include: a tribute presentation to Liliana Maresca, the iconic Argentine sculptor, painter, and performance artist who was highly influential to the country’s artistic scene in the 1980s and 1990s, presented by Rolf Art (Buenos Aires); a solo presentation of Karen Finley, Karen Finley: REDACTED, centered on the artist's seminal interactive installation, GO FIGURE, which she installed at the Museum of Contemporary Art, Los Angeles, in 1997 during her protracted legal battle with the National Endowment for the Arts, and the subsequent presentation of which at the Whitney Museum was canceled in the wake of the artist’s Supreme Court defeat, presented by Freight+Volume (New York); a solo booth of American artist Vivian Browne’s landmark abstract Africa paintings, made following an influential trip to Nigeria in 1971, presented by Ryan Lee (New York); and a series of eight erotically charged paintings of factory laborers from the estate of Swiss artist Rudolf Maeglin, made between 1932 and 1948 and never-before-seen in the U.S., including two rare large-scale works, in which the artist's unique provocation of gender reverberates with urgency, presented by Meredith Rosen Gallery (New York).

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Anish Kapoor 
Oriental Blue and black Mist Satin, 2019
Presented by Mennour
Courtesy Mennour
Mennour is an art gallery founded in Paris in 1999. Through its exhibitions, its projects developed in partnership with cultural institutions, its presence in major international art fairs, and its network of collaborators throughout the world, the gallery is present from Asia to the Americas, and from Africa to the Middle East. Today, it is one of the key actors in contemporary art and the art market.
Sophie von Hellermann 
Double Life, 2023
Presented by Pilar Corrias
Courtesy the artist and Pilar Corrias, London
Pilar Corrias opened her eponymous contemporary art gallery in 2008. The gallery has worked with artists with the central aim of allowing their work to grow both in terms of the production of new projects and the making of exhibitions. Pilar Corrias opened her first gallery on Eastcastle Street in London’s Fitzrovia, designed by Rem Koolhaas and began representing a small group of artists she previously had worked with: Philippe Parreno, Keren Cytter, and Tala Madani. At the time, she was the first woman to open a new gallery in the West End of London for a decade. In 2021, a second London gallery space was opened at 2 Savile Row designed by Hesselbrand. In 2023, a new gallery space at 49–51 Conduit Street opened, designed by Cowie Montgomery, replacing Eastcastle Street.
Joana Choumali 
WHEN THE WIND OF CHANGE BLOWS, 2023
Presented by Sperone Westwater
Courtesy of Sperone Westwater
Sperone Westwater is a contemporary art gallery on the historic Bowery in New York City. In 2010 the gallery inaugurated an award-winning building designed by Foster and Partners. Originally founded in 1975 on Greene Street in Soho, Sperone Westwater has recently celebrated 45 years of groundbreaking exhibitions that have showcased a European avant-garde and renowned American artists.
Pacita Abad 
I'm up and down like a yo-yo, 2003
Presented by STPI
Courtesy of the artist and STPI – Creative Workshop & Gallery, Singapore
STPI is a creative workshop and contemporary art gallery based in Singapore. Established in 2002, STPI is committed to promoting artistic experimentation in the mediums of print and paper, making it one of the most cutting-edge destinations for contemporary art in Asia.
ART BASEL MIAMI BEACH
Miami Beach Convention Center
1901 Convention Center Drive, Miami Beach, FL 33139

Loïc Raguénès @ CLEARING, Brussels - "Les animaux bleus" & "There are tears at the heart of things" - Two posthumous exhibitions

Loïc Raguénès
Les animaux bleus &
There are tears at the heart of things
CLEARING, Brussels
November 9 — December 22, 2023

Les animaux bleus and There are tears at the heart of things mark the two first posthumous exhibitions of French artist Loïc Raguénès (1968-2022) at CLEARING, Brussels showing works situated at the chronological extremities of his output, and which reflect the consistency of his artistic intentions.

Loïc Raguénès’ works—from his mid-2000s “neo-pointillist” pencil drawings, via hazy spheres painted on fog-laden backgrounds, to his abstract-figurative seascapes, all unfolded in chapters—have long acted as clues and gestures towards his innermost artistic questionings rather than a clear resolution or statement. His oeuvre, like the waves he so often depicted while posted in his Douarnenez studio on the northwest coast of France, is a perpetual ebb and flow between abstraction and figuration. A constant coming and going between the microcosm of texture and detail to the macrocosm of shapes, colour and lines, with an interest in the tipping point between the two.

Les animaux bleus, in the front space of the gallery, comprises 28 early drawings of animals that Loïc Raguénès sketched from life at the zoo whilst a student at the Besançon Art Academy. Lion, tiger, giraffe, baboon, birds: each animal is foregrounded in black outline and blue-grey pastel shading while their background consists of a textured, painterly white-out. Rather than a bestiary or a series of zoological illustrations, the young Loïc Raguénès was already brewing his formula for creating works which would explore the question of representation, abstraction, and figuration, as well as the idea of hierarchies regarding painterly subject matter. The restrained palette also acts as a prelude to Loïc Raguénès’ lifelong affair with hues of blue and grey which he employed consistently throughout his oeuvre.

In the main space, moving forward several decades, There are tears at the heart of things gathers a selection of the artist’s late works. A central in-situ painting, first executed in 2012, sees pink and blue dots placed across the entire rear wall. Using a template to outline the hundreds of circles, the work emerges from a meditative process that, despite the use of a cardboard cut-out guide, allows for spontaneity and chance. The modernist desire for order and rationalisation is flouted, the grid is atomised, and the circles are almost no longer incessantly self-referential. The work marks a transition away from his earlier compositions which employed strictly placed Benday dots and rasterised images towards a more freeform and painterly approach. It is no coïncidence then that a similar pattern blurs our vision, superimposed upon the exhibition’s seascapes: rain, snow, or an afterimage having stared at Loïc Raguénès’ ever-present dots for too long?

The framed works lining the gallery walls constitute a suite of gouache squares on paper which continue the artist’s dalliances with suprematist monochromes, the idea of the image as an icon, and seriality. Whereas in previous iterations of the works titles evoked fields viewed from above, it would seem perspective has here been shifted 180 degrees to gaze out into the aether, as the compositions tend to vibrate and gravitate, like planets, around a certain point. Across the whole series, a black square is recurrent, akin to a repeated musical theme. A preamble note to Eric Satie’s 1893 piece “Vexations” reads: “In order to play the theme 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities,” advice that also seems appropriate when apprehending Loïc Raguénès’ seriality.

Another motif that the artist had been revisiting for some time is that of the cave. The three works to the rear of the gallery reveal Loïc Raguénès’ interest for Gustave Courbet who painted several works representing the source of the Loue River (La Source de La Loue). Drawing on his native landscapes, Courbet’s paintings (like those of Loïc Raguénès) form an ensemble depicting the same theme taken from different angles, culminating at the threshold of abstraction as a medley of greys and browns bordering the cave’s deep black mouth. Should we approach these works from another perspective, it seems the horizontal green and blue lines from Loïc Raguénès’ wave paintings are grasped, compressed and bent into semi-circles or monochromatic rainbows that neatly espouse a mysterious black hole.

Loïc Raguénès approached his practice with a restrained yet textured vocabulary of forms, colours, and techniques which he constantly re-explored or revisited. Inspired by his immediate surroundings (animals, sea, weather, planets), his practice involved a perpetual reshuffling of the deck of cards he had dealt himself. Each new chapter is birthed from an element of a previous one; a drop of distillate pipetted from one into the ocean of the next. Two tempera paintings on canvas bear witness to this methodology as well as the new directions he was intent on taking. Originating in the outlines lifted from blueprints, these two works constitute a geometrical resolution of other marine-related objects visible from the artist’s studio; sailboats.

Finally, amidst the chorus of works which crossfade elegantly between abstraction and figuration are several representational outbursts. Like a return to a foundation or a resistance to total rationalisation, a man in a red sweater, a sheep, and a lone goose not only gesture back towards the series of blue animals, but act as cryptic clues in an effort to understand where Loïc Raguénès may have navigated to next.

Les animaux bleus and There are tears at the heart of things will be followed by a presentation of the artist’s works at our New York space in late November.

Loïc Raguénès (1968, Besançon – 2022, Douarnenez) lived and worked in Douarnenez, FR.

Solo exhibitions of his work have been held at Musée des Beaux Arts, Dole; La Salle de bains, Lyon; 40mcube, Rennes; Centre d’art image/imatge, Orthez; Musée François Pompon, Saulieu; Circuit, Lausanne; Galeria Zero, Milan; Patrick de Brock, Knokke; and C L E A R I N G New York and Brussels.

His work has been featured in group exhibitions at Le Consortium, Dijon; de Appel, Amsterdam; Musée des Beaux Arts de Rennes; Villa Arson, Nice; Casino Luxembourg; FRAC Ile de France, Aquitaine, Bordeaux, Languedoc-Roussillon; Centre d’art contemporain la Synagogue de Delme; Fondation Pernod Ricard, Paris; Fondation d’entreprise Hermès, Brussels; Various Small Fires, Seoul; Casey Kaplan, New York; Galerie Thaddaeus Ropac, Salzburg, and David Zwirner.

The artist will be part of the 9th Biennial of Painting at the Museum Dhondt-Dhaenens in 2024.

Loïc Raguénès’s work is part of the collections of Musée d’Art Moderne de Paris, Le Consortium, Dijon; Fonds national d’art contemporain, Paris; FRAC, Ile de France; Bourgogne; Champagne-Ardenne; Corse; Franche-Comté; Nouvelle-Aquitaine; Occitanie Montpellier and Toulouse.

C L E A R I N G
Avenue Van Volxemlaan 311, 1190 Brussels

29/11/23

Amy Pleasant @ Lanay Contemporary, Savannah- "FragmenT FOLD bloom" Exhibition + Biography

Amy Pleasant: FragmenT FOLD bloom
Laney Contemporary, Savannah
November 10, 2023 – January 13, 2024

Amy Pleasant
AMY PLEASANT 
Folding I, 2023 
Oil on canvas, 72 x 108 in 
© Amy Pleasant / Courtesy Laney Contemporary

Laney Contemporary presents FragmenT FOLD bloom, the second solo exhibition at the galley in Savannah, of Birmingham-based artist AMY PLEASANT. This selection of work is physical; it fragments and folds and allows the body to bloom into what feels like an ancient alphabet of gestures. The work ranges in material expression and engages the whole and the fragmented form in solitude or in serene connection. 

Through a variety of shapes, Amy Pleasant’s figures embody gestures and silhouettes of stillness or dynamic interplay. Some fold into themselves while others duplicate into a twin. Still others “bloom” outward into X shapes embracing as much space as they can claim. Throughout Pleasant’s practice, bodies are distilled into shapes that perceptually shift between foreground and background, positive and negative spaces. The body merges with the letter X in Amy Pleasant’s visual vocabulary as both affirmation and negation, holding place as the “I am here” gesture. They are figurative shapes with both qualities, expressing the full capacity of human form and the incredible potential of the body. But X is just one expression as Amy Pleasant’s work explores its own language of shape and gesture, curve, and corner. It undertakes a kind of poetic alphabet of the body in a visual form. It appears these forms have always existed, as if hieroglyphic and timeless.

The exhibition encompasses many facets: painted ceramic sculptures, works on paper in ink and gouache, and oil paintings in a variety of sizes. Color plays an important, though subtle, role in Amy Pleasant’s figures. Shades of color are in conversation with one another, so soft and nuanced they could be missed. Colors and shapes establish patterns providing a playful commentary on human emotions - visualizing how it feels to “run in circles.” These repetitive forms are at times illusions of space and movement, establishing bold contrasts and emotive connections.

Amy Pleasant’s work induces the body to feel something: a stirring, a slouching, a bending, a leaning toward or leaning away. Her work explores the subtleties of the human gesture indirectly asking questions such as: What is universal about a body? Can we move closer to seeing ourselves in one another, folding, fragmenting, and blooming toward bodies and spaces of empathy? Her compositions encourage awareness of our own “micro-movements with meaning,” nudging us to lean in with more curiosity and elegance, and perhaps, even with grace.

AMY PLEASANT - BIOGRAPHY

Amy Pleasant (b.1972) received a BFA from the School of the Art Institute of Chicago (1994) and an MFA from the Tyler School of Art (1999). Pleasant is a John Simon Guggenheim Memorial Foundation Fellow (2018) and received the South Arts Prize for the State of Alabama (2018). Other awards include a Joan Mitchell Foundation Painters and Sculptors Award (2015), Cultural Alliance of Birmingham (2008) and the Alabama State Council on the Arts (2019/2003).

Solo exhibitions include the Birmingham Museum of Art, Birmingham, AL (2023), Hunter Museum of American Art, Chattanooga, TN (2022), Brackett Creek Editions, NYC (2022) Geary Contemporary, Millerton/NYC (2021, 2019), Laney Contemporary, Savannah, GA (2020), Institute 193, Lexington, KY (2019), Jeff Bailey Gallery, Hudson/NYC (2016, 2015, 2011, 2009, 2005, 2004), whitespace gallery, Atlanta, GA (2017, 2014), Indianapolis Museum of Contemporary Art, Indianapolis, IN (2016), Atlanta Contemporary, Atlanta, GA (2009) among others. Her work has been included in numerous two person and group exhibitions at venues such as Pamela Salisbury Gallery, Hudson, NY (2022), Knoxville Museum of Art, Knoxville, TN (2022), Zuckerman Museum of Art, Kennesaw, GA (2022, 2016), Brackett Creek Editions, Bozeman, MT (2022, 2021), Hesse Flatow, NYC (2021), SEPTEMBER, Hudson, NY (2020), Mindy Solomon Gallery, Miami, FL (2019), Tif Sigfrids, Athens, GA (2019), Montgomery Museum of Fine Arts, Montgomery, AL (2017), Adams and Ollman, Portland, OR (2017), Lamar Dodd School of Art, Athens, GA (2015).

Her work has been reviewed in Art in America, Art Papers, Artforum, The Brooklyn Rail, Burnaway and Sculpture.

Pleasant’s first monograph, The Messenger’s Mouth Was Heavy, was released in 2019, including essays by Daniel Fuller and Katie Geha, and was co-published by Institute 193 and Frank.

LANEY CONTEMPORARY
1810 Mills B. Lane Blvd, Savannah, Georgia 31405

Play the Part: Marlene Dietrich @ ICP, NYC - International Center of Photography

Play the Part: Marlene Dietrich
International Center of Photography, New York
Through January 8, 2024

William Walling, Jr. 
[Portrait of Marlene Dietrich], 1932 
Collection Pierre Passebon

Play the Part: Marlene Dietrich, on view at the International Center of Photography (ICP), examines the multifaceted evolution of Dietrich’s public persona with 250 photographs made between 1905 and 1978. The exhibition provides a window into Marlene Dietrich’s complex and intrepid life as well as the rapid transformations in the entertainment industry – from silent film to television – in which she thrived, cementing a legacy as one of the 20th century’s most dynamic and iconic artists. 

Play the Part offers insight into Marlene Dietrich’s mastery of her own image in the era of studio-dominated movie making and distribution in Hollywood—a system that dissolved in the 1960s, drastically shifting the centers of power in the industry. Among the images on view are studio-commissioned publicity portraits, identifiable by the appearance of Marlene Dietrich's autograph, often in her distinctive green ink. The exhibition showcases captivating works by Hollywood photographers such as George Hurrell, Eugene Robert Richee, and William Walling Jr., alongside iconic photographs by renowned artists including Eve Arnold, Richard Avedon, Cecil Beaton, Alfred Eisenstadt, Horst P. Horst, Lee Miller, Irving Penn, and Edward Steichen. Play the Part, drawn from the Pierre Passebon Collection and on view in the U.S. for the first time, also highlights film stills, set pictures, and other candid photographs, many of which are unpublished and rarely seen. 

Born in Berlin, Marlene Dietrich (1901-1992) was a performer renowned for her starring roles in films such as The Blue Angel (1930), the first feature-length German talkie, and her foundational partnership with filmmaker Josef von Sternberg. In 1930, opposing the ascending Nazi regime, she emigrated to the United States, ultimately renouncing her German citizenship. During World War II, she actively supported US troops, donated funds to refugees, and toured with the USO. In recognition of her efforts, she became the first woman to be awarded the Medal of Freedom in 1947. In the 1950s, she transitioned primarily to live performances, captivating audiences in theaters worldwide. Her final film appearance was in Just a Gigolo (1979), after which she withdrew from performing and public life. 

Marlene Dietrich's infatuation with photography and creating her own image blossomed at the start of her career. In 1964 she told an interviewer, “I had no desire to be a film actress, to always play somebody else, to be always beautiful...” She utilized camera angles, lighting, makeup, and editing to perfect her appearance, adapting her techniques as she aged and as photo technology advanced. This control, combined with her daring fashion choices and uninhibited sexual expression, crafted a public persona of an auteur with unwavering self-assurance. Play the Part: Marlene Dietrich showcases Dietrich's remarkable ability to reinvent herself for each new audience, staying atop her chosen field throughout.  
“ICP is delighted to present Play the Part: Marlene Dietrich, including hundreds of striking and rarely seen images of one of the 20th century's most boundary breaking and captivating personas,” said David E. Little, ICP’s Executive Director. “It has been a joy to collaborate with passionate collector Pierre Passebon, who has used his extraordinary eye to assemble an utterly unique and engaging collection of photographs of Dietrich. Pierre’s collection reveals the complexities of Marlene Dietrich’s many images and guises. The exhibition invites audiences to explore Dietrich’s multifaceted relationship to photography and its enduring power to shape society’s understanding of culture.”  
Dietrich played many parts throughout her life, both on and off the screen: seductress, matriarch, war hero, socialite. Each of these roles is a testament to her understanding of and adaptability to the industry she worked within. The roles also reveal Marlene Dietrich’s relentless obsession with the medium of photography. 

This exhibition is curated by Haley Kane, Exhibitions and Collections Coordinator at ICP. 

ICP - INTERNATIONAL CENTER OF PHOTOGRAPHY
79 Essex Street, New York, NY 10002

Play the Part: Marlene Dietrich - ICP - September 29, 2023 – January 8, 2024 

28/11/23

Marcel Duchamp @ Collection Peggy Guggenheim, Venise - Exposition "Marcel Duchamp and the Lure of the Copy" - Commissaire : Paul B. Franklin

Marcel Duchamp and the Lure of the Copy
Collection Peggy Guggenheim
Commissaire Paul B. Franklin
14 octobre 2023 - 18 mars 2024

Marcel Duchamp
Marcel Duchamp with an incomplete example of
the from or by Marcel Duchamp or Rrose Sélavy
(Box in a Valise) 1935–41 at Peggy Guggenheim’s
town house, 440 East Fifty-first Street, New York, August 1942.
Photograph originally published in Time magazine,  September 7, 1942

La Peggy Guggenheim Collection présente Marcel Duchamp and the Lure of the Copy - Marcel Duchamp et l'attrait de la copie -, sous la direction de Paul B. Franklin, historien de l'art basé à Paris et expert de renommée internationale sur la vie et l'oeuvre de MARCEL DUCHAMP (1887 - 1968). Il s'agit de la toute première exposition de la Peggy Guggenheim Collection consacrée exclusivement à Marcel Duchanp, l'un des artistes les plus influent et les plus novateurs du XXe siècle et conseiller de longue date de la mécène américaine Peggy Guggenheim.

Marcel Duchamp and the Lure of the Copy présente une soixantaine d'oeuvres sur une période allant de 1911 a 1968. Cette sélection comprend des pièces iconiques de la collection permanente de la Peggy Guggenheim Collection, tels que Nu (esquisse), jeune homme triste dans un train (1911) et de ou par Marcel Duchamp ou Rrose Sélavy (Boîte-en-valise) (1935-41), ainsi que celles d'autres institutions italiennes et américaines, dont la Galleria Nazionale d'Arte Moderna e Contemporanea à Rome, le Philadelphia Museum of Art, le Museum of Modem Art à New York et le Solomon R. Guggenheim de New York. L'exposition présente également plusieurs œuvres moins connues qui se trouvent en mains privées, y compris dans la succession de l'artiste. En outre, la moitié des pièces exposées proviennent de l'éminente collection vénitienne d'Attilio Codognato, qui a commencé à s'intéresser à l'œuvre de Duchamp au début des années 1970.

Peggy Guggenheim a rencontré Marcel Duchamp à Paris vers 1923. A partir de l'automne 1937, l'artiste a été l'un de ses mentors et conseillers les plus fiables, alors qu'elle entreprenait de lancer la galerie d'art Guggenheim Jeune, qui a ouvert ses portes à Londres le 24 janvier 1938, et dans la constitution peu après sa propre collection d'art moderne. Peggy Guggenheim figure également parmi les premiers mécènes de Duchamp, acquérant en 1941 le premier exemplaire de l'édition de luxe de ou par Marcel Duchamp ou Rrose Sélavy (Boîte-en-valise).

Tout au long de son oeuvre, Marcel Duchamp n'a cessé de remettre en question la hiérarchie traditionnelle entre l'original et la copie. "Quant a distinguer le vrai du faux, l'imitation de la copie. ce sont des questions techniques totalement idiotes", déclarait-il en 1967 dans une interview. A une autre occasion, il affirmait : "Un duplicata ou une répétition mécanique a la même valeur que l'original". Pour Duchamp, les idées contenues dans une oeuvre d'art étaient aussi importantes que l'objet physique lui-même. L'importance qu'il accordait aux concepts esthétiques l'a incité a reproduire son propre travail de manière répétée et avec une exactitude méticuleuse, à commencer par la Boîte de 1914 (1913-14/15), une série de fac-similés photographiques de notes manuscrites, et jusque dans les années 1960, avec des répliques de ses readymades historiques.

En reproduisant ses œuvres sur différents supports, a différentes échelles et en éditions limitées, Marcel Duchamp a montré que certains doubles et les originaux à partir desquels ils étaient reproduits offraient des formes comparables de plaisir esthétique. Ce faisant, Duchamp a également redéfini ce qui constitue une oeuvre d'art et, par extension, l'essence de l'artiste. Mettant en lumière les façons radicalement novatrices et diverses dont Duchamp s'est cité lui-même au cours de sa longue carrière d'artiste, l'exposition Marcel Duchamp and the Lure of the Copy est organisée en plusieurs sections interdépendantes : Origines, originaux et airs de famille ; Le passé est un prologue ; La magie des fac-similés ; Copies authentiques ; Discipliner et enhardir la main ; Cloner le moi, Vêtir l'autre ; Répétition hypnotique ; et Thèmes et variations. L'exposition offre donc une rare occasion de voir une sélection significative d'oeuvres de l'artiste en relation les unes avec les autres, un exercice, comme Duchamp l'a souvent affirmé, essentiel à la compréhension de son projet esthétique. Ce faisant, on peut non seulement discerner les liens visuels, thématiques et conceptuels complexes qui les unifient en tant qu'oeuvre, mais aussi saisir à quel point ces "objets" fantaisistes, souvent hybrides, ont troublé et parfois totalement échappé aux classifications artistiques standard en vigueur à l'époque de leur conception.

L'exposition est accompagnée d'un catalogue richement illustré, publié par Marsilio Arte, qui contient un important essai du commissaire Paul B. Franklin.

PEGGY GUGGENHEIM COLLECTION
Palazzo dei Leoni Dorsoduro 701, 30123 Venise

Dorothea Lange @ National Gallery of Art, Washington DC - "Dorothea Lange: Seeing People" Exhibition

Dorothea Lange: Seeing People 
National Gallery of Art, Washington DC 
November 5, 2023 – March 31, 2024 

Dorothea Lange
Dorothea Lange
Child Living in Oklahoma City Shacktown, August 1936
gelatin silver print
image: 24.2 x 19.4 cm (9 1/2 x 7 5/8 in.)
mat: 17 x 14 in.
The Museum of Modern Art, New York. Purchase

Dorothea Lange
Dorothea Lange
End of Shift, 3:30, Shipyard Construction Workers, Richmond, California, September 1943
gelatin silver print
image: 24 x 19 cm (9 7/16 x 7 1/2 in.)
sheet: 25.4 x 20.32 cm (10 x 8 in.)
mat: 18 x 14 in.
frame (outside): 19 x 15 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

Dorothea Lange
Dorothea Lange
Line of men inside a division office of the State Employment Service office at San Francisco, California, waiting to register for unemployment benefits, January 1938, printed c. 1960s
gelatin silver print
image: 19 x 24 cm (7 1/2 x 9 7/16 in.)
sheet: 25.08 x 20.32 cm (9 7/8 x 8 in.)
mat: 14 x 17 in.
frame (outside): 15 x 18 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

Dorothea Lange
Dorothea Lange
Formerly Enslaved Woman, Alabama, from The American Country Woman, 1938, printed c. 1955
gelatin silver print
image: 24 x 19 cm (9 7/16 x 7 1/2 in.)
sheet: 25 x 20 cm (9 13/16 x 7 7/8 in.)
mat: 16 x 13 in.
frame (outside): 17 x 14 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

During her prolific and groundbreaking career, the American photographer Dorothea Lange (1895–1965) made some of the most iconic portraits of the 20th century. Dorothea Lange: Seeing People examines Dorothea Lange’s decades-long investigation into how portrait photography could embody the humanity of the people she depicted. It demonstrates how her photographs helped shape contemporary documentary practice by connecting everyday people with moments of history—from the Great Depression through the mid-1960s—that still resonate with our lives in the 21st century. Featuring 101 photographs, the exhibition addresses her innovative approaches to picturing people, emphasizing her work on various social issues including economic disparity, migration, poverty, and racism. The exhibition is on view in the West Building of the National Gallery of Art.

“Throughout the course of her 50-year career, Lange created an intensely humanistic body of work that sought to transform how we see and understand people,” said Kaywin Feldman, director of the National Gallery of Art. “Merging her skills as a portrait artist, a social documentary photographer, and a storyteller, she helped redefine photography through images that emphasize social issues.”

Dorothea Lange: Seeing People examines how Lange’s portraits have shaped our contemporary understanding of documentary photography as well as its importance to her vision and creative practice. Divided into six thematic sections, the exhibition features portraits ranging from her early career as a San Francisco studio photographer—the earliest work is from 1919—and her powerful coverage of the Great Depression through expressive photographs of everyday people and communities during the 1950s and early 1960s.

Among the works on view are portraits of Indigenous people in Arizona and New Mexico from the 1920s and early 1930s; later depictions of striking laborers, migrant farmworkers, rural African Americans during the Jim Crow era, Japanese Americans denied their civil rights during World War II, and postwar baby boomers; and portraits of people in Ireland, Korea, Vietnam, Egypt, and Venezuela that Lange made in the decade before her death in 1965.

Lange began her career as a commercial studio photographer in San Francisco in 1918. Her studio became a gathering spot for artists who had serious discussions about photography and art. In 1920 she married Maynard Dixon, a painter of western subjects, who encouraged Lange to take her photography outside. She accompanied him on trips through the American Southwest, photographing rural landscapes and Dixon at work, along with the Indigenous communities he was portraying.

She started to work in the streets of San Francisco in 1933, making photographs such as White Angel Breadline, San Francisco, California (1933) that capture the effects of the Great Depression and the plight of the city’s dispossessed men and women. Lange also photographed labor organizers and protesters at May Day events around San Francisco’s Civic Center Plaza: she focused on the protesters speaking, listening, or holding signs, and vowed to produce prints within 24 hours, as in May Day, San Francisco, California (1934). She also documented ensuing strikes, creating portraits of speakers and demonstrators with placards as well as photographs of the police presence in works such as Street Demonstration, San Francisco (1934). When she met the labor economist Paul Schuster Taylor in 1934, Lange began to photograph the plight of migrant farmers who had moved to California from the South and Midwest seeking new livelihoods.

Dorothea Lange
Dorothea Lange
Dispossessed Arkansas farmers. These people are resettling themselves on the dump outside of
Bakersfield, California, from An American Exodus, 1935
gelatin silver print
image: 24.1 x 18.8 cm (9 1/2 x 7 3/8 in.)
sheet: 25.3 x 20.7 cm (9 15/16 x 8 1/8 in.)
mat: 16 x 14 in.
frame (outside): 17 x 15 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

Dorothea Lange
Dorothea Lange
Street Meeting, San Francisco, 1934
gelatin silver print
image/sheet: 23.5 x 17.5 cm (9 1/4 x 6 7/8 in.)
mat: 16 x 13 in.
frame (outside): 17 x 14 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

Dorothea Lange
Dorothea Lange
Japanese American-Owned Grocery Store, Oakland, California, March 1942
gelatin silver print
image: 19 x 24.4 cm (7 1/2 x 9 5/8 in.)
sheet: 20.3 x 25.4 cm (8 x 10 in.)
mat: 14 x 18 in.
frame (outside): 15 x 19 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

Dorothea Lange
Dorothea Lange
Unemployed Man, San Francisco, California, 1934, printed before 1950
gelatin silver print
image: 24.8 x 19.1 cm (9 3/4 x 7 1/2 in.)
sheet: 25.2 x 19.6 cm (9 15/16 x 7 11/16 in.)
mat: 16 x 14 in.
frame (outside): 17 x 15 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

Dorothea Lange
Dorothea Lange
Demonstration, San Francisco, 1934
gelatin silver print
image: 12.1 x 14.3 cm (4 3/4 x 5 5/8 in.)
sheet: 12.1 x 14.3 cm (4 3/4 x 5 5/8 in.)
mount: 14.6 x 23.8 cm (5 3/4 x 9 3/8 in.)
Lent by The Metropolitan Museum of Art, Gilman Collection, Purchase, Joseph M. Cohen Gift, 2005
(2005.100.309)

From 1935 to 1943, while working for the for the US Resettlement Administration, Farm Security Administration, and War Relocation Authority, Lange focused on the resilience of Depression-era families, farmworkers, rural cooperative communities, migrant camps, and the forced incarceration of Japanese Americans in the early days of World War II. The resulting images illustrate the human and economic impact wrought across the United States by farm tenancy, racism, the legacy of slavery, climate change, and migrations. These portraits, sometimes combined with interviews, added a personal element to Lange’s stark pictures of makeshift housing and agricultural fields and cemented her documentary style.

During World War II Lange produced one of her most powerful series for the War Relocation Authority, depicting the forced incarceration of California’s Japanese Americans at Manzanar, in works on view such as Grandfather and Grandson of Japanese Ancestry at a War Relocation Authority Center, Manzanar, California (July 1942). She also photographed the shifts in California’s social fabric as its rising economy—sparked by growing defense industries—drew African Americans from the South and women into previously male-dominated and segregated businesses such as shipbuilding. In the 1950s, Lange continued to pursue stories about people and their communities for personal projects, as well as for Life magazine, that include her first photographs from Europe. Asia, South America, and North Africa.

Exhibition Publication

Dorothea Lange: Seing People
Dorothea Lange: Seing People
Published by the National Gallery of Art and distributed by Yale University Press, this 208-page illustrated volume explores Dorothea Lange’s decades-long investigation of how photography, through articulating people’s core values and their sense of self, helped to expand our current understanding of portraiture and the meaning of documentary practice. Lange’s sensitive, humane portraits of often-marginalized people galvanized public understanding of important social problems in the 20th century.

Compassion guided Lange’s early portraits of Indigenous people in Arizona and New Mexico from the 1920s and 1930s, as well as her depictions of striking workers, migrant farmers, rural African Americans during the Jim Crow era, Japanese Americans in internment camps, and the people she met while traveling in Europe, Asia, Venezuela, and Egypt. Drawing on new research, Philip Brookman, Sarah Greenough, Andrea Nelson, and Laura Wexler, examine Lange’s roots in studio portraiture and demonstrate how her influential and widely seen photographs addressed issues of identity as well as social, economic, and racial inequalities—topics that remain as relevant for our times as they were for hers.
The exhibition is organized by the National Gallery of Art, Washington.

This exhibition is curated by Philip Brookman, consulting curator in the department of photographs, National Gallery of Art.

NATIONAL GALLERY OF ART
6th Street and Constitution Avenue NW Washington, DC 20565

Angelina Gualdoni @ Asya Geisberg Gallery, NYC - "Verso della Terra" Exhibition

Angelina Gualdoni 
Verso della Terra 
Asya Geisberg Gallery, New York 
October 26 – December 16, 2023 

Angelina Gualdoni
Angelina Gualdoni
Cedar, Paper, Juniper, Pine, 2023
Acrylic and oil on canvas, 53h x 42w in
© Angelina Gualdoni, Courtesy of Asya Geisberg Gallery

Angelina Gualdoni
Angelina Gualdoni
Queen’s Foray, 2023
Acrylic and oil on canvas, 53h x 42w in 
© Angelina Gualdoni, Courtesy of Asya Geisberg Gallery

Asya Geisberg Gallery presents Angelina Gualdoni’s fifth solo exhibition, Verso della Terra. Prompted by the artist’s botanical investigations in her preceding show The Physic Garden, the current paintings plunge beneath the ground into the rhizosphere -  the layer of soil where roots grow. Here, the rhizosphere and the mycelium - a network which extends underground among fungal colonies and trees - become metaphors for interconnectedness, a non-hierarchical structure with incredible potency to communicate, provide nutrients, and spur growth.

The title of the exhibition translates to looking “towards the ground.” Angelina Gualdoni forages in the greater NYC area and takes daily walks around her studio neighborhood, using the same sort of scanning vision to look for bottle caps on the sidewalk as chanterelles in the wild. The consistency of this gaze - slowly sweeping, always on the alert for an interruption, taking in the entire atmosphere versus hyper focused on one sightline - extends into the studio. Each work pairs an unknowable space of liquid-based painting with linear natural elements. Gualdoni renders sinuous movement of root systems by printing with painted strings, setting them within expansive areas that symbolize the inchoate, the uncontrollable, the illegible.

In the past several shows Angelina Gualdoni has expanded the poured paint characteristic of her process into staining, painting, and patterning from the back of the canvas. As the articulation of space works from back to front, the subject matter plays with the mirroring and weaving between above and below, ground and air, root support and plantlife above. Compost and decay bring forth life, as Gualdoni’s elegiac and luminous paintings remind us not just of the earth’s but our own mortality.

At times, Angelina Gualdoni works with the picture plane in innovative ways, by placing the viewer inside the rhizome, as if spliced in cross-section, to show all the activity in the decomposing and hidden world. Influenced by Cubism’s fracturing of space, the artist pushes depictions of space, with her imaginary world shifting our gaze to all parts of the work. Horizon lines move in and out, rather than staying fixed. The expected figure/ground relationship fails to point our way. Expansive stained or poured areas could be macro- or microcosms, suns illuminate paradoxically cloudy skies.

Angelina Gualdoni started her painting career with decaying malls and buildings falling apart into pure paint. Having painted through successive narrative threads while always keeping the pour as her mainstay, the idea of decay has now come back in an unintentionally circular path. Gualdoni challenges us to see the constant cycle of death as a realm of abundance and activity, with resonance for multiple audiences, and visual glory for all.

ANGELINA GUALDONI received her BFA from the Maryland Institute College of Art in Baltimore, and her MFA from the University of Illinois in Chicago. Her paintings have been the subject of solo and group shows nationally and internationally at the Crystal Flowers Art Salon, NY, Trestle Gallery, Brooklyn, NY, the Nerman Museum of Contemporary Art, KS, Tufts University Galleries, Boston, MA, Queens Museum, NY, St. Louis Art Museum, MO, the Museum of Contemporary Art, Chicago, IL, The Aldrich Museum, Connecticut, the Museum de Paviljoens, Netherlands, and the Neuberger Museum, Purchase, NY. Her work resides in the Saatchi Collection, as well as the MCA, Chicago, and the Nerman Museum, Kansas City. She has been the beneficiary of several grants and fellowships, including New York Foundation for the Arts (NYFA) in 2008 and 2015, the Daynard Faculty Research Award, Artadia, and Pollock-Krasner, and has attended residencies at Marble House, Interlude, Carrizozo AIR, Vermont Studio Center, MacDowell Colony, Skowhegan School of Painting and Sculpture, International Studio and Curatorial Program, and Chateau La Napoule. Gualdonilives and works in New York.

ASYA GEISBERG GALLERY
537b West 23rd Street, New York, NY 10011