21/10/25

Wolf Kahn @ Miles McEnery Gallery, NYC - Exhibition Curated by M. Rachael Arauz

Wolf Kahn
Miles McEnery Gallery, New York
30 October - 20 December 2025 

Wolf Kahn Art
Wolf Kahn
Uphill Yellow Field, 2008 
Oil on canvas, 52 x 60 inches, 132.1 x 152.4 cm
© Estate of Wolf Kahn, courtesy Miles McEnery Gallery 

Miles McEnery Gallery pesents an exhibition of works by Wolf Kahn, curated by M. Rachael Arauz, Ph.D., on view at 520 West 21st Street. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by M. Rachael Arauz.

Wolf Kahn painted the world around him with a reverent devotion. To Kahn, even the most familiar landscapes were a wellspring of limitless inspiration. By returning again and again to idyllic vistas, densely packed woods, and humble barns, he mined the same scenes for meaning, each canvas reflecting the subtle shifts of season or time of day while also satisfying his drive for material exploration. As a master colorist, his palette was not limited to the naturalistic or muted tones of traditional landscape painting; with vibrant oranges, pensive lilacs, and acidic greens, Kahn moved beyond mere representation and captured the complex interplays of himself within these changing surroundings.
M. Rachael Arauz, Ph.D., notes that Kahn’s paintings were “about chromatic experiments, the physicality of mark-making, and the fusion of plein air immediacy with sensory memory as he painted the rural landscape in his urban studio. They are also beautiful paintings of landscapes he knew intimately and properties he cared for. They are not coded critiques of environmental decay, nor are they celebrations of a conquering eye. Kahn’s constructions of landscape, however, direct the viewer to pay attention to what we think we see and to look again at the hidden spaces where disparate elements meet.”
Artist Wolf Kahn

Wolf Kahn (b. 1927 in Stuttgart, Germany) immigrated to the United States by way of England in 1940. In 1945, he graduated from the High School of Music & Art in New York, after which he spent time in the Navy. Under the GI Bill, he studied with renowned teacher and Abstract Expressionist painter Hans Hofmann, later becoming Hofmann’s studio assistant. In 1950, he enrolled in the University of Chicago. He graduated in 1951 with a Bachelor of Arts degree.

After completing his degree in only one year, Wolf Kahn decided to return to being a full-time artist. He and other former Hofmann students established the Hansa Gallery, a cooperative gallery where Kahn had his first solo exhibition. In 1956, he joined the Grace Borgenicht Gallery, where he exhibited regularly until 1995. Wolf Kahn received a Fulbright Scholarship, a John Simon Guggenheim Fellowship, an Award in Art from the Academy of Arts and Letters, and a Medal of Arts from the U.S. State Department.

Wolf Kahn married the artist Emily Mason in 1957. Their marriage lasted sixty-two years until Emily’s death in December 2019, just a few months before his passing. The pair lived and worked between New York City and West Brattleboro, Vermont.

Wolf Kahn regularly exhibited at galleries and museums across North America. His work may be found in the collections of The Metropolitan Museum of Art, New York, NY; the Whitney Museum of American Art, New York, NY; The Museum of Modern Art, New York, NY; the Museum of Fine Arts, Boston, MA; The Hirshhorn Museum and the Smithsonian American Art Museum, Washington, D.C.; and the Los Angeles County Museum of Art, Los Angeles, CA.

Wolf Kahn died in 2020 in New York, at the age of 92.

MILES McENERY GALLERY
520 West 21st Street, New York, NY 10011

Ed Ruscha @ Gagosian Gallery, London - 'Says I, to Myself, Says I' Exhibition

Ed Ruscha
Says I, to Myself, Says I 
Gagosian, London
October 14 – December 19, 2025

Ed Ruscha Art
Ed Ruscha
New Hey, 2024
Acrylic on linen
20 x 24 inches (50.8 x 61 cm)
© Ed Ruscha
Photo: Jeff McLane
Courtesy Gagosian

Gagosian presents Says I, to Myself, Says I, Ed Ruscha’s first exhibition dedicated to his paintings on unprimed linen. On view at the Davies Street gallery in London, it coincides with Talking Doorways, an exhibition at Gagosian’s rue de Castiglione gallery in Paris.

Ed Ruscha began making paintings on raw linen in the early 1990s, although this body of work has never before been the focus of an exhibition. The ten new works in this format presented in London establish visual and textural contrasts between the painted words and images and their supports, emphasizing their definition and potential. Rendered in a serif typeface and mostly in white, many of the words are underlined with tapering black shapes that accentuate them and suggest horizons and cast shadows within otherwise flat compositions, while some canvases include additional painted passages and symbols.

Ed Ruscha Art
Ed Ruscha
It's It, 2024
Acrylic on linen
20 x 24 inches (50.8 x 61 cm)
© Ed Ruscha
Photo: Jeff McLane
Courtesy Gagosian

Since the 1960s, Ed Ruscha has consistently foregrounded the strangeness of everyday language, exploring how the relationships between words and images transform the meanings of each. It’s It (2024) suggests an attempt to clarify the identity of something, though the lack of antecedents renders the doubled pronoun somewhat cryptic. It’s It also incorporates the naturalistic image of a wooden plank stretched across the top of the composition—the defining element of the artist’s Tom Sawyer paintings from 2022.

Ed Ruscha Art
Ed Ruscha
And What Not, 2023
Acrylic on linen
24 x 20 inches (61 x 50.8 cm)
© Ed Ruscha
Photo: Jeff McLane
Courtesy GagosianEd Ruscha

Other works picture a mountain peak—among Ed Ruscha’s most iconic motifs—in a juxtaposition of archetypal landscape imagery with signifying language. Instead of using the snowy range as a backdrop to text as he did in his Mountain series (1997–), Ed Ruscha here positions it as a graphic and painterly element, replacing abstract shapes in these paintings.

Ed Ruscha Art
Ed Ruscha
Says I, to Myself Says I, 2024
Acrylic on linen
20 x 24 inches (50.8 x 61 cm)
© Ed Ruscha
Photo: Jeff McLane
Courtesy Gagosian

Says I, to Myself Says I (2024) places its text at a diagonal, the words’ dynamism emphasized by the geometric shapes that extend from the lines to the right. An intriguing example of vernacular language, the phrase can be found in Irish and American folk songs and colloquial sayings, while the repetition of “Says I” suggests an introspective declaration.

Gagosian will publish a catalogue on Ruscha’s new work to accompany the exhibition.

Gagosian London - Ed Ruscha
Ed Ruscha
Says I, to Myself, Says I, 2025, installation view
Artwork © Ed Ruscha
Photo: Prudence Cuming Associates Ltd
Courtesy Gagosian

GAGOSIAN, LONDON
17–19 Davies Street, London W1K 3DE

20/10/25

Brand X Editions: Innovation in Screenprinting @ Philadelphia Art Museum

Brand X Editions: Innovation in Screenprinting
Philadelphia Art Museum 
Through November 16, 2025 

Adam Pendleton Art
Adam Pendleton
(b. 1984)
Untitled (Who is Queen), 2020 
Enamel screenprint and graphite pigment 
Sheet: 64 × 49 inches (162.6 × 124.5 cm) 
Gift of Brand X Editions, New York, 105-2024-19 

Adam Pendleton - Malcolm X
Adam Pendleton
(b. 1984)
Untitled (Figure and Malcolm X), 2020
Enamel screenprint and graphite pigment 
Sheet: 64 × 49 inches (162.6 × 124.5 cm) 
Gift of Brand X Editions, New York, 105-2024-20

Chuck Close Self Portrait
Chuck Close 
Self Portrait, 2017 
Screenprint in ninety-one colors 
Sheet: 69 × 57  3/4 inches (175.3 × 146.7 cm) 
Gift of Brand X Editions, New York, 2023, x21994(10)

The Philadelphia Art Museum presents Brand X Editions: Innovation in Screenprinting, the first exhibition to spotlight four decades of collaborations between the Brand X printmaking workshop and a diverse roster of contemporary artists. On view through November 16, 2025, the exhibition features more than 80 screenprints by Helen Frankenthaler, Rashid Johnson, Alex Katz, Tschabalala Self, and Mickalene Thomas, among many others.

The exhibition celebrates the transformative gift of the Brand X Editions Archive to the Philadelphia Art Museum, presenting a selection from the over 400 screenprints given by master printer and founder Robert Blanton. Since establishing the workshop in 1979, Blanton and his team of skilled printers, chromists, and specialists have worked in collaboration with an impressive list of artists to push screenprinting techniques to meet the artists’ varied styles and expressive ambitions. The body of work from Brooklyn-based Brand X builds significantly on the museum’s extensive holdings of historical screenprints, adding major contemporary examples of traditional and experimental techniques. The Philadelphia Art Museum now holds one of the most comprehensive collections of screenprints along with essential archives related to the medium’s history and evolution from commercial tool to vibrant fine-art technique.

Emmanuel Taku Art
Emmanuel Taku
Entanglement, 2022 
Screenprint, printed in twenty-three colors 
with  collage elements 
Sheet: 60 × 40 1/4 inches  (152.4 × 102.2 cm) 
Gift of Brand X Editions, New York, 2023, 2023- 191-32

Emmanuel Taku Art
Emmanuel Taku
Got You, 2022 
Screenprint, printed in twenty-seven colors 
with  collage elements 
Sheet: 60 × 40 1/4 inches  (152.4 × 102.2 cm) 
Gift of Brand X Editions, New York, 2023, 2023- 191-33
“It is an honor to be the chosen home for Brand X’s magnificent collection of prints, said Sasha Suda, the George D. Widener Director and CEO of the Philadelphia Art Museum. “As expert printmakers, internationally renowned for their craft, Brand X are the true leaders in this field. For a museum like the Philadelphia Museum of Art, with such a rich and dedicated history in printmaking, it is a privilege for us to have this opportunity to welcome our visitors to experience and enjoy this generous gift.”
Deborah Kass Art
Deborah Kass
OY/YO, 2011 
Two screenprints, printed in three colors on  paper board 
Framed: 21 1/2 × 20 inches (54.6 × 50.8 cm) 
Gift of Brand X Editions, New York, 2023, x22034a,b

Deborah Kass Art
Deborah Kass
(b. 1952)
Nobody Puts Baby in the Corner, 2022 
Silkscreen, printed in seven colors on Coventry Rag paper 
Sheet: 57 × 57 inches (144.8 × 144.8 cm) 
Gift of Brand X Editions, New York, 2023-191-4

On view throughout the galleries are the results of Brand X’s dynamic collaborations across four decades of work. Together, the prints reveal the remarkable versatility of screenprinting. In the first gallery, for instance, works by Rashid Johnson, Deborah Kass, Adam Pendleton, and Mickalene Thomas demonstrate the medium’s ability to mimic the richness of paint layers, render a photographic precision, and produce variegated textures and surfaces. These artists expand the technical boundaries of screenprint in their exploration of themes relating to belonging, memory, and self-definition. From the dense, painterly urgency of Rashid Johnson’s Untitled Anxious Red to the layered intricacy of Mickalene Thomas’s November 1977, each work here shows how, at the Brand X workshop, screenprinting can be stretched, challenged, and transformed in response to an artist’s creative impulses.

Troy Michie Art
Troy Michie 
Doubling, 2019 
Screenprint, Framed: 40 × 30 inches (101.6 × 76.2 cm) 
Gift of Brand X Editions, New York, 2023, x22005(6)

Emily Mae Smith Art
Emily Mae Smith 
Poetry (Toy in Blood), 2022 
Screenprint, printed in forty-seven colors 
Sheet:  60 × 45 1/2 inches (152.4 × 115.6 cm) 
Gift of Brand X Editions, New York, 2024, 105- 2024-30(11)

The exhibition also addresses themes relating to text and language, pattern and decoration, graphic illusion, and landscape and figuration. Eight progressive proofs of Vija Celmins’s Ocean Surface offer a rare view onto the screenprinting process. From print to print, visitors can see how the image was formed cumulatively—by the sequential printing of individual screens, each bearing a single layer of ink. In final form, Celmins’s image materializes through sixteen applications of nuanced grays—an additive and subtle process apt for rendering the depth and detail of the ocean. Throughout the exhibition, equal emphasis is given to the pictorial and the material. Brand X Editions shines light on the technical procedures and the many roles—beyond that of the artist—that are vital to the production of screenprints.
“Just like the work that happens at Brand X, this exhibition and its catalogue were thoroughly collaborative endeavors, said Louis Marchesano, curator of the exhibition and the Marion Boulton “Kippy” Stroud Deputy Director of Curatorial Affairs and Conservation. “The addition of the Brand X Editions Archive, which will continue to grow as the studio produces more editions, goes a long way toward building an authoritative resource on screenprinting at the museum.”
Tschabalala Self Art
Tschabalala Self
(b. 1990)
Homebodies – All American 1, 2022
Monoprint, fabric collage, pigment wash, 
hand coloring, and enamel silkscreen 
Sheet (each): 24 × 18 inches (61 × 45.7 cm) 
Gift of Brand X Editions, New York, 2023-191-29a,b

Tschabalala Self Art
Tschabalala Self
(b. 1990)
Homebodies – All American 1, 2022
Monoprint, fabric collage, pigment wash, 
hand coloring, and enamel silkscreen 
Sheet (each): 24 × 18 inches (61 × 45.7 cm) 
Gift of Brand X Editions, New York, 2023-191-29a,b

Rashid Johnson Art
Rashid Johnson
 
Seascape, 2023 
Screenprint, printed in nine colors, with hand, 
applied navy acrylic mixture 
Gift of Brand X  Editions, New York, 2023, 105-2024-9

Rashid Johnson Mosaic
Rashid Johnson 
Untitled Large Mosaic, 2025
Screenprint, framed: 61 X 105 inches (1 154.9x 266.7 cm)
Gift of Brand X Editions, New York, 2023, x 22005(5)

Extending the exhibition beyond the gallery space, Rashid Johnson’s Untitled (Large Mosaic), 2025, is displayed in the museum’s Forum Balcony. For over three years, Rashid Johnson and his collaborators at Brand X developed this spectacular 293-color print, combining traditional screenprinting techniques—visible in the flat passages of bold color—with unconventional materials, including wood veneer, mirrored mylar, and cast paper oyster shells. Inspired by Johnson’s low-relief wall mosaics composed of innumerable tile fragments and other bits of material, this project captures Brand X’s enduring commitment to pursuing new levels of technical innovation and experimentation.

Brand X Editions: Innovation in Screenprinting is accompanied by a richly illustrated catalogue featuring essays by Philadelphia Art Museum curators and paper conservators, an interview with Robert Blanton and David DeSanctis of Brand X, a technical glossary related to the history and technique of screenprint, and an inventory of the archive held by Philadelphia Art Museum.

The exhibition is curated by Louis Marchesano, the Marion Boulton “Kippy” Stroud Deputy Director of Cultural Affairs and Conservation, with Em Dombrovskaya, the Suzanne Andrée Curatorial Fellow; Laurel Garber, the Park Family Associate Curator of Prints and Drawings; and Emily Friedman, the Allen and Kelli Questrom Assistant Curator of Prints and Drawings at the Dallas Museum of Art.

A series of exhibitions by Brand X collaborators including Rashid Johnson and Joel Mesler will be shown at the Philadelphia Art Museum through 2028.

PHILADELPHIA ART MUSEUM 
Morgan, Korman, and Field Galleries
2600 Benjamin Franklin Parkway, Philadelphia, PA 19130

19/10/25

The Philadelphia Museum of Art is now the Philadelphia Art Museum

The Philadelphia Museum of Art is now the Philadelphia Art Museum

Philadelphia Art Museum Photograph
Philadelphia Art Museum
Photo by Rob Cusick

Philadelphia Art Museum Photograph
Philadelphia Art Museum
Photo by Rob Cusick

The Philadelphia Museum of Art reintroduced (October 8, 2025) itself to the city, the nation, and the world as the Philadelphia Art Museum.

The museum has unveiled a new brand that places Philadelphia front and center, celebrating the city’s grit, creativity, and industrial heritage. Developed with Gretel, a nationally renowned branding, strategy, and design studio, the new identity reflects the museum’s transformation into a more engaging and expansive institution.

Philadelphia Art Museum
Philadelphia Art Museum
Photo by Rob Cusick

Philadelphia Art Museum
Philadelphia Art Museum
Photo by Rob Cusick

Every design choice deliberately embraces Philadelphia’s independent spirit—from custom typography that merges the museum’s institutional heritage with the city’s visual language to reviving the iconic griffin in the logo as protector of the arts. The new brand identity captures Philadelphia’s vibrant culture, reflecting how art influences everyday life and resonates across the city’s diverse communities. It embodies the mission to bring art into the everyday, making the museum accessible, relevant, and deeply connected to the people it serves.
“The Philadelphia Art Museum has long been the cultural heart of the city, and it’s our duty to maintain that role,” said Sasha Suda, George D. Widener Director and CEO of the Philadelphia Art Museum. “Our focus and vision are unabashedly Philadelphian; we’re opening our doors to become more collaborative and future-focused for all.”
Philadelphia Art Museum
New Philadelphia Art Museum merch 
Photo by Rob Cusick

Philadelphia Art Museum
New Philadelphia Art Museum merch 
Photo by Rob Cusick

The Philadelphia Art Museum is a local, national, and international treasure that belongs to the city. The rebrand reinforces the museum’s commitment to engaging Philadelphia’s communities and visitors from around the world in dynamic conversations about art and life.
“This project is the result of more than a year of research, collaboration, creative development and iteration,” Ryan Moore, Executive Creative Director and Partner at Gretel, said. “Our main objective was to ‘come down the steps’ by putting the museum in dialogue with its community, which is and always has been the city itself. This new identity reflects the future of the institution: more engaging, more dynamic, and more inviting to new audiences.”
Philadelphia Art Museum Logo

Philadelphia Art Museum
Social Media Social Stickers

PHILADELPHIA ART MUSEUM
2600 Benjamin Franklin Parkway, Philadelphia, PA 19130

18/10/25

Ruth Asawa: A Retrospective @ MoMA - The Museum of Modern Art, New York

Ruth Asawa: A Retrospective 
MoMA, The Museum of Modern Art, New York
October 19, 2025 – February 7, 2026

Ruth Asawa MoMa
Installation view of
Ruth Asawa: A Retrospective 
on view at The Museum of Modern Art 
from October 19, 2025, through February 7, 2026 
The Museum of Modern Art, New York 
Digital Image © 2025 The Museum of Modern Art, New York
Photo by Jonathan Dorado

Ruth Asawa MoMA
Installation view of
 Ruth Asawa: A Retrospective 
on view at The Museum of Modern Art 
from October 19, 2025, through February 7, 2026 
The Museum of Modern Art, New York 
Digital Image © 2025 The Museum of Modern Art, New York
Photo by Jonathan Dorado

Ruth Asawa MoMA
Installation view of
 Ruth Asawa: A Retrospective 
on view at The Museum of Modern Art 
from October 19, 2025, through February 7, 2026 
The Museum of Modern Art, New York 
Digital Image © 2025 The Museum of Modern Art, New York
Photo by Jonathan Dorado

The Museum of Modern Art presents Ruth Asawa: A Retrospective, the first major museum exhibition to fully consider every aspect of the artist’s expansive, groundbreaking practice, on view in the Steven and Alexandra Cohen Center for Special Exhibitions. Coinciding with the centennial of the artist’s birth, the exhibition includes some 300 objects that highlight the core values of experimentation and interconnectedness pervading all dimensions of Asawa’s practice. The retrospective spans the six decades of Asawa’s ambitious career, presenting a range of her work across mediums, including wire sculptures, bronze casts, paper folds, paintings, and a comprehensive body of works on paper. Artworks are accompanied by a rich array of archival materials—photographs, documents, and ephemera—that illuminate her public commissions, art advocacy, and meaningful, lasting relationships with members of her community. The exhibition follows a loose chronological arc, interwoven with thematic sections elaborating on the artist’s inspirations and methods.
“What’s exceptional about Asawa’s practice is the multiplicity of her artistic pursuits and the marvelous ability to turn the simplest things into subjects of lifelong creative contemplation,” said Cara Manes. “The exhibition aims to offer multiple points of entry into her work, reflecting what Asawa described as the ‘total act’ of artmaking.”
Ruth Asawa Photograph
Ruth Asawa at Ruth Asawa: A Retrospective View
San Francisco Museum of Art, 1973 
Photograph by Laurence Cuneo 
© 2025 Ruth Asawa Lanier, Inc., Courtesy David Zwirner 

Ruth Asawa (1926–2013) was born in Norwalk, California, and raised on a farm. In the wake of Executive Order 9066 signed in 1942, the teenage Asawa and her family were unlawfully incarcerated in war relocation camps along with thousands of people of Japanese descent. After the end of World War II, Asawa enrolled in the experimental Black Mountain College near Asheville, North Carolina, where she explored the artistic possibilities of ordinary materials. There, she developed a technique for looping wire informed by Mexican wire basketry, which she had observed firsthand as a student volunteer in Toluca. This invention would lead to her most consequential contribution to abstract sculpture in the 20th century: a radical body of suspended, intricate looped-wire sculptures. The exhibition begins with a selection of works from her time at Black Mountain College, including explorations of materials, color, and shape in drawings, collages, and prints such as Untitled (BMC.145, BMC Laundry Stamp) (c. 1948–49).

Ruth Asawa MoMA
Installation view of
 Ruth Asawa: A Retrospective 
on view at The Museum of Modern Art 
from October 19, 2025, through February 7, 2026 
The Museum of Modern Art, New York 
Digital Image © 2025 The Museum of Modern Art, New York
Photo by Jonathan Dorado

Ruth Asawa MoMA
Installation view of
 Ruth Asawa: A Retrospective 
on view at The Museum of Modern Art 
from October 19, 2025, through February 7, 2026 
The Museum of Modern Art, New York 
Digital Image © 2025 The Museum of Modern Art, New York
Photo by Jonathan Dorado

Ruth Asawa continued her material experimentation in wire and paper following her 1949 move to San Francisco, the city that would be the center of her artistic activities for the rest of her life, and where she established a tightly knit family and community. Shortly after her arrival there, she articulated the key motifs and shapes in her looped wire forms in works like Untitled (S.535, Hanging Five-Lobed Continuous Form within a Form with Spheres in the First and Fourth Lobes and a Teardrop Form in the Third Lobe) (1951), on view in the exhibition. She also expanded her range of techniques in drawing, printmaking, and paperfolding, while taking on various commercial design commissions and exhibiting regularly at the Peridot Gallery in New York. In the early 1960s, Ruth Asawa discovered a new method of working with wire by tying and splaying it in ways that evoke organic structures, as seen in works like Untitled (S.390, Hanging Tied-Wire, Double-Sided, Center-Tied, Multi-Branched Form with Curly Ends) (1963). 

Ruth Asawa Art
Ruth Asawa
Untitled (S.390 Hanging Tied-Wire, Double-Sided, Center-Tied, 
Multi-Branched Form with Curly Ends), 1963 
Copper wire. 20 × 20 × 20 in. (50.8 × 50.8 × 50.8 cm) 
Black Mountain College Museum + Arts Center, 
Gift of Rita Newman 
© 2025 Ruth Asawa Lanier, Inc., Courtesy David Zwirner

Ruth Asawa MoMA
Installation view of
 Ruth Asawa: A Retrospective 
on view at The Museum of Modern Art 
from October 19, 2025, through February 7, 2026 
The Museum of Modern Art, New York 
Digital Image © 2025 The Museum of Modern Art, New York
Photo by Jonathan Dorado

Ruth Asawa Poppy
Ruth Asawa 
Poppy, 1965 
Lithograph. 30 1∕16 × 20 9∕16 in. (76.4 × 52.2 cm) 
Publisher and printer: Tamarind Lithography Workshop, Los Angeles 
Edition: proof outside the edition of 20 
The Museum of Modern Art, New York,
 Gift of Kleiner, Bell & Co., 1967
© 2025 Ruth Asawa Lanier, Inc., Courtesy David Zwirner

Ruth Asawa continued to experiment with natural forms during a residency at the Tamarind Lithography Workshop in Los Angeles in 1965, where she produced a portfolio of diverse, formally rigorous and experimental prints. Drawing from MoMA’s collection, a concentration of works from this portfolio are included in the exhibition, many of which are on view for the first time.

Parallel to her artistic experimentation, Ruth Asawa dedicated herself to her lifelong quest to integrate arts education and practice. One of Asawa’s most transformative projects was the Alvarado Arts Workshop, which started as a grassroots initiative and grew to a momentous movement that embedded vital arts-education programming in San Francisco Bay Area public school systems. Galleries in the exhibition feature archival material related to Asawa’s civic engagement, teaching practice and numerous collaborative public art projects, including Japanese American Internment Memorial (1994) commissioned by the city of San José. Focus on Asawa’s visionary pedagogy extends to the exhibition’s public programming.

Ruth Asawa Ink
Ruth Asawa 
Untitled (PF.293, Bouquet from Anni Albers), early 1990s 
Ink on paper. 40 × 26 in. (101.6 × 66 cm) 
Private collection 
© 2025 Ruth Asawa Lanier, Inc., Courtesy David Zwirner 

A final gallery in the exhibition highlights the last decades of Asawa’s life, which were marked by a renewed dedication to a daily drawing practice. Ruth Asawa tenderly documented her surroundings, paying particular attention to the botanical forms around her, as seen in works such as Untitled (PF.293, Bouquet from Anni Albers) (early 1990s).

Ruth Asawa: A Retrospectiveis an exhibition partnership between the San Francisco Museum of Modern Art (SFMOMA) and The Museum of Modern Art, New York (MoMA). The exhibition is organized by Cara Manes, Associate Curator, Department of Painting and Sculpture, MoMA and Janet Bishop, Thomas Weisel Family Chief Curator and Curator of Painting and Sculpture, SFMOMA; with Dominika Tylcz, Curatorial Assistant, Department of Painting and Sculpture, MoMA; and Marin Sarvé-Tarr, Assistant Curator, and William Hernández Luege, Curatorial Associate, Painting and Sculpture, SFMOMA. 

The exhibition was on view at SFMOMA (April 4 – September 2, 2025). After its presentation at MoMA, it will travel to Guggenheim Museum Bilbao, Spain (March 20 – September 13, 2026); and Fondation Beyeler, Riehen/Basel, Switzerland (October 18, 2026 – January 24, 2027).

MoMA - The Museum of Modern Art, New York

17/10/25

Caméra Cinéma Canon EOS C50

Caméra Cinéma Canon EOS C50

Caméra Cinéma Canon EOS C50
Caméra Cinéma Canon EOS C50
Photo © Canon

Caméra Cinéma Canon EOS C50
Caméra Cinéma Canon EOS C50
Photo © Canon

Désormais plus petite caméra de la gamme Canon EOS Cinema, la Caméra Cinéma Canon EOS C50 s’intègre très simplement dans une grande diversité de configurations de tournage, du reportage à la réalisation cinéma à grande échelle. Sa conception compacte est idéale pour l’intégrer dans de nombreux contextes de production et son haut niveau de performances répond efficacement aux exigences techniques professionnelles.

A la base des caractéristiques exclusives de l’EOS C50 figure un nouveau capteur CMOS plein format 7K. En association avec un processeur DIGIC DV 7, il produit des images d’une qualité exceptionnelle en vidéo comme en photo, et permet en particulier l’enregistrement vidéo interne en RAW jusqu’en 7K 60P, ainsi que l’acquisition 4K 120P / 2K 180P et l’enregistrement de photos haute définition de 32 millions de pixels.

L’EOS C50 est la première Caméra EOS Cinema à proposer la possibilité d’enregistrement en Open gate, une fonctionnalité qui permet à l’opérateur de cadrer sur l’intégralité de format du capteur afin de bénéficier d’une résolution maximale et d’une grande souplesse en matière de recadrage ultérieur. Le mode d’enregistrement sur toute la surface (hauteur et largeur) du nouveau capteur de type 3:2 (Compatible uniquement avec l’enregistrement Cinema RAW Light / XF HEVC S) permet d’obtenir une grande image bénéficiant de tout le potentiel du cercle-image formé par les objectifs de type plein format. L’enregistrement en Open gate apporte aux réalisateurs une flexibilité appréciable en post-production, en particulier lorsqu’il s’agit d’extraire différentes vidéos en formats horizontaux et verticaux depuis une même séquence d’images. Par ailleurs, en association avec des objectifs anamorphiques, le résultat se traduit par une image plus haute, garante d’un important effet cinématique immersif.

En appliquant la nouvelle fonction ‘Crop recording’, les vidéastes peuvent enregistrer simultanément une image plein cadre sur la carte CFexpress et une version recadrée en vertical ou au format carré sur la carte SD (adaptée aux réseaux sociaux et à la production publicitaire). La surface recadrée peut-être décalée horizontalement pour une précision optimale du recadrage puis enregistrée dans un format différent afin de répondre aux différentes exigences de diffusion.

Caméra Cinéma Canon EOS C50
Caméra Cinéma Canon EOS C50
Photo © Canon

Caméra Cinéma Canon EOS C50
Caméra Cinéma Canon EOS C50
Photo © Canon

Caméra Cinéma Canon EOS C50
Caméra Cinéma Canon EOS C50
Photo © Canon

Caméra Cinéma Canon EOS C50
Caméra Cinéma Canon EOS C50
Photo © Canon

Caméra Cinéma Canon EOS C50
Caméra Cinéma Canon EOS C50
Photo © Canon

Caméra Cinéma Canon EOS C50
Caméra Cinéma Canon EOS C50
Photo © Canon

Caméra Canon EOS C50 : Haute résolution et haut potentiel hybride vidéo/photo

En tant qu’instrument de prise de vues réellement hybride vidéo/photo, l’EOS C50 permet l’enregistrement de vidéos 7K et de photos de 32 millions de pixels. Pour cela, l’affichage est spécifiquement optimisé selon que la caméra est en mode vidéo ou en mode photo. Les informations sont ainsi affichées conformément à l’habituelle interface EOS Cinema en vidéo, et au classique système de menu Canon en photo.

Vidéastes et photographes peuvent donc bénéficier de l’autofocus Canon Dual Pixel CMOS AF II connu pour ses performances exceptionnelles en matière de vitesse et de haute précision en détection et en suivi de sujet. Une précision qui est désormais renforcée par la possibilité de sélection de l’oeil auquel l’opérateur souhaite accorder la priorité de mise au point en prise de vues de personnes, de chiens, de chats, et d’oiseaux. D’autre part, des fonctions complémentaires permettent un réglage optimum de la vitesse d’autofocus et de la réactivité d’AF en suivi de sujet.

Caméra Cinéma Canon EOS C50
Caméra Cinéma Canon EOS C50
Photo © Canon

Caméra Cinéma Canon EOS C50
Caméra Cinéma Canon EOS C50
Photo © Canon

Caméra Cinéma Canon EOS C50
Photo © Canon

Caméra Cinéma Canon EOS C50 : Design exclusif et polyvalent, bien adapté aux tournages dynamiques

Agile, la Caméra Cinéma Canon EOS C50 est légère et modulaire : elle peut facilement être utilisée à main levée ou sur stabilisateur. Grâce à son boîtier profilé et doté de plusieurs points de montage d’accessoires, cette caméra compacte s’intègre facilement dans diverses configurations vidéo moderne. L’EOS C50 peut être indifféremment montée à l’horizontale ou à la verticale, les affichages d’image et de menu s’ajustant automatiquement en fonction de l’orientation choisie.

L’EOS C50 comporte une poignée détachable qui optimise le confort de prise en main et de contrôle. Cette poignée intègre deux connecteurs audio XLR 3 broches et leurs molettes de commandes de réglage du son. Une touche d’enregistrement (REC) et une bascule de commande de zoom permettent une utilisation de type caméscope en contexte de reportage.

En complément de la compatibilité native avec la gamme des objectifs Canon RF, les optiques EF/PL peuvent également être montées sur l’EOS C50 par l’intermédiaire d’un adaptateur de monture Canon PL-RF (disponible en option). De même, l’ensemble des adaptateurs Canon EF-EOS R peuvent également être utilisés pour le montage d’objectifs Canon RF.

Caméra Cinéma Canon EOS C50 : Options de connexion facile pour divers flux d’enregistrement

Une large sélection d’options de connectivité permet à l’EOS C50 de répondre aux exigences des productions professionnelles modernes. En plus des entrées XLR, la caméra comporte une prise MIC, une prise Timecode, un connecteur de sortie HDMI OUT (type-A) et un connecteur USB (type-C). Deux logements pour cartes mémoire CFexpress et SD assurent d’importantes possibilités d’enregistrement simultané, y compris en différents formats de fichiers et réglages proxy ainsi qu’en différentes résolutions.

L’EOS C50 embarque la compatibilité UVC/UAC pour la diffusion haute résolution en direct jusqu’à 60P/50P par simple câble USB. Elle propose aussi le Protocole XC pour la télécommande de la caméra par des applications de smartphone compatibles ou par des accessoires spécifiques tels que la télécommande Canon RC-IP1000. Les vidéos et les photos peuvent être transmises à des destinataires en temps réel par Wi-Fi ou USB grâce à l’app CTP - Canon Content Transfer Professional (seuls les fichiers MP4, JPEG, WAV et XML (NewsML-G2) peuvent être transférés).

Une collaboration entre Canon et Adobe assure la compatibilité de l’EOS C50 avec la connectivité Frame.io's Camera to Cloud. De manière similaire à celle de l’EOS C400 et de l’EOS C80, cette compatibilité permet l’envoi de fichiers proxy directement depuis la caméra vers une plateforme Frame.io afin de bénéficier d’une transmission fluide et fiable de la production vers la post-production.

Grâce à sa connectivité étendue, à sa flexibilité et aux puissantes possibilités de son capteur plein format, l’EOS C50 entend devenir la référence dans le domaine des caméras cinéma compactes.

Caractéristiques principales de la caméra Canon EOS C50 

• Potentiel de haute résolution en usage hybride vidéo/photo : enregistrement vidéo RAW 7K 60p en interne et photos 32 millions de pixels
• Capteur CMOS plein format 7K de haut de gamme avec fonction d’enregistrement vidéo en Open gate.
• Sur-échantillonnage en 7K pour des vidéos 4K de super résolution.
• Compatibilité double base ISO (ISO 800/6400), avec dynamique jusqu’à + 15 IL (pour enregistrement en Canon Log 2/Canon Log 3/RAW)
• Gamme flexible de formats d’enregistrement professionnels dont Cinema RAW Light 12 bits, Canon Log 2, Canon Log 3 et XF-AVC S / XF-HEVC S
• Conception compacte et polyvalente avec poignée amovible et possibilités étendues en matière de configuration de tournage (multiples possibilités d’agencements de rigs). 
• Monture RF native, compatibilité avec l’adaptateur de monture pour objectifs EF/PL.
• Deux entrées XLR, sorties Timecode, HDMI OUT (Type-A), USB (Type-C) et griffe Multi-fonctions.
• Double logement pour cartes mémoire CFexpress et SD permettant l’enregistrement simultané en différents formats sur chaque carte.

CANON FRANCE

16/10/25

Yuka Kashihara @ Acquavella Galleries, Palm Beach - 'Stardust' Exhibition

Yuka Kashihara: Stardust
Acquavella Galleries, Palm Beach
October 15 - December 8, 2025 
"Everything is connected, and everything is one. Painting, for me, is a way of knowing who I am. Tracing that history back, it became clear to me that I, too, am made of stardust; and that realization felt profoundly natural. The primeval landscapes I have encountered in my life, too, if traced back far enough, were once stardust."
- Yuka Kashihara
Acquavella Galleries presents Stardust, a solo exhibition of fifteen paintings by the Japanese artist Yuka Kashihara in its Palm Beach gallery.

This suite of acrylic and oil paintings on canvas marks a continuation of the artist’s interest in imagining the otherworldly, while looking even farther to the cosmos. Her work is often sparked by instigating moments and views observed while traveling or walking, which she then blends with conjured vistas. In her new paintings, Kashihara explores our connection with the ancient and cosmic, combining the two ideas by exploring the origin of all organic matter, beginning deep in space.

Yuka Kashihara cites Marcus Chown’s book, The Magic Furnace, as an inspiration for her new work. He states: “Every atom in our bodies has an extraordinary history. Our blood, our food, our books, our clothes–everything contains atoms forged in blistering furnaces deep inside stars, which were blown into space by those stars’ cataclysmic explosions and deaths…The birth of every atom was marked by cosmic events on an enormous scale, against a backdrop of unimaginable heat and cold, brightness and darkness, space and time.” The artist’s newest body of work draws on this idea of celestial kinship.

In Universal Stardust (2025) and Universal Stardust - II (2025), the artist layers vivid shades of acrylic and oil that evoke watercolors in their blurred softness. The strokes and colors bleed and interconnect like the atoms that connect all organic matter. Kashihara simultaneously blends human interconnectedness with deep space, where clusters of atoms or constellations intertwine with what could be ancient flora and fauna deep on the ocean floor or from another planet.

Regarding this body of work, Yuka Kashihara also pays homage to her purposeful commitment to painting as exploration from a young age. The artist states: “When I was seventeen and unsure of my future, I made one clear decision: I would devote myself to painting. I pictured that wish sailing to the edge of the galaxy, like a handful of stardust cast into the night.”

Harnessing the boundless raw material of creation, Kashihara’s paintings offer a duality of the origin of life and its comic roots.

Yuka Kashihara: Stardust is accompanied by an illustrated catalogue with an essay by poet, critic, and curator John Yau.

Artist Yuka Kashihara (b. 1980)

Born in Hiroshima Prefecture in Japan, Kashihara received her B.F.A. in Japanese Painting from the Musashino Art University in Tokyo in 2006 before moving to Germany that year. Studying at the Academy of Visual Arts in Leipzig, Germany, she received her Meisterschüler (Master Graduate) in 2015.

ACQUAVELLA GALLERIES, PALM BEACH
340 Royal Poinciana Way, Palm Beach, FL 33480 

Gerhard Richter @ Galerie David Zwirner, Paris - Exposition + Biographie

Gerhard Richter
Galerie David Zwirner, Paris
20 octobre - 20 décembre 2025

David Zwirner présente dans sa Galerie de Paris une sélection de peintures, dessins et installations de miroirs de Gerhard Richter. L’exposition marque la troisième collaboration du célèbre artiste allemand avec la Galerie depuis l’annonce de sa représentation en 2023. Elle fait suite aux expositions monographiques tenues à New York (2023) et à Londres (2024), et coïncide avec une rétrospective d’envergure s’ouvrant le 17 octobre 2025 à la Fondation Louis Vuitton à Paris, sous le commissariat de Nicholas Serota et Dieter Schwarz.

Gerhard Richter Oeuvre
Gerhard Richter
Kl. Badende (Petite baigneuse), 1994
© Gerhard Richter 2025 (20102025) 
Courtesy the artist and David Zwirner

Gerhard Richter Oeuvre
Gerhard Richter
Blumen, (Fleurs), 1992
Oil on canvas
© Gerhard Richter 2025 (20102025) 
Courtesy the artist and David Zwirner

Les oeuvres présentées chez David Zwirner témoignent de l’impressionnante diversité d’enjeux, d’échelles et de techniques que mobilise l’artiste dans son travail. Prises dans leur ensemble, elles mettent en lumière sa profonde compréhension du médium pictural et l’enquête sans cesse renouvelée qu’il mène autour du fait même de créer une oeuvre. Dans ses Fotobilder (Photo-peintures) – par exemple Blumen (Fleurs, 1992), Torso (Torse, 1997) ou Kl. Badende (Petite baigneuse, 1994) –, l’artiste utilise ses propres photographies comme point de départ, mais aussi des images trouvées au hasard de journaux, magazines ou publicités. Souvent, l’artiste floute ou dénature d’une façon ou d’une autre l’image qui résulte de ce travail de composition, rendant plus complexe encore la relation qui unit la photographie à la peinture : une expérience conceptuelle se joue dans ces transpositions itératives entre les deux médiums.

Gerhard Richter Oeuvre
Gerhard Richter
Abstraktes Bild (Tableau abstrait), 2001
Oil on alu dibond
© Gerhard Richter 2025 (20102025)
Courtesy the artist and David Zwirner

Gerhard Richter Oeuvre
Gerhard Richter
Abstraktes Bild (Tableau abstrait), 2001
Oil on alu dibond
© Gerhard Richter 2025 (20102025)
Courtesy the artist and David Zwirner

Avec la série des Abstrakte Bilder (Tableaux abstraits), Gerhard Richter explore le potentiel formel et conceptuel de la peinture sous un autre angle. Exécutées selon des principes de composition extrêmement rigoureux, ces oeuvres ont recours à l’abstraction pour mettre en exergue la matérialité de la peinture et de la couleur – une méthode de création à la fois aléatoire et planifi ée avec soin. Deux Tableaux abstraits datant de 2001 sont exposés, marbrés de peinture verte, rose vif ou jaune d’or se déployant harmonieusement sur toute la surface de la toile. Les deux oeuvres contrastent ainsi avec les dernières peintures à l’huile réalisées par l’artiste de 2015 à 2017, qui se caractérisent au contraire par des entrelacs complexes où la superposition de lignes et de touches appliquées avec vigueur créent une impression de relief. Ces peintures sont confrontées à Strip, tableau de 2024 s’étirant sur quatre mètres de largeur. Revisitant ses Tableaux abstraits grâce aux technologies numériques, Gerhard Richter orchestre dans la série des Strips un dialogue entre la peinture, la photographie, la reproduction d’images par impression et l’abstraction.

Des dessins récents de l’artiste figurent aussi dans l’exposition ; certains totalement inédits et d’autres ayant été présentés plus tôt cette année dans le cadre de Gerhard Richter: 81 Zeichnungen, 1 Strip-Bild, 1 Edition à la Staatliche Graphische Sammlung de Munich. Gerhard Richter a toujours accordé une place importante au médium du dessin dans sa pratique artistique, et le passage des années n’a pas démenti cet engagement fructueux. Les oeuvres présentées, incorporant souvent des encres de couleur et du crayon à mine de graphite, lui permettent d’explorer une autre dimension du rôle de la main de l’artiste dans le processus menant à la création d’un « récit » pictural abstrait mais dynamique.

L’exposition à Paris comprend également trois installations de surfaces réfl échissantes montées au mur, de tailles différentes, ainsi que 3 Scheiben (3 Panneaux de verre, 2023), où trois pans de verre transparent et réfl échissant sont dressés au sein d’un cadre en métal. Depuis 1967 et la création de son installation 4 Glasscheiben (4 Panneaux de verre), qui a marqué un tournant dans sa carrière, Gerhard Richter nourrit un grand intérêt analytique – qui confine à la fascination – pour le verre. De façon très personnelle, il mobilise ce matériau moins comme un élément de sculpture pure que comme une « réflexion », dans les deux sens du terme, de son investigation de la peinture et de la création d’image. Contempler ces oeuvres – et donc aussi les images qui se forment à leur surface – est une expérience radicalement paradoxale où la réalité, répliquée par le miroir de manière forcément fi dèle au monde réel qui entoure nécessairement l’oeuvre, devient pourtant inaccessible en tant que refl et, à la fois hors de portée et déformée. 
Dans les oeuvres en verre de Gerhard Richter, comme le soulignent Janice Bretz et Kerstin Küster, « les visiteurs ne restent pas spectateurs mais deviennent eux-mêmes créateurs ; ils se confrontent à l’écart entre l’espace d’exposition réel et le refl et aléatoire de la réalité sur le verre. […] L’artiste nous invite à réfl échir au fait même de voir et à considérer ce que l’on voit comme une seule réalité potentielle parmi de nombreuses autres. Voir est contextuel : la réalité dépend toujours de celui qui regarde ». – Janice Bretz and Kerstin Küster, “Transparent and Reflected: Mirrors, Glass, and Strips,” in Gerhard Richter: Abstraction. Exh. cat. (Potsdam: Museum Barberini, 2020), p. 198.
Artiste Gerhard Richter

Gerhard Richter est né en 1932 à Dresde en Allemagne. Il étudie les beaux-arts de 1951 à 1956 à la Hochschule für Bildende Künste de Dresde et se spécialise en peinture murale. En 1959, il visite la documenta II qui se tient à Cassel, alors en Allemagne de l’Ouest : une expérience fondatrice qui le mène à infl échir sa trajectoire artistique. Après avoir réussi à fuir l’Allemagne de l’Est en 1961, il entreprend un second cycle d’études à la Staatliche Kunstakademie de Düsseldorf. Il y cofonde un mouvement éphémère appelé « réalisme capitaliste » avec ses condisciples Sigmar Polke, Konrad Lueg (qui deviendra galeriste, plus connu sous le nom de Konrad Fischer) et Manfred Kuttner.

À partir de 1964, son travail fait l’objet de nombreuses expositions personnelles dans des galeries et musées du le monde entier. Sa première exposition monographique dans une institution publique se tient en 1969 au Gegenverkehr du Zentrum für aktuelle Kunst d’Aachen, en Allemagne de l’Ouest. En 1972, il est choisi pour représenter l’Allemagne à la Biennale de Venise, où il investit le pavillon national de ses seules oeuvres. Il est aussi l’artiste ayant présenté son travail le plus grand nombre de fois à la documenta (en 1972, 1977, 1982, 1987, 1992, 1997, 2007 et 2017). Le travail de Gerhard Richter a été montré tout autour du monde au fi l de nombreuses rétrospectives et expositions monographiques au sein d’institutions de premier plan, parmi lesquelles le Kunstverein für die Rheinlande und Westfalen à Düsseldorf (1971, 1986), la Kunsthalle de Brême en Allemagne de l’Ouest (1975), le Centre Pompidou à Paris (1977, 2012), la Städtische Kunsthalle de Düsseldorf (1986), la Neue Nationalgalerie de Berlin (1986, 2012), le Hirshhorn Museum and Sculpture Garden à Washington D.C. (1988, 2003), le San Francisco Museum of Modern Art (1989, 2002), la Tate à Londres (1991, 2011), le Moderna Museet à Stockholm (1993), l’Art Institute de Chicago (2002), le MoMA à New York (2002), la Queensland Art Gallery à Brisbane (2017), le Met Breuer à New York (2020) et le National Museum of Modern Art de Tokyo (2022). En avril 2023, la Neue Nationalgalerie de Berlin inaugurait une installation semi-permanente intitulée Gerhard Richter: 100 Works for Berlin, rassemblant des prêts à très long terme consentis par la Fondation Gerhard Richter en 2021, parmi lesquels le cycle d’oeuvres Birkenau (2014), série de peintures abstraites de grandes dimensions.

Gerhard Richter est le lauréat de nombreux prix et distinctions prestigieux comme, parmi d’autres, le Kunstpreis Junger Westen de la Kunsthalle de Recklinghausen en Allemagne de l’Ouest (1967), le prix Arnold Bode de Cassel en Allemagne de l’Ouest (1982), le prix Oskar Kokoschka de Vienne (1985), le Goslarer Kaiserring de Goslar en Allemagne de l’Ouest (1988), le Lion d’or de la 47e Biennale de Venise (1997), le Praemium Imperiale de la Japan Art Association de Tokyo (1997), le prix Wexner du Wexner Center for the Arts de Columbus en Ohio (1998), le Foreign Honorary Membership de l’American Academy of Arts and Letters de New York (1998), le Staatspreis du Lander de Rhénanie-du-Nord-Westphalie de Düsseldorf (2000) et le Kunst- und Kulturpreis der deutschen Katholiken de la Deutsche Bischofskonferenz de Bonn (2004). En 2007, année où il crée un vitrail spectaculaire pour la cathédrale de Cologne, Gerhard Richter est élevé au rang de citoyen d’honneur de la ville.

David Zwirner représente Gerhard Richter depuis 2023. Cette année-là, sa galerie new-yorkaise accueille une exposition personnelle de l’artiste allemand. Rassemblant des peintures abstraites récentes, elle s’accompagne d’un catalogue richement illustré comportant un essai inédit de Dieter Schwarz. Au début 2024, une exposition monographique est consacrée à l’artiste chez David Zwirner London. Parmi les précédentes expositions de son travail s’étant tenues à New York, notons Gerhard Richter: Prints and Multiples 1966–1993 (1994), Gerhard Richter: Early Paintings (2000) et Gerhard Richter: Landscapes (2004). Les oeuvres de l’artiste sont présentes dans des collections publiques et privées de tout premier plan à travers le monde. Gerhard Richter vit et travaille à Cologne.

DAVID ZWIRNER, PARIS
108, rue Vieille du Temple, 75003 Paris