Draw Like a Machine: Pop Art, 1952-1975 @ The Menil Collection, Houston

Draw Like a Machine: Pop Art, 1952-1975

The Menil Collection, Houston 

October 29, 2021 - March 13, 2022

Roy Lichtenstein 

Steak, 1963 

Graphite and crayon on paper 

16 1/8 × 24 1/2 in. (40.9 × 62.2 cm).

The Menil Collection, Houston 

Purchased with funds provided by an anonymous donor

© Estate of Roy Lichtenstein. Photo: Paul Hester

The Menil Collection presents Draw Like a Machine: Pop Art, 1952–1975. The exhibition features over thirty drawings that upend the traditionally assumed connection that drawing has to the hand of the artist. Featuring works primarily sourced from the Menil’s permanent collection, along with select loans from local Houston collections, Draw Like a Machine is on view at the Menil Drawing Institute.

The exhibition focuses on drawings made during a time when gestural and expressionistic mark-making was considered increasingly outmoded, and artists were actively experimenting with images and processes borrowed from advertising and mass media. The resulting artworks bridge the seeming contradiction between the manual and the mechanical.

Highlights of the exhibition include Andy Warhol’s series of six drawings of Gene Swenson completed in 1962, the year before Swenson’s iconic ARTnews interview with Warhol, which centered on the broad inquiry, “What is Pop Art?” In response to the question, Andy Warhol declared his intention to “be a machine” and “machine-like” in his art practice, a quote that inspired the current exhibition’s title. Warhol sought to create works that intentionally resembled printed reproductions using a blotted line technique that combined drawing and printmaking strategies. The exhibition also includes a number of Andy Warhol’s drawings from the 1950s, highlighting a range of techniques he employed.

Rebecca Rabinow, director of the Menil Collection, said: “Draw Like a Machine highlights a strength of the museum’s collection, including more than a dozen important drawings originally collected by John and Dominique de Menil. We are grateful to a handful of enthusiastic local collectors who have allowed us to borrow their works to add to this focused presentation.”

Draw Like a Machine spotlights a generation of artists in the United States who bridged fine art and industrial design, including Roy Lichtenstein, James Rosenquist, and Idelle Weber. Certain works in the exhibition foreground the alluring visual advertising strategies developed by leading marketing firms to direct and encourage consumer spending in the postwar era, with strong examples by Tom Wesselmann and Marjorie Strider. In California, artists such as Ed Kienholz blurred the lines of art and commerce even further.

Kelly Montana, Assistant Curator, Menil Drawing Institute, said: “Informed by an era in which art was increasingly integrated into popular culture, artists exploited graphic strategies harnessed by the working creatives of the day such as admen, illustrators, and sign painters to critique and subvert the prestige of drawing.”

Draw Like a Machine: Pop Art, 1952-1975 is curated by Kelly Montana, Assistant Curator, Menil Drawing Institute.

THE MENIL COLLECTION, HOUSTON

Menil Drawing Institute

1533 Sul Ross Street, Houston, Texas 77006

www.menil.org

Roy Lichtenstein @ Pace Gallery, Palm Beach

Roy Lichtenstein

Pace Gallery, Palm Beach

March 18 – April 11, 2021

ROY LICHTENSTEIN

Brushstroke (Tuten 23), 1982 

© Roy Lichtenstein, courtesy Pace Gallery and Castelli Gallery

Pace Gallery presents a solo exhibition of ten works by Roy Lichtenstein at the gallery’s seasonal location in Palm Beach, FL. Bringing together a selection of rarely seen works, this presentation features collage, drawing, painting, and sculpture from the 1970s and ‘80s, in particular showcasing Roy Lichtenstein’s return to the iconic theme of the brushstroke across a range of different media.

Borrowing from the signs and symbols of mass culture while mining images from media, advertisements, and commercial illustrations, Roy Lichtenstein developed a singular Pop idiom that playfully challenged the boundaries of “high art” and “low culture.” Over the course of a five-decade career, Roy Lichtenstein’s bold and graphic work was characterized by a probing investigation into the nature of art itself. Rendered in a striking, high-impact style achieved through the use of his signature Ben-Day dot patterning, Roy Lichtenstein’s work challenged notions of visual perception, compositional illusion, and modes of representation. An antidote to the spontaneity of the artist’s hand, his disciplined and controlled use of line imitated the mechanical reproduction and cool artifice of mass-produced imagery.

Roy Lichtenstein first explored the theme of the brushstroke in the 1960s. An abstracted gestural brushstroke first appears as an isolated visual subject in a series of paintings created between 1965 and 1966, after which it became one of the most significant and recurring motifs in his prolific career. These early paintings appropriated the motif from a 1964 comic book story by Dick Giordano, which parodied the legacy of Abstract Expressionism’s heroic and explosive marks, celebrated in the canvases of New York School artists such as Jackson Pollock, Franz Kline, and Willem de Kooning. In the late 1970s and early 1980s, Roy Lichtenstein returned to the motif of the brushstroke, reinvigorating it by liberating it from the canvas and capturing the gesture of the brushstroke as a three-dimensional form cast in bronze.

Energetic and buoyant yet weighted and bound by gravity, Brushstroke (Tuten 23) (1982) ascends vertically, a precarious stack of teetering brushstrokes in red, yellow, white, and blue. Heavy black outlines suggest a fictive dimensionality and viscosity to the otherwise flattened and frozen brushstrokes. In a series of Brushstroke Head sculptures and drawings from 1986 and 1987, Roy Lichtenstein takes the theme further and reinvents it as the building block for a loose kind of figuration, where the outlines of the brushstroke evoke the contours of a head and a field of raised red Ben-Day dots on its surface become the freckled face of the artist’s comic book heroine. A sweeping yellow stroke delineates the figure’s golden blonde hair.

Marking the culmination of Roy Lichtenstein’s tongue-in-cheek variations on the theme of the brushstroke during the 1980s, the exhibition includes Brushstroke Chair and Ottoman (1986–88), the artist’s extraordinary sculptural rendering of functional furniture made from nothing other than the undulating forms of three-dimensional brushstrokes rendered in cast and painted bronze, their torqued forms parodying the molded wood curves of mid-century design.

ROY LICHTENSTEIN (1923–1997) was a leading figure in twentieth-century American art and a pioneer of the Pop Art movement. His groundbreaking and profoundly innovative career employs parody and imitation toward critical and philosophical ends. Borrowing and reworking popular and mass-produced imagery from sources such as advertisements and comic books, Roy Lichtenstein developed a signature style that utilized Ben-Day dots—a rigorous manual process that employed perforated templates to emulate the dot patterns used in commercial printing processes—which elevated both the content and the aesthetic of mass production to the realm of “fine art.”

Roy Lichtenstein was born in New York City and studied at New York’s Art Students League in 1940. He enrolled at Ohio State University, where he began his undergraduate studies until 1943 when he was drafted by the Army and served in Europe during World War II. Upon his return, he resumed his art studies in Ohio and received his BFA in 1946 and MFA in 1949. Roy Lichtenstein joined the faculty at Ohio State University in 1946 and taught there until 1951. In 1957, he began teaching at the State University of New York at Oswego. He accepted a professorship at Douglass College at Rutgers University in New Jersey in 1960, where he met colleague Allan Kaprow, who introduced him to many of the artists involved with Fluxus.

In 1951, Roy Lichtenstein exhibited his first solo show in New York. In 1962, he held his first solo presentation with Leo Castelli Gallery, which catapulted his career and international rise to prominence. Roy Lichtenstein moved freely, back and forth, across a disparate range of influences from comic books and mass-media imagery to subjects throughout the history of art. He engaged with dialogues of the European tradition, authoring compositions based off of the paintings of Monet, Mondrian, and Picasso, among others; he revisited major twentieth-century movements such as Cubism, Futurism, and Surrealism; and extended his curiosities beyond the Western cannon to include imagery appropriated from Chinese landscape painting.

Throughout the late 1960s Roy Lichtenstein’s work was subject to numerous museum surveys: the Pasadena Art Museum initiated a traveling retrospective in 1967; the Stedelijk Museum, Amsterdam, presented his first European retrospective in 1968; and The Solomon R. Guggenheim Museum hosted his first New York retrospective in 1969.

Roy Lichtenstein was a distinguished painter, sculpture, and printmaker. He was elected to the American Academy of Arts and Letters, New York in 1979. Two years before his death, he was awarded the National Medal of Arts in 1995. 

PACE GALLERY

340 Royal Poinciana Way, Suite M333, Palm Beach, FL

www.pacegallery.com

Audubon to Warhol: The Art of American Still Life @ Philadelphia Museum of Art

Audubon to Warhol: The Art of American Still Life
Philadelphia Museum of Art
October 27, 2015 - January 10, 2016

This fall, the Philadelphia Museum of Art will present a major exhibition surveying nearly two centuries of the most intimate, intricate, and varied genre of painting practiced in the United States. Audubon to Warhol: The Art of American Still Life will explore the nature and development of still-life painting in this country from the days of the early American republic to the emergence of Pop Art in the early 1960s, providing a fresh perspective on the evolution of this genre over time and the various ways in which it has reflected our history and culture. Nearly one hundred artists will be represented, ranging from Philadelphia’s Peale family of painters and masters of trompe l’oeil such as William Michael Harnett to modern masters like Charles Sheeler, Georgia O’Keeffe, and Roy Lichtenstein.

Timothy Rub, The George D. Widener Director and Chief Executive Officer, said, “Still life is an important subject that continues to fascinate us today. It can be a meditative study of a single, small object and yet also serve as a metaphor for the world. The story of American still life begins in Philadelphia, and we are delighted to have an opportunity to share this exhibition with our audiences. This is the first major show of its kind in more than thirty years and brings together works of great beauty and historical significance from collections around the country.”

The exhibition surveys the history of American still life. The earliest section addresses the interest of late 18th and early 19th-century painters, a period interested in precise visual description. In their efforts to understand and categorize nature, art and science were linked in the minds of such leading figures of this period as John James Audubon, whose Carolina Parrot (about 1828) depicts a species now extinct and provides a signal example of the combined artistic and scientific ambition that motivated his celebrated Birds of America. The exhibition also explores the pleasures of the senses and sensuality that became the primary focus of American still-life painters at the beginning of the Victorian era. The works of this period exemplify a spirit of newfound prosperity and abundance, as can been seen in Severin Roesen’s vivid floral still lifes and in tables overflowing with nature’s bounty, such as Andrew J. H. Way’s Oysters in Half Shell (1863). Discerning appetites and distinctions of the affluent after the Civil War, as recorded in images such as The Blue Cup (1909) by Joseph DeCamp will be highlighted along with works that address the technological and psychological preoccupations of early 20th-century American artists.

Visitors will encounter audio and visual representations of the iconic 20th Century Limited locomotive, the subject of Charles Sheeler’s classic Rolling Power (1939). Signaling the reach of a burgeoning media culture, the installation will dramatize how masterfully the artist evoked power and modernity, extending the idea of what still life could be. The exhibition concludes with a selection of Pop Art icons, including Roy Lichtenstein's Still Life with Goldfish (1974).

The exhibition will evoke the different ways of looking that American still-life painters have explored of the course of more than two centuries, immersing visitors in fully developed environments. The still lifes of the mid-19th century, for example, were typically created for parlors and dining rooms. A re-created Victorian parlor will invite visitors to appreciate these semipublic social settings, where educated and erudite conversations were sparked by artworks such as Edward A. Goods’s Fishbowl Fantasy (1867). The artworks themselves will be arranged in small groups to encourage comparison and discussion among visitors, as they did for their early audiences. The exhibition will also include evocations of Theodore Stewart’s famous New York City saloon, which drew crowds from nearby City Hall and around the world to admire William Michael Harnett’s large-scale After the Hunt (1885), which was displayed there in its own theatrical setting for many years. Themes such as music, literature, popular media, and science—including tangible ephemera such as bird specimens, magazines, and pocket watches—will bring forward the immediate inspirations and contemporary contexts of the art.

The impact of the Philadelphia region on the emergence and development of American still life is a theme that spans the entire exhibition. Mark D. Mitchell, the Associate Curator of American Art and Manager of the Center for American Art, said: “We examine not only still life’s development in America—motivated as much by wider cultural dynamics as by artistic taste—but also the distinctively regional association of American still life as a Philadelphia story.”

Catalogue

A fully illustrated catalogue, with essays by Bill Brown (University of Chicago), Carol Troyen (Museum of Fine Arts, Boston), Katie Pfohl (Harvard University), and Mark D. Mitchell (Philadelphia Museum of Art) will accompany the exhibition and be distributed by Yale University Press. The catalogue will be available in October.

Sponsorship

The exhibition is made possible by the National Endowment for the Humanities, The Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the National Endowment for the Arts, the Peter R. & Cynthia K. Kellogg Foundation, and The Annenberg Foundation Fund for Major Exhibitions. Additional support is provided by Leigh P. and John S. Middleton, Mr. and Mrs. William C. Buck, the Estate of Phyllis T. Ballinger, Frank J. Hevrdejs, Bonnie and Peter McCausland, Russell C. Ball III, Sondra and Martin Landes, Jr., Washburn and Susan Oberwager, Sarah Miller Coulson, Leslie Miller and Richard Worley, an anonymous donor, other generous individuals, and by an indemnity from the Federal Council on the Arts and the Humanities. Related educational programming and resources are supported by The Center for American Art at the Philadelphia Museum of Art. The publication is supported by the Davenport Family Foundation, the Wyeth Foundation for American Art and The Andrew W. Mellon Fund for Scholarly Publications at the Philadelphia Museum of Art.

Curator

Mark D. Mitchell, formerly Associate Curator of American Art and Manager, Center for American Art, now The Holcombe T. Green Curator of American Paintings and Sculpture at the Yale University Art Gallery.

Location

Dorrance Special Exhibition Galleries, first floor

Philadelphia Museum of Art
www.philamuseum.org

Expo Picasso.mania, Grand Palais, Paris

Picasso.mania
Grand Palais, Paris 
7 octobre 2015 - 29 février 2016 

La vingtaine d’expositions (monographiques ou collectives) qui, depuis 1973 se sont attachées à l’étude de la postérité de l’œuvre de Pablo Picasso témoignent de son impact sur la création contemporaine. A la fois chronologique et thématique, le parcours de l’exposition du Grand Palais retrace les moments de la réception critique et artistique de l’œuvre de Picasso, les étapes de la formation du mythe associé à son nom.

Des natures mortes cubistes aux Mousquetaires des expositions d’Avignon de 1970 et 1973, le parcours de l’exposition est ponctué d’œuvres de Picasso, issues des collections du Musée national Picasso-Paris, du Musée National d’art Moderne, ainsi que des collections de la famille de l’artiste. Leur présentation s’inspire des accrochages réalisés par l’artiste dans ses ateliers, et des expositions qu’il a lui-même supervisées (Galerie Georges Petit à Paris en 1932, Palais des Papes à Avignon en 1970 et 1973).

Aux grandes phases stylistiques (cubisme, œuvre tardif...), aux œuvres emblématiques de Pablo Picasso (Les Demoiselles d’Avignon, Guernica) répondent des créations contemporaines présentées dans des salles monographiques (David Hockney, Jasper Johns, Roy Lichtenstein, Martin Kippenberger...) ou thématiques, regroupant des œuvres mêlant techniques et supports les plus variés (vidéos, peintures, sculptures, arts graphiques, films, photographies, installations…).

Les montages Polaroïd, les images vidéos multi-écrans de David Hockney font écho au cubisme de Picasso, à son exploration d’un espace polyfocal. Au début des années 60, les artistes Pop, de part et d’autre de l’Atlantique (Lichtenstein, Errό…) s’emparent des portraits des années 30 par lesquels s’est fixée l’image archétypale de la peinture de Picasso. L’Ombre (1954) est à l’origine de la série de quatre tableaux qu’entreprend Jasper Johns en 1985 (Les Quatre saisons rassemblées, sont présentées dans l’exposition). Témoignant de l’impact de l’image publique de Picasso sur l’imaginaire des artistes du XXe siècle, à deux reprises, en 1988 et en 1995, Martin Kippenberger interprète les portraits photographiques de Picasso et de Jacqueline réalisés par David Douglas Duncan.

Les variations, inspirées par Les Demoiselles d’Avignon et par Guernica, démontrent la place occupée par ces peintures dans l’histoire de l’art moderne et, au-delà, dans l’imaginaire collectif (ces deux œuvres ne sont pas présentées dans l’exposition compte tenu de leur déplacement impossible). Acte de naissance du modernisme pictural, Les Demoiselles d’Avignon ont fait l’objet de variations, (par Faith Ringgold, Robert Colescott…), qui commentent la dimension ethnocentrée, masculine, de cette modernité dont l’œuvre est devenu l’emblème.

D’une lecture historique de Guernica par Emir Kusturica à la révélation du rôle symbolique joué par sa transposition en tapisserie ornant les murs du conseil de sécurité des Nations Unies (Goshka Macuga, The Nature of the Beast, 2009), de l’utilisation du tableau de Picasso dans la lutte des artistes américains opposés à la guerre du Vietnam aux manifestations de rue qui en brandissent l’image, une salle montre comment Guernica s’est muée en icône sociale et politique universelle.

A la faveur d’expositions qui l’ont réinscrit au cœur de la création contemporaine (A New Spirit in Painting, Royal Academy of Arts, 1981) ou qui en ont éclairé le sens (Das Spätwerk. Themen :1964-1972, Bâle, 1981 ; The Last Years, Guggenheim Museum, 1984), les œuvres des dernières années de Pablo Picasso sont redevenues sources d’inspiration. Son éclectisme stylistique, son « cannibalisme » des maîtres anciens, la libre facture des peintures tardives ont inspiré la génération d’artistes révélée au début des années 80 (Georg Baselitz, Jean-Michel Basquiat, George Condo, Julian Schnabel, Vincent Corpet…).

L’installation vidéo de Rineke Dijkstra, I see a Woman Crying (Weeping Woman, 2009-2010) illustre la présence de l’œuvre de Pablo Picasso dans l’imaginaire actuel, dans ses expressions les plus variées, du cinéma aux images numériques, de la vidéo à la bande dessinée.

Cette exposition est organisée par la Réunion des musées nationaux – Grand Palais, le Centre Pompidou et le Musée national Picasso-Paris.

Commissaire général : Didier Ottinger, conservateur général du Patrimoine, directeur adjoint du Musée national d’Art moderne - Centre Pompidou

Commissaires : Diana Widmaier-Picasso, historienne de l’art

Emilie Bouvard, conservatrice du Patrimoine au Musée national Picasso-Paris

Picasso.mania : Les artistes exposés

Adel Abdessemed (1971, Constantine, Algérie)
Leonce Raphael Agbodjelou (1965, Porto-Novo, Bénin)
Pierre Alechinsky (1927, Bruxelles, Belgique)
Arman (1928, Nice, France - 2005, New York, Etats-Unis)
Art Workers Coalition (collectif américain actif de 1969 à 1971)
Enrico Baj (1924, Milan, Italie - 2003, Vergiate, Italie)
Rudolf Baranik (1920, Lithuanie - 1998, El Dorado, Etats-Unis)
Miquel Barceló (1957, Félanitx, Espagne)
Georg Baselitz (1938, Deutschbaselitz, Allemagne)
Jean-Michel Basquiat (1960, Brooklyn, Etats-Unis -1988)
Joseph Beuys (1921, Krefeld, Allemagne - 1986, Düsseldorf, Allemagne)
Mike Bidlo (1953, Chicago, Etats-Unis)
Pol Bury (1922, Haine-Saint-Pierre, Belgique - 2005, Paris, France )
Maurizio Cattelan (1969, Padoue, Italie)
Christo Javacheff (1935, Gabrovo, Bulgarie)
Robert Colescott (1925, Oakland, Etats-Unis - 2009, Tucson, Etats-Unis)
George Condo (1957, Concord, Etats-Unis)
Vincent Corpet (1958, Paris, France)
Equipo Crónica (collectif espagnol actif de 1964 à 1981)
Alan Davie (1920, Grangemouth - Royaume-Uni-2014)
Walter De Maria (1934, Albany, Etats-Unis - 2013, New York, Etats-Unis)
Niki De Saint Phalle (1930, Neuilly-sur-Seine, France - 2002, San Diego, Etats-Unis)
Rineke Dijkstra (1959, Sittard, Pays-Bas)
Erró (Gudmundur Gudmundsson) (1932, Olafsvik, Islande)
Öyvind Fahlström (1928, São Paulo, Brésil -1976, Stockholm, Suède)
Zeng Fanzhi (1964, Wuhan, Chine)
Dan Flavin (1933, New York, Etats-Unis - 1996, New York, Etats-Unis)
Jean-Luc Godard (1930, Paris, France)
Leon Golub (1922, Chicago, Etas-Unis - 2004, New-York, Etats Unis)
Renato Guttuso (1911, Bagheria, Italie - 1987, Rome, Italie)
Richard Hamilton (1922, Pimlico, Royaume - Uni-2011, Londres, Royaume-Uni)
Romuald Hazoumé (1962, Porto-Novo, République du Bénin)
David Hockney (1937, Bradford, Royaume-Uni)
Thomas Houseago (1972, Leeds, Royaume-Uni)
Jean-Olivier Hucleux (1923, Chauny, France - 2012, Paris, France)
Robert Indiana (1928, New Castle, Etats-Unis)
Jasper Johns (1930, Augusta, Etats-Unis)
Donald Judd (1928, Excelsior Springs, Etats-Unis - 1994, New York, Etats-Unis)
Martin Kippenberger (1953, Dortmund, Allemagne - 1997, Vienne, Autriche)
Ronald B. Kitaj (1932, Chagrin Falls, Etats-Unis - 2007, Los Angeles, Etats-Unis)
Jeff Koons (1955, York, Etats-Unis)
Emir Kusturica (1954, Sarajevo, Yougoslavie)
Wifredo Lam (1902, Sagua La Grande, Cuba - 1982, Paris, France)
Bertrand Lavier (1949, Châtillon-sur-Seine, France)
Roy Lichtenstein (1923, New York, Etats Unis - 1997, New York, Etats Unis)
Goshka Macuga (1976, Varsovie, Pologne)
André Masson (1896, Balagny-sur-Thérain, France - 1987, Paris, France)
Paul Mc Carthy (1945, Salt Lake City, Etats-Unis)
Joan Miró (1893, Barcelone, Espagne - 1983, Palma de Majorque, Espagne)
Malcolm Morley (1931, Londres, Royaume-Uni)
Robert Motherwell (1915, Aberdeen, Etats-Unis-1991, Provincetown, Etats-Unis)
Wangechi Mutu (1972, Nairobi, Kenya)
Louise Nevelson (1899, Perislav, Ukraine -1988, New York, Etats-Unis)
Claes Oldenburg (1929, Stockholm, Suède)
Eduardo Paolo (1924, Leith, Royaume-Uni - 2005, Londres, Royaume-Uni)
Richard Pettibone (1938, Los Angeles, Etats-Unis)
Pablo Picasso (1881, Malaga, Espagne - 1973, Mougins, France)
Edouard Pignon (1905, Bully-les-Mines, France - 1993, La Couture-Boussey, France)
Sigmar Polke (1941, Oels, Pologne - 2010, Cologne, Allemagne)
Richard Prince (1949, Panama)
André Raffray (1925, Nonancourt, France - 2010, Paris, France)
Robert Rauschenberg (1925, Port Arthur, Etats-Unis - 2008, Captiva, Etats-Unis)
Faith Ringgold (1930, New-York, Etats-Unis)
Larry Rivers (1923, New York, Etats-Unis - 2002, New York, Etats-Unis)
James Rosenquist (1933, Grand Forks, Etats-Unis)
Chéri Samba (1956, Kinto M’Vuila, Congo)
Antonio Saura (1930, Huesca, Espagne - 1998, Cuenca, Espagne)
Julian Schnabel (1951, New York)
Frank Stella (1936, Malden, Etats-Unis)
Rudolf Stingel (1956, Merano, Italie)
Antoni Tàpies (1923, Barcelone, Espagne - 2012, Barcelone, Espagne)
Hervé Télémaque (1937, Port-au-Prince, Haïti)
Jean Tinguely (1925, Fribourg, Suisse - 1991, Berne, Suisse)
Cy Twombly (1928, Lexington, Etats-Unis - 2011, Rome, Italie)
Francesco Vezzoli (1971, Brescia, Italie)
Andy Warhol (1928, Pittsburgh, Etats Unis - 1987, New York, Etats Unis)
Yan Pei-Ming (1960, Shanghai, Chine)

Picasso.mania : Catalogue de l’exposition

Editions de la Réunion des musées nationaux - Grand Palais, Paris 2015
24,5 x 29 cm, autour de 340 pages, 390 illustrations - 49 €
parution le 14 septembre

Sommaire :
Sollers vers Picasso recueilli par Stéphane Guégan et Didier Ottinger
Les féministes chez Barbe Bleue par Catherine Millet
Salut l’artiste! : œuvres exposées
Les linogravures de Picasso par Céline Chicha-Castex
Picasso et les arts ( cinéma, danse, théâtre et art vidéo) par Diana Widmaier-Picasso
Le Cubisme, un espace polyfocal (dépliant)
David Hockney par Didier Ottinger
Les Demoiselles africaines par Émilie Bouvard
Les Demoiselles (dépliant)
Les Demoiselles d’ailleurs : œuvres exposées
Guernica et la New Left artistique par Émilie Bouvard
Guernica (dépliant)
Guernica, icône politique : œuvres exposées
Picasso goes pop par Annabelle Ténèze
C’est du Picasso (dépliant)
Picasso Pop : œuvres exposées
Rineke Dijkstra par Émilia Philippot
Applaudimètre étalon par Didier Semin
L’atelier du minotaure (dépliant)
Jasper Johns par Joachim Pissarro
Et l’étoile se mit à filer… par Stéphane Guégan
Star system : œuvres exposées
Martin Kippenberger par Didier Ottinger
Picasso : un héritage embarrassant par Didier Ottinger
Un jeune peintre en Avignon (dépliant)
La sculpture de Picasso et après… par Diana Widmaier-Picasso
Un accueil mondial par Michael C. FitzGerald
Bad painting : œuvres exposées
Annexes
Réception artistique et critique 1960-2015 par Camille Chenais
Bibliographie
Liste des œuvres exposées
Index

Autres publications (sélection)

• L’album de l’exposition
par Didier Ottinger
éditions de la Réunion des musées nationaux - Grand Palais, Paris 2015
10 €, 21 x 26,5 cm, Broché, 48 pages, 40 illustrations
parution le 14 septembre

L’album, tout en suivant le parcours de l’exposition, confronte des oeuvres de Picasso et celles des artistes qu’il a inspirés : Picasso - Hockney, Picasso - Johns, Picasso - Kippenberger, Picasso - Rineke Dijkstra et surtout une confrontation Picasso - Duchamp dont l’oeuvre « résonne dans l’esprit, met en question les processus de jugements de l’esprit lui-même (...) un art critique qui explore les mythes de la culture, face à l’oeuvre de Picasso, fait «d’exubérance et d’émotion directe», qui vise « un maximum d’émotion et de plénitude visuelle » ( R. Morris, « American Quarter », Art in America, New York, 1981).

• Picasso, 25 chefs-d’oeuvre expliqués aux enfants

par Elisabeth de Lambilly, auteur à la Rmn-GP de A comme Abécédaire de l’art et de A comme

Abécédaire des animaux... et de nombreux autres titres aux Editions Palette notamment.
Editions de la Réunion des musées nationaux - Grand Palais, Paris 2015
13,50 €, 18 x 22 cm, Relié, 64 pages, 25 illustrations
parution le 7 octobre

Cette nouvelle collection, les Incontournables de l’Art, propose d’entrer dans l’univers d’un peintre à partir d’un choix de 25 œuvres emblématiques d’un artiste, d’une manière très didactique et ludique. Guidé par des textes courts et très descriptifs le jeune lecteur «entre» véritablement dans le processus de création de l’artiste. Destiné aux lecteurs de 9 ans et plus, ce titre permet aux enfants d’aborder l’univers et de s’approprier l’œuvre du peintre. Il constitue ainsi une superbe et ludique introduction au monde de Picasso.

Grand Palais, Paris
Galeries nationales
Entrée square Jean Perrin
Informations et réservations : www.grandpalais.fr

Roy Lichtenstein: Intimate Sculptures, The FLAG Art Foundation, New York

Roy Lichtenstein: Intimate Sculptures
The FLAG Art Foundation, New York
June 26, 2014 – January, 31, 2015

"Lichtenstein is an artist who makes barely thick works, highly intellectualized, contextually odd, infinitely nuanced and shaped, which are curious open screens of polychrome imagery. Their physical elements make real shadows but their cartoon sentiments cast strong intuitive ones"

–Jack Cowart, Pop Up [Art]: Lichtenstein Sculpture, 1992

Following the success of  Roy Lichtenstein: Nudes and Interiors, curated by artists Hilary Harkness and Ewan Gibbs, The FLAG Art Foundation presents Roy Lichtenstein: Intimate Sculptures, an exhibition of fourteen sculptures, organized in collaboration with the Roy Lichtenstein Foundation. This exhibition marks a year long engagement with the Roy Lichtenstein Foundation, allowing FLAG the honor of presenting two rarely-seen bodies of work by one of the twentieth century’s most influential artists.

Roy Lichtenstein: Intimate Sculptures presents a selection of the artist’s sculptures and maquettes, works that playfully and pointedly blur the boundaries of drawing, sculpture, and painting. Comprised of everyday and mass-produced objects – a mirror, water glass, and coffee cup – as well as the artist’s signature brushstrokes, the works highlight Roy Lichtenstein’s ability to elevate the everyday to the iconic. Presented in a gallery space populated with furniture, the exhibition encourages engagement, inviting audiences to view historic works in an intimate setting. Maquette for House I (1996) inspired the domestic context for this environment, a later work wherein Lichtenstein reduces the structure of a cookie cutter suburban house to black outlines and primary colors – yellow siding, a blue roof, and red to accent the shutters and chimney.

Often overlooked but routinely used, commercial subjects become monuments in the artist’s hand, wherein shadow, contour, and highlight are rendered in patinated bronze. In Mirror II (1977), Roy Lichtenstein transforms a vanity mirror into a static, unchanging reflection – focusing on the form of the object while negating its intended function. Mobile III (1990) directly references Alexander Calder’s archetypal mobiles, “freezing” [1] an item whose sole purpose is to respond to movement. Rather than condense volume and function into a linear still life, these sculptures become intimate metaphors for the disposable society in which they exist.

Nodding to the physicality of the Abstract Expressionist movement and its influence on Western art, Roy Lichtenstein’s brushstroke sculptures democratize mark-making and painterly authority through isolation and reproduction. Roy Lichtenstein describes his desire to separate the brushstroke from the canvas and distill it to its purist form: “…my latest interest is probably in some way a reaction to the turn of contemporary painting back toward an expressionist path, toward the revealing of the brushstroke in the surface of the painting. Still, I am doing it my own way.”[2] Lichtenstein’s modern approach to the brushstroke continued to incorporate his signature Ben-Day dots in new and substantial forms, most evident in the figurative works Maquette for Brushstroke Head Red and Yellow (1992) and Maquette for Brushstroke Nude (1992). Roy Lichtenstein’s brushstroke sculptures are emblematic of his lifelong exploration of representation and abstraction, form and function, and high and low culture, and continue to pose the question “what constitutes art?”

Concurrent with the exhibition at FLAG, Roy Lichtenstein’s monumental sculpture, Tokyo Brushstroke I & II (1994) is on view as a long term loan by the Roy Lichtenstein Foundation at the Parrish Art Museum, Southampton, NY, made possible by The Fuhrman Family Foundation.

ROY LICHTENSTEIN

A leading figure in twentieth-century American art, Roy Lichtenstein was born in New York City in 1923.  He studied at New York’s Art Students League in the summer of 1940 before enrolling at Ohio State University where he received his B.F.A. in 1946 and his M.F.A. in 1949.  There, Roy Lichtenstein began his career-long intrigues with ideas about visual perception, the odd signs and symbols of our modern culture and an overarching desire to achieve compositional unity.  In 1951, Lichtenstein had his first one-person show in New York. In 1962 he had his first solo show with the Leo Castelli Gallery in New York and soon became an internationally recognized leader of American Pop art with paintings using dramatically isolated images selected from serial war and romance comics and generic products, all depicted in primary colors and Ben Day dots, techniques and subjects borrowed from mass media. In the succeeding decade, he moved to Southampton, New York and expanded his use of reproductions beyond advertising, postcard clichés and comic books to 1980s, Lichtenstein returned to work in the city part-time bringing with him an emphasis on expressive brushstrokes and artistic introspection. The decade also witnessed his completion of a number of public and private large-scale sculptural and painting projects. Lichtenstein’s investigations of illusionism, abstraction, serialization, stylization and appropriation continued in every media in the 1990s.  As a distinguished painter, sculptor and printmaker he received numerous honorary degrees and international prizes.  He was awarded the National Medal of Arts in 1995. At age 73, he was investigating another new fabricated reality, so called “virtual paintings.” About to embark on a series of works based on Cézanne’s bathers, the artist’s explorations were cut short by his death from pneumonia in 1997.  Two years later, the Roy Lichtenstein Foundation was established to advance the scholarship on his work.

Beginning operation in 1999 in accordance with the wishes of the artist and his immediate family, the Roy Lichtenstein Foundation’s mission is to encourage and support a broader understanding and experience of the art of Roy Lichtenstein (1923-1997) and of the contemporary art and artists of his time. The Foundation aspires to carry forward the artist’s interests and legacy to many subsequent generations of art audiences and the general public. The Foundation focuses not only on expanding the roles and development of artist-endowed foundations but also on the broader implications of Roy Lichtenstein’s art with its global relations to historical process, critical fortune, museums, galleries, collectors, critics and students, young and old.

[1] Cowart, Jack. 1992. “Pop Up [Art]: Lichtenstein Sculpture.” Roy Lichtenstein: Three Decades of Sculpture. Guild Hall Museum (proof citation)

[2] Cullen, Arthur Barrett. Roy Lichtenstein. November 1984. p. 49.

THE FLAG ART FOUNDATION
545 West 25th Street, New York, NY 10001
www.flagartfoundation.org

Roy Lichtenstein: Nudes and Interiors, The FLAG Art Foundation, New York

Roy Lichtenstein: Nudes and Interiors
The FLAG Art Foundation, New York
February 8 - May 17, 2014

The FLAG Art Foundation presents Roy Lichtenstein: Nudes and Interiors curated by artists Hilary Harkness and Ewan Gibbs organized in cooperation with the Roy Lichtenstein Foundation.  The exhibition includes 37 works by Lichtenstein including drawing, collage and sculpture as well two original works created by the curators in conjunction with the exhibition.

In Drawing from Inspiration and A Nude of One’s Own, the essays prepared for the catalogue accompanying the exhibition, Ewan Gibbs and Hilari Harkness reveal themselves to be artists meditating on the creative process with Lichtenstein in the foreground.  What does it mean to make art through time; what does it mean to pay homage; what does it mean to create an artistic space that can accommodate one’s cognitive and passionate impulses?  Their reflections are as artists who have been at work for over a decade and who share a vantage point that is both of their time and of artists throughout time.   

Ewan Gibbs and Hilari Harkness note a number of influences shared with Roy Lichtenstein, including paying homage to artists such as Matisse and Picasso - artists whose works (and lives) have sustained and nourished the curators’ creative processes.  The preparatory works featured in the show resonated with both curators for the clues the works leave behind with respect to Lichtenstein’s efforts, his fervor, and his passion. Clues sometimes overlooked in the fully realized collages and paintings that would follow.   

Hilari Harkness finds Roy Lichtenstein’s ability to assimilate high and low visual influences into a language that was his own inspiring. For this show, she has chosen to feature Lichtenstein’s late nudes, many of which were painted when he was in his seventies at a time when Harkness observes, he no longer had anything to prove and nothing to lose and which results in works laced with a palpable joie de vivre. 

Ewan Gibbs approaches Roy Lichtenstein’s interiors from a place of comfort and familiarity, having worked directly from photographs of hotel rooms taken from holiday brochures since 1993.  It was Lichtenstein, with his use of pictures from comics, phone books and advertisements, who provided Gibbs with a feeling of artistic freedom and confidence to use mass-produced advertising images as source material.   

As Hilari Harkness observes, painting grows out of the personal. There are times when we have to fight it, sometimes we submit to it, sometimes we let go of it.  But always – it is there and we have to figure out what we’re going to do about it. 

In this exhibition, Ewan Gibbs and Hilari Harkness invite us to take a glimpse into the world of Lichtenstein’s interiors and his nudes. A world packed with the indelible marks of a career that spanned decades and integrated a variety of artistic influences.   

Ewan Gibbs was born in 1973 and graduated from Goldsmiths College of Art in 1996. He is represented by Timothy Taylor Gallery, UK and Lora Reynolds Gallery, Austin, Texas.  Gibbs was commissioned by the SFMOMA as part of their 75th anniversary celebrations and has been featured in notable group exhibitions including Drawn from Photography, The Drawing Center, New York (2011); Making a Mark: Drawings from the Contemporary Collection, High Museum of Art, Atlanta (2011) among others. Recent solo exhibitions include Ewan Gibbs: America, Davidson College of Arts, North Carolina (2010); Ewan Gibbs, Timothy Taylor Gallery, London (2008). Ewan lives and works in Oxfordshire, UK. 

Hilary Harkness was born in Michigan in 1971 and is a graduate of the University of California-Berkeley and holds a Master of Fine Arts from the Yale University School of Art. She exhibits with the Mary Boone Gallery, NY. Her work has been exhibited internationally, including the Museo Thyssen-Bornemisza, Madrid, Spain, and the Deste Foundation in Athens, Greece and is in the collection of the Whitney Museum. In 2013, The FLAG Art Foundation hosted a retrospective of her cross-section paintings. Harkness has been featured in publications including the New York Times, The New Yorker, Interview magazine, Esquire and blogs for The Huffington Post. She has taught painting and sculpture as Artist in Residence at Yale Summer School of Art and Music, and lectured widely at institutions such as Columbia University, Yale University, and the Baltimore Museum of Art. Hilary lives and works in Brooklyn. 

THE FLAG ART FOUNDATION
545 West 25th Street, New York, NY 10001
www.flagartfoundation.org

Roy Lichtenstein: Pop Remix, National Gallery of Australia

Roy Lichtenstein: Pop Remix 
National Gallery of Australia, Canberra 
Through 27 January 2014

Roy Lichtenstein: Pop remix is the first travelling exhibition from the National Gallery of Australia to focus on the work of this seminal and influential artist. His works stand today as icons of 60s and 70s America with his characteristic comic strip and Benday dot imagery continuing to inspire our visual culture.

“Roy Lichtenstein’s work is instantly recognisable. His bright, brash paintings and prints have entered our cultural consciousness as icons of the Pop Art movement,” said Ron Radford AM, Director, National Gallery of Australia. 

Roy Lichtenstein 

Untitled head I 1970

brass

National Gallery of Australia, Canberra

Purchased 1973

© Estate of Roy Lichtenstein.

Roy Lichtenstein’s name is synonymous with Pop Art. As a master of appropriation, he applied a refined strategic approach to his creative energies and constructed his entire body of work following a sophisticated process of image selection, reinterpretation and reissue. Lichtenstein developed a central creative principle that became a potent formula: an ability to identify cultural clichés and to repackage them as monumental remixes. 

Roy Lichtenstein 

A Cherokee brave 1952

woodcut

National Gallery of Australia, Canberra

Gift of Kenneth and Marabeth Cohen-Tyler 2010

© Estate of Roy Lichtenstein.

“Roy Lichtenstein: Pop remix traces the artist’s print projects from the 1950s to the 1990s, exploring how the artist appropriated, transformed and ‘remixed’ numerous art historical sources including Claude Monet’s Impressionism, Max Ernst’s Surrealism and de Kooning’s Abstract Expressionism. Lichtenstein reinterpreted the work of these artistic giants and significant art movements using an instantly recognisable graphic aesthetic, effectively ‘branding’ himself with a signature Lichtenstein ‘look’ to secure his place alongside those masters he so admired. Slick, intelligent and humorous, Lichtenstein’s ‘remixes’ of romance and war comics, brushstrokes and nude girls are amongst the best known Pop prints,” said Jaklyn Babington, exhibition curator.

Roy Lichtenstein 

Ten dollar bill 1956

lithograph

National Gallery of Australia, Canberra

Gift of Kenneth and Marabeth Cohen-Tyler 2010

© Estate of Roy Lichtenstein.

This exhibition of 88 multiples and works on paper is drawn from the extensive holdings of Roy Lichtenstein at the National Gallery of Australia, and were produced by the artist over a fifty year period. For more information on the prints in this exhibition go to the NGA’s Kenneth Tyler collection website – a virtual institute for fine art printmaking which provides background context for the prints Lichtenstein created with Tyler at his various print workshops:

www.nga.gov.au/internationalprints/tyler 

Roy Lichtenstein: Pop remix was previously on view in Australia at the Mornington Peninsula Regional Gallery, Mornington, VIC, 19 April - 11 June 2012, the QUT Art Museum, Brisbane QLD, 25 June - 26 August 2012, the Araluen Arts Centre, Alice Springs, NT, 16 November 2012 - 20 January 2013.

NGA, National Gallery of Australia, Canberra, ACT
www.nga.gov.au 

Expo Lichtenstein : Expressionism, Gagosian Gallery Paris

Lichtenstein : Expressionism 
Gagosian Gallery Paris
Jusqu'au 12 octobre 2013

En même temps que la rétrospective Roy Lichtenstein au Centre Pompidou, la galerie Gagosian de Paris présente une très intéressante sélection d'oeuvres de l'artiste américain qui est l'une des principales figures de l'art contemporain du 20e siècle. L'exposition à la Gagosian Gallery concentre son attention sur l'appropriation par Roy Lichtenstein des thématiques expressionnistes.

ROY LICHTENSTEIN

The White Tree, 1980 

Oil and Magna on canvas 105 x 204 inches (266.7 x 518.2 cm) 

© Estate of Roy Lichtenstein 

Les premières appropriations de l’esthétique de la culture populaire américaine par ROY LICHTENSTEIN (1923 - 1997) en ont fait un acteur majeur du développement du Pop Art. Tout en s’inspirant des œuvres de Pablo Picasso, Joan Miró ou Paul Klee, il a incorporé dans sa peinture des éléments emblématiques de l’art contemporain mais aussi de magazines populaires. Dès 1961 il commence à utiliser la technique d’impression de points Benday utilisée dans les bandes dessinées, les journaux et les panneaux d'affichage, une technique qui est devenue la signature de son travail. En imitant cette méthode industrielle et en s’appropriant des images de haute et de basse culture, Roy Lichtenstein a permis de rendre l'art contemporain accessible au plus grand nombre, une situation inexistante jusqu’alors. Certaines de ses séries les plus iconiques trouvent leur imagerie dans la culture Pop : les publicités, les bandes dessinées de guerre, les pin-up ; mais aussi dans des genres plus traditionnels comme les paysages ou les natures mortes. En  se concentrant sur l'histoire de l'art, Roy Lichtenstein a commencé à explorer des motifs architecturaux plus classiques. En effet, dès la fin des années 1960, des éléments caractéristiques du futurisme mais aussi du cubisme, du surréalisme et de l’expressionnisme apparaissent régulièrement dans son travail.

Parmi les styles et les mouvements que Roy Lichtenstein s’est approprié, on trouve les motifs expressionnistes, le gros plan d'Alexei Jawlensky, les visages songeurs et les figures félines déchiquetées d’Ernst Ludwig Kirchner qui démontrent la plus transparente des ironies. En incluant des peintures clés, de la sculpture, des dessins et des gravures sur bois, cette exposition révèle le paradoxe audacieux posé par Roy Lichtenstein en interprétant des sujets expressionnistes avec des couleurs primaires et la planéité caractéristique du style Pop Art. Parfois il a substitué au système de points Benday, des rayures, des ombres et de la grisaille évoquant des gravures sur bois expressionnistes, allant ainsi jusqu’à créer ses propres gravures sur bois intégrant une rhétorique expressionniste. Cette exploration a été réalisée en trois dimensions avec le bronze peint : Expressionist Head (1980), invraisemblablement incliné.

Pendant un voyage à Los Angeles en 1978, Lichtenstein resta fasciné par la collection de gravures expressionnistes allemandes et les livres illustrés de l'avocat Robert Rifkind. Il a alors commencé à produire des œuvres qui empruntaient des éléments stylistiques trouvés dans des peintures expressionnistes. The White Tree (1980) évoque les paysages lyriques de Der Blaue Reiter, tandis que Dr. Waldmann (1980) rappelle le Dr. Mayer-Hermann d'Otto Dix (1926). 

ROY LICHTENSTEIN

Dr. Waldmann, 1980 

Woodcut with embossing on Arches Cover paper 41 5/8 x 34 1/4 inches (105.7 x 87 cm) 

Edition of 50 + 13 AP 

© Estate of Roy Lichtenstein / Gemini G.E.L. 

Des petits dessins au crayon de couleur ont été utilisés comme modèles pour des gravures sur bois, un moyen d’expression favorisé par Emil Nolde et Max Pechstein, mais aussi par Dix et Kirchner. Head (1980), une gravure sur bois imprimée autant en noir qu'en sept couleurs, a été créée à partir d’un bloc de bois de bouleau que Roy Lichtenstein a coupé à travers le grain pour imiter la surface lisse et la coloration équilibrée de ses peintures. En gardant certains effets stylistiques de l’expressionisme mais en abandonnant sa charge émotionnelle, ou encore en s’inspirant  d’éléments d’autres mouvements artistiques, Roy Lichtenstein a véritablement remis en question les différences de mouvement de l’histoire de l’art.

ROY LICHTENSTEIN

Head, 1980 

Oil and Magna on canvas 50 x 36 inches (127 x 91.4 cm) 

© Estate of Roy Lichtenstein 

L’exposition Lichtenstein : Expressionism est accompagnée d’un catalogue entièrement illustré comprenant un essai par Brenda Schmahmann, une conversation entre Hans Ulrich Obrist et Mayen Beckmann et une conversation entre Ruth Fine et Sidney B. Felsen.

Cette exposition a été préparée en étroite collaboration avec la Fondation Roy Lichtenstein et l’Estate of Roy Lichtenstein. 

ROY LICHTENSTEIN est né en 1923 à New York, où il est mort en 1997. Son travail a été exposé dans le monde entier. Parmi les récentes rétrospectives on compte "All about Art", au Louisiana Museum, Humelbaek en 2003, exposée ensuite à  la Hayward Gallery à Londres ; au Musée Reina Sofia, à Madrid ; et au Musée d'Art Moderne de San Francisco, en 2005 ; " Classic of the New", Kunsthaus Bregenz (2005) ; et "Roy Lichtenstein : Meditations on Art", au Museo Triennale, à Milan en 2010, exposée ensuite au Museum Ludwig à Cologne : Roy Lichtenstein: Art as Motif. L’exposition "Roy Lichtenstein: A Retrospective" a débuté à l’Art Institute of Chicago en mai 2012 puis à la National Gallery of Art, Washington, D.C. , à la Tate Modern à Londres et actuellement au Centre Georges Pompidou à Paris.

GAGOSIAN GALLERY

4, rue de Ponthieu - 75008 Paris

Site web : www.gagosian.com

Expo Roy Lichtenstein, Centre Pompidou, Beaubourg, Paris

Exposition rétrospective Roy Lichtenstein

Centre Pompidou, Beaubourg, Paris

3 juillet - 4 novembre 2013

A travers une sélection exceptionnelle de plus d’une centaine d’œuvres majeures, le Centre Pompidou présente la première rétrospective complète de l’œuvre de l'artiste américain, icone du pop art ROY LICHTENSTEIN (1923-1997) en France. 

Cette exposition nous invite à poser un nouveau regard sur cette figure emblématique de l'art contemporain en allant au-delà du pop art afin de découvrir en Roy Lichtenstein l’un des premiers artistes postmodernes. De ses premières œuvres iconiques inspirées par les comics et la culture populaire des années 1960, aux travaux dialoguant avec les grands maîtres de la peinture moderne ou avec l’art classique, ce parcours éclaire les moments forts de la carrière d’un des plus grand artiste de la seconde moitié du 20e siècle.

Peintre pop, Roy Lichtenstein est aussi un véritable expérimentateur de matériaux, un inventeur d’icônes mais aussi de codes picturaux brouillant les lignes de partage entre figuration et abstraction, entre picturalité et objet tridimensionnel. Sa pratique précoce de la sculpture et de la céramique, ainsi que sa passion pour l’estampe, nourrissent et prolongent constamment son travail de peintre. Amateur éclairé d’art moderne, fasciné notamment par Picasso, Matisse, Léger – qu’il cite à diverses reprises dans ses œuvres –, Roy Lichtenstein renoue, à la fin de sa vie, avec les genres traditionnels de la peinture classique : le nu, la nature morte, le paysage.

La force de l’art de Roy Lichtenstein, c’est aussi, enfin, cette distance amusée, critique, mais jamais cynique qui lui est propre et qui le caractérise tout au long de sa carrière. Un aspect que l’exposition invite également à redécouvrir.

La présence renforcée de sculptures et de gravures distingue la présentation parisienne de celles de l’Art Institute de Chicago, de la National Gallery de Washington et de la Tate Modern de Londres. L'exposition proposée au Centre Pompidou dévoile l’exceptionnelle inventivité technique et artistique de Lichtenstein à travers un corpus d’œuvres pour la plupart encore jamais montrées en France. 

Un catalogue inédit, publié sous la direction de Camille Morineau, commissaire de l’exposition, ainsi qu’un premier recueil d’entretiens de l’artiste, paraîssent aux Éditions du Centre Pompidou à l’occasion 

de cette rétrospective.

L’exposition est organisée par l’Art Institute of Chicago et par la Tate Modern de Londres en association avec le Centre Pompidou.

Commissaire de l'exposition au Centre Pompidou : Camille Morineau, Conservateur au Musée national d’art moderne, assistée de Hanna Alkema.

Nous avons déjà publié un post sur l'exposition l'image dans la sculptue, à voir au Centre Pompidou, jusqu'au 5 août 2013.

CENTRE GEORGES POMPIDOU, BEAUBOURG, PARIS
www.centrepompidou.fr

Autres post sur Roy Lichtenstein sur Wanafoto :
Fast Forward: Modern Moments 1913 ›› 2013, High Museum of Art, Atlanta (2012-2013)
Roy Lichtenstein: Art as Motif, Museum Ludwig Cologne (2010)
Roy Lichtenstein: Reflected, Mitchell-Innes & Nash, NYC (2010)
Roy Lichtenstein, Fondation Beyeler, Bâle (1998)

20th century iconic art works at High Museum of Art, Atlanta

Fast Forward: Modern Moments 1913 ›› 2013
High Museum of Art, Atlanta
October 13, 2012 - January 20, 2013

In the exhibition Fast Forward: Modern Moments 1913 ›› 2013, the High Museum of Art, Atlanta, is explorin the development of modern and contemporary art by selecting key years in art history that represent watershed moments in the 20th century.

ROY LICHTENSTEIN (American, 1923-1997), Girl with Ball, 1961

Oil and synthetic polymer paint on canvas, 60¼ x 36¼ inches (153 x 91.9 cm)

The Museum of Modern Art, New York, gift of Philip Johnson, 421.1981

The exhibition presents approximately 100 works of art created during the years 1913, 1929, 1950, 1961, and 1988, as well as the art of today.  The exhibition examines the years prior to the start of World War I and the Great Depression, the lead-up to postwar American prosperity and the years preceding the Cuban Missile Crisis, the fall of the Berlin Wall and how artists responded to and were influenced by events on the world stage.

The exhibition also presents the works of contemporary artists Aaron Curry, Katharina Grosse, and Sarah Sze, whose work extends themes first explored in the 20th century and updates them for the 21st century.

Fast Forward: Modern Moments 1913 ›› 2013 is one of the largest surveys of 20th-century art to ever be exhibited in the southeastern United States. Co-organized by the High Museum of Art and The Museum of Modern Art, New York (MoMA), as part of the two museums’ ongoing collaboration, the exhibition is on view since October 13, 2012, through January 20, 2013.

“These periods of time ushered in new ways of thinking that forever transformed the artistic landscapes,” said Michael E. Shapiro, the High’s Nancy and Holcombe T. Green, Jr., Director. “We’re delighted that this partnership with MoMA will enable our visitors to see how the work of artists from different eras was influenced by major historical events.”

The exhibition includes iconic works from each represented year, including:

· 1913: Umberto Boccioni’s Futurist sculpture Unique Forms of Continuity in Space

· 1929: Salvador Dalí’s Surrealist painting Illumined Pleasures

· 1950: Willem de Kooning’s landmark of Abstract Expressionism, Woman, I

· 1961: Roy Lichtenstein’s Pop art masterpiece Girl With Ball  

· 1988: Jeff Koons’s famed porcelain sculpture Pink Panther

Michael Rooks, the High’s Wieland Family Curator of Modern and Contemporary Art, has chosen Aaron Curry, Katharina Grosse and Sarah Sze to highlight the art of 2013. Sarah Sze, who will represent the United States in the 2013 Venice Biennale, created a site-specific installation for the High. Aaron Curry debuts three new works—monumental, polychromed steel sculptures titled “Boo,” “Thing” and “Deadhead”—which are installed on the Museum’s lawn. Rounding out the selection, a large three-dimensional painting by Katharina Grosse are on display on the skyway level of the Wieland Pavilion. 

“Aaron Curry, Katharina Grosse, and Sarah Sze are artists who push the boundaries of artistic practice,” said Rooks. “Each is known for their conceptually open-ended and physically immersive works that invite viewers to walk through and around them. In the process of physically exploring these works, viewers draw out the present moment, stretching time toward moments yet to come.”

AARON CURRY (born 1972), on view through May 2013

Originally trained as a painter, Aaron Curry turned to sculpture while he was an undergraduate at the School of the Art Institute of Chicago, where he first became interested in the flat planes that characterized the work of David Smith and Isamu Noguchi. Aaron Curry’s interplay between two and three dimensions encourages viewers to walk around his work, creating new lines of sight as planes of color rotate into nothingness. In his own words, his sculptures are “almost like a cubist painting . . . [they] refer to the surface but give you illusion at the same time. It’s an awkward space that I still find rather exciting to play with.” Since earning his M.F.A. from the Art Center College of Design in Pasadena, California, he has exhibited in dozens of group shows throughout the United States and Europe as well as solo shows in Los Angeles, Berlin, London and New York. In 2010, Aaron Curry received a fellowship at the American Academy in Berlin, an experience that culminated in an exhibition at the Schinkel Pavilion in early 2011. His work has been praised by critics Holland Cotter and Roberta Smith, the latter of whom proclaimed Curry’s work to be “physically inventive and sculpturally inclined.”

KATHARINA GROSSE (born 1961), on view through January 20, 2013

The Berlin-based artist Katharina Grosse’s distinctive approach to painting and installation is characterized by the simultaneous expansion and elimination of boundaries for painting, “Abstract Expressionism opened up new ways to look at painting, but it also hindered, to a certain extent, painting’s development. Negating painting’s illusionism narrowed it down to applying paint to a flat surface. I have a totally different approach. I don’t think that a painting is a coherent, closed system that only takes place within its borders.” Her works challenge traditional notions of painting and architectural space and invite viewers to confront their spatial boundaries. Katharina Grosse resists identification with specific media, historical movements or other affiliations, preferring instead to remain as uninhibited as possible. Since 1996 she has exhibited in more than 30 solo shows and several dozen group shows in galleries and museums across the world, including the Museum of Contemporary Art Tokyo, the Tate St. Ives in England, the Museum for New Art in Freiburg, Germany, and Arken Museum of Modern Art, Ishøj, Denmark (Wanafoto has published a post about this exhibition with pictures of Katharina Grosse artworks). In 2011 she installed her monumental installation “One Floor up More Highly” at the Massachusetts Museum of Contemporary Art, which received critical praise, including the article, “Chromatic Theater,” published in Art in America. In addition to her artistic practice, Katharina Grosse is currently a professor of fine arts at the Arts Academy of Dusseldorf.

SARAH SZE (born 1969), on view through January 20, 2013

Educated at Yale University and the School of Visual Arts, New York, Sarah Sze has emerged as one of the foremost installation artists of her generation. Best known for her elaborate and gravity-defying installations—microcosmic spaces of dizzying complexity—her work often seems to be a three-dimensional collage in which the placement of every object holds meaning both outside the work and within it. Her coupling of familiar objects—towels, chairs, ladders, for exmaple—with ones that are less immediately identifiable provokes the viewer to create rich associations between otherwise unrelated items. Over the last fifteen years, she has shown in group exhibitions such as the Venice Biennale, and at the Whitney Museum of American Art. Monographic exhibitions of her work have been organized by the Museum of Contemporary Art, Chicago; the Museum of Contemporary Art, San Diego; the Whitney; and the Museum of Fine Arts, Boston, among others. Her permanent installations are on display at the Walker Art Center in Minneapolis, the Massachusetts Institute of Technology, and the University of California, Berkley. Sarah Sze has been the recipient of numerous honors, including the Atelier Calder prize and a MacArthur “Genius” Fellowship, and most recently she has been selected to represent the United States at the 2013 Venice Biennale. Sarah Sze lives and works in New York City. 

Fast Forward: Modern Moments 1913 ›› 2013 continues a multi-year, multi-exhibition collaboration between the High and MoMA, which began in 2009 with “Monet Water Lilies,” the first in a series of six exhibitions, followed by “Modern by Design” in summer 2011 and “Picasso to Warhol: Fourteen Modern Masters,”. The initiative builds on successful past collaborations between the High and MoMA that resulted in four exhibitions presented in Atlanta between 1997 and 2000. This project extends ties between the institutions through professional exchanges, development of educational programs and publications and reciprocal admission benefits. 

This exhibition is organized by Jodi Hauptman, MoMA Curator of Drawings, and Samantha Friedman, MoMA Curatorial Assistant in the Department of Drawings, in collaboration with David Brenneman, the High’s Director of Collections and Exhibitions and Frances B. Bunzl Family Curator of European Art, and Michael Rooks, the High’s Wieland Family Curator of Modern and Contemporary Art. Fast Forward: Modern Moments 1913 ›› 2013 is accompanied by a fully illustrated 

catalogue.

High Museum of Art, Atlanta, Georgia 30309
Museum's website: www.high.org

Galerie Taglialatella Paris – Pop to Picasso – Exposition inaugurale

La Galerie Taglialatella de Paris a ouvert ses portes avec une exposition assez exceptionnelle de part les artistes dont les oeuvres sont présentées depuis le 23 octobre 2010.

Avec des oeuvres de  Andy Warhol, Jean-Michel Basquiat, Keith Haring, Tom Wasselmann, Roy Lichtenstein, Robert Indiana, le pop art est là. Le titre de l’exposition d’ouverture est “Pop to Picasso”.

Avec ses galeries de New York et Palm Beach, l’ouverture d’une galerie à Paris est la preuve du dynamisme de la vie artistique dans la capitale. D’autant plus qu’elle se fait juste après l’ouverture de la Gagosian Gallery Paris.

TAGLIATELLA GALLERIES PARIS

10 rue de Picardie - 75003 Paris - France
Du mardi au samedi de 11h à 19h
www.djtfa-paris.com

Le site de la galerie est encore en construction mais ne devrait pas le rester longtemps.

Vous noterez que le “galleries” à l’anglaise est maintenue avec ses deux “l” et il est plus tendance de parler de “la Tagliatella” plutôt que de la “galerie Tagliatella”. Wanafoto ne manquera pas de vous tenir au courant des prochaines expositions dans cette nouvelle galerie parisienne.

Roy Lichtenstein, Museum Ludwig Cologne - Art as Motif

Roy Lichtenstein: Art as Motif 
Museum Ludwig Cologne
Through 3 October 2010

The halftone dots used by Roy Lichtenstein (1923-1997) are world famous. Taking motifs from the realms of comics and consumerism, Lichtenstein made paintings by piecing together dots and coloured surfaces. But a very different side of his work can be discovered at this exhibition in Museum Ludwig in Cologne (Germany). Around 100 exhibits, chiefly large-scale paintings along with a number of sculptures and drawings, reveal his fascinating explorations of style through the history of art – from Expressionism and Futurism to Bauhaus and Art Deco. Lichtenstein even appropriated works by his artist heroes - Picasso, Matisse, Mondrian and even Dali - and interpreted them in an often ironic and cryptic manner using his own visual language.

Poster of the exhibition at Museum Ludwig, Cologne

Many of his early works are based on historic American paintings, such as by Benjamin West. But he also painted after such models as Picasso, Braque and Klee, who according to his own words he worked into an “expressionist Cubism”.

Indeed, Lichtenstein even continued his takes on Picasso later on, once he had already begun to work with the half-tone dots. In his hands, Picasso’s works became a kind of comic and received a character all of its own. Painting a work that clearly resembled Picasso was, according to Lichtenstein, a liberating act.

With his Perfect and Imperfect Paintings Lichtenstein wanted to create abstract works purely for their own sake. According to him, the idea was to let the line start at some point and then to follow it, thus allowing it to draw all of the shapes in the painting. In his “Perfect Paintings” the line ended at the edge of the canvas, while in the “Imperfect Paintings” the line went beyond the bounds of the canvas; this was in fact a humorous play on the idea of the “shaped canvases”, which were very popular in the 1960s.

Roy Lichtenstein’s large-scale paintings from the series “Brushstrokes” show nothing more than gigantic, stylised, comic-like brushstrokes on canvas. This motif has great significance in the history of art: it is a symbol of painting or indeed art per se, and testifies to Lichtenstein’s reflections on paintings about painting.

Roy Lichtenstein also reworked classic motifs, such as the Laokoon group using stylised brushstrokes, which he sometimes applied to the canvas with stencils and sometimes by hand using expressive gestures. The brush stoke became the dominant motif and superimposed itself on the subject. So once again, his actual theme was painting as such.

Apart from this, Roy Lichtenstein also turned his mind to the classic genres of the still life and the landscape. His strongly simplifying style of painting allowed him to capture his subjects in a kind of cliché. Here again he continued to reference Picasso, as well as Matisse. And he also cited his fellow countrymen who specialised in marine still lifes. For his landscapes he took the background of comic drawings as his basis.

Museum Ludwig has the largest collection of American Pop Art outside of the USA, including numerous works by Roy Lichtenstein. Prior to the exhibition, the Peter and Irene Ludwig Foundation has managed to acquire another large-scale work from Lichtenstein’s late period. The 2.80 x 1.30 m canvas from 1996 comes from a series of works inspired by Asiatic motifs. During the mid-nineties Roy Lichtenstein took a long look at Chinese and Japanese landscape painting.

After completing the Lichtenstein exhibition it is worth taking a tour round the permanent collection at Museum Ludwig, which presents fascinating cross-connections and comparisons with works by Léger and Picasso and even Kirchner and Dalí.

The exhibition was organised in close co-operation with the Roy Lichtenstein Foundation. It was shown from January till May in a different form in Milan’s “Triennale di Milano” under the title “Roy Lichtenstein: Meditations on Art”. It was curated by Gianni Mercurio, who has worked with Stephan Diederich for the exhibition at Museum Ludwig.

A documentary film on Roy Lichtenstein is also on view at the exhibition containing hitherto unreleased material from international archives, as well as excerpts from Michael Blackwood’s film Roy Lichtenstein from 1976 and passages from interviews with Diane Waldman and Martin Friedman.

The exhibition is accompanied by an extensive catalogue with numerous reproductions published by DuMont.

The exhibition is generously supported by RheinEnergie AG as a Museum Ludwig Partner, and Ströer Out-of-Home Media AG as a Media Partner.

Related posts:

Roy Lichtenstein: Reflected, Mitchell-Innes & Nash, NYC, Through October 30, 2010

Other current exhibitions at Museum Ludwig Cologne: La Bohème. The Staging of Artists in photography of the 19th and 20th century, Through January 2011

Upcoming exhibition at Museum Ludwig Cologne: Suchan Kinoshita: In 10 Minutes, 9 October 2010 - 30 January 2011.

www.museum-ludwig.de

Roy Lichtenstein: Reflected - Mitchell-Innes & Nash, New York

Roy Lichtenstein: Reflected
Mitchell-Innes & Nash, NYC
Through October 30, 2010

Roy Lichtenstein Reflected is on view at Mitchell-Innes & Nash gallery (Chelsea space). Comprising a dozen paintings dating from the early-1960s through the 90s, the exhibition focused on reflections, mirrors and doubling as a career-spanning motif in Lichtenstein's work. This is the gallery's fourth solo show of the work of Roy Lichtenstein.

Throughout his career, Roy Lichtenstein challenged the idea of authorship in ways that were both humorous and sophisticated, with paintings that reflected – and reflected on – popular imagery. Mirrors and doubles began to appear in his paintings as early as 1961. His engagement with reflection took a literal form in the Mirror series from the 70s, which mimicked the look of commercial mirrors.

The Reflections series of the late-80s brought together strategies of appropriation with painterly notions of fragmentation. In these works, several of which will be on view, Lichtenstein often used his own early work as subject matter, fracturing the composition with abstracted mirror-shards. The series played on the dual meanings of reflection – both appropriative and optical. In the Interiors of the 90s, Lichtenstein painted pictures within pictures, using his own past works as compositional elements and often depicting a reflective surface to further complicate the chain of reference. 

Roy Lichtenstein Reflected is organized with the support of the Roy Lichtenstein Foundation. The exhibition is accompanied by a fully-illustrated catalogue with texts by art historian Graham Bader and painter David Salle. 

Reflected coincide with the major exhibition at the Morgan Library and Museum in New York: Roy Lichtenstein: The Black-and-White Drawings, 1961-1968 will be on view from September 24, 2010, through January 2, 2011. It will include over forty-five drawings borrowed from museums and private collections throughout the United States and Europe. The exhibition will travel to the Albertina Museum in Vienna in 2011. Also on view this fall will be Roy Lichtenstein: Kunst als Motiv at the Museum Ludwig in Cologne. A major survey of Lichtenstein's work organized jointly by the Art Institute of Chicago and the Tate Modern in London is scheduled to open in Chicago in 2012.

Roy Lichtenstein, Reflected
September 9 - October 30, 2010

Upcoming exhibitions at Mitchell-Innes & Nash
Anthony Caro, Upright Sculptures, November 4 - December 11, 2010
Martin Kersels, February - March, 2011
Kenneth Noland, March - April, 2011
Leon Kossof, May - June, 2011

Previous 2010 exhibitions at Mitchell-Innes & Nash

Item, Chelsea gallery, June 30 - August 13, 2010 - A group exhibition with works by Erica Baum, Mel Bochner, Carol Bove, Mathew Cerletty, Liz Deschenes, Wayne Gonzales , Rashid Johnson, Giorgio Morandi, Allen Ruppersberg, Stephen Shore, Michael Smith, Roger White

Alberto Giacometti, Painted Portraits, Madison Avenue gallery, May 25 - July 16, 2010
William Pope.L, landscape + object + animal, Chelsea gallery, May 8 - June 19, 2010
Amanda Ross-Ho, Somebody Stop Me, Chelsea gallery, April 1 - May 1, 2010
Joe Bradley & Chris Martin, Chelsea gallery, February 25 - March 27, 2010 - Catalogue
Jack Tworkov: True and False, Chelsea gallery, January 15 - February 20, 2010 - Catalogue
Norbert Schwontkowski: Ångstrœm, Chelsea gallery, November 19, 2009 - January 9, 2010 - Catalogue

Mitchell-Innes & Nash
534 West 26th Street
New York, NY 10001
www.miandn.com