Warhol/Cutrone @ Galerie Gmurzynska, Zurich - Exhibition curated by James Hedges

Warhol/Cutrone

Galerie Gmurzynska, Zurich 

Through September 30, 2025

Warhol/Cutrone, an exhibition at Galerie Gmurzynska in Zurich, curated by James Hedges, juxtaposes Andy Warhol and Ronnie Cutrone, including paintings, drawings, and unique polaroids.

“Ronnie Cutrone was a painter and illustrator known for his Post-Pop imagery featuring cartoon characters like Woody the Woodpecker, Bart Simpson, and Bugs Bunny. Cutrone’s life and career make us remember New York at its creative apex. Reminiscing of another era, Cutrone said, “New York was elegant and sleazy. Now it’s a shopping mall for dot-commers. We need our crime rate back. I want my muggers and hookers back.” - James Hedges 

Andy Warhol and his right-hand man Ronnie Cutrone were the perceived masters of Manhattan in the 1970s and 1980s.

Working in synergistic fashion with Andy Warhol, Ronnie Cutrone helped execute some of the artist’s most iconic silkscreens. The duo’s collaborations countenance: Hand Tinted Flowers (ca. 1972), Invisible Sculpture (1972-83), Drag Queens/Ladies and Gentlemen (1974-75), Oxidation (Piss Paintings) (mid-late 1970s), Sex Parts/Torso (mid-1970s), Hammer & Sickle (1976-1977), Skulls (1976-77), Gems (1978), Shadow Paintings (1979), and Butcher Knives, Guns, Dollar Signs (1982).

With Andy Warhol one special focus of this exhibition is on his unique polaroids. Many of Warhol’s polaroid photographs have never been exhibited before and feature stars such as Grace Jones, Joseph Beuys, Keith Haring, Lou Reed and Candy Darling. Cutrone’s three-dimensional photographs of the Factory, shown publicly as well for the first time ever, give a historic and unprecedented peek into Warhol’s circle.

While with Ronnie Cutrone the focus of this exhibition is on his cartoon-infused painting, sculpture and drawings which shocked the New York scene in the 1980s. These works garnered him major solo shows in the inaugural Post-Pop wave, whilst igniting debates over the sanctity of the American symbols such as the flag and Mickey Mouse. After 1983, when Ronnie Cutrone left Warhol’s Factory, he perused his independent art career which reached great heights, including highly lauded museum exhibitions at the Whitney, the Museum of Modern Art, and the L.A. County Museum of Art, amongst many others.

“One thing I picked up from Andy: say loud and clear because if the WHOLE world gets it, the art world will get it too.” - Ronnie Cutrone 

Artist Ronnie Cutrone

Ronnie Cutrone (10 July, 1948 - 21 July, 2013) worked as Andy Warhol’s preeminent assistant from 1972 to 1982, though his collaborations with Warhol well preceded this. Ronnie Cutrone met Andy Warhol when he was only sixteen years old. Ronnie Cutrone, in 1966, joined the ranks of The Velvet Underground, formed by Lou Reed, John Cale, and Warhol, as a performer/dancer. Three years later, Ronnie Cutrone began writing as a columnist for Warhol’s Interview magazine, lauded for dovetailing reviews on avant-garde art exhibitions and features on celebrities, nightlife fixtures, and even politicians like Nancy Regan.

In 1972, Cutrone’s took up the mantle as Warhol’s apprentice, a post he maintained for the next decade. This was the zenith of Warhol’s international fame, and the Pop Art bastion took Ronnie Cutrone under his wing, entrusting Cutrone to, unlike Warhol’s other assistants, “work on the one thing he cared about the most, which was his art”. Although Ronnie Cutrone was, by this point, already burgeoning as a nascent artist of his own right—having assisted with programming John Giorno’s “Dial-A-Poem” at MoMA in the 1970 “Information” exhibition curated by Kynaston McShine.

Ronnie Cutrone’s responsibilities varied, ranging from conceptualizing Warhol’s subjects, mixing palettes, photographing live models and executing the silkscreen. Indeed, as the two artists ‘artistic relationship matured, the lines of influence became bi-directional. As philosopher, critic, and Warhol expert Arthur Danto observed in his biography, Andy Warhol (2009), “Cutrone played an important role in the later phase of Andy’s artistic career”.

During Cutrone’s time at Warhol’s Factory, he rubbed shoulders with Lou Reed, Jim Morrison, Jimi Hendrix, Mick Jagger, Grace Jones, Lucio Amelio, Jean-Michel Basquiat, Fred Hughes, VictorHugo, Paul Morrisey, Gerard Malanga, Anjelica Huston, Debbie Harry, Salvador Dali and Alice Cooper, amongst others. After long days and nights of helping Warhol at the Factory, Ronnie Cutrone would frequent artist hubs like Max’s Kansas City, drinking “all night with bob Rauschenberg, Larry Rivers, Malcolm Morlye and Robert Smithson” or unwinding at the Mudd Club.

GALERIE GMURZYNSKA

Paradeplatz 2, Zurich

www.gmurzynska.com

Warhol/Cutrone @ Galerie Gmurzynska, Zurich, June 14 – September 30, 2025

Keith Haring: Radiant Vision @ CMA - Columbia Museum of Art

Keith Haring: Radiant Vision

Columbia Museum of Art

September 27, 2025 - February 15, 2026

Keith Haring at work in studio 

Photograph © 1982 Allan Tannenbaum / sohoblues.com

The Columbia Museum of Art (CMA) presents major exhibition Keith Haring: Radiant Vision. Most recently on view at the Pop Art Museum, Seattle, this internationally touring exhibition celebrates the life and work of iconic artist Keith Haring.

“Keith Haring’s art was a pop-culture spark ¬— fast, fearless, and drawn from the concrete heartbeat of New York,” says CMA Executive Director Della Watkins. “With Radiant Vision, the Columbia Museum of Art offers audiences a powerful and playful tribute to Haring’s enduring belief that art belongs to everyone.”

Born in Reading, Pennsylvania, KEITH HARING (1958–1990) emerged as a shooting star of the legendary New York art scene in the 1980s. His signature images include dancing figures, a “radiant baby,” a barking dog, a flying saucer, hearts, and figures with televisions for heads. He became friends with fellow artists Kenny Scharf and Jean-Michel Basquiat and grew interested in the color graffiti art of the city’s streets. Haring met Andy Warhol at a gallery exhibition in 1983, and Warhol became Haring’s mentor, friend, and the theme of several of his pieces, including “Andy Mouse.”

In the early ’80s, Keith Haring found a highly effective medium that allowed him to communicate his work with a wider audience — he created chalk drawings on the unused advertising panels in New York City subway stations. These drawings represented a unique conflation of studio practice and public art, cartoons, and graffiti. They became familiar to commuters, who would often stop to engage with the artist. He also attracted the attention of city authorities, who arrested him for vandalism on numerous occasions.

Keith Haring was openly gay and socially conscious, and his murals often reflected his position on social issues. He sought to raise awareness of AIDS, fought against the proliferation of drugs, and advocated for the end of Apartheid. Haring’s oeuvre, from street art to gallery shows, the Pop Shop, and commercial work, is deeply rooted in and reflective of the concept of “art for the people.”

His simply drawn figures were soon to be found on watches and cars, T-shirts and shopping bags, turning Keith Haring into one of the best-known artists of his generation. Radiant Vision is a collection that features over 250 original works including drawings on paper, lithographs, silkscreens, posters, and other items that illustrate the entire span of Haring’s heartbreakingly short but incredibly prolific career.

The exhibition also includes the work of LAII (Angel Ortiz, b. 1967), an artist known for his collaborations with Keith Haring. LAII’s career took off in 1980 when Haring, fresh from the Pennsylvania suburbs, encountered his “Little Angel” tag on a New York street and sought him out.

The regional debut of Keith Haring: Radiant Vision will be celebrated with an early evening preview party on Friday, September 26, as well as a playful daytime program on Saturday, September 27.

Single Source Traveling Exhibition provided by PAN Art Connections.

COLUMBIA MUSEUM OF ART - CMA

1515 Main Street, Columbia, SC 29201

www.columbiamuseum.org

Pop Brazil: Avant-garde and New Figuration, 1960-70 @ Pinacoteca de São Paulo - Brazilian Pop Art Exhibition

Pop Brazil: Avant-garde and New Figuration, 1960-70

Pinacoteca de São Paulo

Through October 5, 2025

Claudio Tozzi 

Astronautas [Astronauts] (1969)

Courtesy of the Pinacoteca de São Paulo

Pietrina Checcacci 

Dinheiro [Money] (detail), 

from the series O povo brasileiro [The Brazilian People] (1967) 

Credit: Jaime Aciolo 

Courtesy of the Pinacoteca de São Paulo

The Pinacoteca de São Paulo presents the exhibition Pop Brazil: Avant-garde and New Figuration, 1960-70, in the Grande Galeria of the Pina Contemporânea building. Featuring 250 works by more than 100 artists the show offers a broad perspective on the art of the period. Curated by Pollyana Quintella and Yuri Quevedo, the exhibition is divided into thematic sections that trace major events of the time, such as the rise of the cultural industry, the breakdown of democracy, and various social transformations. Works by Wanda Pimentel, Romanita Disconzi, Antonio Dias, among many others, are on view.

In a context of industrialization and political upheaval—including the Cold War and Brazil’s civil-military dictatorship—national artistic production responded to the mass culture, driven by television, mainstream media, and advertising, with both irreverence and resistance. From the 1960s onward, a series of international figurative trends entered national artistic debates. Among them was pop art, which originated in the United Kingdom but gained prominence in the United States through celebrated artists like Andy Warhol, Roy Lichtenstein, Jasper Johns, and Robert Rauschenberg. While these artists worked on language within a developed, industrialized society marked by mass production, Brazilian artists operated in a context of underdevelopment and inequality, where they had to reckon with the trauma of a society oppressed by military rule.

“The exhibition explores a moment in Brazilian history that still resonates in our daily lives. Looking at this production is key to understand the emergence of contemporary art in Brazil, as well as the foundational issues in many debates we face today. And, through the gathering of these works, we can grasp the collective strength of a generation of artists who worked to denounce, protest, and dream of a new society,” say the curators.

The artists’ interest in the street—driven by a desire to occupy more diverse and less institutionalized spaces—marked a series of events in the late 1960s and early 1970s. Among them was the Happening das Bandeiras [Flag Happening], held in 1968 at General Osório Square in Ipanema, Rio de Janeiro. It brought together artists such as Nelson Leirner, Flávio Motta, Hélio Oiticica, Carmela Gross, and Anna Maria Maiolino. On that occasion, they displayed silkscreened flags in the square, promoting a collective occupation of public space, in pursuit of broader and more democratic access to the visual arts. The set of original flags opens the exhibition in the Grande Galeria.

Subsequent sections present works that reflect Brazil’s emerging cultural industry, showing stars of Brazilian popular music—whose fame grew thanks to television festivals—amid the fever of the space race, which turned astronauts into “pop icons” and broadcast to the world the historical milestone that was the humankind’s landing to the Moon. Prominent names from the period are showcased, like Nelson Leirner with his altar to the “king” Roberto Carlos, in the work Adoração [Adoration] (1966); Claudia Andujar, with a photograph of Chico Buarque taken in 1968; Flávio Império, who portrayed Caetano Veloso in Lua de São Jorge (1976); the popular artist Waldomiro de Deus, with his characteristic rockets; and Claudio Tozzi, with works such as Bob Dylan (1969) and Guevara (1967), in addition to his astronauts that helped define the iconography of Brazilian pop art. 

The restrictions imposed by the civil-military dictatorship were reflected in artistic production through diverse formal, poetic, and political strategies. The exhibition includes caricatures of generals, featured in the works by Humberto Espíndola, Antonio Dias, and Cybele Varela; political prisoners’ drawings from the Alípio Freire Collection, belonging to the Memorial da Resistência; photographic records that Evandro Teixeira made in the emblematic March of the One Hundred Thousand, as well as works that sought to intervene directly in the political context, such as the CocaCola bottles by Cildo Meireles, which make up the work Inserções em circuitos ideológicos [Insertions into Ideological Circuits] (1970), and the Trouxas ensanguentadas [Bloody Bundles] (1969) by Artur Barrio. The theme of crime also permeated the art of the period. Faced with the oppressive state, figures of marginality were evoked as a subversive strategy, challenging morality and laws. Among them, we highlight a crime scene painted by Paulo Pedro Leal in the early 1960s, the film Natureza [Nature] (1973), by Luiz Alphonsus, and the classic work A bela Lindonéia [The Beautiful Lindonéia] (1967), by Rubens Gerchman.

Pop gestures also appropriated the urban imagery through visual codes and signage. This is the case of works such as Marlboro (1976), in which Geraldo de Barros transforms billboard scraps into paintings, and the structured surfaces with acrylic and brass remains by Judith Lauand (Untitled, 1972). In the central area of the gallery, works express the dispute for public space. Arrows, traffic lights, festivities, and collective projects gain centrality in the works. Buum (1966), by Marcello Nitsche, Totém de interpretação [Interpretation Totem] (1969), by Romanita Disconzi, Lateral de ônibus [Side of Bus] (1969), by Raymundo Colares, and the iconic parangolés by Hélio Oiticica, first shown 60 years ago in the Opinião 65 exhibition, held at MAM Rio, can be seen by the public. In the case of Hélio Oiticica, the visitor can literally try on the parangolés, wearing them in the exhibition space. 

The 1960s also served as a stage for a sexual revolution, sparked by historical events such as May 68 in France and the hippie movement in the United States. At the core of the section dedicated to desire and sexuality are works by artists who reflected on the shifting status of sexuality in Brazil, also influenced by mass culture. This is the case of Wanda Pimentel, with her Envolvimento [Involvement] series (1968), Teresinha Soares with A caixa de fazer amor [Lovemaking Box] (1967), and Antonio Dias in Teu corpo [Your Body] (1967), as well as pieces by Maria Auxiliadora, Lygia Pape, and Vilma Pasqualini.

Curators: Pollyana Quintella and Yuri Quevedo

PINACOTECA DE SÃO PAULO

Pina Contemporânea Building | Grande Galeria

Av. Tiradentes, 273, São Paulo 

pinacoteca.org.br

Pop Brazil: Avant-garde and New Figuration, 1960-70

Pinacoteca de São Paulo, May 31 – October 5, 2025

Claes Oldenburg @ Pace Gallery, Tokyo - "いろいろ / This & That" Exhibition

Claes Oldenburg 

いろいろ / This & That

Pace Gallery, Tokyo

July 17 – August 23, 2025

Claes Oldenburg 

Geometric Mouse--Scale B, 1970-72 

© Claes Oldenburg, courtesy Pace Gallery

Claes Oldenburg

Miniature Soft Drum Set, 1969 

© Claes Oldenburg, courtesy Pace Gallery 

Pace presents This & That, an exhibition of work by American artist CLAES OLDENBURG, at its Tokyo gallery. Bringing together sculptures and prints that exist in series created by the artist between the 1960s and mid 2000s, this lively survey showcases the importance of multiplicity in Oldenburg’s practice, inviting visitors to immerse in the artist’s madcap world and uncover resonances and touchpoints to Japanese culture. Curated by Pace CEO Marc Glimcher and Maartje Oldenburg—daughter of Claes Oldenburg and his wife and longtime collaborator Coosje van Bruggen, and head of the artists’ estates—the exhibition is organized as part of the gallery’s 65th anniversary year celebration. It is also be Pace’s first major presentation of Oldenburg’s work since the gallery announced its global representation of the Claes Oldenburg estate, the Coosje van Bruggen estate, and the Oldenburg and van Bruggen estate, continuing its commitment to sharing the intertwining legacies and individual achievements of the two artists with its global

audience. 

The Japanese title of the gallery’s presentation is いろいろ (“Iroiro”), which roughly translates to “various,” “variety,” or “miscellany.” Suggesting a mixed-bag or a hodgepodge, “Iroiro” can also be written as 色々, which comprises a repetition of the Kanji character 色 (“Iro”). “Iro” literally means “color,” but it typically refers to the color or hue of things. It can also suggest an object’s general appearance, and even more metaphorically, can refer to the sensuality of a thing (as in the occasional English usage of the word “colorful”). “Iroiro” thus echoes Oldenburg’s almost passionate involvement with banal objects, the way he lovingly coaxed a vast array of ordinary, miscellaneous things from their humdrum existence in the normal course of life—the "this and that”—into subject-matter for serious artistic inquiry.

In a broad sense, Pace’s show sheds light on Oldenburg’s fascination with multiplicity, the act of artistic reproduction, and the mutability of imagery. Widely known for the monumental artworks he realized around the world with Coosje van Bruggen, he also created many domestically sized objects across a wide variety of media throughout his career. “The multiple object,” he once said, “was for me the sculptor’s solution to making a print.”

This exhibition in Tokyo is the first major presentation of Oldenburg’s work in the Japanese capital since 1996. The artist’s only other solo show in the city took place in 1973 at Minami Gallery. Notably, he debuted his large-scale Giant Ice Bag (1970) sculpture, which is animated by mechanical and hydraulic components, in the US Pavilion at Expo 70 in Osaka. Since 1995, Claes Oldenburg and Coosje van Bruggen’s large-scale sculpture Saw, Sawing has been on public view outside the Tokyo International Exhibition Center. Oldenburg’s sculptures Inverted Q (1977–88) and Tube Supported by Its Contents (1983) can be found in the collections of the Yokohama Museum of Art and the Utsunomiya Museum of Art, respectively.

Claes Oldenburg—who presented his first solo exhibition with Pace in 1964—was a leading voice of the Pop Art movement who, over the course of more than six decades, redefined the history of art with his sculptures, drawings, and colossal public monuments that transform everyday objects into idiosyncratic entities. He rose to prominence in New York in the late 1950s and early 1960s, when he was among the artists staging Happenings—a hybrid art form incorporating installation, performance, and other mediums—on the city’s Lower East Side. Collaborative and ephemeral, these environments included The Street (1960) and The Store (1961)—his first solo presentation with Pace featured works from The Store. Following his work with props in these Happenings, Claes Oldenburg began creating his iconic soft sculptures, which charted new frontiers in the medium, upending its traditional contents, forms, and materials.

Claes Oldenburg and Pace’s Founder and Chairman Arne Glimcher maintained a friendship for 60 years, working closely from the early years of the artist’s career up until his death in 2022. Since the 1960s, Pace has presented Oldenburg’s work in some 30 exhibitions and produced seven catalogues dedicated to his practice. The gallery also supported Oldenburg and van Bruggen’s creation of the large-scale sculptures Typewriter Eraser, Scale X (1998-99), which is part of the collection of the National Gallery of Art in Washington, D.C., Balzac Pétanque (2002), which is in the collection of the High Museum of Art in Atlanta, and Floating Peel (2002) at the Cantor Center for Visual Arts at Stanford University, among many other projects.

Claes Oldenburg

N.Y.C. Pretzel, 1994 

© Claes Oldenburg, courtesy Pace Gallery

Among the works in the gallery’s Tokyo show are some 60 multiples of Oldenburg’s painted cardboard sculpture N.Y.C. Pretzel (1994)—these works will be presented in a vending machine vitrine near the entrance of the gallery space. Other multiples in the exhibition include the artist’s cast plaster Wedding Souvenir (1966), his painted aluminium and brass Profiterole (1989–90), and his sewn canvas Mouse Bags (2007–17), all of which speak to his engagement with the quotidian, from the food we eat to pop cultural icons like Mickey Mouse.

In the way of larger-scale sculpture, This & That features Tied Trumpet (2004), a knotted bright yellow trumpet rendered in aluminum, plastic tubing, canvas, felt, and foam, and Miniature Soft Drum Set (1969), a set of nine sewn screen-printed elements on canvas. Another highlight is Knife Ship 1:12 (2008), an aluminum and mahogany wood reprisal of the monumental Knife Ship that Claes Oldenburg and Coosje van Bruggen presented as part of their legendary 1985 performance Il Corso del Coltello (The Corse of the Knife) in Venice, Italy—this storied, site-specific project, realized by the artists in collaboration with curator Germano Celant and architect Frank Gehry, centered around a boat in the shape of a Swiss-army knife, which was floated down the city’s canals.

Claes Oldenburg 

Alphabet in Form of a Good Humor Bar, 1970 

© Claes Oldenburg, courtesy Pace Gallery

A 1976 screenprint of the Knife Ship superimposed onto the image of the Guggenheim Museum in New York—an artwork that predates the performance—is also be included in This & That. Other prints on view at Pace in Tokyo will be Alphabet in Form of a Good Humor Bar (1970), which renders the alphabet in the shape of an ice cream bar; The Letter Q as Beach House, with Sailboat (1972), where Claes Oldenburg imagines the letter ‘Q’ as a towering waterfront home; and the artist’s Apple Core prints, each representative of one of the four seasons, from 1990.

Through his iterative and elastic process of translating imagery from one medium to another—and suggesting innumerable possible transformations as part of that process—Claes Oldenburg expanded the possibilities of art by inviting the viewer to look again. Taken together, the works in this exhibition reflect his uncanny ability to render the familiar strange, and to imbue magic and wonder into the most mundane of subject matter.

Maartje Oldenburg is the daughter of Claes Oldenburg and Coosje van Bruggen and is the head of the artists’ estates. A writer, editor, and lawyer, Maartje Oldenburg formally studied Japanese language, literature, and history for many years. She lived and worked in Japan in the 1990s.

Claes Oldenburg (b. 1929, Stockholm; d. 2022, New York) is renowned for his sculptures, drawings, and colossal monuments that transform familiar objects into states that imply animation and sometimes revolt. A leading voice of the Pop art movement, Oldenburg came to prominence in the New York art scene of the late 1950s and early 1960s. His seminal installations The Street (1960) and The Store (1961) launched his career, subverting artistic and institutional conventions while creating a backdrop for happenings and performances under the production name Ray Gun Theater. Initially conceiving of monumental works based on everyday items in drawings and collages, Claes Oldenburg installed his first realized outdoor public sculpture, Lipstick (Ascending) on Caterpillar Tracks (1969–74), during an antiwar protest at Yale University in 1969. He subsequently collaborated for over three decades with Coosje van Bruggen to create largescale projects across the world. Conflating notions of art and banality, and high-brow and low-brow, the investigation of objecthood spans Oldenburg’s earliest production to his work today.

PACE GALLERY TOKYO

1F; Azabudai Hills Garden Plaza-A

5-8-1 Toranomon, Minato-ku, Tokyo

www.pacegallery.com

Andy Warhol @ Taglialatella Galleries, NYC + Toronto - "Andy Warhol: Factory Made" Exhibition

Andy Warhol: Factory Made

Taglialatella Galleries, New York

March 6 – 20, 2025

Taglialatella Galleries, Toronto

April 10 – May 1, 2025

Taglialatella Galleries presents Andy Warhol: Factory Made, in New York and Toronto, an exhibition of artwork representing three decades of iconic artwork from America’s most bought and sold artist in history, Andy Warhol.

Perhaps no formal introduction is needed for Andy Warhol, known by most for his pop art style and his ability to transform numerous everyday objects and recognizable faces into his muses. His subjects ranged from household products like Brillo boxes and Campbell’s Soup cans to musicians, athletes, politicians, and other influential pop culture and historical figures. In a studio he called “The Factory”, Andy Warhol mastered the ability to walk this fine line between artistic creation and manufactured aesthetics with a commercial and business-like attitude toward the works he produced.

Between 1963 and his untimely death in 1987, Andy Warhol moved his physical studio space several times, but The Factory continued to pump out a body of work unparalleled both then and since. It is estimated that Warhol created over 10,000 paintings, and his catalog raisonné of prints cites 413 published works in varying sized limited editions, totaling six figures of artwork produced in that 25-year span. In retrospect, this unprecedented style of creation is even more impressive since Warhol’s work was made before digital printing and computer-generation existed. As Warhol curated exhibitions and collaborated with fashion designers throughout the 80’s, he also produced countless hours of artistic films and shot hundreds of thousands of photographs.

With Andy Warhol: Factory Made, Taglialatella features the most iconic and sought-after of Warhol’s editions from The Factory’s three decades. Guests have the opportunity to view and purchase some of his most commercially traded and valuable works from this legendary period. For those more interested in the man himself, visitors can also view relics of Warhol’s eccentric style, including his iconic silver wig and a pair of his sunglasses.

TAGLIATELLA GALLERIES, NEW YORK

229 Tenth Avenue, New York, NY 10011

www.taglialatellagalleries.com

TAGLIATELLA GALLERIES, TORONTO

99 Yorkville Avenue, Toronto, ON M5R 1C1

tagto.ca

Robert Indiana: The Shape of the World @ Pace Gallery, Hong Kong

Robert Indiana

The Shape of the World

Pace Gallery, Hong Kong

Mach 25 - May 9, 2025

Robert Indiana 

Ginkgo, 2000 

© Star of Hope Foundation, Vinalhaven, Maine

Pace presents Robert Indiana: The Shape of the World, an exhibition of work by celebrated American artist ROBERT INDIANA (1928–2018), who first emerged as a key figure in the Pop art movement, at its Hong Kong gallery.

This presentation, coinciding with the 2025 edition of Art Basel Hong Kong, includes important sculpture, paintings, and prints from throughout Robert Indiana’s career, showcasing his graphic visual vocabulary that made him one of the most inventive and enduring figures in the history of American art. Robert Indiana: The Shape of the World focuses on Indiana’s deep interest in numerology, literature, geometry, color, and form, and will be Pace’s first exhibition of the artist’s work since it began representing The Robert Indiana Legacy Initiative in 2024. 

Following the show in Hong Kong, the gallery will mount a major presentation dedicated to Robert Indiana at its New York flagship, featuring a distinct group of rarely seen paintings and sculpture that speak to the flexibility of Indiana’s practice and one of the most central themes in his work: the triumph and tragedy of the American dream. 

At the vanguard of Pop art and assemblage, Robert Indiana made use of words and numerals in his bold signature style exploring American identity and iconography as well as the universal power of abstraction. Indiana referred to himself as an “American painter of signs,” developing a visual vocabulary that—imbued with literary, political, and spiritual depth—made him one of the most important figures in the history of art. 

Born Robert Clark in the state of Indiana in 1928, he began his career as part of the community of artists—including Ellsworth Kelly, Agnes Martin, James Rosenquist, and Jack Youngerman—working in the Coenties Slip, once a major port on the southeast tip of Manhattan, in the 1950s. The following decade marked a turning point in his career with the success of his famous LOVE image, which debuted at New York’s Stable Gallery and has since become a cultural icon in its own right, remaining as relevant today as when first created 60 years ago. In 1978, Robert Indiana chose to remove himself from the New York art world, settling on the remote island of Vinalhaven in Maine, where he worked until his death in 2018.

“Numbers are ageless, there is no social comment involved, very simply, numbers chart the world’s course,” Robert Indiana once said.

Pace’s exhibition of Indiana’s work in Hong Kong focuses on the artist’s connection to language and numbers, drawing attention to form and symbolism. Bringing together a curated selection of paintings, sculpture, and prints created by the artist between the 1960s and early 2000s, this presentation is organized thematically with an emphasis on numerology and the universality of numbers. Holistically, the show is also shed light on the relationships—in terms of both form and scale—between the artist’s paintings and sculpture.

Among the works on view are three of Indiana’s painted bronzes, translations of works he conceived in the early 1960s. Referred to by the artist as “herms,” after the sculptures that served as boundary markers at crossroads in ancient Greece and Rome, these works feature brightly colored numbers painted using 19th-century brass stencils that Robet Indiana scavenged on the streets of New York. Considering bronze to be one of the most noble of materials in the tradition of sculpture, Indiana selected eight of his herm sculptures to be cast in bronze in 1991. TWO (1960–62, cast 1991), one of the bronze herms in Pace’s Hong Kong show, was presented in Robert Indiana: The Sweet Mystery, an official Collateral Event of the 60th Venice Biennale and one of the most significant exhibitions of his work in Italy to date, in 2024. 

The gallery’s exhibition is also highlight two examples of Indiana’s most admired LOVE sculptures—LOVE (Red Outside Blue Inside) and LOVE (Red Outside Gold Inside), both conceived in 1966 and executed in 1999 in polychrome aluminum. Also included is ONE Through ZERO (The Ten Numbers) (1978–2003), a stainless steel work composed of ten individual numbers that reflects the artist’s enduring interest in the symbolic, allegorical, and formal resonances of numbers. Indiana’s number sculptures illuminate the different meanings and associations that numbers can conjure, the relationship between numbers in his art to events in his own life—such as highway routes or buildings where he lived—and more universal ideas about the cycle of life. 

Paintings created by Robert Indiana between the 1960s and early 2000s are also featured in Pace’s presentation in Hong Kong. Among these works is one of the first LOVE paintings, a small-scale, 12 x 12 inch work from 1965. Several paintings in the exhibition have unique resonances in Hong Kong: Ginkgo (2000), a hard-edge composition depicting a ginkgo leaf design that Indiana, inspired by the leaves on the trees he saw around the Coenties Slip, began exploring in 1957, and Four Diamond Ping (2003), a dynamic, diamond-shaped work containing the Mandarin word for “peace” as well as biblical phrases in English.

These sculptures and paintings complemented by a selection of ten prints, each featuring one number between zero and nine, that Robert Indiana produced in 2001 and 2011. Derived from his Decade Autoportrait series of paintings, which the artist began in 1971, these works were conceived as portraits of Indiana’s life during the 1960s, each named for a different year in the decade and containing references to important names, places, and events in his world of significance within the artist’s life.

Today, Indiana’s work can be found in the permanent collections of museums such as the Museum of Modern Art and the Whitney Museum of American Art in New York; the Art Institute of Chicago; the National Gallery of Art, the Hirshhorn Museum and Sculpture Garden, and the Smithsonian Museum of American Art in Washington, D.C.; the San Francisco Museum of Modern Art; the Menil Collection, Houston; Tate Modern, London; the Neue Nationalgalerie, Berlin; MUMOK (Museum Moderner Kunst Stiftung Ludwig Wien), Vienna; and the Art Gallery of Ontario, Toronto, among many other institutions around the world.

Established in 2022, The Robert Indiana Legacy Initiative aims to increase awareness of and appreciation for the depth and breadth of the work of Robert Indiana and is the leading entity dedicated to the advancement of the artist’s work. Represented worldwide by Pace Gallery, The Robert Indiana Legacy Initiative also manages the website www.robertindiana.com and is responsible for The Robert Indiana Catalogue Raisonné, which is now available online www.ricatalogueraisonne.org.

PACE GALLERY - HONG KONG

12/F, H Queen's - 80 Queen's Road Central, Hong Kong

www.pacegallery.com

Pop Forever, Tom Wesselmann &... @ Fondation Louis Vuitton, Paris

Pop Forever, Tom Wesselmann &...

Fondation Louis Vuitton, Paris

17 octobre 2024 - 24 février 2025

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La Fondation Louis Vuitton présente « Pop Forever, Tom Wesselmann &... » une exposition consacrée au Pop Art, l’un des mouvements artistiques majeurs des années 1960 dont la présence n’a cessé, jusqu’à aujourd’hui, de s’affirmer sur tous les continents et pour toutes les générations. L’exposition est centrée autour de Tom Wesselmann (1931-2004), une des figures de proue du mouvement, au travers d’une sélection de 150 peintures et oeuvres de divers matériaux. Elle regroupera, en outre, 70 oeuvres de 35 artistes de générations et nationalités différentes qui partagent une sensibilité « Pop », allant de ses racines dadaïstes à ses prolongements contemporains, des années 1920 à nos jours.

Outre les travaux de Tom Wesselmann, l’exposition comprend les oeuvres de Derrick Adams, Ai Weiwei, Njideka Akunyili Crosby, Evelyne Axell, Thomas Bayrle, Frank Bowling, Rosalyn Drexler, Marcel Duchamp, Sylvie Fleury, Lauren Halsey, Richard Hamilton, David Hammons, Jann Haworth, Barkley L. Hendricks, Hannah Höch, Jasper Johns, KAWS, Kiki Kogelnik, Jeff Koons, Yayoi Kusama, Roy Lichtenstein, Marisol, Tomokazu Matsuyama, Claes Oldenburg, Meret Oppenheim, Eduardo Paolozzi, Robert Rauschenberg, Martial Raysse, James Rosenquist, Kurt Schwitters, Marjorie Strider, Do Ho Suh, Mickalene Thomas, Andy Warhol, Tadanori Yokoo...

Débordant le cadre d’une simple rétrospective, « Pop Forever, Tom Wesselmann &... contextualisera l’oeuvre de Tom Wesselmann dans l’histoire de l’art et offrira des perspectives passionnantes sur le Pop Art, au passé, au présent et même au futur », selon les commissaires invités de l’exposition Dieter Buchhart et Anna Karina Hofbauer.

À la fin des années 1950, le Pop Art déferle des deux côtés de l’Atlantique, en Amérique du Nord comme en Europe. La bande dessinée, la publicité, le cinéma, les célébrités, les robots ménagers et la presse à scandale deviennent des sujets de peinture, quand ils ne sont pas des peintures en soi, des images photographiques collées ou reproduites mécaniquement sur des toiles. Les oeuvres Pop célèbrent non sans ambiguïté les noces de l’art et de la culture populaire, des musées, des galeries et de l’industrie culturelle.

Sans manifeste et sans frontière, le Pop désigne bien au-delà de la sphère artistique une esthétique qui prévaut encore aujourd’hui. Il est difficile de dire quand commence le Pop et assurément impossible d’en fermer le chapitre. C’est cette hypothèse d’un Pop qui traverse les époques, « Pop Forever », qui sera présentée tout au long d’une exposition double, à la fois rétrospective et exposition thématique. Tom Wesselmann y est plongé dans le climat intellectuel et esthétique du Pop qui a vu émerger son oeuvre et la porte encore aujourd’hui.

Né en 1931, Tom Wesselmann débute la peinture à la fin des années 1950. S’il est admiratif de l’impact visuel des peintres abstraits américains, il embrasse le vocabulaire iconographique de son temps, incorporant la publicité, des panneaux d’affichage, des images et des objets dans son oeuvre. Il poursuit volontairement les genres classiques de la peinture (la nature morte, le nu, le paysage) tout en élargissant l’horizon de son art, tant par ses sujets que par ses techniques. À mi-chemin entre peintures et sculptures, ses oeuvres incorporent aussi des éléments multimédias (lumière, mouvement, son, vidéo). Quant à ses immenses et spectaculaires Standing Still Lifes, à la croisée de la ,peinture et de l’installation, elles ont imposé un format jusque-là inédit. Des premiers collages de Wesselmann en 1959 à ses vastes natures mortes en relief, ses paysages à la lisière de l’abstraction et ses Sunset Nudes de 2004, l’exposition se déploie sur les quatre étages du bâtiment de la Fondation.

Attachée chronologiquement à l’oeuvre de Wesselmann et à ses thématiques, elle développe à partir de son travail un propos plus général sur le Pop Art. Aux Great American Nudes de Wesselmann répondent les icônes américaines de ses contemporains (Evelyne Axell, Jasper Johns, Roy Lichtenstein, Marisol, Marjorie Strider, Andy Warhol). En amont de ses grands collages, on trouve les racines Dada du Pop (Marcel Duchamp, Kurt Schwitters). Quant à sa mise en scène des biens de consommation, elle devance celle des marchandises à l’ère de la mondialisation par Jeff Koons ou Ai Weiwei. Enfin comme en miroir de ses nus et scènes intimes et domestiques figurent les travaux d’une nouvelle génération, dont certains (Derrick Adams, Tomokazu Matsuyama, Mickalene Thomas) réalisés spécifiquement pour l’exposition.

L’exposition bénéficie du soutien de l’Estate Tom Wesselmann ainsi que des prêts d’institutions internationales et de collections privées.

Commissaire générale

Suzanne Pagé, Directrice artistique de la Fondation Louis Vuitton

Commissaires de l'exposition

Dieter Buchhart et Anna Karina Hofbauer, assistés de Tatjana Andrea Borodin

Commissaire associé

Olivier Michelon, Conservateur à la Fondation Louis Vuitton, assisté de Clotilde Monroe

Pop Forever, Tom Wesselmann &...

Gallimard & FONDATION LOUIS VUITTON

Catalogue sous la direction de Dieter Buchhart

et Anna Karina Hofbauer. Préface de Suzanne Pagé,

avec les participations d’Isabelle Dervaux, Olivier

Michelon, Brenda Schmahmann et les entretiens de

Derrick Adams, Tomokazu Matsuyama, Monica Serra,

Mickalene Thomas et Danièle Thompson.

Postface de Jeffrey Sturges.

Format : 25 x 29 cm

Prix : 45€ TTC - ISBN : 9782073068323

Fondation Louis Vuitton presents “Pop Forever, Tom Wesselmann & ...”, an exhibition dedicated to Pop Art, one of the major artistic movements of the 1960s, whose influence continues to be felt across all continents and amongst all generations. The exhibition is centered around Tom Wesselmann (1931-2004) - one of the leading figures of the movement - with a selection of 150 paintings and works in various materials. The exhibition also features 70 works by 35 artists of different generations and nationalities who share a common sensibility for “Pop” - from its Dadaist roots to its contemporary manifestations, and from the 1920s to the present day.

In addition to works by Tom Wesselmann, the exhibition includes works by Derrick Adams, Ai Weiwei, Njideka Akunyili Crosby, Evelyne Axell, Thomas Bayrle, Frank Bowling, Rosalyn Drexler, Marcel Duchamp, Sylvie Fleury, Lauren Halsey, Richard Hamilton, David Hammons, Jann Haworth, Barkley L. Hendricks, Hannah Höch, Jasper Johns, KAWS, Kiki Kogelnik, Jeff Koons, Yayoi Kusama, Roy Lichtenstein, Marisol, Tomokazu Matsuyama, Claes Oldenburg, Meret Oppenheim, Eduardo Paolozzi, Robert Rauschenberg, Martial Raysse, James Rosenquist, Kurt Schwitters, Marjorie Strider, Do Ho Suh, Mickalene Thomas, Andy Warhol and Tadanori Yokoo...

According to the exhibition’s guest curators Dieter Buchhart and Anna Karina Hofbauer, more than just a retrospective, “Pop Forever, Tom Wesselmann &... will contextualize Tom Wesselmann’s work within art history, and offer fascinating perspectives on Pop Art, past, present and even future”. 

In the late 1950s, Pop Art surged on both sides of the Atlantic, in North America and Europe. Comic strips, advertising, cinema, celebrities, food processors and tabloids all became painting subjects. When they were not paintings in themselves, they were photographic images glued or mechanically reproduced onto the canvas. Pop Art celebrates, with a degree of ambiguity, the marriage of art and popular culture, of museums and galleries and the cultural industry. With no manifesto and no boundaries, Pop Art denominates an aesthetic that extends far beyond the artistic realm and prevails to this day. It is difficult to say when Pop Art begins, and certainly impossible to close the chapter on it. It is this premise of a timeless Pop Art, “Pop Forever,” that is presented in a two-pronged exhibition which is simultaneously a retrospective and a thematic show.

Tom Wesselmann is immersed in the intellectual and aesthetic climate of the “Pop” era from which his work emerged, and which continues to frame it to this day. Born in 1931, Tom Wesselmann began painting in the late 1950s. Though an admirer of the visual impact of American abstract painters, he embraced the iconographic vocabulary of his time, incorporating advertising, billboards, images, and objects in his work. He consciously pursued the classical genres of painting (still life, nude, landscape) while broadening the horizons of his art, both in terms of subject matter and technique. Halfway between painting and sculpture, his works also incorporate multimedia elements (light, movement, sound and video). As for his huge, spectacular Standing Still Lifes, at the crossroads between painting and installation, they introduce a format hitherto unseen.

With works ranging from Tom Wesselmann’s first collages in 1959 to his large-scale embossed still lifes, his landscapes - which lie on the fringes of abstraction - and his 2004 Sunset Nudes, the exhibition spans across all four floors of the Fondation’s building. The exhibition, which is chronologically linked to Wesselmann’s works and themes, uses the artist’s work as a starting point to develop a more general presentation of Pop Art. His Great American Nudes in dialogue with the American icons of his contemporaries (Evelyne Axell, Jasper Johns, Roy Lichtenstein, Marisol, Marjorie Strider and Andy Warhol). The Dadaist roots of Pop Art (Marcel Duchamp, Kurt Schwitters) the precursors to his large collages. As for his depictions of consumer goods, they prefigure the representations of merchandise in the age of globalization by Jeff Koons or Ai Weiwei. Finally, his nudes and intimate domestic scenes mirrored by new works from a new generation, some of which (Derrick Adams, Tomokazu Matsuyama and Mickalene Thomas) have been created specifically for the exhibition.

The exhibition is supported by the Estate of Tom Wesselmann and features loans from international institutions and private collections.

FONDATION LOUIS VUITTON - FLV

8, Avenue du Mahatma Gandhi, Bois de Boulogne, 75116 Paris

fondationlouisvuitton.fr

Best of German & Pop Art Auction @ Ketterer Kunst, Munich - 70th Anniversary Auction

Best of German & Pop Art 

Ketterer Kunst, Munich 

Anniversary Auction June 7/8, 2024 

The seventieth anniversary of KETTERER KUNST is celebrated with a sensational array of works. The highest estimate price tag in the house’s history has been put on Alexej Jawlensky’s marvelously elegiac "Spanische Tänzerin" in a blazing red dress, called up in the Evening Sale on June 7. Made in 1909, the pivotal work from the formative years of German Expressionism, in private hands for over ninety years, had only been known from a black-and-white photograph. Estimated at 7 to 10 million euros, it is particularly convincing for the fact that it is new to the market, as well as for the highly stylized Murnau landscape study it boasts on its reverse. A second market sensation is Ernst Ludwig Kirchner's "Tanz im Varieté" from 1911, a time when the artist group "Brücke" set out to revolutionize the art world from its new base in Berlin. With unknown whereabouts for a long time, its existence was only documented by a black-and-white photo. Family-owned for eighty years, it is now up for sale at an estimate of 2 to 3 million euros.

Traditionally, German Expressionism is among Ketterer Kunst's core fields of expertise. Accordingly, the strong range of works in both our Evening Sale and Day Sale (June 8) featuring key works of Erich Heckel, Karl Schmidt-Rottluff, Max Pechstein, Heinrich Campendonk and Gabriele Münter, most of which are priced in five- to six-figure realms. In addition, the auction also includes works on paper from the legendary Hermann Gerlinger Collection, which Ketterer Kunst has sold over the past three years.

Savvy collectors and informed investors alike will find plenty of reasons to make a purchase in this anniversary auction, reflecting on the singularity of an artwork even in challenging times and duly assessing its quality, provenance and novelty on the market. And eventually seize the opportunity. Needless to say this is also true for works of post-war and contemporary art, works like those of Ernst Wilhelm Nay from the 1960s as well as Konrad Klapheck's machine paintings (an artist for whom Ketterer Kunst set a new price record in the last auction). There is still more, for example, a large-scale "Finger Painting" by Georg Baselitz from 1972 and a portrait that Gerhard Richter made of his artist friend Günter Uecker in a grayish sfumato in 1964.

In addition to a number of Kirchner objects, a remarkable private collection compiled with intellectual focus and curiosity, includes a series of Henry Moore sculptures. In the course of a lengthy relationship with the artist, Dr. Theo Maier-Mohr has acquired 'Sheep Pieces' that include maquettes and large outdoor sculptures, as well as prime pieces of Moore's 'Family Groups', hence covering and honoring the central themes that drove the great sculptor.

This time around, we also put a strong focus on American Pop Art, however, rather in terms of quality than quantity. The key piece in this array is a monumental, ironically provocative motif by James Rosenquist ("Playmate", 1966), while Andy Warhol's complete series of ten color silkscreens "Flowers" from 1970 and an impressive wall sculpture by the late Pop veteran Frank Stella follow suit. Robert Rauschenberg, a decidedly flexible maverick among the pop art rebels, quickly found his own path. The evidence we provide in our auction is the bicycle ("Bicycloid VII", 1992) with colored neon tubes, which is now doing its rounds in an auction for the very first time. 

Highlights Contemporary Art

James Rosenquist 

Playmate, 1966 

Oil on canvas in four parts, wood, metal wire 

Estimate price: € 1,000,000 - 1,500,000

Photo courtesy of Ketterer Kunst

Rare on the auction market: Striking eroticism in an over-sized format from the heyday of American Pop Art. The work "Playmate" (1966) by James Rosenquist - the protagonist of American Pop Art with a great sense of humor – was part of the legendary "Playboy" magazine campaign "Playmate as Fine Art" in 1967. Other contributing artist were, among others, Andy Warhol, Tom Wesselmann and George Segal.

Andy Warhol 

Flowers (10 sheets), 1970 

10 color silkscreens 

Estimate price: € 800,000 - 1,200,000

Photo courtesy of Ketterer Kunst

Andy Warhol's ten-part series "Flowers" is another icon of American Pop Art and rarely comes to the market as matching set. 

Georg Baselitz  

Finger Painting - Birch, 1972 

Oil on canvas.

Estimate price: € 800,000 - 1,200,000

Photo courtesy of Ketterer Kunst

Georg Baselitz's "Finger Painting - Birch" from 1972 is one of his early works with the characteristic "upside down" motif. Works from this pioneering creative phase are extremely rare.

Henry Moore 

Working Model for Sheep Piece, 1971 

Bronze with green-brown patina.

Estimate price: € 600,000 – 800,000

Photo courtesy of Ketterer Kunst

One of Henry Moore's rare large-scale outdoor sculptures on the auction market. Further casts of our work can be found in museum collections in California, Michigan and Japan. Part of the same German private collection since its creation. Further works from the Dr. Maier-Mohr Collection are offered in the Evening Sale and the Contemporary Art Day Sale on Friday, June 7, 2024, as well as in our Modern Art Day Sale on Saturday, June 8, 2024 (see extra catalog "A Private Collection - Dr. Theo Maier-Mohr"). 

Gerhard Richter 

Herr Uecker, 1964 

Oil on canvas.

Estimate price: € 450,000 – 650,000

Photo courtesy of Ketterer Kunst

Gerhard Richter's sought-after early black-and-white paintings from the 1960s are based on photographs. Richter subsequently "inpainted" his motifs in the moist paint enlarged to the dimensions of the canvas, dissolving the contours into soft blackand-white modulations. The famous painterly blur that would become his artistic trademark, first appeared in Richter's paintings of the early 1960s. Gerhard Richter's portrait of his fellow artist and friend Günther Uecker, the important "ZERO" protagonist, was created in the context of a small series of portraits that Richter created on the initiative of the legendary Düsseldorf gallery owner Alfred Schmela for his first solo exhibition in September 1964. "Herr Uecker" is one of the last early Richter portraits still in German private ownership.

Ernst Wilhelm Nay 

Ene mene ming mang. 1955 

Oil on canvas 

Estimate price: € 400,000 – 600,000 

Photo courtesy of Ketterer Kunst

Ernst Wilhelm Nay's painting "Ene mene ming mang" is of museum quality, showing a particularly harmonious color scheme in a large format from the group of the famous "Scheibenbilder" (Disk Paintings). As early as in 1957, Nay showed two works from this series in the exhibition "German Art of the Twentieth Century" at the Museum of Modern Art. Comparable works can be found in, among others, the Museum Folkwang, Essen, the Bavarian State Painting Collections, Munich and the Solomon R. Guggenheim Museum, New York. 

Frank Stella 

The Pequod Meets the Rosebud (D-19, 1X), 1991 

Mixed media on aluminum 

Estimate price: € 200,000 – 300,000

Photo courtesy of Ketterer Kunst

As an important representative of Minimal Art and Abstract Expressionism, Frank Stella's work "The Pequod Meets the Rosebud (D-19, 1X)" from the important Moby Dick series unfolds an overwhelming expansive monumentality with an explosion of form and color.

Robert Rauschenberg 

Posse Stir (Galvanic Suite), 1989 

Mixed media. Acrylic and lacquer on galvanized steel 

123,5 x 306 cm, incl. the original frame.

Estimate price: € 200,000 – 300,000

Photo courtesy of Ketterer Kunst

Robert Rauschenberg 

Bicycloid VII, 1992 

Bicycle, with colored neon tubes on aluminum base. 151 x 190 x 56 cm.

Unique piece from a series of 7 bicycle sculptures.

Estimate price: € 100,000 – 200,000 

Photo courtesy of Ketterer Kunst 

Robert Rauschenberg's collaged compositions realized in silkscreen were groundbreaking for Pop Art. Our Evening Sale includes both a large-format radiant work from Rauschenberg's important "Galvanic Suite" (1988-1991) as well as the bicycle sculpture "Bicycloid VII", a futuristic hybrid between ready-made and neon sculpture. Both works were acquired directly from the artist through the Swiss gallery Jamileh Weber and have been part of an important southern German private collection since.

Konrad Klapheck 

Die Technik der Eroberung, 1965 

Oil on canvas 

Estimate price: € 180.000 – 240.000 

Photo courtesy of Ketterer Kunst 

'Die Technik der Eroberung' is a masterful presentation of a surreal puzzlement as a symbol of a sensual-erotic quest. Konrad Klapheck tells a story of seduction in subtle colors with surprising accents in green and red. The work has featured in several important Klapheck exhibitions since 1966 

Highlights Modern Art

Alexej von Jawlensky 

Spanische Tänzerin, 1909 

Oil on cardboard

Estimate price: € 7,000,000 – 10,000,000 

Photo courtesy of Ketterer Kunst 

"Spanische Tänzerin” (Spanish Dancer) - An ecstatic and exuberant expressionist masterpiece by Alexej von Jawlensky. In 1909, he was at the absolute peak of his creativity. Paintings from this short and colorful creative phase are almost exclusively owned by international museums today. A powerful avant-garde double strike: the radiant, highly stylized oil study on the reverse is reminiscent of the painting "Murnauer Landschaft" from 1909, created in a smaller format the same year, it is part of the collection of the Städtische Galerie im Lenbachhaus in Munich today. Shortly after it was made, the painting found a home in the renowned modern art collection of Josef Gottschalk in Düsseldorf, and remained in the family for over nine decades. 

Ernst Ludwig Kirchner 

Tanz im Varieté, 1911 

Oil on canvas

Estimate price: € 2,000,000 – 3,000,000 

Photo courtesy of Ketterer Kunst

Spectacular rediscovery: Ernst Ludwig Kirchner's "Tanz im Varieté" has been hidden in a German private collection for 80 years. Until now, the work was only known from a black-and-white photograph. The grand painting from the best "Brücke" period was part of the seminal "Brücke" exhibition at the Fritz Gurlitt Art Salon in Berlin (1912) shortly after it was created.

Heinrich Campendonk 

Landschaft mit Tieren, around 1913 

Oil on cardboard, laid on fiberboard and mounted on the stretcher

Photo courtesy of Ketterer Kunst 

Heinrich Campendonk's "Landschaft mit Tieren" (Landscape with Animals), around 1913, dates from the artist's most innovative creative period: he showcased his talent in exhibitions of the "Blue Rider" and the Rhenish Expressionist in 1911 and 1913. In dialog with Franz Marc, he developed his distinctive pictorial language. This largeformat work was presented in major exhibitions at the leading galleries of the time (Walden and Flechtheim) and is now offered with an estimate price of € 600,000 - 800,000.

Ernst Ludwig Kirchner 

Im Wald, 1910 

Oil on canvas

Estimate price: € 400,000 – 600,000

Photo courtesy of Ketterer Kunst 

Erich Heckel 

Zwei Menschen im Freien, 1909/10 

Oil on canvas

Estimate price: € 400,000 – 600,000 

Photo courtesy of Ketterer Kunst 

A rare opportunity! Erich Heckel, Ernst Ludwig Kirchner and Max Pechstein spent the summer of 1910 at the Moritzburg Ponds with a number of friends and models, painting in the woods and by the ponds. In the forests and lakes around Moritzburg, the artists occasionally set up their easels in a row to capture one and the same scene, which explains why the naked couple in Kirchner's painting "Im Wald" is also depicted in Heckel's "Zwei Menschen im Freien".

Hermann Stenner 

Kaffeegarten am Ammersee, 1911 

Oil on canvas

Estimate price: € 90,000 – 120,000

Photo courtesy of Ketterer Kunst 

From the Hermann-Josef Bunte Collection: This auction puts Stenner in the foreground with 14 important works from a total of 27 lots from the Bunte Collection. In addition, works by other artists from the Hölzel circle are also on offer. Ackermann, Kinzinger, Graf, Eberhard, as well as works by Sagewka and Böckstiegel again.

In "Kaffeegarten am Ammersee", Stenner boldly combined impressionist lightness and bright colors with highly concentrated surfaces. This works should become one of his most accomplished paintings from the summer sojourn in Dießen on Lake Ammer.

Highlights 19th Century Art

Max Liebermann 

Die Colomierstraße in Wannsee, 1917 

Oil on canvas

Estimate price: € 200.000 - 300.000 

Photo courtesy of Ketterer Kunst 

After the outbreak of World War I in 1914, the house on Wannsee, hidden in the picture on the right, became Max Liebermann's artistic retreat. This was where he created his most sought-after works. Our painting also boasts an important provenance: it was part of the estate of Albert Janus, important collector and patron of the Folkwang Museum. In 2010, it was exhibited on the occasion of the 100th anniversary of the Liebermann Villa on Wannsee.

Max Liebermann 

Wannseegarten - Haus mit roten Stauden, 1926 

Oil on canvas

Estimate price: € 400,000 – 600,000 

Photo courtesy of Ketterer Kunst 

In his celebrated paintings of the garden at his Wannsee villa, Max Liebermann liberated form and color in an unprecedented way. Wannsee paintings of this luminosity are extremely rare on the auction market.

Franz von Stuck 

Der Engel des Gerichts, around 1922 

Oil on panel

Estimate price: € 100,000 – 150,000

Photo courtesy of Ketterer Kunst 

For over 20 years, Franz von Stuck's " Der Engel des Gerichts" (The Angel of Judgement) was on permanent loan at the Künstlerhaus am Lenbachplatz in Munich. A fascinating interpretation and daring modernization of the age-old motif in the rebellious zeitgeist prevailing at the turn of the century. The work has been privately owned since its creation and is now available on the auction market for the first time.

DATES

June 7, 2024 Contemporary Art Day Sale, Evening Sale in Munich

June 8, 2024 19th Century, Modern Art Day Sale in Munich

Until June 15, 2024 Online Sale - parallel to the saleroom auction

Preview Shows of the Top Lots in Munich

Ketterer Kunst, Joseph-Wild-Str. 18, 81829 Munich

June 1, 2024 12 - 6 p.m.

June 2, 2024 11 a.m. - 5 p.m.

June 3 - 4, 2024 10 a.m. - 6 p.m.

June 5, 2024 10 a.m. - 8 p.m.

June 6, 2024 10 a.m. - 5 p.m.

KETTERER KUNST

www.kettererkunst.com

Keiichi Tanaami @ Almine Rech Gallery, Shanghai

Keiichi Tanaami

Almine Rech Gallery, Shanghai

October 27 — December 2, 2023

Almine Rech Shanghai presents KEIICHI TANAAMI's latest presentation with the gallery.

The Pop Art movement, characterized by its enduring global resonance until today, has embarked on a fascinating journey across cultural landscapes worldwide since its origins in 1950s America and Great Britain. The movement flourished in Japan in the late 1950s and early 1960s, melding Western Pop Art sensibilities with distinct Japanese cultural and social contexts. A new generation of Japanese artists embraced the Pop Movement's ethos, driven by a desire to challenge the conventional traditions of Japanese art. This creative awakening was a response to Western materialism and popular culture in postwar Japan.

Keiichi Tanaami (Born 1936 in Tokyo), an influential figure in Japanese Pop Art, stands out among his contemporaries. A hugely prolific artist whose career spans illustration, animation, experimental cinema, and painting, he explains, "My life is not a straight shot with one central theme running through it." His works have been widely exhibited worldwide and have been collected by major international art institutions, such as the New York MoMA, The Art Institute of Chicago, Hong Kong's M+ Museum, Washington's National Portrait Gallery, and the Nationalgalerie im Hamburger Bahnhof in Berlin.

— Athena Chen, art researcher

ALMINE RECH SHANGHAI

27 Huqiu Road, 200002 Shanghai

www.alminerech.com