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Tony Smith

Tony Smith

Tony Smith
Pace Gallery – Until Jul 16, 2022 Los Angeles (US)

 

 

 

 

 

 

Pace is pleased to present an exhibition of works by American sculptor Tony Smith. He imbued minimalist structures with spiritual import, in his new West Coast flagship in Los Angeles.

Marking the gallery’s second showing in its recently opened space, the exhibition brings together sculptures and paintings created over two decades. Focusing on the organic forms that make up much of Smith’s work.

Architect.

Although he became widely known for his sculptures, Smith began his career as an architect, working with Frank Lloyd Wright on Usonian houses. Then, other projects in the late 1930s and early 1940s. The artist worked as a freelance architectural designer before developing his prolific sculptural practice in the mid and late 1950s.

Geometric abstractions.

Smith often drew inspiration for his dynamic geometric abstractions from phenomena in the natural world. Through his works, Smith investigated the formal possibilities of crystal structures, including octahedra and tetrahedra. Embracing the imaginative effects of chance and chaos, the artist produced sculptures that forged a new language of abstraction amid the rise of minimalism. Deeply engaged in architecture, science, mathematics and philosophy. Smith’s works offer new ways of understanding and experiencing their environment. “I think of art as something vast,” Smith said in a 1966 interview with Artforum, adding, “I’m interested in the inscrutability and the mystery of the thing.” Pace Gallery has had a long relationship with Smith over his lifetime, and he began representing the Tony Smith Estate in 2017.

Hawaii in the summer of 1969.

At the Pace Gallery in Los Angeles, whose architecture features a unique integration of natural light and indoor-outdoor space, Smith’s sculptures will take on new associations and meanings. The exhibition will feature small and large-scale works, including four sculptures from the artist’s For series. Smith began working on the series while teaching at the University of Hawaii in the summer of 1969. He dedicated the nine welded bronze and black patina sculptures in this body of work to nine friends, including several were his colleagues in Hawaii. The titles of these works incorporate the initials of the people whose names they bear.

 

 

Tony Smith

Image

Tony Smith

Pace →  1201 S La Brea Avenue Los Angeles, CA, USA 90019

 

 

 

 

 

 

 

 

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Richard Bosman: Painters Painting

Richard Bosman: Painters Painting

Richard Bosman: Painters Painting
Nicelle Beauchene Gallery – Until Jul 29, 2022 New York (US)

 

 

 

 

 

 

Nicelle Beauchene Gallery is pleased to present Painters Painting, Richard Bosman’s second solo exhibition with the gallery. The exhibition was curated by Matthew Higgs, the director of White Columns, New York’s oldest nonprofit alternative art space. The exhibition takes its title from Emile de Antonio’s famous 1972 documentary, Painters Painting: The New York Art Scene 1940-1970, and features works made over the past 13 years that focus on the subject of art. and art history.

last 40 years.

Richard Bosman is an accomplished “artist’s artist”, a “painter’s painter”. His work of the past 40+ years has an almost cult following: whose members would include Peter Doig, Gavin Brown and Higgs himself, who paid tribute to Bosman’s work while he was in art school at UK. Best known for his iconic “hard water” paintings of the 1980s. Paintings inspired by the great American mystery novels of the 1930s and 1940s. Bosman constantly returned to subjects of the art and history of art throughout his career.

1986.

Overwhelmed (1986), a painting from his “Studio Series” of that year, shows a male artist in his studio, paintbrush in hand, being ravaged by a wild animal. Adrift (1986) shows an artist face down, surrounded by his paints, brushes, palette and canvas, adrift on an ice floe and clinging to his life. In these self-conscious melodramatic works from the 1980s, Bosman disrupts the image of the heroic male painter of the Neo-Expressionist era. (Bosman’s work is often misaligned with the return to expressive painting of that decade, when in reality his work had more in common with the ideas of artists associated with the contemporary “picture” generation.)

Painters Painting explores Bosman’s enduring interest in the myth of the artist-painter and the self-reflective entanglements of “art about art.” The exhibit includes Bosman’s depiction of an abstract painter at work atop a ladder. His reimaginings of art historical classics in the painted installation Museum Wall (2015). Paintings of bourgeois interiors of artists’ houses (Ensor and Magritte); back paintings of paintings by other artists; paintings from artists’ studios; and his surrogate “portraits” of artists depicted as if they were doors.

Crime scene.

According to Bosman, the artist’s studio becomes something akin to a crime scene: where the activity of making art, or simply being an artist, could well be a matter of life or of death. (Literally in his imagination of Mark Rothko’s studio.) Like the existential protagonists of his earlier “black” paintings, who operated in the shadows and beyond the restraints of polite society. famous artists whose life paintings by Bosman commemorate – inc. Barnett Newman, Francis Bacon and Philip Guston, among others, are both misfits and iconoclasts.

Brad Phillips.

Writing about Bosman’s work recently, artist and writer Brad Phillips suggests, “Richard Bosman paints many subjects, many scenes and many moods, but the ones that seem missing from his work are peace of mind, serenity , security and relaxation. In this way… I came to see his work as being linked to the life of the artist. The artist’s life is eventful, beset with danger and instability. The human battle to conquer or survive the elements is no different from the artist’s battle to conquer or survive an encounter with a blank canvas.

 

 

Richard Bosman: Painters Painting

Richard Bosman: Painters Painting

Richard Bosman: Painters Painting

Nicelle Beauchene Gallery→  7 Franklin Place Lower Manhattan – New York, NY, USA 10013

 

 

 

 

 

 

 

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Edvard Munch:  Masterpieces from Bergen

Edvard Munch:  Masterpieces from Bergen

Edvard Munch:  Masterpieces from Bergen
The Courtauld Gallery – Until Sep 05, 2022 London (UK)

 

 

 

 

 

A major collection of works by Edvard Munch will be on display in the UK for the first time at the Courtauld Gallery. The Morgan Stanley: Edvard Munch exhibition. Bergen Masterpieces will run from May 27 to September 4, 2022 and is part of a partnership between The Courtauld and KODE art museums in Bergen, Norway. KODE in Bergen houses one of the largest Munch collections in the world. Originally collected in the early 20th century by Norwegian industrialist Rasmus Meyer (1858 – 1916), who collected Munch’s work during the artist’s lifetime.

18 paintings.

The exhibition will bring together some 18 paintings from this collection. The first time a full group of works from the collection have been seen outside of Norway. He will begin with the early seminal examples of Munch’s “realist” period in the 1880s that launched his career. Such as Morning (1884) and Summer Night (1889), a pivotal work that reflects the artist’s evolution into the expressive and psychologically charged work for which he became famous. These works set the stage for the highly expressive paintings of the 1890s. Evening on Karl Johan (1892). Melancholy (1894-96) and On the Deathbed (1895).

Artistic inspirations.

Courtauld’s permanent collection of Impressionist and Post-Impressionist masterpieces, displayed in the recently refurbished LVMH Great Room, will provide a rich backdrop for the exhibition. Revealing some of the artistic inspirations Munch encountered during his experimental years in Paris from 1889 to 1892. He discovered the modern styles of Gauguin, Toulouse Lautrec and Van Gogh.

Catalog.

The exhibition will be accompanied by a fully illustrated catalog with expert input from KODE and The Courtauld. This exhibition is sponsored by Morgan Stanley and supported by the AKO Foundation, with additional support from the Huo Family Foundation.

 

 

Edvard Munch:  Masterpieces from BergenEdvard Munch (1863-1944) House in Moonlight, 1895 | Giclee painting, Edvard munch, Modern graphic art440 idées de Peintures Edvard Munch | edvard munch, peinture moderne, peintre

The Courtauld Gallery →  Strand, Somerset House London, UK WC2R 0RN

 

 

 

 

 

 

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The Loss Of Human Face?

The Loss Of Human Face?

The Loss Of Human Face?
Gallery Villepin – Until Nov 30, 2022 Hong Kong

 

 

 

 

 

Throughout the history of art, works from Rembrandt to Modigliani, Van Gogh and Freud. The human face has long been both a source of attraction and repulsion. An expression of humanity and brotherhood but also portrayed with primitive violence and savagery. Through all of its figurative and abstract representations, the portrait has been used as a mirror of the world.

Five artists.

Starting a conversation between past and present, The Loss of Human Face? explores the meaning of human faces through these five Francis Bacon artists. Adrian Ghenie. Zeng Fanzi. George Condo and Yukimasa Ida. Presenting twenty major works in a transformed gallery space. Visitors will be confronted with the audacious canvases of these artists placed in dialogue with each other. As one of the most influential portrait painters of the early 20th century, Francis Bacon sets the scene for the exhibition. As his raw and disturbing canvases distort the faces of his subjects while exposing their inner psyches.

Collective memories.

Ghenie’s portraits are also distorted into gestural brushstrokes to re-examine our collective history and memory, while works in Zeng’s “Mask” series depict the social tensions and anxieties the artist has observed in modern China. . Conversely, Condo’s figures are rendered flat on the picture plane in grotesque and fanciful configurations, and Ida’s thickly painted canvases continue the historical backing with a futuristic perspective. This exhibition will also be the first presentation of Ida’s work in Hong Kong. All of these artists contribute to the global understanding of what humanity means. Through their diversity and varied backgrounds, they reveal intense rage. The anxiety, passion and ambition of our present time through their own unique visions.

 

The Loss Of Human Face?Zeng Fanzhi, Mask Series No. 26

Gallery Villepin →  53-55 Hollywood Road Central – Hong Kong, Hong Kong 999077

 

 

 

 

 

 

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Thomas Trum: Loops

Thomas Trum: Loops

Thomas Trum: Loops
The Hole – Until Jul 10, 2022 New York (US)

 

 

 

 

 

The Hole is proud to present the first solo exhibition in America of Dutch artist Thomas Trum. After debuting his fascinating mechanized paintings in group shows, we can finally bring the artist here to New York so he can present a mural installation as well.

Giant arch.

Captivated by a video of the artist at work, using a custom designed tool to spray a giant arch of color gradient across the wall, I was determined to expose the audience here to Trum’s unique work. Updating Sol Lewitt’s stereotypical murals, clashing with Cubism and Orphic design, while bringing his experience of street culture into play, Trum innovates in abstraction. By researching the material qualities of painting and creating new ways to deploy them. He appropriates street painting devices. Oversized markers from graffiti and graphic design, often fitted with drills or bicycle chains in his experiments on how to make a line.

The machine.

The murals feature a spray swing arm that he spins as he pushes the machine through the gallery. Drops and rapids, they are intended to be expressive and influenced by fortuitous imperfections. The paintings on canvas are made with a giant squeegee and a special ink controlled very precisely by the hand of the artist. Here imperfections are not welcome and the geometry must be precise.

 

 

Thomas Trum: LoopsThomas Trum: LoopsThomas Trum: LoopsThomas Trum: Loops

The Hole →  312 Bowery Soho – New York, NY, USA 10012

 

 

 

 

 

 

 

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Ron Mueck: mass

Ron Mueck: mass

Ron Mueck: mass

NGV Australia & The Ian Potter Center – Until Jan 15, 2023 Melbourne (Australia)

 

 

 

 

 

Born in Australia, Ron Mueck has been creating hyper-realistic figurative sculptures since his debut as an artist in 1997. His work is known for his attention to detail, choice of subjects and use of scale.

Human skull.

Originally commissioned for the 2017 NGV Triennial, Mass, which includes 100 large-scale resin sculptures of the human skull, is a momentous and confronting work.

Throughout history, the skull has been a powerful symbol in the aesthetic lexicon of almost every culture. It features prominently in Renaissance art. Particularly in the Dutch still life and vanitas tradition of the 16th and 17th centuries, where the skull represents the ephemeral. The skull has also been used in other ways. In the skull and crossbones of the pirate Jolly Roger, and as a sign of Halloween and Day of the Dead.

Contemporary.

In a contemporary context, the Mass has a particular resonance. As the world grapples with enormous and increasingly intense challenges. The atrocity of war, pestilence, climate change, floods, fires and famine. It is a poignant monument for our times.

 

 

Ron Mueck: mass

NGV Australia→  Federation Square Melbourne, Australia 8004

 

 

 

 

 

 

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Anthony Gormley: Asian Field

Anthony Gormley: Asian Field

Anthony Gormley: Asian Field
M+ Gallery  – Until Jul 03, 2022 Hong Kong (China)

 

 

 

 

 

In 2003, British artist Antony Gormley invited around 300 people of all ages from Xiangshan Village (now Huadong Town in Guangzhou City) to make around 200,000 clay figurines in five days. There were three simple instructions: each figure had to be hand-sized, able to stand, and have two eyes. Otherwise, each manufacturer was free to improvise. As an installation, Asian Field is meant to be experienced from one point of view. When you gaze upon a sea of ​​figures, they seem to be looking back.

1989.

This installation belongs to Field, a series that Gormley started in 1989. Other versions of Field have been produced in Australia, North and South America, the United Kingdom and Europe. In each location, the artist uses locally sourced clay and engages local communities to mold the figures by hand. By far the largest and most ambitious work in the series, Asian Field reflects the vast territory and large population of China.

Zhang Hai’er.

This presentation also features the work of photographer Zhang Hai’er, who captured and documented the making of Asian Field. Zhang paired each creator and one of their works in a series of photographic portraits. The subjects of the portrait stared intently into the camera, allowing us to imagine how their character and attitude might be transferred into the characters they created.

 

 

Pin on Interesting ArtworkPin on Antony Gormley

M+→  West Kowloon Cultural District Hong Kong

 

 

 

 

 

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Calder: Gouache

Calder: Gouache

Calder: Gouache
Opera Gallery – May 13 to June 04, 2022 Geneva (Switzerland)

 

 

 

 

 

 

Opera is delighted to present an exhibition of gouaches on paper by Alexander Calder. The artist developed a passion for gouaches and works on paper very early on. Appreciating how easily he can manipulate the surface. He experiments on a smaller scale than his mobiles and sculptures. The nine works exhibited in an immersive scenography demonstrate the mastery of the line. Calder’s strong compositional balance and sense of color.

 

 

Calder: Gouache34 idées de Calder | alexander calder, abstrait, peinturehirshhorn | Alexander calder, Calder, Art exhibition

Opera Gallery→  https://www.operagallery.com/

 

 

 

 

 

 

 

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Cindy Sherman: 1977–1982

Cindy Sherman: 1977–1982

Cindy Sherman: 1977–1982
Hauser & Wirth N.Y – from May 04 to July 29, 2022 New York, (US)

 

 

 

 

 

With her early works, Cindy Sherman revolutionized the role of the camera in artistic practice. She opened the door for generations of artists and critics to rethink photography as a medium. On May 4, 2022, Hauser & Wirth New York will present over one hundred works from Sherman’s most groundbreaking and influential early series. Including the Untitled Film Stills. Rear Screen Projections and Centerfolds – in his first major solo exhibition with the gallery. Preferring to work alone, Sherman was not just the photographer. However, she has also taken on the role of makeup artist, hairstylist, stylist and director. Posing as the star of heavily staged fictional tableaux. Inspired by the depictions of women in television, film and advertising.

Female stereotypes.

Her characters explored a range of female stereotypes. Femme fatale, career girl, housewife, etc. – to confront the nature of identity and representation in media in a way that still feels fresh and relevant today. Created over forty years ago, these powerful and enigmatic bodies are cornerstones of contemporary art that continue to inspire and influence the course of art and image-making.

 

 

Cindy Sherman: 1977–19828 Cindy Shermann ideas | cindy sherman, untitled film stills, cindy sherman photographyMoMA | Cindy Sherman | Gallery 2 | Cindy sherman, Cindy sherman photography, Untitled film stillsHauser & Wirth N.Y→  32 East 69th Street Upper East Side – New York, NY, USA 10021

 

 

 

 

 

 

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Michael Heizer

Michael Heizer

Michael Heizer
Gagosian Gallery – Until Apr 16, 2022 New-York (US)

 

 

 

 

 

The rocks are replacements for the art object—something in lieu of a consciously created, highly surfaced, highly detailed, academically studied work of fine art. A piece of rock in exchange for all that. What carries it? Massive weight.
Michael Heizer

Gagosian is pleased to present an exhibition of five new sculptures by Michael Heizer from the Rock/Steel series (2017–) along with five new works on paper.

Studio in Nevada.

The sculptures on view in the gallery at 522 West 21st Street were made at Heizer’s studio in Nevada over a four-year period. They combine angular steel structures with rocks ranging from 14 to 23 tons in weight, which were extracted from a quarry in Riverside, California. The rocks and steel in conjunction weigh from 27 to 40 tons. The interplay between these two differently textured and colored components, and between the positive and negative spaces they establish, is key to the works’ impact, as is the relationship of the viewer’s body to their monumental heft. The Rock/Steel works relate to sculptures from throughout Heizer’s life’s work. These include Negative Megalith #5 (1998), which is on long-term loan to Dia Beacon from the Menil Collection, Houston; Levitated Mass (2012) at the Los Angeles County Museum of Art; Displaced/Replaced Mass (1969–77), in the collection of the University of California, Los Angeles; and Elevated, Surface, Depressed (1969–77), in the Margulies Collection, Miami; as well as other works in private collections.

Five sculptures on view.

Over the past five decades, Heizer has redefined the possibilities of sculpture through a focus on scale, mass, and process. His earth-moving constructions, paintings, and drawings explore the relationships between positive and negative space with unique force, evoking a sense of transcendence. In the five sculptures on view, Heizer continues to pursue this endeavor, exploring other ideas regarding geology in five accompanying works on paper. The latter feature enlarged images of volcanic ejecta from Mono Lake, California, which have been screenprinted, sprayed with gouache, and worked in paint stick and colored pencil. These works were completed recently, some two decades after they were begun.

Displacement paintings.

As a young artist in 1960s New York, Heizer was making shaped geometric canvases which he called “displacement paintings” or “negative paintings.” In 1967, in the Sierra Nevada mountains, he excavated cuts in the earth, translating his earlier paintings into three-dimensional form. Such “sculptures in reverse” became the basis of an artistic strategy in which Heizer used the land as his medium. In 1970, he began City, a project in the Nevada desert inspired in part by Native American traditions of mound building and the pre-Colombian ritual cities of Central and South America. Other major bodies of work include “negative wall sculptures” featuring rocks set into negative rectangular voids and various underground works with rocks in concrete liners.

Range National Monument in Nevada.

Heizer’s land sculpture City (1970–), located within the Basin and Range National Monument in Nevada, is operated by the Triple Aught Foundation. It is not yet open for public visitation.

 

 

Michael HeizerPin on ArtPin on ArtGagosian (@Gagosian) / Twitter

Gagosian →  522 West 21st Street New York, ny 10011

 

 

 

 

 

 

 

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