Exhibition of works by John Newsom opens at Marc Straus

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2014, Divine Abode, Eon to Epoch (no. 2), Harbor in the Tempest, John Newsom, Midday at Midnight, Newcomer, Pride of Place, Rogue Arena, Valiant Repose

John Newsom, Rogue Arena, 2014. Oil on Canvas, 108 x 180 inches / 274.3 x 457.2 cm. © MARC STRAUS LLC

NEW YORK, NY.– John Newsom is a mid-career painter in full power. Beneath his thick and sensuous painted renderings of flora and fauna, is a grappling with the giants of abstraction. In Newsom’s 2015 catalog of work from the past 10 years to the present exhibition, critic Barry Schwabsky writes in his essay, « what keeps ‘strong painting’ from becoming merely muscle bound – is Newsom’s secret weapon: the discipline that comes from considering himself, not a painter of images, but rather an abstractionist…to appreciate his paintings is…to engage with their surfaces of purely sensual incident.”

John Newsom, Pride of Place, 2014. Oil on Canvas, 108 x 180 inches / 274.3 x 457.2 cm. © MARC STRAUS LLC

Most importantly, Newsom has honed his own mark-making language, a push and pull of soft and fierce, beautiful and menacing, under-drawing and thick overlays. He has developed a personal vocabulary that incorporates dichotomies, that strikes harmonious balances between contradictory forces. In his most ambitious painting to date, a 9 x 15 foot black and white oil painting of a Bengal tiger, Newsom’s work rests between heaven and hell: the animal is ethereal, omnipotent, terrifying, and lovable. The soft chiaroscuro is poised against the grittiness of thick passages of paint. This is not a work of realism; it stands powerfully as a symbol for moments that are life-affirming.

John Newsom, Midday at Midnight, 2014. Oil on Canvas, 84 x 144 inches / 214 x 366 cm. © MARC STRAUS LLC

John Newsom (b. 1970, Hutchinson, Kansas), received his BFA from the Rhode Island School of Design, 1992 and his MFA from New York University in 1994. Concurrent to this solo show at MARC STRAUS is a 10 year survey at MANA Contemporary in Jersey City, NJ. Other solo presentations include: The Richard J. Massey Foundation, New York 2011-2012; Patrick Painter Inc., Los Angeles, 2011; Lattuada Gallery, Milan, 2009. His work has been included in many group exhibits including the Nevada Museum of Art, 2014; WhiteBox, New York, EXIT ART, and The Hudson Valley Center for Contemporary Art, Peekskill, NY, 2011. His work is in numerous collections including the Brooklyn Museum, New York; Whitney Museum of American Art, New York; Hammer Museum, Los Angeles; San Francisco Museum of Modern Art, San Francisco; Neuberger Museum of Art, Purchase, NY, New York; and the Yale University Art Gallery, New Haven. John Newsom is represented by MARC STRAUS, NY, and Patrick Painter, L.A.

John Newsom, Divine Abode, 2014. Oil on Canvas, 48 x 48 inches / 121.9 x 121.9 cm. © MARC STRAUS LLC

John Newsom, Harbor in the Tempest, 2014. Oil on Canvas, 48 x 48 inches / 121.9 x 121.9 cm. © MARC STRAUS LLC

John Newsom, Eon to Epoch (no. 2), 2014. Oil on Canvas, 84 x 84 inches / 213 x 213 cm. © MARC STRAUS LLC

John Newsom, Newcomer, 2014. Oil on Canvas, 48 x 48 inches / 122 x 122 cm. © MARC STRAUS LLC

John Newsom, Valiant Repose, 2014. Oil on Canvas, 72 x 72 inches / 183 x 183 cm. © MARC STRAUS LLC

Meijer Gardens acquires major work by prominent and provocative sculptor Ai Weiwei

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2013, Ai Weiwei. Iron Tree, Meijer Gardens

Ai Weiwei. Iron Tree, 2013. Iron and stainless steel, 264 x 264 x 264 inches. Photo by Dean Van Dis.

GRAND RAPIDS, MICH.– Frederik Meijer Gardens & Sculpture Park announces the acquisition and permanent siting of a major work by one of the most renowned cultural and political figures in the world, Ai Weiwei.The large-scale piece, Iron Tree, is the artist’s largest and most complex outdoor sculpture to date.

Standing at more than 22 feet tall, and measuring more than 22 feet wide, this sculpture is composed of 99 unique iron pieces cast from individual tree elements from southern China. Held together with oversize stainless steel bolts, Iron Tree appears as a living tree in form, but upon closer examination, the diversity of shapes, exaggeration of reality and awkwardness of the bolts create a much different image.

“The opportunity to acquire such a profoundly important work by one of the most significant artists of our time is a truly momentous occasion,” said Joseph Becherer, vice president and chief curator at Meijer Gardens.

Meijer Gardens has been working in collaboration with the artist, his Beijing studio and foundry, and London gallery to bring this colossal work to Grand Rapids. Iron Tree will be dedicated in the Sculpture Park on April 20 at 6:30 p.m. also marking the organization’s 20th anniversary. Following the dedication, a lecture about the controversial artist and his career will be given by Joseph Becherer, chief curator and vice president.

As a sculptor, author and installation artist, Weiwei is one of the most versatile and respected artists in Contemporary art. Although stripped of his passport and confined to limited travel within China, his work has been exhibited across the globe to widespread claim. His work ranges from single objects to large installations to historic collaborations like the Beijing National Stadium or “Bird’s Nest” for the 2008 Olympics. As an activist, he has been a champion of free speech and human rights around the world and highly critical of the Chinese government leading to his imprisonment and house arrest.

“Although the artist is unable to travel, we have worked very closely with him to place the work and develop the site,” described Becherer.

Iron Tree was made possible through the generosity of Fred and Lena Meijer.

Ai Weiwei (b. 1957, Beijing) spent his childhood in forced exile. He moved to New York in 1981 returning to his ailing father in Beijing in 1993 where he continues to work and live, under restrictions. He is widely respected as one of the most versatile and influential artists of our time. A prolific artist, architect, author and activist, Weiwei is a vocal critic of China’s record on democracy and human rights and in 2011 was arrested and held for 81 days without charge, prompting worldwide official and public protest. His 2013 heavy metal video Dumbass (from the album The Divine Comedy) describes explicitly his treatment during detention. Recent and current solo exhibitions include those in Berlin, London, Miami, Brooklyn and San Francisco. 

« La Toilette, Naissance de l’Intime » au musée Marmottan Monet

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"Après le bain", "Devant la psyché", "Etude pour une photographie publicitaire", "Femme au miroir", "Femme dans son bain s’épongeant la jambe", "Femme peignant ses cheveux", "Gaby d'Entrées", "Jeune femme à sa toilette", "Jeune femme nue, "Karen Mulder portant un très petit soutien-gorge Chanel, "La Femme à la puce", "La toilette : Madame Favre (femme se faisant les mains)", "L’enfant gâté", "Le Bain, "Le rouge à lèvres", "Les femmes à la toilette", "Nu au tub", "Nu dans la baignoire", "Portrait présumé de Gabrielle d’Estrées et la Duchesse de Villars au bain", "Une dame à sa toilette", "Vanité" ou "Jeune femme à la toilette", 1638, 1738, 1742, 1885-1890, 1890, 1891, 1897, 1898, 1902, 1903, 1908, 1920, 1927, 1948, 1965, 1996, 30 avril 1936, Alain Jacquet, École de Fontainebleau, à mi-corps, Berthe Morisot, Bettina Rheimsve, Circa 1626, dit Cagnaccio di San Pietro, Edgar Degas, en train de se peigner", Erwin Blumenfeld, Eugène Lomont, Femme a la Montre, femme nue couchée", Fernand Léger, Fin du XVIème siècle, François Boucher, François Eisen, František Kupka, Georges de La Tour, Henri de Toulouse-Lautrec, janvier 1996, musée Marmottan Monet, Natalino Bentivoglio Scarpa, Nicolas Régnier, Pablo Picasso, Paris, Pays-Bas du Sud, Pierre Bonnard, Salomon de Bray, tenture de la vie seigneuriale", Théophile Alexandre Steinlen, Vers 1500, Vers 1635, Vers 1883, Wladyslaw Slewinski

Nicolas Régnier, « Vanité » ou « Jeune femme à la toilette« , Circa 1626. Huile sur toile, 130 x 105,5 cm, Lyon, Musée des Beaux-Arts © 2014 DeAgostini Picture Library/Scala, Florence

PARIS – Après avoir célébré les quatre-vingts ans de l’ouverture du musée au public à travers les deux expositions temporaires « Les Impressionnistes en privé » et « Impression, soleil levant », le musée Marmottan Monet présente du 12 février au 5 juillet 2015 la première exposition jamais dédiée au thème de La Toilette et à La Naissance de l’Intime.

Edgar Degas, « Femme dans son bain s’épongeant la jambe« , Vers 1883. Pastel sur monotype, 19,7 x 41 cm, Paris, musée d’Orsay, legs du comte Isaac de Camondo, 1911 © RMN-Grand Palais (musée d’Orsay) / Hervé Lewandowski

L’exposition réunit des œuvres d’artistes majeurs du XVe siècle à aujourd’hui, concernant les rites de la propreté, leurs espaces et leurs gestuelles.

Edgar Degas, « Après le bain« , 1903. Fusain et rehauts sur papier, 71 x 71 cm, Suisse, Collection Nahmad © Suisse, Collection Nahmad / Raphaël BARITHEL

C’est la première fois qu’un tel sujet, unique et incontournable, est présenté sous forme d’exposition. Dans ces œuvres qui reflètent des pratiques quotidiennes qu’on pourrait croire banales, le public découvrira des plaisirs et des surprises d’une profondeur peu attendue.

Pays-Bas du Sud, « Le Bain, tenture de la vie seigneuriale« , Vers 1500. Laine et soie, 285 x 285 cm, Paris, musée de Cluny – Musée national du Moyen Age © RMN Grand Palais (musée de Cluny – musée national du Moyen-Âge) / Franck Raux

Des musées prestigieux et des collections internationales se sont associés avec enthousiasme à cette entreprise et ont consenti des prêts majeurs, parmi lesquels des suites de peintures qui n’avaient jamais été montrées depuis leur création.

Pierre Bonnard, « Nu dans la baignoire » – Sans date (vers 1940?). Aquarelle et gouache sur papier, 23,5 x 31,5 cm, Collection particulière, courtesy Galerie Bernheim-Jeune, Paris © Galerie Bernheim-Jeune, Paris / Christian Baraja ADAGP, Paris 2015

Une centaine de tableaux, des sculptures, des estampes, des photographies et des images animées (« chronophotographies ») permettent de proposer un parcours d’exception.

Pierre Bonnard, « Nu au tub », 1903. Huile sur toile, 44 x 50 cm, Toulouse, Fondation Bemberg © RMN-Grand Palais / Mathieu Rabeau, ADAGP, Paris 2015

L’exposition s’ouvre sur un ensemble exceptionnel de gravures de Dürer, de Primatice, de peintures de l’Ecole de Fontainebleau, parmi lesquels un Clouet, l’exceptionnelle Femme à la puce de Georges de La Tour, un ensemble unique et étonnant de François Boucher, montrant l’invention de gestes et de lieux spécifiques de toilette dans l’Europe d’Ancien Régime.

Henri de Toulouse Lautrec, « La toilette : Madame Favre (femme se faisant les mains)« , 1891. Peinture à l’essence sur carton, 72 x 76 cm, Suisse, Collection Nahmad © Suisse, Collection Nahmad / Raphaël BARITHEL

Dans la deuxième partie de l’exposition, le visiteur découvrira qu’avec le XIXe siècle s’affirme un renouvellement en profondeur des outils et des modes de la propreté. L’apparition du cabinet de toilette, celle d’un usage plus diversifié et abondant de l’eau inspirent à Manet, à Berthe Morisot, à Degas, à Toulouse Lautrec et encore à d’autres artistes, et non des moindres, des scènes inédites de femmes se débarbouillant dans un tub ou une cuve de fortune. Les gestuelles sont bouleversées, l’espace est définitivement clos et livré à une totale intimité, une forme d’entretien entre soi et soi se lit dans ces œuvres, d’où se dégage une profonde impression d’intimité et de modernité.

František Kupka, « Le rouge à lèvres« , 1908. Huile sur toile, 63,5 x 63,5 cm, Paris, Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, don d’Eugénia Kupka, 1963 © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Jean-Claude Planchet ADAGP, Paris 2015

La dernière partie de l’exposition livre au visiteur l’image à la fois familière et déconcertante de salles de bains modernes et « fonctionnelles » qui sont aussi, avec Pierre Bonnard, des espaces où il est permis, à l’écart du regard des autres et du bruit de la ville, de s’abandonner et de rêver.

La Toilette, Naissance de l’intime. Du 12 février au 5 juillet 2015. Musée Marmottan, 2, rue Luis-Boilly – 75016 Paris. Ouvert du mardi au dimanche de 10h à 18h (20h jeudi)

François Boucher, « L’enfant gâté« , 1742 ? Ou années 1760 ?. Huile sur toile, 52,5 x 41,5 cm, Karlsruhe, Staatliche Kunsthalle Karlsruhe © akg-images

François Boucher, « L’Œil indiscret » ou « La Femme qui pisse« , 1742 ? Ou années 1760 ?. Huile sur toile, 52,5 x 42 cm, Collection particulière © Christian Baraja

Abraham Bosse (d’après), « La Vue (femme à sa toilette)« , Après 1635. Huile sur toile, 104 x 137 cm © Tours, musée des Beaux-Arts

François Eisen, « Jeune femme à sa toilette« , 1742. Huile sur bois, 36,5 x 27,3 cm, Abbeville, Musée d’Abeille © RMN-Grand Palais /Thierry Ollivier

François Boucher, « Une dame à sa toilette« , 1738. Huile sur toile, 86,3 x 76,2 cm, Collection particulière © Image courtesy of P & D Colnaghi & Co, Ltd, London

Edgar Degas, « Après le bain, femme nue couchée« , 1885-1890. Pastel sur papier, 48,3 x 82,3 cm, Suisse, Collection Nahmad © Suisse, Collection Nahmad / Raphaël Barithel

Eugène Lomont, « Jeune femme à sa toilette« , 1898. Huile sur toile, 54 x 65 cm, Beauvais, Musée départemental de l’Oise © RMN Grand Palais / Thierry Ollivier

Georges de La Tour, « La Femme à la puce« , 1638. Huile sur toile, 121 x 89 cm, Nancy, Musée Lorrain © RMN-Grand Palais / Philippe Bernard

Salomon de Bray, « Jeune femme nue, à mi-corps, en train de se peigner« , Vers 1635. Huile sur bois, 54 x 46 cm, Paris, musée du Louvre, département des peintures, don de la Société des Amis du Louvre, 1995 © RMN-Grand Palais (musée du Louvre) / Gérard Blot

Anonyme (École de Fontainebleau), « Portrait présumé de Gabrielle d’Estrées et la Duchesse de Villars au bain« , Fin du XVIème siècle. Huile sur toile, 63,5 x 84 cm, Montpellier, Musée Languedocien, Collections de la société Archéologique de Montpellier © Musée de la Société Archéologique, Montpellier, France / Giraudon / Bridgeman Images

Alain Jacquet, « Gaby d’Entrées« , 1965. Sérigraphie quatre couleurs sur toile, 119 x 172 cm, Courtesy Comité Alain Jacquet et Galerie GP & N Vallois, Paris © Comité Alain Jacquet ADAGP, Paris 2015

Bettina Rheimsve, « Karen Mulder portant un très petit soutien-gorge Chanel, janvier 1996, Paris« , 1996. C-print, 120 x 120 cm, Signé au dos sur le cartel, Paris, collection de l’artiste © Bettina Reims copyright Studio Bettina Rheims

Pablo Picasso, « Femme à la montre« , 30 avril 1936. Huile sur toile, 65 x 54,2 cm, Paris, musée Picasso -Dation Pablo Picasso, 1979 © RMN-Grand Palais / René-Gabriel Ojéda, © Administration Picasso 2015

Natalino Bentivoglio Scarpa, dit Cagnaccio di San Pietro, « Femme au miroir« , 1927. Huile sur toile, 80 x 59,5 cm, Vérone, collezione della Fondazione Cariverona © collezione della Fondazione Cariverona, Italy

Fernand Léger, « Les femmes à la toilette« , 1920. Huile sur toile, 92,3 x 73,3 cm, Suisse, Collection Nahmad © Suisse, Collection Nahmad / Raphaël BARITHEL ADAGP, Paris 2015

Erwin Blumenfeld, « Etude pour une photographie publicitaire« , 1948. Dye transfer, 51 x 41,5 cm, Signé en bas à droite, Paris, Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, achat en 1986 © Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Christian Bahier / Philippe Migeat, © Estate of Erwin Blumenfeld

Berthe Morisot, « Devant la psyché« , 1890. Huile sur toile, 55 x 46 cm © Fondation Pierre Gianadda, Martigny

Wladyslaw Slewinski, « Femme peignant ses cheveux« , 1897. Huile sur toile, 64 x 91 cm, Cracovie, musée national © Photographic Studio of the National Museum in Krakow / Jacek Świderski

Théophile Alexandre Steinlen, « Le bain« , 1902. Pastel , 49, 5 x 64, 6 cm, Musée cantonal des Beaux-Arts de Lausanne / J.-C. Ducret Acquisition 1936 © Musée cantonal des Beaux-arts de Lausanne

Olivier Debré, Bleu vert pâle de Klagenfurt

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Bleu vert pâle de Klagenfurt, Olivier Debré

Olivier Debré, Bleu vert pâle de Klagenfurt. Estimation 3 000 € – 4 000 €€. Photo TESSIER & SARROU

Huile sur toile. Titré, signé et daté 94 au dos; 24 x 33 cm

TESSIER & SARROU. JEUNE CREATION CONTEMPORAINE. Samedi 7 février à 14h00 à PARIS. Contact : FLORENT BARBAROSSA Tél. : 01 40 13 02 57 – Fax : 01 42 33 61 94  – mail@neret-tessier.com

New takes on modern design, William Wegman’s art are highlights at Krannert Art Museum

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“10104 Angelo View Drive”, “Hopper Origami”, “In the Bauhaus”, “Untitled Project: Eames Armchair Rocker (+ Walden)”, Conrad Bakker, Dorit Margreiter, William Wegman

“Untitled Project: Eames Armchair Rocker (+ Walden)” by Conrad Bakker, 2012. Oil on carved maple wood. | Photo courtesy of © Conrad Bakker.

CHAMPAIGN, ILL.- Modernism has ignited a new passion among designers and collectors, who value the movement’s objects as historical icons. It also has inspired artists who are using modernist design objects in their own work to comment on the movement’s cultural significance. That artwork forms the exhibition “MetaModern,” opening at Krannert Art Museum on Jan. 29. It is one of five temporary exhibitions at the museum. The opening night reception is 6 p.m. Jan. 29, with comments by “MetaModern” co-curators Ginger Gregg Duggan and Judith Hoos Fox.

“As early as 2003, we were seeing work that started to focus on this idea of reinterpreting or modifying modernism by artists that were too young to grow up with it,” Duggan said. “It’s been just long enough, approximately 90 years since Bauhaus came about, to have some historical perspective.”

Duggan said the current artists interpreting modernism are manipulating the objects themselves – modifying or transforming or even destroying them in ways that comment on modernism.

For example, Conrad Bakker, a painter, sculptor and University of Illinois art professor, has a series of paintings in the exhibition called “Untitled Project: eBay (Ding).” They are based on modernist objects for sale on eBay and the photographs documenting damage to those objects.

“Instead of looking at a Mies van der Rohe chair for its beauty, he’s looking at a closeup of a crack in its leather,” Duggan said. “A lot of modernism is about machined surfaces and perfection. He’s shining a light on human presence and what we do to these objects.”

The exhibition includes “My Decoy” by Brian Jungen, in which he transformed a Verner Panton cone chair into a Native American drum; a video projection by Josiah McElheny based on the J. and L. Lobmeyr chandeliers from New York City’s Metropolitan Opera House; and William Cordova’s “Endless Column,” which reproduces Constantin Brancusi’s 1918 “Endless Column,” reconstructing it from lampshades.

Krannert Art Museum is the first of six locations around the country that will present the “MetaModern” exhibition.

“Hopper Origami” by William Wegman, 2014. Oil and postcards on wood panel. | Photo courtesy of © William Wegman.

Also opening Jan. 29 is an exhibition of work by artist William Wegman that will include a number of his photographs of Weimaraners, for which he is best-known.

The exhibition, titled “Artists Including Me: William Wegman,” will include photographs, drawings and paintings. It will feature some of his paintings from the last 10 years, in which he used postcards to create narratives about what might be happening beyond the frame. It also will include work that relates to other well-known artists or artwork, often in a humorous way.

“There are some great paintings that reference the expressionist Wassily Kandinsky and others that playfully relate to Edward Hopper,” said Kathryn Koca Polite, co-curator of the exhibition with museum director Kathleen Harleman.

“I’m not really making fun of great art, but I’m playing with it, I suppose,” Wegman said. “That’s something that I would have avoided in 1970 and the late 1960s – I didn’t want any art references. I thought that was cheap to make fun of or to appropriate other art, and I didn’t really care for that. I’m just sort of admiring it and using it now, and spending as much time thinking about it and being around it – it’s kind of natural to me.”

Wegman, who earned his master of fine arts degree from the U. of I. School of Art and Design, will be at Krannert Art Museum for an artist talk at 5:30 p.m. March 5.

“In the Bauhaus” by William Wegman, 1999. Color Polaroid. Photo courtesy © William Wegman.

Both the Wegman exhibition and another new exhibition, “Versions and Revisions,” include pieces that relate to recognizable artists or styles, in the same way the artists in the “MetaModern” exhibition “are riffing directly from these iconic modern designs,” Koca Polite said. She curated the “Versions and Revisions” exhibition, which opens with the others on Jan. 29. The exhibition features works from the 1960s through the early 2000s that are part of the museum’s permanent collection.

“Speculative Visions of Pragmatic Architecture” is curated by U. of I. architecture professor Jeffery Poss and features the work of four U. of I. faculty members in the School of Architecture’s Detail and Fabrication program. Their work focuses on the process of making and the evolution of ideas manifested in physical form.

A second portion of the “Speculative Visons” exhibition highlights the design and preservation work of architecture professor Erik Hemingway. “Erik Hemingway Modernism” documents Hemingway’s preservation work on mid-century homes in Illinois and California.

“10104 Angelo View Drive” by Dorit Margreiter, 2004. Video, transferred to a media file. | Photo courtesy of © Dorit Margreiter and Museum Moderner Kunst, Vienna, Austria

Continuing at the museum through May 17 is a significant exhibition of Japanese prints, curated by U. of I. art history professor Anne Burkus-Chasson. “With the Grain: Japanese Woodblock Prints from the Postwar Years” examines the deep history of this diverse art form and the ways in which these prints helped shape perceptions of Japanese culture outside of Japan.

Galerie Bastian at TEFAF 2015 Modern (13-22 March 2015)

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'Unicorn-The Dream is dead', Andy Warhol, Car Crash, Damien Hirst, TEFAF 2015 Modern

Andy Warhol (McKeesport 1928-1987 Manhattan), Car Crash. Screenprint on Curtis Rag paper. Unique print, 53.4 x 92.4 cm. Inscription with pencil, verso, ‘WP890.22’. Stamped ‘Authenticated Estate of Andy Warhol’ and ‘Andy Warhol Enterprises, Inc. 1978’, 1978. Galerie Bastian (stand 529). TEFAF 2015 Modern (13-22 March 2015)

Provenance: The Estate of Andy Warhol; The Andy Warhol Foundation for the Visual Arts

Literature: Exh. cat. Andy Warhol. Unique Prints from the Estate of Rupert Jasen Smith, Vrej Baghoomian Gallery, New York, 1991, n.n., ill. n.p; Frayda Feldmann, Jörg Schellmann, Andy Warhol Prints. A Catalogue Raisonné 1962-1987, Munich/New York 1997, cat. III A9[a], ill. p. 232; Exh. cat. Hommage à Cy Twombly, Galerie Bastian, Berlin, 2012, n.n. ill. n.p.

Exhibitions: New York, Vrej Baghoomian Gallery, Andy Warhol. Unique Prints from the Estate of Rupert Jasen Smith, 16 March-13 April 1991; Berlin, Galerie Bastian, Hommage à Cy Twombly, 24 Nov. 2012-23 Feb. 2013

Damien Hirst (Bristol, 1965) Unicorn-The Dream is dead. Silver, glass container, water; 251 x 142 x 60 cm. AP (Edition of 3 + 1 AP). Inscription embossed on the edge of the table ‘UNICORN The Dream is dead Damien Hirst A/P’ 2005. Galerie Bastian (stand 529). TEFAF 2015 Modern (13-22 March 2015)

Provenance: Galería Hilario Galguera, Mexico City

Literature: Exh. cat. The Death of God. Towards a Better Understanding of a Life Without God Aboard the Ship of Fools, Galería Hilario Galguera, Mexico City, 2006, ill. p. 47; Exh. cat. Damien Hirst. Void, Ausstellungsraum Céline und Heiner Bastian, Berlin, 2008, cat. 8, ill. p. 44f

Exhibitions: Mexico City, Galería Hilario Galguera, The Death of God. Towards a Better Understanding of a Life Without God Aboard the Ship of Fools, 2 Feb.-27 Aug. 2006; Berlin, Ausstellungsraum Céline und Heiner Bastian, Damien Hirst. Void, 10 Nov. 2007-29 Feb. 2008

Galerie Bastian. Directors: Heiner Bastian, Dr Aeneas Bastian, Coraly von Bismarck

Philippe Cognée exhibits his work for the first time in Brussels at Galerie Daniel Templon

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Philippe Cognée

Philippe Cognée, Foule au crépuscule, 2014. Wax painting on canvas, 153 x 200 cm / 60 1/4 x 78 3/4 in. Courtesy Galerie Daniel Templon, Paris & Brussels. © Philippe Cognée.

BRUSSELS.- Painter Philippe Cognée, one of the most important French artists of his generation, is exhibiting his work for the first time in Brussels, at Galerie Daniel Templon. The exhibition features a previously unseen series of urban landscapes under surveillance.

Philippe Cognée, Maison à la porte bleue, 2014, wax painting on canvas, 153 x 153 cm, 60 1/4 x 601/4 in. Courtesy Galerie Daniel Templon, Paris & Brussels. © Philippe Cognée.

Philippe Cognée has spent the last twenty years exploring the possibilities of “thinning away the image”. He has developed a wholly original practice that starts with a photographed image – digital, video or taken with a camcorder or telephone – which he then uses to create canvases that verge on the abstract. They are based on paint mixed with wax that is heated and crushed, producing a blurred yet shimmering effect. Philippe Cognée’s artistic journey has led him to encounter a reality that is both stark and commonplace, a reality made up of motorways, suburbs, industrial abattoirs, supermarket shelves and recycling plants. He draws on this encounter to paint a remarkable portrait of a reality described by Guy Tosatto as “signposted and indefinable”.

Philippe Cognée, Pas de porte à vendre à Charleroi, 2014, wax painting on canvas, 153 x 153 cm, 60 1/4 x60 1/4 in. Courtesy Galerie Daniel Templon, Paris & Brussels. © Philippe Cognée.

Philippe Cognée questions the role of painting in a society where the internet and new digital technologies have ushered in the era of the image, both omnipresent and diminished. In response to the sweeping but vague views of the world offered by systems such as Google, satellite surveillance and the proliferation of images taken by mobile devices, Philippe Cognée explores the power of painting to transcend the ordinariness of daily life.

Philippe Cognée, One Way, 2014, wax painting on canvas, 100 x 160 cm, 39 3/8 x 63 in. Courtesy Galerie Daniel Templon, Paris & Brussels. © Philippe Cognée.

Born in 1957, Philippe Cognée lives and works in Nantes. A graduate of the Nantes Ecole des Beaux Arts, he was a Villa Médicis prize-winner in 1990 and nominee for the 2004 Marcel Duchamp Prize. He has been teaching at the Ecole Nationale Supérieure des Beaux Arts in Paris since 2005.

Philippe Cognée, Maisons, 2015, wax painting on canvas, 153 x 153 cm, 60 1/4 x 601/4 in. Courtesy Galerie Daniel Templon, Paris & Brussels. © Philippe Cognée.

His work has been the subject of numerous solo exhibitions, including at the Angers Musée des Beaux Arts in 2005, MAMCO (Museum of Modern and Contemporary Art), Geneva, in 2006 and the Haute-Normandie regional contemporary art collection in 2007. He took part in the Le réel est inadmissible exhibition at the Hangar à Bananes art centre in Nantes in 2011, the year in which he also unveiled Echo, a major public commission for the Château de Versailles. The Musée de Grenoble held a major retrospective of his work in 2013. That same year, he also featured in the Vues d’en haut exhibition at the Centre Pompidou Metz. In 2014, he exhibited his work at Château de Chambord, in the Loire Valley.

Philippe Cognée, Maison, 2014, wax painting on canvas, 153 x 125 cm, 60 1/4 x 49 1/4 in. Courtesy Galerie Daniel Templon, Paris & Brussels. © Philippe Cognée.

His works feature in many famous collections, including at the Musée National d’Art Moderne – Centre Pompidou and Fondation Cartier in Paris, and the Museum Ludwig in Cologne.

Galerie Daniel Templon, 13 A rue Veydt – 1060 Bruxelles. Hours : Tuesday to Saturday from 11 am to 6 pm

Philippe Cognée, Foule à l’Aube, 2015, wax painting on canvas, 153 x 225 cm. Courtesy Galerie Daniel Templon, Paris & Brussels. © Philippe Cognée.

Philippe Cognée, Sous les feux de la lune, 2014, wax painting on canvas, 153 x 153 cm, 60 1/4 x 60 1/4 in. Courtesy Galerie Daniel Templon, Paris & Brussels. © Philippe Cognée.

Philippe Cognée, Foule sur la lune n°3, 2014, wax painting on canvas, 153 x 200 cm, 60 1/4 x 78 3/4 in. Courtesy Galerie Daniel Templon, Paris & Brussels. © Philippe Cognée.

Philippe Cognée, Goch, 2014, wax painting on canvas, 85 x 110 cm, 37 3/8 x 43 1/4 in. Courtesy Galerie Daniel Templon, Paris & Brussels. © Philippe Cognée.

Philippe Cognée, Gony 1, 2014, wax painting on canvas, 97 x 130 cm, 38 3/16 x 51 3/16 in. Courtesy Galerie Daniel Templon, Paris & Brussels. © Philippe Cognée.

Philippe Cognée, Gola 2, 2014, wax painting on canvas, 65 x 92 cm, 25 5/8 x 36 1/4 in. Courtesy Galerie Daniel Templon, Paris & Brussels. © Philippe Cognée.

Spanish photographer Chema Madoz exhibits at Galería Elvira González in Madrid

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Chema Madoz, Galería Elvira González

Chema Madoz, Untitled, 2014, 19,6 x 23,6 in / 50 x 60 cm. Silver printing on Ilford paper. Galería Elvira González.

MADRID.- Galería Elvira González announces the coming exhibition of Chema Madoz, opening January 22nd. The exhibition — the photographer’s first at the gallery — consists of 35 photographs taken between 2012 and 2014. These new black-and-white images continue the artist’s signature method of creating poetic and surprising visual metaphors out of everyday objects. The exhibition will remain on view until March 14th.

Chema Madoz, Untitled, 2014, 19,6 x 23,6 in / 50 x 60 cm. Silver printing on Ilford paper. Ed. 15. Galería Elvira González.

Long-established on the international art scene, Madoz was awarded Spain’s National Photography Award in 2000, and he was featured in one of the outstanding shows in the 2014 edition of Les Rencontres d’Arles (France), Europe’s leading international photography festival.

Chema Madoz, Untitled, 2012, 59 x 46 in / 150 x 117 cm. Silver printing on Ilford paper. Ed. 7. Galería Elvira González.

Chema Madoz (Madrid, 1958) began his professional career in 1990, having completed his studies at the Centro de Enseñanza de la Imagen in Madrid. His first solo show took place in 1985 at the Real Sociedad Fotográfica in Madrid, and in 1988 the Sala Minerva at the Círculo de Bellas Artes in Madrid presented its first show of photography with work by Madoz.

Chema Madoz, Untitled, 2013, 35,4 x 27,5 in / 90 x 70 cm. Silver printing on Ilford paper. Ed. 15. Galería Elvira González.

n the 1990’s, Madoz began using everyday objects to create dream-like Surrealistic images, a working methodology he has continued to employ up to the present day.

Chema Madoz, Untitled, 2013, 5 x 6,6 in / 12,7 x 16,8 cm. Silver printing on Ilford paper. Ed. 25. Galería Elvira González.

“Madoz lets us know how many different lives might lie in wait within a matchstick or a staircase, if their destinies had not been to serve our need for fire or to conquer gravity,” writes the philosopher and art historian Luis Arenas. “All Madoz’s worlds are improbable, yes, but they are not impossible; they stand before us, demonstrating their reality.”

Chema Madoz, Untitled, 2012, 19,6 x 23,6 in / 50 x 60 cm. Silver printing on Ilford paper. Ed. 15. Galería Elvira González.

Madoz has received a wide range of prizes, such as the Kodak Prize in 1990 and the Bolsa de Creación Artística from the Fundación Cultural Banesto in 1993. Art-Plus published Chema Madoz (1985 – 1995), the first monograph on Madoz’s work in 1995, and in 1999 the Centro de Arte Contemporáneo de Santiago de Compostela organized a large-scale exhibition of his work. In 1999 the Museo Nacional Centro de Arte Reina Sofía hosted Madoz’s solo show Objetos 1990 – 1999, the first retrospective of a living Spanish photographer held at the museum.

Chema Madoz, Untitled, 2013, 11,8 x 15,7 in / 30 x 40 cm. Silver printing on Ilford paper. Ed. 20. Galería Elvira González.

Since then, Madoz has exhibited widely in galleries and arts institutions in Spain and internationally, including the Real Sociedad Fotográfica in Madrid, the Netherland Photomuseum in Rotterdam, the Fundazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas, and Fotofest in Houston.

Chema Madoz, Untitled, 2014, 51 x 43,3 in / 130 x 110 cm. Silver printing on Ilford paper. Ed. 7. Galería Elvira González.

Madoz’s work forms part of numerous public and private collections, such as the Museo Nacional Centro de Arte Reina Sofía, the Centro Andaluz de Fotografía, the Fundación Juan March, the Fundación Telefónica, the Fundación Coca-Cola, the Museo de Bellas Artes de Buenos Aires, IVAM, Spain’s Ministerio de Cultura, the Fundación Foto Colectania in Barcelona, and the Houston Museum of Fine Arts.

Chema Madoz, Untitled, 2012, 23,6 x 19,6 in / 60 x 50 cm. Silver printing on Ilford paper. Ed. 15. Galería Elvira González.

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Exhibition of new work by the artist Danh Vō opens at Marian Goodman Gallery London

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Danh Vō, Marian Goodman Gallery

Danh Vō. Marian Goodman Gallery, London, 15 January – 21 February 2015

LONDON.- Marian Goodman Gallery, London announces an exhibition of new work by the artist Danh Vō.

This will mark the second exhibition at the newly opened Marian Goodman Gallery, London, located on Golden Square in Soho, and the artist’s first large-scale solo show in London. This exhibition of entirely new work precedes Vō’s appointment to represent Denmark at the forthcoming 56th Venice Biennale, opening in May 2015.

Vō’s much lauded series of sculptures collectively titled We the people, consisting of full scale facsimiles of New York’s Statue of Liberty, continues to tour the world. Most recently shown in New York at the Brooklyn Bridge Park and City Hall Park simultaneously, these works were previously exhibited at the Statens Museum for Kunst, National Gallery of Denmark; The Art Institute of Chicago; PEER Gallery, London and the New Museum Triennial, curated by Eungie Joo.

Vō’s practice has been the subject of a number of important transatlantic solo presentations, including a current exhibition at Museo Jumex, Mexico City, 2014 and recent shows at Nottingham Contemporary, UK; Musée d’art moderne de la Ville de Paris; Solomon R. Guggenheim Museum, New York; The Renaissance Society at the University of Chicago; Kunsthaus Bregenz, Austria; Kunsthalle Fridericianum, Kassel, Germany; National Museum for Art, Copenhagen and Artists Space, New York.

Danh Vō, Untitled, 2015. Marble torso of Apollo, Roman workshop, 1st-­‐2nd century AD; wood, nails, 21 x 32.1 x 48.5 cm. Courtesy the Artist and Marian Goodman Gallery ©Danh Vo.

Vō’s work has also been included in many significant international group exhibitions including; 55th International Art Exhibition at La Biennale di VeneziaAn Encyclopaedic Palace, curated by Massimiliano Gioni, 2013, MUDAM, Luxembourg, 2013, David Roberts Art Foundation, London, 2013, S.M.A.K., Gent, Belgium, ZKM Museum fur Neue Kunst, Karlsruhe, Germany, 2011, Singapore Biennial, Singapore, 2011, MUSAC – Museo de Arte Contemporáneo de Castilla y León, Leon, Spain, 2010, Gwangju Biennial, South Korea, 2010, Kunsthalle Basel, Switzerland, 2010 and Witte de With, Rotterdam, Netherlands, 2009.

Danh Vō studied at the Royal Academy of Fine Arts, Denmark and the Städelschule, Frankfurt am Main. He was the recipient of the Hugo Boss Prize, New York, 2012, the BlauOrange Kunstpreis der Deutschen Volksbanken und Raiffeisenbanken, Berlin, 2007 and was a nominee for the Nationalgalerie Prize for Young Art, Berlin, 2009.

 Danh Vō, Untitled, 2015. Gold, cardboard, various iron and wood farm tools. Dimensions variable. Courtesy the Artist and Marian Goodman Gallery ©Danh Vo