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11505 - 20170408 - Petzel Gallery presents exhibition of new paintings and drawings by Sarah Morris - New York - 23.02.2017-08.04.2017


Sarah Morris, Um Al Nar, 2017. Household gloss paint on canvas, 84.25 x 84.25 inches, 214 x 214 cm. Courtesy of the artist and Petzel, New York.
Petzel Gallery presents an exhibition of new paintings and drawings by Sarah Morris.

The complex language of abstraction, imbued in the paintings of Sarah Morris continues in Finite and Infinite Games, as Morris extracts the codes, systems of control, power structures that characterize urban, social and bureaucratic typologies. The title of the exhibition references James P. Carse’s book on the sociopolitical implications of game play in everyday life, while the body of work is parallel to two films Morris has made: Abu Dhabi shot on location in the United Arab Emirates, and Finite and Infinite Games, a film featuring Alexander Kluge and the Elbphilharmonie, Hamburg.

Architectural, political, and historical examinations of cities through reduced and expanded abstraction have been the mark of Morris’s paintings, in which she focused on revealing the multilayered identities and narratives of cities such as Rio, New York, Washington DC and Beijing. For this new series of paintings, Morris turns her focus to the futuristic landscape of the Middle East. Geographical coordinates, schematically mapped, create the framework for her compositions. Morris’s unique use of vivid color and grid-like geometric shapes produce a virtual architecture of city and desert—landscape and erasure.

Morris’s paintings explore the complex conversation between culture, architecture and power. The work streamlines a way of perception as much as abstracted urban structures. Executed in household gloss paint on square canvases, Morris’s Abu Dhabi paintings, redolent with algorithmic grids, capture the quiddity of the moment. Morris’s paintings and drawings continually develop the artist’s exploration into the essence of place and politics, creating visions of play, possibility and intrigue both finite and infinite. Within this framework, the Olympics, Chase Bank, conspiracies, QR codes, the film industry, the global banking system, Sir Norman Foster, J.G. Ballard, the oil industry, The President of the United States, lunar cycles, pharmaceutical packaging, falconry and even fruit are fair game.

Sarah Morris (b. 1967, American) lives and works in New York. She has exhibited internationally including solo exhibitions at the Kunsthalle Wien, Vienna (2016), M Museum Leuven (2015), Kunsthalle Bremen (2013), Wexner Center for the Arts, Columbus (2012), K20 Kunstsammlung Nordrhein-Westfalen, Dusseldorf (2010), Museum für Moderne Kunst, Frankfurt (2009), Museo d’Arte Moderna di Bologna (2009), Lenbachaus, Munich (2008), Fondation Beyeler, Basel (2008), Museum Boijmans van Beuningen, Rotterdam (2006), Kestner Gesellschaft, Hannover (2005), Palais de Tokyo, Paris (2005), Moderna Museet, Stockholm (2005), Kunstforeningen, Copenhagen (2004), The Nationalgalerie in Hamburger Bahnhof, Berlin (2001), Kunsthalle Zürich (2000), Museum of Modern Art, Oxford (1999).

Work by the artist is held in museum collections worldwide, including: Solomon R. Guggenheim Museum, New York; Lenbachhaus, Munich; Museum of Modern Art, New York; Museum für Moderne Kunst, Frankfurt; Neue Nationalgalerie im Hamburger Bahnhof, Berlin; Centre Pompidou, Paris; SFMoMA, San Francisco; Stedelijk Museum, Amsterdam; and Tate Modern, London.

The film Finite and Infinite Games is currently showing at the Hamburg Deichterhallen and her site-specific work “Monarch”, a passenger train that operates between Montreux and Zweisimmen, Switzerland can be seen until 2021.


11504 - 20170401 - Solo exhibition of new work by Juergen Teller on view at Blum & Poe - Tokyo - 04.02.2017-01.04.2017


Blum & Poe is presenting a solo exhibition of new work by Juergen Teller, curated by Francesco Bonami. This is the artist's first solo presentation in Japan in twenty-five years.

Teller first made his mark on the public’s consciousness when his iconic pictures of Kurt Cobain were published in Details magazine in 1991. Thereafter, his first solo exhibition took place in Japan at Shibuya PARCO, Tokyo, in 1992, where he showed portraits and early fashion photographs. The following year he was the recipient of the 1993 Photography Prize at Festival de la Mode, Monaco. Since then Teller has collaborated with the world’s leading fashion designers including Marc Jacobs, Vivienne Westwood, Comme des Garçons, and Helmut Lang. The candid and casual nature of his work appears random yet it is based on precise planning and staging. This tension is evident in the bizarre scenario created for this exhibition, which debuts a new series of photographs depicting frogs on plates. As Francesco Bonami envisages it:

"‘Once upon a time in a suburban neighborhood of an irrelevant country, people did not eat frogs but kissed them and made love with them’ — this could be the beginning of a fairy tale written by Juergen Teller while imagining this exhibition where frogs turn into a small crowd of viewers looking at the three main characters of the exhibition: the gentleman with the gorilla, the lady with the fox, and the man with the donkey. Teller's gift is not just to tell, with images, a simple story but in fact is the ability to turn extraordinary people — charismatic and curmudgeonly photographer William Eggleston, ethereal and myth-like actress Charlotte Rampling, and his own barbarian self — into normal people on the verge of a magical breakdown. The exhibition is built as a conversation and an encounter between the community of frogs and these three people with their own counterparts in the animal world.”

Juergen Teller was born in 1964 in Erlangen, Germany. He studied at the Bayerische Staatslehranstalt für Photographie in Munich, and has lived and worked in London since 1986. His work has been exhibited extensively around the world: his solo exhibition Enjoy Your Life!, which was held at the Kunsthalle Bonn in 2016, is currently on view at Galerie Rudolfinum, Prague until March 19, and will travel to Martin-Gropius-Bau, Berlin, from April 20 to July 3, 2017. Recent solo exhibitions include The Clinic, Contemporary Fine Arts, Berlin (2015); Macho, DESTE Foundation, Athens (2014); Woo! Institute of Contemporary Art, London (2013); Touch Me, Le Consortium, Dijon (2010), which traveled to Daelim Museum, Korea (2011); and Man with Banana, Dallas Contemporary, Texas (2011). Francesco Bonami has worked with Teller since 2012, when he organized Teller’s first solo exhibition in Italy, The Girl With the Broken Nose, at the Palazzo Reale in Milan. In 2014, Teller held a two-artist show with the legendary Japanese photographer, Nobuyoshi Araki: Araki Teller Teller Araki, at the Ostlicht, Vienna. He was also one of five artists to represent Ukraine in the 52nd Venice Biennale in 2007. Teller’s work is represented in numerous public collections including the Centre Georges Pompidou, Paris; Fondation Cartier pour l’art contemporain, Paris; International Center for Photography, New York; National Portrait Gallery, London; Pinchuk Art Centre, Kiev; and the Victoria and Albert Museum, London.



11503 - 20170413 - Exhibition presents rare coloured sculptures that represent radical moments in Tony Cragg's practice - London - 01.03.2017-13.04.2017

Tony Cragg, Red Square, 2007. Bronze, 76 x 80 x 66. Photo: Ellen Page Wilson.
Holtermann Fine Art and Dutko Gallery presenting ‘Tony Cragg: Primary Colours’, an exhibition of rare coloured sculptures by Tony Cragg. The exhibition showcases a carefully curated ensemble of secondary market works that represent two radical moments in Cragg’s practice: his early plastic works and his first coloured bronze forms. Over several decades, Holtermann Fine Art has actively supported Tony Cragg and his market, especially through the organisation of major museum exhibitions. This collaboration with Dutko Gallery, planned over the past two years, is based on a long-standing friendship and represents for each art dealer an opportunity to highlight their shared interests. ‘Primary Colours’ coincides with a major retrospective of Tony Cragg’s work at Yorkshire Sculpture Park (4 March, 2017 – 3 September 2017). Holtermann Fine Art is a supporter of this show.

The striking blue, yellow and red hues of the three bronze sculptures in ‘Primary Colours’ testify to the artist’s bold approach to colour in sculpture and demonstrate his unrivalled skill in using it. These works from his important Early Forms series are among the first in which Cragg adds the new element of colour to cast bronze. Applying colours to bronze, rather than traditional patinas, is a complex technological feat that the artist achieved through borrowing techniques from the German car industry, which Cragg, who is based in Germany and intensely interested in science, adapted for his own artistic ends.

A further highlight in the show is ‘Looking at Sculpture’ (1980), a seminal plastic wall piece that Cragg considers one of the finest from the period. A representation of the artist himself looking at ‘The Rape of the Sabine Women’, a 16th-century sculpture by Giambologna, the work attests to Cragg’s early use of colour. ‘Looking at Sculpture’ is assembled from bright plastic fragments collected along the banks of the Rhine. Inspired by Arte Povera, Cragg transformed this found detritus into a large, collage-like composition to be hung on a wall. For Cragg, man-made objects and materials are vital ingredients and underlying his practice is the idea that the utilitarian design of everyday objects restricts the potential inherent in any material. By using plastic objects to create new artistic forms, Cragg makes us look again at this mundane, ubiquitous and disposable material as it is appropriated into a dynamic and playful art-work.

One of the most prominent British contemporary sculptors, Tony Cragg (b.1949) began working in the early 1970s and was one of the early proponents of Land Art. His interest in science and natural history, as well as his early experience working in a scientific laboratory, gave birth to an artistic practice that constantly questions the boundaries of materials and forms and expands the visual language of contemporary sculpture.

Cragg’s practice involves working in series. The bronze sculptures presented in this exhibition are part of Cragg’s renowned and longest-running series of cast bronzes entitled Early Forms and versions of these were exhibited as a group in Cragg’s recent retrospective at the Von der Heydt Museum in Wuppertal, Germany, 2016. Started in the late 1980s, this body of work develops out of the forms of vessels, from chemical containers or ancient flasks to jam jars, test-tubes and detergent bottles. As Cragg points out, ‘Works from the Early Forms group are always to do with vessels transforming and mutating into one another in space.’

Cragg's ongoing interest in vessels emerges both from their formal qualities and their historical and metaphorical significance. As illustrated by the title Early Forms, vessels are among the earliest forms of man-made objects. In addition to the civilizing effect the invention of containers has had on human existence, vessels and flasks were key in Cragg’s early laboratory experience. As in the magical play with materials in alchemy Cragg’s practice explores the metamorphosis of forms.

Over the years, the shapes of the Early Forms sculptures have evolved from the simple melding of one vessel into another, to more complex, elastic formations in which the original object is completely transformed, an evolution that is particularly striking in the three bronze sculptures presented in this exhibition. In McCormack (2007), the blue vessel’s playful form is like three-dimensional calligraphy. In the yellow-painted bronze Declination (2003), a title deriving from an astronomical term related to the sun, all that remains is the seam that links one form to the other. The voluptuous Red Square (2007) was conceived at the time of Cragg’s exhibition at the Central House of Artists in Moscow in 2005. The slit that runs along the edges of the sculptures gives a glimpse into the internal space and each work’s inner structure. Cragg speaks of his enduring interest in the inner life of things, matter and human thought and emotions and invites the viewer to consider the same.

As curator Patrick Elliott wrote in his catalogue essay for Cragg’s exhibition at the Scottish National Gallery of Modern Art in Edinburgh (2011): the Early Forms sculptures explore both the metamorphosis of form and the space around it:

…they are about the gap between things. In the drive towards economy and mass production, industry has created a limited range of formatted goods, and ignored all those forms which do not serve the purpose of economy or functionality. Cragg addresses the vast terrain of potential forms that lie between these formatted goods. If, at first glance, Cragg’s work over the years seems to have shifted in style and approach, it is in fact united and grounded in this philosophical starting point.


11502 - 20170407 - Exhibition of assemblages and collages by Louise Nevelson at Cortesi Gallery - Lugano - 16.02.2017-07.04.2017


Louise Nevelson, Untitled, 1980 ca., wood painted black, 94×53.3×43.2 cm, photo by A. Zambianchi, courtesy Cortesi Gallery London - Lugano.
Cortesi Gallery, Lugano, presents the exhibition Louise Nevelson. Assemblages and Collages, a remarkable selection of 29 works realised by the artist between 1960 and 1980.

Louise Nevelson (Kiev, 1899 – New York, 1988) was born in the Ukraine but emigrated to the United States in her early years. She is one of the most influential figures of the 20th century, an epoch that she lived to see almost in its entirety.

Nevelson turned to collages from the mid-50s and these works clearly show the influence of Cubism, which she encountered during research trips in Europe. Realised on wooden or paper boards and in different dimensions, the collages reveal the artist’s attention to perspective, chromaticism, spontaneity of execution and compositional balance. To this first kind of artistic production, Nevelson added assemblages: in both cases, the works are realised by collecting scrape wood and metals bits found in the streets of New York.

Reclaimed materials that, as such, tell a story, have a past that Louise Nevelson takes into account when re-assembling the pieces. In her sculptures, we recognise everyday objects – from table and chair legs, to balustrade and more – that the artist re-uses with a sensibility that wavers between New Dada and Abstractionism, but that also looks back at pre-Columbian and Mesoamerican sculpture she became fascinated with during a trip to Mexico in 1950. However, despite these many references, the final result is extraordinarily original, making it impossible to be pigeonholed.

For assemblages, the artist preferred monochrome – in particular, black and gold – as evident in the works on show at Cortesi Gallery. Using a solid colour, the dimension of the objects is flattened while the attention placed on the game of lights and shadows generated by the surfaces, enhancing their evocative aspects. The exhibition is organised in collaboration with Fondazione Marconi (Milan) and is accompanied by a catalogue produced by Mousse Publishing, which includes a critical essay by curator Bruno Corà.

Leah Berliawsky, known as Louise Nevelson (Pereyaslav-Kiev, 1899 – New York, 1988), was born near Kiev to a Jewish family and was forced to emigrate in 1905 to the United States because of anti-Semitic laws enacted in her country a few years earlier. She grew up in Rockland, Maine, then moved to New York, returning to Europe years later to study with Hans Hoffman. On her return to the United States, she worked first as an assistant to Diego Rivera and later as an art instructor in the Works Progress Administration. In 1941, her first solo exhibition was held, and in 1946, she was first invited to participate in the annual exhibition at the Whitney Museum, in which she took part several times.

Her numerous exhibitions include her participation at the Venice Biennale in 1962, when she represented the United States. She also exhibited at the Jewish Museum, New York (1965, 2007); the Whitney Museum of American Art, New York (1967, 1970, 1980, 1987, 1998); the Civic Gallery of Modern Art, Turin (1969); Moderna Museet, Stockholm (1973); Walker Art Center, Minneapolis (1973); National Gallery of Modern Art, Rome (1976); Solomon R. Guggenheim Museum, New York (1986); Palazzo delle Esposizioni, Rome (1994); Centre national d'art et de culture Georges Pompidou, Paris (1997); Rome Foundation Museum, Rome (2013) and Mediterranean Foundation in Catania (2013–2014). With the collective, Sixteen Americans, at the Museum of Modern Art, New York (1959–60); The Art of Assemblage, The Museum of Modern Art, New York (1961); the Carnegie International (1958, 1961, 1964, 1970); and Documenta in Kassel (1964, 1968).

Many of her works also form part of both private and institutional collections, as well as several public art installations in Chicago, Los Angeles, San Francisco, New York and Philadelphia.


11501 - 20170401 - Of Earth, Heaven and Light: Galerie Karsten Greve presents works by Thomas Brummett - Cologne - 19.01.2017-01.04.2017


Installation view. © Thomas Brummett, Courtesy Galerie Karsten Greve.
Thomas Brummett is an artist who is on a journey that follows two intertwined paths. Thoughtful and patient, he is on a quest to discover the essence of the natural world by focusing on the immediate before him—a twig, a fleeing light beam. He is also an explorer of the medium of photography, experimenting with the myriad ways of making an image with light and marks on the surface of light sensitive paper. All Brummett’s work is from his life-long series Rethinking the Natural.

Born in Colorado in 1955, Brummett matured with an appreciation of arid deserts and soaring mountains. He was educated in ceramics and photography at the Colorado State University (BFA, 1979) and the Cranbrook Academy of Art in Michigan, (MFA, 1982), after which he settled in Philadelphia and had a daughter. Raised in a Christian (Episcopalian) family that includes several members of the clergy, after reaching adulthood and traveling to India and Asia, Brummett found that the journey described in Western Abrahamic religions had lost its meaning for him, and he was drawn to Eastern Taoist/Buddhist theology. Rather than embarking on a pilgrimage of transcendence to a Deity who resides above and independent from the universe, Brummett found himself following Eastern monastic traditions that embark on a journey of immanence—intense observation of the world at hand. Such intense focus on the immediate resonates with the scientific method, and thus it is not surprising that Taoist/Buddhist thought permeates modern science and mathematics, as in the writings of Austrian logician Ludwig Wittgenstein who wrote: “the place I must get to is the place where I already am” (Culture and Value, 1930). This mix of meditative practices and modern science is a thread running through Brummett’s art.

The parallel paths of the artist’s journey are clearly manifest in the series Infinities and Light Projections. In the series Light Projections the artist controlled the “circles of confusion” a lens can produce when out of focus. A “circle of confusion” is a term in optics for pinpoints of light (commonly known as bokeh [from the Japanese for “blur”]), which is an artifact of the lens that the artist describes as “an optical effect a lens produces with out of focus.” Brummett’s method of controlling and making images out of these so-called “circles of confusion” has never been done in the history of photography. According to the artist, the prints in this series “represent the physical manifestation of Light = The Infinite.” As the artist has stated: “The Light Projections for me are the perfect visual symbol of the Infinite. All light is a part of the natural world. Light is the very basis of the natural world and all life and energy. [In this series] I was not shifting my attention away from the natural world but to its very essence. I was taking the natural world down to its purest form—Light.” With these words, Brummett is following in the footsteps of mystics throughout the ages who have associated light with infinity, and given these concepts divine associations. Notice that Brummett capitalizes “Light” and “the Infinite”, thus personifying/deifying them in the classical Greek tradition of “the Good” “the Just” and “the Triangle” which were, according to Plato, all divine. This association of light, infinity and divinity took deep root in Western thought.

An amateur astronomer can easily arrange to photograph through a ground-based telescope, but a non-scientist cannot book time on a telescope that orbits above earth’s atmosphere. So for photographs of outer space, Brummett used images taken by the Hubble Space Telescope that NASA makes available to the public. Starting with one of these recordings of light—a transatmospheric look back in time—the artist worked like a printmaker and manipulated the image, desaturating the hue and layering the image with other patterns, all of which he has photographed from nature (Infinities [of Earth and Heaven] series 2013-16). The layers include images of stars, magnolia trees, a recording of snowflakes hitting a scanner, as well as real dust and mold from the artist’s studio. In these images Brummett describes his intention as to recreate William Blake’s idea of what the world would look like to all of us: “If the doors of perception were cleansed everything would appear to man as it is, Infinite” (The Marriage of Heaven and Hell, 1793).

Borrowing a term from thermodynamics, the artist calls his darkroom development process “entropic” (transfer of energy): “I print the image down to black and then resurrect it with bleaches, brushes and a redevelopment process. Each image is unique because the process is so naturally random.

The bleaches attack the metal in the paper literally eating it away.” The process is entropic because “the silver atoms move from a very ordered state to a chaotic state of dissolution or fragmentation, which give me a very beautiful line or edge.”

(Excerpts from a text by Lynn Gamwell, 2016)

Thomas Brummett was born in 1955 in Colorado. He studied photography at Colorado State University and the Cranbrook Academy of Art in Bloomfield Hills, Michigan, and has worked as a freelance photographer since 1983. From 1985 to 1990 he also taught photography at the University of Arts in Philadelphia. His works are included in numerous public collections, including the Museum of Fine Arts in Houston, the Philadelphia Museum of Art, and the Museu de Arte Moderna do Rio de Janiero, Brazil. Brummett was honoured with many awards for his photographic work. In addition to other prizes, he received the International Photography Award in 2004, 2009 and 2012 and in 2014 he was granted the Sony World Photography Award. Thomas Brummett lives and works in Philadelphia, Pennsylvania, USA.


11500 - 20170413 - Louise Bourgeois and Yayoi Kusama united for exhibition at Sotheby’s S/2 Gallery - London - 23.02.2017-13.04.2017


‘Traumata’ will bring together important sculptures, paintings, prints and works on paper that explore the intense psychological states that comprise Louise Bourgeois and Yayoi Kusama’s divergent yet parallel careers.
Sotheby’s S|2 Gallery will stage London’s first joint exhibition dedicated to the work of Louise Bourgeois (1911– 2010) and Yayoi Kusama (born 1929). Opening on 23 February, Traumata: Bourgeois/Kusama will bring together defining works from important private collections and art foundations to reveal how these legendary artists laid bare their own psychological traumas to open up new territories for female artistic expression.

Japan-born Kusama, best known for her obsessive, densely patterned polka-dot paintings and mirrored installations, has attracted more visitors to her exhibitions around the world than any other artist in recent years. French-born Bourgeois, known for creating unflinchingly honest, autobiographical works which explore sexuality, motherhood and the darkest depths of her own psychology, is credited with inspiring and empowering a wave of contemporary female artists.

Burdened by childhood trauma and given to intense psychological states, for both Louise Bourgeois and Yayoi Kusama art was always the way to salvation. “Art is restoration”, said Bourgeois, “the idea is to repair the damages that are inflicted in life”. Throughout her career, Bourgeois created art that dealt with the emotions resulting from the discovery of her domineering father’s affair with her live-in tutor, all while her knowing mother turned a blind eye. Kusama – born in 1929 to a prosperous family in Matsumoto, Japan – similarly creates work heavily shaped by childhood experience. Her mother’s contempt of a husband who was prone to long absences and serial womanising, and her vehement and violent opposition to Kusama’s wish to become an artist exacerbated her nascent hallucinosis: a psychological condition that would become the lifelong well-spring for her obsessive-compulsive work. “By translating hallucinations and fear of hallucinations into paintings,” said Kusama, “I have been trying to cure my disease”. In an attempt to manage these psychological difficulties, Kusama has been a voluntary resident in Seiwa Hospital for the Mentally Ill in Tokyo since 1977. Though driven by intensely personal pathologies, both artists have used their work as a platform to explore wider socio-political issues concerning gender, sexuality, embodiment and subjectivity; issues that continue to resonate strongly today

‘Traumata’ will bring together important sculptures, paintings, prints and works on paper that explore the intense psychological states that comprise Louise Bourgeois and Yayoi Kusama’s divergent yet parallel careers. Organised around four main themes, ‘Good Mother/Bad Mother’, ‘Exile/Dislocation’, ‘Sexuality/War’ and ‘Memory/Melancholia’, the exhibition will span the entirety of the artists’ careers, from rarely seen paintings created by Kusama for her first exhibitions in Japan, to now-iconic sculptures, such as Louise Bourgeois’ Spider.


11499 - 20170401 - Exhibition of new works on canvas and photo emulsion paper by Gordon Moore at Anita Rogers Gallery - New York - 15.02.2017-01.04.2017


Anita Rogers Gallery presents an exhibition of new works on canvas and photo emulsion paper by the American painter, Gordon Moore. The exhibition is on view February 15 – April 1, 2017 at 77 Mercer Street #2N, New York, NY.

In this exhibition Moore's current work continues an interest in the dialogue he has developed over the past decade between the spontaneous flow of painterly liquids and the specific structural framework of his abstract configurations. The esoteric nature of abstraction offers an unlimited potential for invention. Using photo-emulsion paper as a ground for drawing, Moore embraces and encourages the imperfections inherent in the interaction between developer and emulsion. This in turn nurtures Moore's large scale works on canvas which explore a similar approach to depth, dimension, balance and asymmetry. Moore's pieces are exercises in asymmetrical equilibrium that challenge the viewers’ natural perceptions. The collection of works on view here are thoughtful meditations on connections and alignments - on the interaction between flatness and depth, deliberation and spontaneity, the real world and the painted world and finally between abstraction and figuration.

Born in Cherokee, IA, Moore received his undergraduate degree from the University of Washington, Seattle in 1970 and then went on to receive his MFA from Yale University in 1972. He has received numerous awards and grants including the National Endowment for the Arts-Visual Artists Fellowship, the Louis Comfort Tiffany Foundation Award in Painting, the Adolph and Ester Gottlieb Foundation Award in Painting, the Academy Award in Art from the American Academy of Arts and Letters, Pollock Krasner Foundation Grant and the New York Foundation for the Arts Fellowship. Moore’s work can be seen in the collections of the Museum of Fine Arts (Boston, MA), Yale University Art Gallery (CT), Baltimore Museum of Art (MD), General Electric Corporation (OH), the Krannert Art Museum (IL) and Kinkead Pavilion (IL).