Archive for March, 2010

28
Mar
10

Exhibition: ‘Peter Loewy. Drawings | An Exhibition with Photographic Portraits’ at Pinakothek Der Moderne, Munich

Exhibition dates: 9th February – 11th April 2010

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Peter Loewy
‘Dante Gabriel Rossetti’
2009

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Peter Loewy
‘Ethnograpisch 1′
2009

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Peter Loewy
‘Jean-Auguste-Dominique Ingres’
2009

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“Over the past fifteen years, the Frankfurt-based photographer Peter Loewy (*1951) has gained prominence with a number of powerful series of works. His first book of photographs, Jüdisches (Jewish), was published in 1996, showing details taken from inside the family homes of both famous and unknown Jewish families in Frankfurt. This was followed by the volume Lèche-vitrine, as well as series on the IG Farben Building in Frankfurt and intimate pictures of the working environment of internationally acclaimed artists (Private Collection).

Loewy’s photographs of drawings by well and lesser-known artists from centuries past form a new cycle that is to be exhibited for the first time in the showcase passage at the Staatliche Graphische Sammlung München in the Pinakothek der Moderne.

Quite by chance the photographer came across a book on ethnography and was fascinated by the ‘photographic’ accuracy, use of perspective and shading of drawings of people from the most varied of cultures, depicted in their respective local dress. He switched off the automatic focus option, zoomed in so closely that only a detail could be seen, and selected a filter and distance that went against any standard logic until he achieved a rich blurred image. “I was thrilled”, writes Loewy. “On my display I had a picture that was out of focus, not a drawing. I felt as if I had brought the person back to life – that’s how full of himself a photographer can be compared to a draughtsman. … As a lover of drawings I felt I had to rummage through the history of art as well, or rather masses of books, and revive people from across the centuries in the form of photos. That’s how a mass of portraits of famous and unknown people came about. I also produced a collection of famous and unknown artists, too, who I enshrouded in a misty blurredness.”

Text from the Pinakothek Der Moderne website

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Peter Loewy
‘Petrus Christus’
2009

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Peter Loewy
‘Gustav Klimt’
2009

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Peter Loewy
‘Rembrandt Harmenszoon van Rijn’
2009

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Pinakothek Der Moderne
Barer Strasse 40
Munich

Gallery Hours:
Daily except Monday 10am – 6pm
Thursday 10am – 8pm

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21
Mar
10

Review: ‘Pondlurking’ by Tom Moore at Helen Gory Galerie, Prahran, Melbourne

Exhibition dates: 10th March – 3rd April, 2010

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Many thankx to Nicola Stein and Helen Gory Galerie for allowing me to use the images below in the posting.

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Tom Moore ‘Pondlurking’ installation photographs at Helen Gory Galerie, Prahran

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My apologies to readers for the paucity of reviews of exhibitions in Melbourne recently. It is not that I haven’t been circulating around town to lots of exhibitions, far from it. The fact is that nothing has really rocked my boat, including my visit to a disappointing ‘New 010′ exhibition at ACCA, an exhibition redeemed only by the marvellous magnetic levitations of Susan Jacobs installation titled ‘Being under no illusion’ (2010). Compared to the wealth of interesting work in ‘New 09′, work that still resides in my consciousness, the art in the current exhibition seems bland, the work ultimately and easily forgettable (a case of conceptual constipation?). Even though the exhibition lauds the collaboration between artists, designers, curators, architects, trades people and the kitchen sink in the production of the work, nothing substantive or lasting emerges.

No such problem exists with the exhibition ‘Pondlurking’ by Tom Moore at Helen Gory Galerie in Prahran. Wow, this show is good!

It produced in me an elation, a sense of exalted happiness, a smile on my dial that was with me the rest of the day. The installation features elegantly naive cardboard cityscape dioramas teeming with wondrous, whimsical mythological animals that traverse pond and undulating road. This bestiary of animals, minerals and vegetables (bestiaries were made popular in the Middle Ages in illustrated volumes that described various animals, birds and even rocks) is totally delightful. In the text ‘Moving Right Along’ the curator Julie Ewington notes connections in Moore’s work to the ‘Garden of Earthly Delights’ by Hieronymus Bosch, the porcelain monkey orchestras of Miessen, parti-coloured hose of Medieval costume, the animals from Dr Suess’s books for children and Venetian glass figurines to name but a few. Another curator Geoffrey Edwards notes Moore’s accomplished technical skill in glass making, his use of lattice and trellis work in the figures themselves, namely the use of vetro a fili (broadly spaced) and vetro a retorti (twisted spiral) glass cane patterns.

While all of this is true what really stands out is the presence of these objects, their joyousness. The technical and conceptual never get in the way of good art. The Surrealist imagining of a new world order (the destruction of traditional taxonomies) takes place while balanced on one foot (see the installation image at the top of the page). The morphogenesis of these creatures, as they build one upon another, turns the world upside down (as in ‘Web Feet Duck Bum’ below). Multi-eyed potato cars, ducks with eyes wearing high heeled boots and three-legged devouring creatures segue from one state, condition, situation or element to another in a fluid condition of becoming. This morphogenesis is aided and abetted by the inherent fluidity of the glass medium itself skilfully used by Moore in the construction of his creatures. While the photographs below isolate the creatures within a contextless environment it is when the creatures are placed within the constructed environment so skilfully created by Moore that they come alive.

The interconnectedness of this fantastical world (the intertextual relationship of earth, water, air, life) seeks to break down the binaries of existence – good/bad, normal/mutation, presence/absence  – until something else (e)merges. Through their metamorphosed presence in a carnivalesque world that is both weird and the wonderful, Moore’s creatures invite us to look at ourselves and our landscape more kindly, more openly and with a greater generosity of spirit.

Not to be missed!

Marcus Bunyan for the Art Blart blog

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Tom Moore
‘Stylish Car’
2008

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Tom Moore
‘Birdboat with passenger with a vengeance’ (left) and ‘Robot Island’ (right)
2010 and 2009

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“A candy striped fish pokes its head up, all lipstick-pink kissable lips as a voyaging duck sprouts tree-masts and becomes duck-ship-island captained by a lone gherkin boy. Delinquent birds rampage while a crested birdcar peacefully unfurls sweet green shoots. A cardboard city burns and there’s something odd lurking in the pond, metallic and curiously tuberous, it regards it all with a wary eye.

There’s a whole world at play here. Growing, flying and always moving, this isn’t ours turned upside down but something other, a unique universe bound together with a logic entirely its own. Tubers take to the air, birds grow wheels and everything overflows with energy, pushing out green tendrils toward each other.

Tom Moore’s gloriously appealing glass creatures spring from his own fantastical imagination and the rich seabeds of the mythical, imaginary and grotesque. From mediaeval bestiaries with their camel leopards and manticores, to misericord creatures through Lear and Seuss to Moore’s reimagining of an Colonial Australian epergne as a verdantly plumed robot bird with resplendent palm tree, his creatures reuse, recycle and recombine in their never ending metamorphoses.

There’s an irrepressible joyousness in these creatures constant flux as they burst the boundaries of animal/vegetable/mineral and do away with taxonomies and rationality, reinventing themselves in happy disregard of all humanity’s rules.

While lurking seems antithetical to all this busy-ness, to skylarking fatbirds and peripatetic potatoes, the will to knowledge at the core of all lurking is what propels this endless becoming. This insatiable urge to simply find out is the engine of this prolific universe. As duck becomes island and man becomes bird, Moore’s creatures ask an eternal ‘what if?’ and an insouciant ‘why not?’

This transformative energy inheres in the material itself, in the mutable and alchemical nature of glass, in the fusing and melding of forms as light is captured within and bounces off lustrous surfaces. As glass flows through its changeable states, like water, like rain, so do Moore’s folk transform and evolve.

It’s this continuous moving through forms that hints at other meanings. Sharing forms, being made as it were, of each other and sharing an essential nature, each creature reaches out to every other in a net of relations in an intricately connected universe. These deep bonds, seen in their loving regard for each other speak of the delicate structures and balance of ecosystems and an absolutely necessary attention to and care for the world.

For there are no humans here and it seems that it’s this carelessness, this lack of attention to the fragile connections between the world and its creatures that’s the reason. The cities burn and cars rightfully become compost.

This riotous parade has pulled the artist too into their exuberant tumble. Becoming man-bird and greeting the day with a drumming bird song he is the harbinger perhaps of a new order, one bright green and sparkling.”

Jemima Kemp, 2010

Press release from the Helen Gory Galerie website

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Tom Moore
‘Web Feet Duck Bum’
2009

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Tom Moore
‘Tasty Eyes With Five Friends’
2007

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Tom Moore
‘Snarsenvorg the Devourer’
2008

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Tom Moore
‘Segway’
2009

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Tom Moore
‘Tree-Feet, Dollbird’
2008

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Helen Gory Galerie
25, St. Edmonds Road,
Prahran, Vic 3181

Opening hours: Wed – Fri 11 – 5pm, Sat 10 – 4pm

Helen Gory Galerie website

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18
Mar
10

Exhibition: ‘Georgia O’Keeffe: Abstraction’ at The Phillips Collection, Washington D.C.

Exhibition dates: 6th February – 9th May, 2010

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Many thankx to Shira Pinsker and The Phillips Collection for allowing me to reproduce the images in the posting. For an excellent analysis of the convergences between Georgia O’Keeffe and Ansel Adams see Geneva Anderson’s review ‘Masters of the Southwest: Georgia O’Keeffe and Ansel Adams Natural Affinities’.

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“It is surprising to me to see how many people separate the objective from the abstract. Objective painting is not good painting unless it is good in the abstract sense. A hill or tree cannot make a good painting just because it is a hill or a tree. It is lines and colors put together so that they say something. For me that is the very basis of painting. The abstraction is often the most definite form for the intangible thing in myself that I can only clarify in paint.”

“I long ago came to the conclusion that even if I could put down accurately the thing that I saw and enjoyed, it would not give the observer the kind of feeling it gave me. I had to create an equivalent for what I felt about what I was looking at – not copy it.”

Georgia O’Keeffe, 1976

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Wall text from the exhibition

“Georgia O’Keeffe (1887-1986) is fixed in the public imagination as a painter of places and things. She has long been recognized for her still lifes of flowers, leaves, animal bones and shells, her images of Manhattan skyscrapers, and her Lake George and New Mexico landscapes. Yet it was with abstraction that O’Keeffe entered the art world and first became celebrated as an artist. In the spring of 1916, she burst onto the New York art scene with a group of abstract charcoal drawings that were among the most radical works produced in the United States in the early twentieth century. As she expanded her repertoire in the years that followed to include watercolor and oil, she retained the fluid space and dynamic, organic motifs of these early charcoals.

Abstraction dominated O’Keeffe’s output in the early part of her career and remained a fundamental language for her thereafter. Some of her abstractions have no recognizable source in the natural world; others distill visible reality into elemental, simplified forms. For O’Keeffe, abstraction offered a way to portray what she called the “unknown” – intense thoughts and feelings she could not express in words and did not rationally understand. Her abstractions recorded an array of emotions and responses to people and places. At the heart of her practice was an affinity for the flux and sinuous rhythms of nature. Through swelling forms and sumptuous color, O’Keeffe depicted the experience of being in nature – so enveloped by its sublime mystery and beauty that awareness of all else is suspended.”

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Georgia O’Keeffe
‘Flower Abstraction’
1924
Oil on canvas, 48 x 30 in.
Whitney Museum of American Art, New York.
50th Anniversary Gift of Sandra Payson. 85.47 (CR 458).
© Georgia O’Keeffe Museum/Artist Rights Society (ARS), New York

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Georgia O’Keeffe
‘Jack-in-the-Pulpit No. IV’
1930
Oil on canvas, 40 x 30 in.
National Gallery of Art, Washington, D.C. Alfred Stieglitz Collection, Bequest of Georgia O’Keeffe. 1987.58.3 (CR 718).
Image courtesy of the Board of Trustees, National Gallery of Art, Washington

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Georgia O’Keeffe
Blue II
, 1916
Watercolor on paper, 27 7/8 x 22 1/4 in. (70.8 x 56.5 cm)
Georgia O’Keeffe Museum, Santa Fe, New Mexico
Gift, The Burnett Foundation (CR 120) 1997.06.13
© Georgia O’Keeffe Museum/Artist Rights Society (ARS), New York

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Georgia O’Keeffe
‘Early Abstraction’
1915
Charcoal on paper, 24 x 18 5/8 in. (61 x 47.3 cm)
Milwaukee Art Museum
Gift of Jane Bradley Pettit Foundation and The Georgia O’Keeffe Foundation M1997.189 (CR 50)
Photography by Malcolm Varon
© Milwaukee Art Museum

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Georgia O’Keeffe
‘Series I, No. 4′
1918
Oil on canvas, 20 x 16 in. (50.8 x 40.6 cm)
Städtische Galerie im Lenbachhaus, Munich
Gift of The Georgia O’Keeffe Foundation
(CR 255)

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“The artistic achievement of Georgia O’Keeffe is examined from a fresh perspective in Georgia O’Keeffe: Abstraction, a landmark exhibition debuting this winter at The Phillips Collection. While O’Keeffe (1887–1986) has long been recognized as one of the central figures in 20th-century art, the radical abstract work she created throughout her long career has remained less well-known than her representational art. By surveying her abstractions, Georgia O’Keeffe: Abstraction repositions O’Keeffe as one of America’s first and most daring abstract artists. The exhibition, one of the largest of O’Keeffe’s work ever assembled, goes on view February 6 – May 9, 2010.

Including more than 125 paintings, drawings, watercolors, and sculptures by O’Keeffe as well as selected examples of Alfred Stieglitz’s famous photographic portrait series of O’Keeffe, the exhibition has been many years in the making.

While it is true that O’Keeffe has entered the public imagination as a painter of sensual, feminine subjects, she is nevertheless viewed first and foremost as a painter of places and things. When one thinks of her work it is usually of her magnified images of open flowers and her iconic depictions of animal bones, her Lake George landscapes, her images of stark New Mexican cliffs, and her still lifes of fruit, leaves, shells, rocks, and bones. Even O’Keeffe’s canvasses of architecture, from the skyscrapers of Manhattan to the adobe structures of Abiquiu, come to mind more readily than the numerous works – made throughout her career – that she termed abstract.

This exhibition is the first to examine O’Keeffe’s achievement as an abstract artist. In 1915, O’Keeffe leaped into the forefront of American modernism with a group of abstract charcoal drawings that were among the most radical creations produced in the United States at that time. A year later, she added color to her repertoire; by 1918, she was expressing the union of abstract form and color in paint. First exhibited in 1923, O’Keeffe’s psychologically charged, brilliantly colored abstract oils garnered immediate critical and public acclaim. For the next decade, abstraction would dominate her attention. Even after 1930, when O’Keeffe’s focus turned increasingly to representational subjects, she never abandoned abstraction, which remained the guiding principle of her art. She returned to abstraction in the mid 1940s with a new, planar vocabulary that provided a precedent for a younger generation of abstractionists.

Abstraction and representation for O’Keeffe were neither binary nor oppositional. She moved freely from one to the other, cognizant that all art is rooted in an underlying abstract formal invention. For O’Keeffe, abstraction offered a way to communicate ineffable thoughts and sensations. As she said in 1976, “The abstraction is often the most definite form for the intangible thing in myself that I can only clarify in paint.” Through her personal language of abstraction, she sought to give visual form (as she confided in a 1916 letter to Alfred Stieglitz) to “things I feel and want to say – [but] havent [sic] words for.” Abstraction allowed her to express intangible experience – be it a quality of light, color, sound, or response to a person or place. As O’Keeffe defined it in 1923, her goal as a painter was to “make the unknown – known. By unknown I mean the thing that means so much to the person that he wants to put it down – clarify something he feels but does not clearly understand.”

This exhibition and catalogue chronicle the trajectory of O’Keeffe’s career as an abstract artist and examine the forces impacting the changes in her subject matter and style. From the beginning of her career, she was, as critic Henry McBride remarked, “a newspaper personality.” Interpretations of her art were shaped almost exclusively by Alfred Stieglitz, artist, charismatic impresario, dealer, editor, and O’Keeffe’s eventual husband, who presented her work from 1916 to 1946 at the groundbreaking galleries “291”, the Anderson Galleries, the Intimate Gallery, and An American Place. Stieglitz’s public and private statements about O’Keeffe’s early abstractions and the photographs he took of her, partially clothed or nude, led critics to interpret her work – to her great dismay – as Freudian-tinged, psychological expressions of her sexuality.

Cognizant of the public’s lack of sympathy for abstraction and seeking to direct the critics away from sexualized readings of her work, O’Keeffe self-consciously began to introduce more recognizable images into her repertoire in the mid-1920s. As she wrote to the writer Sherwood Anderson in 1924, “I suppose the reason I got down to an effort to be objective is that I didn’t like the interpretations of my other things [abstractions].” O’Keeffe’s increasing shift to representational subjects, coupled with Stieglitz’s penchant for favoring the exhibition of new, previously unseen work, meant that O’Keeffe’s abstractions rarely figured in the exhibitions Stieglitz mounted of her work after 1930, with the result that her first forays into abstraction virtually disappeared from public view.”

Text from the Phillips Collection website

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Georgia O’Keeffe
‘Black Place III’
1944
Oil on canvas, 36 x 40 in. (91.4 x 101.6 cm)
Georgia O’Keeffe Museum, Santa Fe, New Mexico
Gift, The Burnett Foundation
2007.01.026 (CR 1082)
© 1987, Private Collection

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Georgia O’Keeffe
‘Grey Blue & Black – Pink Circle’
1929
Oil on canvas, 36 x 48 in. (91.4 x 121.9 cm)
Dallas Museum of Art
Gift of The Georgia O’Keeffe Foundation
1994.54 (CR 651)

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Georgia O’Keeffe
‘Untitled (Abstraction/Portrait of Paul Strand)’
1917
Watercolor on paper, 12 x 8 7/8 in. (30.5 x 22.5 cm)
Georgia O’Keeffe Museum, Santa Fe, New Mexico
Gift, The Burnett Foundation
2007.01.004 (CR 191)
© Georgia O’Keeffe Museum/Artist Rights Society (ARS), New York

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Georgia O’Keeffe
‘Music, Pink and Blue No. 2′
1918
Oil on canvas, 35 x 29 1/8 in. (88.9 x 74 cm)
Whitney Museum of American Art, New York
Gift of Emily Fisher Landau in honor of Tom Armstrong
91.90 (CR 258)
© Georgia O’Keeffe Museum/Artist Rights Society (ARS), New York
Photograph by Sheldan C. Collins

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Georgia O’Keeffe
‘Abstraction White Rose’
1927
Oil on canvas, 36 x 30 in. (91.4 x 76.2 cm)
Georgia O’Keeffe Museum, Santa Fe, New Mexico
Gift, The Burnett Foundation and The Georgia O’Keeffe Foundation
1997.04.02 (CR 599)
© Georgia O’Keeffe Museum/Artist Rights Society (ARS), New York

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Georgia O’Keeffe
‘Series I – No. 3′
1918
Oil on board, 20 x 16 in. (50.8 x 40.6 cm)
Milwaukee Art Museum
Gift of Jane Bradley Pettit Foundation and The Georgia O’Keeffe Foundation
M1997.192 (CR 254)
Photography by Larry Sanders
© Milwaukee Art Museum

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The Phillips Collection
1600 21st Street, NW, Washington, D.C., near the corner of 21st and Q Streets, NW

Opening hours:
Tuesday to Saturday from 10 am to 5 pm, with extended evening hours on Thursdays until 8:30 pm, and on Sundays from 11 am to 6 pm.

Phillips Collection website

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14
Mar
10

Exhibition: ‘The Art of the Frame: Exploring the Holdings of the Alte Pinakothek’, Munich

Exhibition dates: 28th January – 18th March 2010

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Many thankx to the Alte Pinakothek for allowing me to reproduce the photographs in the posting.

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Kabinettrahmen | Deutsch, um 1680 | Inv.-Nr. R 2295 | Bild: Paul Troger, Simeons Lobgesang | Inv.-Nr. 10689 | Kat. Nr. 13

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Goldene Leiste, Ohrmuschel-oder Lutmarahmen | Holländisch, um 1660 | Inv.-Nr. R 1404 | Bild- Caspar Netscher, Schäferszene | Inv.-Nr. 110 | Kat.Nr. 9

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Laubwerkrahmen | Deutsch, um 1639 | Inv.-Nr. R 2331 | Bild- Anonymer Künstler | Inv.-Nr. 13031 | Kat. Nr. 6

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“The Bayerische Staatsgemäldesammlungen do not just own vast holdings of framed pictures but also a huge collection of frames. For this exhibition, however, the selection was not made in the frame depot but solely in the painting depot at the Alte Pinakothek. It is only there in the museum’s holdings that the history of collecting frames and pictures can be traced. Some 4000 frames and pictures were sifted through and recorded, from which a selection of 92 frames was made. This exhibition focuses on the art and history of frames from four centuries, encompassing 16th-century case frames to Classicist and Empire style frames. This presentation covers all types of frame, from highly elaborate ones to miniature versions. Of particular note are the Dutch cabinet and Lutma frames, as well as inlaid examples and trophies from the Rococo period.

Artistic highlights in the exhibition are the frames made by Paul Egell (1691 – 1752), Melchior Hefele (1716 – 98) and Johann Wolfgang von der Auwera (1708 – 58). Frames by and after Joseph Effner (1687 – 1745), François Cuvilliés the Elder (1695 – 1768), Karl Albrecht von Lespilliez (1723 – 96) and Leo von Klenze (1784 – 1864) provide a fulminant conclusion to the exhibition.

Exploring the holdings of the Alte Pinakothek led the curator to impressive exponents of the art of the frame that originally came from the following galleries and cabinets: from the Grune Galerie at the Residenz in Munich, from the castles and palaces of Schleißheim, Nymphenburg, Ansbach, Bayreuth, Mainz, Passau and Wurzburg, and from the collections in Dusseldorf, Mannheim and Zweibrucken.

The picture-framer, Karl Pfefferle, shows the various techniques used in making and gilding frames by looking at selected examples. The exhibition also provides an overview of the history of frames in the Bayerische Staatsgemäldesammlungen which, thanks to the provenance of some of the works, are of particular interest as well as displaying an incredibly variety.

A comprehensive 264-page catalogue accompanies the exhibition and includes a number of contributions on the production of frames, the depiction of frames in paintings and the history of frame collecting in the Bayerische Staatsgemäldesammlungen. An essay by Verena Friedrich provides an insight into the most recent research on the history of frames carried out in Wurzburg.”

Press release from the Alte Pinakothek website

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Manieristischer Rahmen | Süddeutsch, um 1600 | Inv.-Nr. R 2348 | Bild- Bartholomäus Spranger, Beweinung Christi | Inv.-Nr. 2370 | Kat. Nr. 2

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Ornamentrahmen im Stil des Rokoko | Mannheim, um 1750 | Inv.-Nr. R 1174 | Bild- Adriaen van der Werff, Nächtlicher Kinderschwank | Inv.- Nr. 264 | Kat. Nr. 66

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Prunkrahmen im Stil des Rokoko | Ansbach, um 1740 | Inv.-Nr. R 1486 | Bild- Johann Christian Sperling, Markgraf Carl Wilhelm Friedrich von Brandenburg-Ansbach als 13-jähriger Knabe| | Inv.-Nr. 7181 | Kat. Nr. 25

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Alte Pinakothek
Barer Straße 27
D-80799 Munich
Telephone : +49 (0)89 23805 216

Gallery Hours:
Daily except MON 10.00 – 18.00
TUE 10.00 – 20.00

Alte Pinakothek website

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10
Mar
10

New work: ‘Missing in Action (horizontal kenosis)’ 2010 by Marcus Bunyan

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A new body of work, ‘Missing in Action (horizontal kenosis)’ (2010) is now online on my website.

There are nineteen images in the series which can be viewed as a sequence, rising and falling like a piece of music.
Below are a selection of images from the series.

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Kenosis

“In Christian theology, Kenosis is the concept of the ‘self-emptying’ of one’s own will and becoming entirely receptive to God and his perfect will.”

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Marcus Bunyan
‘Missing in Action (horizontal kenosis) No.4′
2010

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Marcus Bunyan
‘Missing in Action (horizontal kenosis) No.5′
2010

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Marcus Bunyan
‘Missing in Action (horizontal kenosis) No.6′
2010

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Marcus Bunyan
‘Missing in Action (horizontal kenosis) No.8′
2010

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Marcus Bunyan
‘Missing in Action (horizontal kenosis) No.9′
2010

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Marcus Bunyan
‘Missing in Action (horizontal kenosis) No.16′
2010

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Marcus Bunyan
‘Missing in Action (horizontal kenosis) No.17′
2010

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Marcus Bunyan website

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08
Mar
10

Exhibition: ‘F.C. Gundlach. The Photographic Work’ at Martin-Gropius-Bau, Berlin

Exhibition dates: November 20th 2009 – March 14th 2010

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Many thankx to Marie Skov and Martin-Gropius-Bau for allowing me to reproduce the photographs in this posting.

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F.C. Gundlach
‘Erich von Stroheim during the shooting of “Alraune”, Munich’
1952

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F.C. Gundlach
‘Cary Grant. A Star goes to the Ball.’
Berlin 1960 in Film und Frau, issue 16/1960

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F.C. Gundlach
‘Jean-Luc Godard’
Berlin 1961

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F.C. Gundlach
‘Grit Hübscher. White atlas coat by Sinaida Rudow’
Berlin 1954

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F.C. Gundlach
‘Op Art Silhouette. Jersey coat by Lend’
Paris 1966 in Brigitte, issue 4/1966

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F.C. Gundlach
‘Berlinale. Elsa Maxwell and Gina Lollobrigida, film ball in the Palais am Funkturm, X.’
Berlinale 1960 in Film und Frau, issue 16/1960

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“From November 2009 the Martin-Gropius-Bau presents the definitive retrospective of F.C. Gundlach’s extensive photographic work with the exhibition “F.C. Gundlach – Photographic Work”. F.C Gundlach is one of the most famous fashion photographers worked for the most important magazines and publications from the middle of the 1950’s to 1990. Among other many famous pictures the most comprehensive presentation of F.C. Gundlach’s work shows many fameless facets of F.C. Gundlach’s work to date. After years of research, the curators Klaus Honnef, Hans-Michael Koetzle, Sebastian Lux and Ulrich Rüter present for the first time numerous unknown images as vintage prints alongside F.C. Gundlach’s famous photo icons.

The intention of the exhibition is to present the unique aesthetics of F.C. Gundlach’s photography, his roots in photojournalism, his focus on series and sequences, his narrative approach. Furthermore, the exhibition alludes to social and cultural issues over several decades.

The exhibition includes the experimental photography of his early years, especially those from Paris during the 1950’s, his remarkable portraits of German and international movie stars and film-directors as well as F.C. Gundlach’s early photo reportages and photographs of children.

For the first time, F.C. Gundlach’s work for magazines is presented on a larger scale. Magazine covers and a comprehensive collection of double-page spreads show his photographs within the magazines’ context, especially in ‘Film und Frau’ (1951–1965) and ‘Brigitte’ (1963–1986). Among photographs, title pages and a comprehensive selection of double pages of his pictures will be shown in context of the magazines. The exhibition illustrates that Gundlach has always been open to technical innovations in photography (35mm cameras, flash or color photography).

His fashion productions took him both to Paris and New York and to Egypt and Morocco. This multiple printed photographs were been to special motifs in his work. F.C. Gundlach’s impressive travel reportages occurred amongst others in Argentina, Brazil, Peru, Japan, Cambodia, Thailand, Vietnam and will be present in Berlin the first time. Original documents of his vita illustrate the life of the photographer. Moreover, the show illustrates the internationalization of his work due to extensive traveling. Documents and archival material give a brief outline of the artist’s life and work.

F.C. Gundlach himself has commented his functioning in a 60 min. interview-film, which was exclusively produced for the exhibition by filmmaker Reiner Holzemer. The exhibition presents: a life’s work of photography between documentary representation and staged artificiality, between practical and experimental photography.

F.C. Gundlach, born in 1926 in Heinebach (Hesse), is considered the most significant fashion photographer of the young Federal Republic of Germany. For more than four decades of fashion photography, he wrote fashion history with his work and shaped the perception of fashion in Germany decisively. He set the stage for the ever-changing vogues, defined postures and gestures of models, chose props and locations and thus reflected the ideals of beauty and the history of fashion against a changing social background. F.C. Gundlach worked on assignment for various magazines. His first publications were reportages, theatre- and movie reports. Through his work for the magazine ‘Film und Frau’ he became a fashion photographer. His photographs have been published in many distinguished magazines such as: Deutsche Illustrierte, Stern, Revue, Quick, Elegante Welt, Film und Frau, Annabelle, Brigitte, Twen and Deutsch. For Brigitte alone F.C. Gundlach photographed more than 5500 pages as well as about 180 magazine covers.”

Press release from the Martin-Gropius-Bau website

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F.C. Gundlach
‘The Whole Day on the Beach.’
Gizeh/Egypt 1966 in Brigitte, issue 8/1966

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F.C. Gundlach
‘Slow. Karin Mossberg’
Nairobi/Kenia 1966 in Brigitte, issue 9/1966

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F.C. Gundlach
‘Simone d’Aillencourt. Sheath dress by Horn’
Berlin 1957 in Film und Frau, issue spring/summer 1957

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F.C. Gundlach
‘Op Art Swimsuit. Brigitte Bauer, Op Art swimsuit by Sinz Vouliagmeni’
Greece 1966

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F.C. Gundlach
‘Rainweather, party sunshiny. Three poplin coats by Staebe-Seger’
Berlin 1955

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F.C. Gundlach
‘Romy Schneider’
Hamburg 1961 in Film und Frau, issue 11/1962

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Martin-Gropius-Bau Berlin
Niederkirchnerstraße 7
Corner Stresemannstr. 110
10963 Berlin
Phone +49 (0)30 254 86-0

Opening Hours:
Wednesday to Monday 10 – 20 hrs
Tuesday closed

Martin-Gropius-Bau website

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06
Mar
10

End of an Era: The Closing of Gallery 101 in March 2010

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It is with sadness that I hear of the closing of Gallery 101 in March this year for the closing of a prominent city gallery hurts the whole arts community. To the director, Diana Gold, and curators Martina Copley and Cate Massola, I wish them all the best in their new endeavours, whatever they may be. I thank them for their time, conversation, insight and knowledge about the art scene in Melbourne. Au revoir!

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“To friends and colleagues in the Melbourne Visual Art community, it is with regret that we write to tell you that Gallery 101 will close in March this year.

Major rejuvenation works have recently been instigated by the owners of 101Collins Street within the main ground floor entry lobbies of the building adjacent to Gallery 101. To coincide with this renovation program, 101 Collins Street has recently decided that the space that has operated as Gallery 101 will close effective from March 13th.

Gallery 101 has operated as a unique model in a corporate building since the building’s establishment. In 1992 Dianna Gold was appointed Director/Curator to run the Gallery space on behalf of 101 Collins Street. For nearly 20 years, the owners and management have supported the Gallery which has provided a forum for emerging and established artists. The formal exhibition program began with an acquisitive art prize called ARTWORKZ, which ran for 5 years and was fully sponsored by 101 Collins Street to begin their art collection.

Gallery 101 has been identified as one of the most beautiful gallery spaces in one of the most respected corporate buildings in Australia. The Gallery has contributed to the profile of 101 Collins Street, liaised with tenants in the building and played a significant role in the arts community. Gallery 101 is a respected commercial gallery and member of the ACGA. With over thirty represented artists, Gallery 101 has showcased an ongoing program of diverse contemporary art exhibitions to a broad local and national audience.

The end of its life as a gallery marks the very significant role the artists via many exhibitions have contributed to the rich artistic cultural tapestry in the City of Melbourne.

We would like to express our sincere thanks to all those who have supported our artists and the Gallery.”

Press release from Gallery 101

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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