Archive for the 'sculpture' Category

24
Aug
14

Exhibition: ‘Italian Futurism, 1909-1944: Reconstructing the Universe’ at the Solomon R. Guggenheim Museum, New York

 Exhibition dates: 21st February – 1st September 2014

 

For my best friend, sculptor Fredrick White.

Marcus

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Many thankx to the Solomon R. Guggenheim Museum for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the art.

 

 

Giacomo Balla. 'The Hand of the Violinist (The Rhythms of the Bow)' (La mano del violinista [I ritmi dell’archetto]) 1912

 

Giacomo Balla
The Hand of the Violinist (The Rhythms of the Bow) (La mano del violinista [I ritmi dell'archetto])
1912
Oil on canvas
56 x 78.3 cm
Estorick Collection, London
© 2014 Artists Rights Society (ARS), New York / SIAE, Rome

 

Giacomo Balla. 'Abstract Speed + Sound' (Velocità astratta + rumore) 1913-14

 

Giacomo Balla
Abstract Speed + Sound (Velocità astratta + rumore)
1913-14
Oil on unvarnished millboard in artist’s painted frame
54.5 x 76.5 cm
The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice 76.2553.31
© 2014 Artists Rights Society (ARS), New York / SIAE, Rome
Photo: Courtesy Solomon R. Guggenheim Foundation, New York

 

Francesco Cangiullo. 'Large Crowd in the Piazza del Popolo' (Grande folla in Piazza del Popolo) 1914

 

Francesco Cangiullo
Large Crowd in the Piazza del Popolo (Grande folla in Piazza del Popolo)
1914
Watercolor, gouache, and pencil on paper
58 x 74 cm
Private collection
© 2014 Artists Rights Society (ARS), New York / SIAE, Rome

 

Filippo Masoero. 'Descending over Saint Peter' (Scendendo su San Pietro) c. 1927-37 (possibly 1930-33)

 

Filippo Masoero
Descending over Saint Peter (Scendendo su San Pietro)
c. 1927-37 (possibly 1930-33)
Gelatin silver print
24 x 31.5 cm
Touring Club Italiano Archive

 

Ivo Pannaggi. 'Speeding Train' (Treno in corsa) 1922

 

Ivo Pannaggi
Speeding Train (Treno in corsa)
1922
Oil on canvas
100 x 120 cm
Fondazione Carima – Museo Palazzo Ricci, Macerata, Italy
Photo: Courtesy Fondazione Cassa di risparmio della Provincia di Macerata

 

Bruno Munari and Torido Mazzotti. 'Antipasti Service' (Piatti Servizio Antipasti) 1929-1930

 

Bruno Munari and Torido Mazzotti
Antipasti Service (Piatti Servizio Antipasti)
1929-1930
Glazed earthenware (manufactured by Casa Giuseppe Mazzotti, Albisola Marina)
Six plates: 21.6 x 21.6 cm diameter each; one vase: 11.7 x 7.6 cm
The Wolfsonian-Florida International University, Miami Beach, The Mitchell Wolfson, Jr. Collection
© Bruno Munari, courtesy Corraini Edizioni
Photo: Lynton Gardiner

 

 

“From February 21 through September 1, 2014, the Solomon R. Guggenheim Museum presents Italian Futurism, 1909-1944: Reconstructing the Universe, the first comprehensive overview in the United States of one of Europe’s most important 20th-century avantgarde movements. Featuring over 360 works by more than 80 artists, architects, designers, photographers, and writers, this multidisciplinary exhibition examines the full historical breadth of Futurism, from its 1909 inception with the publication of Filippo Tommaso Marinetti’s first Futurist manifesto through its demise at the end of World War II. The exhibition includes many rarely seen works, some of which have never traveled outside of Italy. It encompasses not only painting and sculpture, but also the advertising, architecture, ceramics, design, fashion, film, free-form poetry, photography, performance, publications, music, and theater of this dynamic and often contentious movement that championed modernity and insurgency.

About Futurism

Futurism was launched in 1909 against a background of growing economic and social upheaval. In Marinetti’s “The Founding and Manifesto of Futurism,” published in Le Figaro, he outlined the movement’s key aims, among them: to abolish the past, to champion modernization, and to extol aggression. Although it began as a literary movement, Futurism soon embraced the visual arts as well as advertising, fashion, music and theater, and it spread throughout Italy and beyond. The Futurists rejected stasis and tradition and drew inspiration from the emerging industry, machinery, and speed of the modern metropolis. The first generation of artists created works characterized by dynamic movement and fractured forms, aspiring to break with existing notions of space and time to place the viewer at the center of the artwork. Extending into many mediums, Futurism was intended to be not just an artistic idiom but an entirely new way of life. Central to the movement was the concept of the opera d’arte totale or “total work of art,” in which the viewer is surrounded by a completely Futurist environment.

More than two thousand individuals were associated with the movement over its duration. In addition to Marinetti, central figures include: artists Giacomo Balla, Benedetta (Benedetta Cappa Marinetti), Umberto Boccioni, Carlo Carrà, Fortunato Depero, and Enrico Prampolini; poets and writers Francesco Cangiullo and Rosa Rosà; architect Antonio Sant’Elia; composer Luigi Russolo; photographers Anton Giulio Bragaglia and Tato (Guglielmo Sansoni); dancer Giannina Censi; and ceramicist Tullio d’Albisola. These figures and other lesser-known ones are represented in the exhibition.

Futurism is commonly understood to have had two phases: “heroic” Futurism, which lasted until around 1916, and a later incarnation that arose after World War I and remained active until the early 1940s. Investigations of “heroic” Futurism have predominated and comparatively few exhibitions have explored the subsequent life of the movement; until now, a comprehensive overview of Italian Futurism had yet to be presented in the U.S. Italian art of the 1920s and ’30s is little known outside of its home country, due in part to a taint from Futurism’s sometime association with Fascism. This association complicates the narrative of this avant-garde and makes it all the more necessary to delve into and clarify its full history.

Exhibition Overview

Italian Futurism unfolds chronologically, juxtaposing works in different mediums as it traces the myriad artistic languages the Futurists employed as their practice evolved over a 35-year period. The exhibition begins with an exploration of the manifesto as an art form, and proceeds to the Futurists’ catalytic encounter with Cubism in 1911, their exploration of near-abstract compositions, and their early efforts in photography. Ascending the rotunda levels of the museum, visitors follow the movement’s progression as it expanded to include architecture, clothing, design, dinnerware, experimental poetry, and toys.

Along the way, it gained new practitioners and underwent several stylistic evolutions – shifting from the fractured spaces of the 1910s to the machine aesthetics (or arte meccanica) of the ’20s, and then to the softer, lyrical forms of the ’30s. Aviation’s popularity and nationalist significance in 1930s Italy led to the swirling, often abstracted, aerial imagery of Futurism’s final incarnation, aeropittura. This novel painting approach united the Futurist interest in nationalism, speed, technology, and war with new and dizzying visual perspectives. The fascination with the aerial spread to other mediums, including ceramics, dance, and experimental aerial photography.

The exhibition is enlivened by three films commissioned from documentary filmmaker Jen Sachs, which use archival film footage, documentary photographs, printed matter, writings, recorded declamations, and musical compositions to represent the Futurists’ more ephemeral work and to bring to life their words-in-freedom poems. One film addresses the Futurists’ evening performances and events, called serate, which merged “high” and “low” culture in radical ways and broke down barriers between spectator and performer. Mise-en-scène installations evoke the Futurists’ opera d’arte totale interior ensembles, from those executed for the private sphere to those realized under Fascism.

Italian Futurism concludes with the five monumental canvases that compose the Syntheses of Communications (1933-34) by Benedetta (Benedetta Cappa Marinetti), which are being shown for the first time outside of their original location. One of few public commissions awarded to a Futurist in the 1930s, the series of paintings was created for the Palazzo delle Poste (Post Office) in Palermo, Sicily. The paintings celebrate multiple modes of communication, many enabled by technological innovations, and correspond with the themes of modernity and the “total work of art” concept that underpinned the Futurist ethos.”

Text from the Solomon R. Guggenheim Museum website

 

Tullio Crali. 'Before the Parachute Opens' (Prima che si apra il paracadute) 1939

 

Tullio Crali
Before the Parachute Opens (Prima che si apra il paracadute)
1939
Oil on panel
141 x 151 cm
Casa Cavazzini, Museo d’Arte Moderna e Contemporanea, Udine, Italy
© 2014 Artists Rights Society (ARS), New York/SIAE, Rome
Photo: Claudio Marcon, Udine, Civici Musei e Gallerie di Storia e Arte

 

Fortunato Depero. 'Little Black and White Devils, Dance of Devils' (Diavoletti neri e bianchi, Danza di diavoli) 1922-23

 

Fortunato Depero
Little Black and White Devils, Dance of Devils (Diavoletti neri e bianchi, Danza di diavoli)
1922-23
Pieced wool on cotton backing
184 x 181 cm
MART, Museo di arte moderna e contemporanea di Trento e Rovereto, Italy
© 2014 Artists Rights Society (ARS), New York / SIAE, Rome
Photo: © MART, Archivio fotografico

 

Gerardo Dottori. 'Cimino Home Dining Room Set' (Sala da pranzo di casa Cimino) early 1930s

 

Gerardo Dottori
Cimino Home Dining Room Set (Sala da pranzo di casa Cimino)
early 1930s
Table, chairs, buffet, lamp, and sideboard; wood, glass, crystal, copper with chrome plating, leather, dimensions variable
Private collection
© 2014 Artists Rights Society (ARS), New York / SIAE, Rome the Peggy Guggenheim Collection, Venice
Photo: Daniele Paparelli, courtesy Archivi Gerardo Dottori, Perugia, Italy

 

Umberto Boccioni. 'Elasticity (Elasticità)' 1912

 

Umberto Boccioni
Elasticity (Elasticità)
1912
Oil on canvas
100 x 100 cm
Museo del Novecento, Milan
© Museo del Novecento, Comune di Milano (all legal rights reserved)
Photo: Luca Carrà

 

Enrico Prampolini and Maria Ricotti, with cover by Enrico Prampolini. 'Program for the Theater of Futurist Pantomime' (Théâtre de la Pantomine Futuriste) Illustrated leaflet (Paris: M. et J. De Brunn, 1927)

 

Enrico Prampolini and Maria Ricotti, with cover by Enrico Prampolini
Program for the Theater of Futurist Pantomime (Théâtre de la Pantomine Futuriste)
Illustrated leaflet (Paris: M. et J. De Brunn, 1927)
27.5 x 22.7 cm
Fonds Alberto Sartoris, Archives de la Construction Moderne–Ecole polytechnique fédérale de Lausanne (EPFL), Switzerland
By permission of heirs of the artist
Photo: Jean-Daniel Chavan

 

Carlo Carrà. 'Interventionist Demonstration' (Manifestazione Interventista) 1914

 

Carlo Carrà
Interventionist Demonstration (Manifestazione Interventista)
1914
Tempera, pen, mica powder, paper glued on cardboard
38.5 x 30 cm
Gianni Mattioli Collection, on long-term loan to the Peggy Guggenheim Collection, Venice
© 2014 Artists Rights Society (ARS), New York / SIAE, Rome
Photo: Courtesy Solomon R. Guggenheim Foundation, New York

 

Luigi Russolo. "The Art of Noises: Futurist Manifesto" ("L'arte dei rumori: Manifesto futurista") Leaflet (Milan: Direzione del Movimento Futurista, 1913)

 

Luigi Russolo
“The Art of Noises: Futurist Manifesto” (“L’arte dei rumori: Manifesto futurista”)
Leaflet (Milan: Direzione del Movimento Futurista, 1913)
29.2 x 23 cm
Wolfsoniana – Fondazione regionale per la Cultura e lo Spettacolo, Genoa
By permission of heirs of the artist
Photo: Courtesy Wolfsoniana – Fondazione regionale per la Cultura e lo Spettacolo, Genoa

 

Mino Somenzi, ed., with words-in-freedom image Airplanes (Aeroplani) by Pino Masnata. 'Futurismo 2, no. 32' (Apr. 16, 1933) Journal (Rome, 1933)

 

Mino Somenzi, ed., with words-in-freedom image Airplanes (Aeroplani) by Pino Masnata
Futurismo 2, no. 32 (Apr. 16, 1933)
Journal (Rome, 1933)
64 x 44 cm
Fonds Alberto Sartoris, Archives de la Construction Moderne–Ecole polytechnique fédérale de Lausanne EPFL), Switzerland
Photo: Jean-Daniel Chavan

 

Fortunato Depero. 'Heart Eaters' (Mangiatori di cuori) 1923

 

Fortunato Depero
Heart Eaters (Mangiatori di cuori)
1923
Painted wood
36.5 x 23 x 10 cm
Private collection
© 2014 Artists Rights Society (ARS), New York / SIAE, Rome
Photo: Vittorio Calore

 

Umberto Boccioni. 'Unique Forms of Continuity in Space' (Forme uniche della continuità nello spazio) 1913 (cast 1949)

 

Umberto Boccioni
Unique Forms of Continuity in Space (Forme uniche della continuità nello spazio)
1913 (cast 1949)
Bronze
121.3 x 88.9 x 40 cm
The Metropolitan Museum of Art, New York, Bequest of Lydia Winston Malbin, 1989
© The Metropolitan Museum of Art
Image Source: Art Resource, New York

 

Benedetta (Cappa Marinetti). 'Synthesis of Aerial Communications' (Sintesi delle comunicazioni aeree) 1933-34

 

Benedetta (Cappa Marinetti)
Synthesis of Aerial Communications (Sintesi delle comunicazioni aeree)
1933-34
Tempera and encaustic on canvas
324.5 x 199 cm
Il Palazzo delle Poste di Palermo, Sicily, Poste Italiane
© Benedetta Cappa Marinetti, used by permission of Vittoria Marinetti and Luce Marinetti’s heirs
Photo: AGR/Riccardi/Paoloni

 

 

Solomon R. Guggenheim Museum
1071 5th Avenue (at 89th Street)
New York

Opening hours:
Monday – Wednesday, Friday 10 am – 5.45 pm
Saturday 10 am – 7.45 pm
Thursday closed

Solomon R. Guggenheim Museum website

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19
Aug
14

Review / Interview: Simon Maidment, co-curator of the exhibition ‘David McDiarmid: When This You See Remember Me’ at NGV Australia, Melbourne

Exhibition dates: 9th May – 31st August 2014

 

Here’s winking at you, sweetie…

My apologies for the slightly out of focus nature of some of the installation photographs, but I had to take them quickly as I walked through the gallery with co-curator Simon Maidment. If you relied on the nine press images supplied by the NGV (bottom of the posting), you would have no idea of the complexity of this artists work nor would you possess an understanding of the scale, intimacy, brashness, beauty and confrontational visibility of the art. You would also have no idea what a stunning installation the NGV has produced to display the work.

Simply put, this is the best exhibition I have seen in Melbourne this year.

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David McDiarmid (1952-95) – activist (the first gay person ever to be arrested in Australia) and multi-dimensional artist – proves the personal IS political AND influential. His work moves from early personal narratives through decorative to visually commanding and confrontational art. As homosexual identity transits from camp to gay to queer, McDiarmid deconstructs and redefines this identity using context as a FOIL for his art making. As Robert Nelson in his excellent review of the exhibition in The Age newspaper observes, “McDiarmid’s expression of the erotic is an act of protest as well as festivity. When McDiarmid began in full fervour, gay sex was not only reviled but illegal; and as he ended his career, homosexuality seemed to pass from the police to the undertaker. He began his expose of gay eroticism in the spirit of a demonstration and ended it as an act of compassion.”1

Well said. Homosexuality was illegal were McDairmid started making art and was deathly when he himself succumbed to the Grim Reaper. But during the journey that he took the key thing to remember is that McDiarmid never “passed” as something he was not. He was always up front, out there, doing his thing since he was first arrested in 1971. He was always pushing the boundaries, offering a wider perspective on social histories and political contexts. He questioned the marginalization of minorities (Secret Love, 1976), the boundaries of self and society and examined taboo and transgression in a conservative society. He lived at the cutting edge of culture. Later, he waged a life and death struggle for HIV/AIDS funding, awareness and compassion with a fierce determination combined with sparkling wit, humour and sardonic aphorisms. Sexual politics and safe sex campaigns went hand in hand.

Of course, sexuality and sexual identity were at the core of his creativity. He explored the urban gay male world and the struggle for gay rights, sexual and emotional sensibilities and the cultural politics of HIV/AIDS. Early work was influenced by time spent in New York (where he knew Keith Haring) and San Francisco, where he experienced the development of the clone scene and the music of the clubs. His mode of construction has a lot in common with folk and women’s art (in particular patchwork and quilting) coupled with the use of contemporary materials (such as holographic foil).

McDiarmid’s later work becomes more symbolic and universal but still contains that cutting edge of the personal (DEMENTED QUEEN REMEMBERS HER NAME – forgets to die; POSITIVE QUEEN FEELS NEGATIVE – goes shopping). In the most amazing room of art I have seen this year, McDiarmid uses reflective cut and tiled holographic foils to create moving tribute and biting comment on the HIV/AIDS epidemic. In this darkened room the viewer is surrounded by tiles that “scintillate in spectral transience, changing their colours holographically according to your movement. The image is blunt and horny but also melancholy and scary; and similarly the medium impenetrable, deflecting the gaze and forcing you to change perspective.” (Robert Nelson)

But it’s more than that. You are surrounded by metallic flesh and embedded amongst the iridescence is both love and hate, life and death, winking eyes and holographic rainbow coloured skulls. Body language (1990, below) contains the names of McDairmid’s dead lovers woven into its fabric, a Swastika with the word AIDS for a head and the desire for the anus as a man pulls his arse cheeks apart. But here’s the rub – the tiny, puckered hole contains a holographic image of a winking eye, inviting you in, sharing the death/life joke with you. It’s a classic. In this room it feels as though you are surrounded by the fires of hell as the opalescence of the work changes from footstep to footstep, from positive to negative, from love to hate – and the pure beauty of the work is overwhelming. These are absolutely stunning works of art by any mark of the imagination, up there with the very best art ever made in Australia. His famous Rainbow Aphorisms series 1994 (below) are strong but they are are not a patch on the silver foil works. Less successful are the textile and costume designs, the weakest part of the exhibition.

One question springs to mind. Would his art have been as strong without the impetus of “death art” behind it? What would it have looked like?

I wonder which direction his art would have taken after his initial investigation of gay male identity had he not contracted HIV/AIDS and started making art about the disease. This strong focus gives the work the impetus and grunt it needed to move from the purely decorative and graphic, ney camp in some cases, to work with serious gravitas. In these later works McDiarmid lays it all on the line and just goes for it. I am so glad he did. They are powerful, concise, confrontational, beautiful, shimmering renditions of a soul living life to the full while he still had time.

It’s a pity the NGV has not advertised and promoted this exhibition more extensively. With a stunning catalogue, insightful research, amazing installation and world class art this is one exhibition you shouldn’t miss in Melbourne this winter.

Dr Marcus Bunyan for the Art Blart blog

ART BLART: THE ONLY PLACE TO SEE INSTALLATION PHOTOGRAPHS OF THIS EXHIBITION ON THE WEB.

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Many thankx to Simon for allowing me to take the installation photographs during our discussion and to the NGV for allowing me to publish them, along with the nine press images at the bottom of the posting. Please click on the photographs for a larger version of the image.

 

 

Unidentified photographer. 'David McDiarmid at his first one-man show 'Secret Love', Hogarth Gallery, Sydney, 1976' 1976

 

Unidentified photographer
David McDiarmid at his first one-man show ‘Secret Love’, Hogarth Gallery, Sydney, 1976
1976
Silver gelatin photograph
Dennis Altman Collection, Australian Lesbian and Gay Archives (ALGA)

 

David McDiarmid Installation photograph of early works

David McDiarmid Installation photograph of early works

 

David McDiarmid
Installation photograph of early works including, in the case, Vest (c. 1972), hand-embroidered by McDiarmid with the words ‘sydney gay liberation’ as a gift for John Lee with photographs of McDiarmid and artist Peter Tully used as a wallpaper on the wall behind at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne

 

David McDiarmid Installation photograph of early works including 'Secret Love art show, poster' (1976, far left), 'Secret Love' (1976, top centre left), 'Ken's Karate Klub' (1976, centre below left) and 'Tube of joy' (1976, above right) - all from the 'Secret Love' series, 1976 except KKK

 

David McDiarmid
Installation photograph of early works including Secret Love art show, poster (1976, far left), Secret Love (1976, top centre left), Ken’s Karate Klub (1976, centre below left) and Tube of joy (1976, above right) – all from the Secret Love series, 1976 except KKK – at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne

 

David McDiarmid. 'Secret Love' 1976

 

David McDiarmid
Secret Love
1976
From the Secret Love series, 1976
Metallic paint, red fibre-tipped pen, coloured pencil, collage of cut photo-offset lithograph and red and black ink on graph paper
78 x 66 cm
Collection of Paul Menotti and Bryce Kerr, Sydney

 

David McDiarmid. 'Secret Love' 1978

 

 

David McDiarmid
Secret Love
1978
Collage of cut colour photo-offset lithographs on plastic, metal and plastic
135 x 142.8 cm
Collection of Bernard Fitzgerald, Sydney

 

David McDiarmid. 'Secret Love' 1978 (detail)

 

David McDiarmid
Secret Love (detail)
1978
Collage of cut colour photo-offset lithographs on plastic, metal and plastic
135 x 142.8 cm
Collection of Bernard Fitzgerald, Sydney

 

David McDiarmid Various artworks from 1978

 

 

David McDiarmid
Various artworks from 1978 including Strangers in the night (top second left), Mardi Gras (top fourth left), Juicy fruit (top second right) and Real confessions (bottom second left)
All National Gallery of Victoria

 

Bush Couture, Sydney (fashion house) Linda Jackson (designer) David McDiarmid (painter) 'Paua kimono' 1984

 

Bush Couture, Sydney (fashion house) (front)
Linda Jackson (designer)
David McDiarmid (painter)
Paua kimono
1984
National Gallery of Victoria, Melbourne

 

 

Interview with co-curator Simon Maidment

MB: First of all Simon, can I ask how long have you been at the National Gallery of Victoria and what brought you to the institution?

SM: I’ve been at the NGV since June 2013 and I joined because of a new vision for the gallery which is making contemporary art a priority, both in collecting practices in the exhibitions that the NGV holds. Recently, there has been a real push for change, precipitated by the appointment of Max Delany who is a friend and colleague I respect a lot and who has been really supportive of my career.

MB: So what was your background in terms of training?

SM: I studied as an artist and immediately before coming to the NGV I was undertaking my PhD at The University of Melbourne’s Victorian College of the Arts Centre for Ideas with Elizabeth Presa as one of my supervisors.

MB: And what new knowledge was your PhD based around?

SM: It investigated curatorial practices that could be thought of as context responsive, looking at artists who seek to enact some sort of social and/or political change.

MB: So this exhibition would be perfect to fit into that…

SM: Yes, indeed… so largely my background has been working with living artists. I have done a few shows in which I have worked with existing bodies of work, but I have done a lot of shows where I have been facilitating artists works. I started as an artist working in media arts – sound, video, projection and digital technologies – and often worked as a studio assistant for more senior artists, people like Sue Ford, Susan Fereday, Ian de Gruchy and my role with them became more and more about facilitation. Then the directorship of Westspace came up and I got that, and my focus turned more from collaboration and working as a studio assistant to facilitation. I became a curator because basically that is what I was doing.

MB: So can you tell me Simon, what was the lead in time for this exhibition? I know it was postponed and delayed at various times, what were the reasons for that?

SM: It was kind of before my time so I am not really sure, but there have been different curators at different times from the NGV involved with the project. So Ted Gott was involved with the exhibition, even before he began work at the NGV. Ted was involved with David’s estate with Sally Gray, my co-curator, right from the start, so he’s been an advisor to Sally right from the start of this long journey. I think the initial discussion about the show was with Ted, and then when Jason Smith was in my position he was involved in this project. When I was talking with Sally the very first discussions about holding the exhibition at the NGV was maybe 15 years ago…

MB: So to finally get it here and up on the walls…

SM: So when I started 11 months ago there was really very little in place. So Max Delany and Sally started a conversation about working towards this show probably about 14 months ago. When Tony Ellwood started he was like, “We’re doing this show.” He’s a big fan of David McDiarmid. He was very familiar with his work so I think that helped speed things along and he really facilitated getting this exhibition done. It was scheduled for 2011.

MB: To get it together from start to finish in 14 months is pretty amazing really…

SM: It was a lot of work but bearing in mind how familiar Sally is with the material we kind of had a real head start.

MB: But then you have to pull it all together from lenders and institutions that hold works and that would have been very intensive. Then to design it all and to make it look like it does. It looks fantastic! Everyone at the opening was just smiling and having a good time, looking at the work, remembering.

SM: I knew the work en masse would blow people away.

MB: Reading the catalogue, you can see that David comes from a period where there was a ground swell of social movements, which was almost like one movement. Everybody went to everyone else’s rallies and they all protested together. David McDiarmid was the very first gay person to get arrested in Australia and at the moment I am digitally restoring the image of him being marched away by two policemen at the ABC protest in Sydney. It is so degraded it will take a long time to restore but it is a really important image. Out of that there comes a real social conscience, fighting for your rights and freedom. So leading on from that, when you think about having this exhibition here now (after Ted Gott’s seminal exhibition Don’t Leave Me This Way: Art in the Age of AIDS at the National Gallery of Australia in 1994), you observe that marginalised voices rarely enter institutional centres of art, rarely enter the mainstream art. It’s usually ARI’s or small public galleries. Not that the artist is gay (because they are just artists) but that the CONTENT addresses gay issues – which is why it’s so fantastic to see this exhibition here at the NGV.

So were there any barriers here to doing David’s show?

SM: No, not really. I think one of the really important things to note is that they show would not have really happened without the large gift from the estate. Becoming the key holder and custodian of David McDiarmid’s work added extra emphasis and responsibility about doing the right thing. At that point the organisation is implicated in that legacy and somehow we have to disseminate the work out into the community.

MB: It is quite a confronting show, how do you think the general public will respond to it?

SM: I have done a couple of tours of people through the exhibition, members and other, and one of the things that has been surprising to me, in a way, which has only become apparent when I have been describing the show in which David makes work in response to particular social and political conditions and contexts… is how different things are. AIDS is now not a terminal illness. To speak to a younger generation than even myself, they have no idea about dying from lack of a viable treatment, of AIDS being a death sentence.

MB: Last night I had a cry for all the people I had loved and lost. But it’s not just the public coming in to see this exhibition, it’s young gay men who don’t ever see anybody ill, don’t understand about the side effects of taking the medication, about what living with HIV is like. They don’t understand the struggle that went on for them to live as they do now. Do you think they will engage with that?

SM: We have structured the show in a way that teases those things out. One of the aspects of McDiarmid as a figure that I find very interesting is that, in 20 short years of practice, he spanned incredible key moments and periods of change in broader society and also within gay society. The legal, medical, institutional change… and really looking at that 20 years is looking at a period of immense social change. The narrative of the exhibition is then to reflect on that broader cultural shift through the biography of one person.

MB: It’s interesting when I looked at the show, when you start making work as an artist it’s always about personal narratives – lovers, friends, places – which then widens out into more universal concerns. You can see in David’s early work him scribbling, writing and really intimately notating his world, investigating his self and his relations to the world around him. And then to take that insight and then to mould it into these reflective images into the Rainbow Aphorisms at the end is an incredible journey. Stephen Alkins was saying to be last night that even the last works were still grounded in this humorous, ironic look at life. He as a really important multimedia artist when you actually study the work.

SM: Just to pick up on one aspect that you are mentioning, and going back into my own background, one of things that Max Delany and I have been talking about that has in some ways illuminated this project is that, in the 1970s and 80s that saying ‘The personal is political’, is very important. David’s work is talking very much about the political as his own biography. Perhaps there is a shift in his later work to a more symbolic realm, and I would argue that nowadays artists working in a political and social context and to affect social change is not so much now as a personal identity – a woman, a black man, a gay man – it’s not necessarily about individual identities anymore, in some ways those battles seem to have been won within Western society. Actually for artists now in this context it’s more about neo-liberalism or capitalism. So it tends to be more on an institutional level and people tackling that in a much more symbolic realm. For instance I am thinking of such people as Jeremy Deller, an English artist who engages with British history and in particular his Battle of Orgreave, a reenactment of the actual Battle of Orgreave which occurred during the UK miners’ strike in 1984.

MB: People like Tom Nicholson in Australia, then, who did the Monument for the flooding of Royal Park (2008-2010), a proposition for the scattering of nardoo sporocarp throughout Royal Park, a vast Park in Melbourne’s inner north which was Burke and Wills departure point, now commemorated by a small cairn.

SM: Exactly. Artists like Tom are working in very propositional ways about memory, social imagination, monuments and memorialisation. All those kind of things are very much within a symbolic realm now. McDiarmid’s work fills the personal and then moves into the symbolic.

MB: But then Stephen Alkins said it was always personal to David, still based in the personal. He was very loyal to his friends, he was a very quiet person, very loving person with great energy. But he didn’t suffer fools gladly, and I think that this comes out of that culture of standing up for yourself and being strong because of the stuff we had to go through to where we are today. Seeing this exhibition actually shows you that difference and what we had to fight for.

SM: There’s a real drive there in that last room. He made so much work, across so much media, at the end of his life – that impending death drive was the source of so much creativity.

MB: McDiarmid was heavily influenced by international artists such as Keith Haring but he never really showed overseas. What do you think about that diaspora, that going overseas and then returning home to then begin exhibiting?

SM: Well the earlier work is, as you say, heavily influenced by the New York scene, the clone scene that was prevalent in the 80s – San Francisco, New York – so he’s definitely channelling those places… Interestingly, unlike many other artists, his art practice is nearly all Australian.

MB: Finally, what do you think is is his legacy in terms of his standing as an artist?

SM: In the last ten years of his life he was heavily involved as a community artist. He was incredibly busy and incredibly involved with things like the organisation of the Sydney Gay Mardi Gras and the design of the posters and floats. He was director of Mardi Gras from 1988-90 and he worked up float designs for various groups. You really get a sense of, as you said, of the solitary work of an artist and a real commitment to that work. In terms of his legacy as an artist, I don’t think that we will know until the exhibition is over. His work, such as the Rainbow Aphorisms, has been distributed widely but not really in an art context, and certainly not in a museum show such as this. People have not had the opportunity to visualise his work as a whole body of work until now.

MB: That brings me to the international context. The Keith Haring Foundation relentlessly promotes his work through books, exhibitions and conferences throughout the world. Do you think that you will start promoting his work overseas to other galleries and getting it into international exhibitions?

SM: I think the book will open a lot of doors. Because his work reproduces so well, because his writing is so interesting there is a broad range of voices for the scholars to investigate. But I think because the work reproduces so beautifully that will be hugely important. One of the aspects that the book will hopefully communicate to a younger audience is that of an infected muscular, sexually active, virile man not an emaciated artist… but to understand that and where that came from, and how radical that was at the time. I think that is one of the legacies that people will take away from David’s work. He is one of the artists that has been really instrumental in redefining that imaginary representation of a dying gay man.

MB: I remember seeing those + and – posters in gay sex venues, and thinking to myself, wow those are so amazing, who did those!

SM: Yes, those posters are about not closing down, about always been open to possibilities.

MB: Thank you so much Simon for taking the time to talk to me, it’s been great.

SM: Always a pleasure.

 

Dr Marcus Bunyan with Simon Maidment for the Art Blart blog June 2014

Simon Maidment is Curator of Contemporary Art at the NGV.

 

David McDiarmid Installation views of various Sydney party posters with a black and white background wallpaper of David and the HIV Living group's 'Day of the dead skeleton for the Sydney Gay and Lesbian Mardi Gras, 1992'

David McDiarmid Installation views of various Sydney party posters with a black and white background wallpaper of David and the HIV Living group's 'Day of the dead skeleton for the Sydney Gay and Lesbian Mardi Gras, 1992'

 

David McDiarmid
Installation views of various Sydney party posters with a black and white background wallpaper of David and the HIV Living group’s Day of the dead skeleton for the Sydney Gay and Lesbian Mardi Gras, 1992 (commissioned by the AIDS Council of NSW) at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne

 

David McDiarmid. 'Sleaze Ball, Horden Pavilion, 12 October 1985' 1985

 

David McDiarmid
Sleaze Ball, Horden Pavilion, 12 October 1985
1985
Screenprint printed in black and gold ink
91.2 x 65 cm (sheet)
National Gallery of Australia, Canberra
Gift of the artist, 1991

 

dm-o-WEB

 

 

David McDiarmid
So I walked into the theatre
1984-85
Synthetic polymer paint, iron-on transfer, and cotton thread on cotton
Heide Museum of Modern Art, Melbourne
Gift of the Estate of David McDiarmid, 1998

 

dm-p-WEB

 

David McDiarmid
So I walked into the theatre (detail)
1984-85
Synthetic polymer paint, iron-on transfer, and cotton thread on cotton
Heide Museum of Modern Art, Melbourne
Gift of the Estate of David McDiarmid, 1998

 

So I walked into the

theatre and lit a cigarette

I looked around. Then I

saw Tony. He lives in

Brooklyn and has a nice

beard and greasy hair.

He didn’t acknowledge

me, but I expected that.

I’d already made it with

him several times before

and each time, he pretended

was the first. He had

even told me his name

once, and that he lived

with a lover. We always

have great sex, but he doesn’t

want me to do anything

but stand there. He has

an incredible mouth…

 

David McDiarmid. 'Disco kwilt' c. 1980

 

David McDiarmid
Disco kwilt
c. 1980
Artbank collection

 

David McDiarmid Installation view of works, mainly from the series 'Kiss of Light', 1990-92 including at left 'Mighty real' 1991

 

 

David McDiarmid
Installation view of works from the series Kiss of Light, 1990-92 including at left Mighty real 1991 with Kiss of Light 1990 right at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne
Collage of cut self-adhesive holographic film on enamel paint on plywood

 

David McDiarmid. 'Mighty real' (detail) 1991

 

 

David McDiarmid
Mighty real (detail)
1991
From the Kiss of light series 1990-92
Collage of cut self-adhesive holographic film on enamel paint on plywood
144.5 x 123.6 cm
Collection of Bernard Fitzgerald, Sydney

 

dm-r-WEB

 

Detail of one of David McDiarmid’s holographic film art works showing the winking eyes

 

David McDiarmid. 'Body language' 1990

 

David McDiarmid
Body language
1990
From the Kiss of light series 1990-92
Collage of cut self-adhesive holographic film on enamel paint on plywood
152.4 x 121.8 cm
National Gallery of Victoria, Melbourne

.
There is a holographic winking eye in the arsehole of this work

 

dm-v-WEB

 

 

David McDiarmid
Thinking of you (detail)
1990
Collage of cut self-adhesive holographic film on enamel paint on plywood
140 x 120 cm
Collection of Steven Alkins, Mullumbimby, New South Wales

 

Installation photograph of the last room showing, at left on the wall, work from the 'Rainbow Aphorisms' series 1994 with in front 'Totem works' 1992-95

 

 

Installation photograph of the last room showing, at left on the wall, work from the Rainbow Aphorisms series 1994 with in front Totem works 1992-95 at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne

 

David McDiarmid. 'Standard bold condensed' 1994

 

David McDiarmid
Standard bold condensed
1994
Screenprint on mylar on colour laser print
255.7 x 242.3 cm (overall)
National Gallery of Victoria, Melbourne
Gift of the Estate of David McDiarmid, 1998

 

Peter Tully (1947-1992) David McDiarmid Australia 1952-1995 Lived in United States 1979-1987 Ron Smith born Australia (1950s) 'Totem works' 1992-95

Peter Tully (1947-1992) David McDiarmid Australia 1952-1995 Lived in United States 1979-1987 Ron Smith born Australia (1950s) 'Totem works' 1992-95

 

David McDiarmid
Works from the Rainbow Aphorisms series
1994, printed 2014
Computer generated colour inkjet prints
149.1 x 110 cm (image and sheet each)
Collection of the McDiarmid Estate, Sydney

 

Peter Tully (1947-1992)

David McDiarmid
Australia 1952-1995
Lived in United States 1979-1987

Ron Smith
born Australia (1950s)
Totem works
1992-95
Anodised aluminium, found objects (installation)
Dimensions variable
Collection of Ron Smith, Woonona, New South Wales

 

Installation photograph of the last room showing, at right on the wall, work from the 'Rainbow Aphorisms' series 1994 with in front 'Totem works' 1992-95, then at left on the wall 'Pictograms' 1995

 

Installation photograph of the last room showing, at right on the wall, work from the Rainbow Aphorisms series 1994 with in front Totem works 1992-95, then at left on the wall Pictograms 1995 at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne

 

 David McDiarmid. 'Pictograms' 1995

 

David McDiarmid
Pictograms
1995
Vinyl and reflective plastic on aluminium

 

 

“I never saw art as being a safe thing. I know that exists but that’s not something that involves me.”

David McDiarmid, 1993

 

The vibrant, provocative and pioneering work of leading Australian artist, designer and gay activist David McDiarmid will be presented in a retrospective exhibition at the National Gallery of Victoria. Defying classification, McDiarmid’s work encompasses the complex and interconnected histories of art, craft, fashion, music, sex, gay liberation and identity politics.

David McDiarmid: When This You See Remember Mewill bring together more than 200 works, including the artist’s early gay liberation work; New York graffiti and disco quilts; fashion collaborations with Linda Jackson; his pioneering Rainbow aphorisms andGothic aphorisms digital work; material he produced as Sydney Mardi Gras Artistic Director; posters created for the AIDS Council of NSW; and, his significant and highly influential international campaigns developed in the context of AIDS, sexual politics and safe sex in the 1990s.

Tony Ellwood, Director, NGV, said, “The NGV is pleased to be staging this retrospective of an artist whose work had enormous impact on both the gay liberation movement and the international dialogue around AIDS, and whose clear messages of liberation, equality and emancipation continue to resonate today. David McDiarmid: When This You See Remember Me explores the social history, as well as political and art historical context, that informed McDiarmid’s work, which inspires through its courage, poetry, exuberance and cultural impact.”

Defying classification, the work of David McDiarmid encompasses the complex and interconnected histories of art, craft, fashion, music, sex, gay liberation and identity politics; happily residing in the spaces between high and low art, popular culture and community engagement. At once kaleidoscopic, celebratory and darkly humorous in tone, the artist’s idiosyncratic, highly personal and at times, confessional work highlights the redefinition and deconstruction of identities – “from camp to gay to queer” – drawing on the experiences of a life intensely lived in Melbourne, Sydney and New York. Charting the shifts in politics and individual and community expression that unfold across the decades of the 1970s, 80s and 90s, this exhibition also reveals McDiarmid’s artistic and grassroots political response to the impact of HIV / AIDS during the 1980s and beyond, for which he is best known internationally.

Recognising the cultural climate in which the artist worked, including the burgeoning of the gay rights movement, and a decade later, the advent of the AIDS crisis, the playful and provocative nature of McDiarmid’s work was critically related to changes that were occurring throughout this time to sexual identity and politics in Australia.

Dr Sally Gray, Guest Curator, said, “McDiarmid’s work speaks so eloquently of its time yet its importance and relevance endures today. David McDiarmid: When This You See Remember Me is the first exhibition in which the full scope of McDiarmid’s creative oeuvre is on display and is the culmination of painstaking research, with the support of many of his collaborators, friends and fans.”

David McDiarmid: When This You See Remember Me will coincide with the 20th International AIDS Conference in Melbourne in July 2014.

This exhibition includes coarse language and sexual content. Press release from the NGV website

 

William Yang. 'Artist David McDiarmid' May 1995

 

William Yang
Artist David McDiarmid photographed at the Art Gallery of New South Wales adjacent to his giant artwork on the gallery’s facade for Perspecta May, 1995
1995
© Reproduced with permission of William Yang

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87) 'Judy' 1976

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Judy
1976
from the Secret love series 1976
Metallic paint, red fibre-tipped pen, cut photo-offset lithograph and red and black ink on graph paper
78.0 x 66.0 cm
Collection of Paul Menotti and Bryce Kerr, Sydney
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87) 'Strangers in the night' 1978

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Strangers in the night
1978
Collage of cut coloured paper and photocopy on mulberry paper
62.6 x 50.7 cm
National Gallery of Victoria, Melbourne
Proposed acquisition
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87) 'Hand and heart' 1984

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Hand and heart
1984
Synthetic polymer paint on cotton
250.0 x 230.0 cm
Powerhouse Museum, Sydney
Gift of the Estate of the late David McDiarmid, 1998
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid. 'Sydney Gay and Lesbian Mardi Gras, poster' 1989-90

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Sydney Gay and Lesbian Mardi Gras, poster
1989-90
Colour photo-offset lithograph
69.0 x 49.0 cm
Powerhouse Museum, Sydney
Gift of Sydney Gay & Lesbian Mardi Gras Limited, 1995
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid. 'Untitled' 1990-95

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Untitled
1990-95
Self-adhesive holographic film and self-adhesive colour plastic on plastic
122.7 x 122.7 cm
Collection of Bernard Fitzgerald, Sydney
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid. 'Discard after use' 1990

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Discard after use
1990
from the Kiss of light series 1990-92
Collage of self-adhesive holographic film on enamel paint on plywood
61.2 x 61.2 cm
National Gallery of Victoria, Melbourne
Gift from the Estate of David McDiarmid, 1998
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid. 'I want a future that lives up to my past'  From the 'Rainbow aphorisms' series 1994, printed 2014

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
I want a future that lives up to my past
From the Rainbow aphorisms series 1994, printed 2014
computer generated colour inkjet prints
149.1 x 110.0 cm
Collection of the McDiarmid Estate, Sydney
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid. 'Q' From the 'Rainbow aphorisms' series 1994, printed 2014

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Q
From the Rainbow aphorisms series 1994, printed 2014
Computer generated colour inkjet prints
149.1 x 110.0 cm
Collection of the McDiarmid Estate, Sydney
© Reproduced with the permission of the David McDiarmid estate

 

 

The Ian Potter Centre: NGV Australia
Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
10am – 5pm
Closed Mondays

National Gallery of Victoria website

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06
Aug
14

Exhibition: ‘Art and Alchemy. The Mystery of Transformation’ at the Stiftung Museum Kunstpalast (SMKP), Düsseldorf, Germany

Exhibition dates: 5th April – 10th August 2014

 

Since I have 7 alchemy symbols tattooed on my right bicep in a vertical line to represent the 7 chakras, I thought this was a suitable exhibition for a posting. I love anything alchemical, magical, spiritual – in art and in life. I have just had a couple of snowflakes tattooed on my forearms, one blue/green and the red/orange for an ice/fire combination. Each snowflake is unique and ephemeral, here and gone in the blink of an eye, just like we are. That is their, and our, magic.

The photographer Minor White said it is not just the images that matter, but the space between them that causes an ice/fire frisson. When looking at an exhibition I note how images play off of each other – in pairs, sequences and across the gallery space. It is a relatively simple thing for a photographer to take one good image, more difficult to put a pair of images together that actually says something, but when you get to a sequence of images (as in MW) or a body of work, this is were a lot of artists wane. The intertextual narrative, one woven from the imagination of the artist, does not resolve itself into a satisfying, stimulating whole. How many exhibitions do I see that have some good images but do not access the magic of the music.

Further, we must also remember that in Psychology and Alchemy, Volume 12 in The Collected Works of C. G. Jung, alchemy is central to Jung’s hypothesis of the collective unconscious. “Jung reminds us of the dual nature of alchemy, comprising both the chemical process and a parallel mystical component. He also discusses the seemingly deliberate mystification of the alchemists. Finally, in using the alchemical process to provide insights into individuation, Jung emphasises the importance of alchemy in relating to us the transcendent nature of the psyche.” (Wikipedia)

Jung sees alchemy as an early form of psychoanalysis. The melting of base metal in a crucible and its reforming into gold can be seen as a form of individuation – the dissolution of the ego and its integration into the whole self. Basically the recasting or reforming of identity into a new Self. As the instructive text on Wikipedia notes,

“For the alchemist trying to understand matter and develop base metals into their purest form, gold, substances are grouped as being alike based on their perceived value. Jung documents as these alchemists collectively come to understand that they themselves must embody the change they hope to effect within their materials: for instance, if they hope to achieve the philosopher’s stone that can redeem ‘base’ or ‘vulgar’ metals, then the alchemist too must become a redeemer figure. It became apparent to the alchemists that they were trying to redeem nature as Christ had redeemed man, hence the identification of the Lapis Philosophorum with Christ the Redeemer. The Opus (work) of alchemy, viewed through this interpretation, becomes a symbolic account of the fundamental process the human psyche undergoes as it re-orients its value system and creates meaning out of chaos. The opus beginning with the nigredo (blackening, akin to depression or nihilistic loss of value) in order to descend back into the manipulable prima materia and proceeding through a process of spiritual purification that must unite seemingly irreconcilable opposites (the coniunctio) to achieve new levels of consciousness.”

.
Much of my early black and white work was based on an understanding of the magical nature of the (art)work. This is a fascinating area of enquiry for all artists because this is what they do – they see the world differently, reform it through their art and present it as a pathway for the future.

Marcus

 

PS The catalogue to this exhibition is excellent with lots of interesting essays.

.
Many thankx to the Stiftung Museum Kunstpalast for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

Marcus new tattoos February 2014

 

Marcus new tattoos February 2014

 

Theodor Galle nach Jan van der Straet (Stradanus). 'Destillierlabor' (from the series "Nova reperta") c. 1589 - c. 1593

 

Theodor Galle nach Jan van der Straet (Stradanus)
Destillierlabor (from the series “Nova reperta”)
c. 1589 – c. 1593
Stiftung Museum Kunstpalast, Düsseldorf
Photo: Horst Kolberg, Neuss

 

Pieter Brueghel the Younger (after Pieter Brueghel the Elder). 'The Alchemist' c. 1600

 

Pieter Brueghel the Younger
after Pieter Brueghel the Elder
The Alchemist
c. 1600
Oil on wood
68.8 x 96 cm
Private collection

 

David Teniers d.J. 'Alchemist in his Workshop' c. 1650

 

David Teniers d.J.
Alchemist in his Workshop
c. 1650
Courtesy of Roy Eddleman, Chemical Heritage Foundation Collections
Photo: Will Brown

 

Adriaen van Ostade. 'The Alchemist' 1661

 

Adriaen van Ostade
The Alchemist
1661
The National Gallery, London, Bought 1871
© The National Gallery, London, 2013

 

Hendrick Goltzius. 'Allegory of the Arts' 1611

 

Hendrick Goltzius
Allegory of the Arts
1611
Oil on canvas
181 x 256.6 cm
Kunstmuseum Basel
© Kunstmuseum Basel
Photo: Martin P. Bühler

 

Johan Moreelse. 'The Alchemist' 1630

 

Johan Moreelse
The Alchemist
1630
Oil on canvas
90.5 x 107.5 cm
Robilant + Voena, London und Mailand

 

Giovanni Antonio Grecolini. 'The Education of Cupid by Venus and Vulcan' 1719

 

Giovanni Antonio Grecolini
The Education of Cupid by Venus and Vulcan
1719
Oil on canvas
48.9 × 64 cm
Museum Kunstpalast
Photo: Horst Kolberg

 

Neo Rauch. 'Goldgrube' [Goldmine] 2007

 

Neo Rauch
Goldgrube [Goldmine]
2007
Oil on canvas
80 x 160 cm
Private collection
© Courtesy Galerie EIGEN + ART Leipzig/Berlin / VG Bild-Kunst, Bonn 2014
Photo: Uwe Walter, Berlin

 

 

“For the first time in Germany, an exhibition spanning all epochs and genres will be introducing the exciting link between art and alchemy in past and present times. 250 works from antiquity to the present, encompassing Baroque art, Surrealism, through to contemporary art from collections and museums in the USA, Great Britain, France, Mexico and Israel reveal the fascination which alchemy exerted for many visual artists. Artists featured in the exhibition, such as Joseph Beuys, Jan Brueghel the Elder, Lucas Cranach the Elder, Max Ernst, Hendrick Goltzius, Rebecca Horn, Anish Kapoor, Yves Klein, Sigmar Polke, Rembrandt van Rijn, Peter Paul Rubens and David Teniers the Younger invite visitors to explore the mystery of transformation.

Alchemy was invariably practised in secret, but was by no means a rare occurrence until well into the 18th century: Eminent personalities, including Paracelsus, Isaac Newton and Johann Wolfgang von Goethe, were alchemists, too. It was not until the Age of the Enlightenment that alchemy was ousted and became intermingled with occultism, sorcery and superstition. In connection with 19th and early 20th-century psychoanalysis alchemy was brought to new life.

The exhibition is divided into two major periods: pre-Enlightenment art, in particular works from the 16th and 17th centuries and the art of the 20th and 21st centuries.

In the pre-Enlightenment era both artists and alchemists laid claim to the ability to not only imitate nature but to even perfect it. This ambition is illustrated in the exhibition by casts from nature made by Bernard Palissy and Wenzel Jamnitzer. Their lizards and other creatures are extraordinarily life-like and yet have been immortalized in precious metal or ceramic as if petrified. The circumstance that artists and alchemists were ultimately rivals is exemplified by the Dutch artist Adriaen van Ostade with his painting depicting an alchemist in his laboratory, having failed to produce gold.

By contrast, the exhibition also includes works by artists presenting alchemy in a favourable light, such as portraits by Rubens and David Teniers the Younger, allegorical paintings by Jan Brueghel the Elder and Hendrick Goltzius, as well as three copies of the “Splendor Solis”, the most richly illuminated manuscript in the history of alchemy. Furthermore, an original manuscript by physicist Isaac Newton, contributed by the Chemical Heritage Foundation in Philadelphia, will be presented here for the first time in Europe.

The modern section of the show begins with Surrealism. Max Ernst, for instance, repeatedly took up the theme of the “Chymical Wedding” in his work. A particular highlight is the painting “The Creation of the Birds”, a key work by the Surrealist artist Remedios Varo. The Androgyne is an important theme, for instance, in the exhibits by Rebecca Horn. Joseph Beuys will be represented by a number of sculptures, drawings and collages, as well as a film and photo documentation of his action at the 1982 documenta. Moreover, the exhibition includes works by Anish Kapoor displaying his characteristic use of intensely coloured pigments. Further exhibits include selected works by representatives of contemporary art, such as Anselm Kiefer, Yves Klein, Alicja Kwade, Sigmar Polke, Neo Rauch and Gerda Steiner and Jörg Lenzlinger.

The exhibition was conceived by Museum Kunstpalast in cooperation with the research group “Art and Knowledge in Pre-Modern Europe” at the Max Planck Institute for the History of Science in Berlin, as well as a group of experts at the Chemical Heritage Foundation in Philadelphia, which also provided many pieces on loan. A Wunderkammer of curious and exotic treasures from flora and fauna is offered for visitors to explore. In an extensive accompanying programme the subject of art and alchemy will be expanded upon by means of lectures, talks and guided tours.”

Press release from the SMKP website

 

Jörg Breu the Elder (attributed) 'Splendor Solis' (Splendor of the Sun) 1531/32

 

Jörg Breu the Elder (attributed)
Splendor Solis (Splendor of the Sun)
1531/32
Manuscript; parchment, miniatures in opaque color; calfskin cover
33.1 × 22.8 cm
Staatliche Museen zu Berlin – Preussischer Kulturbesitz, Kupferstichkabinett
© bpk – Bildagentur für Kunst, Kultur und Geschichte / Staatliche Museen zu Berlin – Kupferstichkabinett
Photo: Jörg P. Anders

 

Rembrandt Harmenszoon van Rijn. 'Sogenannter Faust' [Allegedly Faust] c. 1651‑1653

 

Rembrandt Harmenszoon van Rijn
Sogenannter Faust [Allegedly Faust]
c. 1651‑1653
Drypoint
21.1 × 16.2 cm
Stiftung Museum Kunstpalast, Düsseldorf, Sammlung der Kunstakademie (NRW)
Photo: Horst Kolberg, Neuss

 

Francois-Marius Granet. 'The Alchemist' 1st half of the 19th century

 

Francois-Marius Granet
The Alchemist
1st half of the 19th century
Oil on canvas
61 x 48.3 cm
Gift of Roy Eddleman Chemical Heritage Foundation Collections, Philadelphia
Photo: Will Brown

 

Max Ernst. 'Men Shall Know Nothing of This' 1923

 

Max Ernst
Men Shall Know Nothing of This
1923
Oil on canvas
80.3 x 63.8 cm
Tate, London
Photo: © Tate, London 2013, VG Bild-Kunst, Bonn 2014

 

Victor Brauner. 'Le Surréaliste' (“The Surrealist”) 1947

 

Victor Brauner
Le Surréaliste (“The Surrealist”)
1947
Oil on canvas
60 x 45 cm
Peggy Guggenheim Collection, Venice (Solomon R. Guggenheim Foundation, NY)
© Peggy Guggenheim Collection, Venice (Solomon R. Guggenheim Foundation, NY) / VG Bild-Kunst, Bonn 2014

 

Rebecca Horn. 'Zen of Ara' 2011

 

Rebecca Horn
Zen of Ara
2011
Springs, motor, brass, electrical
D: 73 cm
Private collection Rebecca Horn
Photo: Karin Weyrich
© VG Bild-Kunst, Bonn 2014

 

Yves Klein. 'Relief éponge bleu (RE 18)' (blue sponge relief [re 18]) 1960

 

Yves Klein
Relief éponge bleu (RE 18) (blue sponge relief [re 18])
1960
Wood, sponges, pigment dissolved in acetone
230 × 154 cm
Museum Kunstpalast, Düsseldorf, Modern Art
© Stiftung Museum Kunstpalast, Düsseldorf / ARTOTHEK / Photo: Horst Kolberg, Neuss / VG Bild-Kunst, Bonn 2014

 

Richard Meitner. 'Reductio ad Absurdum' 1977

 

Richard Meitner
Reductio ad Absurdum
1977
Glass and gold
25 x 80 cm
Privatsammlung
Photo: Ron Zijlstra
© Richard Meitner

 

John Isaacs. 'Thinking about it' 2002

 

John Isaacs
Thinking about it
2002
Wax, wire, plaster of paris
15 1/2 x 12 x 13 inches
30 x 30 x 50 cm
Olbricht collection, Germany

 

 

Stiftung Museum Kunstpalast
Ehrenhof 4-5, 40479
Düsseldorf, Germany
+49 211 56642100

Opening hours:
Tuesday – Sunday 11 – 6
Thursday 11 – 9
Closed on Monday

Stiftung Museum Kunstpalast website

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05
Aug
14

Exhibition: ‘Chris Round / Inversion’ at Edmund Pearce Gallery, Melbourne

Exhibition dates: 22nd – 26th July 2014

 

My apologies to Chris Round that I did not get this posting up during the short run of the exhibition. It was a bit of a crowded time with the exhibition Out of the closets and Nite Art on.

The work, shown in the small black gallery at Edmund Pearce, had great presence and beauty. The backgrounds had a luminous pastel affect, much more so than in the reproductions shown here. The objects seemed to float off the paper. This is experimental work for Round (vis a vis his landscape practice) but the influences for the work can be seen in the two landscape photographs that I have included here.

I really enjoyed the beauty, serenity and context of these metaphorical landscapes.

Marcus

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Many thankx to Edmund Pearce Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Chris Round. 'Inversion #5' 2014

 

Chris Round
Inversion #5
2014
Archival pigment print on cotton rag
64 x 84 cm
Edition of 7
© Chris Round

 

Chris Round. 'Inversion #4' 2014

 

Chris Round
Inversion #4
2014
Archival pigment print on cotton rag
64 x 84 cm
Edition of 7
© Chris Round

 

Chris Round. 'Nowra, NSW' 2013

 

Chris Round
Nowra, NSW
2013
Archival inkjet print
© Chris Round

 

Chris Round. 'Inversion #2' 2014

 

Chris Round
Inversion #2
2014
Archival pigment print on cotton rag
64 x 84 cm
Edition of 7
© Chris Round

 

Chris Round. 'Inversion #1' 2014

 

Chris Round
Inversion #3
2014
Archival pigment print on cotton rag
64 x 84 cm
Edition of 7
© Chris Round

 

Chris Round. 'Ulladulla harbour, NSW' 2012

 

Chris Round
Ulladulla harbour, NSW
2012
Archival inkjet print
© Chris Round

 

Chris Round. 'Inversion #1' 2014

 

Chris Round
Inversion #1
2014
Archival pigment print on cotton rag
64 x 84 cm
Edition of 7
© Chris Round

 

 

Inversion marks a departure from my normal landscape based work and in to experimental still life. This series is an investigation into form and visual illusion using functional, mass-produced objects. By removing context – using a reflective surface that’s not immediately apparent and at times changing colours – I’m interrogating the duality of the real and the imagined, the prosaic and the beautiful. I’m also exploring the physicality of depth and space, re-evaluating both utilitarian aesthetic and function simultaneously.

Text by the artist on the Edmund Pearce website

 

Chris Round. 'Inversion #6' 2014

 

Chris Round
Inversion #6
2014
Archival pigment print on cotton rag
84 x 64 cm
Edition of 7
© Chris Round

 

Chris Round. 'Inversion #7' 2014

 

Chris Round
Inversion #7
2014
Archival pigment print on cotton rag
84 x 64 cm
Edition of 7
© Chris Round

 

Chris Round. 'Inversion #8' 2014

 

 

Chris Round
Inversion #8
2014
Archival pigment print on cotton rag
84 x 64 cm
Edition of 7
© Chris Round

 

 

Edmund Pearce Gallery
Level 2, Nicholas Building
37 Swanston Street (corner Flinders Lane)
Melbourne Victoria 3000
T: (03) 9023 5775

Opening hours:
Tues – Sat 11 am – 5 pm

Edmund Pearce Gallery website

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26
Jul
14

Exhibition: ‘Knud Lonberg-Holm: The Invisible Architect’ at Ubu Gallery, New York Part 1

Exhibition dates: 6th May – 30th September 2014

 

I am so excited by this monster two-part posting about the work of architect Knud Lonberg-Holm. Not only are his drawings and models incredible but his photographs of industry and skyscrapers, taken mainly between 1924-26, are a revelation. The textures and inky blackness of his Dazzlescapes and the New Photography images of skyscrapers (both in Part 2) mark these images as the greatest collection of photographs of skyscrapers that I have ever seen. More comment tomorrow but for now just look at the dark Gotham-esque photograph The New – The Coming, Detroit, Streetcars (1924, below). The streetcar reminds me of the armoured trains so popular during the inter-war years and during World War II. And what a title: The New – The Coming…

Marcus

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Many thankx to Ubu Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“Lonberg-Holm was the first architect in my knowledge ever to talk about the ultimately invisible architecture. In 1929, when I first met him, he said the greatest architect in history would be the one who finally developed the capability to give humanity completely effective environmental control without any visible structure and machinery.”

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Buckminster Fuller

 

 

Knud Lonberg-Holm. 'The New - The Coming, Detroit, Streetcars' 1924

 

Knud Lonberg-Holm
The New – The Coming, Detroit, Streetcars
1924
Reproduced in Erich Mendelsohn’s Amerika, p. 73
Vintage gelatin silver print
3 1/4 x 4 1/4 inches (8.3 x 10.8 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'View from the roof' Detroit, 1924

 

Knud Lonberg-Holm
View from the roof
Detroit, 1924
Vintage gelatin silver print
2 3/4 x 4 1/2 inches (7 x 11.4 cm) approx.
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'Detroit' 1924

 

Knud Lonberg-Holm
Detroit
1924
reproduced in Erich Mendelsohn’s Amerika, p. 71 (top)
Vintage gelatin silver print
3 3/8 x 4 3/8 inches (8.6 x 11.1 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'Detroit, A New Street' 1924

 

Knud Lonberg-Holm
Detroit, A New Street
1924
reproduced in Erich Mendelsohn’s Amerika, p. 71 (bottom)
Vintage gelatin silver print
3 3/8 x 4 3/8 inches (8.6 x 11.1 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

 

“Ubu Gallery is pleased to present Knud Lonberg-Holm: The Invisible Architect, a debut exhibition devoted to this overlooked, yet highly influential, 20th Century modernist. Never-before-seen photographs, architectural drawings, letters, graphic design, and ephemera from Lonberg-Holm’s remarkably diverse career will be on view through August 1, 2014. The exhibition, which consists of selections from the extensive archive assembled by architectural historian Marc Dessauce, will solidify the importance of this emblematic figure in early 20th Century cultural and architectural history. Metropolis Magazine, the national publication of architecture and design, will publish an article on Knud Lonberg-Holm to coincide with this groundbreaking exhibition.

Born in Denmark, Knud Lonberg-Holm (January 15, 1895 – January 2, 1972), was an architect, photographer, author, designer, researcher, and teacher. Lonberg-Holm’s early work in Denmark and Germany initially associated him with the Berlin Constructivist and Dutch De Stijl groups. An émigré to America in 1923, Lonberg-Holm was a fundamental correspondent with prominent European architects and their modernist counterparts in the U.S. The exhibition will feature a selection of letters to Lonberg-Holm from a pantheon of the European avant-garde including László Moholy-Nagy, Walter Gropius, Theo Van Doesburg, Buckminster Fuller, Hannes Meyer, J.J.P. Oud, El Lissitzky, and Richard Neutra.

From 1924–1925, Lonberg-Holm was a colleague of Eliel Saarinen at the University of Michigan at Ann Arbor, where he taught a course in basic design modeled on the famed Bauhaus Vorkurs, the first-ever introduced in U.S. design schools. An agent of inter-continental communication, his reports on the state of American architecture appeared abroad. Lonberg-Holm’s 1928 article, Amerika: Reflections, featured buildings on the University of Michigan campus and appeared in the Dutch avant-garde publication i10, which employed Moholy-Nagy as its photo editor. The article not only contributed to international discourse on the building industry, but also touched on the “time-space convention,” a subject Lonberg-Holm would explore throughout his career. This publication, among others, will be on display.

Lonberg-Holm’s interest in American industry is best viewed in his collection of photographs taken between 1924-1926. These works document his pioneering views of industry and technology in burgeoning, jazz-age New York, Detroit, and Chicago; they would appear later, un-credited, in Erich Mendelsohn’s seminal 1926 publication Amerika, the first book on the ‘International Style’ in American architecture. Thirteen vintage photographs reproduced in Amerika will be on exhibit, as well as additional early photographs depicting technological advancements, such as cable cars and radio antennae, American culture in mass crowds and billboards, and the commercial architecture of skyscrapers and factories. Backside-views of buildings and fire escapes, rather than historicist ornamental facades, are presented in their “unselfconscious beauty” in opposition to traditional, pictorialist architectural photography. The content of the works coupled with progressive view points, like worm’s eye perspectives and extreme close-ups, align them squarely within the then emerging ‘New Photography.’ El Lissitzky wrote that the dynamic photos “grip us like a dramatic film.”1 Mendelsohn’s publication, featuring Lonberg-Holm’s dynamic photography, received immediate acclaim, domestically and abroad.

While still in Germany, Lonberg-Holm created a submission for the Chicago Tribune Tower competition of 1922. Although never officially submitted, the project was published widely in magazines and newspapers, alongside other prominent architects’ designs. From his office in the historically designed Donner Schloss in Altona, Germany, Lonberg-Holm envisioned a modern construction for Chicago that incorporated references to American mass culture, specifically the automobile. The West elevations on view show the Chicago Tribune sign, which includes circular signage reminiscent of headlights. The Side elevation exhibited clearly demonstrates how the printing plant function of the ground floors of the building, rendered in black, are visually distinct from the offices of the higher floors, rendered in white with black accents for visual continuity throughout the building. Lonberg- Holm’s proposed construction, whose outward visual design distinguished its internal functions, was reproduced in L’Architecture vivante, La Cite, Le Courbusier’s Almanach d’architecture in France and Walter Gropius’ Internationale Architektur in Munich; the Berliner Illustrirte Zeitung displayed his building next to that of Mies van der Rohe and a full spread devoted to the skyscraper, featuring Lonberg-Holm’s Chicago design adjacent to plans by Walter Gropius, Saarinen and van der Rohe, appeared in H. Th. Wijdeveld’s November/December 1923 issue of the innovative publication Wendingen.

The drawings Lonberg-Holm created during this first decade as an émigré are striking for their early use of European modernist, particularly Neo-plastic, influences. He was close with the DeStijl movement in Holland, and corresponded with both Theo van Doesburg and J.J.P. Oud, with whom he would continue to work within CIAM, the Congrès Internationaux d’Architecture Modern. Early renderings done by Lonberg-Holm in the U.S. demonstrate an affinity for DeStijl principles. His plans for the 1926 MacBride residence in Ann Arbor are dynamic and asymmetrical, with intersecting planes in simple primary colors. Surely the first American allusion to Gerrit Rietvel’s iconic 1924 Schröder House in Utrecht, Holland, the MacBride residence is one of the first ‘International Style’ modernist houses designed in the Western hemisphere.

Lonberg-Holm’s importance to and knowledge of European architectural trends resulted in an invitation by Jane Heap to participate in the 1927 landmark New York exhibition, Machine Age, which was heralded as “the first international exposition of architecture held in America.” This exhibition, held at the New York Scientific American Building, May 16-28, stressed the new mechanical world and its key player, the Engineer. Lonberg-Holm’s 1925 Detroit project, Radio Broadcasting Station, was featured. The New York’s review of the exhibition explicitly referenced Lonberg-Holm’s project, noting its “delicacy and exquisite technique of execution.”

Lonberg-Holm worked with the F.W. Dodge corporation for 30 years, first in the division responsible for The Architectural Record (1930-1932), and then as head of the research department of Sweet’s Catalog Service (1932-1960.) At The Architectural Record, Lonberg-Holm acted as research editor and wrote technical news, a precursor to his lifelong interest in data-driven analytics. During his New York based employment, Lonberg-Holm’s involvement with international architectural trends did not diminish. In addition to prolonged correspondence with the various directors of the Bauhaus, including Hannes Meyer, he and his wife Ethel would visit the Bauhaus at Dessau in 1931. In 1946, Lonberg-Holm was also ultimately a candidate to replace Moholy-Nagy as director of the Institute of Design in Chicago.

At the same time, Lonberg-Holm was involved in domestic architecture and building theory. Richard Neutra would reach out to Lonberg-Holm in 1928 for illustrations and photographs to include in his account of the modern architecture movement in the US; he would approach him again in 1932 to lecture on the West Coast. Lonberg-Holm and Neutra were the “American” representatives to CIAM. It was Lonberg-Holm who nominated Buckminster Fuller and Theodore Larson for membership into CIAM in 1932.

What little scholarship exists about Knud Lonberg-Holm briefly examines his nearly twenty-year relationship with the Czech pioneering graphic designer Ladislav Sutnar, with whom Lonberg-Holm worked at Sweet’s Catalog Service. From 1942 through 1960 at the research department of Sweet’s, the bible for all the building trades, Lonberg-Holm and Sutnar revolutionized the catalog by standardizing information techniques. They presented systemized communication through a simple, modern, and intelligible visual language that influenced all areas of architectural and graphic design. Together, Lonberg-Holm and Sutnar co-authored Catalog Design (1944), Designing Information (1947), and Catalog Design Progress (1950).

The vital roles and communication between city planning, architecture, and civil productivity where important to Lonberg-Holm and would be explored throughout his career. In A. Lawerence Kocher’s letter to Lonberg-Holm, the article “Architecture-or organized space” is referenced. This 1929 essay, published in Detroit, addressed the “building problem” in the US – the “an-organic structure of its cities” – and proposed “a new conception of city-planning based on a clearer understanding of the organic functions of a community.” Lonberg-Holm would be an important participant in the city planning survey of Detroit, one of CIAM’s analytical initiatives in 1932-1933. Field Patterns and Fields of Activity, a visual diagram further illustrating the interconnectivity of intelligence, welfare, production, and control in a community, graphically illustrates these early principles.

Collaboration was critical to Lonberg-Holm, who would work with Theodore Larson to improve information indexing and the production cycle. Field Patterns, as well as the visuals for Planning for Productivity (1940), were components of Lonberg-Holm’s collaboration with Theodore Larson. Lonberg-Holm sought to apply some of the theories set forth in Development Index. This collaborative project with Larson was published by the University of Michigan in 1953 and focused on the relationship between community, industry, and education, analytical theories that were proposed by Lonberg-Holm during the formation of the University’s Laboratory of Architectural Research. Lonberg-Holm’s 1949 visual diagram of the relationship between the university, the building industry, and the community, is on view, as well as the Sutnar-designed steps of Planning for Productivity. Lonberg-Holm had returned to the University as a guest lecturer and professor in the late 1940s and early 1950s. At the suggestion of Lonberg-Holm, Theordore Larson was among the new faculty hired at the University in 1948, along with Walter Sanders and William Muschenheim, whom Lonberg-Holm had worked with in the Detroit survey.

In 1949, Lonberg-Holm was issued a Dymaxion License and became a trustee to the Fuller Institute/Research Foundation; among the trustees are his contemporaries George Nelson and Charles Eames. Initially meeting Buckminster Fuller in c. 1929, he and Fuller would correspond throughout Lonberg-Holm’s life. Lonberg-Holm was a member of the Structural Studies Associates (SSA), a short-lived group of architects in the 1930s surrounding Fuller and his briefly published architectural magazine Shelter. A number of Shelter issues are on view, many of which have contributions by Lonberg-Holm; the cover of the May 1932 issue was designed by Lonberg-Holm. Planning for Productivity and Development Index were later data-driven projects that furthered the SSA’s and Fuller’s principles – that the evolution of science and technology would influence social progress and could be beneficial to the community only through research, analysis and macroapplication.

Arriving to the US a decade before his European contemporaries, Lonberg-Holm occupied a unique position as a cultural bridge, communicating between the US and Europe in a period when the state of art and architecture was radically changing. He exposed his students and colleagues to European protagonists of avant-garde architecture theory while enthusiastically exploring American industry and building. Exclusively through collaboration, Lonberg-Holm worked to modernize both architecture and design. Integral to Lonberg-Holm’s principles was that technology alone could not suffice as the sole perpetuator of architecture – advancements in building and new designs needed to promote human culture in an ever-evolving manner where new information was continuously integrated into design theory. Throughout his career, Lonberg-Holm embodied the antithesis of the stereotype architect, egocentric and insulated from the community in which his designs were to exist. From his beginnings at The Architectural Record to his final project, Plan for Europe 2000: Role of the Mass Media in Information and Communication, Lonberg-Holm held to the belief that a collective approach, with applied research, could form a generative knowledge base that could be cultivated for altruistic means.”

Text from the Ubu Gallery website

1. Beaumont Newhall, The History of Photography from 1839 to the Present, London, Seeker & Warburg, 1982, p. 1.

 

'Portrait of Knud Lonberg-Holm' New York, 1950s (prior to 1960)

 

Portrait of Knud Lonberg-Holm
New York, 1950s (prior to 1960)
Vintage gelatin silver print
6 7/8 x 10 inches (17.5 x 25.4 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

'Portrait of Knud Lonberg-Holm' New York, 1950s (prior to 1960)

 

Portrait of Knud Lonberg-Holm
New York, 1950s (prior to 1960)
Vintage gelatin silver print
7 7/8 x 9 1/2 inches (20 x 24.1 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'Le Corbusier at CIAM Conference' c. 1954-1964

 

Knud Lonberg-Holm
Le Corbusier at CIAM Conference
c. 1954-1964
Vintage gelatin silver print
5 5/8 x 8 3/8 inches (14.3 x 21.3 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'Buckminster Fuller, Lonberg-Holm and other' Bayside, New York Nd

 

Knud Lonberg-Holm
Buckminster Fuller, Lonberg-Holm and other
Bayside, New York
Nd
Vintage gelatin silver print
3 x 4 1/4 inches (7.6 x 10.8 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'Photograph of the Dymaxion Car' Bridgeport, Connecticut, July 21, 1933

 

Knud Lonberg-Holm
Photograph of the Dymaxion Car
Bridgeport, Connecticut, July 21, 1933
Vintage gelatin silver print
7 5/8 x 9 3/4 inches (19.4 x 24.8 cm)
Stamped on verso
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

In July of 1933, the Dymaxion car was introduced in Bridgeport, Connecticut, where it caused a great stir. Lonberg-Holm can be seen holding the car door open while the artist Diego Rivera (who was in attendance with his wife and artist Frida Kahlo) looks on, coat on his arm.
Knud Lonberg-Holm. 'Diego Rivera and Frida Kahlo' Bridgeport, Connecticut, July 21, 1933

 

Knud Lonberg-Holm
Diego Rivera and Frida Kahlo
Bridgeport, Connecticut, July 21, 1933
Vintage gelatin silver print
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'Radio Broadcasting Station' Photograph of Model Detroit, 1925

 

Knud Lonberg-Holm
Radio Broadcasting Station
Photograph of Model
Detroit, 1925
Vintage gelatin silver print
4 7/8 x 6 7/8 inches (12.4 x 17.5 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'Radio Broadcasting Station' Photograph of Model Detroit, 1925

 

Knud Lonberg-Holm
Radio Broadcasting Station

Photograph of Model
Detroit, 1925
Vintage gelatin silver print
5 3/8 x 7 1/2 inches (13.7 x 19.1 cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

Knud Lonberg-Holm. 'Photograph of Chicago's new skyline North of Randolph Street All new since 1926 except Wrigley and Tribune buildings' May 1929

 

Knud Lonberg-Holm
Photograph of Chicago’s new skyline
North of Randolph Street
All new since 1926 except Wrigley and Tribune buildings
May 1929
Vintage gelatin silver print
2 1/4 x 4 1/2 inches (5.7 x 11.4 cm)
Titled on verso
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York

 

 

Ubu Gallery
416 East 59th Street
New York 10022
Tel: 212 753 4444

Opening hour:
Monday – Friday 11 am – 6 pm

Ubu Gallery website

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22
Jul
14

Exhibition: ‘Calder and Abstraction: From Avant-Garde to Iconic’ at the Los Angeles County Museum of Art (LACMA), Los Angeles

Exhibition dates: 24th November 2013 – 27th July 2014

 

Any of them – or just one of them. I don’t care!

Just to have one in your home would be like wishing upon a star… to contemplate, to observe, to understand these inherently tactile sculptures. What a joy.

Marcus

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Many thankx to the Los Angeles County Museum of Art (LACMA) for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image. Download Calder and Abstraction: From Avant-Garde to Iconic Didactics (30kb pdf)

 

 

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Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

Installation views of 'Calder and Abstraction: From Avant-Garde to Iconic' at the Los Angeles County Museum of Art (LACMA)

 

Installation views of Calder and Abstraction: From Avant-Garde to Iconic at the Los Angeles County Museum of Art (LACMA)
© Calder Foundation, New York/Artists Rights Society (ARS) Photos: Fredrik Nilsen

 

 

“The Los Angeles County Museum of Art (LACMA) presents Calder and Abstraction: From Avant-Garde to Iconic, the first monographic presentation of Alexander Calder’s work in a Los Angeles museum. Taking as its compass the large-scale sculpture Three Quintains (Hello Girls), a site-specific fountain commissioned by LACMA’s Art Museum Council in 1964 for the opening of LACMA’s Hancock Park campus, Calder and Abstraction brings together a range of nearly fifty abstract sculptures, including mobiles, stabiles, and maquettes for larger outdoor works, that span more than four decades of the artist’s career. The exhibition at LACMA is organized by LACMA’s senior curator of modern art Stephanie Barron and designed by Gehry Partners, LLP.

Barron remarks, “Calder is recognized as one of the greatest pioneers of modernist sculpture, but his contribution to the development of abstract modern sculpture – steeped in beauty and humor – has long been underestimated by critics. Calder was considered a full-fledged member of the European avant-garde, becoming friendly with André Breton, Marcel Duchamp, Joan Miró, and Piet Mondrian, and exhibited alongside Jean Arp, Wassily Kandinsky, Fernand Léger, and many of the Surrealists. His radical inventions move easily between seeming opposites: the avant-garde and the iconic, the geometric and the organic, art and science – an anarchic upending of the sculptural paradigm.”

Calder and Abstraction offers a window into the remarkably original thinking of this distinguished artist and elucidates his revolutionary and pivotal contribution to the development of modern sculpture,” says Michael Govan, CEO and Wallis Annenberg Director of LACMA. “Three Quintains (Hello Girls) at LACMA has for decades been seen as an emblem of the museum. Following in the footsteps of its legacy, our campus continues to be enhanced by large-scale, public art—most recently with the inclusion of Chris Burden’s Urban Light (2008) and Michael Heizer’s Levitated Mass (2012).”

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Exhibition overview

Calder and Abstraction traces the evolution of abstraction in the artist’s sculptural practice. The exhibition, arranged in loose chronological order, presents highlights of Calder’s oeuvre from his earliest abstract works to the crescendo of his career in the late 1940s to his later public sculptural commissions. While he is considered one of the most popular artists of his time, his work also shares sensibilities with less immediately accessible artists, including the Surrealists and the champions of pure abstraction that made up the Abstraction-Création group, such as Robert Delaunay, Theo van Doesburg, and Kurt Schwitters, among others.

From 1926 to 1933, Pennsylvania-born Calder lived primarily in Paris and was a prevalent figure of the European avant-garde along with peers Marcel Duchamp, Joan Miró, Piet Mondrian, Jean Hélion, Wassily Kandinsky, Fernand Léger, Alberto Giacometti, fellow American Man Ray, and many of the Surrealists. At the time, Paris was the epicenter of creative production, and Surrealism was the most significant artistic movement in France. A number of his works from the 1930s referenced astronomy, a preoccupation shared by a number of avant-garde artists. In Gibraltar two off-kilter rods thrust upward from a plane encircling a wood base, suggesting a personal solar system. Calder was fascinated with representing the natural world and the cosmos as potent and brimming with energy: “When I have used spheres and discs … they should represent more than what they just are. … [T]he earth is a sphere but also has some miles of gas about it, volcanoes upon it, and the moon making circles around it. … A ball of wood or a disc of metal is rather a dull object without this sense of something emanating from it.”

A crucial encounter for Calder occurred in 1930 upon visiting artist Piet Mondrian’s studio. Calder credited Mondrian with opening his eyes to the term “abstract,” providing the catalyst to a new phase in his practice. Calder later described this visit as pivotal in his move towards abstraction: “The visit gave me a shock. … Though I had heard the word ‘modern’ before, I did not consciously know or feel the term ‘abstract.’ So now, at thirty-two, I wanted to paint and work in the abstract.”

Calder appropriated Surrealism’s affinity to curvilinear, biomorphic forms into his sculptures, and when he met Miró in 1928, the two men discovered a mutual admiration for each other’s work and developed a close friendship. As Calder stated, “Well, the archaeologists will tell you there’s a little bit of Miró in Calder and a little bit of Calder in Miró.”

The decade after he met Miró and Mondrian proved to be the most radical of Calder’s career. He embraced the Surrealist notion of integrating chance into his works in addition to the Constructivist idea that painting and sculpture should be freed from their standard constraints, such as gravity and traditional sculptural mass. He consequently developed his two signature typologies: the mobile, a term coined by Marcel Duchamp after a visit to Calder’s home and studio in 1931; and the stabile, named by Jean Arp in 1932.

Calder’s mobiles are hanging, kinetic sculptures made of discrete movable parts stirred by air currents, creating sinuous and delicate drawings in space. Either suspended or freestanding, these often large constructions consist of flat pieces of painted metal connected by wire veins and stems. Eucalyptus (1940), one of Calder’s first mature mobiles, was created during World War II. The piece can be seen as a composition of violent, tortured biomorphic shapes that suggest gaping mouths, body parts, sexual organs, and sinister weapons.

Stabiles, which were developed alongside Calder’s mobiles but came to full maturity later in his career, are stationary abstract sculptures, often with mobiles attached to them (standing mobiles). In several of Calder’s works from the 1940s – the most prolific decade of his sculptural production – he effectively blended the mobile and stabile forms, as seen in Laocoön (1947), in which the stabile supports graceful, arcing branches that cut a broad swath as they rotate at an irregular rhythm.

In the mid-1950s, Calder began working with quarter-inch steel (thicker than the aluminum he had used during the 1940s), which enabled him to construct larger, more durable, and more ambitious sculptures and posed him as an ideal collaborator with architects to create works for public spaces. With commissions from the city of Spoleto, Italy (1962), Montreal’s Expo (1967) and Grand Rapids, Michigan (1969) – represented in the exhibition by La Grande vitesse (intermediate maquette) – Calder began a virtually non-stop output of public sculpture until his death in 1976.

Calder’s public sculpture evolved at a time when communities were becoming increasingly proud of public sculpture, although his resolutely bold abstract forms, though hard to imagine now, were initially met with some controversy. Today encountering Calder’s iconic sculpture in the center of a city, in front of a courthouse, in the midst of the Senate Office Building, or in front of a museum is a hallmark of postwar public sculpture that he helped to invent.

.
Exhibition design and installation

Calder was constantly in conversation and collaborated with other artists and architects in his lifetime, but a major architect has not designed a Calder show since the 1980s. Frank O. Gehry’s design for LACMA’s exhibition allows for quiet areas of contemplation, unexpected juxtapositions of related works, and opportunities for both intimate and panoramic views of the works. Gehry’s gently curved walls frame the sculptures and recall the harmony between art and architecture, emphasizing the organic nature of Calder’s works. Gehry’s own method of developing architectural forms is inherently tactile, sharing some of the same hands-on techniques of a sculptor.

With the assistance of technology and effective planning, Calder and Abstraction at LACMA features a selection of sculptures that are animated throughout the course of the day.”

Press release from the LACMA website

 

Alexander Calder. 'Three Quintains (Hello Girls)' 1964

 

Alexander Calder
Three Quintains (Hello Girls)
1964
Sheet metal and paint with motor
275 x 288 inches
Los Angeles County Museum of Art
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Museum Associates/LACMA

 

Alexander Calder. 'Blue Feather' c. 1948

 

Alexander Calder
Blue Feather
c. 1948
Sheet metal, wire and paint
42 x 55 x 18 inches
Calder Foundation, New York
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

Alexander Calder. 'Little Face' 1962

 

Alexander Calder
Little Face
1962
Sheet metal, wire and paint
42 x 56 inches
Los Angeles County Museum of Art
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Museum Associates/LACMA

 

Alexander Calder. 'Laocoön' 1947

 

Alexander Calder
Laocoön
1947
Sheet metal, wire, rod, string and paint
80 x 120 x 28 inches
The Eli and Edythe L. Broad Collection
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Douglas M. Parker Studio, Los Angeles

 

Alexander Calder. 'Yucca' 1941

 

Alexander Calder
Yucca
1941
Sheet metal, wire and paint
73 x 23 x 20 inches
Solomon R. Guggenheim Museum, New York, Hilla Rebey Collection, 1971
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Solomon R. Guggenheim Foundation, New York, by Kristopher McKay

 

Alexander Calder. 'Un effet du japonais' 1941

 

Alexander Calder
Un effet du japonais
1941
Sheet metal, rod, wire and paint
80 x 80 x 48 inches
Calder Foundation, New York
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

Alexander Calder. 'Gibraltar' 1936

 

Alexander Calder
Gibraltar
1936
Lignum vitae, walnut, steel rods, and painted wood
52 x 24 x 11 inches
The Museum of Modern Art, New York. Gift of the artist.
© Calder Foundation, New York/Artists Rights Society (ARS)
Digital image: © 2013 The Museum of Modern Art/Licences by SCALA/Art Resource, NY

 

Alexander Calder. 'Constellation Mobile' 1943

 

Alexander Calder
Constellation Mobile
1943
Wood, wire, string and paint
53 x 48 x 35 inches
Calder Foundation, New York
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

Alexander Calder. 'Bougainvillier' 1947

 

Alexander Calder
Bougainvillier
1947
Sheet metal, wire, lead and paint
78 x 86 inches
Collection of John and Mary Shirley
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

Alexander Calder. 'Le Demoiselle' 1939

 

Alexander Calder
Le Demoiselle
1939
Sheet metal, wire and paint
58 x 21 x 29 inches
Glenstone
© Calder Foundation, New York/Artists Rights Society (ARS)

 

Alexander Calder. 'Red Disc' 1947

 

Alexander Calder
Red Disc
1947
Sheet metal, wire and paint
81 x 78 inches
Frances A. Bass
© Calder Foundation, New York/Artists Rights Society (ARS)

 

Alexander Calder. 'Untitled' 1947

 

Alexander Calder
Untitled
1947
Sheet metal, wire and paint
66 x 53 inches
Private collection
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

Alexander Calder. 'Trois Pics (intermediate maquette)' 1967

 

Alexander Calder
Trois Pics (intermediate maquette)
1967
Sheet metal, bolts, and paint
96 x 63 x 70 inches
Calder Foundation, New York
© Calder Foundation, New York/Artists Rights Society (ARS)
Photo: Calder Foundation, New York/Art Resource NY

 

 

Los Angeles County Museum of Art (LACMA)
5905 Wilshire Boulevard (at Fairfax Avenue)
Los Angeles, CA, 90036
T: 323 857 6000

Opening Hours:
Monday, Tuesday, Thursday: noon – 8 pm
Friday: noon – 9 pm
Saturday, Sunday: 11am – 8 pm
Closed Wednesday

LACMA website

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17
Jul
14

Exhibition: ‘Francis Bacon & Henry Moore: Terror and Beauty’ at the Art Gallery of Ontario (AGO), Toronto

Exhibition dates: 5th April – 20th July 2014

 

Like the my earlier posting on the exhibition ‘Caravaggio – Bacon’ at Gallery Borghese, Rome, what an inspired curatorial decision this is. I would have never have thought to have brought Bacon and Moore together, but the synergy between the two artists work is undeniable.

Personally, I don’t think that Moore is as immobile and measurable as Radoslaw Kudlinski states in the quotation below: while rooted in anthropological concerns his anthropomorphic “nightmares” have a heft and gravitas that move you, not physically, but in the pit of your stomach. Look at the open mouth of Reclining Figure (1951, below) and tell me you are not drawn down into the bowls of the soul through the pointed tit of mother earth. Tactile, yes. Immobile and measurable, NO!

Moore moves you from within. His roots are from an ancient and emotional landscape, one of decay, time and change. His works are like embryonic sacs, pushing out at you from different points. The holes in his work are like looking into a black hole. The spaces he creates with his sculptures DENY a perfect formal economy, for they are really awkward images that impinge on a space. Never stationary, his sculptures move you from within in the most powerful way. A perfect counterbalance to the external, cinematic rambunctiousness of Bacon.

Dr Marcus Bunyan

.
Many thankx to the Art Gallery of Ontario for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“While Moore’s figures are sustaining themselves entirely from within, Bacon’s are disengaged fugitives from history. Bacon is already “after” when Moore is still “before.”

And while Moore’s nightmares are still rooted in anthropological concerns – corporeal and measurable – Bacon’s subject is a phantom without a name, without a past, because a collectivized subject is only and always an abstract fragment of a person.

But we need Moore’s confrontation with Bacon. Moore is a guardian of our sanity. His forms are stationary – despite the refined movement of all their structural lines, and their impeccable pronunciation of architectural tempo, as well as their perfect formal economy, they are going nowhere.

And because of Moore’s immobility, tactility and measurability, I welcome his presence with relief. He defends us from Bacon’s radical, cinematic mobility, forever escaping our grasp.

Bacon’s state of convulsive stasis is an illusion, because looking at his canvas you have an impression that between the two or three takes, there are more frames, as in a movie, trapped in the same space. There is also a sense that this trapping of multiplicity is not a conscious choice, but the consequence of there being nowhere else to go.

Bacon is the scandal of the flesh, the existential strip-tease – even a post-flesh, post-body concept of a person. He is a fugitive, and his natural state is motion, appearance and disappearance. He belongs to non-materiality, to cyberspace – and this is his paradox, because together with the sensuality of his pictorial matter, the materiality of subject is gone. That’s why Bacon is so relevant today.”

Radoslaw Kudlinski. “Serious Scary: Francis Bacon and Henry Moore in Toronto,” on the Canadian Art website, May 7, 2014 [Online] Cited 05/07/2014

 

 

Francis Bacon. 'Second Version of Triptych 1944' 1988

 

Francis Bacon 
Second Version of Triptych 1944
1988
Oil and alkyds on canvas
Each panel 198 x 147.5 cm (each panel)
Tate Modern, London
© Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Second Version of Triptych 1944' (detail) 1988

 

Francis Bacon 
Second Version of Triptych 1944 (detail)
1988
Oil and alkyds on canvas
Each panel 198 x 147.5 cm (each panel)
Tate Modern, London
© Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Second Version of Triptych 1944' (detail) 1988

 

Francis Bacon 
Second Version of Triptych 1944 (detail)
1988
Oil and alkyds on canvas
Each panel 198 x 147.5 cm (each panel)
Tate Modern, London
© Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Lying Figure in a Mirror' 1971

 

Francis Bacon
Lying Figure in a Mirror
1971
Oil on canvas
198.5 x 147.5 cm
Museo de Bellas Artes Bilbao
© Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Unitled ( Kneeling Figure)' 1982

 

Francis Bacon 
Unitled ( Kneeling Figure)
1982
Oil on canvas
212 x 161 cm
The Estate of Francis Bacon
© Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Study for Portrait on Folding Bed' 1963

 

Francis Bacon 
Study for Portrait on Folding Bed
1963
Oil on canvas
198.1 x 147.3 cm
Tate Britian, London
© Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Three Figures and a Portrait, 1975' 1975

 

Francis Bacon 
Three Figures and a Portrait, 1975
1975
Oil and acrylic on canvas
198.1 x 147.3 cm
Tate Britian, London
© Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Two Figures in a Room' 1959

 

Francis Bacon 
Two Figures in a Room 
1959
Oil on canvas
198 x 140.5 cm
Robert & Lisa Sainsbury Collection, Sainsbury Centre for Visual Arts, University of East Anglia, UK.
© Estate of Francis Bacon / SODRAC (2013)

 

Bill Brandt. 'Francis Bacon' Nd

 

Bill Brandt 
Francis Bacon
Nd
Gelatin Silver Print
20.9 x 18.7 cm
© The Bill Brandt Archive, London / Courtesy Edwynn Houk Gallery, New York / Zürich

 

Francis Bacon. 'Study for Portrait II (After the life mask of William Blake)' 1955

 

Francis Bacon
Study for Portrait II (After the life mask of William Blake)
1955
Oil on canvas
61 x 51 cm
Tate Modern, London © Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Portrait of Isabel Rawsthorne' 1966

 

Francis Bacon
Portrait of Isabel Rawsthorne
1966
Oil on canvas
81 x 69 cm
Tate Modern, London
© Estate of Francis Bacon / SODRAC (2013)

 

Francis Bacon. 'Study for Portrait VI' 1953

 

Francis Bacon 
Study for Portrait VI
1953 
Oil on canvas
152 x 117 cm
The Minneapolis Institute of Arts,
The Miscellaneous Works of Art Purchase Fund © Estate of Francis Bacon / SODRAC (2013)

 

 

“The tortured British painter Francis Bacon, whose triptych recently set a new record for the most expensive artwork ever sold at auction, makes his Canadian debut this spring at the Art Gallery of Ontario (AGO) alongside rarely-seen works by the British sculptor Henry Moore in the exhibition Francis Bacon & Henry Moore: Terror and Beauty. Featuring more than 130 artworks, including paintings, sculptures, drawings, photographs and archival materials, the exhibition explores the two artists’ shared fascination with the human form in relation to the violence of the Second World War and other key events of the 20th century.

Although they were neither friends nor collaborators, Bacon (b. 1909) and Moore (b. 1898) were contemporaries who shared an obsession with expressing themes of violence, trauma and conflict, both social and personal. Drawing on the artists’ personal experiences during the London Blitz and other conflicts, the exhibition examines how confinement and angst fostered their extraordinary creativity and unique visions. Bacon, whose dark depictions of human torment have inspired several characters in popular culture, including the appearance of Heath Ledger’s Joker in The Dark Knight, was a sado-masochist who sought to process the trials of humanity through his canvases. Moore, a British war artist, was one of the most renowned sculptors of his time. His works evoke endurance and stability, but when considered in light of his wartime experience, they read as an effort to rebuild and redeem the fragile human psyche and body.

Curated for the AGO by Dan Adler, associate professor of art history at York University, Francis Bacon and Henry Moore: Terror and Beauty is the first Canadian exhibition of Bacon’s work and includes rarely seen Moore pieces, from both the AGO collection and elsewhere. Moore’s works are a cornerstone of the AGO collection, and pairing them with those by Francis Bacon sets them in a new light. The exhibition also presents more than 30 archival photographs by acclaimed German-born British photographer Bill Brandt. Loans for the exhibition have also been secured from several institutions, including MoMA, Tate Britain and the Museum of Contemporary Art, Chicago.”

Press release from the AGO website

 

Henry Moore. 'Mother and Child' 1953

 

Henry Moore 
Mother and Child
1953
Plaster
Art Gallery of Ontario, Toronto
© The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

 

Henry Moore. 'Helmet Head and Shoulders' 1952

 

Henry Moore 
Helmet Head and Shoulders
1952 
Bronze
19 x 20.5 x 15 cm
Tate Modern, London
© The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

 

Bill Brandt. 'Henry Moore in his Studio at Much Hadham, Hertfordshire' 1940

 

Bill Brandt 
Henry Moore in his Studio at Much Hadham, Hertfordshire
1940
Gelatin Silver Print
22.8 x 19.6 cm
© The Bill Brandt Archive, London / Courtesy Edwynn Houk Gallery, New York / Zürich

 

Henry Moore. 'Falling Warrior' 1956-57

 

Henry Moore 
Falling Warrior
1956-57
Bronze
65 x 154 x 85 cm
Tate Modern, London
© The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

 

Henry Moore. 'Reclining Figure' 1951

 

Henry Moore 
Reclining Figure
1951
Plaster cast
L: 228.5 cm
Art Gallery of Ontario, Toronto
Courtesy Craig Boyko, AGO
© The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

 

Henry Moore. 'Three Fates' 1941

 

Henry Moore 
Three Fates
1941
Watercolour
29.7 x 19.9 cm
Royal Pavillion and Museums, Brighton & Hove
© The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

 

Henry Moore. 'Maquette for Strapwork Head' 1950

 

Henry Moore 
Maquette for Strapwork Head
1950
Bronze edition of 9
10 cm high (excluding base)
The Henry Moore Foundation
© The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

 

Henry Moore. 'Spanish Prisoner' 1939

 

Henry Moore
Spanish Prisoner
1939
Lithograph on paper
36.5 x 30.5 cm
Art Gallery of Ontario, Toronto
© The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

 

Henry Moore. 'Sleeping Positions' 1940-41

 

Henry Moore 
Sleeping Positions
1940-41
Mixed media on wove paper
20.4 x 16.5 cm
The Henry Moore Foundation
© The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

 

 

Art Gallery of Ontario
Musée des beaux-arts de l’Ontario

317 Dundas Street West
Toronto Ontario Canada M5T 1G4

Opening hours:
Tue – Sunday 10.30am – 5.30pm
Closed Mondays

Art Gallery of Ontario website

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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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