Category: jewellery

Hermitage Amsterdam website

Exhibition: ‘The Immortal Alexander the Great: The myth, the reality, his journey, his legacy’ at Hermitage Amsterdam

Exhibition dates: 18th September 2010 – 18th March 2011

What beautiful artefacts!

Marcus

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

Black-figure hydria: Achilles with Hector’s body
Attica, Leagros group, Antiopa Painter
c. 510 BC
Earthenware
h 49cm
© State Hermitage Museum, St Petersburg

Head of Alexander (fragment of a figure)
Asia Minor, Bithynia (?)
Roman copy, 1st century BC, after Greek original
175-150 BC
Fine-grained marble
h 6cm
© State Hermitage Museum, St Petersburg

Cameo. Twin portrait of Ptolemy II Philadelphos and Arsinoe II (Gonzaga Cameo)
Alexandria
3rd century BC
Three-layer sardonyx
15.7 x 11.8cm
© State Hermitage Museum, St Petersburg

Figure of Cleopatra VII
Egypt
51-30 BC
Basalt
h 104cm
© State Hermitage Museum, St Petersburg

Cuirass breastplate
Italy
Late 16th century
Steel, bone, wrought and carved
h 42cm
© State Hermitage Museum, St Petersburg

No other king from antiquity has such a powerful appeal to the imagination as Alexander the Great (356-323 BC). Nor other king has been so often cited and depicted as an example.

The exhibition The Immortal Alexander the Great will be on view from 18 September 2010 until 18 March 2011 in the Hermitage Amsterdam, with over 350 masterpieces, including the famous Gonzaga cameo from the State Museum the Hermitage in St Petersburg. This is the first time that any Dutch museum has devoted an exhibition to Alexander the Great, his journey to the East, and the influence of Hellenism. The exhibition spans a period of almost 2500 years. In the Hermitage Amsterdam, the ‘immortal’ Alexander will be brought to life for six months.

Alexander was born in 356 BC as the son of King Philip II of Macedonia. In boyhood he was taught by Aristotle, who would be an abiding influence on him. At twenty years of age Alexander succeeded to the throne, following his father’s assassination. Two years later he embarked on the great expedition that would seal his fame. His conquests brought him into contact with numerous countries and cultures: Syria, Egypt, Persia, Bactria, and India. He founded new cities wherever he went, naming many of them Alexandria. His arrival had a lasting impact on local architecture, art, language, and ways of life: in the course of time they assimilated and displayed Greek influence, a process that became known as Hellenism.

The Greek sphere of influence was vast: it extended from Asia Minor to India, from Egypt to Mongolia. Alexander’s name and fame has endured down to the present day.

The exhibition in the Hermitage Amsterdam gives a picture of Alexander himself and of the great cultural and artistic changes that followed in the train of his conquests.

The exhibition begins with the myth of Alexander. Images in paintings dating from the seventeenth to the nineteenth centuries, tapestries, and decorative arts display his heroic deeds and conquests. Impressive examples include paintings by Pietro Antonio Rotari (Alexander the Great and Roxana) and Sebastiano Ricci (Apelles painting Campaspe), and a tapestry depicting The Family of Darius before Alexander the Great.

The exhibition then moves on to Alexander’s reality, his native Macedonia, his teachers, his heroes Achilles and Heracles, and his ideals. The lion’s share of this reality consists of his journey, the Great Expedition to the East: an unparalleled campaign of conquest lasting over ten years, with an army that was more than 50,000 strong. Objects from Egypt and Persia, from the nomads and the Babylonians, attest to the rich cultures that he encountered on his travels. Visitors can follow the route of his celebrated journey on interactive maps and computers.

This part of the exhibition also highlights the Greek influence on those other cultures. Terracotta figurines depicting men and women, gods and satyrs, musicians and Eros, and stone fragments of architecture, testify to the artistic wealth that characterised the Hellenistic territories from the fourth century BC to the first few centuries AD. While many of these works reflect the Greek spirit of cheerfulness and playfulness, the Greeks also took an interest in the atypical, such as disabilities and deformities.

Finally, the exhibition dwells on Alexander’s heritage. Fourth-century reliefs from Palmyra demonstrate the endurance of Greek traditions outside Greece, as do papyruses bearing texts in Greek, which were still being produced in the ninth century. In the fifteenth and sixteenth centuries, Alexander played a prominent role in Persian literature, in which he is known as Iskander. He is recognisable in finely executed miniatures.

Alexander the Great is still a topical figure in our own times. Very recently (2004) a broad international public became better acquainted with him thanks to Oliver Stone’s film of his life. Alexander is a phenomenon. He is immortal. And the exhibition on show at the Hermitage Amsterdam makes this abundantly clear.

Erwin Olaf was asked to make photographic interpretations of Alexander, which he did in a photographic series and a short film. By interlacing objects from the exhibition with photographs of an actual model, Olaf has succeeded in skilfully conveying Alexander’s character traits and his handsome features.

Press release from the Hermitage Amsterdam website [Online] Cited 13/03/2011 no longer available online

Figure of Bacchus/Dionysus
Roman copy, 2nd century AD, after Greek original
Late 4th-early 3rd century BC
Marble
h 207cm
© State Hermitage Museum, St Petersburg

Heracles fighting the Nemaean lion
Rome
2nd-3rd century AD fragments with possible Italian additions 16th-17th century
Marble
h 65cm
© State Hermitage Museum, St Petersburg

Bronze leg-protectors
Greece
4th century BC
Bronze
h right protector 41, h left protector 40cm
© State Hermitage Museum, St Petersburg

Table clock: the vigil of Alexander the Great
Russia, St Petersburg (?), after original by Pierre Philippe Thomire
1830-40 (?)
Bronze, cast, chased and gilded
70 x 30 x 70cm
© State Hermitage Museum, St Petersburg

Cameo: triumph of Dionysus
Alexandria
1st century BC
Sardonyx (on carnelian plaque)
4.2 x 2.7cm
© State Hermitage Museum, St Petersburg

The Hermitage Amsterdam
Amstel 51, Amsterdam

Opening hours:
Daily from 10am – 5pm

Museu Nacional d’Art de Catalunya website

Exhibition: ‘Artist’s jewels. From Modernisme to the avant-garde’ at Museu Nacional d’Art de Catalunya, Barcelona

Exhibition dates: 27th October 2010 – 13th February 2011

Alexander Calder (American, 1898-1976)
Still life
© Calder Foundation New York/ VEGAP, Barcelona, 2010

Anyone who reads this archive regularly will know of my love of exceptional jewellery. This posting satiates my desire!

The Calder pieces are just outstanding.

Marcus

Calder possessed an uncanny ability to synthesise a variety of influences from the world around him to create often simple, always meaningful, and ultimately modern jewellery. In the early 20th century, many avant-garde artists began to collect African tribal art and to reference it in their paintings and sculptures. Likewise, Calder’s brooches, tiaras, and necklaces have more in common with the pectorals, collars, diadems, and neckpieces made by ancient cultures than traditional western European jewellery. For example, Calder repeatedly incorporated the spiral – a typical motif in late Bronze Age artefacts – into his jewellery, as well as his wire figures, drawings, paintings, and other decorative arts. The artist’s personal collections, which included objects from African, Oceanic, and Precolumbian cultures, substantiate his eclectic taste.

Calder’s exploration of jewellery in the 1930s also coincided with his burgeoning interest in Surrealism. As his largest and most dramatic ornaments are unwieldy to wear, Calder’s jewellery may be seen as a Surrealistic strategy to entrap the wearer into participating in an art performance or being metamorphosed by the object. Among those who wore his jewellery were sophisticated art aficionados and artists, such as Peggy Guggenheim, Mary Rockefeller, French actress Jeanne Moreau, and Georgia O’Keeffe.

His sculptural art, regardless of category, has less to do with solidity than with lightness, air, motion, and graceful formal relationships. Calder’s sense of economy, balance, and adaptability, so characteristic of the artist’s much larger and more familiar mobiles and stabiles, extends to his jewellery. While Calder’s more diminutive avant-garde creations converged closely with the aesthetics of the modern age, they remain unmistakably Calder.1

1/ Anon. “Metropolitan Museum of Art features Alexander Calder – Inventive Jewelry” on Art Knowledge News website Nd. [Online] Cited 11/01/2011 no longer available online

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Many thankx to the Museu Nacional d’Art de Catalunya for allowing me to publish the photographs in the posting. Please click on the photographs to see a larger version of the image.

Hector Guimard (French, 1867-1942)
Brooch
1909
© 2010 Digital image, The Museum of Modern Art, New York/Scala, Florence

Alexander Calder (American, 1898-1976)
Jewellery by US artist Alexander Calder from the Metropolitan Museum of Art in New York, USA
The Metropolitan Museum of Art, New York
© Calder Foundation New York/ VEGAP, Barcelona, 2010

Salvador Dalí (Spanish, 1904-1989)
Time’s Eye
Nd
© Salvador Dali, Fundació Gala-Salvador Dali, VEGAP, Barcelona, 2010

Salvador Dalí (Spanish, 1904-1989)
Ruby’s lips
1949
© Salvador Dali, Fundació Gala-Salvador Dali, VEGAP, Barcelona, 2010

Artist’s jewels. From Modernisme to the avant-garde explores the approach to the world of jewellery by leading artists of the main art movements in the first decades of the fertile 20th century. The exhibition gathers almost 350 works, chiefly jewels, that strike a dialogue with paintings, sculptures, photographs, fabrics and objets d’art, showing how jewellery made up the little universe of great artists.

Artist’s jewels. From Modernisme to the avant-garde reveals the relations between jewellery and the work of art. This exhibition, the first on this subject to be held in our country, shows the less well-known side of Auguste Rodin, Hector Guimard, Josef Hoffmann, Josep Llimona, Serrurier-Bovy, Henri Van de Velde, Manolo Hugué, Paco Durrio, Pau Gargallo, Max Ernst, Salvador Dalí, Georges Braque, Alexander Calder, Charlotte Perriand, Hans Arp, Pablo Picasso, Juli González, Henri Laurens and many others.

Painters and sculptors, since earliest times, have transferred their artistic forms to the world of jewellery, but it was not until the end of the 20th century, under the powerful influence of Art Nouveau, that artists approached this discipline more openly: ‘Carrying out a large work’, according to Otto Wagner, ‘means expressing beauty without distinguishing between large and small’.

The merger of arts that was a feature of Modernisme and the subsequent elimination of borders between the arts reached a crescendo in the 1920s and 1930s and crystallised in the numerous interesting incursions into the world of jewellery by the painters, sculptors and architects of the historic avant-garde. In producing these small-format objects (‘micro-sculptures’ or ‘painted jewels’), artists channelled their artistic thinking from different perspectives.

The exhibition opens with a selection of items produced by jeweller artists, who very often also cultivated multiple skills and who incorporated into their creations the offerings of the artistic movements of the time.

The high point of the first section of the exhibition are the jewels by René Lalique, which were purchased at the time of their production by European museums, rich amateurs and collectors. This is the case of the pendant purchased by the director of the Hamburg Museum at the Universal Exhibition in Paris in 1900, the jewels purchased by Calouste Gulbenkian and the unique pendant Antoni Amatller bought in Paris for his daughter Teresa. In a dialogue with these works are the ones with rich enamelling and varied ranges of colour made by the Barcelona jeweller Lluís Masriera, who played a key role in introducing the new style to Barcelona.

Making up the core of the exhibition are the jewels conceived by artists who were not jewellers, such as Hector Guimard, Paco Durrio, Manolo Hugué, Herich Heckel, Pau Gargallo, Juli González, Joaquim Gomis, Ramón Teixé, Anni Albers, Charlotte Perriand, Alexander Calder, Henri Laurens, Hans Arp, Pablo Picasso, Georges Braque and Salvador Dalí. This second section shows these artists’ production in relation to their usual work of painting, sculpture, photography and other creations, establishing parallels with the artistic disciplines they worked at and revealing the affinities and echoes between them.

The legacy of the Arts and Crafts movement and the Bauhaus, which were committed to integration between all the arts, can clearly be seen in the work of these artists, who opened the way to experimentation in the arts, questioning the very nature of jewellery, and who incorporated new materials into their production that were foreign to the tradition of precious metals. Examples of this are Ramon Teixé’s unusual creations in iron, glass, enamel and string and the jewellery by the sculptor Josep de Creeft made with bits of scrap metal from his motor car, not forgetting the jewellery by the architect and designer Charlotte Perriand or the ones produced by the photographer Joan Gomis in collaboration with Manuel Capdevila, which make use of shells and pebbles like real objets trouvées.

Alongside these hand-made items of jewellery that are often produced with non-precious materials, we are exhibiting the ones designed by Braque and Dalí and manufactured by professional jewellers using noble materials like rubies, sapphires or diamonds.

A third section of the exhibition explores the relationship between jewels and the body and shows a selection of clothes, mainly loaned by the Museo del Traje in Madrid, and photographs from the 1930s by Man Ray, Edward Steichen, George Hoyningen-Huené and Horst P. Horst.

The works presented in this exhibition come from public institutions and museums all over the world, such as the Metropolitan Museum of Art, The Museum of Modern Art, Whitney Museum of American Art in New York, the Victoria and Albert Museum in London, the Musée des Arts Décoratifs, the Musée d’Orsay and the Musée Rodin in Paris, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Institut d’Art Modern (IVAM) in Valencia, the Museo de Bellas Artes in Bilbao and the Fundació Gala-Salvador Dalí in Figueres, who have generously made an exception in lending some of the most emblematic jewels in their collections, as well as from the MNAC itself and from numerous European and American private collections.”

Press release from the Museu Nacional d’Art de Catalunya website

Manuel Capdevila / Ramon Sarsanedas
Spain falled back
Nd
Brooch
Museu Nacional d’Art de Catalunya – MNAC

Alexander Calder (American, 1898-1976)
The jealous husband
c. 1940
Necklace
Brass wire
14″ x 16″
The Metropolitan Museum of Art, New York
© Calder Foundation New York/ VEGAP, Barcelona, 2010

Erich Heckel (German, 1883-1970)
Drei Badende (Three bathers)
1912
Museum für Kunst und Gewerbe, Hamburg
© Erich Heckel, VEGAP, Barcelona, 2010

Boucheron, Paris (design by Lucien Hirtz)
Corsage ornament
1925
© Boucheron, Paris

Museu Nacional d’Art de Catalunya
Palau Nacional
Parc de Montjuïc
08038 Barcelona

Opening hours:
Tues – Sat 10am – 7pm
Sunday and public holidays: 10am – 2.30pm

melbourne’s magnificent eleven 2010

December 2010

Here’s my pick of the eleven best exhibitions in Melbourne for 2010 that featured on the Art Blart: art and cultural memory archive (in no particular order). Enjoy!

Marcus

1/ Jenny Holzer at The Australian Centre for Contemporary Art (ACCA)

Jenny Holzer (American, b. 1950)
Right Hand (Palm Rolled)
2007
Oil on linen
80 x 62 in (203.2 x 157.5cm)
Text: U.S. government document

The reason that you must visit this exhibition is the last body of work. Working with declassified documents that relate to the wars in Iraq and Afghanistan Holzer’s Redaction paintings address the elemental force that is man’s (in)humanity to man (in the study of literature, redaction is a form of editing in which multiple source texts are combined (redacted) and subjected to minor alteration to make them into a single work) … I left the exhibition feeling shell-shocked after experiencing intimacy with an evil that leaves few traces. In the consciences of the perpetrators? In the hearts of the living! Oh, how I wish to see the day when the human race will truly evolve beyond. We live in hope and the work of Jenny Holzer reminds us to be vigilant, to speak out, to have courage in the face of the unconscionable.

2/ ‘Pondlurking’ by Tom Moore at Helen Gory Galerie, Prahran

This exhibition produced in me an elation, a sense of exalted happiness, a smile on my dial that was with me the rest of the day. The installation features elegantly naive cardboard cityscape dioramas teeming with wondrous, whimsical mythological animals that traverse pond and undulating road. This bestiary of animals, minerals and vegetables (bestiaries were made popular in the Middle Ages in illustrated volumes that described various animals, birds and even rocks) is totally delightful … What really stands out is the presence of these objects, their joyousness. The technical and conceptual never get in the way of good art. The Surrealist imagining of a new world order (the destruction of traditional taxonomies) takes place while balanced on one foot. The morphogenesis of these creatures, as they build one upon another, turns the world upside down … Through their metamorphosed presence in a carnivalesque world that is both weird and the wonderful, Moore’s creatures invite us to look at ourselves and our landscape more kindly, more openly and with a greater generosity of spirit.

Tom Moore (Australian, b. 1971)
Birdboat with passenger with a vengeance (left) and Robot Island (right)
2010 and 2009

3/ ‘Safety Zone’ by John Young at Anna Schwartz Gallery

What can one say about work that is so confronting, poignant and beautiful – except to say that it is almost unbearable to look at this work without being emotionally charged, to wonder at the vicissitudes of human life, of events beyond one’s control.

The exhibition tells the story of the massacre of 300,000 people in the city of Nanjing in Jiangsu, China by Japanese troops in December, 1937 in what was to become known as the Nanjing Massacre. It also tells the story of a group of foreigners led by German businessman John Rabe and American missionary Minnie Vautrin who set up a “safety zone” to protect the lives of at least 250,000 Chinese citizens. The work is conceptually and aesthetically well resolved, the layering within the work creating a holistic narrative that engulfs and enfolds the viewer – holding them in the shock of brutality, the poignancy of poetry and the (non)sublimation of the human spirit to the will of others.

Simply, this is the best exhibition that I have seen in Melbourne so far this year.

John Young (Australian, b. 1956)
Flower Market (Nanjing 1936) #1
2010
digital print and oil on Belgian linen
240 x 331cm
image courtesy of the artist and Anna Schwartz Gallery

John Young (Australian, b. 1956)
Safety Zone
2010
60 works, digital prints on photographic paper and chalk on blackboard-painted archival cotton paper
Installation shot, Anna Schwartz Gallery, Melbourne
Image courtesy of the artist and Anna Schwartz Gallery

4/ ‘To Hold and Be Held’ by Kiko Gianocca at Gallery Funaki

Kiko Gianocca (Swiss, b. 1974)
Man & dog
Found image, resin, silver
2009

A beautiful exhibition of objects by Swiss/Italian artist Kiko Gianocca at Gallery Funaki, Melbourne, one full of delicate resonances and remembrances.

Glass vessels with internal funnels filled with the gold detritus of disassembled objects, found pendants: Horse, Anchor, Four leaf clover, Swan, Hammer & sickle … Brooches of gloss and matt black resin plates. On the reverse images exposed like a photographic plate, found images solidified in resin.

The front: the depths of the universe, navigating the dazzling darkness
The back: memories, forgotten, then remade, worn like a secret against the beating chest. Only the wearer knows!

As Kiki Gianocca asks, “I am not sure if I grasp the memories that sometimes come to mind. I start to think they hold me instead of me holding them.”

5/ ‘Jill Orr: Vision’ at Jenny Port Gallery, Richmond

The photographs invite us to share not only the mapping of the surface of the skin and the mapping of place and identity but the sharing of inner light, the light of the imaginary as well – and in this observation the images become unstable, open to reinterpretation. The distance between viewer and subject is transcended through an innate understanding of inner and outer light. The photographs seduce, meaning, literally, to be led astray … I found myself looking at the photographs again and again for small nuances, the detail of hairs on the head, the imagining of what the person was thinking about with their eyes closed: their future, their fears, their hopes, the ‘active imagination as a means to visualise sustainable futures’ (Orr, 2010) …

In the imagination of the darkness that lies behind these children’s closed eyes is the commonality of all places, a shared humanity of memory, of dreams. These photographs testify to our presence and ask us to decide how we feel about our life, our place and the relation to that (un)placeness where we must all, eventually, return.

Jill Orr (Australian, b. 1952)
Jacinta
2009

6/ ‘AND THEN…’ by Ian Burns at Anna Schwartz Gallery

These are such fun assemblages, the created mis en scenes so magical and hilarious, guffaw inducing even, that they are entirely delightful.

There is so much to like here – the inventiveness, the freshness of the work, the insight into the use of images in contemporary culture. Still photographs of this work do not do it justice. I came away from the gallery uplifted, smiling, happy – and that is a wonderful thing to happen.

Ian Burns (Australian, b. 1964)
15 hours v.4
2010
Found object kinetic sculpture, live video and audio
Image courtesy the artist and Anna Schwartz Gallery

7/ ‘Night’s Plutonian Shore’ by Julia deVille at Sophie Gannon Gallery, Richmond

Julia deVille (Australian, b. 1982)
Nevermore
2010

This is an excellent exhibition by Julia deVille at Sophie Gannon Gallery in Richmond … This exhibition shows a commendable sense of restraint, a beautiful rise and fall in the work as you walk around the gallery space with the exhibits displayed on different types and heights of stand and a greater thematic development of the conceptual ideas within the work. There are some exquisite pieces.

In these pieces there is a simplification of the noise of the earlier works and in this simplification a conversant intensification of the layering of the conceptual ideas. Playful and witty the layers can be peeled back to reveal the poetry of de Sade, the stories of Greek mythology and the amplification of life force that is at the heart of these works. Good stuff.

8/ ‘Mari Funaki; Objects’ at The Ian Potter Centre: NGV Australia

Mari Funaki (born Japan 1950, arrived Australia 1979, died 2010)
Object
2008
Heat-coloured mild steel
36 x 47.5 x 14.5cm
Collection of Johannes Hartfuss & Fabian Jungbeck, Melbourne
© The Estate of Mari Funaki

Quiet, precise works. Forms of insect-like legs and proboscises. They balance, seeming to almost teeter on the edge – but the objects are incredibly grounded at the same time. As you walk into the darkened gallery and observe these creatures you feel this pull – lightness and weight. Fantastic!

And so it came to pass in silence, for these works are still, quiet and have a quality of the presence of the inexpressible. Funaki achieves these incredible silences through being true to her self and her style through an expression of her endearing will. While Mari may no longer be amongst us as expressions of her will the silences of these objects will be forever with us.

9/ ‘Up Close: Carol Jerrems with Larry Clark, Nan Goldin and William Yang’ at Heide Museum of Modern Art

When looking at art, one of the best experiences for me is gaining the sense that something is open before you, that wasn’t open before. I don’t mean accessible, I mean open like making a clearing in the jungle, or being able to see further up a road, or just further on. And also like an open marketplace – where there were always good trades. There is the feeling that if you put in a certain amount of honesty, then you would get something back that made some room for you in front – some room that would allow you to look forward, and maybe even walk into that space. Seeing Jerrems work gives you that feeling.

Carol Jerrems (Australian, 1949-1980)
Mark and Flappers
1975
National Gallery of Victoria, Melbourne
Gift of James Mollison, 1994
© Ken Jerrems & the Estate of Lance Jerrems

10/ ‘John Davis: Presence’ at The Ian Potter Centre: NGV Australia

John Davis (Australia 1936-99)
(Spotted fish)
1989
Twigs, cotton thread, calico, bituminous paint
55 x 145 x 30cm
Private collection, Melbourne
© Penelope Davis & Martin Davis. Administered by VISCOPY, Australia

This is a superlative survey exhibition of the work of John Davis at NGV Australia, Melbourne.

In the mature work you can comment on the fish as ‘travellers’ or ‘nomads’, “a metaphor for people and the way we move around the world.” You can observe the caging, wrapping and bandaging of these fish as a metaphor for the hurt we humans impose on ourselves and the world around us. You can admire the craftsmanship and delicacy of the constructions, the use of found objects, thread, twigs, driftwood and calico and note the ironic use of bituminous paint in relation to the environment, “a sticky tar-like form of petroleum that is so thick and heavy,” of dark and brooding colour.

This is all well and true. But I have a feeling when looking at this work that here was a wise and old spirit, one who possessed knowledge and learning … a human being who attained a state of grace in his life and in his work.

11/ ‘Mortality’ at The Australian Centre for Contemporary Art (ACCA)

Fiona Tan (Indonesian, b. 1966)
Tilt
2002
DVD
courtesy of the artist, Frith Street Gallery London

I never usually review group exhibitions but this is an exception to the rule. I have seen this exhibition three times and every time it has grown on me, every time I have found new things to explore, to contemplate, to enjoy. It is a fabulous exhibition, sometimes uplifting, sometimes deeply moving but never less than engaging – challenging our perception of life. The exhibition proceeds chronologically from birth to death. I comment on a few of my favourite works below but the whole is really the sum of the parts: go, see and take your time to inhale these works – the effort is well rewarded. The space becomes like a dark, fetishistic sauna with it’s nooks and crannies of videos and artwork. Make sure you investigate them all!

Review: David Neale and Emma Price at Gallery Funaki, Melbourne

Exhibition dates: 10th August – 4th September 2010

David Neale (Australian, b. 1977)
Brooch
Steel, paint, marble, lapis lazuli
2009-2010

A nice double act of an exhibition at Gallery Funaki that showcases the jewellery of David Neale and first time exhibitor Emma Price. Neale’s delicate folded and layered brooches of bud and leaf-life forms sparkle with crushed marble, turquoise and lapis lazuli forming a palette of pale blues, pinks, greens and vibrant hints of red, the shapes almost a form of metal collage. As pieces of art they work excellently but as jewellery they seem fragile perhaps due to the thinness of the metal used and what I perceived as a lack of structural integrity. As brooches I wonder how carefully one would have to wear them (very carefully I suspect) and how long the crushed sparkling rock would adhere to the surface of the metal (I have since been reliably informed by Simon that they are very sturdy but this was an initial reaction on picking up the brooches).

Of more significance are the articulated trapezoid necklaces by Emma Price. These are stunning architectural works (at very reasonable prices!) that are made of gold, silver, brass and copper. They exude a quietness and balance that is beautiful and a playfulness (because of the interlinked forms that actually move) that is delightful. In these geometric forms there seems to be a suspension in/of reality as if the world is hanging by a thread. A bright future awaits for this artist.

Dr Marcus Bunyan

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

David Neale (Australian, b. 1977)
Brooch
Steel, paint, marble, lapis lazuli
2009-2010

Highly respected Melbourne jeweller David Neale presents new pieces alongside Emma Price, who will be showing her first significant group of work at Gallery Funaki in this exhibition.

David Neale’s intriguing folded forms, borne of his sensitive treatment of metal sheeting using texture and paint, have earned him a significant reputation both in Australia and overseas. His recent work shows a shift away from botanical influences, towards more abstract and expressive forms. There is a bold sense of the painterly in these works, as Neale’s powdery, textured colours become a dominant focus.

Emma Price completed her Masters of Gold and Silversmithing at RMIT in 2005 before spending a year at the Munich Academy of Fine Arts in 2008. Her finely balanced structures are constructed from painstakingly drawn down tubing in gold, brass, silver and copper. The shifting, architectonic forms of her neckpieces seem to dance against the body.

Text from the Gallery Funaki website [Online] Cited 26/08/2010 no longer available online

Emma Price (Australian, b. 1975)
Necklace 2
silver, brass, gold
2010

Emma Price (Australian, b. 1975)
Necklace 6
silver, brass, copper, gold
2010

Emma Price (Australian, b. 1975)
Necklace 8
silver
2010

Gallery Funaki

This gallery has now closed.

Heide Museum of Modern Art website

Review: ‘Simryn Gill: Gathering’ at Heide Museum of Modern Art, Melbourne

Exhibition dates: 22 April – 18 July 2010

Simryn Gill (Singapore, b. 1959)
Pearls
1999
Private collection

This is a strong survey exhibition of the work of Simryn Gill at Heide Museum of Modern Art. Like most survey exhibitions it suffers from a slightly piecemeal approach, dipping in and out of various bodies of work to try to make up a holistic whole. Conceptually this is not a problem as the thematic development of Gill’s work, her narrative arc if you like, is evident throughout. Visually this causes some work to seem isolated and left me wanting more connection between pieces and rooms as you walk around.

Highlights included May 2006 (2006), Pearls (1999 – ongoing), Untitled (interiors) 2008 and Throwback (2007).

In May 2006 (2006) 817 silver gelatin photographs are mounted in columns of images, each column making up one of 30 rolls of film, one shot every day of a month photographing the artist’s immediate neighbourhood in Marrickville, Sydney, in the month in which the film expiration date occurred. Each column has a different number of images and are mounted along the one of the largest walls in the Heide galleries, producing an effect almost like a DNA sequence. Abstract scenes of pathways, fences, cars in streets, broken gutters, planes flying houses, trees, people walking, abandoned telephone directories, Hills hoists, coffee shops, windows, rooftops and factories inhabit the frame of reference – the environment seeming to be abandoned both literally and metaphorically. Empty chairs move from picture to picture. No Parking here!

There are some great angles in these photographs a la Robert Frank The Americans with excellent use of short depth of field shooting across tabletops for example. Above all there is a sense of abandonment, desolation and isolation in the intersection of spaces. Even in strong sunlight there is a strange, haunting melancholy present – an innate understanding of the subconsciously known archetype of space and place, that sense of belonging – and an absolute recognition in the viewer of that.

In Pearls (1999 – ongoing, see photograph above) friends provide Gill with a book of personal value, which she then transforms into beads of paper and then strings them together as necklaces which she then returns to the owner as a gift. The colours, length and heaviness of the necklace depends on the book chosen – the reconstructed text lying like pearls of wisdom against the skin of the giver / receiver, the meaning of the book transformed through the process. What a beautiful gift to receive.

Untitled (interiors) (2008), my second favourite work of the day, features bronze sculptures cast from the empty spaces created by dry cracks in the ground found near Nyngan and Lake George, New South Wales. The sculptures present the cracks inverted so they become like miniature mountain ranges, the cracks in the earth filled and metamorphosing until they thrust into the air, the empty spaces of the earth uplifted, negative / positive spaces interchangeable. This is a simple but beautifully resolved work. Unfortunately I do not have any photographs to show you of these sculptures.

Other work includes My own private Angkor (2007, see photograph above), photographs taken at a housing estate in Port Dickson that is becoming overgrown and returning to the surrounding landscape that Gill has made into her own Angkor Wat in reverse, featuring the detritus of a vanquished, constructed environment; four black and white photographs from Forest (1996) featuring text on leaves; a glass case of curiosities like the Victorian cabinet of curiosities that includes a jar of plastic cowboys and indians, a bowl of Mindanao pearls, found and made spherical objects, cast tin and mango seeds (Some of my best friends suck mangoes, 1998) and different noses of cast tin (Bouquet 1994); Untitled (1998 – ongoing), a glass case full of found and blunt objects arranged like a seismograph recording, small at the ends and big in the centre featuring scissors, clubs, spoons, knives, bottle top openers, tweezers, letter openers and salad servers!; and Paper boats (2008, see photographs below), table and floor covered by paper boats made from the torn out pages of Encyclopedia Britannica 1968 with the invitation to “Please make boats” with no explanation as to how, exactly, to make them – human knowledge as text, detritus, object, place, manufacture and commission.

The absolute star of the exhibition is the installation Throwback (2007, see photographs below). The installation features the interior parts of a Tata truck (the engine and axles) recast in termite mound soils, river clay, laterite, sea shells, fruit skins, coconut bark, resin, and fibre laid on a huge dissecting table (much like the body in Rembrandt’s painting The Anatomy Lesson of Dr Tulp (1632)) – the layout of the engine and axles evoking the spine and interior skeleton of the body. Unfortunately I do not have an overview photograph of the whole work but parts of the work can be seen in the photographs below. The Tata truck spent its working life plying the roads of the forests of Malaysia:

“With the rise of China and India, a voracious market for scrap metal has developed, hastening the disappearance of particular objects, Gill recovers the modern forms of the truck parts by casting them in natural materials found near her studio in Port Dickson.” (Wall text from the exhibition)

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This is an outstanding work that left me stunned with it’s beauty and insightfulness. It literally took my breath away and for that reason alone a visit to this exhibition at Heide is well worth the journey.

Dr Marcus Bunyan

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Many thankx to Jade Enge and the Heide Museum of Modern Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

“The work of Simryn Gill considers questions of place and history, and how they might intersect with personal and collection experience … Using objects, language and photographs, her work conveys a deep interest in material culture, and in the ways that meaning can transform and translate in different contexts. Through the reinterpretation or alteration of existing objects, the photographing of specific locations, and the forming of collections, Gill contemplates how ideas and meanings are communicated between people, objects and sites.”

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Wall text from the exhibition

Simryn Gill (Singapore, b. 1959)
Untitled
1999
Gouache on National Geographic magazine pages (1970s)
Courtesy of the artist, BREENSPACE, Sydney and Tracy Williams Ltd, New York

Simryn Gill (Singapore, b. 1959)
My own private Angkor
2007
Courtesy of the artist, BREENSPACE, Sydney and Tracy Williams Ltd, New York

Simryn Gill (Singapore, b. 1959)
Throwback (detail)
2007
Interior parts of Tata truck, termite mound soil, river clay, laterite, seashells, fruit skins, leaves, bark and fibre, flowers, glue, resin, milk
Buxton Collection Melbourne
Courtesy of the artist

This exhibition (22 April – 18 July) presents the work of leading Sydney-based Malaysian artist, Simryn Gill. Featuring objects, books, collections, photographs and text pieces from the last six years of Gill’s practice, it explores the artist’s pursuit of meaning through materials, forms and ways of working, such as collecting, reading, archiving, arranging, casting and photographing.

Described in 2009 in the New Yorker as ‘quietly dazzling’, Gill’s work is internationally recognised. She has been honoured with solo exhibitions at the Tate Modern, London and the Smithsonian Institution, Washington DC, both in 2006. Born in Singapore in 1959, Gill lives and works in Sydney and Port Dickson, Malaysia, and has participated in significant exhibitions internationally, including documenta 12 in Kassel, Germany (2007), the Singapore Biennale (2006), the Biennale of Sydney (2002 and 2008), the São Paulo Biennial (2004) and the Venice Biennale (1999).

An MCA touring exhibition curated by Russell Storer, it has been expanded by Heide to include the Australian premiere of Gill’s major work Throwback, originally produced for the documenta 12 exhibition in Kassel, Germany, in 2007. Throwback reworks the inner machinery of a 1985 Tata truck that plied the roads of Malaysia. With the economic rise of China and India, a voracious market for scrap metal has developed, hastening the disappearance of particular objects. Gill recovers the modern forms of truck parts by casting them in natural materials – found near her studio in Malaysia – including river mud, coconut husks, reconstituted termite mounds and fruit skins.

Gill has also produced a new work, an artist’s book reflecting on the gardens at Heide.

Gill’s practice considers how we might experience place as an intersection of personal and collective histories and geographies. Through the reinterpretation or alteration of existing objects, the photographing of specific locations, and the forming of collections, Gill contemplates how ideas and meanings are communicated between people, objects, and sites.

Several works in the exhibition invite audience participation. Paper Boats invites visitors to add their own unique paper boat to the installation by tearing pages from a 1968 Encyclopaedia Britannica and using the sheet to make an origami boat. Another work, Garland (2006) encourages us to hold, touch and rearrange objects collected by Gill on the beaches of Port Dickson, Malaysia, and the islands off Singapore – fragments reshaped by sea and sand that take on almost organic form.

A selection of books, sketches, collections and experimental pieces from the early 1990s to the present, some produced for exhibitions and others never intended as artworks will also be presented as part of the exhibition. Together they offer an insight into Gill’s artistic processes and her interest in art-making as an active engagement with the world.”

Press release from the Heide Museum of Modern Art website [Online] Cited 01/10/2010 no longer available online

Simryn Gill (Singapore, b. 1959)
Paper boats
2008
Encyclopaedia Britannica (1968 edition)
Courtesy of the artist and BREENSPACE, Sydney

Simryn Gill (Singapore, b. 1959)
Paper boats (detail)
2008
Encyclopaedia Britannica (1968 edition)
Courtesy of the artist and BREENSPACE, Sydney

Addendum: A Pencil for Your Thoughts

Heide pencil, the confounding pencil

I love to visit Heide, the elegant buildings, the art, the cafe, a stroll in the gardens looking at the sculpture. What I don’t like is being accosted by gallery attendants on my last three visits, twice on the last visit alone to review the Simryn Gill exhibition – accost being not too harsh a word for some of the approaches. The request: to not write in the gallery with a pen but to use a pencil (rushed to the scene of the crime post haste!)

I don’t like writing with a pencil, they go blunt and I can’t read my notes. I like writing with a pen.
This is a ridiculous state of affairs, the only gallery in Melbourne that I know of that has such a ‘nanny state’ rule.

Do they think that I am going to:

a) spear the pen into the gallery wall
b) attack the attendant with the pen (after this last visit the thought did cross my mind!) or
c) scribble all over the art work like a child …

The more we are treated like children the more child-like we become.

“Put the pen on the ground … Step away from the pen.”

Heide Museum of Modern Art
7, Templestowe Road
Bulleen, Victoria 3105

Opening hours:
(Heide II and Heide III)
Tuesday – Sunday 10.00am – 5.00pm

Vale Mari Funaki

May 2010

It is with great sadness that I hear of the passing of Mari Funaki on the 13th May 2010.

I met Mari many times and she was always wonderfully generous with her energy, knowledge and enthusiasm. She was an amazing artist, I loved her work especially the stunning anamorphic black bracelets and the fact that she used photography of Bernd and Hiller Becher as part of her inspiration. My conversation with Mari in 2006 and photographs of her work can be found on the Notes from a Conversation with Mari Funaki posting.

Vale Mari Funaki

“A memorial will be held on Tuesday June 1st, 2010 at 11.00am in THE GREAT HALL of the National Gallery of Victoria, International.

Please RSVP to Katie Scott at galleryfunaki@iinet.net.au or phone 9662 9446 if you wish to attend (affirmative responses only please). Everybody is welcome to celebrate the life of this extraordinary artist, gallery director and friend.”

Mari Funaki outside Gallery Funaki
Photo: Marcus Bunyan

Review: ‘To hold and be held’ by Kiko Gianocca at Gallery Funaki, Melbourne

Exhibition dates: 20th April – 15th May 2010

Kiko Gianocca (Swiss, b. 1974)
Untitled (touch wood) multiples
2009
Burnt wood, resin
Photo: Marcus Bunyan

A beautiful exhibition of objects by Swiss/Italian artist Kiko Gianocca at Gallery Funaki, Melbourne, one full of delicate resonances and remembrances.

Obelisk pendants in blackened and silvered wood, Neolithic standing stones, totemic, silent;
The hole through the object akin to ‘seeing’ through time.
Exposed wood on base (touch wood) as grounding.

The standing stone installation an altar piece, a dark reliquary (see image above)

Glass vessels with internal funnels filled with the gold detritus of disassembled objects, found pendants:
Horse, Anchor, Four leaf clover, Swan, Hammer & sickle (see images below)

The distance between the bail – the finding that attaches the pendant to the necklace – and the remainder/reminder of the vessel itself. What a distance!

As Sally Mann would articulate, ‘What remains’1 …

Lives previous to this incarnation; jewels embedded in dust.
The captured potency of displaced objects.
Personal and yet anonymous at one and the same time.

Brooches of gloss and matt black resin plates. A plastic black, almost Rembrandt-esque.

On the reverse images exposed like a photographic plate, found images solidified in resin.

The front: the depths of the universe, navigating the dazzling darkness
The back: memories, forgotten, then remade, worn like a secret against the beating chest. Only the wearer knows!

Here is a territorialization, “a double movement, where something accumulates meanings (re-territorialization), but does so co-extensively with a de-territorialization where the same thing is disinvested of meanings.”2

As Kiki Gianocca asks, “I am not sure if I grasp the memories that sometimes come to mind.
I start to think they hold me instead of me holding them.”

Time is the distance between objects. No objects.
Space is the distance between events. No events.

Dr Marcus Bunyan

“Mann’s fifth book, What Remains, published in 2003, is based on the show of the same name at the Corcoran Museum in Washington, DC and is in five parts. The first section contains photographs of the remains of Eva, her greyhound, after decomposition. The second part has the photographs of dead and decomposing bodies at a federal Forensic Anthropology Facility (known as the ‘body farm’). The third part details the site on her property where an armed escaped convict was killed. The fourth part is a study of the grounds of Antietam (the site of the bloodiest single day battle in American history during the Civil War. The last part is a study of close-ups of the faces of her children. Thus, this study of mortality, decay and death ends with hope and love.”
Sally Mann. Wikipedia [Online] Cited 02/05/2010
“For them (Deleuze and Guattari), assemblages are the processes by which various configurations of linked components function in an intersection with each other, a process that can be both productive and disruptive. Any such process involves a territorialization; there is a double movement where something accumulates meanings (re-territorialization), but does so co-extensively with a de-territorialization where the same thing is disinvested of meanings. The organization of a territory is characterized by such a double movement … An assemblage is an extension of this process, and can be thought of as constituted by an intensification of these processes around a particular site through a multiplicity of intersections of such territorializations.”
Wood, Aylish. “Fresh Kill: Information technologies as sites of resistance ” in Munt, Sally (ed.,). Technospaces: Inside the New Media. London: Continuum, 2001, p. 166.

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Many thankx to Katie and Gallery Funaki for allowing me to take the photographs in the gallery and post them online. Please click on the photographs for a larger version of the image. All photographs © Marcus Bunyan except The waterfall.

“I own a stone that a friend passed to me, and a shackle that Michael gave me.

I found a curious object in Lisbon at the fleamarket, I paid one euro for it and I still don’t know what it is.

Yesterday I had a look again at the picture you shot. I am not sure if I grasp the memories that sometimes come to mind.

I start to think they hold me instead of me holding them.”

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Kiko Gianocca, April 2010

Kiko Gianocca (Swiss, b. 1974)
Untitled (touch wood) multiples
2009
Wood, silver
Photos: Marcus Bunyan

Kiko Gianocca (Swiss, b. 1974)
Horse, Anchor, Four leaf clover and Swan (left to right)
2009
18k gold, glass
Photo: Marcus Bunyan

Kiko Gianocca (Swiss, b. 1974)
Horse
2009
18k gold, glass
Photo: Marcus Bunyan

Kiko Gianocca (Swiss, b. 1974)
Anchor
2009
18k gold, glass
Photo: Marcus Bunyan

Kiko Gianocca (Swiss, b. 1974)
Swan
2009
18k gold, glass
Photo: Marcus Bunyan

Installation view of exhibition with Untitled (touch wood) burnt wood multiples in distance
Photo: Marcus Bunyan

Kiko Gianocca (Swiss, b. 1974)
Man & dog
2009
Found image, resin, silver
Photo: Marcus Bunyan

Kiko Gianocca (Swiss, b. 1974)
The waterfall
2009
Found image, resin, silver

Kiko Gianocca (Swiss, b. 1974)
The dog
2009
Found image, resin, silver
Photo: Marcus Bunyan

Kiko Gianocca (Swiss, b. 1974)
The kiss (reverse)
2009
Found image, resin, silver
Photo: Marcus Bunyan

Kiko Gianocca (Swiss, b. 1974)
The way up (reverse)
2009
Found image, resin, silver
Photo: Marcus Bunyan

Kiko Gianocca (Swiss, b. 1974)
The beast (reverse)
2009
Found image, resin, silver
Photo: Marcus Bunyan

Gallery Funaki

This gallery has now closed.

Seattle Art Museum website

Exhibition: ‘Alexander Calder: A Balancing Act’ at the Seattle Art Museum (SAM)

Exhibition dates: October 15th 2009 – April 11th 2010

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

Marcus

Alexander Calder (American, 1898-1976)
Form against Yellow (Yellow Panel)
1936

Alexander Calder (American, 1898-1976)
Little Spider
c. 1940

Alexander Calder (American, 1898-1976)
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 (American, 1898-1976)
Bracelet
c. 1948
Silver, silver wire

Alexander Calder (American, 1898-1976)
Louisa Calder’s 53rd Birthday Gift
1958
Pin
Gold and steel wire

Alexander Calder (American, 1898-1976)
The Y
1960

Alexander Calder (American, 1898-1976)
Teodelapio [maquette II]
1962

Alexander Calder: A Balancing Act on view at the Seattle Art Museum (SAM) downtown October 15, 2009, to April 11, 2010, traces the master American sculptor’s work from the late 1920s to the 1970s. Organised by the Seattle Art Museum and curated by Michael Darling, SAM’s Jon and Mary Shirley Curator of Modern and Contemporary Art, the survey features his signature mobiles, stabiles, works on paper and jewellery. Drawn primarily from the Seattle area collection of Jon and Mary Shirley, the exhibition will showcase the wide range of Calder’s interests, abilities, materials and phases during his long and productive career. Accompanying the exhibition will be 44 photographs and a film by Calder’s contemporary Herbert Matter that show his working process in many different studios over the years.

“This will be a singular occasion to appreciate the work of one of the 20th century’s titans of modern art,” said Darling. “The Shirleys’ collection allows us to examine Calder’s variations on themes and scale in a depth that few museums have the opportunity to present.”

The title of the exhibition refers to the artist’s feats of artistry and engineering, as well as his ability to work in many different arenas, from pure abstraction to playful naturalism. Calder was one of the leaders in defining what mattered in 20th-century art, balancing delicacy and the handmade with industrial materials and processes.

Calder’s work is a crucial bridge between abstract painting and sculpture that was taking root in Europe in the first half of the twentieth century and the abstract language being embraced in the US after World War II. The mobiles, in particular, were a giant leap forward in the expansion of artistic possibilities, both for artists and audiences, as their moveable parts ensured that a work was never “finished.” They defy stasis and are constantly, emphatically alive. He also pushed the boundaries of pure colour and bold form to the forefront of aesthetic consideration.

Small-Scale Works in Wire and Metal

Alexander Calder: A Balancing Act features groupings of small standing mobiles that demonstrate how Calder played with variations on certain themes, such as red tripod bases with arcing cantilevers on top. When looking at works such as Black, White, Yellow and Brass on Red (1959) and Polychrome Dots and Brass on Red (1964, see image below), one can imagine them at a gigantic scale, but they are also satisfying at a diminutive size, where the hand-pounding and forming of metal is direct and evident. Some of these spirals and branching forms find direct complements in Calder’s jewellery creations, as well, revealing how fluid his approach was between the two genres. The exhibition includes examples of earrings, bracelets, necklaces, brooches, even a key ring designed and created by the artist. In addition, Alexander Calder: A Balancing Act features several of the artist’s delicate wire sculptures. Often compared to drawings that exist in three-dimensional space, these small-scale works demonstrate Calder’s acuity at balancing his keen artistic sense with playfulness and elegant craftsmanship.

Mobiles and Stabiles

Alexander Calder is perhaps most famous for having invented the fine art mobile. His mobiles and stabiles (or non-moving sculptures) are among his most recognised works, and a number of important pieces in these genres – from smaller maquettes to some of Calder’s largest, monumental works – will be on view in the exhibition. At about eight-feet across, Untitled, a mobile from about 1948, includes organic, leaf-like “paddles” or “leaves” that move gracefully on the breeze, alongside a dangling, abstract carved wood element and a bright yellow circle. The balance of organic and geometric forms makes one think of plants, astronomy or even microbiology, all at once.

Some of the recognised masterpieces in the show include the “standing mobile” (a piece that has moving parts but rests on the ground) Bougainvillier (1947, see image above), and the large-scale, 23-foot mobile Red Curly Tail (1970) from much later in the artist’s career. Eagle (1971) currently in SAM’s collection and on view at the Olympic Sculpture Park is a good example of the later, monumental variants of Calder’s stabiles. Eagle will be part of the exhibition Alexander Calder: A Balancing Act through a live-feed video from the sculpture park and on view in the downtown Seattle galleries.

Photographs and Film by Herbert Matter

Alexander Calder’s working process comes to life in the exhibition through photographs by Herbert Matter that document the artist in his studio. On loan from the Calder Foundation, the photographs span more than ten years in the 1930s and 40s and many different studios and working spaces, revealing the creative chaos of Calder’s working environment, the almost surreal abstraction of having all of that metal and curving wire around and the workmanlike, quasi-industrial feel to the artist’s processes and surroundings. The photographs also document some of his past exhibitions and give museum visitors a sense of how Calder himself liked to display his works. A full-colour film produced by Matter in 1951, with music by John Cage and narration by Burgess Meredith, also gives great insight into Calder’s Roxbury, Connecticut, studio.

Text from the Seattle Art Museum website [Online] Cited 06/02/2010 no longer available online

Alexander Calder (American, 1898-1976)
The Spider
1940

Alexander Calder (American, 1898-1976)
Blue Feather
c. 1948

Alexander Calder (American, 1898-1976)
Big Red
1959

Alexander Calder (American, 1898-1976)
Polychrome Dots and Brass on Red
1964

Alexander Calder (American, 1898-1976)
Eagle
1971
Photo: Ronincmc

Seattle Art Museum Downtown
1300 First Avenue , Seattle, WA 98101-2003
206.654.3100 TTY 206.654.3137

Opening hours:
Wednesday – Sunday 10 am – 5 pm
Closed Monday and Tuesday