Posts Tagged ‘Donald Judd

23
Sep
11

Exhibition: ‘Line and Space. American Drawings and Sculpture since 1960, from a private collection’ at Pinakothek de Moderne, Munich

Exhibition dates: 28th July – 25th September 2011

 

Many thankx to the Pinakothek der Moderne for allowing me to publish the art work in the posting. Please click on the art work for a larger version of the image.

 

 

Barry Le Va. 'Untitled' 1977

 

Barry Le Va (American, b. 1941)
Untitled
1977
Pencil, ink and ballpoint on graph paper
Private collection
Photo: Arne Schultz
© Barry Le Va 2011

 

Sol LeWitt. 'A2' 1967

 

Sol LeWitt (American, 1928-2007)
A2
1967
Painted steel
Private collection
Photo: Arne Schultz
© VG Bild-Kunst, Bonn 2011

 

Donald Judd. 'Untitled' 1962

 

Donald Judd (American, 1928-1994)
Untitled
1962
Woodcut on paper, trial proof
Private collection
Photo: Arne Schultz
© Art Judd Foundation, Licensed by VAGA, NY / VG Bild-Kunst, Bonn 2011

 

Gordon Matta-Clark. 'Untitled (cut drawing)' 1974

 

Gordon Matta-Clark (American, 1943-1978)
Untitled (cut drawing)
1974
Cuts in paper
Private collection
Photo: Arne Schultz
© VG Bild-Kunst, Bonn 2011

 

 

“The exhibition, part of the AMERICAN SUMMER project, features the predominantly American holdings of drawings and sculptures from a private collection, with most of the works going on public display for the first time. What comes to the fore in this exemplary selection of largely American artists from the sixties and seventies and their impressive groups of works is the relationship between the media of sculpture and drawing. At the heart of the show lies the subtle dialogue between the conceptual ideas of ‘disegno’ and their sensual transfer to the materiality of sculpture.

One of the private collection’s particular strengths is its focus on groups of works by individual artists. As a result, entire rooms have been dedicated to the artists Fred Sandback and Barry Le Va, while in addition larger groups of works by other artists, including Donald Judd or Gordon Matta-Clark, can be studied in detail.

The selection of exhibits creates a display of the art movements of the sixties and seventies: among them, Minimal Art, as represented by Carl Andre, Bill Bollinger, Donald Judd, Dan Flavin and Fred Sandback, Post-minimalism of Barry Le Va or Keith Sonnier, Conceptual Art, as represented by Sol LeWitt, and Land Art of such artists as Michael Heizer and Walter de Maria. The exhibition is enriched with works from the Staatliche Graphische Sammlung München and the Sammlung Moderne Kunst.

A fully illustrated catalogue accompanies the exhibition: ‘Der Raum der Linie – Amerikanische Zeichnungen und Skulpturen’, edited by Michael Semff, Corinna Thierolf and Alexander Klar, with assistance from Pia Gottschaller and Birgitta Heid (containing essays from Jörg Daur, Pia Gottschaller, Birgitta Heid, Christiane Meyer-Stoll, Michael Semff, a conversation with Peter Soriano and an interview with the collector).”

Press release from the Pinakothek de Moderne

 

Barry Le Va. 'Bearings Rolled' 1966

 

Barry Le Va (American, b. 1941)
Bearings Rolled
1966
Ink on paper
Sheet from a series of 15 drawings
Private collection
Photo: Arne Schultz
© Barry Le Va 2011

 

Fred Sandback. 'Untitled (Milanese Drawing)' c. 1971/72

 

Fred Sandback (American, 1943-2003)
Untitled (Milanese Drawing)
c. 1971/72
Chalk on paper
Private collection
Photo: Arne Schultz
© Fred Sandback Archive 2011

 

Dan Flavin. 'from August 5, 1964' 1966

 

Dan Flavin (American, 1933-1996)
from August 5, 1964
1966
Crayon on black paper
Private collection
Photo: Arne Schultz
© Estate of Dan Flavin / VG Bild-Kunst, Bonn 2011

 

Sol LeWitt. 'Incomplete open cube drawing - ten & eleven part variations' undated (c. 1973/74)

 

Sol LeWitt (American, 1928-2007)
Incomplete open cube drawing – ten & eleven part variations
Undated (c. 1973/74)
Pencil and ink on paper
Private collection
Photo: Staatliche Graphische Sammlung München
© VG Bild-Kunst, Bonn 2011

 

Robert Mangold. '104" Perimeter Series' 1969

 

Robert Mangold (American, b. 1937)
104″ Perimeter Series
1969
Pencil on paper
Private Collection
Photo: Arne Schultz
© VG Bild-Kunst, Bonn 2011

 

 

Pinakothek Der Moderne
Barer Strasse 40
Munich

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

Pinakothek der Moderne website

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14
Mar
09

Exhibition: ‘Yayoi Kusama: Mirrored Rooms’ at Museum of Contemporary Art (MCA), Sydney

Exhibition dates: 24th February – 8th June 2009

 

 

 

“Discover the work of internationally acclaimed Japanese artist Yayoi Kusama with this major exhibition that spans decades of her artistic practice.

Yayoi Kusama: Mirrored Years demonstrates the enduring force of Yayoi Kusama. Renowned early installations such as Infinity Mirror Room – Phalli’s Field (1965) along with recent immersive environments including Fireflies on the Water (2000) and Clouds (2008) provide insight into the creative energy of this extraordinary artist and her lifelong preoccupation with the perceptual, visual and physical worlds.

Working across different media and forms that include painting, collage, sculpture, installation and film, as well as performance and its documentation, Kusama creates works that reveal a fixation with repetition, pattern and accumulation. Describing herself as an “obsessive artist”, her work is intensely sensual, infused with autobiographical, psychological and sexual content.”

Text from the MCA website [Online] Cited 12/03/2009 (no longer available online)

.
Many thanks to Ed Jansen for the use of his installation photographs of this exhibition at Museum Boijmans Van Beuningen, Rotterdam in 2008. See the whole set of his photographs on Flickr. Please click on the photographs for a larger version of the image.

 

Yayoi Kusama. 'Infinity Mirror Room - Phalli's Field' 1965

 

Yayoi Kusama
Infinity Mirror Room – Phalli’s Field
1965

 

Yayoi Kusama. 'Infinity Mirror Room - Phalli's Field' 1965

Yayoi Kusama. 'Infinity Mirror Room - Phalli's Field' 1965

 

Yayoi Kusama
Infinity Mirror Room – Phalli’s Field
1965
Museum Boijmans Van Beuningen, Rotterdam, 2008

 

 

Rewind 1960

Visual hallucinations of polka dots since childhood have inspired the most significant works of this avant-gardist, who says creating art “saved” her during her lifelong battle with mental illness.

Interview by Natalie Reilly

This photograph [see above, top, for the image of her in 1965] shows a creative work that I made in New York in 1960. I was 31 years old at the time and my inspiration was the inundation and proliferation of polka dots. The work represents the evolution of my original formative process. Of all the pieces I have made, I like this one the best. It was my intention to create an interminable image by using mirrors and multiplying red polka dots.

I was born in Nagano Prefecture , a mountainous region in Japan. The youngest of four children, I have one sister and two brothers.

Since childhood, I have loved to paint pictures and create art forms. [Kusama has suffered from obsessive thinking and visual hallucinations since early childhood. the hallucinations – often of polka dots, or “nets” as she calls them – have become the inspiration for much of her work.] I did many artworks in great numbers in my younger days.

I went to Seattle in 1957 where I had my first solo exhibition in the US. I moved  to New York in 1958. Japan in those days was too conservative for avant-garde art to be accepted. [By 1961, Kusama was an active participant in the avant-garde movement in New York. Her art, which often included performance and controversial themes such as nudity and protests against the Vietnam War, drew acclaim for art critics and other artists such as Andy Warhol and Claes Oldenburg.]

I was deeply moved by the efforts the artists in New York were making then to develop a new history for art. I owe what I am today to many people in the art circles in Japan, the US and Europe who enthusiastically supported my art and gave me a boost into the international art scene.

Artists Georgia O’Keefe and Joseph Cornell were among the many friends who helped me, including Donald Judd and [writer and activist] Lucy Lippard who appreciated the originality of my art.  [In 1962 at the height of her success in New York, Kusama’s mental health began to suffer as she grew more paranoid about other artists copying her work. Late that year, she covered up all the windows in her studio in an attempt to “shut out the world”, and by November she was hospitalised after suffering a nervous breakdown.]

I came back to Japan in 1973, because my health had deteriorated. I wanted to create art in a quiet atmosphere. I once said, “if it were not for art, I would have killed myself a long time ago” an that’s still true. I do art in order to pursue my philosophy of life seeking truth in art.

Reilly, Natalie. “Rewind 1960,” in Boleyn, Alison (ed.,). Sunday Life: The Sunday Age Magazine. Melbourne: Fairfax Magazines. February 15th 2009, p. 30.

 

Yayoi Kusama. 'Clouds' 1999 and 'Love Forever' 2005

 

Yayoi Kusama
Clouds 1999 and Love Forever 2005
Museum Boijmans Van Beuningen, Rotterdam, 2008

 

Yayoi Kusama. 'Fireflies on the Water' 2000

Yayoi Kusama. 'Fireflies on the Water' 2000

 

Yayoi Kusama
Fireflies on the Water
2000

 

Yayoi Kusuama. 'The Moment of Regeneration' 2004

 

Yayoi Kusama
The Moment of Regeneration
2004

 

Yayoi Kusama. 'Narcissus Garden' 1966

 

Yayoi Kusama
Narcissus Garden (at the Venice Biennale, Italy)
1966

 

Yayoi Kusama. 'Invisible Life' 2000

 

Yayoi Kusama
Invisible Life
2000

 

 

Museum of Contemporary Art (MCA)
140 George Street
The Rocks, Sydney, Australia

Opening hours: 11 – 5pm daily

Yayoi Kusama website

Museum of Contemporary Art website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

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