Posts Tagged ‘Robert Rauschenberg

10
Aug
18

Exhibitions: ‘Now, the new form of the past’ and ‘Senses’ at Kunstwerk! Liemers Museum, Netherlands

Exhibition dates: 16th June – 9th September 2018

Artists: Drager Meurtant (assemblages, NL) and Petra Senn (photography, D); Jeanine Keuchenius (paintings, NL)

Kelly Elmendorp, Stijn Geutjes, Robert van der Kroft, Drager Meurtant, Winny de Meij, Petra Senn.

*PLEASE NOTE I WILL BE TAKING A SHORT BREAK FROM REGULAR POSTINGS ON ART BLART FOR THE NEXT THREE WEEKS AS I CELEBRATE MY 60TH BIRTHDAY. THANK YOU*

 

 

Drager Meurtant (b. 1951) 'Green bird day' 2017

 

Drager Meurtant (b. 1951)
Green bird day
2017

When the green bird / came to live / we agreed to call / it a day

 

 

 

Accumulating, life

 

I first had contact with Gerard Rutteman (artist alias Drager Meurtant) when he emailed me about a posting I had done on Art Blart about the Japanese photographer Shomei Tomatsu in 2015. Since then we have become firm friends. In 2017 on a trip to Europe, I caught a high speed train from Paris to the French city of Reims to meet him and his vivacious wife Jeanine. We spent a glorious day wandering the city, taking photographs, talking art, and eating a hearty lunch at a local brasserie. This pair of self-taught artists, creative human beings, are so talented.

While I greatly admire Jeanine’s paintings with their powerful and poetic muscularity (in my mind, I note the influence of artists such as Pierre Soulages, Cy Twombly and Anselm Kiefer) and their use of colour which can be seen in other paintings on her website – and observe the photographs of Petra Senn (I would need to see more to make constructive comment) – it is the work of Drager Meurtant to which I am going to focus my attention in this text.

The path of Drager Meurtant reminds me of that of Australian artist Rosalie Gascoigne.

“Gascoigne worked as a teacher before moving to Australia in 1943 following her marriage to astronomer Ben Gascoigne. She discovered a natural talent for creating assemblages through the ensuing seventeen years spent in relative isolation on the stony terrain of Mount Stromlo, home to Stromlo Observatory, and the wheat belt of Monaro near Canberra, a landscape she designated as the crucible from which her art emerged… Gascoigne’s lifelong passion for collecting and arranging developed initially from the Sogetsu school of ikebana, with its emphasis on form and line rather than colour. Its general principles of valuing immediate response, the experience of materials, process and experiment with variations can be seen as underpinning all of her later work. The collection of discarded materials, such as farm machinery parts, for use as suitable vessels for her arrangements, led her to also make sculptural assemblages… Gascoigne had no formal art training, often asserting that her fifty-year apprenticeship was in looking. She began exhibiting in 1974 at the age of 57.” (Text from the Art Gallery of New South Wales website)

Gascoigne went on to become one of Australia’s most loved and respected artists.

Drager Meurtant spent most of his life as a veterinarian-biomedical researcher. He is an autodidact and, like Gascoigne, his apprenticeship as an artist was one of looking and writing poetry. Only in the last five years has he really been able to fully concentrate on his art practice. To my mind, he has the potential to become a much beloved artist of his country, and an international artist of high repute. I am palpably excited by his art and its development. There is a frisson of expectation every time I see new work; that frisson enhanced by the amplitude of the music he creates and the temperature of the environment that surrounds his work.

In this latest exhibition, there is a wonderful, tensional balance between elements and energy in his constructions. Much of the basic elements are from demolition- / remnant materials (“recycling art”), sometimes called objets trouvés: things coil around, are contained, wire, wood, recycled materials, energy, intimacy. His un/civilised forms of expression create an interplay between the conscious and the unconscious minds.

Drager is true to the integrity of his materials, the inherent qualities of natural and man made materials, and his vision. He incorporates primitive, mythical, spiritual and folkloric elements into his art. And his pleasure is in the layering and painting, in the materials, forms and, finally, in the art itself. Here is humour (The snake kept its mouth shut, 2018 below; the moustache of The Orator, 2016 below), ecology and spirit. A sense of mystery and purpose at one and the same time.

Riffing on Guy Debord’s concept of dérive (“drift” in English) which Debord defines as “a mode of experimental behaviour linked to the conditions of urban society: a technique of rapid passage through varied ambiances”1, I can relate Drager’s art to an unplanned journey through the urban landscape in which he drops his everyday relations and lets himself be drawn by the attractions of the terrain and the encounters he finds there. Drager’s attractions are the refuse of the human race. His encounters lead to the construction of contexts and situations, an artistic practice of “the happening”, which is a structured but unencumbered, expressive approach that encourages us to question our finite place in the world. Who else would paint a mountain on a radiator!

While I believe that some of the most important qualities in this world have their meanings proscribed by their opposite, some of these qualities have to be understood by reference only to themselves – which is very difficult – but must be attempted. A lot of things have been made too simple (taught in art schools?) by constructing fraught dichotomies. In other words, as an artist and as a human being, do not rely on binaries but just “on the thing itself”. Let it reveal itself to you – whether that is through Dada, an enigmatic self, of movement and form – or through some other mechanism. Drager has enough intellect and talent not to fall into the too simple, too easy, trap.

In this small regional gallery in the Netherlands, this visionary of the romantic, otherworldy (definition: devoted to intellectual or imaginative pursuits), utopian / dystopian unification of art and life constructs his paradoxes. I love the poetry that accompanies and informs his work; I love the brown butchers paper that covered “the happenings” before the unveiling; and I love the energy, the concern for the environment, and the construction and conceptualisation of his assemblages. I am challenged, in a good way, by his art.

The next step on the path for my friend is to keep the faith, is to keep making the art for himself and no one else. To keep them free and not contained by unwanted concerns. For, as he said to me, “in the end the path followed will be more interesting than the stakes raised in passing.” But curators please take note… here is a star of the future!

Marcus

.
Many thankx to the artists and Kunstwerk! Liemers Museum for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

  1. Guy Debord (1958) Definitions. Internationale Situationniste #1 (Paris, June 1958). Translated by Ken Knabb.

 

 

“The creation of art, to me, is not work. The end-result is not seen as a piece, but as a whole. Since it brings me comfort and relieves stress, I call my assemblages ‘art-peaces’.”

“The essence of working with found objects (or scrap material) is that their different natures will enrich the composition as they are expressed in its different layers. This effect is based upon the divergent origins, structures and functions of these elements: wood, metal, glass, stone, cloth, plastic, etc. As a consequence, each bears a different weight and ease for ‘penetrance’ (transparency), that will influence the final form of the composition.”

.
Drager Meurtant

 

“Nearly every work of assemblage, in its relational structure, approaches abstract art” [but] “the practice of assemblage raises materials from the level of formal relations to that of associational poetry.”

.
Seitz, W. C. The Art of Assemblage. New York: Museum of Modern Art, 1961, p. 25, 84.

 

“It’s not where you take things from, it’s where you take them to.”

.
Jean-Luc Godard

 

 

Before the exhibition opening

Before the opening of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

Before the opening of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

Before the opening of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

Before the opening of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

 

Before the opening of the exhibition Now, the new form of the past at Kunstwerk! Liemers Museum, Netherlands

 

 

Now, the new form of the past is an exhibition based on international collaboration between Drager Meurtant (assemblages, NL) and Petra Senn (photography, D) with the theme Recycling Art . Both artists place most of the energy in their art and demand attention for its creativity, in the reuse of materials and objects.

Drager uses demolition material and remnants from construction, plus objets trouvés, to make assemblages; while Petra uses weathered matter and the perishableness (transitoriness) of materials in her photographs. Every artwork thus carries echoes from the past within itself. Senses is a parallel exhibition of abstract paintings by Jeanine Keuchenius.

Text from the Kunstwerk! Liemers Museum website

 

The artists Drager Meurtant and Petra Senn first met on ‘pictify’, a social medium for artists (at present no longer accepting new art submissions.) After an exchange of some ‘faves’ and views, the retrospective The Trauma of Painting by Alberto Burro in the museum K21 in Düsseldorf, Germany, became the place where at the end of June 2016 the three, Petra Senn, Drager Meurtant and his artist-partner Jeanine Keuchenius, met in person. With the overwhelming artistic environment, the basis of a human and artistic interest became established. Thus, when Stijn Geutjes, the curator of Kunstwerk! Liemers Museum asked Drager about willingness to exhibit his art in the museum, the answer came with the suggestion of the theme “Now, the new form of the past”, and introduction of colleague Petra Senn as associate, and Jeanine to come with an addition of the theme “Senses”. After some discussion, and rising interest of Stijn Geutjes in the abstract photographies of Petra Senn, the decision came to exhibit in a collaborative effort, that included partaking in the selection process of works of the curator and the three artists.

Text by Drager Meurtant

 

Objets trouvés

An objets trouvé is a found object; a natural or discarded object found by chance and held to have aesthetic value; an ordinary object, as a piece of driftwood, a shell, or a manufactured article, that is treated as an object of art by one who finds it aesthetically pleasing.

The term relates directly to Marcel Duchamp’s readymades, Dada and Fluxus art. Art critics have coined the terms arte povera (Italian) and junk art (Anglo-American) to signify art which incorporates said objects.

Arte Povera is basically the legitimate justification for creating art of junk and found objects. Arte Povera was a term coined by the Italian art critic Germano Celant. He used the word to sum up a type of art which combined elements of conceptual art, minimal art and performance art. He conceived the idea of the art movement in reaction to the ever increasing commercialism within the art world. The artists embrace the ideas of using valueless materials such as earth, gravel, rocks or litter in order to create works of art.

Junk art is the flattering name is given to 20th and 21st-century art in which the artist uses refuse, scrap metal, urban waste or just anything viewed as useless or cast of from modern society. Junk art is very much synonymous with American artist Robert Rauschenberg. It is also very much part of the 1960s Italian movement Arte Povera. The movement was the product of Antoni Tàpies, Alberto Burri, Michelangelo Pistoletto, Piero Manzoni, and Lucio Fontana.

Text from the Xamou website

 

Found object

Found object originates from the French objet trouvé, describing art created from undisguised, but often modified, objects or products that are not normally considered materials from which art is made, often because they already have a non-art function. …

Found objects derive their identity as art from the designation placed upon them by the artist and from the social history that comes with the object. This may be indicated by either its anonymous wear and tear (as in collages of Kurt Schwitters) or by its recognisability as a consumer icon (as in the sculptures of Haim Steinbach). The context into which it is placed is also a highly relevant factor. The idea of dignifying commonplace objects in this way was originally a shocking challenge to the accepted distinction between what was considered art as opposed to not art. …

As an art form, found objects tend to include the artist’s output – at the very least an idea about it, i.e. the artist’s designation of the object as art – which is nearly always reinforced with a title. There is usually some degree of modification of the found object, although not always to the extent that it cannot be recognised, as is the case with ready-mades. Recent critical theory, however, would argue that the mere designation and relocation of any object, ready-mades included, constitutes a modification of the object because it changes our perception of its utility, its lifespan, or its status.

Text from the Wikipedia website

 

Installation views of the exhibition Now, the new form of the past

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

 

Installation views of the exhibition Now, the new form of the past at Kunstwerk! Liemers Museum, Netherlands showing the work of Drager Meurtant and Petra Senn

 

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

 

Installation view of the exhibition Now, the new form of the past at Kunstwerk! Liemers Museum, Netherlands showing Drager Meurtant’s work connection not wireless (2014) top left, and Petra Senn’s Persuasiveness (2012) top right

 

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

 

Installation view of the exhibition Now, the new form of the past at Kunstwerk! Liemers Museum, Netherlands showing Drager Meurtant’s Under way Nd

 

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

 

Installation view of the exhibition Now, the new form of the past at Kunstwerk! Liemers Museum, Netherlands showing Drager Meurtant’s work Swan in essence (2014) at centre, with Petra Senn’s Insubordination (2017) top left and someone from the past I (nd) top right

 

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

 

Installation view of the exhibition Now, the new form of the past at Kunstwerk! Liemers Museum, Netherlands showing the work of Drager Meurtant and Petra Senn with DM’s The promised land (2016) at right

 

 

About Drager Meurtant

In almost four decades since his training as as veterinarian-biomedical researcher, Drager Meurtant (artist alias of Gerard Rutteman) has channeled much creativity towards scientific publications and – in his free time – poetry. In more recent years, through a rapid learning curve, his creations have taken form as sculptures (in particular assemblages), collages, paintings and graphical works.

As autodidact and experienced carpenter, the circle saw, jig-saw, chisel, gouge, hammer are used to handle natural materials (wood, stone) in addition to manufactured (paper, cloth) and construction material (metal, glass, etcetera). Much of the basic elements are from demolition- / remnant materials (“recycling art”), sometimes objets trouvés. The assembly of contrasting elements creates tension, sometimes suspension.

The sculptures made by David Smith and (box) assemblages by Joseph Cornell, but also installations by Dieter Roth inspire Drager, as does the art by Joan Miró and members of CoBrA. The making of photographs is considered complementary to the assemblages, in an attempt to capture the fleeting world in which we live.

 

Drager Meurtant (b. 1951) 'Movement from within' 2016

 

Drager Meurtant (b. 1951)
Movement from within
2016
Three-dimensional sculpture, mixed media
Assemblage (relief), wood, paper, paint, sand, image
40 x 50 x 7 cm

“When the pieces were seen fit / and fixed in their proper position / the movement was undeniable / as it arose from within”

 

Drager Meurtant (b. 1951) 'Crawling, again' 2018

 

Drager Meurtant (b. 1951)
Crawling, again
2018
Three-dimensional sculpture, mixed media
47 x 34 x 20 cm

“How to make connections / of elements and the outside world? The answer to my question / came crawling, again”

 

Drager Meurtant (b. 1951) 'Crawling, again' 2018 (installation view)

 

Drager Meurtant (b. 1951)
Crawling, again (installation view)
2018
Three-dimensional sculpture, mixed media
47 x 34 x 20 cm

 

Drager Meurtant (b. 1951) 'Number 53' 2016 (installation view)

 

Drager Meurtant (b. 1951)
Number 53 (installation view)
2016
Mixed media sculpture
Assemblage, wood, paper, metal, plaster, paint
31 x 36 x 9 cm

“In former times / you could buy / petroleum, paraffin and coal / at number 53”

 

Drager Meurtant (b. 1951) 'The Orator' 2016

 

Drager Meurtant (b. 1951)
The Orator (installation view)
2016
Sculpture, wood, paint

 

Drager Meurtant (b. 1951) 'Tegut' 2018

 

Drager Meurtant (b. 1951)
Tegut
2018
Collage, paper
11 x 15 cm

“The next generation / has more generations / to lean upon”

 

Drager Meurtant (b. 1951) 'Three of a kind' 2018 (installation view)

 

Drager Meurtant (b. 1951)
Three of a kind (installation view)
2018
Mixed media
24 x 32 x 1 cm

“When presented three figures / of different size / and writing / and colour”

 

Drager Meurtant (b. 1951) 'Three of a kind' 2018

 

Drager Meurtant (b. 1951)
Three of a kind
2018
Mixed media
24 x 32 x 1 cm

 

Drager Meurtant (b. 1951) 'Mon Combat' 2018

 

Drager Meurtant (b. 1951)
Mon Combat
2018
Installation of book, metal
60 x 30 x 5 cm

Mon Combat by A. Tempspassé: there is always someone who sees argument to start a battle

 

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

 

Installation view of the exhibition Now, the new form of the past at Kunstwerk! Liemers Museum, Netherlands showing Drager Meurtant’s works the listener (needs protection) (2018) at left, and The Mechanic (2018) at right

 

Drager Meurtant (b. 1951) 'The Mechanic' 2018

 

Drager Meurtant (b. 1951)
The Mechanic
2018
Mixed media (wood, iron, paint)
105 x 65 x 65 cm

“With good tools / you get everything moving”

 

Drager Meurtant (b. 1951) 'The snake kept its mouth shut' 2018

 

Drager Meurtant (b. 1951)
The snake kept its mouth shut
2018
Mixed media, trash
35 x 25 x 500 cm

“Curling, the snake kept its mouth shut”

 

Drager Meurtant (b. 1951) 'Destiny' 2018 (installation view)

 

Drager Meurtant (b. 1951)
Destiny (installation view)
2018
Painting on discarded radiator with support
60 x 130 cm

 

Drager Meurtant (b. 1951) 'All humans are equal' 2018 (installation view)

 

Drager Meurtant (b. 1951)
All humans are equal (installation view)
2018
Mixed media
100 x 50 x 200 cm

All humans are equal. // To test this assumption / take two / and tilt the angle / and position towards, one another.

 

Drager Meurtant (b. 1951) 'Rudimentary' 2016 (installation view)

 

Drager Meurtant (b. 1951)
Rudimentary (installation view)
2016
Mixed media
23 x 13 x 16 cm

“Mental metal / rudimentary face / mind you!”

 

Drager Meurtant (b. 1951) 'The promised land' 2016

 

Drager Meurtant (b. 1951)
The promised land
2016
Box assemblage
Mixed media, wood, board, metal, paint
34 x 44 x 10 cm

“The promised land / cannot be for outsiders. // They may look / how it is, yonder.”

 

Drager Meurtant (b. 1951) 'Steep-2' 2014 (installation view)

 

Drager Meurtant (b. 1951)
Steep-2 (installation view)
2014
Mixed media, wood partly rotten, metal, paint and glass
35 x 23 x 10 cm

Steep-2: The Monte Rotondo / is left behind / it weighs too much / for me. // The climbing rock of Feyr / I leave / to the climbers. // But / this wooden rock / serves as model / of a viewpoint on imagination.

 

Drager Meurtant (b. 1951) 'The avail of propaganda' 2016

 

Drager Meurtant (b. 1951)
The avail of propaganda
2016
Mixed media
Assemblage, wood, cloth, metal, paper, paint
43 x 21 x 8 cm

“The avail of propaganda / is that you and I / do what / we detest.”

 

Drager Meurtant (b. 1951) 'Twosome' Nd (installation view)

 

Drager Meurtant (b. 1951)
Twosome (installation view)
Nd
Mixed media

 

Drager Meurtant (b. 1951) 'fact-ohry' 2013 (installation view)

 

Drager Meurtant (b. 1951)
fact-ohry (installation view)
2013
Mixed media
24 x 32 x 42 cm

I said / now I will build a fact-ohry / and that / became factual. // With grabbing and placing / elements that together / took progressively the shape / of a fact-ohry / I became part of it. // Could shape the further design / and steer it at minor extent / but the end-result / was determined / by the starting point. // Voila.

(Note: This Fact-ohry is the only one with guarantee that risks during drilling for shale gas are secured.)

 

Drager Meurtant (b. 1951) 'Progress (halted)' 2016 (installation view)

 

Drager Meurtant (b. 1951)
Progress (halted) (installation view)
2016
Bronze
26 x 18 x 21 cm

“When going forth / from wood to bronze / and grasping the result / I realised progress had halted. // A result stands in the way / of the learning process.”

 

Drager Meurtant (b. 1951) 'Progress (halted)' 2016

 

Drager Meurtant (b. 1951)
Progress (halted)
2016
Bronze
26 x 18 x 21 cm

 

 

About Petra Senn

Petra’s work has mostly to do with memories and emotions. Her photos directly respond to the surrounding environment and use everyday experiences from the artist as a starting point. These experiences are often framed instances that would go unnoticed in their original context.

By contesting the division between the realm of memory and the realm of experience, she wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.

Her works appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By applying abstraction, she absorbs the tradition of remembrance art into daily practice. She has a deep inner desire to protect the past from vanishing, both physically and, inevitably, mentally.

In her work Petra takes great care neither to simply reflect reality nor to just make visual statements. There is always left space for the spectators own emotions and opinions. She considers her work as visual stimulus, an invitation to enter ones inner world, knowing well that this process only works if she perceives deeper emotions while taking the pictures herself. Her search is for poetry in almost every item and condition.

Artist statement

 

Petra Senn. 'Her Lips' 2015

 

Petra Senn
Her Lips
2015

 

Petra Senn. 'Insubordination' 2017

 

Petra Senn
Insubordination
2017

 

Petra Senn. 'Persuasiveness' 2012

 

Petra Senn
Persuasiveness
2012

 

 

About Jeanine Keuchenius

Jeanine Keuchenius (1953, Indonesia) is a creative artist, dancer, and performer. Her background is as an art therapist (independent and within psychiatry) and social worker / pastoral worker. In the visual art she is an autodidact (a self-taught person), acquiring some skills at high school (teacher in visual art), she then followed several courses / workshops given by professional artists.

Jeanine’s painting uses paper, linen or panel, with palette filled with gouache, acrylic, oil, ink, with at times addition of tar, sand, and glue. Artists that inspire her are Henri Toulouse-Lautrec, Edvard Munch, Antoni Tapies and Emil Schumacher, but also the medium of modern dance moves her in her work, which is mostly abstract, but at times features more figurative elements. Sometimes echoes from mountain landscapes and abandoned hamlets (e.g. on the island of Corsica) are visualised. Her motto is: “In duet with myself.”

 

Installation view of the exhibition 'Senses' at Kunstwerk! Liemers Museum, Netherlands

Installation view of the exhibition 'Senses' at Kunstwerk! Liemers Museum, Netherlands

 

Installation views of the exhibition Senses at Kunstwerk! Liemers Museum, Netherlands

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Amulet' 2011

 

Jeanine Keuchenius (b. 1953, Indonesia)
Amulet (installation view)
2011
Gouache on paper
50 x 65 cm

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Amulet' 2011

 

Jeanine Keuchenius (b. 1953, Indonesia)
Amulet
2011
Gouache on paper
50 x 65 cm

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Pink and grey' 2012

 

Jeanine Keuchenius (b. 1953, Indonesia)
Pink and grey (installation view)
2012
Gouache on paper
50 x 65 cm

Each painting is the reflection of memory or dream.

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Pink and grey' 2012

 

Jeanine Keuchenius (b. 1953, Indonesia)
Pink and grey
2012
Gouache on paper
50 x 65 cm

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Lying figure 2' 2017

 

Jeanine Keuchenius (b. 1953, Indonesia)
Lying figure 2 (installation view)
2017
Two-dimensional plaster cut, printed on newspaper
22 x 26 cm

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Beautiful stay' 2014

 

Jeanine Keuchenius (b. 1953, Indonesia)
Beautiful stay (installation view)
2014
Gouache on paper

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Unchained' 2016

 

Jeanine Keuchenius (b. 1953, Indonesia)
Unchained (installation view)
2016
Mixed media on panel (bitumen, acrylic, sand on panel)
45 x 57 cm

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Memory 1' 2018

 

Jeanine Keuchenius (b. 1953, Indonesia)
Memory 1 (installation view)
2018
Mixed media on panel (acrylic, sand, plaster, oil on panel)
60 x 70 cm

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Gribusella' 2014

 

Jeanine Keuchenius (b. 1953, Indonesia)
Gribusella
2014
Acrylic on paper
50 x 65 cm

Form and colour accompany depth and emotion

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Senses' 2012

 

Jeanine Keuchenius (b. 1953, Indonesia)
Senses
2012
Acrylic on paper
50 x 65 cm

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Bwual ènzo' 2014

 

Jeanine Keuchenius (b. 1953, Indonesia)
Bwual ènzo
2014
Gouache on paper
50 x 65 cm

Both when handling and avoiding themes, you sometimes walk in a circle.

 

Poster for the exhibitions 'Now, the new form of the past' and 'Senses'

 

Poster for the exhibitions Now, the new form of the past and Senses

 

 

Kunstwerk! Liemers Museum
Kerkstraat 16, 6901
AB Zevenaar, Nederland
Phone: +31 85 040 9971

Opening hours :
Tuesday to Sunday from 2 pm – 5 pm.

Jeanine Keuchenius website

Drager Meurtant website

Petra Senn website

Kunstwerk! Liemers Museum website

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08
Sep
17

Exhibition: ‘Louise Lawler: WHY PICTURES NOW’ at the Museum of Modern Art (MoMA), New York

Exhibition dates: 30th April – 30th July 2017

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

 

 

Louise Lawler. 'Pollyanna (adjusted to fit) distorted for the times' 2007/2008/2012

 

Louise Lawler
Pollyanna (adjusted to fit) distorted for the times
2007/2008/2012
As adjusted for the MoMA exhibition WHY PICTURES NOW, 2017
Dimensions variable
Courtesy the artist and Metro Pictures
© 2017 Louise Lawler

 

Louise Lawler. 'Pollyanna (adjusted to fit)' 2007/2008/2012

 

Louise Lawler
Pollyanna (adjusted to fit)
2007/2008/2012
As adjusted for the MoMA exhibition WHY PICTURES NOW, 2017
Dimensions variable
Courtesy the artist and Metro Pictures
© 2017 Louise Lawler

 

Louise Lawler. 'Produced in 1988, Purchased in 1989; Produced in 1989, Purchased in 1993 (adjusted to fit), distorted for the times' 1995/2010

 

Louise Lawler
Produced in 1988, Purchased in 1989; Produced in 1989, Purchased in 1993 (adjusted to fit), distorted for the times
1995/2010
Dimensions variable
Courtesy the artist and Metro Pictures
© 2017 Louise Lawler

 

(Note on reproducing Lawler’s Adjusted to Fit works: Each time these images are reproduced, they should be stretched to the space given to the reproduction. The original file (un-stretched) is the origin point for anything that is then adjusted by the photo editor.)

 

Louise Lawler. 'Produced in 1988, Purchased in 1989; Produced in 1989, Purchased in 1993 (adjusted to fit)' 1995/2010

 

Louise Lawler
Produced in 1988, Purchased in 1989; Produced in 1989, Purchased in 1993 (adjusted to fit), distorted for the times
1995/2010
Dimensions variable
Courtesy the artist and Metro Pictures
© 2017 Louise Lawler

 

 

I missed the closing date for this exhibition due to the ongoing problems with my hand. However, I believe it is valuable to post these images because Louise Lawler is an always provocative, thoughtful and interesting artist. She shines a light or, more possibly, pokes a big stick at patriarchal systems of value in art – turning perceived points of view, ways of seeing, and “the cultural circumstances that support art’s production, circulation, and presentation” on their head.

“… behind Ms. Lawler’s shape-shifting works lies a poetic intelligence, a political sharpness and an understanding of the artwork as a form of value, but also as a source and an object of love.” Well said.

Lawler possesses a unique understanding of the forms of culture embodied within images and also an intimate knowledge of the archetypal forms buried deep within their bones. Is the pattern immanent in the paper (the cosmos), or is the paper a blank slate to be written on by the creator?

Distorted, restaged, reframed and re-presented for the times…

Marcus

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

#art #moma #museumofmodernart #museum #modernart #nyc #education #artist #photography #womenartists #femaleartists #louiselawler #whypicturesnow

 

Louise Lawler: WHY PICTURES NOW is the first major survey in New York of the artist Louise Lawler (American, b. 1947), spanning the 40-year creative output of one of the most influential artists working in the fields of image production and institutional critique. The exhibition takes its title from one of Lawler’s most iconic works, Why Pictures Now (1982), a black-and-white photograph showing a matchbook propped up in an ashtray. Reminiscent of an advertising photograph or a film noir still, it asks the viewer to consider why the work takes the form of a picture, and why the artist is making pictures now. Lawler came of age as part of the Pictures Generation, a loosely knit, highly independent group of artists named for an influential exhibition, Pictures, organised in 1977 by art historian Douglas Crimp at Artists Space in New York. These artists used photography and appropriation-driven strategies to examine the functions and codes of representation. Lawler’s signature style was established in the late 1970s and early 1980s, when she began taking pictures of other artists’ works displayed in collectors’ homes, museums, storage spaces, and auction houses to question the value, meaning, and use of art.

WHY PICTURES NOW is organised by Roxana Marcoci, Senior Curator, with Kelly Sidley, Curatorial Assistant, Department of Photography.

 

 

“Ms. Lawler and Roxana Marcoci, the exhibition’s curator, have devised something quite different: an open, airy survey with lots of room for roaming, some chairs for sitting and two conjoined, markedly different halves focusing on Ms. Lawler’s activities with pictures and then words. The first half is dominated by photographs in various shapes and guises, including mural-size images. The second, which seems almost empty at first, contains two large vitrines of ephemera that show off Ms. Lawler’s gifts for graphic design and for language, with displays of everything from matchbook covers and napkins to exhibition announcements and art books that she photo-edited. …

Ms. Lawler’s images have multiple lives, exposing the ceaseless flexibility of photographs. Constantly recycled, they go from framed and portable to paperweights to the wall-covering murals of her “adjusted to fit” series. In the show’s first half, four “adjusted” photos cover immense, staggered walls, looming like ocean liners sliding out of their docks. Their monumentality thrills but also chides the art world for its embrace of spectacle and the overblown. …

It is hard to know if these words [“Why Pictures Now”] proclaim the power, or the worthlessness, of pictures. Probably both. Either way, behind Ms. Lawler’s shape-shifting works lies a poetic intelligence, a political sharpness and an understanding of the artwork as a form of value, but also as a source and an object of love.”

.
Roberta Smith. “Louise Lawler’s Stealth Aesthetic (and Muted Aura),” on the New York Times website

 

 

 

Louise Lawler: WHY PICTURES NOW | MoMA LIVE

Join us for a conversation with MoMA director Glenn Lowry and curator Roxana Marcoci on the opening of the exhibition, Louise Lawler: WHY PICTURES NOW. The first New York museum survey of the work of American artist Louise Lawler, this exhibition is an exploration of her creative output, which has inspired fellow artists and cultural thinkers alike for the past four decades.

Among the most intriguing aspects of Lawler’s working process is her continuous re-presentation, reframing, or restaging in the present, a strategy through which she revisits her own images by transferring them to different formats – from photographs to paperweights, tracings, and works she calls “adjusted to fit” (images stretched or expanded to fit the location of their display). Lawler’s critical strategies of reformatting existing content not only suggest the idea that pictures can have more than one life, but underpin the intentional, relational character of her farsighted art.

 

 

Louise Lawler | HOW TO SEE the artist with MoMA curator Roxana Marcoci

Can the exact same image have a completely different meaning if its title or medium is changed? Explore the work of one of today’s most influential female artists, Louise Lawler, in the new exhibition Louise Lawler: WHY PICTURES NOW.

MoMA curator Roxana Marcoci gives us a tour of the exhibition that charts Lawler’s continuous re-presentation, reframing, or restaging of the present, a strategy through which Lawler revisits her own images by transferring them to different formats – from photographs to paperweights, tracings, and works she calls “adjusted to fit” (images stretched or expanded to fit the location of their display).

 

 

Louise Lawler’s Birdcalls at MoMA

You’re not hearing things. For the duration of the Louise Lawler exhibition, a stroll through our Abby Aldrich Rockefeller Sculpture Garden places you squarely in the middle of Birdcalls, the artist’s defiant, humorous critique of the art world’s captivation with male artists. Find out what exhibition inspired Lawler’s sole sound piece with MoMA curator Roxana Marcoci.

 

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

 

Installation views of Louise Lawler: WHY PICTURES NOW
© 2017 The Museum of Modern Art
Photo: Martin Seck

 

 

Lawler’s study of art in its commercial context will be complemented by the display of a work by a younger artist that highlights a different kind of economy. The sculpture New York State Unified Court System (top photo), by artist Cameron Rowland, included in the artist’s knockout exhibition at Artists Space this winter, takes the form of four oak benches used in courtrooms and built using prison labour. (Text from the Artnet website)

 

Louise Lawler. 'Why Pictures Now' 1981

 

Louise Lawler
Why Pictures Now
1981
Gelatin silver print
3 x 6” (7.6 x 15.2 cm)
The Museum of Modern Art, New York
Acquired with support from Nathalie and Jean-Daniel Cohen in honour of Roxana Marcoci
© 2016 Louise Lawler

 

Louise Lawler. 'Why Pictures Now (traced)' 1981/2013

 

Louise Lawler
Why Pictures Now (traced)
1981/2013
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. '(Roy Lichtenstein and Other Artists) Black' 1982

 

Louise Lawler
(Roy Lichtenstein and Other Artists) Black
1982
Silver dye bleach print
28 ½ x 37 ¼” (72.4 x 94.6 cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. '(Andy Warhol and Other Artists) Tulip' 1982

 

Louise Lawler
(Andy Warhol and Other Artists) Tulip
1982
Silver dye bleach print
38 ½ x 60 ½” (97.8 x 153.7 cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Monogram' 1984

 

Louise Lawler
Monogram
1984
Silver dye bleach print
39 1/2 × 28″ (100.3 × 71.1 cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

 

“Swimming among the show’s images are words and wordplay that can have a few layers. One of Ms. Lawler’s better-known photographs shows Jasper Johns’s creamy “White Flag” (1955) hanging above a bed with an equally creamy monogrammed satin spread. The image is sensibly titled “Monogram,” all the more fittingly since “Monogram” is also the title of one of Robert Rauschenberg’s combines from the 1950s, when he and Mr. Johns were lovers.

Roberta Smith. “Louise Lawler’s Stealth Aesthetic (and Muted Aura),” on the New York Times website

 

Louise Lawler. 'Untitled, 1950-51' 1987

 

Louise Lawler
Untitled, 1950-51
1987
Silver dye bleach print
29 3/8 × 39 1/4″ (74.6 × 99.7 cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

Louise Lawler. 'Does Andy Warhol Make You Cry?' 1988

 

Louise Lawler
Does Andy Warhol Make You Cry?
1988
Silver dye bleach print with text on Plexiglass wall label
Image (shown): 27 ¼ x 39” (69.2 x 99.1 cm); Label: 4 3/8 x 6 3/8 in. (11.1 x 16.2 cm)
The Museum of Modern Art, New York
Gift of Gabriella de Ferrari in honour of Karen Davidson
© 2016 Louise Lawler

 

 

“Lawler’s suspicion of the image is nothing new. In WHY PICTURES NOW, her career survey currently on view at the Museum of Modern Art, the Pictures Generation artist is again and again engaged in taking the familiar – a famous work of art, different forms of banal ephemera – and making it abnormal through clever subversion. There is a timid jostling of her male peers, a slight nudge off the pedestal of reverence, which is evident in much of her work and makes it eminently appealing – even if some of its institutional critique is diminished under the museum’s glow of prestige. But what is often obscured in Lawler’s work is the way that it’s not only questioning the apparatus of making and displaying art, but also its reception – the formalised way that we, the spectators, are looking.”

.
Craig Hulbert on the Hyperallergic website

 

 

The Museum of Modern Art announces Louise Lawler: WHY PICTURES NOW, the first major survey in New York of the artist Louise Lawler (American, b. 1947). Spanning the 40-year creative output of one of the most influential artists working in the fields of image production and institutional critique, the exhibition will be on view from April 30 to July 30, 2017, in The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor, along with one sound work, Birdcalls (1972-81), which will be installed in The Abby Aldrich Rockefeller Sculpture Garden. The exhibition takes its title from one of Lawler’s most iconic works, Why Pictures Now (1982), a black-and-white photograph showing a matchbook propped up in an ashtray. Reminiscent of an advertising photograph or a film noir still, it asks the viewer to consider why the work takes the form of a picture, and why the artist is making pictures at this moment. Lawler came of age as part of the Pictures Generation, a loosely knit, highly independent group of artists named for an influential exhibition, Pictures, organised in 1977 by art historian Douglas Crimp at Artists Space in New York. These artists used photography and appropriation-driven strategies to examine the functions and codes of representation. Lawler’s signature style was established in the late 1970s and early 1980s, when she began taking pictures of other artists’ works displayed in collectors’ homes, museums, storage spaces, and auction houses to question the value, meaning, and use of art. WHY PICTURES NOW is organised by Roxana Marcoci, Senior Curator, with Kelly Sidley, Curatorial Assistant, Department of Photography.

Lawler’s work offers a defiant, witty, and sustained feminist analysis of the strategies that inform art’s production and reception. In 1971, she was invited to assist several artists for independent curator Willoughby Sharp’s Pier 18, an exhibition that featured 27 male artists on an abandoned pier on the Hudson River. While walking home after leaving the pier one evening, Lawler began to mimic birdlike sounds in order to ward off any unwanted interactions, chanting “Willoughby! Willoughby!” This parody evolved into Birdcalls, a seven-minute audio piece in which Lawler squawks, chirps, and twitters the names of famous male artists, from Vito Acconci to Lawrence Weiner – an astute critique of the name recognition enjoyed by her male contemporaries. Birdcalls thematises Lawler’s strategy of resistance to the authoritative and the patronymic proper name. This work will be played throughout the course of the exhibition, in MoMA’s Abby Aldrich Rockefeller Sculpture Garden.

An intriguing aspect of Lawler’s practice is her process of continuous re-presentation, reframing, or restaging in the present: she revisits her own work by transferring her images to different formats, from a photograph to a tracing, and to works that she calls “adjusted to fit.” The “tracings” are large-format black-and-white line versions of her photographs that eliminate colour and detail, functioning instead as “ghosts” of the originals. “Adjusted to fit” images are stretched or expanded to fit the location of their display, not only suggesting the idea that pictures can have more than one life, but also underpinning the intentional, relational character of Lawler’s farsighted art.

The exhibition consists of a sequence of mural-scale, “adjusted to fit” images set in dynamic relation to non-linear groupings of photographs – of collectors’ homes, auction houses, and museum installations – distinctive of Lawler’s conceptual exercises. Additionally, a deceptively empty gallery presents black-and-white tracings of Lawler’s photographs that have been printed on vinyl and mounted directly on the wall. A display of the artist’s ephemera from the 1970s to today highlights the feminist and performative undercurrents of her art. Lawler’s long history of artistic collaborations, with Sherrie Levine, Allan McCollum, Andrea Fraser, Felix Gonzalez-Torres, Christopher d’Arcangelo, Peter Nadin, and Lawrence Weiner, among others, come full circle in the ephemera on display. Furthermore, on the platform outside the gallery space, two “adjusted to fit” images are shown together with Cameron Rowland’s work New York State Unified Court System. Comprised of four oak courtroom benches, it was included in Rowland’s exhibition 91020000, presented at Artists Space in 2016. Lawler and Rowland share an interest in examining the imbalances of exploitative economies, the use value and exchange value of art, the politics of space, and the interplay of power between human relations and larger institutional structures, including markets, museums, prisons, and governments. Additionally, Andrea Fraser will perform her work May I Help You? in the exhibition space. In foregrounding her work’s relationship to the economies of collaboration and exchange, Lawler shifts focus from the individual picture to the broader history of art. Her careful attention to artistic contexts, modes of presentation, and viewers’ receptions generates witty, affective situations that contribute to institutional transformation.

Press release from MoMA

 

Louise Lawler. 'Untitled (Salon Hodler)' 1992

 

Louise Lawler
Untitled (Salon Hodler)
1992
Paperweight (silver dye bleach print, crystal, felt) with text on wall
Paperweight: 2″ (5.1 cm) high, 3 1/2″ (8.9 cm) diam.
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

Louise Lawler. 'Salon Hodler (traced)' 1992/1993/2013

 

Louise Lawler
Salon Hodler (traced)
1992/1993/2013
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Sentimental' 1999/2000

 

Louise Lawler
Sentimental
1999/2000
Silver dye bleach print
40 ¾ x 46 ¾” (103.5 x 118.7 cm)
The Museum of Modern Art, New York
Promised gift of Glenn and Amanda Fuhrman
© 2016 Louise Lawler

 

Louise Lawler. 'WAR IS TERROR' 2001/2003

 

Louise Lawler
WAR IS TERROR
2001/2003
Silver dye bleach print
30 × 25 3/4″ (76.2 × 65.4 cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

Louise Lawler. 'Nude' 2002/2003

 

Louise Lawler
Nude
2002/2003
Silver dye bleach print
59 1/2 × 47 1/2″ (151.1 × 120.7 cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

Louise Lawler. 'White Gloves' 2002/2004

 

Louise Lawler
White Gloves
2002/2004
Silver dye bleach print
29 × 27 1/2″ (73.7 × 69.9 cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

Louise Lawler. 'Life After 1945 (Faces)' 2006/2007

 

Louise Lawler
Life After 1945 (Faces)
2006/2007
Silver dye bleach print
40 x 33 ¼” (101.6 x 84.5 cm)
The Museum of Modern Art, New York
Promised gift of Glenn and Amanda Fuhrman
© 2016 Louise Lawler

 

Louise Lawler. 'Triangle (adjusted to fit)' 2008/2009/2011

 

Louise Lawler
Triangle (adjusted to fit)
2008/2009/2011
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'No Drones' 2010/2011

 

Louise Lawler
No Drones
2010/2011
Chromogenic colour print
29 ¼ x 19 ¾” (74.3 x 50.2 cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Marie +270' 2010/2012

 

Louise Lawler
Marie +270
2010/2012
Chromogenic colour print
59 x 45 ½” (149.9 x 115.6 cm)
The Museum of Modern Art, New York
Promised gift of Ricki Gail Conway
© 2016 Louise Lawler

 

Louise Lawler. 'Pollock and Tureen (traced)' 1984/2013

 

Louise Lawler
Pollock and Tureen (traced)
1984/2013
Dimensions variable
The Museum of Modern Art, New York
The Abby Aldrich Rockefeller Endowment
© 2016 Louise Lawler

 

 

One of her most famous images, “Pollock and Tureen” (1984), shows a fragment of a painting by Jackson Pollock above an antique soup tureen. In the photograph, the colour relationships are clear, offering insight into the choices of the collectors who “arranged” (a favourite word of Lawler’s) the scene. The work is about class, capitalism, and domesticity, not to mention reality and fiction. But when all the site-specific context is removed [in the tracing] … all we’re left with is contemplating the original Lawler artwork’s role in art history and the market.

In Benjamin Buchloh’s essay for Lawler’s retrospective last year at the Museum Ludwig, one of his most cogent points is about the nature of melancholy in her original photographs. “[H]er images,” he writes, “leave equally little doubt that there is hardly a more melancholic space than that of a fulfilled and seemingly satisfied utopian aspiration, one that has, however, not quite lived up to the originary promises … ”

Hrag Vartanian on the Hypoallergic website

 

Louise Lawler. 'Hand on Her Back (traced)' 1997/1998/2013

 

Louise Lawler
Hand on Her Back (traced)
1997/1998/2013
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Evening Sale' 2010/2015

 

Louise Lawler
Evening Sale
2010/2015
Silver dye bleach print
50 x 36 5/8” (127 x 93 cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Big (adjusted to fit)' 2002/2003/2016

 

Louise Lawler
Big (adjusted to fit)
2002/2003/2016
Dimensions variable
The Museum of Modern Art, New York
Acquired through the generosity of The Modern Women’s Fund and The Contemporary Arts Council
© 2016 Louise Lawler

 

Louise Lawler. 'Still Life (Candle) (adjusted to fit)' 2003/2016

 

Louise Lawler
Still Life (Candle) (adjusted to fit)
2003/2016
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Arranged by Donald Marron, Susan Brundage, Cheryl Bishop at Paine Webber Inc. (adjusted to fit)' 1982/2016

 

Louise Lawler
Arranged by Donald Marron, Susan Brundage, Cheryl Bishop at Paine Webber Inc. (adjusted to fit)
1982/2016
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

 

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T: (212) 708-9400

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11
Apr
17

Exhibition: ‘Cy Twombly’ at the Centre Pompidou, Paris

Exhibition dates: 30th November 2016 – 24th April 2017

 

This posting is for a friend who is a great Twombly fan.

Of the installation photograph of the series Nine Discourses on Commodus (1963, below) he observes:

“Quite an amazing installation… who would have thought #6 being placed there.
The text(?) which replaces the position of the “main” elements in #4, #5 sets the position of #6 – what a choice!
And it all had to be on one wall apparently – it looks tight, yet it is a success.”

It would take years to understand the intricacies of Twombly’s work, but the main archetypes that we can all interpret are there: themes such as love, war, death and night.

“Roland Barthes famously wrote of Twombly: ‘His work is based not upon concept (the trace) but rather upon an activity (tracing)’. In Twombly’s graphic art, the trace is the record of a gesture. Barthes again: ‘line is action become visible’. Like Olson, Twombly connects heart to line via the body.”

This is a visceral art of smudges, smears, and inscriptions. It is art that tells a story, an art that emotes? evokes deep inward feelings while challenging the intellect.

Marcus

.
Many thankx to the Centre Pompidou for allowing me to publish the artwork in the posting. Please click on the art work for a larger version of the image.

 

 

“To explore Twombly’s work with the eyes and the lips is therefore to continuously dash the expectations inspired by ‘what it looks like’.”

.
Roland Barthes in Yvon Lambert, ed., ‘Cy Twombly: Catalogue raisonné des oeuvres sur papier’ (Multhipla Edizioni, Milan, 1979) Éditions du Seuil, 1995

 

“My line is childlike but not childish. It is very difficult to fake… to get that quality you need to project yourself into the child’s line. It has to be felt.”

.
Cy Twombly

 

“Each line now is the actual experience with its own innate history. It does not illustrate – it is the sensation of its own realisation. The imagery is one of the private or separate indulgences rather than an abstract totality of visual perception.”

.
Cy Twombly, ‘L’Esperienza moderna’, no. 2 (1957)

 

 

“The Centre Pompidou is presenting a major retrospective of the work of American artist Cy Twombly. A key event of the fall 2016, this exceptionally vast exhibition will only be shown in Paris, and will feature remarkable loans from private and public collections from all over the world.

Organized around three major cycles – Nine Discourses on Commodus (1963), Fifty Days at Iliam (1978) and Coronation of Sesostris (2000) – this retrospective covers the artist’s entire career in a chronological circuit of some 140 paintings, sculptures, drawings and photographs, providing a clear picture of an extraordinarily rich body of work which is both intellectual and sensual. The selection includes many of Twombly’s iconic works, several of them never previously exhibited in France.

Born in 1928 in Lexington, Virginia, Cy Twombly died in 2011 at the age of 83 in Rome, where he spent a large part of his life. Unanimously acclaimed as one of the greatest painters of the second half of the 20th century, Twombly, who began dividing his life between Italy and America in the late Fifties, merged the legacy of American abstract expressionism with the origins of Mediterranean culture. From his first works in the early Fifties (marked by the so-called primitive arts, graffiti and writing) to his last paintings with their exuberant colour schemes, by way of the highly carnal compositions of the early Sixties and his response to minimalist and conceptual art during the Seventies, this retrospective emphasises the importance of cycles and series for Twombly, in which he reinvented great history painting. The exhibition is also the occasion to highlight the artist’s close relationship with Paris. The Centre Pompidou had devoted a first substantial retrospective to him as early as 1988.”

Press release from the Centre Pompidou

 

“The exhibition is deployed around three Cycles: Nine Discourses on Commodus, 1963, Fifty Days at Iliam, 1978, and Coronation of Sesostris, 2000. Each of them reinterprets an antique tradition by addressing themes such as love, war, death and night. Next to these exceptional series are exhibited magnificent works in which the artist confronts abstraction and figuration while exploring psychoanalysis, primitivism, writing and painting. The works incorporate names of gods, lyric heroes of Homer and Virgil and confirms his fascination for Classical authors, cosmogony, Greece, Rome and Egypt. Mysterious, obscene, crude, this exhibition confirms that Twombly was one the most original and unexpected of artists of the twentieth century.”

Mercedes Lambarri
Cataloguer, Contemporary art

 

Cy Twombly. 'Still Life, Black Mountain College I' 1951

Cy Twombly. 'Still Life, Black Mountain College II' 1951

Cy Twombly. 'Still Life, Black Mountain College III' 1951

 

Cy Twombly
Still Life, Black Mountain College
1951
Dry print on cardboard
43,1 x 27.9 cm
Fondazione Nicola Del Roscio collection
© Fondazione Nicola Del Roscio, courtesy Archives Nicola Del Roscio

 

Cy Twombly 'Untitled (Lexington)' 1951

 

Cy Twombly
Untitled (Lexington)
1951
Oil-based house paint on canvas
101.6 x 121.9 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy Archives Nicola Del Roscio

 

Cy Twombly. 'Volublis' 1953

 

Cy Twombly
Volubilis
1953
White lead pencil, oil-based house paint, wax crayon on canvas
139.7 x 193 cm
Cy Twombly Foundation, on deposit at the Menil Collection, Houston
© Cy Twombly Foundation, courtesy The Menil Collection

 

Cy Twombly. 'Untitled (Grottaferrata) III' 1957

Cy Twombly. 'Untitled (Grottaferrata) IV' 1957

Cy Twombly. 'Untitled (Grottaferrata) V' 1957

Cy Twombly. 'Untitled (Grottaferrata) VI' 1957

Cy Twombly. 'Untitled (Grottaferrata) VII' 1957

 

Cy Twombly
Untitled (Grottaferrata) (No’s 3-7)
1957
Wax crayon and lead pencil on squared paper
7 drawings: 21,6 x 29,9 cm (each)
Private Collection
© Cy Twombly Foundation, courtesy Galerie Karsten Greve, St.

 

 

“Resisting the term ‘graffiti’ (‘naughty or aggressive’ protest) that is often applied to his work, Twombly says that, ‘it’s more lyrical … in the totality of the painting, feeling and content are more complicated, or more elaborate than say just graffiti.’ Barthes suggests that Twombly’s impossible calligraphy invokes ‘what one might call writing’s field of allusions’ – a cultural field as well as feeling and content; a long way from a fine hand. His writing is also epigraphic, in the double sense of alluding to the object or surface on which it is written, and requiring to be deciphered like an ancient inscription. Twombly’s illegible scrawls and polyglot, non-standardised capitals, his interweaving of phrases from high modernist European poets and names from the Graeco-Roman tradition, evoke the longue durée of a commemorative culture that reaches back to Egypt and beyond: cult as well as culture.”

Mary Jacobus. “Time-Lines: Rilke and Twombly on the Nile,” in Tate Papers no. 10

 

Cy Twombly. 'Sperlonga Collage' 1959

 

Cy Twombly
Sperlonga Collage
1959
Pieces of semi-transparent cristal paper, oil-based house paint on paper
85 x 62 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy Archives Nicola Del Roscio

 

 

ROOM 1

The 1950s saw Twombly evidence a precocious maturity. After leaving Black Mountain College – the experimental liberal arts college in North Carolina where he encountered the crème de la crème of the US avant-garde – the 24-year-old painter from Lexington, Virginia, set off on a trip to Europe and North Africa in the company of Robert Rauschenberg. On returning to New York in late spring 1953, he produced his first major works, the sounds of their titles recalling villages and archaeological sites of Morocco. These were followed by white canvases covered in script – Twombly disliked the term “graffiti” employed by many of the critics – and its suggestion of triviality. The masterpiece of the decade is undoubtedly the series of white paintings done at Lexington in 1959, which Leo Castelli however refused to show. The austerity of their pictorial language makes outstanding works, economy of means being pushed to an extreme in the combination of white house paint and pencil.

ROOM 2

In the summer of 1957, Cy Twombly returned to Italy to visit his friend Betty Stokes, who was married to Venetian aristocrat Alvise Di Robilant and had just given birth to their first child. The Robilants were then living at Grottaferrata, where Twombly took several photographs of Betty. During his stay, he also made a series of eight wax crayons drawings, which he presented to her. One of these has since been separated from the group, leaving only seven, outstanding in their vigorous hand and lively colour.

 

Cy Twombly. 'School of Athens' 1961

 

Cy Twombly
School of Athens
1961
Oil, oil-based house paint, coloured pencil and lead pencil on canvas, 190,3 x 200,5 cm
Private Collection
© Cy Twombly Foundation, courtesy Archives Nicola Del Roscio

 

Cy Twombly. 'Achilles Mourning the Death of Patroclus' 1962

 

Cy Twombly
Achilles Mourning the Death of Patroclus
1962
259 x 302 cm
Oil, lead pencil on canvas
Collection Centre Pompidou, Paris
© Cy Twombly Foundation

 

Describing space in Twombly’s work, Barthes uses the term ‘rare’ (Latin, rarus): ‘that which has gaps or interstices, sparse, porous, scattered’.

 

Cy Twombly. 'The Vengeance of Achilles' 1962

 

Cy Twombly
The Vengeance of Achilles
1962
Oil, lead pencil on canvas
300 x 175 cm
Kunsthaus Zürich, Zurich
© Cy Twombly Foundation, courtesy Kunsthaus Zürich, Zürich

 

Roland Barthes famously wrote of Twombly: ‘His work is based not upon concept (the trace) but rather upon an activity (tracing)’. In Twombly’s graphic art, the trace is the record of a gesture. Barthes again: ‘line is action become visible’. Like Olson, Twombly connects heart to line via the body.

 

Cy Twombly. View of the series 'Nine Discourses on Commodus' 1963

 

Cy Twombly
View of the series Nine Discourses on Commodus
1963
Guggenheim Bilbao Museo, Bilbao
© Cy Twombly Foundation

 

 

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After Twombly’s marriage to Italian aristocrat Luisa Tatiana Franchetti, celebrated in New York on 20 April 1959, the couple settled in Rome, living in a palazzo on the Via di Monserrato, in a quarter known for its intellectual life. Twombly had just given up using his fluid and viscous house paint for oil paint in tubes with precisely the opposite properties. Between 1960 and 1962 he produced some of his most sexual paintings, Empire of Flora being an evocative example. Partial glimpses of body parts, male and female, are scattered over canvases that seem to preserve the sensual memory of hot Roman nights.

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In late 1963, when John F. Kennedy was assassinated in Dallas, Cy Twombly devoted a cycle of nine paintings to the Roman emperor Commodus (161-192), son of Marcus Aurelius and remembered as a cruel and bloodthirsty ruler. In these he conveys the climate of violence that prevailed during his reign, marked by executions and terror. Shown at Leo Castelli’s in New York in the spring of 1964, the paintings were roundly condemned by the critics. Won to the newly emergent Minimalism, the New York public was unable to grasp Twombly’s painterly gifts and his ability to render on canvas the complex psychological phases informing the life and death of the emperor. At the close of the exhibition, Twombly recovered the paintings, which would be sold to an Italian industrialist before being acquired in 2007 by the Guggenheim Museum, Bilbao.

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Having painted a series under the sign of Eros in the very early part of the decade, in 1962 Twombly turned to Thanatos, death, a theme that finds paroxysmal expression in his first two meditations on the Trojan War, Achilles Mourning the Death of Patroclus and Vengeance of Achilles. In these two paintings, brought together for this exhibition, Twombly gives form to Achilles’ sorrow and fury on the death of his friend. The Ilium triptych, for its part, was broken up at an unknown date, the first panel joining the Eli and Edythe Broad collection in Los Angeles. In the early 2000s, Twombly painted a new version of that panel to recreate the triptych, then owned by collector François Pinault.

 

Cy Twombly. 'Alessandro Twombly' 1965

 

Cy Twombly
Alessandro Twombly
1965
Dry print on cardboard
43.2 x 28 cm
Cy Twombly Foundation
© Fondazione Nicola Del Roscio

 

Cy Twombly. 'Night Watch' 1966

 

Cy Twombly
Night Watch
1966
Oil-based house paint, wax crayon on canvas
190 x 200 cm
Private Collection
Courtesy Jeffrey Hoffeld Fine Arts, Inc.
© Cy Twombly Foundation, courtesy Cheim & Read

 

Cy Twombly. 'Pan' 1975

 

Cy Twombly
Pan
1975
Oil pastel and collage on paper
148 x 100 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy Archives
Nicola Del Roscio

 

Cy Twombly. 'Apollo' 1975

 

Cy Twombly
Apollo
1975
Oil pastel and lead pencil on paper
150 x 134 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy
Archives Nicola Del Roscio

 

Cy Twombly. 'Venus' 1975

 

Cy Twombly
Venus
1975
Oil Pastel, lead pencil and collage on paper
150 x 137 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy Archives Nicola
Del Roscio

 

 

Walter Benjamin’s 1917 essay, ‘Painting, or Signs and Marks’, argues that, ‘The graphic line is defined by its contrast to area’ as opposed to the mark (‘Mal’) and painting (‘Malerei’): ‘the realm of the mark is a medium.’ His distinction between line and mark, drawing and painting, is especially hard to maintain in relation to Cy Twombly: the scribbled pencilling, the smudges and smears, are the marks of an affective body used as a writing instrument. Where Benjamin speaks proleptically to Twombly is in the decisive role he gives to writing, inscription, and naming, along with the spatial marks on monuments and gravestones. ‘[T]he linguistic word’, he writes, ‘lodges in the medium of the language of painting.’ With its collage of quotations, inscriptions, and names, Twombly’s entire oeuvre could be read as a retrospective commentary on this early Benjamin essay.

Walter Benjamin: Selected Writings, Vol.1, 19131926, ed. Marcus Bullock and Michael W. Jennings, Cambridge, MA: Harvard University Press, 1996, pp.84-5 quoted in Mary Jacobus. “Time-Lines: Rilke and Twombly on the Nile,” in Tate Papers no. 10

 

Cy Twombly. 'Fifty Days at Iliam Shield of Achilles (Part 1)' 1978

 

Cy Twombly
Fifty Days at Iliam Shield of Achilles (Part I)
1978
Oil, oil stick, lead pencil on canvas
191.8 x 170.2 cm
Philadelphia Museum of Art, Philadelphia, gift (by exchange) of Samuel S.White 3rd and Vera White 1989-90-1
© Cy Twombly Foundation, courtesy of Philadelphia Museum of Art, Philadelphie

 

Cy Twombly. 'Fifty Days at Iliam Shades of Achilles, Patroclus and Hector (Part VI)' 1978

 

Cy Twombly
Fifty Days at Iliam Shades of Achilles, Patroclus and Hector (Part VI)
1978
Oil, Oil Pencil, lead pencil on canvas
299.7 x 491.5 cm
Philadelphia Museum of Art, Philadelphie, gift (by exchange) of Samuel S.White 3rd and Vera White, 1989-90-6
© Cy Twombly Foundation, courtesy of Philadelphia Museum of Art, Philadelphie

 

 

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Reacting to the Minimalism and Conceptualism that emerged in the United States in the 1960s, in 1966 Twombly, then living in Rome, embarked on a new series of remarkably austere paintings, with backgrounds of grey or black inscribed with simple forms or script-like loops in white wax crayon. He showed these at the Galleria Notizie, Turin, in early 1967. In the autumn, Leo Castelli in New York exhibited a second series, painted in January in a Canal Street loft made available to the painter by curator and collector David Whitney. Among the works shown was Untitled (New York City) (1967, cat. No. 75), which Twombly would later exchange with Andy Warhol for one of his Tuna Fish Disasters.

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Twombly’s sculptures might be described as “assemblages” or “hybridisations”, in that they consist of disparate elements. These combinations of found materials (pieces of wood, electrical plugs, cardboard boxes, scraps of metal, dried or artificial flowers) are unified by a thin coat of plaster. The white in which they are roughly painted catches the light, bringing out subtle nuances in the surface and giving them a spectral appearance. As Twombly explained in an interview with art critic David Sylvester, “White paint is my marble”. Sometimes later cast in bronze, these sculptures suggest myths, symbolic objects, archaeological finds, as in Winter’s Passage Luxor (Porto Ercole) (1985). “Cy Twombly’s sculpture,” wrote Edmund de Waal, “seems more archaic than archaizing, as if the impulse behind its creation were ancient itself.”

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In 1975, Cy Twombly bought a 16th-century house at Bassano in Teverina, north of Rome, and after basic renovations he established his summer studio there. Inspired by Homer’s Iliad, read in Alexander Pope’s 18th-century English translation, he embarked in 1977 on the major cycle “Fifty Days at Iliam,” whose ten paintings were completed over two successive summers. In the word “Ilium”, one of the ancient names for Troy, Twombly replaced the U with an A, preferring the sound. For him, the letter A evoked Achilles, the Greek hero to whom he had devoted two paintings in 1962. After being shown in 1978 at the Lone Star Foundation (now Dia Art Foundation) in New York, the work remained boxed up for 10 years, to be seen again only upon its purchase in 1989 by the Philadelphia Museum of Art, where it is on permanent exhibition in a room devoted to Cy Twombly. This exhibition marks the first time it has been shown in Europe.

 

Cy Twombly. 'Untitled (Formia)' 1981

 

Cy Twombly
Untitled (Formia)
1981
Wood, iron wire, nails, string, white paint
152 x 88.5 x 33.5 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy Foundazione
Nicola Del Roscio

 

Cy Twombly. 'Untitled (Lexington)' 2004

 

Cy Twombly
Untitled (Lexington)
2004
Wood , screw, rope, scakcloth, plaster, synthetic resin paint
206.5 x 44.5 x 45 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy Sammlung Udo and Anette Brandhorst

 

Cy Twombly. 'Untitled (Bassano in Teverina)' 1985

 

Cy Twombly
Untitled (Bassano in Teverina)
1985
Oil, acrylic on wooden panel
181.7 x 181.7 cm
Cy Twombly Foundation
© Cy Twombly Foundation, courtesy Archives Nicola Del Roscio

 

Cy Twombly. 'Wilder Shores of Love' 1985

 

Cy Twombly
Wilder Shores of Love
1985
Oil-based house paint , oil (oil paint stick), coloured pencil, lead pencil on wooden panel
140 x 120 cm
Private Collection
© Cy Twombly Foundation

 

Cy Twombly. 'Summer Madness' 1990

 

Cy Twombly
Summer Madness
1990
Acrylic, oil, coloured pencil, lead
Pencil on paper mounted on wooden panels
150 x 126 cm
Udo and Anette Brandhorst Collection
© Cy Twombly Foundation

 

Cy Twombly. 'Quattro Stagioni: Primavera' 1993-1995

 

Cy Twombly
Quattro Stagioni: Primavera
1993-1995
Acrylic, oil, coloured pencil and et lead pencil on canvas
313.2 x 189.5
Tate, London
© Cy Twombly Foundation, courtesy Tate, London 2016

 

 

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“Coronation of Sesostris” is one of the major painting cycles that punctuate Cy Twombly’s career, differing from the purely abstract series in their incorporation of narrative elements. Inspired by the example of the god Râ, whose sun-boat traverses the heavens from dawn to dusk to the end of night, Twombly opens the series with luminous canvasses dominated by sunny yellow and red to close it in black and white with an evocation of Eros from a poem of Sappho’s: “Eros weaver of Myth / Eros, sweet and bitter / Eros, bringer of pain.” Twombly combines fragmentary references to Sesostris I, to ancient Greek poets Sappho and Alcman, and to the contemporary poet Patricia Waters. Begun at Twombly’s house in Bassano, this cycle was completed after the canvases were shipped to Lexington. Sally Mann’s photographs show canvases of different sizes tacked to the walls of the little studio, showing that they were stretched only when finished.

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For the Bacchus series, painted at Twombly’s Gaeta studio in early 2005, in the midst of the Iraq War, the artist remembered again Homer’s Iliad and returned to the very characteristic writing he had explored in the “Black Paintings” of the late 1960s. Here, however, he replaced the white wax crayon with red paint evocative of both blood and wine, allowed to run freely across the vast beige canvases. The first series consisted of eight monumental paintings that were shown in late 2005 at the Gagosian Gallery on Madison Avenue in New York. Between 2006 and 2008, Twombly produced another series on the theme of Bacchus, some of these paintings being even larger in format. The two works here are from the first series.

Twombly took up photography at Black Mountain College in North Carolina and never afterwards gave it up. Studying under American photographer Hazel-Frieda Larsen, in 1951 he produced a series of still lifes with bottles and other glass vessels that recall the memory of the work of the Italian painter Giorgio  Morandi. In Morocco in 1953, on his first trans-Atlantic travels, he attentively studied the chairs and draped tablecloths of a Tetouan restaurant. But it was only later, on discovering the square format of the Polaroid, that he discovered his own photographic identity. Reflecting his taste for the blurred, for colours sometimes pastel and sometimes stridently saturated, the dry-printed enlargements evoke a world of contemplation. The photographs evoke the places he lived and his interest in sculpture, flowers and plants. When a friend brought him citrons, Buddha’s hands and other citrus fruits, he captured their sculptural and sensual aspect in a series of Polaroids. Distant from the photographic conventions of the time, Twombly’s images are “succinct and discreet poems.”

 

Cy Twombly 'Lemons (VI)' (Gaète) (detail) 1998

 

Cy Twombly
Lemons (VI) (Gaète) (detail)
1998
Dry print on cardboard
43.1 x 27.9
Fondazione Nicola del Roscio collection
© Fondazione Nicola Del Roscio, courtesy Archives Nicola Del Roscio

 

Cy Twombly. 'Coronation of Sesostris (Part III)' 2000

 

Cy Twombly
Coronation of Sesostris (Part III)
2000
Acrylic, wax crayon, lead pencil on canvas
206.1 x 136.5 cm
Pinault Collection
© Cy Twombly Foundation, courtesy Pinault Collection

 

 

Cy Twombly’s remark that ‘lines have a great effect on painting’ resonates not only with his graphic practice but with his relation to poetry. The importance of the modern German poet Rainer Maria Rilke to Twombly includes the figure of the Orphic poet and their shared interest in the ancient River Nile. Twombly’s Egyptian series, Coronation of Sesostris, 2000, represents a late flowering of his remarkable graphic inventiveness…

Twombly’s ten-part Coronation of Sesostris, 2000, is the culminating synthesis of his ship ideographs and whirling expeditionary chariots: a blazing, triumphal departure that burns itself out on the far side of the Nile. Begun in Gaeta and completed in Virginia, it combines deceptive simplicity with painterly sophistication and poetic adaptation. Twombly calls this multi-media series (drawn, written, painted) one of his favourite sets and ‘very personal’. It incorporates a poem of 1996 by the Southern poet Patricia Waters, not a translation this time, although its title (‘Now is the Drinking’) translates Nunc est bibendum. With a few strokes and deletions, Twombly ‘interprets’ the poem to create his own reticent version:

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When they leave,
Do you think they hesitate,
Turn and make a farewell sign,
Some gesture of regret?

When they leave,
the music is loudest,
the sun high,

and you, dizzy with wine
befuddled with well-being,
sink into your body
as though it were real,
as if yours to keep.

You neither see their going,
nor hear their silence.

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Either side of this ambiguous celebration of bodily oblivion, Twombly’s sequence tracks the energetic course of the Pharaonic conquerer, Sesostris II.

Mary Jacobus. “Time-Lines: Rilke and Twombly on the Nile,” in Tate Papers no. 10

 

Cy Twombly. 'Coronation of Sesostris (Part V)' 2000

 

Cy Twombly
Coronation of Sesostris (Part V)
2000
Acrylic, wax crayon, lead pencil on canvas
206.1 x 156.5 cm
Pinault Collection
© Cy Twombly Foundation, courtesy Pinault Collection

 

Cy Twombly. 'Coronation of Sesostris (Part VI)' 2000

 

Cy Twombly
Coronation of Sesostris (Part VI)
2000
Acrylic, wax crayon, lead pencil on canvas
203.7 x 155.6 cm
Pinault Collection
© Cy Twombly Foundation, courtesy Pinault Collection

 

 

Jonas Storsve: Curator’s point of view

Rich and complex, the work of Cy Twombly, who passed away in 2011, spans a period of some sixty years without ever losing any of its force, even in the very last years of the artist’s life. One of the most productive in recent history, Twombly’s career links the culture of post-war America, dominated artistically by Abstract Expressionism, and the Classical Mediterranean culture that he discovered as a young man and made his own. The artist would remain very close to the world of his birth, that of the Southern United States, better known in Europe for its literature, with William Faulkner, Carson McCullers, Flannery O’Connor, Truman Capote and more.

From his childhood and youth in Lexington, Virginia, where he grew up under the attentive eye of his African-American nanny, Lula Bell Watts, he retained the characteristic and sometimes difficult-to-understand accent of the South. The boy’s family environment seems to have stimulated his intellectual curiosity, cultivated his sensibility and encouraged an interest in painting. When in 1952, at the age of 24, he applied for a grant to travel to Europe, he said he wanted “to study the prehistoric cave drawings of Lascaux.” He also planned to view French, Italian and Dutch museums, Gothic and Baroque architecture, and Roman ruins. He also declared himself to be “drawn to the primitive, the ritual and fetishistic elements, to the symmetrical visual order.” Once he had his grant, he invited the artist Robert Rauschenberg, whom he met in New York two years earlier, to accompany him. They took a ship for Naples on 20 August 1952. The rich and original culture that he acquired would nourish his work. His readings were also voyages – Goethe, Homer, Horace, Herodotus, Keats, Mallarmé, Ovid, Rilke, Sappho, Virgil – on which he would draw for his creation. He found inspiration too in less well-known authors, among them Lesley Blanch, Robert Burton, George Gissing and 13th-century Persian poet and mystic Jalāl ad-Dīn Muhammad Rūmī. This uncommonly refined sensibility found an expressive outlet in his painting.

Yet while Twombly was indeed a highly cultivated and well-read painter, this was only one aspect of his complex personality. The sophistication of his work is accompanied by a constant attention to vernacular realities, visible to varying degrees but always present. Endowed with a rare wit and humour, Twombly could be deliciously irreverent and even dirty-minded when he wanted. In front of his painting Apollo (1963), he remarked laconically to Paul Winkler, who used to be director of the Menil Collection in Houston: “Rachel and I used to love to go dancing at the Apollo Theater in Harlem”. And in a whole series of drawings from 1981-1982, he wrote the phrase “Private Ejaculations”, in the knowledge that in the 17th century it referred to short, intense prayer at regular intervals.

We know today, too, that photography played an important role in Twombly’s work and life. A private, even secretive man, he nonetheless regularly allowed himself to be photographed. Some of the most famous pictures of the artist were taken by Horst P. Horst for Vogue magazine, illustrating an article by Valentine Lawford entitled “Roman Classic Surprise” published in the November 1966 issue. Taken in Twombly’s apartment in the Via Monserrato in Rome, the photographs reveal a dandy living in palatial accommodations. This appearance in Vogue did little to improve his relationship with the United States, at a low ebb since the controversy of the Nine Discourses on Commodus shown at Leo Castelli’s in New York. It was considered too smart and sophisticated: too distant, in brief, from the American idea of an American artist.

Twelve years later, in 1978, Heiner Bastian published the first monograph on Twombly’s painting, for which the artist took care to present himself differently. The cover picture shows him dressed in jeans and pull-over, boots on his feet, sitting on the ground beneath a tree, with sheep close by – an image intended to communicate an idea of an artist close to the earth, living a healthy and simple life. Twombly indeed was probably both, dandy and Roman shepherd.

Sally Mann, a friend from Lexington, often photographed Twombly and his studio toward the end of his life. Thanks to her we have photos that document the development of the Coronation of Sesostris series, which he finished in the city of his birth. Among the most beautiful of the images are those of the studio, empty of work, with just traces of paint on the walls. From some of these ghostly images of a whole phase of Twombly’s work, of his place of work and creation, Mann assembled an album, recently published as Remembered Light.

The Centre Pompidou is staging the first comprehensive retrospective of Cy Twombly’s work in Europe. Unprecedented in scope, bringing together works from public and private collections the whole world over, the exhibition will be shown only in Paris. Organised around three great series – Nine Discourses on Commodus (1963), Fifty Days at Iliam (1978) and Coronation of Sesostris (2000) – it offers a chronological survey of the whole of the artist’s career, the 140 paintings, drawings and photographs affording an insight into the complexity of his work as a whole, simultaneously scholarly and sensual. Among the works shown are some of his best-known ones, many never exhibited in France before. Polyphonic in conception, the accompanying catalogue proposes a multiplicity of approaches, with essays on different aspects and periods of Twombly’s career. It also includes reflections and personal impressions by other artists, and accounts of the formation of the two great collections of Twombly’s work – the Brandhorsts’ and Yvon Lambert’s – as well as recollections by his son Alessandro Twombly. The catalogue closes on a lively and joyful portrait of Twombly from the pen of Nicola Del Roscio. Through this varied testimony, readers will discover not only the artist, but also the man, seemingly returned to life before our eyes.”

Jonas Storsve in Code Couleur, no. 26, September – December 2016, pp. 18-23.

 

Cy Twombly. 'Blooming' 2001-2008

 

Cy Twombly
Blooming
2001-2008
Acrylic, wax crayon on 10 wooden panels
250 x 500 cm
Private collection
© Cy Twombly Foundation, courtesy Archives Fondazione Nicola Del Roscio

 

Cy Twombly. 'Untitled, (A Gathering of Time)' 2003

 

Cy Twombly
Untitled, (A Gathering of Time)
2003
Acrylic on canvas
215.9 x 267.3 cm
Udo and Anette Brandhorst Collection
© Cy Twombly Foundation

 

Cy Twombly. 'Untitled (Bacchus)' 2005

 

Cy Twombly
Untitled (Bacchus)
2005
Acrylic on canvas
317.5 x 417.8 cm
Udo and Anette Brandhorst Collection
© Cy Twombly Foundation

 

Cy Twombly. 'Sans titre' (Gaète) 2007

 

Cy Twombly
Sans titre (Gaète)
2007
Acrylic, wax crayon on wooden panel
252 x 552 cm
Museum Brandhorst, Munich
Udo and Anette Brandhorst Collection
© Cy Twombly Foundation

 

Cy Twombly. 'Camino Real (V)' 2010

 

Cy Twombly
Camino Real (V),
2010
Acrylic on wood panel
252.4 x 185.1 cm
Louis Vuitton Foundation
© Cy Twombly Foundation, courtesy Gagosian Gallery

 

 

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26
Jan
13

Exhibition: ‘Flatlands: photography and everyday space’ at the Art Gallery of New South Wales (AGNSW), Sydney

Exhibition dates: 13th September 2012 – 3rd February 2013

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This posting contains one of my favourite early works by Fiona Hall, Leura, New South Wales (1974, below) which is redolent of all the themes that would be expressed in the later work – an alien landscape that examines “the relationship between humankind and nature and the symbolic role of the [fecund] garden in western iconography.” In her work the “nature” of things (plants, money, videotape, plumbing fittings, birds nests, etc…) are re/classified, re/ordered and re/labelled.

Another stunning photograph in this posting is Minor White’s Windowsill daydreaming (1958, below). It is one of my favourite images of all time: because of the power of observation (to be able to recognise, capture and present such a manifestation!); because of the images formal beauty; and because of its metaphysical nature – a poetry full of esoteric allusions, one that addresses a very profound subject matter that is usually beyond ordinary knowledge or understanding. This alien presence, like the structure of an atom, is something that lives beyond the edges of our consciousness, some presence that hovers there, that we can feel and know yet can never see. Is it our shadow, our anima or animus? This is one of those rare photographs that will always haunt me.

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Many thankx to the Art Gallery of New South Wales for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All text accompanying photographs © Art Gallery of New South Wales Photography Collection Handbook, 2007.

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Cecil Bostock (Australia 1884–1939) 'Phenomena' c. 1938

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Cecil Bostock Australia 1884-1939
Phenomena
c. 1938
gelatin silver photograph
26.3 x 30.5cm
Gift of Max Dupain 1980

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Bostock remains an enigmatic personality in Australian pictorial and early modernist photography. This is at least in part due to his body of work being scattered on his death in 1939 as it was auctioned to cover his debts. Fortunately Phenomena was left to his former assistant Max Dupain who had worked with him from 1930 to 1933.

Phenomena was one of 11 photographs Bostock exhibited with the Contemporary Camera Groupe and it was placed in the window at David Jones along with other photographs such as Plum blossom 1937 by Olive Cotton and Mechanisation of art by Laurence Le Guay. Phenomena is a wonderful modernist work with its plays of light and dark and disorienting shapes and curving lines. It is impossible to tell exactly how the shapes are made or where the light is coming from, nor what the objects are. It could easily be exhibited upside down where the viewer could be looking down on objects arranged on a flat surface. Phenomena is a tribute to Bostock’s restless, inventive and exacting abilities.

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Fiona Hall. 'Leura, New South Wales' 1974

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Fiona Hall Australia b.1953
Leura, New South Wales
1974
Gelatin silver photograph
27.8cm x 27.8cm
Art Gallery of New South Wales, Sydney purchased 1981
© Fiona Hall

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The rich tones and fine detail of Leura, New South Wales were made possible by Hall’s use of a large-format nineteenth-century view camera. The antiquated technology, once used by colonial photographers to document nature and the taming of the Australian landscape, here records instead the verdant foliage of a floral-patterned couch and carpet. Made at the beginning of Hall’s career, it demonstrates her burgeoning interest in the representation of nature. The relationship between humankind and nature and the symbolic role of the garden in western iconography has since been a recurrent theme in her work, which ranges across photography, sculpture and installation. Leura… differs from Hall’s other photographs in that it documents a “found” object. Hall’s later works, such as The Antipodean suite 1981 and her large-format polaroids of 1985, are of her own constructions and sculptures. Her Paradisus terrestris series 1989-90, 1996, 1999, of aluminium repousse sculptures takes the garden of Eden as its subject and treats it as an Enlightenment florilegium, wherein nature is classified, ordered and labelled. This kind of botanical transcription, like photography, was the process through which the alien Australian landscape was ‘naturalised’ by its colonists – a process which Hall wryly comments on in this acutely observed encounter within a domestic interior.

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David Moore. 'Light pattern, camera in motion' c. 1948, printed 1997

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David Moore Australia 1927 – 2003
Light pattern, camera in motion
c. 1948, printed 1997
Gelatin silver photograph
50.7cm x 40.3cm
Art Gallery of New South Wales, Sydney
Gift of Karen, Lisa, Michael and Matthew Moore, 2004

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Simryn Gill. From 'A long time between drinks' 2005

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Simryn Gill Singapore/Malaysia/Australia b.1959
From A long time between drinks
2005
Portfolio of 13 offset prints
29.8cm x 29.7cm
Art Gallery of New South Wales, Sydney
© Simryn Gill

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Among Simryn Gill’s multi-disciplinary explorations of identity and belonging, investigations of suburban locations carry a particular resonance due to their often autobiographical nature. A long time between drinks 2009 is an intensely focused look at suburban Adelaide which was the artist’s first experience of Australia when she arrived in 1987 from Kuala Lumpur, and the city where she first exhibited. Gill returned to Adelaide in 2005 to revisit this early point of contact, producing an evocative series of 13 images.

The photographs impart an ostensible sense of alienation and isolation that corresponds to the artist’s position as an outsider looking in. Gill’s viewpoint of these empty streets that seem to lead nowhere is forensic and detached. But surprisingly, as repetitious compositions and details culminate across the photographs, the prosaic subject matter becomes increasingly surreal, abstract and even poetic.

As Sambrani Chaitanya has stated, “Gill’s work is an investigation of the limits of categorisation,”1 and this group of works, just as in Gill’s examination of Marrickville (where she now lives) in May 2006, emphasises the difficulty of defining an idea of place through mere description. Memory, time and pure invention are required to fill in the gaps. The eerie, yet evocative environment in these photographic prints is further enhanced by their presentation in a square box emulating those of sets of vinyl LP recordings.

1. Sambrani, C “Other realties, someone else’s fictions: the tangled art of Simryn Gill,” [Online], Art and Australia Vol.42, No.2, Summer 2004, p.220/

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David Stephenson USA/Australia b1955 'Sant’ivo alla Sapienza 1645-50 Rome, Italy' 1997

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David Stephenson USA/Australia b.1955
Sant’ivo alla Sapienza 1645-50 Rome, Italy
1997
From the series Domes 1993-2005
Type C photograph
55 × 55 cm
Art Gallery of New South Wales, Sydney purchased with funds provided by Joanna Capon and the Photography Collection Benefactors Program 2002
© David Stephenson

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With poetic symmetry the Domes series considers analogous ideas. It is a body of work which has been ongoing since 1993 and now numbers several hundred images of domes in countries including Italy, Spain, Portugal, Turkey, England, Germany and Russia. The typological character of the series reveals the shifting history in architectural design, geometry and space across cultures and time, demonstrating how humankind has continually sought meaning by building ornate structures which reference a sacred realm.2 Stephenson photographs the oculus – the eye in the centre of each cupola. Regardless of religion, time or place, this entry to the heavens – each with unique architectural and decorative surround – is presented as an immaculate and enduring image. Placed together, the photographs impart the infinite variations of a single obsession, while also charting the passage of history, and time immemorial.

2. Hammond V 2005, “The dome in European architecture,” in Stephenson D 2005, Visions of heaven: the dome in European architecture, Princeton Architectural Press, New York p.190

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“A new exhibition, Flatlands: photography and everyday space, examines photography’s role in transforming the way we perceive, organise and imagine the world. The 39 works by 23 Australian and international artists included in the exhibition have been drawn from the Gallery’s permanent collection of 20th century and contemporary photography.

Definitions of space have always depended on the scientific, social and cultural aspects of the human experience. At its birth in the 19th century, photography’s monocular vision was seen as the ultimate tool for representation and classification. Elusive phenomena such as distance, depth and emptiness seemed within grasp. Yet, limited to freezing single moments or viewpoints in time, the photograph’s ability to objectively represent the world was under question by the turn of the 20th century. Technological advancements, such as faster exposure times transformed the potential of the medium to not only show things that escaped the eye but new ways of seeing them as well.

Embracing partiality and ambivalence, modernist photography sought to capture the fragments, details and blurred boundaries in the expanses we call personal space. What the photograph began to reveal were dimensions which German cultural theorist Walter Benjamin described in 1931 as the ‘optical unconscious’ of reality. The works of photographers such as Melvin Vaniman, Frederick Evans, Harold Cazneaux, William Buckle, Franz Roh, Olive Cotton, David Moore, Josef Sudek, Minor White and Robert Rauschenberg explore the intangible in spaces which define our physical and spiritual relationship with reality. Windows, doorways, ceilings, staircases – these mundane and ordinary passageways suddenly acquire a centrality and metaphysical depth normally denied to them.

The edges between sacred and profane, public and private, natural and artificial, real and dreamed environments became further entangled in the subjective visions of late 20th century and contemporary photographic work. For Daido Moriyama, Fiona Hall, Pat Brassington, Simryn Gill, Christine Godden, Geoff Kleem, Leonie Reisberg, Ingeborg Tyssen, David Stephenson and Justine Varga, space is seen to be a product of the perception of the individual. Photographs are able to reveal realms outside of the scientific – that is those created by emotion, memory and desire.

As Fiona Hall commented in 1996, our belief might be maintained, for at least as long as the image can hold our attention, in the possibility of inhabiting a world as illusory as the two-dimensional one of the photograph.” Collectively, these images destabilise naturalised certainties while activating the imaginary dimension and the unsettling, albeit poetic potential of photography to impact and alter our view of the world.”

Press release from the AGNSW website

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Olive Cotton Australia 1911-2003 'By my window' 1930

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Olive Cotton Australia 1911-2003
By my window
1930
Gelatin silver photograph
20.3 x 15.1cm
Purchased with funds provided by the Photography Collection Benefactors’ Program 2006

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Olive Cotton. 'Skeleton Leaf' 1964

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Olive Cotton Australia 1911-2003
Skeleton Leaf
1964
Gelatin silver photograph
24.7 × 19.6 cm
Art Gallery of New South Wales, Sydney purchased with funds provided by the Photography Collection Benefactors’ Program 2006
© artist’s estate

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Minor White America 1908-1976 'Christmas ornament, Batavia, New York, January 1958' 1958

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Minor White America 1908-1976
Christmas ornament, Batavia, New York, January 1958
1958
From the portfolio Sound of one hand 1960-1965
Gelatin silver photograph mounted on card
Gift of Patsy Asch 2005
Reproduction with permission of the Minor White Archive
© Princeton University Art Museum

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Minor White. 'Windowsill daydreaming' 1958

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Minor White American 1908-1976
Windowsill daydreaming
Rochester, New York, July 1958
From the portfolio Sound of one hand 1960-1965
Art Gallery of New South Wales, Sydney
Reproduction with permission of the Minor White Archive
© Princeton University Museum of Art

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Informed by the esoteric arts, eastern religion and philosophy, Minor White’s belief in the spiritual qualities of photography made him an intensely personal and enigmatic teacher, editor and curator. White’s initial experience with photography was through his botanical studies at the University of Minnesota where he learned to develop and print photomicrography images, a view of life that he saw as akin to modern art forms. White advocated Stieglitz’s concept of ‘Equivalence’ in which form directly communicated mood and meaning, that ‘darkness and light, objects and spaces, carry spiritual as well as material meanings’.1 White disseminated his photographic theories through the influential quarterly journal ‘Aperture’, which he edited and co-founded with his contemporaries Ansel Adams, Dorothea Lange, Beaumont Newhall and others.

Like Stieglitz, White also worked in sequences that through abstraction, expression and metaphor emphasised his mystical interpretation of the visual world. The sequences allow for a dialogue to continue through and in-between the images, engaging the viewer in a visual poem rather than any strict or formal narrative. The series, Sound of one hand, exemplifies White’s study of Zen and esoteric philosophies, reflecting his meditation of the Zen koan from which he saw rather than heard any sound. The first of the series, Metal ornament, Pultneyville, New York, October 1957 presents an abstracted form that is both sensual and elusive, slipping in and out of ocular register. The ambiguous graduated tones and reflected light pull the eye into the centre of the image before vicariously dragging it back. This broken semi-elliptical shape is mirrored in Windowsill daydreaming, Rochester, New York, July 1958 as the gently moving curtains play with the light and shadows of White’s flat, creating abstracted organic forms. Abstracted forms of nature were of great interest to White as can be seen in the rest of the series that capture the frosted window of his flat with its crystallised ice, condensation and glimpses of the outside world.

1. Rice S 1998, “Beyond reality,” in A new history of photography, ed M Frizot, Könemann, Cologne pp.669-73

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Art Gallery of New South Wales
Art Gallery Road, The Domain
Sydney NSW 2000, Australia

Opening hours:
Open every day 10am – 5pm
except Christmas Day and Good Friday

Art Gallery of New South Wales website

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20
Sep
11

Exhibition: ‘Twombly and Poussin: Arcadian Painters’ at the Dulwich Picture Gallery, London

Exhibition dates: 29th June – 25th September 2011

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Many thankx to the Dulwich Picture Gallery for allowing me to publish the images in the posting. Please click on them for a larger version of the image.

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Robert Rauschenberg
Cy and Relics
1952
Photograph
© The Rauschenberg Foundation

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Nicolas Poussin
The Triumph of Pan
c. 1636
Pen and ink with wash over stylus and black chalk
581 x 410 x 29 mm
Lent by Her Majesty the Queen. The Royal Collection
© 2011 Her Majesty Queen Elizabeth II

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Cy Twombly
Bacchanalia-Fall (5 Days in November) Blatt 4, InvNr. UAB 457
1977
collage, oil, chalk, gouache, on fabriano paper, graph paper
101.2 x 150.5 cm
Bayerische Staatsgemäldesammlungen – Museum Brandhorst, München
Leihgeber: Udo Brandhorst, © Cy Twombly

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Cy Twombly
Pan
1975
148 x 100cm
Private Collection
© Cy Twombly, Courtesy: Cy Twombly Archive

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Nicolas Poussin
The Triumph of David
1628-1631
© By permission of the Trustees of Dulwich Picture Gallery

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Cy Twombly
Hero and Leandro
1985
202 x 254cm
Private Collection, Courtesy Thomas Ammann Fine Art AG, Zurich
© Cy Twombly

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“I would’ve liked to have been Poussin, if I’d had a choice, in another time.”

Cy Twombly

Dulwich Picture Gallery is proud to announce a revelatory exhibition of the work of Cy Twombly and Nicolas Poussin. Organised to celebrate the Bicentenary of the Gallery, this major show will explore, for the first time, the unexpected yet numerous parallels and affinities between the two artists. The exhibition will draw upon the world-class permanent collection of works at Dulwich Picture Gallery by Nicolas Poussin, alongside other works from major collections around the world by both Poussin and Twombly.

In 1624 and 1957, the two artists, aged around thirty, moved to Rome. Nicolas Poussin and Cy Twombly subsequently spent the majority of their lives in the Eternal City, and went on to become the pre-eminent painters of their day. Rather than recent exhibitions that have sought to compare and contrast old masters with contemporary artists through superficial visual appearances, this groundbreaking show will instead juxtapose works which may seem radically disparate in terms of style, yet ones that share deep and timeless interests. Both Poussin and Twombly were artists of prodigious talent who found in the classical heritage of Rome a life-long subject. Both spent their lives studying, revivifying and making newly relevant for their own eras antiquity, ancient history, classical mythology, Renaissance painting, poetry and the imaginary, idealised realm of Arcadia.

Curated by Dr. Nicholas Cullinan, Curator of International Modern Art at Tate Modern, the exhibition examines how Twombly and Poussin, although separated by three centuries, nonetheless engaged with the same sources and will explore the overlapping subjects that the two artists have shared. It will consist of around thirty carefully-chosen paintings, drawings and sculptures, structured thematically around six sections devoted to key shared themes, from both artists’ early fascinations with Arcadia and the pastoral when they first moved to Rome, Venus and Eros, Anxiety and Theatricality, Apollo, Parnassus and Poetry, Pan and the Bacchanalia, through to the theme of The Four Seasons.

The exhibition will be accompanied by the British premiere of Tacita Dean’s new 16mm film portrait of Cy Twombly, Edwin Parker (2011). The film documents Twombly in his studio in Lexington, Virginia, and follows on from Dean’s series of filmed depictions of subjects such as the choreographer Merce Cunningham, the poet Michael Hamburger and the artist Mario Merz, where the inner life of the sitter is implied through their physical demeanour and surroundings. A series of talks will also accompany the exhibition, including Sir Nicholas Serota, Director of Tate, in conversation with Dr. Nicholas Cullinan on the topic of curating Twombly, and Malcolm Bull (Ruskin School of Drawing, University of Oxford) and T. J. Clark (Professor Emeritus of Modern Art at the University of California, Berkeley; and Visiting Professor, University of York) who will discuss the work of Poussin and Twombly and the themes raised by the exhibition.

Ian Dejardin, Director of Dulwich Picture Gallery explains that the exhibition “fits in with a philosophy I have pursued here – that exhibitions can conduct a dialogue with the permanent collection. In the past Howard Hodgkin, Lucian Freud and Paula Rego have all hung their paintings within the collection, so Poussin and Twombly seemed like a natural extension of those experiments.” 

The exhibition has received enthusiastic support and loans from major private and public collections around the world, including The National Gallery and Tate in London; The Royal Collection; The Duke of Devonshire; The Fitzwilliam Museum, Cambridge; Museo del Prado, Madrid; The Brandhorst Museum, Munich and The Art Institute of Chicago. The exhibition has been developed in close collaboration with Cy Twombly himself, and will include works that have never been exhibited before.”

Press release from the Dulwich Picture Gallery

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Nicolas Poussin
Rinaldo and Armida
c. 1630
© By permission of the Trustees of Dulwich Picture Gallery

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Nicolas Poussin
The Nurture of Jupiter
mid 1630s
© By permission of the Trustees of Dulwich Picture Gallery

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Cy Twombly
Quattro Stagioni: Primavera
1993-5
Acrylic, oil, crayon and pencil on canvas
3230 x 1996 x 67mm
Tate: Purchased with assistance from the American Fund for the Tate Gallery and Tate Members 2002
© Tate, London, 2010, © Cy Twombly

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Cy Twombly
Quattro Stagioni: Estate
1993-5
Acrylic and pencil on canvas
3241 x 2250 x 67mm
Tate: Purchased with assistance from the American Fund for the Tate Gallery and Tate Members 2002
© Tate, London, 2010, © Cy Twombly

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Nicolas Poussin
Venus and Mercury
c. 1627/1629
© By permission of the Trustees of Dulwich Picture Gallery

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Cy Twombly
Quattro Stagioni: Autunno
1993-5
Acrylic, oil, crayon and pencil on canvas
3230 x 2254 x 67mm
Tate: Purchased with assistance from the American Fund for the Tate Gallery and Tate Members 2002
© Tate, London, 2010, © Cy Twombly

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Cy Twombly
Quattro Stagioni: Inverno
1993-5
Acrylic, oil and pencil on canvas
3229 x 2300 x 67mm
Tate: Purchased with assistance from the American Fund for the Tate Gallery and Tate Members 2002
© Tate, London, 2010, © Cy Twombly

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Dulwich Picture Gallery
Gallery Road, London, SE21 7AD

Opening hours: Tue – Fri 10am–5pm
Weekends and Bank Holiday Mondays 11am–5pm
Closed Mondays except Bank Holidays

Dulwich Picture Gallery website

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Marcus Bunyan black and white archive: ‘Études’ 1994

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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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