Posts Tagged ‘School of Paris

21
Oct
15

Exhibition: ‘Barbara Hepworth: Sculpture for a Modern World’ at Tate Britain, London

Exhibition dates: 24th June – 25th October 2015

Linbury Galleries

 

 

A national treasure. An old soul.

My favourite period of Hepworth’s is the 1940s-1950s, when she found her true voice as an artist. Working with wood, inspired by the landscape, she carved into the space of form / the form of space. She was a master of inner space. The sculptures with string are like harps, they resonate with the energy of life, sea, rock, wind and become … oracles, evidencing some deep inner knowledge. My god, what an artist. Underrated by some but to those that know, a magical voice of becoming.

Marcus

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

 

 

Sculptor Barbara Hepworth

 

Sculptor Barbara Hepworth

 

Barbara Hepworth banner

 

Barbara Hepworth: Sculpture for a Modern World exhibition banner

 

Barbara Hepworth. 'Discs in Echelon' 1935

 

Barbara Hepworth
Discs in Echelon
1935
Padouk wood
311 x 491 x 225 mm
Museum of Modern Art, New York
© Bowness, Hepworth Estate

 

Barbara Hepworth. 'Doves (Group)' 1927

 

Barbara Hepworth
Doves (Group)
1927
Parian marble
Manchester Art Gallery
© Bowness, Hepworth Estate

 

Barbara Hepworth. 'Large and Small Form' 1934

 

Barbara Hepworth
Large and Small Form
1934
White alabaster
250 x 450 x 240 mm
The Pier Arts Centre Collection, Orkney
© Bowness, Hepworth Estate

 

Dame Barbara Hepworth. 'Mother and Child' 1934

 

Dame Barbara Hepworth
Mother and Child
1934
Cumberland alabaster
230 x 455 x 189 mm, 11.1 kg
Purchased with assistance from the Friends of the Tate Gallery 1993© Bowness, Hepworth Estate

 

Barbara Hepworth. 'Pelagos' 1946

 

Barbara Hepworth
Pelagos
1946
Elm and strings on oak
430 x 460 x 385 mm
Tate
© Bowness, Hepworth Estate

 

Pelagos (‘sea’ in Greek) was inspired by a view of the bay at St Ives in Cornwall, where two arms of land enfold the sea on either side. The hollowed-out wood has a spiral formation resembling a shell, a wave or the roll of a hill. Hepworth wanted the taut strings to express ‘the tension I felt between myself and the sea, the wind or the hills’. She moved to Cornwall with her husband Ben Nicholson in 1939, and produced some of her finest sculpture in its wild landscape.

 

Dame Barbara Hepworth. 'Oval Sculpture (No. 2)' 1943, cast 1958

 

Dame Barbara Hepworth
Oval Sculpture (No. 2)
1943, cast 1958
Plaster on wooden base
293 x 400 x 255 mm
Tate
Presented by the artist 1967

 

In the 1930s Barbara Hepworth and her husband Ben Nicholson were members of the London-based avant-garde. Shortly before the outbreak of war they moved to Cornwall with their children. Running a nursery school and living in cramped conditions reduced Hepworth’s output of sculpture to a minimum. In 1943, the family moved to larger accommodation with studio space. Hepworth’s abstract forms, which seem akin to caves and shells, were affected by the Cornish landscape. Her response to nature was not romantic or mystical but more firmly based on actual observation. Circles and spheres had dominated her work. These were replaced by ovals which gave her sculptures two centres rather than one, complicating their interior form.

 

Barbara Hepworth. 'Sculpture with Colour (Deep Blue and Red) (6)' 1943

 

Barbara Hepworth
Sculpture with Colour (Deep Blue and Red) (6)
1943
© The Hepworth Estate

 

Barbara Hepworth. 'Red in Tension' 1941

 

Barbara Hepworth
Red in Tension
1941
Pencil and gouache on paper
254 x 355 mm
Private collection
© Bowness, Hepworth Estate

 

Dame Barbara Hepworth. 'Group I (Concourse) February 4 1951' 1951

 

Dame Barbara Hepworth
Group I (Concourse) February 4 1951
1951
Serravezza marble
248 x 505 x 295 mm, 19 kg
Bequeathed by Miss E.M. Hodgkins 1977
© Bowness, Hepworth Estate

 

 

“Tate Britain will open the first London museum retrospective for five decades of the work of Barbara Hepworth, one of Britain’s greatest artists. Barbara Hepworth (1903-75) was a leading figure of the international modern art movement in the 1930s, and one of the most successful sculptors in the world during the 1950s and 1960s. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s often overlooked prominence in the international art world. It will highlight the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape.

The exhibition will feature over 70 works by Hepworth from major carvings and bronzes to less-familiar works and those by other artists. It opens with Hepworth’s earliest surviving carvings from the 1920s alongside works by predecessors and peers artists from Jacob Epstein to Henry Moore. The selection reveals how her work related to a wider culture of wood and stone carving between the wars when Hepworth studied at Leeds Art School and at the Royal College of Art.

Hepworth and her second husband Ben Nicholson made works in dialogue and photographed their studio in Hampstead, London in order to reinforce the idea of a common practice integrated into a way of life. Major carvings like Kneeling Figure, 1932 (rosewood) and Large and Small Form, 1934 (alabaster) will be shown with paintings, prints and drawings by Nicholson, and rarely seen works by Hepworth including textiles, drawings, collages and photograms. Archival photographs will show the two artists and their works in the studio demonstrating their integrated life of art and craft.

In the later 1930s, Hepworth made more purely abstract work as part of an international movement disseminated through magazines and exhibitions. A display of the majority of Hepworth’s surviving carvings of this period will include Discs in Echelon 1935 (padouk wood) and Single Form 1937 (lignum vitae) which will be seen in conjunction with the journals in which they featured alongside the work of artists such as Alberto Giacometti and Piet Mondrian.

In the mid-1940s, Hepworth, in St Ives, Cornwall, began making sculptures in wood that expressed her response to her new surroundings. These will be set alongside her two-dimensional work: the abstract works on paper of the early 1940s and her figurative ‘hospital drawings’ of 1947-8, both expressing utopian ideals.A selection of photographs and film  will consider the different ways in which Hepworth’s sculpture was presented or imagined – in landscape, in a gallery, in the garden and on stage – and the impact such variant stagings have on the work’s interpretation.

One room will reunite four large carvings in the sumptuous African hardwood guarea, made in 1954-5, which are probably the highpoint of Hepworth’s carving career. In the post-war period, Hepworth’s sculpture became a prominent part of the international art scene. This will be evoked through a focus on her retrospective at the Kröller-Müller Museum in 1965 and the display of bronzes that inaugurated the Museum’s reconstructed Rietveld Pavilion.

Barbara Hepworth: Sculpture for a Modern World is curated by Penelope Curtis, Director, Tate Britain and Chris Stephens, Lead Curator, Modern British Art and Head of Displays with Assistant Curator Inga Fraser and Sophie Bowness, the artist’s granddaughter. The exhibition is accompanied by a fully illustrated catalogue. It will tour to the Kröller-Müller Museum, Otterlo in the Netherlands from November 2015 to April 2016 and to the Arp Museum, Rolandseck in Germany from May to August 2016.”

Press release from the Tate Britain website

 

 

 

 

 

Who is Barbara Hepworth?

3 June 2015

 

Who is she?

Barbara Hepworth was a British sculptor, who was born in Wakefield, Yorkshire in 1903. She was a leading figure in the international art scene throughout a career spanning five decades.

Who were her peers?

Hepworth studied at Leeds school of Art from 1920-1921 alongside fellow Yorkshire-born artist Henry Moore. Both students continued their studies in sculpture at the Royal College of Art in London. Both became leading practitioners of the avant-garde method of Direct Carving (working directly in to the chosen material) avoiding the more traditional process of making preparatory models and maquettes from which a craftsman would produce the finished work.

From 1924 Hepworth spent two years in Italy, and in 1925 married her first husband, the artist John Skeaping, in Florence; their marriage was to last until 1931.

From 1932, she lived with the painter Ben Nicholson and, for a number of years, the two artists made work in close proximity to each other, developing a way of working that was almost like a collaboration. They spent periods of time travelling throughout Europe, and it was here that Hepworth met Georges Braque and Piet Mondrian, and visited the studios of Picasso, Constantin Brancusi, and Jean Arp and Sophie Taueber-Arp. The experience was a hugely exciting one for Hepworth, for she not only found herself in the studios of some of Europe’s most influential artists, which helped her to approach her own career with renewed vigour and clarity, but also found there mutual respect. The School of Paris had a lasting effect on both Hepworth and Nicholson as they became key figures in an international network of abstract artists.

By now married and with triplets as well as a son from her first marriage, when war broke out in 1939, Hepworth and Nicholson moved to St Ives. Though she didn’t know it, the seaside town would remain her home for their rest of her life, and after the war she and Nicholson became a hub for a generation of younger emerging British artists such as Peter Lanyon, Roger Hilton and Terry Frost – who was Hepworth’s studio assistant for a time. As she had found, the wild beauty of the surrounding terrain offered a counter to the disruption and destruction of the war. And, like her, those artists made paintings and sculptures inspired by the place and the forces and their experience of nature.

Though concerned with form and abstraction, Hepworth’s art was primarily about relationships: not merely between two forms presented side-by-side, but between the human figure and the landscape, colour and texture, and most importantly between people at an individual and social level.

What’s her legacy?

Barbara Hepworth’s name is still intertwined with the history and culture of St Ives and her studio and sculpture Garden remain one of the town’s most popular destinations. In the town where Hepworth was born, as well as housing a rich archive of the artist’s work and serving as a platform for contemporary artists working today, The Hepworth Wakefield also pays lasting homage to an artist who spoke frequently of the effect her surroundings had on her formative years.

The whole of this Yorkshire background means more to me as the years have passed. I draw on these early experiences not only visually in texture and contour, but humanly. The importance of man in landscape was stressed by the seeming contradiction of the industrial town springing out of the inner beauty of the country.

In her lifetime, however, she was also a major international figure, showing her work in exhibitions around the globe. As a woman in a largely male-dominated art-world, Hepworth took an active role in the way her work was presented. She was particular about documentation of her works, and collaborated closely with others. She established innovative ways to push the boundaries of her technique and thematic investigations and sustained a career that saw her mount a retrospective at Kröller-Müller Museum in 1965, represent Britain at the Venice Biennale in 1950 and won first prize at the São Paulo Bienal in 1959. She has influenced countless artists, designers, architects and performers such as Linder Sterling, Peter Jensen and Rebecca Warren citing her as an influential figure in their own creative practice.

Hepworth is known first and foremost as a sculptor, but she also worked in other mediums – and was very interested in documenting her own work through photography. The landscape around St Ives became part of the way her works were presented in the media; St Ives Bay, Godrevy Lighthouse and The Island all become compositional tools for those documenting her works, creating an additional dialogue between the forms and their surroundings.

From 1947-1949, during an illness her daughter suffered, Hepworth produced a series of drawings and paintings based on her time observing doctors and surgeons at St Mary’s hospital in Exeter. Read about their creation in Tate Etc. magazine

What do the critics say?

No militant feminist herself, she asked simply to be treated as a sculptor (never a sculptress), irrespective of sex.
– Alan Bowness

Hepworth was an artist of extraordinary stature whose importance is still to some extent occluded. Over 50 years, from 1925 to her death in 1975, she made more than 600 works of sculpture remarkable in range and emotional force.
– Fiona McCarthy

In these works this brave and indefatigable woman transcends the difficulties and ugliness of modern life and evokes a vision of radiant calm perfection.
– Herbert Read

Hepworth in Quotes…

The sculptor carves because he must. He needs the concrete form of stone and wood for the expression of his idea and experience, and when the idea forms the material is found at once.

From the Sculptors point of view one can either be the spectator of the object or the object itself. For a few years I became the object.

I think every sculpture must be touched, it’s part of the way you make it and it’s really our first sensibility, it is the sense of feeling, it is first one we have when we’re born. I think every person looking at a sculpture should use his own body. You can’t look at a sculpture if you are going to stand stiff as a ram rod and stare at it, with as sculpture you must walk around it, bend toward it, touch it and walk away from it.

Text from the Tate Britain website

 

Barbara Hepworth. 'Photo-collage with Helicoids in Sphere in the entrance hall of flats designed by Alfred and Emil Roth and Marcel Breuer at Doldertal, Zurich' 1939

 

Barbara Hepworth
Photo-collage with Helicoids in Sphere in the entrance hall of flats designed by Alfred and Emil Roth and Marcel Breuer at Doldertal, Zurich
1939
Photograph, gelatin silver prints on paper
Private collection
© The Hepworth Photograph Collection

 

Raymond Coxon. 'Henry Moore, Edna Ginesi and Barbara Hepworth in Paris' 1920

 

Raymond Coxon
Henry Moore, Edna Ginesi and Barbara Hepworth in Paris
1920
© Bowness, Hepworth Estate

 

Barbara Hepworth. 'Infant' 1929

 

Barbara Hepworth
Infant
1929
Wood
438 x 273 x 254 mm
Tate
© Bowness, Hepworth Estate

 

Dame Barbara Hepworth. 'Single Form (Eikon)' 1937-8, cast 1963

 

Dame Barbara Hepworth
Single Form (Eikon)
1937-8, cast 1963
Bronze
1480 x 280 x 320 mm, 77 kg
Presented by the artist 1964
© Bowness, Hepworth Estate

 

The original of this bronze was a carved plaster column set on a wooden base. The plaster was sent to Paris in 1938 for an exhibition and remained there until 1961. In 1963 Hepworth had it cast in an edition of seven. By the mid 1930s Hepworth had turned from carving semi-naturalistic figures and animals to an exploration of pure sculptural forms. She has written that her interest then centred on the relationship between a form and its surrounding space as well as its integral size, texture and weight. But these sculptures almost always retained an organic character.

 

Constellation of artworks in the Hepworth display

 

Constellation of artworks in the Hepworth display

This constellation forges connections between modern and contemporary works concerned with a sculptural relationship to the artist’s body and to the natural world, revealing a pathway that links geometric abstraction with the surrealist ability to recognise human shapes in natural forms. The phased development of Single Form (Eikon), as it moved through versions in plaster and wood to its final metal incarnation nearly 30 years later, raises questions about the role of sculpture and the importance of materials – concerns that are echoed in the works of Naum Gabo, Marisa Merz and Max Ernst. Louise Bourgeois’ printmaking suite presents a dark vision of biomorphic assimilation and amputation, while the strength and stability of Hepworth’s direct carving method is echoed on an intimate scale by Merz’s knitted nylon works, whose delicate appearance belies their tough industrial materials.

The geometric abstraction of Hepworth’s monolithic bronze highlights her association with the constructive art championed by Gabo in 1936, which focused on the universal nature of pure forms. She also had connections to the surrealist movement. With its phallic quality and contrasting purified aesthetic, the cast bronze sculpture can relate to both of these important movements; like other works in the constellation powerfully oscillating between abstraction and figuration.

In a strong statement on her own artistic philosophy, Hepworth proclaimed: ‘I think every person looking at a sculpture should use his own body. You can’t look at a sculpture if you are going to stand stiff as a ram rod and stare at it, with a sculpture you must walk around it, bend toward it, touch it and walk away from it.’ This invitation to engage in a bodily experience of sculpture shares its premise with Bruce Nauman’s cast plaster and fibreglass work, Isa Genzken’s totemic concrete monuments, and Daria Martin’s film In the Palace, which dramatically enlarges to architectural scale an iconic Giacometti sculpture, enabling performers to inhabit its time and space, in an uncanny fusing of materials and people. (Text from the Tate Britain website)

 

Barbara Hepworth. 'Double Exposure of Two Forms' 1937

 

Barbara Hepworth
Double Exposure of Two Forms
1937
Photograph, gelatin silver print on paper
Private collection
© The Hepworth Photograph Collection

 

Barbara Hepworth. 'Self-Photogram' 1933

 

Barbara Hepworth
Self-Photogram
1933
Photograph, gelatin silver print on paper
Tate
© Bowness, Hepworth Estate

 

Paul Laib. 'Hepworth in the Mall Studio, London' 1933

 

Paul Laib
Hepworth in the Mall Studio, London
1933
The Barbara Hepworth Photograph Collection
© The de Laszlo Collection of Paul Laib Negatives, Witt Library, The Courtauld Institute of Art, London

 

Paul Laib. 'Hepworth in the Mall Studio, London' 1933 (detail)

 

Paul Laib
Hepworth in the Mall Studio, London (detail)
1933
The Barbara Hepworth Photograph Collection
© The de Laszlo Collection of Paul Laib Negatives, Witt Library, The Courtauld Institute of Art, London

 

Dame Barbara Hepworth. 'Fenestration of the Ear (The Hammer)' 1948

 

Dame Barbara Hepworth
Fenestration of the Ear (The Hammer)
1948
Oil and pencil on board
384 x 270 mm
Purchased 1976
© Bowness, Hepworth Estate

 

Barbara Hepworth. 'Curved Form (Delphi)' 1955

 

Barbara Hepworth
Curved Form (Delphi)
1955
© The Estate of Dame Barbara Hepworth

 

Dame Barbara Hepworth. 'Curved Form (Trevalgan)' 1956

 

Dame Barbara Hepworth
Curved Form (Trevalgan)
1956
Bronze on wooden base
902 x 597 x 673 mm
Tate
Purchased 1960

 

Val Wilmer. 'Barbara Hepworth in the Palais de la Danse studio, St Ives, at work on the wood carving Hollow Form with White Interior' 1963

 

Val Wilmer
Barbara Hepworth in the Palais de la Danse studio, St Ives, at work on the wood carving Hollow Form with White Interior
1963
© Bowness, Hepworth Estate

 

Val Wilmer. 'Barbara Hepworth in the Palais de la Danse studio, St Ives, at work on the wood carving Hollow Form with White Interior' 1963 (detail)

 

Val Wilmer
Barbara Hepworth in the Palais de la Danse studio, St Ives, at work on the wood carving Hollow Form with White Interior (detail)
1963
© Bowness, Hepworth Estate

 

Morgan-Wells. 'Barbara Hepworth with the plaster of Single Form 1961-4 at the Morris Singer foundry, London, May 1963' 1963

 

Morgan-Wells
Barbara Hepworth with the plaster of Single Form 1961-4 at the Morris Singer foundry, London, May 1963
1963
Photograph, gelatin silver print on paper
© Bowness, Hepworth Estate

 

Dame Barbara Hepworth. 'Sea Form (Porthmeor)' 1958

 

Dame Barbara Hepworth
Sea Form (Porthmeor)
1958
Bronze on wooden base
830 x 1135 x 355 mm
Tate
Presented by the artist 1967

 

Porthmeor is a beach close to Hepworth’s studio in St Ives, Cornwall. A critic thought this sculpture ‘seems to belong to the living world of the sea.’ However, the curling lip of the bronze is quite a literal representation of a breaking wave. At Porthmeor, Hepworth loved to watch the changing tide, the movement of sand and wind and the footprints of men and birds. For her, the rhythm of the tides was part of a natural order to which humankind also belongs.

 

Barbara Hepworth. 'Oval Form (Trezion)' 1961-63

 

Barbara Hepworth
Oval Form (Trezion)
1961-63
Bronze
940 x 1440 x 870 mm
Aberdeen Art Gallery and Museums Collections
Photograph courtesy The Kröller-Müller Otterlo, The Netherlands. Photograph by Mary Ann Sullivan, Blufton University
© Bowness, Hepworth Estate

 

Barbara Hepworth. 'Squares with Two Circles' 1963

 

Barbara Hepworth
Squares with Two Circles
1963
Bronze
Tate
© Bowness, Hepworth Estate

 

 

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Millbank, London SW1P 4RG
United Kingdom
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08
Sep
12

Exhibition: ‘Art of Another Kind: International Abstraction and the Guggenheim, 1949-1960’ at the Guggenheim Museum, New York

Exhibition dates: 8th June 8 – 12th September 2012

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This is pure indulgence. These paintings are so delicious I couldn’t resist a posting. Just imagine having ANY of them (especially the Hartigan, de Kooning or the Soulanges) on your wall at home… oh my!

Many thankx to the Guggenheim Museum for allowing me to publish the pictures in the posting. Please click on the pictures to see a larger version of the image.

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Grace Hartigan

Ireland
1958
Oil on canvas
200 x 271 cm
The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice
© Grace Hartigan Estate

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José Guerrero
Signs and Portents
1956
Oil on canvas
175.9 x 250.2 cm
Solomon R. Guggenheim Museum, New York
© 2012 Artists Rights Society (ARS), New York/VEGAP, Madrid
© The Solomon R. Guggenheim Foundation

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Takeo Yamaguchi

Work Yellow (Unstable Square [Fuantei shikaku])
1958
Oil on plywood
182.6 x 182.6 cm
Solomon R. Guggenheim Museum, New York
© Takeo Yamaguchi

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Pierre Soulages

Painting, November 20, 1956 (Peinture, 20 novembre 1956)
1956
Oil on canvas
195 x 130.2 cm
Solomon R. Guggenheim Museum, New York
© 2012 Artists Rights Society (ARS), New York/ADAGP, Paris

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“From June 8 to September 12, 2012, the Solomon R. Guggenheim Museum presents Art of Another Kind: International Abstraction and the Guggenheim, 1949-1960. Comprising approximately 100 works by nearly 70 artists, the exhibition explores international trends in abstraction in the decade before the Guggenheim’s iconic Frank Lloyd Wright-designed building opened in October 1959, when vanguard artists working in the United States and Europe pioneered such influential art forms as Abstract Expressionism, Cobra, and Art Informel. In the 1950s, many countries ended their postwar isolationism and entered a phase of cultural openness and internationalism. The prominent French art critic Michel Tapié declared the existence of un art autre (art of another kind), a term embracing a mosaic of styles, but essentially signifying an avant-garde art that rejected a connection with any tradition or past idiom. With works by Karel Appel, Louise Bourgeois, Alberto Burri, Eduardo Chillida, Lucio Fontana, Grace Hartigan, Asger Jorn, Yves Klein, Willem de Kooning, Georges Mathieu, Isamu Noguchi, Kenzo Okada, Jackson Pollock, Pierre Soulages, Antoni Tàpies, Maria Helena Vieira da Silva, Takeo Yamaguchi, and Zao Wou-Ki, among others, the exhibition considers the artistic developments of the post-World War II period and draws greater attention to lesser-known artists in the museum?s collection alongside those long since canonized.

Abstract Expressionism encompasses a diverse range of postwar American painting that challenged the tradition of vertical easel painting. Beginning in the late 1940s, Pollock placed his canvases on the floor to pour, drip, and splatter paint onto them. This gestural act, with variations practiced by William Baziotes, De Kooning, Adolph Gottlieb, and others, was termed “Action painting” by American critic Harold Rosenberg, who considered it a product of the artist’s unconscious outpouring or the enactment of some personal drama. The New York school, as these artists were called due to the city’s postwar transformation into an international nexus for vanguard art, expanded in the 1950s with the unique contributions of such painters as James Brooks and Hartigan, as well as energetic collagist-assemblers Conrad Marca-Relli and Robert Rauschenberg. Other painters eliminated the gestural stroke altogether. Mark Rothko used large planes of color, often to express universal human emotions and inspire a sense of awe for a secular world. Welder-sculptors such as Herbert Ferber and Theodore Roszak are also counted among the decade’s pioneering artists.

The postwar European avant-garde in many ways paralleled the expressive tendencies and untraditional methods of their transatlantic counterparts, though their cultural contexts differed. For artists in Spain, abstract art signified political liberation. Dissenting Italian artists correspondingly turned to abstraction against the renewed popularity of politicized realism. French artist Jean Dubuffet’s spontaneous approach, Art Brut (Raw art), retained figurative elements but radically opposed official culture, instead favoring the spontaneous and direct works of untrained individuals. His work influenced the Cobra group (1948-51), which was founded by Appel, Jorn, and other artists from Copenhagen, Brussels, and Amsterdam. The Cobra artists preferred thickly painted surfaces that married realism to lively color and expressive line in a new form of primitivism.

Eventually taking root in France, Germany, Italy, Japan, and Spain, Art Informel refers to the antigeometric, antinaturalistic, and nonfigurative formal preoccupations of many European avant-garde artists, and their pursuit of spontaneity, looseness of form, and the irrational. Art Informel is alternatively known by several French terms: Abstraction lyrique (Lyrical Abstraction), Art autre (Art of another kind), matiérisme (matter art), and Tachisme (from tache, meaning blot or stain). The movement includes the work of Burri and Tàpies, who employed unorthodox materials like burlap or sand and focused on the transformative qualities of matter. Asian émigré artists Kumi Sugaï and Zao were likewise central to the postwar École de Paris (School of Paris) and melded their native traditions with modern painting styles. By the end of the 1950s, artists such as Lucio Fontana, Klein, and Piero Manzoni were exploring scientific, objective, and interactive approaches, and introduced pure monochrome surfaces. Other abstractionists engaged viewers’ senses and explored dematerialization, focusing on optical transformations as opposed to the art object itself, and investigating the effects of motion, light, and color.

Through the presentation of these varied styles and innovative developments in the post-World War II years, Art of Another Kind especially highlights paintings and sculptures that entered the Guggenheim collection under James Johnson Sweeney, the museum’s second director (1952-60). Following Solomon R. Guggenheim’s death in 1949 and the end of founding director and curator Hilla Rebay’s tenure in 1952, Sweeney championed emerging avant-garde artists and augmented the museum’s existing modern holdings with new works. Sweeney had stated, “I do not believe in the so-called ‘tastemakers,’ . . . but in what I would call ‘tastebreakers,’ the people who break open and enlarge our artistic frontiers.” His program of exhibitions and acquisitions considerably broadened the museum’s scope, and his vision included reconsidering the founding collection assembled by Solomon and Irene Guggenheim under Rebay’s guidance by uniting the abstract works by Vasily Kandinsky and other modernists with rarely seen representational works for a more complex perspective of the avant-garde in the first half of the twentieth century. Recently, the Guggenheim Museum highlighted his contributions to the institution in The Sweeney Decade: Acquisitions at the 1959 Inaugural, an exhibition featuring a selection of works that were first unveiled at the 1959 show in the museum’s new Wright building. On view in 2009 as part of the museum’s 50th-anniversary celebrations, The Sweeney Decade featured 24 paintings and sculptures from the 1950s collected under his leadership. Art of Another Kind offers a more comprehensive elaboration of his vision along with works that were added to the collection after his tenure.

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Exhibition installation

While the exhibition explores individual styles, diversity within abstraction, and artists often working independently of established groups or affiliations, works are loosely organized according to artists’ locus of activity and stylistic trends: New York school; Art Brut and Cobra; School of Paris; Spanish and Italian Informalism; Kinetic art; and, finally, late 1950s experiments with matiérisme, performance-based painting, and the monochrome. Highlights within the installation include Outburst (Éclatement, 1956) by Judit Reigl, newly acquired in 2012, and Alexander Calder’s Red Lily Pads (Nénuphars rouges, 1956), suspended in the upper ramps and visible from the rotunda floor below. The exhibition also includes the work of 11 living artists.

Visitors will have the opportunity to browse through historic exhibition catalogues produced by the first full-time publications department established during Sweeney’s tenure. Designed by the Swiss-born typographer and designer Herbert Matter, catalogues from the era helped shape the museum’s visual identity and chronicle the development of the art championed by the Guggenheim under Sweeney in the 1950s. Selected books will be available in the museum at iPad stations and online at guggenheim.org/new-york/exhibitions/publications/from-the-archives.

Extensive content related to the exhibition will be available on the Guggenheim’s website, which features a selection of supporting materials from the museum’s archives, including letters between artists and director James Johnson Sweeney, invitations to exhibitions, and historic photos of Guggenheim exhibitions. In addition, 20 works and several exhibition themes will be explored through short texts. Multimedia content including video footage and interviews with the curators will be added to the site once the exhibition opens to the public.”

Press release from the Guggenheim Museum website

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Mark Rothko

Untitled (Violet, Black, Orange, Yellow on White and Red)
1949
Oil on canvas
207 x 167.6 cm
Solomon R. Guggenheim Museum, New York
Gift, Elane and Werner Dannheisser and The Dannheisser Foundation
© 2012 Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), New York

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Karel Appel

The Crying Crocodile Tries to Catch the Sun
1956
Oil on canvas
145.5 x 113.1 cm
The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice, 1976
© 2012 Karel Appel Foundation/Artists Rights Society (ARS), New York

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Asger Jorn
A Soul for Sale (Ausverkauf einer Seele)
1958-59
Oil with sand on canvas
200 x 250 cm
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Evelyn Sharp Foundation, 1983
© 2012 Donation Jorn, Silkeborg / Artists Rights Society (ARS), New York/COPY-DAN, Copenhagen

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Willem de Kooning
Composition
1955
Oil, enamel, and charcoal on canvas
201 x 175.6 cm
Solomon R. Guggenheim Museum, New York
© 2012 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York

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

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

Solomon R. Guggenheim Museum website

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Dr Marcus Bunyan

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

Marcus Bunyan black and white archive: ‘Mask’ 1994

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