Renouf by Annely Juda Fine Art

Edda Renouf 4 April - 3 May 2013

Annely Juda Fine Art 23 Dering Street (off New Bond Street) London W1S 1AW ajfa@annelyjudafineart.co.uk www.annelyjudafineart.co.uk Tel 020 7629 7578 Fax 020 7491 2139 Monday - Friday 10 - 6 Saturday 11 - 5

Thames-VII, River-Sky Encounter #2 2012 acrylic on linen, removed threads 180 x 180 cm

ARTIST STATEMENT

“Materials speak to me and unexpected things happen. It is from a silent conversation between materials and imagination, from intuitive listening that the paintings and drawings are born.”* Essential to my paintings and drawings is the revealing of an abstract structure and energy inherent to my materials, the linen canvas and cotton paper. In my paintings, after holding a stretched canvas up to the light, which allows me to see the movement of the weave, I am inspired to remove certain threads which in some works I also then reapply. I continue by priming the canvas and then apply several thin coats of acrylic paint. This is followed by a careful sanding of the surface that again makes visible the life within the linen material. In my drawings I incise lines with an etching point to remove particles of paper before applying sometimes several layers of chalk or oil pastel. Breaking away from the traditional approach to linen and paper, which are usually used as grounds on which to paint an image, my working process reveals and uncovers the life and abstract energy within the materials. Important to my technique of thread removal and incised paper, which reveals the energy and structure of my materials is that this process brings about various juxtapositions basic to the life of the art works: as for example the positive versus the negative spaces in my paintings and drawings; the contrast between the geometry of the frames I use for my paintings and the organic flexibility of the linen fiber of the canvas; the difference between the crisp scraped lines in my drawings versus the uneven more organic incised lines; or the contrast between the well defined lines created by removed and applied threads in my paintings versus the aleatory, cloud-like areas of color that have been sanded. I have often defined the coming together of these juxtaposed contrasting qualities as analogous to the rational and irrational, that is, the Apollonian and Dionysian forces of life and existence. Used in the titles of my works are several themes: the four natural elements; time; and that of sound and music. The linen canvas and paper originate from the flax and cotton plants, which depend on the four natural elements; also the acrylic paint and pastels originate from earth: the four elements thus are directly related to my material’s structure and thus became a recurrent theme in my work. For example, the abstract structures revealed to me are metaphors, signs that relate to air, water, earth and fire; the signs appear with the removing and reapplying of threads, which I often also symbolize with corresponding colors: grays in varying tones; cobalt and ultramarine blues; siennas; oxide red; oranges and ochres etc. The other important and recurrent themes are that of time and music or sound: my art works are a record of the days, weeks, months and seasons when they were created, and thus act as a journal of my working process; and the theme of music or sound, points to the idea of ‘making the invisible visible’, and of the hidden presence of wave structures in our universe. Edda Renouf, Paris, March 2010 *Quoted by Edda Renouf in Judy K. Collischan Van Wagner. Lines of Vision: Drawings by Contemporary Women (New York; Hudson Hills Press, 1989), p.116.

Twilight 1974 acrylic on linen, removed threads 90 x 90 cm

An Interview with Edda Renouf Ian Hunt: This exhibition brings together a group of paintings named for the Thames. What were the rst impulses for this group? Edda Renouf: When David Juda asked me to do this show, at first I was thinking that Londoners will be seeing my work in the context of a one-person show for the first time. So I really wanted to clearly focus on the fact that I reveal the energy of my linen material. And I proceeded to do my first paintings, looking at the linen against the light and being inspired by which threads I would remove. When I remove threads, it's a very lengthy process, it takes time, and it becomes meditative. I don't impose an image on top of the linen, the image comes out of the structure by my removing the threads, and by my applying paint and then sanding it. But as I was making the first painting, it made me think of the river. The Thames is a river that I am very inspired by. The scale relates to the sky, but relates to the city too, in a very subtle way. Then this developed into a series, where different moments of my walking by the Thames seemed to relate to specific paintings. There's one that I call Noon Passage (cat.no.8). It's the one most full of light and it has a central composition of the removed threads. I suddenly remembered crossing the bridge that's specifically for pedestrians around noon and I thought that painting had that element of my experience of the Thames. So there's a double origin: most importantly in the material, then at a later stage in the process you recognize associations and memories. That painting is the one with many white glazes, isn't it? Yes, that started as a very dark blue painting and then I went over it with many coats of white, to come to an almost translucent grey-white colour. The interesting part of it is that when I remove the threads it obviously changes the structure of the linen. The places where I have removed the threads automatically make the paint behave in certain ways. If there was no structure change the paint would probably cover the surface in a much more opaque, even way. Whereas in this case the removed threads mean the paint develops a very subtle variation of dark-light, which made me think of that incredible liveliness of the surface of water that's constantly in movement. In revealing the energy of the linen I want the spectator to sense its organic origin. It comes from a plant, so it has this very aleatory and unpredictable quality. In that same painting I like the way the removed threads are curved, against the geometry of the weave. In Noon Passage the brushstrokes are visible, rather unusually. In most of your paintings the ground is built up differently. It is an unusual painting in terms of the whole series because I didn't sand it. All the others are sanded. I realised that it wasn't necessary because if you look at it closely the very complex variety of dark-light areas actually comes from the structure of the weave. The weave itself is not a flat surface as you would have with metal or glass. It has its little mountain tops and its little valleys. The paint reacted very well with that. If you look closely you can see darker dots and much whiter ones where the white has settled into the concave aspects of the linen. This is because I apply the paint in very thin glazes. I've always felt that I don't cover the material but I uncover it, and I remove rather than add. But

it's very subtle, because in order to make the linen speak, to make its life really visible for the spectator, it has to have the paint. So I've always talked about the marriage between the paint and the linen: that they need each other in order to become alive, that the paint in itself needs that liveliness of the structure of the linen and the linen needs the paint. Let me ask about the actual process. How do you begin? I start by preparing my stretcher bars, which I build up with slats on the sides to make them slightly wider, so when the painting is hanging on the wall it projects slightly more towards the viewer. I've always liked square formats: the focus is very concentrated. So it brings the viewer, in a very immediate way, to see it clearly as an object in our space. So I start with the square format and then I stretch the canvas. Most of them are stretched following the line of the horizontal and vertical weave. In this show there will be some stretched on the diagonal as with Autumn Sound Piece I (cat.no.24) and Visible Sound Piece V (cat.no.25). But the Thames series is all stretched following the horizontal-vertical lines of the weave. Once it's all stretched I sponge it with water, which tightens it around the stretcher bars and takes away all the creases. And then I hold it up to the window and I see what the light shows in the linen structure. It often then immediately tells me: this thread is where you should start removing. So it's just one thread that leads me to the next. In this series I had progressions of vertical and horizontal lines and they are intentionally varied. I wanted there to be a play in the variety of measurements. I think it makes it very dynamic that way. Absolutely. As in River-Sky Encounter #1 (cat.no.3). The vertical lines convey an idea of order and regularity, but it's made by hand and by eye. It's like a hand drawn line as opposed to a ruled line. What's interesting is that when I remove the threads, even though the weave is a grid of horizontal and vertical threads, there's just something about the linen threads that is not perfect. When I put the paint on, it will start to do what it wants to do, so there will be some areas that are darker and some that are lighter. The lines are straight but not completely straight. Then also the weave has this wonderful ďŹ&#x201A;exibility, so there's always some subtle curve, which here is in the horizontal lines. These subtle curves bring in a different phenomenological quality to the painting as you stand before it. They suggest space extending beyond the object that we see. Yes. It relates it to the way with a globe or an atlas you have the hemispheric lines that are curved. In River-Sky Encounter #1 the changed structure of the canvas itself is made in a different way. Could you describe the layers you use? After I remove the threads I size and prime the canvas in the traditional way using an acrylic glue, and after itâ&#x20AC;&#x2122;s dry I apply the gesso. I sand it down, and the sanding brings up the structure of the linen more vividly, so when I apply the paint the structure is more present. I wanted to do a blue work, that would relate to water and sky elements, and I took an ultramarine blue but put some black with it. I was fascinated because the black didn't

completely fuse with the blue, so when I brushed it on and later sanded it, it created this wonderfully uneven, aleatory areas of light. Those I can control partly, but not completely, and that is what I find so exciting: you think that you have a process and that you've done this for so many years, but the materials always have their own life and their own character, and they always show you something else. Whether or not we can exactly see it, we become aware of the paint as an ultimately granular material, suspensions of particles in a medium. You use paint with a sense of what it is as a stuff. I like the fact that you point out that initially paint is something that is made up from particles. Pastel chalk and pigment is often made out of earth, out of dust; it’s the accumulation of all these little particles of earth that create the colour. I've always been fascinated by the idea of a work of art giving the viewer an experience of wholeness in existence. My fascination with the linen really goes together with the way the paint is revealed as symbolic of the molecular, the very small-particle aspect of our existence, and also the universal, cosmic dimension. When I do my paintings I feel they almost have a stellar quality: this particular painting, when you look at it close, almost looks like stars in the night sky. That sense of the unity of both what is very small, invisible and microscopic with the very large or macroscopic. As a child I was fascinated by the idea that everything that we see around us isn't all visible, and the idea of making the invisible visible. There's another painting in this group, Night Bridge (cat.no.4). Could you talk about how that composition came about? This is the one with the curves of the two horizontals and vertical lines coming down all the way across. I think that it started with the two horizontals which, in that particular painting, are going in a slightly concave line upwards. That painting was the fifth. I had made four 150 x 150 cm paintings first, then went to a larger 180 x 180 cm format. Curiously enough it was Tower Bridge that came to mind. There's something about the way that the bridge is made: I felt the tension between the line going across and the curved lines on the sides of the two towers. In this painting I felt that it creates a fascinating tension to have an implied curve that's going in the opposite direction. Where the vertical lines are stopped makes a very subtle implied curve, which gives it a kind of scale. It's one of the only paintings where the removed threads go quite close up to the top. It gives it an architectural quality. It's fascinating that you refer to Tower Bridge because it’s a bridge that moves. Listening to you talk I was remembering a description of the experience of Venice, when a barge stacked with goods is going along – the sense of commerce between that which is mobile and that which is static. The fact that you use the word commerce is interesting, because to me, although the Seine in Paris is used for transport, the péniches are constantly going up and down with loads of gravel or sand, I feel that the intimacy of the Seine gives it a human quality, where you forget that aspect of trade. Whereas to me with the Thames, you sense very much that big ships come in and that it was a port. Then recently there has been so much building in the city. I sense very much that contrast of the organic flow of the water with the architecture, the big cranes against the sky. The skyline has changed quite radically in the last ten or

Thames-VI, River-Sky Encounter #1 2012 acrylic on linen, removed threads 180 x 180 cm

fifteen years. So again it was the contrast of the architecture with its geometry and then that flow of the river. I always find a river very mysterious, because it's continually flowing and moving. It will be eternally in movement and alive, just as the sky is too. Is Open Terrain (cat.no.5) one of this group relating to the Thames? This is the one in red. Yes it is. It's oxide red. Because that has a different dynamic as a work. Could you speak about your colour choices? You're quite consistent in these. What I like in colours is that I see them in relation to my devotion to linen, and to the fact that the linen comes from something natural, the flax plant. Being a plant means it relates to the earth and the sky and nature. I'm very attracted to these more natural colours because they relate more immediately to the linen. If I was to take the linen and put some fluorescent pink on it I would feel that I was doing something contrary to its nature. I bring in colours that relate to the earth, and relate to water and to air. In this series, Noon Passage is very much an aerial painting, full of air and the bright light that you might feel at noon. Twilight - Open Gate (cat.no.7) is a very dark blue. But the red oxide painting is inspired by something else. When I go to London I take the Eurostar, and recently as you come in to London there were these vast spaces of earth, the rebuilding of everything around the train station. I was thinking that the river has really in a sense drawn its path right into the earth. You can't separate a river from the earth. I wanted to have one painting that was definitely the earth. What's interesting with that painting is that it's the only one where the centre is open, and I stopped the threads so that it creates a kind of diagonal. It gives it a dynamism that made me think of the furrow, the enormous gouge of water in the earth that creates a pathway. I called it Open Terrain because it's opening the earth to let the river exist. The starting point for all of these works is the material, but the associations that you bring are very much to do with the experience of a modern city and a city that is being transformed. The paintings, as a group, have a sense of the city almost as a part of nature, or as experienced as like nature. Yes, there is the fascination of a river through a city. It so fully itself is nature, and the made aspect – which is built, which is architecture – is in its necessity very geometrical, and with all the involvement of engineering and mathematics. Whereas what I find interesting in the work of art is that you have a coming together of both the organic and the rational. In New York I did a whole series called New York Sounds, because I found that the sounds of the city reflected the organic quality of the city. You don't sense the Hudson and East Rivers so much as they are framing the island. You sense the sky. I've done a lot of works that relate to sound because I've found that sound brings in this unity between the rational and the irrational or, as you say, the city and nature. For example with River-Sky Encounter #1, important to me are the rhythms, built up in the repetition of the verticals. Your eye senses them and then they are juxtaposed with the aleatory, completely non-geometrical dark-light ground of the painting, which is reminiscent of sound in its complexity. So you have this coming together of the geometry which has its rhythm, but which is then unified by the

cloud-like shapes, which are also rhythmic in a very different way. What you're saying very clearly is that there is a dynamic relationship between the apparently structural elements of the lines, and the paint-material that is revealing the surface. This is very far from the idea of line as outline that simply stops or denes an object. I've often been told that I work like a sculptor in that I remove parts of the material in order to reveal the life inherent to its structure. Because the material is the weave and what I remove is linear, it has that quality but it's not the same as in a life drawing where the line is defining something. The line is inherently part of the total structure, the structure of the weave. What I find interesting too is that there's a kind of tension between their flatness and their spatiality. Mondrian used completely opaque paint that created very geometrical compositions. The paintings are very present in the space because the paint is opaque. In my approach, the painting is very present in our space as an object, but there's a tension between the geometry and the removed threads and then the aleatory quality of the organic life of the linen. So it's an interesting tension, or moment of vibration, or life, that is characteristic of my work. I think it's very different from paintings that use colour in an opaque layer. You create an attention to the making of a surface as a physical, tangible thing, to be perceived with the eye but also understood as material. In each of the works that you make it's as though you're trying to make the surface speak. For me, what is very important is working with my hands. The sanding is something that I could almost do blindly. What I like about working with my hands is that it puts rational judgment to the side, and it's like an intuitive revealing of the life of the material. I like to think of myself as a kind of medium of the linen, which has a spirit hidden within it, revealed in the process of my working with it. And I think that's only possible in working with one's hands, as a potter makes a pot, or in paintings through the ages: Rembrandt, or Van Gogh's brushstroke, or Cézanne's, you sense so much the devotion. When I sand and work on the paintings with a brush, it's the devotion of wanting each square inch to be alive, really intense and alive. Let's think of how the hand operates in the drawings, perhaps especially in the group that you're showing in London, Structure Change of Incised Lines (cat.nos.12-15, 36-43). I think that it's a very clear example of my wanting to reveal the energy of the paper by removing. In this particular series I felt that I wanted it to be very clear what I'm doing. When starting out I looked at one of the incised drawings with no colour, and I thought it complete and vivid, just as it was, I got excited and decided to do twelve of them. People will really see that I'm actually removing parts of the paper, and the intervention transforms its structure. Sometimes I cover some of the drawings with pastel, and some with ink. And I think that they're very successful drawings, but maybe for a newcomer to my work they might not see that the line is actually incised into the paper where I removed part of it. They're like little furrows, ploughed into the paper, and they collect the pastel so they become darker. Some viewers have often thought that instead of something being

removed from the paper, that I had added something, like a thread. I wanted at least for one series of drawings as in Structure Change of Incised Lines to be absolutely clear. That group of works also shows that there's always another set of thought processes going on. And other interventions into the paper, the dots of ink that you set out as guide points, lines in pencil or ink, sometimes worked over the incised line. You don't blindly set up an instruction for yourself and carry it out. There's a process of looking at and interacting with the work. Very much so. To the point where I go over again with pencil or I turn the whole drawing around because I notice that the way the metal point incised the line is more intriguing when it's seen upside down. It's all very subtle and I work on this very intuitively. The drawings have a liveliness in the variety of ways in which the incised lines are used: close together, wider apart, sometimes so close together there's almost a visual interference between them. You sense an overall eld with a structured regularity within it, including diagonals. Do they also suggest a variety of positions for the viewer in front of the work? Well I think so because, as with the paintings, they're an incredibly delicate bas-relief. Usually I start with the paper on my drawing board and it's flat on my table and the light is coming from above. As I'm working and incising the lines, I like to take the board and set it up the way it would be on the wall, perpendicular. Then it catches the light in a completely different way. It's fascinating because there's so much going on. When you look carefully at the surface of the paper, you see it has an infinitely complex structure. And then according to where, for example, you stop your incised lines, a whole progression of verticals will create a horizontal. And this then relates to the raw paper; it will change the colour of the paper. There are all of these delicate and subtle things that you see, often by holding it up differently. It's very complex, and as you were saying it has its own kind of energy. And the idea is to let that energy free and not cover it up or imprison it into something else. One of the things that comes out here is that there is discipline and order in your working practices as well as the encounter with what's outside you. There's a kind of a continuation and repetition, but I like to always be inspired. Being an artist, the repetitiveness is not boring, it's always different. You're learning. For example this painting, River-Sky Encounter #1, I feel it's taught me a lot, opened up a lot. I feel that it's as if I'm just beginning. I don't feel that I'm repeating a technique that I've perfected. You never can tell, there's always so much you can do. With this series, what is the most essential thing is what the paintings want to become. From my interest in phenomenology at Columbia University, when I was taking a course in philosophy, I found that you get down to rock bottom and the skeleton of what most interests you by going through different understandings and different kinds of approaches, through the layers of ‘that's not it', until finally you come to ‘what it is’. I remember thinking that you can't have freedom without rules, or a structure. To my mind that structure is inherent to the material. As an artist, the basis is my devotion for linen and full respect of its own structure, and of its own quality. The excitement is to really focus on this structure in the most immediate way. Paris, October 2012

Thames-V, Night Bridge 2012 acrylic on linen, removed threads 180 x 180 cm

Thames-IV, Open Terrain 2012 acrylic on linen, removed threads 150 x 150 cm

Traces-2 2012 acrylic on linen, removed threads 51 x 51 cm

Thames-II, Twilight - Open Gate 2012 acrylic on linen, removed threads 150 x 150 cm

Thames-III, Noon Passage 2012 acrylic on linen, removed threads 150 x 150 cm

Thames-I, Dawn Bridge 2012 acrylic on linen, removed threads 150 x 150 cm

10 Sky Entry, (Summer Series I) 2012 incised lines, pastel and ink on Arches paper 35.5 x 38 cm

11 First Light, (Summer Series I) 2012 incised lines, pastel and ink on Arches paper 38 x 35.5 cm

12 - 15 Structure Change of Incised Lines - I, II, V, VI (White Series I) 2011 all incised lines and graphite on Arches paper 40 x 38 cm each

16 Dawn Bridge, Paris-La Seine #7 2010 incised and scraped lines and oil pastel on Arches paper 77.5 x 63.5 cm

17 Night Bridge, Paris-La Seine #9 2010 incised and scraped lines and oil pastel on Arches paper 84.5 x 73 cm

18 Stormy River, Paris-La Seine #13 2010 incised and scraped lines and oil pastel on Arches paper 84 x 73 cm

19 Paris-La Seine #5 (Noon River) 2000 incised and scraped lines and oil pastel on Arches paper 77 x 66 cm

20 Constellation Series - 1 (Ways Crossing) 1998 incised lines, ink and watercolour on Rives paper 28 x 29 cm

21 Constellation Series - 2 (Milky Way) 1998 incised lines, ink and watercolour on Rives paper 28 x 29 cm

22 Sign of the Elements-November (Earth) 1994 acrylic on linen, removed threads 150 x 150 cm

23 Sign of the Elements-April (Water) 1992 acrylic on linen, removed threads 150 x 150 cm

24 Autumn Sound Piece I 1978 acrylic on linen stretched on diagonal, removed threads 70 x 70 cm

25 Visible Sound Piece V 1978 acrylic on linen stretched on diagonal, removed threads 70 x 70 cm

26 Incised Lines in Three Columns 1974-77 incised lines and pastel on Arches paper 33 x 32 cm

27 One-One 1974 acrylic on linen, removed threads 90 x 90 cm

28 Thirty Three-Three 1974 acrylic on linen, removed threads 90 x 90 cm

LIST OF WORKS NOT ILLUSTRATED 30

Traces-1 2012 acrylic on linen, removed threads 51 x 51 cm

Traces-3 2012 acrylic on linen, removed threads 51 x 51 cm

Night Rhythms of ďŹ ve times eight, (Summer Series I) 2012 incised lines before and after pastel on Arches paper 35.5 x 38 cm Dawn Ladder, (Summer Series I) 2012 incised lines, pastel and ink on Arches paper 38 x 35.5 cm First Sounds, Dawn - (Summer Series I) 2011 incised lines, pastel and ink on Arches paper 38 x 35.5 cm Dawn Rhythms - (Summer Series I) 2011 incised lines, pastel and ink on Arches paper 35.5 x 38 cm Structure Change of Incised Lines - III, (White Series I) 2011 incised lines and graphite on Arches paper 38 x 40 cm Structure Change of Incised Lines - IV, (White Series I) 2011 incised lines and graphite on Arches paper 38 x 40 cm

Structure Change of Incised Lines - VII, (White Series I) 2011 incised lines and graphite on Arches paper 40 x 38 cm

Structure Change of Incised Lines VIII, (White Series I) 2011 incised lines and graphite on Arches paper 40 x 38 cm

Structure Change of Incised Lines - IX (White Series I) 2011 incised lines and graphite on Arches paper 40 x 38 cm

Structure Change of Incised Lines - X (White Series I) 2011 incised lines and graphite on Arches paper 40 x 38 cm

Structure Change of Incised Lines - XI (White Series I) 2011 incised lines and graphite on Arches paper 40 x 38 cm

Structure Change of Incised Lines - XII (White Series I) 2011 incised lines and graphite on Arches paper 40 x 38 cm

Letter-3 January 1975 incised lines and pastel on Arches paper 33 x 33 cm

Incised Lines in Three Columns 1974-77 incised lines and pastel on Arches paper 33 x 32 cm

BIOGRAPHY American, born in Mexico 1943 1963-64 1967-68 1968-71 1969-70 1971-72

Académie Julian, Paris Art Students League, New York M.F.A. School of Art, Columbia University, New York Akademie der Bildenden Künste, Munich Painting fellowship, Columbia University, Paris

1981 1982 1983 1984 1985 1986 1987

SELECTED ONE-PERSON EXHIBITIONS

1989

1972 1973 1974

1990 1991 1993

1975 1976

1977

1978

1979

1980

Yvon Lambert, Paris Françoise Lambert, Milan Yvon Lambert, Paris Konrad Fischer, Düsseldorf MTL Gallery, Brussels Françoise Lambert, Milan Marilena Bonomo, Bari Yvon Lambert, Paris Rolf Preisig, Basel D’Alessandro Ferranti, Rome Julian Pretto, New York Françoise Lambert, Milan Daniel Weinberg Gallery, San Francisco Kathryn Markel Gallery, New York MTL Gallery, Brussels Wadsworth Atheneum, Hartford Blum Helman Gallery, New York Ugo Ferranti, Rome Yvon Lambert, Paris Graeme Murray, Edinburgh Margo Leavin Gallery, Los Angeles Young Hoffman Gallery, Chicago Françoise Lambert, Milan Konrad Fischer, Düsseldorf Daniel Weinberg Gallery, San Francisco Blum Helman Gallery, New York Greenberg Gallery, St. Louis Yvon Lambert, Paris

1994 1995 1996 1997 1998 2001 2002 2004

2006 2007 2010 2013

Margo Leavin Gallery, Los Angeles Thomas Segal Gallery, Boston Graeme Murray Gallery, Edinburgh Carol Taylor Gallery, Dallas Blum Helman Gallery, New York Françoise Lambert, Milan Yvon Lambert, Paris Blum Helman Gallery, New York Martina Hamilton Gallery, New York Galerie Liesbeth Lips, Amsterdam Blum Helman Gallery, New York Blum Helman Gallery, New York Greene Gallery, Coral Gables Cairn Gallery, Nailsworth Galerij S65, Aalst Cairn Gallery, Nailsworth Yvon Lambert, Paris Galerij S 65, Aalst Galerie Sollertis, Toulouse Elisabeth Kaufmann, Basel Artothèque Médiathèque, Valence The University of Michigan Museum of Art, Ann Arbor Galerie Sollertis, Toulouse Elisabeth Kaufmann, Basel Staatliche Kunsthalle Karlsruhe, Karlsruhe Numark Gallery, Washington Galerie Liesbeth Lips, Rotterdam Galerie Sollertis, Toulouse Galerie Hubert Winter, Vienna Galerie Liesbeth Lips, Rotterdam Joseph Helman Gallery, New York National Museum of Women in the Arts, Washington Brenau University Galleries, Gainesville Galerie Arnaud Lefebvre, Paris New Arts Gallery, Litchﬁeld Galeria Charpa, Valencia Galerie Sollertis, Toulouse Galerie 1900 - 2000, Paris Annely Juda Fine Art, London

SELECTED GROUP EXHIBITIONS

Actualité d’un Bilan, Yvon Lambert, Paris 1973 Eighth Paris Biennale, Musée d’Art Moderne de la Ville de Paris Recent Acquisitions, The Museum of Modern Art, New York Prospect 73 - Painters, Städtische Kunsthalle, Düsseldorf Drawings, Museum of Modern Art, Oxford 1974 Geplante Malerei, Westfälischer Kunstverein, Münster Print Show - Parasol Press, Palais des Beaux Arts, Brussels 1975 Tendances Actuelles de la Nouvelle Peinture Américaine, Arc II, Musée d’Art Moderne de la Ville de Paris Fundamental Painting, Stedelijk Museum, Amsterdam Prints Show - Parasol Press, Arts Council of Great Britain, London Selections from the Collection of Dorothy and Herb Vogel, The Clocktower, Institute for Art and Urban Resources, New York Prints Show - Parasol Press, Mönchengladbach Museum Peintures, MTL Gallery, Brussels International Prints, XX Jyvaskyla Arts Festival, Finland 1975- Painting, Drawing and Sculpture of 1976 the 60’s and the 70’s from the Dorothy and Herbert Vogel Collection, Institute of Contemporary Art, Philadelphia; Contemporary Arts Center, Cincinnati 1976 Prints Show - Parasol Press, Art Gallery of Toronto Group Show, Daniel Weinberg Gallery, San Francisco 1977 Extraordinary Women, The Museum of Modern Art, New York Works from the collection of Dorothy and Herbert Vogel, The University of Michigan Museum of Art, Ann Arbor 1972

1978

1979

1980

Sculpture, Paintings, Drawings, Young Hoffman Gallery, Chicago Paintings ‘75, ‘76, ‘77, The Institute of Art and Urban Resources, P.S.1, Long Island City Etchings of the Twentieth Century, Margo Leavin Gallery, Los Angeles Critics Choice: A Loan Exhibition of Contemporary Painting, Joe and Emily Lowe Gallery, College of Visual and Performing Arts, Syracuse University Trois Villes, Trois Collections, Centre Georges Pompidou, Paris American Drawn and Matched, The Museum of Modern Art, New York Drawings of the 70s, The Art Institute of Chicago, Society for Contempo rary Art GRIDS, Format and Image in 20th Century Art, Pace Gallery, New York Contemporary Drawing, New York, UCSB Art Museum, University of California at Santa Barbara Group Show, Lisson Gallery, London Recent Acquisitions, The Whitney Museum of American Art, New York A Decade in Review: Selections from the 1970s, The Whitney Museum of American Art, New York Oeuvres Contemporaines des Collections Nationales: Accrochage #2, Centre Georges Pompidou, Paris Recent Acquisitions, H.H.K. Foundation for Contemporary Art, Milwaukee Art Center Drawing about Drawing Today, Museum of Art, University of North Carolina Chapel Hill 1979 Biennale Exhibition: Contemporary American Art, The Whitney Museum of American Art, New York Works on Paper, Associazione Italiana Gallerie Arte Contemporanea, Genoa

29 Five Lines Incised before chalk - September 25 1976 incised lines and pastel on Arches paper 46 x 45.5 cm

1981

1982

1983

1984

Drawings, Leo Castelli Gallery, New York Small Works, Drawings, Prints, Young Hoffman Gallery, Chicago A Drawing Show, Margo Leavin Gallery, Los Angeles Foire Internationale d’Art Actuel, Palais des Beaux Arts, Brussels Recent Paintings: Edda Renouf, Bruce Robbins, Hap Tivey, Craig Kauffman, Blum Helman Gallery, New York International Exhibition: Artists Books, Centre de Documentacio Actual, Metronoma, Barcelona New Works of Contemporary Art and Music, Fruit Market Gallery, Edinburgh Georgia Collects, The High Museum of Art, Atlanta Four by Seven from the Vogel Collection, Ben Shahn Gallery, William Patterson College, New Jersey Given & Promised (Recent Acquisitions), The Metropolitan Museum of Art, New York The 20th Anniversary Exhibition of the Vogel Collection, Brainert Art Gallery, State University College of Arts and Science, Postdam; The Gallery of Art, University of Northern Iowa, Cedar Falls Yvon Lambert Présente 24 Artistes de sa Galerie, Jeanne Lafﬁtte, Marseille Twentieth Century Art from The Metropolitan Museum of Art: Selected Recent Acquisitions, Queens Museum, New York Art Works in the Collection of; On Loan; New Works, Graeme Murray, Edinburgh At the Serpentine, Serpentine Gallery, London From the Serpentine, Graeme Murray, Edinburgh

1985

1986

1987

1988

Livres d’Artistes, Centre Georges Pompidou, Paris Creative Time Beneﬁt Art Show, Christie’s, New York Group Show, Ronald Greenberg Gallery, St. Louis Abstract/Issues, Oscarsson Hood Gallery, New York Group Show of Parasol Press, Parasol Press, Sag Harbor Les Femmes et l’Abstraction Constructive, Galerie Denise René, Paris Drawing Acquisitions 1981-1985, The Whitney Museum of American Art, New York Trends in Geometric Abstract Art, The Tel Aviv Museum Drawings From the Collection of Dorothy and Herb Vogel, University of Arkansas at Little Rock, Department Art Galleries; The University of Alabama Mood Gallery of Art; The Pennsylvania State University Museum of Art Selected Recent Acquisitions, Museum of Contemporary Art, Chicago New York Scene, Galerie Liesbeth Lips, Amsterdam Lila Acheson Wallace Wing: 20th Century Art, The Metropolitan Museum of Art, New York Merce Cunningham Dance Foundation Beneﬁt Art Sale - 35th Anniversary of the Merce Cunningham Dance Company, Blum Helman Gallery, New York Schlaf der Vernunft, Museum Fridericianum, Kassel Works on Paper 1988, Martina Hamilton Gallery, New York L’Art Moderne à Marseille, La Collection du Musée Cantini, Musée Cantini, Marseille From The Collection of Dorothy and Herbert Vogel, Arnot Art Museum,

1989

1990

1991 1992

1993

1994

1995 1996 1997

Elmira; Terra Museum of American Art, Chicago; Art Museum at Florida State University, Miami Summer Group Show, Blum Helman Gallery, New York The Rigorous Imagination, Graeme Murray, Edinburgh Lines of Vision: Drawings by Contemporary Women, Hillwood Art Gallery, Long Island University Brookville, New York Group Show, Françoise Lambert Gallery, Milan Group Show, Galerie Mühlenbusch, Düsseldorf Works on Paper, Martina Hamilton Gallery, New York Summer Group Show, The Museum of Modern Art, New York Auf Papier, Galerie Gisele Linder, Basel Yvon Lambert Collectionne, Musée d’Art Moderne de la Communauté Urbaine de Lille, Villeneuve d’Ascq De Bonnard à Baselitz - Dix ans d’enrichissement au Cabinet des Estampes 1978/88, Bibliothèque Nationale, Paris Conceptualism and Postconceptualism, Museum of Contemporary Art, Chicago Series and Sequences: Contemporary Drawings and Prints the Permanent Collection, National Gallery of Art, Washington DC Proﬁl d’une Galerie, L.A.C., Sigean, (Artistes de Galerie Yvon Lambert) From Minimal to Conceptual Art: Works from the Dorothy and Herbert Vogel Collection, National Gallery of Art, Washington, D.C. Touch, Gilmour Gallery, London Une Constellation, Galerie Arnaud Lefebvre, Paris Prints, Galerie Gisèle Linder, Basel Heureux le Visionnaire, Maison Levanneur, Centre National de

1998

1999 2000

2001

l’Estampe de l’Art Imprimé, Chatou Thirty-ﬁve Years at Crown Point Press, National Gallery of Art, Washington, D.C.; Fine Arts Museums of San Francisco Women Artists in the Vogel Collection, Brenau University Galleries, Gainesville La Collection Yvon Lambert, Yokohama Museum of Art From Minimal to Conceptual Art: Works from the Dorothy and Herbert Vogel Collection, The Tel Aviv Museum of Art Drawings from the Permanent Collection, The Museum of Modern Art, New York Group Exhibition, The Rocket Press, Oxford American Art at Yale: Twenty-ﬁve Years of Collecting Drawing, Yale University Art Gallery, New Haven Femmes-Graveurs du XXe Siècle, Cabinet des Estampes et des Dessins, Liège I Biennale dell’Incisione Italiana Contemporanea ‘Città di Campobasso’ (Invited country: France), Palazzo d’Ovidio, Campobasso Prints and Drawings: Recent Aquisitions”, Corcoran Gallery, Washington, D.C. Decembre - Debre; Degottex; Gramatzki; Michaux; Molnar; Nemours; Pane; Renouf; Viallat; Wou Ki, Galerie Florence Arnaud, Paris Paper Assets, Collecting Prints and Drawings 1996-2001, British Museum, London Die Cabinette des Dr. Czerny Der Kosmos der Kunst im Spiegel der Sammlung Norli und Hellmut Czerny, Neue Galerie Graz am Landesmuseum Joanneum, Graz Summer, Joseph Helman Gallery, New York

2002 2003 2004

2005

2006

2007

2008

Pushing Paint Anne Appleby, Dorota Kolodziejczyk, Medrie McPhee, Edda Renouf, Susanna Starr, Joseph Helman Gallery, New York La Culture Pour Vivre, De Georges Braque à Aurélie Nemours, Centre Pompidou, Paris Exposition: Rendez-vous #4, Collection Lambert, Avignon Matisse to Freud; A Critic’s Choice The Bequest of Alexander Walker, British Museum, London Vingt Ans de Ma Galerie, Galerie Gisèle Linder, Basel New Acquisitions of Contemporary Art 1995-2004, Staatliche Kunsthalle Karlsruhe, Karlsruhe Contemporary American Prints, Addison Gallery of American Art, Andover Group Show, Riva Yares Gallery, Scottsdale Drawing Today – 2005, New Arts Gallery, Litchﬁeld Résonnances – Un choix dans les collections du Centre de la gravure et de l’image imprimée, Centre Wallonie-Bruxelles, Paris Message Personnel – Les 40 Ans de la Galerie Yvon Lambert, Galerie Yvon Lambert, Paris Focus: Artist Collections, The Museum of Contemporary Art of Georgia, Atlanta Summertime, Galerie Gisèle Linder, Basel Matisse to Freud, A Critic’s Choice, The Bequest of Alexander Walker, Hayward Gallery and British Museum, London; Touring Exhibition Museum Partnership UK Exhibition Small Works – Petits Formats, Galerie Arnaud Lefebvre, Paris Gifted: Recent Additions to the Permanent Collection, Delaware Art Museum, Wilmington Une Boite en Valise, Galeria Charpa, Espai d’Art, Gandia

30 Años de Arte y Artistas, Galeria Charpa, Universidad Politécnica de Valencia, Valencia Collected Thoughts: Works from the Dorothy and Herbert Vogel Collection, Indianapolis Museum of Art 2009 New York/New Drawings, 1946 – 2007, Museo de Arte Contemporaneo Esteban Vicente, Segovia JEFFMUTE, Mamco, Geneva elles@centrepompidou - artistes femmes dans les collections du Centre Pompidou, Centre Georges Pompidou, Paris Learn to Read Art: A History of Printed Matter, Badischer Kunstverein, Karlsruhe Art Protects, Yvon Lambert, Paris To Have it About You: The Dorothy & Herbert Vogel Collection, Frederick R. Weisman Art Museum, Minneapolis Learn to Read Art: A History of Printed Matter, P.S.1, Contemporary Arts Center, Long Island 2009- The Dorothy & Herbert Vogel 2012 Collection: Fifty Works for Fifty States, Oklahoma City Museum of Art, Oklahoma City; Columbia Museum of Art, Columbia; AlbrightKnox Gallery, Buffalo; Pennsylvania Academy of the Fine Arts, Philadelphia; Delaware Art Museum, Wilmington; Portland Art Museum, Portland; Boise Art Museum, Boise, Idaho; The High Museum of Art, Atlanta; University of Wyoming Art Museum, Laramie, Wyoming; Hood Museum of Art, Hanover, New Hampshire; Museum of Art Rhode Island School of Design, Providence, Rhode Island 2010 An Economy of Means: The Dorothy & Herbert Vogel Collection, University of Michigan Museum of Art, Ann Arbor

2011

The Primacy of Paper: Recent Works from the Collection, Museum of Art/ Rhode Island School of Design, Providence L’Emotion et la Règle, Musée des Beaux- Arts de Lyon Herb and Dorothy: A Glimpse into their Extraordinary Collection, Mississippi Museum of Art, Jackson Forms of Color, Galerie 1900 – 2000, Paris Living for Art: The Dorothy and Herbert Vogel Collection, Montclair Art Museum, Montclair American Painting: 1959 – 2009, The National Gallery of Art, Washington, D.C. Less is More: The Vogel Gift of Minimal and Conceptual Art, Cedar Rapids Museum of Art, Cedar Rapids, Iowa Berlin – Paris, Mehdi Chouakri, Berlin Picasso to Julie Mehretu – Modern Drawings from the British Museum Collection, The British Museum, London La Peinture Comme Territoire, Lille Métropole Musée d'art moderne, d'art contemporain et d'art brut, Villeneuve d'Ascq

2012

2013

Drawn / Taped / Burned: Abstraction on Paper, Katonah Museum of Art, Westchester County Exquisitely Modern: 50 Works from Herbert & Dorothy Vogel, Honolulu Academy of Arts, Honolulu Contemporary Collecting: Selections from the Judith Neisser Collection, The Art Institute of Chicago Contemporary Drawings from the Irving Stenn Jr. Collection, The Art Institute of Chicago Networks: Art and Artists from the Dorothy & Herbert Collection at the Spencer Museum of Art, Spencer Museum of Art, Lawrence, Kansas Alfabeti della mente, P420 – Arte Contemporanea e Libri, Bologna Living for Art: Gifts from the Dorothy & Herbert Vogel Collection, Phoenix Art Museum, Phoenix, Arizona Making a Mark: The Dorothy & Herbert Vogel Collection, New Orleans Museum of Art, New Orleans The Collecting Impulse: Fifty Works from Dorothy and Herbert Vogel, Blanton Museum of Art, Austin, Texas Women Artists / elles@centrepompidou, Paris, Seattle Art Museum, Seattle, Washington Ostinato, Maison de la Culture, Namur, Belgium

PUBLIC COLLECTIONS Akron Art Museum, Akron OH, USA Albright-Knox Art gallery, Buffalo, NY, USA Art Institute of Chicago, Chicago, IL, USA Australian National Gallery, Canberra, Australia Bibliothèque Nationale, Paris, France Boise Art Museum, Boise, ID, USA British Museum, London, United Kingdom Brooklyn Museum of American Art, Brooklyn, NY, USA Cedar Rapids Museum of Art, Cedar Rapids, IA, USA Centre Georges Pompidou, Musée National d’Art Moderne, Paris, France Centre de la Gravure et de l’Image imprimée, La Louvière, Belgium Cincinnati Museum of Art, Cincinnati, OH, USA Collection Lambert, Avignon, France Corcoran Gallery, Washington, DC, USA Dallas Museum of Fine Art, Dallas, TX, USA Detroit Museum of Art, Detroit, MI, USA FRAC Pays de la Loire, Carquefou, France Groupe Lhoist, Limelette, Belgique Harvard Universty Art Museums, Cambridge, MA, USA Hood Museum of Art, Dartmouth College, Hanover, NH, USA Honolulu Academy of Arts, Honolulu HI, USA High Museum, Atlanta, GA, USA Huntington Museum of Art, Huntington, WV, USA Indianapolis Museum of Art, Indianapolis, IN, USA Kemper Art Museum, Washington University, Saint Louis, MO, USA Kunstmuseum Winterthur, Switzerland Kiasma Museum of Contemporary Art, Helsinki, Finland LaM Lille Métropole, musée d’art moderne, d’art contemporain et d’art brut, Villeneuve d’Ascq, France Las Vegas Art Museum, Las Vegas, NV, USA Louisiana Museum, Humlebaek, Denmark Metropolitan Museum of Art, New York, NY, USA

Miami Art Museum, Miami, FL, USA Milwaukee HHK Foundation for Contemporary Art, Milwaukee, WI, USA Milwaukee Art Museum, Milwaukee, WI, USA MIT List Visual Arts Center, Cambridge, MA, USA Montclair Art Museum, Montclair, NJ, USA Museum of Contemporary Art, Chicago, IL, USA Museum of Contemporary Art, Los Angeles, CA, USA Musée Cantini, Marseille, France Musée de Grenoble, Grenoble, France Museum of Modern Art, New York, NY, USA National Gallery of Art, Washington, DC, USA Neuberger Museum, Purchase, NY, USA Neue Galerie Graz am Landesmuseum Joanneum, Graz , Austria New Orleans Museum of Art, New Orleans, LA, USA Philadelphia Museum of Art, Philadelphia, PA, USA Phoenix Art Museum, Phoenix, AZ, USA Power Art Institute of Australia, Sydney, Australia New York Public Library, New York, NY, USA Seattle Art Museum, Seattle, WA, USA Speed Art Museum, Louisville, KY, USA Spencer Museum of Art, Lawrence, KS, USA Staatliche Graphische Sammlung, München, Germany Staatliche Kunsthalle Karlsruhe, Karlsruhe, Germany St. Louis Art Museum, St. Louis, MO, USA Tel Aviv Museum of Art, Tel Aviv, Israel University Art Museum at Berkeley, CA, USA University of Michigan Museum of Art, Ann Arbor, MI, USA University Museum, Southern Illinois University, Carbondale, IL, USA University of Wyoming Art Museum, Laramie, WY, USA Walker Art Center, Minneapolis, MN, USA Whitney Museum of American Art, New York, NY, USA Yale University Art Gallery, New Haven, CT, USA

ISBN 1-904621-49-X

Catalogue © Annely Juda Fine Art / Edda Renouf 2013 Works © Edda Renouf Artist Statement © Edda Renouf 2010 Interview © Ian Hunt 2013 Printed by Advent, England