Alechinsky

the redfern gallery in collaboration with galerie birch

Pierre Alechinsky Seven Major Works 1969 – 1979 5 to 28 February, 2008

The Redfern Gallery

Galerie Birch

20 Cork Street · London w1s 3hl · uk Telephone +44 (0)20 7734 1732|0578 · Fax +44 (0)20 7494 2908 art@redfern-gallery.com · www.redfern-gallery.com

Bredgade 6 · dk - 1260 Copenhagen · Denmark Telephone +45 3311 1652 · Fax +45 3311 1684 galeriebirch@mail.tele.dk · www.galeriebirch.com

Photo: John Lefebre, New York

the redfern gallery in collaboration with galerie birch

Pierre Alechinsky Seven Major Works 1969 – 1979 5 – 28 February, 2008 at The Redfern Gallery, London

Pierre Alechinsky: The Gift of Spontaneity

Pierre Alechinsky’s early works were exhibited

The relationship between writing and drawing

through when, in the New York studio of his

under the banner of CoBrA, the group of radical

is fundamental to Alechinsky’s work, but it is also

friend, the Chinese American artist Walasse Ting,

artists and poets from Copenhagen, Brussels and

complicated. As a child at school his natural left-

he discovered acrylics. Oil paint had never suited

Amsterdam that briefly flourished between 1949

handedness was drummed out of him; he was forced

him, he later confessed, and indeed his earlier

and 1951. As a 22 year old he helped the Belgian

to write with his right hand, while ‘they let me keep

paintings in oils often seem to be born of a fierce

poet Christian Dotremont to produce the CoBrA

my left hand for drawing and for lesser things’.

struggle with the medium, as though he dislikes it.

journal and organised exhibitions, including the

(He retains the ability to write in reverse – mirror-

This is part of their power, they express the kind

group’s final show in Liège. CoBrA was his ‘school’,

writing, like Leonardo’s – without difficulty.) Per-

of visceral rage found in Asger Jorn’s seething can-

he later said, and he has remained faithful to its

haps out of rebelliousness against right-handed,

vases, populated with grimacing faces with des-

spirit of spontaneous expression, primitivism and

right-minded orthodoxies, he has sometimes drawn

perate eyes and gnashing teeth (behind which may

inter-disciplinary collaboration throughout a long

and painted over old legal documents and notary’s

be discerned the sardonic humour of the great

and prolific career. He has often collaborated with

deeds, testaments, certificates, contracts, record

Belgian satirist James Ensor).

his CoBrA friends, Asger Jorn, Karel Appel and

books and bundles of correspondence bought in

Dotremont, on paintings, drawings, prints and

flea markets and second-hand bookshops.

After 1965, Alechinsky abandoned oils and drew and painted largely with ink and acrylics, usually on paper, which he later laid onto canvas. The arche-

illustrated books of poetry.

A Turning Point

typal imagery of CoBrA, the snakes, faces, birds,

me to painting. I became a painter through printing.’

In 1955, Alechinsky travelled to Japan to make what

plants and monsters, is now rendered with a new

Alechinsky initially studied book illustration and

would be a prize-winning film about avant-garde

exuberance, fluency and good humour. In these

typography and when he moved to Paris in 1952,

calligraphy, and this marks a turning point. The

first acrylic paintings, he introduced another formal

he joined S.W. Hayter’s printmaking studio L’Atelier

poise, freedom and eloquent gestures of the Japa-

element, the comic strip. The seminal work of this

17 to learn engraving and lithography. An intense

nese calligraphers, their simple means – soft brushes,

period, Central Park (1965), contains fifty turbulent

engagement with print and the word has been a

black ink and hand-made papers – and their practice

small black and white scenes framing the central

strong current in his work over fifty years; he has

of painting on the horizontal, all inspired an artist

image, the former drawn in brush and ink, the latter

produced over a thousand prints – lithographs,

already disposed to improvisation and in the habit,

in acrylics (both water-based and quick-drying).

etchings and engravings – and many books. And

as a printmaker, of viewing the image from above.

The marginal drawings seem to offer alternative

he is himself a lucid and vivacious writer.

In 1959, he started to paint on large canvases laid

scenarios, any one of which could have been chosen

flat on the floor, and in 1965 came a further break-

to preside over the others through enlargement and

‘Printing (books), paper and ink (engravings) led

a flash of colour. Many of them contain a pair of

in a dynamic, unified whole. Line is the primary

to a new academicism: ‘After Pollock, what is the

double-eyed face in the lower right corner is as

to the significance of chance, Alechinsky’s play-

thing I had ever seen to what I was doing with

figures or creatures or plants, devouring or embrac-

force, snaking, coiling, ragged or abrupt, defining

meaning of all those kilometres of canvas painted

close to the human as anything in these seven

fulness disguises the fact that ultimately he is

those self-generative little shapes’. The freedom

ing each other, or entangled in a dynamic dance of

the imagery, the composition and the atmosphere.

in the same way as his, and of the accumulation of

paintings). Blue prevails in much of Alechinsky’s

deeply serious and conscious of the issues facing

to paint without pomposity is a rare gift, and

life or death. Central Park is a kind of manifesto,

When colour appears, it heightens the emotional

endlessly gigantic paintings?’ By contrast, like his

work – a Delft blue perhaps, or a watery blue like

the contemporary painter. ‘Being a painter means

Alechinsky’s vigorous imagination liberates the

against the solemnity of classical art, a celebration

impact without diminishing the urgency of the

fellow Parisian, the Surrealist Matta, he continued

Sam Francis’. In fact he tends to draw in blue rather

avoiding fashion’, he said, and he often stands in

viewer too, momentarily. The underworld is

of the unruly imagination of the intuitive artist

image. Both colour and line are products of the

to affirm the power of the image: ‘…Pictures have

than in black as one might expect. Black, when it

opposition to the dominant trends: for example,

teaming with improbable lives.

and the cartoonist. It is a blueprint for much of

same hand and the same swift energy. ‘Now I try to

emerged from my fingertips which I could have

does appear – in Not Far from the Beginning – shocks,

while American modernist painters were flirting

the imagery that appears in his paintings over the

paint as I draw. I try not to give it more importance.

stopped at what we might call the abstract stage,

is aggressive, negative; whereas blue invites harmo-

with or denying the edges of the canvas in the 1960s,

following years.

I tell myself: this is only a piece of canvas, it’s of

with blotches of colour, but I had to make them

nies, whether greens or purples or violent reds,

Alechinsky emphasised the edges by framing his

no more importance than this piece of paper. It’s

specific, setting two eyes here, a female figure

is positive and life-affirming and open to sharing

images with recklessly painted freehand borders,

I paint as I draw

a question of expressing oneself, of telling things.

there, and over there making the idea of an animal

pictorial space.

integral to the composition. In Consultant consulté

This period coincides with the growth of under-

The characters and the images come in throngs

appear …’

ground comics in America, with Robert Crumb

now, they emerge from tunnels, from long corridors,

The two blue creatures conversing in Consultant

the frame bristles absurdly with hairs or spikes,

consulté do so against a ground of reversed news-

while in other works it is splashed with spots like

print painted over with a veil of white, reminding

footprints. The picture within the frame is acting up as if on a stage.

and Gilbert Shelton, as well as their ‘high art’

from inextricable galleries, they snake and jostle

Freedom and Control

contemporaries, Philip Guston and Oyvind Fahl-

one another … A mark, a line turns into a monster

The analogy with jazz is obvious – the tune,

us of Alechinsky’s fascination with text as a pictorial

strom. Alechinsky’s comic-strip imagery is usually

with mouth open, a tongue becomes a fragment

possibly quite banal, holding together a welter of

element. Handwriting is for him akin to drawing,

ambiguous, however; while there may be eyes, teeth,

of calligraphy … One does not choose a content,

sounds that at times deviate wildly, while at others

expressing on a deep unconscious level the person-

A Gift for Spontaneity

snakes and tunnels in abundance, he never settles

one is subjected to it.’ (‘Conversation dans l’atelier’,

settle into harmonious conformity. The tension

ality of the writer or draughtsman. Authorship

While Alechinsky’s singularity sets him apart

into a formulaic language of characters and symbols:

Jacques Putnam, L’Oeil, October 1961)

between freedom and control, impulse and fine

is key to these images, they are not offered as a

from fashion, the relevance of his spontaneous

judgement, is the real theme and what makes the

universal language to be picked up and handed on

creations should not be underestimated. The

the images seem to erupt unconsciously and are

From the mid-‘60s Alechinsky generally spent

held suspended on the edge of recognisable form.

a month each year in New York. He is one of a

undertaking serious. Alechinsky has played the

across generations, but as a unique interpretation

pattern of influences in art history is not always

And although his marginal drawings superficially

handful of European painters whose work bridges

clarinet for many years, and his connection with jazz

of life. Expressionism always calls for faith in the

tidy and unexpected relationships spring up

resemble a conventional comic strip, there is little

the Atlantic, fusing the poetics of ‘psychic auto-

is explicitly referred to in the title of one of the works

authenticity of the artist, and this is not merely

between artists of different generations. The

trace of narrative progression; all the scenes in each

matism’, intimate and revelatory, with the expan-

here, Blue Note. This painting, with its liquid blue

a moral demand, but a technical prerequisite. For

American graffiti artist Keith Haring, for example,

sequence seem to be occurring simultaneously.

siveness and physical freedom of American

coiling lines, confirms Alechinsky’s originality and

expression to be meaningful, the artist must be in

grew up drawing cartoons in Pittsburgh and

action painting. Abstract expressionism’s denial

boldness as a colourist as well as an inventor of

complete control. Every mark must be intended,

encountered Alechinsky’s exhibition at the

of pictorial imagery, however, seems to him to lead

fantastical beings, part animal, part plant (the

every splash of colour noticed and approved. Alert

Carnegie Institute in 1977. It was ‘the closest

Marrying the two media of ink and acrylics enabled Alechinsky to unite drawing and painting

Roger Malbert

Blue Note 1969 Acrylic on paper laid on canvas Signed, titled and dated on reverse 100 153 cm

“ Painting is for Alechinsky to find a rhythm, to lose himself, to go where the brush leads him, not to stem the flow which, when all goes well, materializes on a sheet of paper.

One has to be ready to respond to everything which may happen during one’s work.

To control gently. Not to force anything. On the contrary to seek the happy chance … all attention centred on a dream which unrolls before him and to which he responds with improvisations like a jazz musician.”

Jacques Michel, Le Monde, March 6 1975

L’Age d’Orange 1970 Acrylic on paper laid on canvas Signed, titled and dated on reverse 115 151 cm

“A number of sketches are of orange peels, tormented by heat, sometimes flaring up into ashes. ‘My hand starts. Nobody is there. The field has not been mapped out.

My mind follows my eyes. No complicity there. Encouragement: None. If a line falters, it is my fault.’ ” Jacques Putman & Pierre Alechinsky, 1967

Dragonnade 1971 Acrylic on paper laid on canvas Signed, titled and dated on reverse 115 153 cm

“evocations through violet: memories of school. The inkwell in the desk, smelly, grimy. through blue: small pieces of distance. The hollow of water. Paleness. Daytime. through green: in movement, the height of the wave. Fringes. through red: a vigour. A seal that means nothing apart from pleasure. through white: place. Absence. Forbidden to touch. Carry on regardless.�

Pierre Alechinsky, Roue libre, 1971

Bestiaire Décoratif 1973 Acrylic on paper laid on canvas Signed, titled and dated on reverse 114 154 cm

“Art is an expression of the will to live … a painting is not a construction of colour and lines; but an animal, a night, a scream of a human being, or all of these.”

The CoBrA Manifesto, 1948

Russule 1976 Acrylic on paper laid on canvas Signed, titled and dated on reverse 100 154 cm

“I am not exaggerating when I say that Alechinsky is the only painter of the group who will develop all the premises set forth by CoBrA. He has the spirit of conquest that does not become trapped by excess or inhibition, a thirst for freedom that is (not only) profound but pleasure-bent, an attitude that neither excludes fantasy nor reality … He is driven to create new myths to record our times, without ever being satisfied with just taking an inventory. A body of work that overflows into many fields.

There is something new in the West!”

Jacques Putman, 1967

Not Far from the Beginning 1978 Acrylic on paper laid on canvas Signed, titled and dated on reverse 102 152 cm

“This is his secret: He will not sacrifice the totality, which surrounds a given object, a place or time.

Everything is there. Because if Alechinsky is painting the garden of man, he is not about to allow us to drown comfortably in the liquid idyll of paradise ‌ The poisonous and pleasurable gardens of Alechinsky are a reminder that the Golden Age was never lost because it was always contaminated and that the things which would later kill us were already hiding in Paradise. Why than this mad, insistent nostalgia? Alechinsky has no answer. Or rather; he has the supreme answer of the artist: He does not represent the garden, he creates it.�

Carlos Fuentes, 1979

Consultant Consulté 1979 Acrylic on paper laid on canvas Signed. Signed, titled and dated on reverse 100 153 cm

“Alechinsky is at one and the same time the painter, the fishing rod and its hook, the river water and its fish. I notice I have just said that his work is a synthesis – no, I don’t like that word; it is rather a meeting of the interior and exterior. These two collide in his work and both are affected as a result. The dents that emerge are the outcome of this collision.”

Eugène Ionesco, 1977

Pierre Alechinsky Biography

1927 Born 19th October in Brussels.

1944 Studies typography and book illustration at the École Nationale

Major solo exhibitions

1966 Awarded the Prix de la Triennale de la Gravure, Belgium, and Prix de la Biennale Internationale de la Gravure, Krakow. André Breton selects Central

Supérieure d’Architecture et des Arts Décoratifs (La Cambre) in Brussels.

Park for L’Écart absolu, the Eleventh International Exhibition of Surrealism,

He begins to paint.

Paris. Idéotraces, containing 85 drawings from 1960-64, is published.

1947 Travels to Morocco and Yugoslavia. Joins the group ‘Jeune Peinture Belge’.

1968 Awarded the Grand Prix Marzotto-Europe pour la Peinture, Italy.

1949 Marries Michèle (Micky), daughter of Belgian painter André Dendal.

1970 Luc de Heusch films Alechinsky d’après nature.

1986 Awarded the Herbert Boeckl Prize, Salzburg.

1947 First solo exhibition, Galerie Lou Cosyn, Brussels.

1988 Travels to China. Exhibits in School of Fine Arts, Beijing. Sets up studio

1960 First of 18 solo exhibitions at the Lefebre Gallery, New York (until 1986).

in Provence.

1991 Appointed as member of the jury for the Prix Fénéon (until 2003).

Executes Flora Danica, a series of ink drawings on rare unbound plates.

1992 Decorates the entrance to the Ministry of National Education, Paris.

Creates Research Centre, an artists’ collective for CoBrA in the Ateliers

1971 Travels to Norway observing waterfalls.

du Marais, Brussels. Goes on to make prints.

1972 Exhibits at the Belgian pavilion at the 36th Venice Biennale.

1993 Decorates the rotunda linking the Hôtel de Lassay and the Palais Bourbon.

1974 Travels to Lapland and Sweden. Resides with Bengt Lundström working

1994 Receives honorary doctorate from Université Libre de Bruxelles. Executes

1951 Organises and participates in the second and last CoBrA exhibition at the Palais des Beaux-Arts in Liège. Leaves Brussels for Paris.

1952 Studies etching technique with Stanley William Hayter at Atelier 17 in Paris.

1953 Joins the committee for the Salon Octobre. Acts as technical director of the first edition of Phases. Organises an exhibition of Atelier 17, which tours to Amsterdam, Rotterdam, Brussels, Copenhagen, and Florence.

1955 Travels in Japan. Directs Calligraphie japonaise filmed in Kyoto and Tokyo.

1957 Ink mural for the Cinémathèque française, Paris. Illustrates the Dotremont book Vue, Laponie with former CoBrA artists Jorn, Appel, and Corneille.

1958 Invited to the Board of Directors of the Salon de Mai, Paris. Contributes to Daily-Bûl, La Louvière.

1960 Awarded the Hallmark Prize, New York.

1961 Travels to the USA for an exhibition at the Carnegie Institute, Pittsburgh.

First visit to New York, resides at the Chelsea Hotel and later with Walasse Ting.

1962 Collaborates with Ting on a series of paintings peintures à quatre mains.

1963 Alechinsky, Appel, and Ting are the subject of Encre, a film by Jean Cleinge about the art of lithography. First lithograph with Peter Bramsen, L’Atelier Clot, Paris.

at his studio in Sundsval.

1975 Knud Jensen allots Alechinsky a permanent exhibition space at the Louisiana Museum of Modern Art, Denmark.

1976 Executes Sept écritures with Christian Dotremont, a mural decoration for the metro in Brussels.

1977 Awarded the first Andrew W. Mellon Award, which is accompanied by an exhibition at the Museum of Art, Carnegie Institute in Pittsburgh.

Unleafables with Hans Spinner, writings and brush drawings on porcelain ‘books’.

1995 Zoek de Zeven with Hugo Claus, decoration with enamel wash at the ruca in Antwerp. Commissioned to design a postage stamp for Belgium.

1997 Publishes Remarques marginales (Gallimard). Subject of a film, The Eye of a Painter, by Piere Dumayet shot in Paris, Bougival, and Provence.

1999 Appointed Knight of the Dannebrog, Denmark. Brush Thoughts in homage

1979 Sets up studio near East River in New York (until 1994).

to Asger Jorn – mural with enamel wash at the Silkeborg Kunstmuseum,

1980 Travels to Mexico.

Denmark. Decorates the entrance of the Théâtre de la Place des Martyrs

1983 Appointed as professor at École Nationale Supérieure des Beaux-Arts,

in Brussels. Travels to Mexico.

Paris (until 1987).

1984 Awarded Grand Prix National des Arts et Lettres pour la Peinture, Paris.

1985 First rubbings of so-called ‘street furniture’. Alchinsky and Bramsen are the subject of Peter & Pierre, a film by O.H. Hansen on the art of lithography at L’Atelier Clot in Paris. Decorates the waiting room of the Ministry of Culture, Paris 1987 Margin and Center, a major retrospective of paintings with marginal remarks to coincide with the artist’s 60th birthday at the Solomon R. Guggenheim

1964 Contributes illustrations to One Cent Life Life by Walasse Ting.

Museum, New York. Jean Antoine films Alechinsky in New York for Belgische

1965 Begins to use acrylic paint whilst staying in New York with Ting. Paints

Radio en Televisie. Appointed as associate of the Académie Royale de

Central Park, his first painting with ‘marginal remarks’. Travels to Mexico.

Publishes Lettre suit (Gallimard).

Belgique.

2000 In celebration of the Millennium, decorates 54 unique Sèvres pieces for ‘small place settings’ at the Élysée Palace, Paris. Decorates the foyer of the Ateliers du Théâtre de Royale de La Monniaie, Brussels.

2002 Alechinsky. The Complete Books (Ceuleers & van de Velde, Antwerp) is published.

2006 Subject of Alechinsky et Gironella, a film shot in Provence by Coline Beuvelet.

2007 Alechinsky from A to Y, a major retrospective to coincide with the artist’s 80th birthday at the Musées royaux des Beaux-Arts de Belgique, Brussels.

1961 Room of honour at Carnegie International, Carnegie Institute, Pittsburgh.

1964 First of 11 solo exhibitions at the Galerie Birch, Copenhagen (until 1987).

1965 Exhibition with forty paintings from American collections at The Arts Club in Chicago, which tours to Minneapolis and New York.

1969 Retrospective, Palais des Beaux-Arts, Brussels, tours to Denmark and Germany.

1975 Ten Years of Acrylic Painting, Boymans van Beuningen Museum in Rotterdam and Musée d’Art Moderne de la Ville de Paris. Alechinsky at the Print Shop at Musée National d’Art Moderne – Centre Georges Pompidou, Paris.

1977 Retrospective at the Carnegie Institute, Pittsburgh.

1978 First retrospective of drawings, Musée National d’Art Moderne – Centre Georges Pompidou, Paris.

1980 Retrospective at the Kestner Society, Hanover. Retrospective of drawings at the Museo de Arte Moderno de Mexico City.

1981 A Print Retrospective, The Museum of Modern Art, New York.

1987 Margin and Center, a major retrospective at the Solomon R. Guggenheim Museum, New York.

1993 Retrospective based on Central Park, Saarland Museum in Saabruck, Germany.

1998 Retrospective in Paris at Galerie Nationale du Jeu de Paume, which tours to Norway, Mexico, Spain, and Belgium. Retrospectives at Musée d’Art de d’Histoire, Geneva, and Le Centre de la Gravure, La Louvière in Belgium.

2004 Awarded Prix André Malraux for publication Des deux mains. Retrospective, Dessins de cinq décennies, at the Print Room of the Centre National d’Art et de Culture Georges Pompidou, Paris.

2006 Retrospective at the Carl-Henning Petersen & Else Alfelts Museum in Denmark. Exhibition at the Maison René Char in l’Isle sur la Sorgue together with the launch of Alechinsky: Sources et resurgences by Daniel Abadie (Hazan).

2007 Alechinsky from A to Y, major retrospective at the Musées royaux des BeauxArts de Belgique, Brussels.

Pierre Alechinsky Seven Major Works 1969–1979

Selected Public Collections

argentina: Museo Nacional de Bellas Artes, Buenos Aires. australia:

Turin; Peggy Guggenheim Collection, Venice. japan: Iwaki City Museum,

The Power Institute of Fine Arts, University of Sydney. austria: Sammlung

Fukushima; Ohara Museum of Art, Kurashiki; The National Museum of Modern

Essl - Kunsthaus, Klosterneuburg; Bawag Foundation, Vienna. belgium:

Art, Kyoto; Bridgestone Museum of Art, Tokyo; National Museum of Modern Art,

Koninklijk Museum voor Schone Kunsten, Antwerp; Gouvernement Provincial

Tokyo. mexico: Museo de Arte Moderno, Mexico City; Tamayo Foundation.

de la Flandre Occidentale, Bruges; Groeninge Museum, Bruges; Bibliothèque

the netherlands: CoBrA Museum, Amstelveen; Peter Stuyvesant Founda-

Royale, Brussels; Dexia Art Gallery, Brussels; Musée d’Art Moderne Bruxelles,

tion, Amsterdam; Stedelijk Museum, Amsterdam; Dordrechts Museum; Stedelijk

Brussels; Musée d’Ixelles - Museum van Elsene, Brussels; Stedelijk Museum

Van Abbe Museum, Eindhoven; Frans Hals Museum, Haarlem; Gemeente-

voor Actuele Kunst, Gent; Le Centre de la Gravure et de l’Image imprimée de

museum Den Haag, The Hague; Gemeentemuseum Helmond - Boscotondohal,

la Communauté française de Belgique, La Louvière; Musée d’Art Moderne et

Helmond; Boymans Van Beuningen Stichting Museum, Rotterdam; Stedelijk

Contemporain, Liège; Museum Voor Moderne Kunst, Ostend; Musée Communal,

Museum, Schiedam; Museum Hedendaagse Grafiek (Museums Vledder),

Verviers (Liège). bosnia-herzegovina: Museum of Contemporary Art, Banja

Vledder. norway: Bergen Kunstmuseum; Henie Onstad Art Centre, Høvik-

Luka. brazil: Museu de Arte Contemporânea da Universidade de São Paulo.

odden; Tale Art Museum, Lillestrøm; Nasjonalgalleriet, Oslo. poland: Museum

canada: Musée d’art contemporain de Montréal, Quebec; National Gallery of

of Modern Art, Warsaw. republic of macedonia: Museum of Contemporary

Canada - Musée des beaux-arts du Canada, Ottawa, Ontario. denmark: Nord-

Art, Skopje. republic of slovakia: Danubiana Meulensteen Art Museum,

jyllands Kunstmuseum, Aalborg; New Carlsberg Foundation, Copenhagen;

Bratislava. south korea: Daelim Contemporary Art Museum, Seoul. spain:

Louisiana Museum of Modern Art, Humlebaek; Randers Kunstmuseum;

Fundació Joan Miró, Barcelona; Museo Nacional Centro de Arte Reina Sofía,

Silkeborg Kunstmuseum. france: frac - Picardie, Amiens; Artothèque de

Madrid. switzerland: Musée Jenisch, Vevey. united states: Museum of

Caen; Lieu d’art et action contemporaine de Dunkerque; Musées de Lorraine;

Art, University of Michigan, Ann Arbor; Baltimore Museum of Art; Albright-Knox

frac - Provence-Alpes-Côte d’Azur, Marseille; Musée Cantini, Marseille;

Art Gallery, Buffalo; University Art Museum, University of California, Berkeley;

Bibliothèque nationale de France, Paris; Centre National d’Art Contemporain,

Canton Museum of Art; Arts Club of Chicago; Ruth Chandler Williamson Gallery

Paris; Cinémathèque française, Paris; Musée d’Art Moderne de la Ville de Paris;

at Scripps College, Claremont; Museum of Fine Arts, Houston; Los Angeles

Musée d’Art Moderne de Saint-Etienne; Manufacture Nationale de Porcelaine

County Museum of Art; Museum of Contemporary Art, Los Angelos; Chazen

de Sèvres; Musée d’Art moderne et contemporain de Strasbourg; Les Abattoirs de

Museum of Art, University of Wisconsin, Madison; Walker Art Center, Minne-

Toulouse; Musée d’Art Moderne, Lille Métropole, Villeneuve d’Ascq. germany:

apolis; Museum of Modern Art, New York; Solomon R. Guggenheim Museum,

Nationalgalerie, Berlin; Kunsthalle Bremen; Artothek Köln, Cologne; Museum

New York; Philadelphia Museum of Art; Phoenix Art Museum; Carnegie

Ludwig, Cologne; Museum der Stadt, Darmstadt; Kunsthalle in Emden; Sprengel

Institute, Pittsburgh; David Winton Bell Gallery, Providence; Larry Aldrich

Museum, Hanover; Städtisches Museum Abteiberg, Mönchengladbach. great

Museum, Ridgefield; Fine Arts Museums of San Francisco; City Museum,

britain: Tate, London. israel: The Israel Museum, Jerusalem; Tel Aviv

St. Louis; Saint Louis University Museum of Art; Arizona State University Art

Museum of Art. italy: Galleria Nazionale d’Arte Moderna, Rome; Museo Civico,

Museum, Tempe; Hirschhorn Museum and Sculpture Garden, Washington, dc.

Text by Roger Malbert, Senior Curator, Hayward Touring Exhibitions, London Edited by Tod Alan Spoerl, Copenhagen and Rhiannon Flemming, London Designed by C-H K Zakrisson, Polytype, Copenhagen Photography by Rodney Todd White & Sons Ltd, London and Jens Hammer, Copenhagen Printed by Healeys Printers, Ipswich isbn 0-948460-18-0

the redfern gallery 20 Cork Street, London w1s 3hl, uk Phone +44 (0)20 7734 1732|0578 Fax +44 (0)20 7494 2908 art@redfern-gallery.com www.redfern-gallery.com galerie birch Bredgade 6, dk - 1260 Copenhagen, Denmark Phone +45 3311 1652 Fax +45 3311 1684 galeriebirch@mail.tele.dk www.galeriebirch.com