Basel Brochure 2015 by Dominique Lévy

Art|Basel 2015 Booth G14 Unlimited 2015 Günther Uecker

Cover (detail) and opposite: Frank Stella Black Study I, 1968 Collage, drawing, paint, and printing on paper 19 5 / 8 × 39 5 / 8 inches (50 × 100 cm) © 2015 Frank Stella / Artists Rights Society (ARS), New York Photo by Michael Tramis

This page: Pablo Picasso Le peintre au chapeau, 1965 Oil on canvas 28 5 /16 × 23 3 /4 inches (73 × 60.3 cm) © 2015 Estate of Pablo Picasso / Artists Rights Society (ARS), New York Photo by Tom Powel Imaging, Inc.

About the Gallery

Dominique Lévy, Photo by Zenith Richards

Gallerist, advisor, and collector Dominique Lévy formed her eponymous gallery in January 2013. She is the founder of the Private Sales department at Christie’s and was its International Director from 1999 to 2003. In 2003, she founded Dominique Lévy Fine Art, a boutique art advisory service with a focus on building long-term relationships with collectors. In 2005, Lévy co-founded L&M Arts, New York and Los Angeles. The bi-coastal gallery provided comprehensive client art services and organized historically important exhibitions of modern and postwar art such as Tanguy Calder: Between Surrealism and Abstraction (2010) and Tom Wesselmann: The Sixties (2006), as well as new work by such artists as David Hammons and Paul McCarthy. Dominique Lévy specializes in twentieth-century European and American art — including the works of Alexander Calder, Willem de Kooning, Alberto Giacometti, Yves Klein, Pablo Picasso, and Andy Warhol, among others — with a program that explores global tendencies in modern and contemporary art through curated exhibitions, original scholarship, and new publications. The gallery currently represents the Estate of Yves Klein, the Estate of Roman Opalka, and the Estate of Germaine Richier in the United States, as well as artists Enrico Castellani, Boris Mikhailov, Frank Stella, Pierre Soulages, and Günther Uecker. With offices in New York, London, and Geneva, the gallery also oversees private sales in the secondary market; provides advisory and collection management services; and participates in art fairs internationally, including the Biennale des Antiquaires in Paris, Frieze Masters in London, and all three Basel art fairs — Miami Beach, Hong Kong, and Switzerland. In September 2013, Dominique Lévy Gallery opened its space in the landmark building at 909 Madison Avenue in Manhattan with the critically acclaimed exhibition Audible Presence: Lucio Fontana, Yves Klein, Cy Twombly, which was accompanied by the first public performance in New York of Yves Klein’s seminal “Monotone-Silence” Symphony. The gallery published a catalogue to accompany the exhibition, featuring

This page: Barbara Hepworth Curved Forms (Pavan), 1956 Patinated plaster on aluminum armature 23 1/ 4 × 35 7/16 × 23 5 / 8 inches (59 × 90 × 60 cm) © Bowness, Hepworth Estate Photos by Patrick Goetelen Opposite: Christopher Wool Untitled (P 583), 2009 Silkscreen ink on linen mounted on aluminum 126 × 96 inches (320 × 243.8 cm) © Christopher Wool Photo by Nick Knight

original essays by leading scholars, historical texts by each artist, as well as photographs and ephemera uncovered at various international archives, including the Yves Klein Archives in Paris and the Archivo Ugo Mulas in Milan. In 2014, Dominique Lévy presented the first monographic exhibition of Germaine Richier’s work in the United States in over fifty years, followed by new paintings from Pierre Soulages, juxtaposed with postwar masterworks. Director Begum Yasar curated the summer show titled “Hypothesis for an Exhibition”, which was a collaborative artists’ project inspired by the work of the Italian conceptualist Giulio Paolini. For the fall, Dominique Lévy presented Roman Opalka: Painting ∞, an overview of the French-born Polish artist’s historic career. In October 2014, Dominique Lévy expanded to London, opening a location at historic 22 Old Bond Street, steps from the Royal Academy of Arts in the city’s Mayfair district. Much like the gallery’s Manhattan home in a designated landmark building, Dominique Lévy London occupies a floor within an historic building constructed by the Duveen family in the 19th century, based upon the design of a favorite palazzo in Venice. In a space that once housed showrooms for the most influential art dealers of their age, Dominique Lévy extends its program of curated exhibitions devoted to historical figures and living artists. Dominique Lévy London is under the direction of Lock Kresler, Senior Director Europe, who formerly served as Christie’s Director and Head of the Private Sales Department for Post-War & Contemporary Art. Working closely with Mr. Kresler is Eloise Margoline, Associate Director Europe. The gallery’s inaugural exhibition, Local History: Castellani, Judd, Stella, took place concurrently in London and New York from October 2014 to January 2015. Local History was organized by noted curator and art historian Linda Norden, with Peter Ballantine, who is regarded as a leading expert in the work of Donald Judd and was one of the artist’s long-time fabricators. A comprehensive exhibition catalogue accompanied the transatlantic exhibition. Body and Matter: The Art of Kazuo Shiraga and Satoru Hoshino, the first exhibition pairing the paintings of important Gutai artist Kazuo Shiraga with the work of Satoru Hoshino, a prominent sculptor in avant-garde postwar Japan, was on view in New York earlier this year. The fully illustrated exhibition catalogue features poetic writings by both artists as well as original essays by curator Koichi Kawasaki and noted art historian John Rajchman. In collaboration with Axel Vervoordt Gallery, Dominique Lévy simultaneously published the first definitive English-language monograph on Shiraga’s art, Kazuo Shiraga, which offers leading research and scholarship on the artist’s work.

Opposite: Alberto Giacometti Tête de Diego au col roulé (Bust of Diego with Turtleneck), c. 1951 Painted bronze 13 3 / 4 × 12 3 /16 × 6 11/16 inches (35 × 31 × 17 cm) © 2015 Alberto Giacometti Estate/ Licensed by VAGA and ARS, New York, NY Photo by Tom Powel Imaging, Inc. This page: Marlene Dumas Tired Woman, 1991 Oil on canvas 23 5 / 8 × 19 11/16 inches (60 × 50 cm) © Marlene Dumas Photo by Arthus Boutin

The second exhibition in the London gallery, Sotto Voce, mapped the progression of the abstract white relief over time and geography through a group of international artists including Henri Laurens, Sergio Camargo, Jean Arp, Ben Nicholson, Lucio Fontana, Piero Manzoni, Enrico Castellani, Fausto Melotti, and Günther Uecker, among others. Currently on view in New York, Alexander Calder: Multum in Parvo is an exhibition of over forty rare small-scale sculptures by the artist, installed in an environment conceived for them by the internationally admired architect Santiago Calatrava. The accompanying publication features archival material and sketches by Calatrava, as well as essays by Jed Perl, art historian and author currently at work on the first fulllength biography of Alexander Calder, and Paul Goldberger, Pulitzer Prize-winning architecture critic, as well as poems by Karl Shapiro and John Updike. Alexander Calder: Primary Motions is currently on view in London. An echo of the exhibition of Calder’s miniature works on display in New York, the gallery features one monumental mobile which measures more than two meters high by four meters long. Dominique Lévy Gallery is widely known for its passionate connoisseurship, as well as rigorously researched and curated exhibitions of historical figures and movements. The gallery is pleased to participate in its third Art Basel this year, on view at Booth G14.

Grisaille

1. Katherine Brinson, “Trouble is my Business,” in Christopher Wool, exh. cat. (New York: Solomon R. Guggenheim Museum, 2014), 47.

In 1625, Baroque painter Peter Paul Rubens wrote that he was creating an oil sketch of the Graces using opalescent gray and warm brown hues — “en grisaille et non couleurs” — thus giving name to the practice of intentional chromatic reduction in painting and sculpture. This technique can be traced to the 1300s, when classical statues in noble, simple white marble were found and erroneously assumed to have been made that way deliberately. Working in grayscale has variously been referred to as chiaroscuro, camaïeu, cendrée, and steinfarben, a German term used by Dürer, meaning “stone colored.” Because of its restrained, somber tone, gray is often used to convey melancholy, solemnity, infinity, elegance, neutrality, and absence. However, it is also full of diaphanous light and intensity, power and presence. The color of both the mountain covered in impermeable fog and the concrete urban cityscape at dusk, gray instills in the viewer a sense of aching, melancholic sublimity. Dominique Lévy’s booth at Art Basel showcases works in varying tones of gray, focusing on achromaticity throughout postwar and contemporary art, and especially highlighting artists for whom gray was at the apotheosis of their practice. When pressed on his use of grays, browns, and whites, Alberto Giacometti famously asked, “If I see everything in gray, and in gray all the colors which I experience . . . why should I use any other color?” In Giacometti’s Tête de Diego au col roulé, a painted bronze bust of the artist’s brother Diego, Giacometti departs from his previous elongated forms to find a new starting point for creating sculpture from life, employing a wash of muted sepia over the taut proportions of the modeled bronze. The work of two postwar painters whose work falls at opposite ends of the tonal spectrum is on view: a collaged mixed-media print Frank Stella made after his Black Paintings, as well as an early painting by Robert Ryman. Though chromatically distant, both Stella and Ryman used monochrome, paradoxically, to open up the possibilities available for an exploration of the medium of painting. Of this, Stella famously remarked that, in his painting, “What you see is what you see,” and chose to paint in black in order to deliberately distance himself from the emotional melodrama of Expressionist works, especially those that appealed to transcendence. In Stella’s oeuvre, black stands only as itself: it is a blank signifier. Black Study I was made while the artist was in residence at Kenneth Tyler’s print studio, Gemini G.E.L. in Los Angeles, CA, and is comprised of four collaged and hand-manipulated prints from Stella’s lithograph Black Series, which were conceived as “album prints,” providing an intimate record of the earlier black paintings. In Christopher Wool’s work, gray is emphatically neither black nor white, but exists as a new zone of emotive indeterminacy. In his gray paintings, which he began to produce in 2000, each new set of lines is smothered in hazy veils of wiped gray with further layers sprayed on top, to the point where distinguishing among the various imbrications becomes impossible. When asked in an interview to explain his use of erasure in various forms, Wool responded with four words: change, doubt, indecisiveness, and poetry. The silkscreen surface of Untitled (P 583) (2009), made later in the series, is comprised of photographs of previous gray paintings by the artist. The literal loss enacted by the physical wiping away of paint and the information loss inherent to the act of digital reproduction endows Untitled (P 583) with what curator Katherine Brinson has called “the character of a lamentation, chiming with the potent strands of angst and melancholia that have always run close to the surface of Wool’s work,”1 despite its impassive feigning of apathy. Limited to only the sparest palette, the monotone work evinces the awe and emotion an artist is capable of producing with the greatest economy of means. Picasso purged

Alexander Calder The Handshake and The Fishtail, 1959 Painted sheet metal and wire hanging mobile 37 1/ 2 × 53 1/ 2 inches (95.3 × 135.9 cm) © 2015 Calder Foundation, New York / Artists Rights Society (ARS), New York Photo by Tom Powel Imaging, Inc.

color from his most evocative artworks in order to highlight their formal structure and autonomy, claiming that color “weakened” the painting. In Le peintre au chapeau (1965), on view here, he uses grayscale to give homage to another virtuoso of painting, Henri Matisse. Perhaps Roman Opalka, whose work slowly progressed the black to white spectrum over the course of his lifetime, and whose Chronome II (1963) is on view, best voiced the view that working en grisaille was only for those who had toiled to master their medium when he famously referred to his late monochrome paintings as being a shade of “well-earned white.”

David Hammons The New Black, 2014 Acrylic on canvas and tarp 78 × 85 3 / 4 inches (198.1 × 217.8 cm) © David Hammons Photo by Tom Powel Imaging, Inc.

Robert Ryman Untitled, 1961

Aren’t [Ryman’s] paintings themselves — preeminently anti-illusionist, flatly literal — all the explanation the viewer or critic needs to penetrate their ineffable silence? Don’t they reveal what they’re made of, proudly, with a kind of routine generosity, thereby cutting short any attempt at associative readings? Simply, don’t they seem to suggest their own commentary, to define their own discursive terrain? 1 — Yve-Alain Bois

1. Yve-Alain Bois, “Ryman’s Tact,” October no. 19 (Winter 1981): 93. 2. Suzanne Hudson, “Robert Ryman’s Pragmatism,” October no. 119 (Winter 2007): 123.

Robert Ryman created Untitled in 1961; it is one of the earliest results of his rigorous, career-long investigation into the nature of painting, which he has explored almost exclusively by means of the color white and the square format. With such a focused set of concerns, all of his other choices — the size and direction of brushwork, the hue of white, the support he paints on, the way in which the painting is attached to the wall — become the distinguishing issues at stake in each subsequent work. By minimizing the presence of any distracting factors, the artist seeks to intensify the viewer’s attention on the painting’s internal field. Indeed, by restricting his options, Ryman in effect opens them out, expanding the possibility for a careful working over of the conventions of painting. Ryman began painting when he first moved to New York City in 1952 to pursue a career in music. Of this time period he says, “I was just learning about paint and how things would go together. I was experimenting and trying things, but I wasn’t really a painter yet . . . I actually used a lot of color in the beginning . . . I wanted to see how the color worked, to see how the paint worked, thick and thin and all these things, what you could do with it.” From 1958 to 1962, after he began working at the Museum of Modern Art as a guard, Ryman streamlined his interests, and would focus for the remainder of his career on predominantly white, square canvases. This limitation of format has provided Ryman fertile grounds for research into his primary interest: determining how to “get the paint across”— meaning, literally, getting the paint across the surface, but also, more idiomatically, getting the idea of the painting across to the viewer. Thus, as Suzanne Hudson maintains in “Robert Ryman’s Pragmatism,” Ryman questions what a “painting” is each and every time he makes one, adhering to William James’s pragmatic maxim in which the product of one’s efforts appears “less as a solution, then, than as a program for more work.”2 How many ways, Ryman has asked repeatedly and pragmatically, can one take the most reductive type of painting — the apparently one-color-one-format work — and generate from it a complete, indeed protean, world that manifests endless permutations and combinations of the tools at the artist’s disposal. Ryman turned to significant apportions of white around 1959, and the last full burst of painterly color in his work occurred in 1962, immediately after he completed the current painting. Beneath the white curls that pattern the expanse of Untitled are equally dense flourishes of saturated blues and greens. Despite using white above any other color, the artist has said that his paintings are not monochromatic. The opaque white strokes of Untitled only partially obscure the gemlike greens, yellows, and pinks embedded within the paint matrix. The shadows cast on the work by the pale impasto are as much an element of the work as the painted field that produces them. In this way, Untitled is as much an object as an image: it is an image completely devoid of illusion. Ryman’s paintings open onto and often explicitly make use of the light, environment, and architecture of the spaces in which they are located. Beginning in the late 1950s, Ryman gradually enlarged the scale of his work, and in 1960 – 62 he made a group of large paintings of roughly the same size, including the present work. Comparable works from this period are Untitled (1962), Whitney Museum of American Art, New York; Untitled (1960), Stedelijk Museum, Amsterdam; and Untitled (1960), Museum of Contemporary Art, Chicago. This work will be included in the forthcoming catalogue raisonné being organized by David Gray under number 61.024.

Claes Oldenburg Study for a Giant Swedish Light Switch, 1966

Art should be literally made out of the ordinary world; its space should be our space, its time our time; its objects our ordinary objects.1 — Claes Oldenburg

Claes Oldenburg Study for a Giant Swedish Light Switch, 1966 Tempera and chalk on cardboard in painted wood construction 63 × 63 × 2 1/ 2 inches (160 × 160 × 6 3 / 8 cm) © 1966 Claes Oldenburg Photo by Tom Powel Imaging, Inc.

1. Quoted in Barbara Rose, Claes Oldenburg, exh. cat. (New York: Museum of Modern Art, 1970), 53. 2. Richard H. Axsom, “Beyond a Laugh and a Pretty Line,” in Printed Stuff: Prints, Posters, and Ephemera by Claes Oldenburg: A Catalogue Raisonné 1958–1996, Richard H. Axsom and David Platzker, eds. (New York: Hudson Hills Press), 15.

Claes Oldenburg’s works draw attention to modern-day items that generally go unnoticed, such as a telephone, toilet, fan, drainpipe, or in this case, a light switch. He fashions multiple versions of his sculptures from different hard and soft materials, like painted wood or stuffed vinyl. In his large-scale soft creations of the 1960s, he inflated objects to monumental proportions in materials that nevertheless appear deflated, futile, or impotent. His art stretches the boundaries of the “ordinary world,” critiquing materialist culture in a bold and whimsical manner, yet with a genuine acknowledgement and appreciation of the objects themselves. With this philosophy, Oldenburg quickly became a leading figure of the Pop art movement. Oldenburg typically selects ordinary utilitarian objects. Used, out-of-date, or simply banal, they appear to be rescued from oblivion by the artist. Isolated in a landscape or interior space and grossly enlarged in scale, they are vulnerable giants. They are not commonplace things elevated to the status of art, as in the Duchampian tradition of the readymade — Oldenburg makes them by hand, from scratch. In the process, he adjusts their specifics, altering their material and scale and amplifying their form so that they begin to take on new identities and associations. By confounding its attributes — hard or soft, rigid or yielding — Oldenburg gives his objects multiple identities, where various meanings clash. Light switches become, as Richard Axsom wrote, “pendulous breasts”2; a drainpipe becomes phallic; an ice cream cone melts into a wizard’s hat, or a child’s bean bag chair. The oppositions of the sensual — or the downright sexual — and the everyday, of flimsiness and functionality, reveal the ironies of the modern-day world. Oldenburg would later outsource the production of his sculptures to commercial fabricators, a strategy typical of Pop art that removes the artist’s hand in the final product and relocates artistic value to its conceptual origins. Thus, Oldenburg’s works on paper and cardboard, such as Study for a Giant Swedish Light Switch, remain the source and the life of his playful visions. Oldenburg created two sculptural versions of the Swedish light switch in 1966 and 1967 as part of his “Home” series of sculptures, which focused on mundane, functional household objects. For this series, he created examples of the same object in hard and soft versions. Some of the soft versions were “ghosts,” fashioned from pliable white canvas. He did not make a hard version of the Swedish light switch, but he did make two soft ones, one a “ghost.” In a sardonic response to 1950s optimism, Oldenburg lampooned the functional object and satirized the feminine domesticity of the era with these drooping forms. As a utilitarian object, Oldenburg’s light switch embodies modernization, seemingly encompassing a positivity that could, in one flick, be turned off. Unlike the soft sculptures, Study for a Giant Swedish Light Switch has a rare sense of rigidity that is stable and relief-like in its presence and yet full of internal kinetic energy. It also possesses a tactility and freshness different from any of Oldenburg’s sculptural works. The cardboard, a commonplace, frequently debased material, provides a raw support for his gestural diagram, with its doodles and notations ironically magnified on the textured surface. Neither a drawing nor a sculpture, Study for a Giant Swedish Light Switch is both a study and its own finished product.

UNLIMITED 2015 Günther Uecker: Sandmühle Sandmill A movement in sand. Formation of sand through movement. Point of eternal change. Time point. An 8 × 8 m space contains white sand weighing 3 tons. A pile rises in the middle of the space. This pile is ground down by two vertical 60 cm long knives in circular motion. Here I was attempting to achieve a central movement in sand. Making an eternity manifest through a circle in the varying sand formation — this is a point of eternal change. The starting point was a sand spiral in 1966 in the exhibition at the Galerie Schmela: a varying spiral was formed on the surface of the sand, created by the rotary motion of a large serrated knife below the sand. Desert regions: Here a new medium is articulated. This signifies a region of spiritual emancipation. — Gunther Uecker, 1969

Günther Uecker Sandmühle (Sand Mill) conceived in 1969, created in 2014 Sand, wood, cord, and electric motor  7 meters in diameter (275 1/ 2 inches in diameter) Installation view at K20 Grabbeplatz in Düsseldorf, 2015 © 2015 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

Born in Wendorf, Mecklenburg, in East Germany in 1930, Günther Uecker is one of the most important and influential German artists of our day. Uecker studied painting in Wismar and at the Academy in Berlin-Weissensee from 1949 to 1953, then at Düsseldorf Academy from 1955 to 1957. A highly prolific artist, Uecker has worked in a wide variety of media — drawing, painting, sculpture, installation, land art, performance, set and costume design for the opera, film, books, writing, and poetry. Throughout the 1950s, Uecker sought out philosophies that he felt heralded simplicity and purity, such as Buddhism, Taoism, and Islam. His fascination with purification rituals, such as the Gregorian chant, led him to engage in his own rituals of repetition, seriality, physicality, and meditation, such as the hammering of nails onto canvas, wood, and later household objects, for extended periods of time. Uecker’s methodology spans a spectrum from the precise and mathematical to the organic and irregular, sometimes integrating kinetic and electrical elements. Along with Heinz Mack and Otto Piene, Uecker was at the core of the ZERO Group, joined by like-minded artists from Europe, Japan, and North and South America — including Lucio Fontana, Yves Klein, Enrico Castellani, Piero Manzoni, and Yayoi Kusama — who shared the group’s aspiration to transform and redefine art in the aftermath of World War II. Uecker’s prominence continues to be acknowledged and his life’s work celebrated in the most prestigious institutions worldwide. The K20 Kunstsammlung Nordrhein-Westfalen in Düsseldorf hosted a retrospective from February to May 2015. Martin-Gropius-Bau in Berlin recently opened the exhibition ZERO: The international art movement of the 50s and 60s, which originated at the Solomon R. Guggenheim Museum in New York in 2014. The exhibition appointed Uecker as a central figure in this pivotal decade in art history, during which painting was redefined, movement and light were introduced as artistic media, and space was used as both subject and material. Uecker has participated in hundreds of exhibitions, including Documenta 4, Kassel, Germany (1968), the Venice Biennale (1970), and numerous solo shows, including one at the Kunsthalle Düsseldorf (1983), and a retrospective at the Kunsthalle der Hypo-Kulturstiftung, Munich (1990). Uecker lives and works in Düsseldorf.

Selected Exhibition History 2013 – 2015

AU DIBLE PRESENCE : L U C I O F O N TA NA , Y V E S K L E I N, C Y T WO M B LY S E P T E M B E R 1 8 – N OV E M B E R 1 6 , 2 0 1 3 , N E W YO R K

GERMAINE RICHIER FEBRUARY 27 – APRIL 12, 2014, NEW YORK

PIERRE SOULAGES AP R I L 2 4 – J U N E 2 7 , 2 0 1 4 , N EW YO R K

LO CAL HISTORY: CAS T E L L A N I , J U D D, S T E L L A OC TO B E R 3 0 – JAN UARY 1 7 , 2 0 1 4 , N E W YO R K

Selected Exhibition History 2013 – 2015 (cont.)

BO DY AND MATTER: K A Z U O S H I R AG A | S ATO R U H O S H I N O JAN UARY 2 9 – AP R I L 4 , 2 0 1 5 , N E W YO R K

SOTTO VOCE FEBR UARY 1 0 – AP R I L 1 8 , 2 0 1 5 , L O N D O N

Currently on View

N E W YO R K

A L E X AN D E R C A L D E R : M U LT U M I N PA RVO A P RI L 2 2 – J U N E 13 , 2 0 15 LONDON

A L E X AN D E R C A L D E R : P R I M A RY M O T I O N S A P RI L 2 9 – S E PT E M B E R 1, 2 0 15

Publications History 2013 – 2015

Alexander Calder Multum in Parvo Texts: Paul Goldberger, Jed Perl, Karl Shapiro, John Updike 2015

Sotto Voce Texts: James Fox, Émilie Streiff 2015

Kazuo Shiraga Co-published with Axel Vervoodt. Texts: Shoichi Hirai, Koichi Kawasaki, Jean-Hubert Martin, Alfred Pacquement, John Rajchman, Antoni Tàpies, Ming Tiampo, Reiko Tomii 2014

Local History: Castellani, Judd, Stella Text: Linda Norden 2014

Roman Opalka Painting ∞ Texts: François Barré, Lóránd Hegyi, Jacques Roubaud, Charles Wylie 2014

“Hypothesis for an Exhibition” Texts: Sebastian Black, Boško Blagojevic, Kerstin Brätsch, Germano Celant, Giulio Paolini, Seth Price, Kari Rittenbach, Antek Walczak, Begum Yasar 2014

Soulages in America Texts: Harry Cooper, Sean Sweeney, Philippe Ungar 2014

Germaine Richier Texts: André Pieyre de Mandiargues, Anna Swinbourne, Sarah Wilson 2013

Audible Presence Lucio Fontana, Yves Klein, Cy Twombly Texts: Michael Chion, Tacita Dean, Elena Guena, Rainer Maria Rilke 2013

Body and Matter: Kazuo Shiraga | Satoru Hoshino Texts: Koichi Kawasaki, John Rajchman 2014

Pierre Soulages New Paintings Texts: Alain Badiou, Hans Ulrich Obrist, John Yau 2014

Upcoming

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S EP T E M B E R – O C TO BE R 2015

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F R I EZE M AS TER S

DOMINIQUE LÉVY

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Founder

ART B AS EL M I A M I BE ACH

EMILIO STEINBERGER

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Senior Director emilio @ dominique-levy.com LEILA SAADAI Director leila @ dominique-levy.com BEGUM YASAR Director begum @ dominique-levy.com CARI BRENTEGANI Director of Operations cari @ dominique-levy.com

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PHOTO CREDITS

p. 16 (top), p. 17 (bottom), p. 18 (top), and p. 19: Tom Powel Imaging, Inc. p. 16 (bottom): Guillaume Ziccarelli, LLC. p. 17 (top): Soulages Archives, 2015. Photo: Vincent Cunillère p. 18 (bottom): Leon Chew

ARTISTS EXHIBITED

Alexander Calder Enrico Castellani Lucio Fontana Gego Yves Klein Tsuyoshi Maekawa Boris Mikhailov Roman Opalka Peter Regli Germaine Richier Kazuo Shiraga Pierre Soulages Frank Stella Cy Twombly G端nther Uecker WORKS BY

Francis Bacon Jean-Michel Basquiat Louise Bourgeois John Chamberlain Willem de Kooning Jean Dubuffet Dan Flavin Alberto Giacometti David Hammons Damien Hirst Rober Irwin Jasper Johns Donald Judd Franz Kline Jeff Koons Roy Lichtenstein Liza Lou

Piero Manzoni Brice Marden Agnes Martin Paul McCarthy Barnett Newman Pablo Picasso Robert Rauschenberg Gerhard Richter Mark Rothko Robert Ryman Richard Serra Cindy Sherman Rudolf Stingel Yves Tanguy Andy Warhol Tom Wesselmann Christopher Wool

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