Nº5 EN / JAN 2014
FREE MONTHLY MAGAZINE
Thomas Dodd “In the Pursuit of the Archetype”
TECHNICAL FILE Line & Stylish, Art Magazine ERC Registration Nr – 126385 Owner: José Eduardo de Almeida e Silva Publisher: José Eduardo de Almeida e Silva NIF: 179208586
• Courtesy: Sean Kelly, New York Tate Modern • Tate Modern. Purchased 1946. • Museum Folkwang, Essen, Germany. • Zentrum Paul Klee. • Lent by The Metropolitan Museum of Art, The Berggruen Klee Collection, 1984 (1984.315.19). • Image © The Metropolitan Museum of Art / Source: Art Resource/Scala Photo Archives. • Moderna Museet (Stockholm, Sweden) Taymour Grahne Gallery • Courtesy of Ciaran Murphy and Taymour Grahne Gallery The Metropolitan Museum of Art • Gift of Mr. and Mrs. Frederick S. Wait, 1906 (06.313) • Bequest of Jacob Ruppert, 1939 (39.65.45) - Bequest of Jacob Ruppert, 1939 (39.65.54a,b) • Gift of Mr. and Mrs. Walter C. Crawford, 1978 (1978.513.6) • Rogers Fund, 1907 (07.80) - Rogers Fund, 1919 (19.126) - Rogers Fund, 1907 (07.104) • Purchase, Friends of The American Wing Fund, Mr. and Mrs. S. Parker Gilbert Gift, Morris K. Jesup and 2004 Benefit Funds, 2010 (2010.73) Thomas Dodd • ©Courtesy Thomas Dodd Whitney Museum of American Art • Whitney Museum of American Art; gift of Richard and Jackie Hollander in memory of Ellyn Hollander 2012.222 - 2012.234 2012.240 - 2012.205
Periodicity: Monthly
Editorial Address: Urbanização do Lidador Rua 17, nr 106 4470-709 – Oporto - Portugal Contact: +351 926 493 792
Director in Chief: Eduardo Silva Vice-director: Isabel Gore Editor in Chief: Eduardo Silva Editorial Staff: José Eduardo Silva Isabel Pereira Coutinho Luís Peixoto Art and Web Director: Luís Peixoto Photography:
António Macedo • © Courtesy António Macedo Cesar Santos • © Courtesy Cesar Santos Hamburger Kunsthalle • © Hamburger Kunsthalle / bpk. • Photo: Christoph Irrgang • © Rom, Istituto Nazionale per la Grafica • © London, Trustees of the British Museum • © Frankfurt am Main, Städel Museum / Peter McClennan • © Florenz, Gabinetto Photografico / Roberto Palermo Osnat Cohen • © Courtesy Osnat Cohen Pace London • © Kevin Francis Gray, courtesy The Pace Gallery. Pictures: © Tara Moore Sean Kelly • ©Robert Mapplethorpe Foundation. Used by permission. 2
We tried hard to stay away from the spirit of the end of year, that most of my fellow editors grabs to produce a huge list of the best hits of painters, sculptors, classical, modern, contemporary, old, young, children, dead, reborn, and even those who every single day produce a little of art. In fact, we also make our list like everybody else, but we never took advantage of Santa Claus’ presence to put him as chairman of a doubtful jury. So our January Issue is dedicated to the “Art” of António Macedo, the first Portuguese painter interviewed by us. As an iconic and peculiar figure in the Portuguese world of art, it will be easy for any reader, even for those who live in the Namibia Desert to understand the current scenario of the Portuguese Painting while enjoying the human perfection of his artwork. However, the topic of the month is Thomas Dodd’s interview, opening the L&S door to the new mediums which pointing the fusion as one of the most important expressions of the art in a near future. Till then delight your eyes with Thomas Dodd strange and familiar atmospheres and ambient.
José Eduardo G. de Almeida e Silva Director in Chief Cover: “Woodshedding” - Thomas Dodd ©Courtesy Thomas Dodd 3
58.
THE AMERICA BRON
74.
THOMAS
ÍNDEX 6.
IN SEARCH OF BEAUTY
In the Pursuit of t
A conversation with António Macedo
26.
CESAR SANTOS
90.
KEVIN FRAN
98 .
EDWARD ST
Artist of the Month
34.
THE BEAUTY OF THE LINE
in 1920 and
Stefano della Bella as a Draughtsman
46.
PAUL KLEE MAKING VISIBLE
106.
CIARÁN M
A Round
The EY Exhibition
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AN WEST IN NZE
DODD
the Archetype
NCIS GRAY
118.
ROBERT MAPPLETHORPE Saints and Sinners
124.
OSNAT COHEN
130.
JANUARY HIGHLIGHTS
TEICHEN
d 1930
MURPHY
d Now
info@lineandstylish.com +351 926 493 792 5
“IN SEARCH OF BEAUTY ”
A conversation with António Macedo By: José Eduardo Silva and Isabel Gore
António Macedo Photo: © Courtesy António Macedo
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On a splendid autumn afternoon, we were privileged to spend a few hours talking with António Macedo, a Portuguese painter born in 1955 in Oporto, where he lives and works. He invited us into his glass-walled studio, surrounded by a garden; the light penetrating softly, caressing the canvas, fabrics and brushes. It was with great friendliness and warmth that António Macedo welcomed us and our conversation flowed pleasantly. After discussing several topics we decided to start our interview by asking him how his calling for fine arts came about. “What led me to Art was my fascination with Beauty. I wasn’t playing with pencils at 4 years old any more than any other child, neither did I have strong artistic influences at that tender age; but being introspective by nature, I think I always sought an alternative world to the one that surrounds us. I was an artist in waiting, and the spark that ignited me were certain drawings I saw at my English teacher’s home. I was so dazzled with what seemed to me sublime images that I immediately tried to experiment with something like that. Those initial small steps were the beginning of a long journey in search of “ Eldorado” … the journey still goes on“.
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We knew that António Macedo had attended the first year of Belas Artes - Oporto Fine Arts University - and wanted to find out why he left after one year. “The fact that I chose to attend Fine Arts school, shows that I had already chosen Art as my path in life. With the naivety typical of my age, I believed that this approach would bring me into daily contact with the materials and aesthetics which are needed to create Art. However, I felt I was in a place which had lost its way, where what I had set out to learn wasn’t being taught (with the exception of art history and drawing from casts). I realize that because of the aesthetic fashions of the time, the trade craft of the professional figurative painter had been discarded. Nobody was teaching it anymore. I have always been interested in figurative Art, and the Fine Arts schools of the time were denying that artistic approach, hence the teaching in that respect was nonexistent. I found it very frustrating, and this was one of the main reasons for me to leave school and go to England. When Portugal had the 25th April revolution in 1974, the course of study at Fine Art school as well as in many other teaching institutions was severely affected, and I remember well going into the studio and being the only one working there. So, I ended up turning my back on that institution to search elsewhere for what I sought to learn “.
Vanitas Oil on linen canvas, 105 x 70 cm © Courtesy: António Macedo 8
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This disappointing experience took him to London, as the starting point for a career. With a thoughtful expression, smilingly he explained. “London happened somewhat by chance. My girlfriend at the time had been in England before and we had some contacts there, which made it a natural choice. I believe it was a fruitful choice as the Victorian aesthetics along with the presence of some of the finest masterpieces in the world provided an environment and conducive to the pursuit of my dream. It was a very difficult time for me and it was only with great perseverance that I managed to learn what had been missing from the Fine Arts school“.
Menina Oil on linen canvas, 75 x 100 cm © Courtesy: António Macedo 10
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A En Oil on linen canv
Š Courtesy: An 12
ntrega vas, 75 x 100 cm
nt贸nio Macedo 13
On analysis of his work, it seems to us that Antonio Macedo has always pursued figurative art, despite belonging to a generation of artists which, for the most part saw themselves as conceptual or abstract artists. We asked him why he decided to follow that option. “I have never been interested in any other form of Art other than figurative. My passion began with the surrealist form, where figuration was important and I remember trying to work out plans for what would be today considered installations of surreal images and/ or objects. Unfortunately I hadn’t been lucky enough to have been born in a place with strong traditions in figurative art. At the time if I had been aware of artists such as António Lopez or Cláudio Bravo, I expect I would have been attracted to what was happening in the figurative Art scene outside Portugal. The path I took was to learn through the passions, that I developed for great masters such as Jan Van Eyck, Leonardo, Correggio, Vermeer, Rembrandt, Velázquez, Ingres, Turner, the Pre-Raphaelites, Leighton, the French academics, and eventually contemporary figurative painters. Curiously, on looking back I realize that my love of figurative art has evolved through time such that it follows the same chronological order as figurative artist through time, starting with the primitives and progressing into the work of artists from later centuries, and today I am most interested in contemporary figurative art. I think it is ridiculous to presume what kind of Art one should make in order to be considered “contemporary”. If there is only one enduring aspect of history of Art, it is its continuous change, invention and re-discovery. After all, human beings have not changed much since cavemen and this is why we still respond emotionally to paintings made tens of thousands of years ago by people like us and which fortunately still survive as Lascaux and Altamira. I believe it is the duty and prerogative of each artist to follow his own path independently of those who, able or not to create themselves assume they are entitled to decide what is worthwhile and what isn’t. This is not new. Many artists have in the past rejected the aesthetic trends of their own time. Some of these are now considered as references. I follow my own choices, good or not. Let others follow theirs “. 14
Inscrição Oil on linen canvas, 100 x 75 cm © Courtesy: António Macedo 15
At first sight, his paintings seem to pursue two main themes: fabrics, taking the place of the traditional still-lifes and depictions of the female figure. We asked António Macedo if these two areas of interest were the main focus of his Art. “I don´t agree that my work fits within those two “boxes”. I have been painting different subjects all through these past 40 years. Probably I have been associated with these two themes in the public mind, having often used those themes, however I do not consider these two as being “my themes “. Overall I look for beauty and expressiveness in a composition, whether it is a still-life, a figure, a landscape or a portrait. When I paint figures I try to express a feeling, an emotion, something that makes me dream. Where this inspiration comes from would perhaps have more interest to a psychologist than to myself. In each painting I travel out in search of a motive and into myself in pursuit of what animates it. The fact that the figures are often naked may have more to do with an overall sense of vulnerability that I like to express than the mere fact that the clothes are missing”.
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The Golden Boy Oil on linen canvas, 100 x 100 cm 漏 Courtesy: Ant贸nio Macedo 17
Pe贸n Oil on linen canv
漏 Courtesy: An 18
nias vas, 66 x 100 cm
nt贸nio Macedo 19
Toda est Oil on linen canv
Š Courtesy: An 20
ta Terra vas, 80 x 120 cm
nt贸nio Macedo 21
Ant贸nio Photo: 漏 Courtesy 22
Macedo y Ant贸nio Macedo 23
We were curious to find out how he interpreted the “realistic” Art movements now emerging and establishing themselves on the international Art scene. “I am not surprised about that. After all, artists are always searching for something or other and this is constantly changing. It is not surprising therefore that one will re-encounter something similar to the point when it all started. On the other hand, figurative Art is a very potent as it deals with things we all know in one way or another. It is natural to see a resurgence of figurative Art in the same way that a clothing fashion that has become uncomfortable and impractical and eventually will be rejected by those who do not share the same stylistic references - those which initially started the drift towards the absurd “. His opinion led us to think that realism could correspond to a reactionary revivalism, mainly in painting. “It is curious that the idea of “progress” had been incorporated into art. In a superficial study of the history of Art, a student ends up feeling that Art has “progressed” towards the present days. This lazy and tendentious interpretation of the changes of Art over time tends toward the idea of improvement through time, that corresponds with those that happened in science, where accumulated knowledge has obviously produced significant advances , for example in people’s life expectancy. The idea of “progress “in Art might lead to curious economic and sociological speculations, but it is enough to be aware of what happened in the Renaissance or Neo-classicism to see how fallacious is this idea regarding Art. What actually happened, at least up to fairly recent times was experimentation with additional forms of expression. The fact that conceptualism is a type of artistic activity without great popularity reveals how far Art has moved away from what is meaningful to human beings in general. And, if Art does not communicate, what is it for? The piece by John Cage : 4 minutes and 33 seconds may be considered by some a work of genius resulting from exhaustive search, but to ordinary mortals, it is just puerile nonsense- The same can be said for 24
Duchamp’s urinol or the invisible painting” . We wanted to know whether he considers himself as a pioneer in the rebirth of Portuguese figurative Art. “I don’t see myself in those terms. I am only a painter trying to do his utmost to express what goes on in his soul. I am not concerned in the slightest about what importance others can give to my works in that kind of naïf and superficial historical narrative. I believe as I always did that what touches me can find an echo in someone else’s soul. We share the same humanity, after all. If I achieve that, I will be happy “. At last we tried to find out which are the contemporary artists he considers as references. “This is a difficult question, since I have no idea of where my work is leading towards, much less where Art in general may be going. Furthermore, in my point of view, developments in digital technologies will have a profound influence in the development of artistic movements. Which are the artists who will eventually be considered more influential in the Arts? Today I may be interested in a video work by Bill Viola, the next day I may be charmed by a painting by Andrew Wyeth or by António Lopez or by a Chinese painter. I am not worried about these things. As an artist, I must create art, be true to myself, believe in the path I have chosen and move on. “ Our pleasant and friendly conversation with António Macedo ended up with a cup of tea in a warm and calm atmosphere. We were with an artist who surely knows the path he is following and who will never lose his sense of BEAUTY. Translation: L&S 25
THE ARTIST OF THE MONTH
Cesar Santos B. 1982, Cuban-American
His art education is worldly, and his work has been seen around the globe, from the Annigoni Museum in Italy and the Beijing museum in China to Chelsea NY. Santos studied at Miami Dade College, where he earned his associate in arts degree in 2003. He then attended the New World School of the Arts before traveling to Florence, Italy. In 2006, he completed the “Fundamental Program in Drawing and Painting” at the Angel Academy of Art in Florence studying under Michael John Angel, a student of artist Pietro Annigoni. Santos’ work reflects both classical and modern interpretations juxtaposed within one painting. His influences range from the Renaissance to the masters of the nineteenth century to Modernism. With superb technique, he infuses a harmony between the natural and the conceptual to create works that are provocative and dramatic. Among Santos’ solo shows are “Paisajes y Retratos” in the National Gallery in San Jose, Costa Rica; “Syncretism” at Eleanor Ettinger Chelsea Gallery in New York; “Beyond Realism” with Oxenberg Fine Arts in Miami and “New Impressions” at the Greenhouse Gallery in San Antonio, among many others. http://www.santocesar.com 26
Cesar Santos
Matisse in Vermeer’s Corner Oil on linen, 47x30in
ŠCourtesy Cesar Santos 27
Cesar S
First T
Oil on linen
ŠCourtesy C 28
Santos
Tattoo
n, 28x39in
Cesar Santos 29
Cesar S
Basquiat D
Oil on linen
ŠCourtesy C 30
Santos
Dichotomy
n, 24x24in
Cesar Santos 31
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Cesar Santos
Madonna Lisa
Oil on linen, 36x24in ŠCourtesy Cesar Santos 33
25 October 2013 - 26 January 2014 Hamburger Kunsthalle, Kuppelsaal Stefano della Bella (1610–1664) is considered to have been one of the most important Italian artists of the 17th century. He produced an extensive oeuvre of more than 1000 etchings and over 3000 drawings, but while his prolific graphic output has been presented on several occasions over the last decades, The Beauty of the Line is the first comprehensive exhibition worldwide dedicated to his superb draughtsmanship. The presentation of around 100 works, testifies to the outstanding quality and range of Stefano della Bella’s art. He was mainly active in Florence, Rome and Paris, and his practice is characterised by great diversity in terms of subject matter. His ability to capture everyday life in all its different facets set him apart from most of his contemporaries. Della Bella’s studies show him to be an attentive chronicler and astute observer of his surroundings. His oeuvre contains numerous depictions of noblemen, soldiers, farmers, herdsmen and laborers, as well as images of mothers with their children; other favorite subjects were animals and ships, and he also documented cavalcades, cityscapes and ancient monuments. A number of hauntingly beautiful images on the theme of death and some highly imaginative ornamental and costume designs round off his oeuvre. Much of the fascination of Stefano della Bella’s art derives from his unmistakeable and extremely skilled drawing style. The exhibition is collaboration with the Uffizi Gallery in Florence, which is also the main lender. Further works are loaned from the Louvre, Paris, the British Museum, London, the Royal Collection, Windsor, the Kupferstichkabinett, Berlin, the Istituto Nazionale per la Grafica, Rom and the Städel Museum, Frankfurt am Main. Curator: Dr. David Klemm
Hamburger Kunsthalle, Kuppelsaal Glockengießerwall 20095 Hamburg 34
Stefano della Bella (1610 – 1664) Der Sonnengott,Kostümstudie für die Oper “Hypermestra”,1658 The Sun’s God, Costume for the Opera “Hypermestra”, 1658 Feder in Braun über Graphit, gelb, grau und rosa aquarelliert, 309 x 223 mm Yellow, gray and pink Watercolor with pen and brown ink over graphite, 309 x 223 mm © London, Trustees of the British Museum 35
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Stefano della Bella (1610 – 1664) Menschen kämpfen gegen den Wind o. D. Men fighting against the Wind o.D Feder in Braun über schwarzem Stift, 78 x 105 mm Pen and brown ink over black pencil, 78 x 105 mm © Hamburger Kunsthalle / bpk Photo: Christoph Irrgang
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Stefano della Bella (1610 – 1664) Ansicht des Vespasian-Tempels mit dem Forum Romanum, um 1654 View of Vespasian Temple and the Roman Forum Feder in Braun, schwarzer Stift, grau laviert, 252 x 283 mm / Pen and brown ink over black pencil and gray wash, 252 x 283 mm Š Florenz, Gabinetto Photografico / Roberto Palermo
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Stefano della Bella (1610 – 1664) Sechs Frauen als Allegorien der Wissenschaften, 1650 Six Women as Allegories of Sciences, 1650 Feder in Braun über schwarzem Stift, grau laviert,184 x 144 mm Pen and brown ink over black pencil and gray wash, 184 x 144 mm © Hamburger Kunsthalle / bpk . Photo: Christoph Irrgang 41
Stefano della Bel
Studie eines toten Elefanten, 1655
Feder in Braun über Graphit, grau laviert,152 x 212 mm / Pe © Frankfurt am Main, Städel 42
lla (1610 – 1664)
5 / Study of a dead Elephant, 1655
en and brown ink over graphite and gray wash, 152 x 212 mm Museum / Peter McClennan 43
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Stefano della Bella (1610 – 1664) Der Tod verfolgt einen Man,1650 Death pursues a Man, 1650 Feder in Braun, Spuren eines schwarzen Stifts, 154 x140mm Pen and brown ink with traces of black pencil, 154 x140mm Š Rom, Istituto Nazionale per la Grafica 45
The EY Exhibition Paul Klee: Making Visible 16 October 2013 – 9 March 2014 Tate Modern
Visible will span the three decades of his career: from his emergence in Munich in the 1910s, through his years of teaching at the Bauhaus in the 1920s, up to his final paintings made in Bern after the outbreak of the Second World War. The show will reunite important groups of work which the artist created, catalogued or exhibited together at these key moments in his life. Having since been dispersed across museums and private collections, Tate Modern will once again show these delicate works alongside each other, often for the first time since Klee did so himself, in a unique chance to explore his innovations and ideas.
Paul Klee (1879-1940) was one of the most renowned artists to work at the Bauhaus and was both a playful and a radical figure in European Modernism. His intense and intricate work will be the subject of a major new exhibition at Tate Modern from 16 October 2013, the UK’s first large-scale Klee exhibition for over a decade. Challenging his reputation as a solitary dreamer, it will reveal the innovation and rigour with which he created his work and presented it to the public. Bringing together colourful drawings, watercolours and paintings from collections around the world, The EY Exhibition – Paul Klee: Making 46
Paul Klee 1879-1940 A Young Lady’s Adventure 1922 Watercolor on paper Support: 625 x 480 mm frame: 686 x 510 x 20 mm, on paper, unique. Tate. Purchased 1946 47
teaching and working at the Bauhaus. The abstract canvases he produced here, such as the rhythmical composition Fire in the Evening 1929, took his reputation to new international heights by the end of the 1920s. The 1930s then brought about radical changes, as Klee was dismissed from his new teaching position by the Nazis and took refuge in Switzerland with his family, while his works were removed from collections and labelled ‘degenerate art’ in Germany. Despite the political turmoil, financial insecurity and his declining health, he nevertheless became even more prolific. Tate Modern will bring together a group of his final works from the last exhibition staged before his death in 1940.
Born in Switzerland in 1879, Klee started out as a musician likehisparentsbutsoonresolved to study painting in Munich, where he eventually joined Kandinsky’s ‘Blue Rider’ group of avant-garde artists in 1912. Tate Modern’s exhibition will begin with his breakthrough during the First World War, when he first developed his individual abstract patchworks of colour. The many technical innovations that followed will be showcased throughout the exhibition, including his unique ‘oil transfer’ paintings like They’re Biting 1920, the dynamic colour gradations of Hanging Fruit 1921 and the multicoloured pointillism used in Memory of a Bird 1932. The heart of the exhibition will focus on the decade Klee spent 48
Paul Klee 1879-1940 Park near Lu 1938 Zentrum Paul Klee 49
Paul Klee 1 Fire at Full
Museum Folkwang 50
1879-1940 Moon 1933
g, Essen, Alemanha 51
Paul Klee 1
Comed
Watercolor and oil on paper, Support Tate. Purch 52
1879-1940
dy 1921
t: 305 x 454 mm, em papel, exclusivo. hased 1946 53
Martin Cook, Managing Partner Commercial, UK & Ireland at EY, said:
Although he saw his art as a process of spontaneous creativity and natural growth, exemplified by his famous description of drawing as “taking a line for a walk”, Klee actually worked with great rigour. He inscribed numbers on his works in accordance with a personal cataloguing system and wrote volumes on colour theory and detailed lecture notes. In grouping these works as Klee himself did, this exhibition presents an extraordinary opportunity to explore them in a new light and understand them as the artist intended.
“Paul Klee will be the first ‘EY Exhibition’ in the three-year EY Tate arts partnership, bringing Klee to London for the first time in over decade. He is regarded as a king of European modernism, alongside Matisse and Picasso, and will be viewed by UK and international visitors. EY has always recognised the importance of innovators beyond the world of business, and Paul Klee is a great example of such an innovator among twentieth-century artists. EY has been a supporter of arts and culture in the UK for over 20 years, which not only promotes the importance and value of diverse perspectives and cultures, but also positively contributes to the UK economy.”
The EY Exhibition – Paul Klee: Making Visible is curated by Matthew Gale, Head of Displays, Tate Modern, with Flavia Frigeri, Assistant Curator, Tate Modern.. EY and Tate have launched a threeyear partnership, making EY one of the largest corporate supporters of Tate. The partnership aims to increase awareness, understanding and appreciation of art and will help Tate to realise its ambitious programme across Tate Modern and Tate Britain, including three major autumn exhibitions.
Tate Modern Bankside, London SE1 9TG, UK 54
Paul Klee 1879-1940 Steps 1929 Oil and ink on canvas, 520 x 430 mm Moderna Museet (Stockholm, SuĂŠcia) 55
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Paul Klee 1879-1940 Redgreen and Violet-Yellow Rhythms 1920 Lent by Metropolitan Museum of Art, The Berggruen Klee Collection, 1984 (1984.315.19) Imagem Š The Metropolitan Museum of Art / Source: Art Resource/ Scala Photo Archives 57
The American West in Bronze, 1850-1925 December 18, 2013–April 13, 2014 The Metropolitan Museum of Art, New York
Joseph, Chief of the Nez Percé Indians, 1889; this cast, 1906 Olin Levi Warner (American, 1844–1896). Bronze; Diam. 17 1/2 in. (44.5 cm) Gift of Mr. and Mrs. Frederick S. Wait, 1906 (06.313)
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At the turn of the 20th century, artistic representations of American Indians, cowboys and cavalry, pioneers and prospectors, and animals of the plains and the mountains served as visual metaphors for the Old West and, as such, were collected eagerly by an urban-based clientele. Through some 65 bronze sculptures by 28 artists, the traveling exhibition The American West in Bronze, 1850–1925, at The Metropolitan Museum of Art will explore the aesthetic and cultural impulses behind the creation of statuettes with American western themes so popular with audiences then and now. It is the first full-scale museum exhibition devoted to the subject and brings together examples from public and private collections nationwide. In addition to representative sculptures by such archetypal artists as Frederic Remington and Charles M. Russell, the exhibition will explore the work of sculptors who infrequently pursued western subjects—such as James Earle Fraser and Paul Manship - yet profoundly informed widespread appreciation of the American bronze statuette. The American West in Bronze, 1850–1925 will offer a fresh and balanced look at the multifaceted roles played by these sculptors in creating three-dimensional interpretations of western life, whether those interpretations are based on historical fact, mythologized fiction, or, most often, something inbetween.
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A Chief of the Multnomah Tribe, 1903; this cast, ca. 1907 Hermon Atkins MacNeil (American, 1866–1947) Bronze; 37 x 10 x 10 1/4 in. (94 x 25.4 x 26 cm) Bequest of Jacob Ruppert, 1939 (39.65.54a,b) 60
The Sun Vow, 1899; this cast, 1919 Hermon Atkins MacNeil (American, 1866–1947) Bronze; 72 x 32 1/2 x 54 in. (182.9 x 82.6 x 137.2 cm) Rogers Fund, 1919 (19.126) 61
Although the 28 artists represented in the exhibition are bound together by their use of bronze, they are distinguished by varying life experiences. Alexander Phimister Proctor and Solon Hannibal Borglum, for instance, grew up in the West, and that first-hand experience informed their work, even after the artists had moved to cosmopolitan centers, especially New York and Paris. Some resided in the West their entire lives—notably Russell, who settled in Montana—punctuated only by brief travels east or abroad. Others, such as Edward Kemeys and Charles Schreyvogel, were transitory explorers, ethnologists, and front-line recorders of the western experience. Still others rarely traveled west of the Mississippi River—Frederic William MacMonnies, for example, spent most of his career in France. Many of these sculptors were rigorously trained in academies in New York and Paris, and they applied sophisticated French-inspired sculptural techniques to depicting human and animal subjects in statuettes that were celebrated at home and abroad as authentically American. Those artists who were self-taught similarly achieved a naturalistic treatment of form and a lively play of light and shadow in their bronze representations of life in the western states and territories. Indeed, the confluence of thematic, technical, and aesthetic innovations resulted in bronze sculptures that mediated between eastern and western, old and new, cosmopolitan and roughhewn.
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End of the Trail, 1918; this cast, by 1919 James Earle Fraser (American, 1876–1953) Copper alloy; 33 x 26 x 8 3/4 in. (83.8 x 66 x 22.2 cm) Purchase, Friends of The American Wing Fund, Mr. and Mrs. S. Parker Gilbert Gift, Morris K. Jesup and 2004 Benefit Funds, 2010 (2010.73) 63
On the Border of the White Man's Land, 1899; this cast, 1906–7 Solon Hannibal Borglum (American, 1868–1922) Bronze; 18 1/2 x 27 1/2 x 10 1/4 in. (47 x 69.9 x 26 cm) Rogers Fund, 1907 (07.104) 64
Despite inherent differences, these sculptors collectively glorified an Old West past of Indians and wildlife, cowboys and pioneers, in marked contrast to the gritty realities of industrialization and immigration then altering East Coast cities and pushing inexorably westward. Remington no doubt spoke for many of his colleagues when in 1907 he stated, “My West passed utterly out of existence so long ago as if to make it merely a dream. It put on its hat, took up its blankets and marched off the board; the curtain came down and a new act was in progress.� Many of these sculptors were rigorously trained in academies in New York and Paris, and they applied sophisticated French-inspired sculptural techniques to depicting human and animal subjects in statuettes that were celebrated at home and abroad as authentically American. Those artists who were self-taught similarly achieved a naturalistic treatment of form and a lively play of light and shadow in their bronze representations of life in the western states and territories. Indeed, the confluence of thematic, technical, and aesthetic innovations resulted in bronze sculptures that mediated between eastern and western, old and new, cosmopolitan and roughhewn.
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The development of fine art bronze casting in America is traced through the works displayed in this exhibition. Unlike marble, which was quarried in Europe and shipped across the ocean at great expense, bronze—an alloy composed of copper, with lesser amounts of tin, zinc, and lead—became readily available in the United States following the establishment of the earliest art bronze foundries around 1850. Because of its accessibility and relatively low cost, bronze came to be considered both as an American material and a democratic one. The exhibition will include many compositions that would not be possible in marble, featuring such extremely challenging depictions in bronze as the astonishingly realistic representation of a bison’s furry coat or a fleet-footed horse and rider suspended in mid-air, supported only by a trailing bison hide. Bronze was particularly well suited to the complex compositions, textural variety, physical action, and narrative detail of these western works. Popular appreciation of the bronze statuette was cultivated by familiarity with other art forms reproduced in multiples. Photographs, lithographs, and other types of illustrations, especially those circulated by the ever-expanding popular press, familiarized Americans with majestic scenery, native people, and western wildlife. Editions of small bronze sculptures, beginning with the midcentury work of Henry Kirke Brown and John Quincy Adams Ward, were logical extensions of this visionshaping. Bronze statuettes were collected by a clientele who vicariously participated in adventures on the distant western frontier by installing sculptures in their parlors, libraries, and gardens.
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The Broncho Buster, 1895; revised 1909; this cast, by November 1910 Frederic Remington (American, 1861–1909) Bronze; 32 1/4 x 27 1/4 x 15 in. (81.9 x 69.2 x 38.1 cm) Bequest of Jacob Ruppert, 1939 (39.65.45) 67
The Moqui Prayer for Rain, 1895–96; this cast, 1897 Hermon Atkins MacNeil (American, 1866–1947) Bronze; 22 1/4 x 26 x 12 in. (56.5 x 66 x 30.5 cm) Gift of Mr. and Mrs. Walter C. Crawford, 1978 (1978.513.6) 68
The exhibition will also explore how the sculpture was marketed, and which sculptures attained particular popularity. In two instances, casts of the same subject will be shown side by side. Examples of Frederic Remington’s Broncho Buster (1895), issued in an authorized edition of more than 275, will display vividly the differences that evolved in his sculptures. Comparison of a sand cast and a lost-wax cast will illustrate the compositional experimentation and variation in which Remington delighted. One was cast by 1898 when it was presented to Theodore Roosevelt from his Rough Riders (Sagamore Hill National Historic Site). The other, featuring the rider’s virtuoso “wooly” chaps, was cast in 1906 and purchased by brothers Will and Mike Hogg, who were prominent Remington collectors (The Museum of Fine Arts, Houston). Cyrus Edwin Dallin’s Appeal to the Great Spirit, an American Indian on his horse making a post-bellum plea for peace, was cast in three different sizes, with more than 400 authorized statuettes produced. The exhibition will present the medium-sized and large versions (1913 and 1912, respectively, private collection and the Hood Museum of Art, Dartmouth College). The section on American Indians presents a range of sculptures that convey the changes endured by Indian nations. The documentary impulse to record individual American Indians had begun in the 1820s with painted portraits and extended to bronzes by the 1870s. However, the majority of sculptural representations of American Indians are records of their ways of life, from day-to-day activities such as hunting to sacred ceremonial rituals, melding storytelling narrative with universal themes. Hermon Atkins MacNeil’s Moqui Prayer for Rain (1895–96, private collection) was inspired by his visit to Arizona in 1895, where he witnessed the Moqui (Hopi) people’s annual prayer for rain at the top of the mesa at Oraibi. MacNeil’s swift runner carries writhing snakes coiled around his arms and even in his hair, symbols of the lightning that brings rain to the arid climate. 69
The rough-and-tumble vision of the American West is addressed through sculptures that make vivid the colorful drama and perils of the masculine frontier experience. The rugged and manly cowboy was a familiar stereotype, an American hero popularized through illustrations, artworks, literature, and traveling performances at home and abroad, notably Buffalo Bill’s Wild West. With his first and most popular sculpture, The Bronco Buster (1895), depicting a rough-and-ready icon singlehandedly taming a rearing mustang, Frederic Remington set the standard for how the cowboy was portrayed in sculpture. The exhibition is co-curated by Thayer Tolles, Marica F. Vilcek Curator, American Paintings and Sculpture, The American Wing, and Thomas Brent Smith, Director, Petrie Institute for Western Art, Denver Art Museum. At the Metropolitan, the exhibition was organized by Thayer Tolles, with the assistance of Jessica Murphy, Research Associate, and The American Wing. Exhibition design is by Michael Lapthorn, Senior Exhibition Designer; graphics are by Norie Morimoto, Graphic Designer; and lighting is by Clint Ross Coller and Richard Lichte, Lighting Design Managers, all of the Museum’s Design Department. The exhibition is made possible by The Peter Jay Sharp Foundation, the Henry Luce Foundation, the Terra Foundation for American Art, and the Enterprise Holdings Endowment. It was organized by The Metropolitan Museum of Art, New York, in collaboration with the Denver Art Museum.
The Metropolitan Museum of Art New York 70
The Cheyenne, 1901; this cast, by March 1907 Frederic Remington (American, 1861–1909) Bronze; 20 1/4 x 25 x 8 in. (51.4 x 63.5 x 20.3 cm) Rogers Fund, 1907 (07.80)
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THOMAS DODD In the Pursuit of the Archetype By: Isabel Gore andJosé Eduardo Silva
Thomas Dodd ©Courtesy Thomas Dodd 74
At a first sight digital “Art” consists in a fusion of traditional medium in the way to produce images which can’t be described as photography, painting, drawing or even collage. Each artwork combines a little piece of each medium, even when the starting point seems to be traditionally the photography. To help us to find out what is going on in this new way of making art, a true revolution very similar to the one brought by the early 20th Century collages, we invited Thomas Dodd one of the leading artists of the digital age - born in 1961, New Jersey- to speak a bit about him and his art… Through his words the reader could easily find what this new medium is and, at the same time, discover the aim of the master of the contemporary.
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THOMAS
NightF
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Flight
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Before 2005 you were a professional harpist and a songwriter. What made you change your career to that of a visual artist? In the 1990s I was in a band called Trio Nocturna that had a fair amount of success inside a smaller music scene - namely the underground Gothic/Darkwave music scene. We put out three albums, toured the US and had a small legion of devoted fans. When the band broke up in 1997 I shifted into doing studio work and then as digital technology became more affordable, home recording. After a few years of doing that I began to feel that there was something vital missing from my creative life. While I knew that being in a band and playing live had been particularly rewarding things for me in the past, I now felt that I didn’t have the energy it took to go through the whole process of assembling a group of musicians again and then slowly building a reputation and following .It was around this time that I discovered Photoshop (while doing cover art for a CD project actually) and I soon became transfixed with the virtually limitless ways that one could transform an ordinary picture into something extraordinary. In my photography, I still collaborate with others but I don’t have to rely on them like I had to rely on my band mates back in my musician days. I much prefer the freedom of being a visual artist, although I must confess, there are some occasions where I do miss the thrill you get from connecting with a group of musicians and the audience...
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THOMAS DODD Dandelion ©Courtesy Thomas Dodd 79
How did you come to the conclusion that digital photography could be considered fine art? I think I approached it that way almost from the very beginning of my career, I think because my references are mostly classical painters and a few fine art photographers (and I have to thank my parents and sister for that; there were so many art books around the house as I was growing up and they all informed my “visual vocabulary” as an artist for sure), it is bound to come out that way. A lot of digital art is more referencing pop culture or current CG type films and artwork and as a result is not so much in the “fine art” realm, but more so in the pop culture or “High Fantasy” worlds.
Does music influence your works? Yes, I call myself an improvisational conceptualist which means I improvise when I am working and can go off on forays based on intuition. This is something I learned to do as a musician and it transfers into art very well. When I see a model make a certain expression or gesture, quite often it will lead me off into an idea that I did not have planned at all. Of course I also play music during shoots which helps set a mood for the models - usually atmospheric type down tempo music with female vocals such as Bjork, Portishead and PJ Harvey.
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THOMAS DODD Dogma ©Courtesy Thomas Dodd 81
THOMAS
Astral
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l Body
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Your creations are filled with mythological and religious themes. Do you believe in the power of symbols and allegories? I hope to evoke something deep and archetypal with my images. I suppose that is why so much of my work references mythic and spiritual themes. There is a kind of universal language to symbols and myths that transcends cultural boundaries and I seek to elicit that kind of subconscious recognition from people when they look at my images.
Can we say that there is in you a kind of need to express the inner being and the hidden forces? I think that is what drives most people to create; as an expression of their being, a way of saying “I was here, and hopefully I made a difference� Tell us about you and your art. I think I reveal much of who I am through my images - some people see that much more clearly than others, but every image of m.ine is indeed a self portrait and will tell you more about me than any bio ever could!
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THOMAS DODD The Dreamer ©Courtesy Thomas Dodd 85
After the shot, how long does it take to create a piece of art? It varies. Some pieces can be finished in an hour or two, others can take weeks of laborious obsessing over all the details!.
What was the reaction of some galleries to consider surreal photography as fine art? Do you think it was difficult? It was a slower process for me to move into the world of galleries. I think the one drawback digital art has faced is that it is not really photography in the traditional sense (where it was all about the negative and the print) and it is certainly not painting in any sense of what has come before it. Digital is still a new medium with an ever-changing format so on the one hand that can be difficult to market and sell to collectors, but on the other hand it means that you can try new and bold experiments with it and perhaps be an innovator in the process. Like any new field - it is open for exploration, and if you explore something long enough, eventually you are going to discover something unique...
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What kind of advice would you give to artists who want to develop their skills in digital photography in order to be considered fine art? Odd Nerdrum said that “thought has to come first” and I wholeheartedly agree. You can imitate whatever is currently popular or even the old masters and you will still be missing something vital in your art. Being an artist means that you are using a medium to express something that is essentially inexpressible through language, something that enters the realm of archetypes and spirit. I feel that the more acquainted you are with the history of art, literature and human thought - the more concepts you will have to draw from and learn from and filter into your work. And perhaps most important of all, I think anyone who wants to create “art” should listen to their inner voice, pay attention to their dreams and deepest thoughts. Draw your inspiration from within you and you will never be in danger of being a copycat or a hack.
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Who are your past and contemporary’s influences? I am influenced predominately by painters: I like the Barroque masters for the way they rendered skin tones and lighting (particularly Caravaggio and Rembrandt) and I am probably most influenced stylistically and thematically by two movements from the late 19th/early 20th Centuries: the Symbolists ( especially Gustav Klimt and Edvard Munch) and the Pre Raphaelites (John William Waterhouse in particular). There are also elements of Maxfield Parrish and Giuseppe Arcimboldo in my work. I am also a huge supporter of the modern realism movement in painting which was spearheaded by the great Norwegian painter Odd Nerdum and is now being propelled by younger painters like Richard T Scott, Cesar Santos and Adam Miller. Photographers that have had an impact on me are the Czech erotic photographer Jan Saudek, and the great fashion storyteller Helmut Newton.
Tradução: L&S
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THOMAS DODD Woodshedding ©Courtesy Thomas Dodd 89
Kevin Francis Gray 20 November 2013 – 25 January 2014
PACE LONDON Kevin Francis Gray’s dedication to realism in his work, the meticulous attention to detail in his subject matter and the use of materials such as bronze and marble may seem conventional to some viewers of contemporary art yet it is precisely this material and visual reference point that remains unconventional. The work aims to transcend the natural and the material in both form and subject matter, seeking to render a physical perfection that is not reached in the temporal world. This tension Kevin Francis Gray © Courtesy Kevin Francis Gray between the real and unreal lends itself to a worthwhile questioning of contemporary definitions of tradition and innovation.
“This exhibition will mark a distinctive change of visual and sculptural language within my work. I feel that both the work and my studio practice have matured and this exhibition reflects my creative and conceptual ambition, even with the sculptural difficulties it throws up for me as an artist.” Kevin Francis Gray, October 2013. 90
Kevin Francis Gray Bailarina e o Jovem (detalhe) Mármore branco de carrara © Kevin Francis Gray, Courtesy The Pace Gallery – pictures: © Tara Moore 91
Kevin Fra
Ballerina and Boy is a modern day pietĂ of two shrouded figures mad tradition of covering the body in Judeo-Christian cultures and also a m covered ballerina carries the body of the boy and the taut body struggles the perfection of the craft. This physical contradiction of the Ballerin references to dance, and more toward the sculptural remit of physical d beyond this world, the details and forms elevating the figure to levels bea and define the formal elements of the body while also rendering them a world and transcende
Š Kevin Francis Gray, Courtesy The P 92
ancis Gray
de of white statuario carrara marble. The shroud refers to the funerary metaphorical veil that can be something for people to hide beneath. The s to overcome physical limitations in order to appear weightless to reveal na lifting the Ballerino allows the work to move away from the direct desperation. The slack body of the boy is a reminder that the figure is auty and gracefulness. The drapery of the shrouded figures both conceal anonymous and universal, simultaneously tangible within the mundane ental of the physical.
Pace Gallery – pictures: Š Tara Moore 93
Highlights of the exhibition include five double life size bronze heads. Aligned closely to the traditional art of portraiture, the works transcend the initial confines of the craft and push the contextualization of portraiture. The heads are hollowed out in order to create the effect of an empty shell, containing inside a polished and idealized world which jars with the brutal and rugged exterior of both the sculpture and the world around it. Twelve Chambers, 2013, of twelve life-size figure cast in bronze. The nude figures are grouped around one another portraying notions of isolation and inclusion, comfort and discomfort. The subjects of these figures are people taken from the area around his London studio later brought inside and sculpted from life. The piece invites the viewer to walk between the sculpted figures allowing one to participate in the sculpture and experience the figurative presence of the fractured landscape that the sculptures occupy. Ballerina and Boy, 2013, a life-size sculpture of two shrouded figures made of white statuario carrara marble refers to the funerary tradition of covering the body in Judeo-Christian cultures. The work references a metaphorical veil which allows people to hide beneath. The veiled ballerina carries the limp body of the boy while her taut body struggles to overcome the physical limitations that this imposes in order to appear weightless and reveal the perfection of the craft. This physical contradiction of the Ballerina lifting the Ballerino allows the work to move away from the direct references to dance and more toward the sculptural remit of physical desperation. The slack body of the boy is a reminder that the figure is beyond this world, the details and forms elevating the figure to levels of beauty and racefulness. The drapery of the shrouded figures both conceal and define the formal elements of the body while also rendering them anonymous and universal, simultaneously tangible within the mundane world and transcendental of the physical. 94
Kevin Francis Gray Ballerina and Boy (detail) White Carrara Marble © Kevin Francis Gray, Courtesy The Pace Gallery – pictures: © Tara Moore 95
Kevin Francis Gray (b. in 1972 in Northern Ireland) lives and works in London. He has had solo exhibitions at Haunch of Venison, New York, USA; Mendes Wood Gallery, Sao Paulo, Brazil; Roebling Hall, New York, USA; One in the Other Gallery, London, UK; Changing Role Gallery, in Rome, Venice and Naples, Italy; Goff+Rosenthal, Berlin, Germany; Osterwalders Art Office, Hamburg, Germany His work has been included in exhibitions at the Royal Academy, London, UK; Chisenhale Gallery, London,UK; Sudeley Castle, Winchcombe, Gloucestershire, UK; Museum of Contemporary Art of the ValdeMarne, Paris, France; Nieuw Dakota, Amsterdam; Palazzo Arti Napoli, Naples, Italy; Musee d’art Moderne, Saint- Etienne, France; Museum of Contemporary Art, Belgrade, Serbia; ARTIUM, Centro-Museo Vasco de Arte Contemporåneo, Vitoria-Gasteiz, Spain; Tel Aviv Museum of Art, Tel Aviv, Israel; and Art Space, New York, USA.
Pace London 6 Burlington Gardens London W1S 3ET 96
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Edward Steichen em 1920 e 1930: A R neficent gift from Richar
December 6, 2013 through February 201
The Whitney Museum of American Art will mount an exhibition of works by Edward Steichen, the pioneering American photographer best known for his striking portraits from the earlytwentieth century. Organized by senior curatorial assistant Carrie Springer, the exhibition includes celebrity portraits and fashion photographs taken for Vanity Fair and Vogue, images shot for advertising campaigns, and a selection of photographs that show the artist’s interest in the natural world. The approximately forty-five works that comprise Edward Steichen in the 1920s and 1930s: A Recent Acquisition were a generous gift to the Whitney from Richard and Jackie Hollander in memory of Ellyn Hollander. The
exhibition will be on view from December 6 through February 2014 in the Museum’s Anne & Joel Ehrenkranz Gallery. This exhibition covers a period when Steichen was the chief photographer for Condé Nast Publications, a position he held from 1923 to 1937. Considered one of the greatest portrait photographers at that time, Steichen was assigned to photograph famous actors, writers, artists, statesmen, and society figures for Vogue and Vanity Fair magazines. His portraits—including iconic images of Winston Churchill, Paul Robeson, Marlene Dietrich, Eugene O’Neill, and Gertrude Vanderbilt Whitney, among others which will be on view— depict a rich slice of cultural history. 98
Recent Acquisition, highlighting a berd and Jackie Hollander.
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EDWARD STEICHEN Foxgloves, France, 1925. Gelatin silver print, 9 15/16 × 7 15/16in. (25.2 × 20.2 cm). Whitney Museum of American Art; gift of Richard and Jackie Hollander in memory of Ellyn Hollander 2012.222 99
At the same time, Steichen began shooting photographs for advertising that are elegant and natural representations of objects and people. Using starkly contrasting light and shadow, he created a dramatic visual framework for his subjects. These qualities are apparent in Steichen’s nude for Cannon Towels and in his Ad for Coty Lipstick, both of which will be on display.
approach to photography, focusing on making images for the printed page. After serving as the chief photographer for Condé Nast publications from 1923 to 1937, Steichen resigned from his post and, at the age of fifty-nine, gave up his New York studio. During World War II, Steichen volunteered for service, and became director of the U.S. Navy Photographic Institute, in charge of all Navy Combat photography. In 1947, he was appointed director of the Department of Photography at The Museum of Modern Art, where he worked for fifteen years and curated more than forty exhibitions. His most famous show was The Family of Man (1955), a wideranging exhibition of photographs by artists from around the world linked together a shared human experience. MoMA also mounted an exhibition of Steichen’s own work in 1961, the year before he retired. In 1963 President John F. Kennedy presented Steichen with the Presidential Medal of Freedom, the highest honor the government bestows to a civilian.
Also included in this exhibition are several Steichen images of flowers, gardens, and fruit that he made for his own interest, and reflect the formal qualities apparent in Steichen’s commercial work. Seen together the works in this exhibition demonstrate Steichen’s vision of photography as both an aesthetic form and a vehicle for mass communication. Edward Steichen (1879–1973) began his career as a painter and a photographer, producing atmospheric and expressive photographs with a deliberate painterly appearance. After serving in World War I as an aerial photographer, he abandoned painting and developed a more modernist 100
EDWARD STEICHEN Marlene Dietrich, (for Vanity Fair) de 1931. Gelatin silver print, 10 Ă— 8in. (25.4 Ă— 20.3 cm). Whitney Museum of American Art; gift of Richard and Jackie Hollander in memory of Ellyn Hollander 2012.234 101
During World War II, Steichen volunteered for service, and became director of the U.S. Navy Photographic Institute, in charge of all Navy Combat photography. In 1947, he was appointed director of the Department of Photography at The Museum of Modern Art, where he worked for fifteen years and curated more than forty exhibitions. His most famous show was The Family of Man (1955), a wideranging exhibition of photographs by artists from around the world linked together a shared human experience. MoMA also mounted an exhibition of Steichen’s own work in 1961, the year before he retired. In 1963 President John F. Kennedy presented Steichen with the Presidential Medal of Freedom, the highest honor the government bestows to a civilian.
by the Artists Council of the Whitney Museum of American Art. Richard and Jackie Hollander have one of the largest collections of Steichen photographs in private hands. Last winter they gave 142 vintage prints by Edward Steichen to three American museums—the Whitney Museum of American Art, the Mary and Leigh Block Museum of Art at Northwestern University, and Los Angeles County Museum of Art. The photographs were purchased by the Hollanders directly from the estate of the artist, and represented a part of their overall collection. Mr. Hollander is the Chairman of Aristotle Capital Management, LLC (“Aristotle”), an investment management firm.
Major support for this exhibition is provided by the John R. Eckel Jr. Foundation. Additional support is provided 102
EDWARD STEICHEN Advertisement for Coty Lipstick, 1935. Gelatin silver print, 9 15/16 × 7 15/16in. (25.2 × 20.2 cm). Whitney Museum of American Art; gift of Richard and Jackie Hollander in memory of Ellyn Hollander 2012.205 103
EDWARD STEICHEN PPaul Robeson (as Brutus Jones in The Emperor Jones, for Vanity Fair), 1933. Gelatin silver print, mounted on board, 9 15/16 Ă— 8in. (25.2 Ă— 20.3 cm). Whitney Museum of American Art; gift of Richard and Jackie Hollander in memory of Ellyn Hollander 2012.240 104
Whitney Museum of American Art 945 Madison Avenue 75th Street New York City NY 10021
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TAYMOUR GRAHNE GALLERY
Ciarán Murphy: A Round Now December 10, 2013 – January 25, 2014
Ciarán Murphy Highway Kind 1, 2013 Oil on Canvas, 19.69 x 23.62 (50 x 60 cm) Courtesy of Ciarán Murphy and Taymour Grahne Gallery 106
Taymour Grahne Gallery is proud to present A Round Now, a selection of new oil paintings and watercolors by acclaimed Irish artist Ciarån Murphy, marking the artist’s first exhibition in New York.
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Murphy’s enigmatic paintings take their starting point from a wideranging and ever growing archive of images found, collected and carefully arranged into categories by the artist over the years. This previously unseen archive forms the backbone that haunts the finished works. Through a process of editing, erasing, overwriting or simply replacing what has been painted and unpainted, the work leaves a sense that is not quite of loss, or absence, but rather the presence of a nonthing. Recently, the subjects within his paintings have become more obscured and elusive. The recognizable forms in his earlier work have given way to indeterminate shapes and architectural forms. Although some might be described as abstract, they still feel as if they are, at some point, photographically derived and “indexically tied to some frozen instant that existed before the painting,” as Chris Fite Wassilak writes in the catalog essay “Documentary.” The sense of dislocation or unease that comes from experiencing Murphy’s work isn’t located in any single image; rather it is an accumulated sense that grows while walking amongst a gathering of his paintings. This perpetual feeling of dislocation ensures that the viewer can never institute any prospect of having ‘arrived’ or feeling ‘at home.’ Art critic Luke Clancy refers to Murphy’s paintings as spectral images; “His ghost shapes and almost disintegrating (or never even forming) objects come from a place into which we are all heading. They are speculative paintings in that they share with speculative fictions an ability to peer imaginatively into a future and in the act of looking, call that speculation into being. In this, the paintings propose a way to explore figuratively the limits of our understanding, to offer objects that undermine our understanding of objects, objects that dramatize our expectations not just of comprehension, but of sensing.”
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Ciarรกn Murphy Idea for a Sculpture, 2013 Oil on Canvas, 31.5 x 23.62 in (80 x 60 cm) Courtesy of Ciarรกn Murphy and Taymour Grahne Gallery 109
Since the first solo presentation of Murphy’s paintings in Dublin in 2005, his work has achieved considerable international critical success, with solo exhibitions in Kavi Gupta Gallery Chicago, Grimm Gallery Amsterdam, Douglas Hyde Gallery, Dublin, Zoo Art Fair, London. Upcoming exhibitions include ‘The Line of Beauty’ in The Irish Museum of Modern Art, Dublin ‘Paradise Series’ Douglas Hyde Gallery, Dublin. His paintings are held in many public and private collections throughout the world. The artist currently resides and works in County Cork, Ireland.
TAYMOUR GRAHNE GALLERY 157 Hudson Street New York, NY 10013 110
Ciarรกn Murphy Untitled (plant), 2013 Watercolor on Paper, 11.6h x 9.1w in / 29.5h x 23w cm Courtesy of Ciarรกn Murphy and Taymour Grahne Gallery 111
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Ciarรกn Murphy Arrangement in D., 2013 Oil on Canvas, 19.69 x 23.62 in (50 x 60 cm) Courtesy of Ciarรกn Murphy and Taymour Grahne Gallery
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Ciarรกn Murphy Untitled Structure No. 18, 2013
Oil on Canvas, 11.81h x 15.75w in / 30h x 40w cm Courtesy of Ciarรกn Murphy and Taymour Grahne Gallery
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Ciarรกn Murphy Interpretative Centre (no. 1), 2013 Oil on Canvas, 39.37 x 47.24 in / 100 x 120 cm Courtesy of Ciarรกn Murphy and Taymour Grahne Gallery
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ROBERT MAPPLETHORPE SAINTS AND SINNERS December 14, 2013 - January 25, 2014
Sean Kelly Sean Kelly brings together twenty-seven pairings of Mapplethorpe images exploring the theme of Saints and Sinners. While some pairings in the exhibition may have more obvious connections, others are more ambiguous in their associations. The fifty-four images that comprise Saints and Sinners, some of which have rarely been exhibited, afford the viewer an opportunity to find personally meaningful connections in the work. Mapplethorpe himself deftly subverted any moral implications by presenting his subject matter in an objective, even classical manner, putting the onus on the viewer to draw their own conclusions. Mapplethorpe’s Self-Portrait (1980) in drag is paired with a portrait of the singer and actress, Amanda Lear (1976) D two unique depictions of female sexuality. The profile of a marble sculpture of Ermes (1988) is shown next to a vanitas-like composition of a human skull (1988); the former perhaps represents an ideal of physical perfection whilst the latter reminds one of the realities of mortal existence. Bruce Mailman (1981) and Christopher Holly (1980) are, in different guises, potentially perceived as either playful or nefarious- in each case the viewer is called upon to decide the implications for them. 118
Robert Mapplethorpe Alice Neel, 1984 ŠRobert Mapplethorpe Foundation. Used by permission Courtesy: Sean Kelly, New York 119
Together, the photographic pairings in Saints and Sinners offer the possibility of seemingly endless personal interpretations of the work and a fresh perspective on Mapplethorpe’s practice and his fearless contribution to contemporary photography. Robert Mapplethorpe was born in 1946 in New York. He earned a B.F.A. from Pratt Institute in Brooklyn, where he produced artwork in a variety of media, mainly collage. The shift to photography as Mapplethorpe’s sole means of expression happened gradually during the mid-1970s. He took his first photographs using a Polaroid camera, and later became known for his portraits of artists, architects, socialites, stars of pornographic films, members of the S&M community and an array of other characters many of whom were personal friends. During the early 1980s, his photographs shifted to emphasize classical formal beauty, concentrating on statues male and female nudes, flowers, still lives and formal portraits. Mapplethorpe died from AIDS on March 9, 1989, in Boston, at age 42.Since that time; his work has been the subject of innumerable exhibitions throughout the world, including major museum traveling retrospectives.
Sean Kelly 475 Tenth Ave, New York NY 10018 120
Robert Mapplethorpe Christopher Holly,1980 ŠRobert Mapplethorpe Foundation. Used by permission Courtesy: Sean Kelly, New York 121
Robert Mapplethorpe Bruce Mailman,1981 ŠRobert Mapplethorpe Foundation. Used by permission Courtesy: Sean Kelly, New York 122
Robert Mapplethorpe Javier,1985 ŠRobert Mapplethorpe Foundation. Used by permission Courtesy: Sean Kelly, New York 123
Osnat Cohen Osnat Cohen was born in Tel-Aviv, in 1962. In the last twenty years, she works in central Israel, designing and making her own line of gold and silver jewelry. After few years of studying History and Philosophy, and following extensive traveling all over the world, she realized that her true passion was in the most basic knowledge of art and craft. She developed her own jewelry studio at home, learning the process. Osnat is, indeed, a self-taught artist, free of the constrains of school dogma, independent and attentive to her own inner vision, her relationship with nature and ecology, and the cultural scene of jewelry art in Israel. In her oneof-a-kind pieces she gives full rein to her inner strengths, her artistic curiosity and desire. “In my work, I am fascinated by the encounter of cold metal with fire. I seek to articulate this fascination of the unique transformation into the piece, trying to preserve an initial innocence and organic feeling that is associated with the process.� - Osnat Cohen www.estijewelry.com
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Osnat Cohen Hamsa Pendant Silver with gold 14 Photo: Courtesy Osnat Cohen
Osnat Cohen Bird Brooch, silver combined gold. Photo: Courtesy Osnat Cohen
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Osnat Cohen Button Earring Gold 14 silver combined Photo: Courtesy Osnat Cohen
Osnat Cohen Pendant Silver with coper Photo: Courtesy Osnat Cohen
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Osnat Cohen Leather Necklace. Gold and silver pendant. Photo: Courtesy Osnat Cohen
Osnat Cohen Silver Bracelet with tourmaline and jade Photo: Courtesy Osnat Cohen
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Osnat Cohen Gold ring Photo: Courtesy Osnat Cohen
Osnat Cohen Silver and gold ring Photo: Courtesy Osnat Cohen 128
Osnat Cohen Pendant Silver with coper Photo: Courtesy Osnat Cohen
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JANUARY H Salzburg, Austria
Baden-Baden, Germany
Under Pressure: Politics in Contemporary Photography November1, 2013 – March 2, 2014 Museum der Moderne, Salzburg Mönchsberg 32, 5020 Salzburg
Franz Gertsch: Nature’s Secret October 26, 2013- February 16, 2014 Museum Frieder Burder Lichtentaler Allee 8S, Baden-Baden
Wien, Austria
Hamburg, Germany
Point of View #7 – Unusual Insights into the Pictures Gallery December 12, 2013 – February 16, 2014 Kunsthistorisches Museum Maria-Theresien-Platz, 1010 Wien
The Beauty of The Line – Stefano della Bella as a Draughtsman October 25, 2013 – January 26, 2014 Hamburger Kunsthalle, Kuppelsaal Glockengießerwall 20095, Hamburg
S.Paulo, Brasil
Wolfsburg, Germany
Edie Peake Caustic Community (Masks and Mirrors) November 20, 2013 – February 8, 2014 White Cube, S. Paulo Rua Agostinho Rodrigues Filho
Art & Textiles – Fabric as Material and Concept in Modern Art from Klimt to the Present October 10, 2013 – March 3, 2014 Kunstmuseum Wolfsburg Hollerplatz 1 -38440 Wolfsburg.
Prague, Czech Republic
Tel Aviv, Israel
Saints Cyril and Methodius – HistoryTradition-Veneration. November 1, 2013 – February 2, 2014 National Gallery of Prague Staroměstské náměstí 12, 110 15 Praha
Joana Vasconcelos: Lusitania 2013 November 4, 2013 – April 26, 2014 Tel Aviv Museum of Art – The Lightfall, Herta and Paul Amir Building 27 Shaul Hamelech Blvd, POB 33288, Tel –Aviv 130
HIGHLIGHTS Amsterdam, Netherlands
Edinburg, Scotland
“Raw Truth: Auerbach – Rembrandt” December 12, 2013 – March 6, 2014 Rijksmuseum Museumstraat 1, 1071 Amsterdam
Turner in January – The Vaughan Bequest of Turner Watercolors January 1, 2014 – January 31, 2014 Scottish National Gallery – Gallery Room 8 The Mound, Edinburgh EH2 2EL
Lisbon, Portugal
Barcelona, Spain
Fundação Calouste Gulbenkian October 25, 2013 –January 26, 2014 The Splendour of The Cities – The Route of The Tile Sala de Exposições Temporárias da Sede Fundação Calouste Gulbenkian Avenida Berna 45, 1067-001 Lisboa
Before The Horizon (The Representation of the Horizon from the Middle 19th Century to Present) October 24,2013 – February 16, 2014 Fundación Juam Miró Parc de Montjuic, Barcelona
Oporto, Portugal
Madrid, Spain
Habitar(s) November 30, 2013 – February 23, 2014 Galeria da Biblioteca Municipal Almeida Garrett Rua D. João de Castro, 210, Porto
Chris Killip Work October 2, 2013 – February 24, 2014 Museu Nacional Centro de Arte Reina Sofia Edificio Sabatini Calle de Santa Isabel, 52, 28012 Madrid
Moscow, Russia
Genève, Switzerland
Maurits Cornelis Escher December 11, 2013 - February 9, 2014 Moscow Museum of Modern Art 25 Petrovka Street, Moscow
Rene Rimbert (1896-1991) Poetry of the Silence and Flemish Reminiscence November1, 2013 – April 25, 2014 Artevera’s Gallery 1 Rue Etienne Dumont, 1204, F, Genève 131
DESTAQUES Riehen/Basel, Switzerland
London, UK
Thomas Schütte Fondation Beyeler Baselstrasse 101 CH-4125 Riehen / Basel
Jake and Dinos Chapman: Come and See November 29, 2013 – February 9, 2014 Serpentine Gallery Kensington Gardens, London W2 3XA
London, UK
Los Angeles, Ca, USA
The EY Exhibition Paul Klee: Making Visible October 16, 2013 – March 9, 2014 Tate Modern Bankside, London SE1 9TG
Calder and Abstraction: From Avant-Garde to Iconic November 24, 2013 – July 27, 2014 Los Angeles County Museum of Art 5905 Wilshire Blvd, Los Angeles, CA 90036
London, UK
New York, USA
Kevin Francis Gray Pace London 6 Burlington Gardens London W1S 3ET
The American West in Bronze, 1850 -1925 December 18, 2013–April 13, 2014 1000 Fifth Avenue, New York, NY 10028-0198
London, UK
New York, USA
Yutaka Sone November 22, 2013 – January 25, 2014 David Zwirner Gallery 24 Grafton St, City of Westminster, London W1S 4EZ
Edward Steichen in the 1920’s and 1930’s A Recent acquisition, highlighting a beneficent gift from Richard and Jackie Hollander December 6, 2013 through February 2014 945 Madison Avenue, 75th Street New York City, NY 10021 132
DE JANEIRO New York, USA
New York, USA
Ciarán Murphy: A Round Now December 10, 2013 – January 25, 2014 TAYMOUR GRAHNE GALLERY 157 Hudson Street New York, NY 10013
Ink Art: Past as Present in Contemporary China December11, 2013 – April 6, 2014 The Metropolitan Museum of Art 1000 5th Ave, New York, NY 10028
New York, USA
Philadelphia, USA
Robert Mapplethorpe-Saints and Sinners December 14, 2013 - January 25, 2014 Sean Kelly 475 Tenth Ave, New York, NY 10018
The Surrealists: Works from the Collection November 3, 2013 - March 2, 2014 Philadelphia Museum of Art - Special Exhibitions Gallery, first floor, Perelman Building 2600 Benjamin Franklin Pkwy, Philadelphia, PA 19130
New York, USA
Madrid, Spain
Jan De Wiegher: New Works November 22, 2013 – January 18, 2014 Mike Weiss Gallery 520W 24 NYC
Chris Killip Work October 2, 2013 – February 24, 2014 Museu Nacional Centro de Arte Reina Sofia Edificio Sabatini Calle de Santa Isabel, 52, 28012 Madrid
New York, USA
Santa Clara, California, USA
George Afedzi Hugges: Collisions November 21, 2013 – January 18, 2014 Skoto Gallery 525 West 20th Street, 5th Fl, NYC
Kay Russell: Recollections December 7 through February 2, 2014 Triton Museum of Art 1505 Warburton Ave, Santa Clara, CA 95050
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