Auerbach Giacometti
Auerbach Giacometti
弗兰克˙奥尔巴赫 阿尔佩托˙贾科梅蒂
Frank Auerbach Alberto Giacometti West Bund Art & Design 8–11 November 2018 Stand N211
Marlborough Fine Art 6 Albemarle Street London W1S 4BY +44 (0)20 7629 5161 mfa@marlboroughfineart.com www.marlboroughlondon.com
弗兰克˙奥尔巴赫 阿尔佩托˙贾科梅蒂 西岸艺术与设计博览会 2018年11月08日–11日 N211 展位
马伯勒艺术画廊 英国伦敦阿贝伯马尔街6号 电话：+ 44 (0)20 7629 5161 mfa@marlboroughfineart.com www.marlboroughlondon.com
An introduction by Martin Gayford
“We are loners”, Frank Auerbach muses, “But we are buoyed up by our surroundings”. The group of which he is speaking are his fellow artists, and when he uses the term “loners” he is echoing RB Kitaj’s celebrated description of the School of London as a “herd of loners”. Auerbach’s point however, is that for his generation starting out in the late 40s and 1950s a significant part of the artistic environment was not nearby, on the banks of the Thames, but across the Channel. More specifically, they were aware of a confined space at 46 rue Hippolyte-Maindron, in the 14th arrondissement of Paris – and what was created there. This was, of course, the workplace of Alberto Giacometti (1901-66) – a room the very smallness and bareness of which provided an encouraging example. It was frequently recorded by photographers, and also became a theme of works by Giacometti himself, such as Atelier I (1950). For him and his contemporaries, Auerbach recalls, “the fact that one could actually do work that mattered in a small studio with no conveniences was very helpful – that you could work in a back room, as it were: if you don’t have any money just get a pencil and a bit of paper!”.
It was an example Auerbach – some thirty years Giacometti’s junior – has followed. Today he is still using the unostentatious premises near Regent’s Park into which he first moved in 1954. Its environs have been a perennial subject for Auerbach: as witness the two recent pictures entitled To the Studios (2018) of the passage leading to this humble structure. Giacometti’s was an example of dedication, ambition and determination rather than as the inventor of a style to imitate. A few years ago, Tate Britain mounted an entire exhibition documenting how British artists from Duncan Grant to Henry Moore had borrowed from Picasso. It would not be possible to carry out such an exercise with Giacometti. This does not mean he did not make an impression on artists in London (and elsewhere). “As far as I’m concerned the work is just astonishingly good”, Auerbach exclaims, “Again and again, I’m rocked by its quality.” Giacometti’s paintings and sculptures, alike, he goes on, “ are enormously alive, and I also find the sense of extreme rigour very stimulating. It was as if Giacometti were determined to have nothing extraneous, or merely amiable”.
The first exhibition of Giacometti’s work in Britain was held in 1955 at the Arts Council headquarters in St James’s Square. From that point onwards, Auerbach remembers, he was aware of him and his art. The two artists met on one occasion, a decade later, in the summer of 1965, when Giacometti was in London and Francis Bacon invited him to dinner with Auerbach. The evening was not a complete success – Bacon got drunk and pulled the cloth off the table – but, in retrospect, it was a notable encounter. The names of Bacon and Giacometti are frequently linked as two towering figures in post-war art. But it may be that Auerbach had the greater affinity with Giacometti. After all, he – like Giacometti but unlike Bacon – invariably works from life, generally from models whom he has known for many years. Giacometti’s wife Annette and brother Diego posed for thousands of hours – there is a sculpture of each among the works in this exhibition. It was by looking at a certain person again and again, he insisted, that it was possible to discover new things. “When my wife poses for me, after three days she doesn’t look like herself”, he once said, “I simply don’t recognise her”.
Auerbach concurs: “ A real sensation of amazement or look of beauty or something comes I think from familiarity”, he once said, “You see a familiar person for a moment as a strange object and it’s immensely moving”. Auerbach’s circle of subjects is a little wider than Giacometti’s, but not much: his wife Julia is depicted three times among these recent works. As far as Auerbach is concerned, he says, this exhibition is made up of works by “Giacometti and a fan”. He finds that “the shock of surprise and excitement is more present in Giacometti even than in marvellous, but slightly more baroque painters such as Bacon and Picasso – because it’s done with the sparsest of materials and yet manages to make momentous discoveries”. Of this combination – simple surroundings, a handful of subjects tackled of many years, powerfully original results, indefatigable energy and intensity – is what Auerbach shares most deeply with Alberto Giacometti.
序言： 马丁·盖伊福德
“我们是孤独的人”，弗兰克奥尔巴赫沉思道， “但周围的环境使我们振作”。
他讲述的对象是是他的同僚艺术家们。当他使
这就是奥尔巴赫 ，这个比贾科梅蒂年轻30岁左
用“ 孤独的人”一词时，他回应的是罗纳德·布鲁克
右的人所追随的方式。 现在的他，仍在沿用他于
斯·基塔伊（RB Kitaj）对伦敦学院的着名描述，
1954年首次搬迁的位于摄政公园附近的这个极度
称其为“孤独的群体”。奥尔巴赫认为，对他这一代
朴素的工作室。它的周围地区一直是奥尔巴赫常年
20世纪40年代末50年代的艺术家来说，重要的艺
创作的一个主题：最近的两件题为“通往工作室”
术环境并不是是在附近的泰晤士河畔，而是在海峡
（2018）的习作可以为证，它们展示了通向这个
对面。
简易工作室的小路。
具体来说，他们指的是位于巴黎第14区的伊波利
贾科梅蒂不是模仿风格的发明者，而是是奉献，雄
特-曼德隆街46号，以及那里创造的一切。这就是
心和决心的典范。 几年前，英国泰特美术馆举办
阿尔贝托·贾科梅蒂（1901-66）的工作室 ， 一个
了一个展览，记录了从邓肯·格兰特到亨利·摩尔的
毫无装饰的狭小空间，却是一个令人鼓舞的存在。
英国艺术家们是如何借 毕加索的作品的。 在贾
它时常被摄影师们的镜头所记录，并成为贾科梅
科梅蒂这里，是绝对找不到任何联系的。
蒂本人的作品主题之一，比如“画室之一”（1950 ）。
这并不意味着他没有给伦敦（和其他地方）的艺
奥尔巴赫回忆道，对于他和他的同时代人来说，
了”，奥尔巴赫惊叹道，“一次又一次，这些作品的
“事实上，一个人在一个没有任何便利可言的小工
质量让我震惊。” 贾科梅蒂的绘画和雕塑，他继续
作室里工作，是非常有帮助的。这就如同密室，没
说道，“它们极度生动，其中包含的极端严谨的感
有钱不要紧，需要的只是一支铅笔和一些纸！”
觉也非常令人兴奋。就如同贾科梅蒂下定决心与任
术家留下印象。 “就我而言，他的作品实在是太棒
何无关，哪怕仅仅只是和蔼可亲也不需要”。
贾科梅蒂在英国的第一次展览于1955年在圣詹姆
奥尔巴赫认为：“真正的惊奇或受到美得冲击大
斯广场的艺术委员会总部举行。 从那时起，奥尔
多数时候来源于熟悉感和亲密感”，他曾经说
巴赫接触到了贾科梅蒂和他的艺术。 十年后1965
过，“当某个瞬间一个熟悉的人幻化做一个奇特的
年的夏天，弗朗西斯·培根邀请当时在伦敦的贾科
对象，这个时刻是极其动人的”。奥尔巴赫选做主
梅蒂和奥尔巴赫共进晚餐时，这两位艺术家才首
题的范围比贾科梅蒂略宽，但并不多：他的妻子
次见面。 当晚的会面并没有非常成功： 培根喝醉
朱莉娅在最近的作品中就出现了三次。
了，把桌布从桌上扯了下来。 但回想起来，那是 一次难忘的相见。
奥尔巴赫说，就他自己而言，这个展览由“贾科
作为战后艺术家中的两位领军人物，培根和贾科
更为巴洛克式的画家如培根和毕加索相比，令人
梅蒂的名字经常被联系在一起。 但奥尔巴赫与贾
惊讶和兴奋的冲击更多地存在于贾科梅蒂的作品
科梅蒂的连系更为紧密。 与培根不同，奥尔巴赫
里，因为它们由最少的材料构成，但却呈现了重
更像贾科梅蒂一样，一贯从生活中获取灵感，模
大发现”。 简单的环境，多年来打磨的少数主题，
特多半是多年熟知的对象。
有力的原创成果，以及不知疲倦的能量和强度，
贾科梅蒂的妻子安妮特和兄弟迭戈都为他做了几 千个小时的模特。 此次展览就包含了以他们为模 特的雕塑。 贾科梅蒂坚持认为，一次又一次地看 某一个人，会有新的发现。 “当我的妻子为我作模 特，三天后她看起来一点都不像她自己”，他曾说 过，“我变得根本认不出她”。
梅蒂和粉丝”的作品组成。 他发现“与奇妙的，但
是奥尔巴赫与Alberto Giacometti最深刻的共同 点。
Frank Auerbach List of works
Reclining Head of Julia, 2006
To the Studios, 2018
graphite on paper
oil on board
57.5 x 76.5 cm.; 22 5/8 x 30 1/8
46 x 46 cm.; 18 x 18 in.
Interior Vincent Terrace II, 1984
To the Studios II, 2018
oil on canvas
oil on board
121.9 x 133.3 cm.; 48 x 52 1/2 in.
46 x 46 cm.; 18 x 18 in.
Albert Street, 2009-10
Reclining Head of Julia, 2018
oil on canvas
acrylic on board
127.3 x 112 cm.; 50 1/8 x 44 1/8 in.
51 x 51 cm.; 20 1/8 x 20 1/8 in.
Self Portrait II, 2018
Reclining Head of Julia, 2017-18
graphite on paper
acrylic on board
77 x 57.5 cm.; 30 1/4 x 22 3/4 in.
61 x 63.5 cm.; 24 x 25 in.
弗兰克˙奥尔巴赫 作品列表
斜倚着的朱莉娅头像，2006
去工作室（的路上），2018
纸本石墨素描
木板油画
57.5 x 76.5 cm.; 22 5/8 x 30 1/8
46 x 46 cm.; 18 x 18 in.
文森特露台内饰之二，1984
去工作室（的路上），2018
布面油画
木板油画
121.9 x 133.3 cm.; 48 x 52 1/2 in.
46 x 46 cm.; 18 x 18 in.
阿尔伯特街，2009-10
斜倚着的朱莉娅头像， 2018
布面油画
木板丙烯
127.3 x 112 cm.; 50 1/8 x 44 1/8 in.
51 x 51 cm.; 20 1/8 x 20 1/8 in.
自画像，2018
斜倚着的朱莉娅头像， 2017-18
纸本石墨素描
木板丙烯
77 x 57.5 cm.; 30 1/4 x 22 3/4 in.
61 x 63.5 cm.; 24 x 25 in.
Reclining Head of Julia, 2006 graphite on paper 57.5 x 76.5 cm.; 22 5/8 x 30 1/8
斜倚着的朱莉娅头像，2006 纸本石墨素描
57.5 x 76.5 cm.; 22 5/8 x 30 1/8
Interior Vincent Terrace II, 1984 oil on canvas 121.9 x 133.3 cm.; 48 x 52 1/2 in.
文森特露台内饰之二，1984 布面油画
121.9 x 133.3 cm.; 48 x 52 1/2 in.
Albert Street, 2009-10 oil on canvas 127.3 x 112 cm.; 50 1/8 x 44 1/8 in.
阿尔伯特街，2009-10 布面油画
127.3 x 112 cm.; 50 1/8 x 44 1/8 in.
Self Portrait II, 2018 graphite on paper 77 x 57.5 cm.; 30 1/4 x 22 3/4 in.
自画像，2018 纸本石墨素描
77 x 57.5 cm.; 30 1/4 x 22 3/4 in.
To the Studios, 2018 oil on board 46 x 46 cm.; 18 x 18 in.
去工作室（的路上），2018 木板油画
46 x 46 cm.; 18 x 18 in.
To the Studios II, 2018 oil on board 46 x 46 cm.; 18 x 18 in.
去工作室（的路上），2018 木板油画
46 x 46 cm.; 18 x 18 in.
Reclining Head of Julia, 2018 acrylic on board 51 x 51 cm.; 20 1/8 x 20 1/8 in.
斜倚着的朱莉娅头像， 2018 木板丙烯
51 x 51 cm.; 20 1/8 x 20 1/8 in.
Reclining Head of Julia, 2017-18 acrylic on board 61 x 63.5 cm; 24 x 25 in.
斜倚着的朱莉娅头像， 2017-18 木板丙烯
61 x 63.5 cm.; 24 x 25 in.
Frank Auerbach Biography
BIOGRAPHY 1931
Born in Berlin
1939
Arrives in England
1948-52
Studies at St Martin's School of Art, London
1952-55
Studies at the Royal College of Art, London Lives and works in London
1990-91
Saint Louis Art Museum, Missouri; Yale Center for British Art, New Haven
1995
National Gallery, London
2001
Royal Academy of Arts, London (selection of works shown at Scottish National Gallery of Modern Art, Edinburgh, in 2002)
2002
Marlborough Galería, Madrid Victoria and Albert Museum, London (with Lucian Freud)
MONOGRAPHS Robert Hughes, Frank Auerbach, Thames & Hudson, London, 1990. Chinese edition China Youth Press, 2003
2007-8
William Feaver, Frank Auerbach, Rizzoli, New York, 2009
2009-10 The Courtauld Gallery, London
Catherine Lampert, Frank Auerbach: Speaking and Painting, Thames & Hudson, London; Sieveking Verlag, Munich, 2015. Chinese edition Shanghai People’s Fine Arts Publishing House, 2017
2013-14
Ordovas, London; Rijksmuseum, Amsterdam (with Rembrandt)
2014
Manchester Art Gallery (Lucian Freud Estate highlights) and Tate Britain, London
SELECTED SOLO EXHIBITIONS
2015-16
Kunstmuseum, Bonn; Tate Britain, London
1965
PUBLIC COLLECTIONS
Marlborough Fine Art, London (1967, 1971, 1974, 1983, 1987, 1990 also Marlborough Graphics, 1997, 2004, 2009, 2012, 2015)
1969
Marlborough Gerson Gallery, New York; Marlborough Gallery, New York (1982, 1994, 1998, 2006)
1978
Retrospective Exhibition, Arts Council of Great Britain, Hayward Gallery, London; Fruit Market Gallery, Edinburgh
1986
British Pavilion XLII Venice Biennale
1986-87
Kunstverein in Hamburg; Museum Folkwang, Essen; Centro de Arte Reina Sofia, Madrid
1989
Rijksmuseum Vincent Van Gogh, Amsterdam
Fitzwilliam Museum, Cambridge; Abbot Hall Art Gallery, Kendal
Aberdeen Art Gallery Adelaide: Art Gallery of South Australia Bedford: Cecil Higgins Art Gallery Belfast: Arts Council of Northern Ireland; Ulster Museum Birmingham: Barber Institute of Fine Arts, University of Birmingham Bolton Museum Bristol Art Gallery and Museum Cambridge: Fitzwilliam Museum Canberra: National Gallery of Australia Cape Town: National Gallery of South Africa Cardiff: Amgueddfa Cymru – National Museum Wales Chicago: Art Institute of
Chichester: Pallant House Gallery Cincinnati: University of Cleethorpes Art Association Cleveland Museum of Art, Ohio Edinburgh: Scottish National Gallery of Modern Art Falmouth Art Gallery Glasgow Museums Hamilton: McMaster Museum of Art, McMaster University Hartlepool: Museum of Hartlepool Huddersfield Art Gallery Hull: Ferens Art Gallery Humlebaek: Louisiana Museum of Modern Art Jerusalem: Israel Museum Kendal: Abbot Hall Art Gallery Leeds Art Gallery Leicester: New Walk Museum and Art Gallery Lisbon: Calouste-Gulbenkian Foundation Liverpool: Walker Art Gallery London: Arts Council of Great Britain Ben Uri Gallery British Council British Museum Contemporary Art Society Courtauld Gallery Government Picture Collection National Gallery National Portrait Gallery Royal College of Art Tate Victoria and Albert Museum Los Angeles County Museum Madrid: Museo Thyssen-Bornemisza Manchester:
Manchester City Art Gallery Whitworth Art Gallery, University of Manchester Melbourne: National Gallery of Victoria, Felton Bequest Mexico City: Museo Rufino Tamayo Middlesbrough Institute of Modern Art Newcastle upon Tyne: Laing Art Gallery Hatton Gallery New Haven: Yale Center for British Art New York: Metropolitan Museum of Art Museum of Modern Art Norwich: Castle Museum and Art Gallery Sainsbury Centre for Visual Arts Nottingham: Castle Museum and Art Gallery Oldham: Gallery Oldham Oslo: Astrup Fearnley Museet for Moderne Kunst Oxford: Ashmolean Museum Paris: MusĂŠe Maillol Perth: The Art Gallery of Western Australia Plymouth Art Gallery Portland: Art Museum Preston: Harris Museum and Art Gallery Rochdale: Touchstones St. Louis Art Museum Salvador, Brazil: Museo de Arte Moderna da Bahia Sheffield: Graves Gallery Southampton Art Gallery Swindon Museum and Art Gallery Sydney: Art Gallery of New South Wales Tel Aviv Museum of Art Torquay: Torre Abbey Historic House and Gardens Wakefield: The Hepworth Walsall: New Art Gallery
Alberto Giacometti List of works
Atelier I, 1950
Annette assise
oil on canvas
cast no. 0/6
65.2 x 46 cm.; 25 3/4 x 18 1/8 in.
executed in 1958, cast in 1978 bronze
Femme Assise (La Mere de L’Artiste), 1947 oil on canvas 69.5 x 37.1 cm.; 27 3/8 x 14 5/8 in.
height; 80.5 cm.; 31 1/2 in.
Tête de femme / Flora Mayo cast no. 8/8
Buste de Diego, New York II cast no. 5/8 executed in 1965, cast in 1972 bronze 46.6 x 27.5 x 17.2 cm.; 18 3/8 x 10 7/8 x 6 3/4 in.
Nu debout sur socle cubique cast no. 7/8 executed in 1953, cast in 1991 bronze 43 x 11.5 x 10.4 cm.; 16 7/8 x 4 1/2 x 4 in.
executed in 1927, cast between 1988-1990 bronze 30.2 x 22.8 x 9.3 cm; 12 x 9 x 3 3/4 in.
阿尔佩托˙贾科梅蒂 作品列表
画室之一，1950
坐着的安妮特
布面油画
编号 0/6
65.2 x 46 cm.; 25 3/4 x 18 1/8 in.
1958年制模，1978年铸造 青铜雕塑
坐着的女人（艺术家的母亲），1947 布面油画
69.5 x 37.1 cm.; 27 3/8 x 14 5/8 in.
高 80.5 cm.; 31 1/2 in.
女性头部 /弗洛拉˙梅奥 编号 8/8
迭戈的半身像,纽约之二 编号 5/8 1965年制模，1972年铸造 青铜雕塑
46.6 x 27.5 x 17.2 cm.; 18 3/8 x 10 7/8 x 6 3/4 in.
站立在立方基体上的裸体 编号 7/8 1953年制模，1991年铸造 青铜雕塑
43 x 11.5 x 10.4 cm.; 16 7/8 x 4 1/2 x 4 in.
1927年制模，1988-90年铸造 青铜雕塑
30.2 x 22.8 x 9.3 cm; 12 x 9 x 3 3/4 in.
Atelier I, 1950 oil on canvas 65.2 x 46 cm.; 25 3/4 x 18 1/8 in.
画室之一，1950 布面油画
65.2 x 46 cm.; 25 3/4 x 18 1/8 in.
Femme Assise (La Mere de L’Artiste), 1947 oil on canvas 69.5 x 37.1 cm.; 27 3/8 x 14 5/8 in.
坐着的女人（艺术家的母亲），1947 布面油画
69.5 x 37.1 cm.; 27 3/8 x 14 5/8 in.
Buste de Diego, New York II cast no. 5/8 executed in 1965, cast in 1972 bronze 46.6 x 27.5 x 17.2 cm.; 18 3/8 x 10 7/8 x 6 3/4 in.
迭戈的半身像,纽约之二 编号 5/8 1965年制模，1972年铸造 青铜雕塑
46.6 x 27.5 x 17.2 cm.; 18 3/8 x 10 7/8 x 6 3/4 in.
Nu debout sur socle cubique cast no. 7/8 executed in 1953, cast in 1991 bronze 43 x 11.5 x 10.4 cm.; 16 7/8 x 4 1/2 x 4 in.
站立在立方基体上的裸体 编号 7/8 1953年制模，1991年铸造 青铜雕塑
43 x 11.5 x 10.4 cm.; 16 7/8 x 4 1/2 x 4 in.
Annette assise cast no. 0/6 executed in 1958, cast in 1978 bronze height; 80.5 cm.; 31 1/2 in.
坐着的安妮特 编号 0/6 1958年制模，1978年铸造 青铜雕塑 高 80.5 cm.; 31 1/2 in.
Tête de femme / Flora Mayo cast no. 8/8 executed in 1927, cast between 1988-1990 bronze 30.2 x 22.8 x 9.3 cm; 12 x 9 x 3 3/4 in.
女性头部 /弗洛拉˙梅奥 编号 8/8 1927年制模，1988-90年铸造 青铜雕塑
30.2 x 22.8 x 9.3 cm; 12 x 9 x 3 3/4 in.
Alberto Giacometti Biography BIOGRAPHY
2013
Musée de grenoble, Grenoble
1901
Born in Borgonovo, Switzerland
2014
Gagosian Gallery, Hong Kong
Studies at the École des Beaux-Arts and École des Arts et Métiers
2015
Pera Museum, Istanbul
2015
Galleria d’arte Moderna, Milano
Moves to Paris and studies at the Académie de la Grande-Chaumière
2015
Fondatión canal Madrid
2016
Yuz Museum, Shanghai
1962
Awarded the grand prize for sculpture at the Venice Biennale
2016
Musée Mohammed VI, Rabat
1966
Died in Chur, Switzerland
2016
The National Portrait Gallery, London
2017
Tate Modern, London
2017
Galerie Lympia, Nice
2018
Hangaram Art Museum, Seoul
2018
Musée National des Beaux-Arts du Québec, Québec
2018
The Guggenheim Museum, New York
1919 1922
SELECTED SOLO EXHIBITIONS 1932
Pierre Colle Gallery, Paris
1948
Pierre Matisse Gallery, New York
1955
The Guggenheim Museum, New York
1965
Museum of Modern Art, New York
1970
High Museum of Art, Atlanta
PUBLIC COLLECTIONS
1988
Hirshhorn Museum and Sculpture Garden, Washington DC
1996
Scottish National Portrait Gallery, Edinburgh
2002
The Museum of Modern Art
2005
Pace Wildenstein Galerie, New York
2006
Kawamura Memorial Museum of Art, Sakura
2007
Centre Pompidou, Paris
2008
Pushkin Museum, Moscow
2008
Kunsthal, Rotterdam
2009
Fondation Beyeler, Basel
2010
Gagosian Gallery, Geneva
2012
Fundación Proa, Buenos Aires
2012
Museu de Arte Moderna, Rio de Janeiro
2012
Pinacothèque do Estado, Sao Paulo
2013
Kunsthalle, Hamburg
Albright-Knox Art Gallery, Buffalo Allen Art Museum at Oberlin College, Ohio Art Collection of the Biblioteca Luis Ángel Arango, Colombia Art Gallery of New South Wales, Sydney Art Institute of Chicago Baltimore Museum of Art, Baltimore Bechtler Museum of Modern Art, Charlotte Berggruen Museum, Berlin Beyeler Foundation Collection, Switzerland Bibliotheque Nationale de France Block Museum of Art at Northwestern University, Illinois Botero Museum, Bogotá Bündner Kunstmuseum, Chur Carnegie Museum of Art, Pittsburgh Centre Pompidou, Paris Cincinnati Art Museum, Ohio Cleveland Museum of Art, Ohio
Currier Gallery of Art, New Hampshire Dallas Museum of Art, Texas Detroit Institute of Arts Didrichsen Art Museum, Helsinki Fine Arts Museums of San Francisco Fondation Beyeler, Basel Fondation de l’Hermitage, Lausanne Fondation d’Entreprise Louis Vuitton, Paris Galleria Nazionale d’Arte Moderna, Rome Guggenheim Museum, New York Haifa Museum, Haifa Hamburger Kunsthalle, Hamburg Harvard University Art Museums, Massachusetts Hirshhorn Museum and Sculpture Garden, Washington DC J. Paul Getty Museum, Los Angeles, California Johnson Museum of Art, Cornell University Kunsthalle Bern, Bern Kunsthaus Zürich Kunstmuseum Basel, Switzerland Kunstmuseum Lucerne, Switzerland Leeum, Samsung Museum of Art, South Korea Los Angeles County Museum of Art Louisiana Museum of Modern Art, Denmark Manchester City Art Gallery, UK Meadows Museum at Southern Methodist University, Dallas Metropolitan Museum of Art, New York Milwaukee Art Museum, Wisconsin Minneapolis Institute of Arts, Minnesota Moderna Museet, Stockholm Museum Moderner Kunst Stiftung Ludwig Wien, Vienna Musée Cantini, Marseilles Musée d’Art et d’Histoire, Geneva Musée d’Orsay, Paris Musée Guggenheim, Bilbao Musee Jenisch, Vevey Museo Thyssen-Bornemisza, Madrid
Museum of Contemporary Art, Los Angeles Museum of Fine Arts, Boston Museum of Fine Arts, Houston Museum of Modern Art, New York Nasher Sculpture Center, Dallas National Galleries of Scotland, Edinburgh National Gallery of Art, Washington D.C. National Gallery of Australia, Canberra North Carolina Museum of Art, Raleigh Norton Simon Museum, Pasadena Palm Springs Desert Museum, California Peggy Guggenheim Collection, Venice Philadelphia Museum of Art Pomona College Museum of Art, California Princeton University Art Museum, New Jersey Pulitzer Foundation for the Arts, Saint Louis Sainsbury Centre for Visual Arts, Norwich San Francisco Museum of Modern Art Scottsdale Museum of Contemporary Art, Scottsdale, Arizona Smart Museum of Art at the University of Chicago Solomon R. Guggenheim Museum, New York Staatsgalerie Stuttgart, Stuttgart Städel Museum, Frankfurt State Museums of Berlin Stedelijk Museum, Amsterdam Tate, London Tehran Museum of Contemporary Art, Iran Tel Aviv Museum of Art, Israel The Albertina Museum Vienna, Vienna Thyssen-Bornemisza Museum, Madrid University of Lethbridge Art Gallery, Alberta University of Michigan Museum of Art Von der Heydt-Museum, Wuppertal Wadsworth Atheneum, Hartford Walker Art Center, Minnesota Walker Art Center, Minneapolis Yale University Art Gallery, New Haven
LONDON
NEW YORK
Marlborough Fine Art (London) Ltd
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Marlborough Contemporary
Marlborough Contemporary
6 Albemarle Street
545 West 25th Street
London, W1S 4BY
New York, N.Y. 10001
Telephone: +44 (0)20 7629 5161
Telephone: +1 212 463 8634
Telefax: +44 (0)20 7629 6338
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info@marlboroughcontemporary.com
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www.marlboroughcontemporary.com
www.marlboroughcontemporary.com
MADRID
BARCELONA
GalerĂa Marlborough SA
Marlborough Barcelona
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Enric Granados, 68
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08008 Barcelona.
Telephone: +34 91 319 1414
Telephone: +34 93 467 4454
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ISBN 978-1-909707-54-2
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Cat No. 782
Photography: Luke Andrew Walker and Mark Dalton Photography Design: Bright Design London Print: Impress Print Services Š 2018 Marlborough