Hope and Hazard: A Comedy of Eros by Maryseb14c

Hope and Hazard: A Comedy of Eros Curated by Eric Fischl

Hall Art Foundation Reading, Vermont 6 May â&#x20AC;&#x201C; 26 November 2017

Nicole Eisenman Little Shaver, 2005

Introduction Curated by American artist Eric Fischl, approximately sixty-five artists are represented in Hope and Hazard: A Comedy of Eros, which includes over eighty paintings, photographs, works on paper and sculptures selected by Fischl from the Hall and Hall Art Foundation collections. In this fresh and provocative show, Fischl illustrates the absurd extremes associated with romantic and sexual love. Desire, passion, vulnerability, disappointment, pleasure and torment are expressed as a Greek or Shakespearian comedy – epic and tragic, hopeful and hazardous. Hope and Hazard: A Comedy of Eros includes works by Siegfried Anzinger, Alexander Archipenko, Robert Arneson, Dan Attoe, Georg Baselitz, Lillian Bassman, Ellen Berkenblit, Katherine Bernhardt, Norbert Bisky, Josef Breitenbach, André Butzer, William Copley, John De Andrea, Carroll Dunham, Marcel Dzama, Peter Eide, Nicole Eisenman, Judith Eisler, Tracey Emin, Lee Friedlander, Dan Gluibizzi, Bendix Harms, Georg Herold, Jocelyn Hobbie, Thomas Houseago, Ridley Howard, Chantal Joffe, John Kacere, Craig Kauffman, Yves Klein, Jeff Koons, David Levinthal, Judith Linhares, Tala Madani, Robert Mapplethorpe, Tony Matelli, Jonathan Meese, Bjarne Melgaard, Gladys Nilsson, Jim Nutt, Julian Opie, C.O. Paeffgen, A.R. Penck, Enoc Perez, Alessandro Pessoli, Erwin Pfrang, Francis Picabia, Nathaniel Mary Quinn, Mel Ramos, Man Ray, Bettina Rheims, Jason Rhoades, Walter Robinson, Aura Rosenberg, David Salle, Peter Saul, Ryan Schneider, Lara Schnitger, Pieter Schoolwerth, Joan Semmel, David Smith, Luc Tuymans, Tom Wesselmann, Hannah Wilke, Erwin Wurm and Lisa Yuskavage.

Born in New York City in 1948, Eric Fischl is one of the most influential American figurative painters and sculptors working today. After growing up in the suburbs of Long Island, he earned his B.F.A. from the California Institute for the Arts in 1972, and subsequently taught at the Nova Scotia College of Art and Design in Halifax between 1974 and 1978. Fischl is most well known for provocative, large-scale paintings of middle-class suburban America that are imbued with psychological and often uncomfortable sexual undertones. His paintings, sculptures, drawings and prints have been the subject of numerous solo and major group exhibitions. His work is represented in many prominent institutional collections worldwide, as well as prestigious private and corporate collections, including the Metropolitan Museum of Art, New York; the Whitney Museum of American Art, New York; the Museum of Modem Art, New York; the Museum of Contemporary Art, Los Angeles; the St. Louis Art Museum, St. Louis; and the Louisiana Museum of Art, Denmark, amongst many others. In 2011, Fischl organized America: Now and Here, a multi-disciplinary exhibition of the United State’s most celebrated visual artists, musicians, poets, playwrights, and filmmakers designed to spark a national conversation about American identity through the arts. The project launched in Kansas City before traveling to Detroit and Chicago. Fischl is a Fellow at both the American Academy of Arts and Letters and the American Academy of Arts and Sciences. He lives and works in Sag Harbor, NY with his wife, the painter April Gornik. #hallartfoundation #hopeandhazard

All works from the Hall and Hall Art Foundation collections unless otherwise noted. All works © the artist

3 2

4 6

1. Siegfried Anzinger Leintuch, 2006 Distemper on canvas 63 x 39 ½ in. (160 x 100 cm)

6. Georg Baselitz Fixe Idee, 1965 Oil on canvas 63 ½ x 51 ½ in. (162 x 130 cm)

12. André Butzer Portrait Carl Zuckmayer, 2004 Oil on canvas 118 x 79 in. (300 x 200 cm)

2. Alexander Archipenko (attributed) Untitled, 1930 ca. White marble 16 ¼ x 3 x 3 in. (41 x 7.5 x 7.5 cm)

Georg Baselitz is possibly best known for his paintings of inverted figures, animals, landscapes and still-lives that emerged in 1969. Engaging these classic figurative motifs, Baselitz creates and/or displays work upside down in order to re-focus the viewer on the abstract qualities of his compositions rather than their representational ones. From 1965, Fixe Idee was executed before this stylistic shift. The work depicts a hermaphrodite, stick-like figure with tiny breasts and a long phallus holding a fetal-like form in one hand and what appears to be an ovary in the other.

André Butzer’s contemporary form of neo-expressionism mixes German nationalism and American pop culture with an intense devotion to the study of color. In Portrait Carl Zuckmayer, the German playwright is monumentally rendered with a thick impasto. Butzer presents Zuckmayer here as a clueless, half-man half-monster hybrid with collar and cane, and peculiar flaps at the sides of his face.

7. Lillian Bassman Lingerie, 1951 Gelatin silver print 11 ½ x 10 in. (29.5 x 25.5 cm)

William Copley was a self-taught painter who traveled widely and was influenced by Surrealism, Fauvism and Mexican muralists. His paintings are characterized by humorous and clumsy renderings of erotica paired with banal decorative elements. In Sandtrap, composed of acrylic, sand and Magic Marker on canvas, a pared-down rendering of a female’s buttocks engulfs the entire picture plane.

3. Robert Arneson Six Pack (Breasts), 1965 Ceramic 5 x 13 x 8 ½ in. (13 x 33 x 22 cm) 4. Dan Attoe Complicated Animals, 2008 Neon sculpture, neon lights, animation, wires, transformer; Edition 2/2 + 1 A.P. 76 x 73 in. (192 x 185 cm) Portland, Oregon-based artist Dan Attoe’s neon sculptures are inspired by the type of signage that can be found in bars and pool halls throughout the American Midwest. Complicated Animals (2008) depicts in bright neon a cartoon-style line drawing of a blond-haired nude female standing amongst a mass of billowy clouds. The goddess-like figure floats above an existential pronouncement that reads, “we are just complicated animals”. 5. Georg Baselitz Das Strassenbild (The Street Scene), 1981 Drypoint and aquatint on paper 25 ½ x 19 ½ in. (65 x 50 cm)

8. Ellen Berkenblit Untitled, 1994 Acrylic, ink and graphite on paper 10 x 8 in. (25 x 20 cm) 9. Katherine Bernhardt Triangles and Stars and Legs and Peace, 2008 Acrylic on canvas 96 x 120 in. (244 x 305 cm) 10. Norbert Bisky Heidi Explosion, 2007 Oil on canvas 9 ½ x 7 in. (24 x 17.5 cm) Collection of Mark and Emma Quilhot 11. Josef Breitenbach Nu (nude study), 1950 Black & white photograph 14 x 10 ½ in. (35 x 27 cm)

13. William Copley Sandtrap, 1991 Acrylic, sand and Magic Marker on canvas 32 x 26 in. (81 x 66 cm)

14. John De Andrea Kathy Hague, 1971 Fiberglass 65 x 18 x 14 in. (165 x 46 x 36 cm)

18. Peter Eide Untitled (Blanket of Stars), 2015 Oil on bath towel mounted on panel 48 x 48 x 3 in. (122 x 122 x 8 cm)

John De Andrea’s hyper-real, nude figures modernize the ancient practice of figure casting with fiberglass casts that are later hand painted. Kathy Hague is an example of De Andrea’s casually posed subjects that provoke the viewer with problems of voyeurism, artifice, and objectification. Painstaking attention to rendering the named subject in realistic detail creates a startling environment that is meant to conjure various possible narratives.

The serpentine entanglement of the figures in Peter Eide’s Untitled (Blanket of Stars) (2015) alludes to the multi-faceted complications that can be present in sexual and romantic partnerships.

15. Carroll Dunham Untitled I (July 28, 2005), 2005 Monotype in watercolor and pencil 50 x 63 in. (127 x 160 cm) 16. Carroll Dunham (Hers) Night and Day #2, 2009 Acrylic on canvas 66 x 51 in. (167.5 x 129.5 cm) Brightly colored and cartoonish, (Hers) Night and Day #2 includes a joyous but crudely rendered female silhouette from behind. Deceivingly simple, Dunham abstracts the human body, but employs an uneven and diverse application of acrylic, thereby creating textural variances between the figure’s hair, the ground, and the plants in the foreground. This technique further extends to the simple geometric shapes conjuring the female anatomy that in another context might otherwise register as benign. 17. Marcel Dzama Untitled, 2001 Watercolor, ink, on paper 14 x 11 in. (35 x 28 cm)

19. Nicole Eisenman Little Shaver, 2005 Oil on canvas 24 x 17 ½ in. (61 x 45 cm) In Little Shaver (2005), Nicole Eisenman paints a straight-on portrait of a male whose face is being shaved with a straight razor. The female barber kisses the man’s shaving cream-covered cheek while slicing his neck with the blade. Atop the man’s head squats another small female figure, urinating onto the tip of his ear. Amid this scene that is at once tender, violent and absurd, the man maintains a deadpan, forward gaze. 20. Nicole Eisenman This Drippy Paint Tomb of Energy Where Vision Goes to Die My Spirit Has Spoken, 2010 Enamel on gessoed paper 30 x 22 in. (76 x 56 cm) 21. Nicole Eisenman Untitled, 2011 Mixed media, monotype 24 ½ x 19 in. (62 x 48 cm)

22. Judith Eisler Liz & Rock, 2014 Oil on canvas 72 x 96 in. (183 x 244 cm) Painted from a film still featuring Elizabeth Taylor and Rock Hudson, Judith Eisler’s Liz & Rock (2014) depicts a moment of romantic tension between two glamorous movie stars, sexual icons of their time. 23. Tracey Emin Blinding, 2000 Neon 59 x 59 x 3 in. (150 x 150 x 8 cm) Ed. 3/3 In Blinding, neon tubes simulate the outline of a hand-drawn, upturned female nude with spread legs. The vulnerable position and gestural, imperfect lines transform a commercial material into one imbued with personal narrative. 24. Lee Friedlander Nude (Madonna), 1979 Gelatin silver print 14 x 11 in. (36 x 28 cm) 25. Dan Gluibizzi Our arrangement, 2011 Watercolor on paper 20 x 16 in. (51 x 41 cm) 26. Bendix Harms Trankerich, 2005 Oil on linen 57 ½ x 70 ½ in. (146 x 179 cm) 27. Georg Herold adieu homme (techno), 2009/2013 Lath, screws, pure new wool 89 x 29 ½ x 21 ½ in. (226 x 75 x 55 cm)

34 33

36 37 35

28. Jocelyn Hobbie Bare, 2009 Oil on canvas 40 x 30 in. (102 x 76 cm)

33. John Kacere C. Smith, 1972 Oil on canvas 56 ½ x 80 ½ in. (144 x 204 cm)

36. Jeff Koons Fingers Between Legs, 1990 Oil inks on canvas 97 x 144 in. (246 x 366 cm)

29. Thomas Houseago Egg Figure I, 2009 Plaster, hemp, wood, graphite and iron rebar 118 x 43 ½ x 51 in. (300 x 110 x 130 cm)

American artist John Kacere is best known for large-scale paintings that depict the female body, especially the midsection clothed in lingerie, which he describes as a celebration of womanhood. In C. Smith (1972), a curvy and fleshy painting of a woman’s buttocks illustrates an unselfconscious and uncomplicated eroticism.

In response to an invitation by the Whitney Museum of American Art to create a billboard for an exhibition about art’s relationship with the media, Jeff Koons created his controversial series, Made in Heaven. The group of work appropriates the highbrow, pastel and flowery aesthetic of Rococo art with the grainy and brazen style of the entertainment industry. Koons appears in Fingers Between Legs with Ilona Staller (also known as La Cicciolina), an Italian adult film star to whom the artist was briefly married. Utilizing Staller’s sets and backdrops, Koons’s work is invasively personal, while also a parody of the art and pornography worlds through an overlapping lens of kitsch and consumerism.

Egg Figure I is a monumental, hulking sculpture with lowered head and sagging shoulders. With an internal structure that is intentionally exposed, the man’s musculature, drawn in graphite onto plaster forms, contrasts with the three-dimensionality of the heavy iron rebar. 30. Ridley Howard Untitled, 2010 Oil on linen 5 x 6 in. (13 x 15 cm) 31. Chantal Joffe Untitled (Topless Woman in White Knickers), 2000 Oil on plywood 11 x 8 in. (28 x 21 cm) 32. Chantal Joffe Dusk, 2000 Oil on MDF board 36 x 120 in. (91 x 305 cm) Chantal Joffe’s paintings are often characterized by the inclusion of female figures who appear to be keenly aware of their own sexuality. At once playful, unassuming, and foreboding, the arrangement of disparate figures in Dusk introduces a complex spectrum between naivety and complicity. The largely rendered landscape offers no clues about the unusual gathering in which the viewer is intimately and directly solicited.

34. Craig Kauffman Untitled (Donut), 2001 Acrylic lacquer on blown acrylic plastic 35 ½ x 32 x 5 ½ in. (90 x 81 x 14 cm) 35. Yves Klein Venus Bleue, 1961 IKB paint on plaster casting; Edition 35 of 300 27 x 12 x 12 in. (68 x 30 x 30 cm) Yves Klein is best known for his trademark ultramarine pigment, which he patented as International Klein Blue in 1961. In Venus Bleue (1961), Klein’s signature IKB is applied to a plaster cast of the famous Greek Venus de Milo sculpture. Klein’s female torso represents an idealization of the human body.

37. David Levinthal Untitled (from the series XXX), 2001 Polaroid Polacolor ER Land Film; Edition 5/5 33 x 27 in. (84 x 68 cm) 38. Judith Linhares Blaze, 2003-2004 Oil on linen 51 x 78 in. (130 x 198 cm) 39. Tala Madani Animalology, 2008 Oil on wood 11 ¾ x 15 ¾ in. (30 x 40 cm) 40. Robert Mapplethorpe Lisa Lyon, 1982 Gelatin silver print; Ed. A.P. 1/2 of 10 + 2 A.P. 15 ¼ x 15 ¼ in. (38.5 x 38.5 cm)

41 43

41. Robert Mapplethorpe Back, 1986 Gelatin silver print; Ed. 2/10 23 ¾ x 19 ¾ in. (60.5 x 50 cm)

48. Jim Nutt Untitled, 2008 Graphite on 300 lb. wc paper 15 x 14 in. (38 x 36 cm)

42. Tony Matelli Sleepwalker, 2001 Fiberglass and acrylic paint; Ed. 2/2 72 x 36 x 36 in. (183 x 91.5 x 91.5 cm)

49. Jim Nutt Untitled, 2008 Graphite on 300 lb. wc paper 16 x 15 in. (41 x 38 cm)

New York-based artist Tony Matelli is best known for creating lifelike sculptures that combine elements of familiarity, humor and discomfort. Sleepwalker (2001) is a hyper-realistic painted fiberglass sculpture of a sleepwalking man in white briefs with outstretched arms. Unlike the way in which the male figure has been traditionally presented in monumental sculpture, Matelli’s sleepwalker is portrayed in a vulnerable and imperfect state. 43. Tony Matelli Fucked Again, 2005 Mixed media on paper 19 x 13 in. (48 x 32 cm) 44. Jonathan Meese Dr. Memmenlutsch, 2002 Oil on canvas 82 ¾ x 55 in. (210 x 139.5 cm) 45. Bjarne Melgaard Untitled, 2005 Oil on canvas 47 ¼ x 47 ¼ in. (120 x 120 cm) 46. Gladys Nilsson Sunset Stomp, 1968 Watercolor on paper 23 x 30 ½ in. (58 x 78 cm) 47. Jim Nutt Untitled, 2007 Graphite on paper 16 x 15 in. (41 x 38 cm)

50. Jim Nutt Untitled, 2008 Graphite on paper 13 x 13 in. (33 x 33 cm) 51. Jim Nutt Untitled, 2010 Graphite on paper 15 x 14 in. (38 x 36 cm) 52. Julian Opie Sara walking naked, 2003 Computer animation, LCD screen; Ed. 3/4 + 1 A.P. 37 x 24 in. (94 x 61 cm) Julian Opie is known for a distinctive style in which the form of his subjects is abbreviated to its most essential elements in black outline or simplified areas of color. Sara walking naked (2003) is a black and white computer animation of an unclothed female figure walking forward in profile. Based on multiple studies of a real person, Sara, a professional model, Opie gives a new interpretation to classical portraiture. 53. C.O. Paeffgen Untitled, 1987-95 Acrylic on canvas 115 ¼ x 70 ¼ in. (292.5 x 178.5 cm)

54. A.R. Penck Untitled (Figur mit Ausgestreckten Armen), 1966 Oil on wool blanket 65 x 43 in. (166 x 110 cm) Since the beginning of his career, A.R. Penck has pursued an intense interest in the relationship between individuals and society, and the political and social structures that govern them. He formulated the basis of his mature style in the early 1960s while living in East Berlin by perfecting a universal pictorial language made up of elementary signs and symbols, often primitive in their appearance, which anyone could understand and reproduce. Untitled (Figur Mit Ausgestreckten Armen) (1966) depicts a male figure whose arms extend directly from his head across the canvas. Executed in simplified lines and fleshy tones, this work is an unusually naturalistic rendering of a motif that would become standard for Penck – the abstracted male figure, a symbol of individual autonomy and vulnerability. 55. A.R. Penck Selbstbildnis, 1968 Acrylic on paper on board 23 x 16 ½ in. (59 x 42 cm) 56. A.R. Penck Untitled, 1983 Wood 34 x 11 x 11 in. (86 x 28 x 28 cm) 57. Enoc Perez Americana, 2015 Cast iron and concrete Overall install: 97 x 18 ½ x 12 in. (246.5 x 47 x 30.5 cm) 58. Alessandro Pessoli Circo Bianco, 2005/2006 Oil, enamel, spray paint on aluminum 38 ½ x 58 in. (98 x 147 cm)

59. Erwin Pfrang Untitled, 2004-2005 India ink on paper 22 ½ x 19 in. (57 x 48 cm) 60. Francis Picabia Untitled, 9 July, 1949 (Illustrated letter to Jean van Heeckeren), Ink on paper 10 ½ x 8 ¼ in. (26.5 x 21 cm) 61. Nathaniel Mary Quinn Another One, 2016 Black charcoal, gouache, soft pastel, oil pastel on Coventry Vellum paper 17 ½ x 17 ½ in. (44.5 x 44.5 cm) 62. Mel Ramos Yummie, 2004 Oil on canvas 24 x 24 in. (61 x 61 cm) 63. Man Ray Cadeau, 1921 (casting 1974) Cast iron with brown patina; Ed. 4475/5000 6 ½ x 4 x 3 ½ in. (16 x 10 x 9 cm) On the occasion of his first solo exhibition in 1921, Man Ray glued a single row of fourteen nails along the bottom of a common, continental flat-iron. Originally a functional and ordinary domestic object, the ‘ready-made’ assemblage was instantly transformed into a menacing, nihilistic icon of the Dada movement with allusions to combating subconscious desires to sooth and to harm. The original Cadeau, so named as it was gifted to the composer Erik Satie, was later published in an edition by Luciano Anselmino. 64. Bettina Rheims 31 Janvier, Paris (from the series 'Chambre Close'), 1991 C-print, mounted on aluminium; Ed. I/III 30 x 30 in. (76 x 76 cm)

65. Jason Rhoades MeccaVulva (Sculpture to Illuminate Corner of Wall), 2003 Cast and polished aluminum; Ed. 3/6 37 ½ x 29 x 17 ½ in. (95 x 74 x 44 cm) MeccaVulva (Sculpture to Illuminate Corner of Wall) is designed to mimic the mount that holds the Black Stone to a corner of the Kaaba, or holy shrine, at Mecca, while the sculpture’s title suggests a formal allusion to female anatomy. In 2003, this work was included in a large installation held at David Zwirner Gallery titled “Meccatuna”, in which an assembled simulation of the Kaaba constructed of 1,000 Legos was surrounded by a haphazard collection of purchased materials meant to celebrate the arrival of a canned tuna order from Saudi Arabia to the gallery. Sly and irreverent, Rhoades conflates issues of spirituality, sexuality, and consumer culture, all while poking at the seriousness of minimalist sculpture. 66. Walter Robinson Honey Girl, 2013 Acrylic on paper 9 x 13 in. (23 x 32 cm) Collection of Mark and Emma Quilhot 67. Walter Robinson Sensual All Over, 2013 Acrylic on paper 12 x 9 in. (30 x 23 cm) Collection of Mark and Emma Quilhot

68. Walter Robinson Suburban Affair, 1979 Acrylic on masonite 22 x 17 in. (55.8 x 43.1 cm) The melodrama often associated with love and romance can be seen in Walter Robinson’s Suburban Affair (1979), where a man embraces a woman reclined on a sofa. In a moment of pulp fiction passion, the strap of the woman’s dress falls from her shoulder, her red dress rises above her knees, and her cocktail glass is tipped over in her hand. 69. Aura Rosenberg The Golden Age (2 Women on Bed b/w), 2012 Acrylic paint 7 x 10 ½ in. (18 x 27 cm) 70. David Salle Hats with Nude, 2003 (Diptych), Oil on linen 27 x 36 ¼ in. (68.5 x 92 cm), overall In Hats with Nude, David Salle juxtaposes the image of an unclothed female on hands and knees leaning forward on a bed against symbols that represent a male counterpart: a fedora and a top hat. The nude in Salle’s painting relates to his 1984 series of black and white photographs, such as Untitled (1984), that were taken as a nod to film noir. 71. David Salle Untitled, 1984 Gelatin silver print; Ed. A.P. "B" from an Edition of 5 13 ½ x 10 in. (34 x 26 cm)

72. Peter Saul The Death of Sardanapolis, 1990 Acrylic and oil on canvas 78 x 96 in. (198 x 244 cm)

75. Pieter Schoolwerth Session, 2005 Oil on linen 93 x 87 in. (236 x 221 cm)

Peter Saul is known for creating work that is transgressive and challenging, while also being irreverent and outlandishly humorous. In the early 1970s, after moving from California to Chappaqua, New York, Saul turned his focus to a series of large-scale historical epics in which he reinterpreted American Scene paintings, in addition to famous art historical masterworks. The Death of Sardanapolis (1990) is a reinterpretation of Eugène Delacroix's famous masterwork, The Death of Sardanapalus (1827). Already excited by the drama, realism and monumentality of French 19th century painting, Saul’s adjustments and use of fluorescent color accentuate the violence and power of the scene.

76. Joan Semmel Untitled, 1971 Oil on canvas 69 x 81 in. (175 x 206 cm)

73. Ryan Schneider Our Conversation, 2006 Oil on canvas 60 x 72 in. (152.5 x 183 cm) 74. Lara Schnitger Spearmint Rhino, 2011 Fabric and acrylic paint on canvas 60 x 72 in. (152 x 183 cm) Lara Schnitger appropriates pattern making and the decorative arts to create images that represent female desire. In Spearmint Rhino, the overpasses common to the artist’s home in Los Angeles interweave around and between the legs of a larger-than-life, open-mouthed woman. Identifiable patterns including hounds tooth, polka dots and gingham are dyed and sewn, putting at odds ideas of traditional domesticity with a bold and raunchy declaration of sexuality.

While the bright springtime yellow, pink, and orange colors in Joan Semmel’s Untitled (1971) signal pleasure, passion and rebirth, the male and female forms also appear to be engaged in an act of violence. The woman’s body is being penetrated and torn apart at the same time, signaling that love and sex can result in as much pain as pleasure. 77. David Smith Untitled, 1964 Enamel on canvas 32 ½ x 51 in. (82 x 130 cm) Although David Smith is best known as an Abstract Expressionist sculptor, references to the human body can also frequently be found in his work. In the last year of his life, he regularly painted the female nude from black and white photographs taken the year prior. Untitled is an example in which Smith maintained a spontaneous gesture by using industrial enamel paint loaded into an ear syringe and squeezing it onto canvas. The result is a primitive and perhaps violent depiction of the female body, composed of hurried lines that disclose a speedy application. 78. Luc Tuymans Tits, 2009 Oil on canvas 20 x 27 ½ in. (51 x 70 cm)

79. Tom Wesselmann Study for Great American Nude #87, 1975 Liquitex and pencil on paper 5 x 9 in. (13 x 23 cm) 80. Tom Wesselmann Sunset Nude with Portrait, 2003 Oil on canvas 67 x 86 in. (170 x 218 cm) Tom Wesselman began drawing the female nude in his 1961 “Great American Nudes” series. Wesselman’s vibrant color palette, shallow picture plane, and tightly assembled formal construction have since become iconic. Sunset Nude with Portrait, from the artist’s last and largest series, depicts an unclothed woman in repose within a sleek interior open to the beach. With references to Pierre Matisse, 1960s advertisements, and the design of pinup model spreads, the artist developed a commanding psychological presence with as few compositional elements as needed. 81. Hannah Wilke Chewing Gum Sculpture (3.2), 1975 ca. Mixed media, chewing gum in Plexiglas box 2 ½ x 2 ½ x 1 in. (6 x 6 x 2 cm) 82. Erwin Wurm Untitled (Serie Zürich), 2002 C-print; Ed. 2/5 39 x 29 in. (99 x 74 cm) 83. Erwin Wurm Blast (Indoor Sculpture), 2002 C-print; Ed. 2/5 25 ½ x 16 3/4 in. (64.5 x 42.5 cm) 84. Lisa Yuskavage Foodeater, 1996 Oil on canvas board 8 x 6 in. (20 x 15 cm)

The Hall Art Foundation was founded in 2007 and makes available postwar and contemporary art works from its own collection and that of Andrew and Christine Hall for the enjoyment and education of the public. In the fall of 2012, the Hall Art Foundation in Reading, Vermont opened its doors to the publicâ&#x20AC;&#x201D;welcoming visitors to view its program of rotating, temporary exhibitions of contemporary art. Converted from a former 19thcentury dairy farm, the property consists of a stone farmhouse, cow barn, horse barn and tractor barn. In 2017, the campus of converted galleries expanded with a new visitor center.Â Exhibitions are held seasonally, from May through November, and are open to the public by appointment, free-of-charge. The Hall Art Foundation also operates a museum in Derneburg, near Hannover, Germany. Originally a fortified castle, the history of Schloss Derneburg stretches back almost one thousand years. For several

HALL A R T F O U N D AT I O N R E A D I N G

V E R M O N T

centuries a monastery, then a residence for the Anglo-Hanoverian Munster family, since 1976 the current Schloss was the home and studio of artist, Georg Baselitz until its sale in 2006. Since then, and in cooperation with the Schloss Derneburg Museum gGmbH, the Schloss has been reunited with the adjacent domain and both have undergone extensive renovations to become a public museum space for the Hall Art Foundation. The Hall Art Foundation also has an exhibition partnership with the Massachusetts Museum of Contemporary Art, in North Adams, Massachusetts to present monumental outdoor sculpture, in addition to a long-term installation of sculpture and paintings by Anselm Kiefer in a specifically repurposed 10,000 square foot building on the MASS MoCA campus. The Hall Art Foundation collaborates with other public institutions around the world to organize exhibitions and facilitate loans from its own collection and that of the Halls.

Administrative Office 521 West 23 Street New York, NY 10011 +1 (212) 256-0057 hallartfoundation.org

Vermont Location 544 VT Route 106 Reading, VT 05062 +1 (802) 952-1056