In: Gallery

Martin Kline, Palm Beach #5, at Art on Paper

It’s the first week of March in New York City, which for art lovers only means on thing: Armory Week! In its third edition, the Art on Paper 2017 fair exhibits paper-based art that frequently pushed the boundaries of what a work on paper could be. The medium-driven focus of the fair sets itself apart from the other larger-scale Armory Week fairs. The 84 galleries hosted at Art on Paper are from all over the United States, with several international additions from Barcelona, Buenos Aires, Kyoto, London, Shanghai, and Copenhagen.

Jaq Belcher, Lions Gate, hand-cut paper, 8,300 cuts, copyright Heather Gaudio Fine Art

Upon entering the space, visitors are greeted by two site-specific installation pieces. Tahiti Pehrson’s “The Fates” is composed of three colossal, 17-foot towers of hand cut paper, and Timothy Paul Myers, in collaboration with Andrew Barnes, crafted a domestic installation made entirely of felt. These are the first of many works of art that incorporate and utilize paper, but are not necessarily what you would think of when you hear the term ‘art on paper.’

There was a wide scope of artists included familiar modernists like Picasso & Matisse in the Master Fine Arts Gallery, to the all-star lineup of Sol LeWitt, Ed Ruscha, John Baldessari and Alex Katz at Richard Levy Gallery, and a few unheard of standouts. My favorites included Martin Kline’s rhythmic dry brush oil series “Palm Beach” (cover image) at Heather Gaudio Fine Art, whose bright blue compositions imitate patterns that occur in nature. Also in Heather Gaudio Fine Art were a few equally mesmerizing works by Jaq Belcher, whose sculptural, hand-cut leaves in “Lions Gate” cling to a single piece of paper. More of a traditionalist, Ekaterina Smirnova “Blue Path” at Villa del Arte Galleries appears to be an updated, watercolor version of French Impressionism. And Donald Martiny, whose works appear at Spender Gallery, resemble thick, impasto paint strokes but are actually made of pigmented polymer, and are so three-dimensional that he blurs the line between sculpture and painting.

Ekaterina Smirnova, Blue Path, watercolor. Courtesy of Villa del Arte Galleries

George Billis Gallery’s display of Steven Kinder’s geometric abstractions and the hodgepodge of artists grouped together in Tamarind Institute were the more underwhelming booths. The most bizarre were the black and white photographs by Morton Bartlett that showed kitschy images of dolls posed in occasionally provocative positions. His display in Marion Harris’s booth was visually eye-catching… When you stepped close enough to realize the subject matter.

Donald Martiny, Study for Cofan, at Art on Paper

Donald Martiny, Study for Cofan, polymer and pigment on paper

Amid the abundance of things to see, and the frenzy of visitors and art professionals, there were a few booths that stand out in my memory. Gallery Poulsen was one with the overtly political works of art, including one entitled “What the Fucking Fuck Just Happened” by William Powhida, as well as Artemesia’s installation created from torn pages of used books, and the technicolor portraits at Sasha Wolf Projects.

Art on Paper is open at Pier 36 (299 South Street) on the Lower East Side of Manhattan on March 2-5

Touria-el-Glaoui

I met Touria El Glaoui during the opening of 1:54 art fair this October. Already familiar with Touria’s tremendous success in not only establishing the fair four years ago, but also expanding to New York only two years after the inauguration, I was intrigued to meet her.

Elegant in her long silky dress with a stylish, and warm for English weather, cardigan, Touria made you feel 1:54 was not simply an art fair, but a home. The amiable, pleasant atmosphere of the Somerset House, which you don’t typically find in a large-scale art fair, made me feel like a guest to a home party, rather than a stranger in a museum. There was no sense of pretensiosness.

While we were sipping hot morning coffee and treating ourselves with a warm butter croissant, Touria shared how she built the brand, or better say the platform for contemporary African artists, and what it took to get 1:54 to the level of today.


You earned your MBA in Strategic Management and have an impressive background working both in banking and IT industries. What made you decide to turn to the art one?

I grew up in Morocco in the house of an artist – my father, Hassan El Galoui – and he was the person who gave me my artistic education. For this reason, art – particularly African art – has always been a part of my life. Much later on – in fact, during my career in the IT industry – I was travelling extensively around Africa and the Middle East, and this is when I fully realised how absent African and African diaspora artists were from the international markets in Europe and the US. Having the seen the incredible work being made on the continent, I decided it was time to the bridge the gap and create a platform.

How did you personal background (your farther is a famous artist) influence you throughout your career?

Many of my earliest memories are of my father’s studio with its incredible smell of oil paint. I would spend hours watching him transform his canvases, and the life of an artist became my daily norm. Because of this, my approach to running 1:54 has always been centred on the artist and on maintaining the integrity of the work. I have also organised and co-curated a number of my father’s exhibitions, and have also been working on the catalogue raisonné of his life’s work, and these experiences have certainly shown me much about the realities of being an artist working on the continent verses in Europe and America.

How did the idea for 1:54 come about? What challenges did you face/still facing?

When I established 1:54 back in 2013, the biggest challenge was finding both the interest and the support. This underpinned much of my decision to launch in London. In 2011 I could already see evidence of a growing interest in African and African diaspora art – for example with the Tate launching its two-year African art programme. I will never forget the incredible backing that I received in that first year, yet every year we continue to face the financial challenge of making the fair happen. We are incredible grateful this year to our main sponsor, Floreat, as well as to Christie’s education and the Arts Council England who have both sponsored this year’s FORUM.

Are you planning on expanding the fair to other locations? What’s the importance of having the fair now in both London and NY?

As I said, London was the most obvious ‘home’ for 1:54 for a few reasons, its internationality being one. Once London was up and running, we began to toy with the idea of New York, and began to see that our galleries and collectors were keen to make the move. We first launched as a pop-up edition, in May 2014, but returned again this year to enjoy our second edition. The two fairs are actually quite different due both to the buildings they are housed in as well as the different audiences they attract, and so the importance of having both editions is to widen the diversity and outreach of the fair. It’s very exciting for us when collectors are able to visit both.

Who’s your favourite artist?

This is always such a difficult question! I can never choose and it would be unfair for me to do so. All the artists and galleries that we welcome to each new edition brings something unique to 1:54 and my greatest hope is always that our visitors will explore and appreciate this diversity, and appreciate each artist in their own right.
6. Tell us what is new in this year’s edition of 1:54 art fair.

I am particularly excited about our incredible line up of Special Projects joining us this year. We have 10 in total, and each one is incredibly unique and will add a whole new element to the fair. Zac Ové’s installation, for example, will extend the fair into the Edmond J. Safra Fountain Court for the first time ever; Ifeanyi Oganwu’s lounge design – created in collaboration with Phoebe Boswell – and Barthélémy Toguo’s Mobile Cafeteria will introduce vibrant, interactive spaces; and we will also be extending out over the airwaves with a live three-day broadcast by a new music-radio platform, Worldwide FM. Of course the Malick Sidibé exhibition – created in collaboration with Somerset House and MAGNIN-A – is also incredible exciting. We are thrilled to have the opportunity to showcase such an influential African photographer, and to be able to extend the exhibition past the four days of the fair, throughout Somerset House’s winter season.

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1:54 Contemproary Art Fair, Somerset House Courtyard View. Zak Ove installation. Courtesy of Artsy.

Who are the artists to watch at 1:54 this year in London?

I want to draw attention to the fact that this year we are delighted to be welcoming 16 Africa-based galleries, of which 6 are from North Africa. Many of these are joining us in London for the first time, including Village Unhu from Harare, Zimbabwe; Mashrabia Gallery of Contemporary Art from Cairo, Egypt; and L’Atelier 21 from Casablanca, Morocco.

What are your future plans for the fair and beyond?

1:54 is constantly evolving, this year we welcome an incredible 40 exhibitors with over 130 artists exhibiting with us this year. Despite this, we want our ethos to stay the same: to create a platform for African and African diaspora artists in the international art market while putting the artist first. In terms of expanding further afield, we first want to ensure that our London and New York editions are as good as they can be.

frieze-london

Autumn. The season of cooler weather, multicolored leaves, long strolls in the Heath and marrons glacés, the time when we all start reminiscing about our summer fun and get ready for winter. However, the fall season is not only warmer clothes and hot chocolate, but also the time for major art happenings around the world.

Autumn, and especially October, is the time to follow new fashion trends at fashion weeks in the major cities, and to enjoy weeks of art. The Old World’s art capital – London – started long ago to prepare for the first week of October, aka the busiest and most stressful time in the art world.

The annual arrival of Frieze – the art fair opening in Regent’s Park October 6-8th – and it’s daughter Frieze Masters trigger parallel art happenings, such as the most important contemporary art evening auctions, art festivals, art shows and a myriad of talks and events throughout the capital, in order to benefit from the arrival of the art world’s mighty and try to get a piece of that juicy cake.

Find below a list of TOP artsy things to do this October in London and, believe me, you will want to be one to visit them:

1. Frieze Art Fair

Arguably the most well-known art fair today, though not the most visited one (according to the annual report by ArtVista) Frieze opens for the 13th time this October at Regent’s Park.

Note-by: if you feel unsure about spending 60 pounds on combined ticket to both Frieze&Frieze Masters, make sure to stroll in Regent’s Park – Frieze Sculpture Park is free for all and this year features canonical artists such as Jean Dubuffet, Ed Herring, and Lynn Chadwick just to name a few. The Sculpture Park will be on view for you to visit until January 8th, 2017.

2. 1:54 Art Fair

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1:54 Contemproary Art Fair, Somerset House Courtyard View. Courtesy of Artsy.

The fair of contemporary African Art, 1:54 will return for the forth time to Somerset House this October. Representing over 50 African countries, 1:54 breaks the traditional approaches to art fairs and delivers a must-see program. The largest edition yet, the fair takes over the whole Somerset House this October and showcases 40 galleries.

Note-by: stop by the open-air installation by Zak Ove at the Somerset House’s courtyard, as well as by the unmissable exhibition of the exceptional Malick Sidibé (Malian photographer) – the exhibition will be on view for you to see up until January 15th, 2017.

3. Abstract Expressionism at RA

Presumably you heard of the name Pollock. Or you heard that one of his paintings titled No 5 (1948) is one of the most expensive paintings in history and was sold for $165.4 million at an auction. Or maybe you didn’t. But the fact is that this exhibition is the first major retrospective of the Abstract Expressionist art movement in the UK in 70 years. Think abstraction, color fields and visual travel. You ought to see it.

Note-by: The most interesting part is the inclusion of not only famous names like Pollock and Rothko in the exhibition, but also of other artists who contributed to the movement.

4. Picasso Portraits at the National Portrait Gallery

This must-see exhibition presents just how talented Picasso was. The show will display portraits created during every stage of the artist’s career and will showcase famous masterpieces, as well never seen before works from private collections.

Note-by: the granddaughter of the artist, Diana Widmaier-Picasso, will be in conversation with the director of the National Portrait Gallery, Dr Nicholas Cullinan, on the 6th of October at 7pm, giving her views on Picasso’s portraiture.

5. Beyond Caravaggio at the National Gallery

Another must-visit show in London focuses on Caravaggio. It is important to note, though,  that the primary accent will be given to the influence that the artist had on his contemporaries by showcasing the works of lesser-known artists of the time. So-called Caravaggism will be explored throughout the exhibition and bring together works by Caravaggio and his European followers.

Note-by: The National Gallery created a series of events and talks to introduce visitors to the Caravagesque style and to Caravaggio himself throughout the month of October. If you are a fan of Baroque art, or just a curious soul, make sure to check some of them out.

Anouska Beckwith, England-born and Paris-based photographer, is the artist to follow. Interested in nature and mystical, Anouska tries to capture the intrinsic relationship between the unseen natural wonders and presents her subjects in the dreamlike settings.

The founder of the World Wide Women, the collective of female photographers from all over the world, the artist searches for ways of expressing her own views on the world by means of photography, poetry and music. Her models are frequently musicians and other people from creative industries giving her photographs yet an extra layer of artistic meaning.

This September Anouska presents her second solo show (following her debut in New York last yer with the show Transcendence) and her first solo show in London called Uni~Verse at the Palm Tree Gallery. I met Anouska last year when we discussed her creative process and her inspirations to follow up her own practice and perhaps have a solo show in London. Now, when the show is finally happening, we talked again, discussing the background behind Uni~Verse and the new future ambitions.


The Mists of Avalon, 2013 © Anouska Beckwith

The Mists of Avalon, 2013 © Anouska Beckwith

Why did you choose the word Uni~Verse as the title for your show?

I chose the title ‘Uni-Verse’ for the show as I loved the meaning, ‘One song’ coming from the Greek origin.

I believe that despite humans, animals and nature being different from one another we are all a collection of parts that make up the whole to form ‘one song’. I felt that ‘Uni-Verse’ encompassed what I wished to express through my work, a melody in nature’s symphony.

What’s the theme/focus behind it?

‘ Women have always been the guardians of wisdom and humanity which makes them natural, but usually secret, rulers. The time has come for them to rule openly, but together with and not against men.’ – Charlotte Wolf

The theme for the exhibition looks at nature as the backdrop for the exploration of feminine archetypes and endurance throughout time. As I believe that our planet is having a rebirth of the feminine. We have been living in a patriarchal society for the past 3000 years and although we have had some incredible advancement we are now in need of a big change, which is beginning to happen. I feel that we need to encourage guardianship of the Earth and for us to realign with the natural cycles rather than go against them.

What was the inspiration behind your new projects?

I have drawn from different sources for my work, which have either been from songs that I have been listening to or books that I have been reading such as ‘Women that run with wolves’ which inspired me to create

‘The Handless Maiden’ or from the use of tarot cards which led me to create ‘ The Empress’ featuring Flo Morrissey or looking at the chaos around me after the Paris attacks all of this past year and seeing the pain and destruction in the world led me to create ‘War In Heaven’.

Your new works position models in the natural setting. Women look unprotected to the natural forces. What notions are you trying to raise in your work?

I love nature and all that it provides us with but I also respect it as it can be destructive and catastrophic in some cases. I feel that we are lucky to be here, it is a gift not a given. I think a lot of people have forgotten this and try to manipulate something much greater than we have been led to believe. Through my work I try to explore the harmony between the two. Yet the insignificance of our presence, how temporary it is in the scheme of things, overwhelms me at times and I am reminded that it is a miracle.

 Who are your models?

I usually choose models for my own work that inspire me. I like working with people I know mainly as I find there is a relaxed energy when taking photographs. I photographed Macha Polivka, an amazing healer and actress who I met outside of Paris last summer at an ashram. She is very natural and beautiful. I found working with her an absolute joy as she was completely in her body. Xamira Azul I met through my good friend and fellow artist Amanda Charchian last year during a summer solstice ritual and we have become friends ever since.

Flo Morrissey is one of my best friends whom I met through World Wide Women when she performed at our Ritual Exhibition. Last year she moved to Paris, which has been a dream world for us to share. Over the past couple of years we’ve had ongoing projects together. She is also extremely adventurous! Last year we were in Ibiza and I had a whole vision of her inside this remote cave. At first she looked at me as if to say ‘really?’ but once I told her of my idea she climbed up and took position. She looked like a water goddess.

How do you choose location and subject of your work?

Usually I have an image in mind of what backdrop I would like for the photograph and then I either research a place to shoot or I stumble across something even more magical than I could have pictured. Usually choosing the subject and location come hand in hand.

Why did you decide to have your second solo show specifically in London?

I choose to have my second solo show in London as it’s where I grew up and felt that it was important for me to return to my roots. My family is from England and even though I live in Paris there will always be a part of me there.

You mostly photograph female models, why?

I mainly photograph women because I find them fascinating. The form and curve of a woman is much more interesting to me than men. There is a mystery to them that when photographed can capture a very vulnerable moment that I think only is expressed by a woman photographing another woman. A trust is formed between the two people.

How do you balance the intrinsic nature of your work with the commercial aspect of photography?

I think when you create work it should come from a place of integrity and truth. How one conducts themself is equally important. I feel that nature and beauty are two things that everyone should be exposed to as so many people live their lives in fear without hope of a brighter future. I think that offering work to inspire people as an alternative for the future is what we are in desperate need of. I am not saying that my work does this but I try to convey a message of hope and awareness of our mother earth and all her many gifts.

I use social media and I think the more people who can see ones work is always a positive if the message is truthful. Even if it affects just one person that is enough for me as one person can have a ripple effect.

What’s next for you?

I am creating a short film with a dancer in the Fall and I will be continuing shooting the ‘War In Heaven’ series as I wish to turn it into a book, as well as working on my installation room ‘ I Am The Other You’.

I will also be doing editorial work.

 

Uni~Verse on view at the Palm Tree Gallery September 16th – October 8th

291 Portobello Rd, London

Here is our list of top 5 exhibitions to see in London this August and how to spend culturally your time indoors if it rains (and we’re talking London here):

Ragnar Kjartansson at The Barbican

This is the first UK survey of the Icelandic artist Ragnar Kjartansson, internationally known for his multi-channel film installation “The Visitors” (2012), also present in the exhibition. The artist channels a “bad boy” image, while drinking beer, playing guitar and signing in Icelandic in the first piece in the Barbican show. Such notions as comedy, irony, and tragedy are all merged together in Kjartansson’s work. Both controversial and deeply amusing, Ragnar’s works sympathize every visitor.

On view at The Barbican through September 4. £12

Jake Wood-Evans at Unit London

Subjection & Discipline | Trailer vimeo play

Unit London, the young but well-established contemporary art gallery in Soho, presents its largest project to date, the first solo show of the UK-based artist Jake Wood-Evans titled Subjection& Discipline. Inspired by Old Masters’ paintings, the artist showcases a unique approach to canvas with figurative but rather unconventional technique. Get ready to be awed and mesmerized by Jake Wood-Evans’s unique style.

On view at Unit London August 19- September 11. FREE

Unseen at The Ben Uri Gallery

Unseen London, Paris, New York, 1930s-60s: Photographs by Wolfgang Suschitzky, Dorothy Bohm and Neil Libbert is a group exhibition bringing together such masters of photography as Wolfgang Suschitzky, Dorothy Bohm and Neil Libbert. The exhibition tends to present artistic responses to three great cities throughout three disturbing decades. The photographers try to present not only the greatness of the cities in a political and social arena, but also capture the beauty of them. If you’re into black-and-white photography this exhibition is not to be missed.

On view at The Ben Uri Gallery through August 27. FREE

Terence Donovan: Speed of Light at The Photographers’ Gallery

Terence Donovan, French Elle, 2 September 1965 © Archives Elle/HFA

Terence Donovan, French Elle, 2 September 1965 © Archives Elle/HFA

This is the first major retrospective of a well-known English photographer, Terence Donovan (1936-1996). Donovan was a pioneer in the new fashion, and later advertising and portrait photography in the post-war period. He was famous for capturing actors and well-known people in the scene. A mix of vintage prints is on view, together with previously unpublished works, artist’s cameras, sketches and diaries.

On view at The Photographers’ Gallery through September 25. FREE before 12pm; £3

Under The Same Sun: Art From Latin America Today at SLG Galleries & Fire Station

Installation view: Under the Same Sun: Art from Latin America Today, South London Gallery, 10 Jun - 4 Sep 2016. Courtesy: Solomon R. Guggenheim Foundation & the South London Gallery. Photo: Andy Stagg

Installation view: Under the Same Sun: Art from Latin America Today, South London Gallery, 10 Jun – 4 Sep 2016. Courtesy: Solomon R. Guggenheim Foundation & the South London Gallery. Photo: Andy Stagg

The exhibition, curated by Pablo León de la Barra, Guggenheim UBS MAP Curator, highlights the new acquisitions by the Guggenheim Museum of 15 contemporary Latin American artists. The show features 40 works with mediums including painting, installation, video, sculpture and photography. The exhibition strives to showcase the artists’ responses to contemporary realities influenced by colonial and modern histories, economic and social instabilities and regional economic developments.

On view at The South London Gallery through September 4. FREE

In a seemingly unstoppable and swift movementgalleries, art dealers, art aficionados, trend-spotters, and urban socialites—are flocking to the Lower East Side to enjoy the charms of the experimental food scene, hip and often quirky bars at every corner, the thriving nightlife, and of course, the ubiquitous art presence. From street art, to endless graffiti tags and random public installations, the art scene is evidently booming especially as many galleries, established and new, make their way downtown to partake in the infinite energy.

Located solidly in the Lower East Side, right next to Two Bridges and a just a few blocks from the East River, Sargent’s Daughters first opened its doors in November 2013 as the joint venture of dealer Allegra LaViola and Meredith Rosen, former director of BravinLee programs in Chelsea.

The East Broadway physical location was converted from LaViola’s eponymous gallery into the current gallery space. In an area mostly dedicated to minimalist, conceptual, and experimental contemporary art, Sargent’s Daughters stands out as a gallery focusing on more traditional mediums such as painting, drawing, and sculpture with the intent to bridge the gap between the historic and classical and more modern contemporary aesthetics. LaViola and Rosen search for innovation within already established mediums, genres, and aesthetic conceptions to prove that the contemporary can have strong ties to the past in interesting and meaningful ways. Quality with a sense of tradition and lineage trump overt flash and quirky trends in this gallery space.

Owner and Director, Meredith Rosen, shares what this joint venture is all about with Art Versed as well as her views on working within the art world.


Installation of Deborah Kass's "America's Most Wanted," on view May 20--June 28, 2015. Courtesy of Sargent's Daughters.

Installation of Deborah Kass’s “America’s Most Wanted,” on view May 20–June 28, 2015. Courtesy of Sargent’s Daughters.

What is Sargent’s Daughters mission? 

Our interest is in artists whose work combines the qualities of tradition and cutting edge.

In addition to exhibitions by represented gallery artists, Sargent’s Daughters creates collaborations as a platform for exploring new conversations within a wider context of galleries, artists and objects.

What were the motivations behind making the switch in 2013 from working at BravinLee programs in Chelsea to opening Sargent’s Daughters in the Lower East Side with Allegra LaViola? 

I wanted to be able to work with artists and create ambitious exhibitions without the constraints of an existing platform.  My partnership with Allegra had a lot to do with timing and instinct.

As a relatively recent space, was it difficult getting the gallery up on its feet? 

Of course! To do anything well is very hard, but I love the challenge. I think the gallery model is constantly changing so as a dealer you can never get too comfortable.

Everyone seems to be saying that the Lower East Side is turning into the new gallery quarter—what were your reasons for moving into the neighborhood and has the location proved favorable to you?  

We love our location.  It’s a great space, across from a park and right next to the subway.

Installation of Donald Baechler's "Recent Works," on view November 18--December 20, 2015. Courtesy of Sargent's Daughters.

Installation of Donald Baechler’s “Recent Works,” on view November 18–December 20, 2015. Courtesy of Sargent’s Daughters.

I’ve read in previous interviews that you chose the name “Sargent’s Daughters” in reference to John Singer Sargent, regarding him as a risqué innovator within his time. Can you explain this concept in relation to contemporary art and how it fits into your vision for the gallery?  

We loved that John Singer Sargent was an innovator working in a traditional medium and wanted this statement to represent the context of our growing program.  We exhibit work that has a strong historical lineage by artists who push the limits of contemporary art today – formally through various mediums and intellectually through their choice of content.

What kind of artists, if there even is a specific, are you looking to represent? 

We aren’t interested in a specific kind of work.  We are always interested in work of the highest quality whether it’s something brand new or shedding new light on an artist with an established presence.

Cy Gavin, The Future of Tucker's Point, 2015. Courtesy of Sargent's Daughters.

Cy Gavin, The Future of Tucker’s Point, 2015. Courtesy of Sargent’s Daughters.

Do you have a favorite from the shows you’ve put on? 

Our last exhibition by Cy Gavin is one of our best exhibitions to date.  I really feel each show gets better and better as we have more experience, reflect on past exhibitions and create a stronger dialogue with gallery artists.

What makes Sargent’s Daughters different from other galleries? 

When we opened most galleries on the LES were interested in building programs with young and emerging artists.   We didn’t open with a roster of artists.  We started putting together the best shows we possibly could with the artists we discovered and established artists that we admire.

Anton van Dalen, Bird Car, 1987. Courtesy of Sargent's Daughters.

Anton van Dalen, Bird Car, 1987. Courtesy of Sargent’s Daughters.

Do you have any future plans for the gallery that drastically differ from what you are doing now? 

To hopefully grow our program and with the artists we bring to the table.

What are your thoughts on the art market today and the increasing interest and importance of art fairs and biennials?

I think art fairs are very important to build an international audience for wide range of artists.  I find it very interesting to go to an event where I can see so many dealers in action. You can learn so much by example.   

Who is your favorite non-contemporary artist?  

Picasso

What is your favorite museum (world-wide range)? 

Fondation Beyeler – I look forward to seeing their exhibitions every June when in Basel.

Sargent’s Daughters

179 E Broadway, New York, NY 

Ernst Ludwig Kirchner: Watercolors and Drawings from the Robert Lehman Collection is currently on view at the Galerie St. Etienne in New York, featuring 30 never before seen watercolors, prints, and drawings. The exhibit focuses on Kirchner’s development as a draftsman from the establishment of the German Expressionist group, Die Brücke (The Bridge) in 1905, to his personal and professional downfall with the rise of the Nazi Party in Germany, his subsequent exile to neutral Switzerland, and his eventual suicide in 1938 at the age of fifty-eight.

Kirchner once said, “Ecstatic drawing is the foundation of the new art.” Fittingly, many of the drawings presented in the exhibit are the result of quick, fifteen minute studies in which both the artist and the model were constantly in motion. In an essay that accompanies the exhibition, Kirchner is quoted as saying, “My painting is a painting of movement…I find the observation of movement especially inspirational. From this comes a heightened feeling for life, which is the origin of all artistic creation.”

Two Dancers, 1927. Pen and ink, watercolor and graphite on thin cream wove paper. 8 3/8 x 6 1/4 (21.3 x 15.9 cm). Formerly collection Robert Lehman.

Two Dancers, 1927. Pen and ink, watercolor and graphite on thin cream wove paper. 8 3/8 x 6 1/4 (21.3 x 15.9 cm). Formerly collection Robert Lehman.

Along with Kirchner, Die Brücke was founded by Fritz Bleyl, Erich Heckel, and Karl Schmidt-Rottluff, who were later joined by Emil Nolde, Max Pechstein and Otto Mueller. Neither Kirchner nor the other three founding members of the group had much formal training in art. They did, however, share a belief in the transformative power of art, as well as a contempt for bourgeois society. Artists working in Europe were drawn to the perceived innocence of so-called “primitive” arts of colonized and developing countries, a concept that has been analyzed more critically in recent decades. The Brücke artists, then, had a retrograde view of society in which people were uninhibited by the decorum of European society.

Standing Nude Woman with Folded Arms (Gerda Schilling) 1913-14. Pen and ink on thin cream wove paper. 6 7/8 x 5 (17.5 x 12.7 cm). Formerly collection Robert Lehman.

Standing Nude Woman with Folded Arms (Gerda Schilling) 1913-14. Pen and ink on thin cream wove paper. 6 7/8 x 5 (17.5 x 12.7 cm). Formerly collection Robert Lehman.

Kirchner has been called the “quintessential Expressionist,” a label the artist himself rejected. The term “Expressionism” is difficult to define, but came from an exhibition catalogue from around 1910 which featured works by painters such as Pablo Picasso, Georges Braque, and André Derain. The influence of these artists can be seen in much of Kirchner’s work, especially his woodcut printing, which he admired for its ability to imitate tribal arts in Africa. Expressionism, as opposed to Impressionism, refers to a kind of art that looks beyond surface appearances, resulting in a highly subjective, often distorted perception of the world. Although there are phases of extreme abstraction in the artist’s body of work, Kirchner never completely abandoned recognizable subject matter, believing that, “All art needs the visible world and will always need it…because, being accessible to all, it is the key to all other worlds.”

Frau Professor Goldstein (Kohnstamm Sanatorium) 1916. Woodcut on blue blotting paper. 18 x 9 1/2 (45.7 x 24.1 cm).

Frau Professor Goldstein (Kohnstamm Sanatorium) 1916. Woodcut on blue blotting paper. 18 x 9 1/2 (45.7 x 24.1 cm).

While Kirchner was inspired by his association with the other artists in Die Brücke, as well as other contemporary movements like Cubism in France and Futurism in Italy, Kirchner’s pervasive fear of modern civilization had a perceivable effect on his artwork, especially during his time in Berlin. One of the prints included in the exhibit, Gentleman with Lap Dog in Cafe (1911) represents the isolation he felt during his Berlin years. The titular man sits at a table with another figure who sits with his back to the viewer. The gentleman’s face is contorted into what looks like a grimace, while his companion’s head is almost completely cut off. A third figure, that of a woman, ambiguously lingers in the background, but her face is obscured by a black shadow. The stylization, sharp angles, and heavy contrast between light and dark are characteristic of German Expressionism, as is the feeling of uneasiness we are met with while observing them. Moreover, the print conveys Kirchner’s paranoia in a society increasingly occupied with social diversion and good taste.

Gentleman with Lap-Dog at the Café, 1911. Woodcut in two colors on textured heavy cream wove paper. Signed, upper right. 7 1/8 x 9 1/4 (18.1 x 23.5 cm). The only known impression; hand-printed by the artist. Gercken 441. Private collection.

Gentleman with Lap-Dog at the Café, 1911. Woodcut in two colors on textured heavy cream wove paper. Signed, upper right. 7 1/8 x 9 1/4 (18.1 x 23.5 cm). The only known impression; hand-printed by the artist. Gercken 441. Private collection.

The end of Die Brücke in May of 1913 only furthered the artist’s sense of alienation as he found himself alone in the crowded streets of the Berlin metropolis. Nevertheless, this was a productive time for the artist, as he was able to create a series of drawings and paintings that captured the frenetic spirit of modern life, but in a way that allowed him to remain distant from his bourgeois compatriots. The outbreak of World War I, however, left the artist feeling stifled, and eventually caused him to move to Switzerland after suffering a mental breakdown and a decline into alcoholism shortly after enlisting in the army. He found refuge in a Swiss sanatorium, and was inspired by the landscape outside of his window.

Sertig Valley, Davos, 1936. Crayon and graphite on thin off-white wove paper. 6 1/4 x 5 1/8 (15.9 x 13 cm). Formerly collection Robert Lehman.

Sertig Valley, Davos, 1936. Crayon and graphite on thin off-white wove paper. 6 1/4 x 5 1/8 (15.9 x 13 cm). Formerly collection Robert Lehman.

With Hitler’s election in 1932, Kirchner’s worst fears were realized, as he faced the critical rejection of his work, the moral downfall of modern civilization, and the threat of a catastrophic war. In 1937, the Nazis staged their Degenerate Art Exhibition in Munich, which included Kirchner’s work, as well as that of his former Die Brücke colleagues. He died the following year, no longer feeling safe in his new country and disillusioned by the world around him. Although they were never officially married, his widow, Erna, was able to obtain the legal rights to the artist’s last name and kept his estate. The majority of the works on view in the exhibit were purchased in 1959, two decades after the artist’s death, on behalf of Robert Lehman from a gallery in Germany. Kirchner strove to capture what he often referred to as “the ecstasy of first sight,” or the feeling evoked by a first encounter, a feeling that is very well captured in this exhibit. “Sometimes,” he explained, “the great secret that lies beneath all the happenings and things in our environment becomes fleetingly perceptible…We can never express it concretely, but only give it symbolic form.” In other words, “make visible the invisible.”

Ernst Ludwig Kirchner will be on view at the Galerie St. Etienne until July 1, 2016. The gallery will also be participating in Art Basel in Switzerland June 16-19.

See also: Munch and Expressionism at the Neue Galerie in New York, closing soon.

Distinguished for his portrait paintings, South African born Ryan Hewett is a star on the rise. After his sold-out show at Unit London last year (Read our interview with Unit London co-founders Jonny Burt and Joe Kennedy), Ryan is preparing for his first solo show in the UK coming up in October this year. We caught up on a typical rainy day in London (not as sunny and bright as days in South Africa, noted by the artist) when Hewett shared his views on being an artist, creative transformation, life outside of a canvas and much more.


Do you remember when you realized you wanted to be an artist ?
Not really. It’s always been with me. I’ve been drawing since I can remember. There was never a point when the lights came on and BOOM I’m going to be an artist ! I was doing a number of jobs, but I kept drawing no matter what. I used to do pencil drawings with a very realistic approach to them. I was never a painter. But then I taught myself to paint. It was always something I enjoyed, it was my passion, and I wanted to take it further and see where it can lead me.

When was the first time you painted ?

I was about 20. It took me a while, but by 22 I sold my first work. And then I became obsessed with painting for the past 15 years.

Would you try any other medium though ?

I mostly have oil paintings, I also use spray paint and I want to start doing sculptures. I’d like to as I feel my paintings are quite sculptural. I’ve never done it before, it’s like I’m painting rocks and putting them together. I’m going to start playing with clay in a month or two and see where it goes.

Eternal Flight, 2013, oil on canvas. Courtesy of Ryan Hewett

Eternal Flight, 2013, oil on canvas. Courtesy of Ryan Hewett

I can see some of your works are so three-dimensional, you can actually see the thick layer of paint that you applied on the surface…

At the beginning, I tried to approach painting as I did with pencil work. It was very delicate and thin. I needed it to be neat and tidy, I used to put paint lids back on after I finished painting… now it’s a complete chaos (laughs). I use rollers, I throw paint on the canvas, and lids are never on now… I became more confident when approaching a painting and just letting it go. The textures are a lot thicker and juicier. But then again my new works with flat backgrounds are more textured, more thought-out. My earlier works are rough, low-detailed, these ones are more one-stroke, you lay it down and you leave it. Very clean.

Inertia, 2014, oil on canvas. Courtesy of Ryan Hewett

Inertia, 2014, oil on canvas. Courtesy of Ryan Hewett

Are you inspired by any artists ?

I never studied art history, so my inspiration came from books. Looking through and learning about artists as I got older made my taste change over time. There’s this artist Adrian Ghenie that influenced me in a figurative landscape sense of an artwork… But there’s so much art out there, you can get lost… I think, the art of Francis Bacon and Egon Schiele speak to me the most. Art has to be moving. It’s not always a pretty picture or a pretty face, it’s gotta hold you.

You first show was four years ago at Barnard Gallery in SA. Before that you’ve never thought of being exhibited ?

Most of my 20s and 30s I have been going through a rough time and painting was mostly a way to escape from all the troubles of the everyday life. I can’t even say who I was; it was a very unstable chapter of my life. Art was my passion and the means to get away from that dark place I was in most of the time.

Churchill, 2015,_120x100_Oil on canvas

Churchill, Oil on Canvas, 2015. Courtesy of Ryan Hewett

Last year you had a show at Unit London called Untitled where you depicted portraits of famous historical figures. What was the idea behind it ?

The idea came around to put figures that in their own way changed the world together in one place. Winston Churchill, Oussama Ben Laden… Jesus… That body of work was meant for those people to be together in one room. In a certain way, they belonged together. Putin and Obama, which is still relevant today. Even after the show I thought I did a series of iconic people and got caught in it for a while.

What about your second UK solo show coming up in October, will we see portraits again ?

Not only. There will be landscapes … It’s so new to me. There are hints of landscape here and there in my previous works, where figures seem to be crashed into the flower field, for example, or a skyline. There will be movement away from portraits; in fact, I want to tell my personal story. It will be a great challenge, as I’ve been doing just portraits for the past 15 years.

Do you have any work ready for the show already ?

I’ve just started the first one (laughing). It’ll be based on landscapes I saw growing up in Johannesburg… quite colorful… It’s hard to explain, but I remember reading a book when I was young that was a big inspiration to me so it’s a flashback to that time in a way. Revisiting my styles, paintings that I did ages ago. Not to do with the painting but with the concept behind it, my darker past, memories… Going back to them and trying to put them on canvas is quite scary, as I haven’t done it. I know it’ll be a great challenge, but I feel like I have to do it. I want to ultimately show the journey that I’ve had.

French Mistress, 2016, oil on canvas, 100 x 100 cm

French Mistress, oil on canvas, 2016. Courtesy of Ryan Hewett

What’s your favorite part of the artistic process ?
It takes time to have that breakthrough. But there are these moments when everything changes… A new idea or a mistake. Painting is a very technical process and I am kind of an obsessive painter. I’m always in the studio for long hours, painting and painting. But then you always stumble on something new. A painting created in a few hours or a few sessions moves you. Sometimes I remember a facial structure and I keep the reference in my mind, and then the face just comes together on a canvas in a matter of a few days. It’s done.

I used to just attack the canvas and lately I started to reflect on how and why I lay down that brushstroke. I get in a rhythm, I’ve a roller, paintbrushes in my hands, it’s quite chaotic, but I get focused and zoned into what I am doing. I don’t even put music on, just because I like to be in my head when I’m doing it. But I also know what to be in and out of rhythm, I am a very up and down artist.

Do you work on multiple canvases at the same time ?

I never used to. I used to work on just one piece at a time. I recently started to because I don’t want to fall into a routine or a pattern, when you go from A to Z. It becomes predictable. Now I jump from one canvas to the next. And sometimes when you throw paint on a canvas, let it be there for a while, come back to it a few days later, and you see something new. You can’t get bored of it. You can’t get bored of the process of mixing it up… It depends though, sometimes I can finish a piece in a few hours. I don’t like the statement “it has to be this way”, I used to and I broke this pattern. I just know that there are moments when you’re in tune with the rhythm, you just see it. Everything feels right. It’s not always like that, it’s not easy. I am not trying to imagine a picture before I get to start the painting. Though with my new body of work that’ll be focusing on my own journey, I do have a picture, a memory in my head and the challenge is to ultimately communicate the felling I had through a painting. And I get so much satisfaction just letting it go on a canvas and I not controlling the process. I don’t want to know what I’m getting. That’s the art of making.

the_girl_of_the_year_2016_140x100_oil_and_spray_on_canvas

The Girl of the Year, Oil&Spray on Canvas, 2016. Courtesy of Ryan Hewett

Do you have any advice to young artists?

As a painter, spend more time on a canvas. It’s not just books and books, you’ve to get on the canvas. Don’t be afraid of it. You’ve to be able to throw a canvas on the floor and walk over it at the end of the day. You’ve to be ready to take those risks. Things happen accidentally. Mistakes happen, great mistakes. It’s hours and hours on the canvas; you can’t get away from it. Go explore.

Ryan Hewett Solo Show is coming on September 29th, 2016 at Unit London.

Philip Guston’s oeuvre cannot be designated to only one artistic movement. He had begun his career as a realist expressionist; however, after a move to New York in the forties, quickly delved into abstraction and gained fame as a part of the New York School. Guston’s views on Abstract Expressionism began to diverge from those of his peers. As Ab-Ex continued to sever the ties between abstraction and realism on a “march to flatness,” Guston was becoming disenchanted with painting what he believed could only be realized through painting itself—what only a painting could express. Grappling with concepts of abstraction and the very notions of painting itself, Guston turned back on his separation with realism to rediscover imagination within painting. While it may seem that the artist’s transition to his figurative, Neo-Expressionist works was abrupt, the pieces made during the preceding decade foreshadow his return to figure and object. During Guston’s metamorphosis, his works searched for form and solidity within an imagined space. Some of the pivotal works from this period are currently on display at Hauser & Wirth in an exhibition entitled “Philip Guston: Painter 1957—1967,” which directly explores the slow evolution that led to the artist’s return to figuration and his re-discovery of painting as an illusionistic, infinitely imaginative space.

Fable II 1957 Oil on illustration board 62.7 x 91.1 cm / 24 5/8 x 35 7/8 in, Private Collection © The Estate of Philip Guston Courtesy Hauser & Wirth

Fable II, 1957, Oil on illustration board © The Estate of Philip Guston. Courtesy Hauser & Wirth.

The exhibition is a coming together of 36 paintings and 53 drawings, most on loan from private collections and major institutions, organized by Paul Schimmel—ex-MOCA Director as well as Partner and Vice President of Hauser & Wirth. Schimmel led a walk-through of the exhibition, discussing this transitory period of 1957-67 as the physical representation of Guston’s concern with the loss of object in abstraction and a display of the artist’s ability to, as Schimmel states, “push back on his own history.”

Untitled, 1958 Oil on canvas 162.9 x 191.1 cm / 64 1/8 x 75 1/4 in © The Estate of Philip Guston Courtesy Hauser & Wirth

Untitled, 1958, Oil on canvas. © The Estate of Philip Guston. Courtesy Hauser & Wirth

In the first gallery, colorful shapes floating on white landscapes greet viewers. The works from 1957 are energetic and colorful. In some, the colors clustered in the center of the work seem to wish to break out of their tight, constricted form. Guston’s Fable II from 1957 is an example of this abstracted, elegantly exuberant conglomeration of colors surrounded by soft, warm beige brushstrokes. By 1958, Guston’s paintings become murkier, his colors darkening—the reds deepen, the white tones become gray, such as in Last Piece and Untitled. However, splotches of color are still commanding forces within the picture. Vessel from 1960 consists of a dark rectangular form hovering close to the viewer, dominating the pictorial space—swatches of yellow, green and red peek over the black ridge. Blue and gray brushstrokes partially erase an underpainting, which consists of warmer orange tones.

By 1961, Guston’s longing for images takes over his paintings. Figures and objects arise in dark masses against gray backgrounds that stop short of the edge of the canvas. The masses loom toward the viewer, ambiguous and ghostly. The phantoms haunt many of Guston’s works from this period, shadows of the figuration the artist will soon return to. The bare space surrounding his pictures highlight the edge of the canvas, heightening the awareness of the relationship between the paint and the end of the physical work through a spatial exploration of landscape and background.

Painter III, 1963 Oil on canvas 167.64 x 200.6 cm / 66 x 79 in © The Estate of Philip Guston Courtesy Hauser & Wirth

Painter III, 1963, Oil on canvas © The Estate of Philip Guston. Courtesy Hauser & Wirth

Guston’s Painter III from 1963 exemplifies the new changes in the artist’s work. The brushstrokes layer in loose knits, almost grid-like. In Painter III, a form emerges from a large swatch of grays and blues. Underneath, background layers of muted orange and purple peer out from behind the gray paint. A black figure compositionally portrayed in portrait style appears to raise a hand, the suggestion of a paintbrush in its grip implies an artist’s self-portrait. Although ambiguous and still embedded within abstraction, the paintings introduce ideas of landscapes and suggestions of portraiture, even the titles of his pieces start to relate more to physical nouns rather than concepts. Within these works, the viewer can observe Guston testing the waters for a move back to object and figure.

Looking, 1964; photo by the author.

Looking, 1964; photo by Madeleine Mermall

In 1965, Guston experimented with his last throes of color in works like Looking and Inhabiter—hints of dusty, salmon pink layers appear luminous underneath a smoky screen of paint. At the end of this pivotal decade, the everyday objects and enigmatic figures are their most mysterious. Shapes materialize from the space; these cryptic subjects loom forward in their settings, comprised of grays and blacks, the brushstrokes smooth and gentle, forming soft, slack cross-hatched patterns. There is a large sense of erasure in the works, traces of painting barely remain behind a smog-like haze of monochromatic color. The paintings are elusive, abstract enough to remain ambiguous but familiar enough where the implication of reality cannot be ignored.

The end of Hauser & Wirth’s exhibition features a wall of Guston’s drawings from 1967. Although the drawings mark a temporary end of painting for the artist, they actually symbolize the birth of Guston’s Neo-Expressionist style. The pure line drawings are skeletons of the cartoon-like realism soon to come. They also speak to Guston’s rejection of the art world’s expectations regarding his artwork.

Paul Schimmel with works on paper. Photo by the author.

Paul Schimmel with works on paper. Photo by Madeleine Mermall

The paintings exhibited at Hauser & Wirth display the artist’s search for spatiality and object, signaling his return to figuration. Each work proves to be a stepping stone that forms a cohesive understanding of the artist’s subtle, smooth transition to figure and form and away from the constraints of his previous works. Schimmel, during his tour, discussed Guston’s idea of freedom, stating that the artist believed that “only when you are at the blank white canvas, you are free.” Beyond the works in this decade attempting to reconcile gesture and color field painting, landscape and portraiture with abstraction, the paintings directly deal with the freedom of the artist—the ability to reject or embrace the past, or to create whatever one pleases. The artworks at Hauser & Wirth are inherent to Guston’s realization of freedom, and in Guston’s words himself, “that’s the only possession an artist has—freedom to do whatever you can imagine.”

“Philip Guston: Painter 1957—1967” is on view at Hauser & Wirth Gallery, New York, through July 29, 2016.

Hauser & Wirth is on the path to redefining the Arts District in Los Angeles. The global gallery enterprise has teamed up with former Chief Curator of the Museum of Contemporary Art in Los Angeles, Paul Schimmel, to create a gallery that takes up a whole city block on East 3rd. Street. With free admission, a restaurant, and public walkways that run right through the middle, this gallery is different in the best way.

The Mid-Century flour mill turned art gallery is actually more like a museum. It is only slightly smaller than its neighbor, The Broad, which opened in downtown L.A. last year.  So how did they choose to fill 112,000 square feet of gallery space for its first show? With over 100 pieces from 34 female artists, that’s how.

Installation view, Phyllida Barlow. Courtesy of Hauser Wirth & Schimmel

Installation view, ‘Phyllida Barlow, GIG.’ Courtesy of Hauser Wirth & Schimmel

“Revolution in the Making: Abstract Sculpture by Women, 1947-2016” takes the past 70 years of women artists and revisits their relevance during a dominantly masculine period. The inaugural exhibition, curated by Paul Schimmel and Jenni Sorkin, explores the influence these women had on abstract sculpture through a diverse range of form, material and method.  

The first part of the exhibition focuses on the women of the immediate post-war era (1940-1960). Beautiful white columns line the naturally lit room. The space is simple, elegant, and urbanized. The tall ceilings allow for Ruth Asawa’s twenty-one foot long looped wire sculpture (one of several on display) to hang and unfold gracefully at one end of the gallery. Lee Bontecou’s series of steel and canvas bas-relief sculptures are fixed on the back wall, while Louise Bourgeois sleek “Personages” sculptures stand like viewers in the center of the room. Further down,  placed below a balcony, are five of Claire Falkenstein’s mixed material sculptures entitled, “Sun” and “Iron Sun.” This first room is so rich in the themes of this exhibition. These specific artists have, each in their own way, used new materials and created a subject matter that is begotten by nature and  the feminine experience.

Photo by Michael Juliano. Courtesy of Time Out Los Angeles

Ruth Asawa, Installation View. Photo by Michael Juliano. Courtesy of Time Out Los Angeles

Ruth Asawa’s Untitled series of wire sculptures hang vertically from the ceiling, imitating a drop of water as it slowly separates from its original source. These sculptures are obviously not a direct representation of the body, but something about their poetic curvature exudes femininity. The repetition in form is a testament to Asawa’s craft of woven wire, which could be considered an evolved form of basket weaving. The pieces themselves are highly abstracted, yet they are rooted in nature and geometry.  The interlocking weavings seen in these sculptures brings to mind the same sort of natural pattern that is evident in a seashell or a plant, for example. Asawa weaves the metal wire with such attention, one cannot help but to feel the artist’s immersion within her sculptures.

As the exhibition continues into the contemporary, it is clear to see how artist like Rachel Khedoori, Marisa Merz and Lygia Page are influenced by Asawa’s choice in material.

Louise Bourgeois: Art © The Easton Foundation / Licensed by VAGA, New York NY

Louise Bourgeois: Art © The Easton Foundation / Licensed by VAGA, New York NY

A selection of Louise Bourgeois  “Personages” sculptures create a nice juxtaposition next to the fluidity of Ruth Asawa’s pieces. Their sharp linear forms are placed about the center of the room, in a way that mimics the surrounding people strolling the gallery. Bourgeois created “Personages” between the years of 1945 and 1955 and there are around eighty sculptures in total. Out of the eighty, there are only about a dozen of the carved and painted wood sculptures on view at Hauser Wirth & Schimmel. The form of each of these pieces is individualized and inventive, yet there is a connectedness between the artist and her work that goes beyond the method used.

Each piece is representative of an individual Bourgeois knew personally. They all had some sort of relationship with Bourgeois that differed from the other, which is, perhaps the reason for their different characteristics. These sculpted portrayals can also be seen as a reflection of Bourgeois as a female and how her role as a women differs between each individual. This internal feminine experience exists within many of the pieces shown throughout the gallery, but most prominently in the work shown by Eva Hesse, Shiela Hicks, Ursula von Rydingsvard.

“Revolution in the Making: Abstract Sculpture by Women, 1947-2016” will be shown at Hauser Wirth & Schimmel until September 4th.

Hauser Wirth & Schimmel

901 East 3rd Street

Los Angeles, CA 90013

Gallery hours:

Wednesday, Friday – Sunday

11 am – 6 pm

Thursday

11 am – 8 pm

 

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