June 27 - September 21, 2014
The first retrospective in 25 years of work by Garry Winogrand (1928–1984)—the renowned photographer of New York City and of American life from the 1950s through the early 1980s—will open at The Metropolitan Museum of Art on June 27, 2014. Garry Winogrand brings together more than 175 of the artist's iconic images, a trove of unseen prints, and even Winogrand’s famed series of photographs made at the Metropolitan Museum in 1969 when the Museum celebrated its centennial. This exhibition offers a rigorous overview of Winogrand's complete working life and reveals for the first time the full sweep of his career.
“My brain is only a receiver, in the Universe there is a core from which we obtain knowledge, strength and inspiration. I have not penetrated into the secrets of this core, but I know that it exists.”
― Nikola Tesla
Cézanne called it Nature. I view it from a religious point of view.
Looking forward to seeing this on Monday.
Alibis: Sigmar Polke 1963-2010
April 19–August 3, 2014
Member Preview Starts April 12
Alibis: Sigmar Polke 1963–2010 brings together the work of Sigmar Polke (German, 1941–2010), one of the most voraciously experimental artists of the 20th century. This retrospective is the first to encompass the unusually broad range of mediums Polke worked in during his five-decade career, including painting, photography, film, sculpture, drawings, prints, television, performance, and stained glass. Polke eluded easy categorization by masquerading as many different artists—making cunning figurative paintings at one moment and abstract photographs the next. Highly attuned to the distinctions between appearance and reality, Polke elided conventional distinctions between high and low culture, figuration and abstraction, and the heroic and the banal in works ranging in size from intimate notebooks to monumental paintings. Four gallery spaces on MoMA’s second floor are dedicated to the exhibition, which comprises over 250 works and constitutes one of the largest exhibitions ever organized at the Museum. Alibis: Sigmar Polke 1963–2010 is organized by MoMA with Tate Modern, London. It is organized by Kathy Halbreich, Associate Director, MoMA; with Mark Godfrey, Curator of International Art, Tate Modern; and Lanka Tattersall, Curatorial Assistant, Department of Painting and Sculpture, MoMA. The exhibition travels to Tate Modern from October 1, 2014, to February 8, 2015, followed by the Museum Ludwig in Cologne, in spring 2015.
A major publication accompanies the exhibition, comprising 16 essays covering the entire span of Polke’s intermedial production, a comprehensive narrative chronology, an interview with Benjamin Buchloh on the groundbreaking 1976 solo exhibition of Polke’s work that he curated, an illustrated checklist, and a bibliography of publications from 1997 to the present. Texts are from a broad spectrum of artists and scholars, most of whom have not previously published work on Polke. The authors are Paul Chan, Christophe Cherix, Tacita Dean, Barbara Engelbach, Mark Godfrey, Stefan Gronert, Kathy Halbreich, Rachel Jans, John Kelsey, Erhard Klein, Jutta Koether, Christine Mehring, Matthias Muehling, Marcelle Polednik, Christian Rattemeyer, Kathrin Rottmann, Magnus Schaefer, and Lanka Tattersall.
507 W 24th Street, NY
February 27 - April 12 2014
In February, Collier Schorr will present "8 Women", works spanning from the mid-ninties to the present. Schorr's earliest works utilized appropriated ads from fashion magazines to address issues of authorship and desire. The works introduced a female gaze into the debate about female representation. Appropriation was Schorr's first medium and in some sense she returns to it, taking her own fashion images and folding them into a dialogue with other works. The works in "8 Women" propose a varity of subjects, all of whom are involved in performance, be it as artists, models or musicians.
More than twenty years after that first magnetic meeting, Powell is revisiting her relationship with Basquiat and sharing her personal candids of the artist in the exhibition Jean-Michel Basquiat, Reclining Nude. The show is the first mounting of Powell’s extensive photography archive; an impressive collection of snaps that chronicle the significant cultural transformation of art and culture in America and, in Powell’s own words, “shows various, unique glimpses into the art world of the ‘80s.” Taken on her 35mm Canon camera, the archive is being catalogued by Pink Martini musician Thomas Lauderdale who Powell credits with making the show happen.
If you happen to walk down the subway staircase to the L train, on 14th St. & 8th ave, you'll come across the above art by Kalen Hollomon; an artist in NYC. I've been enjoying this "homage to [CK's] iconic branding" for a week or so now, wondering how long it'll stay up, before it's removed.
I asked Kalen to tell me a little about his work and this piece, and this is what he had to say:
My art attempts to create a visual narrative of what lies beneath the surface with regards to learned social roles and personal identity - both sexual and otherwise. By mixing masculine, feminine, gay and straight imagery, I hope to create a conversation that investigates the subtext of everyday situations, conventional pop culture, traditional sexual roles and individual perception.
In this instance, what at first glance might appear to be a macho locker room, upon closer examination is a highly sexually charged homosexual situation with the authoritative male coach figure pulling down his Calvin Kleins, exposing himself to the team in a provocative manner.
This Piece in its original form is a 10"x12" collage made from vintage fashion, sports and pornography books and magazines.
©Harumi Klossowska de Rola. Courtesy Gagosian Gallery.
Gagosian is delighted to present a special exhibition “Balthus: The Last Studies.” This is the gallery's first exhibition with the Estate of Balthus to announce the representation and it has been prepared in close association with the artist's family. The exhibition will inaugurate Gagosian's new ground-floor gallery at 976 Madison Avenue.
“Balthus: The Last Studies” presents for the very first time selections from an extensive but little-known body of preparatory photographic work by the painter, giving fresh insight into the working processes that he adopted late in life.
During this time, his artistic energies and attention were reserved largely for his last model, a girl named Anna who posed for him every Wednesday for eight years in the same room, with the same curtain, the same chaise longue, the same window in changing light conditions, the same bucolic mountain scenery looming beyond. What these compelling, jewel-like photographic images reveal—from the dramatic affect of classical gesture to the seeming nonchalance of studied repose—is the extraordinary level of nuance and inventiveness that Balthus was able to evince repeatedly from a simple scene and an approximate photographic method.
Gagosian's new ground-floor gallery at 976 Madison Avenue.
$691,583,000: HIGHEST AUCTION TOTAL IN ART MARKET HISTORY
$142.4M FOR FRANCIS BACON TRIPTYCH: MOST VALUABLE WORK OF ART EVER SOLD AT AUCTION
$58.4M FOR JEFF KOONS’S BALLOON DOG: MOST VALUABLE WORK SOLD AT AUCTION BY A LIVING ARTIST
On November 12th Christie’s Post-War and Contemporary Art evening sale achieved $691,583,000 (£435,697,000 / €511,771,420), the highest total for an auction sale in art market history, with a strong sell-through rate of 98% by value and 91% by lot. Bidders from 42 countries competed for an unprecedented offering of masterworks from all the major art movements of the last six decades. Bidders vied for works by some of the century’s most inspiring and influential artists: Francis Bacon, Andy Warhol, Donald Judd, Lucio Fontana, Jackson Pollock, Mark Rothko, Jeff Koons, Christopher Wool, Roy Lichtenstein and Jean-Michel Basquiat. Top quality and important provenance were highly prized by collectors including works from the collections of Peter Brant, Senator Frank Lautenberg, Robert A.M. Stern, Eric Clapton and the Daimler Art Collection in Berlin. The sale established 10 new world auction records, selling 11 lots for over $20 million, 3 works for over $50 million, 16 for over $10 million and 56 for over $1 million.
“We are thrilled to announce an historic total of $691.6 million for this evening’s sale of Post-War and Contemporary Art. It is the second time this year that Christie’s has broken the highest total in auction history,” said Brett Gorvy, Chairman and International Head of Post-War and Contemporary Art. “Collectors from 42 countries registered tonight with strong bidding from American, European and Asian collectors but also from institutions. The sale was heavily focused on icons and masterworks, achieving an astonishing 10 record prices and breaking the record for any work of art ever sold at auction. Beyond the records, 10,000 art lovers flocked to Christie’s galleries in the last week to engage with and enjoy the remarkable selection of artworks on display.”
"Three Studies" is of artist Lucien Freud seated on a wooden chair from three vantage points.
“Unimaginable!” roared Parisian newspaper headlines on August 23, 1911, the day after the Louvre discovered that someone had stolen Leonardo da Vinci's Mona Lisa. Who, everyone asked, took La Joconde, as the French called her? Two years passed before the world learned the thief’s name—Vincenzo Peruggia, an obscure, Italian housepainter. Although Peruggia’s name’s been synonymous with art theft for a century, who Vincenzo was has always remained a mystery. What made him take the painting in the first place? Filmmaker Joe Medeiros tries to solve that puzzle in his charming and eye-opening documentary, The Missing Piece: Mona Lisa, Her Thief, the True Story. Shuttling back and forth between Italy and France, just like Peruggia himself, Medeiros and his crew visit not just the scene of the crime, but also the scenes of Vincenzo’s life before and after the theft in search of the man behind the mask of the thief. The result speaks as much about the power of art as about the way history and its players never truly die.