- Read 'Warhol and Dance' (2010)
‘I never wanted to be a painter…I wanted to be a tap-dancer.’ Andy Warhol, 1966
Dance can enliven us now more than ever, and here, we look back at Andy Warhol’s rare and graceful 1950s line drawings of dancers which Neil Printz, editor of the Andy Warhol Catalogue Raisonné, called his ‘Warm-up drawings’. To complement Warhol’s recently opened retrospective at Tate Modern, we are pleased to share our exhibition catalogue Warhol and Dance (2010), which you can access in full including an essay by dance critic Anna Kisselgoff.
The lively line drawings refer to personalities who took part in the amazingly diverse growth of American dance in the 1950s. Ranging from references to ballet to modern dance, as well as tap dance and ethnic forms, these drawings reveal Warhol’s fascination with performance and the brilliance of the portraits he made throughout his career.
While Tate Modern is currently closed to the public, their exhibition guide is available online and it is the subject of BBC 4's upcoming series, Museums in Quarantine. Galerie Thaddaeus Ropac has worked closely with the artist and the Warhol Foundation since the 1980s, exhibiting his renowned Campbell's Soup Boxes and Heads After Picasso from the mid-1980s, as well as his more intimate drawings such as the Dance (1952–54) drawings.
- Andy Warhol
- Launching Adrian Ghenie's new publications
Delve into a selection of poetry, prose, fiction and non-fiction that our artists have written or turned to over the years for inspiration, escape, education and research as well as major texts on our artists published by the gallery.
‘The balance of the canvas is like the twisting branches of trees: they grow from all sides, here and there they meet at right angles, but they never intertwine and never get tangled.’ Dimitri Ozerkov on Adrian Ghenie.
Adrian Ghenie, called ‘The world’s most exciting painter under the age of 50’ by Jackie Wullschlager, Chief Art Critic of the Financial Times, has been in the limelight lately with his landmark exhibition at the Hermitage museum ‘I have turned my only face’.
Installation images at 'I Have Turned My Only Face', at the State Hermitage Museum, St. Petersburg, Russia
We are pleased to announce the launch of the much-awaited Hermitage catalogue co-published with the gallery, as well as a comprehensive monograph spanning his practice from 2014 published by Hatje Cantz and a literary essay by French writer Yannick Haenel, at Actes Sud. Adrian Ghenie has also been invited to feature in the Financial Times’s new Landscape series.
Adrian Ghenie ‘I Have Turned My Only Face’
Co-published with The State Hermitage Museum, St. Petersburg, Russia
Introduction by Mikhail Piotrovsky, texts by Dimitri Ozerkov, Anastasiia Veialko, conversation between Adrian Ghenie and Dimitri Ozerkov
Read excerpts below | Order book here
Published by Hantje Cantz
A literary essay by French writer Yannick Haenel
On this occasion, we hope you enjoy reading In Praise of Shadows, a conversation between Adrian Ghenie and Curator Dimitri Ozerkov from the Hermitage catalogue. To delve deeper into his work, we have made extracts from two other earlier catalogues on the artist available to read, notably a poem by Gherasim Luca in light of Adrian Ghenie’s Jungles in Paris paintings and a passage from Curator Luca Massimo Barbero’s essay on Adrian Ghenie’s exhibition The Battle Between Carnival and Feast at the Palazzo Cini in Venice.
Excerpts from 'I Have Turned My Only Face':
A conversation between Adrian Ghenie and Curator Dimitri Ozerkov of the Hermitage Museum
Excerpts from 'Jungle in Paris':
A poem by Gherasim Luca in light of Adrian Ghenie’s Jungles in Paris paintings
Excerpts from 'The Battle Between Carnival and Feast':
Curator Luca Massimo Barbero’s essay on the exhibitionRead more
- Adrian Ghenie
- Andy Warhol Retrospective at Tate Modern
- March 12, 2020 - September 6, 2020
Bankside, London SE1 9TG
Andy Warhol (1928–87) was one of the most recognisable artists of the late 20th century, yet his life and work continue to fascinate and be interpreted anew. A shy, and gay man from a religious, migrant, low-income household, he forged his own distinct path to emerge as the epitome of the pop art movement. This major new exhibition at Tate Modern – the first at the gallery for almost 20 years – offers visitors a rare personal insight into how Warhol and his work marked a period of cultural transformation. Drawing upon recent scholarship, it provides a new lens through which to view this American icon.
Featuring over 100 works from across his remarkable career, the show sheds light on how Warhol’s experiences shaped his unique take on 20th century culture, positioning him within the shifting creative and political landscape in which he worked. While he is best known for his iconic paintings of Coca-Cola bottles and Marilyn Monroe that held up a mirror to American culture, this exhibition emphasises recurring themes around desire, identity and belief that emerge from his biography. It shows how this innovative artist reimagined what art could be in an age of immense social, political and technological change.Read more
- Andy Warhol
Donald Judd Foundation
- Donald Judd's Retrospective at MoMA
- March 1, 2020 - July 11, 2020
- The Museum of Modern Art, 11 West 53 Street, New York
The Museum of Modern Art’s exhibition Judd, on view in the Steven and Alexandra Cohen Center for Special Exhibitions in the David and Peggy Rockefeller Building from March 1 through July 11, 2020, is the first major US retrospective dedicated to the work of Donald Judd (1928–1994) in over three decades. Presented solely at MoMA, the exhibition explores the remarkable vision of an artist who revolutionized the history of sculpture, highlighting the full scope of Judd’s career through 70 works in sculpture, painting, drawing, and prints, from public and private collections in the US and abroad. Judd is organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, with Yasmil Raymond, former Associate Curator; Tamar Margalit, Curatorial Assistant; and Erica Cooke, Research Fellow, Department of Painting and Sculpture, MoMA.
Donald Judd was among a generation of artists in the 1960s who sought to entirely do away with illusion, narrative, and metaphorical content. He turned to three dimensions as well as industrial working methods and materials in order to investigate “real space,” by his definition.
“Half a century after Judd established himself as a leading figure of his time, there remains a great deal to discover,” said Temkin. “MoMA’s presentation covers the full arc of his career, aiming to reveal its largely unexpected variety and complexity.”
“We commend the leadership of MoMA, Ann Temkin, and her team for their in-depth research and their substantial commitment toward this significant exhibition. Don’s work remains as vital today as it was when he created it. We appreciate MoMA providing the opportunity for a new generation to engage with his work in New York,” said Rainer Judd, President, Judd Foundation.
Judd will be the first full-scale introduction to the artist’s career for many viewers (including a generation born since his last American retrospective in 1988). It will be organized in chronological order to demonstrate an artistic vision that developed in both methodical and utterly unpredictable ways.
The exhibition begins with a wide selection of paintings, objects, drawings, and prints from the early 1960s, bringing the viewer along on the step-by-step journey that led from paintings to works that were fully three-dimensional. In the mid-1960s, Judd created a fundamental 2 vocabulary of works in three dimensions, including hollow boxes, stacks, and progressions made with metals and plastics by commercial fabricators. These are represented with the inclusion of their early—or even first—manifestations as well as significant ideas that were carried out in a few pieces and then laid aside. The 1970s gallery presents important changes to the work that in part reflect that Judd was re-centering his practice in Marfa, Texas, and working on site-specific pieces elsewhere. His experimentation extended to new levels of scale and types of structure, as well as to the introduction of plywood as a key material. The exhibition’s final gallery presents the aspect of Judd’s career least familiar to American viewers: the works from his last decade, mostly fabricated in Europe, whose chromatic and material exuberance emphatically contradicts the “Minimalist” label that Judd had always rejected.
Judd’s activity extended far beyond the realm of making works of art. He was a prolific art critic and essayist, deeply committed to democratic and environmental causes, and active in the fields of architecture and design. A “reading room” outside the exhibition entrance will feature Judd-designed furniture. Visitors will be invited to use the furniture and browse the exhibition catalogue, several key books on Judd’s work, and the artist’s own writings.
Image: Donald Judd. Untitled. 1969. Clear anodized aluminum and blue Plexiglas; four units, each 48 × 60 × 60″ (121.9 × 152.4 × 152.4 cm), with 12″ (30.5 cm) intervals. Overall: 48 × 276 × 60″ (121.9 × 701 × 152.4 cm). Saint Louis Art Museum. Funds given by the Shoenberg Foundation, Inc. © 2020 Judd Foundation / Artists Rights Society (ARS), New York.Read more
- Donald Judd Foundation
Donald Judd Foundation
- Donald Judd | Prints: 1992
- March 1, 2020 - July 11, 2020
101 Spring Street, New York
Judd Foundation is presenting Prints: 1992, an exhibition of a set of an edition of prints by Donald Judd on the ground floor of 101 Spring Street in New York. The exhibition is the first presentation of these prints in New York.
In the spring of 1991, Judd travelled to South Korea for a solo exhibition of his works in three-dimensions at Inkong Gallery in Seoul. The gallery invited Judd to make a set of prints for a forthcoming exhibition, for which Judd selected a local paper to make this edition. The paper, known as hanji, is made from the inner bark of a mulberry plant that is native to Korea’s rocky mountainsides. The prints have previously been exhibited in The Haags Gemeentemuseum, Hague, Netherlands in 1993; the Itami City Museum of Art, Itami, Japan in 2001; and at the Chinati Foundation, Marfa, Texas in 2013.
This edition of twenty woodcut prints, comprised of ten pairs, is one of the largest series of prints made by Judd. Each pair has one impression with a printed frame of colour and one where the same colour is reversed and printed as the interior space of the frame. The dividing vertical and horizontal lines are specific to each pair, creating proportions of 1:2, 1:3, 1:4, and 1:5. The grain of the mahogany block is a prominent element of the large blocks of colour. Whereas in his earlier prints Judd regularly printed in one or two colours, by the mid-1980s he began using multiple colours in his woodcuts. He made a similar shift towards the use of numerous colours in his three-dimensional work in the early 1980s with the development of pieces in painted aluminium. This set of prints reflects Judd’s most extensive use of colour in his print practice, with ten colours used across the set: cadmium red, cadmium yellow, cadmium orange, ultramarine blue, cerulean blue, cobalt blue, permanent green, viridian green, black, and alizarin crimson.
Judd made his first prints in 1951 while studying at the Art Students League in New York. Working first with lithographs, woodcuts became his dominant print medium as early as 1953. Judd also worked with aquatint, etching and screen print techniques, often using multiple techniques to create prints with similar formal qualities. He used the parallelogram, for example, in his three-dimensional works, woodcuts, etchings, and aquatints. Judd’s prints, like his works in three-dimensions, explore symmetry, proportion, seriality, and colour combinations. As he wrote in his 1985 essay, “Symmetry,” the distinction between symmetry and asymmetry arose in his work when the lines of his painting and prints which had been organic, and then curved, later became straight. “This change divided a painting into two parts, the large broad rectangle and the narrow lines,” creating “the problem of where to place them.” Over time, the question of line and symmetry became central to Judd’s print practice.
In the 1960s and 1970s, Judd’s prints concentrated on monochromatic series. In 1986, Judd developed a set of four woodcuts with a rectangular field of colour printed in brown, blue, red, and green – the first set to contain multiple colours. Each sheet measured 60 x 80 cm, a 3:4 ratio that he worked with consistently from then on. As Marietta Josephus Jitta editor of the catalogue raisonné, Donald Judd: Prints and Works in Editions, wrote in the essay “On Series” in that volume, “The series has something of a declaration. It is simple and almost challenging like the red and blue parallelogram of twenty years earlier. In his graphical work, the series is continually referred to as the basis for new research on the flat surface.” Many of Judd’s later prints, including untitled, 1992-93, on view in this exhibition, built upon the formal innovation of the central rectangle of colour first used in 1986.
In March, Judd Foundation will publish Donald Judd Spaces, the first visual survey of the spaces which comprise Judd Foundation in New York and Texas. It will also expand access to its 101 Spring Street location, introducing guided visits on Sundays and enabling more visitors to directly engage with Judd’s legacy through his formerly private living and working spaces in downtown New York.
- Donald Judd Foundation
Gilbert & George
- The Great Exhibition
- February 22, 2020 - May 10, 2020
Luma Westbau and Kunsthalle Zürich are showing an extensive retrospective of 50 years of artistic collaboration between Gilbert & George. THE GREAT EXHIBITION (1971-2016) allows unique insight into their visually powerful, boundless – and sometimes provocative – artistic universe.
The exhibition has been created in close collaboration with Gilbert & George and they will be present at the opening in Zürich on the 21 February. For the artists this marks a return to Switzerland 25 years after their solo exhibition at the Kunsthalle Zürich in 1992, curated by Bernhard Mendes Bürgi.
More info here.
- Gilbert & George
- Radical Figures Painting in the New Millennium
- February 6, 2020 - May 10, 2020
77-82 Whitechapel High St
E1 7QX London
Since painting was pronounced dead in the 1980s, a new generation of artists has been revitalising the expressive potential of figuration. Charging their vibrant canvases with a social and political undertow, they echo the words of Philip Guston: ‘I got sick and tired of all that Purity. I wanted to tell stories’.
The paintings of Daniel Richter (b. 1962, Germany) draw from current events – the migrant crisis or Taliban mythology – as do Michael Armitage’s (b. 1984, Kenya) narratives of politics and violence in East Africa, equivocally conveyed in the lush, exoticised style of Gauguin. The rollicking surfaces of Cecily Brown’s (b. 1969, UK) canvases congeal into figures, whose sources range from pornography to art history, before dissolving back into painterly marks.
Nicole Eisenman’s (b. 1965, France) protagonists occupy a brightly lit universe that is both dream and nightmare, while Dana Schutz’s (b. 1976, USA) contorted figures give form to unconscious drives. Tala Madani’s (b. 1981, Iran) primal fantasies of abject men and children shift from comedy to debasement, from paint to shit. Sanya Kantarovsky (b. 1982, Russia) and Ryan Mosley (b. 1980, UK) look to art history, literature and children’s stories in their darkly humorous and carnivalesque scenes.
Artists also critique from within or expand on the styles and subjects of canonical male painters. In Christina Quarles’s (b. 1985, USA) canvases, groups of polymorphous nudes are intimately entwined, merging with graphically patterned surfaces. Tschabalala Self (b. 1990, USA) pieces together paint, fabric and print for a cast of characters inspired by the streets of Harlem. Exuberant and explicit, each artist revels in the expressive potential of paint.Read more
- Daniel Richter
- New York Clearing
- February 4, 2020 - March 27, 2020
NEW YORK'S BROOKLYN BRIDGE PARK
As part of the international art project, CONNECT, BTS, introduced by BTS, pioneering global superstars from Korea, New York’s Brooklyn Bridge Park Pier 3 will be the site of the creation of a vast ‘drawing in space’ by internationally acclaimed British artist Antony Gormley, which will be on show free to the public from 5 February – 27 March 2020.
New York Clearing (2020) is conceived as a single line made up of more than 11 miles of square aluminium tubing that loops and coils without beginning or end, turning itself into an environment for the viewer that counters the grid of modernism and the city with swooping lines of energy. It will be situated on a landmark site at Pier 3, in Brooklyn Bridge Park, overlooking the East River.
Speaking about New York Clearing, Antony Gormley said: “This is the first time that I have attempted to make Clearing without architectural support. I am enormously excited about the opportunity of making this energy field in conversation with Manhattan across the waters of the East River. It can be seen as an evocation of human connectivity, a materialisation of the energy of the people that view it and the people that made it.”
“We’re honoured to host Antony Gormley’s New York Clearing here at Brooklyn Bridge Park,” said Eric Landau, Brooklyn Bridge Park President. “We have a long history of incredible art installations in the Park, and can’t think of a better place than Pier 3 for this amazing piece.” CONNECT, BTS is an international art project taking place in five cities on four continents, introduced by BTS, open free to the public in Berlin, Buenos Aires, London, New York and Seoul, and developed by a group of curators under the artistic direction of independent Korean curator, Daehyung Lee.
CONNECT, BTS draws motifs from parts of BTS' philosophy that centers around diversity, love and care for the periphery as well as communicating and fostering connections that transcend barriers. Other artists featured in the project include: Jakob Kudsk Steensen (Serpentine Galleries, London), performances by 17 international artists including Jelili Atiku, boychild with Josh Johnson and Total Freedom, Cevdet Erek, Marcelo Evelin, Bill Fontana, Maria Hassabi, Mette Ingvartsen with Will Guthrie, Baba Murah and Candomblé Berlin, Antonija Livingstone and Nadia Lauro with Mich Cota, Kennis Hawkins and Stephen Thompson (Gropius Bau, Berlin); Tomás Saraceno (CCK, Buenos Aires); Ann Veronica Janssens and Yiyun Kang (Dongdaemun Design Plaza, Seoul).Read more
- Antony Gormley
Emilio Vedova Foundation
- Film screening Emilio Vedova. Dalla parte del na...
- January 25, 2020 - January 25, 2020
- Paris Pantin
To celebrate the last days of the exhibition Georg Baselitz, Time, join us for the French premiere of Emilio Vedova. Dalla parte del naufragio (2019), a documentary film which highlights the great friendship that united Georg Baselitz and Venitian painter Emilio Vedova.
The documentary on the life and work of Emilio Vedova is directed by Tomaso Pessina with the participation of award-winning Italian actor Toni Servillio reading Vedova’s diaries. The film also features interviews with leading figures from the art world, such as Georg Baselitz, Renzo Piano, Carla Schulz-Hoffmann, Germano Celant, Karole Vail, and contains some powerful and unpublished archive material from the Fondazione Vedova.
Screening will start at 4pm. Film in original version with English subtitles.
Duration: 68 min.Read more
- Emilio Vedova Foundation
- The stained glass windows of the Reims cathedral
- January 16, 2020 - January 16, 2020
- Paris Marais
On the occasion of the exhibition Imi Knoebel: was machen Sie denn (on view until 18 January in the Marais gallery), join us for a special evening dedicated to the exceptional artistic project led by the German artist in the Reims cathedral. After the six stained glass windows created in 2011 to celebrate the 800th anniversary of the cathedral, Imi Knoebel was invited to create three other works in 2014 as a symbol of Franco-German reconciliation 100 years after the outbreak of the First World War.
Caroline Smulders - gallerist and cultural actor - and Marc Nouschi - academic and former director of cultural affairs of Champagne-Ardenne, who followed the project closely, will share the secret history of this spectacular public commission on Thursday January, 16th at 7pm.
Free access upon availability.Read more
- Imi Knoebel