Nº10 EN / JUN 2014
FREE MONTHLY MAGAZINE INTERVIEW WITH BERTRAND DELACROIX
BERTRAND DELACROIX President of Bertrand Delacroix Gallery – Chelsea
Technical File Line & Stylish, Art Magazine Nr Registo ERC – 126385/ ERC Registration nr - 126385 Proprietário/Owner: José Eduardo de Almeida e Silva Editor/Publisher: José Eduardo de Almeida e Silva NIF: 179208586 Periodicidade/Periodicity: Mensal/Monthly Morada da Redacção/Editorial Address: Urbanização do Lidador Rua 17, nr 106 4470-709 – Maia Portugal Contacto/Contact : +351 914037084 Director Geral/Director in Chief: Eduardo Silva Director Adjunto/Vice-director: Isabel Gore Editor / Editor in Chief: Eduardo Silva Redacção/ Editorial Staff: José Eduardo Silva Isabel Pereira Coutinho Luís Peixoto Director Técnico/ Art and Web Director: Luís Peixoto Photografia/Photography: • Bertrand Delacroix Gallery © Courtesy Bertrand Delacroix Gallery • Hamburger Kunsthalle © Hamburger Kunsthalle, Dauerleihgabe der Stiftung für die Hamburger Kunstsammlungen © SHK /Hamburger Kunsthalle /bpk Photo: Elke Walford Hamburger Kunsthalle, Kupferstichkabinett © Hamburger Kunsthalle/bpk Photo: Christoph Irrgang • Lower Belvedere © Belvedere, Vienna © Berlinische Galerie, Berlin / © Bildrecht, Vienna, 2014 Private Collection, Photo: © Walter Bayer © Berlinische Galerie, Berlin / © Bildrecht, Vienna, 2014 © Kunsthaus Zug, Stiftung Sammlung Kamm / © Bildrecht, Vienna, 2014 © Lindenau Museum Altenburg / © Bildrecht, Vienna, 2014 © Private Collection, Courtesy Richard Nagy Ltd., London / © Bildrecht, Vienna, 2014 • Pam Hawkes © Courtesy Pam Hawkes
• • • • •
Patricia Abramovich © Courtesy Patricia Abramovich Skarstedt Chelsea Gallery Courtesy Skarstedt, New York, © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York Courtesy Skarstedt, New York, © Yves Klein, Artists Rights Society (ARS), New York Solomon R. Guggenheim Museum © The Metropolitan Museum of Art Image Source: Art Resource, New York The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice 76.2553.31 © 2014 Artists Rights Society (ARS), New York / SIAE, Rome Photo: Courtesy Solomon R. Guggenheim Foundation, New York Gianni Mattioli Collection, on long-term loan to the Peggy Guggenheim Collection, Venice © 2014 Artists Rights Society (ARS), New York / SIAE, Rome Fondazione Carima–Museo Palazzo Ricci, Macerata, Italy Photo: Courtesy Fondazione Cassa di Risparmio della Provincia di Macerata Photo: © MART, Archivio fotográfico © Benedetta Cappa Marinetti, used by permission of Vittoria Marinetti and Luce Marinetti’s heirs Photo: AGR/Riccardi/Paoloni Casa Cavazzini, Museo d’Arte Moderna e Contemporanea, Udine, Italy © Photo: Claudio Marcon, Udine, Civici Musei e Gallerie di Storia e Arte Taymour Grahne Gallery Courtesy of Taymour Grahne Gallery, New York, NY The Metropolitan Museum of Art © Feinberg Collection. © Robert and Betsy Feinberg ©Photo: Courtesy of The Metropolitan Museum of Art
Line & Stylish Art Magazine number 10 has a special focus on Mr. Bertrand Delacroix, a French man who is president of Bertrand Delacroix Gallery in Chelsea, New York City. By Mr. Bertrand Delacroix, we emphasize the importance play by galleries and gallerists in our day’s art. Without a strong art market it’s quite impossible to have an artistic environment characterized by life and changing, so the role of art dealers, curators and gallerists is much more important that it seems at a first sight, upon them lies the responsibility of disclosure contemporary art. The way each one does his job is like to define his action and relevance. After the 90s of last century, when art was understood and presented just like a big business, a series of new gallerists began to emerge motivated by a new attitude. Obviously, the sense of business continues to persist but now the art dealers show their passion on the art works presented by them, becoming a kind of accomplices of their artists. This is the new attitude that we find in gallerists like Mr. Bertrand Delacroix, and for all of them Line & Stylish Art Magazine will always have a special place. José Eduardo Silva (Editor) COVER: BERTRAND DELACROIX GALLERY Courtesy Bertrand Delacroix 3
Artist of the
The Pairing Oxidation Paintings
The Paris of Daumier an
by Andy Warhol and Fire Paintings by Yves Klein
The Art of Two Cities
34. INTERVIEW WITH BERTRAND DELACROIX
The Flowering o Painti
ITALIAN FU 1909 – 1
INTERVIEW WITH PATRICIA ABRAMOVICH
of Edo Period ing
Six Artists from Beirut
firstname.lastname@example.org +351 914 037 084 5
The Pairing Oxidation Paintings by Andy Warhol and Fire Paintings by Yves Klein May 9 through June 21 SKARSTEDT to open A CHELSEA GALLERY Inaugural Exhibition The inaugural exhibition at the Chelsea gallery will present the pairing of Oxidation Paintings by Andy Warhol and Fire Paintings by Yves Klein, two major bodies of Work by canonical 20th Century artists and fundamental to the history of abstraction, Never before exhibited together. In the spring of 1961, access to a destructive testing laboratory in France, led Klein To one of his most innovative and, quite literally, explosive, bodies of work, the Fire Paintings. Klein used a blowtorch to “burn” abstracted forms onto receiving paper. Klein’s technique bears striking similarity to the photographic technique of a heliograph, but Klein used flame, rather than light, to create shapes and forms. Intensely haunting and ethereal, the Fire Paintings exemplify what Klein referred to as “dangerous paintings,” that which jeopardized him in the process of his art making.
Andy Warhol Oxidation Painting – 1978
Metallic pigment and mixed media on canvas, 40” x 30” - 101.6 x 76.2 cm (Inv #4205) Courtesy Skarstedt, New York, © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York 7
Andy W Oxidation Paintin
Metallic pigment and mixed media on canvas; in (Inv # Courtesy Skarstedt, New York, ÂŠ Th Visual Arts / Artists Rights 8
Warhol ng (Diptych) - 1978
n two parts 40” x 30 “ each - 101.6 x 76.2 cm each #3891) The Andy Warhol Foundation for the s Society (ARS), New York 9
Yves Klein F 27 I - 1961
Burnt cardboard on panel, 98.43 x 51.18 inches - 250 x 130 cm (Inv #5119) Courtesy Skarstedt, New York, ÂŠ Yves Klein, Artists Rights Society (ARS), New York 10
Yves Klein F 1 - 1961
Burnt cardboard, 78 3/4 x 43”- 200 x 109.2 cm. (Inv #5037) Courtesy Skarstedt, New York, © Yves Klein, Artists Rights Society (ARS), New York 11
A decade later, Warhol did his own creative experiments with scientific process, but instead chose urine and metallic paints as the catalysts. For the Oxidations (1977-78), Warhol created brilliant, lavishly textured surfaces of gold and green, Fashioning the “physical presence” he desired while satirizing the physical act of Painting privileged by his forefathers, the Abstract Expressionists. This series marks an important point of departure for Warhol, being his first foray into abstraction, and disclosing his intrigue with the Abstract Expressionist painters who had dominated the New York art scene in the 1950s, during his early career. “We have an ongoing commitment to mounting key historical exhibitions,” says Per Skarstedt, “and I’m delighted to open this new gallery space in Chelsea with An exhibition of incredible Works by these quintessential modern masters.” Skarstedt continues, “This approach suits the collaborative way we have always worked with artists and their estates.”
Skarstedt Chelsea 550 West 21st Street New York, NY 10011 12
Yves Klein F 121 - 1962
Charred cardboard lay down on board, 16 1/8 x 13 inches - 41 x 33 cm Signed and dated ‘Yves Klein 1962’ (on the reverse). (Inv #4581) Courtesy Skarstedt, New York, © Yves Klein, Artists Rights Society (ARS), New York 13
VIENNA - BERLIN
The Art of Two Cities 14 February to 15 June 2014 Berlinische Galerie, Berlin Lower Belvedere, Viena
In the late nineteenth century, both Berlin and Vienna were considered rising metropolises, which, however, represent identification models antithetical to this day, as well as different cultural self-concepts. Whereas the literary exchange between those two global cities has extensively been explored, a comparison of their developments in the visual arts and an investigation into mutual interaction in this field has remained blind spots. The exhibition Vienna - Berlin, spanning from the early twentieth century to the interwar years, is the first to deal with the artistic parallels, differences, and correlations between these two towns.
Exhibition view Vienna - Berlin. The Art of Two Cities ÂŠ Belvedere, Vienna 15
Conrad Felixmüller Portrait of Raoul Hausmann, c. 1920
Oil on canvas, 85 x 67 cm © Lindenau Museum Altenburg / © Bildrecht, Vienna, 2014 16
Franz Lerch Girl With Hat, 1929 Oil on canvas, 80 x 60 cm ÂŠ Belvedere, Vienna 17
On the one hand, there is Berlin, the vast metropolis without a grown historical centre, a city that almost strikes one as American; on the other hand, there is Vienna, the town of operettas suffused by the Baroque style and first and foremost associated with dĂŠcadence. The points of departure of this show are relationships, discrepancies, and similarities between the two citiesâ€™ Secessionist movements around 1900. While the Viennese Expressionists were primarily characterized by their psychological empathy, the Young and Wild Ones in Berlin chiefly displayed an ecstatically aggressive demeanor. World War I led to a rapprochement of the two nations, entailing a vivid artistic exchange between the two cities that evolved with regard to the emerging style of New Objectivity, particularly when it comes to stage art. At the same time, Viennese Kineticism, relying on concepts of Expressionism and Futurism, gained influence. It was juxtaposed by the Berlin Dada movement, which addressed current social conditions in a both critical and subversive manner, thereby creating an anti-culture.
Otto Rudolf Schatz Balloon Seller, 1929
Triptych - 1st part Oil on canvas, 190 x 110 cm ÂŠ Belvedere, Vienna 19
George The Tempo of t
Oil on wood, 6 ÂŠ Private Collection, Courtesy Richard Nag 20
e Grosz the Street, 1918
63.8 x 78.2 cm gy Ltd., London / ÂŠ Bildrecht, Vienna, 2014 21
Ludwig M Apocalyptic La
Oil on canvas, ÂŠ Private Collection, Courtes 22
Meidner andscape, 1913
, 67.3 x 80 cm sy Richard Nagy Ltd., London 23
Christian Schad Portrait of the Writer Ludwig Bäumer, 1927 Oil on panel, 61 x 50 cm © Berlinische Galerie, Berlin / © Bildrecht, Vienna, 2014 24
Jeanne Mammen Showgirls, 1928/29
Oil on cardboard, 64 x 47 cm ÂŠ Berlinische Galerie, Berlin / ÂŠ Bildrecht, Vienna, 2014 25
Egon Schiele Portrait Eduard Kosmack, 1910 Oil on canvas, 99.8 x 99.5 cm ÂŠ Belvedere, Vienna 26
Lotte Laserstein In the Tavern, 1927
Oil on wood, 54 x 46 cm Private Collection, Photo: ÂŠ Walter Bayer 27
Otto Dix Wounded Soldier, 1922
Watercolour on paper, 39.6 x 38 cm ÂŠ Kunsthaus Zug, Stiftung Sammlung Kamm / ÂŠ Bildrecht, Vienna, 2014 29
Hannah The Journa
Oil on canvas, ÂŠ Berlinische Galerie, Berlin 30
h Höch alists, 1925
, 86 x 101 cm n / © Bildrecht, Vienna, 2014 31
Especially the Roaring Twenties reflect an artistic exchange between and approximation of opposing positions, allowing a new perspective of the connection between the two capitals, which, in spite of their differences, were closely related social - criticism and their approach to aesthetics, a Cubist language of form, and a tendency towards Verism coincided. This development is exemplified through works by Otto Dix, Rudolf Schlichter, George Grosz, Albert Paris G端tersloh, Anton Kolig, and Rudolf Wacker. Moreover, the show includes examples by Herbert Boeckl, Raoul Hausmann, Josef Hoffmann, Friedrich Kiesler, Ernst Ludwig Kirchner, Erika Giovanna Klien, Oskar Kokoschka, Max Liebermann, Max Oppenheimer, Max Pechstein, Christian Schad, Egon Schiele, Max Slevogt, and others. In addition, contacts between the artists and art dealers and promoters, such as Cassirer, Walden, Moll, and Loos are discussed, while the significance of such co-operating art periodicals as Aktion, Sturm, and Fackel is examined.
Lower Belvedere Rennweg 6, 1030 Vienna 32
INTERVIEW WITH BERTRAND DELACROIX
BERTRAND DELACROIX President of Bertrand Delacroix Gallery – Chelsea By: José Eduardo Silva & Isabel Gore
Bertrand Delacroix was born in France in 1965. He grew up in Southern Greenwich High School and eventually moved back to France with his the US when he was finished. He played music and motorcycled across Stern. Not long after he graduated, he opened Axelle. He published li Editions in Brooklyn), a frame shop and opened several US galleries.
n Germany and moved to the US with his family at age 15. He attended s family in 1981. He was in the army from 1983-84 and moved back to s the country for several years. In 1989, he went back to school at NYU imited edition prints for years then bought a print shop (now Axelle
L&S - What led you to establish an Art Gallery in Chelsea (N.Y), when the art market was still in recession? BERTRAND DELACROIX: It just happened that way. I had my first gallery in Soho in 1995. I went through many ups and downs. Sometimes it’s good, sometimes it’s not so good. The past few years were difficult but the worst is over and I was fortunate to be able to remain in business. The art market shifted to Chelsea and I needed to be part of it. Recessions bring great opportunities! I was looking for a space in Chelsea for years. Before the bottom fell out, I would have never found the space I’m in now! At best, I was off the beaten path… L&S - What is the major difference between BDG and thousands of galleries that we can find in New York? BERTRAND DELACROIX: We all operate under the same rules and guidelines. However, the roster of artists and the commitment and passion of the owner are what differentiate each gallery. L&S - In spite of keeping an open mind and attitude, it seems quite obvious that BDG has a preference for figurative art and new mediums. How do you explain that, when the majority of galleries continue to bet on the remains of the last century conceptualism? BERTRAND DELACROIX: It’s about what I like. What’s in my gallery is in my house and vice versa. If I don’t like it, I won’t do well with it, I won’t be able to sell it. There are actually very few conceptual and video installations on my block in Chelsea! In fact, there is more figurative work in this area than you would think.
Matteo Pugliese Ad Astra, 2009
Bronze, 14¼” x 12” x 5½” 37
Beth Carter Giant Standing Minotaur, 2011 Bronze Resin, 77” x 22” x 23” 38
BERTRAND DELACROIX GALLERY Courtesy Bertrand Delacroix 39
L&S - One of the most surprising things in your galleries is the universality of your artists. One can find artists from all over the world without sacrificing a high quality standard. How can you do that? BERTRAND DELACROIX: Where the art was made and the background of its creator doesn’t matter. Thanks to the Internet, there are no more boundaries and we receive portfolios from artists all over the world. I also travel frequently and always keep my eyes peeled for new work. L&S - What are the main criteria in the selection of artists represented by BDG? BERTRAND DELACROIX: PFirst and foremost, I must like the work. Then, I must like the person and he or she must be available. Finally, it has to make sense, ie. Financially, availability of work, dynamics… L&S - Do you think we are watching a global artistic revolution, where the figurative plays the main role in the new trends and vanguards? BERTRAND DELACROIX: Absolutely. In fact, in my opinion, it’s not a revolution: it’s always been so and the trend is more apparent during hard times.
Peter Martensen Snow, 2012
Oil on canvas, 41¾” x 72¾” 41
Mark Knoerzer Polyptych Gem, 2013
Oil, acrylic & epoxy on Wood, 17” x 17” 43
Quentin Garel Eléphant II, 2014
Bronze (edition of 8), 92½” x 26” x 26” 45
Federico Infante Into the Woods, 2013 Acrylic on canvas, 48” x 30” 46
L&S - As a European who has spent more than half of his life in America, how do you feel about the actual art market in New York? BERTRAND DELACROIX: It is one of the strongest markets in the world, yet it is also the most difficult to strive in - t least at my level. L&S - What is the secret to gathering emergent artists and make them recognized worldwide, such is the case of Federico Infante, among others? BERTRAND DELACROIX: If I tell you, Iâ€™ll have to kill you. No really, there is no secret. We have a beautiful space in the heart of Chelsea. We are surrounded by the biggest galleries, ie Pace, Marlborough, etc. This makes us very attractive to a lot of artists. L&S - What are BDGâ€™s future plans for the short and long term? BERTRAND DELACROIX: We will be in the space we currently occupy on 25th Street until 2020 and then, we will assess if we want to stay in Chelsea or relocate. I would really love to re-open a gallery in New Orleans.
Elizabeth Allison Istanbul, 2013
Watercolor on Paper, 40” x 51½” 48
Joseph Adolphe Toro Sagrado No. 20, 2013 Oil on Canvas, 80” x 76” 49
Franรงoi Insider Inform
Oil on Canva
is Bard mation, 2014
as, 51” x 63”
ABOUT THE GALLERY
Opened in Chelsea in 2010, Bertrand Delacroix Gallery (BDG) is a co international, emerging and established artists whose works defy trad and photographers challenge themselves and their collectors with hig as an exhibition venue but as a voice of encouragement and support f artist, the gallery and the viewer, it focuses on bringing fresh, unique
Bertrand Dela 535 W 2 New York, N
ontemporary art gallery that represents a diverse group of local and ditional categorization. These innovative talented painters, sculptors gh quality, experimental and provocative artworks. BDG acts not only for the artists. While BDG facilitates a dynamic dialogue between the art to its collectors.
acroix Gallery 25th St NY 10001, EU
ARTIST OF THE MONTH
PamBritish Hawkes Artist
1996 - 1998 University of Central England. MA Fine Art. 1993 -1996. Coventry University/Solihull College.BA Fine Art. First Class
1998-2011. Visiting Lecturer. Fine Art. Solihull College/ Wolverhampton University
Interview with Combustus on-line art magazine biography. Interview in PoetsArtists (July 2012) Interview in PoetsArtists (September 2012) Interview with American Art Collector. March. 2014.
Solo Shows 2014 September. Forgotten Fables. Celia Lendis Gallery.
Moreton in the Marsh. 2012. December. Flying Colours Gallery. London. 2012. February. Catto Gallery, London. 2010. June. Flying Colours Gallery. London. 2009. F ebruary. Catto Gallery. London 2009. April. Eagle Works. Wolverhampton. 2007. February. Catto Gallery. London
1997 - RBSA Jaguar InPrize / Thesis Prize, Association of Art Historians, Coutauld Institute / Leicester Open Prize winner 2005 - RBSA Open Prize winner www.pamhawkes.co.uk | email@example.com M 07989228349 | Tel :01564 77574 60
2014. March. Women by Women. Kwan Fong Gallery. Thousand Oaks. California. 2013. September. LA Art Fair. RJD Gallery. Los Angeles. California. 2013. September. Women Painting Women. RJD Gallery, Sag Harbo, New York. US. 2013. September.20/21 British Art Fair. Royal College of Art. London. 2013. September. Women Painting Women Show. Glasgow. 2013. May. New Realism. The Gallery, Liverpool. 2013. February. The Man Show. Kwan Fong Gallery. Thousand Oaks,California. US. 2012. September. 20/21 British Art Fair. London. 2012. April. Art Catto, Portugal. 2011. August. Flying Colours Gallery. Edinburgh. 2011. 20/21 British Art Fair, Royal College of Art. London. 2010. December. Open Eye Gallery. Edinburgh. 2010. September. 20/21 British Art Fair, Royal College of Art. London. 2009. 20/21 British Art Fair, Royal College of Art, London. 2008 Contemporary Art Fair, Dublin 2008 Contemporary Art Fair, London 2007 Contemporary Art Fair, Dublin 2006 Chelsea Affordable Art Fair London 2006 Rose CafĂŠ, Santa Monica, USA. 2005 Kraft Gallery, Los Angeles, USA. 2005 Chelsea Affordable Art Fair, London 2004 Compton Cassey Gallery, Cheltenham 2004 London Art Fair, Islington, London 2003 Barn End Gallery, Solihull 2003 London Art Fair, Islington, London 61
Courtesy Pam Hawkes 62
Pam Hawkes Unbound
Oil on copperleaf on board, 41in x 41in Courtesy Pam Hawkes 63
Pam Hawkes Night Music.
Oil on copper leaf on board. 24 in x 41 in Courtesy Pam Hawkes 64
Pam Hawkes In her dreams, she flies.
Oil, beeswax and dutch metal on board. 20 in x 16 in Courtesy Pam Hawkes 65
Pam Hawkes Cocoon
Oil, beeswax and dutch metal on board, 69cm x 69cm Courtesy Pam Hawkes 67
Pam Hawkes Unraveling.
Oil, beeswax and metal leaf on board. 40cm. x 40cm. Courtesy Pam Hawkes 69
Pam Hawkes Holding on to the light.
Oil on copper leaf on board. 20 in x 16 in Courtesy Pam Hawkes 71
C'EST LA VIE
The Paris of Daumier and Toulouse-Lautrec 16 May to 3 August 2014 Hamburger Kunsthalle
This is the first exhibition that pays a comparative tribute to the two great French lithographers of the nineteenth century, Henri de Toulouse-Lautrec (1864–1901) and Honoré Daumier (1808–1879). The artists are not only alike in giving the highest importance to the lithographic technique, but also in their snapshot view of the French capital Paris with the eye of an outsider, from a peripheral position. 2014 is the 150th anniversary of the birth of Henri de Toulouse-Lautrec. Reason enough to honour this virtuoso of the belle époque, whose colour-saturated prints still bear impressive witness to Parisian nightlife at the turn of the century, with a presentation of his outstanding images.
Henri de Toulouse-Lautrec (1864-1901) Der EnglĂ¤nder im Moulin Rouge, 1892 Farblithographie, 571 x 424 mm Hamburger Kunsthalle, Kupferstichkabinett ÂŠ Hamburger Kunsthalle/bpk Photo: Christoph Irrgang 73
Toulouse-Lautrec enters surprisingly clearly into a dialogue with the art of Honoré Daumier. He rephrases, reinterprets, amplifies – a hitherto overlooked aspect of the artist’s work. Daumier, who for a long time was primarily seen in a political light, can be experienced as a sharp-tongued chronicler of his fellow citizens in the metropolitan bustle. Like Daumier, Toulouse-Lautrec was an avid protagonist of his time who portrayed people with unsparing directness in their social context. The dialogical comparison shows scenes from the Paris courts, city-dwellers amusing themselves in the country or people’s eccentric behaviour as soon as they find themselves in the company of others.
Henri de Toulouse-Lautrec (1864-1901) Die Loge mit der Goldmaske, 1893/94 Farblithographie, 432 x 315 mm Hamburger Kunsthalle, Kupferstichkabinett ÂŠ Hamburger Kunsthalle/bpk Photo: Christoph Irrgang 75
Although the exhibition focuses on lithographic masterpieces, the sophisticated posters and true-to-life caricatures that have left their mark on the collective memory to this day, ToulouseLautrec and the almost two generations older Daumier were also highly adept in the use of other media. Drawings and oil paintings set a vibrant counterpoint in various parts of the exhibition, which is able to draw on an abundance of works from the Hamburger Kunsthalle, other large museums and private collections. Curators: Prof. Hubertus GaĂ&#x;ner and Dr Jonas Beyer
Hamburger Kunsthalle GlockengieĂ&#x;erwall 20095 Hamburg 76
Honorﾃｩ Daumier (1808 - 1879) Eine Theaterloge, um 1865
ﾃ僕 auf Holz, 26,5 x 35 cm Hamburger Kunsthalle, Dauerleihgabe der Stiftung fﾃｼr die Hamburger Kunstsammlungen ﾂｩ SHK /Hamburger Kunsthalle /bpk Photo: Elke Walford 77
The Flowering of Edo Period Painting: Japanese Masterworks from the Feinberg Collection February 1 -September 7, 2014 The Metropolitan Museum of Art This exhibition will draw on the holdings of noted American collectors Robert and Betsy Feinberg, who have created one of the premiere private collections of Japanese painting from the Edo period (1615–1868) outside Japan. Displaying exemplary works from painting schools that arose in Japan in the seventeenth and eighteenth centuries, the exhibition will allow viewers to discover how Japanese painting evolved from the traditional modes of Chinese and Japanese (Yamato-e) styles that had prevailed through medieval times. More than ninety paintings—including twelve sets of folding screens and a number of hanging scrolls—will be exhibited in two rotations, each consisting of approximately fortyfive paintings. Rather than focus on the orthodox output of the Tosa and Kano ateliers, which dominated artistic production in the late medieval period, The Flowering of Edo Period Painting will highlight the new, exuberant styles of the Rinpa, Nanga, Maruyama-Shijō, and Ukiyo-e schools, as well as independent painters of the Edo period.
Gion Seitoku, Japanese, active 1789–1830 Woman Applying Makeup
Japan, Edo period (1615–1868), late 18th–early 19th century Hanging scroll; ink and color on paper Image: 25 1/4 × 15 3/4 in. (64.1 × 40 cm).Overall with mounting: 62 × 20 1/2 in. (157.5 × 52 cm) Lent by Feinberg Collection .© Robert and Betsy Feinberg 79
Unidentif A Portuguese Trading
Japan, Momoyama period (1573–1615)–Ed Pair of six-panel folding screens; ink Image (each): 56 in. × 11 ft. 5 Overall with mounting (each): 63 i Lent by Feinberg Collection. Photo: cour 80
fied Artist g Ship Arrives in Japan
do period (1615–1868), early 17th century k, color, gold, and gold-leaf on paper 5 15/16 in. (142.3 × 350.4 cm) in. × 12 ft. 5/8 in. (160 × 367.4 cm) rtesy of The Metropolitan Museum of Art 81
Soga Shōhaku, Jap Race at the
Japan, Edo period (161 Six-panel folding screen; ink, Image: 62 1/8 × 142 15/1 Overall with mounting: 68 1/2 in Lent by Feinberg Collection.© 82
panese, 1730–1781 e Uji River
15–1868), ca. 1760–67 color, and gold-leaf on paper 16 in. (157.8 × 363 cm). n. × 13 ft. 5/16 in. (174 × 397 cm) © Robert and Betsy Feinberg 83
Mori Tetsuzan, Jap Deer and
Japan, Edo period (1615– Sliding doors (fusuma) mounted as four two-pan Each: Image: 64 13/16 × 53 Overall with mounting (each): 68 9 Lent by Feinberg Collection.© 84
panese, 1775–1841 d Maples
–1868), 18th–19th century nel screens; ink and color on gold-leaf and paper 3 1/4 in. (164.7 × 135.3 cm). 9/16 × 56 3/4 in. (174.2 × 144.2 cm) © Robert and Betsy Feinberg 85
Suzuki Kiitsu, Jap Cra
Japan, Edo period (1615–1 Four painted sliding-door panels (fusuma-e) remounted as a pair of tw Image: 64 7/8 × 68 7/8 in. (164.8 × 175 cm).Overall w Lent by Feinberg Collection. 86
panese, 1796–1858 anes
1868), ca. 1828–early 1830s wo-panel folding screens; ink, color, and gold-painted ground on paper with mounting: 70 1/16 × 74 3/16 in. (178 × 188.4 cm) © Robert and Betsy Feinberg 87
Tani Bunchō, Japa Mt. F
Japan, Edo period ( Hanging scroll Image: 37 × 67 3/16 in. (94 × 170.6 cm).Overall w Lent by Feinberg Collection.© 88
anese, 1763–1840 Fuji
(1615–1868), 1802 l; ink on paper with mounting: 92 1/2 × 76 3/8 in. (235 × 194 cm) © Robert and Betsy Feinberg 89
Katsushika Hokusai, Japanese, Tokyo (Edo) 1760–1849 Tokyo (Edo) Minamoto no Yorimasa Aiming an Arrow Japan, Edo period (1615–1868), ca. 1847–49 Hanging scroll; ink and color on silk Image: 39 in. × 16 5/8 in. (99 × 42.2 cm). Overall with mounting: 75 9/16 × 21 15/16 in. (192 × 55.8 cm) Lent by Feinberg Collection.© Robert and Betsy Feinberg 90
With works of nearly every major Edo painter represented, the exhibition will serve as an excellent introduction to Edo painting in its entirety. While examining the stylistic innovations, the paintings on view will capture compelling scenes of nature, people at work and play, and scenes drawn from East Asian history, legend, and literature. Highlights will include the hanging scroll Tiger, a tour-de-force of ink painting of the early 1630s by Tawaraya Sōtatsu, founder of the Rinpa school. They also will include especially fine examples of the nineteenth-century Edo Rinpa–revival painters Sakai Hōitsu and Suzuki Kiitsu, respectively represented by a rare set of a dozen hanging scrolls of Birds and Flowers of the Twelve Months and a graphically potent pair of two-panel folding screens of Cranes. Works by such eighteenth-century Kyoto masters as Ike no Taiga, Yosa Buson, Soga Shōhaku, Maruyama Ōkyo, and Nagasawa Rosetsu are a special strength of the collection. Ukiyo-e artists known best in the West for their woodblock prints will be represented by meticulously detailed paintings thought to have been commissioned by wealthy clients. A pair of seventeenthcentury folding screens showing a Portuguese trading ship and the antics of its sailors testifies to the fascination the Japanese had with the arrival of the first European traders on their shores toward the end of the 16th century.
The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY 10028-0198 91
ITALIAN FUTURISM, 1909 – 1944:
Reconstructing the Universe February 21 through September 1, 2014 Solomon R. Guggenheim Museum
Italian Futurism1909–1944: Reco,nstructing the Universe comprehensive overview in the United States of one of Europe’s most important 20thcentury avant-garde movements. Featuring over 360 works by more than 80 artists, architects, designers, photographers, and writers, this multidisciplinary exhibition examines the full historical breadth of Futurism, from its 1909 inception with the publication of Filippo Tommaso Marinetti’s first Futurist manifesto through its demise at the end of World War II. The exhibition includes many rarely seen works, some of which have never traveled outside of Italy. It encompasses not only painting and sculpture, but also the advertising, architecture, ceramics, design, fashion, film, free-form poetry, photography, performance, publications, music, and theater of this dynamic and often contentious movement that championed modernity and insurgency.
Carlo CarrĂ Interventionist Demonstration (Manifestazione Interventista), 1914 Tempera, pen, mica powder, paper glued on cardboard, 38.5 x 30 cm Gianni Mattioli Collection, on long-term loan to the Peggy Guggenheim Collection, Venice ÂŠ 2014 Artists Rights Society (ARS), New York / SIAE, Rome Photo: Courtesy Solomon R. Guggenheim Foundation, New York 93
The exhibition is organized by Vivien Greene, Senior Curator, 19th- and Early 20th-Century Art, Solomon R. Guggenheim Museum. An international advisory committee composed of eminent scholars from many disciplines provided expertise and guidance in the preparation of this thorough exploration of the Futurist movement, a major modernist expression that in many ways remains little known among American audiences.
Benedetta (Cappa Marinetti) Synthesis of Aerial Communications (Sintesi delle comunicazioni aeree), 1933–34 Tempera and encaustic on canvas, 324.5 x 199 cm Il Palazzo delle Poste di Palermo, Sicily, Poste Italiane © Benedetta Cappa Marinetti, used by permission of Vittoria Marinetti and Luce Marinetti’s heirs 95
Giacom Abstract Speed + Sound (Veloci
Oil on millboard (unvarnished) in a The Solomon R. Guggenheim Foundation, Peg ÂŠ 2014 Artists Rights Society ( Photo: Courtesy Solomon R. Gug 96
mo Balla ità astratta + rumore), 1913–14
artist’s painted frame, 54.5 x 76.5 cm ggy Guggenheim Collection, Venice 76.2553.31 (ARS), New York / SIAE, Rome ggenheim Foundation, New York 97
Ivo Pan Speeding Train (Tr
Oil on canvas, Fondazione Carimaâ€“Museo P Photo: Courtesy Fondazione Cassa di 98
nnaggi reno in corsa), 1922
, 100 x 120 cm Palazzo Ricci, Macerata, Italy risparmio della Provincia di Macerata 99
Futurism was launched in 1909 against a background of growing economic and social upheaval. In Marinetti’s “The Founding and Manifesto of Futurism,” published in Le Figaro, he outlined the movement’s key aims, among them: to abolish the past, to champion modernization, and to extol aggression. Although it began as a literary movement, Futurism soon embraced the visual arts as well as advertising, fashion, music and theater, and it spread throughout Italy and beyond. The Futurists rejected stasis and tradition and drew inspiration from the emerging industry, machinery, and speed of the modern metropolis. The first generation of artists created works characterized by dynamic movement and fractured forms, aspiring to break with existing notions of space and time to place the viewer at the center of the artwork. Extending into many mediums, Futurism was intended to be not just an artistic idiom but an entirely new way of life. Central to the movement was the concept of the opera d’arte totale or “total work of art,” in which the viewer is surrounded by a completely Futurist environment.
Umberto Boccioni Unique Forms of Continuity in Space (Forme uniche della continuità nello spazio), 1913 (cast 1949) Bronze, 121.3 x 88.9 x 40 cm The Metropolitan Museum of Art, New York, Bequest of Lydia Winston Malbin, 1989 © The Metropolitan Museum of Art Image Source: Art Resource, New York 101
Fortunato Little Black and White Devils, Dance of Devils (Di
Pieced wool on cotton MART, Museo di arte moderna e cont ÂŠ 2014 Artists Rights Society ( Photo: ÂŠ MART, A
o Depero iavoletti neri e bianchi, Danza di diavoli), 1922â€“23
backing, 184 x 181 cm temporanea di Trento e Rovereto, Italy (ARS), New York / SIAE, Rome Archivio fotogrĂĄfico
More than two thousand individuals were associated with the movement over its duration. In addition to Marinetti, central figures include: artists Giacomo Balla, Benedetta (Benedetta Cappa Marinetti), Umberto Boccioni, Carlo Carrà, Fortunato Depero, and Enrico Prampolini; poets and writers Francesco Cangiullo and Rosa Rosà; architect Antonio Sant’Elia; composer Luigi Russolo; photographers Anton Giulio Bragaglia and Tato (Guglielmo Sansoni); dancer Giannina Censi; and ceramicist Tullio d’Albisola. These figures and other lesser-known ones are represented in the exhibition.
Francesco Cangiullo Large Crowd in the Piazza del Popolo (Grande folla in Piazza del Popolo), 1914 Watercolor, gouache, and pencil on paper, 58 x 74 cm Private collection ÂŠ 2014 Artists Rights Society (ARS), New York / SIAE, Rome 105
Tullio Crali Before the Parachute Opens (Prima che si apra il paracadute), 1939 Oil on panel, 141 x 151 cm Casa Cavazzini, Museo dâ€™Arte Moderna e Contemporanea, Udine, Italy ÂŠ 2014 Artists Rights Society (ARS), New York/SIAE, Rome Photo: Claudio Marcon, Udine, Civici Musei e Gallerie di Storia e Arte 106
Futurism is commonly understood to have had two phases: “heroic” Futurism, which lasted until around 1916, and a later incarnation that arose after World War I and remained active until the early 1940s. Investigations of “heroic” Futurism have predominated and comparatively few exhibitions have explored the subsequent life of the movement; until now, a comprehensive overview of Italian Futurism had yet to be presented in the U.S. Italian art of the 1920s and ’30s is little known outside of its home country, due in part to a taint from Futurism’s sometime association with Fascism. This association complicates the narrative of this avant-garde and makes it all the more necessary to delve into and clarify its full history.
Solomon R. Guggenheim Museum 1071 Fifth Avenue, New York 107
INTERVIEW WITH PATRICIA ABRAMOVICH By: JosĂŠ Eduardo Silva and Isabel Gore Patricia Abramovich (1958) born in France. Since 1972 she lives and works in Netanya, Israel. L&S - When did you feel the need to express yourself through Art ? Patricia Abramovich: Since I was twelve years old, I loved to draw white and black portraits from pictures that I took from magazines, using only pencils and charcoal. I used to write poems and I asked my parents to learn to play piano. I wrote some songs and played some guitar chords. I always needed to express myself in an artistic way. My parents gave me the freedom to choose my creative way. L&S - Till the age of 4 you spent your childhood in France. Did it influence your decision to become an artist? Patricia Abramovich: In France we lived in Paris and I took art and music lessons. I was a child who loved to read books and go to school. As drawing and design were my passions, I decided to learn architecture. I think that living in France gave me a basic lesson of beauty, love for freedom and independence.
PATRICIA ABRAMOVICH Courtesy: Patricia Abramovich 109
L&S - NIn the 70s you went to Israel. Did this cultural change influence your paintings? Patricia Abramovich: : I lived more than 20 years in Israel without painting. I was working, studying and raising my two children with my husband Boris that I met in Israel. I had no time for art. When my children grew up I felt the need to draw again. I began to take basic lessons and then I remember a period in my life when I painted every free minute .This period was very creative and I painted and learned techniques through art books that I ordered to practice. I think that the basic education I have reached in France was strong enough to maintain my main inspiration. The fact of working intensively during my life in Israel made me return to art. L&S - How do you define Art? Patricia Abramovich: Art brings beauty to the world and makes people think and grow. I did not learn Art History but I have read art books and I have enjoyed every one. I believe that the world would not be complete without art. I understand that famous Art Masters live forever, just like famous music composers. For me, Art is a way to express myself. It gives me satisfaction, joy and I feel that it is a kind of meditation experience.
PATRICIA ABRAMOVICH “Blue Climbing “ Oil on canvas, 80 x 90cm Courtesy: Patricia Abramovich 111
PATRICIA AB “Blue R
Oil on canva Courtesy: Patric
as, 90 x 70cm cia Abramovich
L&S - Having a rich palette and being the landscapes one of your dominant genre, why didnâ€™t you take the figurative challenge namely with the human figure ? Patricia Abramovich: PI paint since 1997, and when I review my first watercolors I find there flowers, landscapes and abstracts. When I began to use oil I made copies from art books, and shortly after I began to paint abstracts. This style gives me freedom and makes me feel the canvas. When I reach the right balance between the colours, I can say the painting is ready. I have the human figure as a challenge in my projects. As I like to experiment new techniques and subjects and to do different things, I am planning to paint faces using oil, but I will have to find my own style in my portraits adventure. For now, I am observing great contemporary artistsâ€™ portraits artworks. L&S - At a certain moment you decided to use knives instead of brushes. Why? Patricia Abramovich: I love the freedom that I get with knives. I use the colour directly on the canvas and then I begin to mix them .The knives give me a lot of possibilities to play with the texture, to paint with a certain rhythm that I couldnâ€™t reach using brushes.
PATRICIA ABRAMOVICH “Psifas” Oil on canvas, 100 x 80cm Courtesy: Patricia Abramovich 115
L&S - : Inside the abstract your painting covers various styles. How do you explain this diversity? Patricia Abramovich: As I said before, I need to explore techniques and I am trying to invent one in every medium I work with, and I have never used the classical medium method. I think that all styles I paint are abstracts, no matter if they are flowers, trees or landscapes. Most of my works are born from my imagination; they come out of my mind. If I use a picture to paint a landscape, itâ€™s only to inspire me and to have a basic example of composition. L&S - Who are your major influences? Patricia Abramovich: Monet, Cezanne and Van Gogh. My Provence series of landscapes was born from a trip in the south of France where these masters painted the beauty of that land. I love the works of Sissley, Degas and others. A few years ago I discovered the great Jackson Pollock, when an art curator told me that my oils looked like Pollockâ€™s style. Then, I found that both of us were born in January 28, and as a person like me, who is interested in astrology that was a stunning fact.
PATRICIA ABRAMOVICH “Summer” Oil on canvas, 80 x 80cm Courtesy: Patricia Abramovich 117
L&S - Your current exhibition in Israel named ”Father” is dedicated to your father. Can you tell us more about that? My father died a year ago and I loved him very much. We had a lot in common. I decided to organize an exhibition in his memory inviting all the persons who knew him and five years ago I did the same for my beloved mother. It has been an important event for our small family, especially for my children and my brother’s daughters who were very close to their grandparents. This current exhibition will take place at the Netanya Local Artists Association Galleries. I will show a landscape series and an abstract one. My father was proud of my art activity and I used to inform and to talk with him about all my projects I really miss my parents. Tradução: L&S
PATRICIA ABRAMOVICH: Artist Statement “Art for me is the freedom to create with no boundaries, to express the diversity of color from which the human soul is composed. Spreading color across a canvas is a mean of meditation; I connect with my inner self. My hands just move with rhythm using the painter knife to mix the colors directly on the blank canvas. I choose the colors and let my soul conduct me, handling the knife as a brush. The colors merge on the canvas on their own. Then I use a spatula to paint over them, with oil. When working in water color “aquarelle”, I allow the colors to merge with the water in whatever direction they choose. I feel the artwork is ready, when the colors reach a balance between them. I usually have no pre conceived idea and I am always curious to see the final result of my painting. My major influences are Monet and Cézanne, but I also appreciate the works of Van Gogh, Sissley, Renoir and Michelangelo. I am also fascinated with Japanese art and calligraphy, and one day I would love to exhibit in Tokyo” Patricia Abramovich.
PATRICIA AB “Orange
Oil on canva Courtesy: Patric
BRAMOVICH e Fieldâ€?
as, 70 x 80cm cia Abramovich
SOLO EXHIBITIONS 10/08 My Abstract Way, Haifa, Israel; curated by I.C.U. Kriger Center 03/09 Missing You ( DEDICATED TO MY BELOVED MOTHER ), Municipal Gallery Hamoatsa Netanya,Israel;curators: Arik Shneider & Michal Weizer 02/12 Abramovich Patricia - Colorida Art Gallery.,Lisboa ,Portugal 03/14 Einhod Small Gallery - Daniella Talmor ,curator Kibutz Ein Hod ,Tel-Aviv,Israel
GROUP EXHIBITIONS 03/11 Women in the Arts INCLUDING SLOW ART DAY EVENT Artrom Gallery, Rome, Italy 05/11 Together Like a String - Efrat Gallery, Tel-Aviv, Israel 10/12 Salvador Dali &Co - Gallery M Vienna; Euro Asian art 02/13 Imagination 2013 - Bank Hapoalim, Tel-Aviv, Israel 03/13 Art Lille Fair ,France - Gallery M , at Gallery Palma Arte booth 05/13 Art for peace for a better world , Turquia, Ismir Museum National Gallery, Gallery M Viena 02/14 Imagination, Bank Hapoalim, Tel-Aviv, Israel
FUTURE EXHIBITIONS 06/14 Father, Hamotsa Gallery, Netanya 09/14 Art About, Prater-insel , Munique. Lee Mor Kohen, curador
AWARDS 2009 Online exhibition, ABSTRACT EXPOSURE 2010 ARTSLANT SHOWCASES 4th, 5th, & 6th 2010 Artist ID, a book by Katiki Niki, Mediaplan Publications
PUBLICATIONS 04/09 Participation in an Israeli art book, editors BABYLONEART and LA GAZETTES DES ARTS magazine 10/10 ART TO YOUR HOME, Collection Art project, Tel Aviv, Israel 09/11 EVERYTHING IS ART MAGAZINE, USA 12/11 ART OF ENGLAND INTERVIEW
PROJECTS 2011-2014 ARTBARCS , CHICAGO, U.S.A JANO PROJECTS, BARCELONA, SPAIN
EDUCATION 1998 Aquarelle Painting and Drawing with Vladimir Shinkarevsky 1999 Acrylic Painting with Ben-hor Nira 2000 Business Management bachelor, Derby University 2006/07 Painting Techniques with Libay Hanna, Katedra School, Netanya 2010/12 Sculpture with Libay Hanna, Katedra School, Netanya Member of I.M.P.A.C.T. - A professional visual artistsâ€™ organization in Israel
Thin Skin: Six Artists from Beirut 3 June – 2 July 2014 Taymour Grahne Gallery
“It suffices that we dissipate ourselves a little, that we be able to be at the surface, that we stretch our skin like a drum.”Gilles Deleuze To document, tame and confront a ghostly space is to define a surface that carries within it abyss and utopia. Presented by Taymour Grahne Gallery, this exhibition examines the relationship of a generation of artists within the living, breathing city of Beirut. Following years of civil war and the evolving reality of contemporary Lebanon, the skin of the city is becoming increasingly porous, intricate and fragmented, as echoed by its physical landscape – pock-marked and at times interrupted by cavernous holes gouged into the urban fabric.
This is the central subject of Thin Skin. Curated by Saleh Barakat, the show samples paintings from the oeuvres of six artists who live and work in the city of Beirut: Ayman Baalbaki, Mohamad-Said Baalbaki, Oussama Baalbaki, Tagreed Darghouth, Omar Fakhoury, and Nadia Safieddine. In individual and at times very intimate ways, the artists consider their living environment as the subject of their paintings, representing the textured surface of daily life. Their works together reflect a state of stasis. Stasis, a term used in Ancient Greece to designate a political, moral or social crisis resulting from an internal conflict within a state or city, can also be translated into terms of discord, decadence, civil war and revolt. It does not recognize any law, nor any limit.
Renowned curator Saleh Barakat is an expert in contemporary and modern Arab art. Through Agial Art Gallery, which he opened in Beirut in 1991, he has been a pioneering force behind the growing global understanding of and appreciation for Arab artists. In 2007, Barakat co-curated the first Lebanese Pavilion at the Venice Biennale, which included Taymour Grahne Gallery artist Lamia Joreige, among others. Barakat has also curated several groundbreaking shows at the Beirut Exhibition Center, including retrospectives for Lebanese modern masters Shafic Abboud in 2012 and Saloua Raouda Choucair in 2011. 125
Ayman Baalbaki was born in 1975 at the start of the Lebanese Civil War, a brutal conflict that has both affected and inspired his work. He studied Fine Arts in Beirut at the Institut des Beaux Arts and at the Ecole Nationale Superieure des Art Decoratifs in Paris. Baalbaki is well-known for both his paintings and his installations.
Ayman Baalbaki Cedar 3, 2014
Acrylic on Painted Fabric Laid on Canvas, 80.7h x 93w in / 205h x 236w cm Courtesy of Taymour Grahne Gallery, New York, NY 127
Mohamad-Said Baalbaki was born in South Lebanon in 1974, however during the Lebanese Civil War, Baalbaki was forced to relocate with his family to Beirut. In 1994, the artist pursued his fine arts education at the Institut des Beaux-Arts in Beirut. In 2002, after moving to Berlin, Said graduated from the Berlin University of Fine Arts with a Master of Arts from the Institut f端r Kunst im Kontext.
Mohamad-Said Baalbaki Mon(t) Liban, 2013 â€“ 2014
Oil on Canvas, 55h x 78.7w / 140h x 200w cm Courtesy of Taymour Grahne Gallery, New York, NY 129
Oussama Baalbaki, born in 1978, graduated from the Lebanese Universityâ€™s School of Fine Arts in 2002. In 1997, Baalbaki began drawing illustrations for several Lebanese newspapers. From 2003 to 2009, the artist was featured in consecutive exhibitions at the Sursock Museum in Beirut, Lebanon.
Oussama Baalbaki Untitled, 2011
Acrylic on Canvas, 59h x 71w in / 150h x 180w cm Courtesy of Taymour Grahne Gallery, New York, NY 131
Taghreed Darghouth, born in 1979, earned her Diploma in Painting and Sculpture from the Lebanese Institute of Fine Arts in Beirut in 2000. In 2000 and 2001, Darghouth participated in the Ayloul Summer Academy at Jordanâ€™s Darat Al Funoun, under the supervision of the renowned Syrian-German artist Marwan Kassab Bashi.
Tagreed Darghouth From the Series “Nuclear Craters”, 2013
Acrylic on Canvas, 86.6h x 128w in / 220h x 325w cm Courtesy of Taymour Grahne Gallery, New York, NY 133
Omar Fakhoury , was born in Beit Chabab, Lebanon in 1979 and received his Master of Fine Arts from Paris in 2004.
Omar Fakhoury Self-Defense, 2014
Acrylic on Canvas, 35.4h x 43.3w in / 90h x 110w cm Courtesy of Taymour Grahne Gallery, New York, NY 135
Lebanese artist Nadia Safieddine was born in Dakar, Senegal in 1973, and currently lives between Beirut and Berlin. Safieddine received her diploma in painting from the University of Fine Arts, Beirut, Lebanon in 1997.
Nadia Safieddine Bourbier, 2013
Oil on Canvas, 98.4h x 78.7w in / 250h x 200w cm Courtesy of Taymour Grahne Gallery, New York, NY 137
JUNE HIG Vienna, Austria
Vienna Berlin :The Art of Two Cities 14 February - 15 June 2014 Lower Belvedere Rennweg 6, 1030 Vienna
JR March 1–June 29, 2014 Museum Frieder Burder Lichtentaler Allee 8S, Baden-Baden
Danse Macabre – Egger-Lienz and The War 7 March - 9 June 2014 Lower Belvedere/Orangery Rennweg 6 1030 Vienna
Feurbach’s Muses – Lagerfeld’s Models February 21 – June 15, 2014 Hamburger Kunsthalle Glockengießerwall 20095 Hamburg
Francis Bacon and Henry Moore; Terror April 5 – July 20, 2014 Gallery of Ontario 317 Dundas Street West Toronto, Ontario
C’est La Vie - The Paris of Daumier and Toulouse-Lautrec 16 May - 3 August 2014 Hamburger Kunsthalle Glockengießerwall 20095 Hamburg
Anthony Caro. Masterpieces from the Würth Collection February 7, 2014 – January 4, 2015 Musée Würth France Rue Georges Besse F-67150 Erstein
Transformation of The World -The Romantic Arabesque March 21 – June 15, 2014 Hamburger Kunsthalle Glockengießerwall D-20095 Hamburg 138
GHLIGHTS Venice, Italy
Irving Penn: Resonance April 13 – December 31, 2014 Palazzo Grassi Campo San Samuele 3231, 30124 Venice
Henri Matisse: The Cut-Outs
Josef Albers: Minimal Means, Maximum Effect March 8, July 6, 2014 Fundación Juan March Castelló, 77 28006 Madrid
Veronese: Magnificence in Renaissance Venice 19 March – 15 June 2014 The National Gallery Trafalgar Square London, WC2N 5DN
Rubens. The Triumph of The Eucharist 25 March – 29 June, 2014 Museo Nacional Del Prado Calle Ruiz de Alarcón 23 Madrid 28014
Ed Moses Larry Poons: The Language of Paint: Selected Works May 31 – July 24, 2014 William Turner Gallery Bergamot Station Arts Center 2525 Michigan Avenue, E-1 Santa Monica, CA 90404
Los Angeles, Ca, USA
The Torches of Prometheus. Henry Fuseli e Javier Téllez June 20 – October 12, 2014 Kunsthaus Zürich Heimplatz 1, 8001 Zürich
Calder and Abstraction: From Avant-Garde to Iconic. November 24, 2013 – July 27, 2014 Los Angeles County Museum of Art 5905 Wilshire Blvd, Los Angeles, CA 90036
April 18 – August 10, 2014 Tate Modern Bankside, London SE1 9TG
JUNE HIG New York, USA
New York, USA
The Flowering of Edo Period Painting: Japanese Masterworks from the Feinberg Collection February 1 -September 7, 2014 The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY 10028-0198
Ai Weiwei: According to What? April 18 – August 10, 2014 Brooklyn Museum of Art 200 Eastern Parkway Brooklyn, New York
New York, USA
New York, USA
The Pairing Oxidation Paintings by Andy Warhol and Fire Paintings by Yves Klein7 May 9 - June 21, 2014 Skarstedt Chelsea 550 West 21st Street New York, NY 10011
Masterpieces & Curiosities: Diane Arbus’s Jewish Giant April 11 – August 3, 2014 The Jewish Museum 1109 5th Ave at 92nd St New York, NY 10128
New York, USA
New York, USA
Italian Futurism, 1909–1944: Reconstructing the Universe February 21 - 2014 Solomon R. Guggenheim Museum 1071 Fifth Avenue, New York New York, NY 10128
Charles James: Beyond Fashion May 8–August 10, 2014 The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY 10028-0198
New York, USA
San Francisco, CA, USA
Thin Skin: Six Artists from Beirut 3 June – 2 July 2014 Taymour Grahne Gallery 157 Hudson Street New York, NY 10013
Romare Bearden, Storyteller April 3 - June 21, 2014 JenkinsJohnson Gallery 464 Sutter Street San Francisco, CA