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modernpainters MARCH/APRIL 2017

DAVID SALLE

SUZANNE MCCLELLAND

MARSHA COTTRELL

talks to Dana Schutz

analytical abstraction

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inkjet ingenuity Estrellita B. Brodsky, Andy Holden, and Walter Murch


MAR CH 1– 5 PI E R 90

T EN Y E A R S O F S O L O F O C U S

T H E I N V I TAT IO N A L S O L O P R O J E C T FA IR F O R C O N T E M P O R A RY A RT

L I T VA K T E L AV I V I TA M A R F R E E D

W W W. V O LTA S H O W. C O M

LODGE NEW YORK L E VA N M I N D I A S H V I L I

P U B L IC V E R N IS S A G E : WED, MARCH 1, 7–10 PM P U B L IC H O U R S : MARCH 2–4, 12–8 PM MARCH 5, 12–5 PM PIER 9 0, W E S T 50 T H S T R E E T AT 12 T H AV E N U E

LUMP RALEIGH GEORGE JENNE

RUTGER BRANDT AMSTERDAM JAN DE VLIEGHER CARLOS SAGRERA

MAGIC BEANS BERLIN ABETZ & DRESCHER

C24 NEW YORK İ R FA N Ö N Ü R M E N

ANA MAS BARCELONA / SAN JUAN Q U I S Q U E YA H E N R Í Q U E Z

CES LOS ANGELES SCOTT ANDERSON

YO U R B O D Y IS A B AT T L E GR O U N D C U R AT E D B Y W E N D Y V O GE L Z A C H A R Y FA B R I ALJIRA + ROCKELMANN & N O N A FA U S T I N E BAXTER ST

M E N O PA R K A S KAUNAS JONAS GASIŪNAS

CHARLIE SMITH LONDON EMMA BENNETT DOMINIC SHEPHERD C H E M I S T RY PRAGUE TOMÁŠ NĚMEC CHIMENTO LOS ANGELES SANDEEP MUKHERJEE

PAT R I C K M I K H A I L O T TA W A / M O N T R E A L N ATA S H A M A Z U R K A SAMUEL FREEMAN LOS ANGELES DANNY JAUREGUI

CIVILIAN WASHINGTON DC JASON GUBBIOTTI

FREIGHT+VOLUME NEW YORK EZRA JOHNSON MICHAEL SCOGGINS

C O AT E S & S C A R R Y LONDON H E N RY H U S S E Y

FROSCH&PORTMANN NEW YORK MAGNOLIA LAURIE

ETHAN COHEN NEW YORK ALEXANDER KOSOLAPOV

THOMAS FUCHS STUTTGART RUDY CREMONINI

COHJU KYOTO M I O YA M AT O

GE SAN PEDRO GARZA GARCÍA GENEROSO VILLARREAL

CONNERSMITH. WASHINGTON DC ERIK THOR SANDBERG

LOUIS GENDRE + MORI YU PA R I S / K Y O T O SAKAE OZAWA

532 THOMAS JAECKEL NEW YORK JOSÉ ANGEL VINCENCH

D AV I D & S C H W E I T Z E R B R O O K LY N RUTH HARDINGER

GREEN ON RED DUBLIN JOHN CRONIN

A.I.R. B R O O K LY N SHANNON FORRESTER

DC3 EDMONTON TA M M Y S A L Z L

MURIEL GUÉPIN NEW YORK YONGJAE KIM JOSHUA SMITH

ANGELL TORONTO ADAM LEE BRADLEY WOOD

DE CHIARA KINGSTON / BERLIN ERNEST JOLICOEUR

J O I R I M I N AYA CASA QUIÉN KENT MONKMAN PETERS PROJECTS DEBORAH ROBERTS A R T PA L A C E S A B L E E LY S E S M I T H MOCADA M E L I S S A VA N D E N B E R G B E TA P I C T O R I S CARMEN WINANT FORTNIGHT INSTITUTE

E X H IB IT O R S

I S A B E L A N I N AT + Y G A L L E RY SANTIAGO / NEW YORK MANUELA VIERA GALLO DANIELLE ARNAUD LONDON P O L LY G O U L D P R O J E C T A R T B E AT TBILISI LADO POCHKHUA ART FRONT TOKYO ALFREDO & ISABEL AQUILIZAN ARTCOURT OSAKA YA S U Y O S H I B O TA N ARTLABAFRICA NAIROBI B E AT R I C E W A N J I K U MARTIN ASBÆK COPENHAGEN SOFIE BIRD MØLLER BARNARD CAPE TOWN R YA N H E W E T T BEERS LONDON ANDY DIXON SIMON BLAIS MONTREAL ÉLIANE EXCOFFIER

LUIS DE JESUS LOS ANGELES FEDERICO SOLMI JAN DHAESE GHENT MAX RAZDOW DIX9 PA R I S NEMANJA NIKOLIĆ TA M A R D R E S D N E R T E L AV I V B AT I A S H A N I DUKAN PA R I S / L E I P Z I G ROSA MARIA UNDA SOUKI FA G E R S T E D T STOCKHOLM ANNEÈ OLOFSSON J O N AT H A N F E R R A R A NEW ORLEANS E2 – KLEINVELD & JULIEN FOLEY NEW YORK MARTIN KLIMAS

H.A.N. SEOUL MIJA CHOI RY U N G K A L HILGERBROTKUNSTHALLE VIENNA IAN BURNS KRISTIN HJELLEGJERDE LONDON SEBASTIAN HELLING ELIZABETH HOUSTON NEW YORK A N D Y M AT T E R N MICHAEL JANSSEN BERLIN FREDERIC BOUABRÉ O U AT TA R A W AT T S

MOMO TOKYO NAOMI OKUBO NEW ART PROJECTS LONDON ROBIN FOOTITT NEW IMAGE ART LOS ANGELES ALEX GARDNER NUNU TA I P E I RODNEY DICKSON OCP B R O O K LY N SANDRA MUSS CLAIRE OLIVER NEW YORK LAUREN FENSTERSTOCK ORA-ORA HONG KONG YA N Z I Z H A N G PA B L O ' S B I R T H D AY NEW YORK THORSTEN BRINKMANN PA N A M E R I C A N MIAMI RUBEN MILLARES CAROLINA SARDI PLANTHOUSE NEW YORK ROBERT OLSEN

R O FA POTOMAC LESTER RODRIGUEZ R U B B E R FA C T O R Y NEW YORK PA C I F I C O S I L A N O SAMSØÑ BOSTON CARLOS JIMÉNEZ CAHUA S A PA R NEW YORK FA I G A H M E D SEASON S E AT T L E A N T H O N Y PA L O C C I J R SEMJON BERLIN MARC VON DER HOCHT SENDA BARCELONA ANTHONY GOICOLEA YA G O H O R TA L SLAG B R O O K LY N TIRTZAH BASSEL DAN VOINEA SODA B R AT I S L A V A L U C I A TA L L O V Á MARC STRAUS NEW YORK TODD MURPHY LILIANE TOMASKO TA U B E R T BERLIN A D R I A N E S PA R Z A T E Z U K AYA M A OSAKA Y U U K I T S U K I YA M A TIMEBAG MEDELLÍN JUAN OBANDO VICTORI + MO B R O O K LY N L A N G D O N G R AV E S

P R I V AT E V I E W TURIN JESSE HICKMAN B R E T S L AT E R

W H AT I F T H E W O R L D CAPE TOWN MOHAU MODISAKENG

R O B E RT H E N RY B R O O K LY N LIZ JAFF

MARK WOLFE SAN FRANCISCO ANTONIO ADRIANO PULEO

ROCKELMANN & BERLIN K AT H L E E N V A N C E

X C O N T E M P O R A RY NEW YORK RACHEL RAMPLEMAN YELLOW PERIL PROVIDENCE TOBY BARNES

K2O BRASÍLIA GALENO

YOD OSAKA TA K E H I T O F U J I I

KNIGHT WEBB LONDON JOSEBA ESKUBI

YOUN MONTREAL O S H E E N H A R R U T H O O N YA N SCARLETT ROUGE

KOGURE TOKYO / NEW YORK H I D E N O R I YA M A G U C H I RICHARD KOH KUALA LUMPUR HAFFENDI ANUAR KORNFELD BERLIN TA M A R A K V E S I TA D Z E TINA SCHWARZ GEORGE LAWSON SAN FRANCISCO SUSAN MIKULA JOSHUA LINER NEW YORK A N D R E W S C H O U LT Z

ZORZINI BUCHAREST S Z I L A R D G A S PA R


CONTENTS

F R O M TO P : K R I S T I N E L A R S E N ; S K A R S T E DT, N E W YO R K A N D GA L E R I E T H A D DA E U S R O PAC , PA R I S

MARC H/AP R I L 2 017

76 Dana Schutz, photographed with a work in progress at her Brooklyn studio, 2015. In this issue she engages David Salle in a conversation about painting and crisis.

Features

Showcase 31

Caesura

46

A poem by Michael Robbins

32

Books Jen George

by Juliet Helmke

54

by Scott Indrisek

105

Dealing Dynasties Inheriting the family business

Magical Realist A son reflects on his father’s legacy

Q&A Fathomers in L.A.

76

by Walter Scott Murch

64

Marsha Cottrell Humanizing technology

Problem Painters David Salle sits down with Dana Schutz

Painting with data

by Scott Indrisek

36

Suzanne McClelland

Comment

91

Reviews Gonzalo Fuenmayor’s charcoal magic, selfreferentiality repeated in Mark Leckey’s PS1 survey, landscape painting in Baltimore, and more

by Margaret Carrigan

68

Andy Holden Learning from cartoons by Margaret Carrigan

ON THE COVER: Detail of David Salle’s Double Eye, 2016. Oil Stick and flasche on archival digital print mounted on linen, 26¾ x 20 in.

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PAUL TAYLOR AMERICAN MODERN DANCE FEATURING

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MARCH 7-26, 2017 $10–$175 WWW.BOXOFFICE.DANCE DAVID H. KOCH THEATER AT LINCOLN CENTER Major funding provided by The SHS Foundation. Lincoln Center season made possible by Marjorie S. Isaac. Michael Trusnovec photographed by Jordan Matter


CONTEMPORARY: 1x1 Gallery, Dubai · Ab/Anbar, Tehran · Ag Galerie, Tehran · Agial Art Gallery, Beirut · Aicon Gallery, New York · Albareh Art Gallery, Manama · Sabrina Amrani, Madrid · Artside Gallery, Seoul · Artwin Gallery, Moscow / Baku · Piero Atchugarry Gallery, Pueblo Garzón · Athr, Jeddah · Ayyam Gallery, Dubai / Beirut · Bäckerstrasse 4, Vienna · Marianne Boesky Gallery, New York · Galleri Brandstrup, Oslo · Martin Browne Contemporary, Sydney · Carbon 12, Dubai · Carlier | Gebauer, Berlin · Chatterjee & Lal, Mumbai · Galleria Continua, San Gimignano / Beijing / Les Moulins / Habana · D21 Proyectos de Arte, Santiago · Dastan's Basement, Tehran · East Wing, Dubai · Experimenter, Kolkata · Gallery Isabelle van den Eynde, Dubai · Galerie Imane Farès, Paris · Selma Feriani Gallery, Tunis / London · MLF | MarieLaure Fleisch, Rome / Brussels · GAGProjects, Adelaide · Galerist, Istanbul · Green Art Gallery, Dubai · Grosvenor Gallery, London · GVCC, Casablanca · Gypsum Gallery, Cairo · Leila Heller Gallery, New York / Dubai · Ikkan Art Gallery, Singapore · Inda Gallery, Budapest · Galerie Iragui, Moscow · Kalfayan Galleries, Athens / Thessaloniki · Khak Gallery, Tehran / Dubai · Galerie Dorothea van der Koelen, Mainz · Galerie Krinzinger, Vienna · Lawrie Shabibi, Dubai · In Situ - Fabienne Leclerc, Paris · Galerie Lelong, Paris / New York · Marlborough Gallery, New York / London / Barcelona / Madrid · Meem Gallery, Dubai · Kasia Michalski Gallery, Warsaw · Mind Set Art Center, Taipei · Victoria Miro, London · Mohsen Gallery, Tehran · NK Gallery, Antwerp · Galleria Franco Noero, Turin · O Gallery, Tehran · Ota Fine Arts, Tokyo / Singapore · Pace Art + Technology, Menlo Park · Pechersky Gallery, Moscow · Giorgo Persano, Turin · Plutschow Gallery, Zurich · Project ArtBeat, Tbilisi · Revolver Galeria, Lima · The Rooster Gallery, Vilnius · Galerie Janine Rubeiz, Beirut · Sanatorium, Istanbul · Sfeir-Semler Gallery, Hamburg / Beirut · Galerie Michael Sturm, Stuttgart · Sundaram Tagore, New York / Singapore / Hong Kong · Galerie Daniel Templon, Paris / Brussels · The Third Line, Dubai · Upstream Gallery, Amsterdam · Vermelho, Sao Paulo · Vigo Gallery, London · Waddington Custot, London · Zawyeh Gallery, Ramallah · Zidoun-Bossuyt, Luxembourg · Galeri Zilberman, Istanbul / Berlin MODERN: Agial Art Gallery (Beirut, Mustafa Al Hallaj) · ArtTalks | Egypt (Cairo, Mamdouh Ammar) · DAG Modern (New Delhi / Mumbai / New York, Biren De / GR Santosh) · Elmarsa (Tunis / Dubai, Abdelkader Guermaz / Aly Ben Salem) · Grosvenor Gallery (London, Sayed Haider Raza) · Hafez Gallery (Jeddah, Abdulhadi ElWeshahi / Mohammed Ghaleb Khater) · Jhaveri Contemporary (Mumbai, Zahoor ul Akhlaq / Anwar Jalal Shemza) · Françoise Livinec (Paris, Georges Hanna Sabbagh) · Gallery One (Ramallah, Sliman Mansour) · Perve Galeria (Lisbon, Manuel Figueira / Ernesto Shikhani) · Shahrivar Gallery (Tehran, Masoud Arabshahi / Abolghasem Saidi) · Shirin Gallery (Tehran / New York, Hadi Hazavei / Hooshang Pezeshknia) · Tafeta (London, Ben Osawe / Muraina Oyelami) · Le Violon Bleu (Tunis, Ammar Farhat / Zoubeir Turki) · Wadi Finan Art Gallery (Amman, Ahmad Nawash / Wijdan)

Madinat Jumeirah is home to Art Dubai.


CONTENTS

MARC H/AP R I L 2 017

68 BELOW:

F R O M L E F T: C O R B E T T V S . D E M P S E Y, C H I C AG O; A N DY H O L D E N ; C AT H Y C A R V E R , R AG N A R K JA R TA N S S O N , L U H R I N G AU G U S T I N E , N E W YO R K , A N D I 8 GA L L E R Y, R E Y K JAV I K

Andy Holden Eyes in Space (Wobbly Eyes on Astronomy Book Plate), 2011. C-print, 11 x 8 in.

40

98

ABOVE:

Robert Rauschenberg Peplum III, 2014. MDF, oil stain, spunbond polyester, gessoed linen canvas, colored pencil, and crayon, 42 x 19 x 11 in.

ABOVE:

Ragnar Kjartansson Installation view of Woman in E, 2016, at the Hirshhorn Museum and Sculpture Garden.

Portfolio 19

Centennial

Reports 29

Rodin around the world

21

Early Years Teenage Basquiat

23

40

Out There In Focus Knausgaard on Munch

Ins & Outs

114

Your cheat sheet for art world news

152

On Curating

Top Galleries Last Laugh William Powhida

Bringing Robert Rauschenberg to New York

Liz Glynn’s Gilded Age

24

Departments

by Janelle Zara

42

Collecting Estrellita B. Brodsky by Margaret Carrigan

Modern Painters, ISSN 0953-6698, is published monthly with combined Winter (December/ January/February), March/April, and June/July issues by LTB Media (U.K.) Ltd., an affiliate of BlouinArtinfo Corp, 80 Broad Street, Suite 606/607, New York, NY 10004. Vol. XXIX, No. 1. Periodicals postage paid at New York, NY and additional mailing offices. POSTMASTER, Send address changes to: Fulco, Inc., Modern Painters, PO Box 3000, Denville, NJ 07834-3000.

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WHITNEY BIENNIAL

OPENS MARCH 17 MEMBER PREVIEW DAYS MARCH 14–16

Whitney Biennial 2017 is presented by

Major support is provided by

From top to bottom: Carrie Moyer, Glimmer Glass, 2016. Acrylic and glitter on canvas. Image courtesy the artist and DC Moore Gallery, New York; Rafa Esparza, building: a simulacrum of power, 2014. Performance on the site of Michael Parker’s The Unfinished (2014), The Bowtie Project, Los Angeles, August 24, 2014. Image courtesy Clockshop, Los Angeles. Photograph by Dylan Schwartz; Jo Baer, Dusk (Bands and End-Points), 2012. Oil on canvas. Image courtesy Galerie Barbara Thumm, Berlin. Photograph by Gert Jan van Rooij

Whitney Museum of American Art 99 Gansevoort Street whitney.org @whitneymuseum #WhitneyBiennial


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14

David Salle

Janelle Zara

Walter Scott Murch

Margaret Carrigan

Salle’s practice involves a longstanding involvement with performance, ilm, and criticism. Although best known for his paintings—which have been showcased at international venues such as the Whitney, MOCA L.A., Stedelijk Museum, and Haus der Kunst—he is also a proliic writer whose work has appeared in publications like Artforum and The Paris Review. His collection of essays, How to See: Looking, Talking, and Thinking about Art, was recently published by W.W. Norton. The conversation with Brooklyn-based painter Dana Schutz on page 76 offers candid insights between two artists who hail from different generations and separate schools of thought, but who nonetheless harbor mutual respect.

Based in Los Angeles, Zara is a freelance writer interested in the intersection of art, design, and architecture. She previously worked for Blouinartinfo.com, where she launched the architecture and design vertical. Her work has also been featured in publications such as Artforum, W, and CNN Style. For her article on page 40, Zara traveled to Captiva, Florida—the lesserknown home of Robert Rauschenberg—to speak with curator Leah Dickerman about the survey of the artist’s work, opening at MOMA in May. “Being on an island with people who knew Rauschenberg well and where much of his ephemera is still intact made for a very illuminating, heartfelt conversation about both the exhibition and the artist himself,” notes Zara.

An award-winning ilm editor and sound designer, Murch is the son of painter Walter Tandy Murch (1907–1967). On page 54, he reminiscences about growing up with his father in New York’s Morningside Heights neighborhood in the 1940s. The essay is adapted from his forthcoming monograph on his father’s art, Painting the Air: Reminiscences of Life with Walter Tandy Murch, which the Artist Book Foundation will publish this fall. Recognized by both the British and American Film Academies, Murch has received three Oscars for his work on the ilms The English Patient and Apocalypse Now. He has also authored a book on ilm editing, In the Blink of an Eye. He lives in San Francisco and London.

Before joining Modern Painters as associate editor last fall, Carrigan worked in publishing at the Smithsonian Institution and freelanced as an art critic for publications like Hyperallergic and Washington City Paper. In this issue, she traces the metamodernist impulses of three multimedia artists: her interview with video and performance artist Andy Holden appears on page 68, and she reviews Mark Leckey’s MOMA PS1 exhibition and Ragnar Kjartansson’s survey at the Hirshhorn Museum on page 92. “I’m interested in how these artists move seamlessly between affect and detachment, sincerity and cynicism,” she explains. Carrigan also explores the tech-driven practice of New York–based artist Marsha Cottrell on page 64.

“Dana Schutz’s pictorial intelligence is as natural for her as breathing.”

“I got to meet the men who sold him fish and tended to the wildlife on his estate—Bob was definitely well loved all over the island.”

“My father’s temperament was that of a soft-spoken, courteously humorous Canadian, not your stereotypical harddrinking, partying, midcentury New York artist.”

“In the work of all of these artists, there’s an unattainable desire for something tangible— something real.”

MODERN PAINTERS MARCH/APRIL 2017 BLOUINARTINFO.COM

F R O M L E F T: R O B E R T W R I G H T; O L I V I E R E S C A R M E L L E ; WA LT E R M U R C H ; K E N N Y WA S S U S

CONTRIBUTORS // MARCH/APRIL


JEREMY MANN

The Lilin Paramour, oil on panel, 36 x 36

Æ 505.995.9902 EVOKEcontemporary.com 877.995.9902 550 south guadalupe street santa fe new mexico 87501


LETTER // MARCH/APRIL

I write this letter in the dregs of 2016, just after the Electoral College has formally cast its votes for Donald Trump. Over the past few days alone, the President-elect continues to gloat and froth on Twitter, making the unpresidented decisions that might

16

MODERN PAINTERS MARCH/APRIL 2017 BLOUINARTINFO.COM

teach us how social media can launch a nuclear war; a Russian ambassador was shot dead in a Turkish art gallery; and someone drove a truck into a Berlin market. The well-meaning arts community has struggled to ind a response to the incoming administration that is anything other than impotent (an Inauguration Day general strike, an Instagram campaign to shame Ivanka Trump). In this issue you won’t ind a roadmap to survive under fascism or a

key to understand what the global political future will hold. But here’s hoping you might uncover something intriguing, complex, and even inspiring in these increasingly desperate times.

SCOTT INDRISEK, EDITOR IN CHIEF

Ai Weiwei Study of Perspective, 1995–2011. Black-andwhite print, the White House, Washington, D.C., in 1995.

AI WEIWEI STUDIO

If you’re reading this, it means the world hasn’t ended yet.


Donald Martiny Pittura A Macchia February 18th–April 2nd

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TRENDS // SNEAK PEEKS // NEWSMAKERS //

PORTFOLIO

CENTENNIAL

M U S E E R O D I N , PA R I S

RODIN CENTURY THIS YEAR , art museums around the world are commemorating the centenary of sculptor Auguste Rodin, who died on November 12, 1917, at age 77. In Paris, the Grand Palais will present “Rodin: The Centennial Exhibition,” from March 22 through July 31, featuring 200 of the sculptor’s works, as well those by younger artists he inluenced, including Matisse, Brancusi, Picasso, Georg Baselitz, and Joseph Beuys. But “what igure from contemporary art could best be put in dialogue with this giant of the past?” asks Véronique Mattiussi, a curator at the newly renovated Musée Rodin. She answers the question with her own centennial exhibition, “Kiefer Rodin,” March 14 through October 22, which will feature Rodin-inspired works by the contemporary German artist Anselm Kiefer. It was a visit from Kiefer in 2013 that prompted the museum to reissue Rodin’s 1914 book Cathedrals of France. Like Rodin, Kiefer had made a tour to visit the cathedrals in Chartres, Melon, Etampes, and beyond, and afterward created a series of books and sculptural works. “He appropriated this Rodinian vocabulary, mixing its elements with the detritus of his own life. And this is where the magic happens,” says Mattiussi. “An exhibition was needed. Kiefer, like Rodin, participates in a creative process where work is always becoming, continuing.” There are also several Rodin exhibitions currently on view outside of Paris: “Auguste Rodin: The Centenary Installation” at San Francisco’s Legion of Honor, through December 31; “Rodin: The Human Experience,” at the Portland Art Museum through April 16; and a new installation at the Rodin Museum in Philadelphia, through January 2019. —RACHEL CORBETT

Eugène Druet Rodin in his studio, 1902.

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PORTFOLIO // TRENDS // SNEAK PEEKS // NEWSMAKERS IN FOCUS

FEW FACEBOOK USERS are actual friends with all of their “friends”—and in some cases they don’t know the people at all. That’s not so, however, for the Maine-based artist Tanja Hollander, who made it her mission in 2011 to personally meet—and photograph—her entire Facebook network. Hollander traveled to 180 cities and 424 homes to shoot the 451 individuals who agreed to sit for a portrait. The resulting photographs, along with videos, travelogues, and other documentation from the project, are on display at Mass MOCA in a show titled “Are You Really My Friend?,”

open through early 2018. Hollander says she was interested in looking “between the analogue and digital spaces. I did not set out to photograph the ‘real’ friend or present the ‘real’ them. I think there are a lot of misleading headlines that people are not authentic on social media,” she says. “I haven’t found that much difference from real life and online life.” Nor does she think that human relationships have been vastly altered by the social media site. “I don’t think there is much of a difference in friendship quality, it’s just a different way of communicating.” —RC

Tanja Hollander Rhonda Wanser, Thopsham, Maine, 2015. Archival pigment print, 42 x 42 in.

QUOTED

TRIENNIAL

“I’m completely emotionally dumbfounded by the colors of fruits, namely papaya, peaches, and tomatoes. They are very attractive but it’s not because of their genitaliaesque-ness at all, mostly because I think they’re just flippin’ beautiful, like flowers. The eggplant is definitely an attractive guy, especially those multicolor ‘graffiti’ ones (whoever named them that instead of something cute like ‘Gerhard Richter eggplant’ missed an opportunity).” Chloe Wise Block him, 2016. Urethane and oil paint.

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— Chloe Wise, whose monograph is out now from Exhibition A. Her solo show at Almine Rech Gallery in Paris opens in September

MODERN PAINTERS MARCH/APRIL 2017 BLOUINARTINFO.COM

MOSCOW IN 2015, a curatorial team from

Moscow’s Garage Museum of Contemporary Art embarked on an expedition across Russia in preparation for the inaugural Garage Triennial, a sprawling exhibition, opening March 10— and coinciding with the 100th anniversary of the Russian Revolution—that is devoted to art from the region. The team visited “42 cities across 11 time zones in geographies that range from subtropical to subarctic climates,” explains Kate Fowle, the institution’s chief curator. In all, organizers met with some 200 artists as part of its mission to capture a glimpse of the contemporary art practices that have developed in this expansive nation’s remote areas. “There is little or no international exposure for many Russian artists,” says Fowle, “and there has never been concentrated research into what artists are currently making

Gorod Ustinov Urn, 2016. Fabric, hand sewing, 8 x 5¾ in.

across the entire country.” The triennial will feature recent work (produced from 2012 onwards) from more than 60 artists, including Alisa Yoffe, Gorod Ustinov, Monstration, and the sewing cooperative Shvemy. They are bound by more than nationality, according to Fowle: “Often isolated and rarely working with any established cultural infrastructure, what unites the artists is resourcefulness and a powerful belief in art as a way of life.” —JAMES H. MILLER

C LO C K W I S E F R O M TO P : TA N JA H O L L A N D E R A N D M A S S M O C A ; G O R O D U S T I N OV; PAU L L I T H E R L A N D, C H LO E W I S E , A N D GA L E R I E D I V I S I O N , M O N T R E A L

FRIEND OR UNFRIEND?


ALL’S FAIR

HORSING AROUND CHAPS, SADDLES, WHIPS, BACK ISSUES

of Polo Magazine, oil paintings of horses, erotic pin-ups—this is the stuff inside artist Patricia Cronin’s Tack Room, 1997-98, a wooden barn-like installation and arch comment on horse culture, sex, and class. “With the Tack Room I simultaneously reimagine an adolescence I never had and fantasize about my future. Someday I’ll inally get to have a horse,” explains Cronin, wryly. Cronin will reprise this work at New York’s Armory Show, open March 2 through 5, where it will figure prominently in the fair’s new curated feature, Platform, which focuses on large-scale installations and site-specific works. The section is one of several fresh additions to the fair under new director Benjamin Genocchio.

“For me, the piece confronts the socalled ‘acceptable’ class- and gender-based pursuit of equestrian sporting for a ‘proper’ lady through the insertion of pin-ups and the implicit lesbian desire held therein,” says Eric Shiner, the curator of Platform and a vice president at Sotheby’s. Tack Room also includes bronze horse sculptures that Cronin cast from cheap plastic Breyer toys. “I wanted to elevate young girls’ objects of desire to the level of art history, by making small editions of solid bronze horses,” she says. “Bronze— what Degas famously called ‘the medium for eternity.’ I consider mine a cross between a Degas horse and a Remington horse—but the girl version.” —JHM Patricia Cronin Tack Room, 1997-98, interior view, mixed media.

EARLY YEARS

WRITING ON THE WALLS

F R O M TO P : PAT R I C I A C R O N I N ; A L E X I S A D L E R

Teenage Basquiat

Jean-Michel Basquiat in his New York City apartment, 1980.

“BASQUIAT BEFORE BASQUIAT,” at the Museum of

Contemporary Art Denver through May 7, focuses on the artistic life of Jean-Michel Basquiat between 1979 and 1980—just before he hit the big time with the group exhibition “The Times Square Show.” During this year, he shared an apartment with his girlfriend, scientist Alexis Adler, on New York City’s Lower East Side. Although largely unstudied until now, this brief period in Basquiat’s life represents a pivotal moment in the artist’s development as he transitioned from his SAMO street grafiti work into a studio-based painting practice. “This was a moment of him in formation, a moment of becoming,” says MCA Denver curator Nora Burnett. “He was doing so many things at this time: he

was in a band, he was painting on found objects, he was writing. He wasn’t yet Basquiat the painter as we know him today.” The Lower East Side at the end of the 1970s was considered derelict and dangerous, but the creative community Basquiat found there allowed him unmitigated freedom to experiment, according to Burnett. “It was all contingent on the neighborhood and its culture of permissiveness. The particulars of this place and this time are important.” The exhibition includes Basquiat’s sketches and writing, photographs of the work he produced on the walls and surfaces of his and Adler’s apartment, a handful of painted objects, and candid, poignant snapshots of the artist taken by

Adler. “In these works you see a playful, introspective aspect of Basquiat; it speaks against the tumultuous myth and rambunctious romance that’s associated with his career,” says Burnett. Adler, whom the artist met in a nightclub, would wake up some mornings and step her foot into wet paint because it had been his canvas of choice the night before, says Burnett. Once, Adler remarked on how much she liked the work Basquiat had painted on the refrigerator; when she returned home later, he’d painted over it. “It just shows how rapacious his mind was, how much he was processing, absorbing, and was eager to produce. Seeing this side of his work—and of him—enriches our understanding of this hugely inluential artist.” —MARGARET CARRIGAN

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PORTFOLIO // TRENDS // SNEAK PEEKS // NEWSMAKERS MEET-UP

LAW & ORDER Artists confront crime JUSTICE IS THE TOPIC of Open Engagement 2017, the three-day artist-run conference, now in its ninth iteration. Known for its decidedly real-talk discussions and refusal to shy away from loaded themes, it has amassed something of a cult following since launching a decade ago as an offshoot of founder Jen Delos Reyes’s MFA thesis project. This year the city of Chicago and the University of Illinois are playing host to the event (April 21–23), before it returns to the Queens Museum in 2018. Its new rotational model cycles through three landing points, with Oakland as the third city in this triumvirate of creative hotspots. Chicago is a place, as Delos Reyes points out, that manifests our nation’s struggles with “horriic gun violence, devastating public school closures, and police brutality that is carried out with impunity.” There’s no better city, she notes, to serve as a jumping off point to ask some of the stickiest questions, like, What can we do now? And how are we each involved? “The weight of historical injustice interrupts daily life nationally and Futurefarmers internationally,” Delos Reyes says. “How are we Field of implicated in the particular conditions we are Thoughts Bingo working in, all the while engaged in challenging at Open Engagement and changing these conditions?” 2007.

—JULIET HELMKE

IN THE FAMILY

“SO MUCH OF MY WORK is about personal identity and the factors that construct it, like family, history, unique experiences,” says painter Nathaniel Mary Quinn. “The bedrock of that for me was where I grew up in Chicago, in the Robert Taylor homes.” Home has long been a place of tension for the artist. The infamous housing project in which he was raised on the Windy City’s south side was devastated by gang violence and drug addiction. His parents were illiterate and his four older brothers were street hustlers and addicts. His mother passed away when he was 15, after which point his family dispersed: He returned from school one day to find his childhood home deserted. Despite the upset in his life, Quinn went on to inish school, eventually pursuing an MFA at New York University; he hasn’t seen his brothers since 1992. The artist became well known for his assemblage portraiture in 2014 after New York’s Pace Gallery hosted the irst solo show of his work. Using a wide array of materials—charcoal, oil paint, paint stick, gouache, cardboard—he

22

MODERN PAINTERS MARCH/APRIL 2017 BLOUINARTINFO.COM

creates semi-abstract igures that are a mixture of family portraits, people he sees in his everyday life, and magazine advertisements. His latest body of work, “St. Marks,” explores the characters of his new neighborhood, Brooklyn’s Crown Heights, where the artist and his wife bought a home last year. “I’m living in this community that’s on the cusp of being subdued by gentriication: New businesses are moving in, property values are going up, it’s getting safer. That’s all good,” Quinn explains. “But there’s an ongoing elimination of what used to be here. There’s a loss.” The “St. Marks” series captures the faces that populate the place the artist now calls home. “I talk to the guys on my street, they show up in my work. They’re street hustlers, they sell drugs, they’ve done jail time. I’m from a place where people like them surrounded me. It feels like home to me!” But these works also represent the anxiety Quinn feels as a new homeowner in a rapidly changing neighborhood. “I never tell any of them what I do. Being an artist is hard to explain. Like, how am I home in the middle of the day on a Wednesday but can afford this

house? “I don’t want them to see me as different from them. I’m a black man in a predominantly black community, but I’ve been rendered white by my economic situation.” Quinn is preparing for a solo show at New York’s Half Gallery this spring. The space’s domestic setting, in the Upper East Side apartment of its owner, allows Quinn to continue exploring the meaning of “home,” both through a continuation of his “St. Marks” series and new works about his mother. “The loss of my family, the memories of them, and maybe even fantasies of what our home life could have been are things I’m still working through.” —MC Nathaniel Mary Quinn Elephant Feet, 2016. Black charcoal, gouache, soft pastel, oil pastel on Coventry Vellum paper, 44½ x 44 in.

F R O M TO P : O P E N E N GAG E M E N T; N AT H A N I E L M A R Y Q U I N N A N D L U C E GA L L E R Y, T U R I N

HOME BITTERSWEET HOME


OUT THERE

PEOPLE PROBLEMS WITH AN ARCHITECT for a mother, an engineer

father, and a real-estate broker grandmother, Liz Glynn grew up almost excessively preoccupied with the idea of space: What does it mean to have it? How do you quantify it? Who gets to use it? The artist’s new commission for the Public Art Fund, up through September 24 in Central Park’s Doris C. Freedman Plaza, mashes up two factoids uncovered by the artist in her meticulous research: That the majority of New York City’s Gilded Age ballrooms were designed at a capacity of 400—no one other than the top socialites were deemed necessary or deserving enough to be admitted—and that almost a century later, the major issue facing the city’s parks was that, according to oficials, the wrong kind of people were availing themselves of these public spaces.

“I started looking into the history of the parks and among a lot of the expected results some not so obvious things started popping up on my JSTOR search,” Glynn says. “The phrase ‘people as vermin,’ in particular.” The idea that people using the parks was a problem seemed like a bit of a conundrum to the artist. With Open House, she pits exclusivity against public access, recreating the ballroom of the William C. Whitney house— an opulent Stanford White design, tragically demolished in 1942, as much of the city’s Beaux Arts buildings eventually were—out of cast concrete on the southeast corner of Central Park. Its Louis XIV sofas, chairs, footstools, and arches have all been reborn, albeit with a little artistic license. “I veered toward the more distorted and grotesque side of the

EXPEDITIONS

DEEP-SEA DRAFTSMEN C LO C K W I S E F R O M TO P : H . H . S I I D M A N A N D N E W -YO R K H I S TO R I C A L S O C I E T Y; Z I GZ AGZ U R I C H ; M A R T I N PA R S E K I A N A N D W I L D L I F E C O N S E R VAT I O N S O C I E T Y

AS DIRECTOR OF the

Department of Tropical Research from 1918 to 1962, the pioneering naturalist explorer William Beebe often hired artists to accompany scientists on research expeditions to far-lung locales, like the jungles of Guyana and on deep-sea dives off the coast of Bermuda. The artists produced taxonomic illustrations, as well as drawings for publications by Beebe and his team, who “were celebrity scientists, writing popular books,” says artist Mark Dion, who is cocurating an exhibition with science historian Katherine McLeod and Wildlife Conservation Society archivist Madeleine Thompson, “Drawings from the Department of Tropical Research Field Expeditions,” at the Drawing Center from

April 14 through July 16. Depicting animals within habitats was one of the ground-breaking developments that Beebe and his artists, such as Else Bostelmann, brought about. “One of their aims in depicting the deep-sea ish was to show them hunting, interacting with other deepsea animals, show their life cycles, how they moved—in early animations!—and sometimes the artists were able to give an idea of the seascape at the bottom of the ocean, or the light spectrum deep under water,” says McLeod. “This was part of the beginning of people thinking not of isolated animals, but as part of a connected system.” The show will include the irst ilm footage ever taken of

Else Bostelmann Saber-toothed Viper fish (Chauliodus sloanei) Chasing Ocean Sunfish, 1934. Watercolor on paper, 12½ x 24½.

the deep sea, as well as neverbefore-shown drawings from the department’s archives. Although the exhibition is historical, Dion says that the relationship between art and science remains as vital as ever. Many scientists continue to employ illustrators, but even more have taught themselves how to draw. “Zoology is done on a tight budget these days and the scientists must learn to be artists as well,” Dion says. “My own interest in the Department of Tropical Research also relates to the team model they implemented, and the fact that they seemed a group who truly enjoyed the pursuits of knowledge and camaraderie.” —RC

The William C. Whitney ballroom, designed by Stanford White, c. 1901.

baroque, rather than the mannered or polite version of it,” Glynn admits. “A lot of the economic statistics talk about us approaching another Gilded Age at the moment,” she says. “I wanted to recreate a rareied space, but as a public ruin in an accessible place.” —JH

DESIGNING HISTORY

UNCOOPED Memphis meets Zurich THE MEMPHIS GROUP was never exactly known

for understated design. So it makes sense that CoopDPS—a new venture from Memphis alums Nathalie De Pasquier and George Sowden— launts a certain out-there whimsy, with textiles whose iconography can recall pig snouts, bricks, or oddly anxious topographical maps. Still, don’t expect to ind a nostalgic sampling of patterns pulled from the lat ile. “Rather than trying to re-edit the past, we all decided it was far more interesting to do something new,” says Michele Rondelli, creative director of Swiss brand ZigZagZurich, who worked with the pair to bring the project to life. That means a range of wool and cotton blankets, bedding, and draperies, the style of which sprawls from geometric abstraction to cartoon funkiness. Don’t fancy the rigidity of their “Gate” line, whose grid-and-cell composition are reminiscent of Peter Halley? Then turn, happily, to the weirdness that is CoopDPS’s “Cosmic” motif: Serial rows of what might be either electrical plugs, alien lowers, or tiny bells. —SCOTT INDRISEK Cotton throw blankets from ZigZagZurich, designed by CoopDPS.

BLOUINARTINFO.COM MARCH/APRIL 2017 MODERN PAINTERS

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PORTFOLIO // TRENDS // SNEAK PEEKS // NEWSMAKERS IN FOCUS

MUNCH’S STRUGGLE

PAINTING HISTORY

Karl Ove Knausgaard on a Norwegian master

Delacroix for the digital age

24

Edvard Munch shortly before he died. “Through it, I seek to clarify my relationship to the world.” So it is itting that one of the most confessional authors of our lifetime, Karl Ove Knausgaard, who wrote the six-part series of autobiographical novels My Struggle, has turned to Munch, a fellow Norwegian master, to make his curatorial debut, “Towards the Forest: Knausgaard on Munch,” an exhibition of more than 100 paintings and 30 graphic works by Edvard Munch, taking place at Oslo’s Munch Museum, May 6 through October 8. “I don’t remember when I irst saw Munch’s pictures; when you grow up and go to school in Norway they’re everywhere,” Knausgaard says. “The Scream is a bit like Peer Gynt or the novel Hunger or the Mercedes-Benz logo: It’s always there. The Sun: always there. Madonna: always there. But I do remember the irst time Munch made an impression on me. It happened the irst time I saw his original works in the lesh. I was a teenager and paying my irst visit to the National Gallery. I liked almost everything I saw there, all of the national romantic paintings; going round the gallery was amazing. But then I entered the Munch room and everything else paled into insigniicance. The pictures here were on a completely different level. I’d gazed at and admired the other paintings, but Munch’s paintings had such an absorbing quality and they touched me in a completely different way across the full spectrum of my emotions. Yet at the same time they were so simple. I’d never before

MODERN PAINTERS MARCH/APRIL 2017 BLOUINARTINFO.COM

experienced such an expressive force.” Knausgaard delved into the curatorial process by sifting through some 400 paintings in the museum’s storage, then he would go home and lip through catalogs of the artist’s work, cutting out images and laying them out across the loor to see how they it together. He wanted to show a different side of Munch than the one that’s “always there.” Although the artist is best known for his paintings before 1910—The Scream was painted in 1893, for instance—Knausgaard believes that his later paintings are just as important. In the end, Knausgaard, along with cocurator Kari Brandtzæg, developed four themes, displayed non-chronologically: the opening of the exhibition shows Munch’s sunny, highly populated landscapes; then visitors move on to see paintings where people slowly disappear from view; the next shows Munch’s roughly-textured internal landscapes, before inally returning again to the external world with a selection of the artist’s portraits. (Knausgaard has said that he chose to end with these because relationships were central to Munch’s artistic vision.) Accompanying the exhibition is Knausgaard’s book on the life and art of Munch, co-published by the museum and Forlaget Oktober. Knausgaard has said that the title of both the show and the book, “Towards the Forest,” is meant to convey turmoil, loneliness, and regeneration. Forests are silent places, but also emotional ones, he says, rich with wordless confesssion. —RC

Rainer Ganahl News Painting, Anti-Islamic State activist and his friend beheaded in Turkey, Washington Post, 10/10/2015, 2016. Acrylic paint, 87 x 63 in.

THE 17TH-CENTURY genre of history painting all but disappeared by the 20th century. But as the imagery of terrorism and violence out of the Middle East becomes increasingly shocking, New York-based artist Rainer Ganahl decided to revive the battle-narrative tradition to the modern era. Modern Painters spoke to Ganahl about his contemporary history paintings, which he calls “news paintings,” on view March 5 at Kai Matsumiya in New York.

How did you become interested in the tradition of History Painting? When I was a child I would visit the local museum of Middle Age torture instruments, just ive minutes from where I grew up in Austria. Later, at the Louvre, Delacroix’s historical paintings left a far bigger impression on me than the Mona Lisa. Eventually I went on to get a Master’s in history and have remained interested in the subject ever since. Was there a particular event in the news that compelled you to begin this series? The irst one I made was when the New York Times began reporting on “homicide bombers” in 2003—they weren’t even called suicide bombers yet. This initiated a series of news paintings—which include the pop-up menus, lashing graphic ads, and scrolling headlines—that lasted throughout the Bush years. Once we became too used to images of U.S. soldiers hanging from bridges in Fallujah, or children turned into weapons, I stopped. I only took it back up again during the Obama years, when the spectacular ISIS beheadings, images that rivaled Hollywood manufacturing, challenged our media indifference again. Currently I am working on the depiction of the killing of the Russian ambassador to Turkey, which resembles Robert Longo’s paintings from the late 1980s. I have no doubt that the election of Trump will bring about new reports in the “shock and awe” category. I do believe that the 24/7 news cycle is producing its own amnesia and ought to be backed up with some cold, anachronistic media storage to be reframed in an interessenloser/interest-free environment, like a gallery or museum.

F R O M L E F T: M U N C H - M U S E E T, M U N C H E L L I N G S E N G R U P P E N , B O N O; R A I N E R GA N A H L

“MY ART IS really a self-confession,” wrote

Edvard Munch Sommer i hagen (Lindefrisen), 1904.

NEWSMAKER


PORTFOLIO // TRENDS // SNEAK PEEKS // NEWSMAKERS LONDON Maeve Brennan at Chisenhale Gallery AROUND THE WORLD

March 31

WASHINGTON, D.C. Yayoi Kusama at the Hirshhorn Museum February 23

BOSTON Steve McQueen at ICA Boston

ATLANTA “Cross Country: The Power of Place in American Art, 1915– 1950,” including work by Bill Traylor (pictured), at High Museum of Art February 12

BERKELEY “Hippie Modernism: The Struggle for Utopia,” including work by Debra Bauer (pictured), at Berkeley Art Museum & Pacific Film Archive February 8

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MODERN PAINTERS MARCH/APRIL 2017 BLOUINARTINFO.COM

ISHØJ, DENMARK “Gosh! Is it Alive?,” including work by Frank Benson (pictured), at Arken Museum for Moderne Kunst February 4

C LO C K W I S E F R O M TO P L E F T: YAYO I K U S A M A , DAV I D Z W I R N E R , N E W YO R K , OTA F I N E A R T S , TO K YO/S I N GA P O R E , A N D V I C TO R I A M I R O, LO N D O N ; M A E V E B R E N N A N ; S T E V E M C Q U E E N A N D M A R I A N G O O D M A N GA L L E R Y, N E W YO R K /PA R I S ; T F R A N K B E N S O N A N D S A D I E C O L E S , LO N D O N ; H I G H M U S E U M O F A R T; D E B R A B AU E R

February 15


NEW YORK 2017 Whitney Biennial, including work by Susan Cianciolo (pictured),

C LO C K W I S E F R O M TO P L E F T: S U S A N C I A N C I O LO A N D B R I D G E T D O N A H U E , N E W YO R K ; M O R I A R T M U S E U M , TO K YO; S P E R O N E W E S T WAT E R , N E W YO R K ; A N N A F I N K E A N D M E R C E C U N N I N G H A M T R U S T; E L I LOTA R A N D C E N T R E P O M P I D O U, PA R I S

March 17

TOKYO N. S. Harsha at Mori Art Museum February 4

NEW YORK Heinz Mack at Sperone Westwater

BIENNIALS AND FAIRS: Videonale Festival for Contemporary Video Art, Bonn, Germany February 17–April 2

February 18

The Armory Show, New York March 2–5 Art Dubai 2017 March 15–18 London Art Biennale March 29–April 2 The Photography Show/AIPAD, New York March 30–April 4 Socle du Monde Biennale, Herning, Denmark April 22–August 27 documenta 14, Athens, Greece and Kassel, Germany April 8–July 16 and June 10– September 17, respectively

PARIS Eli Lotar at Jeu de Paume February 14

MINNEAPOLIS Merce Cunningham at Walker Art Center February 8

BLOUINARTINFO.COM MARCH/APRIL 2017 MODERN PAINTERS

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THE D R AWI N G CENTER

Mateo López Undo List JAN 20 – MAR 19, 2017 3 5 W O O S T E R S T R E E T N YC 10 013 | 212 219 216 6 D R AW I N G C E N T E R . O R G H O U R S : W E D S – S U N 12 – 6 P M | T H U R S 12 – 8 P M @ D R AW I N G C E N T E R

Mateo López Serpentine, 2016. Wood, graphite on paper. 36 x 36 x 36 inches. Courtesy of the artist and Casey Kaplan, New York. Photo: Jean Vong


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F R O M L E F T: E M I LY M A E S M I T H A N D S I M O N E S U B A L , N E W YO R K ; R O D N E Y M C M I L L I A N A N D S U S A N N E V I E L M E T T E R LO S A N G E L E S P R O J E C T S

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4 New beginnings abound this spring, as several JDOOHULHVDGGIUHVKQDPHVWRWKHLUURVWHUV$IWHU hosting GCCâ&#x20AC;&#x2122;V´3RVLWLYH3DWKZD\V  Âľ H[KLELWLRQLQ1HZ<RUNODVWIDOOMitchellInnes & Nash now represents the artist FROOHFWLYHMary Corse is now represented by .D\QH*ULIĂ&#x20AC;Q CorcoranLQ/RV $QJHOHVMonika Bravo has joined the roster at New <RUN¡VJohannes Vogt Gallery1HZ <RUNDQG/RQGRQ based Hauser & Wirth snagged worldwide representation of the Arshile Gorky Estate1RUGLFDUWLVWTyra Tingleff ZDVSLFNHGXSE\WKHSunday Painter in /RQGRQEmily Mae Smith is in with New <RUN¡VSimone Subal GalleryDQGvon Bartha Basel now represents Landon Metz and Marianne Eigenheer

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6 Helen Marten impressively swiped both the inaugural Hepworth Prize for Sculpture and the 2016 Turner Prize within the VSDFHRIDPRQWK7KH&RQWHPSRUDU\ Austin awarded Rodney McMillian LWVĂ&#x20AC;UVWSuzanne Deal Booth Art Prize,QDGGLWLRQWREDQNLQJ WKHDUWLVWUHFHLYHGDVROR exhibition at the museumâ&#x20AC;&#x2122;s downtown YHQXHWKH-RQHV&HQWHUZKLFKRSHQV LQ)HEUXDU\United States ArtistsFHOHEUDWHVLWVIHOORZVLQD FHUHPRQ\LQ&KLFDJRDWWKHHQGRI 0DUFKLQZKLFKWKHZLQQHUVZLOO HDFKUHFHLYHXQUHVWULFWHGFDVKDZDUGV YLVXDODUWLVWVEHQHĂ&#x20AC;WLQJIURPWKHSUL]HWKLV\HDU LQFOXGHShirin Neshat, Beatriz Santiago MuĂąoz, Jacolby Satterwhite, and Stanley Whitney/DVWO\Trisha Donnelly won the 2017 Wolfgang Hahn Prize, awarded DQQXDOO\E\WKH0XVHXP/XGZLJLQ&RORJQHD VRORH[KLELWLRQRIKHUZRUNRSHQV$SULOWR FRLQFLGHZLWK$UW&RORJQH

7

ABOVE:

Rodney McMillian received the inaugural Suzanne Deal Booth Art Prize from the Contemporary Austin. LEFT:

Emily Mae Smith Big Gulp, 2016.

Several years of planning and $30 million GROODUVODWHU5LFH8QLYHUVLW\LQ+RXVWRQ RSHQHGLWVVTXDUHIRRWMoody Center for the ArtsWKLV)HEUXDU\%HVWNQRZQIRULWV HQJLQHHULQJDQGVFLHQFHSURJUDPVWKH LQWHUGLVFLSOLQDU\DUWVFHQWHUPDNHVDVWURQJ statement about the universityâ&#x20AC;&#x2122;s future LQYHVWPHQWLQFXOWXUDOSURJUDPPLQJ7KH 0RRG\¡VLQDXJXUDODJHQGDLQFOXGHVH[KLELWLRQV DQGHYHQWVE\ELJQDPHDUWLVWVOLNHOlafur Eliasson, Thomas Struth, Diana Thater, and Mona HatoumDVZHOOSHUIRUPDQFHVDQG SURMHFWVE\WKH7RN\REDVHGGLJLWDO´XOWUD WHFKQRORJLVWVÂľRIteamLabDQG1HZ<RUN&LW\¡V DuĹĄan TĂ˝nek Dance TheatreMP

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1:54 Contemporary African Art Fair

New York City 5–7 May 2017

Pioneer Works 159 Pioneer Street Brooklyn NY 11231 www.1–54.com @154artfair


CAESURA

Günter Glieben Glauchen Glöben Says here to burn the rich and take their shit. I’m paraphrasing. I’m barely grazing the surplus. Do the rich have inner lives, like little lambs and Antigone? They never give me their money. Bill Gates, the great humanitarian, stands upon a peak in Darien. I said Bill, I believe this is killing me. A sculptor sees the statue in the slab, the shiv in the toothbrush. The stab. I plump for Red October. Sink or swim or wade or creep or fly or soak it all in kerosene. Miguel Hernández, tell me, if you know, why there’s a darkness

El Lissitsky Proun 19D, circa 1920 or 1921, on view through March 12 in New York at the Museum of Modern Art’s “A Revolutionary Impulse: The Rise of the Russian Avant-Garde.”

on the edge of credit. My student loans? Forget it. Burn it up. Let’s go for broke. Watch the shares go up in smoke. Nostalgia’s just another word that starts with No.

M U S E U M O F M O D E R N A R T, N E W YO R K

—MICHAEL ROBBINS

Excerpted from Robbins’s The Second Sex, published as part of the Penguin Poets Series at Penguin Books. © 2014 by Michael Robbins. This poem originally appeared in the New Yorker. The author’s Equipment for Living: On Poetry and Pop Music will be published this July by Simon & Schuster.

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BOOKS // JEN GEORGE

Ordered Illogic A short story writer reflects on power, capitalism, and the art world BY SCOTT INDRISEK

The stories in this collection take place in a world a few degrees askew from our own. Yet this world has its own coherent irrationality; things may be strange, but they are strange in an organized way. In this regard Iâ&#x20AC;&#x2122;m reminded of the videos of Mika Rottenberg. Does her work resonate with you? I think the threshold between the normal and the strange LVQ¡WGLIĂ&#x20AC;FXOWWRWUDYHUVHDQG itâ&#x20AC;&#x2122;s probably being traversed or should be traversed in any Ă&#x20AC;FWLYHVSDFH,I\RXHYHQ slightly tweak things like motivations, behavior, language, and actions in a contained environment like a book, the inherent absurdity of whateverâ&#x20AC;&#x2122;s being examined easily shows itself. The characters in this book are WU\LQJWRĂ&#x20AC;JXUHRXWKRZWRDFWLQWKHLU environments, or else theyâ&#x20AC;&#x2122;re trying to connect to something in a physical or spiritual sense, and their failure to understand the systems around them or progress appropriately or connect to others results in a performativity in everything they do. I think the parallel between the worlds in this book and the worlds

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in Mika Rottenbergâ&#x20AC;&#x2122;s work resonates in the sense that some aspect of strangeness of the worlds might be rooted in the workâ&#x20AC;&#x2122;s more political undertones. I think maybe these Ă&#x20AC;FWLYHZRUOGVDUHFRQFHUQHGDWOHDVWLQSDUW with the female body within the out-of-frame structure of something close to patriarchal capitalism and where these bodies within that structure are found at present, or where theyâ&#x20AC;&#x2122;ll be in the future. Of course, Rottenberg deals with the physicality of that with actual bodies and objects and actions, while this book deals

'R\RXĂ&#x20AC;QGFRQWHPSRUDU\JHQGHU relations to be as bleak as they often are in your stories, many of which feature women stuck in unequal power dynamics with older men? I think the exaggerated imbalance of the male-female relationships in the book functions as more of a conceptual device than as a damning commentary on heteronormative gender relations in the real world. I canâ&#x20AC;&#x2122;t quite escape viewing the younger woman/older-man-inpower association as inherently sexual. So, probably every time I introduce that relationship in writingâ&#x20AC;&#x201D;mentee/mentor, student/teacher, patient/doctor, employee/boss, confused youth/ bored wealthâ&#x20AC;&#x201D;it turns into sex. It continues to interest me past this collection. In the landscape of the book, that arrangement usually becomes hypersexual, and some of the repercussions around that kind of exchange are explored from the perspective of the young female, although I donâ&#x20AC;&#x2122;t think the book comes to any concrete judgment or conclusion about it. Matthew Barney blurbed your collection. In general, what is your own connection to the art world? Iâ&#x20AC;&#x2122;m really inspired by Barneyâ&#x20AC;&#x2122;s work in terms

D O R OT H Y A N D LO L A R O S E T H O M P S O N

with it through language. In these kinds of parallel or alternate realities, the effect of the out-of-frame political hierarchies on the in-frame characters isnâ&#x20AC;&#x2122;t so dissimilar to how things work in the real world, which is probably why itâ&#x20AC;&#x2122;s QRWGLIĂ&#x20AC;FXOWWRUHFRJQL]HWKH ordered illogic of the worlds in the work.

The Babysitter at Rest, out last year via the publishing project Dorothy, is a marvel of squirmingly uncomfortable truths. While the book does have precedents (it reminds me a bit of Miranda July channeling the ghost of Kathy Acker), Georgeâ&#x20AC;&#x2122;s collection is also that rarity: an actually fresh, new thing. I spoke with the New Yorkâ&#x20AC;&#x201C;based authorâ&#x20AC;&#x201D;who is currently working on a novel about a womenâ&#x20AC;&#x2122;s art collectiveâ&#x20AC;&#x201D;about the motivations and mechanics behind her craft.

JEN GEORGEâ&#x20AC;&#x2122;S


JEN GOERGE

of discipline, vision, and scale, and Iâ&#x20AC;&#x2122;m also just enamored of the level of artistry in everything he does. Iâ&#x20AC;&#x2122;m probably always thinking about his work in regards to how to approach or pursue something, so Iâ&#x20AC;&#x2122;m sure I had aspects of his work in mind while writing even if I was not thinking of his physical VWXGLRVSHFLĂ&#x20AC;FDOO\7KHZD\LGHDVDQG narrative are approached in visual and performance art has always appealed to meâ&#x20AC;&#x201D; I like the way ideas tend to be more perverted in these forms. I donâ&#x20AC;&#x2122;t belong to any art or academic or literary world. I didnâ&#x20AC;&#x2122;t get an MFA, I donâ&#x20AC;&#x2122;t have any real kind of training, I wasnâ&#x20AC;&#x2122;t raised anywhere near writers or artists or people into art. I used to see visual art as so outside of myself since thereâ&#x20AC;&#x2122;s sort of this mystery that surrounds the making and business and presentation of itâ&#x20AC;&#x201D;as a younger person it seemed impenetrable and elitist. But then I saw that the work has a language of its own and you donâ&#x20AC;&#x2122;t necessarily need academic context to understand it. Plus I like not initially understanding things and then working to understand them. 7KHUHZDVDSRLQW,VWDUWHGWRLQWHUQDOL]H the conceptual attitude to narrative in visual and performance art in a way that informed and affected the way I thought about my own ZULWLQJ6SHFLĂ&#x20AC;FDOO\DURXQGWKHWLPH,ZDV working on the collection, I was seeing all of these big shows by established male artistsâ&#x20AC;&#x201D; both because the work was good and because thatâ&#x20AC;&#x2122;s just what was being exhibited. At MOMA PS1 there was that big Cyprien Gaillard show, then the Mike Kelley retrospective (which I went to repeatedly) and then the James Lee Byars retrospective, and also Paul McCarthyâ&#x20AC;&#x2122;s WS at Park Avenue Armory. At the time that I ZDVSD\LQJDWWHQWLRQWRWKLVVSHFLĂ&#x20AC;FYLVXDODUW Iâ&#x20AC;&#x2122;d been re-skimming some Schopenhauer that was laying around and Iâ&#x20AC;&#x2122;d started to imagine WKLV\RXQJLVKIHPDOHĂ&#x20AC;JXUHDIWHURYHU simplifying Schopenhauerâ&#x20AC;&#x2122;s philosophy that life is a futile, inescapable cycle of desire and suffering, and the pursuit (and failure) to mitigate suffering. Schopenhauer was clearly a misogynist and said that one way for men to mitigate suffering was basically to make art, though according to his logic women didnâ&#x20AC;&#x2122;t have access to that particular form of relief since womenâ&#x20AC;&#x2122;s minds were childlike, therefore incapable of making or pursuing great

â&#x20AC;&#x153;I like the way ideas tend to be more perverted in the visual and performance arts.â&#x20AC;?

art. So that led me to this vague image of the young, would-be woman artist in Schopenhauerâ&#x20AC;&#x2122;s worldâ&#x20AC;&#x201D;what was it like for her to kind of consume and regurgitate this artistic desire or ambition to a point it was XQUHFRJQL]DEOH"%HLQJDURXQGWKLV heavyweight art, I was really stimulated (especially by Kelleyâ&#x20AC;&#x2122;s Day is Done) but I was also thinking about how the work and fantasies of these men loomed so large and took up these big spaces, and about how the process of being or becoming an artist was far OHVVIUDXJKWIRUPHQWKDQZRPHQ7KH relationship between the artwork I was seeing LQWKHZRUOGDQGWKLVKD]\\RXQJ Schopenhauer-world-philosophy woman that ZDVLQP\KHDGNLQGRIPDUEOHL]HGWRVKDSH some aspect of the larger narrative in this book, which might be some passive account of or viewpoint on the decline of the artistic fatherâ&#x20AC;&#x201D;though of course that wasnâ&#x20AC;&#x2122;t exactly conscious while I was writing. So, to your pointâ&#x20AC;&#x201D;which I think I got pretty far away fromâ&#x20AC;&#x201D;Iâ&#x20AC;&#x2122;d say both the inspirational and conceptual relationship between visual art DQGHYHQYHU\VSHFLĂ&#x20AC;FDUWLVWV DQGWKHJHQHVLV of this book are connected. Who are a few authors whose work has challenged, changed, or completely exploded WKHZD\\RXWKLQNDERXWZKDWĂ&#x20AC;FWLRQFDQRU should, do? Reading Leonora Carringtonâ&#x20AC;&#x2122;s The Hearing TrumpetFKDQJHGKRZ,WKRXJKWDERXWĂ&#x20AC;FWLRQ Itâ&#x20AC;&#x2122;s a novel that is totally female and magical and intuitive and wild and playful and all of these things that youâ&#x20AC;&#x2122;re told to avoid in your work at the risk of being unserious or selfindulgent, and for that reason itâ&#x20AC;&#x2122;s totally radical. Reading it, you can see Carrington not caring about anyone or anything but her visionâ&#x20AC;&#x201D;her freedom as the author/creator of that book/world upends the conventions of most literature and effectively makes other work look dull. I think the product of literature (but not really the reason or aim of writing it) either could or should (hopefully, in part) subvert the dominant culture, and The Hearing Trumpet does this in the most fun and fantastic way as a result of Carrington making exactly what she wanted to make. Apart from Carrington, Simone de Beauvoir, Simone Weil, Clarice Lispector, Sheila Heti, and Chris Kraus have really informed how I think about and approach writing. MP

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#LAfriqueDesRoutes

www.quaibranly.fr

Exhibition 31 / 01 / 17 - 12 / 11 / 17

GREAT PATRON

m-ticket - FNAC Tick&Live - Fnac 0 892 684 694 (0,40 ¤/minute) www.fnac.com - Ticketmaster 0 892 390 100 (0,45 ¤/minute) www.ticketmaster.fr - Digitick 0 892 700 840 (0,45 ¤/minute) www.digitick.com Masque cimier © musée du quai Branly - Jacques Chirac, DR


Cody Critcheloe/SSION Installation view of BOY, 2009, one of many projects spearheaded by Grand Arts, staged at its former venue in Kansas City, Missouri.

HARD TO FATHOM A bold new organization rises from Grand Arts’ ashes Af ter 20 ye ars of facilitating dozens of dramatic collaborations (several of them fe atured on these pag es), the Kansas Cit y– b ased ar ts organization Grand Ar ts known as Fathom ers. M od e rn Pa i nte rs e ditor in chief Scot t Indrisek spoke with S tacy Swit zer, the form er Grand Ar ts ar tistic dire ctor now le ading Fathom ers, about stopping bullets and hunting lost boats.

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C O DY C R I TC H E LO E

calle d it quits in 2015 — but its mission lives on in the new Los Ang eles initiative


Patricia Cronin Memorial to a Marriage, 2002. Plaster, 53 x 27 x 17 in. As Annie Fischer, co-founder of Fathomers, explains in a recent volume on the legacy of Grand Arts, this sculpture “would permanently celebrate in death a union the couple could not legally celebrate in life.”

E .G. S C H E M P F

In what ways would you say Fathomers might operate as a sort of Grand Arts 2.0, and in what ways is it an entirely new, divergent venture? Grand Arts simultaneously championed creative risk and cushioned that risk as much as possible for the artist, through generous access to resources and unusual forms of support. Fathomers builds on that spirit of generosity and daring, while pivoting to more fully embrace the kinds of projects that bring artists, scientists, technologists, ethicists, and legal experts (among many other possible ields) together in the same room. We’re keenly interested in long-term thinking, and what this might mean when applied to creative projects that unfold over not just years but decades, lifetimes, or longer. Pioneering organizations such as the Land Institute and the Long Now Foundation have been central to our mission inception, and we want artists to have greater roles in conversations about what comes next. After all, the future isn’t someone else’s problem or provocation—it’s ours, everybody’s. Dreaming is a right, not a privilege. How do you anticipate the city of Los Angeles itself will shape the work you do and the types of projects you undertake? The possibilities in Los Angeles and the region really do seem vast. In the 10 months since Fathomers’ four principals and our families have relocated from Kansas City, we’ve connected with an incredible array of thinkers and practitioners: hydrologists, mycologists, informaticians, dancers, hypnotists, political actors, and entrepreneurs, among many, many others. Having [coworking venue] NeueHouse as our home base has helped to catalyze these conversations, as we’ve made unexpected connections here, and people are invariably curious about the space. And we’re so fortunate to have artist Glenn Kaino as a founding member of Fathomers’ board. Glenn has

“Thinking big is too important to do alone. Endeavors like these require teams of deeply curious experts and cutting-edge technology.” BLOUINARTINFO.COM MARCH/APRIL 2017 MODERN PAINTERS

37


a superhuman talent for inspiring the shift of idea to plan, and he was key to our landing in L.A. More broadly speaking, there’s a rhizomatic richness and complexity engendered by L.A.’s sprawl that couldn’t be more exciting to us. And then, beyond that, there’s the land and sea—such an immense range of sites and potential experiences now within our reach.

BELOW:

Sissel Tolaas Documentation from the research stages for SmellScape KCK/ KCM, 2012, an interactive, olfactory-based artwork.

Obviously it is tough to choose just one, but of the Grand Arts projects collected in the recently published Problems and Provocations book, are there a few that stick out in your mind? Perhaps a project that at first seemed impossible to achieve, but in the end became an unexpected success? The Propeller Group’s project, which Rob Walker writes about at the beginning of the book, is a very sweet success. To start, the challenge involved engineering the mid-air collision of two bullets ired at each other— one from an AK-47 and the other from an M16—and some of our biggest hurdles, such as the need to acquire a State Department permit for the research, came up quite unexpectedly. We were all up against the

ticking clock of Grand Arts’ closing, but the whole team (artists, lawyers, ballistic engineers, fabricators and so on) wanted very badly to make it happen, and we did. The resulting works—collisions suspended in transparent ballistic gelatin—are beautiful, gut-wrenching, almost haunted objects. One of them was included in the Venice Biennale last year. Thinking big can obviously come with a big price tag. How is Fathomers working to financially facilitate upcoming projects that might require an immense amount of resources? Fathomers’ irst project is a seven-year collaboration with artist Michael Jones McKean to develop a long-form sculpture that ultimately will emerge as an object scaled to the earth itself. Michael’s ambitions for the project are, in his words, geologic, archaeologic, ecologic, folkloric, and

humanistic. The irst phase involves a Caribbean expedition to document, archive, and rescue fragments of the Teignmouth Electron, the infamous sailing vessel commissioned by Donald Crowhurst for his failed and tragic attempt to circle the earth, alone, without stopping, in the 1968–1969 Golden Globe Race. About 10 years ago, Michael bought the boat, which has been beached and decaying for decades—its status is very precarious. Beginning in 2017, fragments from the boat will undergo an accelerated diagenetic process to emerge as fossils, containing DNA from the boat itself, as well as an anthro-record of our here and now. Thinking big is too important to do alone. Endeavors like Michael’s require teams of deeply curious experts, cutting-edge technology, access to labs, signiicant funding, and, on a very individual level, long-term commitments to artists and of time. We think

“Fathomers projects don’t have to result in an exhibition moment; in some cases they may not even be legible as art.”

ABOVE:

Rosemarie Fiore An in-process view of Scrambler Drawing, 2004, a 60 x 60 foot acrylic-on-vinyl piece incorporating an amusement park ride. “The process of making these paintings was really quite dangerous,” Stacy Switzer confirms.

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F R O M L E F T: M E GA N M A N T I A ; E .G. S C H E M P F

Q&A // FATHOMERS


G R A N D A R T S A N D FAT H O M E R S

it’s crucial to forge such a model for organizations moving forward, and we are inding the kindred big thinkers who agree—a Fathomers League of individuals and organizations who can beneit mutually from enacting new forms of knowledge production and creative research. Many of your projects have involved throwing together experts from various fields. In this case, it is clear what the artist herself would gain from such a relationship: access to a body of information, new skill sets, and so on. But what would you say that the nonartists walked away with, after participating in these projects? A concrete example of what you’re asking about might be the kind of relationship we’ve

developed with Andrew Torrance, a legal scholar and expert in biolaw and intellectual property. We initially asked Andrew for help with a complex issue involving the purchase of a biological instrument used for making transgenic organisms. It was a Grand Arts “cold call;” he had no history with us. But in the work that followed, moving across processes and languages (art, law, biology), I think we recognized a spirit in Andrew that he recognized in us, too. Now he’s also a founding member of the Fathomers board. My hope is that we fortify that spirit in our allies, artists and non-artists alike—the mind that is enlivened by blue-sky thinking but also insists on a concerted effort to see it through. The Fathomers mission statement stresses far-fetched ideas and risk-

taking. Does this mean that some projects are going to fail—and that there might be something to be learned from such failures? Yes! Absolutely, some things will fail. But of course that depends on how we and our collaborators choose to deine failure, too. One of the liberating things about having one or more limbs irmly planted outside the art world is that we don’t have to measure the work by art-world standards. Fathomers projects don’t have to result in an exhibition moment; in some cases, they may not even be legible as art. At the same time, to be clear, the move to redeine our terrain isn’t about escaping any one lens of criticality, but rather about applying additional—and perhaps more urgent or more demanding—criteria to the practices in which we engage. MP

Anthony Baab Still from the live video feed of A Strenuous Nonbeing, 2013, during which seven cats navigated an artist-built set.

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ON CURATING

RAUSCHENBERG AND FRIENDS The artist and his social circle hit New York BY JANELLE ZARA

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F R O M L E F T: T U P S C H M I DT A N D T H E R O B E R T R AU S C H E N B E R G F O U N DAT I O N ; T I M N I G H S WA N D E R/I M AG I N G 4 A R T.C O M A N D T H E R O B E R T R AU S C H E N B E R G F O U N DAT I O N

THIS FALL, MUSEUM OF MODERN

Art Marlene Hess Curator of Painting and Sculpture Leah Dickerman met with Janelle Zara in Captiva, Florida— Robert Rauschenberg’s home from 1970 until his death in 2008. Dickerman weighed in on her institution’s exhibition, which arrives in New York on May 21 after launching at Tate Modern in London (where it remains on view through April 2).

This exhibition was a collaborative project; over the last three years, [Tate Modern director of exhibitions] Achim Borchardt-Hume and I have been building and sharing a foundation of scholarship. Our core themes were Rauschenberg’s integration of performance into the making of still objects and his embrace of technology within his body of work. He was very prescient in that. Ahead of our digital age, he thought about how art making could engage with the technological developments that were emerging in the mid-’60s— that technology shouldn’t be excluded, but that it was something that could be embraced. A fundamental difference at MOMA,

however, is that we’re doing the exhibition as an open monograph, so that when other artists come into Rauschenberg’s creative life, they’ll come into the show as well. We’re recreating his world; each room is a place where things and people come together. The irst room focuses on Black Mountain College, with Rauschenberg’s work alongside that of actors in Black Mountain who were key interlocutors for him. The next room is about the Fulton Street Studio and his work there, but also the other artists that came and worked with him at that moment in time. We’ve invited Charles Atlas to stage the video and sound imagery throughout the exhibition, bringing his voice into the conversation, and there will be works in the show by Sue Weil, Cy Twombly, Jasper Johns, David Tutor, and John Cage. To not include the work of Rauschenberg’s friends would suggest that he was working in isolation much more than he actually was. His ideas came out of dialogue, even after he left New York in 1970 and moved to Captiva. When he arrived, the irst thing he did was set up craft workshops and printing presses. He still worked with these strong dialogic partners—he did some of his most

important collaborations with Trisha Brown here—but I think that there was more of a sense of workshop, with teams of people that supported his process. And in Captiva, his work returned to very simple, spare materials again. Rauschenberg was a very politically conscious citizen of the world and he also believed that art should be open; I mean open to concerns, subject matter, technology, modes, collaborators, and issues like the environment. I see this as an extension of the idea that art can be made out of any material. The works that emerged from his Experiments in Art and Technology program, cofounded in 1966 with the engineer Billy Klüver, are noisy engineered works with transistors and generators. The same principle that’s present in his combines—that you can make art out of paint and a door—is also present in these technological apparatuses. His work was critical for opening the possibilities of contemporary practice; when you talk to artists about historical igures that serve as a touchstone, his name comes up again and again. Rauschenberg certainly took things further than almost any other artist in that moment in time.

ABOVE:

Robert Rauschenberg Gold Standard, 1964. Mixed media, 7 × 12 × 4¼ ft. OPPOSITE PAGE:

Rauschenberg in his Captiva, Florida studio in the late 1980s.

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COLLECTING // ESTRELLITA B. BRODSKY

A STUDIOUS EYE Estrellita B. Brodsky looks to Latin America BY MARGARET CARRIGAN

“SO MUCH OF LATIN AMERICAN art’s visibility is the result of work by key igures and initiatives at institutions, through acquisitions and curatorial positions,” says collector and philanthropist Estrellita B. Brodsky, one of the foremost champions of art from the region. The daughter of Venezuelan and Uruguayan immigrants, Brodsky grew up in New York City, where she continues to live and work. She and her husband, real-estate developer and Metropolitan Museum chairman Daniel Brodsky, have cultivated a personal collection of over 500 works, many by preeminent Latin American artists like Lygia Clark, Gego, Mira Schendel, Jesús Soto, as well as younger artists, such as William Cordova, Oscar Murillo, Tomas Saraceno, and Adrian Villar Rojas. Brodsky approaches collecting from a highly informed perspective—she holds a Ph.D. in art history from New York University’s Institute of Fine Arts, where she wrote her dissertation on Latin American artists working in postwar Paris. She has underwritten curatorial appointments and major acquisitions in the ield of Latin American art at New York’s Museum of Modern Art and the Met, London’s Tate, and the Centre Pompidou in Paris. In 2015, through the Daniel and Estrellita B. Brodsky Family Foundation, she founded Another Space, a private venue in New York’s Chelsea district that hosts exhibitions, performances, and lectures by artists and scholars working in the ield of modern and contemporary Latin American art. While she doesn’t exclusively collect from any one particular region, Brodsky sees her academic and curatorial pursuits as part and parcel of her collecting interests. “I like looking at artists from a local and global perspective and understanding how political and social ideals overlap,” she says. “I believe it’s important to engage in a meaningful exchange of ideas that parallels the way artists have worked and continue to work, crossing national and geographic boundaries. This idea of global interchange generated my dissertation, which was based on the idea that Latin American artists arrived in Paris with preconceived notions of art’s potential as a vehicle for social change before becoming critical igures in the history of international Kineticism.” (Brodsky’s academic research continues to pay dividends; she recently guest curated the irst U.S. survey of Argentinian modernist and kinetic artist Julio Le Parc at Pérez Art Museum Miami, on view through March 18.) Brodsky has been heartened by the increasing exposure for Latin American artists on the international circuit, from the São Paolo biennial to Documenta, and is excited for the latter’s 14th iteration, opening in Athens and Kassel this year, which spotlights work by Argentinian conceptual artist Marta Minujin. She is increasingly interested in the political power of artists—and how artists are shaped by political power. “I’m looking more closely at photographers whose work responds to the restrictions of surveillance under totalitarian regimes,” she says of her latest research and collecting curiosities. “Of particular interest are Latin American and Eastern European artists during the 1960s and ’70s. They photographed public actions—revealing the marginal or private quotidian life as sites of resistance and dissention.” MP

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HANS NEUMANN

Estrellita B. Brodsky at Another Space. In the background, from left to right, works by Alejandro Otero, Gabriel Kuri, and Kishio Suga.


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Gerhard Richter, Abstraktes Bild, Courbet, 1986 Š Gerhard Richter


Access to

6 Million Lots From 1,380 Auction Houses

Availability to Search and Follow

500,000+ Artists

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Real-time Alerts

Unlimited Online Access to The leading art price database dating back to 1922.

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Claude Monet, Woman with a Parasol - Madame Monet and Her Son, 1875


INSIDE ABSTRACTION

Two views of Top Ten: Robert $80,000,000.XX, 2016, a 72 x 60 in. painting. On the right, research materials are collected on the canvas back.

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B OT H PAG E S: T E A M GA L L E R Y, N E W YO R K ; F O L LO W I N G S P R E A D : S U Z A N N E M C C L E L L A N D

Suzanne McClelland paints with data

BY JULIET HELMKE

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“I have found myself in triangles most of my life, so I’m kind of digging in to ind out what they’re about,” says Suzanne McClelland, somewhat elliptically discussing her 25-year career retrospective, on view at Connecticut’s Aldrich Contemporary Art Museum through September 4. One of the few, never-before-exhibited works, which was still being fabricated when I visited her studio in November, is a hanging glass work spelling out the phrase “third party,” the associations of which have goaded the artist throughout this quarter-century. It’s a reference, McClelland explains, “not just to the phrase’s political meaning, but also to what happens in a triangular conversation as opposed to a binary one. I’m thinking about the witness; the listener; the reader; the third wheel, even.” While she may work in solitude, the artist always has a multi-sided relationship in mind: “There’s the author that made the thing, and then there’s the thing itself, and then there’s the viewer.” McClelland is best known for largescale, data-dense paintings that mingle abstract gestures with a thicket of numbers and text. She began her undergraduate studies in photography at the University of Michigan in the late

1970s, but revolted early on against any igurative impulses and from the realism of photography, feeling that they were too instructive—a way of exerting undue control by telling too much. With abstraction, she could put her viewers to work. “You don’t know where to enter the painting,” she says. “You have to igure that out for yourself, how to move around inside of it—this is what the reading experience is; it’s what seeing is.” A typical McClelland painting is a puzzle, loaded with politically tinged facts and igures that have been obscured or abstracted into sweeping brushstrokes and fragments of legible text or imagery: a salary igure, a dollar sign, the vague outline of the Florida Panhandle. A 2014 work whose title references Chelsea Manning (who was convicted in 2013 for disclosing classiied military documents to WikiLeaks) appears to be little more than a storm of slashing red and black lines. The blind contour drawings (a staple exercise of any art school, where the artist constructs a line drawing without being able to see her own marks) that she’s been making of the United States contain a smattering of numbers strewn across the canvas or board on which she works, representing

Since Oklahoma After Johns Before Tomorrow (SPLC), 2015. Chalkboard paint, pastel, and spray paint on linen, 78 x 123 in.

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the number of hate crimes recorded in each state, as reported by the Southern Poverty Law Center. Another body of work is devoted to the highest-earning rappers (Dr. Dre, P. Diddy, and Birdman, among them). The ongoing series “Call with Information,” exhibited at Team Gallery (which has represented McClelland since 2012), reference individuals on the U.S. Domestic Terrorist list. Those paintings contain the government identiication number assigned to each of these now 14 suspects (McClelland has been working to update the series as more names have been added) and little other contextual information; but they each have companion pieces, of sorts, in accompanying collage-style works on paper, which include wanted posters or fragmented newspaper clippings. An in-progress series uses Google satellite images of evangelical pastors’ homes as its source material. A vast amount of quasi-compulsive research informs her practice. 2013’s “Ideal Proportions” series takes its numerical igures from the physical measurements of

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body builders. (Each of these paintings has a small amount of its research material pasted to its back—Internet print-outs, Xeroxes from newspapers—a way of “iling” this corresponding information once a work is inished). “I really have a problem,” she jokes, pointing to a stack of papers spread across her work table. “I have these for every painting. And piles and piles of all these pictures. The Internet didn’t make it any better—it’s all too easy.” In the Brooklyn brownstone that serves as both her workspace and the home she shares with her husband, a sound engineer, and teenage son, McClelland is rarely focused on one series, or even one medium at a time. Instead, she prefers to cycle from the bright, sun-lit studio that occupies much of the irst loor to a room upstairs better suited to making works on paper, organizing images and text, or pursuing any of the various other projects stoked by an idea that’s come up in the course of her constant research (for instance, Mergers and Acquisitions, a 2012 calendar made in collaboration with abstract

painter Hayal Pozanti, which amalgamated images of billionaires, high-proile businessmen, and religious leaders, with a smattering of arbitrary historical dates littering the calendar boxes of each month). Yet even when she may be paused in her work, she hasn’t exactly stopped strategizing and plotting a painting’s next move. “As you go further into the painting, your options simultaneously narrow and expand,” she says. “It’s a really particular way of thinking that I ind most challenging. I repeat a number of forms, but I also need to feel as though I’m kind of inventing the wheel each time.” The artist’s early work was decidedly more text-driven, with phrases like my pleasure or told you so loating across a composition, or paint occasionally applied atop collaged pieces of newsprint. She likens her painterly gestures to writing, albeit of a more physical variety. That sort of mark making invariably leads to a comparison with the legacy of Abstract Expressionism. McClelland recalls that, after her irst few exhibitions, many

K I M B E R LY A N D R O B E R T F I S C H E R C O L L E C T I O N , D E T R O I T; F O L LO W I N G S P R E A D : T E A M GA L L E R Y

Shot in DC, 1995. Acrylex, clay, polyester sheet, and newspaper, 22 x 27 in.


C O S TA S P I C A D E S

“You don’t know where to enter the painting, you have to igure that out for yourself, how to move around inside of it—this is what the reading experience is; it’s what seeing is.”

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BO$$, 2013. Flashe and oil on linen, 34½ x 57 in.

viewers and critics blithely noted that her paintings looked like they were “made by a man.” But contrary to the narrative surrounding Ab-Ex, McClelland credits her gestural style to research and observation, rather than any ego-driven desire to “establish a presence of myself, to put an imprint of myself on the surface.” And while text is pared-back or less at the forefront in much of her recent work, the way she thinks about her role is still as that of someone relaying information, “connecting thought to touch; feeling to something visual.” The viewer is her reader. A recent residency at Brooklyn’s Urban Glass studio has involved a different kind of reinvention, exploring a medium that she isn’t quite comfortable with yet. For a developing series, she is sandblasting silhouetted images she has sourced of people running onto 99 oblong glass rectangles she plans to display in a long line, leaning on a thin shelf at eye level. She hopes that these serial representations of a simple activity will spur varying responses and projections: In these images (as in life)

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how does one’s interpretation change, for instance, depending on the age, race, or gender of the runner in question? It can be easy to look at McClelland’s oeuvre and conclude that the artist’s motivations are entirely political, but that is not her strict intention. Rather, she’s more like a consummate laneur—collecting facts, histories, irst-hand experiences, and stories, with simple but vigilant astuteness. To her, it’s a very active position. “My work is always about observing and responding,” she says, “and that is inherently a social act.” But by communicating in abstract terms she’s found a way of making viewers use their own capabilities to interpret, translate—and perhaps research—further. Always mindful of that invisible person in the conversation between herself and her work, she’s determined the third party plays an active part. As in the facts that seem to be missing from a story or the unknown context surrounding a briely glimpsed scene, it’s in what McClelland doesn’t tell her viewers that piques curiosity, setting the mind to exercise. MP


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WA LT E R S C OT T M U R C H

The painter Walter Tandy Murch at work, circa 1965.

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MURCH ON MURCH A SON REMEMBERS LIFE WITH A MAGIC REALIST

my parents lived in a onebedroom, back-of-the building apartment on Manhattan’s Riverside Drive, up near Columbia University in Morningside Heights. My father had closed off the small dining area and was using it for his studio, and as long as there were just the three of us—my mother Katharine, my father, and me—living arrangements were simple: they slept in the bedroom and my cot was in the living room. Things became more complicated when my sister Louise was born in 1948—I remember sharing the bedroom with her, and my parents sleeping on a fold-out bed in the living room—though frequently my father worked into the small hours of the morning. Morningside Heights in the 1940s was not a neighborhood where you would expect to find an artist working until dawn. It was largely under the cultural influence of Columbia University, and at that time there were many families with children—the start of the Baby Boom years. Our neighbors were mostly academics, with a sprinkling of business executives—teachers, researchers, architects, and professors related to the Morningside Heights institutions of higher education, religion, and scientific research. Columbia, Barnard College, Juilliard School of Music, two theological seminaries, Teacher’s College, Riverside Church, St. John the Divine, and IBM ’s original Watson research facility were located all within a few blocks of each other. My parents had moved there from lower Manhattan in 1938 because they were hoping to start a family, and Riverside Park—with its sandboxes and sledding hills—was just across the street from the new apartment. But they were also drawn to the neighborhood because my father, then 31, was determined to shift artistic gears and commit himself to painting original work for one-man shows, and the quiet, middle-class, intellectual, and institutional nature of Morningside Heights appealed to him as a place where he could follow

IN WA LT E R S C OT T M U R C H

BY WALTER SCOTT MURCH

1943, THE YEAR I WAS BORN,

Walter Tandy Murch Bilboquet, 1938.

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his artistic inclinations without much distraction from the noisy modernity of the rest of the city. Also, my mother was able to land a job as a secretary to one of the ministers at the Riverside Church, a few blocks to the north of the apartment. My father’s temperament was on a different wavelength from the typical hard-drinking, partying, midcentury New York artist. He was a soft-spoken, courteously humorous Canadian, not an instinctive socializer—he had a slight stammer—and rarely drank alcohol. I have no mental image of him holding a glass of wine or even beer, and I don’t recall other artists coming around to the apartment very often. His art flowed along a different channel from the tide of Abstract Expressionism that would soon flood New York’s art galleries—particularly Betty Parsons’s gallery where my father was to have his solo shows. Among the artists represented by Parsons at that time were Jackson Pollock, Clyfford Still, Theodoros Stamos, Ellsworth Kelly, Mark Rothko, Robert Rauschenberg, and Barnett Newman—all abstractionists. Whenever he went out into the city beyond Morningside Heights, my father wore a jacket and tie: People said they sometimes mistook him for an insurance agent. In fact, the one piece of sartorial advice that I recall him ever giving me was to make sure that the collar of my shirt was clean and crisply folded “because this is the irst thing that people notice.” His other recommendations for personal conduct in the world were along the lines of “don’t compare yourself to others, don’t look over your shoulder to see where you are in the race. Just keep running along your own pathway in life.” Something else set Morningside Heights apart in those days: It was powered by direct current. Back in 1892, when the new Columbia campus was being constructed—on the former grounds of the Bloomingdale Insane Asylum!—it was boldly decided to electrify all the buildings. This was the first institution in the world to be supplied with electricity from inception, and because Columbia had contracted the job to Thomas Edison, the electricity was destined to be direct current because DC was the flavor that Edison championed from a technical and philosophical point of view (as opposed to AC, Nikola Tesla’s alternating current). It was furthermore decided, as part of a real-estate deal, to offer this DC electricity to the many apartment houses (like ours) that were under construction within a half-mile radius of the coal-fired power station, decorated with a bas-relief of the fire-god Vulcan, which was located on the Columbia campus at 119th Street. At the time, this was a giant leapfrog over the rest of Manhattan, almost none of which had any electricity at all. This

“Joseph Cornell finally said, ‘For God’s sake Walter, paint anything—it’s only a pretext. Paint this!’ and tossed him an object.”

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The author’s mother, Katharine Scott, in 1929.


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Portrait of Katharine Scott on wallpaper.

initial advantage, though, had lost its appeal after 50 years, by which time the rest of the world had long since plugged into Tesla’s superior alternating current. This meant that in the 1940s we lived in a kind of technocultural isolation. Consumer-level motorized devices available to everyone else at the time—refrigerators, washing machines, record players, and so forth—would not run on direct current without bulky and expensive converters, and so we Morningsiders were still using non-electrical iceboxes and windup record players. Much to my delight, a large block of ice would be delivered to our apartment every Friday, the iceman cramming it into our wooden icebox with his iron tongs. I think all this also pleased my father for its quirky isolation, but my mother was less enthusiastic: Our use of domestic electricity was restricted to light bulbs, an iron, and one radio. I had grown up in this environment, so it seemed normal to me to be living in a windup-ice box world, with a workat-home artist father in the dining room, his cluttered studio full of an ever-changing array of fantastic objects that were first the subject of his paintings and later, when he was done with them, my playthings. My parents had managed to get through the Depression of the 1930s with my mother working as a secretary at the Ethical Culture school and my father designing and executing a series of commissions for the department stores of Manhattan, painting decorative murals for some of the fashionable restaurants in midtown, and doing illustrations and covers for books and magazines. (As a Canadian in New York he was not eligible for the jobs provided by the WPA Federal Art Project.) But when the financial crisis eased toward the end of the ’30s, his dissatisfaction with these commercial jobs increased, and he determined to commit himself to original work for art galleries—this had been his intention on moving to New York in 1928. But could he escape from his commercial straitjacket? And what should he paint? One of my father’s friends at the time was the artist Joseph Cornell, shortly to be famous for his box collages. After a day in conversation at Cornell’s house in Queens, kicking around the subject of what should I paint, Cornell—even more reclusive than my father— inally said “For God’s sake Walter, paint anything—it’s only a pretext. Paint this!” and tossed my father an object grabbed at random from his extensive collection. It was a toy known in France as a bilboquet— in English more prosaically as cup-and-ball: a short wooden shaft ending in a half-spherical cup, from which dangled a dozen pieces of string, each one ending in a black bead. My father took the object home and did as Cornell suggested, and—as he would explain to me years later—something clicked. The strangeness and ambiguity of the toy, which looked somewhat menacing out of context (he would refer to it as “the cat o’ nine tails”), appealed to him, and this Cornell-inspired painting became

an artistic signpost, pointing out the path that he would follow for the rest of his life: realistic still-lives of enigmatic objects. These paintings, dubbed Magic Realism by the critics of the time, ran counter to the prevailing artistic mood, and my father’s first one-man show in 1941 at the Wakefield Gallery did not go particularly well, so he continued to depend on commissions through the war years. (My father’s draft status during the war was 4-F—medical exemption—for reasons explained below). His second exhibition, in 1947, at Betty Parsons’s new gallery on 57th Street, was a modest success. In 1948, one of my proudest possessions was a blue windbreaker, which I wore on every possible occasion. Its secret appeal was the label sewn into the collar: a vibrant red thread embroidered with the name of the manufacturer on a deep and intense blue background. If I stared at it closely, the red lettering would appear to lift slightly off the background and hover in mid air. The fascinating question was, how did this magic trick work, and was it common knowledge? Or was it my own discovery?

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One day, when my parents were having a discussion about my father’s paintings, I decided to contribute to the conversation: my magic loating label, a subject that I was sure my father would be interested in. I described the effect, and showed the label to him, expecting a chuckle of recognition. Instead, he claimed that he couldn’t see what I was talking about. I was disappointed, of course, and astonished that I could see something that my father—an artist!—couldn’t. I asked my mother about it later, and she was curiously reticent, as if I had accidentally uncovered something she was not prepared to talk about. I put the episode aside as one of the mysteries of the adult world. Two years later, when they decided I was old enough, my parents revealed to me that my father was blind in his right eye, the result of a football accident when he was 12. The eye itself

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looked normal, but the internal structure was damaged and could only distinguish areas of light and dark, with no detail—the world as if seen through translucent white plastic. This was the reason for my father’s 4-F status, but my parents did not want this to be generally known for fear that it would harm his job prospects— almost all of the family income was still coming from commercial work—so I was conscripted into the family secret and told to keep my mouth shut. This monocular blindness turned out to be the explanation for why my father could not see the floating red label. Many years later, I learned the cause of this illusion, which goes by the name chromostereopsis. Because the wavelength of red light is half that of blue, the two colors are refracted at slightly different angles by the lenses of each eye, and this double image—each eye sees a different version of the aberration—is mistakenly interpreted by the brain as dimensional. The loating effect was employed regularly by medieval designers of stained glass, and it is often used today by graphic designers, particularly the producers of television news. Warm-toned igures (saints or newscasters) are placed against a deep blue background, and they consequently appear to “pop” forward toward the viewer. But to see the illusion you have to have two working eyes. My father, with only one eye, saw red and blue at the same—correct—distance. So instead of seeing three dimensions stereoscopically, he interpreted spatial cues about the world through the monocular effects of shadow, lateral displacement, and aerial diffusion. This in turn influenced—consciously and unconsciously—the style of his paintings, the subject matter that he chose, the somewhat compressed dynamic range of tonal values, and how he arranged objects in space—notably, their shallow depth of field. At the age of eight I didn’t know about any of this and was instead fascinated by the story of my father’s football accident: how had it happened, and what was it like for him, growing up in Toronto in the early years of the 20th century? He was born in 1907, the first of four brothers, in a mid-19th century farmhouse that had recently been swallowed up by the expanding city of Toronto. My grandparents, Walter and Louise Murch, had moved to this house shortly after their marriage—they had met through a mutual interest in music and courted each other in the same singing group—and raised their four sons not only to appreciate music but to perform it, with an eye to becoming professional musicians. The three other brothers—Frank, Louis, and Edward—became a conductor, a pianist, and a singer. My grandparents wanted my father to be a violinist, and he might have been, except for a quirk of biology: He was born left-handed. In those Edwardian days, left-handedness was seen as a correctable defect, so when my father began to skew left around his second birthday, my grandparents began remedial procedures, tying his left hand behind his back and otherwise encouraging him, with

WA LT E R S C OT T M U R C H

Walter Tandy Murch standing on his painting Car Lock, 1962.


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reward and punishment, to forego his left hand and use his right. Today, our culture no longer believes that “lefties” are deicient—ive of the last seven U.S. presidents have been left-handed—but such attitudes were widespread a hundred years ago. The corrective measures were a success—at least in the short term. My father became right-handed for most fine motor control tasks— writing, playing music, and ultimately painting—but he remained left-handed for anything involving the larger muscles, such as chopping wood or throwing footballs. Did the football accident that blinded my father’s right eye at age 12 have anything to do with his compromised handedness? It is hard to say. He told me that the accident occurred when he ran out to receive a pass and the ball slipped through his hands, the point of the football smashing his right eye. A definite unintended consequence of the hand-switching was a stammer that affected my father’s speech from the beginning and persisted for the rest of his life. We now know that handedness and language share neuronal real estate, and because handedness and speech develop simultaneously, the result is frequently a stammer if handedness is interfered with at this critical development stage—a kind of permanent traffic jam of the neuronal pathways of speech. My father did learn to play the violin, right-handed, and in fact became good enough to perform on Radio Canada in the early 1920s. But music never “took” with him as it did with his three brothers, and in his mid teens he asked to be set free from violin studies. It is an indication of the temperament of the family that my grandparents accepted this decision and suggested art school as an alternative. My grandmother had noted the expert sketches that my father had done since childhood, and realized that his reticence in social situations (probably worsened by his stammer) would be less taxed in the privacy of an art studio than on the public stage. There was, however, never an expectation that he should adopt a more regular, level-headed profession such as joining my

Murch’s easel board, on which he painted the word “duality.”

grandfather in his retail jewelry business. The boys were all going to be artists, and that was that. As he related it to me years later, with his first step through the door of the Ontario College of Art he was enveloped by the thick aroma of oil paint and turpentine, and he knew immediately that he had found his life’s path: to be an artist, despite the loss of sight in one of his eyes and the forced switch in handedness. Two years later in 1927, at age 20, he moved to New York and enrolled in the Art Students League, working at a stained glass studio to support himself. He found an inexpensive room at Christodora House, a settlement project in the Lower East Side, on Tompkins Square Park. This was a newly built 16-story building resembling a college dormitory, and was intended for young people who recently moved to New York and needed a temporary place to find their footing. It accommodated both men and women, on alternating floors, and was equipped with a swimming pool, concert hall, medical clinic, lounge, dining room, and a place for art exhibitions. It also had a roof patio where you could catch the sun and get a panoramic view of Manhattan—Christodora House was three times taller than anything else in the neighborhood. Katharine Scott moved to Christodora House in 1929 after

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graduating from Mount Holyoke College—she had secured her first job in New York as a secretary at the Ethical Culture School on Central Park West. Walter and Katharine—both 21 at the time— met at a Christodora-sponsored exhibition of my father’s artwork, and struck up a relationship which over the following year blossomed into a romance. In 1970, not long after my parents died within two years of each other, I received a four-page letter my mother had written to her friend Margaret “Peg” Bracken on June 24th, 1929. Peg had been going through her personal iles and thought—correctly—the letter would interest me and my sister Louise as a memento of my parent’s early relationship.

The letter was written hurriedly and surreptitiously while my mother was at work at the Ethical Culture School, and relates— breathlessly—events that happened the night before: “mi god what a story i have to entertain you with. get ready for a hurricane.” (In the Archy and Mehitabel style of the time, her spelling is occasionally coyly “original,” and no words are capitalized.) She wrote about a nighttime walk they took, from Christodora House to Brooklyn via the 23rd Street ferry, to talk over their relationship. Walter had been upset to see her holding the hand of another young man (“Fisher”) who was also courting her. By the time the ferry arrived in Brooklyn, they had re-pledged their affection for each other and Walter invited her to a picnic the following Sunday, but it turns out Fisher had already invited her, and the argument lared up again. On the ferry ride back to Manhattan, standing apart from each other in huffy silence, Katharine was approached by a “spitting, horrible drunk” who put his arm around her, saying “hello nurse,” and suddenly she finds herself blocked by a second drunk on her other side. She managed to run to Walter, but the drunks chased after her. Walter fought back in defense. In the confusion, the drunks started punching each other, the ferry landed in Manhattan, and Walter and Katharine made their escape, running at midnight “like hunted things” through the notorious Gashouse district, a no-man’s-land that laid between the ferry dock and Christodora House. They were followed by the drunks, out for revenge, who had now been joined by a third accomplice, and the fight resumed. Walter, outnumbered and cornered in a dead-end street, gamely slugged back but was knocked unconscious after a few minutes. The drunks ran away because “the men thought they had killed him i guess.” “...and there was i…,” Katharine wrote, “with a bloody unconscious walter at my feet and not knowing how to get home or what to do with him or what. i was in a state, my dear margaret, i assure you.” She pleaded with him to wake up and eventually he did, “shaking

“A lemon or a sprouting onion bulb could be called on to comment wryly on the monumental self-importance of a carburetor.”

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WA LT E R S C OT T M U R C H

Portrait of Katharine, 1936.


WA LT E R TA N DY M U R C H E S TAT E

Objects in Murch’s studio, at left, which informed his 1965 painting Enlarged Doll, pictured below.

all over and the most gory spectacle i have ever seen in my life.” They managed to get out of the Gashouse district and take a taxi back to “xidora” (her shorthand for Christodora), where Katharine snuck him into her room on the ifth loor and “moped off his poor banged up face and calmed him down as much as possible. i must say i couldn’t sleep. god what a life !!!” They were married in December of 1929. In the early 1950s, a regular family ield trip involved going out on expeditions to collect potential subjects for my father’s paintings: unusual rocks, bricks, tools, abandoned machine parts—the fossils of 20th-century life. One of the more exciting ventures was breaking, gently, into long-abandoned farmhouses during our two-week summer vacations in New Hampshire and carefully peeling off century-old wallpaper to use as fragile canvases for his drawings. He loved the complex texture of the back of the wallpaper, with its mixture of dried glue, plaster, paper, mysterious stains, holes, and the occasional husks of dead spiders and bugs. Back home in New York, he would weave these random designs with the delicate lines of his drawing, affectionately referring to the patterns as “hooks” that he laughingly said kept his drawing from sliding off the surface of the paper. His predisposition for “hooked” surfaces became standard practice for him, to the point that he would not begin a painting without first subjecting the canvas or paper to a kind of enhanced interrogation. I would often return from school to find the long hallway of our apartment carpeted with blank canvases. The first time this happened, I carefully stepped around them until my father leaned out of the kitchen door and encouraged me to walk over them, even drop things on them. This rule applied to everyone in our family—our two cats and my sister Louise with her tricycle—as well as all visitors. After the canvases had been on the floor for a couple of weeks, he would brush them off to find the one that had the random patterning of “hooks” best suited to the

subject he now had in mind. If they weren’t “hooky” enough—a kind of artistic Velcro—he would subject them to another week of torture, sometimes putting them out on the apartment’s balcony to receive the attention of the local pigeon population. In the 1950s he became even more aggressive toward his canvases, not only in preparation, but as they were in progress: stubbing out lit cigarettes onto the wet oil paint, pressing the bottom of paint cans on them, attacking them with palette knives, stepping on them. If you compare his work from the late 1940s to work from the late 1960s, this progressive breaking up of the surface is loudly apparent. It is a signature of his style, however, that as the surfaces of his paintings became ever more fragmented—in some cases almost Jackson Pollock-y when seen in close detail—the proportions and perspective geometry of the objects represented remained unaltered by the radioactive intensity of the surface. They are as precisely accurate as an engineering drawing. This tension between the realism of the painted objects and the passionately assertive two-dimensional reality of the paint surface is all the more provocative when you remember that my

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father had only one functioning eye, and so was not able to see the world in stereoscopic three dimensions. It also provides another reason for those canvas-abusive procedures: staking out the primogeniture of the two-dimensional surface with “hooks” before the three-dimensional subject matter was allowed to condense out of the air between my father’s eye and the objects themselves. To underline the importance of this tension, at some point in the late 1950s or early 1960s my father painted the word “duality” on the top of his easel board. His easel was always oriented at a 90-degree angle to the “little

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theater,” as he called it, where he would carefully arrange, re-arrange, and re-re-arrange the objects he was preparing to paint until he achieved the right balance of shapes and the right mixture of enigmatic “actors” and “supporting players.” The 90-degree angle was important, so that when he was looking at the canvas he could not see the little theater, and vice versa. Frequently, the central focus of the painting was a cast-off mechanical object from the past—a lock, a clock, a carburetor, an air filter—and he often stripped it of its casing-skin so that we were allowed to peer into its formerly hidden skeletal structure. He once described to me the thrill of prying open an ancient door-lock mechanism and discovering a moth’s cocoon inside: “I felt as if I was Howard Carter opening King Tut’s tomb,” he laughed. The supporting players in his compositions were often simple wooden shapes— spheres, tetrahedrons, and cubes—arranged around the central object, although a lemon or a sprouting onion bulb could be called on to comment wryly on the monumental self-importance of a carburetor. He placed the easel-board low enough so that he could sit in his favorite rocking chair and move in easily for close-up detail and then lean back for a wider view of the whole. The objects to be painted were always to his left, favoring his good eye, and their illumination came from above and to the left: a bare photoflood bulb clamped to the top of one of the studio’s window frames. The blinds of both windows were always rolled down so that no daylight ever entered the room. He would varnish his paintings himself, using a folding aspiration pipette stuck into a jam jar illed with his own varnish recipe. I remember him holding the jar in his left hand, blowing the varnish through the pipette onto the paintings with a side-to-side motion. This would go on for a week or so prior to a show, and he would inhale the fumes for hours at a time. And the dark, varnish-and-turpentine-drenched studio did indeed have a secret, womb/tomb feel to it, which was enhanced by the family lore that anything organic that ever went inside would, like King Tut, never decay. In fact, I still have a loaf of bread which was the subject of one of his paintings. Sixty years later it looks freshly baked but is as light and hard as tufa. It could today be the oldest intact loaf of bread in the world. Bread was “paintable.” So was metal, particularly rusted metal.

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Self-Portrait, circa 1941. Red and black pencil on paper, 16 ½ x 12 ½ in.


WA LT E R TA N DY M U R C H E S TAT E

Walter Tandy Murch The Bowler, 1967. Oil on needlepoint fabric, 40½ x 30½ in.

In fact, my father made a list of paintable and unpaintable things, and tacked it to his easel for a number of years. On the paintable side were metal, rust, cloth, wood, stone, glass, fruit, fish, and bread. The unpaintable list was shorter: human flesh, plastic, and eyeballs. The distinction seemed to be texture —all the paintable items had a roughness and variegation that his brush enjoyed playing with. The unpaintables had (for him) a monotony of texture that defied his attempts to paint them convincingly. Eyeballs, particularly, were problematic— perhaps because painting them reminded him of the loss of his right-eyed vision. When he was forced by circumstance to do portraits (lesh and eyes!) he almost invariably lost his nerve and cast the subject’s gaze downward, so that the eyes would be obscured. Portrait of William McMillan even left the eye sockets unilled, as bare canvas. I recall one commercial job which gave him such a dificult time with the eyes and hands that he paid another artist, an illustrator friend of his, to come to the apartment for a few days and inish off these areas. When I asked him about it later, particularly his eye aversion, he confessed that it made him nervous to be working late at night on a painting that stared back at him. “Still lifes don’t stare back,” he said. He did occasionally confront his demons—all three of his self-portraits stare back at the viewer. One of them, however, shows only half his face— his blind eye is hidden behind a lap of fabric, and there is more fabric than lesh. To make ends meet during the 1950s, he started teaching at the Pratt Institute of Art in Brooklyn. This was in addition to his commercial illustration jobs (such as covers for Fortune and Scientiic American) and original work (for the shows at Betty Parsons). The strain of balancing these three activities must have been considerable, but I was unaware—as children frequently are—of the undertows of my father’s life. Until one day in 1951, after he had worked all night to meet some deadline, he fell asleep on the living room sofa and suddenly, without waking, began shouting, grappling with some nightmare adversary. I couldn’t make out what he was saying, but the tone was frightening. My mother was also in the room, and I looked to her for an explanation. She must have been concerned, for reasons beyond what I could

have understood, but she was able to mask that worry for my sake. She calmly explained that he had been up all night, and was more tired than usual. “You know, Walter, your father loves what he does, and that isn’t true for everyone. Very few people get to do what they want in life.” An eight-year-old’s perspective on grownups is that they are in complete control of their destiny, so it was a sobering realization to discover that this was not always the case, and that—as difficult as things might have been at times—my father was one of the lucky few. MP

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P O L I T E P H OTO G R A P H I C S E R V I C E S , M A R S H A C OT T R E L L , A N D A N T H O N Y M E I E R F I N E A R T S , S A N F R A N C I S C O

Untitled, 2016. Platinum print, 29 x 22½ in.

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AWKWARD TECHNOLOGIES MARSHA COTTRELL BRINGS A HUMAN TOUCH TO THE LASER PRINTER

Marsha Cottrell’s work can appear cold and mechanical. Limited to a gray scale color palette, populated by elusive geometric forms—single circles, multiple rectangles, radial stripes, or broken lines—and crafted using vectorbased software and laser printers, it seems to lack a human touch. Yet the mathematical precision that the artist’s tools offer is complicated by how she uses them, manually manipulating the handmade papers that she feeds in and out of the printer, over and over. “The disconnect between myself and the interface of the computer—the sense that I’m operating at the limits of my control— is what engages me and continues to drive me forward,” she says. The result is a body of work that collapses the tactile and digital. Cottrell’s Brooklyn studio is filled with flat files holding a slew of laser-printed “rejects”—a natural consequence of an additive layering process where one misstep can undermine hours of labor. Nearby is a large-format Epson inkjet printer that can print up to 44 inches wide, and two refurbished HP electrostatic laser

P O L I T E P H OTO G R A P H I C S E R V I C E S

AT FIRST GLANCE,

BY MARGARET CARRIGAN

printers, “one for when the other one breaks down,” she laughs. Cottrell invites the mundane office connotations that laser printers bring; her interest in the devices stems from the 17 years she spent in magazine publishing. Cottrell recalls a doubtlessly familiar feeling of disembodiment while sitting at a desk in front of a computer screen, often for hours on end. “I felt like the screen was this barrier and my inclination was to move into it,” she recalls. “Since I couldn’t be in my studio, it was natural for me to consider how I might use the tools in my immediate environment.”

“I want to introduce a nervous system, a realm of human feeling or awareness into this rational environment.”


P O L I T E P H OTO G R A P H I C S E R V I C E S , M A R S H A C OT T R E L L , A N D A N T H O N Y M E I E R F I N E A R T S , S A N F R A N C I S C O

Untitled, 2016. Laser toner on paper, 12 x 9 in .

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F R O M TO P : P O L I T E P H OTO G R A P H I C S E R V I C E S , M A R S H A C OT T R E L L , A N D A N T H O N Y M E I E R F I N E A R T S ; M A R S H A C OT T R E L L

Materiality and physicality are paramount for the artist, although she recognizes this may seem ironic in light of the digital processes she uses. “Painting and drawing in the traditional sense are linked so directly with the body,” she says. “Screens are flat and planar like a canvas or piece of paper, but the activity that takes place within or on them has very little immediate physicality. In a sense I’m trying to get this stuff—all the hardware and software—out of the way. I want to introduce a nervous system, a realm of human feeling or awareness into this rational environment.” The carbon-based toner builds a wide range of grays on the surface of the paper and, though she doesn’t make physical contact with the page when laying down these marks, Cottrell sees the process as “more like visualizing a physical action, which requires an odd sort of mental and emotional energy.” Cottrell’s process, in many ways, goes against the convenience and speed digital technologies are meant to offer. Because toner can’t be erased once it’s fixed to a surface, she spends a lot of time looking at what’s on the paper and thinking about what to do next. “In addition to making the object, I’m gaining some control over the pace at which time moves forward,” she says. “Everything becomes about an intense concentration.” While laser-printing technology first developed in the 1970s, Cottrell often looks back to an earlier epoch. Her New York Gallery, 11R, will show a series of her latest platinum prints at this year’s Armory Show. To make them, the artist hand-coats a sheet of paper with a metalinfused, light-sensitive solution that is then exposed to UV or sunlight with a negative. (It’s a process that, for Cottrell, resonates with the basics of laser printing, where a beam records information on a light-sensitive drum inside the toner cartridge.) She’s experimented with platinum and other 19th-century contact printing processes since 1999, but Cottrell returned to them in a big way in 2015 as she sought ways to produce larger works.

A B OV E:

Untitled (12:10:32pm), 2016. Laser toner on paper, 12 x 18½ in. R I G H T:

Cottrell initially used a homemade dolly to expose her platinum prints outside of her former Brooklyn studio.

Although she is currently collaborating with a studio that specializes in alternative photography processes, she originally undertook the Sisyphean task of creating the prints at home. “I was making these 1:1 digital negatives—the size of the final work itself—and wheeling a homemade, wooden dolly layered with a large sheet of glass out onto the sidewalk in front of my studio to make exposures using the sun,” she explains. Afterward, she would load the exposed paper into her car and transport it to her apartment, where the developing work received a wash of chemicals and water in a makeshift setup atop her bathtub. For Cottrell, the strenuous procedure only highlighted the importance of the body in her practice. “In all of my work,” she says, “there’s a physically awkward or technically challenging approach that underscores a dialogue between the corporeal and the intangible.” MP

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WANT TO UNDERSTAND OUR MESSED - UP, POSTTRUTH, TOPSY-TURV Y REALIT Y? IF YOUâ&#x20AC;&#x2122;RE ANDY HOLDEN, YOU LOOK TO CARTOONS. BY MARGARET CARRIGAN

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WA S P S S T U D I O S , G L A S G O W

Andy Holden performs Laws of Motion in a Cartoon Landscape, 2011–16, live at Glasgow’s Wasps Studios in April 2016.

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A

ndy Holden’s body of work is one of informed naiveté; the artist oten presents the comical as serious (and vice versa), and he’s as likely to draw inspiration from Kant as he is Kanye. he 34-year-old artist’s practice traverses sculpture, installation, collage, performance, and video, and his projects oten iteratively build of of previous works. Consider the giant knitted rock known as Pyramid Piece, 2009, a scaled-up rendering in yarn of an Egyptian pyramid fragment Holden “stole” when he was 12 while on vacation with his father. In 2010, he showed the yarn rock at London’s Tate Britain alongside In Place of an Ending

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(Pyramid Souvenirs, Second Visit), 2008, an installation of small pyramid souvenir igurines, and Return of the Pyramid Piece, 2008, a video work that shows him going back to Egypt—the scene of his youthful crime—to restore the stone fragment to the site. Laws of Motion in a Cartoon Landscape, 2011–16—an hour-long, dual-channel video installation detailing the nonsensical physics that undergird cartooned worlds—is another project that Holden has been developing for years. Clips from beloved shows like Looney Toons, Peanuts, and he Simpsons illustrate the interruption of Newtonian law on the right-hand screen while, on the let, an animated Andy guides the viewer through not only all the anvil crashes, but also the history of the cartoons and their implications in the real world. In his exhibition “As speed increases a body can be in several places at once,” on view through March 17 at Lancaster Arts, Holden debuts an updated version of the ilm that takes into account recent news, like Donald Trump’s upset victory in the U.S. Presidential election. On March 16, Holden also stages a live performance of the 10,000-word Laws of Motion transcript at the Tate (he had originally conceived the project as a lecture-style performance, with his friend Tyler Woolcott, back in 2011). It’s part of a one-night, Holden-curated event, “World as Cartoon,” which includes video works by other artist-peers who

are intrigued by the idea of animating the inorganic, like Jordan Wolfson, Mark Leckey, and Ed Atkins. Laws of Motion grew out of a conceptual framework that Holden started building nearly two decades ago. As a teen, growing up in Bedfordshire in the early aughts, he and four friends penned Maximum Irony! Maximum Sincerity (MI!MS), a nascent metamodernist manifesto that ofered the collaborators a way to make and understand art. “We live in an age of irony in mourning for sincerity!” the document earnestly and playfully proclaims. MI!MS advocates for the embrace of oppositional modes of being: to be both cynical and sincere, worldly and naïve, romantic and realistic all at once. It suggests harboring a “willingness to be lied to and the will to believe.” Laws of Motion takes up the MI!MS cause, seeking an interpretive structure to understand not only art, but the increasingly disjunctive aspects of our shared reality, from ongoing Brexit fallout to Trump’s ascension to the Oval Oice. As fake news and sensational rhetoric continue to shit the landscape of rational discourse, the artist’s cartoon-land conjectures and observations take on an added sense of gravity. Modern Painters associate editor Margaret Carrigan spoke with Holden about making Laws of Motion, and the sincere desire for truth in a post-truth world.


A N DY H O L D E N

What prompted you to start using cartoon imagery? A few years ago, I was developing a way of talking about a number of the sculptural pieces I was making, and cartoon-like was an adjective I’d been using, along with mute, dumb, and thingly. Most of the time, when we interact with an object, it’s in a realm of simultaneity; but every now and again an object, often an art object, ruptures that, and it reveals something durational. That’s how the sculptures I was making at the time were functioning: They’d look out of place and out of time. For me, cartoon-like had become a way to describe this incongruity. I started making these giant sculptures that looked a little bit like the boulders from Wile E. Coyote’s landscape. They were built in the realm of architectural folly, so I would only build the fronts of them; they were almost like stage sets. I wanted them to oscillate between seeming very soft and cake-like and then also very hard like stone, so the multimorphic forms of cartoon

landscapes were a visual point of reference for me. Some of these big works would only exist for a day or two, so they only really existed through the documentation—there was an absurdist, excess effort to make these ive-by-ive meter sculptures in often inaccessible, often remote places. I think the way they look in the photos is quite right: They have a look not dissimilar to the way the cartoon version of me looks in Laws of Motion—both at home and out of place in the landscape. And, you know, I’ve always been interested in cartoons; they were a huge inluence on me growing up, as I think they were for a lot of people. I learned to draw by copying cartoons and there are so many quotations of cartoons in art. Obviously Pop art, that was very intentional, but I was coming across so many artists—Cosima von Bonin, Peter Wächtler, Dan Colen—working with this imagery or language, and it seemed like the right time for it, like maybe this just wasn’t about me and my work.

Installation view of The Naturist, 2011. Plywood, timber, and paint.

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Stills from The Return of the Pyramid Piece, 2008.

Laws of Motion runs over an hour; the transcript is around 10,000 words. It’s essayistic, in a way that reminds me of David Foster Wallace, blending historical background, personal anecdotes, topical tangents, and philosophical musings. What interested you in this particular style of narration? The video started as a way of explaining my work, like an artist’s talk where I showed cartoon clips and explained the physics at play in them as a way of clarifying how I wanted my work to operate. I’d been thinking of my work for a long time as this kind of metonymic movement, in that one form or a part of a form might stand in for something else, and that was something I found a lot in cartoons. As I was putting the Laws of Motion talk together, it became more

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interesting if I made it not just about my work but about art in general. Then I wanted to push it even further than that, and it became about the world in general. Of course, the world was starting to become more absurd at the same time. This was after events like the Charlie Hebdo shooting, when cartoon-like imagery seemed to have a physical power again. Plus Trump’s campaign was picking up steam and the Brexit argument was underway. It made me think that the Golden Age of cartoons was maybe a premonition of the world we now live in. Not that I think we actually live in a cartoon. It’s an as-if proposition in the Kantian sense—treating the world as if it’s a cartoon in order to explain something that is otherwise quite

A N DY H O L D E N

“I watched a lot of conspiracy-theory videos to see how those were put together. They had the right talking heads at the right times, they had dramatic music, they had 3-D models... I started to realize that any narrative can be told like this and you can shift reality in that way, particularly when you incorporate images.”


dificult to explain. Like why we’re seeing a change in the shape of logic and that rational arguments no longer take hold; or why certain modes of exaggeration have become incredibly powerful.

Installation view of Pyramid Piece, 2009, at Art Now, Tate Britain.

A N DY H O L D E N

Do you feel that there’s a tension between the visual and the linguistic in your work, or do they mutually support one another? For every dense monological piece that I make, I’d like to think that I could make one thing that doesn’t require any language. I am really invested in the power of the sculptural, visual object, but these objects do seem to appear more and more within networked discourses. I think that has a lot to do with the accessibility of information now: One minute I’m reading the New Scientist and the next I’m looking at a cartoon and then I’m reading a thinkpiece on contemporary politics. These all become tangled.

That’s very Bruno Latour-ian of you. Does that kind of network theory inform your practice heavily? Oh yeah, Latour’s 1991 book We Have Never Been Modern was a huge inluence on me for Laws of Motion. The idea of the vastness— what Timothy Morton would call “hyperobjects”—at the moment, I feel that on a very molecular level. The interconnectivity of things, and bringing art into context with other disciplines, just in general the blurring of categories—it’s about moving one form into another. Things have become so bendy and multimorphic now, you know. Someone can be the savior of the common man and also a rich member of the elite—they can perform both roles at once. Listen to a Trump speech or a Kanye rant: It’s just a concrete-poetry experiment with constant repetition and strange adjectives. It’s hyperbolic; there are loose connections between many things and huge leaps in logic.

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“Things have become so bendy and multimorphic now. Someone can be the savior of the common man and also a rich member of the elite—they can perform both roles at once.”

TO P R O W:

Stills from Laws of Motion in a Cartoon Landscape. B OT TO M R O W:

A N DY H O L D E N

On the left, animated Andy in front of an image of electron collision from CERN’s Large Hadron Collider. On the right, a still from Prelude, 2016, a recent work that grew out of Laws of Motion.

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A N DY H O L D E N

I wanted to put together my argument in Laws of Motion like that: One idea moves so quickly into the next that you don’t have time to debunk it or even question it. So when I was editing, that was something I was very conscious of, and I watched a lot of conspiracy-theory videos to see how those were put together. They had the right talking heads at the right times, they had dramatic music, they had 3-D models, and it all moved along so quickly that I found myself having to believe in the conspiracy to understand the show. I started to realize that any narrative can be told like this and you can shift reality in that way, particularly when you incorporate images. It doesn’t need to have a factual basis, or be accountable for anything— we’re seeing that play out in the real world now with the fake news problem.

Is it weird to have this project you started years ago as a thought experiment become increasingly relevant? I like the idea that Laws is premonitory. In it, I talk about the Golden Age of cartoons in the 1920s and how it foretold our current state, as if there was a release from the constraints of space and time by the collective imagination of a group of people based mainly in L.A. Cartoons were (and perhaps still are) a way of processing the speed of modernization and change. So many

theorists wrote about that, like Sergei Eisenstein on Disney. These comical, impractical, visual representations of universal truths like gravity helped people process a huge change in the fabric of society. But cartoons become less successful the more they try to be like the real world—it’s the real world that tends to trend toward cartoons. There were important sociological, political reasons for their emergence; those same reasons are perhaps why cartoons should be reexamined now.

Still from the new footage Holden incorporated into Laws of Motion after the recent U.S. presidential election.

You’ve added some new footage to Laws of Motion lately to do just that—to reexamine the social and political relevance of cartoons—correct? I promised myself I wouldn’t touch the ilm before I showed it again, but I really just had to in light of recent events, as it just seems like our world is getting more and more like a cartoon. I’ve added the recent viral Simpsons clip—the bit where Trump and Homer are descending the escalator in Trump Tower—and the real-life footage of Trump descending an escalator before he announced his presidential campaign. And then, at one point, I’ve also inserted cartoon-me in the back of Trump’s speech, to mirror the part of The Simpsons when Homer stands in the background while Trump gives a speech. It’s a dramatic moment, revealing the permeability between one world and another. MP

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PROBLEM

PAINTERS TWO ARTISTS FROM TWO GENERATIONS, DANA SCHUTZ AND DAVID SALLE, DISCUSS HOW THEY SOLVE THEIR PERSONAL PAINTERLY CRISES, AND HOW, IN A TIME OF NATIONAL CRISIS, THEYâ&#x20AC;&#x2122;RE THINKING ABOUT ART,

F R O M L E F T: P E T Z E L , N E W YO R K ; C O S TA S P I C A DA S

APPROPRIATION, AND FAKE NEWS

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because they took the language of modernism but then made it—this is going to sound really convoluted—but it’s like there’s a house of modernism and then you find out that the foundation is all just made of shit and jelly beans. SALLE: Wow. That’s a great image. SCHUTZ: I thought your paintings had a critical stance, but were also very much paintings, and they had the internal scale of Abstract Expressionism. I liked that. SALLE: That was the world of

painting I thought I was part of, even if no one else did. SCHUTZ: When you went to school what were people talking about? SALLE: When I was in art school, the first year anyway, Brice Marden’s monochrome paintings were the big news. I remember trying to make one—you know, my version of one—and my teacher, Allan Hacklin, came by and said, “Harder than it looks isn’t it?” Turns out everything is harder than it looks. Or, as Andy Warhol used to say, “Easy to

criticize, hard to do.” SCHUTZ: Yeah it’s true. I guess that’s always the key. You want to make it look easy. SALLE: Who did you work with at Columbia? SCHUTZ: I worked with John Kessler and Gregory Amenoff, Archie Rand, Kara Walker, Rirkrit [Tiravanija]... SALLE: And Ross Bleckner, right? That’s how I first heard about your work. He said to me, “I went to Columbia and met this girl who’s really good.” SCHUTZ: Wow. That’s so nice. I remember it. Bleckner was the opposite of how I thought he would be. I thought he would be really solemn and serious. And then we met him and he was so funny. He would be on his phone—and this was before people were on their phones— so he seemed like a celebrity. But he would go around very quickly and I remember he was like, [in a nasal voice] “So what do you do? It looks like you paint portraits that are funny and you paint landscapes with stuff in them. You paint portraits and landscapes.” It was actually really clarifying. Sometimes it’s helpful to simplify things especially at that age when everything is so overwhelming. It helps to have someone come in and say, “Oh yeah, you’re painting eggplants.” And then you can be like, “Oh, yeah, I didn’t realize that.” SALLE: Or if it’s something you really don’t want to be doing then you can react against it in a clearer way: “I don’t want to paint eggplants; I really want to paint dogs.” I think when you’ve been painting for a

DA N A S C H U T Z A N D P E T Z E L , N E W YO R K

Dana Schutz Presentation, 2005, oil on canvas, 10 x 14 ft.

DANA SCHUTZ: I’ve known about your work for a long time. I remember arguing about it when I was an undergraduate. DAVID SALLE: Where did you go to school? SCHUTZ: I went to undergrad at the Cleveland Institute of Art, and later to Columbia. At Cleveland there was a class on postmodernism and NeoExpressionism. I was very young, maybe 20, and I was probably misreading your work, but I was saying that the paintings were really cagey


R O G E R - V I O L L E T A N D M U S É E D ’A R T M O D E R N E

while there are certain things you fall back on, certain habits. I remember talking to Alex Katz about this and he said he once went through a phase where he resolved every painting with yellow. So for a year he wouldn’t allow himself to use that color. SCHUTZ: That’s so great. SALLE: But I don’t know how much you can really move the needle. You can move it a little bit. And I don’t how quickly it can be accomplished. There are some artists where you think, “God, how were they able to move the needle so far, so fast?” SCHUTZ: Yeah, did you see the Picabia show [at MOMA ]? SALLE: Just yesterday. What did you think? SCHUTZ: Oh, I thought it was great. It was really shocking how fast and how fully he would inhabit a whole new shift in his work. SALLE: Yes, there was a fearlessness, or just disregard. SCHUTZ: And it seemed like he had jumped forward and backward. SALLE: Sometimes you do go backwards to go forward. SCHUTZ: Yes. There was a logic too. You could see he started to use three-dimensional parts of objects after he started painting machines. SALLE: I think there is a through-line to his style, which was partly derived from graphic design of the time. He was very attuned to design

overall. There are many great things in the show, but what really struck me were the magazine covers and all the letters, his sense of graphic space and presentation. It was just irst-rate. If he had never been anything else, he could have been the greatest graphic designer of his generation. Tremendous decorative power. It’s a very real force in art and Picabia had it in spades. Even when the paintings are so weird you can’t imagine what he was thinking, they still have great decorative power. I mean if you put one in a room it gives off a lot of energy. SCHUTZ: Yeah, my favorite paintings in that show were the monster paintings, the frenetic kissers. And I loved the ones that were really flat and graphic. SALLE: He was really sophisticated as a stylist. He could combine Neoclassicism and Dada in the same painting. Come to think of it, maybe they’re not so far apart at that. SCHUTZ: I never think about this in shows ever, but this is the first show when I thought, “This artist might be really wealthy.” SALLE: It shows, somehow. He had a different kind of taste, more liberal. SCHUTZ: Maybe it was a kind of playfulness and a bit of the sophistication that comes in there, too. But he just had this sort of, “Well I can just do this and I can do this...”

SALLE: The work is free of a certain anxiety. Look at Magritte, for a comparison. He made some far-out paintings in the 1940s called Vache because they were meant to be “dumb as a cow.” They were sort of pastiches of Renoir and that ilk. Some of them are ravishing, but when they were shown at his gallery in Paris, it was a total flop. Not one painting sold. And his wife said, “Ok, that’s it, back to the bowler hats.” He couldn’t afford to make paintings that nobody wanted. He had a family. But Picabia didn’t give a damn. I

asked an art historian about Picabia’s late paintings, “Who do you think bought them at the time?” The answer was: “No one bought them. They were party favors.” SCHUTZ: That’s it! The lack of anxiety. It’s interesting because Kippenberger was wealthy too, but I don’t have that same feeling when I see his work. SALLE: Well, he had that existential angst. It’s a different thing. He was a big drinker. And he was German. SCHUTZ: That’s true. Do you feel like there’s anxiety in your paintings?

Francis Picabia Les Amoureux (Après la pluie), 1925. Enamel paint and oil on canvas, 45 ¾ x 45 ¼ in.

“With your paintings it felt like there was a house of modernism and then you find out that the foundation is all just made of shit and jelly beans.” —Dana Schutz BLOUINARTINFO.COM MARCH/APRIL 2017 MODERN PAINTERS

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David Salle Half and Half, 2016. Oil, acrylic, charcoal, silkscreen, and archival digital print on linen, 74 x 94 in.

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SALLE: Well, sure. Hopefully there’s some idea of freedom, whatever freedom means in painting, but they’re not cream-puff paintings. SCHUTZ: But neither are Picabia’s. SALLE: That’s true. I mean this painting [Half and Half, pictured at left], I made it over the summer, and when I was painting it I thought, “This is going to be quite a sunny, happy, upbeat painting” because of the color and the dynamic composition—the playfulness of it. When I finished the painting and stepped back, I was surprised to see that it actually had a kind of melancholic tone, like much of my work. SCHUTZ: With a lot of your new paintings there’s this simultaneity of events. In many of them it feels like there is an event but it’s all collapsed, or it’s happening all at once. There’s this collision, and almost a sense of horror. And some of the early paintings felt like that, too. SALLE: For one, the watermelon looks like a shark coming out of the water. SCHUTZ: And there’s something bloody, like a wiped-off knife... SALLE: Sometimes I don’t know what the hell I’ve made. Painting is something you really don’t know all at once. That’s one reason to do shows: You don’t really know what you’ve done until you see it in that neutral space. SCHUTZ: And it can be totally surprising. There have been times when I put up work and I think, Oh my god, what have I done? People will see this. It’s like a stranger walking into your house and only then do you realize you’ve been living in squalor. SALLE: So what’s the most embarrassing painting moment of your career? SCHUTZ: Oh, that’s easy. It was the first time I showed paintings in a

“Sometimes I don’t know what the hell I’ve made. That’s one reason to do shows: You don’t really know what you’ve done until you see it in that neutral space.” —David Salle group show, at PS 1. I was 24. It was right after September 11 and someone who had come through Columbia had recommended me to Klaus Biesenbach. I was such a spaz and so excited that I just put all my paintings in a U-Haul truck and hauled them to PS 1 like a weirdo. I must have seemed really naive. I remember being so sensitive. The work was so rough—there were fingerprints all over the sides and unintentional hair in them. They were bumpy and relatively expressive. They just seemed really out of place at the time. I remember watching people’s faces and they seemed grossed out. I was mortified. SALLE: Often the thing that’s been rejected ends up being the interesting thing. SCHUTZ: Yeah, did you feel that way? I mean you were coming out of a time when there was a lot of Minimalism and conceptual art. SALLE: I’m not sure I remember how I felt. I came of age at a time when the modernist belief system was

still intact so there were certain things that were OK to do and some things were not OK. The people in my circle had a very healthy sense of themselves as rebels. Our motto was “don’t tell us what to do.” I remember meeting Richard Serra on a panel for Artforum. He got very aggressive and said, “Oh Salle, I know what you guys are up to. You’re just trying to combine Warhol and Pollock.” Almost like an insult— like he’d seen through us. And I said something lame, like, “You don’t get to tell me what to do!” Of course, he was absolutely spot on. It was the best analysis anyone has made. SCHUTZ: But could he see that that’s actually interesting? SALLE: He thought it was wrong, historically, which is how people thought about things then. He just thought it was barking up the wrong tree. But it was, in its way, an accurate description, and anyway would probably be a great project overall, if someone could pull it off. It is of course, only one way of looking at things. SCHUTZ: Maybe all the art that came after that from the 1990s did that—hold two contradictory things at the same time. Although maybe art has always done that. SALLE: Has it? Certainly much of the art from New York that was valorized did not do that. But if you feel like complexity is more the norm today, I’m glad. I’m on the side of simultaneity. SCHUTZ: Appropriation now is more about, “I like this or I like that,” rather than critique. SALLE: Well that’s the new curatorial mind. We’re all choosers. SCHUTZ: I’m thinking of an artist like Josh Smith, speaking of Pollock and Warhol. People always want to locate his intentionality, probably because they can’t quite determine the sincerity in the work. He really

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complicates people’s notions about gesture. A lot of what’s made now seems like celebration and critique have folded in on itself. I don’t know if it was like this before, in the 1980s. Maybe it was more critique then. SALLE: Yes, everything was viewed through the lens of critique—a procrustean bed if there ever was one. SCHUTZ: Was there ever a moment where you felt crisis? SALLE: Oh god, probably once a month. SCHUTZ: What’s the latest crisis? SALLE: This is maybe something shared by anyone who makes collage-type compositions—where you’re not making edge-to-edge reality and you’re not making abstraction. The question is,

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how do you imbue something that contains bits of different realities with a convincing overall pictorial reality? That’s a very specific painterly problem. You have a similar problem in your work sometimes in that you don’t want to be beholden to edgeto-edge realism. But, without that, how do you ensure the painting has enough autonomy and conviction without pointing to something outside the painting? But that’s kind of technical. What’s your crisis? SCHUTZ: Oh gosh, right now it’s how to paint this terrible leg before all the brown paint gets sticky. I know what you mean, though, about pictorial crisis, the edge-to-edge realism thing. You never want the painting to be totally sealed

having will is huge. SALLE: If I could choose, I would have been a different kind of painter all together. I’m too wedded to the way things look, to a kind of literal depiction. And I’m not much of a drawer. SCHUTZ: Really? You don’t think you’re a drawer? I think you totally are, in a way. SALLE: Maybe “in a way.” But you’re being kind. You’re a good draftsman. Most of the painters I admire are good draftsmen. Some good painters never made a drawing, like Clyfford Still for example, but if you don’t draw it’s harder to invent form. Stella never drew in any traditional sense. My way of inventing form is to collide it together. But I think that’s a second-rate way of creating form. SCHUTZ: No, that’s how you create form with space. SALLE: Now it makes me unhappy. It’s too complicated a way of working, for one thing. SCHUTZ: So you feel like it’s outside of your control? SALLE: It’s fate. SCHUTZ: One thing I wanted to say before is that your paintings always have a sculptural quality to the image and the painting itself. This is something that I really admire—that they extend outward in almost this sculptural, acoustic way, and I think it’s something about the scale inside. SALLE: Well, thanks. That’s sort of what I’ve been after— that the images take on a different, specifically pictorial quality—in the painting, and only there. Scale is a big part

C A M E R O N W I T T I G F O R WA L K E R A R T C E N T E R ; P R E V I O U S S P R E A D : S K A R S T E DT, N E W YO R K

Mike Kelley in 2005

off from the world, yet it has to have its own presence, like a thing. Your paintings have this, even though they combine various disparate imagery they feel so physical, they have a great body relationship to the viewer. A while ago, I had another crisis where I felt like my paintings were too stuffy and heavy, like bricks. I wanted them to have more air, but I was having trouble squaring that with a desire for volume. SALLE: It’s interesting you say that because you are a painter of volume. You’re a describer of volume and you do it in a very efficient, energized, and convincing way. The reality of your paintings is rooted in your description of volume, and that is something that not everybody can do. So how did you come to that? Because I would say that’s a specific talent. SCHUTZ: Talent always seems slightly derogatory. SALLE: I know, but people still respond to it even if they deny its existence. I don’t care what it’s called, but some people are good at certain things—their body/brain connection is wired in such a way that allows them to develop a skill. Someone else might really want to make a painting sort of like yours, and then realize it’s not working. The paint doesn’t have the sense of a real world. Making the translation from the volumetric image into paint calls for a specific talent. SCHUTZ: I do think that’s true. Every artist has a specific touch. Although I do think


of it. I like the idea that there could be an acoustic presence. And I’m reminded of a painting of yours that I always come back to—a man lying in the grass, seen from overhead. SCHUTZ: It’s supposed to be Mike Kelley sleeping in the grass. SALLE: Oh yeah, it sort of looks like him. I didn’t realize that’s who it was. SCHUTZ: Yeah, I was just thinking about his acne scars, the light, and texture of the grass. SALLE: Is that the title, Acne in the Grass? That’s a great title. SCHUTZ: That would be great! No, it’s called Daydreamer. SALLE: When I first saw the painting I thought it was a brilliant bit of pictorial invention: when you’re walking along and you see someone lying in the grass and you’re looking over at them like that. The fact that you had the idea of visualizing that as a painting and executing it—it was sensational. SCHUTZ: I was thinking about L.A. and places with back-road histories in a free associative way. I had never been there but started to wonder, what is in L.A? I thought, Mike Kelley lives in L.A.—I mean, he is actually from Detroit, but he had a sort of darkness that felt like L.A.—and

DA N A S C H U T Z A N D P E T Z E L

Dana Schutz Daydreamer, 2007. Oil on canvas, 33 x 27 in.

“I was thinking about L.A. and I thought, Mike Kelley lives in L.A... And you know what people do there? They probably sleep in the grass.” —Dana Schutz BLOUINARTINFO.COM MARCH/APRIL 2017 MODERN PAINTERS

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Amy Sillman Elephant, 2005. Oil on canvas, 78 x 66 in.

you know what do people do there? They probably sleep in the grass. So I wondered what would happen if I made a painting of Mike Kelley sleeping in the grass. And then I thought his shirt could be like a palette— it’s flat like canvas. SALLE: Did you make some drawings first or you just went at it? SCHUTZ: I just went at it. I think I made one little sketch.

SALLE: Do you draw on the canvas with charcoal before you start painting? SCHUTZ: No, no. I draw it out with thinned-down, usually red, oil paint. But I sort of miss the surface of the earlier paintings— not necessarily the big thick paint, but just how the one thing is put on top of the next. I think it’s like the crisis we were talking about before and wanting to have it look like it all just appeared at

once. So for a long time I was just wiping things out and trying to make them look like it was happening all at once. I still paint this way but I think I miss the pentimento. SALLE: It gave things a more hard-won feel. SCHUTZ: That’s something I like with other people’s paintings so I wonder, what’s my problem? Why am I trying to hide my process? It’s like I’m trying to hide the stress. SALLE: Amy Sillman’s work has that. SCHUTZ: Yes, it has a really strong physical body. SALLE: It’s like there are 10 paintings under each painting. SCHUTZ: Something that fed into my crisis was when I saw a Rauschenberg painting at Gagosian and it just had this giant expanse of blue that was put on so fresh. It was huge and airy and I thought, Wow, that’s how I

want to paint. SALLE: Sometimes you can take things like that from other people that rhyme with where you’re at in a certain moment. I don’t have any problem with feeling influenced or expressing it. SCHUTZ: Yeah, me neither. SALLE: I had this argument with somebody in I think 1980. Julian Schnabel had repainted a Tatlin painting but did it with a palette knife on velvet. SCHUTZ: That’s awesome. SALLE: Some clever journalist thought they were catching him out by reproducing both images side by side in the Village Voice, the Tatlin and the Schnabel, the same size, and in black and white, so they looked very similar. People thought: “Aha! See—he’s just a copier!” SCHUTZ: They should be hung next to each other. SALLE: I said at the time that even if he’d copied it

“I think appropriation as an idea—just for the record— has really run its course.” —David Salle

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David Salle Nadarâ&#x20AC;&#x2122;s Grey, 1990. Acrylic and oil on canvas, 84 x 114 in.

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DA N A S C H U T Z A N D PETZEL

Dana Schutz Big Wave, 2016. Oil on canvas, 10 x 13 ft.

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S K A R S T E DT; P R E V I O U S S P E R A D : A M Y S I L L M A N A N D S I K K E M A J E N K I N S & C O., N E W YO R K ; S K A R S T E DT

exactly, it would still be a totally different painting. SCHUTZ: Totally different. SALLE: That being said, I think appropriation as an idea—just for the record—has really run its course. SCHUTZ: That’s something I was wondering about: whether your issues that were there when you were beginning are still there after the world’s changed? SALLE: I think so—maybe even more so. My starting point was how things looked in books and magazines. It occurred to me when I was around 20 that there’s a reciprocity in life between things-that-arepictured and things-inthemselves. I wanted to get in and drive a wedge into the divide, to split them apart. SCHUTZ: Split them apart? SALLE: A little bit. I grew up in ad culture and, in high school, I worked as a commercial artist. My father did the ads for a clothing store. We used to compose ads for the newspaper together when I was about 10 years old. SCHUTZ: That’s amazing, I didn’t know that. SALLE: I was always attuned to the language of presentation; that was my visual environment, and I guess it stuck. But the idea that you would re-paint someone else’s painting because originality isn’t possible anymore, I mean, did you ever buy that? SCHUTZ: Nobody ever bought that. I don’t think that was the thing even when I was a young student talking about your work,

David Salle Lustre-Creme, 2016. Oil, acrylic, charcoal, archival, digital print on linen, 74 x 60 in.

David, with my friend. I always felt like it was more about throwing meaning off. SALLE: Hopefully a painting gives access to a kind of feeling or emotion that would otherwise be hard to access. Otherwise what’s the point? SCHUTZ: Artists are different in each generation, but the world is also different. SALLE: True. The idea that everything is pictured, as opposed to a primary

experience, wasn’t a commonplace 35 years ago. SCHUTZ: Now everything is primary. SALLE: Maybe everything is primary—for an instant. SCHUTZ: That’s why there’s all this fake news. SALLE: Unfortunately. SCHUTZ: I remember thinking in 2006 about how there was a different form of appropriation, or that the conversation surrounding appropriation felt

more loose. It felt more like a form of Expressionism. SALLE: Originally it was driven by a wish to iniltrate power structures, language being one of them. It’s a nice idea, if a bit simple-minded. But anyway, that’s old rhetoric, almost quaint. Now, the fake news people are the iniltrators. Artists could never be that hardcore—we don’t actually want to mislead people, let alone control them. MP

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Musées royaux des Beaux-Arts de Belgique Koninklijke Musea voor Schone Kunsten van België

RIK WOUTERS 10.03 > 02.07 2017 #expowouters @FineArtsBelgium fine-arts-belgium.be Partners

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REVIEWS

Nora Sturges Housing Estates, 2009. Oil on MDF, 8 x 9 in.

BALTIMORE

“Landscapes Into Art”

C . G R I M A L D I S GA L L E R Y

C. Grimaldis Gallery // October 22–December 22, 2016 IT CAN BE DRAMATICALLY reorienting to discover space is not as you thought. This exhibition features 33 small and mid-sized landscape paintings and prints from the past 40 years, by 10 artists. Opened just prior to the 2016 election of Donald Trump as president of the United States— and the upending of conventional wisdom about the shape of the country that event entailed—it reminded me of how disruptive and shocking revisioning can be, whether translating from the world into paint, or from one mental picture of the

world to a new one. In part this comes from the Impressionist– indebted work on view, namely that by David Brewster, Aschely Cone, and Raoul Middleman. Their daubed, brushy, and smeared marks always retain some relationship to reality, but are principally attentive to light and sensation. Brewster’s Shafts of Corot, 2016, with its pale, brisk brushwork, owes as much to Paul Cézanne as the titular Jean-Baptiste. The show’s artworks are almost exclusively

unpopulated, with the exception of a few boaters in Robert Dash’s thriftily rendered pochoir print Bayman, 1980. Buildings, but not people, are found in farmscapes by Eugene Leake and Henry Coe, the latter looking like Edward Hopper simpliied the bleak farmlands depicted by Andrew Wyeth. Self-taught Greek artist Giorgos Rigas has a handsome, rudimentary technique, painting from memory Hellenic vistas of whitewashed houses dotting the hills of his homeland.

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REVIEWS

RIGHT: Mark Leckey Installation view of â&#x20AC;&#x153;Mark Leckey: Containers and Their Driversâ&#x20AC;? at MOMA PS1

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Among the cohort of artists long represented by the gallery are a few younger painters, including David Armacostâ&#x20AC;&#x201D;whose quick, pensive studies of Brooklynâ&#x20AC;&#x2122;s Green-Wood Cemetery are unlike his usual iconographic imageryâ&#x20AC;&#x201D;and Eleanor Ray. Her diminutive, delicate paintings seduce with their sense of touch and familiarity: quiet rooms,glimpsed through windows or from patios. A few small panels by Nora Sturges imagine surreal landscapesâ&#x20AC;&#x201D;sci-i places covered with snow, or maybe dust and ash. In Control Room, 2014, one building of an experimental apparatus stands dormant in a land, like Armacostâ&#x20AC;&#x2122;s graveyard, everywhere veiled with alienation and inality rendered in midnight blue speckled with dusty white. Most of these artworks depict the American landscape with the exception of Rigasâ&#x20AC;&#x2122;s (the only non-American of the group), a few images of the Swiss countryside by Cone, and Sturgesâ&#x20AC;&#x2122;s thanatotic dreamscapes. Although the pictures offered by the exhibition are supericially prosaic, they also encapsulate sites of recent turmoil. Rigasâ&#x20AC;&#x2122;s bucolic villages are now places of transnational strife as Greece has become a battleground for the European Central Bank, fascistic nationalists, political and inancial elites, poor people, and pensioners; while Brewster notes in an artist statement that his work documents places on the northeastern seaboard devastated by hurricanes Sandy and Irene, and others before, since, and still coming. Many paintings here show places frequently given the platitudinous title of â&#x20AC;&#x153;real Americaâ&#x20AC;? by cynical power brokers whoâ&#x20AC;&#x2122;ve systematically rotted and uprooted physical, educational, economic, and social infrastructure. In our present day, land itself is constantly contested: The protest in North Dakota at

MODERN PAINTERS MARCH/APRIL 2017 BLOUINARTINFO.COM

NEW YORK

Mark Leckey MOMA PS1 // October 23, 2016â&#x20AC;&#x201C;March 5, 2017

by myself in Leckeyâ&#x20AC;&#x2122;s GreenScreenRefrigerator installation at MOMA PS1, I wasnâ&#x20AC;&#x2122;t alone. Surrounded by common Samsung devices of every stripeâ&#x20AC;&#x201D;a refrigerator, TV, tablet, computer, speaker towers, smartphonesâ&#x20AC;&#x201D;it was like I was hanging out with old friends: I use stuff like this daily; hourly, even. I know these objects well. The main difference between the devices on display at PS1 and the ones I have in P\KRPH RUDWP\RIĂ&#x20AC;FHRULQP\ pocket) is that these were staged showroom-style against an immersive LQĂ&#x20AC;QLW\JUHHQVFUHHQ2KDQGWKH\ were talking to me. But more on that part later. GreenScreenRefrigerator is only a VPDOOSDUWRIWKLVH[WHQVLYHWZRĂ RRU exhibition, â&#x20AC;&#x153;Containers and Their 'ULYHUVÂľZKLFKLVWKHĂ&#x20AC;UVW86VXUYH\ and largest show to date of the artistâ&#x20AC;&#x2122;s work. It features an array of videos, newly expanded iterations of former projects, sculptural installations, and even a specially commissioned performance held on its closing date in March. The British artist made a name for himself in the late 1990s with his video Fiorucci Made Me Hardcore, 1999, a compilation of found VHS footage chronicling British danceclub subculture from the 1970s up to the â&#x20AC;&#x2122;90s. He has since become known ALTHOUGH I WAS STANDING

F R O M L E F T: C . G R I M A L D I S GA L L E R Y; PA B LO E N R I Q U E Z , M A R K L E C K E Y, A N D M O M A P S1

ABOVE: Giorgos Rigas Koupaki, Doridas, 1981. Oil on linen, 34½ x 48ž in.

the Dakota Access Pipeline site illuminated what little power we have in exercising cultural, commercial, and legal control over our own surroundings; and, soon, a shady real estate developer will be the president. Democratic campaign strategist James Carville infamously described the political geography of Pennsylvania as essentially Philadelphia and Pittsburgh, with Alabama in the middle. Riding Amtrak between New York and Baltimore, outside the metropolitan technocracies, the day after the election, I thought I saw something like that out the window: pastoral space, agedness, Jesus, pickups, Trump. In the wake of his horrifying election victory, I was again reminded that America is a pocketed landscape of cities among vast swathes of radically different rural country. The so-called â&#x20AC;&#x153;blue wallâ&#x20AC;? has been obliterated by someone threatening a wall of reinforced concrete and razor wire. Philadelphia-born reporter James Fallows and his wife, Deborah, have been touring America over the past three years, producing a series of videos and essays for The Atlanticc on the state of the country. Contrary to what we hear from candidates and the nightly news, the Fallowsâ&#x20AC;&#x2122; work relects the nation to be in a state of waitingâ&#x20AC;&#x201D;well positioned for a productive boom. The green economy is expanding rapidly; the refugees and immigrants that are allowed to settle in the United States are revitalizing American towns; inexpensive post-crash real estate has led to new development projects for artists and innovators; the American economy is growing faster than that of other developed nations and, recently, people up and down the economic scale have begun to share in the spoils. Many of the images on view in this exhibition are similarly latent, ready for use, preutopian. The galleryâ&#x20AC;&#x2122;s new project space downstairs hosts a separate but related show, â&#x20AC;&#x153;Back in a Moment,â&#x20AC;? featuring paintings by two young artists, Ylva Ceder and Gretchen Scherer. Their deserted interiorsâ&#x20AC;&#x201D; Schererâ&#x20AC;&#x2122;s small, kaleidoscopic remixes of aristocratic spaces, Cederâ&#x20AC;&#x2122;s large paintings of traditional Swedish homes reimagined with Islamic adornmentsâ&#x20AC;&#x201D;use perspective in similar ways to those paintings upstairs. Like Sturges, they create new worlds to comment on our own. In many ways, Trumpâ&#x20AC;&#x2122;s election represents not only a different view of what America is, but a drastically restricted version of what it can be: what freedoms can be had; who can be included; how, or even if, citizens can be merely comfortable; what the scope of the world is. If we canâ&#x20AC;&#x2122;t envision or imagine that, then far beyond fractured, the imagistic, physical, and political nature of the landscape is, and will be, in doubt. â&#x20AC;&#x201D;Noah Dillon


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23 – 30 MARS 2017


Mark Leckey Installation view of GreenScreenRefrigerator, 2016, at MOMA PS1

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for his pre-YouTube adoption of video sampling and a high-low aesthetic that melts history and pop culture into a seemingly irreverent but nonetheless gratifying fondue. Thankfully, â&#x20AC;&#x153;Containers and Their Drivers,â&#x20AC;? with the sheer scope of work it presents, challenges the common critical extrapolation of Leckey as an overgrown wunderkind who once danced his face off in clubs and now PDNHVMRYLDOJLDQW)HOL[WKH&DWLQĂ DWDEOHV,W does, however, unequivocally cast him as Don Quixote of the Digital Age. The wall texts here paint Leckey as a wayfaring gentleman on a â&#x20AC;&#x153;romantic search for authentic

found on his hard drive, which he organized into loosely thematic categories (man, animal, machine), the exhibition consists of 3-D printed versions of these real objects which Leckey tracked down and scanned. At PS1 the collection is titled UniAddDumThs (a playful pare-down of the original to underscore its derivativeness) and includes new copies of objects that range from movie posters to ancient artifacts, album covers, and UHPDNHVRIZRUNE\SHHUVOLNH,VD*HQ]NHQ and Jordan Wolfson. While these objects may indeed be organized into thematic pairings, their reproduced unoriginality suggests that

experience:â&#x20AC;? a starry-eyed conquistador of late capitalist simulacra seeking the sublime in the commodities and digital ephemera of our daily lives. This is most evident in UniAddDumThs, 2014, an exhibition-within-the-exhibition. The installation is a touring copy Leckey made of another installation he curatedâ&#x20AC;&#x201D;The Universal Addressability of Dumb Things, which began a multi-venue tour in 2013. Based on the various images and oddities he

there is no categorical distinctionâ&#x20AC;&#x201D;everything is just a copy of something else, made of the VDPHFKHDSPDWHULDOVWKDW\RXĂ&#x20AC;QGLQWKH quotidian goods of consumerism-driven life. But thereâ&#x20AC;&#x2122;s more to Leckeyâ&#x20AC;&#x2122;s work than simple commodity fetishism. Dream English Kid, 1964â&#x20AC;&#x201C;1999 A.D., 2015, proves that the artist is deeply concerned with the DXWKHQWLFLW\ÂłRUWKHYHULĂ&#x20AC;DEOHODFNWKHUHRIÂł RIRXUYHU\VHQVHRIEHLQJ,QWKHĂ&#x20AC;OPKH UHĂ HFWVEDFNRQKLVOLIHIURPKLV/LYHUSXGOLDQ

MODERN PAINTERS MARCH/APRIL 2017 BLOUINARTINFO.COM

childhood in the late 1960s and early â&#x20AC;&#x2122;70s up to his early career in London circa 1999 (the video ends with footage of the New Yearâ&#x20AC;&#x2122;s ball-drop on the eve of the new millennium). A montage of archival TV clips, YouTube videos, eBayâ&#x20AC;&#x201C;sourced memorabilia, and reconstructions of personal memories produced using props and models, the video marks the passage of time with a reoccurring image of a cement highway overpass from /HFNH\¡VKRPHWRZQ$WĂ&#x20AC;UVWXQIHWWHUHGDQG clean, the overpass grows increasingly JUDIĂ&#x20AC;WLHGDQGWUDVKVWUHZQXQWLOLW¡VĂ&#x20AC;QDOO\ tidied up and repainted. The adjacent installation that accompanies Dream English Kid boasts a full-scale replica RIWKHKDXQWLQJRYHUSDVVIURPWKHĂ&#x20AC;OP abruptly transporting you back to the site of the artistâ&#x20AC;&#x2122;s youth. Lit in large part by industrial ochre-hued sodium lights, the room feels hazy, as if youâ&#x20AC;&#x2122;re lucid dreaming or maybe just tripping. You wander around, looking at displaced fragments of Leckeyâ&#x20AC;&#x2122;s life: reprinted and blown-up newspaper covers, models of common roadside sights like transmission towers, a 3-D-printed pair of the artistâ&#x20AC;&#x2122;s legs sporting red pants. Thereâ&#x20AC;&#x2122;s no discernible chronology to the objectsâ&#x20AC;&#x2122; arrangement underneath and around the overpass, itâ&#x20AC;&#x2122;s just a watery soup of scattered memories made manifest. As you walk toward the far edge of the bridge, you notice a peephole in its wall. ,QVLGH\RXVHHDVPDOOHUPRGHORIWKHVDPH RYHUSDVV\RX¡UHVWDQGLQJQH[WWR,W¡VOLNH VWXPEOLQJXSRQDQLQĂ&#x20AC;QLW\PLUURUZKLFK PDNHV\RXPRPHQWDULO\ZRQGHU,VWKHUHDQ end to the overpasses or do they recur inside HDFKRWKHUDGLQĂ&#x20AC;QLWXP"<RXUHDVVXUH yourself that is probably impossible. But, in actuality, the bridge is echoed countlessly and obsessively because itâ&#x20AC;&#x2122;s not just the physical replica that is repeated: The overpass also exists in multiple iterations, appearing over and over again on a durational loop, in the Dream English Kid video. The implication of the overpass, existing as it does in more than one time and space within the show, is similar to that of all the imitation â&#x20AC;&#x153;stuff â&#x20AC;? in UniAddDumThs: What constitutes the real when everything is just a UHSOLFD",VWKHUHHYHQD´UHDOÂľWRUHIHUHQFH" But Leckey takes it one step further by suggesting itâ&#x20AC;&#x2122;s not just the artifacts of our lives that are counterfeit, but perhaps our very existence. Our memoriesâ&#x20AC;&#x201D;the temporal

PA B LO E N R I Q U E Z , M A R K L E C K E Y, A N D M O M A P S1

REVIEWS


NEW YORK 2017


REVIEWS PHILADELPHIA

Mary Dewitt is faintly audible in the Painted Bride Art Centerâ&#x20AC;&#x2122;s irst-loor gallery. It belongs to Avis Lee, an inmate at the State Correctional Institution in Cambridge Springs, Pennsylvania, and she is recounting her testimony for the crime that led to her 34-year-long incarceration. â&#x20AC;&#x153;Portraits and Abstractionsâ&#x20AC;? presents two aesthetically contrasting representations of a single theme. One is a series of portraits of women who have either been incarcerated, or worked at SCIs, presented in the lower-level gallery alongside explanatory video works; the other is a series of abstract paintings shown in the upstairs gallery. Varying in size and orientation, the non-igurative works are each manipulations of a similar shade like pink or blood red, with the brushwork and shifts in tone conveying both calmness and chaos. Fleshy abstractions entitled Ghetto and Cul-de-sac mirror the warm, skin-toned color palettes of Dewittâ&#x20AC;&#x2122;s portraits. The seemingly disparate, twofold collection reveals itself to be unexpectedly cohesive. Alongside the portraits, a single screen plays a loop of eight videos, showing progress shots of each portrait from inception to completion set to audio recordings of the womenâ&#x20AC;&#x2122;s testimonies. Cropping each portrait

A WOMANâ&#x20AC;&#x2122;S VOICE

fabric of our identitiesâ&#x20AC;&#x201D;are constantly being reviewed, looped, and reconstructed. Leckey demonstrates in Dream English Kid that these seemingly idiosyncratic inner lives can be manufactured and reproduced just like anything else. Back to GreenScreenRefrigerator, in which the idea of an inner life is key. To reiterate: The Samsung devices of this installation talk. Rather, just one of them talksâ&#x20AC;&#x201D;the â&#x20AC;&#x153;smartâ&#x20AC;? refrigerator explains its cooling process to you in a digitized voice that streams through various other devices. A transcript of the refrigeratorâ&#x20AC;&#x2122;s monologue scrolls across the LED panel: â&#x20AC;&#x153;memories,â&#x20AC;? â&#x20AC;&#x153;itâ&#x20AC;&#x2122;s so cold in the dark,â&#x20AC;? â&#x20AC;&#x153;here all of us are still,â&#x20AC;? â&#x20AC;&#x153;I liken myself to other things,â&#x20AC;? â&#x20AC;&#x153;best before best before best before.â&#x20AC;? Funny and melancholic, poetic and practical all at once, the refrigeratorâ&#x20AC;&#x2122;s words imply that not only is the machine aware of itself, but it harbors the same basic fears and desires that plague humanity: The poor Samsung wants to feel connected to something else and it frets over its mortality. In a related 2010 performance, GreenScreenRefrigeratorAction, Leckey donned a green screen suit and huffed Freon so as to insert his body into the installation and equate himself with the refrigerator. For a moment, he was perhaps more machine WKDQPDQ+HĂ&#x20AC;JXUDWLYHO\HUDVHGKLVKXPDQIRUPDQG literally processed the same chemicals as the fridge. He also found himself high as kite, so his ability to reasonâ&#x20AC;&#x201D;the trusty Enlightenment-born benchmark of humannessâ&#x20AC;&#x201D;was questionable, too. *LYHQWKDWKXIĂ&#x20AC;QJFRRODQWLVQ¡WH[DFWO\VDIH,DVVXPH that Leckey risked his healthâ&#x20AC;&#x201D;if not his lifeâ&#x20AC;&#x201D;in the quest to reveal our codependent relationship with machines. In PS1â&#x20AC;&#x2122;s presentation of GreenScreenRefrigerator, the suit and coolant canister from the 2010 performance are on display. Alongside the myriad other devices, they remain static: mere markers of a man. Leckey may not be our eraâ&#x20AC;&#x2122;s Quixote but instead its Sancho Panza, whose everymanâ&#x20AC;&#x2122;s wisdom and VHOIVDFULĂ&#x20AC;FLQJDFWLRQVRIIHUWKHFORVHVWWKLQJWRUHDVRQLQDQ unreasonable world. â&#x20AC;&#x201D;Margaret Carrigan

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either below the neck or the shoulders, Dewitt uses text, sometimes written in straight lines and other times curved around the side of the face, to frame her igures. The irst likeness one encounters is that of Cyd Berger, whose gaze cast from red-lined eyes looks towards text painted into the work, which reads: â&#x20AC;&#x153;When you look at us, think of a mirror image of yourself. Weâ&#x20AC;&#x2122;re no different.â&#x20AC;? The only subject to be drawn with closed eyes, Teri Smallwood, is adorned with more text than any in the series. Framed in cadmium, the words â&#x20AC;&#x153;A modern style of the same abuseâ&#x20AC;? are painted beside her chin. Not merely an embellishment, Smallwoodâ&#x20AC;&#x2122;s words allude to the recent public awakening regarding the stigma of incarceration. Dewittâ&#x20AC;&#x2122;s portraits maintain a striking physicalityâ&#x20AC;&#x201D;placing a larger-than-life face directly in front of yours. Offset by the spiritual, nonrepresentational nature of her abstractions, the gravity of this former body of work is reinforced. Encountering irst the portraits on the ground loor with their allegorical doubles suspended above is apt. Though exquisite works of color and layered brushwork, theyâ&#x20AC;&#x2122;re not quite as reachableâ&#x20AC;&#x201D;nor as physicalâ&#x20AC;&#x201D; as the faces met upon arrival. â&#x20AC;&#x201D;Leah Rosenzweig

FROM LEFT: Mark Leckey Installation view of UniAddDumThs, 2014, at MOMA PS1.

Mary Dewitt Rose Dinkins, 2016. Oil on mylar, 36 x 48Â in.

F R O M L E F T: PA B LO E N R I Q U E Z , M A R K L E C K E Y, A N D M O M A P S1; V I S I O N G R A P H I C S , P H I L A D E L P H I A

Painted Bride Art Center, Philadelphia // November 4â&#x20AC;&#x201C;December 2, 2016


MARCH 2 - 5 2017 PIER 36 NYC

thepaperfair.com [image] detail of: Nicola Lรณpez. Infrastructure #3, 2012. Five-color lithograph. 44 x 29 3 ร€ 4 inches. Publisher: Tamarind Institute.


REVIEWS

Gonzalo Fuenmayor Hocus Pocus, 2016. Charcoal on paper, 40 x 26 in.

WASHINGTON, D.C.

Ragnar Kjartansson THE HIRSHHORN MUSEUMâ&#x20AC;&#x2122;S

Ă&#x20AC;UVWPDMRUVXUYH\RIWKH \HDUROG,FHODQGLF SHUIRUPDQFHDUWLVW¡VZRUNLV DQH[SHULPHQWLQHPRWLRQDO HQGXUDQFH/DXGHGIRUKLV DELOLW\WREOHQGKXPRUDQG VRUURZUHYHUHQFHDQGVDWLUH UHDOLW\DQGDUWLĂ&#x20AC;FHWKHVKRZ UHYHDOV.MDUWDQVVRQDVDQ DUFKLWHFWRIWKHVXEOLPH 7KHGXUDWLRQDOSHUIRUPDQFH Woman in EULIIVRIIRI WKHGHVLUHIRUDQXQDWWDLQDEOH LGHDO2QYLHZHYHU\GD\RI WKHH[KLELWLRQ¡VZHHNUXQ LWIHDWXUHVDORQHZRPDQLQD EHGD]]OHGJROGGUHVVGROOHG XSLQSLQFXUOVDQGUHG OLSVWLFN6KHURWDWHVRQD SHGHVWDOLQDQDUHDFRUGRQHG RIIE\FKLQW]\JROGWLQVHO VWUXPPLQJDQ(PLQRUFKRUG RQDQHOHFWULFJXLWDURQFH HYHU\IHZVHFRQGV6KH Ragnar Kjartansson World Lightâ&#x20AC;&#x201C;The Life and Death of an Artist, 2015. Four-channel video, 20 hr, 45 min, 22 sec.

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VWRLFDOO\VWDUHVVWUDLJKW DKHDGPRVWO\PDNLQJKHU ORRNIDNHÂłXQWLOKHUH\HVĂ LW WRZDUG\RXRUVKHVLWVGRZQ RQWKHDPSWRUHOLHYHKHU IHHW ,QWorld Lightâ&#x20AC;&#x201C;The Life and Death of an Artist .MDUWDQVVRQVWDJHVWKHHSLF ,FHODQGLFQRYHORIWKHVDPH QDPHE\+DOOGyU/D[QHVVDV DIRXUFKDQQHOYLGHR LQVWDOODWLRQ7KHERRNÂłWKH SORWRIZKLFKIROORZVD PDODGURLWSRHWZKRORQJVWR EHUHFRJQL]HGIRUKLVDUWÂł KDVEHHQFODLPHGD PDVWHUSLHFHRILURQ\DQG .MDUWDQVVRQ¡VYLGHRUHQGLWLRQ LVLQNHHSLQJZLWKWKHVSLULW RIWKHVWRU\:LWKLWV LQWHQWLRQDOO\ORZEXGJHWVHW DQGTXDUWHUHGVWUXFWXUHLW¡V KDUGWRWDNHVHULRXVO\DQG HYHQKDUGHUWRIROORZ%XWLWV IDLOXUHDVDQDUUDWLYHZRUN LVQ¡WLURQLFLW¡VWKHZKROH SRLQW .MDUWDQVVRQ¡VEHVWNQRZQ ZRUNThe VisitorsLV

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BOGOTA, COLOMBIA

Gonzalo Fuenmayor GalerĂ­a El Museo // October 20â&#x20AC;&#x201C;November 18, 2016 MAGIC, SPECTACLE, AND FARCE inform

this exhibition of photorealistic graphite and charcoal drawings by the young Colombian artist. With a moody sense of draftsmanship akin to that of Robert Longo or Evan Gruzis, Fuenmayor constructs an elaborate world populated by disco balls, bananas, pineapples, and spell-casting wands. His stated focus with the series is exploring and exploiting the â&#x20AC;&#x153;clichĂŠs of popular and tropical culture.â&#x20AC;? He also involves a coy form of self-branding, exempliied by two triangle-shaped frames holding tiny stickers that transform the familiar Chiquita banana logo into that of a ictional company named after the artist himself. These drawings force edible products onto center stage. Any humans are only glimpsed in pieces: a magicianâ&#x20AC;&#x2122;s disembodied, gloved hands loating in space; a pair of legs sticking out from beneath a pile of bananas, as if the Wicked Witch of the East had been felled by fruit instead of a house. It is dificult to divorce these works from their social contextâ&#x20AC;&#x201D;for instance, itâ&#x20AC;&#x2122;s hard not to read the depictions of spellcasting as a commentary on Colombiaâ&#x20AC;&#x2122;s tumultuous and ongoing peace process, in

F R O M L E F T: R AG N A R K JA R TA N S S O N , L U H R I N G AU G U S T I N E , N E W YO R K , A N D I 8 GA L L E R Y, R E Y K JAV Ă? K ; GA L E R Ă? A E L M U S E O

Hirshhorn Museum and Sculpture Garden // October 14, 2016â&#x20AC;&#x201C;January 8, 2017


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REVIEWS which political sleight-of-hand might soothe, if not magically vanish, the wounds of the past. Even something so supericially simple as bananas becomes fraught once one takes into consideration the confessed actions of Chiquita, which from 1997 through 2004 alternated pay-offs to groups including the Revolutionary Armed Forces of Colombia and the United SelfDefense Forces of Colombia. This is not to overstate any strong political undercurrents or imagine hidden messages where plain absurdity reigns. Fuenmayor has an overall light touch, and

conceptual humor, visual puns, and technical mastery are the real meat of his practice. (Sometimes a banana is just a banana, and I would hate to play the role of the dumb American, reading too much into fruit.) The best drawings here operate like surrealistic jokes: An enormous leaf propped on a music stand, waiting to be interpreted and â&#x20AC;&#x153;playedâ&#x20AC;? by an unseen musician; the iconic McDonaldâ&#x20AC;&#x2122;s sign altered to advertise Macondo, a town from Gabriel GarcĂ­a MĂĄrquezâ&#x20AC;&#x2122;s One Hundred Years of Solitude. â&#x20AC;&#x201D;Scott Indrisek

PARIS

Cy Twombly was a mark, whether painted on canvas or written in a book. Like DJUDIĂ&#x20AC;WLDUWLVWKHWLSWRHGDORQJWKHERUGHU RIZULWLQJDQGSDLQWLQJXOWLPDWHO\VHWWOLQJ LQWKHSULPDOVSDFHZKHUHWKHXUJHWRPDNH RQH¡VPDUNĂ&#x20AC;UVWEHJLQVWRIRUP7KH&HQWUH 3RPSLGRX¡VHQJURVVLQJ7ZRPEO\ UHWURVSHFWLYHWKHĂ&#x20AC;UVWVLQFHWKHDUWLVW¡V GHDWKLQUHYHDOVKRZWKHPHORGUDPDWLF OLWHUDU\PDVWHUVZKRLQVSLUHGKLPPRVWÂł +RPHU5LONH6DSSKR&DWXOOXVÂłGUHZRXWD VDYDJHSDLQWHURIVH[GHDWKDQGYLROHQFH

FOR TWOMBLY, A MARK

FROM TOP: Gonzalo Fuenmayor Macondo, 2016. Charcoal on paper, 45 x 63 in.

Cy Twombly Blooming, 2001-2008. Acrylic and crayon on ten wooden panels 98 ½ x 196 ž in.

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$W7ZRPEO\¡VPRVWSRLJQDQWKLVZRUN SLFNVXSDWWKHSRLQWZKHUHZRUGVIDLOXV such as his 1971 Niniâ&#x20AC;&#x2122;s PaintingDORYHOHWWHU WRKLVIULHQG1LQL3LUDQGHOORWKDWDSSHDUVLQ WKHH[KLELWLRQ¡VPLGGOHSKDVH,QWKHZDNHRI KHUVXLFLGH7ZRPEO\VFULEEOHGDKXUULFDQHRI EOXHDQGSLQNPDUNVRQDFDQYDVDWHVWDPHQW WRWKHXUJHWRH[SUHVVRQH¡VSDLQFUHDWLYHO\ DQGWKHLPSRVVLELOLW\RIVD\LQJDQ\WKLQJ DWDOO 7KHUDUHSODFHVZKHUH7ZRPEO\¡VSDLQWLQJ YHHUVLQWRĂ&#x20AC;JXUDWLRQDUHLQKLVGHSLFWLRQVRI

PDOHJHQLWDOLDXVXDOO\GRQHLQDFKLOGOLNH VFULEEOHWKDWJLYHVWKHPDSHUYHUVHSRWHQF\ His work moves in and out of abstraction, VRPHWLPHVZLWKLQDVLQJOHVHULHVVXFKDVZLWK his Nine Discourses on Commodus, 1962â&#x20AC;&#x201C;63, ZKLFKORRNOLNHDEVWUDFWUHGVSORWFKHVXQWLORQH discovers that the inspiration for the series FDPHIURPWKHPXUGHURI-RKQ).HQQHG\ 7KHVKRZZDVQRWDQHDV\RQHWRRUJDQL]H 7ZRPEO\¡VH[RUELWDQWSULFHVÂłKLVDXFWLRQ UHFRUGZDVVHWDWPLOOLRQLQIRXU \HDUVDIWHUKLVGHDWKWKRXJKKHZDVDOUHDG\ considered an expensive artist during his OLIHWLPHÂłPDGHLWGLIĂ&#x20AC;FXOWIRUFXUDWRUVWR VHFXUHORDQV%XWWKHPXVHXPGLGPDQDJHWR WUDQVSRUW7ZRPEO\¡VFDQYDVKLVWRU\RIWKH 7URMDQ:DUFifty Days at Iliam which has never been shown in Europe nor OHIWLWVKRPHDWWKH3KLODGHOSKLD0XVHXPRI $UWVLQFHWKHODWHV 7KHEOHHGLQJĂ RZHUVGULSSLQJFULPVRQ ORRSGHORRSVDQGH\HVHDULQJQHRQSLJPHQWV WKDWDSSHDULQWKHVKRZ¡VĂ&#x20AC;QDOFKDSWHU UHPLQGVYLHZHUVWKDW7ZRPEO\ZDVDQ LPSDVVLRQHGYLUWXRVRXQWLOWKHYHU\HQG,WLV DSLW\WKDWWKHZRUNVKHUHZLOOEHGLVSHUVHG EDFNLQWRH[FOXVLYHFROOHFWLRQVDURXQGWKH ZRUOGUDWKHUWKDQWUDYHOLQJWRDPXVHXP EH\RQGWKH3RPSLGRX7KRVHRIXVOHIW VSHHFKOHVVE\WKHSROLWLFDOXSKHDYDOVLQ $PHULFDDQGDFURVVWKHJOREHFRXOGXVH 7ZRPEO\¡VZRUGOHVVZLVGRPULJKWDERXWQRZ â&#x20AC;&#x201D;Rachel Corbett

F R O M TO P : GA L E R Ă? A E L M U S E O ; S T U D I O S I LVA N O, C Y T W O M B LY F O U N DAT I O N , A N D A R C H I V E S F O N DA Z I O N E N I C O L A D E L R O S C I O

Centre Pompidou // November 30, 2016â&#x20AC;&#x201C;April 24, 2017


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REVIEWS AICHI AND OKAYAMA, JAPAN

Aichi Triennale and Okayama Art Summit

LEFT: Ohmaki Shinji Installation view of Echoes Infinity: Moment and Eternity, 2016, at the Aichi Triennale. RIGHT: Ryan Gander Installation view of Because editorial is costly, 2016, made of stainless steel and rubble, on view at the Okayama Art Summit.

102

Japan has a reputation of being closed to outsiders. Surely its complex, unique language system and its island topography breeds a sense of isolationism, however, during the country’s season of biennales triennales—and it is a season—one would come away with a very different sense than seclusion. Last fall it played host to Aichi, Setouchi, Okayama Art Summit, Saitama, Rokko Meets Art, and Biwako—and that’s just the top roster. Among the archipelago’s craze for art festivals, Aichi Triennale and Okayama Art Summit stick out in this cross-cultural exchange. Aichi—in the prefecture home to the auto-industry haven of Nagoya, whose primarily Brazilian labor force numbers nearly 70,000 workers—is now in its third iteration and considered to be an established enterprise with an expected 400,000 visitors. Aichi’s artistic director Chihiro Minato, who left Japan in the 1980s to work in Yugoslavia, Czechoslovakia, Brazil, and France, titled his show “Homo Faber: A Rainbow Caravan,” implicating the province as a caravanserai, a refuge and marketplace for art sojourners from across nations to stay and absorb what is made by the human

WHETHER DESERVED OR NOT,

MODERN PAINTERS MARCH/APRIL 2017 BLOUINARTINFO.COM

hand, as its title requests. As Aichi’s Chihiro explained in a group interview, he wanted to show “culture and art as an inseparable part of everyday life.” Of the 130 artists included in the show, 78 hail from afar, and what was unveiled across multiple venues, from traditional museum spaces to Red Light district warehouses and even an abandoned shopping center, was a loud, sumptuous collection of colorful—in spirit and in tone—work marking an offering of ideas from the diverse dispatches across the globe, other dimensions and the state of being. Take, for example, Puerto Rican duo Allora y Calzadilla’s The Great Silence, 2014, a video work at the Aichi Arts Center depicting a parrot named Alex who understands human language and concepts. In the inale of the piece Alex warns in voice-over, “My species probably won’t be here for much longer; it’s likely that we’ll die before our time and join the Great Silence.” A few rooms over are the modern relics of war found in Iman Issa’s “Heritage Studies” series, ongoing from 2015, which not only are evocations of real artifacts found in Iraq and other Middle Eastern countries ravaged by conlict, but also abstractions that suggest the fogged memory of

the future relecting upon the past. Stark and geometric, their effect is chilling. Across town in a former textile storehouse are new resin-andacrylic statues from Yoshio Shirakawa, known for his leanings towards philosophy and social critique. In particular, his Monument of Defeat, 2002–16, seemingly is an obelisk, but really is a man in a wheelchair-cum-toilet excreting into a cup of noodles while exasperated farm animals lie defeated at its base. If there’s one takeaway from the Aichi Triennale, it’s that the present is in peril if the cross-cultural paths do not ally. In contrast, the Okayama Art Summit— inaugurated this year by clothing magnate Yasuharu Ishikawa, who chose British bold-faced artist Liam Gillick to direct—was a very public fanfare mostly of equally recognizable Western artists. Ryan Gander, Michael Craig-Martin, Peter Saville (with longtime artistic partner Anna Blessmann), Lawrence Weiner, Pierre Huyghe, and Philippe Parreno are among them; it’s surprising Ed Atkins or Ryan McNamara weren’t invited. But it wasn’t just a boy’s club: Joan Jonas, Rachel Rose, Angela Bulloch, and grande dame Dominique Gonzalez-Foerster all temper the conceptual

F R O M L E F T: T E T S U O I TO, A I C H I T R I E N N A L E ; R YA N GA N D E R A N D TA R O N A S U, O K AYA M A A R T S U M M I T

Various Venues // August 11–October 23 and October 9–November 22, 2016


The Art World At Your Fingertips The insiderâ&#x20AC;&#x2122;s guide to the global art scene. Find galleries, museums, fairs, and art events around you. Follow and get alerts for your favorite artists and create your personal art calendar. Blouin Art Guide is the fastest and easiest way to be connected with and updated about the global art scene, from New York to Tokyo!


REVIEWS

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SYDNEY

Louise Hearman Museum of Contemporary Art Australia // September 29â&#x20AC;&#x201C;December 4, 2016

created by Hearmanâ&#x20AC;&#x201D;the subject of this 25-year career surveyâ&#x20AC;&#x201D;are most often described as haunting. But that word is a little too simple to describe the imagery of this Melbourneâ&#x20AC;&#x201C;based artist. Hearman paints from life and imagination, photographing interesting forms VKHĂ&#x20AC;QGVDURXQGKHUDPDOJDPDWLQJWKHPODWHULQ the studio, by working them into conversation with each other. A dogâ&#x20AC;&#x2122;s head peers out through the lofty KHLJKWVRIDWUHHWRSFDQRS\DUDVSEHUU\Ă RDWVLQ the sky above a suburban street; a child stands in a river, submerged up to her chest, very still amongst a landscape of snow and ice. They are all

THE OIL PAINTINGS

rendered in exquisite, realistic detail. But there are neither ominous specters nor ghostly alliances apparent. Rather, by their precise and lifelike modeling and subtle, odd juxtapositions, each becomes its own riddle, goading the viewer to try WRSXWWKHLUĂ&#x20AC;QJHURQZKDWH[DFWO\GRHVQRWPDWFK up with reality. That this type of imagery, for which the artist is best known, is hung next to the occasional straightforward portrait of a child, or painting of an animal or a landscape, or the windswept back of someoneâ&#x20AC;&#x2122;s head, makes the work collectively feel stranger still. The answer, in a few of them, is that nothing is wrong at allâ&#x20AC;&#x201D;this world is right side up, but maybe at an angle you havenâ&#x20AC;&#x2122;t noticed before. Yet you canâ&#x20AC;&#x2122;t help but move on to Louise Hearman Untitled #1221, 2007. Oil on composition board, 24 x 24 in.

the next, wondering if youâ&#x20AC;&#x2122;ve missed something. Take a work from 2007 titled Untitled #1221. Like almost all of her works, itâ&#x20AC;&#x2122;s named simply by a sequential number; it offers no hint of what viewers are looking at. Against a muted, grayishgreen background a kitten pads lightly towards the viewer, its front paw extended, the light catching the fuzz atop its downcast head. Above its form, a lily stamen unfurls. Or perhaps these are actually the spindly stems of a group of wild mushroomsâ&#x20AC;&#x201D;or even something that makes sense, size-wise, next to this feline form. Isolated, Iâ&#x20AC;&#x2122;d be FHUWDLQLWZDVDSDUWRIDĂ RZHU7KLVLVZKHUH Hearmanâ&#x20AC;&#x2122;s compositions are at their best: When we doubt our own interpretation of form in the face of her very life-like renderings because of how she has placed one thing next toâ&#x20AC;&#x201D;or intoâ&#x20AC;&#x201D;another, or even just because of the crop or angle at which sheâ&#x20AC;&#x2122;s caught her subject. Unfortunately, the show includes a few too many of the artistâ&#x20AC;&#x2122;s sketches and studies, which feels like seeing the methods of the magician, and they arenâ&#x20AC;&#x2122;t needed to reinforce Hearmanâ&#x20AC;&#x2122;s technical expertise. The paint-laden palette with towers of oil colors blobbed on top of each other, which is also on view, is similarly unnecessary. And I wanted a little more light, rather than the gloomy exhibition space with each work dramatically spotlit. +HDUPDQ¡VZRUNGRHVMXVWĂ&#x20AC;QHLQ\RXU regular, well-illuminataed exhibition space and doesnâ&#x20AC;&#x2122;t need this theatricality to enhance its effect. The artist, in fact, was the winner of the 2016 Archibald Prize and her highcontrast portrait of Australian acting legend Barry Humphriesâ&#x20AC;&#x201D;probably known better to international audiences in drag as his alter-ego, Dame Edna Everageâ&#x20AC;&#x201D;is concurrently on view in the prizeâ&#x20AC;&#x2122;s annual exhibition just a short walk away at the Art Gallery of New South Wales. Apart from the fact that Humphriesâ&#x20AC;&#x2122;s form, lopped off at the chest, seems to hover in space, thereâ&#x20AC;&#x2122;s not much of the sense of confusion found in +HDUPDQ¡VLQYHQWHGFRQĂ&#x20AC;JXUDWLRQV\HWLWVWLOO sings when hung against its competition on a level SOD\LQJĂ&#x20AC;HOG+HDUPDQLWVHHPVFDQLPEXHHYHQD straightforward portrait with drama and intrigue out of only the brilliant whites and impenetrable darks fashioned by her brush. â&#x20AC;&#x201D;Juliet Helmke

M A R K A S H K A N A S Y A N D LO U I S E H E A R M A N

virility. The summitâ&#x20AC;&#x2122;s title, â&#x20AC;&#x153;Development,â&#x20AC;? as Gillick explained also in a group interview, is an homage to the rebuilt city after its World War II obliteration. â&#x20AC;&#x153;Right from the beginning, I wanted to do something that was related to a theme that I felt would be understandable here, but that was somewhat dificult, a little on the edge, which had a duality that was positive and negative at the same time,â&#x20AC;? he said. Gillickâ&#x20AC;&#x2122;s mandate is no more apparent in Ganderâ&#x20AC;&#x2122;s Because editorial is costly, 2016, a chromeplated bomb dropped in the midst of an outdoor public parking lot. Crack goes the pavement in this â&#x20AC;&#x153;Plop Artâ&#x20AC;? revival piece. Gillickâ&#x20AC;&#x2122;s positing on the status of Okayama, where â&#x20AC;&#x153;buildings are getting to an age where a decision has to be made about the next step,â&#x20AC;? seemingly struck Gander quite literally. His sculpture acts as an alien disruptorâ&#x20AC;&#x201D;a â&#x20AC;&#x153;meteorâ&#x20AC;? as the catalogue describes it. Gillick stuck to his premise of engaging with Okayamaâ&#x20AC;&#x2122;s infrastructure; in particular aging or decommissioned buildings, such as a soy sauce factory adorned with Anicka Yiâ&#x20AC;&#x2122;s collected bacteria sculptures, and a former primary school, the locus of the exhibition where one of the few domestic artists, Yu Araki, premieres his Wrong Revision, 2016, a gorgeous video tracing the symbolism of the octopus between Japanese mythology and Christian missionary liturgy. Craig-Martin conigured a neon light bulb on the side of a glassy hotel, while Weiner adorned a movie theater with ½ Begun, ½ Finished and Whensoever, and Peter Fischli David Weissâ&#x20AC;&#x2122;s How To Work Better loomed a block away. â&#x20AC;&#x153;Development,â&#x20AC;? as a concept and an exhibition, is a look to the future for its potential. And from these pleas alone, a new order need be on its way. â&#x20AC;&#x201D;Julie Baumgardner


DEALING

DYNASTIES The reputations of many of the art worldâ&#x20AC;&#x2122;s most prominent galleries were not built in a day but rather burnished over the course of generations, each of which has brought its own eye and acumen to the enterprise. The editors of our partner publication Art+Auction spoke with seven notable next-generation dealers to get their takes on the mutable market for art.


Almine Rech and Paul de Froment

ALMINE RECH GALLERY PARIS, BRUSSELS, LONDON, & NEW YORK

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Has your way of doing business changed since your mother founded the gallery? PAUL DE FROMENT: We have expanded signiicantly over the last few years, irst from our two main spaces in Paris and Brussels to London, in order to meet the very active market demands and a new clientele. In early October we opened our second space in London, at Grosvenor Hill, with a solo exhibition of Jeff Koons. It seemed like New York would be the natural next choice for our gallery to increase its visibility internationally and to meet a new audience and collectors. What are your most pressing challenges? PDF: One of the main challenges we are now faced with is how to manage ive galleries in four countries. From my standpoint, as managing partner of our New York gallery, we aim to work with a new collector base and to introduce our program to an audience who may not be familiar with our European

BEING IN NEW YORK HAS PROVED TO BE EXTREMELY FRUITFUL, PARTICULARLY WHEN IT COMES TO MEETING YOUNGER COLLECTORS. locations. Being in New York has already proved to be extremely fruitful, particularly when it comes to meeting younger collectors. Our presence here in the city enables the American collectors that we meet abroad to build stronger ties with us. We also juggle a busy fair schedule; we participated for the irst time at Zona Maco in Mexico City in February, which was an exciting experience.

How has your vision for the gallery differed from your mother’s? PDF: I believe the strength of our gallery’s program resides in presenting outstanding works by artists of the 20th and 21st centuries. Under my leadership in New York, our 2017 program relects the commitment my mother and I share to displaying the best international contemporary and modern art.

A L M I N E R E C H , PA R I S

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ince opening her first gallery in Paris in 1997—where she showcased American artists from the 1960s such as James Turrell and Joseph Kosuth—Almine Rech has steadily expanded her program. She continues to represent these artists among a larger and more diverse roster that combines well-established names with younger, contemporary practitioners across genres. In October the gallery inaugurated its fifth exhibition space, in New York City, an endeavor that is being overseen by Rech’s oldest son and managing partner, Paul de Froment. With this move, Rech joins an increasing number of European gallerists who are setting up operations across the Atlantic in search of a larger collector base. The Upper East Side venue opened with an exhibition devoted to rarely seen works by Calder and Picasso in collaboration with their respective foundations.


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ounded by Torkom Demirjian in 1972, Ariadne Galleries has garnered a reputation as a source for well-provenanced Egyptian, Greco-Roman, and Eurasian antiquities, boasting an international clientele that includes such venerable institutions as the Metropolitan Museum of Art, the British Museum, the Art Institute of Chicago, and the Museum of Fine Arts Boston. In 2007, the dealer’s sons, Gregory and James, took the helm of Ariadne, overseeing its locations in New York and London.

ARIADNE GALLERIES NEW YORK & LONDON

How has your business changed in the decades since the gallery’s founding? JAMES DEMIRJIAN: We have expanded our business signiicantly by opening a second gallery in the heart of London’s Mayfair three years ago. We also participate in art fairs such as Frieze Masters, Masterpiece, and the newly launched TEFAF New York. We have chosen to focus primarily on sculptural works and no longer display our objects in glass cases. In recent years, the notion of cross-collecting has really taken hold, and our clientele is keen to see a mix of cultures and media.

A R I A D N E GA L L E R I E S , N E W YO R K

James, Gregory, and Torkom Demirjian

OUR FIELD, ONCE CONSIDERED TOO INTIMIDATING FOR SOME, NOW FINDS ITSELF MORE RELEVANT THAN EVER. What are your greatest challenges? JD: While the market for ancient works of art represents a ield that has passed the test of time, it is a constant challenge to ind great material with extensive ownership history. It requires endless travel and much time away from our families.

build. My brother and I have a broader scope of works, which excites us, and we understand the current of the modern/ contemporary art world and how it affects our smaller ield. We embrace the changes that our area of focus has undergone. We have made our stamp and hope our own children may follow.

What are you doing to cultivate the next generation of collectors, and have you noticed any shifts in your collector base? GREGORY DEMIRJIAN: Our aim is to cultivate the new generation of buyers and help them mature into serious collectors, and to share our passion and encourage healthy risks. We also continue to fortify our online presence and website accessibility, bringing pieces to the attention of young and busy professionals.

Have you observed any trends in the way collectors are buying now that are surprising? JD: We have dubbed it “the great mix.” We used to talk about the ways in which different cultures inluenced one another in antiquity. We often discuss the way different periods of art speak with one another, and how they relate. It’s fascinating to observe what the great contemporary artists are collecting for themselves, from Neolithic idols to Classical Greek and Roman sculpture. Our ield, once considered too intimidating for some, now inds itself more relevant than ever, and we are enjoying every moment.

Do you have a vision for the gallery that differs from your father’s? GD: Our father created a strong foundation upon which we continue to

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NEW YORK

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irschl & Adler, founded 64 years ago, has become a formidable dealership in the field of American art. Today, much of the enterprise’s business is carried out under the watchful eye of managing director Elizabeth Feld, who started there in 1999, working alongside her father, Stuart P. Feld, a partner in the firm since 1967.

How has your gallery’s business changed since its founding? ELIZABETH FELD: In the decades since Norman Hirschl and Abraham Adler founded the gallery in 1953, things have changed a lot. When they launched the business, they dealt in European, primarily French, paintings of the Impressionist and PostImpressionist eras. Now, however, Hirschl & Adler is synonymous with the best in American art, largely as a result of the efforts of my father, Stuart Feld. He was brought on as a partner in 1967 to create a gallery of

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American art within the existing space, which changed its trajectory in a major way. It is in American art that we have made the most signiicant contributions to the history of collecting for both private individuals and institutions. In 1983, we shook things up with the addition of American furniture and decorative arts to our offerings. This is now a major part of our business, along with Hirschl & Adler Modern, which we launched in 1981. Our modern department offers what we call “conservative contemporary art,” which bridges the gap between ultra-traditional contemporary art and Conceptual collecting areas. In other words, we are neither “too safe” nor “too cutting edge.” There is a real underserved collector base in this area that we feel we are able to satisfy.

What have you done to cultivate the next generation of collectors? EF: Our youngest collectors have come to us largely

through referrals, through art consultants and advisers with whom we have developed close relationships and, interestingly enough, through collectors’ groups at museums that provide guidance to their constituents Elizabeth Feld and who seek help or Stuart P. Feld inquire about how to start an art collection. Younger collectors want to be educated prior to making a purchase, which, given Hirschl & Adler’s very academic bent, is a large part of what we do. With a few notable exceptions, they tend to be drawn more toward our modern and contemporary works. We have also been able to capitalize on our Have there been any trends participation in fairs such as in the business that you the Winter Antiques Show might not have expected? and TEFAF New York, where EF: Auction houses have we have met young collectors. become much more powerful. There has also been a surge in interest in contemporary Do you have a vision for the art among collectors who gallery that differs from that were previously devoted to of your father? older or modernist-era art, EF: My father had the driven in part by fashion and foresight to grow the gallery the much-hyped prospect of sensitively and to meet investment returns. There changing market demands are also more professionals without riding the coattails —advisers and consultants— of every trend or hot artist working in the art space now who appeared on the scene. than when I joined the Staying relevant is the most gallery, so clients are using important thing one can do outside assistance to make in this business. I keep this their purchases. in mind every day.

IT IS IN AMERICAN ART THAT WE HAVE MADE THE MOST SIGNIFICANT CONTRIBUTIONS TO COLLECTING.

H I R S C H L & A D L E R , N E W YO R K

HIRSCHL & ADLER GALLERIES


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tarted in 1955, Richard Green is among the more high-profile galleries dealing in paintings dating from the 17th through 21st centuries, with an emphasis on Old Masters and 18th-century and modern British works. Richard’s son Jonathan Green joined the enterprise as a teenager and now guides much of the business, along with other family members.

Has your way of doing business changed since the gallery’s founding in the 1950s? JONATHAN GREEN: When my father founded the business after working in the gallery of his own father,

Matthew, Jonathan, and Richard Green

James, art dealing was a cottage industry. Dealers bought from auction and sold to clients; there were virtually no private collectors in the auction market. He sold traditional paintings—Old Masters, British sporting, marine, and Victorian—and I’m glad to say that we have kept that tradition at the core of our business while expanding into new areas. My father began in a small gallery in the Burlington Arcade, off Piccadilly in London’s West End. As the business grew, he expanded into nearby Dover Street. In 1998 we made the leap northward to 147 New Bond Street, a magniicent 18th-century, four-story town house once

family. My mother, Jenny, has been a stalwart support since the very early days, and over the years my father has been joined by his sister Penny Marks and his brother John, as well as my brothers David and Matthew and my sister Marie. My cousin Melissa and my niece Tamara recently joined us, making for a fourth generation in the art business. The presence of the younger generation has brought a different energy to the enterprise. Matthew and I are passionate about blue-chip, 20th-century European and British art, and we have a strong brand selling works by Gerhard Richter, Henry Moore, Barbara Hepworth,

RICHARD GREEN LONDON

home to the naval commander Lord Nelson, where we have been able to display Old Master, 18thcentury British, Victorian, Impressionist, and PostImpressionist paintings to advantage in grand but light and airy rooms. A hallmark of our business is that we have always had a large, varied stock. This continues to be the case, with around a thousand paintings in the galleries at any one time. We’ve always worked as a

Patrick Heron, Ben Nicholson, and others. The clean lines and vibrant colors of these artists catch the zeitgeist and appeal to younger connoisseurs on both sides of the Atlantic. Having obtained the valuable freehold of 33 New Bond Street some years back, we expanded our existing small gallery there into a four-story space to showcase 20th-century art, which opened in 2011.

What have you been doing to cultivate the next generation of collectors? JG: My father’s genius has always been to move with the times, and we’ve inherited that instinct. When Victorian art was the lavor of the month, he bought it more lavishly. Our 20th-century art has brought in new collectors, but many are quite eclectic and will buy an Old Master and match it with a Hepworth. We also “inherit” collectors from new generations of the same families, which is lovely. We have long had American, British, and European clients, but our base has grown to include buyers from booming economies, such as the Middle East, Russia, and Asia. Do you have a vision for the gallery that differs from your father’s? JG: While our visions are remarkably harmonious, we live in a faster, more global world. My father remains a linchpin of the business and continues to take part in the major art fairs, but we are always looking for new opportunities. I’m a trustee of TEFAF, and we just participated in the irst TEFAF New York, with great success. Art dealers have to be willing to travel, to nurture their global clientele, and to have a social media presence. We do all this while keeping our core values: to offer the best paintings available, in excellent condition, with superb provenance.

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GALERIA OMR MEXICO CIT Y

How has OMR evolved? CRISTOBAL RIESTRA: OMR started very organically. It was the natural output of two people who had a particular sensibility toward the arts, friends who were artists, and a small garage that became their irst exhibition space. During the 1980s, my parents focused very much on a program of Mexican artists who were relevant to Mexican collectors and institutions. Then in the ’90s they attended their irst fair, I

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think it was ARCO in ’93, to introduce their roster to an international crowd. That eventually lourished into a series of exchanges with other galleries, which led to their introduction of international artists to the Mexican art market. During these years, they were both heavily involved in all aspects of the gallery as well as participating in fairs such as FIAC, Art Forum Berlin, Armory, and, later, Art Basel.

How did you get involved? CR: After years of having jobs at the gallery during summer breaks—from artist assistant to photographer, painter, carpenter, installer, producer, and working in sales—I inally joined in 2009 as co-director, and my parents’ partner business became a family business. The plan was for me to take over in 2017. It soon became clear that we didn’t see eye to eye in terms of the management of the gallery, and that if I was to take over completely I would have to do it on my terms. The conversation was liberating. I began seeing the gallery as a platform where anything can be done, and I immediately started looking for a new space where we

could have a fresh start. It also became clear that I didn’t have the experience to do it myself, so about two years ago we hired a consulting irm to help us restructure the model. This naturally accelerated the transition. This past year was the irst that OMR has operated completely without its founders, who now serve as counsel. It also marks the irst year at our new space.

Tell us about your vision for the new gallery. CR: It is still in development, but we are building a horizontal platform with less hierarchy but far more structure around roles, policies, and best practices, which enables us to focus on developing our artists’ careers and clientele while exploring potential in less common places and models. Of course, this is easier said than done. What are your greatest challenges? CR: For any gallery, particularly one that has existed as long as ours has, the greatest challenge is to maintain relevance—to be resilient and to make adjustments based on opportunities that may present themselves.

Cristobal Riestra

FOR ANY GALLERY, PARTICULARLY ONE [AS OLD AS OURS], THE GREATEST CHALLENGE IS TO MAINTAIN RELEVANCE. How are you cultivating the next generation of collectors? CR: While we should be using far more social media, we haven’t made the full dive. At the moment, we are focusing on developing our team and establishing our voice. How is your vision for the gallery different from that of your parents? CR: I think we now have a more global focus with a stronger orientation toward collaborating with other galleries.

GA L E R I A O M R , M E X I C O C I T Y

E

stablished in 1983 by Patricia Ortiz Monasterio and Jaime Riestra, Galería OMR has been Mexico City’s trusted source for collectors of Mexican and international avant-garde art for more than 30 years. Last year, the couple and their son Cristobal Riestra, who started working with them more than a decade ago and is now taking the lead, moved the gallery out of a colonial-era building with dizzying slanted floors to a Brutalist white cube a few blocks away. Among the younger Riestra’s goals for OMR is an increased awareness of the social, environmental, and even political potential of the gallery.


I

t has been nearly a halfcentury since Belgian aesthete Axel Vervoordt launched his eponymous enterprise, which grew out of his 1968 acquisition and later restoration of Vlaeykensgang, a medieval enclave in the heart of Antwerp. Currently, Axel and his wife, May, oversee a trio of venues in Belgium and a space in Hong

Kong, although they have now handed their son Boris a substantial part of the management of their multifaceted firm, including the art and antiques trade and the home design division.

How has the business adapted to a changing market over the years? BORIS VERVOORDT: Our Boris and Axel Vervoordt

company was founded with very local roots in Antwerp and built on a passion for and expertise in antiques. As we grew, we started participating in art and antique fairs, which helped us reach international audiences and clients. The evolution extended to curating exhibitions at the Palazzo Fortuny in Venice, which we have done since the summer of 2007, and ultimately founding our gallery for contemporary art in 2011 and opening an outpost in Hong Kong in 2014—along with our participation in a host of art fairs around the world. With all of this growth, we are still very much connected to our roots in Belgium, and our passion and commitment to quality and the language of artists remains very strong.

L A Z I Z H A M A N I A N D A X E L V E R VO O R DT GA L L E R Y, A N T W E R P

What are your current challenges? BV: Since the very beginning, our greatest challenges have been to ind the best pieces and, with them, to make visual connections between the

past and the present. It’s hard work to renew the sources of inspiration while creating great shows, but that is what drives us every day.

Have you sought out younger collectors? BV: Working with a wide range of new artists and cultivating relationships with people we’ve worked with for decades have allowed us to meet new generations of collectors from a diverse demographic base around the world. It’s a natural evolution. We’re very grateful that our aesthetic also seems to be attracting a younger crowd. Does your vision for the enterprise differ from that of your parents? BV: One thing that we share is our tendency toward evolution in all that we do. We have differing visions, but as we confront the details of our work, we realize that we challenge each other to create a dynamic experience. In the end, we often ind that what we want is quite similar.

AXEL VERVOORDT GALLERY ANT WERP & HONG KONG

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VON BARTHA BASEL

How has the business changed since the gallery’s founding? STEFAN VON BARTHA: In the beginning it was really an art dealer’s gallery—a 300-square-foot space associated closely with the famous dealer and collector Carl Laszlo. Over the years, in the 1980s and especially the ’90s, under my parents’ aegis, the gallery began to establish itself on an international level with rediscoveries of artistic groups such as Arte

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Concreto/Arte Madí. Our gallery was the irst in Europe to show works by artists associated with these groups, and my parents bought a large number that are now in major collections all over the world; the recent Cisneros donation to MOMA includes a number of pieces that my parents initially brought to Europe. A decade or so ago, my parents made it clear that they wanted one of their sons to join them in the gallery, in particular to nurture the growing number of contemporary artists that they were showing and to prepare the gallery for the business model of the future. At that stage we had just decided to open a new space in S-chanf, responding to the growing art market in the Alps, and our Basel location was due to change as well. So, in 2008, I inally joined the irm and we opened our gallery in Kannenfeldplatz, in a 16,000-square-foot converted garage, which has been renovated, in order to adapt to today’s market. Collectors now have

totally new ideas of what they expect of a gallery. It needs to be more than just a space to sell art, and we need to ind more ways to inform visitors about the art that we are showing. Therefore, our refurbished gallery, which reopens this month, will feature not only a large gallery for solo shows and new ofice space, but also a more casual showroom, open storage units, a reading room for visitors, meeting areas, and a large library hosting all the books that the family has acquired in the past 47 years, including a large part of Laszlo’s former library.

What are your current challenges? SVB: With fairs becoming more important, it is increasingly dificult to entice people to visit the classic gallery space. Therefore, it’s imperative that galleries remain active and adaptive, in order to sustain a high level of interest in the work. We are striving to reinvigorate the visitor’s and collector’s engagement in art—to keep them talking about and discussing the art, rather than just the prices. Our

Stefan von Bartha

hope is to inform them about artists in a new and exciting manner—be that through social media, online digital initiatives, or even classic print methods.

Have you observed any surprising trends? SVB: Instagram is probably the single most surprising trend affecting us today. I never would have thought it would happen so fast—but a lot of the gallery’s identity and promotion, as well as some sales, are developing over social media. It is astonishing to see how many people inform themselves about the gallery via these platforms, and Instagram in particular has had to become a key part of our strategy—planning how, when, and where we post and share information. MP

VO N B A R T H A , B A S E L

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on Bartha gallery is one of the oldest contemporary art dealerships in the world, specializing in Concrete and Kinetic art. In January, the founders’ son Stefan, who took over in 2012, inaugurated the gallery’s newly renovated space with an exhibition of works by Venezuelan artist Ricardo Alcaide. Designed by Zurich architecture firm Luvo, the venue features a reading room for visitors and permanent, sitespecific installations by Karim Noureldin, Sarah Oppenheimer, Boris Rebetez, and Superflex.


TOP GALLERIES

The international art world is constantly evolving. Each issue, we present a guide to some of the most exciting galleries around the globe

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1857 Norway Tøyenbekken 12 0188 Oslo +47 2 217 60 50 1857.no electronicmail@1857.no

A GENTIL CARIOCA Brazil Rua Gonçalves Ledo, 11 / 17 sobrado-Centro 20060-020 Rio de Janeiro-RJ +55 21 2222 1651 agentilcarioca.com.br correio@agentilcarioca.com.br

10 CHANCERY LANE GALLERY China G/F, 10 Chancery Lane SoHo, Central, Hong Kong +852 2810 0065 10chancerylanegallery.com info@10chancerylane gallery.com 1301PE United States 6150 Wilshire Blvd. Los Angeles, CA 90048 +1 323 938 5822 1301pe.com info@1301pe.com 303 GALLERY United States 555 West 21st Street New York, NY 10011 +1 212 255 1121 303gallery.com info@303gallery.com 47 CANAL United States 291 Grand Street, 2nd Floor New York, NY 10002 +1 646 415 7712 47canal.us info@47canal.us

ACB GALLERY Hungary Király utca 76 1068 Budapest +36 1 413 7608 acbgaleria.hu acbinfo@acbgaleria.hu ACQUAVELLA GALLERIES United States 18 East 79th Street New York, NY 10075 +1 212 734 6300 acquavellagalleries.com info@acquavellagalleries.com AIKE-DELLARCO China

Building 6 2555 Longteng Avenue Xuhui District Shanghai +86 21 5252 7164 aikedellarco.com shanghai@aikedellarco.com AKAR PRAKAR GALLERY India P 238 Hindustan Park Calcutta 700029 +91 33 2464 2617 1st Floor, 29 Hauz Khas Village

New Delhi 110016 +91 11 2686 8558 A 37/38 Shyam Nagar Vishwamitra Marg Jaipur 302 019 akarprakar.com info@akarprakar.com AIR DE PARIS France 32 rue Louise Weiss 75013 Paris +33 1 44 23 02 77 airdeparis.com fan@airdeparis.com ALAN CRISTEA GALLERY United Kingdom 31 & 34 Cork Street London W1S 3NU +44 20 7439 1866 alancristea.com info@alancristea.com ALBERT BARONIAN Belgium 2 Rue Isidore Verheyden 1050 Brussels +32 2 512 92 95 albertbaronian.com info@albertbaronian.com ALEXANDER LEVY Germany Rudi-Dutschke-Strasse 26 10969 Berlin +49 30 25 29 22 21 alexanderlevy.net info@alexanderlevy.net ALEXANDER OCHS PRIVATE Germany Schillerstrasse 15

10625 Berlin-Charlottenburg +49 30 45 08 68 78 alexanderochs-private.com info@alexanderochs-pri vate.com ALISON JACQUES GALLERY United Kingdom 16-18 Berners Street London W1T 3LN +44 20 7631 4720 alisonjacquesgallery.com info@alisonjacquesgallery. com ALLAN STONE PROJECTS United States 535 West 22nd Street, 3rd Floor New York, NY 10011 +1 212 987 4997 allanstoneprojects.com info@allanstoneprojects.com ALMINE RECH GALLERY France 64 rue de Turenne 75003 Paris +33 1 45 83 71 90 alminerech.com contact.paris@alminerech.com International Locations: Brussels; London AMERICAN MEDIUM United States 424 Gates Avenue Brooklyn, NY 11216 +1 201 396 7642 americanmedium.net info@americanmedium.net

ANAT EBGI United States 2660 South La Cienega Blvd. Los Angeles, CA 90034 +1 310 838 2770 anatebgi.com info@anatebgi.com ANDREA MEISLIN GALLERY United States 401 Park Avenue South, 10th fl.. New York, NY 10016 +1 212 627 2552 andreameislin.com info@andreameislin.com ANDREA ROSEN GALLERY United States 525 West 24th Street New York, NY 10011 +1 212 627 6000 544 West 24th Street New York, NY 10011 +1 212 627 6100 andrearosengallery.com ANDREHN-SCHIPTJENKO Sweden Hudiksvallsgatan 8, 2nd Floor 113 30 Stockholm +46 8 612 00 75 andrehn-schiptjenko.com info@andrehn-schiptjenko. com ANDREW KREPS GALLERY United States 537 & 535 West 22nd Street New York, NY 10011 +1 212 741 8849 andrewkreps.com contact@andrewkreps.com

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TOP GALLERIES ANDREW RAFACZ GALLERY United States 835 West Washington Blvd. Chicago, IL 60607 +1 312 404 9188 andrewrafacz.com mail@andrewrafacz.com

ANNEMARIE VERNA GALERIE Switzerland Neptunstrasse 42 CH-8032 Zurich +41 44 262 38 20 annemarie-verna.ch office@annemarie-verna.ch

ANGLIM GILBERT GALLERY United States 14 Geary Street San Francisco, CA 94108 +1 415 433 2710 gallerypauleanglim.com gallery@anglimgilbert gallery.com

ANNET GELINK GALLERY Netherlands Laurierstraat 187-189 NL-1016PL Amsterdam +31 20 330 20 66 annetgelink.com info@annetgelink.com

ANITA SCHWARTZ GALERIA DE ARTE Brazil St José Roberto Macedo Soares, 30-Gávea 22470-100 Rio de Janeiro-RJ +55 21 2540 6446 anitaschwartz.com.br galeria@anitaschwartz.com.br ANNA PAPPAS GALLERY Australia 2-4 Carlton Street Prahran VIC 3181 +61 3 9521 7300 annapappasgallery.com enquiries@annapappas gallery.com ANNA SCHWARTZ GALLERY Australia 185 Flinders Lane Melbourne VIC 3000 +61 3 9654 6131 annaschwartzgallery.com mail@annaschwartzgallery. com ANNELY JUDA FINE ART United Kingdom 23 Dering Street, 4th Floor London W1S 1AW +44 20 7629 7578 annelyjudafineart.co.uk ajfa@annelyjudafineart.co.uk

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ANTHONY MEIER FINE ARTS United States 1969 California Street San Francisco, CA 94109 +1 415 351 1400 anthonymeierfinearts.com gallery@anthonymeierfine arts.com ANTON KERN GALLERY United States 532 West 20th Street New York, NY 10011 +1 212 367 9663 antonkerngallery.com THE APPROACH United Kingdom 47 Approach Road, 1st fl. Bethnal Green, London E2 9LY +44 20 8983 3878 theapproach.co.uk info@theapproach.co.uk ARARIO GALLERY South Korea #84 Bukchon-ro 5-gil Jongno-gu Seoul 03053 +82 2 541 5701 #43, Mannam-ro Dongnam-gu, Cheonan-si Chungcheongnam-do 31120 +82 41 551 5100 arariogallery.com info@arariogallery.com

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International Locations: Shanghai ARATANIURANO GALLERY Japan 3-1-15-2F Shirokane Minato-ku, Tokyo 108-0072 +81 3 5422 8320 arataniurano.com info@arataniurano.com ARKA GALLERY Russia 5 Svetlanskaya Street Vladivostok 690091 +7 423 2 410 526 arkagallery.ru info@arkagallery.ru AROUNDSPACE GALLERY China 703, Chuang Ye Building No. 33 Si Chuan Road 200002 Shanghai +86 21 3305 0100 aroundspace.gallery aroundspace@gmail.com ARRATIA BEER Germany Potsdamer Strasse 87 10785 Berlin +49 30 23 63 08 05 arratiabeer.com info@arratiabeer.com ARREDONDO\AROZARENA Mexico Praga #27, Colonia Juárez CP. 06600 Ciudad de México +52 55 5514 9616 arredondoarozarena.com info@arredondoarozarena. com ARRONIZ ARTE CONTEMPORANEO Mexico Plaza Río de Janeiro 53 Colonia Roma 06700 Ciudad de México

+52 55 5511 7965 arroniz-arte.com info@arroniz-arte.com ART : CONCEPT France 4 passage Sainte-Avoye 75003 Paris +33 1 53 60 90 30 galerieartconcept.com info@galerieartconcept.com ART LABOR GALLERY China #411, Ground Floor, Building 4 570 Yongjia Lu Shanghai 200031 artlaborgallery.com info@artlaborgallery.com AURA GALLERY China #8502, 798 East Street No. 2 Jiuxianqiao Road Chaoyang District, Beijing +86 10 5978 9280 aura-art.com beijing@auragallery.net International Locations: Taipei AUREL SCHEIBLER Germany Schöneberger Ufer 71 10785 Berlin +49 30 25 93 86 07 Lortzingstrasse 7 50931 Cologne +49 221 31 10 11 aurelscheibler.com office@aurelscheibler.com

Koornmarkt 16 2000 Antwerp +32 477 88 80 60 axel-vervoordt.com info@axelvervoordtgallery. com International Locations: Hong Kong AYYAM GALLERY United Arab Emirates Unit B11, Alserkal Avenue Street 8, Al Quoz 1, Dubai +971 4 323 6242 Gate Village Building 3 DIFC, Dubai +971 4 439 2395 ayyamgallery.com dubai@ayyamgallery.com International Locations: Beirut B BALDWIN GALLERY United States 209 South Galena Street Aspen, CO 81611 +1 970 920 9797 baldwingallery.com baldwingallery@baldwin gallery.com BALICE HERTLING GALERIE France 47 bis rue Ramponeau 75020 Paris +33 1 40 33 47 26 balicehertling.com gallery@balicehertling.com

AUSTRALIAN GALLERIES Australia 35 Derby Street Collingwood 3066 +61 3 9417 4303 15 Roylston Street Paddington 2021 +61 2 9360 5177 australiangalleries.com.au

BARBARA WIEN Germany Schöneberger Ufer 65, 3rd Floor 10785 Berlin +49 30 28 38 53 52 barbarawien.de bw@barbarawien.de

AXEL VERVOORDT GALLERY Belgium Vlaeykensgang - Oude

BEERS LONDON United Kingdom 1 Baldwin Street


London EC1V 9NU +44 20 7502 9078 beerslondon.com info@beerslondon.com BEIJING ART NOW GALLERY China Building E, Red Yard Number 1 Cao Chang Di, Cui Ge Zhuang Chaoyang District Beijing +86 10 5127 3292 beijingartnow.com angallery@vip.sina.com BEIJING COMMUNE China 798 Art Zone Number 4 Jiuxianqiao Road Chaoyang District 100015 Beijing +86 10 8456 2862 beijingcommune.com info@beijingcommune.com BELENIUS/NORDENHAKE Sweden Jakobs Torg 3 111 52 Stockholm +46 708 55 68 56 beleniusnordenhake.com info@beleniusnordenhake.com BEN BROWN FINE ARTS China 303 Pedder Building 12 Pedder Street Central, Hong Kong +852 2522 9600 benbrownfinearts.com hkinfo@benbrownfine arts.com International Locations: London BETA PICTORIS GALLERY United States 2411 Second Avenue North Birmingham, AL 35203 +1 205 413 2999 betapictorisgallery.com betapic@mauscontempo rary.com

BLAIN|SOUTHERN United Kingdom 4 Hanover Square London W1S 1BP +44 20 7493 4492 blainsouthern.com info@blainsouthern.com International Locations: Berlin BLINDSPOT GALLERY China 15/F, Po Chai Industrial Building 28 Wong Chuk Hang Road Wong Chuk Hang, Hong Kong +852 2517 6238 blindspotgallery.com info@blindspotgallery.com BLUM & POE United States 2727 South La Cienega Blvd. Los Angeles, CA 90034 +1 310 836 2062 19 East 66th Street New York, NY 10065 +1 212 249 2249 blumandpoe.com info@blumandpoe.com International Locations: Tokyo BOERS-LI GALLERY China D-06, 798 Art Zone Number 2 Jiuxianqiao Road Chaoyang District, Beijing +86 10 6432 2620 boersligallery.com info@boersligallery.com

bqberlin.de info@bqberlin.de BRAND NEW GALLERY Italy Via Carlo Farini 32 20159 Milan +39 2 89 05 30 83 brandnew-gallery.com info@brandnew-gallery.com BRIDGET DONAHUE United States 99 Bowery, 2nd Floor New York, NY 10002 +1 646 750 8150 bridgetdonahue.nyc info@bridgetdonahue.nyc BRIDGETTE MAYER GALLERY United States 709 Walnut Street, 3rd Floor Philadelphia, PA 19106 +1 215 413 8893 bridgettemayergallery.com bmayer@bridgettemayer gallery.com BRUCE SILVERSTEIN GALLERY United States 535 West 24th Street New York, NY 10011 +1 212 627 3930 529 West 20th Street, 3rd fl. New York, NY 10011 +1 212 627 3930 brucesilverstein.com inquiries@brucesilversteincom

buchmanngalerie.com info@buchmanngalerie.com International Locations: Lugano

+55 11 4564 8400 carbonogaleria.com.br info@carbonogaleria.com.br

BWA WARSZAWA Poland Functional House Jakubowska 16/3 03-902 Warsaw +48 725 53 60 75 bwawarszawa.pl bwawarszawa@gmail.com

CARDI GALLERY Italy Corsa di Porta Nuova 38 20121 Milan +39 2 45 47 81 89 cardigallery.com mail@cardigallery.com CARL KOSTYAL United Kingdom 12a Savile Row London W1S 3PQ +44 74 9611 3826 kostyal.com helen@kostyal.com International Locations: Stockholm

C C24 GALLERY United States 560 West 24th Street New York, NY 10011 +1 646 416 6300 c24gallery.com info@c24gallery.com C-SPACE China Red Number 1-F, Caochangdi Chaoyang District 100015 Beijing +86 10 5127 3248 c-spacebeijing.com info@c-spacebeijing.com CAPITAIN PETZEL Germany Karl-Marx-Allee 45 10178 Berlin +49 30 24 08 81 30 capitainpetzel.de info@capitainpetzel.de

BORTOLAMI GALLERY United States 520 West 20th Street New York, NY 10011 +1 212 727 2050 bortolamigallery.com info@bortolamigallery.com

BRYCE WOLKOWITZ GALLERY United States 505 West 24th Street New York, NY 10011 +1 212 243 8830 brycewolkowitz.com info@brycewolkowitz.com

CARBON 12 United Arab Emirates Unit 37, Alserkal Avenue Al Quoz 1 Dubai +971 4 340 6016 carbon12dubai.com info@carbon12dubai.com

BQ Germany Weydingerstrasse 10 10178 Berlin-Mitte +49 30 23 45 73 16

BUCHMANN GALERIE Germany Charlottenstrasse 13 10969 Berlin +49 30 25 89 99 29

CARBONO GALERIA Brazil Rua Joaquim Antunes 59 Jd. Paulistano 05415-010 São Paulo-SP

CARLIER | GEBAUER Germany Markgrafenstrasse 67 10969 Berlin +49 30 24 00 86 30 carliergebauer.com mail@carliergebauer.com CARLOS/ISHIKAWA United Kingdom Unit 4, 88 Mile End Road London E1 4UN +44 20 7001 1744 carlosishikawa.com gallery@carlosishikawa.com CARROLL/FLETCHER United Kingdom 56-57 Eastcastle Street London W1W 8EQ +44 20 7323 6111 carrollfletcher.com info@carrollfletcher.com CASA TRIANGULO Brazil Rua Estados Unidos 1324 Jardins 01427-001 São Paulo-SP +55 11 3167 5621 casatriangulo.com info@casatriangulo.com

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TOP GALLERIES CATHARINE CLARK GALLERY United States 248 Utah Street San Francisco, CA 94103 +1 415 519 1439 313 West 14th Street, 2F New York, NY 10014 cclarkgallery.com cc@cclarkgallery.com CHAMBERS FINE ART United States 522 West 19th Street New York, NY 10011 +1 212 414 1169 chambersfineart.com cfa@chambersfineart.com International Locations: Beijing CHAN HAMPE GALLERIES Singapore 328 North Bridge Road #01-21 Raffles Hotel Arcade Singapore 188719 +65 6338 1962 chanhampegalleries.com CHARIM GALERIE Austria Dorotheergasse 12/1 1010 Vienna +43 1 512 09 15 charimgalerie.at charim@charimgalerie.at CHATTERJEE & LAL India 01/18 Kamal Mansion, Floor 1 Arthur Bunder Road Colaba Mumbai 400 005 +91 22 2202 3787 chatterjeeandlal.com info@chatterjeeandlal.com CHEIM & READ United States 547 West 25th Street New York, NY 10001 +1 212 242 7727 cheimread.com gallery@cheimread.com

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CHEMOULD PRESCOTT ROAD India Queens Mansion, 3rd Floor G. Talwatkar Marg Fort, Mumbai 400 001 +91 22 2200 0211 gallerychemould.com art@gallerychemould.com

CLEARING United States 396 Johnson Avenue Brooklyn, NY 11206 +1 718 456 0396 c-l-e-a-r-i-n-g.com desk@c-l-e-a-r-i-n-g.com International Locations: Brussels

CHERRY AND MARTIN United States 2712 South La Cienega Blvd. Los Angeles, CA 90034 +1 310 559 0100 cherryandmartin.com info@cherryandmartin. com

CLINT ROENISCH GALLERY Canada 190 Saint Helens Avenue Toronto, Ontario M6H 4A2 +1 416 516 8593 clintroenisch.com yes@clintroenisch.com

CHIMERA-PROJECT Hungary Klauzál tér 5 1072 Budapest VII. District +36 30 768 2947 chimera-project.com patrick@chimera-project. com CHRISTIAN ANDERSEN Denmark Bispevej 29 2400 Copenhagen NV +45 2537 4101 christianandersen.net info@christianandersen.net CHRISTIAN LARSEN Sweden Hudiksvallsgatan 8 113 30 Stockholm +46 8 30 98 30 christianlarsen.se info@christianlarsen.se CHRISTINE KOENIG GALERIE Austria Schleifmuehlgasse 1A 1040 Vienna +43 1 585 74 74 christinekoeniggalerie.com office@christinekoeniggalerie. at

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CONTEMPORARY FINE ARTS Germany Am Kupfergraben 10 10117 Berlin Mitte +49 30 288 78 70 cfa-berlin.de gallery@cfa-berlin.de COOPER COLE Canada 1134 Dupont Street Toronto, Ontario M6H 2A2 +1 416 531 8000 coopercolegallery.com info@coopercolegallery.com CORVI-MORA United Kingdom 1A Kempsford Road London SE11 4NU +44 20 7840 9111 corvi-mora.com tcm@corvi-mora.com CRG GALLERY United States 195 Chrystie Street New York, NY 10002 +1 212 229 2766 crggallery.com info@crggallery.com CRISTIN TIERNEY United States 540 West 28th Street

New York, NY 10001 +1 212 594 0550 cristintierney.com info@cristintierney.com CRISTINA GUERRA CONTEMPORARY ART Portugal Rua Santo António à Estrela, 33 1350-291 Lisbon +351 21 395 95 59 cristinaguerra.com galeria@cristinaguerra.com D DAG MODERN India 11, Hauz Khas Village New Delhi 110016 +91 11 4600 5300 58, Dr. V.B. Gandhi Marg Kala Ghoda Fort Mumbai 400001 +91 22 4922 2700 dagmodern.com delhi@dagmodern.com International Locations: New York DANIEL FARIA GALLERY Canada 188 Saint Helens Avenue Toronto, Ontario M6H 4A1 +1 416 538 1880 danielfariagallery.com info@danielfariagallery.com DANIEL TEMPLON France 30 rue Beaubourg 75003 Paris +33 1 42 72 14 10 danieltemplon.com info@danieltemplon.com International Locations: Brussels DAVID KORDANSKY GALLERY United States 5130 West Edgewood Place Los Angeles, CA 90019 +1 323 935 3030

davidkordanskygallery.com info@davidkordansky gallery.com DAVID KRUT PROJECTS South Africa 142 Jan Smuts Avenue Parkwood Johannesburg +27 11 447 0627 264 Fox Street City and Suburban Johannesburg +27 11 334 1209 Montebello Design Centre 31 Newlands Avenue Cape Town +27 21 685 0676 davidkrut.com info-jhb@davidkrut.com International Locations: New York DAVID RISLEY GALLERY Denmark Bispevej 29 2400 Copenhagen NV +45 26 16 36 71 davidrisleygallery.com info@davidrisleygallery.com DAVID ZWIRNER United States 519, 525 & 533 West 19th Street New York, NY 10011 +1 212 727 2070 davidzwirner.com info@davidzwirner.com International Locations: London DC MOORE GALLERY United States 535 West 22nd Street, 2nd Floor New York, NY 10011 +1 212 247 2111 dcmooregallery.com info@dcmooregallery.com DE SARTHE GALLERY China 8/F Club Lusitano Building 16 Ice House Street


Central, Hong Kong +852 2167 8896 desarthe.com hongkong@desarthe.com DELMES & ZANDER Germany Antwerpener Strasse 1 50672 Cologne +49 221 52 16 25 Rosa-Luxemburg-Strasse 37 10178 Berlin +49 30 24 33 31 44 delmes-zander.de info@delmes-zander.de DEPENDANCE Belgium Varkensmarkt 4 Rue du Marché aux Porcs 1000 Brussels +32 2 217 74 00 dependance.be info@dependance.be DOMINIQUE LEVY GALLERY United States 909 Madison Avenue New York, NY 10021 +1 212 772 2004 dominique-levy.com info@dominique-levy.com International Locations: London; Geneva DVIR GALLERY Israel 14 Reshit Hochma Street Tel Aviv 6135302 +972 3 604 3003 dvirgallery.com info@dvirgallery.com International Locations: Brussels

edouardmalingue.com mail@edouardmalingue.com EDWYNN HOUK GALLERY United States 745 Fifth Avenue, 4th fl. New York, NY 10151 +1 212 750 7070 houkgallery.com info@houkgallery.com International Locations: Zurich EITOEIKO Japan 32-2, Yaraicho Shinjuku-ku, Tokyo 162-0805 +81 3 6873 3830 eitoeiko.com ei@eitoeiko.com ELIZABETH DEE United States 2033 & 2037 Fifth Avenue New York, NY 10035 +1 212 924 7545 elizabethdee.com info@elizabethdee.com ELLEN DE BRUIJNE PROJECTS Netherlands Rozengracht 207 A 1016 LZ Amsterdam +31 20 530 49 94 edbprojects.com edbprojects@cs.com EMERSON DORSCH United States 151 Northwest 24 Street, Suite A Miami, FL 33127 +1 305 576 1278 dorschgallery.com info@emersondorsch.com

E EDOUARD MALINGUE GALLERY China Sixth Floor, 33 Des Voeux Road Central, Hong Kong +852 2810 0317

ESTHER SCHIPPER Germany Schöneberger Ufer 65 10785 Berlin +49 30 37 44 33 133 estherschipper.com office@estherschipper.com

EVERARD READ/CIRCA South Africa 6 Jellicoe Avenue Rosebank Johannesburg 2196 +27 11 788 4805 3 Portswood Road Victoria and Alfred Waterfront Cape Town 8002 +27 21 418 4527 everard-read-capetown.co.za ctgallery@everard.co.za International Locations: London EXPERIMENTER India 2/1 Hindusthan Road, Gariahat Calcutta, West Bengal 700029 +91 33 4001 2289 experimenter.in info@experimenter.in F FEUER/MESLER United States 319 Grand Street 2nd Floor New York, NY 10002 +1 212 989 7700 feuermesler.com info@feuermesler.com FINDLAY GALLERIES United States 724 Fifth Avenue, 7th & 8th fl. New York, NY 10019 +1 212 421 5390 165 Worth Avenue Palm Beach, FL 33480 +1 561 655 2090 findlaygalleries.com FLOWERS United Kingdom 21 Cork Street London W1S 3LZ +44 20 7439 7766 82 Kingsland Road London E2 8DP +44 20 7920 7777 flowersgallery.com info@flowersgallery.com

International Locations: New York FORUM GALLERY United States 730 Fifth Avenue, 2nd fl. New York, NY 10019 +1 212 355 4545 forumgallery.com gallery@forumgallery.com FOST GALLERY Singapore 1 Lock Road #01-02, Gillman Barracks Singapore 108932 +65 6694 3080 fostgallery.com info@fostgallery.com FRAENKEL GALLERY United States 49 Geary Street, 4th fl. San Francisco, CA 94108 +1 415 981 2661 fraenkelgallery.com mail@fraenkelgallery.com FRANCESCA MININI Italy Via Massimiano, 25 20134 Milan +39 2 26 92 46 71 francescaminini.it info@francescaminini.it FREIGHT + VOLUME United States 97 Allen Street New York, NY 10002 +1 212 691 7700 freightandvolume.com info@freightandvolume.com FREYMOND-GUTH FINE ARTS Switzerland Riehenstrasse 90B CH-4058 Basel +41 61 501 9020 freymondguth.com office@freymondguth.com International Locations: New York

FRIEDMAN BENDA United States 515 West 26th Street New York, NY 10001 +1 212 239 8700 friedmanbenda.com gallery@friedmanbenda.com FRITH STREET GALLERY United Kingdom 17-18 Golden Square London W1F 9JJ +44 20 7494 1550 frithstreetgallery.com info@frithstreetgallery.com G G/P GALLERY Japan NADiff A/P/A/R/T 2F 1-18-4 Ebisu Shibuya-ku, Tokyo 150-0013 +81 3 5422 9331 gptokyo.jp info@gptokyo.jp GAGOSIAN GALLERY United States 976 & 980 Madison Avenue New York, NY 10075 +1 212 744 2313 821 Park Avenue New York, NY 10021 +1 212 796 1228 555 West 24th Street New York, NY 10011 +1 212 741 1111 gagosian.com newyork@gagosian.com International Locations: London, Paris, Rome, Geneva, Athens, Hong Kong GALERI NEV ISTANBUL Turkey Istiklal Caddesi Mısır Apt. No: 163 Kat 4 D:23 Beyoglu, Istanbul 34430 +90 212 252 1525 galerinevistanbul.com info@galerinevistanbul.com

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TOP GALLERIES GALERIA ENRIQUE GUERRERO Mexico General Juan Cano 103 Colonia San Miguel Chapultepec 11850 Ciudad de México +52 55 5280 5183 galeriaenriqueguerrero.com info@galeriaenriqueguer rero.com GALERIA FILOMENA SOARES Portugal Rua da Manutenção No. 80 1900-321 Lisbon +351 21 862 41 22 gfilomenasoares.com gfilomenasoares@mail.tele pac.pt GALERIA FOKSAL Poland Ul. Foksal 1/4 00-366 Warsaw +48 228 27 62 43 galeriafoksal.pl foksal@mik.waw.pl GALERIA FORTES VILACA Brazil Rua Fradique Coutinho 1500 05416-001 São Paulo-SP +55 11 3032 7066 fortesvilaca.com.br galeria@fortesvilaca.com.br GALERIA HELGA DE ALVEAR Spain Doctor Fourquet 12 ES–28012 Madrid +34 91 468 05 06 helgadealvear.com galeria@helgadealvear.com GALERIA HILARIO GALGUERA Mexico Francisco Pimentel 3 San Rafael 06470 Ciudad de México +52 55 5546 6703 galeriahilariogalguera.com

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info@galeriahilariogal guera.com GALERIA JAVIER LOPEZ & FER FRANCES Spain Guecho, 12 B 28023 Madrid +34 91 593 21 84 javierlopezferfrances.com info@javierlopezferfrances. com GALERIA LEME Brazil Avenida Valdemar Ferreira 130 05501-000 São Paulo-SP +55 11 3093 8184 galerialeme.com info@galerialeme.com

GALERIA MAX ESTRELLA Spain Santo Tomé 6, patio 28004 Madrid +34 91 319 55 17 maxestrella.com info@maxestrella.com GALERIA MILLAN Brazil Rua Fradique Coutinho 1360 05416-001 São Paulo-SP +55 11 3031 60 07 galeriamillan.com.br galeria@galeriamillan.com.br

+34 91 308 15 69 pilarserra.com galeria@pilarserra.com

+49 30 28 39 03 47 bthumm.de info@bthumm.de

GALERIA PLAN B Germany Potsdamer Strasse 77-87 Building G, Second Backyard 10785 Berlin +49 30 39 80 52 36 plan-b.ro contact@plan-b.ro International Locations: Cluj, Romania

GALERIE BARBARA WEISS Germany Kohlfurter Strasse 41/43 10999 Berlin +49 30 262 42 84 galeriebarbaraweiss.de mail@galeriebarbaraweiss.de

GALERIA RAQUEL ARNAUD Brazil Rua Fidalga 125 - Vila Madalena 05432-070 São Paulo-SP +55 11 3083 6322 raquelarnaud.com info@raquelarnaud.com

GALERIA LUCIA DE LA PUENTE Peru Paseo Sáenz Peña 206 - A Barranco Lima +511 477 9740 gluciadelapuente.com ldelapuente@gluciadela puente.com

GALERIA NARA ROESLER Brazil Avenida Europa 655 Jardim Europa 01449-001 São Paulo-SP +55 11 3063 2344 Rua Redentor 241 Ipanema 22421-030 Rio de Janeiro-RJ +55 21 3591 0052 nararoesler.com.br info@nararoesler.com.br International Locations: New York

GALERIA LUISA STRINA Brazil Rua Padre João Manuel 755 Cerqueira César 01411-001 São Paulo-SP +55 11 3088 2471 galerialuisastrina.com.br info@galerialuisastrina.com.br

GALERIA OMR Mexico Córdoba 100 Roma Norte 06700 Ciudad de México +52 55 5207 1080 galeriaomr.com info@galeriaomr.com

GALERIE ANDREAS HUBER Austria Schleifmühlgasse 6-8 2nd Floor A-1040 Vienna +43 1 586 02 37 galerieandreashuber.at art@galerieandreashuber.at

GALERIA MARILIA RAZUK Brazil Rua Jerônimo da Veiga 131 Itaim Bibi 01436-000 São Paulo-SP Rua Jerônimo da Veiga 62 Itaim Bibi 01436-000 São Paulo-SP + 55 11 3079 0853 galeriamariliarazuk.com.br contato@galeriamarilia razuk.com.br

GALERIA PEDRO CERA Portugal Rua do Patrocínio, 67E 1350-229 Lisbon +351 21 816 20 32 pedrocera.com geral@pedrocera.com

GALERIE ANHAVA Finland Fredrikinkatu 43 00120 Helsinki +358 9 669 989 anhava.com galerie@anhava.com

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GALERIA PILAR SERRA Spain Santa Engracia, 6 – Bajo Centro 28010 Madrid

GALERIA VERMELHO Brazil Rua Minas Gerais 350 01244-010 São Paulo-SP +55 11 3138 1520 galeriavermelho.com.br info@galeriavermelho.com.br

GALERIE BARBARA THUMM Germany Markgrafenstrasse 68 10969 Berlin

GALERIE BERNARD CEYSSON Luxembourg 13-15, Rue d’Arlon, Wandhaff L-8399 Koerich +352 26 20 20 95 bernardceysson.com International Locations: Paris and Saint-Etienne, France; Geneva GALERIE BRUNO BISCHOFBERGER Switzerland Weissenrainstrasse 1 8708 Maennedorf +41 44 250 77 77 brunobischofberger.com art@brunobischofberger.com GALERIE BUCHHOLZ Germany Neven-DuMont-Strasse 17 50667 Cologne +49 221 257 49 46 Fasanenstrasse 30 10719 Berlin +49 30 88 62 40 56 galeriebuchholz.de post@galeriebuchholz.de International Locations: New York GALERIE CHANTAL CROUSEL France 10 rue Charlot 75003 Paris +33 1 42 77 38 87 crousel.com galerie@crousel.com


GALERIE CRONE Germany Rudi-Dutschke-Strasse 26 10969 Berlin +49 30 25 92 44 90 galeriecrone.com info@galeriecrone.de International Locations: Vienna GALERIE DANIEL BLAU Germany Maximilianstrasse 26 80539 Munich +49 89 29 73 42 danielblau.com contact@danielblau.com GALERIE DE BELLEFEUILLE Canada 1367 Greene Avenue Montreal, Quebec H3Z 2A8 +1 514 933 4406 debellefeuille.com art@debellefeuille.com GALERIE EIGEN + ART Germany Auguststrasse 26 10117 Berlin +49 30 280 66 05 Torstrasse 220 10115 Berlin +49 30 308 779 40 Spinnereistrasse 7 Halle 5 04179 Leipzig +49 341 960 78 86 eigen-art.com berlin@eigen-art.com GALERIE ELISABETH & KLAUS THOMAN Austria Seilerstätte 7 1010 Vienna +43 1 512 08 40 Maria-Theresien-Strasse 34 6020 Innsbruck +43 5 12 57 57 85 galeriethoman.com galerie@galeriethoman.com

GALERIE EVA PRESENHUBER Switzerland Maag Areal, Zahnradstrasse 21 CH-8005 Zurich +41 43 444 70 50 presenhuber.com info@presenhuber.com GALERIE FONS WELTERS Netherlands Bloemstraat 140 1016 LJ Amsterdam +31 20 423 30 46 fonswelters.nl mail@fonswelters.nl GALERIE FORSBLOM Finland Lönnrotinkatu 5 / Yrjönkatu 22 00120 Helsinki +358 9 680 3700 www.galerieforsblom.com info@galerieforsblom.com GALERIE FRANK ELBAZ France 66 rue de Turenne 75003 Paris +33 1 48 87 50 04 galeriefrankelbaz.com info@galeriefrankelbaz.com GALERIE GEORGESPHILIPPE & NATHALIE VALLOIS France 33 & 36 rue de Seine 75006 Paris +33 1 46 34 61 07 galerie-vallois.com info@galerie-vallois.com

+41 44 2 26 70 70 Via Serlas 22 7500 St. Moritz +41 81 8 33 36 51 Vorstadt 14 6300 Zug +41 41 710 25 02 gmurzynska.com galerie@gmurzynska.com GALERIE GRETA MEERT Belgium Vaartstraat 13 1000 Bruxelles +32 2 219 14 22 galeriegretameert.com info@galeriegretameert.com GALERIE GUIDO W. BAUDACH Germany Potsdamer Strasse 85 D-10785 Berlin +49 30 31 99 81 01 guidowbaudach.com galerie@guidowbaudach.com GALERIE IRAGUI Russia Malaya Polyanka Street, 7/5 Moscow +8 495 238 27 83 iragui.com contact@iragui.com GALERIE JOCELYN WOLFF France 78 rue Julien-Lacroix 75020 Paris +33 1 42 03 05 65 galeriewolff.com

GALERIE GISELA CAPITAIN Germany St. Apern Strasse 26 50667 Cologne +49 221 355 70 10 galeriecapitain.de info@galeriecapitain.de

GALERIE JUDIN Germany Potsdamer Strasse 83 10785 Berlin +49 30 39 40 48 40 galeriejudin.com info@galeriejudin.com

GALERIE GMURZYNSKA Switzerland Paradeplatz 2 8001 Zurich

GALERIE KARSTEN GREVE Germany Drususgasse 1-5

50667 Cologne +49 22 12 57 10 12 galerie-karsten-greve.com info@galerie-karsten-greve.de International Locations: Paris; St. Moritz GALERIE KLUESER Germany Georgenstrasse 15 80799 Munich +49 89 384 081 0 Türkenstrasse 23 80799 Munich +49 89 384 081 0 galerieklueser.de info@galerieklueser.com GALERIE KNOLL Austria Gumpendorfer Strasse 18 1060 Vienna +43 1 587 50 52 knollgalerie.at office@knollgalerie.at International Locations: Budapest GALERIE KRINZINGER Austria Seilerstätte 16 1010 Vienna +43 1 513 30 06 galerie-krinzinger.at galeriekrinzinger@chello.at GALERIE LAROCHE/JONCAS Canada 372 Sainte-Catherine Ouest, #410 Montreal, Quebec H3B 1A2 +1 514 570 9130 larochejoncas.com larochejoncas@videotron.ca GALERIE LAURENT GODIN France 5 rue du grenier Saint-Lazare 75003 Paris +33 1 42 71 10 66 laurentgodin.com info@laurentgodin.com

GALERIE LELONG France 13 rue de Téhéran 75008 Paris +33 1 45 63 13 19 galerie-lelong.com info@galerie-lelong.com GALERIE MARK MUELLER Switzerland Hafnerstrasse 44 CH-8005 Zurich +41 44 211 81 55 markmueller.ch mail@markmueller.ch GALERIE MARTIN JANDA Austria Eschenbachgasse 11 1010 Vienna +43 1 585 73 71 martinjanda.at galerie@martinjanda.at GALERIE MAX HETZLER Germany Bleibtreustrasse 45 10623 Berlin-Charlottenburg +49 30 346 497 85 0 Goethestrasse 2/3 10623 Berlin-Charlottenburg +49 30 346 497 85 0 maxhetzler.com info@maxhetzler.com International Locations: Paris GALERIE MEYER KAINER Austria Eschenbachgasse 9 A-1010 Vienna +43 1 585 72 77 meyerkainer.com contact@meyerkainer.com GALERIE MEZZANIN Switzerland 63, rue des Maraîchers CH-1205 Geneva +41 22 328 38 02 galeriemezzanin.com geneva@galeriemezzanin.com

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TOP GALLERIES GALERIE MICHEL REIN France 42 rue de Turenne 75003 Paris +33 1 42 72 68 13 michelrein.com galerie@michelrein.com International Locations: Brussels GALERIE MIRCHANDANI + STEINREUCKE India 2 Sunny House 16/18 Mereweather Road Colaba, Mumbai 400 001 +91 22 2202 3030 galeriems.com info@galeriems.com GALERIE MITTERRAND France 79 rue du Temple 75003 Paris +33 1 43 26 12 05 galeriemitterrand.com info@galeriemitterrand.com GALERIE NAECHST ST. STEPHAN ROSEMARIE SCHWARZWAELDER Austria Grünangergasse 1 A-1010 Vienna +43 1 512 12 66 schwarzwaelder.at galerie@schwarzwaelder.at GALERIE NATHALIE OBADIA France 3 rue du Cloître Saint-Merri 75004 Paris +33 1 42 74 67 68 18 rue du Bourg-Tibourg 75004 Paris +33 1 53 01 99 76 nathalieobadia.com info@nathalieobadia.com International Locations: Brussels

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GALERIE NEU Germany Linienstrasse 119 abc 10115 Berlin +49 30 285 75 50 galerieneu.net mail@galerieneu.com GALERIE NIKOLAUS RUZICSKA Austria Faistauergasse 12 5020 Salzburg +43 6 62 63 03 60 ruzicska.com salzburg@ruzicska.com GALERIE PARIS-BEIJING France 62 rue de Turbigo 75003 Paris +33 1 42 74 32 36 galerieparisbeijing.com paris@galerieparisbeijing.com International Locations: Beijing; Brussels GALERIE PERROTIN France 76 rue de Turenne 75003 Paris +33 1 42 16 79 79 perrotin.com paris@perrotin.com International Locations: New York; Hong Kong; Seoul GALERIE POLARIS France 15 rue des Arquebusiers 75003 Paris +33 1 42 72 21 27 galeriepolaris.com contact@galeriepolaris.com GALERIE RUEDIGER SCHOETTLE Germany Amalienstrasse 41, Rgb. 80799 Munich +49 89 33 36 86 galerie-ruediger-schoettle.de info@galerie-schoettle.de

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GALERIE THADDAEUS ROPAC France 7 rue Debelleyme 75003 Paris +33 1 42 72 99 00 ropac.net International Locations: Salzburg GALERIE THOMAS Germany Türkenstrasse 16 80333 Munich +49 89 29 000 860 galerie-thomas.de info@galerie-thomas.de GALERIE THOMAS SCHULTE Germany Charlottenstrasse 24 10117 Berlin +49 30 20 60 89 90 galeriethomasschulte.de mail@galeriethomasschulte.de GALERIE URS MEILE Switzerland Rosenberghöhe 4 6004 Lucerne +41 41 420 33 18 galerieursmeile.com galerie@galerieursmeile.com International Locations: Beijing GALERIJA GREGOR PODNAR Germany Lindenstrasse 35 10969 Berlin +49 30 259 346 51 gregorpodnar.com berlin@gregorpodnar.com GALERIST Turkey Mes¸ rutiyet Caddesi No:67 K:1 34340 Beyog˘lu Istanbul +90 212 252 1896 Kırmızı Minare Sokak, No:7-11 34445 Hasköy Istanbul

+90 212 252 1896 galerist.com.tr info@galerist.com.tr GALLERI BO BJERGGAARD Denmark Flaesketorvet 85 A DK-1711 Copenhagen V +45 33 93 42 21 bjerggaard.com bjerggaard@bjerggaard.com GALLERI BRANDSTRUP Norway Tjuvholmen allé 5 0252 Oslo +47 2 254 54 54 brandstrup.no galleri@brandstrup.no GALLERI K Norway Bjørn Farmanns Gate 4 0271 Oslo +47 2 255 35 88 gallerik.com gallerik@online.no GALLERI MAGNUS KARLSSON Sweden Fredsgatan 12 S-111 52 Stockholm +46 8 660 43 53 gallerimagnuskarlsson.com info@gallerimagnuskarls son.com GALLERI SUSANNE OTTESEN Denmark Gothersgade 49 1123 Copenhagen K +45 33 15 52 44 susanneottesen.dk galleri@susanneottesen.dk GALLERIA CONTINUA China Dashanzi Art District 798 #8503 2 Jiuxianqiao Road Chaoyang District

100015 Beijing +86 10 5978 9505 galleriacontinua.com beijing@galleriacontinua.com. cn International Locations: Havana; Boissy-le-Châtel, France; San Gimignano, Italy GALLERY 1957 Ghana Kempinski Hotel Gold Coast City PMB 66 Ministries Gamel Abdul Nasser Avenue Ridge, Accra +233 30 396 7575 gallery1957.com info@gallery1957.com GALLERY 21 Russia Winzavod Centre for Contemporary Art 4th Syromyatnicheskiy Lane, 1 Building 6 Moscow 105120 +7 910 463 04 04 gallery-21.ru dialog@gallery-21.ru GALLERY ESPACE India 16, Community Center New Friends Colony New Delhi, Delhi 110025 +91 11 2692 2947 galleryespace.com art@galleryespace.com GALLERY HYUNDAI South Korea 14 Samcheong-ro Jongno-gu Seoul 110-190 +82 2 2287 3500 galleryhyundai.com mail@galleryhyundai.com GALLERY ISABELLE VAN DEN EYNDE United Arab Emirates Unit 17, Alserkal Avenue Street 8, Al Quoz 1


Dubai +971 4 323 5052 ivde.net info@ivde.net

Jung-gu, Seoul +82 2 6456 0188 ganaart.com info@ganaart.com

GALLERY KOYANAGI Japan Koyanagi Building 9F 1-7-5 Ginza Chuo-ku, Tokyo 104-0061 +81 3 3561 1896 gallerykoyanagi.com mail@gallerykoyanagi.com

GAVIN BROWN’S ENTERPRISE United States 439 West 127th Street New York, NY 10027 291 Grand Street, 3rd Floor New York, NY 10002 +1 212 627 5258 gavinbrown.biz gallery@gavinbrown.biz

GALLERY MASKARA India 6/7 3rd Pasta Lane Colaba, Mumbai 400 005 +91 22 2202 3056 gallerymaskara.com info@gallerymaskara.com GALLERY MOMO South Africa 52 7th Avenue Parktown North Johannesburg 2193 +27 11 327 3247 Oro Africa Building 170 Buitengracht Street Cape Town +27 21 424 5150 gallerymomo.com info@gallerymomo.com GALLERYSKE India 2 Berlie Street Langford Town Bangalore 560 025 +91 80 4112 0873 Shivam House 14-F Middle Circle Connaught Place New Delhi 110 001 +91 11 6565 2724 galleryske.com post@galleryske.com GANA ART South Korea Mplanet, 5th Seoulsquare 541 Namdaemonno 5-ga

GAVLAK United States 1034 North Highland Avenue Los Angeles, CA 90038 +1 323 467 5700 249B Worth Avenue Palm Beach, FL 33480 +1 561 833 0583 gavlakgallery.com info@gavlakgallery.com GAZELLI ART HOUSE United Kingdom 39 Dover Street London W1S 4NN +44 20 7491 8816 gazelliarthouse.com info@gazelliarthouse.com International Locations: Baku, Azerbaijan GB AGENCY France 18 rue des Quatre-Fils 75003 Paris +33 1 44 78 00 60 gbagency.fr gb@gbagency.fr GEORG KARGL FINE ARTS GALLERY Austria Schleifmühlgasse 5 A-1040 Vienna +43 1 585 41 99 georgkargl.com office@georgkargl.com

GIO MARCONI Italy Via Tadino 20 I-20124 Milan +39 2 29 40 43 73 giomarconi.com info@giomarconi.com GLADSTONE GALLERY United States 515 West 24th Street New York, NY 10011 +1 212 206 9300 530 West 21st Street New York, NY 10011 +1 212 206 7606 gladstonegallery.com info@gladstonegallery.com International Locations: Brussels GOODMAN GALLERY South Africa 163 Jan Smuts Avenue Parkwood Johannesburg 2193 +27 11 788 1113 3rd Floor, Fairweather House 176 Sir Lowry Road Woodstock, Cape Town +27 21 462 7573 goodman-gallery.com jhb@goodman-gallery.com GREEN ART GALLERY United Arab Emirates Unit 28, Alserkal Avenue Street 8, Al Quoz 1 Dubai +971 4 346 9305 gagallery.com info@gagallery.com GREEN ON RED Ireland Park Lane, Spencer Dock Dublin 1 +353 87 245 4282 greenonredgallery.com info@greenonredgallery.com GREENAWAY ART GALLERY Australia 39 Rundle Street

Kent Town SA 5067 +61 8 8362 6354 greenaway.com.au gag@greenaway.com.au GREENGRASSI GALLERY United Kingdom 1a Kempsford Road London SE11 4NU +44 20 7840 9101 greengrassi.com info@greengrassi.com GREY NOISE United Arab Emirates Unit 24, Alserkal Avenue Street 8, Al Quoz 1 Dubai +971 4 379 0764 greynoise.org info@greynoise.org GRIMM Netherlands Frans Halsstraat 26 1072 BR Amsterdam +31 20 675 24 65 grimmgallery.com info@grimmgallery.com THE GUILD ART GALLERY India 28, 3rd Pasta Lane Shahid Bhagat Singh Road Colaba Mumbai 400005 +91 22 2288 0195 1028, Ranjanpada Mandwa Alibaug Road Alibaug 402201 +91 21 4124 7847 guildindia.com teamattheguild@gmail.com GUY PIETERS GALLERY Belgium Zeedijk 753 8300 Knokke-Heist +32 50 62 33 80 Albertplein 15 8300 Knokke-Heist +32 50 61 28 00 guypietersgallery.com knokke@guypietersgallery.com

H HAKGOJAE GALLERY South Korea 50 Samcheong-ro Jongno-gu Seoul 110-200 +82 2 720 1524 6 48-4 Samcheong-ro Jongno-gu Seoul 110-200 +82 2 739 4937 8 hakgojae.com info@hakgojae.com International Locations: Shanghai HALES GALLERY United Kingdom 7 Bethnal Green Road London E1 6LA +44 20 7033 1938 halesgallery.com info@halesgallery.com HALF GALLERY United States 43 East 78th Street New York, NY 10075 +1 212 744 0151 halfgallery.com info@halfgallery.com HANART TZ GALLERY China 401, Pedder Building 12 Pedder Street Central, Hong Kong +852 2526 9019 2nd Floor, Mai On Industrial Building 19 Kung Yip Street Kwai Chung, Hong Kong +852 2526 9019 hanart.com hanart@hanart.com HANNAH BARRY United Kingdom 4 Holly Grove, Peckham London SE15 5DF +44 20 7732 5453 hannahbarry.com hello@hannahbarry.com

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TOP GALLERIES HAUSER & WIRTH United Kingdom 23 Savile Row London W1S 2ET +44 20 7287 2300 Durslade Farm Dropping Lane, Bruton Somerset BA10 0NL +44 17 4981 4060 hauserwirth.com london@hauserwirth.com International Locations: New York and Los Angeles; Zurich HAEUSLER CONTEMPORARY Germany Maximilianstrasse 35 80539 Munich +49 89 21 09 80 3 haeusler-contemporary.com muenchen@haeusler-contem porary.com International Locations: Zurich; Lustenau, Austria HENRIQUE FARIA Argentina Libertad 1628 Buenos Aires CP. 1016 +54 11 4813 3251 henriquefaria-ba.com info@henriquefaria-ba.com International Locations: New York HERALD ST United Kingdom 2 Herald Street London E2 6JT +44 20 7168 2566 heraldst.com mail@heraldst.com HIGHER PICTURES United States 980 Madison Avenue New York, NY 10075 +1 212 249 6100 higherpictures.com office@higherpictures. com

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HILL GALLERY United States 407 West Brown Street Birmingham, MI 48009 +1 248 540 9288 hillgallery.com info@hillgallery.com HIRAM BUTLER GALLERY United States 4520 Blossom Street Houston, Texas 77007 +1 713 863 7097 hirambutler.com info@hirambutler.com

+420 222 969 887 huntkastner.com galerie@huntkastner.com

+44 131 556 4441 inglebygallery.com info@inglebygallery.com

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IPRECIATION GALLERY Singapore 50 Cuscaden Road HPL House #01-01 Singapore 249724 +65 6339 0678 ipreciation.com enquiry@ipreciation.com

I8 GALLERY Iceland Tryggvagata 16 101 Reykjavik +354 5 513 666 i8.is info@i8.is

HIRSCHL & ADLER MODERN United States 730 Fifth Avenue, 4th fl. New York, NY 10019 +1 212 535 8810 hirschlandadler.com modern@hirschlandadler.com

IKKAN ART INTERNATIONAL GALLERY Singapore 39 Keppel Road #01-05 Artspace@Helutrans Tanjong Pagar Distripark Singapore 089065 +65 6681 6490 ikkan-art.com info@ikkan-art.com

THE HOLE United States 312 Bowery New York, NY 10012 +1 212 466 1100 www.theholenyc.com poke@theholenyc.com

IMAGO GALLERIES United States 45-450 California 74 Palm Desert, CA 92260 +1 760 776 9890 imagogalleries.com info@imagogalleries.com

HONOR FRASER United States 2622 South La Cienega Blvd. Los Angeles, CA 90034 +1 310 837 0191 honorfraser.com info@honorfraser.com

IN SITU FABIENNE LECLERC France 19 rue Michel Le Comte 75003 Paris +33 1 53 79 06 12 insituparis.fr galerie@insituparis.fr

HOPKINSON MOSSMAN New Zealand Level 1 / 19 Putiki Street Arch Hill Auckland 1021 +64 9 358 0855 hopkinsonmossman.com info@hopkinsonmossman.com

INDA GALLERY Hungary Király utca 34. II/4 H-1061 Budapest +36 1 413 1960 indagaleria.hu info@indagaleria.hu

HUNT KASTNER Czech Republic Borivojova 85 Prague 3 – Zizkov

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INGLEBY GALLERY United Kingdom 6 Carlton Terrace Edinburgh EH7 5DD Scotland

ISABELLA BORTOLOZZI GALERIE Germany Schöneberger Ufer 61 10785 Berlin +49 30 26 39 76 20 bortolozzi.com info@bortolozzi.com IVAN GALLERY Romania Doctor Dimitrie Grecescu 13 050598 Bucharest +40 21 410 01 39 ivangallery.com info@ivangallery.com J JABLONKA GALERIE Germany Lindenstrasse 19 50674 Cologne +49 22 12 40 34 26 jablonkagalerie.com info@jablonkagalerie.com JACK HANLEY GALLERY United States 327 Broome Street New York, NY 10002 +1 646 918 6824 jackhanley.com info@jackhanley.com JACK SHAINMAN GALLERY United States 513 West 20th Street New York, NY 10011 +1 212 645 1701 524 West 24th Street

New York, NY 10011 +1 212 337 3372 25 Broad Street Kinderhook, NY 12106 +1 212 645 1701 jackshainman.com info@jackshainman.com JAMES COHAN GALLERY United States 533 West 26th Street New York, NY 10001 +1 212 714 9500 291 Grand Street New York, NY 10002 +1 212 714 9500 jamescohan.com info@jamescohan.com JAMES FUENTES United States 55 Delancey Street New York, NY 10002 +1 212 577 1201 jamesfuentes.com info@jamesfuentes.com JAN MANTON ART Australia 1/93 Fortescue Street Spring Hill QLD 4000 +61 7 3831 3060 janmantonart.com jan@janmantonart.com JAN MOT Belgium Rue de la Régence 67 1000 Brussels +32 2 514 10 10 janmot.com office@janmot.com International Locations: Mexico City JANE LOMBARD GALLERY United States 518 West 19th Street New York, NY 10011 +1 212 967 8040 janelombardgallery.com info@janelombardgallery.com


JESSICA SILVERMAN United States 488 Ellis Street San Francisco, CA 94102 +1 415 255 9508 jessicasilvermangallery.com info@jessicasilvermangallery.com

75003 Paris +33 1 53 82 10 18 18 rue de Seine 75006 Paris +33 1 53 82 13 60 jousse-entreprise.com art@jousse-entreprise.com

JHAVERI CONTEMPORARY India 504 B Dharam Palace 100/103 N.S. Patkar Marg Mumbai 400 007 +91 22 2369 3639 jhavericontemporary.com info@jhavericontemporary.com

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JIRI SVESTKA GALLERY Germany Potsdamer Strasse 81c 10785 Berlin +49 30 23 91 16 44 jirisvestka.com gallery@jirisvestka.com International Locations: Prague JOHN BERGGRUEN GALLERY United States 228 Grant Avenue San Francisco, CA 94108 +1 415 781 4629 berggruen.com info@berggruen.com JOHNEN GALERIE Germany Schöneberger Ufer 65 10785 Berlin +49 30 37 44 33 133 johnengalerie.de mail@johnengalerie.de JOSH LILLEY United Kingdom 44-46 Riding House Street London W1W 7EX +44 20 7580 5677 joshlilleygallery.com info@joshlilley.com JOUSSE ENTREPRISE France 6 rue Saint-Claude

KAMEL MENNOUR France 47 rue Saint-André des Arts 75006 Paris +33 1 56 24 03 63 6 rue du Pont de Lodi 75006 Paris +33 1 56 24 03 63 28 avenue Matignon 75008 Paris +33 1 79 74 12 20 kamelmennour.com galerie@kamelmennour.com KARIN WEBER GALLERY China G/F, 20 Aberdeen Street Central, Hong Kong +852 2544 5004 karinwebergallery.com art@karinwebergallery.com KATE MACGARRY United Kingdom 27 Old Nichol Street London E2 7HR +44 20 7613 0515 katemacgarry.com mail@katemacgarry.com KAVI GUPTA United States 835 West Washington Blvd. Chicago, IL 60607 +1 312 432 0708 219 North Elizabeth Street Chicago, IL 60607 kavigupta.com info@kavigupta.com KERLIN GALLERY Ireland Anne’s Lane South Anne Street

Dublin D02 A028 +353 1 670 9093 kerlingallery.com gallery@kerlin.ie KEWENIG Germany Brüderstrasse 10 10178 Berlin +49 34 971 716 134 kewenig.com gallery@kewenig.com International Locations: Palma de Mallorca, Spain KM FINE ARTS United States 4 East Oak Street Chicago, IL 60611 +1 312 255 1202 814 North La Cienega Los Angeles, CA 90069 +1 310 854 0540 kmfinearts.com info@kmfinearts.com KOHN GALLERY United States 1227 North Highland Avenue Los Angeles, CA 90038 +1 323 461 3311 kohngallery.com samantha@kohngallery.com KOENIG GALERIE Germany Alexandrinenstrasse 118–121 10969 Berlin +49 30 261 030 80 Dessauerstrasse 6–7 10963 Berlin +49 30 261 030 80 koeniggalerie.com info@koeniggalerie.com KONRAD FISCHER GALERIE Germany Platanenstrasse 7 40233 Düsseldorf +49 21 16 85 908 Lindenstrasse 35 10969 Berlin +49 30 50 59 68 20

konradfischergalerie.de office@konradfischergalerie. de KRAUPA-TUSKANY ZEIDLER Germany Karl-Liebknecht-Strasse 29 4th Floor 10178 Berlin +49 30 68 81 27 10 aktnz.com office@aktnz.com KRISTIN HJELLEGJERDE United Kingdom 533 Old York Road London SW18 1TG +44 20 8875 0110 kristinhjellegjerde.com info@kristinhjellegjerde.com KUKJE GALLERY South Korea 54 Samcheong-ro Jongno-gu Seoul 03053 + 82 2 735 8449 kukjegallery.com kukje@kukjegallery.com KURIMANZUTTO Mexico Gob. Rafael Rebollar 94 Colonia San Miguel Chapultepec 11850 Ciudad de México +52 55 5256 2408 kurimanzutto.com info@kurimanzutto.com L L.A. LOUVER United States 45 North Venice Blvd. Venice, CA 90291 +1 310 822 4955 lalouver.com info@lalouver.com LABOR Mexico Francisco Ramírez #5

Colonia Daniel Garza Delegación Miguel Hidalgo 11830 Ciudad de México +52 55 6304 8755 labor.org.mx info@labor.org.mx LAM ART GALLERY Saudi Arabia Shop No. 5, Home Offices Al Oruba–Prince Turki Awwal Riyadh 11421 +966 11 281 0906 lamartgallery.com info@lamartgallery.com LAURA BARTLETT GALLERY United Kingdom 4 Herald Street London E2 6JT +44 20 3487 0507 laurabartlettgallery.com info@laurabartlettgallery.com LAWRIE SHABIBI United Arab Emirates Unit 21, Alserkal Avenue Al Quoz 1 Dubai +971 4 346 9906 lawrieshabibi.com info@lawrieshabibi.com LEHMANN MAUPIN United States 536 West 22nd Street New York, NY 10011 +1 212 255 2923 201 Chrystie Street New York, NY 10002 +1 212 254 0054 lehmannmaupin.com info@lehmannmaupin.com International Locations: Hong Kong LEICA GALLERY Czech Republic Skolská 28 110 00 Praha 1 +420 222 211 567 lgp.cz lgp@lgp.cz

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TOP GALLERIES LEILA HELLER GALLERY United States 568 West 25th Street New York, NY 10001 +1 212 249 7695 leilahellergallery.com info@leilahellergallery.com International Locations: Dubai LEO GALLERY China 376 Wukang Road Xuhui District Shanghai 200031 +86 021 5465 9278 189 Queen’s Road West Hong Kong +852 2803 2333 leogallery.com.cn shanghai@leogallery.com.cn LEO XU PROJECTS China Lane 49, Building 3 Fuxing Xi Road Xuhui District Shanghai 200031 +86 21 3461 1245 leoxuprojects.com info@leoxuprojects.com LIA RUMMA Italy Via Stilicone, 19 20154 Milan +39 2 29 00 01 01 Via Vannella Gaetani, 12 80121 Naples +39 81 19 81 23 54 liarumma.it info@liarumma.it LINE GALLERY China B-B36 UBP, Number 10 Jiuxianqiao Road Chaoyang District 100015 Beijing +86 10 5975 6999 line-gallery.com art@line-gallery.com

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LISA COOLEY United States 107 Norfolk Street New York, NY 10002 +1 212 680 0564 lisa-cooley.com frontdesk@lisa-cooley.com LISSON GALLERY United Kingdom 27 Bell Street London NW1 5BY +44 20 7724 2739 52 Bell Street London NW1 5BU +44 20 7724 2739 lissongallery.com contact@lissongallery.com International Locations: Milan; New York LOCKS GALLERY United States 600 Washington Square South Philadelphia, PA 19106 +1 215 629 1000 locksgallery.com info@locksgallery.com LOEVENBRUCK France 6 rue Jacques Callot 75006 Paris +33 1 53 10 85 68 loevenbruck.com contact@loevenbruck.com

longsharpgallery.com info@longsharpgallery.com LORA REYNOLDS GALLERY United States 360 Nueces, Suite 50 Austin, Texas 78701 +1 512 215 4965 lorareynolds.com info@lorareynolds.com

MARC SELWYN FINE ART United States 9953 South Santa Monica Blvd. Beverly Hills, CA 90212 +1 310 277 9953 marcselwynfineart.com info@marcselwynfineart.com

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MARIAN GOODMAN GALLERY United States 24 West 57th Street New York, NY 10019 +1 212 977 7160 mariangoodman.com goodman@mariangood man.com International Locations: Paris, London

LOYAL Sweden Kammakargatan 68 111 24 Stockholm +46 8 680 7711 loyalgallery.com loyal@loyalgallery.com

M97 GALLERY China No. 363 Changping Road 2nd Floor Shanghai 200041 +86 21 6266 1597 m97gallery.com info@m97gallery.com

LTD LOS ANGELES United States 7561 West Sunset Blvd., #103 Los Angeles, CA 90046 +1 323 378 6842 ltdlosangeles.com ltd@ltdlosangeles.com

MADISON GALLERY United States 1055 Wall Street, Suite 100 La Jolla, CA 92037 +1 858 459 0836 madisongalleries.com info@madisongalleries.com

LUCIANA BRITO GALERIA Brazil Avenida Nove de Julho 5162 01406-200 São Paulo-SP +55 11 3842 0634 lucianabritogaleria.com.br info@lucianabritogaleria.com.br

MAGDA DANYSZ GALLERY France 78 rue Amelot 75011 Paris +33 1 45 83 38 51 magda-gallery.com info@magda-gallery.com International Locations: Shanghai

LONG MARCH SPACE China 4 Jiuxianqiao Road Chaoyang District 100015 Beijing +86 10 5978 9768 longmarchspace.com lm@longmarchspace.com

LUHRING AUGUSTINE United States 531 West 24th Street New York, NY 10011 +1 212 206 9100 25 Knickerbocker Avenue Brooklyn, NY 11237 +1 718 386 2746 luhringaugustine.com info@luhringaugustine.com

LONG-SHARP GALLERY United States One North Illinois Street, Suite A Indianapolis, IN 46204 +1 866 370 1601 24 West 57th Street, Suite 606 New York, NY 10019 +1 866 370 1601

LUXEMBOURG & DAYAN United States 64 East 77th Street New York, NY 10075 +1 212 452 4646 luxembourgdayan.com info@luxembourgdayan.com International Locations: London

MODERN PAINTERS MARCH/APRIL 2017 BLOUINARTINFO.COM

LYLES & KING United States 106 Forsyth Street New York, NY 10002 +1 646 484 5478 lylesandking.com gallery@lylesandking.com

MARIANNE BOESKY GALLERY United States 507 & 509 West 24th Street New York, NY 10011 +1 212 680 9889 marianneboeskygallery.com info@boeskygallery.com MARINA GISICH GALLERY Russia Fontanka emb. 121 Saint-Petersburg 190068 +7 812 314 43 80 gisich.com marina.gisich@gmail.com

MAGICIAN SPACE China 798 East Road, 798 Art Zone Number 2 Jiuxianqiao Road Chaoyang District 100015 Beijing +86 10 5978 9635 magician-space.com info@magician-space.com

MARLBOROUGH CHELSEA United States 545 West 25th Street New York, NY 10001 +1 212 463 8634 marlboroughgallery.com mny@marlboroughgallery.com International Locations: Barcelona and Madrid; London

MAI 36 GALERIE Switzerland Rämistrasse 37 CH-8001 Zurich +41 44 261 68 80 mai36.com mail@mai36.com

MARTIN ASBAEK GALLERY Denmark Bredgade 23 1260 Copenhagen +45 33 15 40 45 martinasbaek.com gallery@martinasbaek.com


MARTIN BROWNE CONTEMPORARY Australia 15 Hampden Street Paddington NSW 2021 +61 2 9331 7997 martinbrownecontempo rary.com info@martinbrownecontempo rary.com MARY BOONE GALLERY United States 745 Fifth Avenue New York, NY 10151 +1 212 752 2929 maryboonegallery.com MARY MARY United Kingdom Suite 2/1, 6 Dixon Street Glasgow G1 4AX Scotland +44 141 226 2257 marymarygallery.co.uk info@marymarygallery.co.uk MASSIMO DE CARLO Italy Via Giovanni Ventura 5 20134 Milan +39 2 70 00 39 87 massimodecarlo.com milano@massimodecarlo.com International Locations: London; Hong Kong MATTHEW MARKS GALLERY United States 522 & 526 West 22nd Street New York, NY 10011 +1 212 243 0200 523 West 24th Street New York, NY 10011 +1 212 243 0200 1062 North Orange Grove Los Angeles, CA 90046 +1 323 654 1830 7818 Santa Monica Blvd. Los Angeles, CA 90046 +1 323 654 1830 matthewmarks.com info@matthewmarks.com

MAUREEN PALEY United Kingdom 21 Herald Street London E2 6JT +44 20 7729 4112 maureenpaley.com info@maureenpaley.com MEESSEN DE CLERCQ Belgium 2a Rue de l’Abbaye 1000 Brussels +32 2 644 34 54 meessendeclercq.be info@meessendeclercq.be MEHDI CHOUAKRI Germany Edison Höfe Invalidenstrasse 117 10115 Berlin +49 30 28 39 11 53 mehdi-chouakri.com galerie@mehdi-chouakri.com MENDES WOOD DM Brazil Rua da Consolação 3358 Jardins São Paulo-SP +55 11 3081 1735 mendeswooddm.com info@mendeswood.com METRO PICTURES United States 519 West 24th Street New York, NY 10011 +1 212 206 7100 metropictures.com gallery@metropictures.com MFC-MICHELE DIDIER France 66 rue Notre-Dame de Nazareth 75003 Paris +33 1 71 27 34 41 micheledidier.com info@micheledidier.com International Locations: Brussels MICHAEL LETT GALLERY New Zealand 312 Karangahape Road

+64 9 309 7848 michaellett.com contact@michaellett.com

gallery@mizuma-art.co.jp International Locations: Singapore

MICHAEL REID Australia 44 Roslyn Gardens Elizabeth Bay NSW 2011 +61 2 8353 3500 Boyd Street Murrurundi, The Upper Hunter NSW 2338 +61 2 6546 6767 michaelreid.com.au info@michaelreid.com.au International Locations: Berlin

MNUCHIN GALLERY United States 45 East 78th Street New York, NY 10075 +1 212 861 0020 mnuchingallery.com contact@mnuchingallery.com

MICHAEL WERNER GALLERY United States 4 East 77th Street New York, NY 10075 +1 212 988 1623 michaelwerner.com newyork@michaelwerner.com International Locations: London; Trebbin, Germany MIER United States 1107 Greenacre Avenue Los Angeles, CA 90046 +1 323 498 5957 miergallery.com info@miergallery.com MITCHELL-INNES & NASH United States 534 West 26th Street New York, NY 10001 +1 212 744 7400 1018 Madison Avenue New York, NY 10075 +1 212 744 7400 miandn.com info@miandn.com MIZUMA ART GALLERY Japan 2F Kagura Building, 3-13 Ichigayatamachi Shinjuku-ku, Tokyo 162-0843 +81 3 3268 2500 mizuma-art.co.jp

THE MODERN INSTITUTE United Kingdom 14-20 Osborne Street Glasgow G1 5QN Scotland Tel +44 141 248 3711 3 Aird’s Lane Glasgow G1 5HU Scotland +44 141 237 1488 themoderninstitute.com MONITOR Italy Palazzo Sforza Cesarini Via Sforza Cesarini 43a 00186 Rome +39 6 39 37 80 24 monitoronline.org monitor@monitoronline.org MORAN BONDAROFF United States 937 North La Cienega Blvd. Los Angeles, CA 90069 +1 310 652 1711 1945 Webb Avenue Detroit, MI 48206 moranbondaroff.com info@moranbondaroff.com MOTHER’S TANKSTATION LIMITED Ireland 41-43 Watling Street Usher’s Island Dublin 8 D08 NP48 +353 1 671 7654 motherstankstation.com gallery@motherstanksta tion.com

MURRAY GUY United States 453 West 17th Street New York, NY 10011 +1 212 463 7372 murrayguy.com info@murrayguy.com N NANZUKA Japan Shibuya Ibis Building, #B1F 2-17-3 Shibuya Shibuya-ku, Tokyo 150-0002 +81 3 3400 0075 nug.jp info@nug.jp NATURE MORTE India A-1, Neeti Bagh New Delhi 110049 +91 11 4068 7117 naturemorte.com info@naturemorte.com NEON PARC GALLERY Australia 1/53 Bourke Street Melbourne 3000 +61 3 9663 0911 neonparc.com.au info@neonparc.com.au NEUGERRIEMSCHNEIDER Germany Linienstrasse 155 10115 Berlin +49 30 28 87 72 77 neugerriemschneider.com mail@neugerriemschneider. com NEW GALERIE France 2 rue Borda 75003 Paris + 33 1 42 74 50 75 newgalerie.com info@newgalerie.com

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TOP GALLERIES NICODIM GALLERY United States 571 South Anderson Street Suite 2 Los Angeles, CA 90033 +1 323 262 0260 nicodimgallery.com info@nicodimgallery.com International Locations: Bucharest NILS STAERK Denmark Ny Carlsberg vej 68 1760 Copenhagen +45 32 54 45 62 nilsstaerk.dk gallery@nilsstaerk.dk NOGA GALLERY OF CONTEMPORARY ART Israel 60 Ehad Ha’am Street Tel Aviv 6520219 +972 3 566 0123 nogagallery.com info@nogagallery.com NOPLACE Norway Oslogate 2B 0192 Oslo noplace.no utopia@noplace.no O OFFICE BAROQUE Belgium Bloemenhofplein 5 Place du Jardin aux Fleurs 1000 Brussels +32 484 59 92 28 officebaroque.com info@officebaroque.com OLSEN IRWIN Australia 63 Jersey Road Woollahra 2025 NSW +61 2 9327 3922 74 Queen Street Woollahra 2025 NSW + 61 2 9327 3922

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olsenirwin.com info@olsenirwin.com OMENKA GALLERY Nigeria 24, Modupe Alakija Crescent Ikoyi Lagos +234 818 455 3331 omenkagallery.com info@omenkagallery.com ON STELLAR RAYS United States 1 Rivington Street New York, NY 10002 +1 212 598 3012 onstellarrays.com info@onstellarrays.com OSAGE GALLERY China 4/F, Union Hing Yip Factory Building 20 Hing Yip Street Kwun Tong, Kowloon Hong Kong +852 2793 4817 B2002, Beihuqu, Anwaibeiyuan Chaoyang District 100012 Beijing +86 10 5202 3818 Room 101, Block 5, Wang Zu City 251 Cao Xi Road Xuhui District Shanghai 200235 +86 21 5448 5098 osagegallery.com info@osagegallery.com OTA FINE ARTS Singapore 7 Lock Road #02-13 Gillman Barracks Singapore 108935 +65 6694 3071 otafinearts.com info@otafinearts.com International Locations: Tokyo OVERDUIN & CO. United States 6693 Sunset Blvd.

MODERN PAINTERS MARCH/APRIL 2017 BLOUINARTINFO.COM

Los Angeles, CA 90028 +1 323 464 3600 overduinandco.com office@overduinandco.com P PACE GALLERY United States 32 East 57th Street New York, NY 10022 +1 212 421 3292 510 West 25th Street New York, NY 10001 +1 212 255 4044 534 West 25th Street New York, NY 10001 +1 212 929 7000 537 West 24th Street New York, NY 10011 +1 212 421 3292 pacegallery.com info@pacegallery.com International Locations: London; Paris; Beijing and Hong Kong PARA SITE China 22/F, Wing Wah Industrial Building 677 King’s Road Quarry Bay, Hong Kong +852 2517 4620 para-site.org.hk info@para-site.org.hk PARISIAN LAUNDRY Canada 3550 Saint-Antoine Ouest Montreal, Quebec H4C 1A9 +1 514 989 1056 parisianlaundry.com info@parisianlaundry.com PATRICIA LOW CONTEMPORARY Switzerland Lauenenstrasse 28 3780 Gstaad +41 33 744 88 04 patricialow.com gallery@patricialow.com

PATRICK PAINTER INC. United States 2525 Michigan Avenue, Unit B2 Santa Monica, CA 90404 +1 310 264 5988 patrickpainter.com info@patrickpainter.com PAUL KASMIN GALLERY United States 293 & 297 Tenth Avenue New York, NY 10001 +1 212 563 4474 515 West 27th Street New York, NY 10001 +1 212 563 4474 paulkasmingallery.com info@paulkasmingallery.com PAULA COOPER GALLERY United States 521 & 534 West 21st Street New York, NY 10011 +1 212 255 1105 paulacoopergallery.com info@paulacoopergallery.com PEARL LAM GALLERIES China 601-605 Pedder Building 12 Pedder Street Central, Hong Kong +852 2522 1428 Shop No. 1 G/F & 1/F, SOHO 189 189 Queen’s Road West Sheung Wan, Hong Kong +852 2857 1328 G/F, 181 Middle Jiangxi Road Shanghai 200002 +86 21 6323 1989 pearllam.com info@pearllamgalleries.com International Locations: Singapore PECHERSKY GALLERY Russia Winzavod Centre for Contemporary Art 4th Syromyatnicheskiy Lane, 1 Building 6 Moscow 105120

+7 495 280 07 72 pecherskygallery.com info@pecherskygallery.com PEKIN FINE ARTS China No. 241 Cao Chang Di Village Cui Ge Zhuang Chao Yang District Beijing +86 10 5127 3220 Union Industrial Building 48 Wong Chuk Hang Road, 16/F Aberdeen, Hong Kong +852 2177 6190 pekinfinearts.com info@pekinfinearts.com PERES PROJECTS Germany Karl-Marx-Allee 82 10243 Berlin +49 30 275 95 07 70 peresprojects.com berlin@peresprojects.com PETER FREEMAN, INC. United States 140 Grand Street New York, NY 10013 +1 212 966 5154 peterfreemaninc.com info@peterfreemaninc.com PETZEL GALLERY United States 456 West 18th Street New York, NY 10011 35 East 67th Street New York, NY 10065 +1 212 680 9467 petzel.com info@petzel.com PHILIP BACON GALLERIES Australia 2 Arthur Street Fortitude Valley QLD 4006 +61 7 3358 3555 philipbacongalleries.com.au info@philipbacongal leries.com.au


PHOTOINK India A-4 Green Avenue Street Vasant Kunj, New Delhi 110070 +91 11 2689 7722 photoink.net gallery@photoink.net PI ARTWORKS Turkey 163/4 Istiklal Caddesi Mısır Apartment Galatasaray Beyog˘lu, Istanbul 34430 +90 212 293 7103 piartworks.com info@piartworks.com International Locations: London PIERRE-FRANCOIS OUELLETTE ART CONTEMPORAIN Canada 963 rue Rachel Est Montreal, Quebec H2J 2J4 +1 514 395 6032 pfoac.com info@pfoac.com PILAR CORRIAS United Kingdom 54 Eastcastle Street London W1W 8EF +44 20 7323 7000 pilarcorrias.com info@pilarcorrias.com PIPPY HOULDSWORTH GALLERY United Kingdom 6 Heddon Street London W1B 4BT +44 20 7734 7760 houldsworth.co.uk gallery@houldsworth.co.uk PKM GALLERY South Korea 40, Samcheong-ro 7-gil Jongno-gu Seoul 03049 +82 2 734 9467 9 pkmgallery.com info@pkmgallery.com

PLATFORM CHINA China D07 Main 2nd Street 798 Art District No. 2 Jiuxianqiao Road Chaoyang District Beijing +86 10 5762 6068 platformchina.org info@platformchina.org POLKA GALERIE France 12 rue Saint-Gilles 75003 Paris +33 1 76 21 41 30 polkagalerie.com contact@polkagal erie.com POP/OFF/ART Russia Winzavod Centre for Contemporary Art 4th Syromyatnicheskiy Lane, 1 Building 6 Moscow 105120 +7 495 775 87 06 popoffart.com moscow@popoff art.com International Locations: Berlin PRAXIS Argentina Arenales 1311 Buenos Aires C1061AAM +54 11 4812 6254 praxis-art.com praxis1@praxis-art.com International Locations: New York

PROJECT 88 India BMP Building, Ground Floor N.A. Sawant Marg Colaba, Mumbai 400005 +91 22 2281 0066 project88.in contact@project88.in

RAEBERVONSTENGLIN Switzerland Pfingstweidstrasse 23 Welti-Furrer Areal CH-8005 Zurich +41 43 818 21 00 raebervonstenglin.com info@raebervonstenglin.com

PROJECTE SD Spain Passatge Mercader 8, Baixos 1 08008 Barcelona +34 93 488 13 60 projectesd.com info@projectesd.com

RAMPA ISTANBUL Turkey Sair Nedim Caddesi No: 21a Akaretler 34357 Bes¸ iktas¸ Istanbul +90 212 327 0800 rampaistanbul.com info@rampaistanbul.com

PROMETEO GALLERY Italy Via Giovanni Ventura, 3 20134 Milan +39 2 26 92 44 50 Ex Chiesa di San Matteo Piazza San Matteo, 3 55100 Lucca +39 2 26 92 44 50 prometeogallery.com info@prometeogallery.com PYO GALLERY South Korea 314 Sowol Road Yongsan-Gu, Seoul +82 2 543 7337 B112 NaturePoem B/D 461 Apgujeong Road Gangnam-Gu, Seoul +82 2 511 5295 pyoart.com info@pyogallery.com International Locations: Beijing; Los Angeles R

PRAZ-DELAVALLADE France 5 rue des Haudriettes 75003 Paris +33 1 45 86 20 00 praz-delavallade.com info@praz-delavallade.com International Locations: Brussels

RACHEL UFFNER GALLERY United States 170 Suffolk Street New York, NY 10002 +1 212 274 0064 racheluffnergallery.com info@racheluffnergallery.com

RATIO 3 United States 2831A Mission Street San Francisco, CA 94110 +1 415 821 3371 ratio3.org gallery@ratio3.org REAL FINE ARTS GALLERY United States 673 Meeker Avenue Brooklyn, NY 11222 +1 347 457 6679 realfinearts.com realfinearts@gmail.com RED GATE GALLERY China Levels 1 & 4, Dongbianmen Watchtower Dongcheng, Beijing +86 10 6525 1005 redgategallery.com brian@redgategallery.com REGEN PROJECTS United States 6750 Santa Monica Blvd. Los Angeles, CA 90038 +1 310 276 5424 regenprojects.com office@regenprojects.com REGINA GALLERY Russia Winzavod Centre for

Contemporary Art 4th Syromyatnicheskiy Lane, 1 Building 6 Moscow 105120 +7 495 228 13 30 reginagallery.com moscow@reginagallery.com RHONA HOFFMAN GALLERY United States 118 North Peoria Street Chicago, Illinois 60607 +1 312 455 1990 rhoffmangallery.com contact@rhoffmangallery.com RICHARD HELLER GALLERY United States 2525 Michigan Avenue, #B-5A Santa Monica, CA 90404 +1 310 453 9191 richardhellergallery.com art@richardhellergallery.com ROBERTO PARADISE United States 802 Roberto H. Todd Avenue San Juan, PR 00907 +1 787 429 4887 robertoparadise.com info@robertoparadise.com ROBERTS & TILTON United States 5801 Washington Blvd. Culver City, CA 90232 +1 323 549 0223 robertsandtilton.com info@robertsandtilton.com RODOLPHE JANSSEN Belgium Rue Livourne 35 & 32 1050 Brussels +32 2 538 08 18 rodolphejanssen.com info@galerierodolphe janssen.com RONALD FELDMAN FINE ARTS United States 31 Mercer Street

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TOP GALLERIES New York, NY 10013 +1 212 226 3232 feldmangallery.com info@feldmangallery.com ROOM EAST United States 41 Orchard Street New York, NY 10002 +1 212 226 7108 roomeast.com info@roomeast.com ROSEGALLERY United States Bergamot Station Arts Center 2525 Michigan Avenue, G-5 Santa Monica, CA 90404 +1 310 264 8440 rosegallery.net info@rosegallery.net ROSLYN OXLEY9 Australia 8 Soudan Lane Paddington Sydney NSW 2021 +61 2 9331 1919 roslynoxley9.com.au oxley9@roslynoxley9.com.au RUARTS GALLERY Russia 1 Zachatievskiy Street, 10 Moscow +7 495 637 44 75 ruarts.ru info@ruarts.ru S SABOT Romania Fabrica de Pensule, 2nd Floor Strada Henri Barbusse 59-61 Cluj-Napoca 400616 +40 723 22 41 05 galeria-sabot.ro info@galeria-sabot.ro SADIE COLES HQ United Kingdom 1 Davies Street London W1K 3DB

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+44 20 7493 8611 62 Kingly Street London W1B 5QN +44 20 7493 8611 sadiecoles.com info@sadiecoles.com SAKSHI GALLERY India 6/19, 2nd Floor, Grants Building Arthur Bunder Road Colaba, Mumbai 400005 +91 22 6610 3424 sakshigallery.com enquiry@sakshigallery.com SALON 94 United States 12 East 94th Street New York, NY 10128 +1 646 672 9212 1 Freeman Alley New York, NY 10002 +1 212 529 7400 243 Bowery New York, NY 10002 +1 212 979 0001 salon94.com info@salon94.com SARAH COTTIER GALLERY Australia 23 Roylston Street Paddington NSW 2021 +61 2 9356 3305 sarahcottiergallery.com mail@sarahcottiergallery.com SCAI THE BATHHOUSE Japan Kashiwayu-Ato, 6-1-23 Yanaka Taito-ku, Tokyo 110-0001 +81 3 3821 1144 scaithebathhouse.com info@scaithebathhouse.com SEVENTEEN United Kingdom 270-276 Kingsland Road London E8 4DG +44 20 7249 7789 seventeengallery.com info@seventeengallery.com

MODERN PAINTERS MARCH/APRIL 2017 BLOUINARTINFO.COM

SFEIR-SEMLER GALLERY Lebanon Tannous Building, 4th Floor Street 56 Jisr Sector 77 - Quarantine Beirut 2077 7209 +961 1 566 550 sfeir-semler.com galerie@sfeir-semler.com International Locations: Hamburg SHANGHAI GALLERY OF ART China 3rd Floor, Number 3, the Bund Shanghai 200002 +86 21 6321 5757 shanghaigalleryofart.com gr@on-the-bund.com SHANGHART China Building 16, 50 Moganshan Road Putuo District Shanghai 200060 +86 21 6359 3923 Building 18, 50 Moganshan Road Putuo District Shanghai 200060 +86 21 6276 3275 Building 8,1518 Wuwei East Road Putuo District Shanghai 200433 +86 21 3632 2097 Building 10, 2555 Longteng Avenue Xuhui District Shanghai 200232 +86 21 5424 9033 261 Cao Chang Di, Old Airport Road Chaoyang District 100015 Beijing +86 10 6432 3202 798 Art Zone Seven Star East Street Number 4 Jiuxianqiao Road Chaoyang District 100015 Beijing +86 10 6432 3202

shanghartgallery.com info@shanghartgallery.com International Locations: Singapore

10785 Berlin +49 30 26 10 32 83 societeberlin.com contact@societeberlin.com

SHOSHANA WAYNE GALLERY United States Bergamot Station 2525 Michigan Avenue, B1 Santa Monica, CA 90404 +1 310 453 7535 shoshanawayne.com

SOMMER CONTEMPORARY ART Israel 13 Rothschild Blvd. Tel Aviv 66881 +972 3 516 6400 sommergallery.com info@sommergallery.com

SHUGOARTS Japan 3rd Floor, 3-8-3, Kaigan Minato-ku, Tokyo 108-0022 +81 3 6453 8296 shugoarts.com info@shugoarts.com

SOPHIE GANNON Australia 2 Albert Street Richmond VIC 3121 +61 3 9421 0857 sophiegannongallery.com.au info@sophiegannon gallery.com.au

SIES + HOEKE Germany Poststrasse 2+3 40213 Düsseldorf +49 21 13 01 43 60 sieshoeke.com post@sieshoeke.com

SORRY WE’RE CLOSED Belgium Rue de la Régence, 67 1000 Brussels +32 478 35 42 13 sorrywereclosed.com info@sorrywereclosed.com

SIMON LEE United Kingdom 12 Berkeley Street London W1J 8DT +44 20 7491 0100 simonleegallery.com info@simonleegallery.com International Locations: Hong Kong

SPACE STATION China 798 Art Zone Number 4 Jiuxianqiao Road Chaoyang District 100015 Beijing +86 10 5978 9671 space-station-art.com info@spacestationart.com

SKARSTEDT United Kingdom 23 Old Bond Street London W1S 4PZ +44 20 7499 5200 skarstedt.com info@skarstedt.com International Locations: New York

SPERONE WESTWATER United States 257 Bowery New York, NY 10002 +1 212 999 7337 speronewestwater.com info@speronewestwater.com

SOCIETE Germany Genthiner Strasse 36

SPRUETH MAGERS Germany Oranienburger Strasse 18


10178 Berlin +49 30 28 88 40 30 spruethmagers.com info@spruethmagers.com International Locations: London; Los Angeles STAMPA Switzerland Spalenberg 2 CH-4051 Basel +41 61 261 79 10 stampa-galerie.ch info@stampa-galerie.ch STANDARD (OSLO) Norway Waldemar Thranes Gate 86C N-0175 Oslo +47 2 260 13 10 standardoslo.no info@standardoslo.no STAR GALLERY China C5 Qikeshu Creative Park Number 55 Banjieta Road Chaoyang District 100016 Beijing +86 10 6418 9591 stargallery.cn info@stargallery.cn STARKWHITE New Zealand 510 Karangahape Road Newton Auckland 1010 +64 9 307 0703 starkwhite.co.nz contact@starkwhite.co.nz STEPHEN FRIEDMAN GALLERY United Kingdom 25-28 Old Burlington Street London W1S 3AN +44 20 7494 1434 11 Old Burlington Street London W1S 3AQ +44 20 7494 1434 stephenfriedman.com info@stephenfried man.com

STEVENSON South Africa 62 Juta Street Braamfontein Johannesburg 2001 +27 11 403 1055 Buchanan Building 160 Sir Lowry Road Woodstock Cape Town 7925 +27 21 462 1500 stevenson.info info@stevenson.info STUART SHAVE/MODERN ART United Kingdom 4-8 Helmet Row London EC1V 3QJ +44 20 7299 7950 modernart.net info@modernart.net SULLIVAN+STRUMPF Australia 799 Elizabeth Street Zetland Sydney NSW +61 2 9698 4696 sullivanstrumpf.com art@sullivanstrumpf.com International Locations: Singapore SUNDARAM TAGORE GALLERY United States 547 West 27th Street New York, NY 10001 +1 212 677 4520 1100 Madison Avenue New York, NY 10028 +1 212 288 2889 sundaramtagore.com gallery@sundaramtagore.com International Locations: Hong Kong; Singapore SUSAN HOBBS GALLERY Canada 137 Tecumseth Street Toronto M6J 2H2 +1 416 504 3699 susanhobbs.com info@susanhobbs.com

SUSANNE VIELMETTER LOS ANGELES PROJECTS United States 6006 Washington Blvd. Culver City, CA 90232 +1 310 837 2117 vielmetter.com info@vielmetter.com

Beijing +86 10 5978 9610 19/F, 18 On Lan Street Central, Hong Kong +852 2682 8289 tangcontemporary.com info@tangcontemporary.com International Locations: Bangkok

SUTTON GALLERY Australia 254 Brunswick Street Fitzroy VIC 3065 +61 3 9416 0727 suttongallery.com.au

TANYA BONAKDAR GALLERY United States 521 West 21st Street New York, NY 10011 +1 212 414 4144 tanyabonakdargallery.com mail@tanyabonakdar gallery.com

T TAKA ISHII GALLERY Japan 3-10-11 B1 Sendagaya Shibuya-ku, Tokyo 151-0051 +81 3 6434 7010 takaishiigallery.com tig@takaishiigallery.com International Locations: New York TAKE NINAGAWA Japan 2-12-4-1F, HigashiAzabu Minato-ku, Tokyo 106-0044 +81 3 5571 5844 takeninagawa.com info@takeninagawa.com TALWAR GALLERY India C-84 Neeti Bagh New Delhi 110049 +91 11 4605 0307 talwargallery.com tg@talwargallery.com International Locations: New York TANG CONTEMPORARY ART China Gate Number 2, 798 Factory Jiuxianqiao Road Chaoyang District

TANYA LEIGHTON Germany Kurfürstenstrasse 156 10785 Berlin +49 30 22 160 77 70 tanyaleighton.com info@tanyaleighton.com TAYMOUR GRAHNE GALLERY United States 157 Hudson Street New York, NY 10013 +1 212 240 9442 taymourgrahne.com info@taymourgrahne.com THE THIRD LINE United Arab Emirates Warehouse H78 & H80, Alserkal Avenue Street 8, Al Quoz 1 Dubai +971 4 341 1367 thethirdline.com art@thethirdline.com THIS IS NO FANTASY + DIANE TANZER GALLERY Australia 108-110 Gertrude Street Fitzroy VIC 3065 +61 3 9417 7172 thisisnofantasy.com info@thisisnofantasy.com

THOMAS AMMANN FINE ART Switzerland Restelbergstrasse 97 CH-8044 Zurich +41 44 360 51 60 ammannfineart.com da@ammannfineart.com THOMAS DANE GALLERY United Kingdom 3 & 11 Duke Street St James’s London SW1Y 6BN +44 20 7925 2505 thomasdanegallery.com info@thomasdanegallery.com THREE SHADOWS PHOTOGRAPHY ART CENTRE China 155A Caochangdi Chaoyang District 100015 Beijing +86 10 6432 2663 threeshadows.cn info@threeshadows.cn TIM VAN LAERE Belgium Verlatstraat 23-25 2000 Antwerp +32 3 257 14 17 timvanlaeregallery.com info@timvanlaeregallery.com TIMOTHY TAYLOR United Kingdom 15 Carlos Place London W1K 2EX +44 20 7409 3344 timothytaylorgallery.com mail@timothytaylor.com TOKYO GALLERY + BTAP Japan 7F, 8-10-5 Ginza Chuo-ku, Tokyo 104-0061 +81 3 3571 1808 tokyo-gallery.com info@tokyo-gallery.com International Locations: Beijing

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TOP GALLERIES TOLARNO GALLERIES Australia Level 4 104 Exhibition Street Melbourne VIC 3000 +61 3 9654 6000 tolarnogalleries.com mail@tolarnogalleries.com TOMIO KOYAMA GALLERY Japan 3-10-11, Sendagaya Shibuya-ku, Tokyo 151-0051 +81 3 6434 7225 Shibuya Hikarie 8F, 2-21-1 Shibuya Shibuya-ku, Tokyo 150-8510 +81 3 6434 1493 tomiokoyamagallery.com info@tomiokoyamagallery.com TORNABUONI ART France 16 avenue Matignon 75008 Paris +33 1 53 53 51 51 tornabuoniarte.fr info@tornabuoniart.fr International Locations: Forte dei Marmi, Milan, and Florence, Italy; Crans Montana, Switzerland; London TRIUMPH GALLERY Russia 3/8, Ilyinka Street, Building 5 Moscow 109012 +7 495 162 08 93 triumph-gallery.ru info@triumph-gallery.com V V1 GALLERY Denmark Flaesketorvet 69 - 71 1711 Copenhagen V +45 33 31 03 21 v1gallery.com mail@v1gallery.com

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VADEHRA ART GALLERY India D-40 Defence Colony New Delhi 110024 +91 11 2462 2545 vadehraart.com art@vadehraart.com

VIGO United Kingdom 21 Dering Street London W1S 1AL +44 20 7493 3492 vigogallery.com info@vigogallery.com

VALENTIN France 9 rue Saint Gilles 75003 Paris +33 1 48 87 42 55 galeriechezvalentin.com galerie@galeriechezvalentin. com

VITAMIN CREATIVE SPACE China 2503-B Building 2, Northern District, Pingod Community No. 32 Baiziwan Road Chaoyang District 100022 Beijing +86 10 5826 3440 vitamincreativespace.com mail@vitamincreative space.com

VEDOVI GALLERY Belgium 11, Boulevard de Waterloo B - 1000 Bruxelles +32 2 513 38 38 vedovigallery.com info@galleryvedovi.com VENUS United States 980 Madison Avenue, 3rd Floor New York, NY 10075 +1 212 980 0700 601 South Anderson Street Los Angeles, CA 90023 +1 323 980 9000 venusovermanhattan.com info@venusovermanhattan.com VERA CORTES ART AGENCY Portugal Avenida 24 de Julho, 54, 1° E 1200-868 Lisbon +351 21 395 01 77 veracortes.com VICTORIA MIRO United Kingdom 16 Wharf Road London N1 7RW +44 20 7336 8109 14 Saint George Street London W1S 1FE +44 20 3205 8910 victoria-miro.com info@victoria-miro.com

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VOLTE GALLERY India 202 Sumer Kendra, Floor 2 PB Marg Worli Mumbai 400 018 +91 22 4096 3300 volte.in info@volte.in VON BARTHA Switzerland Kannenfeldplatz 6 CH-4056 Basel +41 61 322 10 00 Somvih 46 CH-7525 S-chanf +41 61 322 10 00 vonbartha.com info@vonbartha.com

855 Avenida Ponce de León PMB 425 San Juan, PR 00907 +1 787 998 9622 walterotero.com WHITE CUBE United Kingdom 144–152 Bermondsey Street London SE1 3TQ +44 20 7930 5373 25–26 Mason’s Yard London SW1Y 6BU +44 20 7930 5373 whitecube.com enquiries@whitecube.com International Locations: Hong Kong WHITE SPACE BEIJING China Number 255 Caochangdi, Airport Service Road Chaoyang District 100015 Beijing +86 10 8456 2054 whitespace-beijing.com info@whitespace-beijing. com X XAVIER HUFKENS Belgium 6 & 107 rue St-Georges 1050 Brussels +32 2 639 67 30 xavierhufkens.com info@xavierhufkens.com

W WAKO WORKS OF ART Japan Piramide Building 3F, 6-6-9 Roppongi Minato-ku, Tokyo 106-0032 +81 3 6447 1820 wako-art.jp info@wako-art.jp

XIPPAS GALLERY France 108 rue Vieille du Temple 75003 Paris +33 1 40 27 05 55 xippas.com paris@xippas.com International Locations: Geneva; Montevideo and Punta del Este, Uruguay

WALTER OTERO CONTEMPORARY ART United States

XL GALLERY Russia Winzavod Centre for

Contemporary Art 4th Syromyatnicheskiy Lane, 1 Building 6 Moscow 105120 +7 495 775 83 73 xlgallery.ru xlgallery@gmail.com Y YAMAMOTO GENDAI Japan 3-1-15-3F, Shirokane Minato-ku, Tokyo 108-0072 +81 3 6383 0626 yamamotogendai.org i@yamamotogendai.org YAN GALLERY China 1/F, Chinachem Hollywood Centre 1 Hollywood Road Central, Hong Kong +852 2139 2345 yangallery.com yanart@netvigator.com YUKA TSURUNO GALLERY Japan 2F 2-9-13 Shinonome Koto-ku, Tokyo +81 3 3520 1700 yukatsuruno.com info@yukatsuruno.com Z ZENO X GALLERY Belgium Godtsstraat 15 2140 Antwerp Borgerhout +32 3 216 16 26 zeno-x.com info@zeno-x.com ZIEHERSMITH United States 516 West 20th Street New York, NY 10011 +1 212 229 1088 ziehersmith.com info@ziehersmith.com


TOP GALLERIES BY COUNTRY AFRICA GHANA

Gallery 1957

Galerie Laroche/Joncas Parisian Laundry Pierre-François Ouellette Art Contemporain Susan Hobbs Gallery

NIGERIA

Omenka Gallery

MEXICO

David Krut Projects Everard Read/CIRCA Gallery MOMO Goodman Gallery Stevenson

Arredondo\Arozarena Arróniz Arte Contemporaneo Galeria Enrique Guerrero Galería Hilario Galguera Galeria OMR Kurimanzutto Labor

AMERICAS

PERU

SOUTH AFRICA

Galeria Lucía de la Puente ARGENTINA

Henrique Faria Praxis BRAZIL

A Gentil Carioca Anita Schwartz Galeria de Arte Carbono Galeria Casa Triângulo Galeria Fortes Vilaça Galeria Leme Galeria Luisa Strina Galeria Marília Razuk Galeria Millan Galeria Nara Roesler Galeria Raquel Arnaud Galeria Vermelho Luciana Brito Galeria Mendes Wood DM CANADA

Clint Roenisch Gallery Cooper Cole Daniel Faria Gallery Galerie de Bellefeuille

UNITED STATES

1301PE 303 Gallery 47 Canal Acquavella Galleries Allan Stone Projects American Medium Anat Ebgi Andrea Meislin Gallery Andrea Rosen Gallery Andrew Kreps Gallery Andrew Rafacz Gallery Anglim Gilbert Gallery Anthony Meier Fine Arts Anton Kern Gallery Baldwin Gallery Beta Pictoris Gallery Blum & Poe Bortolami Gallery Bridget Donahue Bridgette Mayer Gallery Bruce Silverstein Gallery Bryce Wolkowitz Gallery C24 Gallery Catharine Clark Gallery

Chambers Fine Art Cheim & Read Cherry and Martin Clearing CRG Gallery Cristin Tierney David Kordansky Gallery David Zwirner DC Moore Gallery Dominique Lévy Gallery Edwynn Houk Gallery Elizabeth Dee Emerson Dorsch Feuer/Mesler Findlay Galleries Forum Gallery Fraenkel Gallery Freight + Volume Friedman Benda Gagosian Gallery Gavin Brown’s Enterprise Gavlak Gladstone Gallery Half Gallery Higher Pictures Hill Gallery Hiram Butler Gallery Hirschl & Adler Modern The Hole Honor Fraser Imago Galleries Jack Hanley Gallery Jack Shainman Gallery James Cohan Gallery James Fuentes Jane Lombard Gallery Jessica Silverman John Berggruen Gallery Kavi Gupta KM Fine Arts Kohn Gallery L.A. Louver Lehmann Maupin

Leila Heller Gallery Lisa Cooley Locks Gallery Long-Sharp Gallery Lora Reynolds Gallery Ltd Los Angeles Luhring Augustine Luxembourg & Dayan Lyles & King Madison Gallery Marc Selwyn Fine Art Marian Goodman Gallery Marianne Boesky Gallery Marlborough Chelsea Mary Boone Gallery Matthew Marks Gallery Metro Pictures Michael Werner Gallery Mier Mitchell-Innes & Nash Mnuchin Gallery Moran Bondaroff Murray Guy Nicodim Gallery On Stellar Rays Overduin & Co. Pace Gallery Patrick Painter Inc. Paul Kasmin Gallery Paula Cooper Gallery Peter Freeman, Inc. Petzel Gallery Rachel Uffner Gallery Ratio 3 Real Fine Arts Gallery Regen Projects Rhona Hoffman Gallery Richard Heller Gallery Roberto Paradise Roberts & Tilton Ronald Feldman Fine Arts Room East RoseGallery

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TOP GALLERIES Salon 94 Shoshana Wayne Gallery Sperone Westwater Sundaram Tagore Gallery Susanne Vielmetter Los Angeles Projects Tanya Bonakdar Gallery Taymour Grahne Gallery Venus Walter Otero Contemporary Art ZieherSmith

ASIA CHINA

10 Chancery Lane Gallery Aike-Dellarco AroundSpace Gallery Art Labor Gallery Aura Gallery Beijing Art Now Gallery Beijing Commune Ben Brown Fine Arts Blindspot Gallery Boers-Li Gallery C-Space De Sarthe Gallery Edouard Malingue Gallery Galleria Continua Hanart TZ Gallery Karin Weber Gallery Leo Gallery Leo Xu Projects Line Gallery Long March Space M97 Gallery Magician Space Osage Gallery Para Site Pearl Lam Galleries Pékin Fine Arts Platform China Red Gate Gallery Shanghai Gallery of Art ShanghART Space Station Star Gallery Tang Contemporary Art Three Shadows Photography Art Centre Vitamin Creative Space White Space Beijing Yan Gallery

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INDIA

Akar Prakar Gallery Chatterjee & Lal Chemould Prescott Road DAG Modern Experimenter Galerie Mirchandani + Steinreucke Gallery Espace Gallery Maskara GallerySKE The Guild Art Gallery Jhaveri Contemporary Nature Morte Photoink Project 88 Sakshi Gallery Talwar Gallery Vadehra Art Gallery Volte Gallery

AUSTRALASIA AUSTRALIA

Anna Pappas Gallery Anna Schwartz Gallery Australian Galleries Greenaway Art Gallery Jan Manton Art Martin Browne Contemporary Michael Reid Neon Parc Gallery Olsen Irwin Philip Bacon Galleries Roslyn Oxley9 Sarah Cottier Gallery Sophie Gannon Sullivan+Strumpf Sutton Gallery This Is No Fantasy + Diane Tanzer Gallery Tolarno Galleries

Tim Van Laere Vedovi Gallery Xavier Hufkens Zeno X Gallery CZECH REPUBLIC

Hunt Kastner Leica Gallery DENMARK

Christian Andersen David Risley Gallery Galleri Bo Bjerggaard Galleri Susanne Ottesen Martin Asbaek Gallery Nils Staerk V1 Gallery FINLAND

Galerie Anhava Galerie Forsblom

JAPAN

NEW ZEALAND

FRANCE

Arataniurano Gallery Eitoeiko G/P Gallery Gallery Koyanagi Mizuma Art Gallery Nanzuka SCAI the Bathhouse ShugoArts Taka Ishii Gallery Take Ninagawa Tokyo Gallery + BTAP Tomio Koyama Gallery Wako Works of Art Yamamoto Gendai Yuka Tsuruno Gallery

Hopkinson Mossman Michael Lett Gallery Starkwhite

Air de Paris Almine Rech Gallery Art : Concept Balice Hertling Galerie Daniel Templon Galerie Chantal Crousel Galerie Frank Elbaz Galerie Georges-Philippe & Nathalie Vallois Galerie Jocelyn Wolff Galerie Laurent Godin Galerie Lelong Galerie Michel Rein Galerie Mitterrand Galerie Nathalie Obadia Galerie Paris-Beijing Galerie Perrotin Galerie Polaris Galerie Thaddaeus Ropac GB Agency In Situ Fabienne Leclerc Jousse Entreprise Kamel Mennour Loevenbruck Magda Danysz Gallery MFC-Michèle Didier New Galerie Polka Galerie Praz-Delavallade Tornabuoni Art Valentin Xippas Gallery

SINGAPORE

Chan Hampe Galleries Fost Gallery Ikkan Art International Gallery iPreciation Gallery Ota Fine Arts SOUTH KOREA

Arario Gallery Gallery Hyundai Gana Art Hakgojae Gallery Kukje Gallery PKM Gallery Pyo Gallery

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EUROPE AUSTRIA

Charim Galerie Christine Koenig Galerie Galerie Andreas Huber Galerie Elisabeth & Klaus Thoman Galerie Knoll Galerie Krinzinger Galerie Martin Janda Galerie Meyer Kainer Galerie Nächst St. Stephan Rosemarie Schwarzwälder Galerie Nikolaus Ruzicska Georg Kargl Fine Arts Gallery BELGIUM

Albert Baronian Axel Vervoordt Gallery Dépendance Galerie Greta Meert Guy Pieters Gallery Jan Mot Meessen de Clercq Office Baroque Rodolphe Janssen Sorry We’re Closed


GERMANY

IRELAND

Alexander Levy Alexander Ochs Private Arratia Beer Aurel Scheibler Barbara Wien BQ Buchmann Galerie Capitain Petzel Carlier | Gebauer Contemporary Fine Arts Delmes & Zander Esther Schipper Galeria Plan B Galerie Barbara Thumm Galerie Barbara Weiss Galerie Buchholz Galerie Crone Galerie Daniel Blau Galerie Eigen + Art Galerie Gisela Capitain Galerie Guido W. Baudach Galerie Judin Galerie Karsten Greve Galerie Klüser Galerie Max Hetzler Galerie Neu Galerie Rüdiger Schöttle Galerie Thomas Galerie Thomas Schulte Galerija Gregor Podnar Häusler Contemporary Isabella Bortolozzi Galerie Jablonka Galerie Jiri Svestka Gallery Johnen Galerie Kewenig König Galerie Konrad Fischer Galerie Kraupa-Tuskany Zeidler Mehdi Chouakri Neugerriemschneider Peres Projects Sies + Höke Société Sprüth Magers Tanya Leighton

Green on Red Kerlin Gallery Mother’s Tankstation

SPAIN ITALY

Brand New Gallery Cardi Gallery Francesca Minini Gió Marconi Lia Rumma Massimo De Carlo Monitor Prometeo Gallery LUXEMBOURG

Galerie Bernard Ceysson

ACB Gallery Chimera-Project Inda Gallery

ICELAND

i8 Gallery

Galería Helga de Alvear Galería Javier López & Fer Francés Galería Max Estrella Galería Pilar Serra Projecte SD SWEDEN

Andréhn-Schiptjenko Belenius/Nordenhake Christian Larsen Galleri Magnus Karlsson Loyal

NETHERLANDS

Annet Gelink Gallery Ellen de Bruijne Projects Galerie Fons Welters Grimm NORWAY

1857 Galleri Brandstrup Galleri K NoPlace Standard (Oslo) POLAND BWA Warszawa

Galeria Foksal PORTUGAL

Cristina Guerra Contemporary Art Galeria Filomena Soares Galeria Pedro Cera Vera Cortês Art Agency ROMANIA

Ivan Gallery Sabot RUSSIA

HUNGARY

RuArts Gallery Triumph Gallery XL Gallery

Arka Gallery Galerie Iragui Gallery 21 Marina Gisich Gallery Pechersky Gallery Pop/Off/Art Regina Gallery

SWITZERLAND

Annemarie Verna Galerie Freymond-Guth Fine Arts Galerie Bruno Bischofberger Galerie Eva Presenhuber Galerie Gmurzynska Galerie Mark Müller Galerie Mezzanin Galerie Urs Meile Mai 36 Galerie Patricia Low Contemporary RaebervonStenglin Stampa Thomas Ammann Fine Art Von Bartha

Hannah Barry Hauser & Wirth Herald St Ingleby Gallery Josh Lilley Kate MacGarry Kristin Hjellegjerde Laura Bartlett Gallery Lisson Gallery Mary Mary Maureen Paley The Modern Institute Pilar Corrias Pippy Houldsworth Gallery Sadie Coles HQ Seventeen Simon Lee Skarstedt Stephen Friedman Gallery Stuart Shave/Modern Art Thomas Dane Gallery Timothy Taylor Victoria Miro Vigo White Cube

MIDDLE EAST ISRAEL

Dvir Gallery Noga Gallery of Contemporary Art Sommer Contemporary Art LEBANON

Sfeir-Semler Gallery SAUDI ARABIA

Lam Art Gallery UNITED KINGDOM

Alan Cristea Gallery Alison Jacques Gallery Annely Juda Fine Art The Approach Beers London Blain|Southern Carl Kostyál Carlos/Ishikawa Carroll/Fletcher Corvi-Mora Flowers Frith Street Gallery Gazelli Art House Greengrassi Gallery Hales Gallery

TURKEY

Galeri Nev Istanbul Galerist Pi Artworks Rampa Istanbul UNITED ARAB EMIRATES

Ayyam Gallery Carbon 12 Gallery Isabelle van den Eynde Green Art Gallery Grey Noise Lawrie Shabibi The Third Line

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LAST LAUGH // WILLIAM POWHIDA

W I L L I A M P O W H I DA

William Powhida Detail of Ganek Acquires Powhida, 2007, included in “William Powhida: After the Contemporary,” the artist’s solo exhibition running March 5 through September 4 at the Aldrich Contemporary Art Museum.

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