Professional Documents
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Art News November 2015
Art News November 2015
NOVEMBER 2015
Photo: 2015 Estate of Rudy Burckhardt / Artists Rights Society (ARS), New York
Joan Mitchell
Museum Ludwig 11/14/15 2/21/16 he Joan Mitchell Foundation is represented by Cheim & Read
WOLF K A HN
19 November 23 December 2015
catalogue available
AMERINGER
M c E N E RY
YO H E
John Walker
LOOKING OUT
TO SEA
November 3 through December 22
Exhibition will be accompanied by an 180-page
fully-illustrated book published by the gallery
surveying fifteen years of John Walkers paintings
A l e x a n d r e Ga l l e r y
New Location: 724 Fifth Avenue, 4th floor (at 57th) New York 10019 212.755.2828
www.alexandregallery.com
Kay WalkingStick
New Paintings
only in washington dc
Statsu
MAKING WAVES
Once-in-a-lifetime display
of Japanese masterpieces
Statsu: Making Waves is co-organized by the Freer Gallery of Art and Arthur M. Sackler Gallery and the
Japan Foundation. The exhibition is supported by All Nippon Airways Co., Ltd. Special thanks to Tokyo
University of the Arts. Additional generous support is provided by the Anne van Biema Endowment Fund.
UPCOMING AUCTIONS
November 4
19th Century
European Paintings
November 4
Impressionist
and Modern Art
November 9
November 10
November 17
November 18
American Art
November 20
November 23
November 23
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2015 Bonhams & Butterfields Auctioneers Corp. All rights reserved. Principal Auctioneer: Patrick Meade. NYC License No. 1183066-DCA
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CITYSCAPES
19 November 2015 30 January 2016
Richard Estes
Betrand Meniel
Anthony Brunelli
Robert Gniewek
Robert Neffson
Robert Cottingham
Don Jacot
Raphaella Spence
TABLE OF CONTENTS
Vol. 114, No. 10
14,16
Mastheads
Editors Letter
18
Q&A
20
Bill Powers
EDITORS PICKS
24
DISPATCHES
28
M.H. Miller
Sarah Douglas
Alex Greenberger
FILM
TOP: CITY AND COUNTY OF DENVER/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/CLYFFORD STILL MUSEUM
Future Imperfect:
Robert Zemeckis in Retrospective
62
38
78
11
Andrew Marzoni
FEATURES
Being Frank:
How an Old-School Artist Became New Again
Adrian Dannatt 46
NOVEMBER 2015
TABLE OF CONTENTS
REVIEWS OPENER
90
Picasso Sculpture
88
90
102
NATIONAL REVIEWS
102
Mark Bradford
Discovering the Impressionists
Poetics of Relation
Andrew Frieder
INTERNATIONAL REVIEWS
108
Alejandro Jodorowsky
Mona Hatoum
Agnes Martin
Wild Noise
Vincent Fecteau
RETROSPECTIVE
112
NOVEMBER 2015
TOP: KERRY RYAN MCFATE/PACE GALLERY; BOTTOM: COURTESY GOOD LUCK GALLERY, LOS ANGELES
12
Otto Piene. Retinal Sun. . Oil and traces of fire on canvas, x cm. Sale Nov.
Sarah Douglas
EDITOR-IN-CHIEF
CO-EXECUTIVE EDITOR
CO-EXECUTIVE EDITOR
MANAGING EDITOR
SENIOR EDITORS
COPY EDITOR
EDITORIAL ASSISTANTS
EDITORIAL INTERNS
CREATIVE DIRECTOR
CREATIVE EDITOR
PHOTO EDITOR
Barbara A. MacAdam
Andrew Russeth
Annette Rose-Shapiro
Anne Doran, M.H. Miller
Alexa Lawrence
Hannah Ghorashi,
Alex Greenberger
John Chiaverina, Ella Coon,
Robin Scher
Artur Wandzel
Katherine McMahon
Maximilano Durn
CONTRIBUTING EDITORS
U.S. CORRESPONDENTS
14
Atlanta: Jerry Cullum Boston: Joanne Silver Chicago: Margaret Hawkins, Ruth Lopez Dallas: Janet Kutner Detroit: Roger Green Houston: Catherine Anspon Los
Angeles: Hunter Drohojowska-Philp, Peter Frank, Suzanne Muchnic Miami: Elisa
Turner Minneapolis: Mary Abbe New Orleans: John R. Kemp Philadelphia: Edith
Newhall San Francisco: Kenneth Baker Washington, D.C.: Stephen May
FOREIGN CORRESPONDENTS
Brussels: Brigid Grauman Florence: Rossella Lorenzi Geneva: Mary Krienke London: Roger Atwood, William Feaver Madrid: George Stolz Moscow: Aleksandra
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Picassos
Muse
PABLO PICASSO: TRIPODE, 1951.
NUMBERED 10/75. H. 75,5 CM.
ESTIMATE: DKK 1.2 - 1.5 MILL.
($ 180,000 - 230,000)
EDITORS LETTER
18
NOVEMBER 2015
N O V E M B E R 4 , 2 0 1 5 JA N UA R Y 9 , 2 0 1 6
9 0 9 M A D I S O N AV E N U E
N E W YO R K N Y 1 0 0 2 1
+1 2 12 .7 7 2 . 2 0 0 4
D O M I N I Q U E - L E V Y. C O M
Robert Motherwell, Mural Sketch (Study for Elegy to the Spanish Republic No. 100) (detail), 1975. Acrylic on canvas board, 8 24 inches
(21.6 61 cm). Private collection. Dedalus Foundation, Inc./Licensed by VAGA, New York, NY. Photo: Tom Powel Imaging
richardprince1234
58s
Q&A
RP: Blind Faith was the rst super group, wasnt it?
I dont know. Crosby, Stills & Nash? Not sure if they
qualify as a super group, but Bob Wills and His Texas
Playboys swing pretty hard.
BP: WHO SHOULD WE ELECT AS OUR NEXT PRESIDENT?
NOVEMBER 2015
21
AND BENEFITING:
With so many artists using light in large-scale installations, its high time
an exhibition took a close look at the inuence of artists like Robert Irwin
and Larry Bell, who rose to fame in the 60s as part of the California Light
and Space movement. This show rethinks the history of Light and Space by
looking at its inspiration to artists on both the West and East Coasts and
beyond, from Jeppe Heins mirrored sculptures to Tacita Deans slow, pensive
lms.
James Welling, #9818, 2009.
VIJA CELMINS
SECESSION, VIENNA
NOVEMBER 20 - JANUARY 31
NOVEMBER 2015
FROM TOP: JOHN BALDESSARI/COURTESY MARIAN GOODMAN GALLERY; COURTESY THE ARTIST AND MAUREEN PALEY GALLERY, LONDON; COURTESY SECESSION, VIENNA/PUBLISHED BY TAMARIND LITHOGRAPHY WORKSHOP, INC., LOS ANGELES, CA
EDITORS PICKS
EDITORS PICKS
The title of this exhibition refers to the overlooked works by the Abstract
Expressionistthe paintings, dating from between 1947 and 1949, that
brought Pollock out of the rut of semi-guration and into total abstraction.
These so-called black paintings foreshadow Pollocks signature paint splatters with their all-over compositions and black dribbles. For Pollock fans,
Blind Spots, the rst survey of this kind in three decades, is essential.
Jackson Pollock, Number 15, 1951, 1951.
Californian artist Diana Thater has become known for her grand, oblique video
installations, which can be so big, in fact, that they are difcult to exhibit. This
LACMA survey is a treat because it brings so many works by Thater together
in one space. Now, in the most comprehensive show of Thaters work to date,
viewers can move between the artists acclaimed installation about light, based
on a video shot at Monets studio, and a newer environment about the architecture of an Indian temple, all within in the same show.
Diana Thater, Untitled Videowall (Butterf lies), 2008.
NOVEMBER 2015
FROM TOP: 2015 THE POLLOCK-KRASNER FOUNDATION/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/MUSEUM LUDWIG 1976, ACQUIRED WITH THE SUPPORT OF THE STATE OF NRW; DAVID REGEN/COURTESY GLADSTONE GALLERY, NEW YORK
AND BRUSSELS AND DAVID KORDANSKY GALLERY, LOS ANGELES; PHOTO: FREDRIK NILSEN; ART: DIANA THATER/COURTESY 1301PE, LOS ANGELES
Postwar Germanic
Expressions:
Gits from Michael Werner
SEPTEMBER 12, 2015APRIL 24, 2016
Phillips Music:
Sunday Concerts
75th Anniversary
OCTOBER 2015MAY 2016
Gauguin to Picasso is co-organized by The Phillips Collection and the Museo Nacional Centro de Arte
Reina Sofa in collaboration with the Im Obersteg Foundation and the Rudolf Staechelin Family Trust.
Generous funding is provided by the Rudolf Staechelin Family Trust
as well as Sothebys and the Robert Lehman Foundation.
#PhillipsGoesSwiss |
TICKETS AT PHILLIPSCOLLECTION.ORG
Brought to you by the Exhibition Committee for Gauguin to Picasso: Masterworks from Switzerland:
Joan and Dan Mulcahy and Harold and Nancy Zirkin.
The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Paul Gauguin, NAFEA faaipoipo (When Will You Marry?), 1892. Oil on canvas, 40 x 30 1/2 in. The Rudolf Staechelin Collection;
Pablo Picasso, The Absinthe Drinker, 1901. Oil on canvas, 31 7/8 x 23 5/8 in. Im Obersteg Foundation, permanent loan to the
Kunstmuseum Basel 2015 Estate of Pablo Picasso / Artists Rights Society (ARS), New York; Markus Lpertz, Man and Mirror,
2011. Mixed media on canvas, 32 x 39 1/4 in. The Phillips Collection, Git of Michael Werner; The Phillips Camerata performing in
the Phillips Music Room, May 2014
DISPATCHES
WHAT BECOMES OF
THE BROKEN HEARTED?
28
NOVEMBER 2015
29
SAM HON
NOVEMBER 2015
30
NOVEMBER 2015
BERLIN
ON THE PACIFIC
32
NOVEMBER 2015
NOVEMBER 2015
33
Irving Penn
Beyond Beauty
Smithsonian American Art Museum october 23, 2015 march 20, 2016
8th and F Streets, NW Washington DC | FREE
AmericanArt.si.edu/penn
Irving Penn, Bee, New York, 1995, printed 2001 , Smithsonian American Art Museum, Promised Gift of The Irving Penn Foundation. Copyright The Irving Penn Foundation
NOVEMBER 2015
TICKET MASTERS
FIL M
FUTURE IMPERFECT
NOVEMBER 2015
38
39
NOVEMBER 2015
NOVEMBER 2015
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NOVEMBER 2015
42
FISCHER
Fine Art Auction Sales
25 to 27 November 2015
With art works by Gerhard Richter, Maurice Estve, Max Ernst,
John Baldessari, Roberto Matta, Arthur Calame, Maurice Barraud, etc.
www.scherauktionen.ch
Galerie Fischer Auktionen AG
Haldenstrasse 19 | 6006 Lucerne | Switzerland
top left: MAX ERNST, Chess gures.
Estimate: CHF 80 000/120 000 resp. USD 81 600/122 400.
top right: GERHARD RICHTER, 16. Nov. 1995.
Estimate: CHF 150 000/250 000 resp. USD 153 000/256 000
left: ROBERTO MATTA, Vivono in Venere.
Estimate: CHF 35 000/50 000 resp. . USD 35 700/51 000.
Emma Amos
Benny Andrews
Romare Bearden
Murat Brierre
Beverly Buchanan
Jacob Lawrence
Faith Ringgold
Carrie Mae Weems
Carrie Mae Weems, High Yella Girl, 1988
Romare Bearden, Maternity Ancestral Legend, 1972
547 West 27th Street, Suite 200 New York, New York 10001 www.flomenhaftgallery.com 212-268-4952
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TO BE FRANK
How an old-school artist became new again
BY ADRIAN DANNATT
48
he painter Jan Frank has a reputation as a harddrinking, if not hard-ghting, downtown playboy.
He is known for his sharp suits and smoky drawl, his
alpaca coat, and his fondness for the racetrack (he names
his paintings after favorite horses). He tap-dances in his
studio, painting to Al Green, Barry White, and Minnie
Riperton. He trained among conceptual artists and now
makes abstract art. He was a 1970s radical and has largely
maintained that lifestyle while living on one of the most
expensive blocks of real estate in New York City. He is
known by the right people, but not by most people. If
I had to get a tattoo, said Franks friend and supporter
the style writer, man-about-town, and onetime Warhol
buddy Glenn OBrien, Id probably reproduce a Jan Frank
drawing, maybe on my back or upper arm. Nobody would
fuck with somebody with a tattoo like that or ask you what
it means. Theyd be afraid youd tell them.
Last year, Joseph Nahmad, a young art dealer interested in making intergenerational connections, put
Frank in a two-person show with the late crushed-car
sculptor John Chamberlain, with whom Frank had been
friends. Chamberlain was represented by a single monumental sculpture, Frank by a suite of drawings inspired
by Chamberlains aesthetic and made in homage to him.
Nahmads decision to include Frank was yet another
instance of an artist who had, in a sense, been hiding in
plain sight being rediscovered. Frank lives and works in
the same Bond Street loft he has occupied since 1978,
the year he graduated from the Whitney Museums
Independent Study Program. Back then the neighborhood was tough and dingy. As New York has gentried
around himunits in the new Annabelle Selldorf
designed building down the block sell for as much as
$7.75 millionFrank has continued to embody the paradigm of the New York painter, in the mold of de Kooning
or Pollock: someone who has partied with just about
everyone. Yet, despite a recent string of well-received solo
shows outside of the United Statesincluding exhibitions at Olsen Irwin Gallery in Sydney and the Merchant
House in Amsterdamand despite New York exhibitions at Postmasters, Paul Kasmin Gallery, Salvatore Ala,
and Danese, he is still relatively unknown in the U.S. The
question of why is a complicated one.
FRANK WAS BORN TO DUTCH PARENTS IN AMSTERDAM IN
NOVEMBER 2015
PREVIOUS SPREAD: KATHERINE MCMAHON; OPPOSITE AND ABOVE: JAN FRANK (4)
NOVEMBER 2015
49
Marilyn, 199556.
NOVEMBER 2015
53
BY HANNAH GHORASHI
NOVEMBER 2015
57
Artists and the Greater Economy), an artist-led organization that is seeking to regulate artist fees from
nonproit art institutions. Performa, arguably the
opposite Alison Knowles, Make a Salad, 1962/2012, performed at Chelsea Market Passage on the High Line, April
22, 2012.
NOVEMBER 2015
58
OPPOSITE: SCOTT RUDD/2010 MARINA ABRAMOVIC/ARTISTS
RIGHTS SOCIETY (ARS), NEW YORK/COURTESY THE ARTIST AND SEAN KELLY GALLERY
NOVEMBER 2015
61
The Clyfford Still Museum opens a show of the innovative Abstract Expressionists
replicas of his own paintings
BY PATRICIA FAILING
64
NOVEMBER 2015
PREVIOUS SPREAD: PATRICIA STILL/CITY AND COUNTY OF DENVER/COURTESY CLYFFORD STILL MUSEUM ARCHIVES;
OPPOSITE: CITY AND COUNTY OF DENVER/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/COURTESY CLYFFORD STILL MUSEUM
OPPOSITE: CITY AND COUNTY OF DENVER/ ARTIST RIGHTS SOCIETY (ARS), NEW YORK/COURTESY CLYFFORD STILL MUSEUM/PRIVATE COLLECTION
evident in the renderings and textures of the rightand left-hand edges of each painting. None is clearly a
copy or a literal repetition of another: the three replicas
resolve themselves, as Anfam puts it, as different maps
of the same continent.
Asked to speculate on what strategy Still might have
employed to create his replicas, Anfam imagined him
setting up the rst version in his studio next to a blank
canvas. I think he wanted to demonstrate to himself,
and ultimately to others, the rigor of his draftsmanship. I
doubt theres only one explanation of how he did it, technically. Im pretty sure he drew in certain areas. Perhaps
he cut out paper templates. But at the end of the day, its
very much about hand and eye. Where the replicas differ,
they differ deliberately. And in the case of 1943-A-No.1
and 1943-A-No.2, where the rst version was actually
created 31 years before the second, hes also showing us
how his art of the mind is trans-temporal.
Although Still is celebrated as an upper-echelon
Abstract Expressionist painter, these studio practices are
clearly misaligned with the popular conception of action
painting as painterly spontaneity inspired by existential angst. In his 2001 essay, reprinted in the Repeat/
Recreate exhibition catalogue, Benezra argues that by
self-consciously and quite openly creating replicas of his
own work, Still effectively challenged the essential nature
of action painting and forced us to question the degree
to which it actually underpins Abstract Expressionism.
Sobel makes a similar claim in his introduction to the
catalogue. The action-painting clich, and its identication with Abstract Expressionism, however, has been
in contention ever since the phrase was introduced by
critic Harold Rosenberg in his infamous 1952 essay in
Art News, The American Action Painters.
Rosenberg himself complained about the misreading
of his essay and resulting caricatures of the action painter.
Action painting does not refer to a look or style and is
not a letting go, a surrender to instantaneity, except as a
ruse, he writes. Painting that is an action is a struggle
against limits, those within the artist himself, those
which he nds in the situation of art, those which he
deliberately sets up on canvas. Invoking a Marxist
model of creative dialectical interplay of ideas and materials, Rosenberg envisioned action painting as a serious
political response to social crisis.
NOVEMBER 2015
67
68
NOVEMBER 2015
OPPOSITE AND ABOVE: CITY AND COUNTY OF DENVER/COURTESY CLYFFORD STILL MUSEUM (2)
69
Patricia Failing is a professor emerita, Division of Art History, University of Washington, Seattle, and an ARTnews
contributing editor.
NOVEMBER 2015
THE WRESTLER
70
BY ANDREW RUSSETH
PREVIOUS SPREAD: KRISTINE LARSEN; OPPOSITE: 2015 FRANK STELLA/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/
THE ART INSTITUTE OF CHICAGO, MR. AND MRS. FRANK G. LOGAN PURCHASE PRIZE FUND, ADA TURNBULL HERTLE ENDOWMENT, 1986
n a sunny morning in early September, 79-yearold artist Frank Stella stood on the loading
dock of his studio in upstate New York. Across
the street a gigantic crane was lifting a couple of hulking
wooden crates off the back of a atbed truck and, guided
by two men in hard hats, gently setting them down in a
clearing. Theyre about as good as it gets, Stella said of
the team, nodding with approval.
Stella continued to watch the action. Eventually the
men got the cratescontaining parts of a new work
arriving from France, where they had been fabricated
on the ground. If I was a Minimalist sculptor Id be all
done! Stella quipped. There was a time when his new
paintings were considered icons of Minimalism, but that
was decades ago. Today his art is nothing of the sort.
Arrayed nearby were a few recent pieces, which are
decidedly maximalist in design. Some were huge tangles
of metal conjuring highway pileups or industrial accidents; one was a swirling star shape, with thin ribbons
of metal slicing through space. They are deantly unattractive, like so many of his newer pieces that have polarized critics. Looking at them, it was hard not to think
that, after a protean, wildly successful career, Stella has
lost his way, or perhaps willfully ventured off into the
aesthetic wilderness.
Alright, lets get serious now, Stella said, and then
turned and shufed into the studio.
ON OCTOBER 30 THE WHITNEY MUSEUM INAUGURATED THE
NOVEMBER 2015
73
them, Stellas recent work has not been easy to like. Much
of it takes the form of swirly objects, rippled planes, and
curving rods made out of metal or carbon ber, their
surfaces sprayed with auto-body paint, mounted on or
leaned against walls. Stella sometimes bends smaller
works into shape by hand. They look like deformed
models of viruses, or perhaps early satellites.
It may be that not everybody likes every body of
work, Weinberg said. Nobody would. But thats not
opposite Frank Stella, Die Fahne Hoch!, 1959.
NOVEMBER 2015
OPPOSITE: DIGITAL IMAGE: WHITNEY MUSEUM, NEW YORK; ART: 2015 FRANK STELLA/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/WHITNEY MUSEUM OF AMERICAN ART, NEW YORK, GIFT OF MR. AND MRS. EUGENE M. SCHWARTZ
AND PURCHASE WITH FUNDS FROM THE JOHN I. H. BAUR PURCHASE FUND, THE CHARLES AND ANITA BLATT FUND, PETER M. BRANT, B. H. FRIEDMAN, THE GILMAN FOUNDATION, INC., SUSAN MORSE HILLES, THE LAUDER FOUNDATION,
FRANCES AND SYDNEY LEWIS, THE ALBERT A. LIST FUND, PHILIP MORRIS INCORPORATED, SANDRA PAYSON, MR. AND MRS. ALBRECHT SAALFIELD, MRS. PERCY URIS, WARNER COMMUNICATIONS INC., AND THE NATIONAL ENDOWMENT
FOR THE ARTS; FOLLOWING SPREAD: 2015 FRANK STELLA/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/PRIVATE COLLECTION
74
76
NOVEMBER 2015
NOVEMBER 2015
78
1980s taxpayer-funded restoration had triggered populist riots. The average Zuricher still felt unwelcome
insideWeisskopf and Smoljo included. Was there, they
wondered, any way to bust it open?
In a few seconds you will be connected live to the
Opera House. You can lie back and listen to todays
performance of Der Rosenkavalier by Richard Strauss
from the comfort of your living room. Weisskopf and
Smoljo had sneaked away from a public tour of the
opulent opera house and hidden dozens of bugs that,
on performance nights, randomly dialed home phones,
played an introductory message, and then live-streamed
the entire performance. In the course of two months, 90
hours of opera were transmitted to 4,000 households.
THE OPERA PROJECT IGNITED A FIERCE CULTURE DEBATE IN
NOVEMBER 2015
81
NOVEMBER 2015
82
Jon Lackman, Ph.D., is a journalist and art historian writing a book on the 1920s artists model Maria Lani.
NOVEMBER 2015
85
The bigger, better Westmoreland Museum of American Art. Get into it starting October 24.
America has always been about open spaces, new frontiers and room to roam. And now, so are we with thousands
more square feet and hundreds of new works of art in a collection more expansive, dynamic and accessible than ever.
So come connect to your heritage and discover what moves you. For more information, visit thewestmoreland.org
Pablo Picasso, Guitar, 1924, painted sheet metal, painted tin box, and iron wire, 43" x 25" x 10" (left);
Vase: Woman, 1948, white earthenware, painted with slips, 18" x 6" x 4" (right).
88
NOVEMBER 2015
2015 ESTATE OF PABLO PICASSO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/MUSE NATIONAL PICASSOPARIS (2)
PICASSO SCULPTURE
Carl Andre in His Time, 2015, with works by (from left) Robert Ryman, Carl Andre, and Dan Flavin, installation view.
90
NOVEMBER 2015
MNUCHIN
SEPTEMBER 9 - DECEMBER 5
Michael Smith, KidZania, Experience No.2: Delivery, 2015, C-print, 22" x 32".
91
MICHAEL SMITH
GREEN-NAFTALI
JUNE 25 - AUGUST 14
NOVEMBER 2015
92
CHUCK CLOSE
MARK GROTJAHN
PACE
SEPTEMBER 11 - OCTOBER 17
ANTON KERN
SEPTEMBER 10 - OCTOBER 29
n this recent suite of pictures the great serial selfportraitist Chuck Close returns to a technique he rst
employed in the 1970s. He divides his canvas into a
grid, then lls each square with a monochrome wash
in red, yellow, or blue, essentially imitating the colorprinting process. By reducing the canvas to uniform
squares he eliminates the possibility of gestural expression so highly prized in the tradition of self-portraiture.
In a lesser painters hands, the results could fall at.
For Close, however, structure signals a kind of
freedom. While always adhering to the basic process
of lling in blocks with color, he chooses which colors
go where. His squares, visible from a great distance
in these monumental canvases, do not adhere to the
realist system of describing; they jump signicantly
out of line. In the brightest and boldest canvas, the
four quadrants are interrupted by a green line that
snakes up the artists face and grabs his eyeball.
The balance between mathematical precision
and unnatural color produces a kind of neo-Fauve
aesthetic, returning us to spaces of discovery that
remain exciting, even when painting has no rules left
to break. Visual proofs of the complexity of the relationship between eye and mind, these portraits fascinate both. Heres what painting can do that nothing
else can, they seem to say. To sum up: the mechanics
are simple; the results are anything but.
JOHANNA RUTH EPSTEIN
NOVEMBER 2015
LEFT: KERRY RYAN MCFATE/PACE GALLERY; RIGHT: DOUGLAS M. PARKER STUDIO/MARK GROTJAHN/COURTESY THE ARTIST AND ANTON KERN GALLERY, NEW YORK
JOSEPH ZITO
JEWISH MUSEUM
MAY 1 - SEPTEMBER 27
LENNON, WEINBERG
JUNE 11 - SEPTEMBER 26
LEFT: PHOTOFEST, NEW YORK; RIGHT: COURTESY THE ARTIST AND LENNON, WEINBERG, INC., NEW YORK
NOVEMBER 2015
93
94
IDRIS KHAN
SARAH SZE
SEAN KELLY
SEPTEMBER 11- OCTOBER 24
TANYA BONAKDAR
SEPTEMBER 10 - OCTOBER 17
dris Khan came to prominence as a photographer, although his photographs have always
been experimental, pushing the medium, as in
his videos, paintings, and sculptures. He juxtaposes
the conceptual with the painterly, the mechanically
or digitally reproduced with manual interventions,
language and its slippages, and the theoretical and
the political, as this show demonstrated. Of the more
than two dozen new works, many were large-scale
ink on white or gray gesso on aluminum, with the
remaining pieces mostly photographic.
The imagery in almost all the pieces was
constructed from countless lines of nely printed
text, overlaid so that they appear illegible except
at the peripheries. An idiosyncratic cross between
minimalist and amboyant, they are neither the
one nor the other. Khan adds, reveals, and erases
according to his own mode of encryption. His
signature superimpositions are ratcheted up in the
imposing Overture (2015); its seven plates of clear
glass are imprinted with a starburst suspended
one after the other on an aluminum frame. It is as
much three-dimensional painting as it is sculpture,
its density exponentially increased. With carefully
considered elegance, Khan alludes to the chaos of
migration, global conicts, memory, and time and
its feints and traces, made all the more compelling
LILLY WEI
by his obliquity.
NOVEMBER 2015
LEFT: JASON WYCHE, NEW YORK/IDRIS KHAN/COURTESY SEAN KELLY, NEW YORK; RIGHT: BRETT MOEN/COURTESY THE ARTIST AND TANYA BONAKDAR GALLERY, NEW YORK
MARLEY FREEMAN
DANA SCHUTZ
CLEOPATRAS
SEPTEMBER 4 - OCTOBER 11
PETZEL
SEPTEMBER 10 - OCTOBER 24
LEFT: MARC TATTI/COURTESY THE ARTIST AND CLEOPATRAS; RIGHT: COURTESY THE ARTIST AND PETZEL, NEW YORK
NOVEMBER 2015
95
WAEL SHAWKY
JOHAN CRETEN
MOMA PS1
JANUARY 31 - SEPTEMBER 7
GALERIE PERROTIN
SEPTEMBER 9 - OCTOBER 31
ohan Creten, best known for his series of kilnred oral torsos titled Odore di Femmina,
displayed 15 new works on two oors of the
gallerys town-house space. On the main level, two
of the Belgian-born sculptors ceramic wall pieces,
hand-painted in gold luster, and four of his largescale bronzes, referring to sources from the ancient
to the mid-century modern, surrounded a studdedbronze column that nearly grazed the ceiling (Massu
II, 2015)an elegant homage to Brancusi.
While titles like Bi-Boy (201315, a youth covered
in gold leaf ) and The Price of Freedom (2015, a
crouching eagle in resin) alluded to resonant themes
in the contemporary world, the overall feel was
retrospective. The overhead installation of an eagle
lent the bird a less-than-airborne dominance.
The most recent torsos, encrusted with ceramic
rosebuds in Rococo-inspired purple, blue, and green
hues, held court downstairs. The works openness to
interpretation was part of their allure. Whether they
represent a lamentation over the glories of a bygone
era or a warning against the excesses of a civilization
in steep decline is beside the point.
People and animals appeared slightly melted,
perhaps reecting the mood of economic uncertainty
at a moment when, for better or worse, the engines
of the contemporary art world continue to rev.
NOVEMBER 2015
LEFT: COURTESY THE ARTIST AND SFEIR-SEMLER GALLERY, BEIRUT AND HAMBURG; RIGHT: GUILLAUME ZICCARELLI/
2015 JOHAN CRETEN/ADAGP, PARIS, AND ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/COURTESY GALERIE PERROTIN
96
LEFT: COURTESY THE ARTIST AND RONALD FELDMAN FINE ARTS, NEW YORK; RIGHT: COURTESY KLAUS VON NICHTSSAGEND, NEW YORK
THE TRANSPORTATION
BUSINESS
IAN PEDIGO
JANE LOMBARD
JULY 1 - AUGUST 14
NOVEMBER 2015
97
98
MARY WEATHERFORD
NIELE TORONI
SWISS INSTITUTE
JUNE 3 - SEPTEMBER 6
NOVEMBER 2015
LEFT: FREDRIK NILSEN STUDIO/COURTESY BRENNAN & GRIFFIN, NEW YORK; RIGHT: THE MUSEUM OF MODERN ART, NEW YORK, PARTIAL GIFT OF THE DALED COLLECTION AND PARTIAL PURCHASE THROUGH THE GENEROSITY
OF MAJA OERI AND HANS BODENMANN, SUE AND EDGAR WACHENHEIM III, MARLENE HESS AND JAMES D. ZIRIN, AGNES GUND, MARIE-JOSE AND HENRY R. KRAVIS, AND JERRY I. SPEYER AND KATHERINE G. FARLEY
CAMERON
JEFFREY DEITCH
SEPTEMBER 8 - OCTOBER 17
NOVEMBER 2015
GEORGE CONDO
Simon Baker
The definitive monograph on the outrageous, unorthodox
New York painter
George Condo
338 illustrations
$75.00
MUMBLING BEAUTY
LOUISE BOURGEOIS
Alex Van Gelder
An intimate, powerful
portrait of Louise
Bourgeois in the final
years of her life
81 color photographs
$50.00
DEREK BOSHIER
Rethink/Re-entry
Edited by Paul Gorman
Foreword by
David Hockney
A notable monograph on
British artist Derek Boshier,
covering his extensive
collection of work from
the mid-1950s to the
present day
302 illustrations
$50.00
MATISSE
IN THE BARNES
FOUNDATION
Edited by
Yve-Alain Bois
A landmark volume
the first authoritative
publication to cover
in its entirety one of
the most significant
holdings of Matisse
in the world
656 illustrations,
606 in color
$275.00 3-volume slipcased
thamesandhudsonusa.com
Available wherever books are sold
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ART STAGE
SINGAPORE
21 24 J AN1 6
WE ARE AS IA
Be a part of Southeast Asias Flagship Art Fair
www.artstagesingapore.com
artstagesingapore
artstagesg
artstagesg
artstagesingapore
REVIEWS: NATIONAL
Mark Bradford, Rebuild South Central, 2015, mixed media on canvas, 43" x 96".
MARK BRADFORD
102
NOVEMBER 2015
HAMMER MUSEUM
LOS ANGELES
JUNE 20 - SEPTEMBER 20
REVIEWS: NATIONAL
Berthe Morisot, Woman at Her Toilette, 187580, oil on canvas, 23" x 3158".
DISCOVERING
THE IMPRESSIONISTS
PHILADELPHIA MUSEUM OF ART
PHILADELPHIA
JUNE 24 - SEPTEMBER 13
NOVEMBER 2015
103
104
POETICS OF RELATION
ANDREW FRIEDER
GOOD LUCK
LOS ANGELES
JULY 18 - AUGUST 29
ndrew Frieder (19592014) was a selftaught but well-read artist whose works
conate mythological or biblical scenes with
the conicts and dramas of everyday life. Like the
tarot cards they resemble, his drawings and paintings
each contain only a few elements, with every symbol,
gesture, or character clearly readable.
To make his pieces, Frieder would rst lay down a
eld of scribbles, generally in pastel yellows, pinks,
and blues, on a piece of paper. This he would hang
in his home, living with it until a picture emerged
from the chaos. Once he had picked out the image
as a simple line drawing, he would erase or paint over
the surrounding scribbles, leaving stocky, rudimentary characters, lled with swirling color, who seem
melded with each other and their surroundings.
In Untitled (Demon Tackles Archer), 2008, a ghostly
presence stands behind a bowman about to release
his arrow, enveloping him with oversize hands. The
demons hold on his victim is horribly intimate and
almost sensual, linking the piece to the late-medieval
artistic genre of the danse macabre. In other works
narratives are buttressed by text, as in a 2008 depiction of an angry man menacing a kneeling child,
which has a caption reading, The boy believes; his
father doesnt. It doesnt take long to see in it the
power of the universal and the wonderand pain
ALEXANDRA CAPRIA
of individual experience.
NOVEMBER 2015
LEFT: ORIOL TARRIDAS/COURTESY LOUIS VUITTON COLLECTION, PARIS/INSTALLATION VIEW: PREZ ART MUSEUM MIAMI; RIGHT: COURTESY GOOD LUCK GALLERY, LOS ANGELES
REVIEWS: NATIONAL
CCA.EDU/GRADUATE
PRESENTED BY:
SPONSORED BY:
Larry Judah Cook, All American, Archival ink jet print, 50 x 120 (triptych), 2012
FEATURING:
GALERIE MYRTIS
FINE ART & ADVISORY
2224 N. CHARLES ST., BALTIMORE, MD 21218
410-235-3711 GALERIEMYRTIS.COM
Susana Raab
Oct 21 - Dec 6, 2015
Georgetown
University
Spagnuolo
Art Gallery
1221 36 St NW Washington DC
art.georgetown.edu/galleries
Ms. Congress Heights, Brothers Place SE, Washington, D.C., 2015. 1620 Ultrachrome pigment print, edition of 10.
New York
Panorama of the City of New York, Queens Museum. Photography: Spencer Lowell
REVIEWS: INTERNATIONAL
ALEJANDRO JODOROWSKY
NOVEMBER 2015
JAVIER MONTES
ARTHUR PQUIN
REVIEWS: INTERNATIONAL
PHOTO: PHILIPPE MIGEAT/CENTRE POMPIDOU, MNAM-CCI/DIST. RMN-GP; ART: CENTRE POMPIDOU, MUSE NATIONAL DART MODERNE, PARIS
Mona Hatoum, Light Sentence, 1992, 36 wire-mesh compartments, electric motor, lightbulb, 6' 6" x 6' 1" x 16' 1".
MONA HATOUM
CENTRE POMPIDOU
PARIS
JUNE 24 - SEPTEMBER 28
NOVEMBER 2015
109
REVIEWS: INTERNATIONAL
Agnes Martin, Untitled, 1977, watercolor and graphite on paper, 9" x 9".
110
TATE MODERN
LONDON
JUNE 3 - OCTOBER 11
NOVEMBER 2015
2015 AGNES MARTIN/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK/COURTESY PACE GALLERY/PRIVATE COLLECTION
AGNES MARTIN
LEFT: BRONX MUSEUM OF THE ARTS, GIFT OF THE ARTIST; RIGHT: IAN REEVES/COURTESY THE ARTIST; GALERIE BUCHHOLZ, BERLIN AND COLOGNE;
GREENGRASSI, LONDON; AND MATTHEW MARKS GALLERY, NEW YORK AND LOS ANGELES
REVIEWS: INTERNATIONAL
WILD NOISE
VINCENT FECTEAU
KUNSTHALLE BASEL
BASEL, SWITZERLAND
JUNE 18 - AUGUST 23
NOVEMBER 2015
111
RETROSPECTIVE
1OO
75
YEARS AGO
Artists Wife a Dealer
November 27, 1915
YEARS AGO
The Full Stature of
Rouault, by Alfred M.
Frankfurter
5O
25
112
November 9, 1940
YEARS AGO
Painter to the New York
Poets, by Ted Berrigan
YEARS AGO
Inside Europe 90: Young
Turks and Old Masters, by
Andrew Graham-Dixon
November 1965
Jane Freilicher is a poets
painter who may yet become
the publics painter. Her latest
exhibition . . . continues to
look both traditional and
radical, because she has
always been occupied with the problem of realism vs.
abstraction. As soon as I do something that seems very
tenuous I get bored with it, she says, and adds, when
I get more and more specic I begin to feel cloistered.
She is interested in what is seen, in what is felt and
in artnot necessarily in that order. . . . She is at times
consciously imitative of the old masters (e.g., Titian,
Vuillard, her two favorites), but in a rst-hand way.
November 1990
Last December the magisterial
Rembrandt Research Project
(RRP) announced it was deattributing several Rembrandts
in British collections. . . . The
Wallace Collection has now become the epitome of what
has been jokingly termed the Rembrandt drain. When the
Fourth Marquess of Hertford bequeathed his collection to
the nation in 1870, he believed it contained 13 Rembrandts.
After more than a century of reassessment, those 13 have
dwindled to one. Josua Bruyn of the RRP commented . . .
that it is impossible to carry the torch of truth through a
crowd of people without singeing somebodys beard.
NOVEMBER 2015
galerie gmurzynska
20th century masters since 1965