Scenic Trillium Lake in Oregon by
Michael O'Neal
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Printable View
Scenic Trillium Lake in Oregon by
Michael O'Neal
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Follow your path | Photo by Heathmedders
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Post-Sunset Red
Photo by Erez Marom
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If any collectors are feeling gorged after next week’s big New York auctions of Modern and contemporary art, which run 8 May through 12 May, Sotheby’s will offer two works at its American Art sale on 18 May that may serve as a compelling digestif.The sale of 65 works will be lead by a large painting by John Singer Sargent and a detail-packed one by Norman Rockwell, both estimated to sell for $4m to $6m, which is impressive in this market. (Last year’s sale was led by Georgia O’Keeffe’s 1927 White Calla Lily, which hammered just below its low estimate at $7.8m, or $8.99m with buyer’s premium.)
Sargent’s Poppies (1885-86), pops with lush English flora and is a study created at the same time he was working on Carnation, Lily, Lily, Rose (1885-86), which has been in the collection of the Tate since 1887 and was part of the Royal Academy's recent exhibition Painting the Modern Garden: Monet to Matisse. Sargent made the works in the Cotswolds, having fled the US after the scandal caused by his racy—for the time—portrait Madame X. If the painting achieves its estimate, it would likely be in the top ten prices for Sargent’s work bought at auction.
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Rockwell's Road Block is estimated at $4m-$6m
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Yum Yum !!! Starving Twins :-)
Photo by Europe Trotter
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Dead City Dreaming...,
Photo by Zewar Fadhil
Iraq.
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An exhibition, billed as a first, which pairs Alberto Giacometti with Yves Klein, opened this week at Gagosian Gallery's space in Mayfair, London.The 50 works in the exhibition—equally split between the two artists—are on loan from the Fondation Alberto Giacometti, the Yves Klein Archives, the Beyeler Foundation as well as private collections.
The exhibition's curator, Joachim Pissarro says that around “three or four” works by each artist are for sale. He adds that Alberto Giacometti, Yves Klein: in Search of the Absolute (until 11 June) could only be organised by Gagosian, which has previously worked with the Giacometti foundation and the Klein archives.
In the catalogue’s preface, the gallery’s director Larry Gagosian writes that although the artists lived within a mile of each other in Paris “their worlds could not have been farther part”. Pissarro admits that on the face of it they are “radically different”.
But after being approached by the gallery to pair the unlikely couple, Pissarro says he “grabbed the ball and ran with it”. As he began his research “it just opened one door after another”, he says. Both Giacometti and Klein “kept being obsessed or interested” by the same things, he says, such as Egyptian art or the “cave paintings of Lascaux”. And although there is no formal documentary evidence of them ever meeting, “Rotraut [Uecker], the widow of Yves Klein, did see them together—so we have that trace”, Pissarro says.
There is a neat instance when the artists come together in a drawing on show that was “totally unpublished until now”, Pissarro says. Giacometti made “incredible sketches in blue biro” on a piece of newsprint with an advertisement of an Yves Klein show.
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Alberto Giacometti in his studio. Photo: © Ernest Scheidegger. © Alberto Giacometti Estate / Licensed in the UK by ACS and DACS, 2016
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Early morning colour
Photo by Jordan Herschel
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Marilyn Monroe in The Asphalt Jungle John Huston 1950
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A 17 year old Pele on a street of Sweden before the 1958 World Cup color.
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The Outsider...,
Photo by Malika F. Farman...,
France
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What do Ben Affleck and Miss Universe have in common with the Frieze art fair? Quite a lot, it seems, given that all three now have ties to the entertainment and sports branding group WME IMG. In the run-up to Frieze New York’s fourth edition, which opens to VIPs on 4 May, the fair and the mega-agent announced a “new strategic partnership” last month.Few details are available, although parties close to the deal dismiss the view that it is an immediate, long-sought sale of the fair on the part of Frieze’s founders, Amanda Sharp and Matthew Slotover. Speculation about what the partnership really means for the fair franchise ranges from the likelihood of a new event on the West Coast to a possible new venue for Frieze in London.
Not so long ago, the combination of a glitzy global marketing agency and an upstart London art fair would have seemed incongruous. “Frieze was started by a group of people who had never organised an art fair before and had a naïve optimism about it. It shouldn’t have worked, but it did,” says Andrew Renton, the director of Marlborough Contemporary gallery. The partnership with WME IMG—itself a joint venture, created when two of the biggest talent agencies in the US merged in 2009—“potentially takes it to another level”, Renton says.
“It’s all about entertainment these days,” says Anthony Wilkinson, the founder of Wilkinson Gallery (C14). As the international art market has ballooned, artists themselves have become stars. Last year, United Talent Agency, which represents Harrison Ford and Gwyneth Paltrow, launched a fine arts division to fund artists’ projects, including a new documentary about Maurizio Cattelan that debuted in New York last week.
This new reality is evident in the Frieze tent. Theatrical projects include a live donkey (courtesy of Cattelan) and a generous pickpocket (masterminded by David Horvitz). Individual stands also provide diversions: a rotating cast of actors is due to perform Erwin Wurm’s One Minute Sculpture, a 60-second shot of performance art, at Lehmann Maupin (C13) on 4 and 5 May. On Art:Concept’s stand (B56), visitors can play a recreated 1963 board game by Jean-Michel Sanejouand and share the results on social media.
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Reading the 899 pages of Eva Hesse’s diaries from the 1950s and 1960s, which have been excerpted but never published in full until now, feels like eavesdropping on a young, ambitious woman’s psychotherapy sessions. While struggling to make great work, the late German-born, US-raised artist confesses to attacks of self-doubt and anxiety, acute fears of abandonment and, on occasion, fears of getting fat. She tracks her moods, winter colds, her PMS and the disintegration of her brief marriage to the sculptor Tom Doyle. Inspired, no doubt, by her ongoing therapy sessions, she also records her dreams. In her nightmares, a German shepherd and Nazi-like officers chase after her.Given their use as therapeutic tool, the diaries give an intimate but radically incomplete view of Hesse—one that makes her seem forever stymied as an artist. (When she is working, she is not writing as much.) The startlingly original, fragile-but-powerful sculptures and drawings that made her the subject of celebrated posthumous surveys (from the Whitechapel Gallery in London to the Guggenheim in New York and the San Francisco Museum of Modern Art, among others) hardly even figure in the entries apart from an occasional shopping list, like: “2 wires + weights + tape + thin foam rubber”.
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Eva Hesse in 1966. Photo by Gretchen Lambert. From Eva Hesse, a film by Marcie Begleiter, a Zeitgeist Films release.
Yet the publication of the diaries (in spell-corrected but otherwise unaltered form, says the editor Barry Rosen) is a welcome event, offering a portrait of a young artist determined to take a seat at a male-dominated table—or a spot in their shows. The book benefits from being read alongside a new documentary, now showing at Film Forum in New York, by Marcie Begleiter, who draws on Hesse’s diaries and correspondence as well as new interviews (with Nancy Holt, Sylvia and Robert Mangold and Lucy Lippard, among others). Together, the book and film show how, despite and because of her anxiety, Hesse made profoundly eccentric, often self-repeating, sculptures—by turns prickly, lumpy and loopy—that both speak to and stand apart from standard minimalist art of the 1960s.The film and journals cover some familiar ground: her travel by Kindertransport out of Nazi Germany to a detention centre in Amsterdam, aged two, her bipolar mother’s death by suicide when she was almost 10 and the brain tumour that killed her, aged 34, in 1970. But beyond these dramatic bookend moments, the book and film provide some new insight into the central relationships and preoccupations of Hesse’s life—which is, perhaps inescapably, part of how we read her art. Here are four of the most interesting discoveries.
Behind one powerful woman is another powerful woman
While the support from some big (male) guns of minimalism like Mel Bochner and Sol LeWitt certainly helped advance Hesse’s reputation, feminist critics starting with Lippard have worked tirelessly to carve out a place for her in 20th-century art history. But working more quietly behind the scenes, without art history expertise, is Eva’s older sister, Helen Hesse Charash, now in her 80s. She is the one who held Eva’s hand when they took the Kindertransport train out of Nazi Germany and has long overseen the estate, represented by Hauser & Wirth. Her appearances in the documentary show just how thoughtful Hesse Charash has been with her younger sister’s legacy, starting with a clip in which she handily dispels the myth of the artist as a tragic, 19th-century-style heroine. “There were times she felt helpless, but she had gutsiness right from the get-go,” Hesse Charash says. All great artists should be so fortunate to be remembered with complexity and clarity both.
Hesse’s marriage to Tom Doyle was violent
Many critics identify Hesse’s painful stay in Kessig, Germany in 1964-65 with her new husband, the sculptor Tom Doyle, as a seminal period. During this time, she is said to have grown from a painter into a sculptor, literally picking up ropes off the floor of the studio—a former weaving factory—to make new work. The standard story also describes how the implosion of her turbulent marriage caused a redoubling of her own sense of purpose at work. The journals make it clear there was physical violence as well. He broke a wooden bed frame. He pushed and shoved. And on October 19 1964, he poked her eye. “[P]ain terrible. The under lid of my upper lid is hurt and I feel emotionally depleted. How wasted these times are for me. And if only they would not recur,” she writes. Doyle appears in the film briefly and sheepishly chalks up their rough relationship to his drinking. “Our private life was not so great, but our working life was very good. Except I drank a little too much then, you know, I was drinking a lot, and that wasn’t so good.” Hesse Charash, her sister, says in the film: “She always says, it’s art that pulled her through. Personally, I think she fell apart, and professionally she forced herself to go on.”
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One of the most spectacular art installations planned for New York, a project known as the 14th Factory, was due to launch later this month at 23 Wall Street, the lavish former HQ of JP Morgan & Company. The seven-storey extravaganza would have featured works by more than 30 artists, but the spectacle never got off the ground because there were “all sorts of hurdles to get the project moving”, says the man behind the venture, Hong Kong-based artist Simon Birch. He raised more than $3m, but stresses that “production costs rose at the last minute which caused delays. The decision to delay wasn't taken lightly.” Birch remains unbowed though, saying: “I'm off to Los Angeles and Hong Kong to look for alternatives and also see if we are able to go ahead in New York at a later date, or in an alternative venue there.” His final thoughts? “The 14th Factory has been an adventure, a journey, so perhaps this is just the part of the story where it's darkest before the dawn.”
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Happy Sunday
Photo by Felicity Berkleef
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Laurence Stephen Lowry, The Black Church, 1964 (est. £120,000-£180,000)
The late Sixties icon and TV star, Cilla Black, was passionate about the paintings of L.S. Lowry, the artist famous for his grainy, grey depictions of northern industrial Britain in the 20th century. The Scouse singer quietly acquired*three works by the Lancashire-born artist, which*go under the hammer at Sotheby's London on 13 June (Family Group, 1938; The Black Church, 1964; The Spire, 1949). "Introduced to buying art by [her manager Brian] Epstein, from the start Cilla bought what she loved and could relate to, drawn to Lowry in particular as he was the painter of the very world she grew up in," a Sotheby's press statement says. Cilla Black's sons describe how they grew up with the paintings which hung in their living room.
"The third Lowry they bought, The Black Church, was actually a surprise for mum that dad bought for her 50th birthday. By then he knew which particular works by the artist would appeal to her and the ‘Black’ in the title had additional resonance," they add. The three paintings have a total estimate of £520,000 to £830,000.
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Simple Morning of My Landscape
Photo by Bertoni Siswanto
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Hermann Ludwig Heinrich, Count (later Prince) of Pückler-Muskau (1785-1871) was an aristocrat, officer, landowner, womaniser, fortune hunter, dandy and traveller. The publication of his letters (1830-32) about his experiences looking for a wealthy wife while visiting numerous country houses in England (where he was affectionately known as Pickling-Mustard) was a German and British best-seller that paid for the massive “picturesque” development of his estate, Muskau, in Upper Lusatia (now astride the Neisse River between Germany and Poland). He published his gardening ideas, heavily indebted to Humphry Repton, in Remarks on Landscape Gardening in 1834, but in 1845 he sold the estate and began all over again at Branitz, near Cottbus, where he was buried in a pyramid of his own design. A show at the Bundeskunsthalle, Bonn, tells this story in documentary and art-historical detail. On the roof terrace will be a Pückler-Muskau-inspired garden.
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In my dreams
Photo by Sherin Atrouni
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Spring Festival
Photo by Jae Youn Ryu
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Small established gallery in the Upper East Side is seeking a Gallery Assistant.
The position will include the following responsibilities:
Ensure that the gallery is open and ready for presentation
Answer phones and manage mail
Maintain a current website (wordpress) , phone message greeting, contact database
Send out e-mail blasts for exhibition announcements (mailchimp)
Compose, proofread, organize, and maintain correspondence, including sale proposals and offers, consignments, loan forms, shipping
Managing gallery inventory
Photography of incoming and outgoing artworks
Prior experience is necessary
The ideal candidate will be a creative thinker with the ability to prioritize and problem-solve
Attentive to detail within a small work environment.
Strong knowledge of Art History is a must.
Proficiency with Microsoft Office Suite (Word and Excel) required, familiarity with Photoshop, Illustrator and Indesign preferred.
Excellent verbal and written communication skills
Extremely self-motivated and responsible
This is a part-time position, Tuesday thru Friday beginning after Labor day – Paid training thru summer 1-2 days a week
Candidates need to have a US work permit
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The Algerian-born artist Adel Abdessemed’s latest work—a sculpted carrier pigeon bearing a Blackberry and set of explosives —is unveiled this week on the top floor of the multi-storey car park in central Peckham, south London.The permanent piece, commissioned by the non-profit organisation Bold Tendencies, is entitled Bristow after the long-running cartoon in the London newspaper the Evening Standard, which depicted the everyday activities of a humdrum, maverick buying clerk who works in the Chester-Perry building.
“For me the artistic act is like the old mole that sticks its nose out where nobody is expecting,” Abdessemed says. Hannah Barry, the co-founder of Bold Tendencies, calls the unassuming work an “anti-monument”.
Abdessemed’s piece made of stacked machetes, Nymphéas (2015), was shown at last year’s Venice Biennale in the Arsenale exhibition, All the World’s Futures. The catalogue entry described the artist's vision as uncompromising, adding that "Abdessemed's work always appears to be in a state of high alert." The artist once told The Art Newspaper that "politics can be as vicious as a chimpanzee”.
A new book about Abdessemed’s practice is due to be published in September by Bold Tendencies with contributions from Kieran Long, the senior curator of contemporary architecture, design and digital at the Victoria and Albert Museum in London, and professor Sarah Wilson of the Courtauld Institute of Art.
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The British Museum in London was forced to temporarily close earlier today (19 May) when Greenpeace activists protested at BP’s sponsorship of the exhibition Sunken Cities, Egypt’s Lost Worlds (until 27 November).The demonstrators climbed the museum’s front columns, unfurling 27-foot long banners emblazoned with the words Sinking Cities. The museum was subsequently closed from 10am to 2pm to ensure visitors’ safety, a spokeswoman says. A spokesman for the Metropolitan Police said 11 people had been arrested for aggravated trespass.
Greenpeace spokeswoman Elena Polisano says in a statement: “We rebranded the exhibition and dressed the pillars at the entrance with five places that evoke flooding, extreme weather and rising sea levels in the 21st century.” These included New Orleans and Hebden Bridge, a town in West Yorkshire, UK, which was hit by severe floods last winter.
Polisano adds that the environmental group took a stand “because of the irony of an oil company sponsoring an exhibition whose name practically spells out impacts of climate change”.
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A 30-piece retrospective dedicated to Glenn Brown, which opened earlier this week at the Fondation Vincent van Gogh in Arles, southern France (14 May-11 September), examines how the leading UK artist draws upon the themes and techniques used by Vincent van Gogh. We asked Bice Curiger, the exhibition curator and artistic director of the Fondation Vincent van Gogh, about the significance of the comparative analysis.The parallel show, Van Gogh in Provence: Modernising Tradition (until 11 September), includes 31 paintings from the collections of the Van Gogh Museum in Amsterdam and the Kröller-Müller Museum in Otterlo.
The Art Newspaper: Why is the exhibition important?
Bice Curiger: It is the first time that Glenn is showing paintings, sculptures and drawings together in a show. He had stopped painting for almost three years to concentrate on drawing and it is so incredibly impressive to see now the richness, coherence and uniqueness of his artistic research and vision. As this exhibition is inevitably connected to Van Gogh, one witnesses an unusual juxtaposition between this master of classic Modern art [Van Gogh] and an eccentric contemporary artist. It is a very productive dynamic emanating between two obsessively lucid artistic worlds, which seem at once contrasting and tangential.
Have you discovered anything new about the work of Glenn Brown?
Oh, yes, on many levels; there is for instance the connection to popular culture, which in Glenn’s work is openly referred to in the titles; for instance Suffer Well after a song by Depeche Mode, which is the title of the show, and the title of a painting from 2007. It is interesting to see how he refers in his paintings to reproductions, as much as he draws upon original works of art studied in museums; this is something he shares with Van Gogh who was a collector of all sorts of reproductions, from Rembrandt to Millet and magazine illustrators.
Another aspect I think is interesting to discover in the context of this exhibition is a specific emotional or expressive side in the imagery of this liquified world, where wonders and horror are so closely entangled.
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One Sunny Day
Photo by Tony Lee
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To its architects, Herzog & de Meuron, the concrete oil tanks beneath the Tate Modern extension are more than its physical foundations, they have been “the starting point for intellectual and curatorial approaches” to the entire £260m scheme.The lure of ‘as found’ spaces was never more obvious than when the Tate carved the Turbine Hall out of the Bankside Power Station back in 2000. On their return, Herzog & de Meuron has again used the ‘as found’ to inspire, taking the trefoil arrangement of three subterranean former oil storage chambers—The Tanks—and extruding it upwards, twisting the geometries through the Switch House’s 64.5 metre height until it reaches the 10th floor viewing platform.
The Tanks themselves are set aside for performance—although on opening they will also be occupied by 1960s sculptures that have broken free of their guard ropes Robert Morris’s Untitled (1965), Charlotte Posenenske’s Prototype for Revolving Vane (1967–68) and Rasheed Araeen’s Zero to Infinity (1968).
From here rises a concrete spiral staircase of Hollywood-via-industry glamour to the ground floor. Above is a stacked trio of flexible gallery spaces, events and members rooms that inhabit the brick-clad concrete ziggurat and which are joined by a sequence of elegant stairs occupying various corners of the building. Light is filtered into the circulation spaces through the perforated brick skin while that to the galleries proper is carefully controlled—daylight is anathema to the multi-media shows planned.
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Switch House, Tate Modern © Iwan Baan
The 1960s pieces in The Tanks signal the thrust of this new hang that Tate Modern’s new director Frances Morris says emphasize art’s more direct engagement with the viewer since that decade. (And direct engagement seems to be the trajectory of London’s major collections with the Victoria and Albert Museum’s design director David Bickle revealing plans earlier this month to infest V&A East with audiences from front-of-house to conservation labs).With the Switch House, Tate Modern not only has 40 percent more space for galleries and the public but is a literal tour de force with the covering lattice forming a structurally advanced net of 336,000 bricks.
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A breathtaking sunset over Moreton Bay in Sandgate, Queensland | Photo by Keiran Lusk
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Walk through the forest
Photo by Shooting Mad
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The Institute of Contemporary Arts in London (ICA; until 29 May) is hosting the second Artists’ Film Biennial, with programmes overseen by artists and curators, workshops for emerging film-makers and a special group-screening featuring films made in the past two years.“The ICA becomes a base for the UK’s moving-image organisations to come together, share in presentations and confer on their approaches and system of support for artist film-makers,” says Steven Cairns, the ICA associate curator of artists’ film and moving image. The event follows on from the ICA’s Artists’ Film Club, a monthly programme of artists’ films.
Artists Ahmet Ögüt, Charlotte Prodger, Martine Syms and Ming Wong have compiled their own screening schedules: Ögüt has selected works such as The Girl Chewing Gum (1976) by John Smith and Cristina Lucas’s Touch and Go (2010). The Berlin-based curator, Saim Demircan, and Hanne Mugaas, the director of the Kunsthall Stavanger in Norway, have also organised film programmes.
An open call for works by international emerging film-makers drew more than 300 submissions. Eight entries were subsequently selected for the group screening, entitled Outside, from participants such as Amir Ghazi-Noory and Patrick Rowan. “The quality of the works submitted was extremely high. The resulting programme is a tight, fast-paced, tour de force of some of the best work from the next generation of artists’ film-makers,” Cairns says.
A workshop for young film-makers aged 16 to 24 is also scheduled as part of the ICA’s ongoing series Stop Play Record.**
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Red & Blue Sky
Photo by Bertoni Siswanto
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Cherry blossom trees line a streen in Bonn, Germany | Photo by Andre Distel
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The mischievous British artist David Shrigley will be making his presence felt in both London and New York this autumn, with major public art commissions on both sides of the Atlantic. In September, New Yorkers will encounter Shrigley's 17-foot-tall granite Public Art Fund sculpture, entitled Memorial, at the Doris C. Freedman Plaza in Central Park (a shopping list will be engraved on the surface—sausages, carrots and milk, and possibly “cleaning stuff” will be inscribed on the imposing civic monument).
Meanwhile, the Brighton-based sculptor is due to unveil on Trafalgar Square’s Fourth Plinth 29 September his humongous piece, Really Good, showing a hand giving a thumbs up (the thumb is elongated, looking particularly absurd).
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“Have nothing in your houses that you do not know to be useful or believe to be beautiful,” famously wrote the arts and crafts pioneer William Morris. Lovers of contemporary art and homeware can now kill two birds with one stone at Art Licks Trading, which launches this evening (1 June) at its temporary home of Safehouse 1 in Peckham, south London.
Ten emerging artists have made functional items for the home, including a champagne-flute-and-sickle tea towel by Pio Abad; a halo pillowcase by Holly Slingsby; a misprinted pencil set by Patrick Coyle and a JCB-yellow bottle opener by James Capper.All the works have been produced in limited editions, priced from £6-£500, and are being sold to fundraise for this year's Art Licks Weekend, says the Art Licks founder and director Holly Willats. The yearly festival showcases the work of emerging artists, curators and not-for-profit spaces across London. But with only part of its funding coming from the Arts Council, “we need to raise a further 62%”, Willats says. “All of the artists have featured in our printed magazine, and several have taken part in the festival itself […] and I thought it would be fun to work with them all again on this slightly unusual project,” Willats says. The objects can also be viewed and bought online at artlicks.bigcartel.com
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The Louvre Museum in Paris stopped admitting visitors this afternoon, 2 June and will be closed tomorrow, 3 June, due to the threat of flooding from the Seine River, which it borders. The Seine’s level is currently over 5m, and the city centre has been placed on an orange-level flood alert after days of rain.An internal email by the Louvre’s director Jean-Luc Martinez to the museum’s staff, obtained by Reuters, said: “The museum will remain closed to the public tomorrow out of precaution: there is no danger to the public or our staff but will allow us to calmly remove certain art collections should it be necessary.” The Louvre has had an official flood plan in place since 2002, which includes evacuating works from the reserves of around 250,000 stored underground, and according to a museum statement, staff have begun moving works to higher floors. The museum carried out a flood evacuation drill in March.
The Orsay Museum on the opposite bank of the Seine has also put an emergency plan to evacuate works into place. It closed early today at 6pm and will stay closed tomorrow. The Musée du Quai Branly in Paris, which celebrates its tenth anniversary this month and is also located along the Seine, is monitoring the situation but so far does not have plans to close, the museum’s communication department confirmed to the Nouvel Observateur.
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France. 1900 World's Fair Paris
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Berlin is embracing digital-savvy (and digital-skeptic) artists with two major exhibitions this month. The back-to-back openings of World on a Wire at the Julia Stoschek Collection and the ninth Berlin Biennale: the Present in Drag, are no coincidence in a city teeming with tech startups. World on a Wire, the inaugural exhibition of the Berlin satellite of the Julia Stoschek Collection, takes its name from the 1973 sci-fi film by Rainer Werner Fassbinder. The show features 38 works—mostly videos made between 2015 and 2016—by 20 artists, many of whom are also exhibiting at the Berlin Biennale. The temporary satellite of the Düsseldorf-based video art collection spans two floors of the former Czech cultural centre in Berlin. A preserved wood-paneled theater from the 1960s is the backdrop for a giant projection of Ian Cheng’s “live simulation” computer game, which is based on an algorithm that could (in theory) run forever. Other highlights include two films by Wu Tsang and Jon Rafman’s Betamale Trilogy. At the opening press conference, Klaus Biesenbach, the director of New York’s MoMA PS1 and the co-founder of the Berlin Biennial described the satellite as “a museum-quality space” and “a fantastic contribution to Berlin”.
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Ian Cheng, Emissary Forks at Perfection (2015). (Image: courtesy of the artist and Pillar Corrias, London)
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First light
Photo by Marcos Paulo
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909 Madison Avenue. Photo: Courtesy of Dominique Lévy
Emmanuel Perrotin’s gallery declined to name the location of its new gallery in New York, following the announcement today that dealer Dominique Lévy will take over all of 909 Madison Avenue, which she has shared with Perrotin since 2013.“After three successful years at 909 Madison Avenue, Emmanuel Perrotin has decided to move his gallery to a new location in Manhattan, to be revealed in the near future,” a gallery spokeswoman says. “We can’t give you more information at the moment but it’s worth waiting!”
The new arrangement gives Lévy three floors of exhibition space. She has commissioned designer Bill Katz to remodel the ground floor of the former bank, which was previously occupied by Katz, “while growing its private viewing rooms and research facilities on the lower level.”
“With its upcoming expansion, the gallery will continue its internationally acclaimed program of solo exhibitions by gallery artists, innovative pairings in two-artist exhibitions, and curated group exhibitions,” the gallery says in a release.
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Dream Landscape
Photo by Tobias Richter
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The Danish-Icelandic artist Olafur Eliasson has transformed the palace of Versailles outside Paris with a series of dramatic installations, from a waterfall in the chateau’s Grand Canal to a veil of fine fog in the Bosquet de l’Etoile grove in the palace gardens. The exhibition of works dotted around the grounds and famous salons of the 17th-century chateau opens to the public. The waterfall, located behind the Fountain of Apollo, cascades from a height of around 40 metres according to the French newspaper Le Figaro. On his Instagram page, Eliasson writes that Louis XIV’s garden architect, André Le Nôtre, had planned a grand waterfall for Versailles, which was never realised.
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Olafur Eliasson, Waterfall (2016) (Photo: Anders Sune Berg. Courtesy of the artist; neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York. © Olafur Eliasson)
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Eliasson says in a statement: “This waterfall reinvigorates the engineering ingenuity of the past. It is as constructed as the court was, and I’ve left the construction open for all to see—a seemingly foreign element that expands the scope of human imagination.” The artist created four temporary waterfalls along New York’s East River for the Public Art Fund in 2008.Eliasson, known for his technically ambitious works focused on environmental issues, has posted an image on social media of a fountain at the chateau with a glacial surface. The caption reads: “Glacial rock flour: an excellent fertilizer at Chateau Versailles. Science holding hands with art.”
A series of mirror and light works are on show in rooms such as the Hall of Mirrors (Your Sense of Unity) and Salon de l’œil de Bœuf (Deep Mirror Yellow/Deep Mirror Black). “The works are very subtle, he is very respectful of the chateau and its surroundings,” says the Paris-based art advisor Laurence Dreyfus. “The sunlight on the fog piece in the Bosquet de l’Etoile is beautiful. The works touch upon ecological concerns but above all, they’re about reflection.”
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