Art Photos mixed

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“Galleries often literally look away from the world in order to protect these precious items. I don’t want to create work in some weird, separate environment. So I am trying to turn the whole building inside out,” the British artist Martin Creed told us ahead of his take-over of the Park Avenue Armory, which opens to the public on Wednesday 8 June.

“The view of the street through the back door is the main piece in the show, which is titled The Back Door. The door is going to open and close.” It may sounds simple, but the installation also includes a retrospective of “all the films I’ve ever made”, Creed said, around 30 works in total, and a new film screened in the cavernous main space.


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The first show of works by the self-taught artist Thornton Dial since his death in January focuses on the artist’s later years. Adrian Turner, who organised We All Live Under the Same Old Flag at Marianne Boesky Gallery in New York (until 18 June), says the works represent the “overarching American-ness of this artist, and his artistic transition later in life”.

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The gallery began working with Dial in October last year, and now represents his estate. The show takes the name of an abstract work Dial created in 2008 comprised of cloth, metal, enamel, and canvas on wood, spray-painted to resemble a mutilated American flag. “The title implies that we’re all here together,” says Turner. “So how do we work together, and how do we all prosper together within the chaos?”The title also evokes other works in the show that employ the Stars and Stripes as a subject, such as the enamel-on-wood work The Raggly Flag (1989) that symbolises the contradictory unity the American flag represents.

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Another construction on wood, Suspects (1989), depicts two African American men who appear to be standing against a wall, surrounded by faces that stare back at the viewer from the canvas. “The titles of the works illustrate the themes that Dial conveyed throughout his career, and a piece from the 1980s can still be interpreted in a current context—either with the Black Lives Matter movement, or in a myriad of different ways,” Turner says. “The show presents an overall theme, but at the same time provides an overview of how these themes expanded throughout the years.”Before his work was discovered by the Atlanta-based art collector Bill Arnett in the mid-1980s, the Alabama-born artist originally created representational sculptures and assemblage from materials that he salvaged from the railway boxcar factory where he worked. Dial transformed commonplace materials such as tyres and chains into works intended to build dialogue around the historical social injustices suffered by African Americans in the rural South. Later in his career, and especially after the 9/11 terrorist attacks, Dial shifted his focus to take on a “more national view, with a more pluralistic aesthetic,” Turner says.


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Medicine on a rainy day
Photo by Reinhard Mittermaier

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I enjoy many art fairs, especially the Art Basels (Basel, Miami and Hong Kong) and, considering its owners, MCH Group, announced a major expansion into the market for regional fairs [the group is to buy stakes in existing fairs], there are soon to be plenty more. In the face of such unprecedented economic uncertainty, that says an awful lot about overall business—I can’t be the only satisfied customer. The draws of convention-centre art are accessibility, convenience and the sheer volume of information to take in; the fairs shrink the world at the same time as fear of travel outside comfort zones has become more of an issue. Mainly, in the age of the post-attention span, fairs are about seeing as much as possible in the most compressed timeframe, so here are some tips to help you tackle them more effectively.
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Two marble mourners from the tomb of Jean de France, duc de Berry. Photo: courtesy of Christie’s Two marble mourners from the tomb of Jean de France, duc de Berry (1396-1416)

European Sculpture and Works of Art, Christie’s, Paris, 15 June

Estimate €4.5m-€5.5mArguably the most important Medieval works to come to market in recent memory, the last two mourners in private hands from the tomb of Jean de France (1340-1416), duc de Berry, will be offered this week at Christie’s in Paris. The alabaster figures formed part of a procession of 40 mourners around the base of the tomb, made by Jean de Cambrai between 1396 and 1416 in Bourges, France. During the French Revolution, the tomb was vandalised and the mourners destroyed or scattered. Today 29 have been identified, with most in institutions including the Musée du Louvre in Paris and the Metropolitan Museum of Art in New York. These mourners have been in a French family’s collection since 1807.

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Ben Nicholson, Painted Relief (1941). Courtesy of Bonhams Ben Nicholson, Painted Relief (1941)


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One of the first cat photos 1880-1890

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Sunsets

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Life stairs
Photo by Sandra Štimac

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Lost Paradise
Photo by Carlos Santero

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Life is beautiful
Photo by Gürkan Gündoğdu

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Foghunter
Photo by Kilian Schönberger

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The Dying Sun
Photo by Arshad Ashraf

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Mountain Pup
Photo by Lizzy Gadd

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The "Meet Vincent van Gogh Experience", a lavish multimedia presentation about the Dutch expressionist’s life, launched in Beijing earlier this month at the Golden Resources Shopping Mall (until 16 September). The show—created in partnership between Holland’s Van Gogh Museum, the exhibition development firm Artcomm and the Wai Chun Culture company—is expected to attract more than 2,000 visitors daily (a five-year, 30-city tour of Greater China, taking in Shanghai in November is also on the cards).

However, Axel Rüger, the director of the Van Gogh Museum, says that “the Experience does not rely on the original artworks in our collection, many of which are now too fragile to travel.” This is, he adds, “a complete experience, an intimate journey through Van Gogh’s life,” mixing projections, reproductions, films, and sets, so “visitors are transported back to key locations in Vincent’s life.” And visitors will get new insights into an under-the-radar topic, mental health, which remains taboo in China. “His illness is integral to this story and therefore plays a major part,” Rüger says.


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A Bacon exhibition opening in Monte Carlo on Saturday 2 July reveals the close links between the artist’s obsessive gambling and his paintings. Both depended on chance. As Rebecca Daniels, a contributor to the Grimaldi Forum catalogue explains, so inextricably linked were gaming and art that Bacon regarded his losses on the roulette table as “an expense related to painting”. He once used this as an argument for his dealer to advance more money.Francis Bacon loved the French Riviera, but what made Monaco particularly attractive was its gambling opportunities. He moved to the independent principality in 1946 and spent most of the next five years there, returning often up until his death in 1992.

Bacon’s haunt was the Casino. He recalled: “I spent whole days there... you could go in at ten o’clock and needn’t come out until about four o’clock the following morning”. Bacon would quickly dispense any winnings on champagne and the finest food for friends. It was his symbol of living in the present.

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Francis Bacon, Study for a Figure (1950).

Among the paintings in the Grimaldi Forum show is Study for a Figure (1950), which includes a vaguely outlined circular object. This picture was assumed to have been lost, but in 2006 it was rediscovered on the reverse of a canvas. Lucian Freud then recalled having seen it in 1950, describing the circular object as a roulette wheel.

Bacon even owned his own roulette wheel, with which he would play with friends back in England. This relic of the artist’s tortured life has recently gone to Monaco, when it was purchased by Majid Boustany for his Francis Bacon MB Art Foundation.

Daniels believes that Bacon approached gambling and art with the same spirit, displaying a determination to take risks and allow chance to intervene. Bacon wrote that “the vice of gambling... is for me intimately linked with painting”. Clive Barker, a sculptor and a friend, recalled that Bacon would talk endlessly about how “chance” affected his paintings, with success or failure being likened to “the spin of a roulette wheel”.

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Bacon even owned his own roulette wheel, with which he would play with friends back in England.

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Magic Kingdom
Photo by Yan L

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Violet Day
Photo by Evgeni Dinev

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The boss
Photo by Sven Broeckx

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The Iranian film-maker Abbas Kiarostami, who died in Paris earlier this week aged 76, was hugely influential in world cinema having won the Palme d’Or at Cannes in 1997 for his film A Taste of Cherry. Kiarostami was born in Tehran in 1940, and studied fine art at the city’s university. His other noteworthy films include Certified Copy (2010) and Close-Up (1990)—but crucially his photography also met with critical acclaim. Earlier this year, the Aga Khan Museum in Toronto presented 50 full-scale images of doors by Kiarostami (Doors Without Keys). Curators selected the pictures from 200 works made by Kiarostami over 20 years. He found and photographed the doors - all locked - in Iran, France, Morocco and Italy. The images*were displayed at the museum in a maze-like configuration.


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Riding Out The Storm

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The London-based philanthropist Valeria Napoleone is to show her all-female art collection in public for the first time in the UK regions. The Italian-born collector has exclusively acquired works by women artists for the past two decades in a bid to redress the art world’s persistent gender imbalance. An exhibition of highlights will open at the Graves Gallery in Sheffield in the north of England next week (Going Public: the Napoleone Collection, 15 July-1 October), before travelling to Touchstones Rochdale in Greater Manchester (10 December-11 March 2017).

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Mai-Thu Perret with Ligia Dias, La Fée électricité (2005). Photo: Laurent Lecat. Courtesy of the artist and Galerie Francesca Pia

With works by established and emerging artists including Monica Bonvicini, Tomma Abts, Shirin Neshat and Mai-Thu Perret, the show forms part of Going Public, an initiative by Museums Sheffield to foster collaboration between major international collectors and regional museums. Co-organised with the art consultants Sebastien Montabonel and Mark Doyle, the exhibition programme brought loans from the collections of Dominique and Sylvain Levy, Nicolas Cattelain, Patrizia Sandretto Re Rebaudengo and Egidio Marzona to four venues across Sheffield last autumn, drawing 135,000 visitors. The pioneering project “shares my goals of supporting realities which are too often overlooked by the mainstream and creating a catalyst for change”, Napoleone says in a statement.

Today (7 July) also marks the publication of the report from the Going Public summit at Sheffield Hallam University last October. The report by The Art Newspaper’s contemporary art correspondent Louisa Buck “represents the first step in a vital conversation to establish how public galleries can develop meaningful, reciprocal relationships with philanthropists”, says the chief executive of Museums Sheffield, Kim Streets.

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Botanical history—and, all right, Wikipedia—posits that Christopher Columbus brought back the first pineapples to Spain from their native South America, “thus making the pineapple the first bromeliad to be introduced by humans outside of the New World”. The global cultivation, and symbolic importance, of the ananas comosus*is the subject of a summer exhibition opening today at London’s Tiwani Contemporary gallery (8 July-13 August). The Pineapple Show promises to “mine, expose and invent new narratives around the pineapple. It will explore the fruit’s many histories as well as its cultural, emotional and psychic resonances, taking on issues of labour and luxury, power and powerlessness, vulnerability and violence, language, gender, hair, memory and otherness: all issues that have emerged from meditations on this fruit and are expressed through the bodies and practices of the artists involved.”

Most of the artists featured in the show—Jowhor Ile, Odili Donald Odita, Perrin Oglafa, Temitayo Ogunbiyi, Zina Saro-Wiwa, and Johnson Uwadinma—hail from Nigeria, with a handful of other international names such as Elizabeth Colomba, Ian Deleón, and Ayana Evans. The show was curated by Zina Saro-Wiwa (her gallery in Port Harcourt, Nigeria—Boys' Quarters Project Space—is behind the fruity show).


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The Wave by Panagiotis Laoudikos

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Daybreak
Photo by Jennifer Bin

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Into the mountains
Photo by Victor Liu

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The artist Ragnar Kjartansson spent much of his childhood backstage at the Reykjavik City Theatre, where his father directed and his mother starred in many plays. Born in 1976, he claims to have been conceived after a steamy scene between his parents in a play called Mordsaga (Murder Story).Ahead of his solo show at the Barbican Art Gallery, which opens today (14 July) he told us about why his first big exhibition in London makes perfect sense. "Ever since I was a kid we would go on trips to London and go to the Barbican and we would see the future," he said.

The exhibition (until 4 September) features the portraits Kjartannson made daily of fellow Icelandic artist Pall Haukur Bjornsson wearing black swimming trunks when Kjartansson represented Iceland a the 2009 Venice Biennale. The pair also made a point of smoking and drinking beer throughout the installation called The End (2009).

In the Barbican show are 144 paintings you made daily over six months in the Icelandic pavilion at the 2009 Venice Biennale. Is painting an important part of your practice?

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Lord Of The Throne
Photo by Milan Zygmunt

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The Walker Art Center in Minneapolis has received a hefty $1m grant from the New York-based Andrew W. Mellon Foundation, which will fund a three-and-a-half year initiative promoting the museum’s multidisciplinary programme. Performance art will be boosted under the new initiative which launches this month, culminating in nine large-scale commissioned events by artists including "jazz/visual artist Jason Moran, dance/living installation artist Maria Hassabi, and French/British video/performance artist Laure Prouvost," says a museum statement. The grant will also create two fellowships aimed at the study of such art, and build to a conference in 2019 ("a presentation of the initiative’s findings in addition to a national conversation among curators, artists, producers, and scholars"). A key exhibition dedicated to the late US choreographer Merce Cunningham, with works by Tacita Dean and Jasper Johns among others, is due to launch at the Walker next year (8 February-10 September 2017).

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The artist Enoc Perez is hosting an online charity auction to benefit the Sandy Hook Promise, a non-profit aimed at curbing gun violence*which is named after the tragic 2012 shooting in the Connecticut elementary school. Perez asked his artist friends— Richard Dupont, Carlos Rolón/Dzine, Rashid Johnson, BP Laval, Angel Otero, Ryan McGinness, and Marcel Dzama—to donate works (nine pieces in total have been consigned).

Sandy Hook Promise’s mission is “to prevent gun-related deaths due to crime, suicide, and accidental discharge so that no other parent experiences the senseless, horrific loss of their child”. The charity was co-founded by Nicole Hockley, whose first grade son Dylan was among 20 children killed in the shooting. “This isn’t a political issue, but something completely real,” Perez says in a statement. The auction runs on Paddle8 until 1 August.

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Far away from the city. Far away from the dust
Photo by Oleh Slobodeniu

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As an already contentious presidential election heats up, the Toledo Museum of Art (TMA) in Ohio has staged an exhibition that deciphers political advertising. I Approve This Message: Decoding Political Ads (until 8 November) includes over 50 ads, from the first ever television spot aired in 1952 to those from the 2012 presidential election—all projected onto the 7000-sq. foot gallery space. The show is aimed at timeliness: it opened days before the Republican and Democratic national conventions and closes on Election Day.

“Behavioural studies have informed us that [in order to] change someone’s mind, you need to let them sift through the information themselves,” says Harriett Levin Balkind, who co-organised the exhibition. By informing viewers about some of the ways that advertising manipulates their emotions, the show aims to “turn visitors into critical thinkers who want to dig deeper and become more open-minded, so that we can go forth with civil debates that are less skewed by our feelings and based on real issues,” Balkind says.

Some of the more formidable ads are those that cast past candidates in ways that differ from the public memory of them. In the Nixon Now ad (1972), images of cheerful supporters and upbeat music portray the disgraced president as an “approachable, fun candidate, which is a model that has been replicated, campaign after campaign, including in this cycle by Bernie Sanders,” says Adam Levine, the museum’s associate director.

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The 1964 Peace Little Girl (Daisy) ad for Lyndon Johnson’s campaign aired only one time due to vehement protests by opponents. The subsequent broadcast news coverage of the controversy was a harbinger of the free press that comes with “going viral”

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The late 1980s and early 1990s were a heady time of transition in China, particularly for its then nascent avant-garde art scene. The Mao-era restrictions placed upon culture had only been lifted a few years earlier—and then not entirely—and the Tiananmen Square protests and crackdown in the summer of 1989 cast a pall on newfound freedoms.The photographer Xiao Quan captured that era through black and white portraits of many of China’s artistic pioneers, now on display in the exhibition Our Generation at chi K11 Shanghai (through 31 August). Xiao was a protégée of the French photographer Marc Riboud, whose 20 years in China is depicted in the concurrent exhibition of 170 images by Xiao in another room of the museum.

Combined with street shots of the era, the main show follows the early careers of figures like Raise the Red Lantern director Zhang Yimou. Chinese rock music progenitor Cui Jian is shown both off stage and on, sometimes performing to perplexed soldiers. Literary greats Wang Anyi, San Mao, Wang Shuo and Yu Hua receive cameos, and many images capture the youth of now-establishment artists like Chen Danqing, Fang Lijun, and He Duolin, and the curator Lv Peng, who organised the show.

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Tamara de Lempicka’s oil painting La Musicienne (1929) was shown in Madonna’s music video for Vogue (1990)

The Dutch art detective Arthur Brand announced on Twitter Wednesday, 27 July, the recovery of two works stolen from a private museum in the Netherlands in 2009: Salvador Dalí’s gouache Adolescence (1941) and Tamara de Lempicka’s oil painting La Musicienne (1929), which was shown in Madonna’s music video for Vogue (1990). Both works are said to be in good condition.The pieces were brazenly stolen during opening hours on 1 May 2009 from the Scheringa Museum of Realist Art, which was located in the village of Spanbroek in the North Holland province and closed in 2011. Several masked robbers threatened staff and visitors at gunpoint and made off with their loot in a matter of minutes.

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Studio of heartbeats: Boltanski's Les Archives du Coeur at a Berlin restaurant in 2008. Photo: Philipp von Recklinghausen © The artist and Kewenig, Berlin and Palma de Mallorca

Christian Boltanski’s travelling recording studio of heartbeats, Les Archives du Coeur (the heart archive), is taking up residence 12 miles west of Edinburgh. Since 2008, the French artist has captured the sounds of thousands of individuals’ hearts and stored the recordings on the “art island” of Teshima in Japan. For two months this summer, visitors to Jupiter Artland will have a chance to add to the growing library.Boltanski’s perennial themes of mortality and memory run through the other works he is presenting at the park’s indoor and outdoor spaces. For the permanent commission Animitas (little souls), the artist will arrange a constellation of 200 Japanese bells on long metal reeds that map the night sky as it was on 6 September 1944, his birthday. The work was inspired by Chilean roadside shrines to the dead. “This is where Christian wants to put the piece to rest, in one way or another,” says John Heffernan, the programme director at Jupiter Artland.

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The leading US artist Bill Viola is due to install another biblical multi-screen video work in St Paul’s Cathedral in London next month. Mary (2016) will be a companion piece to Viola’s Martyrs (Earth, Air, Fire, Water), which was unveiled in the South Quire aisle in 2014. The new installation, which shows Mary carrying the body of Jesus, is scheduled to be unveiled in the North Quire aisle on 8 September.Both installations have been given to the Tate by the Bill Viola studio but will be on permanent display in the cathedral. The Tate’s conservation team will help maintain the works, which were made in collaboration with Viola’s partner, Kira Perov.

The cost of producing and installing the two large-scale installations, filmed over several years, is £2.5m, says a spokeswoman for the project. This has been raised through the sale of a special edition provided by the artist’s studio as well as contributions from several individuals and trusts. Key supporters include the Art Fund, the Ruddock Foundation for the Arts and Viola’s London-based dealer, Blain Southern.

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More than 60 works drawn from the holdings of the gregarious UK private collector Frank Cohen will go on show at one of London’s most luxurious food and gifts emporiums this autumn (Fortnum’s X Frank, 13 September-15 October). The high-end department store Fortnum & Mason,*which faces the Royal Academy of Arts on Piccadilly, will be dotted with works by big-name artists such as Howard Hodgkin (first floor staircase), Paula Rego (fifth floor entrance) and Frank Auerbach (in the window along with Tracey Emin and Lynn Chadwick).

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“The Andrew Lambirth Collection” sounds rather grand. Perhaps it is: for Face to Face, an exhibition drawn from it of 65 portraits or self-portrait studies variously carried through as painting, drawing or print, represents but one of its many aspects. We can only wonder what else it holds. In quality, variety and discrimination alike, this selection is certainly impressive.We are all collectors at least to some degree, but to be a true collector bespeaks a certain commitment, if not certifiable obsession, within the chosen field. Whatever it may be—a stamp, old china, a Dinky Car, a work of art—the immediate object of pursuit is to be hooked or crooked anyway, whether there is room, or indeed the money for it, or not. The eponymous Andrew Lambirth, former art critic of The Spectator, whose art-critical hat he wore with sympathetic judgement and exemplary curiosity over many years is, by any measure, a True Collector.


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The 17th-century building known as the Rupertinum, which houses part of the Museum der Moderne in Salzburg, Austria, has re-opened on 29 July following a five-month refurbishment.The €950,000 renovation includes the addition of the new 3,800 sq. ft Generali Foundation study centre, housing a specialist library and archives linked to the art collection established in 1988 by the eponymous insurance company. The Generali Foundation comprises around 2,100 works by 200 international artists. Video works by artists including Dan Graham and Gordon Matta-Clark can be viewed in the new study centre.

The Museum der Moderne Salzburg and the foundation entered into a “unique partnership” in January 2014, which will see the institutions eventually merging together, according to a press statement. The museum now “holds one of the most important libraries and archives dedicated to contemporary art in Austria”, says Sabine Breitwieser, the museum director.

A new Franz West lounge furnished with items designed by the late Vienna-born artist is also open to visitors at the refurbished site.

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Dan Perjovschi finishing his Visual Wit and Social Critique installation. © Museum der Moderne Salzburg. Photo: Rainer Iglar

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Tenants due to be evicted from a building in the Morningside Heights area of Manhattan say they are worried about the fate of a mural Keith Haring painted across three floors of a stairwell in 1983 or 84. At that time, the former convent building was leased by the Catholic youth organisation Grace House, and Haring painted the mural in one evening, watched by some of the young people there attending a retreat. The artist had visited Grace House multiple times, DJed a party there and convinced the programme director Gary Mallon—backed by the youth—to let him deck the walls.

The five-storey structure is owned by a neighbourhood parish, the Roman Catholic Church of the Ascension, which has rented out modest living spaces in the building for the past three years. Tenants were asked to vacate the premises by 1 August, DNAinfo reports, with the church citing its financial problems in a letter sent to the tenants four months ago. Tenants do not know of the church’s plans for the building, though some have told DNAinfo they have seen developers visit the building. The church did not immediately respond to The Art Newspaper’s request for comment. In late July, two tenants filed a joint lawsuit against the church, alleging the eviction is illegal according to the rent stabilisation laws of the state of New York. They remain in the building, along with some other tenants who were permitted to stay for additional time by the church.

The mural is “part of our identities”, one of the tenants who filed the lawsuit, Robert Savina, told DNAinfo. It is also a valuable example of Haring’s work; as Julia Gruen, the executive director of the Keith Haring Foundation, told the New York Times in 2007: “In terms of imagery, it’s like a lexicon of [Haring’s] vocabulary.” The line of dancing figures moving up the stairwell begins with a Radiant Baby figure and includes other recurring icons like the barking dog.


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Okay by Joe Greer

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