The artists we represent are engaged in exhibitions worldwide. The following is more information about their recently exhibited work as well as published material.
2013 Image Nation, Rosenthal Fine Art, Chicago
Image-Nation is a collection of work that is part of an on-going study of current cultural anthropology. The photographs, portraying two individuals side by side, reveal the unique identity that each has created through fashion and body language while also depicting the randomness of social interaction. These random pairings begin to form a new, imagined world.
Viewers observe without inhibition as their gaze is not returned. They become personally involved as they bring their own set of perceptual mores, folkways and preconceived ideas to the picture. Perception and reality become blurred as the interpretations vary from viewer to viewer. The observations are shared by all who co-exist in diverse societies.
We question our individual place and the place of others in the vast social mix, and, in doing so, create a personal sense of relational belonging.
2012 Art Energy Future group exhibition, Museo Regionale Di Science Naturali, Turnino
33 Contemporary Gallery in Chicago is pleased to announce a unique opportunity to exhibit the work of its gallery artists at the prestigious Regional Museum of Natural Science in Turin, Italy. Through ART-ENERGY-FUTURE, our gallery will be supporting the International Year of Sustainable Energy. This exhibition is curated by Sergio Gomez.
2012 Kink , Design Cloud Gallery, Chicago
2012 Facemask National Juried Self Portrait Exhibition, Zhou B Art Center, Chicago
Facemask explores the hidden personality behind our social media face. Such personality here described as our “other.” They are inviting artists nationwide to submit works exploring the other, not often seen, side of themselves.
The main gallery of the Zhou B. Art Center will become a national laboratory for the exploration and visual representation of the “self”. The exhibition will include works ranging from representational, non-representational and conceptual ideas of the self. It will feature works in a variety of media. The Zhou B. Art Center is home to 33 Contemporary Gallery and it is located at 1029 W. 35th Street, Chicago, IL 60609.
"Shiny Shiny, Shiny Boots of Leather," Art Voices 1/5/11, Adam Falik
Interview with Adam Falik, Art Voices 1/5/11, Adam Falik
"De Wonderbaarlijke Wereld van Harry Sudman," Masa, no. 244
"Drawn to Paint," Albuquerque Journal 3/21/99, Kathaleen Roberts
"Morning Art: Harry Sudman," Chicagoland/Visual Art 9/16/10, Julia Thiel
2012 Jack Goldstein, Orange Country Museum of Art, Newport Beach
This exhibition is the first American retrospective of Jack Goldstein (1945–2003), a central figure in Postmodernist discourse of the 1970s and 1980s. The exhibition includes two immersive installations, 20 of Goldstein’s films produced from 1971 to 1983, a representative selection of 22 paintings demonstrating their thematic breadth, and a selection of 18 records with listening stations. The exhibition concludes with Goldstein’s Aphorisms (1982), Totems (1988–90), and other selected writings produced between 1982 and 2002. 10,000 x Jack Goldstein is accompanied by a 250-page, fully illustrated catalogue that includes an artist’s project by James Welling, and texts by Philipp Kaiser, Douglas Crimp, John Kelsey, Alexander Dumbadze, and Meg Cranston. Given Goldstein’s legacy and his increasing relevance to younger artists, a retrospective of his work is long overdue and essential to the larger re-evaluation of post-1960s American art. The exhibition will tour nationally.
Jack Goldstein x 10,000 is organized by the Orange County Museum of Art with guest curator Philipp Kaiser.
2011 This Will Have Been Art: Art, Love & Politics in the 1980s, Museum of Contemporary Art, Chicago
This Will Have Been: Art, Love & Politics in the 1980s covers the period from 1979 to 1992. During this era, the political sphere was dominated by the ideas of former US President Ronald Reagan and British Prime Minister Margaret Thatcher, the music scene was transformed by punk and the birth of hip-hop, and our everyday lives were radically altered by a host of technological developments, from the Sony Walkman and the ATM to the appearance of MTV and the first personal computers. In the United States, the decade opened with an enormous anti-nuclear protest in New York’s Central Park and closed with mass demonstrations against the government’s slow response to the AIDS crisis. This exhibition attempts to make sense of what happened to the visual arts in the United States during this tumultuous period.
The artists represented in This Will Have Been belong to the first generation of artists to grow up with a television in the home. They came of age in a culture saturated with images designed to promote desire—desire for objects, for lifestyles, for fame, for conformity, for anti-conformity. So too the majority of these artists lived through the heady days of the 1970s feminist movement and witnessed that broad-based social movement’s demands for equality in all areas of life—work, family, and intimate relationships. It became the task of the 1980s to these powerful social forces—the rise of television and movements for social justice—as they converged.
For many of the artists represented in this exhibition that meant grappling with complex questions: In a world increasingly filled with mass-media images, what is the role of the visual arts? How can artists make images that either compete with or counter the powerful images produced by advertising and Hollywood? In a society struggling for increased equality, how do historically marginalized people—women, people of color, and gays and lesbians—find their public voice? Toward the end of the decade, as the rise of HIV/AIDS created a growing political and medical crisis in the United States, these questions increased in urgency. This Will Have Been features a wide range of artworks, made by a diverse group of nearly one hundred artists, demonstrating the decade’s moments of contentious debate, raucous dialogue, erudite opinions, and joyful expression—all in the name of an expanded idea of freedom, long the promise of democratic societies.
This exhibition is organized by Helen Molesworth, Barbara Lee Chief Curator of the Institute of Contemporary Art/Boston.
"Contemporary Art in North America," Art World Series, Michael Wilson
"James Welling: An Interview," Art America 2/4/11, Steel Stillman
2012 Jim Dine: Prints, Long Beach Museum of Art, Long Beach
The Long Beach Museum of Art presents prints by Jim Dine (born 1935) selected from the Jordan D. Schnitzer collection and the Jordan Schnitzer Family Foundation. The selection exemplifies Dine's interest in printmaking over a span of years from 1965 to 2010. The printmaking processes he employs include screenprint, etching, lithography, copperplate, woodcut, drypoint, aquatint and digital printing, often in combination. Many of the prints are enhanced with collage and watercolor. A master printmaker, Dine makes continually fresh and intellectually stimulating images in his often autobiographical iconography where a robe can be a self-portrait.
2012 Strangers - Tra Informale e Pop dalle Collezioni GAM, Galleria Civica d'Arte Moderne e Contemporarea , Turin
2011-2012 Once Upon a Time: Prints and Drawings that Tell Stories , The Detroit Institute of Arts, Detroit
Telling stories through prints and drawings is the subject of this exhibition consisting of works from the DIA's collection. It includes selections from familiar series, portfolios, and books, as well as several examples that have rarely or never been seen at the museum. Among them are David Hockney’s etchings from Six Fairy Tales from the Brothers Grimm, a volume of Moby Dick with illustrations by Rockwell Kent, a copy of the 15th-century Nuremberg Chronicle, Wassily Kandinsky’s Klange, Henri Matisse’s Parsiphal, Jim Dine’s Picture of Dorian Gray, and many more European and American works on paper from a variety of eras.
"Les Dessins de Jim Dine," Galerie Daniel Templon 3/30/12, Guy Block-Champfort
"It's All Happening," Barbara Pollack
"Art Market Watch: Baku in London and Prints New York," Jessica Mizrachi
"Robert Graham: Early Work 1963-1973 an interview with Hans Nevendorf," Artnet 2011
2011 Hablando en Lenguas, Museo Nacional de Bellas Artes de Cuba, Havana
2012 Espiritu, Rosenthal Fine Art, Chicago
Rigoberto Mena hails from Cuba, where he paints the urban landscape, human psyche, self-portraits, and spirit of Havana in the style of abstract expressionism. How should someone best approach his work initially? Get out of your head, and into your heart. Although the artist resides in Cuba, his influences do not, which makes his work modern, yet offer a fresh discourse on historical, Western art practices through the eyes of an outsider. The Cuban Revolution is depicted through the transformation & evolution of his gestural strokes of line & colour. Viewers are taken on a line of flight through a multilayered universe dominated by earth-toned colour, energetic gestural marks, texture, and pattern. Mena’s style is historical, yet remains contemporary since there is real narrative to his workthe streets of Havana. Small scenes are eluded through texture, depth, lines, stains and washes of colour.
Mena is free to remain true to himself, his style, and the practice of art itself by painting in a technique that alludes to the human form: emotion through colour, and gesture. Language can be constricting- boundaries & definitions in which to communicate. By visually expressing his innermost psyche, and his interpretation of Cuba’s streets, he allows the viewer to enter a world in which articulation becomes innate- free of the conventional linguistic constrictions, as well as able to transcend formal language barriers, achieving a broader, international audience base. By non-intentionally avoiding contemporary trends, Mena allows his pieces to be freely enjoyed by a broad audience that transition through his work via composition & colour; a spiritual connection rather than a critical position.
"Rigoberto Mena/Espiritu: Transition, Transformation, Evolution," Rosenthal Fine Art 2012
2011 Construct , Galerie Uli Lang, Bibierach
2011 Brad Howe, Caldwell Snyder Gallery, St. Helena
2012 Brad Howe, Galerie Uli Lang, Bibierach
2012 Kinetic Works, The Frostig Collection, Santa Monica
2012 Brad Howe: Sculpture, Galerie Janos, Paris
2013 Brad Howe: Docile Bodies, Caldwell Snyder Gallery, San Francisco
In his premier exhibition at Caldwell Snyder Gallery, Brad Howe exhibits a selection of works showcasing his diverse range of style. Each work, a one of a kind stainless steal construction, is fabricated based on its unique composition. Mobiles, large metal sculptures and wispy wall hangings will be viewed in unison, demonstrating Howe’s intimate familiarity and skill with his chosen medium.
Howe views his sculptures as portraits. He strives to expose the forces - external and internal - that act upon them. As individuals, Howe argues that we are shaped by the world around us, each of us struggling to reconcile the contradictions between different versions of ourselves. Like each of us, Howe’s compositions express solidity, fragmentation, layers, anatomy, surface perfectionism, movement, introversion, doubt and self-control.
Building on the tradition of geometric abstraction, his playful mobiles, wall hangings, and freestanding sculptures combine the dynamic planar relationships and solid coloration associated with post-cubist modernism. Their playful exuberance, however, owes more to the artistic climates of twenty-first century L.A. and Sao Paolo, where Howe initiated his artistic career.
As a student of International Relations at Stanford University, Howe attended the University of Sao Paolo to specialize in Brazilian Affairs. It was there that he discovered his passion for art and architecture. Since then, the largely autodidactic sculptor has been met with overwhelming success. Howe has exhibited in over sixteen countries worldwide, and his works have been placed in public and private collections throughout 32 countries. These include an 80 foot mobile for the Georgia International Convention Center; an 18 foot stainless steel sculpture for a corporate client in Bilberach, Germany; as well as pieces for the City of Los Angeles and MIT.
2013 Brad Howe: Coyote, Galerie Uli Lang, Bibierach
2013 Brad Howe: Deprivato, Katherine Cone Gallery, Los Angeles
The portmanteau name “Deprivato” also suggests a loss or lack, a diminution of some sort of energy. In this regard, Howe may be overdoing the self-effacement; even if we accept that this new sobriety is the expression of a man embracing middle age and its trials, we don’t see a waning of his gifts or of his ability to exploit them. On the other hand, we are being “deprived” in this series of direct, full-on access to Howe’ s once-pervasive aesthetic of boisterousness. Behind the smooth, obdurate silver barriers of these new works lurk many of the same jocular presences that have populated Howe’s oeuvre from its beginning; we just no longer have direct access to them.
If you give it thought, however, these barriers are themselves rather coy, slipping and sliding around the shapes behind them so that we can glimpse these shapes, if only in part. This goes doubly for the corrugated Plexiglas boxes encasing some other, obviously hot-colored and oddly bent presences. You could say that the newly appointed guardians of Howe’s giddy creatures act like chaperones, keeping their wards in line and keeping their admirers at bay. But the silver walls and distorting encasements have their own sense of play, and are content to tease us by, in effect, lifting and lowering their veils.
This, then, is admittedly the art of a no-longer-young man. It bespeaks not the gratification of desire but its provocation. It also bespeaks not the revelation of wholes, but the contemplation of parts, of what can now be seen rather than what once stood, evident and unencumbered, before us. Brad Howe is not retreating behind so many elegant baffles; doubtless, some of his greatest, wildest, nakedest, most high-spirited monuments have yet to appear. But the veteran sculptor has now added a few new arrows to his quiver, ones that aim lower, travel less far, and hit their mark almost by surprise. The important thing, of course, is that they are hitting their mark.
"Brad Howe: Kinetic Works," ArtweekLA 2013
2012 Danger Music Series no. 12:The Thousand Symphonies, Fulcrum Point New Music Project and Rosenthal Fine Art, Chicago
To mark the 50th anniversary of the Fluxus movement, the Graham Foundation is pleased to present The Thousand Symphonies, a seminal work by Fluxus artist Dick Higgins. In 1962, Higgins wrote a series of events called Danger Music, which were designed to alternately put the body of the performer, composer, or audience member at risk. In 1968, he realized one of these pieces by having a New Jersey police officer fire a machine gun at a few hundred sheets of orchestral music paper. An ensemble later played the holes. An act of simultaneous destruction and creation, the gesture emphasized the use of guns for a purpose other than killing Viet Cong and scattering protestors.
Recently, Dennis Rosenthal, the director of Higgins’s estate, arranged with the City of Chicago to have four Chicago Police officers shoot new notation paper. On September 18 at the Graham Foundation, a live orchestra led by Stephen Burns will play the new sheets following the presentation of a short film documenting their creation. The ensemble will borrow the form of Stravinsky's L'histoire du Soldat (The Soldier’s Tale), with instruments from every section of the orchestra, plus electric guitar, which effectively updates the orchestration.
The sheets will be packaged as an edition with the film and a recording by Dennis Rosenthal Fine Art and Galeria Moises Perez de Albeniz.
"New Jersey, muse of avant garde art scene," Newsworks 10/14/13
"das Haus lectures, Lai, Millet, Dick Higgins collaborates (posthumously) with Chicago Police for The Thousand Symphonies," Architecture Chicago Plus 09/14/12
Christo and Jeanne-Claude
2013 Christo and Jeanne-Claude : The Mastaba, Project for Abu Dhabi, Guy Pieters Gallery, United Arab
The Mastaba, a project for Abu Dhabi, was conceived in 1977. It will be the largest sculpture in the world, made from 410,000 multi-colored barrels to form a mosaic of bright sparkling colors, echoing Islamic architecture.
2013 Christo and Jeanne-Claude: The Tom Golden Collection, Price Tower Arts Center, Barlesville
Tom Golden's remarkable collection reflects his friendship with and admiration of Christo and Jeanne-Claude. Over 125 original drawings, sculptures, collages and photographs lovingly trace their impressive careers. Original works from the sculpture, Double Show Window, 1972, to a recent collage of Over the River project, the collection captures the versatility, longevity and international scope of Christo and Jeanne-Claude. Drawings and collages of the large-scale public works, sold to fund the actual installations, are an important component of this collection. Those projects include Running Fence, Surrounded Islands, The Pont Neuf Wrapped and Wrapped Reichstag among many thers. There are also a multitude of smaller projects represented in original drawings from the whimsical Package on Radio Flyer Wagon to the haunting Wrapped Woman. Finally, unique to this collection are some small, poignant pieces made especially for Golden, including a wrapped bouquet of flowers.
2012 Christo and Jeanne-Claude: Prints and Objects, Lauren Rogers Museum of Art, Laurel
2012 Christo and Jeanne-Claude: Prints and Objects, Lowe Art Museum, Miami
Wrapped islands in Biscayne Bay – the Sydney Opera House – Central Park – Everyone has seen the pictures; now art enthusiasts can see the drawings and sketches that helped create those famous works from Christo and Jeanne-Claude, as well as photos of the finished product. CHRISTO AND JEANNE-CLAUDE: PRINTS AND OBJECTS, an exhibition of more than 130 original numbered editions of prints and objects by Christo and photographic editions by Wolfgang Volz of works by Christo and Jeanne-Claude, is on view November 10, 2012 - January 13, 2013 at the University of Miami Lowe Art Museum.
2012 Christo and Jeanne-Claude: Opere nella Collezione Wurth, Art Forum Wurth, Rome
Collector and entrepreneur Reinhold Würth invited Christo and Jeanne-Claude to have an exhibition in his museum on the occasion of the fiftieth anniversary of his company. After the artists had seen the space they decided not to do an exhibition, but to create a temporary work of art for the interior of the museum.
2011 Christo and Jeanne-Claude: 40 Years - 12 Exhibitions, Annely Juda Fine Art, London
Annely Juda Fine Art is proud to announce a major exhibition of the artists Christo and Jeanne-Claude, celebrating the friendship and longstanding relationship between the artists and the gallery, which has spanned over forty years.
This important exhibition at the longest-standing gallery worldwide to work with Christo and Jeanne- Claude will be a unique opportunity to see the work of Christo, from the earliest pieces of Wrapped Cans, Storefronts and Packages from the late 50s and 60s to the collages, drawings and models connected with both realised and not-realised projects by Christo and Jeanne-Claude.
Of particular note in the exhibition will be works connected to The Mastaba of Abu Dhabi: Project for the United Arab Emirates (first conceived in 1977) and for Over the River: Project for the Arkansas River, State of Colorado, conceived in 1992. Both projects are, after many years, nearing realisation.
"Christo's BIG AIR PACKAGE in the Oberhausen Gasometer," Gasometer Oberhausen 03/16/13, Thomas Machoczek
"BLM Issues Record of Decision for Over the River Comprehensive Federal Environmental Review Now Complete," Over the River 11/07/11, Michel Ames
"Artist Christo Faces Opposition to Colorado Project," The Times 10/18/2013, Associated Press
"Where the Walls Still Talk," Vanity Fair 10/08/13, Nathaniel Rich
1961 onwards, several acquisitions for the Museum of Modern Art permanent collection, New York
2012 Pasquetta, Fondazione Hic Terminus Haeret, Seggiono
2012 Grazgefluster, Stadtmuseum Graz, Graz
2013 Daniel Spoerri Visits Bernhard Luginbuhl, Altes Schlachthaus, Burgdorf
2013 Daniel Spoerri Historia Rerum Rariorum, Museumsberg Flensburg, Flensburg
One whole summer long, Daniel Spoerri is to transform the Heinrich-Sauermann-Haus on Flensburg’s Museumsberg into his own personal Wunderkammer. Long before there were museums in the modern sense of the word, wealthy collectors liked to display eclectic assortments of curiosities, works of art and natural objects in Kunstkammer or Wunderkammer ¬– cabinets of curiosities ¬in which viewers could marvel at the wonders of creation.
The title of this show and catalogue, “Historia Rerum Rariorum”, is derived from just such a seventeenth-century Wunderkammer. It brings together a selection of Spoerri’s works from the past two decades with a number of more recent pieces.
2013 Washboards, Levy Gallery, Hamburg
Daniel Spoerri first became famous for his snare pictures, made by attaching – 'snaring' – objects found at random to whatever they happened to be lying on at the time. This gave rise to wall-mounted 'pictures' of set tables and the contents of drawers.
A master of the art of assemblage, Spoerri has always been fascinated by collecting. In his new series presented here, old wash boards are made to serve as a ground for all sorts of found objects and collectibles.
The bones, teeth, feathers and parts of dolls and figures at first arouse our deepest, most instinctive fears, yet the tongue-in-cheek tales that Spoerri tells with them provide a second level of appreciation: that of comic relief.
"Spoerri: I giochi dello stupor," Biasutti e Biasutti Arte Moderna e Contemporanea 2008, Giuseppi Biasutti
"Daniel Spoerri: Assemblages and Sculptures," Galerie Willy Schoots 2007
"Daniel Spoerri," Jewish Museum in Rendsburg 2005, H. Guratzsch
2012 Light, Figure, Form, Michelle Rosenfeld Gallery, New York
2011 New Acquisitions: Grotto of Curatorial Mysteries, Leslie Sacks fine Art, Los Angeles
The works in the New Acquisitions show at Leslie Sacks Fine Art, Brentwood, span very nearly the entire history of modern art, from a Vuillard still life of 1910, and a stellar 1911 proto-cubist Braque etching, to a 2005 Kitaj charcoal portrait of the school of Paris master, Jules Pascin, whose passion for painting and parties lit up the Parisian avant-garde in the early 20th century.
This show also includes a large, detailed Larry Rivers colored pencil drawing in art deco style entitled, Hollywood, a study from History of the Jews, which illustrates the creative Diaspora that led from Europe (more specifically London as indicated by the Savoy Hotel in the background, which was the gathering place for writers and entertainers in London in the 1930s), to New York (more specifically Broadway), and westward (ho!) to Hollywood. In this image a showgirl, or perhaps a star of the day, cakewalks down the Great White Way, the New York skyline seeming to sway as though its skyscrapers were a conga line.
2010 Larry Rivers - POP Icons, Vered Gallery, East Hampton
Larry Rivers: POP Icons, spans the breadth of one of America’s most fertile artistic careers. Post Abstract Expressionism, Larry Rivers lead a new generation to whom figurative art was in a sense, more revolutionary than abstraction.
Vered’s opening Saturday July 31st from 9-11pm is accompanied by ‘fireworks’ Larry would have loved, supplied by Artists4Israel.
Noted art historian Barbara Rose, wrote that Rivers was; “Heralded as the progenitor of Pop art, which he certainly was, in my view he was also the last great history painter.” Rose continued, “The only subject Larry could not bring himself to satirize was the Holocaust, which inspired some of his most moving later works.” Larry Rivers: POP Icons, is as offbeat and funky as Rivers himself. “For Larry the tension was between the highbrow, European, literary, and Marxist past of Eastern European Jewish intellectuals and American popular culture, which focused on fame, fashion, entertainment, and money, all of which became major themes of his energetic art.”
Larry would have embraced the three benefits which accompany the exhibition. Each celebrates Israel during the month of August when Israel commemorates the fifth anniversary of the Disengagement, a period when Israel uprooted 8500 of its citizens in a fruitless attempt to advance the cause of peace with its neighbors.
2009 Celebrating 40 Years: A Selection of Works in Retrospective, Mixografia, Los Angeles
"The Third San Juan Poly/Graphic Triennial," Artnet News 04/16/12
"Where's the Chelsea Hotel's Art?" Artnet News 03/14/12
"Sotheby's Evening Sale of Contemporary Art Does $222.5 Million," Art Market Watch 11/09/10
1981 onwards, acquisitions for the Museum of Modern Art permanent collection, New York
2010 Photo-Based, Galerie Bernd Kluser, Munich
2011 Christian Boltanski 'Danach,' Kewenig Galerie, Berlin
After two spectacular exhibitions, Personnes at the Monumenta 2010 in Paris at the beginning of the year, and the current installation of the same name at the Foundation Hangar Bicocca in Milan, perhaps the most prominent figure in French contemporary art, Christian Boltanski, who was born in Paris in 1944, is showing new works at the Kewenig Galerie.
Entering the exhibition space of the gallery, the visitor first comes to a wall made of rusty, labelled, tin cans. The archival character of the work is lent a morbid touch by the rusty, slightly shabby quality of the tin cans. The black-edged name-labels recall the labelling in archives where the traces of persons are preserved for posterity. The black, mournful edging around the names causes us to conjecture that it is a matter here of deceased persons. Boltanski created the installation in 1994 under the title, The Work People of Halifax 1877 – 1982. The artist took up the fate of workers at a long-established carpet factory in the English town of Halifax. The factory was closed in 1982 and the workers dismissed into joblessness. The labels’ mournful edging therefore refers not to the cessation of human lives, but to the termination of a period of life for a lot of people. At that time, Christian Boltanski asked the workers to put mementoes of their time at the factory into the boxes. In the Cologne installation, the boxes are empty and are filled only virtually with viewers’ memories and associations.
Making memories visible is a central theme in Boltanski's oeuvre which he takes up also in another installation in the main exhibition space at the Kewenig Galerie. With the aid of used clothes presented in three wired pens, Boltanski bundles the traces of human use by the clothes’ wearers. He artistically collects together the practical, treasured, forgotten pieces of clothing, that have become too tight or too sloppy, of anonymous men and women. It is not without reason that the installations by this artist of Jewish descent consisting of used clothes are brought into association with images of the Holocaust and the well-known mountains of clothes taken from its victims.
The title of the exhibition, Afterwards, refers to a statement by the artist on how to deal with his art of recollection: "My work does not treat the topic of the Holocaust — that would be shameless. [...] But my art has the awareness of the Holocaust — it is not an art which has the Holocaust as its subject or, say, tries to explain it, but rather, which explains itself because the Holocaust occurred. It is an art afterwards." (Published in the catalogue Inventar of the Kunsthalle Hamburg, 1991)
A further installation by Boltanski in the vaulted basement of the Kewenig Galerie consists of children's beds formerly used in neonate wards. In the individually illuminated little beds there lie pieces of used children's clothing as traces of human life. The old clothes are like mementoes in the empty beds that underscore once more the emptiness of the beds which, in everyday life, are filled with newly born life. The effect of recollection unfolded by the installation passes through the viewers, who engage themselves in it by filling the beds with their own thoughts.
2013 Inaugural Exhibition in Berlin: Christian Boltanski, Kewenig Galerie, Berlin
On 21 September 2013, Kewenig is opening its new Berlin location with a Christian Boltanski show. After more than 25 years in the Rhineland, the gallery is moving into the Palais Happe on the southern part of the Museum Island. The townhouse from 1688 was especially renovated for this purpose in conformity with heritage standards. The gallery will house a part of Boltanski's artistical archive which to date was located only in Paris; it will be open to scholarly researchers.
In the exhibition, Grosse Hamburger Strasse, Christian Boltanski refers to his permanent installation, The Missing House, which came about shortly after German reunification for the show, Die Endlichkeit der Freiheit (The Finitude of Freedom). In the gap left by a house destroyed in 1943, he had mounted panels with personal data about the former residents on the firewalls of the building left standing, to commemorate the fates of these individuals. During his research for the Missing House, Boltanski came across a picture that became the source of inspiration for many works: the black-and-white photograph shows a group of children from the former Jewish School in Grosse Hamburger Strasse. In connection with the exhibited earlier and more recent works, the artist’s various creative phases become manifest: Boltanski has repeatedly used the same photographs and documents whereby, each time, he has found a different artistic form of expression. The show is a kind of personal retrospective over his entire oeuvre and a metaphor for life itself, because Boltanski not only meticulously reconstructs traces of the past, but poses questions about universal topics such as transience, recollection and the significance of each individual. 'My work consists in a questioning of life, a search to understand who we are.'
2012 "Let's Go Art Documenta and Beyond," 06/4/12, Rachel Corbett
2012 "Tom Sachs Space Jam," 5/15/12, Emily Nathan
2012 "Christian Boltanski Eternal Film Series," 02/16/12
2013 Wood, Metal, Paint: Sculpture from the Fisher Collections, Cantor Arts Center at Stanford University, Stanford
Beginning Feb. 29, the Cantor Arts Center at Stanford University presents a new installation of contemporary art, “Sculpture from the Fisher Collection,” in the Oshman Family Rotunda. The works will remain on view until fall 2013.
Over the last decade the Fisher Family has been exceedingly generous in lending works of art from their unrivalled collection to the Cantor Arts Center. Richard Serra’s Sequence is the most recent loan from a roster of artists that has included Ellsworth Kelly, Agnes Martin, Isamu Noguchi and Andy Warhol, as well as other famous contemporary masters.
“Sculpture from the Fisher Collection” includes pieces by John Chamberlain, Sol LeWitt Claes Oldenburg and Martin Puryear, together with Carl Andre’s Copper-Zinc Plain, a floor piece comprised of 36 tiles, and John Chamberlain’s Bijou, a large early work made of crushed automobiles and paint. The works on display are especially significant because they are examples of the innovations that established the reputations of these artists. Hilarie Faberman, the Center’s curator of modern and contemporary art, selected works for this long-term installation in consultation with Pamela Lee, professor of contemporary art at Stanford, who will use the exhibition in teaching about sculpture from the 1960s to the 1980s.
This exhibition is made possible by support from the Cantor Arts Center’s Contemporary Collectors Circle.
2013 Sol Lewitt: Wall Drawings from 1968-2007, Centre Pompidou Metz, Metz
The Centre Pompidou-Metz is organizing a major project around the American conceptual artist Sol LeWitt (1928-2007). In the 13,000 square feet of Galerie 2, the Centre Pompidou-Metz is hosting a retrospective of Sol LeWitt's wall drawings on a scale never seen before in Europe. The selected thirty-three wall drawings, the largest group ever exhibited in Europe, span the artist's career from its beginnings to his final works.
Chosen from the 1,200 wall drawings which LeWitt created between 1968 and 2007, they reflect both the extraordinary consistency of his systematic explorations - with rigorous sets and combinations of geometric elements - and the remarkable diversity of his practice, both in the evolution of forms from simple geometric figures to what the artist called "complex" or "continuous" forms, and of the materials used (from pencil and crayon to ink washes, acrylic paint and graphite).
Through a remarkable partnership with local schools of art and architecture, the execution of these wall drawings at the Centre Pompidou-Metz fully conveys the spirit of collaboration and generosity advocated by the artist.
In partnership with the Centre Pompidou-Metz, and as a chromatic counterpart to this retrospective of wall drawings in black and white, M-Museum in Leuven (Belgium) shown, until 14 October 2012 twenty wall drawings in color.
Béatrice Gross, independent curator and art critic, New York.
2013 Cut, Torn, Folded, Ripped, James Cohan Gallery, New York
2013 Concrete Block Structure, Rhona Hoffman Gallery, Chicago
2013 Complex Form No. 6, Rosenthal Fine Art, Inc. Chicago
Last exhibited at City Hall Park, near the Brooklyn Bridge in 2011, the temporary placement of Sol Lewitt's "Complex Form #6" at Navy Pier has been made possible through the generosity of Fred Dorfman and Dennis Rosenthal.
"Philadelphia Museum of Art ALWAYS SUNNY IN PHILADELPHIA," Artnet Magazine 2012, Emily Nathan
"Less is Less on the LES," Smart Art Press 2012, Charlie Finch
"Baku in London and Prints in New York,"Art Market Watch 2012, Jessica Mizrachi
"Damien Hirst: Spots, Sharks, Maggots, and Money," New York Magazine 2012, Jerry Saltz
2012 WHITE: Marble and Paint, From Antiquity to Now, Robilant & Voena, London
For the autumn 2012 season, in addition to their participation in the inaugural Frieze Masters art fair, Robilant & Voena will present an edited selection of WHITE masterworks made of marble and paint spanning the centuries from antiquity to now.
Running from the 4th October through to the 14th December at their London gallery, the exhibition will showcase over twenty works – in the main part marbles, set against a selection of white paint canvases by Italian modernists of the 1960s. Starting from an II century AD Vestal, via a surreal Vanitas by a seventeenth century anonymous Italian artist and an elegant eighteenth century Bust by Filippo della Valle, through a lyrical biomorphic 1941 Orphic Dream by Jean Arp, to the symbolical 2007 marble doors by Ai Weiwei and a minimal Tom Sachs sculpture from 2010 – the exhibition will explore the mysterious power and elegance of white marble irrespective of subject, period or maker. The absence of colour is notable, not least since marble sculpture in its gestation in antiquity was anything but white – the effects of time having erased the painted decoration have left us with a purity and simplicity not intentional in its origin. This historical illusion, reclaimed during the Renaissance as a model, has changed the use of this material entirely – now marble cannot be anything other than its natural beautiful colour – celebrated here in its essence.
Being entirely monochromatic, all works united by the colour WHITE here present the viewer with a variety of emotive effects engendered through the material – from the romantic to the sharp, from the solid to the intricate, from the metaphorical to the literal, from the figurative to the abstract, from the flat minimalism of the paint to the rich depth of the marble.
The paintings, all 1960s works of members of the Azimut group in Milan, have been chosen primarily as a counter-point to the marble works, their flatly painted surfaces echoing some of the more abstract marbles on show, such as the Arp, but mostly contrasting with the rich patina inherent in the natural material. What is important however, is their consistent interrogation of the form and structure of painting – pushing the boundaries of the canvas by slashing or bending, manipulating the two dimensional until it is forced into the realm of the three-dimensional, of a sculpted relief. This provides the perfect foil to the sculptures and elicits a dialogue not just between the colour and the material but also the form.
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M.F.A., Southern Illinois University
B.A., Southern Illinois University
Associate Degree, Rend Lake College
Atelier Neo Medici
2013 “Within”, 33 Contemporary Gallery, Zhou B Art Center, Chicago, Illinois
2004 “The Glamour of War”, Gallery Chicago, Chicago, Illinois
2004 “New Realism II “, Robert Kidd Gallery Birmingham, Michigan
1999 “A Separate Reality”, Five Realist Artists, Safety-Kleen Gallery One, Elgin Community College, Elgin,
1999 “Realists / Realists”, 20 North Gallery, Toledo, Ohio
1998 “The Atelier Neo Medici”, Community Gallery of Art, College of Lake County Grayslake, Illinois
1996 “20th Anniversary Exhibition”, Robert Kidd Gallery Birmingham, Michigan
1994 “Historic Traditions in Contemporary Realism”, University Museum Souther Illinois University Carbon-
1994 “Diversity Among Friends-Five Realists”, 20 North Gallery, Toledo, Ohio
1990 “Monochrome / Polychrome: Contemporary Realist Drawings, Florida State University Gallery & Mu-
seum Tallahassee, Florida
1985 “Midwest Realists” April - The Paine Art Center and Arboretum, Oshkosh, Wisconsin
June - Burpee Art Museum, Rockford, Illinois
September - Center for the Visual Arts, Illinois State University Normal, illinois
1985 “Fourteenth Union League Club Art Competition and Exhibition”
February - Artemisia Gallery, Chicago, Illinois
March - Union League Club, Chicago, Illinois
1985 “Drawings”, J. Rosenthal Gallery, Chicago, Illinois
1985 Group Drawing Show, J. Rosenthal Gallery, Chicago, Illinois
1985 “Realism”, J. Rosenthal Gallery, Chicago, Illinois
1984 “20th Century Drawing”, J.Rosenthal, Chicago, Illinois
1984 “Connexions”, Fourth Presbyterian Church, Chicago, Illinois
1984 “Chicago to Paris Roundtrip”, Libertyville Arts Center, Libertyville, Illinois
1984 “Open Spectrum” Libertyville Arts Center, Libertyville, Illinois
1983 Group Show, J. Rosenthal Gallery, Chicago, Illinois
1983 Group Show, Open Spectrum, Libertyville Arts Center, Libertyville, Illinois
1982 One-Man Show, Liliane Francois gallery, Paris, France
1981 One-Man Show, Junior League House, Chicago, Illinois
1980 One-Man Show, Vergette Gallery, Southern Illinois University, Carbondale, Illinois
1979 Two-Man Show, Liliane Francois Gallery, Paris, France
1979 “Grands et Jeunes”, Grand Palace, Paris, France
1979 Two-Man Show, Mitchel Gallery, Southern Illinois University, Carbondale, Illinois
1975 Tulsa Print Competition, Tulsa Oklahoma
College of Lake County, Grayslake, Illinois
Southern Illinois University, Carbondale, Illinois
Newman Center, Carbondale, Illinois
R.L. Davidson Collection, Chicago, Illinois
Robert Rossi Arnaud, Paris, France
Musee et Centre d’Art Contemprain le Prince Murat
Marshall Field Co. Chicago, Illinois
Lee Wesley, Chicago, Illinois