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DTSTART;VALUE=DATE:20210419
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SUMMARY:Gerhard Richter | Cage Paintings
DESCRIPTION:“One can see\, or rather hear\, a great example in John Cage’s work of how extensively\, cleverly\, and sensitively he treats coincidence in order to make music out of it.”\n—Gerhard Richter \nGagosian is pleased to present Gerhard Richter’s Cage paintings\, which were shown at Gagosian Beverly Hills in an exhibition that opened in December 2020. The series was a highlight of the artist’s recent retrospective\, Gerhard Richter: Painting After All\, at the Metropolitan Museum of Art\, New York. \nThroughout his career\, Richter has navigated between naturalism and abstraction\, painting and photography\, exploring the conceptual\, historical\, and material implications of various mediums without ideological restraint. In paintings he produced while studying at the Staatliche Kunstakademie Düsseldorf\, Germany\, in the early 1960s\, his imagery derived from magazine and newspaper photographs; he has continued this exploration throughout his career\, manipulating it in ways that have inspired subsequent generations of painters. Richter approaches the concept of abstraction with similar rigor\, employing varying combinations of process\, expressiveness\, and chance. The resultant works range from austere monochromes and mirrors to dynamic\, layered\, and richly chromatic compositions. \n\nCharacterized by their large scale and concentrated materiality\, the six Cage paintings (2006) are constructed from intersecting lines\, fields\, and swaths of color applied with a broad squeegee. By varying the force with which he dragged this tool across the canvas\, Richter added and\, crucially\, removed areas of paint to generate a highly unpredictable surface. The paintings are titled after influential composer\, artist\, and philosopher John Cage (1912–1992)\, whose music Richter was listening to when he produced the series. Cage’s pursuit of indeterminacy in music\, reflected in his use of the I Ching and other chance operations as compositional tools\, has always resonated with Richter\, who has compared his own process to the act of arranging musical notes into a score. \nShown in conjunction with the Cage paintings is a group of abstract drawings Richter made in a single\, characteristically intensive working session during the summer of 2020. Richter’s drawings function as autonomous works and have always been an important part of his oeuvre. In the compositions on view\, he makes clear use of an eraser to help direct the graphite\, emphasizing the self-reflexive nature of drawing\, and echoing\, perhaps\, the subtractive strategy that the creation of the Cage paintings entails. \nA catalogue\, including an introduction by Larry Gagosian and a conversation between the artist and Hans Ulrich Obrist\, artistic director of the Serpentine Galleries in London\, will be published to coincide with the exhibition. \nA forthcoming episode of Gagosian Premieres will celebrate the exhibition with Obrist\, featuring a musical performance by Patti Smith and new choreography created and performed by Rashaun Mitchell + Silas Riener in response to the work. \n\nImage:\nGERHARD RICHTER\nCage Paintings\, 2021\, installation view\n© Gerhard Richter 2021\nPhoto: Rob McKeever\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/gerhard-richter-cage-paintings-2/
LOCATION:Gagosian 541 West 24th St\, 541 W 24th St\, New York\, New York\, 10011
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20201114
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SUMMARY:Ed Ruscha: Paintings
DESCRIPTION:“Deterioration is a fertile area to explore.”\n—Ed Ruscha \nGagosian is pleased to present an exhibition of new paintings by Ed Ruscha. \nSince the 1960s\, Ruscha has created a distinctive and ever-expanding lexicon of signs\, symbols\, images\, and words drawn from vernacular America. His visual utterances\, sounds\, and concepts—such as the roadside gas station or the word “OOF”—have become embedded in the American ethos. He has presented recurring images—the American flag\, mountains\, books\, and words—that are suggestive yet never didactic\, and the development of these images over the course of his illustrious career exemplifies the wry refinement and subtlety with which he speaks through painting. \nIn these new paintings\, Ruscha has chosen to revisit the flag\, the mountain\, and the tire. Flags entered Ruscha’s visual vocabulary between 1985 and 1987\, rippling in the breeze over dramatic sunsets or triumphant blue skies\, offset with subtle warning cues of black bars resembling censor strips. The motif returned in OUR FLAG (2017)—currently on view at the Brooklyn Museum\, which served as a polling site for the November election—where it disintegrated into shreds set against a near-black sky. The flag becomes newly distorted in RIPPLING FLAG (2020)\, this time abnormally widened to extend past the right-side frame\, its flowing surface creating twisted shapes and shadows over the red and white stripes. In Top of Flag (2020)\, only a fraction of the standard is visible at the bottom of the canvas\, surrounded by a gradation of shadow\, almost as though the flag were a setting sun or a dimming spotlight on a stage. \nIn new mountain paintings\, Ruscha presents one of his archetypal snowy ranges\, but inverts one of the peaks so that it appears to descend from the sky. A shredded tire tread\, or “gator\,” which Ruscha first referred to in his series of Psycho Spaghetti Western paintings\, hovers over a barren\, red-skied landscape in Hardscrabble (2020). These tire shreds also appeared in Blue Collar Tires (1992)\, which formed part of the Course of Empire series\, Ruscha’s contribution for the American Pavilion at the Biennale di Venezia in 2005. This was titled directly after Thomas Cole’s famous painting cycle (1834–36) depicting the same landscape over time as it is developed from its pristine natural state\, to fall\, finally—like Ruscha’s flags—into a state of disrepair and deterioration. \nA fully illustrated catalogue\, with an essay by writer Tom McCarthy\, will accompany the exhibition. \n\nImage:\nEd Ruscha: Hardscrabble\, 2020\, acrylic on canvas\, 32 by 48 inches; at Gagosian.
URL:https://artinamericaguide.com/event/ed-ruscha-paintings/
LOCATION:Gagosian 541 West 24th St\, 541 W 24th St\, New York\, New York\, 10011
CATEGORIES:Exhibition
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DTEND;TZID=America/Halifax:20200303T200000
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SUMMARY:Opening reception | Rudolf Polanszky
DESCRIPTION:  \n“When we say that something makes sense—that is interesting. But I do not want to make sense\, because this sense is a definition made by somebody else.”\n—Rudolf Polanszky \nGagosian is pleased to present paintings and sculptures by Rudolf Polanszky dating from 2014 to 2019. This exhibition inaugurates his representation by the gallery. \nAn important contributor to the artistic landscape of Vienna\, Polanszky makes cerebral multidisciplinary works that embrace chance occurrence. His fundamentally improvisational practice marries conceptual philosophies with varied modes of production\, resulting in compositions that oscillate between dual identities as concrete objects and symbols of subjective perception. \nGrowing up in the immediate wake of the Viennese Actionist movement of the 1960s\, Polanszky began his practice making satirical films\, paintings\, and performance art pieces that mischievously countered the Actionists’ graphic focus on living bodies in their own notorious performance works. To create his Sprungfedernzeichnungen (Coil Spring Drawings\, 1983–85)\, for example\, he bounced around a paper-covered room atop a large metal spring\, wielding an elongated paintbrush in each hand\, leaving behind painted and graphic traces of his uncontrolled motions. \nIn the early 1990s\, Polanszky moved away from the legacy of Actionism\, turning his attention instead to the formal potential of sculpture and mixed-media painting with the series Reconstructions (1991–). To make these shimmering\, richly textured works\, he uses salvaged industrial materials such as acrylic glass\, aluminum\, mirrored foil\, resin\, silicone\, and wire\, recombining them into purely aesthetic forms divorced from their original contexts. Polanszky often leaves his raw materials outside\, letting the elements help determine the work’s final form. Taking improvisational cues from his father’s occupation as a jazz musician\, Polanszky’s term for this process\, “ad hoc synthesis\,” reveals an enduring interest in combining conscious artistic strategy with the operation of random incident to generate new meaning. \nThe Reconstructions in this exhibition demonstrate the range of visual effects that Polanszky has been able to achieve through this idiosyncratic technique. In some works\, he covers raw canvas with wrinkled aluminum\, adding pools of resin and panes of transparent debris to produce a milky sheen that suggests both the impenetrable surface of machinery and the opalescent interior of a seashell. Polanszky also incorporates flecks of pigment and painted strips of linen into many of his compositions\, further enlivening their intricate surfaces with accents of color. \nThis exhibition also marks the debut of the Dark Mirrors and Bright Mirrors—two paired subseries of the Reconstructions. In these works\, mounted on wood\, Polanszky juxtaposes smooth\, undulating metallic forms with sharply angled shards of silver and purple mirrored foil\, allowing the highly textural paintings to reflect light in unpredictable glimmers and flashes. \nA fully illustrated catalogue with an essay by Francesco Stocchi and a conversation with the artist by Hans Ulrich Obrist will accompany the exhibition. \n\nImage\nRUDOLF POLANSZKY\nReconstructions / Dark Mirrors / Bright Mirrors\, 2016–19\nMirrored foil\, silicone\, acrylic glass\, resin\, polyurethane foam\, and acrylic on wood\, in artist’s frame\n93 5/8 x 77 5/8 in\n237.7 x 197.1 cm\n© Rudolf Polanszky. Photo: Jorit Aust. Courtesy Gagosian.
URL:https://artinamericaguide.com/event/rudolf-polanszky-reception/
LOCATION:Gagosian 541 West 24th St\, 541 W 24th St\, New York\, New York\, 10011
CATEGORIES:Event
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SUMMARY:Rudolf Polanszky
DESCRIPTION:“When we say that something makes sense—that is interesting. But I do not want to make sense\, because this sense is a definition made by somebody else.”\n—Rudolf Polanszky \nGagosian is pleased to present paintings and sculptures by Rudolf Polanszky dating from 2014 to 2019. This exhibition inaugurates his representation by the gallery. \nAn important contributor to the artistic landscape of Vienna\, Polanszky makes cerebral multidisciplinary works that embrace chance occurrence. His fundamentally improvisational practice marries conceptual philosophies with varied modes of production\, resulting in compositions that oscillate between dual identities as concrete objects and symbols of subjective perception. \nGrowing up in the immediate wake of the Viennese Actionist movement of the 1960s\, Polanszky began his practice making satirical films\, paintings\, and performance art pieces that mischievously countered the Actionists’ graphic focus on living bodies in their own notorious performance works. To create his Sprungfedernzeichnungen (Coil Spring Drawings\, 1983–85)\, for example\, he bounced around a paper-covered room atop a large metal spring\, wielding an elongated paintbrush in each hand\, leaving behind painted and graphic traces of his uncontrolled motions. \nIn the early 1990s\, Polanszky moved away from the legacy of Actionism\, turning his attention instead to the formal potential of sculpture and mixed-media painting with the series Reconstructions (1991–). To make these shimmering\, richly textured works\, he uses salvaged industrial materials such as acrylic glass\, aluminum\, mirrored foil\, resin\, silicone\, and wire\, recombining them into purely aesthetic forms divorced from their original contexts. Polanszky often leaves his raw materials outside\, letting the elements help determine the work’s final form. Taking improvisational cues from his father’s occupation as a jazz musician\, Polanszky’s term for this process\, “ad hoc synthesis\,” reveals an enduring interest in combining conscious artistic strategy with the operation of random incident to generate new meaning. \nThe Reconstructions in this exhibition demonstrate the range of visual effects that Polanszky has been able to achieve through this idiosyncratic technique. In some works\, he covers raw canvas with wrinkled aluminum\, adding pools of resin and panes of transparent debris to produce a milky sheen that suggests both the impenetrable surface of machinery and the opalescent interior of a seashell. Polanszky also incorporates flecks of pigment and painted strips of linen into many of his compositions\, further enlivening their intricate surfaces with accents of color. \nThis exhibition also marks the debut of the Dark Mirrors and Bright Mirrors—two paired subseries of the Reconstructions. In these works\, mounted on wood\, Polanszky juxtaposes smooth\, undulating metallic forms with sharply angled shards of silver and purple mirrored foil\, allowing the highly textural paintings to reflect light in unpredictable glimmers and flashes. \nA fully illustrated catalogue with an essay by Francesco Stocchi and a conversation with the artist by Hans Ulrich Obrist will accompany the exhibition. \n\nImage:\nRUDOLF POLANSZKY\nReconstructions / Complementary Pictures no. 2\, 2019\nAluminum\, silicone\, pigment\, acrylic glass\, resin\, polyurethane foam\,\nfeathers\, and acrylic on canvas\, in artist’s frame\n83 1/8 x 79 3/4 in\n211 x 202.5 cm\n© Rudolf Polanszky. Photo: Jorit Aust. Courtesy Gagosian.
URL:https://artinamericaguide.com/event/rudolf-polanszky/
LOCATION:Gagosian 541 West 24th St\, 541 W 24th St\, New York\, New York\, 10011
CATEGORIES:Exhibition
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