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SUMMARY:Imagining Landscapes | Paintings by Helen Frankenthaler\, 1952-1976
DESCRIPTION:“I had the landscape in my arms when I painted it. I had the landscapes in my mind and shoulder and wrist.”\n—Helen Frankenthaler \nGagosian is pleased to present Imagining Landscapes: Paintings by Helen Frankenthaler\, 1952–1976\, an exhibition of thirteen paintings from the collection of the Helen Frankenthaler Foundation\, several of which have never been exhibited before. \nThe references to landscape that are inherent in these paintings shift between subtle and explicit\, as critic E. C. Goossen observed in 1958. All are characterized by an extraordinary variety of line and color. The earliest of them—painted in 1952\, before Frankenthaler’s breakthrough development of soak-stain painting later that year with Mountains and Sea—is the work of an already mature artist: an invented panorama with suggestions of palm fronds and mountain peaks. The next belongs to a small group of canvases with drawn forms that Frankenthaler painted on her honeymoon with Robert Motherwell in the southwest of France. And four canvases from 1961—Fable\, Beach Scene\, Square Figure\, and After Rubens—show her simplifying her drawing and making it more calligraphic\, even as she continued to create figural as well as landscape references. \nIn three canvases from 1963\, a major change is evident in Frankenthaler’s approach. Juxtaposed areas of lush stained color replace the lines of the earlier paintings\, their irregular borders evoking the boundaries of natural forms. The titles of these works—Narcissus\, Yolk\, Sea Goddess—invite interpretation of their sometimes aqueous\, sometimes cloudy forms in the manner that Leonardo da Vinci advised painters to look at stained walls and see in them images of the natural world. Even as Pop art was recuperating explicit depiction\, and Color Field painting purist abstraction\, Frankenthaler maintained in her own way an art of allusion—the richness of ambiguous reference—and cultivated a complexity akin to the volatility of the physical universe. \n\nIn the imposingly large Cape Orange of 1964\, Frankenthaler advances this approach with flatter\, more opaque color to a bolder effect\, suggesting a topographical map. And the pair of canvases from 1971\, Orange Hem and Red Travels\, simplify the effect further\, evoking details of landscape seen from above—perhaps\, the movement of water around an obstruction and a view into a cleft or onto a stretch of coastline\, respectively. In both cases\, the rectangle of the canvas substitutes for a framed view. The final work in the exhibition\, Sphinx (1976)\, reintroduces earlier features to the format\, reprising the bipartite structure of Narcissus (1963)\, with memories of the fluid\, centralized composition of Mountains and Sea. \nA catalogue featuring a new essay by art historian Robert Slifkin along with three historical texts will be published to accompany the exhibition. In conjunction with Imagining Landscapes\, the Davies Street gallery will present a sculpture from a series Frankenthaler made in Anthony Caro’s London studio in the summer of 1972 and a selection of Frankenthaler works on paper. In addition\, a room of paintings by Frankenthaler is installed at Tate Modern\, London\, until November 2021. Helen Frankenthaler: Radical Beauty\, the first major UK exhibition of the artist’s woodcut prints\, will open at Dulwich Picture Gallery\, London\, on September 15\, 2021. \n\nImage:\nImagining Landscapes: Paintings by Helen Frankenthaler\, 1952–1976\, installation view 2021\n© 2021 Helen Frankenthaler Foundation\, Inc. / Artists Rights Society (ARS)\, New York / DACS\, London\nPhoto: Lucy Dawkins\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/imagining-landscapes-paintings-by-helen-frankenthaler-1952-1976/
LOCATION:Gagosian Grosvenor Hill\, London\, 20 Grosvenor Hill\,\, London\, Mayfair\, W1K 3DL\,\, United Kingdom
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20210412
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SUMMARY:Rachel Whiteread: Internal Objects
DESCRIPTION:“As an artist you create a language\, you create depth to a language\, you change the language.”\n—Rachel Whiteread \nGagosian is pleased to present Internal Objects\, an exhibition of new work by Rachel Whiteread. \nWhiteread employs the formal language of Minimalism\, taking cues from its emphasis on geometric seriality\, yet adds a quietly emotive aspect\, maintaining an acute sensitivity to objects’ minor details and subtle markers of use and human irregularity. Over the past four decades\, she has used the method of casting on both “low” materials such as concrete\, resin\, rubber\, and plaster\, as well as more traditional sculptural materials\, such as bronze. Whether they take the form of monumental public installations or small\, intimate objects\, Whiteread’s forms imply hidden narratives and secret histories. She employs existing artifacts and spaces—including domestic objects like chairs and mattresses\, interiors of rooms\, and even\, famously\, an entire terraced house—to evoke and explore corporeal presence. Notably\, her deft use of negative space can imply a thing that’s gone and been reincarnated. \nIn this exhibition\, this suggestion of haunting\, or ghostliness\, is manifested in a different way. In Detached 1\, Detached 2\, and Detached 3 (all 2012)\, which she installed at Gagosian London in 2013\, Whiteread rendered the empty interiors of three garden sheds in concrete and steel. Now\, in Internal Objects\, she has again created cabin-like structures but has\, for the first time\, eschewed casting existing objects in favor of building original ones. Poltergeist (2020) and Döppelganger (2020–21)\, which will occupy the two main rooms of the Grosvenor Hill gallery\, are made of found wood and metal that has been meticulously overpainted in white household paint. \n\nWhile Whiteread’s sheds of a decade ago were closed\, the new sculptures are open\, inverting the formal system of their predecessors. They suggest that something catastrophic has occurred\, allowing nature to take over. Whiteread was inspired by her reading of John Steinbeck\, and by her experience of driving through the Mojave Desert and Death Valley in California after installing two sculptures in Joshua Tree National Park in 2017. Although the new works represent a departure from her established sculptural process\, they continue her overall project in considering the intimate haptic qualities of the spaces that surround us. \nThe exhibition will also feature a new body of sculptures in resin and new works on paper\, as well as recent cast sculptures in bronze\, similar to works in bronze Whiteread made in 2000–10\, and exhibited at a major retrospective at Tate Britain in 2017. \nA fully illustrated catalogue\, including a short story by John Steinbeck and an essay by Richard Calvocoressi\, will be published to accompany the exhibition. \n\nImage:\nRachel Whiteread: Internal Objects\, installation view\, 2021\n© Rachel Whiteread\nPhoto: Prudence Cuming Associates\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/rachel-whiteread-internal-objects/
LOCATION:Gagosian Grosvenor Hill\, London\, 20 Grosvenor Hill\,\, London\, Mayfair\, W1K 3DL\,\, United Kingdom
CATEGORIES:Exhibition
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SUMMARY:Mary Weatherford: Train Yards
DESCRIPTION:“There’s always sound that enters when I’m thinking about a painting. To me they have sound.”\n—Mary Weatherford \nGagosian is pleased to present Train Yards\, an exhibition of paintings by Mary Weatherford. This is her first solo exhibition with the gallery in London. \nWeatherford roots abstract painting in subjective experience\, evoking urban and rural environments while experimenting with internal painterly dynamics around light\, color\, and gesture\, as well as the relationship between a painted surface and various three-dimensional addenda. Preparing each canvas with a mixture of gesso and marble dust\, she conjures a wide range of chromatic and textural effects. In her best-known works\, sponged grounds of vinyl-based emulsion on heavy linen panels are surmounted by one or more carefully shaped and placed neon-filled glass tubes. \nWeatherford began using neon in 2012\, inspired by the illuminated signs that lined the streets of Bakersfield\, California\, where she was then working as a visiting artist and educator. Casting an intense industrial light onto the modulated fields of color beneath them\, the tubes (which sometimes extend beyond the edges of the painting) read as hand-drawn lines\, their trailing power cords adding a further graphic and dimensional aspect. \n\nMaking frequent reference to specific locations and climates\, Weatherford’s paintings of the 1990s and early 2000s incorporate assemblage elements such as seashells\, sponges\, and starfish. The vines series (2004–08) is inspired by intertwined networks of ivy\, and the caves series (2006–14) is based on her observations of natural light at a Pismo Beach sea cave. Since the start of her career\, she has sourced inspiration from the use of commonplace and organic materials identified with Arte Povera\, and from American abstract painters of the 1950s and 1960s such as Helen Frankenthaler\, Morris Louis\, and Kenneth Noland\, building upon and challenging the high modernist flatness that they extolled by imbuing her own paintings with the illusion of spatial depth and a romantic spirit of existential inquiry. \nFollowing series inspired by Manhattan\, Los Angeles\, New York Harbor\, and the industrial port of Red Hook in Brooklyn\, the Train Yard series (2016–20) featured in this exhibition also pursues Weatherford’s foundational interest in the poetics of place—especially sites of mass transportation\, and locations where the conditions of urban life reveal themselves with especial intensity. She has described these large-scale canvases—abstracted interpretations of the titular site after dark\, in which irregular gaps in the works’ deep purple and black grounds evoke flashes and flickers of white light—as visual embodiments of environmental noise: “the clanging of bells and whistles and the sound of trains.” Also painted in vinyl emulsion on linen\, the Train Yard paintings incorporate white neon light tubes that evoke the singular—and distinctly American—history and aura of their subject. \n\nImage:\nTrain Yards\, installation view\, 2020\n© Mary Weatherford\nPhoto: Lucy Dawkins\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/mary-weatherford-train-yards/
LOCATION:Gagosian Grosvenor Hill\, London\, 20 Grosvenor Hill\,\, London\, Mayfair\, W1K 3DL\,\, United Kingdom
CATEGORIES:Exhibition
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SUMMARY:CRUSHED\, CAST\, CONSTRUCTED: Sculpture by John Chamberlain\, Urs Fischer\, and Charles Ray
DESCRIPTION:To prioritize the safety of our staff\, artists\, and the public\, Gagosian has temporarily closed its galleries worldwide due to the covid-19 outbreak. \nGagosian is pleased to present Crushed\, Cast\, Constructed: Sculpture by John Chamberlain\, Urs Fischer\, and Charles Ray. \nAn exploration of three divergent approaches to sculptural process\, Crushed\, Cast\, Constructed juxtaposes works in metal by Chamberlain\, Fischer\, and Ray\, orchestrating a rich conversation around material and method. \nChamberlain\, who died in 2011\, made sculptures out of used automotive parts and other premanufactured metal components\, expanding the rhythmic impulses of Abstract Expressionist painting into three dimensions. In his works\, these forms retain the aura of their industrial origins while simultaneously conveying a baroque mannerism. In the late 1960s\, Chamberlain began using galvanized steel boxes to create “crushed” sculptures such as Untitled (1967)\, which juxtaposes pliant curves and sharp angles in an interplay of shadow\, contour\, and space. \nFischer challenges the material and conceptual limits of the many mediums he works with\, exploring questions of physicality\, perception\, and permanence. Between 2006 and 2008\, he made a series of large sculptures by modeling fist-sized lumps of clay into amorphous solids\, digitally scanning them in order to produce molds at approximately fifty times their original size\, and casting the results in aluminum. Lustrous\, textural\, and organic in appearance\, Fischer’s abstract forms fill the gallery space from floor to ceiling and preserve the contours of the artist’s grip and fingerprints on a giant scale. \nFiltering modern conceptions of image culture and the readymade through a classical emphasis on the figure\, Ray produces precise and uncanny renditions of familiar objects and human forms. These works investigate what happens when the mundane is remade in a surprising material\, or at an unexpected scale or density. For Tractor (2003–04)\, he took apart a rusting 1938 farming vehicle\, cast each of its original components by hand in aluminum\, and reassembled the machine in its newly pristine entirety. The resulting sculpture is a product of Ray’s meticulous and meditative conceptual process—a method that both memorializes and reinvigorates the visual vocabulary of everyday life. \nChamberlain’s\, Fischer’s\, and Ray’s works will be presented in separate rooms\, allowing for a focused examination of individual approach and identity—and affirming each artist’s status as a pioneer of sculptural technique and affect. \n\nImage:\nJOHN CHAMBERLAIN\nUntitled\, c. 1967\nGalvanized steel\n36 x 28 1/2 x 27 1/2 in\n91.4 x 72.4 x 69.9 cm\nCollection: Cy Twombly Foundation\n© 2020 Fairweather & Fairweather LTD / Artists Rights Society (ARS)\, New York\, NY
URL:https://artinamericaguide.com/event/crushed-cast-constructed-sculpture-by-john-chamberlain-urs-fischer-and-charles-ray/
LOCATION:Gagosian Grosvenor Hill\, London\, 20 Grosvenor Hill\,\, London\, Mayfair\, W1K 3DL\,\, United Kingdom
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20200116
DTEND;VALUE=DATE:20200315
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SUMMARY:Alex Israel | Always On My Mind
DESCRIPTION:ALEX ISRAEL\nAlways On My Mind\nJanuary 16–March 14\, 2020 \n“Sometimes\, rather than deciding which context to address with a specific body of work or project\, I just think of myself as my context . . . and that’s where my Self-Portrait comes into play. It has become a kind of logo for this imagined context of me—and it hopefully provides a through line as my work shifts or twists across traditionally segregated worlds or value systems.
”\n—Alex Israel \nGagosian is pleased to present Always On My Mind\, an exhibition of new Self-Portraits by Alex Israel. This is his first solo exhibition in the United Kingdom. \nA native of Los Angeles\, Israel mines the cultural mythos of his hometown with polished optimism and calculated cool\, melding nostalgic feelings with lucid perceptions of California living and the American Dream. \nIsrael has cultivated a close partnership with Warner Bros. Studios\, beginning in 2010 when he rented Hollywood props from the studio’s warehouses and exhibited them as readymade sculptures. He has also collaborated with the studio’s scenic painting department on numerous large-scale series\, including his dreamy\, pastel-tinted Sky Backdrops\, architecturally inspired Flats\, and slick\, vibrant Waves. The film industry has continued to play a central role in Israel’s work; in 2017\, he made his directorial debut with SPF-18\, a feature-length teen rom-com that pays tribute to classic surf movies. \nSince 2012\, Israel has hosted As it Lays\, a DIY online talk show featuring Los Angeles–based celebrity guests. In its debut season\, each episode opened with a title sequence in which Israel’s silhouette—decked out in sunglasses by Freeway Eyewear\, the brand he founded in 2010—morphs into a color-blocked logo. By 2013\, this video graphic had already developed into Israel’s Self-Portraits\, a series of paintings on shaped fiberglass panels featuring crisp lines and bright gradients of color. The Self-Portraits are both a consciously self-branded signature made for the Instagram era and a deeper formal exploration into Southern California’s aesthetic history. \nRecently\, Israel has shifted the series toward photorealism\, in addition to developing an increasingly introspective and self-referential approach toward the art of self-portraiture. In 2015\, he presented a group of new Self-Portraits as part of his site-specific installation at the Huntington in San Marino\, California. One painting shows him writing his signature across the back of another Self-Portrait; another depicts his hands as he takes a selfie—an endless visual loop that conflates artist and viewer. \nIn Always On My Mind\, Israel addresses the effortless visual gloss that twenty-first-century image culture and social media demand of their participants. A seamless “establishing shot” of Mulholland Drive is stitched together from multiple aerial photographs; a panorama of Griffith Park is foregrounded by a young woman who is engrossed not by the sweeping view before her\, but by the picture of it that she has just taken with her iPhone. \nIn other works\, the original color-blocked portrait is rebranded in trompe l’oeil formats including a glowing neon sign to a stained glass window. The Self-Portraits examine the myth of the American West and an expanded idea of entertainment—two parallel narratives interwoven in the fabric of Israel’s hometown that also continue to inflect our culture at large. \n\nCaption:\nALEX ISRAEL\nSelf-Portrait (Wheel of Fortune)\, 2017\nAcrylic and bondo on fiberglass\n96 x 84 x 4 in\n243.8 x 213.4 x 10.2 cm\n© Alex Israel\nPhoto: Jeff McLane\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/alex-israel/
LOCATION:Gagosian Grosvenor Hill\, London\, 20 Grosvenor Hill\,\, London\, Mayfair\, W1K 3DL\,\, United Kingdom
CATEGORIES:Exhibition
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DTEND;TZID=America/Halifax:20191221T180000
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SUMMARY:Cy Twombly | Sculpture
DESCRIPTION:CY TWOMBLY\nSculpture \nSeptember 30–December 21\, 2019 \n“White paint is my marble.”
\n—Cy Twombly \nGagosian is pleased to present an exhibition of Cy Twombly’s sculptures\, in association with the Cy Twombly Foundation. The exhibition marks the publication of the second volume of the catalogue raisonné of sculptures\, edited by Nicola Del Roscio\, President of the Cy Twombly Foundation\, and published by Schirmer/Mosel. \nTwombly made his sculptures from found materials such as plaster\, wood\, and iron\, as well as objects that he habitually used and handled in the studio. From 1946 onward\, he created many assemblages\, though they were rarely exhibited before the 1997 publication of the first volume of his catalogue raisonné. Often modest in scale\, they embody his artistic language of handwritten glyphs and symbols\, evoking narratives from antiquity and fragments of literature and poetry. \nMany of Twombly’s sculptures are coated in white paint\, which unifies and neutralizes the assembled materials and renders the newly formed object into a coherent whole. In referring to white paint as his “marble\,” Twombly recalls traditions of Egyptian\, Greek\, and Roman sculpture while also subverting marble’s classical connotation of perfection through his roughly painted surfaces. The intimate scale of these works\, together with their textural coats of paint\, underscores their fundamentally haptic nature. \nSome of Twombly’s sculptures allude to architecture\, geometry\, and Egyptian and Mesopotamian statuary\, as in the rectangular pedestals and circular structures of Untitled (1977) and Chariot of Triumph (1990–98). Untitled (In Memory of Álvaro de Campos) (2002) comprises a rounded wooden trough stacked with a rectangular box\, an elongated mound\, and a vertical wooden board—all accumulating into a form that resembles a headstone or cenotaph. Thickly daubed in white\, the sculpture bears the titular inscription scrawled in the graffiti-like hand so typical of Twombly’s drawings and paintings\, and below it\, the words “to feel all things in all ways.” Drawn from a poem by Álvaro de Campos (one of Portuguese poet Fernando Pessoa’s pseudonyms)\, the inscription suggests the legibility of the sculpture itself\, and positions the three-dimensional object as a surface to be worked on. \nIn 1979\, Twombly began casting some of his assemblages in bronze. The first iteration of Untitled (2002)\, on view in this exhibition\, was made in 1955\, soon after his return to New York from Europe and North Africa. Like other works from this period\, this sculpture makes reference to the ancient artifacts the artist encountered in his travels. Consisting of bundled sticks\, it evokes an object of private devotion or fetish. By casting this work in bronze in 2002\, Twombly literally and figuratively substantiated the small sculpture into something like an archeological treasure recovered from the past. \nA fully illustrated catalogue will accompany this exhibition. \nTo mark the completion of all volumes of the Twombly catalogue raisonné\, Gagosian Davies Street\, London\, will host a store for the duration of the Grosvenor Hill exhibition\, selling Twombly posters\, prints\, rare books\, and the catalogue raisonné itself. \n\nImage caption:\nCY TWOMBLY\nUntitled (St. Sebastian)\, 1998\nBronze\n50 3/8 x 9 1/16 x 7 1/2 in\n128 x 23 x 19 cm\nEdition 1 of 3\n© Cy Twombly Foundation\nPhoto: Prudence Cummings Associates\nCourtesy Gagosian
URL:https://artinamericaguide.com/event/cy-twombly-sculpture/
LOCATION:Gagosian Grosvenor Hill\, London\, 20 Grosvenor Hill\,\, London\, Mayfair\, W1K 3DL\,\, United Kingdom
CATEGORIES:Exhibition
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