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Graeme Todd 1962 – 2022

March 23, 2022

Laure Genillard Gallery has today announced the passing of artist Graeme Todd.

The gallery has worked with Graeme on several occasions, in a group show in 2008 and a solo exhibition in 2018.

In a statement, Laure Genillard said: “We found him an easy and inspiring artist. Graeme's work was related first of all to the question of painting itself and the formal aspect of what that actually means. What is a surface? What is an illusion? His approach developed directly as a result of a deep understanding of art history and artists such as Courbet, German masters and East Asian paintings, to cite a few examples. We will miss him dearly.”

Whitstable Biennale 2022 announces the title and theme for its 10th edition

Whitstable Biennale 2022 Afterwardness takes place between Saturday 11 June - Sunday 19 June 2022 and will be presented at locations across Whitstable.

This year’s festival borrows its title from Mimi Khalvati’s evocative poem, Afterwardness. Through the eyes of ‘an eleven year old boy from Aleppo’ the poem explores loss, trauma and the concept of ‘afterwardness’, a term originally coined by Sigmund Freud to describe the belated understanding of events that comes with the passing of time.

Both directly and indirectly, ‘afterwardness’ connects to the themes of this and the last two editions of the festival, touching on ideas connected to global movement, exile, how we find ‘home’ and a way to tell our own story, and on the complex and uncertain place we currently find ourselves in, in the wake of major global events.

Continuing the festival’s strong tradition of programming some of the most exciting and experimental visual art being made in the UK today, Whitstable Biennale 2022 will weave film, performance and sound into the fabric of the town, and create direct, and often intimate, opportunities for local people and visitors to engage with contemporary art and artists.

Participating artists confirmed to date are:

Aimée Zito Lema, Alicia Radage, Anna Barham, Anna-Maria Nabirye, Arianne Churchman, Ben Judd, Dipesh Pandya, Jade Montserrat, Jennet Thomas, Lou Lou Sainsbury, Madeleine Ruggi, Mimi Khalvati, Nicole Bachmann, Chromatic Agency (nnull and Sandy Rompotiyoke), Olivia Furber, Sarah Craske, Savinder Bual, Sonya Dyer, and Webb-Ellis.

This year’s festival is curated by Cement Fields’ Artistic Director Sue Jones, alongside Associate Curators Emma Leach, Jas Dhillon, and Keira Greene, and Poet in Residence Dzifa Benson.

Jennet Thomas, The Great Curdling, 2022. Photo: Paul Tarragó

John Dilg is now represented by Galerie Eva Presenhuber

March 18, 2022

Galerie Eva Presenhuber announces the representation of the American artist John Dilg.

Dilg's paintings were exhibited at Eva Presenhuber, New York, as a special summer project in 2021, which was reviewed in The New York Times by Jason Farago - “Like Emily Dickinson with her straitened meter, like Miles Davis with his muffled trumpet, the veteran Iowa-based painter John Dilg knows the power of a whisper; his small landscapes, done in a restricted palette of thinly applied cool colors, have an intimate beauty that can only be born from restraint. Fourteen sparse, imagined views of land and water, each recently painted, each hardly bigger than a legal pad, each in murmuring tonalities of sky blue and camel and artichoke green, are now on view at Presenhuber, in a show called “Flight Path.” Together they’re as intimate and engrossing as a private chamber music concert.”

Dilg’s paintings feel like landscapes rather than being such. Dilg paints metaphors and abstractions using what he calls a mental archive of essential visual forms, drawing on memory and tonalities of color and the sensations they can convey to create an enthralling, symphonic whole that emphasizes stillness and the continuum of time. The subjects of these works are not the objects that occupy the paintings but the representation of a moment in time in itself.

Dilg’s work is represented in the public collections of institutions including the Arkansas Arts Center, Little Rock, AR, US; the Figge Museum of Art, Davenport, IA, US; the Museum of Contemporary Art Chicago, Chicago, IL, US; and Museu d’Art Contemporani Vicente Aguilera Cerni, Villafamés, ES.

Almine Rech represents Oliver Beer

March 17, 2022

Almine Rech announces the representation of British artist Oliver Beer in Brussels, New York and China.

His first collaboration with the gallery will be a 24-hour performance and subsequent interactive installation at the Conservatorio di Musica for Parasol Unit and the 59th Venice Biennale.

Beer trained in musical composition, before studying fine art and then cinematic theory. His diverse artistic practice reflects these studies through the intense sonic experiences he creates in many of his immersive live performances, vocal compositions, films and installations.

His artwork extends from performative art to sculptures and paintings. While his relationship with musical composition is apparent in his powerful live performances and films, further musical elements can also be found in his visual art. We can see this in the sculptures that he makes by cutting through everyday objects ‘just like in an ultrasound scan’; or his Resonance Paintings, created by literally using ‘sound as his paintbrush'. His installations, such as his celebrated Vessel Orchestra exhibition at the Metropolitan Museum of Art in New York, play with notions of resonance and the innate musicality of the human experience.

Beer’s work has been exhibited internationally at museums including the Metropolitan Museum of Art and MoMA PS1, New York; Centre Pompidou, Palais de Tokyo and Palace of Versailles, France; and the Biennales of Sydney and Istanbul.

Photo: © Jae Kim

Lisson Gallery to open permanent space in Beijing

March 15, 2022

Lisson Gallery is delighted to announce the opening of its first permanent space in Beijing, housed within the Blanc International Contemporary Art Space, where earlier this year the gallery presented 'Double', a pop-up exhibition by the French painter Bernard Piffaretti, from October 2021 to January 2022.

Dedicated to contemporary art, Blanc International Contemporary Art Space is located within the Tianzhu Free Trade Zone, Shunyi District and to the northeast of the city’s urban centre. Spanning 780 sq. meters, Lisson Gallery Beijing occupies the fourth floor of the building, featuring a main gallery, multiple viewing rooms and office space. The space has been renovated by Studio HVN, the Beijing-based design practice.

Lisson Gallery Beijing will be inaugurated with a solo exhibition by Anish Kapoor, presenting a series of new paintings. The show follows Kapoor’s major two-part exhibition in Beijing in 2019 across the Central Academy of Fine Arts (CAFA) Museum and Taimiao Art Museum of the Imperial Ancestral Temple, and coincides with the artist’s much-anticipated presentation across Venice’s historic Gallerie dell'Accademia and Palazzo Manfrin during this year’s Venice Biennale.

The Beijing gallery is directed by David Tung alongside Lisson’s Curatorial Director, Greg Hilty and CEO, Alex Logsdail.

Tolarno Galleries announces the representation of Wanapati Yunupiŋu

March 6, 2022

Tolarno Galleries announces the representation of Wanapati Yunupiŋu (born 1989, homeland Biranybirany; clan Gumatj, Rrakpala group; moiety Yirritja).

Wanapati recently presented his debut solo exhibition at the 2022 Melbourne Art Fair. “... the stunning set-up for Wanapati Yunupiŋu’s first ever solo exhibition (Melbourne or otherwise), sets a special corner of the [Melbourne Art] Fair on fire. The south looked jealously to the Northern Centre for Contemporary Art in Darwin late last year when the exhibition “Murrŋiny” surveyed eight artists from Yirrkala, all working in the medium of engraved “steel” (found metals). Now we get a piece of it ourselves, with Yunupiŋu’s murrŋiny paintings that overlay images of marine life (from deep and shallow water) with ancestral designs of fire. These works do appear both hot and cool. The exposed aluminium twinkles innocently, but I wouldn’t touch the murrŋiny surface; cut with a rotary drill, I bet it’s sharp as hell” - Victoria Perin, MeMO Review, February 2022.

Wanapati is the son of deceased artist Miniyawany Yunupiŋu, a senior artist and ceremonial leader within the Gumatj clan at Biranybirany. Wanapati has inherited rich ceremonial instruction from his father, and was trained while living between the outstation communities of Waṉḏawuy (his mother's clan land) and Biranybirany.

Following his father’s death in 2008, he began to paint his clan design on bark, yidaki and larrakitj. During late 2019 Wanapati began working on found and discarded street signs and metal forms, etching his sacred Gumatj clan designs and narratives into their surface using a rotary tool.

In doing so he was part of a group of artists who followed the artistic movement of fellow artist Gunybi Ganambarr. Gunybi stretched the art centre’s guiding principle which required the use of natural media in depicting sacred designs - “if you are going to paint the land you must use the land”. The elders accepted that Gunybi in presenting materials and mediums which he found on or within the land was in fact using ‘the land’. In creating this loophole he became the originator of the “Found” movement in North East Arnhemland that Wanapati continues.

The gallery will present a solo exhibition by Wanapati Yunupiŋu in February 2023, in partnership with the Indigenous art centre Buku Larrŋgay Mulka located in Yirrkala, North East Arnhemland, NT.

portrait courtesy Buku Larrŋgay Mulka Art Centre

The Sunday Painter announces representation of Jennifer J Lee

Lee paints depictions of found photography often sourced from internet forums and online shopping sites. Her work is startlingly photo realistic, rendered in an intimate scale that invests familiar objects with a psychological depth. Lee portrays photographs with a sharp self-awareness, painting on thick jute burlap that degrades the mechanical process of photography while perversely simulating it. Lee, a semiotician in a visual sense, chooses her subjects for their availability as collective symbolic objects and deploys them in sequences that produce a kind of quasi syntactical language, hinting at meaning but ultimately resolving themselves into an intuitive poetry. Despite their visual swiftness, these paintings are painstakingly constructed in an effort to pull an image apart and then rebuild it. The slowness and transgression of this process is reminiscent of Warhol's early silent films as well as Vija Celmin's meditative renderings.

Jennifer is represented in New York by Klaus von Nichtssagend Gallery

Lace Curtain, (2021)

Perrotin announces the opening of a new gallery in Dubai

March 3, 2022

Located in the DIFC, the heart of Dubai, the new 100-square-meter space will open its doors later this year and present primary market works by artists represented by the gallery, alongside secondary market works.

Already present in six cities—Paris, Hong Kong, New York, Seoul, Tokyo, Shanghai—the gallery continues to expand its reach with the opening of this new permanent address in the Middle East.

The new gallery will create connections and strengthen Perrotin’s ties with the Arab world, which have been developed over many years to promote its artists in the region; whether through participation in the Dubai and Abu Dhabi art fairs, or with large-scale projects such as Murakami-Ego at ALRIWAQ in Doha or Jean-Michel Othoniel’s Alfa installation at the National Museum of Qatar.

Simulation / © Photo: Altamash Urooj

Kevin Choe joins Petzel

February 28, 2022

Petzel welcomes Kevin Choe to the gallery as Director.

Choe, who holds a BA in Art History and French from Vassar College, joins Petzel from Mitchell-Innes & Nash.

“I am delighted to join Petzel Gallery, which has remained at the forefront of contemporary art for almost 30 years and which, I believe, is ideally positioned to play an ever-larger role in the current remapping of the art market,” says Choe.

“We are excited to have Kevin join Petzel," says Andrea Teschke, Partner at Petzel. "His talent for facilitating sales is outstanding and his skills greatly complement the expertise of our team. We can’t wait to have him aboard.”

what’s on at Petzel

Inaugural Director announced for Zaha Hadid Foundation

The Zaha Hadid Foundation (ZHF) has announced the appointment of Professor Paul Greenhalgh as its inaugural director. He is an art historian and museum director with considerable international experience, a curator and scholar of art, design, and architecture. His previous roles have included Director of the Sainsbury Centre (UK), Director and President of the Corcoran Gallery of Art and College of Art and Design (Washington DC), President of NSCAD University (Canada), and Head of Research at the V&A Museum (London). He has curated many major exhibitions internationally, and published widely on art, design and architecture in the Modern period.

Professor Greenhalgh said: “It is an enormous honour to be leading the Zaha Hadid Foundation in its inaugural phase. We intend to preserve the magnificent creative legacy of Zaha, by making publicly available our unrivalled collection of her works, and presenting these to the world through exhibitions at home and internationally. In the creative and intellectual spirit of Zaha, we will also address the condition of architecture and related arts of our times, through education and research programmes. Zaha loved to teach and to promote understanding of Modern architecture and art. She constantly sought to give access to the world of architecture and design to young people and a wider public. Through programmes of bursaries, grants, and awards, ZHF will operate in this same spirit.”

kamel mennour announce exclusive representation of the work of Eugène Carrière

February 25, 2022

“I appreciate only what is kept by memory” - Eugène Carrière

Kamel Mennour announce the exclusive international representation of the work of Eugène Carrière.

With Véronique Dumesnil‑Nora, Carrière's great‑granddaughter, the gallery follows in the steps of the Galerie Bernheim‑Jeune – his historical dealer who presented a first solo exhibition in February 1903 – to pay tribute and take part in the recognition of this major artist, whose work finds multiple echoes in our contemporary context.

A celebrated artist during his lifetime, equally at home among the Symbolists and the Naturalists, Carrière (1849‑1906) never ceased to elude the stylistic categories of his time, without claiming to belong to a specific movement.

Resisting all classification, this painter, engraver and draughtsman - who was the contemporary of Gustave Moreau, Odilon Redon and Paul Gauguin, among others - surrounded himself very early on with the most influential figures of the artistic and literary world of his time: Roger Marx, Jean Dolent, Alphonse Daudet, Edmond de Goncourt, Gabriel Séailles and Paul Verlaine. His friendship with Auguste Rodin marked his pictorial work which, like that of a sculptor, was inspired by tangible reality and the discovery of matter. “For him, as for his masters, painting, which is a work on the surface, gives the sensation of volume and weight. [...] In each portrait painted by Carrière lies the solid and mechanical beauty of a skeleton” wrote the journalist and art critic Gustave Geffroy in 1906.

A modernist before his time, Carrière founded the Carrière Academy in 1890 on the rue de Rennes in Paris. He taught, among others, those who were to become the Fauves: André Derain, Francis Jourdain, Henri Matisse, but also Pablo Picasso who arrived in the capital in 1901, and whose blue and pink periods are known to owe much to Carrière’s quasi‑monochrome painting.

Often compared to Vélasquez, Carrière demonstrated throughout his life a great mastery of chiaroscuro, allowing him to privilege light over colour, and to achieve a complex and mysterious play of transparency and depth. “To embellish life through art is to enrich it with our in‑depth knowledge of the relationship between man and nature”, he said. Like furtive or evanescent apparitions impossible to capture in an image, his figures seem to abstract themselves from a landscape, a background, another time‑space.

“I have only known my trade since the day I discovered that the curved line,
and not the straight line, was the contour of everything. [...]
You see, it must be drawn like the undulating lines of a plant...
And this is how a woman, a horizon, everything must be drawn.” - Carrière

Gagosian opens new shop in London’s historic Burlington Arcade

February 24, 2022

The ground-floor boutique will feature an array of offerings including prints and editions, Gagosian publications, rare books, exhibition posters, and artist-designed objects and apparel such as jewelry, sculpture, and decorative items. Upstairs, on the first floor, a rotation of small exhibitions, artist takeovers, and special collaborations will be presented. Situated just steps from the Royal Academy of Arts, and off of Old Bond Street, the celebrated destination for luxury retail and fine art since the eighteenth century, the space has been designed by Caruso St John Architects, the Stirling Prize–winning architecture firm that collaborated with Gagosian on the Grosvenor Hill and Britannia Street galleries in London, as well as gallery locations in Rome and Paris. The shop will officially launch on March 1 and will be open each week Tuesday through Saturday.

© Caruso St John Architects. Courtesy Gagosian

David Richard Gallery opens new second location in Chelsea

February 22, 2022

The inaugural exhibition presents a series of abstract color paintings by Brooklyn-based artist Carl E. Hazlewood (born 1951, Guyana, South America) that have never been presented as a group until now. The paintings began initially by staining, then built up with layers of color, medium, and additions of metallic, fluorescent and mirrored materials that brought complexity, depth and texture.

Since its inception in 2010, David Richard Gallery has produced museum quality exhibitions that feature Post War abstraction in the US. The presentations have addressed specific decades and geographies as well as certain movements and tendencies. While the gallery has long been recognized as an important proponent of post-1960s abstraction—including both the influential pioneers as well as a younger generation of practitioners in this field—in keeping with this spirit of nurture and development the gallery also presents established artists who embrace more gestural and representational approaches to the making of art as well as young emerging artists.

De Wain Valentine 1936 – 2022

De Wain Valentine was born in Colorado and arrived in L.A. in 1965 to teach a course in plastics technology at the University of California, Los Angeles (UCLA). He is regarded today among the earliest pioneers in the use of industrial plastics and resins to execute monumental sculptures that reflect the light and engage the surrounding space through its mesmerizingly translucent surfaces that arrest one's gaze.

This technical knowledge, combined with his subsequent experience working with fiberglass-reinforced plastic in boat building shops and painting automobiles, air planes - and even, according to some, UFOs - led to his fascination and artistic involvement with sculptures made out of colored plastic and polyester resin, all materials evoking a futurist era.

De Wain Valentine in his studio with Red Concave Circle, 1970, Valentine Studio, Venice Beach, CA - Photo: Harry Drinkwater

Dan Graham has died

February 20, 2022

Dan Graham died this weekend in New York. His influence over the past half century as a writer, photographer, architect, sculptor, filmmaker and performance artist is widely felt in the contemporary art world

Despite his recent disavowal of Conceptual Art as a term, he was one of its earliest pioneers through early text-based works, typographic wall pieces and schematic poems, not to mention the seminal illustrated magazine essay, Homes for America (1966). He exhibited the work of his peers Donald Judd, Sol LeWitt, and Robert Smithson at the John Daniels Gallery in New York, where he was briefly the curator and director, before showing alongside these and many other Minimalists and Conceptualists during the 1960s and 70s.

The main focus of Graham’s art since the late 1970s was an ongoing series of public architectural installations, which he called pavilions, derived from geometric forms and rendered in plate glass, two-way mirror, and steel armatures. Graham intended his pavilions to function as punctuation marks, pausing or altering the experience of physical space, providing momentary diversion for romance or play, or else as places to delve into other activities, like reading or viewing videos. These deceptively simple structures recall many of the artist’s earlier experiments with perception, reflection, and refraction, but depart from them in their non-gallery setting as long-term additions to the landscape.

Graham had an encyclopedic sphere of references and wrote about everything from Dean Martin and rock music to astrology and urban architecture. He is survived by his wife, the artist Mieko Meguro. His wit, generosity and irascibility will be sorely missed by all who knew him.

portrait: Patrick Fetherstonhaugh

Cuban-born, American artist Carmen Herrera dies at 106

February 14, 2022

A master of crisp lines and contrasting chromatic planes, Carmen Herrera (born in Havana, Cuba, on 31 May 1915) created symmetry, asymmetry and an infinite variety of movement, rhythm and spatial tension across the canvas with the most unobtrusive application of paint. As she moved towards pure, geometric abstraction in the post-war years in Paris, she exhibited alongside Theo van Doesburg, Max Bill and Piet Mondrian and a younger generation of Latin American artists, such as members of the Venezuelan Los Disidentes, Brazilian Concretists and the Argentinian Grupo Madi. Her work also chimes with her peers from the U.S. school such as Barnett Newman and Leon Polk Smith. Reflecting on this period, she said, “I began a lifelong process of purification, a process of taking away what isn’t essential” (2005). While allied with Latin American non-representational concrete painting, Herrera’s body of work established, quietly but steadily, a cross-cultural dialogue within the international history of modernist abstraction.

Although her first major accolades and museum exhibitions famously came later in life, during her eighth decade, she had been developing a path towards her unique painterly style for the preceding 50 years, beginning with expressionistic compositions developed in Paris and culminating with her unique hard-edge painting and sculpture that she would continue to make for the rest of her life in New York.

Jonathan Watkins steps down as Director of Ikon Gallery

February 11, 2022

After nearly 25 years, Jonathan Watkins, Ikon Director, has announced he is stepping down from the role in October 2022. As the flagship contemporary art institution of the UK's second city, Ikon’s worldwide reputation and international outlook was developed under Watkins’ directorship.

Since joining in 1999, he has continued Ikon’s commitment to making the very best in contemporary art available to all by maintaining its policy of free entry. The ethos of Ikon’s founding artists, namely striking a balance between excellence and accessibility, still endures; Ikon now welcomes over 200,000 visitors each year, with over 75% of its audience aged between 16 to 44.

Ikon is known for its strong exhibitions of UK and international artists, commissioning of major public artworks, and a public programme imbedded in the local community. Over the years Ikon has placed a curatorial emphasis on artists hailing from Birmingham, such as Hurvin Anderson, Vanley Burke, Ruth Claxton, John Walker, Gillian Wearing and Osman Yousefzada. At the same time, Watkins has showcased emerging international talent, including Marjolijn Dijkman and Nástio Mosquito, and more established figures such as Georges Adeagbo, Francis Alÿs, Carmen Herrera, Beatriz Milhazes, On Kawara and Giuseppe Penone.

Louisa Gagliardi now represented by Galerie Eva Presenhuber

“I have been observing Louisa Gagliardi’s work for some years and am thrilled to announce that she has joined the gallery. An exceptional artist, Louisa uses her distinct form of portraiture and surprising techniques to pull you into the glow of her paintings, only to subvert your expectations and confront you like a mirror. I look forward to seeing how Louisa’s practice evolves as she works on her first solo show with us next year and beyond.” - Eva Presenhuber

Gagliardi's paintings exist as reflections: internally, of artist and viewer, and of the rapid acceleration of technology in our visualized and socialized worlds. Their liminal status, as both digitally rendered images and physically confronting objects, speaks as much to contemporary concerns of self-mediated personas as they do to the compositions and narratives of the classics of art history.

At its heart, Gagliardi’s oeuvre plays with expectations, fulfilling and subverting them simultaneously. When one views the work, ideas of authenticity and authorship are begged for and rebuffed; the smooth digital surfaces of the paintings blossom into echoes and refractions of their handworked surfaces as they are approached and circled. Brushstrokes exist physically and printed, as clear gel medium creates texture and melodrama, forcing the signature marks of the artist executed with mouse on screen to confront total issues of reality within painting.

Louisa Gagliardi, Photo; Adam Cruces

Pace Gallery announces representation of Hermann Nitsch

February 10, 2022

Pace Gallery announces its global representation of Hermann Nitsch in collaboration with the Nitsch Foundation and Galerie Kandlhofer. The gallery will present its first solo exhibition of Nitsch’s work in New York in 2023.

Over the course of more than 60 years, Nitsch has cultivated an intensive practice that spans performance, painting, drawing, printmaking, film, photography, and music. A leading figure of the Austrian avant-garde, Nitsch was a co-founder of the Viennese Actionism movement of the 1960s and 1970s. The disruptive ethos of this movement brought irreverent performance work to the forefront of Vienna’s art scene in the latter half of the 20th century.

Nitsch’s extensive performance work often features nudity, multifarious noises, and enactments of tragedy as part of explorations of spiritual rituals and primordial urges. The artist’s seminal work is the large-scale, six-day Orgies Mysteries Theatre, which he began developing in the mid-1950s. For this work, the artist drew inspiration from literature, art, music, and philosophy to produce “a total work of art” that engages all five senses. In the Orgies Mysteries Theatre, Nitsch incorporates substances like blood and meat to elicit intense and varied reactions from viewers. The work, which was first performed in full as the 6-Day-Play in Prinzendorf, Austria in 1998, centers the celebration of being. With the performance, life itself becomes an aesthetically heightened artwork.

Portrait of Hermann Nitsch © Roland Rudolph

GRIMM announces representation of Angela Heisch

The gallery’s representation and work on behalf of the Brooklyn-based painter Angela Heisch will be focused in New York and Amsterdam, and will be shaped in close collaboration with Pippy Houldsworth Gallery, London. GRIMM will first present an exhibition of new paintings by Heisch in Amsterdam in September 2022, followed by a solo exhibition in New York in 2023.

Known for her luminous application of color, Heisch (b. 1989, Auckland, New Zealand) composes paintings of repeated motifs, curving forms, and delicate, gestural lines. Drawing inspiration from organic bodies, patterns in nature, and the cosmos, Heisch’s paintings are infused with waves of energy and tension, capturing triumphant yet fleeting moments of balance and stillness.

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