News

 

Lucinda Devlin solo exhibition at the Weatherspoon Art Museum

Lucinda Devlin: Sightlines

Jan 28 – Apr 23, 2017
The Bob & Lissa Shelley McDowell Gallery
The Weatherspoon Art Museum
Greensboro, NC

Lucinda Devlin's photographs serve as social commentaries on timely and socially relevant issues such as personal rights, the death penalty, and agribusiness. An internationally recognized American photographer who now lives in Greensboro, Devlin began her career in the 1970s during the genesis of color photography in America.

Organized by the Weatherspoon Art Museum, Lucinda Devlin: Sightlines is the artist's first museum retrospective. The exhibition features 83 photographs chosen from all eight of Devlin's series—many of which were printed for the first time for display in the Weatherspoon's main McDowell Gallery. 

The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Lisa Hostetler, Curator in Charge, Department of Photography, George Eastman Museum, which contextualizes Devlin's work within the history of photography. Following its presentation at the Weatherspoon, a smaller version of the exhibition will travel to the George Eastman Museum in Rochester, NY. 

More info at http://weatherspoon.uncg.edu/exhibitions/show/?title=lucinda-devlin-sightlines


Museum Acquisition (2016)

The Philadelphia Museum of Art

 

 

Joseph Marioni (b. 1943). Violet Painting, 2015, acrylic and linen on stretcher, 96 x144 inches. Collection Philadelphia Museum of Art, PA.


Artist Talk | Barbara Rose with painter Joseph Marinoi

As part of the In the Artist's Voice series of the Philadelphia Museum of Art

Contemplating Color
Joseph MARIONI

Painter
in conversation with

Barbara Rose
Author/Art Historian

 

April 13, 2016 at 6:30 PM

Alter Gallery 176, Main Building, Philadelphia Museum of Art


Joseph Marioni solo exhibition at the Philadelphia Museum of Art

Notations / Liquid Light
Joseph Marioni: Twelve Paintings 2000 - 2015

Philadelphia Museum of Art
On view Nov 14, 2015 - May 22, 2016

Experience and contemplate the interplay of light and color in Joseph Marioni’s paintings. 

For artist Joseph Marioni, the primary function of painting is to advance the experience of color through the interaction of light and paint pigments. Building on experiments in American abstraction since the 1950s—particularly those of Ad Reinhardt, Mark Rothko, and Robert Ryman—Marioni’s paintings inspire attentive, sustained looking.

More info at http://www.philamuseum.org/exhibitions/835.html


Museum Acquisition (2015.641) 

Art Institute of Chicago

 

http://www.artic.edu/aic/collections/artwork/229863?search_no=2&index=0

Joseph Marioni (b. 1943). Yellow Painting, 2007, acrylic and linen on stretcher, 109 x 120 inches.

Joseph Marioni (b. 1943). Yellow Painting, 2007, acrylic and linen on stretcher, 109 x 120 inches.


Simon Hantaï solo exhibition at the Ludwig Museum of Art, Budapest

HANTAI

Ludwig Múzeum
Museum of Contemporary Art, Budapest
On view May 8 - Aug 31, 2014

 

More info at http://www.ludwigmuseum.hu/site.php?inc=kiallitas&kiallitasId=897&menuId=44

Simon Hantaï (1922-2008). Blanc, 1973, acrylic on canvas, 120 x 180 inches


Simon Hantaï (1922-2008). Mariale, m. d. 4, 1960, oil on canvas, 89 x 81.5 inches.

Simon Hantaï solo exhibition at the Villa Medici

SIMON HANTAI

Villa Medici, Roma
On view Feb 12 - May 11, 2014

Villa Medici is presenting the first important Italian retrospective dedicated to Simon Hantaï, curated by Éric de Chassey.

This exhibition has been devised and realized six years after the artist’s death in cooperation with the Centre Pompidou, following the exhibition presented there from 22 May to 2 September 2013, which was curated by Dominique Fourcade, Isabelle Monod Fontaine and Alfred Pacquement, former Director of the Musée National d’Art Moderne – Centre de Création Industrielle.

More info at http://www.villamedici.it/en/cultural-events/events-program/2014/02/simon-hantaï/


Simon Hantaï in a group exhibition at the Clarke Institute

MAKE IT NEW
Abstract Painting from the National Gallery of Art, 1950-75

Clark Art Institute
On view Aug 2 - Oct 13, 2014

Organized by the National Gallery of Art, Washington, D.C., in collaboration with the Clark, Make It New: Abstract Painting from the National Gallery of Art, 1950–1975 examines the different paths taken by abstract painting in the first quarter-century of the postwar period, cutting across geographies and narrow timeframes as it evocatively engages Tadao Ando’s architecture. The exhibition presents Abstract Expressionist and color field masterpieces alongside other canonical works organized by the formal categories of pattern, texture, and shape.

Make It New is accompanied by a fully illustrated catalogue published by the Clark and distributed by Yale University Press. The publication includes a major scholarly essay by exhibition curator Harry Cooper and entries by David Breslin and Matt Jolly, Ph.D. candidate in the History of Art and Architecture, Harvard University.

More info at http://www.clarkart.edu/Exhibition/Make-It-New

Installation of Simon Hantaï (1922-2008), Etude, 1969, oil on canvas, 108.25 x 93.5 inches. Collection National Gallery of Art, Washington DC. 


Simon Hantaï in a group show at Gagosian Gallery, Paris

PLIAGE/FOLD

Gagosian Gallery, Paris
On view Feb 28 - Apr 19, 2014 

When I am folding, I am objective and that allows me to lose myself. -Simon Hantaï

“PLIAGE / FOLD” brings together artists from different generations who have explored the act of folding as both concept and formal process. Folding as action, illusion, and symbol has appeared throughout contemporary art and literature, from Simon Hantaï’s literal process of folding the canvas, dousing it in oil paint, then unfolding it to reveal inadvertent yet lyrical patterns; to Gilles Deleuze’s influential meditation The Fold: Leibniz and the Baroque (1988), in which the world is interpreted as an infinity of surfaces twisting through time and space; to Tatiana Trouvé’s recent Refoldingssculptures cast from discarded and refolded packing materials.

For Robert Rauschenberg the act of folding produced Freeway Glut (1986), a muscular assemblage of manipulated industrial parts; while John Chamberlain worked lightly and in miniature with resin-coated crumpled paper. Some works involve aleatory processes that transcend artistic control, such as Hantaï’s Blanc(1974), or Davide Balula’s canvases that he immersed in soil or in rivers, allowing incidental organic residue to take hold.

More info at http://www.gagosian.com/exhibitions/pliagefold--february-28-2014

Simon Hantaï(1922-2008). Blanc, 1974, acrylic on canvas, 99.5 x 94.5 inches


Simon Hantaï in a group exhibition at Mnuchin Gallery, New York

BLACK | WHITE

Mnuchin Gallery, New York
On view Feb 6 - Mar 22, 2014

Mnuchin Gallery is pleased to announce Black | White, an exhibition of paintings, drawings and sculptures united by their monochromatic palette and spanning six decades of postwar art. In the exhibition, Andy Warhol's Flowers are echoed in the graphic florals of a Christopher Wool painting; a monumental Concentric Square painting by Frank Stella faces off with a large Donald Judd stack; and the cracked-earth surface in Alberto Burri's Cretto finds its literal counterpoint in the crumbled asphalt bed of a David Hammons Basketball Drawing. Also featured in the exhibition are works by Alexander Calder, Philip Guston, Simon Hantaï, Conrad Marca-Relli, Robert Ryman, Cy Twombly, and Günther Uecker. 

More info at http://www.mnuchingallery.com/exhibitions/black-white

 

(Left to right) Simon Hantaï (1922-2008). Meun, 1968, oil on canvas, 86 x 71 inches ; Andy Warhol (1928-1987). Flowers, 1964, unique screenprint on Strathmore paper, 40 x 30 inches. Mnuchin Gallery, New York.


Featured | Simon Hantaï

Simon Hantaï’s Discontent

HYPERALLERGIC.COM

by Gwenaël Kerlidou 
on September 7, 2013

 

“I said to my students: First and foremost, if you want to be painters, you’ll have to cut your tongue off, because this decision will take away from you the right to express yourself in any other way than with your paint brushes.” —Henri Matisse, Écrits et propos sur l’art. Hermann, Paris.

In 1983, at the height of his career, Simon Hantaï (1922–2008), then sixty years old, decided to withdraw from the art scene and stop exhibiting his work, if not to stop painting altogether. He would not show again until 1998, a fifteen-year hiatus and self-imposed silence that echo with more force as time goes by. Why, we may wonder, would an artist at the top of his game, especially someone of Hantaï’s stature, do such a thing? The question has haunted me for years. With the current exhibition at the Musée national d’art moderne Centre Pompidou in Paris and two solo shows in Chelsea galleries this summer, the moment has come for a long overdue reexamination of his achievement and legacy, and of this hiatus in his career.

Read more at https://hyperallergic.com/82507/simon-hantais-discontent/

Simon Hantaï (1922-2008). Etude, 1969, oil on canvas, 114 x 175 inches


Whitney Museum's Acquisition of Joseph Marioni's Painting 23-74

This major early Painting#23-74 was featured in the painter's first New York exhibition at Artists Space in 1975.

Joseph Marioni (b. 1943). Painting #23-74, 1974. Acrylic and linen on stretcher, 85 × 92 5/8 in. (215.9 × 235.3 cm). Whitney Museum of American Art, New York. Purchase, 2014, through the generosity of Michael and Dalia Engler. Installation view at Paul Rodgers / 9W, New York, 2013. Photograph by François Bisi


Featured | Simon Hantaï

Hantaï in America

ARTPRESS
By Carter Ratcliff
June 1, 2013

This text explores the origins of Hantaï's work in Abstract Expressionism, specifically Jackson Pollock, and further situates it in the context of developments in American 1960's and 70's art, with particular reference to Andy Warhol, Donald Judd, Bruce Nauman and Robert Smithson.

 This text, with its French translation, is published in the supplement for the June 2013 issue of Artpress. 


Featured | Simon Hantaï

Simon Hantaï Crisis in Art & Commerce
Interview with Paul Rodgers

By Gwenaël Kerlidou
June 2013

 

At the time, an exhibition of Simon Hantaï's paintings, entitled Go Figure / Ground, was installed at the Paul Rodgers 9W Gallery. This exhibition was intended to bring American attention to the artist's retrospective which would shortly open on May 22nd, 2013 at the Musée d'Art Moderne, Georges Pompidou Center, in Paris.


Simon Hantaï's Retrospective at the Museum of Modern Art, Paris, Centre Georges Pompidou

SIMON HANTAÏ

Centre Georges Pompidou, Paris
On view May 22 - Sep 2, 2013
Galerie 1, Level 6

The Centre Pompidou brings together for the first time the work of one of the greatest painters of the second half of the 20th century, a master figure of abstraction: Simon Hantaï. Five years after the death of the artist, the Centre Pompidou dedicates an original exhibition to Hantaï’s work - the first in over thirty-five years. Through more than 130 paintings created from 1949 to the 1990s, this exhibition, unprecedented in its scale and retrospective character, bears witness to the importance and abundant richness of a body of work that has today gained international recognition.

More info at https://www.centrepompidou.fr/cpv/resource/c7ppynM/rn59oR

Simon Hantaï (1922-2008). Tabula, 1974, acrylic on canvas, 118.13 x 226 inches. Collection Musée national d'art moderne, Centre Georges Pompidou, Paris.


Featured | Judit Reigl

A Giant Among Art Fairs Spreads Its Reach

THE NEW YORK TIMES
By Souren Melikian
March 15, 2013

"At the Galerie Berès, some will discover an unexpected connection between two great contemporary artists. In a monumental panel signed by Judit Reigl around 1982-1984, the proportions and rhythm of vertical bands of trailed paint call to mind some “Abstract Pictures” done by Gerhard Richter between the mid-1980s and the late 1990s. Ms. Reigl’s gray and white tonalities and the texture of her composition are different, but it is hard to escape the feeling that the 80-year old Mr. Richter and the 90-year-old Ms. Reigl are kindred spirits."

A version of this article appeared in print on March 16, 2013, in The International Herald Tribune.

 

Reviews | Peter Sacks New Paintings

Peter Sacks

ART IN AMERICA
By Ben Lerner

January 11, 2013

 

http://www.artinamericamagazine.com/reviews/peter-sacks/


Reviews | Peter Sacks New Paintings

Where a Thousand Words Paint a Picture

THE NEW YORK TIMES
By Daphne Merkin
December 19, 2012

 

http://www.nytimes.com/2012/12/23/arts/design/peter-sackss-new-paintings-at-paul-rodgers-9w.html

 


Reviews | Peter Sacks New Paintings

Peter Sacks New Paintings

THE BROOKLYN RAIL
By Talia Bloch
November 6, 2012

 

http://www.brooklynrail.org/2012/11/artseen/peter-sacksnew-paintings


Reviews | Peter Sacks New Paintings

Peter Sacks: New Paintings

By Robert Shuster

THE VILLAGE VOICE
October 24, 2012

http://www.villagevoice.com/arts/peter-sacks-new-paintings

 


Extract from A New Traveling Show of Lichtenstein Works by Carol Vogel, The New York Times, April 5, 2012 (A version of this article appears in print on April 6, 2012, on Page C27)

National Gallery Addition

Every year at the National Gallery of Art in Washington the trustees and patrons who make up its Collectors Committee provide money for acquisitions of contemporary art. What the curators buy is generally well out of the mainstream. “We don’t want to follow the market or fashions,” said Harry Cooper, the National Gallery’s curator of modern and contemporary art.

This year’s big acquisition is a painting by Simon Hantaï, an artist little known in this country but a major figure in France, where he lived as a recluse until his death in 2008.

He was known for creating “visual silence,” manipulating and creasing his canvases as though they were a textile that could be folded or tied and then painting them. The patterns that emerged once the canvases were unfurled became the art.

Like Pollock, an artist Hantaï admired, Mr. Cooper explained, the works were about the contradictions of order versus randomness; chance versus control.

The National Gallery bought “Étude,” a red and white abstract canvas from the height of Hantaï’s career in 1969.

This is the first of his paintings to enter the gallery’s collection. Mr. Cooper said a retrospective at the Pompidou Center in Paris next year is sure to raise Hantaï’s profile.

 

http://www.nga.gov/content/ngaweb/Collection/art-object-page.158138.html

Hantai Etude 1969 NGA National Gallery.jpg

Joseph Marioni at The Phillips Collection

90 Years of New: Joseph Marioni

National Gallery of Art, Washington D. C.
On view Oct 20, 2011 - Jan 29, 2012


Joe Diebes in WhiteHot Magazine

Joe Diebes' "Chronology" Exhibition featured in WhiteHot Magazine

"Joe Diebes' show, CHRONOLOGY show at Paul Rodgers / 9W fuses his background as a composer with a unique conceptual approach to video and works on paper. In the video installation, Scherzo, short film clips of a virtuoso cellist are edited by a computer in real time to produce a frenetic and infinitely suspended musical climax. Also in the exhibition are several works that use music notation as a metaphor for living in a perpetual present. Curator and producer, Michele Thursz talks with Diebes about this body of work."

To read the complete article, click here.


Modern vs. Modernist - Art in America


Art in America - December 2010

Letter to the Editor - Modern vs. Modernist

An exchange between Paul Rodgers and Saul Ostrow

To read the letter, click here.