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"Gagosian Gallery"
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Avedon : murals & portraits
No photographer had a more serious and deeply felt response to the political and cultural impact of the 1960s and early 1970s than Richard Avedon. In four monumental photographic murals (reproduced in large gatefolds) and many related portraits, he portrays Andy Warhol's gender-bending Factory, with Viva and Candy Darling; Abbie Hoffman and the radical agitators of the Chicago Seven; Allen Ginsberg's family, friends and fellow artists; and the US Mission Council in Saigon alongside searing portraits of victims of the Vietnam War.
Restricted Access
Selections from the private collection of Robert Rauschenberg
\"In addition to his philanthropic spirit and his championing of positive change, Rauschenberg was also acknowledged to be one of the most generous and inquisitive artists of his time, passionately engaged in, and supportive of, the art of others. Over a lifetime, he acquired through exchanges, gifts, and purchases, an astonishingly rich collection of artworks by seminal forbears (Joseph Beuys, Marcel Duchamp, Rene Magritte, Edweard Muybridge); a wide circle of friends, including choreographers and composers (Trisha Brown, John Cage, John Chamberlain, Merce Cunningham, Oyvind Fahlstrom, Willem de Kooning, Jasper Johns, Roy Lichtenstein, Claes Oldenburg, James Rosenquist, Karl Heinz Stockhausen, Jean Tinguely, Cy Twombly, Andy Warhol, Susan Weil); and younger colleagues (David Byrne, Robert Mapplethorpe, Brice Marden, Bruce Nauman, Ed Ruscha). Some of these artworks: such as Duchamp's Bottlerack (1960), Cage's original scores, Marden's Choice (1967), and Ruscha's Romeo, With Contraceptive Ghost (1980), represent milestones in recent contemporary art history; others, such as Warhol's Portrait of Robert Rauschenberg (1967), John Chamberlain's jewel-like sculpture Homer (1960) and Trisha Brown's vigorous notations are of a different order, intimate and highly personal, though no less potent.\"--Publisher description.
Book
Out of the blue: Hodgkin gouaches found after 23 years
Thirty kaleidoscopically coloured works by the artist Howard Hodgkin have been rediscovered after more than 20 years and are to be shown in public for the first time. Hodgkin, 82, said he had forgotten all about his series of handpainted gouaches called Indian Waves until they were sent to him in brown paper wrapping earlier this year. \"When I did see them properly, I felt very happy. I'm very pleased.\"
Newspaper Article
Edward Ruscha : catalogue raisonnâe of the works on paper
Volume 1: This highly anticipated book - the first in a series of three - comprehensively chronicles the first two decades of Ed Ruscha's (b. 1937) work on paper, which comprises the largest component of his production of original works. Over 1,000 works on paper are documented, all created between 1956 and 1976, and they encompass a wide range of formats, materials, themes, and styles. Included are collages, ephemeral sketches, preparatory studies for paintings, oil on paper works, and drawings executed in a variety of inventive materials, including gunpowder and organic substances. Ruscha came to prominence in the early 1960s as part of the Pop art movement, although his work equally engages the legacies of Dada, Surrealism, and Abstract Expressionism as well as the Conceptual art that emerged later in the decade. He has long enjoyed international standing and admiration, and his work is widely known. Despite this recognition, this volume contains hundreds of works that have infrequently, or never, been exhibited or published. Each work is catalogued with a color reproduction, collection details, full chronological provenance, exhibition history, and bibliographic references. Essays by Lisa Turvey and Harry Cooper complete this extraordinary survey, which expands and enriches our understanding of Ruscha's pioneering exploration of the written word as a subject for visual art and his witty assessment of the iconography of Los Angeles, both real and imagined. -- Publisher.
Book
AROUND THE TOWN, UPSIDE DOWN
Taken With Time: A Camera Obscura Project, running at The Atrium Gallery at the Marion Center for Photographic Arts through June 1, proves that the age of using a camera obscura as a tool for serious art making has not passed. Taken With Time was curated by Jacqueline van Rhyn, curator of prints and photographs at the Print Center of Philadelphia, which commissioned the art in the show. Ann Hamilton, Vera Lutter, and Abelardo Morell used camera obscuras to create art about Philadelphia, the aging postindustrial city that was the first capital of the United States. Lutter has been working with the camera obscura since 1994, when she turned her New York City loft, situated on the 27th floor, into a darkroom with one tiny opening through which she photographed the city below. She has since turned other rooms into pinhole cameras to photograph Berlin and Chicago. She has transformed a shipping container into a mobile camera obscura, and in Philadelphia she built a 7-by-8-by-20-foot camera on a parking garage facing the Amtrak rail yards at Philadelphia's 30th Street Station. This wooden camera could hold a 4-by-12-foot sheet of photographic paper, which, like all of Lutter's camera obscuras, would produce a negative print. 1. Vera Lutter: 30th Street Station, Philadelphia, IV: April 20, 2006, gelatin silver print, 51 x 146.75 inches 2. Abelardo Morell: Philadelphia Museum of Art Camera Obscura Diagram, digital archival print; courtesy the artist and Bonni Benrubi Gallery This diagram shows how light shining through a hole in material covering a gallery window creates an upside-down and backward image of the world outside. 3. Ann Hamilton: Free Library of Philidelphia, reading 5, June 2006, digital pigment print, 21.5 x 19 inches
Newspaper Article
