Tag Archives: Massimiliano Gioni

LYNETTE YIADOM–BOAKYE IN CONVERSATION

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Lynette Yiadom-Boakye paints “wet-on-wet,” completing by day’s end the figurative painting she started that morning. Her subjects are solitary black women and men—imagined, constructed portraits—rendered in oil on linen.

Join Yiadom-Boakye and New Museum artistic director Massimiliano Gioni for a public conversation on the occasion of the stunning exhibition LYNETTE YIADOM-BOAKYE: UNDER-SONG FOR A CIPHER, which is curated by Gioni and assistant curator Natalie Bell.

 

LYNETTE YIADOM-BOAKYE

IN CONVERSATION WITH MASSIMILIANO GIONI

Thursday, July 13, at 7 pm.

LYNETTE YIADOM–BOAKYE

UNDER–SONG FOR A CIPHER

Through September 3.

New Museum

235 Bowery, New York City.

Above: Lynette Yiadom-Boakye, In Lieu of Keen Virtue, 2017;

Below: Lynette Yiadom-Boakye, The Much-Vaunted Air, 2017.

Images courtesy the artist and Corvi-Mora, London, and Jack Shainman Gallery, New York.

VOGLIAMO TUTTO AT THE HAMMER

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In conjunction with MARISA MERZ: THE SKY IS A GREAT SPACE, the Hammer Museum presents the panel discussion “VOGLIAMO TUTTO”: POSTWAR ITALIAN ART on Tuesday evening, July 11, at 7:30 pm.

The words in quotes mean “we want it all,” and curator Marianna Vecellio, New Museum artistic director Massimiliano Gioni, UCLA Professor of Italian and gender studies Lucia Re, art historian Jaleh Mansoor, and moderator and Hammer chief curator Connie Butler will discuss the explosion of experimentation in art and design after the Second World War, and “the dynamic contexts that surround Marisa Merz’s work.”*

HAMMER MUSEUM, 10899 Wilshire Boulevard, Westwood, Los Angeles.

*hammer.ucla.edu/programs-events/2017/07/vogliamo-tutto-postwar-italian-art/

Image credit: A Proposito di Marisa Merz, edited by Carolina Italiano, and published by Mousse and MAXXI.

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CAROL RAMA AT THE NEW MUSEUM

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“The reality I use—such as the tires in my work of the ’70s, which represent my father’s factory, which later  had to close, we became poor, and he committed suicide—is always an ordinary material, like the knee, or the Eros, of my drawings.” — Carol Rama

CAROL RAMA—ANTIBODIES is the first New York museum retrospective of the work of the Italian artist. “The exhibition at the New Museum brings together over one hundred of Rama’s paintings, objects, and works on paper, highlighting her consistent fascination with the representation of the body.”* Known for the free eroticism of her small, representational drawings and paintings, the impact of Rama’s large rubber-on-canvas abstract collages from 1970 and 1971 is just as great.

The New Museum exhibition is curated by Helga Christoffersen and Massimiliano Gioni, assistant curator and artistic director, respectively, and is accompanied by a fully illustrated publication.

CAROL RAMA—ANTIBODIES, through September 10.

NEW MUSEUM, 235 Bowery, New York City.

*newmuseum.org/exhibitions/view/carol-rama-antibodies

Carol Rama, Spazio anche più che tempo, 1970 , Rubber tire collage on canvas, 120 x 150 cm, © Archivio Carol Rama-Turin, Photo: Pino dell’Aquila, New Museum Archive
Carol Rama, Spazio anche più che tempo, 1970. Rubber tire collage on canvas, 120 x 150 cm © Archivio Carol Rama–Turin, Photograph by Pino dell’Aquila. Image credit: New Museum Archive.
Carol Rama, Spazio anche più che tempo, 1970, Rubber tire collage on canvas, 110 x 120 cm, © Archivio Carol Rama-Turin, Courtesy Isabella Bortolozzi Galerie-Berlin, Photo: Nick Ash, New Museum Archive
Carol Rama, Spazio anche più che tempo, 1970. Rubber tire collage on canvas, 110 x 120 cm. © Archivio Carol Rama–Turin, courtesy Isabella Bortolozzi Galerie–Berlin. Photograph by Nick Ash. Image credit: New Museum Archive