Tag Archives: Gagosian Gallery

FRANKENTHALER IN VENICE

PITTURA/PANORAMA—PAINTINGS BY HELEN FRANKENTHALER, 1952–1992—an exhibition at Palazzo Grimani—is the first presentation of her work in Venice since the 33rd Biennale in 1966.

Curated by John Elderfield, the show features fourteen works and “focuses on the artist’s development of the pittura (painting) and the panorama: the interplay between works like easel paintings, although made on the floor, and large, horizontal paintings that open onto shallow but expansive spaces, in the way that panoramas do.”*

“There are no rules. I’d rather risk an ugly surprise than rely on things I know I can do. Art has a will of its own. You have to know how to use the accident, how to recognize it, how to control it, and ways to eliminate it so that the whole surface looks felt and born all at once.” — Helen Frankenthaler

PITTURA/PANORAMA—PAINTINGS BY HELEN FRANKENTHALER, 1952–1992*

Through November 17.

Palazzo Grimani

Ramo Grimani 4858, Venice.

From top: Helen FrankenthalerRiverhead, 1963, acrylic on canvas; Frankenthaler (center) in Venice in 1966 for the 33rd Biennale; Helen FrankenthalerMaelstrom, 1992, acrylic on canvas; Helen FrankenthalerFor E.M., 1981, acrylic on canvas (“E.M.” is Édouard Manet); Frankenthaler pouring paint—her “soak-stain” technique—onto a large unprimed canvas, photographs by Ernest Haas (2): images from the exhibition catalog Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992, published by Gagosian, 2019 (3); Helen FrankenthalerOpen Wall, 1953, oil on unsized, unprimed canvas; Frankenthaler in her studio at Third Avenue and East 94th Street, New York City, with  Mediterranean Thoughts (1960, in progress, left) and Figure with Thoughts (1960, in progress, center), March 1960, photograph by Tony Vaccaro. Images of Frankenthaler works were photographed by Rob McKeever and are courtesy and © the Helen Frankenthaler Foundation, Inc., Artists Rights Society (ARS), New York, and Gagosian, 2019.

SETSUKO KLOSSOWSKA DE ROLA

“The [ceramics] collaboration with Astier de Villatte began five years ago, but my friendship with the owners, especially Benoit, goes back a long time… I work with their Tibetan artisans. I make samples first and then we work together to add the volume, especially on the large trees, which are about a metre tall. The artisans are always singing or chanting; I feel very serene when I’m with them.” — Setsuko Klossowska de Rola

INTO THE TREES—an exhibition of sculptures and paintings by Setsuko at Gagosian Paris—showcases the artist’s recent ceramics and bronzes.

SETSUKO—INTO THE TREES

Through June 1.

Gagosian Paris

4 rue de Ponthieu, 8th, Paris.

See Dorothée Perret, “Setsuko and the Magic Kimono,” portraits by Katerina Jebb, PARIS LA 16 (2018): 77–83.

From top: Setsuko, Retour, 2015–2016, terra cotta; Into the Trees installation view, Gagosian Paris, 2019; Setsuko, Chemin de vigne, 2016–2017, enameled terra cotta; Katerina Jebb, Setsuko Klossowska de Rola, 2018, image from PARIS LA 16; Setsuko, Souvenir d’une vie 2, 2015–2016. Artwork images © Setsuko Klossowska de Rola, artwork photographs by Zarko Vijatovic, courtesy of the artist and Gagosian.

JOHN RICHARDSON

“On February 6, 1954—not quite halfway through my twelve years with Douglas [Cooper]—I turned thirty. Douglas planned a birthday celebration that would also serve as a belated housewarming. But on February 5, the arctic chill that had paralysed much of Europe turned even fiercer, and for the first time in decades Castille was beautifully blanketed with a heavy fall of snow… We put the party off until Easter.

“On Easter Sunday… some of us went to the bullfight… In the course of the corrida, Picasso and Jacqueline [Roque] announced that they and the rest of their group—sixteen in all, including Picasso’s son, Paulo… and Jean Cocteau, plus entourage—would like to dine at Castille; he also announced that he had a present for us… an Ingresque drawing that had obsessed me ever since I first saw it pinned on a wall at Le Fournas: an uncompromisingly frontal image of a naked girl, legs wide apart, seated like an odalisque on a pile of cushions. It had been heavily worked. To create highlights and smudge shadows, Picasso used an eraser—a device he admitted borrowing from Matisse… I was surprised at his giving us something so personal until I realized that the gift must have been made at Jacqueline’s behest. She would have had every reason to want this erotic image removed from the studio wall: it represented one of her rivals, Geneviève Laporte. Characteristically, Picasso brought the drawing in the box that had contained the Dior wrap we had given Jacqueline for Christmas. No less characteristically, he kept the box; he liked to incorporate emballage in his work. As Picasso handed over the drawing, he said, presciently, ‘When you two split up, you’re going to have to cut it in half.’ After we broke up, Douglas simply kept it. Sadly, the drawing disappeared when Castille was burgled some years later. So far as I know, it’s still in the hands of the Mafia.” — John Richardson*

The writer, curator, collector, raconteur, art world insider, and great Picasso biographer John Richardson died in Manhattan this week. Volume IV of A Life of Picasso was nearly complete at the time of its author’s death, and should be published later this year.

*John Richardson, The Sorcerer’s Apprentice: Picasso, Provence, and Douglas Cooper (New York: Alfred A. Knopf, 1999), 203–204.

Also see John Richardson, “Picasso: The Mediterranean Years,” in Picasso: The Mediterranean Years, 1945–1962 , exh. cat. (London: Gagosian Gallery/New York: Rizzoli, 2010), 11–45.

From top: John Richardson (left) and Pablo Picasso, photograph by André Villers (detail), courtesy Artists Rights Society (ARS), New York and ADAGP, Paris; Andy Warhol, John Richardson, courtesy Andy Warhol Foundation for the Visual Arts; Richardson with Nan Kempner at the Met Gala, circa 1980, photograph by Patrick McMullan; Richardson (right) with Boaz Mazor, circa 1975, photograph by Bob Colacello.

WEEKLY WRAP UP | SEPT. 29 – OCT.3, 2014

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Dries Van Noten final show, 2014

This week on the blog we visited Bex & Arts, a Contemporary Sculpture Triennal in Switzerland; saw Bertrand Bonello at Centre Pompidou; passed by Peter Lindbergh at Gagosian Paris and Yoko Uhoda Gallery in Liège to see a show curated by Christophe Daviet-Thery; and finally ended with Neïl Beloufa at ICA in London.

PETER LINDBERGH AT GAGOSIAN PARIS

Over the course of his career, Lindbergh has taken inspiration for his photography from modern dance, early German and East European cinema and photography, as well as his own personal history, resulting in a bold, elemental photographic language. With a minimum of artifice, spare styling, and openness to improvisation, he allows the innate character and natural beauty of his female subjects to emerge.

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Until November 12.
4 rue de Ponthieu
Paris 75008