In conjunction with Hauser & Wirth’s presentation of the work of Avery Singer at Frieze LosAngeles, the artist will join Hammer Museum curator Aram Moshayedi for a conversation “[exploring] Singer’s distinctive use of digital tools, including 3D modeling software, her deft engagement with established traditions of archival documentation, and her groundbreaking techniques that she uses to question the ways in which images and their distribution are increasingly informed by new media and technologies.”*
RESILIENCE—PHILIP GUSTONIN 1971 is the first local solo exhibition of the artist’s paintings and drawings in over half a century. The show—at Hauser & Wirth Los Angeles, and curated by his daughter Musa Mayer—is on view for one more week.
The paintings in the exhibition were made in Rome during an extended Italian trip in 1971. Guston had recently weathered a storm of negative reaction to his 1970 show of work at the Marlborough Gallery in New York City.
I’ve found no better word than “resilience” to describe that particular year in my father’s work and life, and indeed to characterize his entire life, especially his early life, when he discovered the great art and artists of the past and quite literally drew and painted a new identity for himself. — Musa Mayer
My work has its roots in sculpture. For years I threw myself into studying problems of balance, volume, space, shadow, and light…
I took stock of the awareness of our time. I used my knowledge of the craft, my intuition, and my intelligence to note with increased clarity the poverty of my methods in comparison to modern techniques. I have been conquered by the hero-miracle of our age, the machine. To it belong beauty, revelations, testimonies, the recording of history. To it belong, in the end, truthful dreams and public demand…
Despite everything, I persist in trying to fix in resin the traces of our body: I am convinced that of all the manifestations of the ephemeral, the human body is the most vulnerable, the only source of all joy, all suffering, and all truth, because of its essential nudity, is as inevitable as it is inadmissible on any conscious level. — Alina Szapocznikow, March 1972, Malakoff*
TO EXALT THE EPHEMERAL—ALINA SZAPOCZNIKOW, 1962–1972, a comprehensive exhibition of work by this essential artist, is on view in Manhattan for one more week.
*Alina Szapocznikow, “Mon œuvre puise ses racines…,” March 1972, (courtesy Alina SzapocznikowArchive, Piotr Stanisławski, National Museum in Kraków), in To Exaltthe Ephemeral: Alina Szapocznikow, 1962–1972, exhibition catalog (Zürich: Hauser & Wirth, 2019).
See Griselda Pollock, “Traumatic Encryption: The Sculptural Dissolutions of Alina Szapocznikow,” in After-affects / After-Images: Trauma and Aesthetic Transformation in the Virtual Feminist Museum (Manchester: Manchester University Press, 2013).