tag archives: art

going to a department store isn’t usually our highest priority when we visit paris.  but this time, our visit coincided with an art exhibition by chinese contemporary artist, ai weiwei, at le bon marché.  so, my husband, bob, and i made an exception.

ai weiwei: er xi, air de jeux (child’s play or playground)

le bon marché rive gauche | 24, rue de sèvres | paris, france

16 january-20 february 2016

photo credit lisa walsh | innerspace

le bon marché commissioned the art exhibition as a promotion for their annual winter white sale.

does that seem surprising to you?

did you know that le bon marché is owned by luxury business group moët hennessy louis vuitton (LVMH)?  LVMH, who is a corporate patron of the arts, culture, and heritage, recently opened the the fondation louis vuitton, a private contemporary art museum in paris.  so, it doesn’t seem unusual for them to sponsor an art exhibition.  their only requirement of ai weiwei was the white color scheme.

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exhibition program | ai weiwei: er xi, air de jeux | le bon marché rive gauche | paris, france | 16 january-20 february 2016

the exhibition, which was his first exhibition in a retail environment, included five installations:  windows 1 to 10, ten narratives installed in the ten windows along rue de sèvres; dragon in four pieces, a silk and bamboo sculpture installed in the gallery on the ground floor; selfie wall, a video installation on the first floor; and escalating dragon, drawings in the style of chinese ink paintings applied to the railings of the central escalator.

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ai weiwei | escalating dragon

ai weiwei: er xi, air de jeux | le bon marché rive gauche | paris, france | 16 january-20 february 2016

photo credits lisa walsh | innerspace

the song of white, the atrium installation, was the most fantastic with 22 kites of mythological characters from the ancient chinese text, classic of mountains and seas (shan hai jing), suspended like mobiles over the cosmetics department.

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ai weiwei | the song of white

ai weiwei: er xi, air de jeux | le bon marché rive gauche | paris, france | 16 january-20 february 2016

photo credit lisa walsh | innerspace

for the entire exhibition, ai, along with a master kitemaker and his team of artisans from shandong province, china, hand crafted about 100 kites.  they left the bamboo frames of some kites uncovered.  and, covered the bamboo frames of other kites with white silk, which is less fragile than rice paper, the traditional material.  they illuminated some of the silk covered kites from the interior, so that they glowed like lanterns.

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ai weiwei | the song of white | heluo

heluo | a fish with one head and ten tails | barks like a dog

ai weiwei: er xi, air de jeux | le bon marché rive gauche | paris, france | 16 january-20 february 2016

photo credits lisa walsh | innerspace

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ai weiwei | the song of white | shuyu

shuyu | a fish with four heads, three tails, six chicken feet, and red feathers | chirps like a magpie

ai weiwei: er xi, air de jeux | le bon marché rive gauche | paris, france | 16 january-20 february 2016

photo credits lisa walsh | innerspace

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ai weiwei | the song of white | chunaio

chunaio | the ‘sixheadrook bird’ | a green bird with a yellow body, red feet, and six heads

ai weiwei: er xi, air de jeux | le bon marché rive gauche | paris, france | 16 january-20 february 2016

photo credits lisa walsh | innerspace

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ai weiwei | the song of white | tianwu

tianwu | ‘sky cry’, the lord of the waters | a diety with eight human heads, eight feet, and eight tails

ai weiwei: er xi, air de jeux | le bon marché rive gauche | paris, france | 16 january-20 february 2016

photo credits lisa walsh | innerspace

according to women’s wear daily (wwd), one of the kites may be acquired by the fondation louis vuitton (FLV).  if you were the curator, which one would you choose?

click here to read my post about the fondation louis vuitton.

have you ever noticed that people are mesmerized by movement?

alexander calder: performing sculpture, an exhibition at the tate modern museum in london from 11 november 2015 – 3 april 2016, could be described as mesmerizing.  it’s the largest calder exhibition ever shown in great britain, with eleven galleries displaying approximately 100 works.

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alexander calder: performing sculpture | tate modern museum | london, united kingdom | 11 november 2015 – 3 april 2016

saint paul’s cathedral and the millenium bridge in the background

photo credit lisa walsh | innerspace

american sculptor, alexander calder (1898-1976), may be best known for transforming sculpture into a kinetic art form.

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alexander calder (1898-1976) | antennae with red and blue dots | hanging mobile | aluminum and steel wire | circa 1953

collection of the tate modern museum | london, united kingdom

photo credit (c) 2015 calder foundation, new york / DACS, london via BBC

his kinetic sculptures could also be described as performance art.

at the beginning of his career, calder gained fame, received introductions, and made friends through cirque calder, the miniature mechanical circus that he created and performed in paris and new york from 1926-1931.

calder’s friends included artists joan miró (1893-1983) and fernand léger (1881-1955), as well as composer edgard varèse (1883-1965).  my husband, bob, and i were captivated by calder’s three dimensional wire caricatures of them.

‘i think best in wire.’  -alexander calder

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alexander calder (1898-1976) | joan miró | wire | circa 1930

on loan from a private collection

photo credit courtesy of the calder foundation via the new centrist

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alexander calder (1898-1976) | varése | wire | 1930

on loan from the whitney museum of american art | new york, NY

photo credit (c) calder foundation via the whitney

Fernand Legersmall

alexander calder (1898-1976) | fernand léger | wire | 1930

on loan from a private collection

photo credit (c) calder foundation, new york / DACS, london via the arts desk

at the tate modern, the installation and the illumination capture the shadows cast by the suspended sculptures.

portraitsjoe humphrys tate photography

room 3 | alexander calder: performing sculpture | tate modern museum | london, united kingdom | 11 november 2015 – 3 april 2016

photo credit joe humphrys, tate photography / courtesy: calder foundation, new york / DACS, london via wallpaper

calder began creating abstract sculptures, most commonly made from wire and sheet metal, following a visit to the paris studio of dutch painter piet mondrian (1872-1944) in 1930.  he began suspending his abstract sculptures, and using airflow or touch, instead of mechanics or motorization, to generate movement.  another one of his friends, artist marcel duchamp (1887-1968), called calder’s suspensions mobiles, a pun on the french words for movement and motive.

like other viewers, bob and i were magnetized by the movement of the mobiles.

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room 9 | alexander calder: performing sculpture | tate modern museum | london, united kingdom | 11 november 2015 – 3 april 2016

photo credit joe humphrys, tate photography / courtesy: calder foundation, new york / DACS, london via wallpaper

some mobiles move silently.

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alexander calder (1898-1976) | snow flurry I | hanging mobile | painted steel sheet and steel wire | 1948

on loan from the collection of the museum of modern art | new york, NY

photo credit (c) 2016 calder foundation, new york / artists rights society (ARS), new york via MOMA

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alexander calder (1898-1976) | gamma | hanging mobile | painted sheet metal and steel wire | 1947

on loan from the collection of jon a. shirley | seattle, WA

photo credit calder foundation, new york / DACS, london via wsj

while, the movement of other mobiles creates sound.

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alexander calder (1898-1976) | triple gong | hanging mobile | brass, sheet metal, wire and paint | circa 1948

on loan from the collection of the calder foundation | new york, NY

photo credit calder foundation, new york / art resource, new york / ARS, new york / DACS, london via wsj

does silence somehow seem more eloquent?

calder|black widow|1948|joe humphrys

alexander calder (1898-1976) | black widow | hanging mobile | wire and painted metal | circa 1948

on loan from the institute of architects of brazil | säo paulo, brazil

photo credit joe humphrys, tate photography / courtesy: calder foundation, new york / DACS, london via wallpaper

our visit to london conveniently coincided with the post war and contemporary art auctions, which prominently featured works by alexander calder.

the auction previews provided an opportunity to view calder’s hanging and standing mobiles more closely.

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alexander calder (1898-1976) | untitled | hanging mobile | painted sheet metal and wire | 1967

sold for £962,500 (US$ $1,396,588) | lot 2 | sale 11795 | post war and contemporary art evening auction | 11 february 2016 | christie’s king street | london, united kingdom

photo credit lisa walsh | innerspace

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alexander calder (1898-1976) | crag with yellow boomerang and red eggplant | standing mobile | painted sheet metal and wire | 1974

sold for £1,874,500 (US$ 2719,900) | lot 3 | sale 11795 | post war and contemporary art evening auction | 11 february 2016 | christie’s king street | london, united kingdom

photo credit lisa walsh | innerspace

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alexander calder (1898-1976) | the black mountain | oil on canvas | 1945

sold for £602,500 (US$ 874,228) | lot 1 | sale 11795 | post war and contemporary art evening auction | 11 february 2016 | christie’s king street | london, united kingdom

photo credit lisa walsh | innerspace

you could say that calder performed rather well…

colorful highlights from the 2016 FOG design + art fair.

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*bridget riley | aria | oil on linen | 2012

david zwirner gallery | new york, NY | london, united kingdom

photo credit lisa walsh | innerspace

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**john berggruen gallery | 2016 fog design + art fair | san francisco, CA

photo credit lisa walsh | innerspace

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spencer finch | atlantic ocean (cadiz) april 3, 2015 | fluorescent fixtures and filters | 2015

john berggruen gallery | san francisco, CA

photo credit berggruen

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stanley whitney | untitled | gouache on paper | 2014

john berggruen gallery | san francisco, CA

photo credit lisa walsh | innerspace

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spencer finch | betelgeuse | powder coated steel, fluorescent light and colored filters | 2015

john berggruen gallery | san francisco, CA

photo credit berggruen

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gerhard richter | six monotype prints | enamelled lacquer on paper | 2008

printed on found pages from an architectural textbook

marian goodman gallery | new york, NY | paris, france | london, united kingdom

photo credits lisa walsh | innerspace

the 2016 FOG design + art fair

festival pavilion | fort mason center | san francisco, CA

14-17 january 2016

*my favorite artwork at the fair.  i’ve loved british artist, bridget riley, ever since i worked as a buyer for neiman marcus.  i worked at the corporate headquarters in Dallas, TX, where a bridget riley painting from the neiman marcus corporate art collection hung in the reception area of the executive offices.  i always admired it on the way to and from advertising or management meetings.

**my favorite stand at the fair.  expertly edited…

one of my favorite 2015 venice art biennale collateral events.  six sculptures by american artist, ursula von rydingsvard, installed in the giardino della marinaressa.

modular assemblages.  constructed from uniform cedar beams.  individually marked and cut.  then, patinaed with graphite.

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ursula von rydingsvard | for martin f. | cedar and graphite | 2013

ursula von rydingsvard | giardino della marinaressa | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

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ursula von rydingsvard | scratch | cedar and graphite | 2013-14

ursula von rydingsvard | giardino della marinaressa | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

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ursula von rydinsgvard | anastazia | cedar and graphite | 2013-14

ursula von rydingsvard | giardino della marinaressa | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

cast in bronze, from a wooden model.

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ursula von rydingsvard | bronze bowl with lace | bronze | 2013-14

ursula von rydingsvard | giardino della marinaressa | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

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ursula von rydingsvard | heart in hand | bronze | 2014

ursula von rydingsvard | giardino della marinaressa | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

cast in resin, from a wooden model.

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ursula von rydingsvard | elegantka II |  urethane resin | 2013-14

ursula von rydingsvard | giardino della marinaressa | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

i discovered a new favorite abstract painter at one of the 2015 venice art biennale collateral events.

irish artist, sean scully.

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1| sean scully | landline sea | oil on linen | 2014

2| sean scully | landline blue black cream | oil on aluminum | 2014

3| sean scully | landline green sea | oil on aluminum | 2014

4| sean scully | landline brücke | oil on linen | 2014

5 | sean scully | landline green | oil on linen | 2014

6| sean scully | landline red | oil on linen | 2014

7| sean scully | landline pink | oil on linen | 2013

sean scully. land sea | palazzo falier | 2015 venice art biennale-collateral event | 9 may-22 november 2015 | venice, italy

photo credits lisa walsh | innerspace

‘in making these paintings i was preoccupied with my memories of venice,

the movement of the water,

how it heaves against the brick and stone of the city.’

-sean scully