tag archives: gagosian gallery

 

*cy twombly: coronation of sesostris

8 march-28 april 2018

gagosian | 980 madison avenue | new york, NY

 

the mythological one day rise and fall of ancient egyptian warrior, conqueror, and pharaoh , sesostris.

drawn, painted, and written in 10 parts.

cy twombly: coronation of sesostris

installation view | gagosian | 980 madison avenue | new york, NY

photo credit rob mckeever via gagosian

 

the rising sun [an ideogram for sesostris]

 

cy twombly (1928-2011) | coronation of sesostris | panel 1 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

the wheeled chariot of sesotris [an ideogram for military conquest]

 

cy twombly (1928-2011) | coronation of sesostris | panel 2 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

the epigraph:

‘eros, weaver [of myth],

eros, sweet and bitter,

eros bringer of pain.’ 

 

cy twombly (1928-2011) | coronation of sesostris | panel 3 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

the shining sun after rising high into the sky

 

cy twombly (1928-2011)  | coronation of sesostris | panel 4 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

the arrival of the solar barque [sun barge or sun boat] of sesostris

 

cy twombly (1928-2011) | coronation of sesostris | panel 5 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

an interpretation of the poem ‘when the gods depart’

 

cy twombly (1928-2011) | coronation of sesostris | panel 6 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

the sun boat burns and disintegrates

 

cy twombly (1928-2011) | coronation of sesostris | panel 7 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

the sun boat dissolves into its reflection, and sinks into the sea [an allusion to j.w.m. turner (1775-1851)]

‘they (the gods) are leaving,

glorious but unheeded,

as the mortal body sinks into oblivion,

scarcely registering their passing. 

nunc est bibendum: 

sorrows are drowned,

the boat is a drunken boat.’ [barely legible]

 

cy twombly (1928-2011)  | coronation of sesostris | panel 8 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

the burnt wreckage of the sun boat

‘leaving paphos ringed with waves’

 

cy twombly (1928-2011) | coronation of sesostris | panel 9 | 2000 | Acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

the epigraph, repeated:

‘leaving kypros the lovely

and paphos ringed with waves.’ [illegible]

 ‘eros, weaver of myth,

eros sweet and bitter,

eros bringer of pain.’

 

cy twombly (1928-2011) | coronation of sesostris | panel 10 | 2000 | acrylic, crayon, and pencil on canvas

collection of françois pinault | palazzo grassi | venice, italy

photo credit (c) cy twombly foundation via tate

 

*exhibited concurrently with cy twombly: in beauty it is finished at gagosian | 522 west 21st street | new york, NY.

click here to read my post about cy twombly: in beauty it is finished.

click here to read a tate museum research publication about coronation of sesostris.

art exhibitions, like the cy twombly exhibition of 94 drawings and works on paper at gagosian gallery in new york, can be more momentous than blockbuster museum exhibitions.

 

*cy twombly:  in beauty it is finished : drawings 1951-2008

8 march-25 april 2018

gagosian | 522 west 21st street | new york, NY


i walked through the exhibition three times.  and then, after i left, i decided to return to look at my favorite drawings again…

one wall, featuring five early, atypically polychromatic, crayon, gouache, and pencil drawings.

cy twombly: in beauty it is finished : drawings 1951-2008

installation view | gagosian | 522 west 21st street | new york, NY

photo credit artwork: © cy twombly foundation | screenshot: video by pushpin films via gagosian quarterly

 

originally, there were six drawings.  twombly gifted four of the six drawings to his friend, abstract artist robert rauschenberg (1925-2008).  then, rauschenberg adhered one of the drawings to one of his combines.

robert rauschenberg (1925-2008) | rhebus | 1955 | oil, synthetic polymer paint, pencil, crayon, pastel, cut-and-pasted printed and painted papers, and fabric on canvas mounted and stapled to fabric, in three panels

museum of modern art (moma) | new york, NY

photo credit (c) 2018 robert rauschenberg foundation via moma

 

cy twombly (1928-2011) | untitled | 1954 | gouache, wax crayon, and colored pencil on paper

cy twombly foundation | new york, NY, rome, italy & gaeta, italy

photo credit (c) cy twombly foundation via gagosian

 

cy twombly (1928-2011) | untitled | 1954 | gouache, wax crayon, and colored pencil on paper

cy twombly foundation | new york, NY, rome, italy & gaeta, italy

photo credit (c) cy twombly foundation via cy twombly foundation

 

cy twombly (1928-2011) | untitled | 1954 | gouache, wax crayon, and colored pencil on paper

museum of modern art (moma) | new york, NY

photo credit (c) 2018 cy twombly foundation via moma

 

cy twombly (1928-2011) | untitled | 1954 | gouache, wax crayon, and colored pencil on paper

museum of modern art (moma) | new york, NY

photo credit (c) 2018 cy twombly foundation via moma

 

cy twombly (1928-2011) | untitled | 1954 | gouache, wax crayon, and colored pencil on paper

museum of modern art (moma) | new york, NY

photo credit (c) 2018 cy twombly foundation via moma

 

the five drawings reminded me of pastel drawings by abstract expressionist artist joan mitchell (1925-1992).

joan mitchell (1925-1992) | untitled | 1991 | pastel on paper

sold for US$98,500 | christie’s new york | post war and contemporary morning session | 11 november 2010 | sale 2356 | lot 235

photo credit christie’s

 

one gallery was filled with calligraphy drawings.  not only calligraphic, but also epigraphic.

cy twombly: in beauty it is finished : drawings 1951-2008

installation view | gagosian | 522 west 21st street | new york, NY

photo credit rob mckeever via gagosian

 

including, one work in 30 parts.  and, 4 drawings from a private collection.

cy twombly (1928-2011) | untitled | 1970 | oil, wax crayon, and pencil on paper, in 30 parts

cy twombly foundation | new york, NY, rome, italy & gaeta, italy

photo credit artwork: © cy twombly foundation | screenshot: video by pushpin films via gagosian quarterly

 

cy twombly (1928-2011) | untitled | 1970 | oil and wax crayon on paper

private collection

photo credit (c) cy twombly foundation via gagosian

 

another gallery was filled with blackboard drawings.

cy twombly: in beauty it is finished : drawings 1951-2008

installation view | gagosian | 522 west 21st street | new york, NY

photo credit rob mckeever via gagosian

 

layer upon layer of lines, marks, and erasures.  made with crayon, pencil, or pen over oil on paper.

cy twombly (1928-2011) | untitled | 1969 | oil and wax crayon on paper

cy twombly foundation | new york, NY, rome, italy & gaeta, italy

photo credit (c) cy twombly foundation via gagosian

 

‘his work is based not upon concept (the trace)

but rather upon an activity (tracing).’

-french philoopher, roland barthes (1915-1980), who wrote about the work of cy twombly

 

*exhibited concurrently with cy twombly: coronation of sesostris at gagosian | 980 madison avenue | new york, NY.

click here to read my post about cy twombly: coronation of sesostris.

you may think of jean prouvé (1901-1984) as a mid-century french furniture designer.  the standard chair, which he designed during the 1930’s, is a modern classic that is now produced by vitra.

jean prouvé | standard chair | circa 1950 | laffanour galerie downtown/paris | paris, france

photo credit 1st dibs

for the standard chair, prouvé designed a metal frame, with tubular front legs and tailfin shaped back legs.  he fabricated the hollow frame from sheets of steel, a thin but strong material that is commonly used in the automobile industry.

you may also know that jean prouvé was an architect.  he believed that:

‘in their construction there is no difference between furniture and buildings.’ 

-jean prouvé

both the furniture and the buildings that he designed used similar construction systems.  as a result, both could be easily modified, moved, or dismantled.

jean prouvé | deconstructed standard chair | circa 1950

photo credit the row on instagram

two of prouvé’s demountable buildings were exhibited at design miami and design miami/basel in 2013 and 2014 by paris dealer, galerie patrick seguinfrom 27 february-4 april 2015, galerie patrick seguin is exhibiting two more in collaboration with gagosian gallery in new york.  at gagosian, both buildings are surrounded by and filled with john chamberlain (1927-2011) sculptures.  chamberlain’s sculptures are constructed from salvaged automobile parts.  tailfins, fenders, and hoods that he bent, crushed, twisted, welded, and painted.

‘the mangle is the message.’  

-john chamberlain

john chamberlain | constantpunchline | 2008

photo credit lisa walsh | innerspace

do you think that the demountable structures and the mangled metal sculptures are a dynamic juxtaposition?

jean prouvé | demountable house portal frames

photo credits lisa walsh | innerspace

jean prouvé | model | demountable offices for ferembal | nancy, france | 1948

bent steel frame with five axial portal frames set on a pressed steel floor

held together by ridge beams, which support the purlins and aluminum roofing slabs

facade constructed of prefabricated double sided wood panels, which slot together interchangeably

structure rescued from the demolition of the fermebal site in 1983

adapted by french architect, jean nouvel

photo credits lisa walsh | innerspace

john chamberlain | euphoriainahat | 2010

photo credits lisa walsh | innerspace

john chamberlain | cloudedleoparoexpresso | 2010

photo credits lisa walsh | innerspace

john chamberlain | magnesium revolt | 1977

photo credit lisa walsh | innerspace

john chamberlain | battsy beeker | 1983

photo credits lisa walsh | innerspace

john chamberlain | dhuha ditty | 1983

photo credits lisa walsh | innerspace

jean prouvé | model | temporary school of villejuif | paris, france | 1956

constructed from prefabricated components

sheet steel props support the curved, cantilevered, laminated wood roof

facade constructed of glazed panels divided by sheet steel sections that act as stiffeners and provide ventilation

after the school was dismounted, the components were reused in other buildings

photo credits lisa  walsh | innerspace

john chamberlain | entirelyfearless | 2009

photo credits lisa walsh | innerspace

john chamberlain | tasteylingus | 2010

photo credits lisa walsh | innerspace

 from 18-21 june 2015, another jean prouvé demountable house will be exhibited at art | basel.

jean prouvé | model | 6×6 demountable house | 1944

original structure with the addition of modern living facilities modern additions include external bathroom and kitchen pods

and, a series of service trolleys that provide hot water and solar electricity
adapted by british architect, richard rogers | rogers stirk harbor + partners

photo credits lisa walsh | innerspace

27 february-4 april 2015

chamberlain | prouve

gagosian gallery

555 west 24th street

new york, NY 10011

tuesday-saturday 10 am-6 pm

18-21 june 2015

art | basel

messeplatz 10

4005 basel, switzerland

11 am-7pm

when i first walked through joe, the torqued spiral richard serra sculpture in the courtyard of the pulitzer foundation for the arts in st. louis, MO, where i grew up, i immediately envisioned the sculpture as an event venue, with guests walking through the ribbon of steel on their way to a party in the center.

it seems that i am not unique, because people have told richard serra about practicing yoga, or holding weddings inside his sculptures.

richard serra | joe | weathering steel | 2000 | pulitzer foundation for the arts | st. louis, MO

photo credit pulitzer foundation for the arts

serra’s sculptures explore the phenomenological experience of space.  the somatic, emotional, and intellectual feelings that you get when you are walking around, through, or beneath his massive sculptures.

while i was working in new york last week, i was visiting art galleries in chelsea.  so, i also visited the gagosian gallery, which is showing richard serra:  new sculpture from 26 october 2013-15 march 2014.  the exhibition features four monumental sculptures, which represent a new stylistic direction for richard serra.  even though the new sculptures are rectilinear, instead of curvilinear, some of the new pieces have precedents in previous pieces.

‘as sequences unfold, new forms come out of old pieces.’

-richard serra

richard serra | hours of the day | 1990 | bonnefanten museum | maastricht, netherlands

photo credit wikimedia

 richard serra | intervals | weatherproof steel | 24 plates | 2013

richard serra:  new sculpture | gagosian gallery | 555 west 24th street | new york NY | 26 october 2013-15 march 2014

photo credit rob mckeever

 like hours of the day, intervals is an installation of freestanding rectangular steel plates.  serra describes the components of intervals with mathematical precision:

‘there are 24 steel plates.

each plate is 9 inches thick.

the plates are positioned 42 inches apart.

there are 3 elevations-4, 5, and 6 feet high.

and, there are 4 lengths-5, 7, 9, and 11 feet long.’

-richard serra

the structure feels logical as you walk through the space.  yet, walking through the labyrinth is a dynamic experience.  you can enter or exit anywhere.  and, the elevations rise and fall as you weave in and out.

 richard serra | intervals | weatherproof steel | 24 plates | 2013

photo credit lisa walsh | innerspace

some journalists have compared the 24 steel plates in the installation to the tombstones in a cemetery, a comparison that went viral after charlie rose interviewed richard serra on the 27 december 2013 episode of charlie rose: the week.

serra disagrees with this comparison.  he considers his sculptures as dynamic, instead of static structures.  he thinks that walking through a rectilinear space, like intervals, makes you feel more grounded than walking through a curvilinear space.

intervals is serra’s expression of that experience.