tag archives: tate modern

one city (london).

four art exhibitions (cézanne | modigliani | soutine | basquiat).

during our december weekend in london, my husband, bob, and i made it to three out of four.

 

modigliani @ the tate modern

amadeo modgliani (1884-1920) | self portrait as pierrot | 1915 | statens museum fur kunst | copenhagen, denmark

modigliani | tate modern | london, united kingdom | 23 november 2017-2 april 2018

photo credit smk

 

modigliani

portraits and nudes.

elongated faces.

swan-like necks.

almond shaped eyes.

portraits of his patron (paul alexandre).

portraits of his art dealers (paul guillaume and leopold zbrowski).

portraits of his contemporaries.  (picasso, gris, brancusi, soutine…).

self portraits.

portraits of the working class.

multiple portraits of the same subject.

 

‘it [my portrait] does not look like me, but it does look like modigliani, which is better.’

-jean cocteau (1889-1963)

amadeo modgliani (1884-1920) | jean cocteau, 1916 | the henry and rose pearlman foundation (on long-term loan to the princeton university art museum)

modigliani | tate modern | london, united kingdom | 23 november 2017-2 april 2018

photo credit bruce m. white | via the princeton university art museum

 

 soutine @ the courtauld gallery

chaïm soutine (1893-1943) | self portrait | circa 1918 | the henry and rose pearlman foundation (on long-term loan to the princeton university art museum)

photo credit © 2014 Artists Rights Society (ARS), New York/ADAGP, Paris | photo: bruce m. white | via the princeton university art museum

 

soutine

landscapes, still lives, and portraits.

painted in series.

turbulent (after van gogh).

gestural (before pollack).

distorted (before bacon).

 

his patron:  albert barnes (the barnes foundation | merion, PA USA)

his art dealers:  paul guillaume and leopold zbrowski (the same as modigliani)

his portraits:  self portraits and portraits of the working class

 

chaïm soutine (1893-1943) | the valet | circa 1927 | the lewis collection

soutine’s portraits: cooks, waiters & bellboys | the courtauld gallery | london, united kingdom | 19 october 2017-21 january 2018

photo credit the courtauld gallery | via the telegraph

 

basquiat @ the barbican art gallery

jean-michel basquiat (1960-1988) | dos cabezas | 1982 | private collection

basquiat: boom for real | barbican art gallery | london, united kingdom | 21 september 2017-28 january 2018

photo credit (c) the estate of jean-michel basquiat | licensed by artestar, new york | via christie’s

 

basquiat

graffiti.

neo expressionist.

image + text + social commentary.

stream of consciousness.

repetition.

crown icon.

self portraits (in different guises).

 

inspiration:  art history | history | literature | media (film/television) | music (jazz/hip hop/rap) | sports

influences:  da vinci | picasso | cy twombly | charlie parker

collaborators:  keith haring | francesco clemente | andy warhol

 

jean-michel basquiat (1960-1988) | self-portrait | 1984 | private collection

basquiat: boom for real | barbican art gallery | london, united kingdom | 21 september 2017-28 january 2018

photo credit (c) the estate of jean-michel basquiat | licensed by artstar, new york | via the standard

 

surprisingly (or not), more similarities than differences.

___________________________________________________________________________________________________________________

cézanne portraits | national portrait gallery | london, united kingdom | 26 october 2017-11 february 2018

modigliani | tate modern | london, united kingdom | 23 november 2017-2 april 2018

soutine’s portraits: cooks, waiters & bellboys | the courtauld gallery | london, united kingcom | 19 october 2017-21 january 2018

basquiat: boom for real | barbican art gallery | london, united kingdom | 21 september 2017-28 january 2018

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.

calder|antennae with blue dots|1953|bbc

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

miro

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.

10_calder

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

caldergamma1947c calder foundation

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.

caldertriple gong1948c calder foundation

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.

IMG_4731

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

IMG_4941

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

IMG_4807

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…