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joan mitchell: i carry my landscapes around with me

an exhibition of the artist’s panoramic, multi-paneled paintings

at david zwirner gallery in new york, ny

from  3 may-22 june 2019

 

front gallery | david zwirner | new york, NY

photo credit lisa walsh | innerspace

 

from ‘to joan mitchell’

 

‘…like her great canvas

in four panels,

continuous field so charged

as to fill the room in which it hangs

with an inaudible humming,

as if to erase the gallery over which it triumphs…’

-from ‘to joan mitchell’, a poem from ‘fire to fire: new and selected poems by mark doty

 

joan mitchell (1925-1992) | la seine | oil on canvas in four (4) parts | 1967

governor nelson a. rockefeller empire state plaza art collection, new york state, office of general services

one of mitchell’s first quadriptychs

photo credits lisa walsh | innerspace

 

in 1968, joan mitchell moved her primary studio from the city of paris to the french countryside.

 

‘with the move to vétheuil, joan’s paintings had grown larger, more expansive, and more often multi-paneled. 

at [rue] fremicourt [her studio in paris from 1958-1968] she had first become serious about diptychs and triptychs as a way of making large paintings in a small studio. 

bigger but never big enough, vétheuil could accommodate at most two moderately sized adjacent panels, no higher than nine feet two inches, however; because of the ceiling beams.

…the restrictions on width meant that she could not view large multi-paneled paintings-in-progress in their entirety but, rather, had to put the parts together in her mind.’

-from joan mitchell, lady painter by patricia albers (page 326)

 

joan mitchell (1925-1992) | rivière | oil on canvas in two (2) parts | 1990

collection of the joan mitchell foundation

photo credits lisa walsh | innerspace

 

joan mitchell (1925-1992) | minnesota | oil on canvas in four (4) parts | 1980

collection of the joan mitchell foundation

photo credits lisa walsh | innerspace

 

‘in the dyptychs and triptychs she grappled with likeness and difference,

wholeness and parts. 

moreover, the panels served as forms to go up against,

like stanzas in lyric poetry,

which also weds structure to emotional release.’

-from joan mitchell, lady painter by patricia albers (page 326)

 

joan mitchell (1925-1992) | untitled | oil on canvas in two (2) parts | 1972

collection of the joan mitchell foundation

photo credits lisa walsh | innerspace

 

‘joan’s favorite multi-panel format was the horizontal triptych composed of vertical modules;

she loved the way the cool vertical cuts between the panels undermined the landscape effect

and loved too everything she could make happen around those vertical cuts.’ 

 

‘unlike most artists, joan drew vertically, making use of the weight and drag mark of her hand.’

-from joan mitchell, lady painter by patricia albers (pages 326 and 357)

 

joan mitchell (1925-1992) | untitled | oil on canvas in three (3) parts | 1974-1975

private collection, minneapolis, MN

photo credits lisa walsh | innerspace

 

north gallery | david zwirner | new york, NY

photo credit lisa walsh | innerspace

 

in addition to her unusual technique, joan was not only eidetic, but also synesthetic, which affected her memory, her perception, and therefore her art.

she saw letters in color.  so, her perception of poetry was visual, as well as narrative.

she heard sounds in color.  so, she painted to classical or jazz music.

even people (or pets) emanated color.  so, when painting an homage to a loved one, such as her former psychoanalyst and long-time friend, edrita fried (1911-1981), she strategically selected the appropriate colors.

 

‘for the analyst’s daughter, jacqueline fried, in any case, the painting’s oranges nail her mother’s energy and rage, and its blues, her profound sadness. 

‘edrita fried’ appeared in the 1983 whitney biennial, which jaqui attended. 

when the museum’s elevator doors opened to reveal this twenty-six-foot-wide painting,

jaqui jumped, ‘because it was as if my mother were standing there…it was really my mother!’

-from joan mitchell: lady painter by patricia albers (page 367)

 

joan mitchell (1925-1992) | edrita fried | oil on canvas in four (4) parts | 1981

collection of the joan mitchell foundation

photo credits lisa walsh | innerspace

 

joan mitchell (1925-1992) | row row | oil on canvas in two (2) parts | 1982

collection of the joan mitchell foundation

photo credits lisa walsh | innerspace

 

joan mitchell (1925-1992) | untitled | oil on canvas in two (2) parts | 1992

collection of the joan mitchell foundation

photo credits lisa walsh | innerspace

 

her ‘photographic memory’ was not only visual, but also auditory, sensual, and emotional, not unlike virtual reality.

sometimes, she painted in cycles, from memories of the seine river, rivers and trees, fields and territories, or sunflowers.

 

joan mitchell (1925-1992) | sunflowers | oil on canvas in two (2) parts | 1991

collection of the joan mitchell foundation

photo credits lisa walsh | innerspace

 

‘i carry my landscapes around with me.

-joan mitchell (1925-1992)

-from mitchell paints a picture‘, an article from artnews by irving sandler, originally published in october 1957
click here to read the article

 

more highlights from our art filled pre-holiday day trip to los angeles…

2 (of 3) exhibitions by chinese artist and human rights activist, ai weiwei.

 

ai weiwei: zodiac

29 september 2018-5 january 2019

jeffrey dietch gallery | los angeles, ca

 

installation view

ai weiwei | stools | 5929 wooden stools from the ming (1368-1644) and qing (1644-1911) dynasties | 2013

photo credits lisa walsh | innerspace

 

ai weiwei life cycle

28 september 2018-3 march 2018

marciano art foundation (maf) | los angeles, ca

 

installation view

ai weiwei | sunflower seeds | 49 tons of porcelain sunflower seeds | 2010

ai weiwei | spouts | thousands of teapot spouts dating as far back as the song dynasty (960-1279) | 2015

photo credits lisa walsh | innerspace

 

closed:

cao/humanity

4 october-1 december 2018

united talent agency (uta) artist space | beverly hills, ca

 

installation view

photo credit uta artist space via artsy

 

more highlights from our art (and design) filled pre-holiday day trip to los angeles…

an installation by british artist and writer, edmund de waal, at the schindler house.  one of the world’s first modern houses.  and, an architectural landmark.

 

edmund de waal: –one way or other-

16 september 2018-6 january 2019

mak center for art and architecture at the schindler house | west hollywood, ca

 

rudolf michael schindler (1887-1953) | the schindler house | 1921-1922

photo credit lisa walsh | innerspace

 

edmund de waal | case study #1 | 15 porcelain vessels and 4 cor-ten steel blocks in steel and plexiglass vitrine | 2015

photo credits lisa walsh | innerspace

 

edmund de waal | a new ground I | 14 porcelain vessels and cor-ten steel blocks in 5 steel, corian and plexiglass vitrines | 2015

edmund de waal | a new ground III | 14 porcelain vessels and cor-ten steel blocks in 5 steel, corian, and plexiglass vitrines | 2015

photo credits lisa walsh | innerspace

 

edmund de waal | #835 | 18 porcelain vessels in 2 steel and plexiglass vitrines | 2015

photo credits edmund de waal and lisa walsh | innerspace

 

the highlight of our art filled pre-holiday day trip to los angeles…

photo credits lisa walsh | innerspace

 

calder: nonspace

27 october 2018-6 january 2019

hauser & wirth | los angeles, ca

organized in collaboration with the calder foundation | new york, ny

 

alexander calder (1898-1976) | 3 segments | 1973

photo credit lisa walsh | innerspace

 

alexander calder (1898-1976) | untitled | 1955

photo credit lisa walsh | innerspace

 

installation view

alexander calder (1898-1976) | untitled | 1941

alexander calder (1898-1976) | 4 planes in space | 1955 | calder foundation, new york, NY

alexander calder (1898-1976) | 4 planes in space (maquette) | 1955

photo credits lisa walsh | innerspace

 

alexander calder (1898-1976) | black petals | 1939

photo credit lisa walsh | innerspace

 

installation view

alexander calder (1898-1976) | untitled | 1939

alexander calder (1898-1976) | title & date unknown

photo credits lisa walsh | innerspace

 

alexander calder (1898-1976) | haverford variation | 1944

photo credit lisa walsh | innerspace

 

the pantone color institute(tm) gives their color of the year credit for influencing product development and purchasing decisions in multiple industries, such as graphic, industrial, interior and fashion design.

2019 pantone(r) color of the year | living coral | 16-1546 TCX

photo credit pantone

 

they describe living coral, the 2019 pantone color of the year, as a natural color that is nourishing and nurturing,  warm and comforting.

do you think that coral is comforting?

le hideout – salon d’esthétique | montreal, canada | by menard dworkind architecture & design

photo credits david dworkind via @interiordesignmag and mrdk

 

or, stimulating?

some retailers, such as barney’s new york, think that the color coral stimulates sales.

photo credit barneys new york

 

yves saint laurent beauty | la lacque couture nail polish | op art coral

nars | blush | bumpy ride

kevyn aucoin | molten gems liquid lip color | poppy topaz

photo credits barneys, barneys and barneys

 

delvaux | brillant mini satchel | coral

delvaux | tempête mini leather satchel | coral

photo credits barneys and barneys

 

karen walker | loveville sunglasses | red

karen walker | romancer sunglasses | crazy tortoise

illesteva | lisbon sunglasses | apricot

photo credits barneys, barneys, and barneys

 

christian louboutin | decollete 554 patent leather pumps | multi

walter de silva | sharon satin sandals | orange

photo credits barneys and barneys

 

some hospitality design practitioners also think that the color coral stimulates consumption.

the coral room bar | the bloomsbury hotel | london, united kingdom | by martin brudnizki design studio

photo credits the coral room via vogue and mbds

 

color psychologists consider warm colors stimulating.  and, cool or neutral colors calming.

more saturated colors are also more stimulating than less intense colors.

 

the interior design of the coral room is a balance of warm, cool, and neutral colors.

 

including a cool grey, similar to metropolitan, the benjamin moore paint color of the year 2019.

 

benjamin moore | color of the year 2019 | metropolitan | AF-690

photo credits benjamin moore and benjamin moore

 

if the salon at the coral room was your living room, would you prefer to paint the walls warm, stimulating coral?  or, calming, neutral grey?