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tag archives: art exhibit

italy | pietrasanta | manolo valdés

10 | 4 | 18

last year, umbrellas (ombrelli).

september 2017

via mazzini and via garibaldi | pietrasanta, italy

photo credit lisa walsh | innerspace

this year, butterflies (farfalle).

september 2018

via mazzini and via garibaldi | pietrasanta, italy

viale versilia | marina di pietrasanta, italy

photo credit lisa walsh | innerspace

or actually, mariposas. after a sculpture by spanish artist, manolo valdés. from manolo valdés: poetica della traduzione (the poetics of intrepretation), the annual summer art exhibition sponsored by the comune di pietrasanta (town of pietrasanta) from 16 june-4 november 2018.

manolo valdés | mariposas | aluminum | 2015

manolo valdés: poetica della traduzione (the poetics of intrepretation) | pietrasanta, italy | 16 june-4 november 2018

photo credits lisa walsh | innerspace

valdés’ works are contemporary interpretations of classic works with art historical importance, by masters such as velázquez (1599-1660), rembrandt (1606-1669), or matisse (1869-1954).

henri matisse (1869-1954) | femme au chapeau (woman with a hat) | 1905 | san francisco musuem of modern art (sfmoma) | san francisco, ca

photo credit sfmoma

manolo valdés | retrato (portrait) | oil on burlap | 2017 | opera gallery | dubai, united arab emirates

photo credit opera gallery

manolo valdés | pamela | aluminum | 2015

manolo valdés: poetica della traduzione (the poetics of intrepretation) | pontile di tonfano (tonfano pier) | marina di pietrasanta, italy | 16 june-4 november 2018

photo credit contini galleria d’arte via facebook

foreground: manolo valdés | irene | bronze | 2006

background: manolo valdés | caballero | bronze | 2005

manolo valdés: poetica della traduzione (the poetics of intrepretation) | pietrasanta, italy | 16 june-4 november 2018

photo credit lisa walsh | innerspace

manolo valdés | double imogen | marble and steel | 2016

manolo valdés: poetica della traduzione (the poetics of intrepretation) | pietrasanta, italy | 16 june-4 november 2018

photo credit lisa walsh | innerspace

manolo valdés | clio dorada | brass and steel | 2017

manolo valdés: poetica della traduzione (the poetics of intrepretation) | pietrasanta, italy | 16 june-4 november 2018

photo credit lisa walsh | innerspace

manolo valdés | regina II | bronze | 2005

manolo valdés: poetica della traduzione (the poetics of intrepretation) | pietrasanta, italy | 16 june-4 november 2018

photo credit lisa walsh | innerspace

piazza del duomo | pietrasanta, italy

manolo valdés: poetica della traduzione (the poetics of intrepretation) | pietrasanta, italy | 16 june-4 november 2018

photo credit lisa walsh | innerspace

click here to read my previous post about the pietrasanta contemporary sculpture park.

tags: art,art exhibit,art exhibition,butterflies,clio dorada,double imogen,farfalle,irene,italy,manolo valdes,marina di pietrasanta,mariposas,matisse,ombrelli,pamela,piazza del duomo,pietrasanta,poetica della traduzione,pontile di tonfano,regina II,rembrandt,sculpture,travel,umbrellas,velasquez

david hockney: something new in painting (and photography) [and even printing]

5 | 6 | 18

david hockney: something new in painting (and photography) [and even printing]

5 april-12 may 2018

pace gallery | 508-510 west 25th street | new york, NY

british artist, david hockney RA, is known for playing with perspective. recently, reverse perspective. and recently, manipulating the picture plane by adding corners. hockney thinks that reverse perspective simulates our depth perception more closely than one point perspective. and, that a hexagon simulates our field of vision more closely than a rectangle.

‘the indentations paradoxically widen the sense of space and invite all sorts of fresh lines of sight.

still, though, as you can see, far from cutting corners, i was adding them.’

-david hockney

detail | david hockney | the studio, december 2017 | 2017 | photographic drawing printed on seven sheets of paper, mounted on seven sheets of dibond

artwork: (c) 2018 david hockney photo credit: lisa walsh | innerspace

the subject of some of the hexagonal paintings are ‘david hockney’s greatest hits’. the grand canyon. nichols canyon, which was once en route from his home to his studio in los angeles, CA. garrowby hill and the countryside surrounding his former home in yorkshire, united kingdom.

david hockney | grand canyon II | 2017 | acrylic on canvas

artwork: (c) 2018 david hockney photo credits: lisa walsh | innerspace

david hockney | nichols canyon II | 2017 | acrylic and black ink on canvas

artwork: (c) 2018 david hockney photo credits: lisa walsh | innerspace

david hockney | garrowby hill | 2017 | acrylic on canvas

artwork: (c) 2018 david hockney photo credits: lisa walsh | innerspace

masterpieces, such as the avenue at middelharnis (1689), a dutch golden age landscape painting by meindert hobbema, or the annunciation (1438-1445), an early renaissance fresco by fra angelico, provide the subjects for other paintings.

david hockney | tall dutch trees after hobbema (useful knowledge) | 2017 | acrylic on six canvases

artwork: (c) 2018 david hockney photo credits: lisa walsh | innerspace

hockney is also known for experimenting with optical technology. most recently, agisoft photoscan software that performs photogrammetric processing of digital images and generates three dimensional spatial data.

in addition to 17 paintings, the pace gallery exhibition features two, seven panel, floor to ceiling photomurals created with agisoft photoscan. for each photomural, the software combined over 3000 photographs, shot from multiple camera angles, and processed them into one three dimensional image. then, hockney and his assistant manipulated the image. and then, they digitally printed and mounted the photomural.

david hockney | the studio, december 2017 | 2017 | photographic drawing printed on seven sheets of paper, mounted on seven sheets of dibond

artwork: (c) 2018 david hockney photo credits: lisa walsh | innerspace

david hockney | inside it opens up as well | 2018 | photographic drawing printed on 7 sheets of paper, mounted on 7 sheets of dibond

artwork: (c) 2018 david hockney photo credits: lisa walsh | innerspace

‘i haven’t yet quite figured out what to call the whole process, or for that matter its result.

it’s a combination of photography and drawing and printing, each bringing out the best in the other.’

-david hockney

you could call the whole process a success. especially, considering that hockney originally only intended to take documentary photographs to use in the exhibition announcement before the paintings left his studio.

invitation to the opening reception | 5 april 2018

photo credit via new york social diary

click here, here, and here to read my previous posts about david hockney.

click here to read the essay, written by lawrence weschler for the exhibition catalogue.

tags: agisoft,agisoft photoscan,art,art exhibit,art exhibition,david hockney,david hockney RA,garrowby hill,grand canyon,inside it opens up as well,new york,nicolas canyon,pace,pace gallery,painting,photography,printing,something new in painting,something new in painting and photography and even printing,tall dutch trees after hobbema,the studio december 2017

cy twombly: coronation of sesostris

5 | 4 | 18

*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.

tags: art,art exhibit,art exhibition,coronation of sesostris,cy twombly,cy twombly coronation of sesostris,drawing,francois pinault,gagosian,gagosian gallery,new york,painting,palazzo grassi

cy twombly: in beauty it is finished

5 | 4 | 18

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.