tag archives: art exhibit

carmen herrera:  lines of sight

whitney museum of american art | new york, NY

16 september 2016-2 january 2017

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carmen herrera | estructura roja | plywood and automotive paint | 1966/2012

carmen herrera | untitled | gouache on paper | 1966

photo credits lisa walsh | innerspace

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carmen herrera | azul tres | acrylic on wood | 1971

carmen herrera | untitled | gouache on paper | 1966

photo credits lisa walsh | innerspace

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carmen herrera | amarillo dos | oil on wood | 1971

photo credit lisa walsh | innerspace

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the blanco y verde series, 1959-1971

carmen herrera | blanco y verde | acrylic on canvas | 1966

carmen herrera | blanco y verde | acrylic on canvas with painted frame | 1959

carmen herrera | blanco y verde | acrylic on canvas | 1966-67

carmen herrera | irlanda | acrylic on canvas with painted frame | 1965

carmen herrera | blanco y verde | acrylic on canvas | 1971

carmen herrera | blanco y verde | acrylic on canvas | 1962

carmen herrera | blanco y verde | acrylic on canvas, two panels | 1959

carmen herrera | to:  p.m. | acrylic on canvas | 1967

carmen herrera | blanco y verde | acrylic on canvas | 1967

photo credits lisa walsh | innerspace

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the days of the week series, 1975-1978

carmen herrera | wednesday | acrylic on canvas | 1978

carmen herrera | tuesday | acrylic on canvas | 1978

carmen herrera | sunday | acrylic on canvas | 1978

carmen herrera | friday | acrylic on canvas | 1978

carmen herrera | thursday | acrylic on canvas | 1975

photo credits lisa walsh | innerspace

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the days of the week series, 1975-1978

carmen herrera | blue monday | acrylic on canvas | 1975

carmen herrera | saturday | acrylic on canvas | 1978

photo credits lisa walsh | innerspace

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carmen herrera | siete | acrylic on burlap | 1949

carmen herrera | a city | acrylic on burlap | 1948

photo credits lisa walsh | innerspace

what is your favorite art city?

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

it’s always exciting to make new discoveries in a city that you’ve visited many times.

i never knew about the atelier brancusi, located in front of the centre pompidou in paris, until i read about it on heather clawson’s lifestyle blog, habitually chic.  the atelier brancusi, a reconstruction of the art studio of constantin brancusi (1876-1957), contains a permanent exhibition of his sculptures.

atelier brancusi | place georges-pompidou (rue rambuteau side) | 75004 paris, france

wednesday-monday 2-6 pm | closed tuesday and 1 may

free entrance

photo credit rpbw

the reconstruction, designed by renzo piano building works (rpbw), reproduces the layout, volume, and light of brancusi’s
art studio, which was located in the 15th arrondissement, near montparnasse.  renzo piano designed the building as a pavilion.  inside, the glass walls that enclose the four room studio create space to circulate around the perimeter of the pavilion.

renzo piano building works | atelier brancusi reconstruction | 1992-1996

photo credit rpbw

brancusi was so preoccupied by the relationship between his sculptures and the surrounding space, that he bequeathed the contents of his studio to the french government under the conditions that his studio would be reconstructed, and reinstalled in its entirety.

photo credits center pompidou

studio 1

brancusi’s exhibition studio

studio 2

brancusi’s second exhibition studio

studio 3

brancusi’s private quarters, where he lived and worked

studio 4

 brancusi’s storage area

photo credits lisa walsh | innerspac

 do you think that the reconstruction recaptures the essence of the original?

 constantin brancusi’s studio | 11, impasse ronsin | 75015 paris, france | 1929

photo credit centre pompidou

sometimes you almost miss something that’s happening in your own back yard…

 mark di suvero at crissy field,

an installation of eight sculptures,

presented by the san francisco museum of modern art (SFMOMA)

in partnership with the u.s. national park service

and the golden gate national parks conservancy 

from 22 may 2013-26 may 2014

 mark di suvero | will | steel | 1994 | doris and donald fisher collection

the golden gate bridge in the background

mark di suvero | are years what? (for marianne moore) | painted steel | 1967 | hirshhorn museum and sculpture gallery, smithsonian institution, washington DC

alcatraz island in the background

mark di suvero | dreamcatcher | steel | 2005-2012 | collection of the artist

the golden gate bridge in the background

mark di suvero | old buddy (for rosko) | painted steel | 1993-1995 | collection of the artist

the golden gate bridge and belvedere island in the background

mark di suvero | mother peace | painted steel | 1969-1970 | storm king art center, mountainville, NY

belvedere island and angel island in the background

mark di suvero | magma | steel | 2008-2012 | collection of the artist

the golden gate bridge in the background

mark di suvero | huru | steel | 1984-1985 | collection of carol mckegney

the golden gate bridge in the background

mark di suvero | figolu | painted steel with steel buoys | 2005-2011 | collection of the artist

the golden gate bridge in the background

photo credits lisa walsh | innerspace

can you think of a better juxtaposition with the golden gate bridge?

if only this were a permanent installation…

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.