tag archives: new york

 

one word could describe many of the award winning show gardens at the 2019 chelsea flower show:

naturalistic

 

rhs chelsea flower show

21-25 may 2019

royal hospital chelsea | london | united kingdom

the m&g garden

best show garden | gold medal winner | rhs chelsea flower show | 2019

designed by andy sturgeon | built by crocus | sponsored by m&g investments

photo credit rhs

 

the layers of naturalistic gardens could be compared to the levels of natural habitats.

family monsters garden

best artisan garden | gold medal winner | rhs chelsea flower show | 2019

designed by alistair bayford | built by idverde | sponsored by idverde family action

photo credit via rhs

 

naturalistic gardens, like the new perennial movement gardens and meadows of dutch landscape designer, piet oudolf, could also be considered eco-friendly.  and, could also be described as wild.  or, painterly.  or, dreamscapes.

country living magazine described the 2019 morgan stanley garden as:  paint[ed] with plants’.

chris beardshaw, the designer of the garden, ‘paints’ by building up layers of plants.  and, by repeating plants in three or more places.  the repetition of colors and textures creates visual connections within the garden as well as continuous circulation through out the garden.

the morgan stanley garden

gold medal winner | rhs chelsea flower show | 2019

designed by chris beardshaw | built by chris beardshaw ltd | sponsored by morgan stanley

photo credit paula mcwaters via country living

 

i am now reading ‘joan mitchell: lady painter’ after seeing joan mitchell:  i carry my landscapes around with me at david zwirner gallery in new york.

mitchell’s method was also additive.  her technique was physical.  and, she painted spontaneously.  yet, she would stop to contemplate the structure of the composition, and the relationship between the colors, before adding another layer of paint.

 

“the painting has to work,’ joan believed,

‘but it has to say something more than that the painting works.”

-from mitchell paints a picture‘, an article from artnews by irving sandler, originally published in october 1957

joan mitchell (1925-1992) | posted | 1977 | collection walker art center | minneapolis, MN

photo credit (c) estate of joan mitchell via david zwirner

 

what do you think makes a design ‘work’?

 

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

 

kips bay decorator show house

110 east 76th street | new york, NY

1-31 may 2018

photo credit lisa walsh | innerspace

 

decorator show houses usually have a showstopper room.

the ‘stairway to heaven’ by new york interior designer, sasha bikoff, could be considered the showstopper room at the 2018 kips bay decorator show house.  the stairway was probably the most frequently publicized room on social media.

the patterns and colors were inspired by 1980’s postmodern design movements.  including, the memphis group in milan, italy.  and, the art deco revival in miami beach, FL.

‘stairway to heaven’ | interior design by sasha bikoff

carpet | the rug company | custom design by sasha bikoff

kips bay decorator show house | 110 east 76th street | new york, NY | 1-31 may 2018

photo credit lisa walsh | innerspace

‘stairway to heaven’ | interior design by sasha bikoff

wallpaper | voutsa | borderline, swiss cheese and candy ribbon patterns

kips bay decorator show house | 110 east 76th street | new york, NY | 1-31 may 2018

photo credit lisa walsh | innerspace

‘stairway to heaven’ | interior design by sasha bikoff

paint | farrow & ball

kips bay decorator show house | 110 east 76th street | new york, NY | 1-31 may 2018

photo credit lisa walsh | innerspace

 

but, the ‘pretty’ rooms seemed the most refreshing.

do you think that ‘pretty’ can be simple?  or, modern?

‘gilded knots’ | living room | interior design by bunny williams associates

photo credits nickolas sargent via architectural digest, lisa walsh | innerspace and lisa walsh | innerspace

 

‘breakfast in bed’ | bedroom | interior design by alessandra branca

photo credits nickolas sargent via dering hall, via one kings lane and lisa walsh | innerspace

 

‘sleeping beauty’ | bedroom | interior design by mark d. sikes

wallpaper | gracie | custom pattern #SY-219

fabrics | mark d. sikes for schumacher

photo credits nickolas sargent via architectural digestlisa walsh | innerspace and schumacher 1889 via instagram

 

the most significant collection of works by richard diebenkorn (1922-1993) ever sold at auction.

 

masterpieces by richard diebenkorn

property sold to benefit the donald and barbara zucker family foundation

christie’s | new york | post-war & contemporary art evening sale & morning session | 17-18 may 2018

 

a career spanning collection of 22 paintings and works on paper.

the home of donald and barbara zucker

photo credit (c) richard diebenkorn foundation via christie’s 17 may 2018 post-war and contemporary art evening sale catalogue, p. 156

 

ocean park | paintings and works on paper

healdsburg, CA (1988-1993)

santa monica, CA  (1966-1987)

sold for US$23,937,500

the world record auction price for a painting by richard diebenkorn (1922-1993)

richard diebenkorn (1922-1993) | ocean park #126 | oil on canvas | 1984

christie’s | new york | post-war and contemporary art evening sale | 17 may 2018 | sale 15968 | lot 26b

photo credit lisa walsh | innerspace

sold for US$3,972,500

the world record auction price for a work on paper by richard diebenkorn (1922-1993)

richard diebenkorn (1922-1993) | untitled | acrylic, crayon, graphite and pasted paper on joined paper | 1991

christie’s | new york | post-war and contemporary art evening sale | 17 may 2018 | sale 15968 | lot 28b

photo credit lisa walsh | innerspace

sold for US$3,852,500

richard diebenkorn (1922-1993) | untitled | gouache, acrylic and crayon on paper | 1984

christie’s | new york | post-war and contemporary art evening sale | 17 may 2018 | sale 15968 | lot 23b

photo credit lisa walsh | innerspace

sold for US$1,092,500

richard diebenkorn (1922-1993) | untitled | gouache, charcoal and pasted paper on joined paper | 1986

christie’s | new york | post-war and contemporary art evening sale | 17 may 2018 | sale 15968 | lot 31b

photo credit lisa walsh | innerspace

sold for US$696,500

richard diebenkorn (1922-1993) | untitled | gouache, wax crayon and graphite on paper | 1985-1987

christie’s | new york | post-war and contemporary art morning session | 18 may 2018 | sale 15969 | lot 619

photo credit lisa walsh | innerspace

sold for US$588,500

richard diebenkorn (1922-1993) | untitled | gouache, acrylic, charcoal, graphite and pastel on paper | 1984-1992

christie’s | new york | post-war and contemporary art morning session | 18 may 2018 | sale 15969 | lot 624

photo credit lisa walsh | innerspace

sold for US$432,500

richard diebenkorn (1922-1993) | untitled | acrylic and charcoal on two joined sheets of paper | 1973

christie’s | new york | post-war and contemporary art morning session | 18 may 2018 | sale 15969 | lot 626

photo credit lisa walsh | innerspace

sold for US$372,500

richard diebenkorn (1922-1993) | untitled | acrylic, gouache and charcoal on paper | 1981

christie’s | new york | post-war and contemporary art morning session | 18 may 2018 | sale 15969 | lot 625

photo credit lisa walsh | innerspace

sold for US$336,500

richard diebenkorn (1922-1993) | untitled | watercolor, wax crayon and graphite on paper | 1988-1992

christie’s | new york | post-war and contemporary art morning session | 18 may 2018 | sale 15969 | lot 619

photo credit lisa walsh | innerspace

 

also sold at sotheby’s:

property from an important new york collection

sold for US$10,953,500

richard diebenkorn (1922 – 1993) | ocean park #55 | oil and charcoal on canvas | 1972

sotheby’s | new york | contemporary art evening auction | 16 may 2018 | sale n09858 | lot 18
photo credit lisa walsh | innerspace

 

representational | paintings and works on paper

landscapes | still lifes | figures

berkeley, CA (1955-1966)

sold for US$5,262,500

richard diebenkorn (1922-1993) | cityscape #3 | oil on canvas | 1963

christie’s | new york | post-war and contemporary art evening sale | 17 may 2018 | sale 15968 | lot 30b

photo credit lisa walsh | innerspace

sold for US$852,500

richard diebenkorn (1922-1993) | table and folding chair | oil on canvas | 1962

christie’s | new york | post-war and contemporary art evening sale | 17 may 2018 | sale 15968 | lot 27b

photo credit lisa walsh | innerspace

sold for US$106,250

richard diebenkorn (1922-1993) | untitled | ink, graphite and charcoal on paper | 1964

christie’s | new york | post-war and contemporary art morning session | 18 may 2018 | sale 15969 | lot 627

photo credit lisa walsh | innerspace

sold for US$1,152,500

richard diebenkorn (1922-1993) | nude—elbow on knee | oil on canvas | 1961

christie’s | new york | post-war and contemporary art evening sale | 17 may 2018 | sale 15968 | lot 24b

photo credit lisa walsh | innerspace

sold for US$432,500

richard diebenkorn (1922-1993) | untitled | oil on canvas | circa 1957-1962

christie’s | new york | post-war and contemporary art evening sale | 17 may 2018 | sale 15968 | lot 29b

photo credit lisa walsh | innerspace

sold for US$250,000

richard diebenkorn (1922-1993) | portrait of n.s. | oil on canvas | 1957

christie’s | new york | post-war and contemporary art morning session | 18 may 2018 | sale 15969 | lot 621

photo credit lisa walsh | innerspace

sold for US$87,500

richard diebenkorn (1922-1993) | untitled | watercolor and gouache on paper | 1961

christie’s | new york | post-war and contemporary art morning session | 18 may 2018 | sale 15969 | lot 622

photo credit lisa walsh | innerspace

sold for US$137.500

richard diebenkorn (1922-1993) | untitled | ink and charcoal on paper | 1967

christie’s | new york | post-war and contemporary art morning session | 18 may 2018 | sale 15969 | lot 623

photo credit lisa walsh | innerspace

 

also sold at christie’s:

property of late owners

sold for US$4,692,500

richard diebenkorn (1922-1993) | untitled | oil on canvas | circa 1963-1964

christie’s | new york | post-war and contemporary art evening sale | 17 may 2018 | sale 15968 | lot 41b
photo credit lisa walsh | innerspace

property from a distinguished new york collector

sold for US$100,000

richard diebenkorn (1922-1993) | untitled | ink and conté crayon on paper | 1962

christie’s | new york | post-war and contemporary art morning session | 18 may 2018 | sale 15969 | lot 704
photo credit lisa walsh | innerspace

 

abstract expressionist | paintings and works on paper

berkeley, CA (1953-1955)

urbana, IL (1952-1953)

albuquerque, NM (1950-1952)

sausalito, CA (1947-1949)

sold for US$1,032,500

richard diebenkorn (1922-1993) | berkeley #25 | oil on canvas | 1954

christie’s | new york | post-war and contemporary art evening sale | 17 may 2018 | sale 15968 | lot 25b

photo credit lisa walsh | innerspace

sold for US$20,000

richard diebenkorn (1922-1993) | untitled (berkeley) | ink and gouache on paper | 1955

christie’s | new york | post-war and contemporary art morning session | 18 may 2018 | sale 15969 | lot 628

photo credit lisa walsh | innerspace

sold for US$552,500

richard diebenkorn (1922-1993) | sausalito | oil on canvas | 1949

christie’s | new york | post-war and contemporary art evening sale | 17 may 2018 | sale 15968 | lot 32b

photo credit lisa walsh | innerspace

 

have you ever dreamt of living with a US$46,000,000 salon-style art installation?

the home of donald and barbara zucker

photo credit (c) richard diebenkorn foundation via christie’s 17 may 2018 post-war and contemporary art evening sale catalogue, p. 157

 

sold for US$432,500

richard diebenkorn (1922-1993) | untitled | gouache on paper | circa 1953-1955

christie’s | new york | post-war and contemporary art evening sale | 17 may 2018 | sale 15968 | lot 21b

photo credit lisa walsh | innerspace

sold for US$468,500

richard diebenkorn (1922-1993) | untitled | gouache and charcoal on paper | circa 1957-1966

christie’s | new york | post-war and contemporary art evening sale | 17 may 2018 | sale 15968 | lot 22b

photo credit lisa walsh | innerspace

 

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 canyonnichols 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.