Pierre Huyghe is a producer of spectacular and memorable enigmas, with works that function more like mirages than as objects. Abyssal Plain (2015–ongoing), his contribution to the 2015 Istanbul Biennial, curated by Carolyn Christov-Bakargiev, was installed on the seabed of the Marmara Sea, some 20 metres below the surface of the water and close to...
In the early decades of its existence, New York's Museum of Modern Art (MoMA), founded in 1929, transformed from a philanthropic project modestly housed in a few rooms of the Heckscher Building on the corner of Fifth Avenue and 57th Street, to an alleged operating node in the United States' cultural struggle during the cold war, and one of the...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Marian Goodman Gallery is delighted to participate in the first edition of Frieze LA, held at Paramount Pictures Studios. Our vast and varied selection of works was created with Los Angeles and the West Coast in mind.
We are especially pleased to present works by John Baldessari and Lawrence Weiner.
John Baldessari plays with contrasting and opposing factors in his work, Hot & Cold Series. Baldessari, known for his explorations of dichotomies using photography, text and painted images, pairs an image of a volcano side-by-side with one of an iceberg in his diptychs. The vivid descriptions of the Antarctic in Sir Ernest Henry Shackleton’s book, South, The Story of Shackleton's Last Expedition (1914–1917), compelled Baldessari to learn more about the shape and structure of icebergs. In a style reminiscent of a screenplay, with no direct correlation implied, Baldessari adds text under each image, leading the viewers to come to their own conclusions regarding meaning and structure. In response to Baldessari’s work and its references to the climate, Lawrence Weiner has created a construction of language with the words: FLOTSAM + JETSAM & TAR & MOONSTONE, TAR & MOONSTONE & FLOTSAM + JETSAM, MOONSTONE & FLOTSAM + JETSAM & TAR. His structure will be installed around Baldessari’s works, which will occupy one wall of the stand.
We will also present a new slate by Tacita Dean, as well as two new works by Julie Mehretu titled Fugitive Breath Drawing. Dean creates drawings of clouds on Victorian-era school slates with the use of spray chalk, gouache and white charcoal. Mehretu applies pencil, pen, ink and paint to large-scale canvases, layering elements of historical and personal narratives into her work. Sculpture will be represented by Steve McQueen’s Broken Column, which consists of Zimbabwe black granite, wood and Perspex.
Themes and locations that are central to Los Angeles are directly represented in works by Thomas Struth and Hiroshi Sugimoto. Struth’s Pond, Anaheim, California (2013), and Canyon, Anaheim, California (2013), were taken at Disneyland; the photographs of theatres taken by Sugimoto are all local (El Capitan, Hollywood (1993); Fiesta Drive-In, Pico Rivera (1993); Azusa Drive-in, Azusa (1993).
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