An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...
即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
New York—Pace Gallery is honoured to present the third exhibition of works by Richard Pousette-Dart in New York and the fourth exhibition of the artist with the gallery. Organised with the Pousette-Dart Estate, Richard Pousette-Dart: Works 1940—1992 will be on view from May 10, 2019 to June 22, 2019. Pace's exhibition, previously on view at Pace in London in January and February, follows Richard Pousette-Dart: Beginnings, at Kettle's Yard in Cambridge.
Richard Pousette-Dart was the youngest member of the first generation of Abstract Expressionists; the artist, along with several of his important contemporaries, took part in the formative meeting of Studio 35 and is included in the iconic 1950's Irascibles photograph. In 1951, Pousette-Dart moved with his young family to Rockland County where a small artistic community had formed. This meant that although he was an influential member of the New York school his remove allowed him to continue to develop and maintain a unique methodology and style.
The artist's relative longevity provided him the time to expand upon his earlier work, developing a mature body of work rooted in his mysticism, symbolism, and spiritual beliefs. As Philip Rylands, Director Emeritus of the Peggy Guggenheim Collection states, in the catalogue which will accompany the exhibition, 'He engaged with one of the highest aspirations of the twentieth-century avant-garde: to paint a dimension inaccessible to photography. Others painted the fourth dimension, states of mind, consciousness per se, swift motion, or the passing of time, but Pousette-Dart painted the world of the spirit.'
The exhibition will span Pousette-Dart's career featuring a selection of twelve paintings dating from 1943 to 1992, as well as works on paper from the 1940s which are being exhibited in the U.S. for the first time. The works on view illuminate the artist's development from his early work through his later presences paintings.
Pousette-Dart's paintings display his painterly gifts in a wide range of techniques using brush, palette knife and paint squeezed directly from the tube. The uniqueness of each work illustrates the painter's claim that, 'every painting is a new experience and departure into the unknown.'
From the 1960s on, Pousette-Dart began creating paintings with 'points' of paint rather than gestural lines and strokes. Some canvases are built up with heavy impasto and display a strong physicality, while other paintings are more thinly layered and more focused on colour and light.
The constellation of gestures in Pousette-Dart's paintings produced what he viewed as the works' potential for transcendence. He wrote, 'Art reveals the significant life, beauty of all forms—it uplifts, transforms it into the exalted realm of reality wherein its pure contemplative poetic being takes place—wherein art's transcendental language of form, spirit, harmony means one universal eternal presence.'
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