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...
Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...
Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...
William Kentridge, More Sweetly Play the Dance (2015) (film still). Video installation. Courtesy Hyperallergic. Photo: Debra Brehmer.
MILWAUKEE—The current William Kentridge exhibition at the Milwaukee Art Museum, More Sweetly Play the Dance, is an immersive 2015 installation: a 14-minute video loop projected on a series of eight screens, 130 feet long in total. The screens unfold like an accordion book, not quite aligning, leaving small gaps that create page breaks in the fluency of the projections.
Cahiers d’Art is one of the world’s most distinguished publishers of the visual arts. We work directly with artists and their estates to create a revue, books, limited edition books and prints, and catalogues raisonnés–each of which is a celebration of the artist’s individual character and
Founded in 1926 by Christian Zervos at 14 rue du Dragon in the heart of Saint-Germain-des-Prés, ‘Cahiers d’Art’ refers at once to a publishing house, a gallery, and to a revue. Cahiers d’Art was entirely unique: a journal of contemporary art defined by its combination of striking typography and layout, abundant photography, and juxtaposition of ancient and modern art, where writers like Tristan Tzara, Paul Éluard, René Char, Ernest Hemingway and Samuel Beckett often replaced the usual art critics. The early days of Cahiers d’Art coincided with the advent of the Bauhaus, Le Corbusier, of Klee and Kandinsky, and with Zervos’s exploration of primitive art and Cycladic archaeology.
From 1930 until the outbreak of World War II, the journal concentrated on the work of Picasso, Matisse, Braque, Léger, Ernst, Arp, Calder and Giacometti, amongst others. By 1932, Cahiers d’Art had published the first volume of the Picasso Catalogue, a project that would become a life’s work, prepared by Zervos together with Picasso.
Artist collaborations with Cahiers d’Art often yielded original artwork. Joan Miró’s 1934 pochoirs and his Aidez L’Espagne, produced in 1937, and Marcel Duchamp’s Fluttering Heart of 1936, perhaps the world’s first example of kinetic art, are some of the most iconic images ever produced by these two artists.
Christian and Yvonne Zervos organized between two and five exhibitions per year between 1932 and 1970 at the Cahiers d’Art gallery space, including the work of Calder, González, Tanguy, Laurens and Brauner. By 1960, Zervos had published ninety-seven issues of the Cahiers d’Art revue and more than fifty books, including monographs on El Greco, Matisse, Man Ray, and African and Mesopotamian Art. Zervos’s work on the Picasso Catalogue continued from 1932 until his death in Paris in 1970. These thirty-three volumes have since become the definitive reference for Picasso’s work.
For over forty years, Marian Goodman Gallery has played an important role in introducing European artists to American audiences and helping to establish a vital dialogue among artists and institutions working internationally. Marian Goodman Gallery was founded in New York City in late 1977. In 1995 the gallery expanded to include an exhibition space in Paris and in 2014 an exhibition space in London. In late 2016 she realised her dream of opening a bookstore and project space in Paris.
In 1965, prior to the establishment of the gallery, Marian Goodman was a founder of Multiples, Inc. which published prints, multiples, and books by leading American artists, such as Richard Artschwager, John Baldessari, Dan Graham, Sol LeWitt, Roy Lichtenstein, Claes Oldenburg, James Rosenquist and Andy Warhol. From 1968 to 1975, Multiples worked with European artists, introducing early editions by Joseph Beuys, Marcel Broodthaers, Blinky Palermo and Gerhard Richter to American audiences.
In 1974, after starting to work closely with Marcel Broodthaers, Goodman tried to find a gallery to represent him in New York. America’s knowledge of contemporary European art was scant at this time due to a lack of travel, exposure and exchange of information. She could not find a gallery for Broodthaers and decided to open a gallery of her own to show his work alongside that of other European artists.
Since then, Goodman has used her gallery to show artists who are leaders of their generation: Eija-Liisa Ahtila, Chantal Akerman, Giovanni Anselmo, John Baldessari, Nairy Baghramian, Lothar Baumgarten, Dara Birnbaum, Christian Boltanski, Marcel Broodthaers, Maurizio Cattelan, James Coleman, Tony Cragg, Richard Deacon Tacita Dean, Rineke Dijkstra, Luciano Fabro, David Goldblatt, Dan Graham, Pierre Huyghe, Christina Iglesias, Amar Kanwar, William Kentridge, Steve McQueen, Julie Mehretu, Marisa Merz, Annette Messager, Juan Muñoz, Maria Nordman, Gabriel Orozco, Giulio Paolini, Giuseppe Penone, Gerhard Richter, Anri Sala, Matt Saunders, Thomas Schütte, Tino Sehgal, Ettore Spalletti, Thomas Struth, Hiroshi Sugimoto, Niele Toroni, Adrián Villar Rojas, Danh Vō, Jeff Wall, Lawrence Weiner, Francesca Woodman and Yang Fudong.
Goodman Gallery is a contemporary art gallery with spaces in Johannesburg and Cape Town. Since opening in 1966, Goodman Gallery has helped shape contemporary South African art, and in the decade since Liza Essers took over as owner and director that tradition has extended beyond local borders. Today, the gallery plays a vital role in supporting international collaborations in South Africa and presenting art that enriches international dialogue around colonial legacies and contemporary geopolitics. This ethos is embodied in the gallery’s 2019 programme, which features solo exhibitions by Nolan Oswald Dennis, Samson Kambalu, Carla Busuttil, Misheck Masamvu, Sue Williamson and Carrie Mae Weems.
Alongside exhibiting represented artists, the gallery's curatorial programme has grown to include an ongoing series of research-oriented group exhibitions. These initiatives include In Context, which looks at the dynamics and tensions of place in reference to the African continent; South-South, which traces cross-cultural influence and divergence between countries from the ‘Global South’; and Working Title, a platform for emerging, independent production and thinking.
During South Africa’s apartheid years, Goodman Gallery established itself as a space committed to furthering a socially progressive agenda. In recent years, Goodman Gallery has made an effort to continue that tradition by dedicating a part of its programme to non-commercial projects that broaden accessibility to contemporary art through the realisation of ambitious projects in collaboration with public institutions. Recent examples of these collaborative efforts include exhibiting William Kentridge’s The Refusal of Time, and El Anatsui’s first solo exhibition in South Africa, Meyina, at the Iziko South African National Gallery in Cape Town, as well as a helping realise the major installation The Sound of Silence, by Chilean artist Alfredo Jaar at the Wits Art Museum.
Krakow Witkin Gallery features contemporary art of all media by emerging and established regional, national and international artists as well as representing several estates. The overall focus is on Minimal, reductivist and conceptually-driven works that have been made from 1950 to the present. Barbara Krakow first opened a gallery in 1959, exhibiting Ellsworth Kelly as early as 1965, Sol LeWitt in 1971 and being the first gallery in the US to show Joseph Beuys. Since 2004, Krakow has partnered with Andrew Witkin and in 2017, the gallery’s name changed to Krakow Witkin Gallery. The gallery co-represents the estates of Sol LeWitt and Fred Sandback. Since the 1980’s, it has published catalogue raisonnés of numerous artists’ prints, such as those by Kiki Smith, Sol LeWitt and most recently, Mel Bochner.
Located on Boston’s Newbury Street, Krakow Witkin Gallery presents two exhibitions simultaneously, one in the larger gallery and one in the smaller space. These shows change every six weeks. Along with this programming, the gallery has an ongoing project, One Wall, One Work, where a single work is exhibited on an isolated wall, thus providing artists and viewers the experience of seeing an isolated work (often-times some form of installation), as well as the smaller and larger exhibitions in the other two spaces. This spectrum of viewing opportunities is a key part of the gallery’s mission to not only present and promote artists and artworks it believes in, but to help provide enlightening experiences for those of varying knowledge- and experience-bases.
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