In commemoration of their 25th anniversary, Luhring Augustine is hosting an exhibition titled, “Twenty Five.” The show pulls together works from the gallery’s past and present by artists including Janine Antoni, Nobuyoshi Araki, Janet Cardiff and Georges Bures Miller, Larry Clark, George Condo, Gregory Crewdson, William Daniels, Günter Förg, Zarina Hashmi, Johannes Kahrs, Jon Kessler, Martin Kippenberger, Ragnar Kjartansson, Luisa Lambri, Glenn Ligon, Paul McCarthy, Yasumasa Morimura, Daido Moriyama, Reinhard Mucha, David Musgrave, Cady Nolan, Alberta Oehlen, Ed Paschke, Jack Pierson, Michelangelo Pistoletto, Stephen Prina, Pipilotti Rist, Josh Smith, Joel Sternfeld, Tunga, Guido van der Werve, Rachel Whiteread, Christopher Williams, Steve Wolfe, and Christopher Wool.
With its roster of international artists and art works of diverse mediums, Twenty Five is an eclectic mix of notable works from the past few decades. The show’s earliest piece is Michelangelo Pistoletto’s Metrocubo d’infinito of 1966. When viewed from the correct angle, the mirrors reflect the viewer’s body countless times, seemingly into infinity.
Since their initial display, some of these works have obtained iconic status within the artistic oeuvre of their creators. Gregory Crewdson’s digital print, Untitled (Ophelia), is one such example. In 2003 it became the cover of Crewdson’s Twilight book, which contains a series of elaborately staged photographs that merge reality with the fantastical.
Another large scale photograph, Angels Descending Staricase by Yasumasa Morimura, showcases the artist as an original innovator of digital manipulation. Morimura is known for appropriating well known historical art works and inserting his own face and body into them. Angels Descending Staricase exemplifies his work, for it features many angel costumed Morimura figures in an allusion to The Golden Stairs by the Pre-Raphaelite painter, Sir Edward Burne-Jones (1833-1898).
Bermuda born artist, Janine Antoni, is represented with her two chocolate and soap sculptures from Lick and Lather. The self-portrait busts were created and shaped by the artist’s teeth, tongue, and mouth as she literally licked and lathered them into being.
Given the varied mix of art works represented in Twenty Five, the dialogues between these works are of particular note. Albert Oehlen’s Lämmle and Martin Kippenberger, Ohne Titel (Meine Lügen sind ehrlich) are situated at opposite corners of the main gallery space. Both artists were founders of the Lord Jim Lodge art group. As such, a comparison between these two works illuminates both a real life relationship between the artists, who worked concurrently until Kippenberger’s death in 1997, as well as Kippenberger’s lasting influence on his German contemporaries.
- S. Zabrodski
Luhring Augustine Gallery