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New York — “Words Without Thoughts Never to Heaven Go” at Almine Rech Gallery Through December 16th, 2017

December 14th, 2017

Words Without Thoughts Never to Heaven Go (Installation View)
Words Without Thoughts Never to Heaven Go (Installation View)

Almine Rech Gallery, one of Paris’s foremost galleries, opened its first New York location more than a year ago on the Upper East Side, bringing with it a unique program that mixes a strong artist roster with a consistently adventurous curatorial project.  For its most recent venture, the gallery has brought together key figures from the canon of 20th century Western art for Words Without Thoughts Never to Heaven Go. Adapting its title from a line in Shakespeare’s Hamlet, the exhibition investigates ways artists use text as an allegorical element. Serving as a chronological and thematic starting point to the exhibition is Être ou ne pas être, Picasso’s 1912 painting considered as one of the foremost examples of appropriation of text in modern painting. Declaring “to be or not be” in French with gouache on paper, Picasso not only pays homage to one of the most emblematic texts ever written, but he also questions the mimetic essence of a painting. Can a painting of words serve to depict an image?
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Clearing Gallery Opens Shop Uptown

December 14th, 2017

Clearing Gallery's uptown space, via Art NewsClearing Gallery has opened a new space in New York City, setting up a second location at 43 East 78th Street. “We have private dealers, galleries, and museums around, so it’s a super location,” says gallery owner Olivier Babin. “As much as Bushwick is off the beaten path, this is in the center of everything. I mean, we’re across the street from the Carlyle!”
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American Collectors Rarely Sell Prized Works Once Purchased

December 13th, 2017

Christie's, via NY postA new study finds that few American art collectors sell their works once they have purchased them, the New York Post reports. “Collectors don’t apply the same principles to buying art that they would to a typical investment portfolio of stocks and bonds,” says John Mathews, head of private wealth management and ultra-high net worth at UBS Americas. “It is important, however, to institute management structures to ensure their legacy remains protected, correctly valued and insured.”
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REFERENCE LIBRARY

Eric Fischl

Birthdate: 1948
Born in: New York City

Education includes:

Phoenix College
Arizona State University California
Institute of the Arts in Valencia, California, where he earned his BFA in 1972.
He then moved to job as a guard at the Museum of Contemporary Art

Work :

* Fischl has embraced the description of himself as a painter of the suburbs, not generally considered appropriate subject matter prior to his generation. Some of Fischl’s earlier works have a theme of adolescent sexuality and voyeurism, such as Sleepwalker (1979) Bad Boy (1981) and Birthday Boy (1983) both depict young boys looking at older women shown in provocative poses on a bed. In 2002, Fischl collaborated with the Museum Haus Esters in Krefeld, Germany. Haus Esters is a 1928 home, designed by Mies van der Rohe in 1928 to be a private home. It now houses changing exhibitions.

Fischl refurnished it as a home (though not particularly in Bauhaus style, and hired models who, for several days, pretended to be a couple who lived there. He took 2,000 photographs, which he reworked digitally and used as the basis for a series of paintings, one of which, the monumental Krefeld Project, Bedroom #6 (Surviving the Fall Meant Using You for Handholds) (2004) was purchased by Paul Allen featured in the 2006 Double Take Exhibit at Experience Music Project, where it was juxtaposed with a much smaller Degas pastel. This is by no means the first time Fischl has been compared to Degas. Twenty years earlier, reviewing a show of 28 Fischl paintings at New York’s Whitney Museum, John Russell wrote in the New York Times, “Degas sets up a charged situation with his incomparable subtlety of insight and characterization, and then he goes away and leaves us to figure it out as best we can. That is the tactic of Fischl, too, though the society with which he deals has an unstructured brutality and a violence never far from release that are very different from the nicely calibrated cruelties that Degas recorded.”

* via Wikipedia

http://www.ericfischl.com/