Oldenburg/van Bruggen, Shelf Life (Installation View), via Art Observed

After 12 years, pop master Claes Oldenburg returns to Pace Gallery for a show of new works this month, united under the title Shelf Life.  Incorporating a a range of sculptural techniques and objects into a swirling series of “still life” arrangements, the artist’s work re-contextualizes his own range and output as a sculptor into the broader landscape of his own life.  Shown under the name “Oldenburg/van Bruggen” the exhibition feels like something of a tribute to the artist’s late wife Coosje van Bruggen, with whom he built a range of sculptures and projects appearing in smaller scales throughout the exhibition. (more…)

Claes Oldenburg is in Interview Magazine this month, sitting down with Barbara Rose to discuss his practice, and his early creative years as a child.  “As a child, I started my own country, which was called Neubern. It was located in the South Atlantic. I did the documentation of Neubern in great detail,” he says.  “I drew everything that was there, all the houses and all the cars and all the people. We even had a navy and an air force. I spent a lot of time drawing.” (more…)

Claes Oldenburg’s iconic Floor Burger (1962) is currently undergoing a restoration project at the Art Gallery of Ontario, in preparation for its upcoming exhibition at the Museum of Modern Art in New York.  Purchased by the AGO in 1967, the work, which is stuffed with empty ice cream cartoons, has shifted in appearance over the years, and now requires restoration work to help regain its original form and coloration.  “I was more concerned with the effect of the piece as I was making it rather than its future conservation,” says Oldenburg, “I started with the foam, but found it was weighing the sculpture down,” he says, “so we used the empty boxes to make it lighter.” (more…)

Jim Dine (Installation View), via Pace Gallery

In a refreshing break from his figurative painting and Pinocchio art, Pace Gallery presents a collection of new abstract paintings by Jim Dine.  The paintings are large, romantic, intense renderings of universal situations and emotions – sometimes literally, with titles like “A Fingerprint of Stars”, a painting that reaches fourteen feet wide and five feet tall.

 
Jim Dine, Late Friends (2012), via Pace Gallery

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Claes Oldenburg, Pastry Case (1961-62), via Guggenheum Bilbao

Guggenheim Bilbao is currently exhibiting work by legendary American pop artist Claes Oldenburg (born 1929), focusing on the sculpture, performance and installation artist’s early work from the 1960s.  Pulling from the conceptually dense and thematically broad practice of his formative years, this is the largest show of work ever exhibited from this period in Oldenburg’s life.

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Claes Oldenburg and Coosje van Bruggen, French Horns, Unwound and Entwined (2005), via PKM Gallery

Since they began working together in 1971, Claes Oldenburg and his late wife Coosje van Bruggen have created a dense body of work melding together their creative approaches in a variety of large-scale public installations and gallery works.  Appropriating the form of conventional, commonplace objects and recasting them at enormous proportions, the couple’s art simultaneously plays at the viewer’s perceptions of reality and the irony of the subject matter on view. (more…)

Richard Artschwager, Horizon 2011. All images courtesy David Nolan Gallery

Richard Artschwager’s desert landscapes are the subject of an exhibition at the David Nolan Gallery in New York. Throughout Artschwager’s career, he has been known for his use of non-traditional materials in both sculpture and painting, such as wood, formica and Celotex(a fiberboard used for ceiling panels). He is also recognized for his large grisaille paintings, based on grid structures. These desert landscapes are a clear departure, and emit an emotional sensibility that Artschwager rarely lets us get a glimpse of — only recently has he employed such a vivid exploration of color.

Richard Artschwager Landscape with Pond 2011

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Liliana Porter (right) and Ana Tiscornia, photo by ArtObserved

The following an interview with Liliana Porter, November 14th, 2012, by Anna Mikaela Ekstrand for Art Observed:

As Liliana Porter received me in her West Village pied-a-terre for our interview, she asks, “hablas español?” The apartment is light, airy and sparsely decorated with objects such as a Claes Oldenburg pretzel on a shelf and a Richard Artschwager exclamation mark on a wall. As we walk to the window, Porter points out highlights of the view; the Chrysler building to the left and perhaps of more interest the rooftops and a garden beneath, belonging to Donna Karan “where she throws crazy parties”. Looking down it feels like we are on the balcony of a theater.

Liliana Porter, Man with Axe, 2011 courtesy Hosfelt Gallery New York and Pinta

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All photos taken on site by Aniko Berman

On Monday, September 24, Gemini G.E.L. at Joni Moisant Weyl, the New York gallery for the famed Los Angeles print workshop, hosted its Artists for Obama event celebrating the Artists for Obama 2012 limited edition portfolio created and sold to support Obama’s reelection efforts. For the campaign, 19 artists have come together to create a portfolio of limited edition prints, with all proceeds going to the Obama Victory Fund. Of the 150 examples, 60 have already sold at $28,000 each; at the end of the project, Gemini G.E.L. hopes to raise 4.2 million dollars for the campaign. An additional sweepstakes offers supporters a chance to win the full portfolio for a $250 contribution to the fund.

Image: Artist James Rosenquist

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‬The FT covers Michael Peppiatt’s new book featuring interviews with artists such as Francis Bacon, Claes Oldenburg, and Frank Auerbach, “I [want] to pin experience down before it disappears,” stated Auerbach in an excerpt. A conjoint exhibition of his work and that of Peppiatt’s other subjects will open in London this June.

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Subodh Gupta, Untitled, 2011, oil on canvas. All images courtesy Hauser & Wirth.

Opening tonight at Hauser & Wirth New York is an ascetic new exhibition by Indian artist Subodh Gupta. The artist, who is often referred to as “The Damien Hirst of Delhi,” earned his nickname from a dazzling sculpture of a skull entitled Very Hungry God (2006). He is the leader of a group of Indian artists whom mega-curator Hans Ulrich Obrist frequently heralds as art world game-changers, and his works regularly fetch auction prices over 1 million USD.

In contrast to this glitzy reputation, “A glass of water” is shockingly subdued. The exhibition takes its name from a work in which a metal drinking cup rests atop a table, filled to the brim with fresh water. Its origin and constant replenishment remain a mystery. The tension created– that the cup may overflow at any moment, from a visitor’s step or breath– “serves up a rich metaphor for the almost unbearable tension between luxury and depletion, accumulation and deprivation, acquisition and exhaustion that are the daily diet of exploding international culture,” explains the exhibition statement.

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Marcel Broodthaers, Les Portes, 1969. Vacuum-formed plastic, hand painted, 192 x 178 cm. All images courtesy of Michael Werner Gallery.

Currently on view at Michael Werner Gallery is Marcel Broodthaers “Major Works.” The exhibition marks the second this fall of Belgian conceptual artist Broodthaers, who began his career as a poet before turning to visual art at age 40. Stemming from his roots in poetry, Broodthaers’ visual practice involved playful, provocative juxtapositions of word and image, poetry and object, language and art. His work is varied, dabbling in appropriations, film, image and text combinations, and mixed media installations he called decors.

The artist found inspiration in the Surrealists and American Pop artists, citing influence from Oldenburg, Segal, Mallarmé, and Magritte. Unfortunately, the artist’s career was tragically cut short when, a mere twelve years later, he succumbed to liver disease on his 52nd birthday. However, he leaves behind an astounding number of works, many of which have had a profound impact on future artists, including Richard Prince, Rachel Harrison, Philippe Parreno and Tino Sehgal.

Marcel Broodthaers, Dites Partout Que Je L’Ai Dit (Say Everywhere That I Have Said It), 1974. Parrot under bell jar, audiotape, 2 framed works. Variable dimensions.

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Installation View  All photographs are via Gagosian Gallery unless otherwise noted

Currently on view at Gagosian Gallery, 6-24 Britannia street, London is the exhibition titled “Crash, Homage to J.G. Ballard” , a group show dedicated, as the name suggests, to the oeuvre of J.D. Ballard, a prominent British novelist and short-story writer, a representative of the New Wave movement in science fiction.  The exhibition was put together to pay tribute to the enormous cultural influence of J.D. Ballard’s fiction on many visual artists. The impressive selection of works by  such prominent artists as Ed Ruscha, Richard Hamilton, AndyWarhol and Helmut Newton illustrates profound engagement of the writer with the works of visual artists of his generation and their mutual influence.

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Tall Figure II and Tall Figure III both 1960 Alberto Giacometti. All images via MoCA

To celebrate their 30th Anniversary, the Museum of Contemporary Art, Los Angeles (MoCA) are exhibiting ‘Collection: MoCA’s First Thirty Years‘ – an exhibition comprising of more than 500 artworks by more than 200 artists, it is the largest ever installation of works from MoCA’s permanent collection. This comprehensive survey of the past 70 years of contemporary art history fills both of MoCA’s downtown L.A. locations – MoCA Grand Avenue and The Greffen Contemporary.

Big Wheel, Chris Burden (1979) via MoCA

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Claes Oldenburg, “Ice Bag – Scale C” (1971) via NY Times

Currently on view at the Whitney Museum of American Art in New York is a retrospective of the work of artist Claes Oldenburg (b. 1929), whose highly productive career spans from the early 1960s to today. The exhibition is organized chronologically and consists of two parts:  the first, entitled “Claes Oldenburg: Early Drawings, Sculptures and Happening Films” traces the early developments of Oldenburg’s career in the 1960s and early ’70s, while the second, “Claes Oldenburg and Coosje van Bruggen: The Music Room” focuses on Oldenburg’s thirty-three year collaboration with his wife Coosje van Bruggen, the art-critic and -historian who died of breast cancer in January.

Related links:
Exhibition page [Whitney Museum of American Art]
Exhibition page – Happenings Films [Whitney Museum of American Art]
A Low-Cost Show Reinflates a Big Bag [New York Times]
Going Softly into a Parallel Universe [New York Times]
Claes Oldenburg Artist Page [Art Observed]

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Willem de Kooning’s ‘Woman’ via Christie’s sold for $3.7 million, more than doubling its high estimate of $1.8 million.

Again, Christie’s bested Sotheby’s in this week’s Post-War and Contemporary Art auctions after Sotheby’s failed to meet its low estimate, covered here by AO.  Last night’s sale in New York resulted in a total of $93.7 million, falling within the higher end of the pre-sale estimates of $71-104 million. Only 5 of the 54 lots went unsold, with 30 selling for more than $1 million.  After a night of lively bidding, Christie’s co-head of post-war and contemporary art, Amy Cappellazzo joked that, “It felt like a year ago.” Last year’s sale brought in $348.2 million, with a number of works selling in the double digits. This year, estimates were far more conservative for the chastened market, with the highest-selling lot, David Hockney’s ‘Beverly Hills Housewife,’ going for $7.9 million, setting a new record for the artist. The portrait of the late Betty Freeman was one of 20 in the sale coming out of the Betty Freeman Collection, another factor contributing to last night’s success.

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David Hockney’s ‘Beverly Hills Housewife’ via Christie’s sold for $7.9 million, falling within estimates of $6-10 million and setting a new record at auction for the artist.

New World Auction Records set for Hockney, Oldenburg, Wheeler, and Smith at Christie’s [Artdaily]
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At an Upbeat Christie’s Auction, Some Record Prices [NY Times]
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NY auctions end with solid contemporary art result [Reuters]
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Christie’s Auction Beats Estimate, Boosts Confidence [Bloomberg]
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Betty Freeman Portrait Fetches $7.9 Million in N.Y. Auction [Bloomberg]
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Christie’s Contemporary “Gets It Right” [Artinfo]
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Christie’s Auction Rekindles Art Optimism [WSJ]

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