‬Lehmann Maupin Gallery to open Hong Kong location, deeming it “more positioned as a destination” than other Asian cities. “…We recognize there is an opportunity for the promotion of our artists’ work…[and] to contribute to the growth of Hong Kong’s gallery infrastructure,” say founders Rachel Lehmann and David Maupin.
Kalup Linzy at Lehmann Maupin, “the show’s unlikeliest darling, a black Southern-inflected, gender-bending, genre-defying video-and-performance artist” [AO Newslink]
Bruce Nauman, Parallax Shell (1971-2000).
Currently on view at the Lehmann Maupin Gallery is The Parallax View, an exhibition curated by Manuel E. Gonzalez exploring the nature of conflict in the works by acclaimed artists Teresita Fernández, Dan Flavin, Gego, Mary Heilmann, Eva Hesse, Robert Irwin, Agnes Martin, Robert Morris, Bruce Nauman, and Robert Smithson. Centered around the notion of “parallax,” which is defined as “the apparent displacement of an observed object due to a change in the position of the observer,” the exhibition examines how each artist confronts notions of space, light, and observation in their work. Works by such stylistically disparate artists spanning the course of post-war 20th century confront each other through various shapes and forms resulting in an expression of conflict and disharmony.
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Anselm Kiefer, Winter Ade Scheiden Tut Weh Aberdein Scheiden Macht, Dass Mein Herz Lacht (Goodbye, Winter, Parting Hurts But Your Departure Makes My Heart Cheer), 2010
Listed at $100,000
Last night at the Lehmann Maupin Gallery on Chrystie street in the Lower East Side of New York, West-Village-based Foundation for Contemporary Arts held a benefit auction selling nearly 200 paintings and sculptures. All proceeds went to programs of the FCA, “hoping to assist and encourage innovation, experimentation and potential in the arts,” this year providing 14 grants to artists, of $25k each.
The benefit was extremely well attended, with some of the artists joining as well. The large number of works represented a variety of globally well-known artists, including Damien Hirst, Andy Warhol, Jasper Johns, Ed Ruscha, Brice Marden, Francesco Clemente, Bruce High Quality Foundation, Jake and Dinos Chapman, Julie Mehretu, James Rosenquist, Roy Lichtenstein, David Salle, Frank Stella, Elizabeth Neel, Julian Opie, Cecily Brown, Vija Celmins, Robert Gober, Nate Lowman, Dan Colen, Dana Schutz, Kara Walker, and T.J. Wilcox, to name a few.
More photos after the jump…
Installation Still from “Only God Knows I’m Good” (via Lehmann Maupin)
Lehmann Maupin Gallery has opened a new solo show by British artist Tracey Emin at their Lower East Side location. Emin, most notorious for her 2005 work “Everyone I Have Ever Slept With 1963 – 1995” deals primarily with issues of lust, dreams, and the alienation of sex.
The media in “God Only Knows I’m Good” is varied: the artist employs embroideries, video, monoprints, sculptures, and neons. The embroideries encompass most of the show: sexed-out figures reminiscent of Egon Schiele’s awkward nudes writhe across large-scale canvases made from blankets. A plethora of small drawings also populate the gallery, inviting a more intimate viewer relationship. Tongue-in-cheek texts accompanying these figures offer either a shock of revulsion or a dark humor. “I can’t feel,” the women say, as they fondle themselves. “Every fucking time,” reads another. Both acutely personal and universal, Emin insists the women in her portraits are not directly autobiographical, but rather symbolic of prurience and loneliness. Her use of rudimentary spelling and a shaky line also imbue the work with a kind of disturbing naïveté, given the strong content of the imagery.
In a strange nod to heroic equestrian portraits, one large-scale embroidery depicts a man riding a cow-like figure up a set of stairs, the text reading “Why be afraid when I will be the one who carry’s you to Heaven.” The artist’s use of embroidery, traditionally a woman’s past time, raises an interesting dialogue with its subversive content.
Why Be Afraid, 2009, embroidered blanket, 79.92 x 89.76 in. (via Lehmann Maupin)
More images, text and related links after the jump…..
The opening of Juergen Teller’s ‘Paradis’ at Lehmann Maupin Gallery all photos by ArtObserved or courtesy of the gallery
Last week marked the start of the new gallery season with a number of Chelsea galleries opening their doors on Thursday night. Coinciding with Fashion Week was the opening at Lehmann Maupin of Juergen Teller’s fifth exhibition with the gallery, ‘Paradis.’ Originally commissioned for the French magazine Paradis, the exhibition features Charlotte Rampling and Raquel Zimmermann, whom Teller has photographed previously, alone and nude in the Musée du Louvre.
Juergen Teller: Paradis [Lehmann Maupin]
Photographer Juergen Teller: “It’s Time for You to Take Your Clothes Off” [Wall Street Journal]
Lehmann Maupin – Juergen Teller: Paradis Photography Exhibition [Freshness]
Bringing Humanity To The Fashion World [Style.com]
Cathy Horyn & Juergen Teller Talk Paradis [Elle]
Juergen Teller’s ‘Paradis’ via Lehmann Maupin Gallery
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Hernan Bas Mystery Bouf (or, the kingdom after the flood) (2009) at Lehmann Maupin.
Lehmann Maupin’s Chrystie Street location on the Lower East Side of Manhattan presents a new body of work by contemporary Miami-based painter Hernan Bas. This exhibition, entitled The Dance of the Machine Gun & other forms of unpopular expression after the “Futurist Manifesto” by Italian poet F.T. Marinetti, is his first solo show in four years and coincides with the artist’s retrospective at the Brooklyn Museum, taken from the Rubell Collection of Miami.
Lehmann Maupin
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Hernan Bas: The Dance of the Machine Gun & other forms of unpopular expression
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201 Chrystie Street, New York
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April 23 – July 10, 2009
RELATED LINKS
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Exhibition Page [Lehmann Maupin]
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The Beginning and the End: Hernan Bas at Lehmann Maupin N.Y.C. [C-Monster]
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Hernan Bas at Lehmann Maupin Tomorrow Night! [Supreme Being]
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Hernan Bas at Lehmann Maupin [The World’s Best Ever]
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Hernan Bas: The Dance of the Machine Gun & other forms of unpopular expression [Whitewall]
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Go See: Hernan Bas at the Brooklyn Museum New York [Art Observed]
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Video: Hernan Bas at Lehmann Maupin [NewArtTV]
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Installation view of new works by Hernan Bas at Lehmann Maupin Gallery.
‘Don’t forget about me (Keri)’ by Mickalene Thomas via Lehmann Maupin
Open now at Lehmann Maupin in Chelsea is ‘She’s Come UnDone!’, an exhibition of photographs, paintings, and collages by Mickalene Thomas. This is Thomas’s first solo show in New York, coming on the heels of growing international attention in the past few years. Thomas is known for paintings of black women, sometimes nude, often in a kitschy 1970s domestic setting with lots of woodgrain paneling and animal prints, and incorporating a lot of rhinestones.
Artists On Artists / Mickalene Thomas By Kara Walker [Bomb]
In the Studio: Mickalene Thomas [Art + Auction]
Mickalene Thomas – She’s Come UnDone! [Lehmann Maupin]
Mickalene Thomas
Lehmann Maupin "The Glamour Project"
In conjunction with Glamour magazine in celebration of its 70th anniversary, Lehmann Maupin gallery has organized a group show of prominent women artists titled “The Glamour Project.” Boldfaced name artists like Tracey Emin, Kara Walker, Marilyn Minter, Rachel Feinstein, and Rita Ackermann were asked to create works translating their own interpretations of glamour. The south gallery space features black-and-white portraits of the ten commissioned artists by photographer Brigitte Lacombe.
Lehmann Maupin - The Glamour Project - Tracey Emin - I Promise to Love You Too
According to Glamour editor-in-chief Cindi Lieve, “Ask ten women artists, and you’ll get ten showstopping, brilliantly realized visions – some of them sweet, some of them shocking, but each one a very personal manifesto on the meaning of femininity in 2009.”
RELATED LINKS
Jason Wu, Thakoon Celebrate Glamour’s 70th Anniversary [Huffington Post]
Party Watch [Vanity Fair]
Glamour Celebrates 70th: Portrait Artists [WWD]
“The Glamour Project” brings out the glamourous [Guest of a Guest]
Glamour Turns 70! [Mediabistro]
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Grayson Perry; Entrance To The Forest; 2002; Victoria Miro Gallery; London -Photos by ArtObserved
“The surprise is the business we are doing. Frankly, people are expressing more confidence in the art market than the government or Wall Street right now,” said Sean Kelly of Sean Kelly Gallery. The night of December 2nd, Vernissage attendees glittered and Piper Heidsieck champagne flowed. More importantly, buyers were in attendance, asking questions and indeed, according to most of the galleries interviewed for this article, buying. On Thursday afternoon, Douglas Baxter, President of Pace Wildenstein professed “We’ve met expectations.” Also on Thursday, when asked his feelings on sales from the night before, a representative at Cheim & Read insisted his artists have been selling well, pointing to Jack Pierson sculpture and a pile of William Eggleston’s photos. Margherita Belaief of Peres Projects had the same confidence, “It’s hard to say so early but in general, Dash Snow’s pieces are selling strong.” While hesitant to disclose precise numbers, the overall sentiment of the top galleries was optimistic.
However, it’s important to note while the larger known artists have been selling strong, some galleries have reported some difficulty selling lesser known artist pieces. Alfons Klosterfelde at Klosterfelde was most direct: “People are asking more questions and really want to know the details,” but he said pointedly as of Thursday, “there have been less sales” and Klosterfelde remarked the pieces sold were from the gallery’s more known artists.
Photos and Writing by Faith-Ann Young
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