Fundación Telefónica presents the personal project of one of the greatest creators of the XX century, made of more than 300 painted pictures coming from his personal albums. The show includes images from private collections and from the artist himself on which Richter has worked since 1989 until the present. Gerhard Richter is considered one of the most influential artists of our time without ever having limited himself to one single style. His varied production includes sculptures and paintings that range from landscapes to colourist abstractions and monochromatic greys. Dragging the photos over wet paint, Richter creates new images.
Richter has initiated a fruitful dialogue between painting and photography that has resulted in his painted photographs, small-format images taken during his travels, walks or within his own home. Those images that do not fit within his personal album due to their lack of specificity or focus or for being duplicates are subsequently painted. The images that compose the Overpainted Photographs exhibition come from private collections and the artist’s own collection, and they reflect the intensity and perseverance with which Richter has worked on this project from 1989 to the present day.
Gerhard Richter (Dresden, Germany, 1932) was trained in the Dresden and Dusseldorf art academies and learned photography as a laboratory technician. At the end of the nineteen sixties, he worked together with artists such as Polke and Baselitz, forming what was called Capitalist Realism. Following his first exhibition in 1963, he has received prizes such as the Junger Westen, Arnold Bode and Oskar Kokoschka awards. Furthermore, in 1972 he represented Germany in the Venice Biennale and participated in the Kassel Documentas of 1977, 1982 and 1987. In 2001, the MoMA organised Richter’s first large retrospective Forty Years of Painting.
Telefonica Foundation (Fundación Telefónica)’s Art and Technology website. The Foundation, based in Madrid, Spain, creates exhibitions and manages collections related to media art, cyberculture, contemporary art and telecommunications. The site provides information about: temporary exhibitions, held at the Telefonica Museum and Temporary Exhibition Halls; virtuality and cyber art activities, which include installations, exhibitions, commentary, and competitions; and in-house productions of exhibitions, installations and projects. The site also provides information about its two collections: The Historical-Technological Collection, which traces the “evolution of telecommunications from its origins through to the late 1960’s”; and the art collections, of figurative art and Spanish contemporary art. www.fundacion.telefonica.com/
The 53rd International Art Exhibition, entitled Making Worlds, directed by Daniel Birnbaum, organized by La Biennale di Venezia, and chaired by Paolo Baratta, will open to the public from Sunday June, 7th to Sunday November, 22nd 2009 in the Giardini (50,000 m2) and the Arsenale (38,000 m2) as well as in various other locations around the city. The Director of the 53rd Exhibition, Daniel Birnbaum, has been Rector of the Staedelschule Frankfurt/Main and its Kunsthalle Portikus since 2001. Making Worlds, presented in the renewed Palazzo delle Esposizioni in the Giardini and in the Arsenale, is a single, large exhibition that articulates different themes woven into one whole. It is not divided into sections. Considering collectives, it comprises works by over 90 artists from all over the world and includes many new works and on-site commissions in all disciplines.
“The title of the exhibition, Making Worlds – says Director Daniel Birnbaum – expresses my wish to emphasize the process of creation. A work of art represents a vision of the world and if taken seriously it can be seen as a way of making a world. The strength of the vision is not dependent on the kind or complexity of the tools brought into play. Hence all forms of artistic expression are present: installation art, video and film, sculpture, performance, painting and drawing, and a live parade. Taking ´worldmaking´ as a starting point, also allows the exhibition to highlight the fundamental importance of certain key artists for the creativity of successive generations, just as much as exploring new spaces for art to unfold outside the institutional context and beyond the expectations of the art market. Making Worlds is an exhibition driven by the aspiration to explore worlds around us as well as worlds ahead. It is about possible new beginnings—this is what I would like to share with the visitors of the Biennale.”
For the direction of the exhibition Daniel Birnbaum is supported by Jochen Volz, artistic organization. Additional advice is provided by an international team of correspondents consisting of Savita Apte, Tom Eccles, Hu Fang, and Maria Finders.
On occasion of the 53rd International Art Exhibition – the Foundation La Biennale di Venezia inaugurates a number of important structural and organisational developments:
At the Arsenale, the Italian Pavilion has been enlarged from 800 to 1,800 square meters, now opening out to the Giardino delle Vergini and adjacent to a new public entrance. Here a newly constructed bridge links the far side of the Arsenale to the Sestiere di Castello. This renewed Italian Pavilion will be reserved for exhibitions organised by the Italian Ministry for Cultural Affairs. The Italian participation at the 53rd International Art Exhibition is curated by Beatrice Buscaroli and Luca Beatrice. Furthermore, the Arsenale’s exhibition spaces have been extended by developing a larger part of the Giardino delle Vergini (Garden of the Virgins), now measuring 6.000 square meters and offering an enchanting new exhibition space for the main exhibition.
In the Giardini, the historic Italian Pavilion has been renamed Palazzo delle Esposizioni della Biennale and extensively transformed, now providing a permanent exhibition and multi-functional venue opened to the public throughout the year. The transformed Palazzo delle Esposizioni includes a newly refurbished wing housing the library of the Historic Archive of Contemporary Arts (ASAC), made available again to the public after ten years of closure. The Archive comprises documents, books, catalogues and periodicals, freely consultable by researchers and exhibition visitors. Apart from exhibition spaces, the Palazzo delle Esposizioni also comprises a new bookstore, a new café and new spaces for educational activities, respectively designed by three artists participating in the main exhibition. The Palazzo delle Esposizioni will therefore become an important platform for the Foundation’s permanent activities and a point of reference for the other Pavilions in the Giardini.
Ca’ Giustinian, the beautiful 15th century palace on the Canale Grande near San Marco and the traditional site of the Foundation’s headquarters, will reopen in June after several years of renovation. Apart from housing the offices of the Biennale, it will then also become an “open house” for the general public, among others boasting a café on the Grand Canal.
The National Participations of the 53rd International Art Exhibition, presented in the historical Pavilions in the Giardini, in selected areas of the Arsenale and in numerous venues throughout the city, are this year amounting to the record number of 77 Nations participating, including first-time participations of Montenegro, Principality of Monaco, Republic of Gabon, Union of Comoros, and United Arab Emirates.
Furthermore there is a record number of 44 Collateral Events, proposed by international organizations and institutions, which will organize their own exhibitions and initiatives in Venice during the occasion.
An exhibition dedicated to the venetian artistic glass will be held at the Venice Pavilion. The exhibition organized by the Region of Veneto, in concomitance with the 53rd Exhibition and curated by Ferruccio Franzoia, is titled … fa come natura face in foco.
Inaugurating the renovated headquarters of the Biennale as yet another exhibition venue, The Vision Machine: Futurists in the Biennale will be presented at Ca’ Giustinian from June to November 2009. The exhibition explores the presence of Futurist artists, ideas and works in the Biennale. Curated by IUAV, International Semiotics Laboratory Venice, it is the result of a research undertaken at the Historic Archive of the Contemporary Arts (ASAC).
Recent major acquisitions of British contemporary art will go on display in the BP Exhibition Classified, opening at Tate Britain on 22 June 2009. This free exhibition will i nclude large-scale works from Tate’s collection. Using a wide range of media, Classified will feature new acquisitions which will be on display at Tate for the first time, such as Jake & Dinos Chapman’s Chapman Family Collection 2002 and two works from Damien Hirst’s recent gift to Tate: The Acquired Inability to Escape 1991, one of the artist’s early vitrine works, and Life Without You 1991. On view 22 June – 23 August 2009.
Classified will offer visitors to Tate Britain the opportunity to see exceptional works by leading contemporary artists and to explore the recent development of Tate’s outstanding collection. Artists represented in the exhibition will be: Phillip Allen, Gillian Carnegie, Jake and Dinos Chapman, Martin Creed, Tacita Dean, Jeremy Deller, Mark Dion, Ceal Floyer, Damien Hirst, Simon Patterson, Peter Peri, Fiona Rae, Simon Starling, and Rebecca Warren.
Classified will focus on the way artists use ordering systems in their work, exploring how our need to classify affects our perception of the world. The exhibition will address this desire to collect, order and categorise, and will show how artists often use these networks and relationships in ways that reveal the inherent instability of meaning. The works in this exhibition employ a variety of methods and approaches, but are united by the artists’ engagement with the ways we all codify the objects and images that surround us as part of our daily life.
Familiar works such as Damien Hirst’s room installation Pharmacy 1992, Simon Patterson’s Great Bear 1992, a reconfigured version of the iconic map of the London Underground, and Mark Dion’s Tate Thames Dig 1999, which groups together objects found on the banks of the River Thames, will be shown alongside works that have been acquired over the last five years. This is the first time that many of these will be on display at Tate, including installations such as Simon Starling’s Work made-ready, Les Baux-de-Provence (Mountain Bike) 2001, Jake and Dinos Chapman’s Chapman Family Collection 2002, Tacita Dean’s film portrait Michael Hamburger 2007 and Rebecca Warren’s sculpture In the Bois 2005. All these works allow the visitor to reflect not only on the artists’ construction of meaning by their use of different strategies of classification but also on the museum’s role in collecting, cataloguing and displaying objects.
Classified is curated by Clarrie Wallis, Curator Contemporary British Art at Tate Britain, and Andrew Wilson, Curator Modern & Contemporary British Art at Tate.
BP British Art Displays 1500-2009 is supported by BP. BP has supported Collection Displays at Millbank since 1990, first at the Tate Gallery and then from the opening of Tate Britain in 2000 to the present. BP’s continued support allows Tate Britain to create a broad and dynamic displays programme which explores in depth British art from 1500 to the present. Visit Tate Britain at : www.tate.org.uk/britain/
More than forty works from the Brooklyn Museum’s expanding collection of contemporary art will go on long-term view on September 19, 2008, in 5,000 square feet of space newly renovated for this purpose. With contemporary works ranging from Andy Warhol’s Fragile Dress, 1966, to Mickalene Thomas’s A Little Taste Outside of Love, 2007, 21: Selections of Contemporary Art from the Brooklyn Museum will focus primarily on work produced since 2000, particularly from the richly diverse artistic community of Brooklyn.
This installation marks the first time in a decade that the Museum has dedicated space to the long-term display of selections of its collection of contemporary art and reflects a renewed emphasis on the acquisition and presentation of recent works.
The Museum’s director Arnold L. Lehman states, “The revitalized contemporary art program at Brooklyn is managed by an exceptional team of curatorial specialists under the leadership of Eugenie Tsai, the John and Barbara Vogelstein Curator of Contemporary Art. With the generous support of a number of the Museum’s Trustees and friends, this team has already made remarkable progress in acquiring important new works with a particular emphasis on works made in the twenty-first century and created by artists of color. At the same time, our curators have taken a strong lead in the presentation of the Museum’s dynamic exhibition program.”
Donald Judd, Claes Oldenburg, and Do-Ho Suh. A new installation of three wax sculptures by New York artist Petah Coyne will be on view in the fifth-floor lobby gallery August 6, 2008, through July 2009, to coincide with the opening of the new contemporary galleries. Two of the three sculptures are recent gifts that will be on view for the first time.
Among the recently acquired works in the contemporary installation will be a painting by the Miami-based artist Hernan Bas titled Night Fishing, which will also be included in the Museum’s forthcoming exhibition on the artist, on view February 27–May 24, 2009; a sculpture by Kara Walker titled Burning African Village Play Set with Big House and Lynching, 2006, that explores racial stereotyping through imagery drawn from the antebellum South; the Brooklyn artist Valerie Hegarty’s painting Fallen Bierstadt, inspired by the Museum’s renowned work by Albert Bierstadt, A Storm in the Rocky Mountains, Mt. Rosalie; a mixed-media sculpture by the Jamaican artist Hew Locke titled Koh-i-Noor, similar to another version of the subject in the Museum’s recent exhibition Infinite Island: Contemporary Caribbean Art; and twenty-five photogravures by Olafur Eliasson, a Danish-Icelandic artist, who is showing New York City Waterfall, a public art project currently on view in the East River. Other artists represented include Amy Sillman, Kiki Smith, Nari Ward, Chester Higgins Jr., Sol LeWitt, Kehinde Wiley, Terence Koh, Seher Shah, Simon Norfolk, Jules de Balincourt.
The Brooklyn Museum has collected contemporary art since the mid-nineteenth century when a bequest from Augustus Graham, one of the Museum’s founders, endowed a “Gallery of Fine Arts” accompanied by funds allocated for the annual purchase of works of art by living American artists. In 1855 the initial commission went to Asher B. Durand, whose painting The First Harvest in the Wilderness inaugurated the Museum’s collection. In the early twentieth century, the Museum continued to acquire contemporary art, and in 1934 it established a Department of Contemporary Art. Contemporary works were exhibited in galleries in the West Wing in the 1990s. Since 2001, contemporary art has been integrated into galleries throughout the Museum, especially in American Identities: A New Look.
The contemporary galleries installation is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, and Patrick Amsellem, Associate Curator of Photography. The Petah Coyne installation is organized by Tumelo Mosaka, Associate Curator of Exhibitions.
In addition to Jesper Just: Romantic Delusions, two additional contemporary exhibitions will be presented this fall: on view September 19, 2008 through January 4, 2009, organized by Patrick Amsellem; and Gilbert & George, on view October 3, 2008 through January 11, 2009, coordinated by Judy Kim, Curator of Exhibitions.
Indian artists such as Subodh Gupta (b. 1964), Bharti Kher (b. 1969) Anish Kapoor (b. 1954), Raqib Shaw (b. 1974) and T.V. Santhosh (b 1968 are an ever-growing force in Sotheby’s international sales of Contemporary Art – in addition to the company’s regular dedicated sales of Indian Art – and this summer’s major series of Contemporary Art sales in London will see this trend gather further momentum still. The sales on Tuesday, July 1 and Wednesday, July 2, 2008, will present a total of eight works by these cutting-edge and highly sought-after names and together the works are estimated in excess of £2 million.
Sotheby’s spring Day sale of Contemporary Art on May 15th, 2008, will feature Ed Ruscha’s ‘I Don’t Want No Retro Spective’, 1979, an iconic work which recounts a fascinating story about the artist and the American actor, Bud Cort, (pictured above, est. $1/1.5 million*). Immortalized on the cover for Edward Ruscha’s monumental 1982 retrospective, which originated at the San Francisco Museum of Art and later traveled to the Whitney Museum of Art, New York, and the Los Angeles County Museum of Art, ‘I Don’t Want No Retro Spective’ will be the Sotheby’s cover lot of the upcoming sale.