Fidest – Agenzia giornalistica/press agency

Quotidiano di informazione – Anno 31 n° 275

Posts Tagged ‘abstraction’

Abstraction Beyond Borders, Impressionist and Modern Art Evening Sale, 27 February 2018

Posted by fidest press agency su venerdì, 5 gennaio 2018

Impressionist and Modern ArtLondon – Christie’s will offer a collection that traces the development of abstraction as artists across Europe redefined art in the 20th Century. Abstraction Beyond Borders will be included in the Impressionist and Modern Art Evening Sale and The Art of the Surreal on 27 February 2018, launching ‘20th Century at Christie’s’, a series of sales that will take place in London from 27 February to 7 March 2018. A total of ten works represents the diversity of artists working in different cities across the continent, such as Georges Braque, František Kupka, Francis Picabia, Kurt Schwitters and Georges Vantongerloo, who shunned pictorial representation, instead creating unprecedented works that pushed the boundaries of what art could be. This group demonstrates the idiosyncrasy of these artists’ restless invention. From line, colour and form, to medium and material, their curiosity, daring eclecticism and pioneering spirit of exploration nearly 100 years ago paved the way for artists and collectors today. Highlights include Francis Picabia’s Peinture (Pot de fleurs) (circa 1924-26, estimate: £900,000-1,200,000, illustrated, above), an example of the series of ornate collaged paintings which occupied the artist during the mid-1920s and Iris (1929, estimate: £800,000-1,200,000). Composition émanante de l’équation y=ax2+bx+18 avec accord de l’orangé-vert-violet by Georges Vantongerloo (1930, estimate: £800,000-1,200,000) encapsulates his individual approach to the ideals of the De Stijl movement, adopting a mathematically constructed composition to explore the inter-relationship of a carefully selected group of colours. Das Richard-Fretiag-Bild by Kurt Schwitters (1927, estimate: £500,000-700,000, illustrated, above) is a rare Merz relief that dates from the height of his involvement with the International Constructivist movement, while Series C, III, Elevation (1935-38, estimate: £500,000-700,000) by František Kupka, one of the first truly abstract artists, establishes the radical simplification of form that characterises his late work. Georges Braque’s cubist composition, Cartes et cornet à dés (circa 1910-11, estimate: £500,000-800,000), originally owned by the pioneering early modern collector Wilhelm Uhde, presents the origin of this move towards a new, non-representational artistic language. Highlights from Abstraction Beyond Borders will be on view in Hong Kong (10-12 January) and Taipei (15-17 January) before being exhibited in London from 20 to 27 February 2018.

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Nuovo direttore accademia di Francia a Roma

Posted by fidest press agency su mercoledì, 9 settembre 2009

Il Presidente della Repubblica, su proposta di Frédéric Mitterrand, ministro della cultura e della comunicazione francese, ha nominato direttore dell’Accademia di Francia a Roma Villa Medici, Eric de Chassey. Nato nel 1965 negli Stati Uniti, Eric de Chassey, normalien, dottore in storia dell’arte, professore all’Université François-Rabelais de Tours, già membro dell’Institut universitaire de France, ha saputo associare una solida formazione classica a una non comune conoscenza dell’arte contemporanea, così come l’eccellenza accademica all’intensa e stimata attività di critico d’arte e curatore di mostre. Tra i numerosi lavori e cataloghi di mostre, di questo esperto della prolificità transatlantica dell’arte moderna e contemporanea francese, possiamo citare Violence décorative: Matisse aux Etats-Unis, La peinture efficace: une histoire de l’abstraction aux Etats-Unis, Platitudes: une histoire de la photographie plate. Membro del comitato scientifico delle riviste Patrimoines e Perspectives, ha organizzato numerosi convegni di storia dell’arte, in particolare sui primi anni del Secondo Dopoguerra. Ha curato diverse mostre di particolare rilievo tra cui: Abstraction/Abstractions, Géométries provisoires al Musée de Bordeaux, Corps social all’Ecole Nationale des Beaux-Arts de Paris, Matisse – Kelly: Dessins de plantes al Musée national d’art moderne, Centre Pompidou e al Saint Louis Art Museum.  È stato, inoltre, tra i fautori della prima edizione de La force de l’art, nel 2006. Frédéric Mitterrand, ministro della cultura e della comunicazione è orgoglioso della nomina a direttore di Villa Medici di un giovane con un altissimo senso della continuità tra creazione e storia, azione e ricerca, attualità e patrimonio. La vocazione dell’Accademia di Francia a Roma, creata da Luigi XIV nel 1666 è di accogliere artisti o ricercatori già avviati alla vita professionale al fine di permettere loro di intraprendere un progetto personale nel campo delle arti.

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Dance of colours

Posted by fidest press agency su mercoledì, 20 maggio 2009

danceHamburg until 16/8/2009. Hamburger Kunsthalle Glockengiesserwall –  Nijinsky’s eye and abstraction Curators of the exhibition: Prof. Dr. Hubertus Gaßner und Dr. Daniel Koep the Russian dancer Vaslaw Nijinsky (1889-1950) and the ballet company Les Ballets Russes had their European premiere in Paris. Nijinsky immediately became an unrivalled star on the stages of Europe, and ranks as the most important dancer of the twentieth century until today. Apart from his exceptional career as a dancer and choreographer, Nijinsky also created large numbers of coloured paintings and gouaches in 1918 and 1919. These works are here for the first time presented comprehensively. With finely-drawn coloured circles and ellipses and strongly-coloured plane surfaces, Nijinsky produced series of images where space and line are interwoven and rhythm and colour are transformed into a painted choreography of intense emotions.  The exhibition offers an entirely new perspective on the origins of abstraction from dance. It is a unique contribution to the worldwide events that mark the centenary of the Ballets Russes’ spectacular debut in Paris. The historic personality of Nijinsky, the outstanding dancer of the twentieth-century, comes alive in a separate section of the exhibition in photographs, posters, paintings and sculptures by leading artists of Nijinsky’s time, on loan from the private collection of John Neumeier. (Image: dance)

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300 works by over 150 artists from this collection

Posted by fidest press agency su martedì, 21 aprile 2009

compassNew York until 27/7/09 The Museum of Modern Art – MoMa 11 West 53 Street.  The Museum of Modern Art presents Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection, an exhibition that features 300 works by over 150 artists from this collection. This exhibition, the largest drawings exhibition ever mounted at MoMA, features selections from the donation of approximately 2,500 works on paper by more than 650 artists that entered the Museum’s collection in 2005. The exhibition surveys the collection for the first time and shows the various methods and materials within the styles of gestural and geometric abstraction, representation and figuration, and systems-based and conceptual drawings. Brought together are historical works by Lee Bontecou and Joseph Beuys, Minimalist and Conceptual works by Dan Flavin, Donald Judd, and Hanne Darboven, detailed narrative drawings by Elizabeth Peyton and John Currin, collages by Amelie von Wulffen, Mona Hatoum, and Lucy McKenzie and Paulina Olowska, and large-scale installations by Nate Lowman and Ján Mančuška. Compass in Hand is organized by Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator of Drawings, with Connie Butler, The Robert Lehman Foundation Chief Curator of Drawings, The Museum of Modern Art. It will be on view in the Museum’s second floor Contemporary Galleries from April 22 to July 27, 2009. This exhibition, one of a series highlighting the Museum’s contemporary collection, is made possible by The Bank of New York Mellon. The incorporation of appropriated materials into drawings has also significantly expanded the medium’s spatial boundaries, resulting in installation arrangements of works on paper, as in Nate Lowman’s (American, b. 1979) Untitled (History of the SUV – No Blond Jokes) (2003). The work fills a wall with modified images and text from articles about Lizzie Grubman, a New York publicist and socialite who drove her car into a crowd outside a nightclub on Long Island in 2001. With this collection of poster-sized news clippings, some pinned to the wall and others laminated on foam core, Lowman pushes the definition of drawing well into the sphere of sculpture and installation. The exhibition also features an impressive selection of works by Isa Genzken, Richard Hawkins, Martin Kippenberger, Jeff Koons, Sherrie Levine, Paul McCarthy, Cady Noland, Marcel Odenbach, Jack Pierson, Franz West, and David Wojnarowicz-artists who are seen as predecessors for this recent generation of artists working in collage and assemblage, many of whom were active in the late 1970s and 1980s. Collage and assemblage have not entirely supplanted the more traditional forms of drawing, but they have expanded the perception of what a drawing can be, dramatically altering the notion of mark making and image making, of autographic and ideational procedures. (photo compass)

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