Two exhibitions
dal 5/11/2004 al 24/12/2004
Segnalato da
5/11/2004
Two exhibitions
Matthew Marks Gallery, New York
Katharina Fritsch. Inspired by a fantasy of Paris, this installation invokes the songs of Maurice Chevalier and afternoons spent strolling the boulevards, as well as Technicolor and a teenaged Audrey Hepburn. The installation includes works on the walls, on the ceiling, and a sculpture. Terry Winters 1981-1986, an exhibition exclusively on the artist's work from this seminal period. In the early 1980s, Winters was among several young painters who arrived at a more painterly style in reaction to the minimalism and conceptualism of the 1970s.
Katharina Fritsch
Matthew Marks is pleased to announce Katharina Fritsch, the next exhibition at his gallery at 522 West 22nd Street. This will be the artist’s most significant exhibition in New York since her show at the Dia Center for the Arts in 1993. Though the works included were conceived individually, together they work to create a complete environment around a central theme.
The installation includes works on the walls, on the ceiling, and a sculpture in the center of the gallery space. Drawing on the aesthetic traditions of surrealism, Pop, and minimalism, Fritsch has created something entirely new.
Inspired by a fantasy of Paris, this installation invokes the songs of Maurice Chevalier and afternoons spent strolling the boulevards, as well as Technicolor and a teenaged Audrey Hepburn. This mid-century dream is in contrast to the high-tech materials and amplified scale the artist employs.
The centerpiece of the installation is the sculpture Woman with Dog, which is composed entirely of enormous seashells, the surfaces of the shells joined to form the contours of their bodies, the woman in pink, the dog in white. The woman wears a bouffant skirt made from scallop shells and is accompanied by her little white dog.
On the walls surrounding these sculptures are twelve large silkscreens on plastic, the images taken from tourists’ postcards of Paris. Each is printed in a different color, sometimes bright, sometimes pastel, and reproduces typical and often clichéd views of such landmarks as the Champs Elysées, the Arc de Triomphe, and the Eiffel Tower.
Completing the installation, sixty-four oversized umbrellas are suspended from the ceiling. Their canopies are open, handles hanging down towards the floor, and they are cast in carbon and lacquered in black, white, lime green, or purple.
Katharina Fritsch lives and works in Düsseldorf. She represented Germany in the 1995 Venice Biennale and has had major one-person exhibitions of her work at the San Francisco Museum of Modern Art; the Tate Gallery, London; the Ständehaus, Düsseldorf; the Kunstmuseum, Basel; and the Museum of Contemporary Art, Chicago.
Katharina Fritsch will be on view at the Matthew Marks Gallery, 522 West 22nd Street (between Tenth and Eleventh Avenues) through December 24th, 2004. Hours: Tuesday through Saturday, 11:00 A.M. to 6:00 P.M..
Image: Katharina Fritsch
Postkarte (Paris) 11
2004
98 x 72 inches; 248 x 183 cm
Silkscreen on cintra
venue: gallery at 522 W 22nd Street
________
Terry Winters
1981-1986
Matthew Marks is pleased to announce Terry Winters 1981-1986, the next exhibition at his gallery at 523 West 24th Street. This will be the first exhibition to focus exclusively on the artist’s work from this seminal period.
In the early 1980s, Winters was among several young painters who arrived at a more painterly style in reaction to the minimalism and conceptualism of the 1970s. The work of these young artists all shared figurative references and visible brushwork, in dramatic contrast to the prevalent painting of the day.
This exhibition includes seven paintings and nineteen drawings by Terry Winters from public and private collections. A number of the works were shown in his first one-man exhibition at the Sonnabend Gallery in 1984.
Winters’s work from this period employs organic forms in rich, earthy colors: cellular structures, seed pods, and other sensual shapes drawing on flora. His technical virtuosity and psychologically-loaded imagery resist easy identification, using these forms as building blocks drawn from the underpinnings of the natural world.
Free Union, one of the paintings in the exhibition, has been described as:
…one of Winters’s most striking works from this period, irregular fan-shaped membranes floating like apparitions on a silvery, vaporous ground, where bits of rudimentary, cellular matter surface and dissolve. The feeling of genesis is unmistakable here: the filmy space of biological lowlife is where identity begins.
- Lisa Phillips, from Terry Winters, Whitney Museum of American Art, New York: 1991
Beginning in 1985-86, Winters begins to move away from flora and more towards fauna, the forms becoming more anthropomorphically sexualized. This is particularly evident in the fourteen Schema drawings from 1985-86 that will be exhibited. These works also introduce elements of brighter color, almost as if the cellular structures are working their way up the evolutionary ladder.
Terry Winters 1981-1986 will be accompanied by a publication reproducing a comprehensive selection of works from this period and will feature an essay by art historian and critic Richard Shiff.
This exhibition runs concurrently with two other shows of Terry Winters’s work: one at the Addison Gallery of American Art focusing on Winters’s paintings and drawings from 1994 through 2004, and the other at the Pratt Manhattan Gallery displaying the artist’s recent drawings and lithographs.
Terry Winters 1981-1986 will be on view at the Matthew Marks Gallery, 523 West 24th Street (between Tenth and Eleventh Avenues) through December 24th, 2004. Hours: Tuesday through Saturday, 10:00 A.M. to 6:00 P.M..
For further information or reproductions please contact Sabrina Buell at 212-243-0200
venue: gallery at 523 West 24th Street