Tag Archives: Exhibitions

Exhibition Views: Shirley Jaffe – Form As Experiment

VernissageTV (March 24, 2023) – The exhibition “Shirley Jaffe: Form as Experiment” at Kunstmuseum Basel is the first retrospective of the American abstract painter in Switzerland. Shirley Jaffe (1923-2016) was born in the United States and settled in Paris in the 1950s.

The exhibition at the Kunstmuseum Basel presents 113 works, from Shirley Jaffe’s early abstract expressionist works to the geometric paintings that are characteristic of her late oeuvre.

Shirley Jaffe – Form as Experiment

March 25 to July 30, 2023

Atelier de Shirley Jaffe, Paris, 13 octobre 2008, Kunstwerk im Hintergrund : Shirley Jaffe, "Bande Dessinée en Noir et Blanc", 2009, © 2023, ProLitteris, Zurich, © Bibliothèque Kandinsky, Centre Pompidou, MNAM-CCI / Jean-Christophe Mazur
Shirley Jaffe
Manyness by Shirley Jaffe

Born in New Jersey in 1923 as Shirley Sternstein, in 1949, the artist, now Mrs Jaffe, moved to Paris. Following her short-lived her marriage to the journalist Irving Jaffe, the painter decided to remain in France. Having soon established herself in the city, she held regular contact with the American “art expats” Norman Bluhm, Sam Francis, and Joan Mitchell, who had relocated to Paris somewhat later.

Her work dating from this period may be attributed to Abstract Expressionism, a form that sought to draw exclusively from its own resources and which consisted primarily of wildly applied fields of colour and gestures. Although, for the art market at the time, this amounted to a success formula Jaffe nevertheless decided to strike out in a different direction.

Reviews: ‘The Week In Art’

March 24, 2023: This week: Art Basel Hong Kong bounces back. After cancellations, delays and two years of restricted fairs, the fair has returned to something like pre-Covid normality.

So, as other Asian art centres like Seoul and Singapore become increasingly influential, what is the atmosphere like in Hong Kong? Gareth Harris, chief contributing editor at The Art Newspaper, joins us to discuss the fair, the M+ museum and more. It is becoming increasingly clear that social media corporations have become self-appointed cultural gatekeepers that decide which works of art can freely circulate, be pushed into the digital margins or even banned.

Our live editor, Aimee Dawson, talks to the artist Emma Shapiro and Elizabeth Larison, the Director of the Arts & Culture Advocacy Program at the National Coalition Against Censorship, about the issue and a project to counter this tendency, called Don’t Delete Art. And this episode’s Work of the Week is Naabami (thou shall/will see): Barangaroo (army of me), a photographic project by Brenda L. Croft, in which she depicts fellow First Nations women and girls.

The work is part of The National 4: Australian Art Now, a survey across multiple venues in Sydney. One of the show’s curators, Beatrice Gralton, tells us about Croft’s epic series.Art Basel Hong Kong, until 25 March.Visit Don’t Delete Art: dontdelete.artThe National 4: Australian Art Now continues until 23 July. 

Exhibition Views: Manet/ Degas, Musée d’Orsay Paris

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Musée d’Orsay (March 23, 2023) – Édouard Manet (1832-1883) and Edgar Degas (1834-1917) were both key players in the new painting of the 1860s-80s. This exhibition, which brings together the two painters in the light of their contrasts, forces us to take a new look at their real complicity.

Edgar Degas’s Édouard Manet et sa femme (around 1868-69). Manet was unhappy with the “deformation” of his wife Suzanne’s features and cut her face out of the painting

Kitakyushu Municipal Museum of Art
Edgar Degas’s Édouard Manet et sa femme (around 1868-69). Manet was unhappy with the “deformation” of his wife Suzanne’s features and cut her face out of the paintingKitakyushu Municipal Museum of Art

 It shows what was heterogeneous and conflicting in pictorial modernity, and reveals the value of Degas’s collection, where Manet took a greater place after his death.

A comparison of artists as crucial as Manet and Degas should not be limited to identifying the similarities in their respective bodies of work.

Edouard Manet’s Madame Manet au piano (1868)© Musée d’Orsay, Dist. RMN-Grand Palais / Patrice Schmidt

Admittedly, there is no lack of analogies among these key players in the new painting of the 1860s-80s when it comes to the subjects they imposed (from horse races to café scenes, from prostitution to the tub), the genres they reinvented, the realism they opened to other formal and narrative potentialities, the market and the collectors they managed to tame, and the places (cafés, theaters) and circles, whether comprised of family (Berthe Morisot) or friends, where they crossed paths.

Manet / Degas

From March 28 to July 23, 2023

Art Exhibitions: Elizabeth Price, Sound Of The Break

View of Elizabeth Price: A LONG MEMORY, The Whitworth, The University of Manchester, Manchester, UK, 2019–2020. © Elizabeth Price and The Whitworth, The University of Manchester.

SCHIRN KUNSTHALLE FRANKFURT (March 22, 2023) – From March 23 to May 29, 2023, the Schirn Kunsthalle Frankfurt is presenting a major solo exhibition by the Turner Prize winner Elizabeth Price (b. 1966), including both new and recent works that are being shown for the first time in Germany.

The artist creates moving-image works, composing visuals, text, and sound to form spatial installations that restage cultural and sociopolitical events and focus attention on largely unnoticed stories. Price’s moving-image works are grounded in a conceptual approach.

ELIZABETH PRICE. SOUND OF THE BREAK

23 MARCH – 29 MAY 2023

Eliz­a­beth Price (b. 1966) makes the trans­for­ma­tion of digital works visible. The artist creates moving images, composing visuals, text, and sound to form spatial instal­la­tions that restage cultural and sociopo­lit­ical events and focus atten­tion on largely unno­ticed stories. The SCHIRN is presenting a major solo exhi­bi­tion of this winner of the Turner Prize, including both new works and others that are being shown for the first time in Germany.

Each of her video works is the result of metic­u­lous research and a wide-ranging exam­i­na­tion of archives and collec­tions of mate­rial. Over the course of her digital appro­pri­a­tion, Price develops new narra­tives from art objects and docu­ments of histor­ical events. A recur­ring topic is the changing world of work as a result of digi­tal­iza­tion, the migra­tion of manual work to emerging coun­tries that pay low wages, and the increase in infor­ma­tion work, office activ­i­ties, and admin­is­tra­tion. The SCHIRN is showing two exten­sive instal­la­tions, each with two corre­sponding videos, as well as four video lectures created during the coro­n­avirus lock­down which provide insight into the artist’s working process. Price’s videos defa­mil­iarize the past until it is no longer recog­niz­able, replacing it with new, seduc­tive, and anar­chic energy.

Press release

READ MORE AT e-flux

Top New Museum Exhibits: ‘Hokusai: Inspiration and Influence’ At MFA Boston

Museum of Fine Arts, Boston – Thanks to the popularity of works like the instantly recognizable Great Wave—cited everywhere from book covers and Lego sets to anime and emoji—Katsushika Hokusai (1760–1849) has become one of the most famous and influential artists of all time.

Hokusai: Inspiration and Influence

March 26–July 16, 2023

A bright blue tidal wave crests on choppy waters with a mountainscape in the distance.
Katsushika Hokusai, Under the Wave off Kanagawa (Kanagawa-oki nami-ura), also known as the Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei) (detail), about 1830–31
Woodblock print (nishiki-e); ink and color on paper. William Sturgis Bigelow Collection.

Taking a new approach to this endlessly inventive and versatile Japanese artist, “Hokusai: Inspiration and Influence” explores his impact both during his lifetime and beyond. More than 100 woodblock prints, paintings, and illustrated books by Hokusai are on view alongside about 200 works by his teachers, students, rivals, and admirers, creating juxtapositions that demonstrate his influence through time and space.

A woodblock print of three boats navigating rough waters with a mountain in the background.
Utagawa Hiroshige, The Sea off Satta in Suruga Province (Suruga Satta kaijō), from the series Thirty-six Views of Mount Fuji (Fuji sanjūrokkei), 1858
Woodblock print (nishiki-e); ink and color on paper. William Sturgis Bigelow Collection.
Book cover for Hokusai: Inspiration and Influence›

The great painter, book illustrator, and print designer Katsushika Hokusai (1760–1849) has become the best known of all Japanese artists and one of…

Members are invited to a special exhibition preview March 22–25 before it opens to the public, and can enjoy members-only hours on Sunday mornings during the run of the show. Join today!

Views: ‘Bohemia-History of an Idea, 1950–2000′(Prague)

Gabriel Orozco, Lime Game, 2001

Kunsthalle Praha, Prague, Czech Republic (March 20, 2023) – From post-war Paris and New York, through swinging London, to the free spirits of Tehran and Beijing. Kunsthalle Praha explores the idea of bohemia.

BOHEMIA: History of an Idea, 1950–2000
23/3—16/10 2023

Jules Kirschenbaum, Young Woman at a Window, 1953–1954. © Hirschl & Adler Galleries, New York

Peter Hujar, David Lighting Up, Manhattan Night (I), 1985

Art Gallery Views: ‘Paths Crossed’ – Hilary Pecis

Hilary Pecis

David Kordansky Gallery (March 18, 2023) is pleased to present Paths Crossed, an exhibition of new paintings by Hilary Pecis, on view in Los Angeles at 5130 W. Edgewood Pl. from March 18 through April 22, 2023.

Hilary Pecis, Frog Town Pear Blossoms, 2023
Hilary Pecis
Frog Town Pear Blossoms, 2023

Pecis creates drawings and paintings inspired by the interior, exterior, and inter-spaces that surround her daily life. For her first exhibition with David Kordansky Gallery, the artist presents a selection of lush, saturated landscapes reflecting the mountainous, desert, and urban landscapes commonly associated with Southern California.

Hilary Pecis, Southern Rim, 2022
Hilary Pecis
Southern Rim, 2022

Reviews: ‘The Week In Art’

March 17, 2023: the extraordinary story behind what Canadian police have called “the biggest art fraud in history”. More than 1,000 fake works purporting to be by the First Nations artist Norval Morrisseau are seized and eight people have been charged.

The Art Newspaper’s Editor, Americas, Ben Sutton, tells the extraordinary story, involving a rock star, a television documentary and alleged forgery rings, and what it tells us about the market for First Nations art in Canada. A report into artists’ pay in the UK has exposed the inordinately low sums paid to artists for their labour by arts organisations.

We talk to the art collective Industria, who wrote the report, and Julie Lomax, the CEO of a-n, The Artists’ Information Company, which has published the study. And this episode’s Work of the Week is An Old Woman (around 1513) by the Northern Renaissance artist Quinten Massys, a painting better known as The Ugly Duchess.

A new exhibition at the National Gallery focuses on this work in its collection, exploring its origins in a drawing by Leonardo da Vinci, and the combination of satire, folklore, humanism and misogyny from which it emerged. Emma Capron, the curator of the show, tells us more.A PDF of Industria’s Structurally F–cked report can be found at a-n.co.uk. Industria’s website is we-industria.org.The Ugly Duchess: Beauty and Satire in the Renaissance, National Gallery, London, until 11 June.

Reviews: ‘The Week In Art’

March 10, 2023: Is the Old Masters market struggling? As Tefaf opens its fair in Maastricht, we look at this major moment in the market calendar and what it tells us about the strength or otherwise of the market for historic art.

The Art Newspaper’s Acting Art Market editor, Anny Shaw, joins us from the fair. The Institut du Monde Arabe, or Arab World Institute, in Paris has just received a major gift of more than 1,600 modern and contemporary works from the French-Lebanese dealer and collector Claude Lemand and his wife, France—a collection that will transform the displays in the institute’s museum. We talk to the director of the museum,

Nathalie Bondil, about her future plans and the €6m project to transform the institute. And this episode’s Work of the Week is a self-portrait in red chalk by the Venetian Rococo artist Rosalba Carriera. Dagmar Kornbacher, the director of the Kupferstichkabinett in Berlin, tells me about the drawing, which is a key work in Muse or Maestra?, the museum’s new exhibition of work by historic Italian women artists.Tefaf Maastricht, until 19 March.Muse or Maestra?: Women in the Italian Art World, 1400-1800, Kupferstichkabinett, Berlin, until 4 June. 

Reviews: ‘The Week In Art’

March 3, 2023: as the Art Dubai fair opens, The Art Newspaper’s acting digital editor Aimee Dawson tells us about this latest edition, its ongoing commitment to displaying the art of the global south and its continued focus on digital art.

The Museum of Modern Art in New York opens the largest media exhibition it has ever staged, Signals: How Video Transformed the World on 5 March. It looks at how artists around the globe have used video as a networked technology capable of reaching huge audiences but also how they have employed video to reflect on or engage in activism and urgent political developments.

We talk to the show’s curators, Stuart Comer and Michelle Kuo. And this episode’s Work of the Week is a coffee pot and milk jug from 1960 by Lucie Rie, the great modernist potter. Eliza Spindel, co-curator of the exhibition Lucie Rie: The Adventure of Pottery at Kettle’s Yard in Cambridge, UK, tells us about these objects and Rie’s life and work.Art Dubai until 5 March.Signals: How Video Transformed the World, Museum of Modern Art, New York, 5 March-8 July.Lucie Rie: The Adventure of Pottery, Kettle’s Yard, Cambridge, UK, 4 March-25 June.