Category Archives: exhibitions.

60 Photos of EXPO Chicago 2018, Festival Hall, Navy Pier. Seventh Annual International Exposition of Contemporary & Modern Art, September 27-30, 2018.

Expo Chicago/2018 is the 7th annual exhibition of international contemporary and modern art held in Chicago at Navy Pier’s Festival Hall. It took place September 27-30, 2018. Expo Chicago/2018 presented 135 galleries and exhibitors representing 27 countries and 63 cities from around the world. This post’s 60 photographs are of that event.

Expo Chicago/2018 includes exhibitors four sections categorized to a specific aim:
Exposure are galleries founded since 2010 featuring one or two artists;
Profile are international galleries featuring solo or collective artists with focused installations, exhibitions and projects;
Editions + Books highlight artist books, editions, prints, collectibles, photography, collage, drawing, etc.;
Special Exhibitions” feature site specific work.

More Expo Chicago/2018 sections include:
IN/SITU highlighting curated large-scale installations (a second, outside version features large-scale sculptures in various Chicago locations);
EXPO VIDEO highlighting curated film, video and new media work;
EXPO SOUND highlighting curated sound installations and projects.

Expo Chicago/2018 was held in Festival Hall on Navy Pier in Chicago. The annual event, held since 2012, is in its seventh year.

Expo Chicago/2018 attracts thousands of attendees to visit with hundreds of gallery owners and artists from all over the world.

Expo Chicago is a major modern and contemporary art event held each year to open the Fall art season. It is held nearby to downtown Chicago and the Magnificent Mile on historic Navy Pier which is one of Chicago’s most popular tourist magnets.

One of the information desks at Expo Chicago/2018.

Expo Chicago/2018 welcomed 135 international art galleries from 27 countries and 63 cities.

Georgia Scherman Projects, Toronto. Within the framework of the show’s sections, each booth showcases the artwork of their choosing .

The artwork of Marcus Jansen was featured at Casterline/ Goodman Gallery, Aspen, CO, Chicago, and Nantucket, MA.

Artist Gina Pellón (center) at Cerunda Arte, Coral Gables, FL.

Surrealist painter Fred Stonehouse, Night King, 2018, acrylic on canvas, Tory Folliard Gallery, Milwaukee, WI.

Richard Hughes, Hot Step, 2017, cast polyester resin and enamel paint, Anton Kern Gallery, New York.

Ridley Howard, Blue Dress, Blue Sky, 2016, acrylic on linen, Frederic Snitzer Gallery, Miami, FL.

Admissions.

Library Street Collective, Detroit, MI.         

Artist Francesco Clemente, 2018, oil on canvas at Maruani Mercier Gallery, Brussels, Belgium.

Artwork of Larry Poons, Yares Art, New York, Palm Springs, Santa Fe.

Artwork of Austin White, 2018, Jenkins Johnson Gallery, San Francisco and New York.

In/Situ: Postcommodity, Repellent Fence, 2015, Bockley Gallery, Minneapolis, Minnesota.

Peter Blake Gallery, Laguna Beach, CA.

Artwork by Asmund Havsteen Mikkelsen at the booth shared by Fold Gallery, London, and Galleri Kant, Copenhagen.

Prune Nourry, River Man (detail), 2018, patinated copper tubes, Galerie Templon, Paris.

Gérard Garouste, The Eagle Owl and the One-Eared Woman, 2016, Galerie Templon, Paris.

Two views of Jaume Plensa’s Laura Asia in White, 2017, polyester resin and marble dust, at Richard Gray Gallery, Chicago.

William Kentridge, Blue Rubrics, 2018, lapis lazuli pigment on thesaurus pages, NFP Field Tate Editions, Royal Academy of Arts, London.

Frances Stark, According to This…, 2018, Silk screen on linen on panel, Gavin Brown’s Enterprise, New York and Rome.

David Driskell, Jazz Singer (Lady of Leisure, Fox), 1974, oil and collage on canvas, DC Moore New York City.

Jansson Stegner, Swordswoman, 2018, oil on linen, Nino Mier Gallery, Los Angeles.

Brian Calvin, Eternal Return, 2009, acrylic on canvas, Anton Kern Gallery, New York.

Margot Bergman, Gloria, 2014, acrylic on linen, Corbett vs. Dempsey, Chicago.

Ceysson & Bénétière, New York Luxembourg Paris Saint-Étienne.

Julie Heffernan, Self-Portrait with Nuala, 2018, oil on canvas, Zolla/Lieberman Chicago.

Chloe Wise, You would have been a castle for a moment, 2016, Galerie Division, Montreal and Toronto.

Expo Chicago/2018.

Expo Chicago/2018.

2018 artworks of Devan Shimoyama, De Buck Gallery New York City.

Expo Chicago/2018.

Chie Fueki, Kyle, 2017, DC Moore Gallery, New York City.

Naudline Pierre, Deal Kindly and Truly With Me, 2018, oil on canvas, 56 x 52 inches, Shulamit Nazarian, Los Angeles.

Clare Sherman, Sea Cave, 2017, oil on canvas, 84 x 66 in., DC Moore Gallery, New York City.

Roberto Fabelo, Gothic Habanero, n.d., oil on canvas, Cerunda Arte, Coral Gables, FL.

Expo Chicago/2018 brings a world of modern and contemporary art to Chicago for the collector.

Expo Chicago/2018 offers the art lover in one place a plethora of opportunities to encounter the latest in modern and contemporary art from around the world.

Expo Chicago/2018 covers tens of thousands of square feet with modern and contemporary art of many kinds from 27 countries and 63 global cities.

A quiet moment with modern art.

Sculpture, painting, and other visual art forms were in evidence at Expo Chicago/2018. There is a popular on-site cafe that serves snacks and beverages.

Expo Chicago/2018.

Sharing smiles at Expo Chicago/2018.

A point of artistic interest at Expo Chicago/2018 brings out the cellphones.

Juan Roberto Diago, Grito, 1997. The artist talks about his artistic debt to Jean-Michel Basquiat.

Fort Gansevoort, New York City.

The latest artwork of Nick Dawes, 2018, Galerie Kornfeld, Berlin.

Tsailing Tseng, Black Moor Everything, Everything, 2018, oil on linen, Tuttle Fellowship.

Roberto Lugo, porcelain china, paint, luster, 2018, Wexler Gallery, Philadelphia. PA.

Lavar Munroe, Spy Boy, 2018, acrylic and earring stud on canvas, Jenkins Johnson Gallery San Francisco New York.

In/Situ: Ivan Argote, Among Us — Across History…, 2017.

Richard Hudson, Tear, 2016, polished mirrored steel, Michael Goedhuis London Beijing New York.


Aniela Sobieksi,  Girl with a Garden, 2018, oil on panel, Tory Folliard Gallery, Milwaukee. The painting next to it sold right before I took this photograph.

The Hole NYC.

Barnaby Barford, Celebrity, 2018 , Giclée Print, David Gill Gallery, London.

All photographs and text©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means, electronic or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system. (CR)

EXPO Chicago 2017, September 13-17. Sixth Annual International Exposition of Contemporary & Modern Art. (34 photos).

Expo Chicago/2017 is the 6th annual exhibition of international contemporary and modern art held in Chicago at Navy Pier’s Festival Hall. It took place September 13-17, 2017. Expo Chicago/2017 presented 135 galleries representing 25 countries and 58 cities from around the world.

This post’s 34 photographs are of that event.

Expo Chicago 2017
Expo Chicago 2017.

Brian Calvin, Momentary Monument, 2017
Brian Calvin, Momentary Monument, 2017, acrylic on canvas, Anton Kern Gallery, New York. Expo Chicago 2017.

Expo Chicago 2017Admissions, Expo Chicago 2017.

Expo Chicago 2017
Information desk, Expo Chicago 2017.

Lara Schnitger, Suffragette City, 2015-2017.Lara Schnitger, Suffragette City, 2015-2017, Cotton, and linen, quilted and bleached, Anton Kern Gallery, New York. Expo Chicago 2017.

The War We Won, Roger Brown, 1991
The War We Won, Roger Brown, oil on canvas, 80 x 120 in., Kavi Gupta Gallery, Chicago. Expo Chicago 2017.

Doug Argue, Dream Song 12, 2017
Doug Argue, Dream Song 12, 2017, oil on paper, 40,x,60 in., Marc Straus, New York. Expo Chicago 2017.

CarrerasMugica Contemporary Art Gallery, Bilbao
CarrerasMugica Contemporary Art Gallery, Bilbao. Expo Chicago 2017.

Galerie Gmurzynska, Zurich, SwitzerlandGalerie Gmurzynska, Zurich, Switzerland, with booth design by Antonio Manfreda. Expo Chicago 2017.

Matthew Monahan, Hurricane Nickel, 2016 and Aquarius Gemini, 2016.
Matthew Monahan, Hurricane Nickel, 2016, and Aquarius Gemini, 2016, Anton Kern Gallery, New York. Expo Chicago 2017.

Anton Kern Gallery, New YorkAnton Kern Gallery, New York. Expo Chicago 2017.

Rita McBride, Halicarnassus and Pantheon 2.
Rita McBride, Halicarnassus, 2010, bronze and grey limestone, and Pantheon 2, bronze and markina marble, CarrerasMugica Contemporary Art Gallery, Bibao. Expo Chicago 2017.

Wardell Milan
Wardell Milan, The New Sun Will Warm our Proud and Naked Bodies, 2016, charcoal, oil, oil pastel, pastel, gesso, acrylic, color pencil, cut paper on paper, David Nolan Gallery, New York. Expo Chicago 2017.

Meleko Mokgosi
Meleko Mokgosi, Honor Fraser Gallery, Los Angeles. Expo Chicago 2017.

John SealJohn A. Seal, König Galerie, Berlin. Expo Chicago 2017.

Alan Stone Projects, New YorkAlfred Leslie, Oval Collage, 1959, Diana Moore, White Head, 1988  and Willem de Kooning, 1965, charcoal on paper, Alan Stone Projects, New York. Expo Chicago 2017.

Expo Chicago 2017Thinks I, To Myself. Expo Chicago 2017.

Expo Chicago 2017.
Expo Chicago 2017.

Expo Chicago 2017
Expo Chicago 2017.

Rhona Hoffman Gallery Expo Chicago 2017Jackie Saccoccio, Portrait (Bomba), 2017, and Faheem Majeed, Hopscotch I,  2011, and Pause, 2010, Rhona Hoffman Gallery Chicago. Expo Chicago 2017.

Expo Chicago 2017
Expo Chicago 2017.

Garth Greenan Gallery New York
Garth Greenan Gallery, New York. Expo Chicago 2017.

Iva Gueorguieva, Listen, 2017
Iva Gueorguieva, Listen, 2017, acrylic oil collage on canvas, Miles McEnery Gallery, New York. Expo Chicago 2017.

Hayal Pozanti
Hayal Pozanti, 70 (million m.p.h that the earth orbit around the sun), 2017, acrylic on canvas, 60 x 132 in., Jessica Silverman Gallery, San Francisco, California. Expo Chicago 2017.

Lavar Munroe, Instinctual, 2017
Lavar Munroe, Instinctual, 2017, acrylic on canvas, 48 x 42 in., Jenkins Johnson Gallery, San Francisco. Expo Chicago 2017.

Expo Chicago 2017
Expo Chicago 2017.

Peres Projects Berlin
Peres Projects Berlin. Expo Chicago 2017.

Ransome Stanley, Untitled, 2017
Ransome Stanley, Untitled, 2017, oil on canvas, 59 x 78 in., Gallery MOMO, South Africa. Expo Chicago 2017.

Expo Chicago 2017
Booth 839, Expo Chicago 2017.

Caroline WalkerCaroline Walker, Grimm Gallery Amsterdam New York. Expo Chicago 2017.

Expo Chicago 2017
Expo Chicago 2017.

Nicolas Africano
Nicolas Africano, Untitled, 2017, cast glass, Weinstein Gallery Minneapolis. Expo Chicago 2017.

Paul Kasmin Gallery New YorkPaul Kasmin Gallery New York. Expo Chicago 2017.

Miro 1925Artist’s Signature (Miró). Expo Chicago 2017.

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means, electronic or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

EXPO Chicago 2016, 22-25 September. Fifth International Exposition of Contemporary & Modern Art. (43 Photos).

Photographs and text by John P. Walsh.

Expo Chicago/2016 is the 5th annual exhibition of international contemporary and modern art held in Chicago at Navy Pier’s Festival Hall. It took place from September 22-25, 2016. Expo Chicago/2016 presents 145 galleries representing 22 countries and 53 cities from around the world.

This post’s photographs are of that event.

Jeff Koons' 17th Art Car.

Jeff Koons, BMW M3 GT2, Expo Chicago/2016.

Alfredo Jaar, Be Afraid of the Enormity of the Possible, 2015 neon edition GALERIE THOMAS SCHULTE DSC_0742 (1)

Alfredo Jaar, Be Afraid of the Enormity of the Possible, 2015, neon, edition 3/3 + 3AP, Galerie Thomas Schulte, Berlin, Germany. Expo Chicago/2016.

At Dittrich & Schlechtriem, Berlin (resized).

At Dittrich & Schlechtriem, Berlin, Germany includes artwork by Klaus Jörres and Julian Charrière. Expo Chicago/2016.

At Cernuda Arte Coral Gables FL. (resize)

At Cernuda Arte Coral Gables, FL. Manuel Mendive (foreground) Este Lugar Sagrado/This Sacred Place, 2009, acrylic on canvas. Expo Chicago/2016.

Art+Language Made in Zurich 1965-1972, London.

Paintings I, Art+Language, Made in Zurich 1965-1972, London. Expo Chicago/2016.

Michael Baldwin and Mel Ramsden.
The Art + Language group’s Michael Baldwin and Mel Ramsden in Chicago. Founded in the mid1960s in the United Kingdom by Terry Atkinson (b. 1939), David Bainbridge (b. 1941), Michael Baldwin (b. 1945) and Harold Hurrell (b. 1940), artist Mel Ramsden joined in 1970. Throughout the 1970s Art + Language dealt with questions about art production and attempted a shift from conventional forms of art, such as painting and sculpture, to theoretically linguistic (text)-based artwork. Art + Language remains active today in several collaborative projects. 
At Galerie Thomas Schulte (resize).

Jonathan Lasker, The Handicapper’s Faith, 2011, Galerie Thomas Schulte, Berlin, Germany. Expo Chicago/2016.

Gallery MOMO, South Africa (resize).

At Gallery MOMO Cape Town/Johannesburg, South Africa. Artwork by Mary Sibande. Expo Chicago/2016.

Dialogues.

Dialogues programs. Expo Chicago/2016.

Andrew Moore, Mirador, Gibara, Cuba, 2008Andrew Moore, Mirador, Gibara, Cuba, 2008, 46 x 58 inch archival pigment print, Yancey Richardson Gallery, New York. 

Margot Bergman, Agnes, 2016.

Margot Bergman, Agnes, acrylic on canvas, 2016, Corbett vs. Dempsey. Expo Chicago/2016.

Shannon Finley, Googol, 2015.

Shannon Finley, Googol, 2015, acrylic on linen, 4 panels 95 x 189 in., Carrie Secrist Gallery, Chicago. Expo Chicago/2016.

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Euan Uglow, Sue Wearing a Blue Swimming Cap, 1978/80, oil on canvas 19.5 x 27.5 in., Browse & Darby London. Expo Chicago/2016.

Deborah Butterfield, Hala, 2016.

Deborah Butterfield, Hala, 2016, cast bronze with patina, Zolla Lieberman Gallery Inc., Chicago. Expo Chicago/2016.

at Álvaro Alcázar Gallery, Madrid (resize).

At Álvaro Alcázar Gallery, Madrid. Art of Juan Garaizabal. Expo Chicago/2016.

April Martin, The Sun had not yet Risen, 2016.

April Martin, The Sun had not yet Risen, 2016, copper, thread, glass, vinegar, The School of the Art Institute of Chicago. Expo Chicago/2016.

Hermann Nitsch, Schüttbild (Shaped Image), 2013.

Hermann Nitsch, Schüttbild (Shaped Image), 2013, Acrylic on Canvas, Marc Straus Gallery, New York City.

Dialogue with Miguel Aguilar and Chris Silva.

Dialogue with Miguel Aguilar and Chris Silva, Conversation Pieces. Expo Chicago/2016.

Pace Gallery, New York City. (resize)

At Pace Gallery, New York City. Expo Chicago/2016.

Louise Bourgeois, Girl with hair, 2007. (resize)

Louise Bourgeois, Girl with hair, 2007, archival dye on silk, edition of 12, Carolina Nitsch, New York City. Expo Chicago/2016.

Carolina Nitsch labels.

Labels, Carolina Nitsch, New York. Expo Chicago/2016.

Genieve Figgis, Half Gallery, NYC (resize)

Genieve Figgis, Half Gallery, New York City. Genieve Figgis is an artist from Ireland who began her artistic career on social media. Expo Chicago/2016.

Buddha's tight ringlet curls by Qi Yu.

Buddha’s tight ringlet curls by Qi Yu. Ceramic cinnabar mineral mounted on canvas. Expo Chicago/2016.

Qi Yu, Beijing, China.

Artist Qi Yu of Redbrick Art Museum, Beijing, China.

North Cafe.

Coffee break, North Cafe. Expo Chicago/2016.

Art Catalogs. (resize).

Art Catalogs. Expo Chicago/2016.

Amy Sherald, Monique Meloche Gallery.

Amy Sherald, Listen, you a wonder. you a city of a woman. you got a geography of your own., 54 x 43 in., oil on canvas, 2016, Monique Meloche Gallery, Chicago. Sherald’s painting title quotes American poet Lucille Clifton (1936-2010) – “listen, you a wonder. you a city of a woman. you got a geography of your own. listen, somebody need a map to understand you. somebody need directions to move around you. listen, woman, you not a noplace anonymous girl; mister with his hands on you he got his hands on some damn body!” Expo Chicago/2016.

Sandro Miller, American Bikers 1990-1995.

Sandro Miller, American Bikers 1990-1995, Catherine Edleman Gallery, Chicago. Expo Chicago/2016.

Bettina Pousttchi, Rotunda, 2016.

Bettina Pousttchi, Rotunda, 2016, photographic print on textile, 25′ diameter, Buchmann Galerie, Berlin/Lugano. Expo Chicago/2016.

Raffi Kalenderian, Sekula Benner Street, 2016.

Raffi Kalenderian, Sekula Benner Street, 2016, oil on canvas, Buchmann Galerie Berlin/Lugano. Expo Chicago/2016.

Kate Werble  Ernesto Burgos (resize).

Artwork of Ernesto Burgos, Kate Werble Gallery, New York City. Expo Chicago/2016.

Sims Reed Gallery London (resize)

At Sims Reed Gallery London. Expo Chicago/2016.

Ann Agee, Negishi Heights 1957, 2015, (resize)

Ann Agee, Negishi Heights 1957, 2015, acrylic on Thai Mulberry paper, P.P.O.W. Gallery, New York City. Expo Chicago/2016.

At the Expo.

At the Expo. Expo Chicago/2016.

Artistic performance. (resize)

Artistic performance outside Zwirner Gallery, New York City. Behind: Raymond Pettibon, No Title (Manhattan rising, advancing—), 2010, ink and acrylic on paper, 59 x 118 inches. Expo Chicago/2016.

Mel Bochner and Aloyson Shotz.

Mel Bochner, Blah Blah Blah, 2016 and Aloyson Shotz, Flow Fold #3, 2015, Carolina Nitsch Gallery, New York City. Expo Chicago/2016.

Alicja Kwade, Hypotheisches  Gebilde, 2016 (resize)

Alicja Kwade, Hypotheisches Gebilde, 2016, König Galerie Berlin, Germany. Expo Chicago/2016.

Bernar Venet, Indeterminate Line, 2013.

Bernar Venet, Indeterminate Line, 2013, rolled steel, 75 1/2 × 80 × 62 in. Paul Kasmin Gallery, New York City. Expo Chicago/2016.

Richard Norton Gallery (resize)

Richard Norton Gallery.

Jannis Varelas, New Flags for a new country, (resize)

Jannis Varelas, New Flags for a New Country, The Breeder, Athens, Greece. Expo Chicago/2016.

#40 resize 65 65 35 35 FINAL NEWEST FSB 6.25.17 FNB KG DSC_0488

Rodney McMillian, Carpet Painting (Bedroom and TV Room), 2012, carpet and ink, Maccarone, New York City. Expo Chicago/2016.

Lucia Gonzalez Botello, Portrait #3, 2015 (resize)

Lucia Gonzalez Botello, Portrait #3, 2015, oil on canvas, The School of the Art Institute of Chicago. Expo Chicago/2016.

Expo's end.

End of the day. Expo Chicago/2016.

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by an means, electronic  or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

 

EXPO Chicago 2015, 17-20 September. Fourth International Exposition of Contemporary & Modern Art. (Photos).

Featured Image is Ewerdt Hilgemann’s Habakuk (Homage to Max Ernst), 2014, stainless steel, Borzo Gallery and The Mayor Gallery. In/Situ Outside 2015.

Photographs by John P. Walsh. 

Expo Chicago/2015 is the 4th annual exhibition of international contemporary and modern art held in Chicago at Navy Pier’s Festival Hall on September 17 – 20, 2015. This year’s exhibition featured 140 art galleries representing 16 countries and nearly 50 major international cities including New York City, Shanghai, Tokyo, Beijing, Rome, Berlin, London, Paris, Amsterdam, San Francisco, Los Angeles and Chicago.

This post’s 41 photographs are of that event.

expo-chicago-2015

A. George Miller (American, 1905-1984), Untitled (City Nocturne), ca. 1950s, 16 x 24 in. Richard Norton Gallery, Chicago. A. George Miller attended The School of the Art Institute of Chicago starting in 1923. and was one of three official photographers for the 1933-34 Century of Progress Exhibition in Chicago.

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Lucian Freud (German-born British painter, 1922-2011), Head & Shoulders of a Girl (detail), 1990 etching, edition of 50, Browse & Darby, London.

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Hung Liu (Chinese-born American, b. 1948), Untitled (Dandelion), 2015, mixed media, 60 x 60 in., Nancy Hoffman Gallery, New York. Hung Liu’s paintings are steeped in Chinese culture.

expo-chicago-2015-10

Sergio Carmargo (Brazil, 1930-1990), Untitled #504, 1970 and Anish Kapoor (India, b. 1954), Untitled, 2014, Fiberglass and paint (“Yellow Void”), 160 x 160 x 56 cm. Lisson Gallery London Milan New York.

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Hunter Reynolds, Survival AIDS-ACT UP Chicago – A Revolution, 2015. Photo weaving, 8′ x 30′ Courtesy of artist & P.P.O.W. NY and Iceberg Projects Chicago.

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Hunter Reynolds in collaboration with Elijah Burgher and Steve Reinke in Survival AIDS Mummification Performance presented in partnership with PPOW and ICEBERG Projects for Survival AIDS Chicago Act Up a Revolution.

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Expo Chicago/2015.

Macon Reed 2015

Macon Reed, Incantation, 2015, Digital Photographic Print, 41 x 61 in.

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Kate Werble Gallery, NY.

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Chantal Joffe (UK, b. 1969), Green Strapless Dress, 2013, oil on board, 72.5 x 48.5 in., Galerie Forsblom, Finland. In a 2009 interview, Joffe said, “I really love painting women. Their bodies, their clothes – it all interests me.”

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Vik Muniz (Brazil, b. 1961), Album: Over There, 2014. digital c-print, edition of 6, 71 x 105 in., Rena Bransten Projects, San Francisco.

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Suzanne Martyl (American, 1917-2013), Asclepias, oil on masonite, 14 x 11 in., Richard Norton Gallery, Chicago. Suzanne Martyl or Martyl Langsdorf – or Martyl. The artist said that she “always found it fascinating to look and look and look, and spend all kinds of time until something would just ring a bell, and I would know how to rearrange nature to make a good composition.”

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Books include British photographer Darren Almond; Chicago Social Practice installation artist Theaster Gates; English artist Damien Hirst; and German photographer Andreas Gursky.

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VMU Gallery 101 / Art Fund curated by Rimas Čiurlionis, and coordinated by photographer Alex Zakletsky, presents a video installation of artists from the conflict zone in Ukraine including the work of Bella Logachova, Andriy Yermolenko and Ivan Semesyuk.

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Victoria Gitman (b. 1972, Buenos Aires; lives in Hallandale, FL), Untitled, 2015. Garth Greenan Gallery, New York. Sensuous and conceptually sophisticated oil paintings that are look natural.

Paul Wackers 2015Paul Wackers, Look At What I Did Now, 2015, acrylic and spray paint on canvas, 48 x 40 in.,  Morgan Lehman Gallery, New York. Expo Chicago 2015.

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Andy Warhol, Love in the spring, 1955, watercolor and pencil on paper, McCormick Gallery, Chicago and Vallarino Gallery, New York.

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Central Academy of Fine Arts School of Design, Beijing, China.

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Marc Sijan ( American, b. 1946), Kneeling, resin and oil paint, Gerald Peters Gallery, Santa Fe, New Mexico (detail).

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Elizabeth Catlett (American, 1915-2012), Reclining Woman, bronze, 1959. Behind, left to right: Charles Howard (American, 1899–1978), Friedel Dzubas (German-born American, 1915-1944) and Michael Goldberg (American, 1907-2007). McCormick Gallery, Chicago & Vincent Vallarino Fine Art, New York City. Black and white ensemble of abstract and figurative Modernist painting and sculpture.

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Chilean artist Carlos Costa with one of his “Wind Studies,” 2015, a conceptual project based on structuring basic natural elements. Local Arte Contempoeáneo, Santiago.

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Josh Garber, Ourselves, 2015, welded bronze, detail, complete artwork: 30 x 15 x 14 in., Zolla/Lieberman Gallery, Chicago.

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Expo Chicago/2015.

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Rimas Čiurlionis, special exhibitions.

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Cernuda Arte, Coral Gables, Florida, specializes in Cuban art.

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In/Situ Outside. Ewerdt Hilgemann’s “Habakuk (Homage to Max Ernst), 2014, stainless steel, Borzo Gallery and The Mayor Gallery.

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Hollis Taggart Galleries, New York.

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Marc Sijan ( American, b. 1946), Kneeling, resin and oil paint, Gerald Peters Gallery, Santa Fe, New Mexico. Sijan’s super-realistic sculptures are, by the artist’s own words, “homages to humanity’s fascination with its own forms — a fascination which has compelled artists throughout the millennia to mirror life in virtually every medium.”

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At Forum Gallery New York: Gaston Lachaise, Woman Walking, 1919, cast in 1968, polished bronze, 19 1/2 x 10 x 7 1/2 inches, Edition 6/6.

Expo Chicago 2014.

Gregory Scott, Van Gogh’s Bedroom, 2015, pigment print, oil on panel, HD video, Catherine Edelman Gallery, Chicago.

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Part of the Expo Chicago/2015 experience is temporary public art installations on the Chicago lakefront and throughout the city. Starting with Expo Chicago/2014, “In/Situ” works showcase large-scale installation art and site-specific works. Giuseppe Penone’s Idee di Pietra-Olmo (“Idea of Stone-Elm), 2008, Marian Goodman Gallery is a 30-foot tall bronze tree incorporating a boulder conveying the effects of human interaction in the natural world.

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David Allan Peters, Untitled #24, 2015, acrylic on wood panel, Ameringer McEnery Yohe, New York.

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Berthe Morisot (detail), femme et enfant au bois, pencil on paper laid on card stamped ‘B.M’ and numbered, Browse & Darby London.

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Camilo Restrepo (1975, Medellín, Colombia). Bowling for Medillin I, 2014, Morgan Lehman Gallery, New York. Since 1999 the artist lives and works in Paris, France.

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Dealers, Expo Chicago/2015.

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Jan Matulka (American, 1890-1972), Seated Nude with Eyes Closed, oil on canvas, c. 1922, 48 x 34 1/2 in., Richard Norton Gallery, Chicago.

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Augustus John, Portrait of a Young Woman, 1923, charcoal on paper, Browse & Darby, London.

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Dayron Gonzalez, Momento de Gloria, 2015, oil on canvas, Cernuda Arte, Coral Gables, Florida.

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Susanne Vielmetter Los Angeles Projects, a contemporary art gallery in Culver City, California.

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Foreground: Matthias Bitzer, Revolving Future, 2014, Metal, Marianne Boesky Gallery, New York.

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In Situ: Sung Jang, Mobi, 2015, injection molded plastic, Volume Gallery, Chicago.

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Expo Chicago/2015.

 

 

 

Van Gogh’s Bedrooms, The Art Institute of Chicago, February 14 to May 10, 2016.

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Van Gogh’s Bedrooms at The Art Institute of Chicago, February 14 to May 10, 2016. This is the exhibition’s penultimate gallery featuring the three versions of Van Gogh’s “Bedroom.” Left to right: from the collection of the Musée d’Orsay, Paris (1889), The Art Institute of Chicago (1889), and the Van Gogh Museum, Amsterdam (1888). The three masterworks are gathered together in North America for the first time.

By John P. Walsh. May 6, 2016.

I saw the Van Gogh’s Bedrooms exhibition at The Art Institute of Chicago (February 14-May 10, 2016) on the last Friday afternoon before the show closed. The museum that day was drawing a large crowd and it was challenging to navigate through the multi-room art show in a mass of frequently immobile art lovers. Exactly for what cause some stationary patrons might be transfixed could only be speculated upon but often no art was present. No one I think comes to art shows to be caught in a logjam of people yet that recurrent phenomenon in Van Gogh’s Bedrooms soon became one of its unpleasant features. The expansive exhibition space—striking for its illogical reasoning to display three relatively small masterpieces—proved impractical, or at least a two-edged sword, in terms of containing its throngs.

Those three featured paintings are this show’s raison d’être and prove a marvelous highlight after reaching them by way of a dozen or so high-ceiling galleries. Once arrived to the show’s penultimate room, my eyes settled on the Van Gogh Museum, Amsterdam’s version as the most intriguing of the three superficially identical works. The other two versions are from the collections of The Art Institute of Chicago and the Musée d’Orsay in Paris.

When 35-year-old Van Gogh painted his The Bedroom series starting in October 1888, the Dutchman had been an artist only a short while: about 7 years. This had followed a variety of other occupations, although Van Gogh began his professional life as an art dealer.  By late 1888—less than two years before his death by self-inflicted gunshot in Auvers-sur-Oise in July 1890—Van Gogh had traveled long and far from his beginnings in North Brabant. He arrived into Paris in 1885 to paint and join his brother Theo who was an avant-garde art dealer in the Rue Montmartre. Looking to sell more of his artwork, he began painting in the bright Impressionist style for which Van Gogh is probably most famous today.  By February 1888 Van Gogh relocated to Arles in the South of France on account of his health and to possibly start an art colony.  Still quite poor and alone, this roughly 15-month period in Arles proved to be prolific for the artist’s production when Van Gogh completed 200 paintings, and over 100 drawings and watercolors. Many of Van Gogh’s most famous works were created in this fecund period—for example, his portraits of Eugène Boch (Musée d’Orsay), Postman Joseph Roulin and Augustine Roulin (both Museum of Fine Arts, Boston)  and Madame Ginoux (Metropolitan Museum of Art, New York) among several others; sunflowers and irises such as Still Life: Vase with Fourteen Sunflowers (National Gallery, London), Still Life: Vase with Fourteen Sunflowers (Neue Pinakothek, Munich) and Irises (Getty Museum, Los Angeles); 15 canvases of cypresses; and his iconic Self-Portrait Dedicated to Paul Gauguin in the Harvard Art Museums.

None of these contextual artworks were in the Chicago show but demonstrate the range and depth of Van Gogh’s artistic vision in the same time period that The Bedrooms—which shared his body of work’s intoxication with color and decorative strategieswere painted. Despite its title—Van Gogh’s Bedrooms—this show is not content to let their presence in Chicago suffice. Instead, much of the other parts of this massive show were from the Art Institute’s permanent collection of mostly Barbizon and Impressionist artwork.  Perhaps if they had been left on whatever museum walls from which they had come, these fine artworks might have maintained an even greater impact for themselves and this show’s ultimate purpose than crowding them onto walls into this special exhibition space.  That said, the condensed interpretive curatorial exercise of parts of the permanent collection in this show could prove interesting for visitors who are not willing or able to visit other parts of the museum. In a show that took on the formula of a typical Regenstein Hall blockbuster, its propensity for Impressionist rehash (“delve” was the museum’s word) had a boring art textbook’s sensibility. Recognizing that the show dipped into the museum storehouse to retrieve the life-size maquette of the Yellow House from AIC’s vastly superior exhibition Van Gogh and Gauguin: The Studio of the South in 2001, produced a dispiriting effect on at least one viewer who recognized it. But so far I am quibbling: this AIC exhibition brings together the powerful canon of all three versions of Van Gogh’s The Bedroom for the first time in North America which is very special and undoubtedly sufficient to any museum goer’s time and interest. I don’t believe, however, that their full artistic power was best served by being able to see these objects intensely advertised in the media markets and then only hung at the show’s virtual end following a cacophony of mostly extraneous art historical resources however severely earnestly presented. Instead, a surfeit of front-loaded artistic riches labors to obscure these significant Van Goghs that finally appear in the second to last gallery, all of which are jam-packed with art, people, various filmic explorations, somewhat bloviating wall texts, whole house reconstructions, etc.

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Van Gogh Museum Amsterdam,  October 1888. 72.4 x 91.3 cm.

CHGO Vincent van Gogh. The Bedroom, 1889. The Art Institute of Chicago, Helen Birch Bartlett Memorial Collection.exh_vangogh_bedroom_main_480

Chicago, 1889. 72.4 x 91.3 cm. The version Van Gogh first painted in the asylum at St. Rémy.

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Paris, 1889. 57.5 x 74 cm. Destitute bachelor Van Gogh gave this version to his mother and sister.

It is certainly obvious that Van Gogh’s Bedrooms possibly could have benefited by not pulling out all the stops (AIC: “in-depth study”) but to focus on the three colorful masterpieces uniquely gathered in their essential power. If one wants to read blow by blow explanations of virtually every curatorial application in the show, one might turn to other reviews cited in “Further Reading” below. The equitably in-depth appreciation of this trio of Van Gogh worksand minus the Disney World trappingsmight be advanced using timed tickets (as done for Van Gogh and Gauguin: The Studio of the South) and within a pared down and simpler exhibition scope. The way things are constructed by the show’s curator Gloria Groom, Chair of European Painting and Sculpture at The Art Institute of Chicago, the exhibition transmits encyclopedic knowledge while largely missing a tangible evocation of bachelor Van Gogh’s humble petit boulevard persona who produced in Arles in 1888 and in Saint-Rémy in 1889 these bold canvases of his simple bedroom and even gifting one of the versions (the one now in Paris) to his aged mother and sister to reassure them in his destitution. For Van Gogh the motif of his private and hard-featured bedroom in Arles continued his bold self-expression in a tightly woven and complex painting composed in broad outlines using a many-hued post-impressionistic palette in thick impasto. Despite Van Gogh’s reputation as madhe mutilated his ear in this bedroom in December 1888he soon carried on painting two more versions of The Bedroom (the last one slightly reduced) with the apparent added intention to express to his family and friends that the artist was as stable and restful as his artistic subject.

What should an exhibition advertised as Van Gogh’s Three Bedrooms wish to have its spectators looking for and come away with? By the time a visitor reaches Van Gogh’s three paintings after plowing through the aforesaid gauntlet of people and well-known Chicago art resources, the exhibition almost runs the danger of displaying these highly-prized artworks not as denouement but incidental. These Van Gogh paintings are hardly allowed to speak freely for themselves. Of course they have a fascinating history but to what degree should these particular artworks’ written history be simultaneous to their exhibition? Thinking of the viewer, does the display of three paintings of an artist’s bedroom (albeit Vincent Van Gogh’s) that when placed side by side measures the whole of about ten feet across merit thousands of cubic feet of mostly academic groundwork before a viewer can even see them? To what degree are artistic exhibition and their intellectual exposition necessarily complementary since many museum art shows follow this tactic?

The final gallery after the display of the three bedrooms continued Van Gogh’s Bedrooms’ devotion to comprehensive information and theatricalityalthough a side-by-side blow-up of the bedrooms’ diverging painterly details was perhaps the most useful techie display so to appreciate the artist’s handling of the individual paintings. Yet it begged a question: could this orientation to detail, to seeing the painting, somehow serve as the exhibition’s primary or sole introduction, such as in a film theater? This last gallery then led directly to the ubiquitous and depressing gift shop hosting the galleries’ multitude disporting themselves basically as they did in and among the art. Hearing its timbre I wondered if a unique opportunity to view together these three Van Gogh bedroom paintings“the first time in North America”had under- or overplayed its hand? As its elemental objective had the exhibition Van Gogh’s Bedrooms rightly oriented and imparted to its viewers an intimate and perhaps personally revealing look into these three sensitive treasures of Van Gogh’s oeuvre? Or had the artist Van Gogh merely omitted to paint into his own scene the proverbial kitchen sink?

FURTHER READING:

http://www.artnews.com/2016/03/14/domestic-dreams-van-goghs-bedrooms-at-the-art-institute-of-chicago-offers-a-rich-look-at-three-masterworks/

http://chicago.suntimes.com/entertainment/art-institute-explores-van-goghs-bedroom-and-a-sense-of-home/

http://www.wsj.com/articles/van-goghs-bedrooms-review-1455750210

http://chirontolife.com/2016/review-of-a-view-van-goghs-bedrooms/

http://www.chicagotribune.com/entertainment/museums/ct-ent-0204-van-gogh-bedrooms-art-institute-20160210-story.html

http://www.economist.com/blogs/prospero/2016/03/blockbuster-art-shows

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by an means, electronic  or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

EXPO Chicago 2014, 18-21 September. International Exposition of Contemporary & Modern Art. (44 Photos).

Expo Chicago/2014 is the 3rd annual exhibition of international contemporary and modern art held in Chicago at Navy Pier’s Festival Hall on September 18 – 21, 2014. The following 44 photographs are of that event.

Featured Image is Jessica Stockholder (American, b. 1959), Once Upon A Time, 2014, plastic, paint, mirrors, stools, carpet, chain, cables, staircase, resin, cords, light, bowls, lamp shade. Kavi Gupta Chicago/Berlin.

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Rosalyn Drexler (American, b.1926), Marilyn Pursued by Death, 1963, Garth Greenan Gallery New York and Fredericks & Freiser New York.

Expo Chicago 2014.

Ramiro Gomez (American, b. 1986), American Gardeners, 2014, acrylic on canvas, 84 x 120 in., Charlie James Gallery, Los Angeles.

Expo Chicago 2014.

Nicholas Krushenick (1929-1999), Grill, 1977, Garth Greenan Gallery New York and Fredericks & Freiser New York.

Expo Chicago 2014.

Rene Portocarrero (1912-1985), Ornamental Figure in Brown Background, 1968, mixed media on paper laid down on board, 28 3/8 x 20 in., Cernuda Arte, Coral Gables, Florida.

Expo Chicago 2014.

Lynn Chadwick (1914-2003), Rad Lad IV, 1962, ed. 2 of 8; Beast XX, 1956, ed. 6 of 9; Boy and Girl III, 1959, ed. 2 of 9. Bronze. BlainSouthern.

Wesley 2014

John Wesley (American, b. 1928), Untitled, 2012 and Nicholas Krushenick (American,1929-1999), Wire Mill Road, 1972. Garth Greenan Gallery New York and Fredericks & Freiser New York.

Expo Chicago 2014.

Alex Katz, Ena and Roberto, 1988, oil on linen, 41 x 62 in., Richard Gray Gallery, Chicago.

Expo Chicago 2014.

Sandro Miller (b. 1958), Andy Warhol/Green Marilyn (1962), 2014, 29 x 29 in., Edelman Gallery, Chicago.

Expo Chicago 2014.

Leonardo Drew (American, b. 1961), Number 34S, 2014, 31 x 41 x 11 inches, wood, Anthony Meier, San Francisco.

Expo Chicago 2014.

Minako Abe, Scene 29, 2011, oil on canvas, 35.8 x 92 in., Base Gallery, Tokyo.

Expo Chicago 2014.

David Hockney, Montcalm Pool, LA, 1980, oil on canvas, 12 x 16 in., Richard Gray Gallery Chicago .

Expo Chicago 2014.

Simon Edmondson, The Reader, oil on paper, 48 x 59 9 inches.

Expo Chicago 2014.

Philip Pearlstein (b. 1924), Two models with four geese decoys, 1993, watercolor on paper, Hill Gallery, Birmingham, Michigan.

Expo Chicago 2014.

Manolo Valdés (Spanish, b. 1942, works New York City), Hojas II, 2014, Marlborough.

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Fuck It (detail), Michael Bouchet, 2013, Marlborough Chelsea.

Jina Park, Automatic Door Follow Me, 2014Jina Park, Automatic Door Follow Me, 2014, oil on canvas, 100 x 130 cm, One and J. Gallery, Seoul.

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by an means, electronic  or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

EXPO Chicago 2013, 19-22 September. International Exposition of Contemporary & Modern Art. (16 Photos).

Expo Chicago/2013 is the 2nd annual exhibition of international contemporary and modern art held in Chicago at Navy Pier’s Festival Hall on September 19 – 22, 2013. The following 16 photographs are of that event. 
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1-EXPO CHICAGO 2013- Michele Pred, TARGETED, 2012, Vintage hat bag, birth control pills, 24 x 1 x 6 inches. Nancy Hoffman Gallery, New York. Pred incorporates aspects of contemporary culture and politics in her art. 

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2-EXPO CHICAGO 2013- Robert Natkin (American, 1930-2010), UNTITLED, 1957, McCormick Gallery Chicago & Vallarino Fine Art New York.

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3-EXPO CHICAGO 2013- Hung Liu (American, Chinese b.1948), DA FA CHE II, 2013, mixed media, 82 x 82 in., Nancy Hoffman Gallery, NY.

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4-EXPO CHICAGO 2013- William T. Kennedy, WARHOL HOLDING MARILYN ACETATE 1, executed 1964, 2010. When Warhol was not yet famous but at the center in a shift in the culture of the art world.

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5-EXPO CHICAGO 2013- Elizabeth Catlett (American, 1915-2012), STAR GAZER, 1997, black marble, 14.5 x 32 x 11 in., signed. Jonathan Boos LLC. Catlett known for depictions African-American and Latin American working-class women forms simple shapes in wood, stone, bronze or clay.

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6-EXPO CHICAGO 2013- at Die Galerie, Frankfurt am Main.

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7-EXPO CHICAGO 2013- Aimé Mpane (Congo, born 1968), IC CONT SERIES, 2011-2013, acrylic and mixed media on wood panel, 12.5 x 12 x 2 in., Haines Gallery, San Francisco.

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8-EXPO CHICAGO 2013- at Haines Gallery, San Francisco.

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9-EXPO CHICAGO 2013- at Die Galerie, Frankfurt am Main.

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10-EXPO CHICAGO 2013- Larry Rivers (American, 1923-2002), SMALL DRUGSTORE, 13.5.x.15.25 inches, oil on canvas mounted on board, 1959. Techniques of color-field painting, gestural abstraction, and calligraphy together in an objective and abstract picture.

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11-EXPO CHICAGO 2013- Bruce Dorow, BLACK SHAPE SPACE, oil on canvas, 2012-2013. R.S. Johnson Fine Art, Chicago.

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12-EXPO CHICAGO 2013- Patrick Strzelec, American sculptor. Garth Greenan Gallery, Chicago.

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13-EXPO CHICAGO 2013- Jacob Lawrence (American, 1917-2000), THE LOVERS, gouache on paper, 21.5 x 30 in., signed & dated lower right. Jonathan Boos, LLC, New York.

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14-EXPO CHICAGO 2013- at Jonathan Boos, LLC, New York.

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15-EXPO CHICAGO 2013- Long–Bin Chen (Taiwan, born 1964), EDVARD GRIEG, 28x29x15 inches. New York-based Long-Bin Chen transforms paper products into sculpture. Books are constructed so that parts fit together seamlessly.

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16-EXPO CHICAGO 2013- Siebren Versteeg (American, b. 1971), GOOD TIMES_1081_2003_05_09, 2012, Algorithmically generated archive inkjet output to paper, tape. 92 x 56 inches, Rhona Hoffman Gallery, Chicago. New York-based artist educated at the SAIC and UIC mines digital content presented as painterly abstractions or monitor displays.

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by an means, electronic  or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

“Picasso and Chicago”: the show is over but its best parts are on display. (It’s the Art Institute of Chicago’s permanent collection.)

Featured Image: Minotaur and Wounded Horse, April 17, 1935; detail; pen and brush and black inks, graphite, and colored crayons, with smudging, over incising, on cream laid paper; signed recto, lower right, in graphite: “Picasso” (underlined); inscribed upper right, in graphite: “Boisgeloup–17 Avril XXXV; The Art Institute of Chicago.

 

Armory Show, Art Institute of Chicago, March 24–April 16, 1913.

Armory Show, International Exhibition of Modern Art. The Cubist room, Gallery 53 (northeast view), Art Institute of Chicago, March 24–April 16, 1913. On the longer wall are three of the seven Picasso artworks included in that landmark exhibition (though not in “Picasso and Chicago”).

Picasso and Chicago, The Art Institute of Chicago, February 20 – May 12, 2013.

By John P. Walsh

The links between this art exhibition called Picasso and Chicago going on from February 20 to May 12, 2013 at The Art Institute of Chicago and the artist Pablo Picasso (1881-1973) as well as the centenary of the landmark 1913 Armory Show is often tenuous. From virtually the beginning of his artistic practice, bragging rights on Picasso have come to the Catalan artist. Forty years after the artist’s death at 91 years old, the media talk in 2013 revolves around American collector “firsts” associated with Picasso.

Which institution collected Picasso first? (The Art Institute of Chicago in 1923.)
Which institution collected Picasso most? (The Chicago Renaissance Society by 1930.) Which institution had the first Picasso exhibition? (The Arts Club of Chicago in 1923.) Which institution first had a Picasso retrospective? (The Wadsworth Atheneum in Hartford, Connecticut in 1934.)

The Art Institute of Chicago is able to put imagination aside and quote itself in Picasso and Chicago. Nearly all of the same inventory of Picasso artwork in this 2013 show were assembled and displayed in the exact same order in a previous exhibition at the museum called Picasso in Chicago held from February 3 to March 31, 1968. According to the museum director writing at that time, that exhibition had been inspired by the dedication of the Picasso sculpture on August 15, 1967, and which remains a Chicago icon today standing five stories tall in Daley Plaza.  If attention is what Pablo craves, he has no worries.

Picasso, Nude with a Pitcher, summer 1906.

Pablo Picasso, Nude with a Pitcher, Gósol, summer 1906, oil on canvas, 39 5/8 x 31 7/8 in. (100.6 x 81 cm), Signed, l.r.: “Picasso.” The Art Institute of Chicago. Picasso painted Fernande Olivier (French, 1881-1966), his mistress at the time, during a sojourn to Gósol in the Spanish Pyrenees in the summer of 1906.

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Pablo Picasso, Nude with a Pitcher (detail), summer 1906, Gósol, Spain. The Art Institute of Chicago. Photograph by author.

Picasso Nude with a pitcher summer 1906 Gosol Spain

Pablo Picasso, Nude with a Pitcher (detail), summer 1906, Gósol, Spain. The Art Institute of Chicago. Photograph by author.

fernande-1905

Fernande Olivier and Pablo Picasso in 1905 in Paris.

Picasso Two Saltimbanques 1905
Pablo Picasso, The Two Saltimbanques, 1905, printed and published 1913. The Art Institute of Chicago. Drypoint on ivory wove paper 120 x 91 mm (image/plate); 193 x 129 mm (sheet)

Picasso, Study for La Coiffure, 1906.

Picasso, Study for “La Coiffure,” 1905-1906. Pen and brown ink, with colored crayons and charcoal applied with stump, over graphite, on blue-gray laid paper 184 x 307 m. Signed recto, upper right, in graphite: “Picasso.” The Art Institute of Chicago. The pairs of figures are related by both involved in intimate activities, but represent two different subjects Picasso studies months apart. The first dates from 1905 and the second from 1906. The pair on the right is a study for a major painting, “La Coiffure, ” in The Metropolitan Museum of Art.

There are several good things about Picasso and Chicago although it doesn’t always revolve around his art. It is satisfying to know that Chicago possesses these rich resources to showcase a chronological and comprehensive Picasso show within its own collections. In these tight economic times there is a certain kudos owed to major museum curators who recognize how it can effectively display its own and nearby institutions’ holdings to produce another blockbuster show. The chronological exhibition of Chicago’s Picasso collection—and that includes works from The Art Institute of Chicago, The Arts Club of Chicago and The Renaissance Society—is front loaded providing for immediate pleasures. The visitor is greeted nearly at the door by The Old Guitarist painted by Picasso in 1903-1904—a revered Blue-period painting in the Art Institute—and for the viewer to be edified by its presence is worth any exhibition’s admission price though there was no special exhibition fee beyond the price of general admission to the museum.

Picasso, The Old Guitarist, 1903–1904.

Picasso, The Old Guitarist, 1903–1904, oil on panel, 48 3/8 x 32 1/2 in. signed, l.r.: “Picasso.” The Art Institute of Chicago.

Does a front-loaded show spell overall superficiality? The answer is: yes and no. For any future Picasso show curators should find every possibility — as I am doing already for this review — to whittle away at the volume of artwork on display for Picasso and Chicago to present its interesting parts. It is precisely the show’s downsizing opportunity that intimates its shortcoming: by displaying some of the Spanish master’s later increasingly commercial and less compelling artwork produced during a lengthy and prosperous career, the Art Institute of Chicago’s holdings of 500 Picasso works in every medium begin to reveal the challenges of building a successfully qualitative collection of contemporary art even when the artist is Picasso.

Picasso woman with her hair up 1904

Picasso, Woman with her hair up, 1904, Gouache on tan wood pulp board, 427 x 313 mm, Signed and dated recto, upper left, in blue gouache: “Picasso / 1904.” The Art Institute of Chicago.

Picasso, "Beggar with Crutch," 1904.

Pablo Picasso, “Beggar with Crutch,” Barcelona  1904, pen, brown ink and colored crayon on paper. The Art Institute of Chicago. Photograph by author.

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Pablo Picasso, “Beggar with Crutch” (detail), Barcelona 1904, pen, brown ink and colored crayon on paper. The Art Institute of Chicago. Photograph by author.

Picasso, Crazy Woman with Cats, 1901.

Pablo Picasso, Crazy Woman with Cats, 1901. Oil on pulp board 17 7/16 x 16 1/16 in. (44.3 x 40.8 cm). Signed. l.r.: “Picasso.” Amy McCormick Memorial Collection, 1942. The Art Institute of Chicago.

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Picasso, “Crazy Woman with Cats” (detail), early summer 1901, Paris, oil on cardboard. Amy McCormick Memorial Collection, 1942. The Art Institute of Chicago. Photograph by author. Picasso came to Paris in late May 1901 with three weeks to prepare for an exhibition at Vollard’s gallery arranged by a Catalan dealer who roomed with Picasso on the Boulevard de Clichy. Crazy Woman with Cats is one of 64 paintings and many drawings Picasso prepared for the show. Photograph by author.

Sketch young woman detail pen and brush and black ink on paper Paris 1904

Picasso, Sketch of a Young Woman (detail), pen and brush and black ink on paper, Paris 1904, gift of Robert Allerton, 1924, The Art Institute of Chicago. Allerton, a museum trustee since 1918, began in 1923 to acquire Picasso drawings with the sole purpose of donate them to the museum. Sketch of a young woman was Allerton’s first Picasso drawing purchase and museum donation in 1923. It was purchased in Chicago from Albert Roullier Galleries. Photograph by the author.

Picasso, Study of a Seated Man, 1905

Picasso, of a Seated Man, 1905. Black chalk on cream wove paper, laid down on cream Japanese paper, 329 x 216 mm, Signed recto, lower left, in graphite: “Picasso.”Gift of Robert Allerton, 1924. The Art Institute of Chicago.

Picasso, Study of Four Nudes, Paris, 1906-07.

Picasso, Study of Four Nudes, Paris, 1906-07, black crayon paper, Johnson Family collection. When 1906 ended, Picasso stopped painting instead filling sketchbooks for a new major composition: Les Demoiselles d’Avignon (1907; The Metropolitan Museum of Art).

Picasso, Female Nude, 1906.

Picasso, Female Nude, 1906. Fabricated Black chalk with graphite and smudging on paper, 31.8 x 23.5 cm. Gray Collection Trust.

Picasso, Fernande Olivier, summer 1906

Fernande Olivier, summer 1906. Charcoal, with stumping, on cream laid paper, 610 x 458 mm. Signed recto, lower right, in graphite: “Picasso” (underlined), Gift of Hermann Waldeck, 1951.

Picasso, Peasant Girls from Andorra, late summer 1906.

Picasso, Peasant Girls from Andorra, late summer 1906, Pen and brown inks, over traces of charcoal, on cream laid paper, 635 x 435 mm. Signed and dated verso, lower right, in graphite: “Picasso / 1906”; inscribed verso, lower center in graphite: “Paysannes d’Andorre.” Gift of Robert Allerton, 1930. The Art Institute of Chicago. 

Picasso, Two Nudes, Standing, fall 1906

Picasso, Two Nudes, Standing, fall 1906 Graphite, with stumping, on cream laid paper (detail). Photograph by author.

Picasso, Two Nudes, Standing, fall 1906.

Two Nudes, Standing, fall 1906 Graphite, with stumping, on cream laid paper 630 x 469 mm Signed verso, upper left, in graphite: “Picasso.” Gift of Mrs. Potter Palmer, 1944. The Art Institute of Chicago.

When Chicago in the 1920’s began its Picasso-buying frenzy another young Spanish painter twelve years younger than Picasso arrived into Paris and was immediately overtly critical of the great Picasso’s work at that time. That younger painter was Joan Miró (1893-1983) and his criticism of Picasso (more a kind of disgust)—as well as of Henri Matisse (1869-1954)—was that the pair were making all their art for their dealer. In other words, they were making art primarily for a paycheck. Such may be the inherent risk in making contemporary art that meets a market demand: the artist is tempted, after a fashion, to sell-out. Miró knew at first look—and history has proven him basically correct—that the future of contemporary painting did not rest with Picasso after about 1920. This is partly the reason why Miró turned to the “nonsense” art of the Dadaists for the future of his own painting. Keeping Miro’s judgment in the back of one’s mind at Picasso and Chicago one can see that with some notable exceptions an earlier Picasso painting—that is, from the Blue Period after 1901 to Picasso’s period of synthetic cubism until around 1920—offers cohesive artwork that contains a germ or seed of progress.  The art collection in Picasso and Chicago, much of it produced following Miró’s critical judgment of Picasso, shares his problematic.

nessus-and-deianira-juan-les-pins-september-22-1920-graphite-on-papere-with-white-ground

“Nessus and Deianira,” September 22, 1920, Graphite on tan wove paper, prepared with a white ground ,signed recto, upper left, in pen and blue ink: “Picasso” (underlined); inscribed upper left, in graphite: “22-9-20.” Just before leaving Paris in September 1920, Picasso made a series of drawings of the Greek myth of the abduction of Hercule’s bride Deianira by the centaur Nessus. Following this, Picasso became fascinated with Greek mythology to continue to make artwork using its themes. Photograph by author.

Picasso head of a woman 1909-10

Picasso, Head of A Woman (Fernande), Paris winter 1909-10, brush and gray wash on paper. Private Collection. Paintings and drawings by Picasso in winter 1909-10 continued to explore Cubism as it related to the human face and figure and its surroundings. Photograph by author.

Picasso studio Horta de Ebro summer 1909.

Picasso’s studio at Horta de Ebro (now Horta de San Juan) in Spain between May and September 1909. The painting of a Head of a Woman (at left) is one of the early Cubist artworks in “Picasso and Chicago.”

Picasso, head of woman sum 1909

Picasso, Head of a Woman, summer 1909, Oil on canvas 23 3/4 x 20 1/8 in. (60.3 x 51.1 cm), Winterbotham Collection, 1940. This painting dates to one of the most productive and inventive periods of Pablo Picasso’s career, a stay in the town of Horta de Ebro in Spain from May to September 1909. In these spring and summer months, Picasso produced artworks that rank as some of the earliest achievements of Cubism. Fernande Olivier (French, 1881-1966), Picasso’s mistress at this time, was the model for the series of heads that the artist produced.

Picasso Bust of a Woman, late 1909

Picasso, Bust of a Woman, late 1909, Watercolor and gouache on cream laid paper, laid down on buff laid paper, 363 x 278 mm overall; signed recto, lower left, in graphite: “Picasso (underlined)/ 09” Gift of Mr. and Mrs. Roy J. Friedman, 1964. The Art Institute of Chicago.

Picasso, Head of woman cast 1910

Head of a Woman (Fernande), fall 1909, bronze, 16 1/8 x 9 7/8 x 10 9/16 in. (40.7 x 20.1 x 26.9 cm), cast 1910, Alfred Stieglitz Collection, 1949. This work is Pablo Picasso’s first large Cubist sculpture and represents the distinctive physiognomy of Fernande Olivier, who was the artist’s model and mistress from 1905 until 1912. Before making the bust, Picasso produced countless drawings and gouaches to explore the specific form and structure of his subject’s facial features – her hair in a coil and a topknot; a bulging jaw; a well-fined depression in the center of her upper lip. The Art Institute of Chicago. Increasingly, the Fernande series’ mechanics evolved from the agility of facial expression to its individual features that became fixed signs.

Picasso, Artist and Model, 1933.

Pablo Picasso (1881-1973), “Artist and Model,” Cannes, July 24, 1933, watercolor and pen and black ink on paper. Gray Collection trust. Photograph by author.

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Pablo Picasso (1881-1973), “Artist and Model” (detail), Cannes, July 24, 1933, watercolor and pen and black ink on paper. Gray Collection trust. Photograph by author.

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Pablo Picasso (1881-1973), “Artist and Model” (detail), Cannes, July 24, 1933, watercolor and pen and black ink on paper. Gray Collection trust. Photograph by author.

Picasso signature

Picasso, “Artist and Model,” Cannes, July 24, 1933, artist signature. Photograph by author.

kahnweiler 1910

Picasso, Daniel-Henry Kahnweiler, autumn 1910, Oil on canvas, 39 9/16 x 28 9/16 in. (100.4 x 72.4 cm) Gift of Mrs. Gilbert W. Chapman in memory of Charles B. Goodspeed, 1948. The Art Institute of Chicago. German-born Daniel-Henry Kahnweiler (1884-1979) opened an art gallery in Paris in 1907. The next year he  began representing Pablo Picasso (1881-1973) and introduced him to Georges Braque (1882-1963). Kahnweiler championed these artists’ revolutionary experiment with Cubism and purchased most of their paintings between 1908 and 1915. Kahnweiler sat for Picasso up to thirty times for this portrait.

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Portrait photograph of Pablo Picasso, 1908.

Picasso Harlequin 1916

Picasso, Head of Harlequin, 1916, The Art Institute of Chicago. Photograph by author.

Picasso Harlequin Guitar c. 1916

Picasso, Harlequin Playing the Guitar, c. 1916, Elden collection. Photograph by author.

Picasso Head Arts Club

Picasso, Head of a Woman, 1922, The Arts Club of Chicago, purchased 1926. Photograph by author.

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Olga Khokhlova (1891-1955) in Picasso’s Montrouge studio, spring 1918. Olga married Picasso on July 12, 1918, at the Russian Orthodox Cathedral in Paris. On February 4, 1921, she gave birth to their son Paulo (1921-1975). After that, Olga and Picasso’s relationship deteriorated though they never divorced. Olga died in Cannes in 1955.

Picasso still life 1922

Picasso, Still Life, February 4, 1922, Oil on canvas 32 1/8 x 39 5/8 in. (81.6 x 100.3 cm), Dated, u.l.: “4-2-22-.” Ada Turnbull Hertle Endowment, 1953. Picasso produced a series of Cubist still lifes in 1922 that are simplified to flat planes in a patterned framework. Gertrude Stein (1874-1946) bought this canvas in 1923 to add to her collection of more than 30 Picasso paintings and even more of his drawings and watercolors. This still life was Stein’s last purchase of a painting by Picasso.

Picasso flute and nude, 1932

Picasso, Double Flute Player and Reclining Nude, October 22, 1932, pen and ink with brush and black wash and scraping on paper, Shapiro collection, 1992. The Art Institute of Chicago. In the late summer and fall of 1932, Picasso and Marie-Thérèse Walter (French, 1909-1977), the artist’s mistress from 1927 to 1935, were together in Boisgeloup. Picasso made three drawings on the same day on a theme of lovers serenading one another.

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Marie-Thérèse Walter and Pablo Picasso. Their relationship began when she was seventeen and he was 45 years old and married to Olga Khokhlova (Ukraine, 1891-1955).

Picasso, Minotaur and horse, 1935

Picasso, Minotaur and Wounded Horse, Boisgeloup, April 17, 1935, Pen and brush and black inks, graphite, and colored crayons, with smudging, over incising, on cream laid paper, 343 x 515 mm Signed recto, lower right, in graphite: “Picasso” (underlined); inscribed upper right, in graphite: “Boisgeloup–17 Avril XXXV” The Art Institute of Chicago. Picasso transmogrifies the theme of bullfighting where the Minotaur – half-man and half bull – is the aggressor in the bullring terrorizing the horse.

Picasso Minotaur and Wounded Horse 1935

Picasso, Minotaur and Wounded Horse, 1935 (detail). Photograph by author.

 

The Red Armchair of 1931 is hung at what is about the show’s halfway point. At this point, I might have exited. Yet where Miró’s critical judgment lags for me is that Picasso’s art is never incompetent or boring. His art is perceptibly linear and, despite its erotic themes, often contains qualities which satisfy and cleanse a critical eye. Picasso’s art is ever ancient and ever new, and distinctly European. For me, seeing a Picasso connotes a stroll in Paris or feeling a sunburn on the face after revelry and reverie along the Mediterranean coast. Quite readily the show produced these kinds of vicarious experiences as one soaked up a plethora of Picasso’s later, lesser work in utilitarian Regenstein Hall.

There are 250 items on display in Picasso and Chicago—and includes paintings, prints, drawings, sculptures, and ceramics— which begin to manifest Pablo Picasso’s profligate artistic genius. Picasso and Chicago may have closed, but these works in Chicago’s various cultural institutions and private collections can still often be savored with the simplicity of a museum visit. A visitor may do no better than to start with a beeline to The Art Institute of Chicago to see Picasso’s The Old Guitarist and The Red Armchair and begin one’s own new absorption and critique of the Spanish master’s work whose home is in Chicago.Picasso

The Red Armchair, December 16, 1931

Detail of “The Red Armchair,” December 16, 1931; oil and ripolin on panel; signed, u.r.: “Picasso”; The Art Institute of Chicago. Photograph by author. 

Picasso Head of Woman (Dora Maar) 1939

Picasso, Head of Woman (Dora Maar), Paris, April 1, 1939, oil on canvas, 92 x 73 cm. Private collection. Maar met Picasso in 1936 at the Cafe des Deux Magots in Paris. Her liaison with Picasso ended in 1943. Photograph by the author.

weeping woman dora maar 1937

Weeping Woman I, July 1, 1937. Drypoint, aquatint, and etching, with scraping on copper in black on ivory laid paper, 695 x 497 mm (plate); 774 x 568 mm (sheet). The Art Institute of Chicago. Explaining his penchant for making portraits of his mistress weeping, Picasso explained: “For years, I’ve painted her in tortured forms, not through sadism and not through pleasure either – just obeying a vision that forced himself on me.” By the end of their relationship Picasso confessed, “I can only see her weeping.”

Dora Maar Picasso Lee Miller 1937

From left: Dora Maar, Picasso, Lee Miller in 1937.

1951 Villa in Vallauris

Picasso, Villa in Vallauris, Vallauris, Feb., 4, 1951, oil on panel. 88.9 x 116.2 cm, The Art Institute of Chicago.

Picasso large vase 1950

Picasso, large vase with dancers, Vallauris, 1950, red earthenware clay, ground painted in white engobe, 71.2 cm. Crown collection.

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Picasso and Françoise Gilot (b. 1921) at Madoura pottery, Vallauris, 1953. Gilot was lover and muse to Picasso from 1943 to 1953. They had two children, Claude and Paloma. On a personal note, I heard and met Françoise Gilot who was accompanied by her husband Jonas Sauk, in the early 1990’s at a speaking event in Chicago at the Alliance Française.

Picasso Jacqueline 1962

Picasso, Portrait of Jacqueline, Mougins, Dec. 28, 1962, graphite with smudging and black ballpoint pen on paper. 34.9 x 25 cm., Gray Collection Trust.

Picasso Jacqueline 1959

Picasso, Jacqueline, Cannes or Vauvenargues, October 17, 1959, Linocut in colors on paper, 63.8 x 53 cm., Crown collection. Jacqueline Roque was the muse and second wife of Pablo Picasso. Their marriage lasted 11 years until his death, during which time he created over 400 portraits of her, more than any of Picasso’s other loves.

Jacqueline and Pablo Picasso.

Picasso and Jacqueline, his second wife. Pablo Picasso met Jacqueline Roque (1927-1986) in 1953 when she was 26 years old and he was 72. He romanced her until she agreed to date him. Only in 1955, when Picasso’s first wife Olga Khokhlova died, did Picasso decide to marry Jacqueline in Vallauris in 1961. They were married until Picasso’s death in 1973.

Picasso Chicago

Picasso and Chicago.

 

SOURCES:
Miró, Janis Mink, Taschen, 2006.
Je suis Le Cahier: The Sketchbooks of Picasso, 1986, Arnoldo  Mondadori Editore, Verona, Italy.
Picasso and Chicago 100 years, 100 works, Stephanie D’Alessandro, The Art Institute of Chicago, 2013.
Picasso in Chicago, The Art Institute of Chicago, 1968.
http://michiganavemag.com/living/articles/aic-opens-picasso-and-chicago
http://www.indiebound.org/book/9780300184525http://chicagoist.com/2013/05/11/last_chance_to_see_picasso_and_chic.php

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by an means, electronic or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

John P. Walsh

French Cartoonist fêted, then revealed as Nazi Collaborator: Chaval and the purpose of art history and exhibitions.

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Chaval’s cartoons, mainly wordless, are often derisive, ironic and filled with dark humor.

By John P. Walsh

The 53-year-old French cartoonist’s suicide in Paris in winter 1968 served as a tragic end to a witty career. Born Yvan Le Louarn near Bordeaux in 1915, Chaval left a suicide note on the apartment door that read “Mind the gas.” But today it is his actions as a young man in his late 20s that mark him for controversy.

Chaval’s professional name is a bastardization of Chevel, an early twentieth century architect for whose work the term “architecture naïve” was coined. While Chevel came to fantastical architecture after being a poor farmer, Chaval trained for years at the École des Beaux-Arts in Paris, the nation’s foremost art school.

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It is a specific period in the cartoonist’s past that erupted into a controversy in late spring 2008 as a major French art museum mounted a retrospective exhibition of Chaval’s career. During the near incredible period of World War II, Chaval created drawings after 1940 with a racist and anti-Semitic slant for publication in Le Progrès, a Vichy newspaper. His drawings were characterized as “Pro-German Vichy and not just” by Pascal Ory, a leading French cultural historian of the Université de Paris-I-Panthéon-Sorbonne. When the Musée des Beaux-Arts in Bordeaux hosted an exhibition of 120 of Chaval’s pen-and-ink cartoons in summer 2008 none of his wartime anti-Semitic drawings was displayed. In an article in La Croix, the daily Paris Roman Catholic newspaper, Professor Ory revealed the nature of some of these hidden racist works as the exhibition opened.

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By the mid 1950s Chaval was an international sensation, his cartoon work mentioned in the same breath in American publications with icons such as James Thurber (1894-1961), Charles Addams (1912-1988) and William Steig (1907-2003). Immediately after the war Chaval was cleared of wrongdoing and started to be published in top French publications—Punch, Le Figaro, Le Nouvel Observateur, Paris Match. He won the industry’s highest awards and remained at the top of his field until the time of his death.

In a June 5, 2008 article Professor Ory described Chaval’s wartime cartoons as “compelling” of racist anti-Semitism.  One published Chaval wartime cartoon Professor Ory described—and the Bordeaux fine arts museum director confirmed its existence—shows two figures with exaggerated noses and wearing yellow stars on their coats. One of them wears two yellow stars and says to the other: “He made me a good price!” Professor Ory criticized not only the drawing’s crude racist ontology but that the Bordeaux art museum would seek to ignore or even cover up the cartoon’s existence in Chaval’s oeuvre. “I’m surprised,” Ory said, speaking in 2008, “that after thirty years of historiography, we are always looking to conceal the period of collaboration under the Occupation in France.”

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That the art museum buried Chaval’s early racist work from view without explanation did not stop the museum director, M. Olivier Le Bihan, from defending an impugned Chaval after his controversial work was publicized: “We do not have the right to condemn a man because he made a tendentious drawing. Remember that after the war a trial cleared Chaval of some of the anti-Semitic cartoons ascribed to him. Chaval was called a humanist in Robert Merle’s 1954 Holocaust novel (“Death is my Trade”).”

Professor Ory, author of the classic Les Collaborateurs 1940-1945 (published in 1976), counters that it is “absurd” for the museum to justify the overriding purpose of an art exhibition as “first drawing” or that Chaval “does not deserve this trial of intent” because “he did it to eat.” Professor Ory states there is a “dialogue gap” between art historians and historians that leads to an “endemic lack of historical understanding” of the issues involved in an art exhibition resulting only in an ensuing public spectacle of controversy. Ory points to a similar mistake being made in another 2008 exhibition held in Paris of photographs by Collaborationist André Zucca (French, 1897-1973). This exhibition caused a public furor for not being specific about the conditions under which these images of the city during the Nazi Occupation had been made.

chaval

Ory contends that Chaval’s case is not simply a matter of a hungry young artist making due in wartime. There is further documentation of Chaval’s friendly relations with racist editors and writers on the Vichy newspaper. Beyond these facts is Professor Ory’s principled belief that “the problem of political engagement is not secondary” to any artist’s life or work. Chaval, professor Ory concludes, is a “draftsman collaborationist” – and though his political affiliations do not detract from his artistic talent it becomes important for the art historian and curator to explain the historical context including “the artist’s overall character” to the viewer. This practices intellectual honesty and makes the enterprise of art making and art exhibition “more human,” according to Ory.

SOURCES:The Best Cartoons From France, Edna Bennett, Philippe Halsman,Simon & Schuster, 1953; C’est la vie: The best cartoons of Chaval, Citadel press, 1957; http://www.la-croix.com/Culture-Loisirs/Culture/Actualite/A-Bordeaux-l-exposition-Chaval-souleve-la-polemique-_NG_-2008-06-05-672010.

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by an means, electronic  or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

Eluding “Terrible Monsieur Degas”: Gustave Caillebotte’s Retro-Style Vision for the Seventh Impressionist Exhibition of 1882.

By John P. Walsh

The Third Impressionist Exhibition held in April 1877 is known as “Caillebotte’s Exhibition.” It is the highlight of the eight Impressionist exhibitions held between 1874 and 1886. While scholars agree that the Third Impressionist Exhibition was in every sense “glorious,” the show’s first euphoria was short lived.  Two weeks after the show closed, as hopes for picture sales was high, there was a Constitutional crisis in the French government. It resulted in the consolidation of Republican power against Royalists which led to a severe national economic recession. The Impressionist group, conceived and carefully built to a unity by Gustave Caillebotte, resorted to squabbling as artists jostled to survive in a receding financial tide.

Gustave Caillebotte’s efforts for a fourth Impressionist exhibition in 1878 were stymied. The next exhibitions would be under Degas’s rule. In 1879 Degas would exclude Pierre-Auguste Renoir, Paul Cézanne and Alfred Sisley and, in 1880, Claude Monet. The irony of the politics that created these developments was not lost on Caillebotte.  For the April 1877 Third Impressionist Exhibition Caillebotte built the group’s brand largely on  “broken brush” impressionists. For the next three impressionist shows in 1879, 1880 and 1881, he worked with Edgar Degas and an artistic coterie that effectively excluded them. Before the opening of the Sixth Impressionist Exhibition in 1881, Caillebotte cited a managerial difference on an advertising issue and departed the Degas-led organization.

Caillebotte’s retirement from arts organization was a short one. The 32-year-old Caillebotte led the offensive for a then-retro-style vision for the next impressionist exhibition in 1882. With his emerging partner — Impressionist art dealer Paul Durand-Ruel (1831-1922) — Caillebotte promoted his vision tirelessly. But the art market that was changing in the last decade had taken a financial toll on the 51-year-old art dealer. Durand-Ruel had to re-tool his business plan to focus not on large-scale group shows but small shows of individual artists. Overall the French economy had sunk into hard times and big shows cost more money. Following the disastrous Hôtel Drouot auction in 1875—which Durand-Ruel believed was an attempt by his critics to discredit him as an art dealer—the well-stocked Impressionist art dealer reluctantly agreed to go forward with Caillebotte’s exhibition plan for 1882 which the artist-art show organizer had crafted to likely realize a small profit.

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P.A.-Renoir, A Luncheon at Bougival, 1881, The Phillips Collection, Washington, D.C.

The main hook was to re-integrate the up-to-now excluded “broken brush” or “strict” impressionists including Renoir and Claude Monet. Caillebotte’s first move was to secure the popular Renoir for the upcoming March 1882 show. Renoir sent 24 new works, including his iconic large-format A Luncheon at Bougival (Un déjeuner à Bougival). Degas and his faction of artists including Mary Cassatt stayed away from this Seventh Impressionist exhibition though Paul Gauguin was represented. Durand-Ruel insisted on a standardized presentation, including simple white frames for every work. In addition to Monet and Renoir, the seventh show hailed a triumphant return for Alfred Sisley. Camille Pissarro displayed several paintings of peasant girls. His tiny pseudo-pointillist brushstrokes now and then overlaid with dabs of thicker paint, built up an uneven surface that integrated the figure and background and worked to visually mimic the textures of the sitter’s wool clothing. The artist of Aix, Paul Cézanne, was off experimenting in the south of France. Cézanne would not be seen again in a Paris art show until 1895 when a huge body of his work was featured in an exhibition at Ambroise Vollard’s gallery.

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Caillebotte, Rising Road (Chemin Montant). 1881.

Caillebotte sent 17 works to the show. The Bezique Game (Partie de bésigue) painted in 1880, was joined by Rising Road (Chemin Montant) painted in 1881. This latter work’s path hardly rises—a feature that contributed to the canvas’s mystery. The question was asked whether it was a reprise of the “enhanced perspective” that aggravated critics in 1876 when they saw it in The Floor Scrapers.  Rising Road is painted with a free handling of colors in the loose brushwork style of Monet and Renoir whose closer re-acquaintance Caillebotte made. One critic poked fun at the painting’s mysterious pair as viewers wondered with him who is “the conjugal couple…seen from the back” ? Their identities and location are uncertain though speculation put Caillebotte in the painting with his lifelong companion Charlotte Berthier. Rising Road (Chemin Montant) had only two owners since 1881 and sold in 2003 for nearly $7 million ($6,727,500) at Christie’s in New York City,

Gustave Caillebotte, Balcon (Balcony), 1880, oil on canvas, 26 1/4 x 24 in. (68 x 61 cm). Private Collection, Paris. The Seventh Impressionist Exhibition-1882.

Paul Gauguin, A la Fenêtre, nature morte (At the Window, Still Life),1881, oil on canvas, 7.5 x 10.625 in (19 x 27 cm), Musée des Beaux-Arts de Rennes. The Seventh Impressionist Exhibition-1882.

Jean-Baptiste-Armand Guillaumin, Paysage (fin octobre) (Landscape, End of October), c, 1876, oil on canvas, 17 7/8 x 48 1/8 in. (180 x 123 cm), Nasjonalgallereit, Oslo. The Seventh Impressionist Exhibition-1882.

Claude Monet, Soleil couchant, sur la Seine, effet d’hiver (Sunset on the Seine, Winter Effect), 1880, oil on canvas, 39 3/8 x 59 7/8 (100 x 152 cm), Musée du Petit Palais, Paris. The Seventh Impressionist Exhibition-1882.

Camille Pissarro, Jeune paysanne prenant son café, (Young Peasant Woman Drinking Her Coffee), 1881, oil on canvas, 65.3 × 54.8 cm (25 11/16 × 21 9/16 in.), The Art Institute of Chicago.
The Seventh Impressionist Exhibition-1882.

Pierre-Auguste Renoir, Jongleuses au Cirque Fernando, (Jugglers/acrobats at the Cirque Fernando), 1879, oil on canvas, 131.2 × 99.2 cm (51 ½ × 39 1/16 in.), The Art Institute of Chicago. The Seventh Impressionist Exhibition-1882.

Alfred Sisley, Saint-Mammès, temps gris (Saint-Mammès, Cloudy Weather), c. 1880, oil on canvas, 21 5/8 x 29 1/8 in. (54.8 x 74 cm), Museum of Fine Arts, Boston. The Seventh Impressionist Exhibition-1882.

SOURCES: Charles S. Moffett, The New Painting, 1986; Anne Distel, Urban Impressionist, 1995; http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=4181485

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by an means, electronic  or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.