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February, 2019

Carla Chammas
Lonti Ebers
Marty and Rebecca Eisenberg
Kathy Fuld
Eric Green
Hilary Hatch
Tina Kim
Jill Kraus
Michael Ringier
Jerry Speyer
Alice Tisch
Laurie Wolfert

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WELCOME TO THE DIRECTOR'S CIRCLE NEWSLETTER

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WELCOME TO THE DIRECTOR'S CIRCLE NEWSLETTER

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I am thrilled to inaugurate our new group with this interactive newsletter.

The app that we are using is called PADLET. It allows our group, and our group alone, to access this newsletter, and more importantly, to comment on the entries and share new material with all Director's Circle members. Once you are on the newsletter, you can comment in the comment box. The comment will be anonymous unless you add your name in the body of the comment as in: "This is Laura. There's a better show in Paris that everyone should see".

But I'd like to suggest that everyone join PADLET. It's free, and if you do this, your name will automatically appear when you comment. Here are the very simple instructions to do so:

1.       Access the newsletter by clicking this link or copying the address into your browser: https://padlet.com/lhoptman/TDCDirectorsNewsletter

2.       Once there, you can read through the Director’s Circle Newsletter and make comments anonymously.

3.       If you would like to make comments under your own name, click the gray “sign up” text in the top right hand corner of the screen

4.       Type in your preferred email and password, and check the “I’m beautiful” box (this is their way of checking you aren’t a robot)

5.       Click the pink “sign up” button.

6.       Select the “Basic” version of the account. The pro version is for businesses and others who want to make their own Padlet page and posts. You do not need Pro to read and comment on the Director’s Circle Newsletter.

7.       Read, comment, like, and chat to your heart’s content!

8.       If you would like to change your profile name and image, click the circle in the top right corner of the page, and select “profile” from the drop down menu. Click “edit profile” and you can write in your preferred name, change your profile image, and so on.

Below is a 2011 poster from the Dutch design team Experimental Jetset  which combines Filippo Tomasso Marinetti's famous "Parole in Liberta" collage with John Lennon and Yoko Ono's "War is Over (If You Want It). It reflects my feelings of "Ta Da!"

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As If: Alternative Histories at the End of the Century  (opens April 11)
Guest-curated by Giampaolo Bianconi this exhibition will feature  books, magazines, comix, and drawings around the science fiction genre of alternative histories. Concentrating on books, magazines, prints and album covers, it will be punctuated by drawings by Huma Bhabha, Joe Bradley, Keith Mayerson and St. EOB.

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Neo Rauch: From the Floor (opens April 11)
This survey of Neo Rauch's drawings does not concentrate on his large, oil paintings on paper, but rather his sketches that makes and then throws on the floor of his studio. A large selection of these never exhibited works, punctuated by better-known oil on paper paintings will be on view in this exhibition curated by former TDC director, Brett Littman.

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My re-immersion in the medium of drawing has brought into sharp focus the fact that a large amount of great work by self-taught, differently abled, mentally challenged artists- or in the words of the curator Lynne Cooke "Outliers," are drawn. Portability and limited materials surely two important reasons for this, but is there something about drawing- its quality as a straightforward visual translation or communication system that encourages drawing in people who communicate differently or not at all? In preparation TDC's Fall exhibition The Pencil is a Key: Drawings by the Incarcerated, (October 4 - Dec. 24, 2019) I have been introduced to some astonishingly beautiful and original drawings by prisoner-artists. One of them is Welmon Sharlhorne, a Washington D.C. born, New Orleans based artist who began his drawing career by sketching on the backs of folders, manila envelopes, and pretty much any substantial scrap paper surface he could find. With a limited color palette, Sharlhorne has created his own decorative vocabulary that is slightly reminiscent of Northwest Coast indigenous decoration, but is really all his own.

Below, a work by Sharlhorne from his time in prison. Works like these are available from dealers in self-taught art. Martha Henry, in New York has a good selection of works from Sharlhorne's time in prison and after at very reasonable prices.

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At Frieze Art Fair in October, I was nosing around the closet that served as the back room of David Nolan Gallery, NYC (great drawing gallery) I came upon this well known drawing by Robert Crumb that has been included in almost every Crumb retrospective, including the one that I did at The Carnegie International, which traveled to the Whitechapel Art Gallery in London, and the Boijmans in Rotterdam. A page from one of his notebooks, it is an absolute classic of the genre, as it features for the first time characters that would become staples of Crumb's repertoire like Mr. Natural and Shuman the Human. Wow, I thought to myself. Why isn't this in a museum? Well, it still isn't, I checked. It's in David Nolan's proper back room at 527 W. 29th St.

The Games People Play, c. 1967

Ink on paper (double-sided)

10 1/4 x 7 5/8 in. 26 x 19.4 cm

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In New York:
Luchita Hurtado: Dark Years. Hauser & Wirth, East 69th St., Jan 31 - April 6.
Born in Caracas in 1920, Hurtado lived in Mexico and Northern California. This show, her first in New York, will focus on work from the 1940s and 1950s.

God Made My Face: A Collective Portrait of James Baldwin. Group show, curated by cultural critic, Hilton Als. David Zwirner, 525 & 533 W. 19th St. Jan. 10 - Feb. 16.

Samaritans. Galerie Eva Presenhuber, 39 Great Jones St. Jan. 12 - March 3. Group show with Joe Bradley, Carol Dunham, Mike Kelley, Gary Panter and others.

In Los Angeles:
Allen Ruppersberg: Intellectual Property, 1968-2018. Long-awaited retrospective of this pivotal leader of L.A. conceptualism. It's the kind of show that the Hammer ought to, and does do. Amazingly, the show was organized by the Walker Art Center.
Feb. 10 - May 12, 2019
https://hammer.ucla.edu/exhibitions/2019/allen-ruppersberg-intellectual-property-1968-2018/

Maryam Jafri: I Drank the Kool-Aid But I Didn't Inhale. Also, Lucas Blalock: An Enormous Oar. ICA, Los Angeles, 1717 East 7th St., L.A., Both open Feb. 10.
https://www.theicala.org/en/exhibitions

In London:
Geta Bratescu: The Power of Line, Hauser and Wirth, 23 Savile Row, London W1S 2ET. Feb. 27 - April 27. Bratescu, who died at age 100 in her native Bucharest in 2018, worked in many materials. This exhibition concentrates on her recent drawing.

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In New York: Kai Althoff has made an extraordinary installation at Tramps, 75 East Broadway. Located in the almost empty second floor of a Chinatown mini mall, Tramps is an experimental exhibition space loosely affiliated with Michael Werner Gallery. This exhibition features close to 50 works of art by Althoff, who has installed his precious paintings and drawings in glass enclosed booths papered with industrial cardboard, cloth and other materials that look like detritus. A stunning installation, it has engendered controversey for its cavalier encroachment on a Chinatown commercial space (http://www.4columns.org/leah-pires-jamie-chan-and/kai-althoff) but is absolutely worth seeing, if only for the glory of Althoff's otherworldly and skillful works. THROUGH JANUARY 20, 2019 (if you miss it in New York, the exhibition travels to the Musee d'Orsay in Paris in March)

Also in New York, don't miss Posing Modernity: The Black Model from Manet and Matisse to Today, at the Miriam and Ira D. Wallach Art Gallery, Lenfest Center for the Arts, Columbia University, 615 West 129th Street. The fruit of years of research by arthistorian Denise Murell, the show looks at the black figure in European and American art history. It closes FEBRUARY 10, 2019
https://www.nytimes.com/2018/11/01/arts/design/black-models-olympia-columbia-university.html?module=inline

Finally, the two Fall exhibitions at The Drawing Center, For Opacity, and Jennifer Wynne Reeves: Alright for Now close on Feb. 3.  For their NYTimes reviews see:
https://www.nytimes.com/2019/01/03/arts/design/what-to-see-in-new-york-art-galleries.html

In London: Pierre Huyghe has done it again with UUmwelt, an multi-medium exhibition at the Serpentine in Kensington Gardens. It closes on FEBRUARY 10, 2019
serpentinegalleries.org

Also in London: McDermott & McGough's Oscar Wilde Temple is at Studio Voltaire, 1a, Nelson's Row. This installation debuted in the West Village last Spring, but if you missed it there, you have another chance until MARCH 31, 2019.

studiovoltaire.org

In Vienna: I'm sure you already know that the Bruegel show to end all others is presently at the Kunsthistorisches Museum in Vienna. Its only up through JANUARY 13, 2019
If you miss it, there's the catalog:
https://shop.khm.at/shop/detail/shop%5BshowItem%5D=100000000033466-2244-01

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Recently, stand up comedy got a punch to the solar plexes with the release of NANETTE, on Netflix, a live taping of the so-called "last rountine," of Australian comic, Hannah Gadsby. It's funny and sad and very critical of the kind of self-exposure necessary to be a comic, but why it is mentioned here, is that Gadsby is both a student of comedy and of art history. Her act is peppered with insightful critiques of art and artists (especially Picasso), which makes this excellent show as much about the cruelty of making art, as it is about comedy.
https://www.nytimes.com/2018/07/24/arts/hannah-gadsby-comedy-nanette.html

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THEY PROMISE THIS ART FAIR WILL BE FUN...

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THEY PROMISE THIS ART FAIR WILL BE FUN...

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Frieze Art Fair expands to Los Angeles, Feb. 15 - 17.
Seventy galleries at Paramount Pictures Studios. Frieze promises the art will be younger, fresher, more West Coast. Because of the TDC partnership with Frieze, I'm going. Let me know if you are as well.
https://www.artforum.com/news/frieze-announces-partnership-with-new-york-s-the-drawing-center-77288

https://frieze.com/fairs/frieze-los-angeles/