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A very different time, but similar themes

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#Käthe Kollwitz

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The photo's of Dutch photographer Paul Blanka might interest you

#paulblanka

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The body also plays a big role in Melanie Bonajo's work, check out some of her films where she talks about her intentions and working methods.

#Melanie Benajo

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The Death of Melanie Bonajo - Exhibition Bonnefantenmuseum 2018

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After your presentation yesterday I thought you might want to delve into Frida Kahlo, as she also used her own body and the limitations she had for it in her work. Very different from you, but perhaps interesting to read a bit more about her background and intentions.

#FriedaKahlo

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IMPORTANTbelangrijkOASE 58 - 97 Interval Image in the Embodiment of Memory

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Over ziek zijn (On being ill) van Virginia Woolf is een beroemd, maar ook vreemd essay. Het meandert van ziek zijn naar taal, weer verder naar religie, eenzaamheid, lezen, waanzin, zelfmoord en ten slotte het leven na dit leven.

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Olafur Eliasson: Playing with space and light | TED Talk

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In the spectacular large-scale projects he’s famous for (such as “Waterfalls” in New York harbor), Olafur Eliasson creates art from a palette of space, distance, color and light. This idea-packed talk begins with an experiment in the nature of perception.

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Expressionist Set Design Explained, Plus 7 Captivating Images | The Drama Teacher

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Expressionist set design fully explained with supporting images. Great for theatre students and teachers.

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Dag Alissa,

Je zet je onderzoek door van het laatste jaar. Ik heb begrepen dat je contact hebt met CBK, mogelijk kan dit leiden tot iets groot? Je probeert nu maquettes uit. Wat ook mogelijk werk kan worden (de maquettes zelf als werk) of de foto’s daarvan. Een van dingen die duidelijk werd vorig jaar is dat je ook geïnteresseerd raakte in de werken met de ruimte en dat je deze nu mogelijk zelf wil creëren. Vooral toen je werk had gemaakt in de Renze Hut kwam dit naar voren. De ruimte sprak je aan met die scherpe hoeken. Het doet me ook denken aan de expressieve stage design uit het begin van de twintigste eeuw. Zie:

https://thedramateacher.com/expressionist-set-design/

Misschien is hier inspiratie uit te halen.

Dit was ook bedoeld als een totaal kunstwerk met kleding en zo.

Wat vorige jaar duidelijk werd is dat voor veel beschouwers het werk in de Renzehut iets aantrekkelijk-over-stimulerend had, voor sommigen was het teveel. Veel impressies kwamen op hen af.Ik had dit laatst bij het werk van Phillip Vermeulen. Nu te zien in Enschede. Zijn werkt zoekt de grens op van overprikkeling, dat je bijna weg wil gaan, bang dat te fel wordt, teveel flitsen of dat dingen op een gegeven moment te snel draaien (komt dit wel goed en tegelijk fasinerend). gekmakend!!:

https://www.youtube.com/watch?v=hyajFxYSlMs

Je hebt zelf wel gezegd dat jij die overprikkeling bij je eigen werk niet zo voelt (terwijl anderen wel), maar wel steeds het drukke op zoekt, omdat je ook op zoek bent naar prikkels en dat dit mogelijke samenhangt met je lichamelijke ervaring. Zou het ook zo zijn dat dit onze tijdservaring  verandert? Korte tijdsduren van intens leven. Je begon je af te vragen of deze hang naar veel prikkels ook te maken kan hebben met een fysieke gesteldheid. Zo gaat iemand die krijgt te horen dat die niet lang meer leeft, bijvoorbeeld door kanker, veel intenser leven. Vaak hoor je verhalen dat ze die dingen aan de kant schuiven die hun geen genoegdoening geeft en voor die dingen gaan wat ze volop het leven willen ervaren. Hier zou je graag onderzoek naar willen doen. Ook door te spreken met anderen die dergelijke ervaringen kennen in verband met hun fysieke gesteldheid. Daarnaast zou je mensen kunnen interviewen die verstand van dit soort zaken hebben, bijvoorbeeld een psycholoog of therapeut.

Mogelijk kan het interessant zijn om in je onderzoek ook te kijken hoe dit onderzoek zich verhoudt tot je eigen werk. Mogelijk kan het ook van invloed zijn op je tekst schrijven en komen die werelden van enerzijds fysieke gesteldheid van beperkingen die doen verlangen naar prikkels, en anderzijds het visuele samen?

In je Silex heb ik nog wat info gedaan over ruimte en lichaam gedaan, zoals het werk van Pallasma en Eliasson.  . Ook het essay van Virginia Woolf die een essay schreef vanuit haar lichamelijke gesteldheid.  Hoe de lichaamservaring de perceptie verandert.

Ook omdat je het had om een architectuur te maken die de beschouwer ook zelf zou kunnen veranderen/invullen, heb ik Constant nog toegevoegd.

We kwamen tot de conclusie om je thesis in een vorm van een podcast te doen. Mogelijk kun je hierin ook gelezen bronnen betrekken door citaten eruit in de podcast te bespreken.

Groet,

Hille

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Complete ruimte vullen met mijn werk; muur/ vloer vullen met de prints hieronder bijvoorbeeld, verder vullen met overige projecten

Een optie kan zijn dit eerst uit te proberen met een op schaal gemaakte maquette of kijkdoos

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Fotografie en schrijf project; de moeilijkheden omtrent gezondheid zichtbaar maken

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Constructing the "Instagirl," Deconstructing the Self-Brand: Amalia Ulman's Instagram Hoax | European Journal of Life Writing

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#WalterVanBeirendonck

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Een tentoonstelling van breiwerk in 2011 in het ModeMuseum in Antwerpen met een ontwerp Walter Van Beirendonck, midden jaren 1990. Deze jurk werd geïnspireerd door de kleurrijke kledij van de Hui'anvrouwen in Quanzhou, China.

Walter Van Beirendonck ( Brecht, 4 februari 1957) is een Vlaamse modeontwerper, die eveneens bekendheid geniet als sieraadontwerper.

Van Beirendonck studeerde in 1980 af aan de modeafdeling van de Koninklijke Academie voor Schone Kunsten in Antwerpen of de Antwerpse Modeacademie. Samen met Dirk Van Saene, Dries Van Noten, Ann Demeulemeester, Marina Yee (afgestudeerd in 1981) en Dirk Bikkembergs (afgestudeerd in 1982) werd hij bekend als de Antwerpse Zes.

Hij brengt sedert 1983 eigen collecties uit, die hij telkens van een naam en thema voorziet. Zij zijn geïnspireerd door beeldende kunst, literatuur, maar ook door de natuur en etnische invloeden; kenmerkend zijn felle, ongebruikelijke kleurencombinaties en een sterke grafische inslag. Hij werd dat jaar ook docent aan de Modeacademie.

Tussen I993 en 1999 ontwierp hij de W.&L.T./Wild and Lethal Trash collectie.

In 1997 ontwierp hij de kostuums voor de "Pop Mart" tournee van U2. Van 1998 tot begin 2012 runde hij in Antwerpen de conceptstore en exporuimte Walter.

In 2001 was hij curator van de tentoonstelling Mode 2001 Landed-Geland in Antwerpen en werd het magazine A Magazine curated by gelanceerd. In 2002 ontwierp hij nieuwe uniformen voor het stadspersoneel (wegenwerkers en huisvuilophalers) van Antwerpen. In 2005 verraste hij door voor de Belgische budget-kledingketen JBC een kinderkledingcollectie te ontwerpen onder de naam " ZulupaPUWA". De naam van de collectie is geïnspireerd op de Zoeloes en Papoeas. De collectie werd gepromoot met een stripfiguurtje, "Zulu" en een stripversie van Walter Van Beirendonck zelf. Sinds 2006 is Van Beirendonck artistiek directeur voor Scapa Sports. In hetzelfde jaar werd hij hoofd van de afdeling Mode van de Antwerpse Modeacademie in opvolging van Linda Loppa.

In januari 2009 werd het nieuwe schoenenlabel W6YZ gelanceerd door Falc (Italiaanse schoenenfabrikant) getekend door Walter Van Beirendock. Van 14 september 2011 tot en met 19 februari 2012 was er de tentoonstelling Dreams the World Awake in het Modemuseum Antwerpen in Antwerpen. In 2012 ontwierp de modedesigner de balletkostuums voor de choreografie van de danseres Marie-Agnès Gillot voor de productie Sous Apparance van de Parijse Opéra National. In zijn ontwerp gaat Van Beirendonck de grenzen tussen de beide geslachten doen vervagen. Hij ontwerpt regelmatig kostuums voor theater, ballet, films en artiesten.

Van Beirendonck is sinds de jaren 1990 gefascineerd door maskers en in 2017 was hij curator van de tentoonstelling Powermask - The Power of Masks, in het Wereldmuseum Rotterdam.

Hij woont samen met zijn partner; de modeontwerper en kunstenaar Dirk Van Saene.

In juni 2022 ging hij met pensioen als directeur van de Antwerpse Modeacademie, maar hij blijft actief met andere projecten en het ontwerpen van zijn eigen collecties.

In 1999 ontving hij de eretitel "Cultureel Ambassadeur van Vlaanderen".

In november 2021 won hij de juryprijs van de Belgian Fashion Awards (BFA).

Werk in openbare collecties (selectie)

Walter Van Beirendonck had een cameo in het Kiekeboealbum "De appelsmoes" als Fanny's kledingsadviseur.

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Walter Van Beirendonck ( Brecht, 4 februari 1957) is een Vlaamse modeontwerper, die eveneens bekendheid geniet als sieraadontwerper. Van Beirendonck studeerde in 1980 af aan de modeafdeling van de Koninklijke Academie voor Schone Kunsten in Antwerpen of de Antwerpse Modeacademie.

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#MartinMargiela

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Martin Margiela ( Genk, 9 april 1957) is een Belgisch modeontwerper. In 1979 studeert Margiela af aan de Antwerpse Koninklijke Academie voor Schone Kunsten; een jaar eerder dan de Antwerpse Zes, waar hij vaak mee in verband wordt gebracht. In 2007 krijgt een tentoonstelling over de Antwerpse mode daarom als titel 6+, waarbij het plusteken onder meer de link van Margiela met de groep aangeeft. In 1984 vertrekt Margiela naar Parijs om daar als assistent-ontwerper voor Jean-Paul Gaultier te werken. In 1987 stopt hij als assistent-ontwerper bij Gaultier. Het jaar daarop is Maison Martin Margiela een feit en toont hij zijn eerste collectie.

In 1989 presenteert Margiela voor het eerst zijn object de hoefschoen. Deze schoen heeft de vorm van een hoef, waardoor de punt van de schoen de voet als het ware in tweeën splijt. In 1997 maakt hij een mannequinvest van jute naar analogie van de hoes van een paspop. Een ontwerp uit 1999, de dekbedjas, is een dekbed van ganzendons in de vorm van een jas. Dit object is in 1999 aangekocht door het Centraal Museum in Utrecht.

Margiela laat zich na afloop van een show nooit zien op de catwalk en spreekt zelden met de pers. Deze anonimiteit zou zich vertalen in de stijl van het modehuis door het gebruik van witte labels en cijfers. Ontwerpen worden 'gelabeld' met vier steken, die soms zichtbaar zijn op de achterzijde van het ontwerp. Ook de modellen op de catwalk en in modereportages zijn in anonimiteit gehuld; de ogen zijn afgeplakt met een streep of het gezicht is in zijn geheel bedekt.

In 1988 begint Margiela samen met Jenny Meirens, eigenaresse van een designerlabelboutique in Brussel, Maison Martin Margiela.

In 1997 wordt Margiela aangetrokken als creatief directeur van de vrouwencollectie bij modehuis Hermès. Hij verlaat het modehuis in 2003.

Sinds oktober 2009 ontwerpt Margiela niet meer voor Maison Martin Margiela. Het merk werd voortgezet door het creatieve team; er was lange tijd geen vervanger voor Margiela aangesteld. In oktober 2014 werd de aanstelling van John Galliano als creatief directeur aangekondigd. Ook werd toen de naam van het merk veranderd naar Maison Margiela.

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Martin Margiela ( Genk, 9 april 1957) is een Belgisch modeontwerper. In 1979 studeert Margiela af aan de Antwerpse Koninklijke Academie voor Schone Kunsten; een jaar eerder dan de Antwerpse Zes, waar hij vaak mee in verband wordt gebracht.

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Keywords mentioned in the first introductory presentation 4 March:

·      Working with abstract constructions, between painting and sculpture

·      Different media combinations

·      Background in fashion

·      Also working wearable constructions, which can also be used in an installation

·      Variation of bright colors and shapes

·      Different fabrics

·      Translating fabrics into prints

Research texts and abstract image

·      Also continuing on research: shapes/image and language

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'Ik ben even boodschappen doen.' 'Pulling hairs from the drain.' 'CRY-ING / CRY-ING / for $ 320 per day / 8 hrs a day.' Het is een greep uit de teksten in het werk van Lily van der Stokker (Den Bosch, 1954). Ze geven blijk van een alledaagse realiteit en vestigen de aandacht op gewone dingen zoals het huishouden. Andere kenmerken van het werk van Van der Stokker zijn het gebruik van vrolijke kleuren, pasteltinten, bloemen, pijlen, krullen, wolken en druppels. Van der Stokker maakt met name muurschilderingen, die ze soms combineert met ruimtelijke elementen, en werk op papier.

Begin jaren 80 gaat Van der Stokker op zoek naar wat op inhoudelijk vlak nog ontbreekt in de kunstwereld. In een video die verscheen ter gelegenheid van haar retrospectief Friendly Good (2018) in het Stedelijk Museum Amsterdam zegt Van der Stokker over die zoektocht in haar beginjaren: 'Op een gegeven moment weet je precies wat er allemaal gebeurd, het is een soort mode. En op een gegeven moment denk jij: en nu wil ik dit doen want ik zie dit nergens. En op een gegeven moment denk je: ik heb nog nooit gezien dat iemand ergens het woord 'lief' op schreef. Of ik heb nog nooit een kunstwerk gezien wat ging over het woord 'kusje'. Ik ga daar een werk over maken.'

Van der Stokker speelt met wat bestempeld wordt als meisjesachtig en kinderlijk: zoete kleuren, lieve woorden en clichéachtige decoratieve vormen zoals bloemen, hartjes en wolken. 'Ik denk dat ik lang geleden besloten heb dat ik kunst zou gaan maken over al het kleine en gewone van mijn eigen leven, in plaats van al het filosofische intellectuele, maar dat wil niet zeggen dat ik niet aan filosofie doe of dat ik niet ook denk dat er een grotere levensfilosofie zit in het werk.' Doordat Van der Stokkers werk is opgebouwd uit woorden, zinnen en vormen die voor ons zo herkenbaar en gewoon zijn, ziet het er makkelijk en toegankelijk uit. Maar schijn bedriegt: Van der Stokkers werk is wel degelijk gelaagd. Ze maakt naar eigen zeggen moeilijke kunst die er makkelijk uitziet. Van der Stokker kent de kunstgeschiedenis en beeldcultuur als geen ander. Ze bevraagt ze en zet ze naar haar hand. Haar werken vragen zich vaak hardop dingen af. Of kunst over schoonheid gaat, bijvoorbeeld. Juist de haar zo kenmerkende beeldtaal is uitermate geschikt om heersende normen en waarden bloot te leggen. Zo zet haar werk bijvoorbeeld aan tot nadenken over de rol en positie van vrouwen, zowel binnen de kunstwereld als in de maatschappij.

Van der Stokker studeerde aan de Academie voor Beeldende Kunsten St. Joost in Breda (1975-1979). In de jaren 80 opent ze een galerie in New York waar ze werk van andere kunstenaars tentoonstelde. Tentoonstellingen van haar werk vonden onder andere plaats in Centre Pompidou (Parijs), Tate St. Ives, New Museum (New York) en het Hammer Museum (Los Angeles).

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'Ik ben even boodschappen doen.' 'Pulling hairs from the drain.' 'CRY-ING / CRY-ING / for $ 320 per day / 8 hrs a day.' Het is een greep uit de teksten in het werk van Lily van der Stokker (Den Bosch, 1954).

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#ShannonNewby

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#JonathanTrayte

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Friedman Benda will present new work from Jonathan Trayte this week at Design Miami/. The artist is known for creating functional furniture with an element of the absurd. Pairing natural forms with not-found-in-nature finishes, Trayte takes inspiration from food (a nod to his previous life as a chef), packaging, travel, and our global language of consumption. Whitewaller caught up with the London-based artist to learn more about his process, and the fruit of a recent road trip from L.A. to Omaha.

WHITEWALLER: Can you tell us about what you'll be presenting at Design Miami/ with Friedman Benda?

JONATHAN TRAYTE: We'll be showing a pair of hot-pink cactus lamps, a radical- looking bird box, and a chaise lounge upholstered with various animal hides and woven polycord. It's an odd mix of colors and textures that I hope will come together nicely.

WW: You've said that your work comes together like a cast of characters. Who are the characters you've envisioned?

JT: [Laughs] Yes! A bunch of weirdos and misfits! Last autumn we did a road trip from L.A. to Omaha, Nebraska, and I saw some of the landscapes that I have been dreaming of for so many years. The vegetation changed dramatically through the 2000-mile trip, from arid mountain desert to rolling prairie. It was hugely inspirational. The Joshua trees, silver cholla, lichens, cottontops, and prickly pears of Arizona and Southern California were highlights, and these pieces reflect on what I saw. I'm only just beginning to digest all of the incredible places we hiked past and camped in, but these pieces feel like companions from that trip.

JT: Always with a drawing. I draw a lot to work out how something might take shape and come together. This then leads to ideas on color, texture, and rendering, et cetera. Often, I already have something in mind, maybe inspired by a strange plant, tree, or succulent that I've seen whilst on a cycle trip through the mountains, or washed up on the beach.

I have a vast collection of wrappers from my travels that are regionally specific and differ ever so slightly from place to place. I find these discrepancies really exciting. Color is so important as a means of persuasion, persuading people to consume in particular kinds of ways, or in appealing to specific social groups.

WW: What do you enjoy about the juxtaposition of natural forms with not-so-natural finishes and colors?

JT: I like making work that has an appeal, an attraction, but it's also important for there to be a bit of a conflict, as nothing's ever perfect. There is always a bit of grit somewhere, a fly or a hair or speck of dust. My aim is to have something unsettling in the work set against a delicious texture or material-whether it's a hairy background, some weird ugly bronze cast, or a sexually suggestive neon shape.

Photography by Daniel Kukla
Courtesy of Friedman Benda and Jonathan Trayte.

WW: Can you tell us about your approach to lighting?

JT: I'm drawn to the light of a bulb like an insect; its luminance and warmth is enticing, and I like to include one where I can. Maybe it has something to do with the temporary nature of the element within- an incandescent bulb will only last so long. Or maybe it's the universal appeal of the fairground or seaside arcades; bright lights enticing punters out from the night? I also like my work to have multiple functions and for some of them to be absurd, too.

Go inside the worlds of art, fashion, design, and lifestyle.

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Jonathan Trayte's Cast of Weirdos and Misfits

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Friedman Benda will present new work from Jonathan Trayte this week at Design Miami/. The artist is known for creating functional furniture with an element of the absurd. Pairing natural forms with not-found-in-nature finishes, Trayte takes inspiration from food (a nod to his previous life as a chef), packaging, travel, and our global language of consumption.

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#RinaBanerjee

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In Rina Banerjee's exhibition "Migration's Breath," the Indian-born, New York-based artist's sculptures are like mystical creatures borne out of an enticing mixture of natural and commercial detritus-plastic, cowry shells, brightly colored ribbons, light bulbs, doll parts, feathers, rope. Her works on paper create contexts for the gods, monsters, and mortals that Banerjee depicts, giving glimpses into their stories. While the works evoke traditional narratives and fairytales, the materials themselves reflect the everything-at-once phenomena of Amazon, Alibaba, and Etsy. Banerjee sources her materials online before working with fabricators to produce armatures that she then populates with the diverse array of materials that give her figures life and energy.

The Singapore outpost of Ota Fine Art is located at Gillman Barracks, a cluster of nearly 20 art galleries-including the recently opened Centre for Contemporary Art-in one of the British army's former colonial properties. There is a synergy between the commercial progression of the residue of British imperialism that codes this newly formed art precinct and the compelling, intermingling postcolonial narratives and motifs of Banerjee's exhibition, drawn from the artist's own immersion in West Bengali, Indian, and American cultures.

"Migration's Breath" is presented in a gallery partitioned into two sections, each anchored by an artwork representing a significant mythic character mounted on the wall. On entering the gallery, visitors are confronted with a gold surface on which the mixed-media sculpture Mangroves of Alien and Native froze and foamed, rose and rose, opened and closed and one in all grew calm who knew (2014)is mounted. This sculptural creature simultaneously blends elements such as ornate tropical flowers with bright orange and pink blooms made of gauzy fabrics with fantastical anteater-like trunks covered in cowry shells that trip downward from the floral umbrella. On a pink mesh outgrowth rests a transparent purple gray orb, like a crystal ball with which this anthropomorphic flower could reveal secret futures or ponder fantastical pasts.

On the back wall of the second gallery, an imposing figure, She drew a premature prick, in a fluster of transgressions, abject by birth she new not what else to do with this untouchable reach, unknowable body as she was an ancient savage towed into his modern present (2011), holds court. The body of this sculpture has Classical proportions and is covered in ornate green and gold patterned silk, with a glass globe between its legs. This headless frame, modeled on a teenage female mannequin, is battle-ready with wings fashioned from ten animal tusks, clusters of white and ochre feathers, and a cone of cowry shells in the place of a head. On the wall to the right of the warrior figure hangs another alien floral composition with brightly colored blossoms, protruding arms that are at once vine- and limb-like.

Sharing this second space in the gallery are a half-dozen works on paper and prints that give a sense of what world Banerjee's creatures might occupy. Hovering between abstraction and figuration, these works glow with vibrant colors and lively shapes, and are given fantastical titles suggesting grander narratives: The gene was his mule. Mendel with his peas in the monastery, in thick garden, made variety, made mischief while green ponds, unripe flower took to crossing, blended fluids so dominant was recessive (2014).

Naturally, the sculptures have an immediate presence; however, the works on paper are compellingly composed and even more mysterious. The three-dimensional works' promiscuous approach to material feels contemporary in its echo of the online shops where their constituent parts are gleaned, but it is in Banerjee's paintings that the characters in her work really come to life. In the works on paper, the consistency of the medium gives coherence to the multitude of cultural references Banerjee brings together, whereas the equally diverse source material of the sculptures better conjure the markets they are drawn from than the fictional worlds and stories they belong to.

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In Rina Banerjee's exhibition "Migration's Breath," the Indian-born, New York-based artist's sculptures are like mystical creatures borne out of an enticing mixture of natural and commercial detritus-plastic, cowry shells, brightly colored ribbons, light bulbs, doll parts, feathers, rope. Her works on paper create contexts for the gods, monsters, and mortals that Banerjee depicts, giving glimpses into their stories.

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#Color#Colour#Tactility#Materiality#Perception#Chance#Repetition#Variation

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#Eliasson#BodilyPerception

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Olafur Eliasson – 'Collective Experience' | TateShots

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#Eliasson

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“Daylight, Perception, Movement and Embodied Experiences” by Olafur Eliasson

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#Ponty#Phenomenology#Senses#Body

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#Ponty#Phenomenology#Senses#Body

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#HelenFrankenthaler

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Helen Frankenthaler (December 12, 1928 - December 27, 2011) was an American abstract expressionist painter. She was a major contributor to the history of postwar American painting. Having exhibited her work for over six decades (early 1950s until 2011), she spanned several generations of abstract painters while continuing to produce vital and ever-changing new work. Frankenthaler began exhibiting her large-scale abstract expressionist paintings in contemporary museums and galleries in the early 1950s. She was included in the 1964 Post-Painterly Abstraction exhibition curated by Clement Greenberg that introduced a newer generation of abstract painting that came to be known as color field. Born in Manhattan, she was influenced by Greenberg, Hans Hofmann, and Jackson Pollock's paintings. Her work has been the subject of several retrospective exhibitions, including a 1989 retrospective at the Museum of Modern Art in New York City, and been exhibited worldwide since the 1950s. In 2001, she was awarded the National Medal of Arts.

Frankenthaler had a home and studio in Darien, Connecticut.

Helen Frankenthaler was born on December 12, 1928, in New York City. Her father was Alfred Frankenthaler, a New York State Supreme Court judge. Her mother, Martha (Lowenstein), had emigrated with her family from Germany to the United States shortly after she was born. Her two sisters, Marjorie and Gloria, were six and five years older, respectively. Growing up on Manhattan's Upper East Side, Frankenthaler absorbed the privileged background of a cultured and progressive Jewish intellectual family that encouraged all three daughters to prepare themselves for professional careers. Her nephew is the artist/photographer Clifford Ross.

Frankenthaler studied at the Dalton School under muralist Rufino Tamayo and also at Bennington College in Vermont. While at Bennington College, Frankenthaler studied under the direction of Paul Feeley, who is credited with helping her understand pictorial composition, as well as influencing her early cubist-derived style. Upon her graduation in 1949, she studied privately with Australian-born painter Wallace Harrison, and with Hans Hofmann in 1950. She met Clement Greenberg in 1950 and had a five-year relationship with him. She later married Robert Motherwell, another painter, in 1958; the couple divorced in 1971. Both born of wealthy parents, they were known as "the golden couple" and for their lavish entertaining. She gained two stepdaughters from him, Jeannie Motherwell and Lise Motherwell. Jeannie Motherwell studied painting at Bard College and the Art Students League in New York. Continuing with her art after college, she became active in arts education at the Bruce Museum in Greenwich, CT, until relocating to Cambridge, MA, where she worked at Boston University for the graduate program in Arts Administration until 2015. She served on the Cambridge Arts Council Public Art Commission from 2004 - 2007 and is a member of the advisory board of Provincetown Arts magazine (since 2019). Jeannie Motherwell had a show at Rafius Fane Gallery, Boston, Mass. titled Pour, Push, Layer. She is currently represented by M Fine Arts Galerie in Boston, MA and The Schoolhouse Gallery in Provincetown, MA.

In 1994, Frankenthaler married Stephen M. DuBrul, Jr., an investment banker who served the Gerald Ford administration. Frankenthaler had been on the faculty of Hunter College.

Active as a painter for nearly six decades, Frankenthaler passed through many phases and stylistic shifts. Initially associated with abstract expressionism because of her focus on forms latent in nature, Frankenthaler is identified with the use of fluid shapes, abstract masses, and lyrical gestures. She made use of large formats on which she painted, generally, simplified abstract compositions. Her style is notable in its emphasis on spontaneity, as Frankenthaler herself stated, "A really good picture looks as if it's happened at once."

Frankenthaler's official artistic career was launched in 1952 with the exhibition of Mountains and Sea. Throughout the 1950s, her works tended to be centered compositions, meaning the majority of the pictorial incident took place in the middle of the canvas itself, while the edges were of little consequence to the compositional whole. In 1957, Frankenthaler began to experiment with linear shapes and more organic, sun-like, rounded forms in her works. In the 1960s, her style shifted towards the exploration of symmetrical paintings, as she began to place strips of colors near the edges of her paintings, thus involving the edges as a part of the compositional whole. With this shift in composition came a general simplification of Frankenthaler's style. She began to make use of single stains and blots of solid color against white backgrounds, often in the form of geometric shapes. Beginning in 1963, Frankenthaler began to use acrylic paints rather than oil paints because they allowed for both opacity and sharpness when put on the canvas. By the 1970s, she had done away with the soak stain technique entirely, preferring thicker paint that allowed her to employ bright colors almost reminiscent of Fauvism. Throughout the 1970s, Frankenthaler explored the joining of areas of the canvas through the use of modulated hues, and experimented with large, abstract forms. Her work in the 1980s was characterized as much calmer, with its use of muted colors and relaxed brushwork. "Once one's true talent begins to emerge, one is freer in a way but less free in another way, since one is a captive of this necessity and deep urge".

In 1960, the term color field painting was used to describe the work of Frankenthaler. In general, this term refers to the application of large areas, or fields, of color to the canvas. This style was characterized by the use of hues that were similar in tone or intensity, as well as large formats and simplified compositions, all of which are qualities descriptive of Frankenthaler's work from the 1960s onward. The color field artists differed from abstract expressionists in their attempted erasure of emotional, mythic, and religious content.

Frankenthaler often painted onto unprimed canvas with oil paints that she heavily diluted with turpentine, a technique that she named "soak stain." This allowed for the colors to soak directly into the canvas, creating a liquefied, translucent effect that strongly resembled watercolor. Soak stain was also said to be the ultimate fusing of image and canvas, drawing attention to the flatness of the painting itself. The major disadvantage of this method, however, is that the oil in the paints will eventually cause the canvas to discolor and rot away. The technique was adopted by other artists, notably Morris Louis (1912-1962) and Kenneth Noland (1924-2010), and launched the second generation of the color field school of painting. Frankenthaler often worked by laying her canvas out on the floor, a technique inspired by Jackson Pollock.

Frankenthaler preferred to paint in privacy. If assistants were present, she preferred them to be inconspicuous when not needed.

One of her most important influences was Clement Greenberg (1909-1994), an art and literary critic with whom she had a personal friendship and who included her in the Post-Painterly Abstraction exhibition that he curated in 1964. Through Greenberg she was introduced to the New York art scene. Under his guidance she spent the summer of 1950 studying with Hans Hofmann (1880-1966), catalyst of the Abstract Expressionist movement.

The first Jackson Pollock show Frankenthaler saw was at the Betty Parsons Gallery in 1950. She had this to say about seeing Pollock's paintings Autumn Rhythm, Number 30, 1950 (1950), Number One,1950 (Lavender Mist) (1950):

It was all there. I wanted to live in this land. I had to live there, and master the language.

Some of her thoughts on painting:

A really good picture looks as if it's happened at once. It's an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it-well, she did this and then she did that, and then she did that-there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute.

John Elderfield wrote that the watercolors of Paul Cézanne and John Marin were important early influences:

Watercolor... expands the brightness and flatness of plein-air painting because it visibly reveals these qualities in the whiteness of its support, which always makes its presence felt due to the insubstantiality of its covering. Marin and Cézanne were important to Frankenthaler not only for their watercolors or for the lightness of their work, but, more importantly, because both of them had liberated their oil paintings by treating them like watercolors, which was what Frankenthaler began to do... In Cézanne's case this transposition of techniques also encouraged him to leave uncovered areas of white canvas between patches of thinned-down oil. This was especially interesting to Frankenthaler too.

In Mountains and Sea, her first professionally exhibited work, Frankenthaler made use of the soak stain technique. The work itself was painted after a trip to Nova Scotia, which partly questions the extant of its non-representational status. Although Mountains and Sea is not a direct depiction of the Nova Scotia coastline, elements of the work suggest a kind of seascape or landscape, like the strokes of blue that join with areas of green. Much like Mountains and Sea, Frankenthaler's Basque Landscape (1958) seems to refer to a very specific, external environment, but it is also abstract. The same can be said for Lorelei (1956), a work based on a boat ride Frankenthaler took down the Rhine.

In Swan Lake #2 (1961), Frankenthaler begins to explore a more illustrative handling of paint. The work depicts a large area of blue paint on the canvas, with breaks in the color that are left white. These negative spaces resemble birds, perhaps swans, sitting on a body of water. There is a very rectilinear brown square that encompasses the blue, balancing both the cool tones of the blue with the warmth of the brown, and the gestural handling of the paint with the strong linearity of the square.

Eden, from 1956, is an interior landscape, meaning it depicts the images of the artist's imagination. Eden tells the story of an abstract, interior world, idealized in ways that a landscape never could be. The work is almost entirely gestural, save for the incorporation of the number "100" two times in the center of the image. When asked about the process of creating this work, Frankenthaler stated that she began by painting the numbers, and that a sort of symbolic, idealized garden grew out of that.

Frankenthaler recognized a need to continually challenge herself to develop as an artist. For this reason, in 1961, she began to experiment with printmaking at the Universal Limited Art Editions (ULAE), a lithographic workshop in West Islip, Long Island. Frankenthaler collaborated with Tatyana Grosman in 1961 to create her first prints.

In 1976, Frankenthaler began to work within the medium of woodcuts. She collaborated with Kenneth E. Tyler. The first piece they created together was Essence of Mulberry (1977), a woodcut that used eight different colors. Essence of Mulberry was inspired by two sources: the first was an exhibition of fifteenth century woodcuts that Frankenthaler saw on display at the Metropolitan Museum of Art, the second being a mulberry tree that grew outside of Tyler's studio. In 1995, the pair collaborated again, creating The Tales of Genji, a series of six woodcut prints. To create woodcuts with a resonance similar to Frankenthaler's painterly style, she painted her plans onto the wood itself, making maquettes. The Tales of Genji took nearly three years to complete. Frankenthaler then went on to create Madame Butterfly, a print that employed one hundred and two different colors and forty-six woodblocks. Madame Butterfly is seen as the ultimate translation of Frankenthaler's style into the medium of woodcuts, as it embodies her idea of creating an image that looks as if it happened all at once.

Frankenthaler received the National Medal of Arts in 2001. She served on the National Council on the Arts of the National Endowment for the Arts from 1985 to 1992. Her other awards include First Prize for Painting at the first Paris Biennial (1959); Temple Gold Medal, Pennsylvania Academy of Fine Arts, Philadelphia (1968); New York City Mayor's Award of Honor for Arts and Culture (1986); and Distinguished Artist Award for Lifetime Achievement, College Art Association (1994). In 1990, she was elected into the National Academy of Design as an Associate member, and became a full Academician in 1994.

Frankenthaler did not consider herself a feminist: "For me, being a 'lady painter' was never an issue. I don't resent being a female painter. I don't exploit it. I paint." "Art was an extremely macho business," Anne Temkin, chief curator at the Museum of Modern Art, told NPR. "For me, there's a great deal of admiration just in the courage and the vision that she brought to what she did." However, Mary Beth Edelson's feminist piece Some Living American Women Artists / Last Supper (1972) appropriated Leonardo da Vinci's The Last Supper, with the heads of notable women artists including Frankenthaler collaged over the heads of Christ and his apostles. This image, addressing the role of religious and art historical iconography in the subordination of women, became "one of the most iconic images of the feminist art movement."

In 1953, Kenneth Noland and Morris Louis saw her Mountains and Sea which, Louis said later, was a "bridge between Pollock and what was possible." On the other hand, some critics called her work "merely beautiful." Grace Glueck's obituary in The New York Times summed up Frankenthaler's career:

Critics have not unanimously praised Ms. Frankenthaler's art. Some have seen it as thin in substance, uncontrolled in method, too sweet in color and too "poetic." But it has been far more apt to garner admirers like the critic Barbara Rose, who wrote in 1972 of Ms. Frankenthaler's gift for "the freedom, spontaneity, openness and complexity of an image, not exclusively of the studio or the mind, but explicitly and intimately tied to nature and human emotions.

The New York-based Helen Frankenthaler Foundation, established and endowed by the artist during her lifetime, is dedicated to promoting greater public interest in and understanding of the visual arts. In 2021 the foundation created Frankenthaler Climate Initiative. In July 2021, the foundation award the first round of grants totaling $5.1 million. The recipients included the Museo de Arte de Ponce, the Santa Rosa Indian Museum and Cultural Center, the Studio Museum in Harlem, and the Yale University Arts Center.

Frankenthaler's first solo exhibition took place at the Tibor de Nagy Gallery, New York, in the fall of 1951. Her first major museum show, a retrospective of her 1950s work with a catalog by the critic and poet Frank O'Hara, a curator at the Museum of Modern Art, was at the Jewish Museum in 1960. Subsequent solo exhibitions include "Helen Frankenthaler," Whitney Museum of American Art, New York (1969; traveled to Whitechapel Gallery, London; Orangerie Herrenhausen, Hanover; and Kongresshalle, Berlin), and "Helen Frankenthaler: a Painting Retrospective," The Modern Art Museum of Fort Worth (1989-90; traveled to the Museum of Modern Art, New York; Los Angeles County Museum of Art; and Detroit Institute of Arts). Miles McEnery Gallery, a New York-based contemporary art gallery which exhibited Color-Field and Abstract Expressionist paintings, showcased a range of her work in 2009 "Helen Frankenthaler," December 10, 2019 - January 23, 2010). On October 6, 2019, Frankenthaler was included in Sparkling Amazons: Abstract Expressionist Women of the 9th St. Show at the Katonah Museum of Art in Westchester County, NY. which ran until January 26, 2020; *2019: "Postwar Women:alumnae of the Art Students League of New York 1945-1965", Phyllis Harriman Gallery, Art Students League of NY; curated by Will Corwin.; 2020: "9th Street Club", Gazelli Art House, London; curated by Will Corwin

In 2021, a decade after her death the New Britain Museum of American Art mounted an exhibition of her works on paper from the final stages of her opus titled "Helen Frankenthaler; Late Works 1990 - 2003". The exhibition is on from February 11 until May 23, 2021.

She was a presidential appointee to the National Council on the Arts, which advises the NEA's chairman. In The New York Times in 1989, she argued government funding for the arts was "not part of the democratic process" and was "beginning to spawn an art monster". According to the Los Angeles Times, "Frankenthaler did take a highly public stance during the late 1980s "culture wars" that eventually led to deep budget cuts for the National Endowment for the Arts and a ban on grants to individual artists that still persists. In a 1989 commentary for The New York Times, she wrote that, while "censorship and government interference in the directions and standards of art are dangerous and not part of the democratic process," controversial grants to Andres Serrano, Robert Mapplethorpe, and others reflected a trend in which the NEA was supporting work "of increasingly dubious quality. Is the council, once a helping hand, now beginning to spawn an art monster? Do we lose art ... in the guise of endorsing experimentation?"

Frankenthaler died on December 27, 2011, at the age of 83 in Darien, Connecticut, following a long and undisclosed illness.

1. Web page titled ^ "Helen Frankenthaler" Archived 2010-02-17 at the Wayback Machine, at the "Connecticut Women's Hall of Fame" website, retrieved January 30, 2010

2. ^ "Helen Frankenthaler", Britannica, Retrieved 24 December 2014.

3. Babington, Jacklyn (2005). "Against the grain: the woodcuts of Helen Frankenthaler". Artonview. 44: 22-27.

4. Tolley-Stokes, Rebecca. Frankenthaler, Helen, 1928-2011. Credo Reference. Encyclopedia of the Sixties: A Decade of Culture and Counterculture.

5. Carmean, E.A. Jr. (1978). "On Five Paintings by Helen Frankenthaler". Art International. 22: 28-32.

6. ^ Dorofeyeva, L. V. (November 1975). "Obtaining of measles virus haemagglutinin from strain L-16 grown in primary cell cultures". Acta Virologica. 19 (6): 497. ISSN 0001-723X. PMID 1998.

7. Carmean, E.A. ^ Helen Frankenthaler A Paintings Retrospective, Exhibition Catalog, p.12, Harry N. Abrams in conjunction with The Museum of Modern Art, Fort Worth, ISBN 0-8109-1179-5

8. ^ John Elderfield, After a Breakthrough on the 1950s paintings of Helen Frankenthaler Retrieved August 17, 2010

9. Elderfield, John (1989). "After a "Breakthrough": On the 1950s Paintings of Helen Frankenthaler". MoMA. 2 (1): 8-11. JSTOR 4381078.

10. ^ "Lifetime Honors: National Medal of Arts". National Endowment for the Arts. Archived from the original on July 21, 2011.

11. ^ "Collection Online Helen Frankenthaler - Guggenheim Museum". Guggenheim Museum. The Solomon R. Guggenheim Foundation (SRGF). Archived from the original on 3 March 2016.

12. Grace Glueck says in the NYT this quote comes from: ^ Gruen, John (1972). The Party's Over Now: Reminiscences of the fifties-New York's artists, writers, musicians, and their friends. Viking Press. ISBN 0-916366-54-5.

13. ^ "Mary Beth Adelson". Clara - Database of Women Artists. Washington, D.C.: National Museum of Women in the Arts. Archived from the original on 10 January 2014.

14. ^ "Painted on 21st Street - March 8 - April 13, 2013 - Gagosian Gallery". Gagosian Gallery.

15. ^ "Helen Frankenthaler: Innovative painter who took abstract art in a new direction". The Independent. January 12, 2012. Archived from the original on 2022-05-09.

16. "Helen Frankenthaler, Abstract Painter Who Shaped a Movement, Dies at 83" by GRACE GLUECK, ^ The New York Times, DEC. 27, 2011 [1]

Alexander Nemerov. 2021. Fierce Poise: Helen Frankenthaler and 1950s New York. Penguin.

Elderfield, John. Helen Frankenthaler, 1989, Harry N. Abrams ISBN 0-8109-0916-2

Gabriel, Mary. Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: five painters and the movement that changed modern art. New York: Little, Brown and Company, 2018

Helen Frankenthaler, After Mountains and Sea: Frankenthaler 1956-1959 (New York : Guggenheim Museum, ©1998.) ISBN 0-8109-6911-4, ISBN 978-0-8109-6911-7 ISBN 978-0892071975

Marika Herskovic, New York School Abstract Expressionists Artists Choice by Artists, (New York School Press, 2000.) ISBN 0-9677994-0-6. p. 16; p. 37; pp. 142-145, York 1986. ISBN 0-87099-477-8

Pollock, Griselda, "Killing Men and Dying Women". In: Orton, Fred and Pollock, Griselda (eds), Avant-Gardes and Partisans Reviewed. London: Redwood Books, 1996. ISBN 0-7190-4398-0

Wilkin, Karen. Frankenthaler: Works on Paper 1949-1984, George Braziller (February 1985), ISBN 978-0-8076-1103-6

Alison Rowley, Helen Frankenthaler: Painting History, Writing painting. I.B.Tauris Publishers, 2007.

Helen Frankenthaler in Interview with Henry Geldzahler, in Theories and Documents of Contemporary Art, edited by Kristine Stiles and Peter Selz, Berkeley: University of California Press, 1996, pp. 28-30. ISBN 0-520-20253-8

Helen Frankenthaler in 'Oral history Interview with Barbara Rose, 1968, for the Archives of American Art - Smithsonian Institution

Helen Frankenthaler Foundation

Archives or American Art, Smithsonian Institute: Oral History Interview

Video: Helen Frankenthaler at Turner Contemporary, Margate by Laura Bushell on Artinfo 4 March 2014

Roberta Smith, "Two Artists Who Embraced Freedom" New York Times, 12/29/11

Helen Frankenthaler Artwork Examples on AskART.

"Frankenthaler's New Way of Making Art", The Wall Street Journal, November 8, 2008

Helen Frankenthaler in the National Gallery of Australia's Kenneth Tyler Collection

Helen Frankenthaler "Contemporary Experience Lecture" The Baltimore Museum of Art: Baltimore, Maryland, 1970 Archived 2015-06-01 at the Wayback Machine Accessed June 26, 2012

Helen Frankenthaler in the Utah Museum of Fine Arts Collection

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Helen Frankenthaler (December 12, 1928 - December 27, 2011) was an American abstract expressionist painter. She was a major contributor to the history of postwar American painting. Having exhibited her work for over six decades (early 1950s until 2011), she spanned several generations of abstract painters while continuing to produce vital and ever-changing new work.

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ceramics, papier-maché, wood, acrylic murals, paper, watercolours, canvas Questioning the boundaries between decoration and art, between a home space and a white-cube space.
What is the difference between a kettle on the stove, a seashell lying in a windowsill, a sculpture made by a child standing on a shelf and an artwork that I've made......

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ceramics, papier-maché, wood, acrylic murals, paper, watercolours, canvas Questioning the boundaries between decoration and art, between a home space and a white-cube space. What is the difference between a kettle on the stove, a seashell lying in a windowsill, a sculpture made by a child standing on a shelf and an artwork that I've made......

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#RefiKAnadol#Colour#Organic

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#ChristieVanderHaak

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#AnnieMorris

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#PeterReginato

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#JudyPfaff
https://www.judypfaffstudio.com

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#JeanDuffet

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Uit Wikipedia, de vrije encyclopedie

Jardin d'émail in het Beeldenpark van het Kröller-Müller Museum

Jean Dubuffet ( Le Havre, 31 juli 1901 - Parijs, 12 mei 1985) was een Frans kunstenaar die onder andere grote beeldhouwwerken maakte. Hij staat bekend als de propagandist van de term art brut.

Jean Dubuffet bezocht de kunstacademie in zijn geboorteplaats Le Havre en ging in 1918 naar Parijs. In 1924 gaf hij zijn kunstzinnige aspiraties op om leiding te gaan geven aan het wijnbedrijf van zijn familie. Jean Dubuffet bleef in het familiebedrijf werken tot 1942, toen hij besloot dat kunst weer de prioriteit moest worden.

In 1944 en 1946 vonden tentoonstellingen van zijn nieuwe werk plaats in Parijs. In 1947 waren zijn schilderijen ook te zien in New York. Dubuffet schilderde in een wilde stijl en gebruikte niet alleen verf. Hij verwerkte ook asfalt en gebroken glas in zijn schilderijen.

Dubuffet had een grote belangstelling voor tekeningen van kinderen, geestelijk minder begaafden en gedetineerden. Hiervan legde hij een grote verzameling aan. Hij noemde deze kunst art brut. Later werd het werk van Dubuffet en dat van zijn volgers aangeduid met deze term.

Aan het begin van de jaren vijftig ontstond een belangrijke serie figuren onder de noemer Corps de dames et personnages 1943-1952. Later schilderde Dubuffet ook landschappen en stadsgezichten. Veel aandacht van de pers ging uit naar het brute karakter van deze schilderijen. De rebelse humor van Dubuffet kreeg te weinig aandacht. In het midden van de jaren vijftig ontstond de serie Tableaux d'Assemblages, waarbij hij gestructureerde en gekleurde doeken in stukken sneed, om deze vervolgens als een mozaïek weer aan elkaar te plakken. Uit deze tijd is ook het werk Jardin de Bibi Trompette (Bibi Trompette's Garden, 1955), een collage met vleugels van vlinders.

Aan het begin van de jaren zestig vonden zowel in Parijs als New York grote overzichtstentoonstellingen van Jean Dubuffet plaats. Later kreeg zijn werk ook de aandacht in Amsterdam en Londen.

In de jaren zestig begon Jean Dubuffet met plastics te werken, waardoor zijn werk nog driedimensionaler werd. Er ontstonden zowel schilderijen met reliëf als losstaande objecten. Er volgden spoedig opdrachten voor grote openbare objecten en theaterdecors.

Aan het einde van zijn leven publiceerde Dubuffet enkele boeken over art brut en zijn eigen kunst.

Dubuffet bracht de verf zeer dik op de ondergrond aan. Hij gebruikte vaak dikke zwarte contouren tegen witte achtergrond. Zijn werken doen primitief aan, de voorstelling lijkt minder belangrijk. Jean Dubuffet was een wegbereider van de informele schilderkunst en brak met het geometrisch abstracte.

Voor het Beeldenpark van het Kröller-Müller Museum in Otterlo vervaardigde Jean Dubuffet het kunstwerk Jardin d'émail (1973), een voorbeeld van een environment. Environment-art wordt gezien als een stroming van de conceptuele kunst. Ook in Manhattan staat een beeldhouwwerk van hem, Groupe de 4 arbres ( Group of Four Trees, 1972).

Fine Arts Museums of San Francisco, San Francisco

Guggenheim Museum, New York

Kröller-Müller Museum, Otterlo

Metropolitan Museum of Art, New York

Museum Boijmans Van Beuningen, Rotterdam

Museum Ludwig, Keulen

Museum of Modern Art, New York

National Gallery of Art, Washington D.C.

National Gallery of Australia, Canberra

National Gallery of Scotland, Edinburgh

Stedelijk Museum, Amsterdam

Museo IVAM, Valencia

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Uit Wikipedia, de vrije encyclopedie Jean Dubuffet ( Le Havre, 31 juli 1901 - Parijs, 12 mei 1985) was een Frans kunstenaar die onder andere grote beeldhouwwerken maakte. Hij staat bekend als de propagandist van de term art brut. Jean Dubuffet bezocht de kunstacademie in zijn geboorteplaats Le Havre en ging in 1918 naar Parijs.

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#BridgetRiley#OpArt

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Bridget Louise Riley (born 24 April 1931) is an English painter known for her singular op art paintings. She lives and works in London, Cornwall and the Vaucluse in France.

Riley was born in Norwood, London in 1931. Her father, John Fisher Riley, originally from Yorkshire, had been an Army officer. He was a printer by trade and owned his own business. In 1938 he relocated the printing business, together with his family, to Lincolnshire.

At the beginning of World War II her father, a member of the Territorial Army, was mobilised, and Riley, together with her mother and sister Sally, moved to a cottage in Cornwall. The cottage, not far from the sea near Padstow, was shared with an aunt who was a former student at Goldsmiths' College, London. Primary education came in the form of irregular talks and lectures by non-qualified or retired teachers. She attended Cheltenham Ladies' College (1946-1948) and then studied art at Goldsmiths' College (1949-52), and later at the Royal College of Art (1952-55).

Between 1956 and 1958, she nursed her father, who had been involved in a serious car crash. She suffered a breakdown due to the deterioration of her father's health. After this she worked in a glassware shop. She eventually joined the J. Walter Thompson advertising agency, as an illustrator, where she worked part-time until 1962. The Whitechapel Gallery exhibition of Jackson Pollock in the winter of 1958 had an impact on her.

Her early work was figurative and semi-impressionist. Between 1958 and 1959, her work at the advertising agency showed her adoption of a style of painting based on the pointillist technique. Around 1960, she began to develop her signature Op Art style consisting of black and white geometric patterns that explore the dynamism of sight and produce a disorienting effect on the eye and produces movement and colour. In the summer of 1960, she toured Italy with her mentor Maurice de Sausmarez, and the two friends visited the Venice Biennale with its large exhibition of Futurist works.

Early in her career, Riley worked as an art teacher for children from 1957-58 at the Convent of the Sacred Heart, Harrow (now known as Sacred Heart Language College). At the Convent of the Sacred Heart, she began a basic design course. Later she worked at the Loughborough School of Art (1959), Hornsey College of Art, and Croydon College of Art (1962-64).

In 1961, she and her partner Peter Sedgley visited the Vaucluse plateau in the South of France, and acquired a derelict farm which they eventually transformed into a studio. Back in London, in the spring of 1962, Victor Musgrave of Gallery One held her first solo exhibition.

In 1968 Riley, with Sedgley and the journalist Peter Townsend, created the artists' organisation SPACE (Space Provision Artistic Cultural and Educational), with the goal of providing artists large and affordable studio space.

Seurat's way of seeing

Riley's mature style, developed during the 1960s, was influenced by a number of sources, including the French Post-Impressionist artist Georges Seurat. In 2015-6, the Courtauld Gallery, in its exhibition Bridget Riley: Learning from Seurat, made the case for how Seurat's pointillism influenced her towards abstract painting. As a young artist in 1959, Riley saw The Bridge at Courbevoie, owned by the Courtauld, and decided to paint a copy. The resulting work has hung in Riley's studio ever since, barring its loan to the gallery for the exhibition, demonstrating in the opinion of the art critic Jonathan Jones "how crucial" Seurat was to her approach to art. Riley described her copy of Seurat's painting as a "tool", interpreted by Jones as meaning that she, like Seurat, practised art "as an optical science"; in his view, Riley "really did forge her optical style by studying Seurat", making the exhibition a real meeting of old and new. Jones comments that Riley investigated Seurat's pointillism by painting from a book illustration of Seurat's Bridge at an expanded scale to work out how his technique made use of complementary colours, and went on to create pointillist landscapes of her own, such as Pink Landscape (1960), painted soon after her Seurat study and portraying the "sun-filled hills of Tuscany" (and shown in the exhibition poster) which Jones writes could readily be taken for a post-impressionist original. In his view, Riley shares Seurat's "joy for life", a simple but radical delight in colour and seeing.

It was during this period that Riley began to paint the black and white works for which she first became known. They present a great variety of geometric forms that produce sensations of movement or colour. In the early 1960s, her works were said to induce sensation in viewers as varied as seasick and sky diving. From 1961 to 1964, she worked with the contrast of black and white, occasionally introducing tonal scales of grey. Works in this style comprised her first 1962 solo show at Musgrave's Gallery One, as well as numerous subsequent shows. For example, in Fall, a single perpendiculars curve is repeated to create a field of varying optical frequencies. Visually, these works relate to many concerns of the period: a perceived need for audience participation (this relates them to the Happenings, which were common in this era), challenges to the notion of the mind-body duality which led Aldous Huxley to experiment with hallucinogenic drugs; concerns with a tension between a scientific future which might be very beneficial or might lead to a nuclear war; and fears about the loss of genuine individual experience in a Brave New World. Her paintings since 1961, have been executed by assistants. She meticulously plans her composition's design with preparatory drawings and collage techniques; her assistants paint the final canvases with great precision under her instruction.

Riley began investigating colour in 1967, the year in which she produced her first stripe painting. Following a major retrospective in the early 1970s, Riley began travelling extensively. After a trip to Egypt in the early 1980s, where she was inspired by colourful hieroglyphic decoration, Riley began to explore colour and contrast. In some works, lines of colour are used to create a shimmering effect, while in others the canvas is filled with tessellating patterns. Typical of these later colourful works is Shadow Play.

Some works are titled after particular dates, others after specific locations (for instance, Les Bassacs, the village near Saint-Saturnin-lès-Apt in the south of France where Riley has a studio).

Following a visit to Egypt in 1980-81, Riley created colours in what she called her 'Egyptian palette' and produced works such as the Ka and Ra series, which capture the spirit of the country, ancient and modern, and reflect the colours of the Egyptian landscape. Invoking the sensorial memory of her travels, the paintings produced between 1980 and 1985 exhibit Riley's free reconstruction of the restricted chromatic palette discovered abroad. In 1983, for the first time in fifteen years, Riley returned to Venice to once again study the paintings that form the basis of European colourism. Towards the end of the 1980s, Riley's work underwent a dramatic change with the reintroduction of the diagonal in the form of a sequence of parallelograms used to disrupt and animate the vertical stripes that had characterized her previous paintings. In Delos (1983), for example, blue, turquoise, and emerald hues alternate with rich yellows, reds and white.

Riley has painted temporary murals for the Tate, the Musée d'Art Moderne de la Ville de Paris and the National Gallery. In 2014, the Imperial College Healthcare Charity Art Collection commissioned her to make a permanent 56-metre mural for St Mary's Hospital, London; the work was installed on the 10th floor of the hospital's Queen Elizabeth Queen Mother Wing, joining two others she had painted more than 20 years earlier. In 2017, she installed a striped mural that circumnavigated a U-shaped former army barracks at the Chinati Foundation in Marfa, Texas, that expanded on a work executed for the Royal Liverpool Hospital in 1983.

Between 2017 and 2019 Riley's wall painting for the Chinati Foundation, Marfa, Texas was the artist's largest work to date and spanned six of the eight walls of the building. The mural referenced Royal Liverpool University Hospital's wall painting Bolt of Colour (1983) and revisited the artist's Egyptian palette.

On the nature and role of the artist

Riley made the following comments regarding artistic work in her lecture Painting Now, 23rd William Townsend Memorial Lecture, Slade School of Fine Art, London, 26 November 1996:

Beckett interprets Proust as being convinced that such a text cannot be created or invented but can only be discovered within the artist himself, and that it is, as it were, almost a law of his own nature. It is his most precious possession, and, as Proust explains, the source of his innermost happiness. However, as can be seen from the practice of the great artists, although the text may be strong and durable and able to support a lifetime's work, it cannot be taken for granted and there is no guarantee of permanent possession. It may be mislaid or even lost, and retrieval is very difficult. It may lie dormant, and be discovered late in life after a long struggle, as with Mondrian or Proust himself. Why it should be that some people have this sort of text while others do not, and what 'meaning' it has, is not something which lends itself to argument. Nor is it up to the artist to decide how important it is, or what value it has for other people. To ascertain this is perhaps beyond even the capacities of an artist's own time.

Writer and curator

Riley has written on artists from Nicolas Poussin to Bruce Nauman. She co-curated Piet Mondrian: From Nature to Abstraction (with Sean Rainbird) at the Tate Gallery in 1996. Alongside art historian Robert Kudielka, Riley also served as curator of the 2002 exhibition " Paul Klee: The Nature of Creation", an exhibition at the Hayward Gallery in London in 2002. In 2010, she curated an artists choice show at the National Gallery in London, choosing large figure paintings by Titian, Veronese, El Greco, Rubens, Poussin, and Paul Cézanne.

In 1965, Riley exhibited in the Museum of Modern Art in New York City show, The Responsive Eye (created by curator William C. Seitz); the exhibition which first drew worldwide attention to her work and the Op Art movement. Her painting Current, 1964, was reproduced on the cover of the show's catalogue. Riley became increasingly disillusioned, however, with the exploitation of her art for commercial purposes, discovering that in the USA there was no copyright protection for artists. The first US copyright legislation was eventually passed, following an independent initiative by New York artists, in 1967.

She participated in documentas IV (1968) and VI (1977). In 1968, Riley represented Great Britain in the Venice Biennale, where she was the first British contemporary painter, and the first woman, to be awarded the International Prize for painting. Her disciplined work lost ground to the assertive gestures of the Neo-Expressionists in the 1980s, but a 1999 show at the Serpentine Gallery of her early paintings triggered a resurgence of interest in her optical experiments. "Bridget Riley: Reconnaissance", an exhibition of paintings from the 1960s and 1970s, was presented at Dia:Chelsea in 2000. In 2001, she participated in Site Santa Fe, and in 2003 the Tate Britain organised a major Riley retrospective. In 2005, her work was featured at Gallery Oldham. Between November 2010 and May 2011, her exhibition "Paintings and Related Work" was presented at the National Gallery, London.

In June and July 2014, the retrospective show "Bridget Riley: The Stripe Paintings 1961-2014" was presented at the David Zwirner Gallery in London. In July and August 2015, the retrospective show "Bridget Riley: The Curve Paintings 1961-2014" was presented at the De La Warr Pavilion in Bexhill-on-Sea.

In November 2015, the exhibition Bridget Riley opened at David Zwirner in New York. The show features paintings and works on paper by the artist from 1981 to present; the fully illustrated catalogue features an essay by the art historian Richard Shiff and biographical notes compiled by Robert Kudielka.

A retrospective exhibition at the Scottish National Gallery, in partnership with the Hayward Gallery, ran from June to September 2019. It showed early paintings and drawings, black-and-white works of the 1960s, and studies that reveal her working methods. This major exhibition of her work, spanning her 70-year career, was also shown at Hayward Gallery from October 2019 to January 2020.

Artists Ross Bleckner and Philip Taaffe made paintings paying homage to the work of Riley in the 80s. In 2013, Riley claimed that a wall-sized, black-and-white checkerboard work by Tobias Rehberger plagiarised her painting Movement in Squares and asked for it to be removed from display at the Berlin State Library's reading room.

In 1963, Riley was awarded the AICA Critics Prize as well as the John Moores, Liverpool Open Section Prize. A year later, she received a Peter Stuyvesant Foundation Travel bursary. In 1968, she received an International Painting Prize at the Venice Biennale. In 1974, she was named a Commander of the Most Excellent Order of the British Empire. Riley has been given honorary doctorates by Oxford (1993) and Cambridge (1995). In 2003, she was awarded the Praemium Imperiale, and, in 1998, she became one of only 65 Companions of Honour in Britain. As a board member of the National Gallery in the 1980s, she blocked Margaret Thatcher's plan to give an adjoining piece of property to developers and thus helped ensure the eventual construction of the museum's Sainsbury Wing. Riley has also received the Kaiserring of the city of Goslar in 2009 and the 12th Rubens Prize of Siegen in 2012. Also in 2012, she became the first woman to receive the Sikkens Prize, the Dutch art prize recognising the use of colour.

Riley is a Patron of Paintings in Hospitals, a charity established in 1959 to provide art for health and social care in England, Wales and Northern Ireland.

Between 1987 and 2014, she created three murals across the eighth, ninth and tenth floors of the Queen Elizabeth Queen Mother Wing, St Mary's Hospital, London.

In 2017, alongside Yoko Ono and Tracey Emin, Riley donated artworks to an auction to raise money for Modern Art Oxford.

In 2006, her Untitled (Diagonal Curve) (1966), a black-and-white canvas of dizzying curves, was bought by Jeffrey Deitch at Sotheby's for $2.1 million, nearly three times its $730,000 high estimate and also a record for the artist. In February 2008, the artist's dotted canvas Static 2 (1966) brought £1,476,500 ($2.9 million), far exceeding its £900,000 ($1.8 million) high estimate, at Christie's in London. Chant 2 (1967), part of the trio shown in the Venice Biennale, went to a private American collector for £2,561,250 ($5.1 million), in July 2008, at Sotheby's.

Bridget Riley: The Stripe Paintings 1961-2014 (New York: David Zwirner Books, 2014). Texts by Robert Kudielka, Paul Moorhouse, and Richard Shiff. ISBN 9780989980975

Bridget Riley: The Stripe Paintings 1961-2012 (London: Ridinghouse; Berlin: Holzwarth Publications and Galerie Max Hetzler, 2013). Texts by John Elderfield, Robert Kudielka and Paul Moorhouse.

Bridget Riley: Works 1960-1966 (London: Ridinghouse, 2012). Bridget Riley in conversation with David Sylvester (1967) and with Maurice de Sausmarez (1967).

Bridget Riley: Complete Prints 1962-2012 (London: Ridinghouse, 2012). Essays by Lynn MacRitchie and Craig Hartley; edited by Karsten Schubert.

The Eye's Mind: Bridget Riley. Collected Writings 1965-1999 (London: Thames & Hudson, Serpentine Gallery and De Montfort University, 1999). Includes conversations with Alex Farquharson, Mel Gooding, Vanya Kewley, Robert Kudielka, and David Thompson. Edited by Robert Kudielka.

Bridget Riley: Paintings from the 60s and 70s (London: Serpentine Gallery, 1999). With texts by Lisa Corrin, Robert Kudielka, and Frances Spalding.

Bridget Riley: Selected Paintings 1961-1999 (Düsseldorf: Kunstverein für die Rheinlande und Westfalen; Ostfildern: Cantz Publishers, 1999). With texts by Michael Krajewski, Robert Kudielka, Bridget Riley, Raimund Stecker, and conversations with Ernst H. Gombrich and Michael Craig-Martin.

Bridget Riley: Works 1961-1998 (Kendal, Cumbria: Abbot Hall Art Gallery and Museum, 1998). A conversation with Isabel Carlisle.

Bridget Riley: Dialogues on Art (London: Zwemmer, 1995). Conversations with Michael Craig-Martin, Andrew Graham Dixon, Ernst H. Gombrich, Neil MacGregor, and Bryan Robertson. Edited by Robert Kudielka and with an introduction by Richard Shone.

Bridget Riley: Paintings and Related Work (London: National Gallery Company Limited, 2010). Text by Colin Wiggins, Michael Bracewell, Marla Prather and Robert Kudielka. ISBN 978 1 85709 497 8.

'Bridget Riley, Op art and the Sixties' (Thames and Hudson 2004), Frances Follin

1. ^ Bridget Riley: Reconnaissance, September 21, 2000 - June 17, 2001 Archived 5 December 2011 at the Wayback Machine Dia Art Foundation, New York.

2. ^ Kudielka, R., "Chronology" in Bridget Riley: Paintings and Related Work, London: National Gallery Company Limited, 2010, pp. 67-72. ISBN 978 1 85709 497 8.

3. Chilvers, Ian & Glaves-Smith, John eds., Dictionary of Modern and Contemporary Art, Oxford: Oxford University Press, 2009. pp. 598-599

4. Bridget Riley Museum of Modern Art, New York.

5. ^ Jones, Jonathan (5 July 2008). "The life of Riley: Jonathan Jones interview with Bridget Riley, art world star of the 60s" - via www.theguardian.com.

6. ^ Jones, Jonathan (16 September 2015). "Bridget Riley review - pounding psychedelic art that will make you see the world differently". The Guardian.

7. ^ Grosenick, Uta; Becker, Ilka (28 October 2001). Women Artists in the 20th and 21st Century. Taschen. ISBN 9783822858547 - via Google Books.

8. Sooke, Alastair (21 September 2015). "Bridget Riley: Learning from Seurat, Courtauld, review: 'a rare insight into an artist's mind'". The Telegraph.

9. ^ Introduction to Frances Follin, Embodied Visions: Bridget Riley, Op Art and the Sixties, Thames and Hudson 2004

10. Practising Abstraction, Bridget Riley talking to Michael Craig-Martin in ^ Bridget Riley, Dialogues on Art, p. 62

11. Things to Enjoy, Bridget Riley, talking to Bryan Robertson in ^ Bridget Riley, Dialogues on Art, p. 87

12. Jörg Heiser (May 2011), Bridget Riley at Galerie Max Hetzler, Berlin, ^ Frieze.

13. ^ "Chinati Announces A Large-scale New Wall Painting By Bridget Riley Opening In October | The Chinati Foundation | La Fundación Chinati". chinati.org.

14. ^ Riley, Bridget (September 1997). "Painting Now". The Burlington Magazine. The Burlington Magazine Publications, Ltd. 139 (1134): 616-622. JSTOR 887465.

15. ^ Bridget Riley The Stripe Paintings 1961-2014, June 13 - July 25, 2014 David Zwirner, London.

16. Julia Michalska (15 January 2014), Agreement reached in plagiarism row between artists Archived 17 January 2014 at the Wayback Machine The Art Newspaper.

17. The two paintings can be seen side by side at: ^ "Riley / Rehberger plagiarism row reaches agreement". Op-art. 17 January 2014.

18. ^ "David Zwirner Books · Bridget Riley: The Stripe Paintings 1961-2014". David Zwirner Books.

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Bridget Louise Riley (born 24 April 1931) is an English painter known for her singular op art paintings. She lives and works in London, Cornwall and the Vaucluse in France. Riley was born in Norwood, London in 1931. Her father, John Fisher Riley, originally from Yorkshire, had been an Army officer.

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#AgnesMartin

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#AnniAlbers#Bauhaus

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#FransjeKillaars

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Gestreept, effen, geruit, met bloemmotieven. Wol, fluweel, damast. Fluorgeel, bordeauxrood, legergroen. Het oeuvre van Fransje Killaars (Maastricht, 1959) gaat over textiel en kleur. Ze is op zoek naar "kleuren die bewegen en met elkaar stoeien". Kleuren die een dialoog met elkaar en de omgeving aangaan.

Killaars maakt installaties met stof. Vaak is daar een element van herhaling in aanwezig en wordt er iets aan het zicht onttrokken. Zo zijn haar kamerschermen opgebouwd uit stapelingen van verschillende stoffen in uiteenlopende kleuren en schermen ze een deel van de ruimte af. In 24 Hours liggen bontgekleurde, geweven dekens met ruitmotief over wat ogenschijnlijk opgestapelde matrassen lijken te zijn, maar echt weten wat er onder de dekens schuilgaat weet de bezoeker niet.

Dekens, kamerschermen, tapijten: het zijn vertrouwde gebruiksvoorwerpen. Daarbij komt dat textiel het verlangen oproept aangeraakt te worden. In de doorgaans toch wat steriele museale ruimte, is Killaars' werk opvallend vertrouwd. Stof dragen we elke dag aan ons lijf, we drogen ons ermee af en we slapen eronder.

Hoewel de functie van Killaars' dekens, kamerschermen en tapijten in zekere zin verschilt van de manier waarop ze in het privédomein gebruikt worden, zet ze die associatie in om de afstand tussen toeschouwer en kunstwerk te verkleinen en meer intimiteit te creëren.

Naast haar autonome werk, maakt Killaars ook werk in opdracht. In 2003 ontwerpt ze de wandbekleding voor de Herenkamer van het Catshuis bestaand uit verschillende soorten stof die verwijzen naar de Nederlandse traditie in schilderkunst en ontwerp. Ook voor de entreehal van het Fonds BKVB en het Ministerie van Onderwijs, Cultuur en Wetenschap heeft Killaars wandbekleding ontworpen.

Killaars studeerde aan de Rijksakademie van beeldende kunsten in Amsterdam (1979-1984). Haar werk was te zien in onder andere Museum Jan Cunen (Oss), het Stedelijk Museum Schiedam, het Bonnefantenmuseum (Maastricht) en Galerie De Expeditie (Amsterdam).

REGISSEUR VAN DIT PORTRET:

Heddy Honigmann

Heddy Honigmann heeft tussen fictie en documentaire circa 40 films gemaakt en wordt beschouwd als een van de beste documentaire makers in de wereld. Haar films zijn wereldwijd vertoond en hebben op diverse festivals prijzen gewonnen. Ze heeft talloze oeuvre awards ontvangen zoals de Prins Bernhard Cultuurfonds Prijs (2016), de Living Legend Award op het IDFA (2013), de Hot Docs 'Outstanding Achieveent Award' (2007), de Golden Gate Persistence of Vision Award (2007), de Van Praag-Prijs van het Huanistisch Verbond (2008) en de Jan Kassies Oeuvre Prijs van het Stimuleringsfonds (2006). Ze won 2 Gouden Kalveren voor haar films Forever (2006) en Crazy (1999) en 3 maal de prijs van de Nederlandse Filmkritiek ( Forever, Het Ondergronds Orkest en Tot Ziens).

Korte filmografie: Om de Wereld in 50 Concerten (2014), En op 'n Goede Dag (2011), Herinneringen aan Vuur (2011), El Olvido (2008), Emoticons (2007), Forever (2006), Dame la Mano (2003), Goede Man, Lieve Zoon (2001) Liefde gaat door de Maag (2001-2000), Privé (2000), Crazy (1999) Het Ondergronds Orkest (1998), 2 Minuten Stilte A.U.B. (1997), O Amor Natural (1996), Tot Ziens (1995), Metal en Melancholie (1993), en Hersenschimmen (1987).

Muziek: Florencia Di Concilio (componist) & Hugo Dijkstal (geluidsnabewerking)

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Gestreept, effen, geruit, met bloemmotieven. Wol, fluweel, damast. Fluorgeel, bordeauxrood, legergroen. Het oeuvre van Fransje Killaars (Maastricht, 1959) gaat over textiel en kleur. Ze is op zoek naar "kleuren die bewegen en met elkaar stoeien". Kleuren die een dialoog met elkaar en de omgeving aangaan. Killaars maakt installaties met stof.

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#EtalAdnan

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Op 14 november jl. overleed in Parijs kunstenaar, dichter en filosoof Etel Adnan. Haar beeldend werk getuigt van de uitdrukkingskracht van de schilderkunst. Wars van hokjesdenken, was zij een kunstenaar die zich geen etiket liet opplakken. Maar ze had een centraal thema: de politieke situatie, de nationale identiteit en het feminisme in de Arabische wereld.

Etel Adnan werd geboren in Beiroet. Haar Grieks-Orthodoxe moeder groeide op in Smyrna (nu Izmir, Turkije), dat grotendeels door brand werd verwoest in 1922. Haar vader was een Syrische moslim uit Damascus, een gepensioneerd officier die had gevochten met de Ottomaanse troepen tijdens de Eerste Wereldoorlog. In Beiroet behoorden ze tot een minderheid - niet Frans, niet Arabisch. Ze spraken thuis Grieks en Turks en op de katholieke scholen die zij doorliep Frans, terwijl op straat Arabisch werd gesproken; een taal die zij nooit goed leerde omdat je op school bestraft werd als je Arabisch sprak, een gevolg van de Franse kolonisatie. 'Ik werd eraan gewend om tussen situaties in te leven, om een beetje marginaal te zijn en toch inheems, om kennis te maken met ideeën over waarheid die relatief waren en veranderden zoals de uren van de dag en de wisseling der seizoenen', aldus Adnan.

Ze wilde architect worden, maar volgens haar moeder was dat een mannenberoep. Met een beurs ging ze in 1949 filosofie studeren aan de Sorbonne in Parijs, onder anderen bij Gaston Bachelard, die veel aandacht besteedde aan kunst. Daarna vervolgde ze de studie aan de University of California in Berkeley en Harvard University. In 1958 werd ze filosofiedocent aan het Domenican College (nu universiteit) in San Rafael (Californië). Toen ze in 1959 een cursus wilde geven over de filosofie van de kunst, merkte het hoofd van de kunstafdeling op dat ze dan eerst moest weten hoe het is om zelf beeldend werk te maken. Ze kreeg potloden en papieren toen de collega haar resultaten zag, zei deze dat zij geen opleiding nodig had, dat ze schilder was.

Etel Adnan, 2008. Foto Nanwiese. (bron: Wikimedia Commons)

Ze schilderde meestal op doeken van klein formaat, vaak met het paletmes. In de jaren zestig-zeventig maakte ze abstracte schilderijen die associaties oproepen met de Nouvelle École de Paris-stijl van Nicolas de Staël, die toen populair was in West-Europa en Noord-Amerika. Ze doen ook enigszins denken aan de manier waarop Robert Rauschenberg zijn composities voorzag van kleinere kleurvlakken. Veel kunstenaars werkten toen in deze trant, maar Adnans werk onderscheidt zich door de kwaliteit. In die tijd was zij buiten haar eigen kring vrijwel onbekend, wat waarschijnlijk te maken heeft met het feit dat zij een vrouw was en, zoals ze zelf zei, tevreden was met het verkopen van haar schilderijen aan vrienden en bekenden voor lage prijzen.

Mede door de Vietnamoorlog begon Adnan gedichten te schrijven in het Engels. In 1972 keerde ze terug naar Libanon, waar ze werkte als cultuurredacteur voor twee dagbladen en haar partner leerde kennen, de in Syrië geboren beeldend kunstenaar en uitgever Simone Fattal. Nadat de Libanese burgeroorlog uitbrak in 1975 trokken ze samen naar Parijs en verbleven af en aan in Beiroet. Adnan wordt wel getypeerd als een kunstenaar in ballingschap. Zelf benadrukt ze dat ze vrijwillig vertrok, ook al waren er momenten dat ze niet kon terugkeren. In Parijs schreef ze de roman Sitt Marie Rose (1977), oorspronkelijk in het Frans, over de waar gebeurde geschiedenis van Marie Rose Boulos, een Syrisch-christelijke immigrant in Libanon die werkte met kinderen met een geestelijke beperking en zich inzette voor Palestijnse vluchtelingen. Zij werd om die reden ontvoerd, gemarteld en geëxecuteerd door rechtse christelijke milities. Het boek werd gelezen in het islamitische deel van Beiroet, niet in het christelijke. Tegenwoordig is het in veel talen vertaald maar volgens Adnan helemaal niet te vinden in Libanese boekhandels, onverwerkt als de Libanese burgeroorlog (1975 - 1990) is.

Etel Adnan, Untitled, 2018, olieverf op doek, 41.2 x 33.3 cm, Stedelijk Museum, Amsterdam, verworven met steun van de deelnemers van de VriendenLoterij

Etel Adnan, Untitled, 2018, olieverf op doek, 41.2 x 33.3 cm, Stedelijk Museum, Amsterdam, verworven met steun van de deelnemers van de VriendenLoterij

Eind jaren zeventig keerde Adnan terug naar Californië en vestigde zich in Sausalito, waar ze vanuit haar raam uitzicht had op de piek van Mount Tamalpais, ten noordwesten van San Francisco. Deze berg heeft ze vele malen geschilderd in sterk vereenvoudigde vormen, waarbij al haar aandacht uitging naar de kleuren zoals ze die zag, telkens veranderend al naar gelang de tijdstippen en seizoenen. Een ander hoofdmotief was de zee, eveneens sterk geabstraheerd weergegeven, die voor haar herinneringen opriep aan de zee bij Beiroet en het licht aldaar. Ook de zon is zo'n steeds terugkerend onderwerp in haar werk. Die elementen zijn wel uitgelegd als enerzijds bakens die Adnan houvast boden, of ze nu in Californië, Parijs of Beiroet was, en anderzijds als universele beelden die bij uiteenlopende culturen herinneringen kunnen oproepen. De kenmerkende heldere kleuren zijn volgens haarzelf de kleuren van Californië. De zee bij Beiroet roept bij haar ook heel andere associaties op, getuige een zin uit Sitt Mary Rose: 'Pas in de zee, in haar tijdloze blauw, mengt het bloed van de elkaar bestrijdende partijen zich.' Zo zijn ook haar schilderijen verbonden met de politieke werkelijkheid. Ze geven aan hoe krachtig de hedendaagse schilderkunst ook in conceptueel opzicht kan zijn.

Deze schilderijen worden gekenmerkt door een eigen stijl, waarbij de horizon nooit helemaal recht is en de zon nooit volkomen rond; een kruisbestuiving tussen illusie en de materialiteit van de verflaag, tussen figuratie en abstractie, maar het blijven onmisbaar zeegezichten en landschappen. De verf is heel geconcentreerd, precies opgebracht. In haar boek L'artisanat créateur au Maroc (1983) verbindt Adnan kunst expliciet met ambachtelijkheid, in het bijzonder die van de Arabisch-islamitische wereld. Ze wijst erop dat binnen die oude ambachtelijke cultuur het handwerk gezien werd als een intellectuele activiteit en dat onder invloed van westerse bourgeois-invloeden die status is afgenomen.

In de jaren zestig maakte Adnan eveneens vanuit haar fascinatie voor Oosterse en Westerse oude kunst en ambachten ontwerpen voor tapijten. Een aantal van haar textielontwerpen is pas in 2016 uitgevoerd en geëxposeerd, tegelijk met de uitgave van haar boek Life is a Weaving. Daarin beschrijft ze hoe tapijten de cohesie in de islamitische kunst weerspiegelen en prijst ze een project van de Egyptische architect en pedagoog Ramses Wissa Wassef, die samen met zijn vrouw Sophie Habib Georgi als experiment kinderen in Cairo vanaf 1951 tapijtontwerpen liet maken. Een aantal is op dit moment te zien in de tentoonstelling Let Textiles Talk, in combinatie met werk van Etel Adnan en (textiel)kunstenaars als Dorothy Akpene Amenuke, Karel Appel, Sheila Hicks, Jean Lurçat en anderen uit de collectie van het museum.

Nadat Adnan in een Japanse winkel in San Francisco een leporello, een als een harmonica gevouwen langwerpig boekje, vond, begon ze leporello's te maken waarop ze met waterverf gedichten in het Arabische schrift natekende en combineerde met tekeningen. Er volgden andere kunstenaarsboeken met gedichten en tekeningen, waarvan L'Apocalypse Arabe, gemaakt na het uitbreken van de Libanese burgeroorlog, het bekendst is. Het bevat een lang gedicht, voorzien van kleine tekeningen en pennenstreken herinnerend aan het Arabische alfabet. Ook uit deze werken spreekt een sterke concentratie tijdens het werkproces.

De grote doorbrak kwam voor Adnan nadat de invloedrijke Zwitserse curator Hans Ulrich Obrist een leporello van haar had gezien in Parijs en twee jaar later opnieuw een in Beiroet. Obrist tipte Carolyn Christov-Bakargiev, de directeur van de documenta van 2012, en vervolgens werd Adnans werk op de documenta getoond. Daarna volgden solotentoonstellingen in onder meer de Serpentine Gallery in Londen, San Francisco Museum of Modern Art, Massachusetts Museum of Contemporary Art, Zentrum Paul Klee in Bern, Musée Yves Saint Laurent in Marrakech (samen met Simone Fattal en Robert Wilson) en momenteel in het Guggenheim Museum in New York. De twee hier afgebeelde schilderijen vormden in 2019 de eerste aankoop van Rein Wolfs als nieuwe directeur van het Stedelijk Museum.

Kunnen beter eindigen dan met Etel Adnans eigen woorden?

Etel Adnan, 1ste strofe uit The Spring Flowers Own: 'The morning after / my death', 1990

The morning after
My death
We will sit in cafés
But I will not
Be there
I will not be

Etel Adnan, Point d'ironie nr. 52: Etel Adnan, 2011, offset, 42.5 x 30.7 cm, uitgever agnès b., hoofdredacteur Hans-Ulrich Obrist, Stedelijk Museum, Amsterdam, schenking agnès b.

Maurice Rummens, wetenschappelijk medewerker, Stedelijk Museum, Amsterdam

De tentoonstelling Let Textiles Talk is nog tot en met 20 maart 2022 te zien in het Stedelijk Museum Amsterdam.

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Op 14 november jl. overleed in Parijs kunstenaar, dichter en filosoof Etel Adnan. Haar beeldend werk getuigt van de uitdrukkingskracht van de schilderkunst. Wars van hokjesdenken, was zij een kunstenaar die zich geen etiket liet opplakken. Maar ze had een centraal thema: de politieke situatie, de nationale identiteit en het feminisme in de Arabische wereld.

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#BarbaraHepworth

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Dame Jocelyn Barbara Hepworth (10 January 1903 - 20 May 1975) was an English artist and sculptor. Her work exemplifies Modernism and in particular modern sculpture. Along with artists such as Ben Nicholson and Naum Gabo, Hepworth was a leading figure in the colony of artists who resided in St Ives during the First and Second World Wars.

Jocelyn Barbara Hepworth was born on 10 January 1903 in Wakefield, West Riding of Yorkshire, the eldest child of Gertrude and Herbert Hepworth. Her father was a civil engineer for the West Riding County Council, who in 1921 advanced to the role of County Surveyor. Hepworth attended Wakefield Girls' High School, where she was awarded music prizes at the age of 12 and won a scholarship to study at the Leeds School of Art from 1920. It was there that she met her fellow Yorkshireman, Henry Moore. They became friends and established a friendly rivalry that lasted professionally for many years.

Despite the difficulties of attempting to gain a position in what was a male-dominated environment, Hepworth successfully won a county scholarship to attend the Royal College of Art (RCA) in London, and studied there from 1921 until she was awarded the diploma of the Royal College of Art in 1924.

Following her studies at the RCA, Hepworth travelled to Florence, Italy, in 1924 on a West Riding Travel Scholarship. Hepworth was also the runner-up for the Prix-de-Rome, which the sculptor John Skeaping won. After travelling with him to Siena and Rome, Hepworth married Skeaping on 13 May 1925 in Florence. In Italy, Hepworth learned how to carve marble from sculptor Giovanni Ardini. Hepworth and Skeaping returned to London in 1926, where they exhibited their works together from their flat. Their son Paul was born in London in 1929. In 1931, Hepworth met and fell in love with abstract painter Ben Nicholson; however, both were still married at the time. At Hepworth's request, she and Skeaping were divorced that year.

Her early work was highly interested in abstraction and art movements on the continent. In 1931, Hepworth was the first to sculpt the pierced figures that are characteristic of both her own work and, later, that of Henry Moore. They would lead in the path to modernism in sculpture. In 1933, Hepworth travelled with Nicholson to France, where they visited the studios of Jean Arp, Pablo Picasso, and Constantin Brâncuși. Hepworth later became involved with the Paris-based art movement, Abstraction-Création. In 1933, Hepworth co-founded the Unit One art movement with Nicholson and Paul Nash, the critic Herbert Read, and the architect Wells Coates. The movement sought to unite Surrealism and abstraction in British art.

Hepworth also helped raise awareness of continental artists amongst the British public. In 1937, she designed the layout for Circle: An International Survey of Constructivist Art, a 300-page book that surveyed Constructivist artists and that was published in London and edited by Nicholson, Naum Gabo, and Leslie Martin.

Hepworth, with Nicholson, gave birth to triplets in 1934: Rachel, Sarah, and Simon. Hepworth, atypically, found a way to both take care of her children and continue producing her art. "A woman artist", she argued, "is not deprived by cooking and having children, nor by nursing children with measles (even in triplicate) - one is in fact nourished by this rich life, provided one always does some work each day; even a single half hour, so that the images grow in one's mind." Hepworth married Nicholson on 17 November 1938 at Hampstead Register Office in north London, following his divorce from his wife Winifred. Rachel and Simon also became artists.

Hepworth, Nicholson and their children went to live in Cornwall at the outbreak of the Second World War in 1939.

Hepworth lived in Trewyn Studios in St Ives from 1949 until her death in 1975. She said that "Finding Trewyn Studio was sort of magic. Here was a studio, a yard, and garden where I could work in open air and space." St Ives had become a refuge for many artists during the war. On 8 February 1949, Hepworth and Nicholson co-founded the Penwith Society of Arts at the Castle Inn; 19 artists were founding members, including Peter Lanyon and Bernard Leach.

Hepworth was also a skilled draughtsperson. After her daughter Sarah was hospitalised in 1944, she struck up a close friendship with the surgeon Norman Capener. At Capener's invitation, she was invited to view surgical procedures and, between 1947 and 1949, she produced nearly 80 drawings of operating rooms in chalk, ink, and pencil. Hepworth was fascinated by the similarities between surgeons and artists, stating: "There is, it seems to me, a close affinity between the work and approach of both physicians and surgeons, and painters and sculptors."

In 1950, works by Hepworth were exhibited in the British Pavilion at the XXV Venice Biennale alongside works by Matthew Smith and John Constable. The 1950 Biennale was the last time that contemporary British artists were exhibited alongside artists from the past. Two early public commissions, Contrapunctal Forms and Turning Forms, were exhibited at the Festival of Britain in 1951.

During this period, Hepworth and Nicholson divorced (1951). Hepworth moved away from working only in stone or wood and began to work with bronze and clay. Hepworth often used her garden in St Ives, which she designed with her friend the composer Priaulx Rainier, to view her large-scale bronzes.

Death of son Paul

Her eldest son Paul was killed on 13 February 1953 in a plane crash while serving with the Royal Air Force in Thailand. A memorial to him, Madonna and Child, is in the parish church of St Ives.

Exhausted, in part from her son's death, Hepworth travelled to Greece with her friend Margaret Gardiner in August 1954. They visited Athens, Delphi and many of the Aegean Islands.

When Hepworth returned to St Ives from Greece in August 1954 she found that Gardiner had sent her a large shipment of Nigerian guarea hardwood. Although she received only a single tree trunk, Hepworth noted that the shipment from Nigeria to the Tilbury docks came in at 17 tons. Between 1954 and 1956 Hepworth sculpted six pieces out of guarea wood, many of which were inspired by her trip to Greece, such as Corinthos (1954) and Curved Form (Delphi) (1955).

It was also during this decade that Hepworth became preoccupied with the idea of establishing a market base for her work in the United States. Initially she hoped to follow Henry Moore's successful sale of artwork via Curt Valentin of Bucholz Gallery in New York. Negotiations with Valentin did result in a number of American sales. But despite the sales, and despite interventions by Hepworth's friends, Valentin rebuffed repeated requests to hold any substantial stock of her work. It was not until 1955, after the Martha Jackson Gallery had offered Hepworth the opportunity to exhibit in their space alongside works by William Scott and Francis Bacon, that Hepworth formalised gallery representation in the new world.

Hepworth's difficulties in establishing a stable gallery relationship in the United States have been attributed to many factors, including the artist's own diffidence regarding personal promotion of her work. When Martha Jackson failed to arrange the solo American exhibition of sculptures and drawings that Hepworth demanded, Hepworth moved, in 1957, to Galerie Chalette, run by Arthur and Madeleine Lejwa, known for their close relationship with Jean Arp, and dedication to close relationships with their artists. The Lejwas came through with the solo exhibition Hepworth craved. Hepworth came to New York for the opening (her first visit to the city), but made minimal contact with the press and left as soon as possible. "Have seen all the press", she wrote, "pulled faces at the camera and generally done my best!" Three years later, having secured the Dag Hammarskjöld Memorial Commission ( Single Form, 1964), she left both Chalette and Gimpel Fils, her long-time home agent, for the larger Marlborough Fine Art and Marlborough-Gerson. "Pulled between personal loyalties and professional aspirations", Hepworth chose to forfeit the personal relationships.

Hepworth greatly increased her studio space in 1960 when she purchased the Palais de Danse, a former cinema and dance hall, that was situated across the street from Trewyn. She used this new space to work on large-scale commissions.

She also experimented with lithography in her late career, and produced two lithographic suites with the Curwen Gallery and its director Stanley Jones, one in 1969 and one in 1971. The latter was entitled "The Aegean Suite" (1971) and was inspired by Hepworth's trip to Greece in 1954 with Margaret Gardiner. The artist also produced a set of lithographs entitled "Opposing Forms" (1970) with Marlborough Fine Art in London.

Barbara Hepworth died in an accidental fire at her Trewyn studios on 20 May 1975 at the age of 72.

Two museums are named after Hepworth and have significant collections of her work: the Barbara Hepworth Museum in St Ives, Cornwall and The Hepworth Wakefield in West Yorkshire.

Her work also may be seen at:

Glebelands, Harlow, Essex, UK (namely Contrapuntal Forms)

The University of Exeter, Streatham Campus

The University of Southampton, Highfield Campus

Yorkshire Sculpture Park in West Bretton, West Yorkshire

Snape Maltings, Snape, Suffolk

On the facade of the John Lewis department store, Oxford Street, London

The Mander Centre, Wolverhampton (removed 2014)

Mary and Leigh Block Museum of Art Sculpture Garden at Northwestern University

Kenwood House, London

In the grounds of Winchester Cathedral next to The Pilgrims' School

Kröller-Müller Museum, Otterlo, Netherlands

Museum of New Zealand Te Papa Tongarewa in Wellington, New Zealand

Harrison Sculpture Garden at the Minnesota Landscape Arboretum

The facade of Cheltenham House, Cheltenham

Kimbell Art Museum, Fort Worth, Texas

Art Institute of Chicago, Chicago, Illinois

Dallas Museum of Art, Dallas, Texas

In 1951 Hepworth was commissioned by the Arts Council to create a piece for the Festival of Britain. The resulting work featured two Irish limestone figures entitled, "Contrapuntal Forms" (1950), which was displayed on London's South Bank; it was later donated to the New Town of Harlow and displayed in Glebelands, where it remains. To complete the large-scale piece Hepworth hired her first assistants, Terry Frost, Denis Mitchell, and John Wells.

From 1949 onwards she worked with assistants, 16 in all. One of her most prestigious works is Single Form, which was made in memory of her friend and collector of her works, the former Secretary General Dag Hammarskjöld, and which stands in the plaza of the United Nations building in New York City. It was commissioned by Jacob Blaustein, a former United States delegate to the U.N., in 1961 following Hammarskjöld's death in a plane crash.

On 20 December 2011, her 1969 sculpture was stolen, from its plinth in Dulwich Park, South London. Suspicions are that the theft was by scrap metal thieves. The piece, which had been in the park since 1970, was insured for £500,000, a spokesman for Southwark Council said.

One of the editions of six of her 1964 bronze sculpture, Rock Form (Porthcurno), was removed from the Mander Centre in Wolverhampton in the spring of 2014 by its owners, the Royal Bank of Scotland and Dalancey Estates. Its sudden disappearance led to questions in Parliament in September 2014. Paul Uppal, Member of Parliament for Wolverhampton South West said: "When the Rock Form was donated by the Mander family, it was done so in the belief it would be enjoyed and cherished by the people of Wolverhampton for generations... It belongs to, and should be enjoyed by, the City of Wolverhampton." The sculpture has since been loaned to the city by RBS and can be seen in Wolverhampton City Art Gallery.

Hepworth was awarded the Grand Prix at the 1959 São Paulo Art Biennial. She also was awarded the Freedom of St Ives in 1968 as an acknowledgment of her significant contributions to the town. She was awarded honorary degrees from the universities of Birmingham (1960), Leeds (1961), Exeter (1966), Oxford (1968), London (1970) and Manchester (1971).

She was appointed CBE in 1958 and DBE in 1965. In 1973 she was elected an honorary member of the American Academy of Arts and Letters. Following her death, her studio and home in St Ives became the Barbara Hepworth Museum, which came under control of the Tate in 1980.

In 2011 The Hepworth Wakefield opened in Hepworth's hometown of Wakefield, England. The Museum was designed by the architect David Chipperfield.

In January 2015 it was announced that Tate Britain was to stage the first big London show of Hepworth's work since 1968. It would bring together more than 70 of her works, including the major abstract carvings and bronzes for which she is best known. It would also include unseen photographs from the Hepworth archive, held by the Tate, including a self- photogram created in the 1930s and experimental photographic collages.

On 25 August 2020, Google honoured Hepworth with a Google Doodle. A Historic England blue plaque was unveiled in honour of Hepworth and first husband John Skeaping at 24 St Ann's Terrace, St John's Wood, London on 30 October 2020. The couple lived there in 1927.

Marble portrait heads dating from London, ca. 1927, of Barbara Hepworth by John Skeaping, and of Skeaping by Hepworth, are documented by photograph in the Skeaping Retrospective catalogue, but are both believed to be lost.

1. Gale, Matthew "Artist Biography: Barbara Hepworth 1903-75" Retrieved 31 January 2014.

2. Barbara Hepworth: Biography. Hepworth Estate. Retrieved 31 January 2014

3. as noted by Sophie Bowness in "Rhythm of the Stones: Barbara Hepworth and Music" ^ Barbara Hepworth: Centenary. Tate Publishing. 2003. p. 25. ISBN 1-85437-479-6.

4. ^ Hepworth, Barbara (1970). Barbara Hepworth: A Pictorial Autobiography (1st ed.). New York: Praeger Publishers. LCCN 73-99496.

5. ^ Hepworth, Barbara (1932). "Pierced Form (1932, destroyed ca. 1945)". Barbara Hepworth Estate.

6. Paul Nash: Modern artist, ancient landscape: Room guide: Unit One: 'A Contemporary Spirit'. Tate Liverpool. Retrieved 31 January 2014.

7. ^ Barbara Hepworth: Single Form 1961. Peggy Guggenheim Collection, Venice. Retrieved 31 January 2014.

8. Riggs, Terry "Artist Biography: Ben Nicholson OM 1894-1982" Tate, Retrieved 29 January 2014.

9. About Barbara Hepworth Museum and Sculpture Garden. Tate St Ives. Retrieved 31 January 2014.

10. Stephens, Chris (1998). Dame Barbara Hepworth: Two Figures (Heroes) 1954. Tate. Retrieved 31 January 2014.

11. ^ "Christie's announces selections from the Israel Museum to benefit the acquisitions fund". Art Daily. 2018.

12. ^ Correia, Alice (2014). "Barbara Hepworth and Gimpel Fils: The Rise and Fall of an Artist-Dealer Relationship". Tate Papers 22. London: Tate Gallery. ISSN 1753-9854.

13. Behrman, Pryle. ^ "Fifty Years at the heart of British Printmaking" Archived 19 February 2014 at the Wayback Machine Retrieved 31 January 2014.

14. ^ "New Barbara Hepworth gallery opens in Wakefield". BBC News. 21 May 2011. Archived from the original on 21 May 2011.

15. ^ "Norwich Sculpture Trails: 2 Around the Cathedral and the Castle" (PDF). Recording Archive for Public Sculpture in Norfolk and Suffolk. Retrieved 29 January 2014.

16. ^ Festing, Sally (1995). Barbara Hepworth: A Life of Forms. pp. xx, 185-86, 197, 214, 219-20.

17. MacCarthy, Fiona.^ "The ambition of Barbara Hepworth" The Guardian, Retrieved 31 January 2014.

18. ^ Deceased Members: Deceased Foreign Honorary Members Archived 26 July 2011 at the Wayback Machine. American Academy of Arts and Letters. Retrieved 31 January 2014.

19. ^ John Skeaping 1901-80: A Retrospective (exhibition catalogue). London: Arthur Ackermann and Son, 1991, p. 7

# data[].attributes.attachment_link.description
Dame Jocelyn Barbara Hepworth (10 January 1903 - 20 May 1975) was an English artist and sculptor. Her work exemplifies Modernism and in particular modern sculpture. Along with artists such as Ben Nicholson and Naum Gabo, Hepworth was a leading figure in the colony of artists who resided in St Ives during the First and Second World Wars.

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#Microorganisms#Moist#Mold#Symbiosis

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#ShannonNewby#CoralCreations#CoralReef#Installation#Tactility#2015#Sealive#SeaOrganisms#Sea

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#LeisaRich#Textile#TextileFiberArt#FabricArt

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#SooSunnyPark#UnwovenLight#2016

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#MauriceAgis#Dreamspace#Installation#Colour#Space

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#DanielBuren

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#JonathanTrayte#PinkHotSolarBuzzer#
2019

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#Diffraction#Colour#Light#Perception

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#RinaBanerjee

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#CarmeloMidili#TheSpaceBeyondSculpture#Space

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#Ponty#Senses#Colour#BrightColours#Phenomenology

Fenomenologie van de waarneming, Merleau Ponty

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#HelioOiticaca

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Hélio Oiticica ( Portuguese: [ˈε.lju ɔj.tʃi.ˈsi.ka]; July 26, 1937 - March 22, 1980) was a Brazilian visual artist, sculptor, painter, performance artist, and theorist, best known for his participation in the Neo-Concrete Movement, for his innovative use of color, and for what he later termed "environmental art", which included Parangolés and Penetrables, like the famous Tropicália.

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#ErnestoNeto

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Since the mid-1990s, Ernesto Neto has produced an influential body of work that explores constructions of social space and the natural world by inviting physical interaction and sensory experience. Drawing from Biomorphism and minimalist sculpture, along with Neo-concretism and other Brazilian vanguard movements of the 1960s & 70s, the artist both references and incorporates organic shapes and materials - spices, sand and shells among them-that engage all five senses, producing a new type of sensory perception that renegotiates boundaries between artwork and viewer, the organic and manmade, the natural, spiritual and social worlds.

Born in 1964 in Rio de Janeiro, the artist continues to live and work in Brazil. He studied at the city's MAM Museum of Modern Art at Rio de Janeiro in 1984 through 1986, and also attendedEscola de Artes Visuais do Parque Lage in 1987.

Ernesto Neto's work has been the subject of major museum exhibitions worldwide, including: at Museum of Contemporary Art Chicago, Chicago (2020), SunForceOceanLife atThe Museum of Fine Arts, Houston (2021), Mentre la vita ci respira at GAMeC, Bergamo, Italy (2021), Water Falls from the Breast to the Sky Ernesto Neto: Rui Ni / Voices of the Earth at KUNSTEN Museum of Modern Art Aalborg, Denmark (2016), Ernesto Neto: Boa at Museum of Contemporary Art Kiasma, Helsinki, Finland (2016), Ernesto Neto: Sopro (Blow) at Pinacoteca, São Paulo (traveled to Malba, Museum of Latin American Art, Buenos Aires, Argentina; Palacio de La Moneda Cultural Center, Santiago, Chile) (2019), Ernesto Neto: Mother Body Emotional Densities, For Alive Temple Time Baby Son at MCA San Diego (2015), Ernesto Neto: Haux Haux at Arp Museum Bahnof Rolandseck, Germany (2014), Ernesto Neto: Gratitude at Aspen Art Museum, Aspen, CO (2014), Ernesto Neto: The body that carries me at Guggenheim, Bilbao, Spain (2014), Ernesto Neto: Madness is Part of Life at Espace Louis Vuitton, Tokyo (2012), Ernesto Neto: Cuddle on the Tightrope at Nasher Sculpture Center (2012), Ernesto Neto at Faena Arts Center in Buenos Aires, which traveled to Estação Leopoldina in Rio de Janeiro (2011-2012), Hayward Gallery, Southbank Centre in London (2010) Museum of Modern Art in New York (2010), Ernesto Neto: Intimacy at Astrup Fearnley Museum of Modern Art in Oslo (2010), Dengo at Sao Paulo Museum of Modern Art (2010), Ernesto Neto - Mentre niente accade/ while nothing happens at Museo d'Arte Contemporanea Roma in Italy (2008), Ernesto Neto at Museum of Contemporary Art, Sydney, Australia (2002), Directions-Ernesto Neto, Hirshhorn Museum and Sculpture Garden in Washington, D.C. (2002), among others.

His work has also been featured in numerous group exhibitions and biennials, most recently the 14th Biennale de Lyon, curated by Emma Lavigne (2017) and Manifesta 7 (2015). In 2001 he represented Brazil at the 49th Venice Biennale, and in 2017 Neto was prominently featured in Vive Arte Viva at the 57th Venice Biennale curated by Christine Macel. Neto has been included in major group shows at Guggenheim Bilbao, Albright Knox Art Gallery, Centre Pompidou-Metz, and a permanent installation at the Museum of Contemporary Art, Chicago. In summer 2018, a large installation GaiaMotherTree was successfully shown at the Zurich train station, in collaboration with Fondation Beyeler, with a month-long corresponding public and education program that took place inside the work.

Neto's work is extremely well represented in international museum collections, including those of the Museum of Modern Art in New York, Museum of Fine Arts, Houston, Tate Gallery in London, Solomon R. Guggenheim Museum in New York, Carnegie Museum of Art in Pittsburgh, Museum Boijmans van Beuningen in Rotterdam, Centre Pompidou in Paris, Hara Museum in Tokyo, Contemporary Art Center of Inhotim in Brazil, Hirshhorn Museum and Sculpture Garden in Washington, D.C., Milwaukee Art Museum, Museum of Contemporary Art, Los Angeles, among many others.

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Ernesto Neto Exhibitions: Concerning Nature, Tanya Bonakdar Gallery, New York, September 6 - October 13, 2023; Ernesto Neto: Between Earth and Sky, Tanya Bonakdar Gallery, New York, May 14 - June 16, 2022; Songs in the Dark, Tanya Bonakdar Gallery, New York, January 11 - February 20, 2020; ERNESTO NETO:...