ADMSP Sculptors and Sculptures Series: Jeff Koons- Popeye

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Feb 142012
 
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Who is Jeff Koons?

Jeff Koons was born in 1955 in York, Pennsylvania. He was a very self reliant kid who wanted to make his own money and went door to door after school to sell wrapping paper (of all things!), chocolates and candies. He studied at the Art Institute of Chicago, and received a BFA from the Maryland Institute College of Art, Baltimore (1976), and honorary doctorates from the School of the Art Institute of Chicago (2008) and Corcoran College of Art and Design, Washington, DC (2002). He described studying art as a way of “connecting through human history.” Koons likes to explain humans through objects, he believes “they are metaphors for people” and the acceptance of culture is expressed through objects.

One of Koons’ most impressive exhibitions comes from The Serpentine Gallery, which presented his first major exhibition in a public gallery in London, England in 2009.

For his exhibition at the Gallery, Koons presented paintings and sculptures from his Popeye series, which he began in 2002. Working in thematic series since the early 1980s, Koons has explored notions of consumerism, taste, banality, childhood and sexuality. He is known for his meticulously fabricated works that draw on a variety of objects and images from American and consumer culture.

The works incorporated some of Koons’s signature ideas and motifs, including surreal combinations of everyday objects, cartoon imagery, art-historical references and children’s toys.

The sculptures continue Koons’s interest in casting inflatable toys. Those typically used by children in a swimming pool are cast in aluminium, their surfaces painted to bear an uncanny resemblance to the original objects. He juxtaposes these replica readymades with unaltered everyday objects, such as chairs or garbage bins. The paintings are complex and layered compositions that combine disparate images both found and created by Koons, including images of the sculptures in the series.

Featuring loans from both public and private collections, the exhibition also included works that have never been shown publicly before. The immediately recognizable figures of Popeye and Olive Oil are central in the series and appear in several prominent works within the exhibition.

But…who was Popeye?

One of the most iconic American comicstrip characters, Popeye was conceived 80 years ago this year in 1929 when the Great Depression was taking hold. In Popeye’s early years, the cartoon addressed the hardships and injustices of the time and, in this current period of economic recession, he is a fitting character to rediscover and explore.

Koons has used inflatables in his work since the late 1970s; one of his most iconic sculptures, Rabbit, 1986, is an inflatable bunny rendered in reflective stainless steel. He has also made sculptures on a spectacular scale inspired by inflatables, including works from his monumental Celebration series.

Koons’ work has been widely exhibited internationally and his most recent solo exhibitions include presentations at the Château de Versailles, France; Neue Nationalgalerie, Berlin; Museum of Contemporary Art, Chicago; and Metropolitan Museum of Art, New York, all in 2008.

ADMSP would love to host an exhibition of Koons’ Popeye and we would love to have you as a guest! In the words of Popeye the Sailor Man himself- “Hiya Olive. How’s about goin’ for a little stroll in the park?”.

These images and content are used for fair use and demonstration purposes only.
The images and content are and can be viewed at The Serpentine Gallery.

ADMSP Sculptors and Sculptures Series: Mary Heilmann

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Nov 042011
 
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Mary Heilmann was born in 1940 in San Francisco, California. She earned a BA from the University of California, Santa Barbara (1962), and an MA from the University of California, Berkeley (1967).

For every piece of Heilmann’s work—abstract paintings, ceramics, and furniture—there is a backstory. Imbued with recollections, stories spun from her imagination, and references to music, aesthetic influences, and dreams, her paintings are like meditations or icons. Her expert and sometimes surprising treatment of paint (alternately diaphanous and goopy) complements a keen sense of color that glories in the hues and light that emanate from her laptop, and finds inspiration in the saturated colors of TV cartoons such as The Simpsons.

Her compositions are often hybrid spatial environments that juxtapose two- and three-dimensional renderings in a single frame, join several canvases into new works, or create diptychs of paintings and photographs in the form of prints, slideshows, and videos. Heilmann sometimes installs her paintings alongside chairs and benches that she builds by hand, an open invitation for viewers to socialize and contemplate her work communally.

Mary Heilmann has received the Anonymous Was a Woman Foundation Award (2006) and grants from the National Endowment for the Arts and the Guggenheim Foundation. She has had major exhibitions at the Parrish Art Museum, Southampton, New York (2009); New Museum of Contemporary Art, New York (2008); Wexner Center for the Arts, Columbus, Ohio (2008); and Orange County Museum of Art, Newport Beach, California (2007), among others.

Her work has appeared in Whitney Biennials (1972, 1989, 2008) and is in many collections, including the Museum of Modern Art, New York; Whitney Museum of American Art, New York; and Orange County Museum of Art.

Mary Heilmann lives and works in New York.

At ADMSP, we would love to exhibit at least one of Mary Heilmann’s works.

Solo Exhibitions

2010
Galerie Barbara Weiss, ‘Home Sweet Home. A Sweet American Song’, Berlin, Germany
Museum Ludwig, ‘Mary Heilmann. Drawings and Prints’, Cologne, Germany

2009
303 Gallery, New York NY

2008
Zwirner & Wirth New York, ‘Some Pretty Colors’, New York NY
New Museum of Contemporary Art, ‘Mary Heilmann: To Be Someone’, New York NY (Travelling Exhibition)
Wexner Center for the Arts, ‘Mary Heilmann: To Be Someone’, Columbus OH (Travelling Exhibition)

2007
Orange County Museum, ‘Mary Heilmann: To Be Someone’, Newport Beach CA (Travelling Exhibition)
CAMH – Contemporary Art Museum Houston, ‘Mary Heilmann: To Be Someone’, Houston TX (Travelling Exhibition)

2006
Hauser & Wirth Zürich, ‘Saturday Night Kiss’, Zurich, Switzerland
Crown Point Gallery, ‘Mary Heilmann: New Etchings’, San Francisco CA

2005
303 Gallery, ‘Mary Heilmann. Heaven & Hell’, New York NY

2004
Hauser & Wirth London, London, England

2003
Secession, ‘Mary Heilmann. All Tomorrow’s Parties’, Vienna, Austria
Douglas Hyde Gallery, Trinity College, ‘Mary Heilmann. The Architecture of Heaven’, Dublin, Ireland

2002
American Fine Arts, New York NY
Kenny Schachter Gallery, ‘Mary Heilmann: Home’, New York NY

2001
Hauser & Wirth Zürich, Zurich, Switzerland
Galerie Meyer Kainer, Vienna, Austria
Camden Arts Centre, London, England

2000
Oldenburger Kunstverein, ‘Mary Heilmann. Malerei’, Oldenburg, Germany
Kunstmuseum St. Gallen, ‘Mary Heilmann – Jessica Stockholder’, St. Gallen, Switzerland
Galerie Vera Munro, Hamburg, Germany

1999
Hauser & Wirth Zürich, ‘Mary Heilmann. The All Night Movie’, Zurich, Switzerland

1998
Pat Hearn Gallery, ‘Mary Heilmann. Paintings’, New York NY
Johnson County Community College, ‘Selected Works, 1978-1998’, Overland Park KS

1997
Richard Telles Gallery, Los Angeles CA
Stiftung für konstruktive und konkrete Kunst, ‘Mary Heilmann. This and That’, Zurich, Switzerland
Hauser & Wirth Zürich, ‘Mary Heilmann. Paintings 1973-1997’, Zurich, Switzerland
Wolfgang Häusler, ‘Modern Art: Paintings and Papers’, Munich, Germany
Galerie Stadtpark, Krems, Austria

1995
Pat Hearn Gallery, ‘New Works on Paper’, New York NY
Zeno X Gallery, Antwerp, Belgium

1994
Beaver College Art Gallery, ‘Mary Heilmann: Paintings, Drawings, Ceramics’, Glenside PA
M Bochum Kunstvermittlung, ‘Works 1971-1994’, Bochum, Germany
Pat Hearn Gallery, ‘Greatest Hits’, New York NY
San Francisco Art Institute / Walter McBean Gallery, San Francisco CA

1993
Pat Hearn Gallery, New York NY

1991
Pat Hearn Gallery, New York NY
Green Gallery, Bay Harbor Islands FL

1990
Galerie Isabella Kacprzak, ‘Mary Heilmann und Jessica Stockholder’, Cologne, Germany
Institute of Contemporary Art, ‘Mary Heilmann: A Survey’, Boston MA
Fuller Gross Gallery, San Francisco CA
Robbin Lockett Gallery, Chicago IL

1989
Pat Hearn Gallery, New York NY

1988
Gallery Mukai, Tokyo, Japan
Pat Hearn Gallery, New York NY
Hillman Holland Gallery, Atlanta GA

1986
Pat Hearn Gallery, New York NY

1983
Clocktower, New York NY
Daniel Weinberg Gallery, San Francisco CA

1981
Holly Solomon Gallery, New York NY

1980
Galerie Hans Strelow, Dusseldorf, Germany

1979
Galleri Wallner Fersens, Malmo, Sweden
Holly Solomon Gallery, New York NY
Daniel Weinberg Gallery, San Francisco CA

1976
Holly Solomon Gallery, ‘The Vent Series’, New York NY

1974
State University of New York, Stony Brook NY

1973
Henri Gallery, Washington DC

1972
Paley & Lowe Gallery, New York NY

1971
Paley & Lowe Gallery, New York NY

1970
Whitney Museum Art Resource Center, New York NY

Group Exhibitions

2012
Institute of Contemporary Art, ‘This Will Have Been: Art, Love, and Politics in the 1980s’, Boston MA (Travelling Exhibition)
Walker Art Center, ‘This Will Have Been: Art, Love, and Politics in the 1980s’, Minneapolis MN (Travelling Exhibition)
MCA Chicago, ‘This Will Have Been: Art, Love, and Politics in the 1980s’, Chicago IL (Travelling Exhibition)

2011
Harris Liebermann, New York NY
Salomon Contemporary, ’112 Greene Street: A Nexus of Ideas in the Early 70s’, New York NY
Lehmann Maupin, ‘The Parallax View’, New York NY
Tate St.Ives, ‘The Indiscipline of Painting’, St Ives, England
Mead Gallery, Warwick Arts Centre, ‘The Indiscipline of Painting’, Coventry, England

2010
Hessel Museum of Art & CCS Galleries, ‘At home / Not at home: Works from the Collection of Martin and Rebecca Eisenberg’, Annandale-on-Hudson NY
SFMoMA San Francisco Museum of Modern Art, ‘The More Things Change’, San Francisco CA
Kunstmuseum St. Gallen, ‘AMBIGU – Malerei im Zwischenbereich/Painting between Abstraction and Narration’, St. Gallen, Switzerland
Artpace, ‘On the Road’, San Antonio TX
De Markten, ‘For Your Eyes Only’, Brussels, Belgium
Zurcher Studio, ‘Devotion’, New York NY
Nicole Klagsbrun Gallery, ‘Lean’, New York NY
Bemis Center for Contemporary Art, ‘Borderland Abstraction’, Omaha NE

2009
The Parrish Art Museum, ‘Mixed Greens: Artists Choose Artists on the East End’, Southhampton NY
Oud Vliegveld, ‘The Art of the Real’, Oostende, Belgium

2008
Hammer Museum, ‘Oranges and Sardines: Conversations on Abstract Painting’, Los Angeles CA
Rhona Hoffman Gallery, ‘Angels in America’, Chicago IL
Thomas Ammann Fine Art, ‘Abstract Vision’, Zurich, Switzerland
Whitney Museum of American Art, ‘Whitney Biennial 2008’, New York NY
Pace Editions 57th Street, ‘New Editions’, New York NY
Pace Editions Chelsea, ‘Heilmann / Berkenblit’, New York NY
Matthew Marks Gallery and Greene Naftali Gallery, ‘Painting: Now and Forever, Part II’, New York NY
Museum Moderner Kunst Kärnten, ‘Abstrakt Abstract’, Klagenfurt, Austria
The Rose Art Museum, ‘Arp to Reinhardt: Rose Geometries’, Waltham MA
Matthew Marks Gallery and Greene Naftali Gallery, ‘Printing: Now and Forever, Part II’, New York NY
P.S.1 Contemporary Art Center, ‘WACK! Art and the Feminist Revolution’, Long Island NY (Travelling Exhibition)
ZKM – Zentrum für Kunst und Medientechnologie, ‘High Times, Hard Times. New York Painting 1967-1975’, Karlsruhe, Germany (Travelling Exhibition)

2007
Hudson D. Walker Gallery, Fine Arts Work Center, ‘Massart Faculty Show’, Provincetown MA
Contemporary Art Center of Virginia, ‘Counterparts’, Virginia Beach VA
Greenberg Van Doren, ‘Women’s Work: Large Scale Painting, 1970-1990’, New York NY
Villa Manin Centro d’Arte Contemporanea, ‘Infinite Painting: Contemporary Painting and Global Realism’, Udine, Italy
Parks Exhibition Center, ‘Painting’s Edge’, Idyllwild Arts CA
Galerie Thomas Flor, ‘Short Distance To Now’, Dusseldorf, Germany
Henie Onstad Centre of Art, ‘Nordea’s art collection’, Hovikodden, Norway
Kunstraum Innsbruck, ‘Franz West, Soufflé – eine Massenausstellung’, Innsbruck, Austria
Honor Fraser, ‘Hovering Over the Universe …’ (cur. by Kristin Calabrese), Venice CA
Barbara Gladstone Gallery, ‘Makers and Modelers: Works in Ceramic’, New York NY
David Zwirner, ‘A Point in Space is a Place for an Argument’, New York NY
303 Gallery, ‘Three for Society’, New York NY
De Pury & Luxembourg, ‘Painting as Fact-Fact as Fiction’, Zurich, Switzerland
Honor Fraser, Venice CA
Galerie Mezzanin, ‘Duque / Heilmann / Korty.. ‘, Vienna, Austria
Museum of Contemporary Art, ‘WACK! Art and the Feminist Revolution’, Los Angeles CA (Travelling Exhibition)
National Museum of Women in the Arts, ‘WACK! Art and the Feminist Revolution’, Washington DC (Travelling Exhibition)
Vancouver Art Gallery, ‘WACK! Art and the Feminist Revolution’, Vancouver, Canada (Travelling Exhibition)
Millenium Galleries, ‘abstraction. extracting from the world’, Sheffield, England
National Academy Museum, ‘High Times, Hard Times. New York Painting 1967-1975’, New York NY (Travelling Exhibition)
Museo Tamayo Arte Contemporaneo, ‘High Times, Hard Times. New York Painting 1967-1975’, Mexico City, Mexico (Travelling Exhibition)
Neue Galerie Graz am Landesmuseum Joanneum, ‘High Times, Hard Times. New York Painting 1967-1975’, Graz, Austria (Travelling Exhibition)

2006
Kunstbuero/Kunsthalle 8, ‘no))) 2’, Vienna, Austria
Museo d`Arte Moderna, Chère Louise: in onore di Louise Bourgeois per il suoi 95 anni’, Ascona, Switzerland
Zeno X Gallery, ’25 years Zeno X’, Antwerp, Belgium
Greenberg Van Doren Gallery, ‘Woman’s work. Large Scale Paintings 1970-1990’, New York NY
Weatherspoon Art Museum, ‘High Times, Hard Times. New York Painting 1967-1975’, Greensboro NC (Travelling Exhibition)
American University Museum, Katzen Arts Center, ‘High Times, Hard Times. New York Painting 1967-1975’, Washington, DC (Travelling Exhibition)
Crown Point Press, ‘Seasons Club July 2006’, San Francisco CA
Villa Manin Centre for Contemporary Art, ‘Infinite Painting. Contemporary Painting and Global Realism’, Codroipo (Udine), Italy

2005
P. S. 1 MoMA, ‘The Painted World’, Long Island NY
White Columns, ‘The Early Show’, New York NY
Gavin Brown, ‘Drunk vs. Stoned 2’, New York NY
Häusler Contemporary, ‘Loveparade 1’, Munich, Germany
Blaffer Gallery, University of Houston, ‘POPulence’, Houston TX
Art Gallery of Ontario, ‘The Shape of Colour: Excursions in Colour Field Art, 1950-2005’, Toronto, Canada

Albright-Knox Art Gallery, ‘Extreme Abstraction’, Buffalo NY
Greene Naftali Gallery, ‘Post-Modern’, New York NY

2004
Galerie m Bochum, ‘Grenzüberschreitung’, Bochum, Germany
Hampden Gallery, University of Massachusetts Amherst, ‘Mary Heilmann, Jill Moser, Stanley Whitney’, Amherst MA
The Parrish Art Museum, ‘North Fork/South Fork: East End Art Now’, Southampton NY

2003
Galerie Renos Xippas, ‘ON’, Athens, Greece
Meyer Riegger Galerie, ‘There’s no land but the land (up there is just a sea of possibilities)’, Karlsruhe, Germany

2002
Hauser & Wirth Zürich, ‘Ten Years Galerie Hauser & Wirth’, Zurich, Switzerland
Häusler Contemporary, ‘Farbe!’, Munich, Germany
48 Wall Street, ‘Art Downtown: New York Painting and Sculpture’, New York NY
Jan Abrams Fine Arts, ‘Objects of Desire’, New York NY
Hauser & Wirth Collection, ‘House of Fiction. Sammlung (3)’, St.Gallen, Switzerland
Trevi Flash Art Museum, ‘Inaugurazione’, Trevi, Italy

2001
Greengrassi Gallery, ‘Mary Heilmann – Joanne Greenbaum’, London, England
D’Amelio Terras, ‘Shadow Dancing: 1975-79’, New York NY
Kunstverein St. Gallen Kunstmuseum, ‘Künstlerräume/Sammlerräume’, St. Gallen, Switzerland
Pat Hearn Gallery, ‘Part Two (1988-1994)’, New York NY
Cheim & Read Gallery, ‘Liquid Properties’, New York NY
M Bochum, ‘Shelter’, Bochum, Germany

2000
Galerie Nächst St. Stephan Rosemarie Schwarzwälder, ‘The Artist as Curator: Helmut Federle, Georgia O’Keefe, Myron Stout, Marcia Hafif, Mary Heilmann, Haken Rehenberg, Robert Mangold, Blinky Palermo, Howard Hodgkin’, Vienna, Austria
Kunstmuseum St. Gallen, ‘Jessica Stockholder – Mary Heilmann (Gemälde aus der Sammlung Hauser und Wirth)’, St. Gallen, Switzerland
Aargauer Kunsthaus, ‘Das Gedächtnis der Malerei’, Aarau, Switzerland

1999
Galleria Marabini, ‘Cosmogram’, Bologna, Italy
Greene Naftali Gallery, ‘Free Coke’, New York NY

1998
Cheim & Read Gallery, ‘Small Paintings’, New York NY
Zeno X Gallery, ‘Shopping the stars’, Antwerp, Belgium

1997
Kunsthaus Bregenz, ‘KünstlerInnen: 50 Positionen zeitgenössischer internationaler Kunst’ (cur. Edelbert Köb), Bregenz, Austria
Musée d’Art Moderne de Saint-Etienne, ‘Abstraction/Abstractions. Géométries Provisoires’, France
Charlottenborg Exhibition Hall, ‘Display’ (cur. Mikael Andersen), Copenhagen, Denmark
Wooster Gardens, ‘Drawing and Painting’, New York NY
Jan Abrams Fine Art, ‘American Women Artists of the Seventies’, New York NY
Parrish Art Museum ‘Sea Change’, Southampton NY
Karen McCready Fine Art, ‘Systematic’, New York NY
Newhouse Center for Contemporary Art, Snug Harbour Cultural Center, ‘After the Fall. Aspects of Abstract Painting since 1970’, Staten Island NY
Pat Hearn Gallery, ‘Mary Heilmann, Joan Jonas, Jutta Koether, Monique Prieto’, New York NY

1996
Pat Hearn Gallery, ‘The Flying Saucer Project’, New York NY
Thaddaeus Ropac, ‘Abstract Practice’, Salzburg, Austria
Transmission Gallery, ‘A Grapefruit in the World of Park’, Glasgow, Scotland
Monika Sprüth, ‘Malerei II’, Cologne, Germany
Museo Nacional Centro de Arte Reina Sofía, ‘nuevas abstracciones’, Madrid, Spain
Kunsthalle Bielefeld, ‘Abstrakte Malerie heute. nuevas abstracciones’, Bielefeld, Germany
National Arts Club, ‘Leap of Faith. Gregory Amenoff, Mary Heilmann, Gary Stephan, Michael Volanakis’, New York NY
Thaddaeus Ropac, ‘Passage de l’acte’, Paris, France

1995
Cristinerose Gallery, ‘Mary Heilmann and Elizabeth Cannon’, New York NY
Aargauer Kunsthaus, ‘Karo Dame. Konstruktive, Konkrete und Radikale Konzepte von Frauen von 1914 bis heute’ (cur. Beat Wismer), Aarau, Switzerland
Independant Curators Inc., ‘Critiques of Pure Abstraction’ (cur. Mark Rosenthal), New York NY
Zeno X Gallery, ‘Works on Paper’, Antwerp, Belgium
Sarah Campbell Blaffer Gallery, University of Houston, ‘Critiques of Pure Abstraction’, Houston TX

1994
Charles Cowles Gallery, ‘About Color’, New York NY
Selby Gallery, ‘Embraceable You: Current Abstractions’, Sarasota FL
Robert Miller Gallery, ‘Abstract Works on Paper’, New York NY
Salvatore Ala Gallery, New York NY
Stux Gallery, ‘Reveillon `94’, New York NY

1993
Räume für neue Kunst, ‘Supervision’ (cur. Günther Umberg and Rolf Hengesbach), Wuppertal, Germany
The Drawing Center, ‘The Return of the Exquisite Cadavre’, New York NY (Travelling Exhibiton)
The Corcoran Gallery of Art, ‘The Return of the Exquisite Cadavre’, Washington DC (Travelling Exhibiton)
Santa Monica Museum of Art, ‘The Return of the Exquisite Cadavre’, Santa Monica CA (Travelling Exhibiton)
Forum for Contemporary Art, ‘The Return of the Exquisite Cadavre’, St. Louis MO (Travelling Exhibiton)
American Center, ‘The Return of the Exquisite’, Paris, France (Travelling Exhibiton)
Kunsthalle Wien, ‘Der zerbrochene Spiegel’ (cur. Kaspar Koenig and Hans–Ulrich Obrist), Vienna, Austria (Travelling Exhibiton)
Deichtorhallen, ‘Der zerbrochene Spiegel’ (cur. Kaspar Koenig and Hans–Ulrich Obrist), Hamburg, Germany (Travelling Exhibiton)
Hochschule für Angewandte Kunst / Heiligenkreuzerhof, ‘Future Perfect. Lili Dujourie, Ann Hamilton, Mary Heilmann, Pello Irazu, Vladimir Kokolia, Svetlana Kopystiansky, Brigitte Kowanz, Langlads & Bell, Walter Obholzer, Elmar Trenkwalder, Günter Umberg’ (cur. Dan Cameron), Vienna, Austria
Galleria Nazionale d’Arte Moderna, Logge dei Balestrieri, ‘Italia-America: L’Astrazione Ridefinita’ (cur. Demetrio Paparoni), San Marino, Italy
Locks Gallery, ‘New American Abstraction’, Philadelphia PA

1992
Asher/Faure Gallery, ‘Bedroom Pictures’ (cur. Terry Myers), Los Angeles CA
Pat Hearn Gallery, ‘Mary Heilmann, Jack Pierson, Jessica Stockholder’, New York NY
P.S.1 Museum, ‘Slow Art: Painting in NY Now’, Long Island City NY
Michael Klein Gallery, ‘A-Geometry’, New York NY
TRI Gallery, ‘Not Men’, Los Angeles CA
Gallery 400, University of Illinois at Chicago, ‘On Condition. Painting Between Abstraction and Representation’, Chicago IL
Robert Miller Gallery, ‘Martha Diamond, Mary Heilmann, Harriet Korman and bernard Piffaretti: Paintings’, New York NY
Sandra Gering Gallery, ‘Shades of Difference (The Feminine in Abstract Painting)’, New York NY

1991
Max Protech Gallery, ‘Stubborn Painting, Now and Then’ (cur. Ruth Kaufmann and Mike Metz), New York NY
Sidney Janis Gallery, ‘The New Abstraction’, New York NY
Pace Prints, ‘New Editions’, New York NY
Renee Fotouhi Fine Art, ‘J.F.K. In Memorium, Mythology and Denial’, East Hampton NY

1990
Shoshana Wayne Gallery, ‘The Ends of Painting. The Edges of Abstraction’, Santa Monica CA
Lawrence Oliver Gallery, ‘Mary Boocheever, David Diao, Stephen Ellis, Mary Heilmann, Ika Huber, Stephen Westfall’, Philadelphia PA
Marc Richards Gallery, ‘Geometric Abstractions’, Santa Monica CA
Ohio University School of Art, Athens OH

1989
The Whitney Museum of American Art, ‘The Whitney Biennial’, New York NY
New Jersey Center for Visual Arts, ‘Restructure. Subverting the Grid’, Summit NJ
Shea & Beker Gallery, ‘Diagrams and Surrogates’, New York NY
University Art Museum, University of California Santa Barbara, ‘Abstract Options’, Santa Barbara CA
Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York NY University, ‘A Debate on Abstraction’, New York NY
Thomas Segal Gallery, ‘Expressive Abstractions’, Boston MA
Gallery 1709, St. Louis MO

1988
Instituto de Estudios Nordamericanos, ‘Sightings. Drawing with Color’, Barcelona, Spain
Pratt Institute, ‘Sightings. Drawing with Color’, New York NY
Saxon Lee Gallery, ‘Among Them, But Not Of Them’, Los Angeles CA
Robin Lockett Gallery, Chicago IL
Tom Cugliani Gallery, New York NY
M-13 Gallery, ‘The Spirit of Logic’, New York NY

1987
Pat Hearn Gallery, ‘Sculpture’, New York NY
Seattle Art Museum, ‘Clay Revisions: Plate, Cup and Vase’, Seattle WA
The Corcoran Gallery of Art, ‘40th Biennial of American Contemporary Painting’, Washington DC

1986
Wright State University Art Gallery, ‘The Use of Geometry in the 80s’, Dayton OH
Fred Hoffmann Gallery, Venice CA
Pat Hearn Gallery, ‘Drawing Show’, New York NY

1985
Blum Helman Gallery, ‘Mary Heilmann, Janice Tchalenko, Betty Woodman’, New York NY
Holly Solomon Gallery, ‘Anniversary Show’, New York NY

1984
Baskerville and Watson Gallery, ‘Brilliant Color’, New York NY
Katonah Gallery, ‘Forms that Function’, Katonah NY

1983
Douglas College Gallery, Rutgers University, ‘Women Artists Retrospective’, New Brunswick NJ
University Art Gallery, University of South Florida, ‘Precious Objects’, Tampa FL
Central Washington University Gallery, ‘National Drawing Invitational’, Ellensberg WA

1980
Holly Solomon Gallery, ‘Three More’, New York NY
Greenberg Gallery, St. Louis MO

1979
Freedmann Gallery, Albright College, ‘Small Is Beautiful’, Reading PA

1978
Holly Solomon Gallery, ‘Gold / Silver’, New York NY
Bronx Museum of the Arts, ‘Personal Vision: Places / Spaces’, Bronx NY

1977
P.S.1 Museum, ‘The Painting Show’, Long Island City NY
Sarah Lawrence College, ‘Painting: 75, 76, 77’, Bronxville NY
Museum of Modern Art (Members Gallery), ‘Maps’, New York NY
Holly Solomon Gallery, ‘The First Two Years’, New York NY
Daniel Weinberg Gallery, San Francisco CA
Galerie Alexandra Monett, ‘Patterning and Decoration’, Brussels, Belgium

1976
Yale School of Art, ‘Choices’, New Haven CT
Sarah Lawrence College, ‘Non-Collectible Art from the Collection of Horace and Holly Solomon’, Bronxville NY

1975
112 Greene Street, ‘Suzanne Harris, Mary Heilmann, Harriet Korman’, New York NY
Holly Solomon Gallery, New York NY

1973
Contemporary Arts Center, ‘Options’, Cincinnati OH
Museum of Modern Art (Members Gallery), ‘Landscape’, New York NY
Kenan Center, ‘Ten Artists Who Happen To Be Women’, Fredonia NY

1972
The Whitney Museum of American Art, ‘Whitney Annual’, New York NY
Kunsthaus Hamburg, ‘American Women Artists’, Hamburg, Germany
Institute of Contemporary Art, ‘Grids’, Boston, MA
Newark Museum, ‘Painting and / or Sculpture’, Newark NJ

1971
The Aldrich Museum of Contemporary Art, ‘Women Artists’, Ridgefield CT
The New Gallery, Cleveland OH

Grants and Prizes

2006
The Anonymous Was a Woman Foundation Award

 

These images are used for fair use and demonstration purposes only.

ADMSP Sculptors and Sculptures Series: Martin Honert

 Altos del Mar Sculpture Park ("ADMSP")  No Responses »
Oct 122011
 
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Martin Honert’s meticulously rendered sculpture Riesen (2007) is inspired by memories of his childhood. “Childhood is a theme for me because I think it’s important to discover what’s way past but still in the memory as an image.”

His large-scale human figures manage to capture a vivid immediacy and sense of wonder achieved by recreating the world from a child’s point of view. Instead of looking back from an adult’s nostalgic perspective, the artist bases his works on family photographs and illustrations from schoolbooks, as well as his own childhood drawings, using scale and illusion to “save an image before it dies within me”.

A feeling of being afraid in a huge and empty exhibition space originally inspired Honert to make his oversized figures entitled Riesen (which translates as ‘trek’ or ’journey’). The sculpture is composed of two bearded men, dressed in ordinary, contemporary clothing. The fact that they are each 2.72 metres high is not entirely fantastical or arbitrary; Honert took this specific measurement from the tallest man of the 20th century, an acromegalic American named Robert Wadlow.

The figures wear backpacks, trekking boots and hoodies; their clothes bear marks of wear and dirt, and one of them holds a walking staff. But despite their unremarkable appearance, and their conventional realism, something about their purpose remains unexplained to the viewer.

Like Cyclops-sized giants that have strayed into the gallery, they could be updated mythical wandering characters from a fairytale set in the wilderness, or social outsiders, fearsomely fending for their own survival.

Martin Honert’s meticulous sculptures are largely inspired by childhood memories. Employing illusion, manipulation of scale, and painstakingly rendered surfaces, they are obsessive depictions of essential ideas that connect to collective experiences. The artist has said, “I don’t want my work to get too personal. I may begin with a personal image, but then I try to see how I can formulate a more general one. . . . I don’t want to tell stories, so I try to reduce the image to its purest state.”

Honert (born 1953) represented Germany in the 1995 Venice Biennale and had his first one-person exhibition in the United States at Matthew Marks Gallery, in 1999. His work was the subject of a retrospective organized by the Staatliche Kunstsammlungen Dresden in 2007, and he is a highly regarded teacher at the Hochschule für Bildende Künste Dresden. Honert lives and works in Düsseldorf and Dresden.

Martin Honert’s work can be viewed at www.matthewmarks.com/artists/martin-honert/

We would love to have at least one of Honert’s meticulous sculptures on display at ADMSP.

MARTIN HONERT
Biography

Born: Bottrop, Germany, 1953

Education: Staatliche Kunstakademie Düsseldorf, 1981–88
Master class with Fritz Schwegler, 1985

Currently lives and works in Düsseldorf and Dresden.

Selected One-Person Exhibitions:

2010
Comma21: Martin Honert, Bloomberg Space, London

2009
Martin Honert: Schlafsaal, Galerie Gebr. Lehmann, Dresden

2007
Martin Honert, Matthew Marks Gallery, New York
Martin Honert, Staatliche Kunstsammlungen, Dresden

2006
Under Cover—aus dem Verborgenen: Berlinde de Bruyckere and Martin Honert, Kunsthalle Düsseldorf

2005
Martin Honert, Deutsche Gesellschaft fur Christliche Kunst, Munich
Konrad-von-Soest-Preis 2004, Landesmuseum fur Kunst und Kulturgeschichte Münster, Munster

2004
Martin Honert, Matthew Marks Gallery, New York

2002
Martin Honert, Kunstverein Hannover

2001
Martin Honert, Galerie Johnen & Schöttle, Cologne

2000
Martin Honert, Galerie Gebruder Lehmann, Dresden
Martin Honert: Mutprobe, Gemäldegalerie Neue Meister, Dresden

1999
Martin Honert, Matthew Marks Gallery, New York
Martin Honert, Galerie Gebruder Lehmann, Dresden

1998
Martin Honert, Galerie Johnen & Schöttle, Cologne

1997
Martin Honert: Fata Morgana, Museu d’Art Contemporani, Barcelona

1996
Zuspiel: Martin Honert und Stefan Hoderlein, Kunstverein Stuttgart (catalogue)
Martin Honert: Fliegende Klassenzimmer, Arnolfini Gallery, Bristol, England

1995
Martin Honert: Fliegende Klassenzimmer, Venice Biennale (catalogue)

1994
Martin Honert, École Nationale des Beaux-Arts de Bourges, Bourges, France (catalogue)

1993
Martin Honert, Galleria Massimo de Carlo, Milan

1991
Martin Honert, Galerie Rüdiger Schöttle, Munich
Peter Mertes Stipendium, Bonner Kunstverein, Bonn, Germany (catalogue)

1990
Martin Honert, Galerie Johnen & Schöttle, Cologne

1988
Galerie Johnen & Schöttle (with Elke Denda), Cologne. Traveled to Galerie Rüdiger Schöttle, Munich (catalogue)

Selected Group Exhibitions:

2011
Dwelling, Marianne Boesky Gallery, New York
Jeff Wall: The Crooked Path, Centre for Fine Arts, Brussels, Belgium

2010
The Promised Land, Albertinum, Dresden
New Work: Katharina Fritsch, Robert Gober, Nan Goldin, Andreas Gursky, Martin Honert, Charles Ray, Terry Winters, Matthew Marks Gallery, New York

2009
5 x 5 CASTELLÓ 09, Espai D’Art Contemporani De Castelló, Castelló, Spain

2007
The Great Exhibition 2007: Royal College of Art Summer Show, Kensington Gardens and the RCA Galleries, Kensington, England
Summer Exhibition 2007, Royal Academy of Arts, London

2005
Very Early Pictures, Luckman Fine Arts Complex, Los Angeles. Traveled to Arcadia University Art Gallery, Glendale, Calif.
Elements of Nature, La Cité de l’Énergie, Shawinigan, Canada
Elbowroom, Lehmbruck Museum, Duisburg, Germany

2003
Animations, Kunst-Werke, Berlin
Durchgehend geöffnet: Skulpturensommer Baden-Baden, Staatliche Kunsthalle and Sammlung Burda, Baden-Baden, Germany (catalogue)
Keep on looking, Kunst Haus Dresden, Städtische Galerie für Gegenwartskunst, Dresden
Kunsthalle Mannheim, Germany

2002
Elke Denda, Martin Honert, Wolfgang Schlegel, Lindig in Paludetto, Nuremberg
Fama: Vier Positionen zeitgenössischer Skulptur in Dresden, Kunst Haus Dresden, Städtische Galerie für Gegenwartskunst, Dresden
Zwischenzeit, Museum für Moderne Kunst, Frankfurt
Startkapital, K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf
Kunstverein Hannover

2001
Skulpturenpark Köln, Stiftung der Stoffel, Cologne
Und keiner hinkt: 22 Wege vom Schwegler wegzukommen, Museum Kurhaus Kleve, Kleve, Germany. Traveled to Kunsthalle Düsseldorf (catalogue)
Tenth Anniversary Exhibition: 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue)

2000
Themenpark Human Kind,EXPO 2000, Hannover
Interventions, Milwaukee Art Museum (catalogue)

1999
Szenenwechsel XVI, Museum für Moderne Kunst, Frankfurt
Unsichere Grenzen, Kunsthalle zu Kiel, Christian Albrechts Universität, Kiel, Germany (catalogue)
Von Beuys bis Cindy Sherman: die Sammlung Lothar Schirmer, Kunsthalle Bremen, Germany (catalogue)
Vergiss den Ball und spiel’ weiter: Das Bild des Kindes in der Zeitgenössischen Kunst, Kunsthalle Nürnberg, Nuremberg. Traveled to Haus der Kunst, Brünn, Germany (catalogue)
ZOOM: Ansichten zur deutschen Gegenwartskunst, Sammlung Landesbank Baden-Württemberg, Forum und Galerie Landesbank Baden-Württemberg, Stuttgart. Traveled to Galerie der Stadt Stuttgart; Galerien der Stadt Esslingen, Villa Merkel und Bahnwärterhaus, Esslingen, Germany; Württembergischer Kunstverein, Stuttgart; Städtisches Museum Abteiberg, Mönchengladbach, Germany; and Kunsthalle zu Kiel, Kiel, Germany (catalogue)
Cosmos: From Romanticism to Avant-Garde, The Montreal Museum of Fine Arts. Traveled to Centre de Cultura Contemporània de Barcelona, and Palazzo Grassi, Venice (catalogue)

1998
Szenenwechsel XIV, Museum für Moderne Kunst, Frankfurt

1997
Drei Wege zum See, Kunstverein, Klagenfurt, Austria
Szenenwechsel XII, Museum für Moderne Kunst, Frankfurt
Young German Artists 2, Saatchi Gallery, London
The House in the Woods, Center for Contemporary Art, Glasgow
Pro Lidice: 52 Artists from Germany, The Czech Museum of Fine Arts, Prague (catalogue)

1996
The Book Is on the Table: Martin Honert, Collier Schorr, Tom Gidley, Entwistle Gallery, London
Fondo, figura y iluvia, Galerie Antoni Estrany, Barcelona
Cabines de Bain, Piscine de La Motta, Fribourg, Switzerland
Elke Denda, Martin Honert: Zwei Editionen, Edition Opitz-Hoffmann, Bonn, Germany
Private View: A Temporary Exhibition of Contemporary British and German Artists, Henry Moore Institute at The Bowes Museum, Barnard Castle, England (catalogue)
Views from Abroad, European Perspectives on American Art 2, Whitney Museum of American Art, New York
En helvetes förvandling: Tysk konst fran Nordrhein-Westfalen, Kulturhuset, Stockholm
Landvermesser, Mannheimer Kunstverein, Mannheim, Germany

1995
Szenenwechsel VII, Museum für Moderne Kunst, Frankfurt (catalogue)
Zwei und Zwanzig: Peter Mertes Stipendium 1985–1995, Bonner Kunstverein, Bonn, Germany (catalogue)
Zimmerdenkmäler, Blumenstrasse, Bochum, Germany
German Art Now, Haines Gallery, San Francisco

1994
Jahresmuseum 1994, Kunsthaus Mürz, Mürzzuschlag, Austria (catalogue)
École Nationale des Beaux-Arts de Bourges, Bourges, France (catalogue)
Galerie Johnen & Schöttle (with Elke Denda, Stefan Hablutzel and Daniel Oates), Cologne Mürzzuschlag, Cologne, Germany
Aus der Sammlung XI, Kunsthalle Nürnberg in der Norishalle, Nuremberg

1993
Galleria Massimo de Carlo, Milan
Aperto, Venice Biennale
Menschenwelt (Interieur), Portikus, Frankfurt. Traveled to Castello di Rivoli, Museo d’Arte Contemporanea, Turin; Norwich Gallery, Norfolk Institute of Art and Design, Norfolk, England; Wurttembergischer Kunstverein, Stuttgart; and Westfalischer Kunstverein, Munster (catalogue)
Kunstpreis der Böttcherstrasse in Bremen, Kunsthalle Bremen, Bremen, Germany (catalogue)
Szenenwechsel III, Museum für Moderne Kunst, Frankfurt

1992
Double Identity, Galerie Johnen & Schöttle, Cologne
Biennale of Sydney (catalogue)
Post Human, Asher Edelman Foundation, Musée d’Art Contemporain, Pully/Lausanne, Switzerland; Castello di Rivoli, Museo d’Arte Contemporanea, Turin; Deste Foundation for Contemporary Art, Athens; and Deichtorhallen, Hamburg (catalogue)
RENTA-Preis 1992, Kunsthalle Nürnburg in der Norishalle, Nuremberg
Elisabeth-Schneider-Stiftung, Freiburg, Germany (catalogue)
Qui, quoi, où? Un regard sur l’art en Allemagne en 1992, Musée d’Art Moderne de la Ville de Paris, Paris. Traveled to Museum für Moderne Kunst, Frankfurt (catalogue)
Szenenwechsel I, Museum für Moderne Kunst, Frankfurt

1991
Art conceptual des années 70 à aujourd´hui, Galerie Rüdiger Schöttle, Paris
Anni Novanta, Galleria Comunale d’Arte Moderna, Bologna; Le Navi, Cattolica, Italy; and Musei Comunale, Rimini, Italy (catalogue)

1990
Carnet de Voyages, Fondation Cartier, Jouy-en-Josas, France (catalogue)

1989
Martin Honert, Katharina Fritsch, and Thomas Ruff, de Appel Foundation, Amsterdam

These images are used for fair use and demonstration purposes only.

ADMSP Sculptors and Sculptures Series: David Batchelor

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Sep 122011
 
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David Batchelor (born 1955, Dundee) is a Scottish artist, writer, and a Senior Tutor in Critical Theory in the Department of Curating Contemporary Art at the Royal College of Art in London.

We would love to have at least one of Batchelor’s works on display at ADMSP.

See more of his work here…

David Batchelor studied Fine Art at Trent Polytechnic, Nottingham (1975–8), and Cultural Theory at the Centre for Contemporary Cultural Studies, Birmingham University (1978–80). He has exhibited widely in the UK, continental Europe, the United States and Latin America; written two books, Minimalism (1997) and Chromophobia (2000), is the editor of Colour (2008) and contributed to a number of journals including Artscribe, Frieze (magazine), and Artforum. David was a member of Tate Britain Council from 2002-5, an advisory body on development and programming at Tate Britain.

He has shown work internationally in many exhibitions including the British Art Show at SNGMA in Edinburgh, Days Like These: Tate Triennial of Contemporary Art at Tate Britain, the 26th São Paulo Biennale, Extreme Abstraction at the Albright-Knox Art Gallery in Buffalo, the Folkestone Triennial in Folkestone and Color Chart: Reinventing Color, 1950 to Today at the Museum of Modern Art in New York and Tate Liverpool. He is represented by Wilkinson Gallery in London and Galerie Leme in São Paulo.

David Batchelor makes sculptural installations from objects found in the streets of London, hollowed, stacked and given a new life as empty but brightly coloured light boxes or as unlit composites. Consistent throughout his works is the lurking familiarity of the material leftovers of modern life, from factory scrap to disused or broken domestic items, re-purposed into hypnotic, beautifully patterned objects presenting a distillation of colour’s presence in our everyday environment.

“When I make works from light boxes (such as Brick Lane Remix, 2003), or old plastic bottles with lights inside, I hope the illumination suspends their objecthood to some degree and makes the viewer see them a little differently – see them as colours before seeing them as objects.” The brightest possible palette fills the range of neon-lit columns, modular crates, spherical shapes, and unlit clusters (such as Parapillar, 2006), the artist’s “vehicles for colour.”

Batchelor is interested in reconsidering colour theories from a contemporary context, which he explores in Chromophobia (2000), a book dedicated to the subject. His dazzlingly saturated objects reconsider the tension between form and the very materiality of colour, perhaps with a wink to earlier forms of light and neon art. “I often use colour to attack form, to break it down a little or begin to dissolve it. But I am not at all interested in ‘pure’ colour or in colour as a transcendental presence… So if I use colours to begin to dissolve forms, I also use forms to prevent colours becoming entirely detached from their everyday existence.”

SOLO EXHIBITIONS

2010
Chromophilia,Paco Imperial, Rio de Janeiro

2008
Backlights, Galeria Leme, Sao Paulo

2007
Unplugged (Remix),Wilkinson Gallery, London

2006
South Bank Spectrum,South Bank Centre,Christmas Lights Commission, London

2005
 Ten Silhouettes, Gloucester Road Underground Station, London

2004
 Shiny Dirty. Ikon Gallery, Birmingham.

2003
 The Spectrum of Hackney Road, Wilkinson Gallery, London.

2002
 Barrier, 38 Langham Street, London.

2001
 Shiny-Dirty, Habitat, London.

2000
 Electric Colour Tower, Sadlers Wells, London.
Apocalypstick, Anthony Wilkinson Gallery, London.

1998
 Monochromobiles, The Economist Plaza, London.

1997
 Shelf-Like, Frame-Like, Note-Like, Byam Shaw School of Art, London.
Polymonochromes, Henry Moore Institute, Leeds.

1996
 Polymonochrome Drawings, Soho House, London.

1995
 Serial Colour, Curtain Road Arts, London.

GROUP EXHIBITIONS

2011
Shape Of Things To Come: New Sculpture, Saatchi Gallery, London

2010
Kupferstichkabinett: Between Thought and Action,White Cube, London
Open Light in Private Spaces: Biennale fur Internationale Lichtkunst,multiple venues, Unna, Germany
The Gathering,Longside Gallery, Yorkshire Sculpture Park
Party, New Art Gallery, Walsall
A Twighlight Art
Harris Lieberman Gallery, New York

2009
Presque Rein III,Laure Genillard Gallery, London
Color Chart: Reinventing Color, 1950 to Today, Tate Liverpool
Kaleidoscopic Revolver,Hanjiyun Contemporary Space, Beijing
Total Museum, Seoul
Better than Grey
Bury St Edmunds Art Gallery

2008
Sculpture from the Scrapyard,Henry Moore Institute, Leeds
Conversations,Kettle’s Yard, Cambridge
Irony & Gesture, Kukje Gallery, Seoul, South Korea
Folkestone Triennial,various venues, Folkestone
Color Chart: Reinventing Color, 1950 to Today, Museum of Modern Art, New York

2007
David Batchelor & Nikolai Suetin,Ingleby Gallery, Edinburgh
Shifting Ground,Angel Row Gallery, Nottingham
Echo Room, Alcala 31, Madrid
Abstraction: Extracting From the World, Millenium Galleries, Sheffiled

2006
A noir, E blanche, I rouge, U vert, O blue: Farben,Kunstmuseum Magdeburg, Germany
Edinburgh Art Festival,off-site projects at the Palm House, Botanic Gardens and Old School, Edinburgh
Thread, Ingleby Gallery, Edinburgh
Backdrop, Bloomberg Space, London

2005
Radiance,Off-site projects in the Merchants’ Quarter, Glasgow
Double Meaning,Galeria Leme,Sao Paulo, Brazil
Extreme Abstraction,Albright Knox Art Gallery,Buffalo, New York
Contrabandistas de Imágenes,Museum of Contemporary Art, Santiago, Chile
Untitled,Marc Selwyn Gallery, Los Angeles

2004
 26th Bienal de São Paulo, São Paulo
Sodium and Asphelt, Museo Rufino Tamayo, Mexico City
Some Versions of Light, The Telephone Repeater Station, Richmond, North Yorkshire
Chromosexuals, Galleri Bouhlou, Bergen
One Night Stand, Pearl at El Montan Motor Hotel

2003
 In Good Form: Recent Sculpture from the Arts Council Collection, Longside Gallery
Yorkshire Sculpture Park
Primary Colours, City Gallery, Leicester
Embargo, Aubery Square, London
Days Like These, Tate Triennale, Tate Britain.

2002
 Furori Uso, Ferrotel, Pescara, Italy.
Colour Love, Johnson County Comunity College, Kansas.
New Religious Art, Liverpool Biennal, Liverpool.

2001
 Ruby, PEARL, London
The Magic Hour: Art and Las Vegas, Neue Galerie, Graz, curated by Alez Farquharson.
Other Britannia, FundacionMarcelino Botin, Santander, Spain.
Amidst Concrete, Clay and General Decay, Konstfack Gallery, Stockholm
Millenium Commision, Norwich Gallery, Norwich.
Other Britannia, TeclaSala, Barcelona.

2000
 Perdify, La Tourette, France and Kettles Yard, Cambridge.
British Art Show 5, Edinburgh, Southampton, Cardiff, Birmingham.
Fact and Value, Charlottenberg Palace, Copenhagen.
Give and Take, Jerwood Space, London

1999
 Limit Less, Galerie Krinzinger, Vienna (curated by Matthew Higgs).
POSTMARK: An Abstract Effect, SITE Santa Fe, New Mexico.

1998
 Then and Now, Lisson Gallery, London.

1997
 East International, The Sainsbury Centre/Norwich School of Art, Norwich.

1996
 Station Transformation, Central Bus Station, Tel Aviv.
Abstractions, Byam Shaw, Concourse Gallery, London

1993
 Victoria Miro Gallery, London.

1990
 Approaches to Realism, Bluecoat Gallery, Liverpool; Goldsmiths Gallery, London.
Rotation, Esther Schipper Gallery, Cologne.

These images and video are used for fair use and demonstration purposes only.

ADMSP Sculptors and Sculptures Series: Katharina Fritsch

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Aug 222011
 
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Katharina Fritsch is most widely known for her sculptures consisting of repeated shapes, and her use of single objects to evoke an emotional response from the viewer.

She is recognized for challenging the perception of the viewer through art pieces that are both abstract and minimal.

Katharina Fritsch is an artist that will be exhibited at ADMSP.

She is the first in our “ADMSP Sculptors and Sculptures Series”.

Katharina Fritsch’s work can be viewed here…

Katharina Fritsch
Biography

Born in Essen, Germany, 1956

Education:
Kunstakademie, Düsseldorf, 1977
Completed advanced studies in 1981 after studying with Fritz Schwegler

Currently lives and works in Düsseldorf

Selected Solo Exhibitions

2005
Matthew Marks Gallery, New York

2002
K21 Kunstsammlung im Standehaus, Düsseldorf (catalogue)

2001
Museum of Contemporary Art, Chicago (catalogue)
Tate Modern, London (catalogue)

2000
Matthew Marks Gallery, New York
Multiples, Kunstforum Bâloise, Basel

1999
Damenwahl (with Alexej Koschkarow), Kunsthalle Düsseldorf (catalogue)
White Cube, London
Städtische Galerie, Wolfsburg (catalogue)

1996
New Work, Matthew Marks Gallery, New York
San Francisco Museum of Modern Art; Traveled to Museum für Gegenwartskunst, Basel (catalogue)
Ludwigforum, Aachen

1995
Venice Biennale, German Pavilion, (with Martin Honert and Thomas Ruff), Venice (catalogue)

1994
Galerie Ghislaine Hussenot, Paris

1993
Dia Center for the Arts, New York (catalogue)

1990
Galerie Rüdiger Schöttle, Munich

1989
Westfälischer Kunstverein, Munster (catalogue)
Portikus, Frankfurt am Main

1988
Kunsthalle, Basel (catalogue)
Institute of Contemporary Arts, London

1987
Kaiser Wilhelm Museum, Krefeld (catalogue)

1985
Galerie Johnen & Schöttle, Cologne

1984
Galerie Rüdiger Schöttle, (with Thomas Ruff), Munich

These images are used for fair use and demonstration purposes only.

Robert Miller: We will miss you at ADMSP. Thank you for all your contributions to and vision about this great community project

 Altos del Mar Sculpture Park ("ADMSP")  No Responses »
Jun 242011
 
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Rober Miller (b. April 17, 1939— d. June 22, 2011) by Robert Mapplethorpe

Sometimes  you meet someone and their impact on you is immediately felt.

It was one such day when I met Robert Miller. I can truly say that it was a blessed day. It was at my dharma center in El Portal where I met him. He had come like all of us to a teaching of the great Khenpo Tsultrim Gyamtso Rinpoche. This was back in 2002. After the teaching, my teacher, then Ani Karma Chotso now Lama Karma Chotso, introduced me to him. He asked what I did and I said I did “entertainment law”. He said: “I need a lawyer”. “I need some contracts”. “Come see me tomorrow”. Just like that…

Long story short, he opened the door for me to the art world and the world of representing painters. A truly blessed moment. Years later when I became a volunteer at ADMSP, I talked to him about the project and he said: “You must do it”! “You must finish it!” “It is needed!” “How can I help?” I said, become a member of our board and when we are ready to open, help us with the sculptures. He said “yes”!

It is sad because ADMSP is about a year away from getting the sculptures and about one year and a half from opening and he will not be there in body to be a much deserved and earned part of it. We will have to get the sculptures without him but with his spirit in mind.

As everyone may know, Robert passed away on June 22, 2011.

We miss him. We love him. We are thankful to you for all of your wisdom and advice. You will be there with us at ADMSP’s opening in all his mighty and strong spirit.

Marlene Saile, Esq.-P and CEO at ADMSP

About Robert Miller:

Robert Miller (b. April 17, 1939, Atlantic City, New Jersey — d. June 22, 2011, El Portal, Florida) was a leading American art dealer in New York City whose contemporary gallery was first located (in 1977) on 5th Avenue, later in the Fuller Building on East 57th Street, and finally on 26th Street in Chelsea (all in New York City, New York).

His career as a gallerist began in the 1960s as an assistant at the Andre Emmerich Gallery at 41 East 57th Street. The Emmerich gallery exhibited many leading artists of the time and he learned the business by working in the field.

He became famous by developing and working with some of the most important artists of his time, the likes of David Hockney, Diane Arbus, Lee Krasner, Louise Bourgeois, Joan Mitchell, Robert Mapplethorpe, Roberto Juarez, Alice Neel, Robert Graham and Yayoi Kusama.

The City of Miami Beach’s Historic Preservation Board (“HPB”) Unanimously Approves ADMSP’s Preliminary and Landscape Plans On August 10th, 2010

 Altos del Mar Sculpture Park ("ADMSP"), Architects, Design, Landscape Design, The City of Miami Beach  No Responses »
Aug 202010
 
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ADMSP Magazine Cover

On August 10th, 2010 the City of Miami Beach’s Historic Preservation Board (“HPB”) Unanimously Approved ADMSP’s Preliminary and Landscape Plans Submitted by ADMSP on July 12th, 2010.

[youtube=http://www.youtube.com/watch?v=JS3RvE-zU1E]

ADMSP’s board of directors, management, donors and volunteer board are pleased and thankful for the unanimous approval of the preliminary and landscape plans. The preliminary and landscape plans were developed by Les Beilinson from BeilinsonGomez Architects in conjunction with the landscape architect Orlando Comas based upon ArquitectonicaGEO’s landscape design concept.

The City of Miami Beach has informed ADMSP that it has until May 13, 2011 to obtain the building permit and then 30 days following, on June 13, 2011, to provide proof of funding. The Chairman of the Board of Directors of ADMSP, Peter Saile states that he is “confident that ADMSP will meet all required conditions on or before the required dates and thanks the Manager of the City of Miami Beach, Jorge M. Gonzalez and his staff for the good cooperation between him, his staff and ADMSP”.

Saile states that the HPB’s first unanimous decision in favor of ADMSP’s development of a sculpture park happened in December 13th, 2005, which makes this HPB decision, one of the high points in the development process.

He further states that the Altos Del Mar Park property that began with the Tatum Brothers has now shifted again and has become an important focal point in debates over preservation for the State of Florida and the City of Miami Beach. As the last remaining undeveloped land, ADMSP intends to keep the conservation legacy by adding an aesthetic experience with minimal environmental interventions, beautiful landscaping and much needed free community programming.

“By approving ADMSP’s preliminary and landscape plans, the HPB has allowed ADMSP to fulfill yet another step in furtherance of its mission”, Marlene Saile, Esq. said.

The next step for ADMSP is the application for the building permit with the City of Miami Beach’s Building Department by October 30, 2010. The permit must be obtained by April 15, 2011 in order for ADMSP to meet its goal for a grand opening in November of 2011.

About ADMSP:
Mission

ADMSP is devoted to developing a sculpture park with community programming that will transform North Beach into a community, cultural, tourism and travel destination elevating the quality of life and economy for all. We will do this by: (i) utilizing subtle interventions and ecologically harmonious materials, trees and plants thereby conserving the land; (ii) providing exhibitions of sculpture from established artists from the 19th, 20th and 21st centuries; (iii) providing community programming to include art, fitness, and entertainment.

Design
ADMSP will create a unique park that meets the needs of the present without compromising the needs of the future by utilizing subtle interventions and ecologically harmonious materials. The design takes
into account that Miami Beach is a barrier island formed by an accumulation of sediment on limestone shoals; that the property is ocean front property within the urban framework of the North Beach community, all of which inform the aesthetics and layout of the space: An allée, dunes, a maritime planting palette and butterflies provide a landscape design appropriate to the site making ADMSP as unique worldwide as is the site. ArquitectonicaGEO’s design concept is an abstract interpretation of forms found in south Florida limestone geology, parkland and urban life!

Location
ADMSP is located at the Historic Altos del Mar district east of Collins Avenue (A1A Northbound) between 76th Street and 77th Streets.

Audience
ADMSP is for everyone!

Social Community Network
ADMSP has created www.admsp.org, a social network for anyone interested in community, the arts,
sculpture, Miami Beach, North Beach ADMSP, nature, philanthropic work and all things ADMSP. It is a place to join groups and upload art, writings, projects, presentations, videos, music and much more. Join us!

Hours
ADMSP will be open daily from 10 a.m. to sundown 365 days.

Admission
Admission is free to all.

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ADMSP Q&A- From the neighborhoods meeting on the 5th of August at the Normandy Shores Park and Pool Community Room

 Altos del Mar Sculpture Park ("ADMSP"), Community Tending, Landscape Design, The City of Miami Beach  No Responses »
Aug 092010
 
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Hello Everyone,As you all may know, ADMSP is now at the stage where it has to obtain approval of its preliminary plans from the City of Miami Beach’s Historic Preservation Board.

For a bit of background, on May 13, 2010 Miami Beach’s City Manager, Jorge M. Gonzalez, approved the preliminary plans after review with all of the pertinent city staff. See:

[youtube=http://www.youtube.com/watch?v=opF4zQozSgA&hl=en_US&fs=1&w=450&h=375]


With that submittal, ADMSP included full landscape design plans that were created by Orlando Comas A.S.L.A., Landscape Architect. See:[youtube=http://www.youtube.com/watch?v=WZSxdGhHigs&hl=en_US&fs=1]
We outlined that the next steps were:

1. A neighborhoods meeting for the North Beach Community to give us their input on the landscape plans on August 5th, 2010; and


2. A HPB meeting to obtain the approval from the HPB of the landscape plans on August 10th, 2010.


So we had the neighborhoods meeting on the 5th at the Normandy Shores Park and Pool Community Room and it went great. The community of North Beach loved Les Beilinson’s and Orlando Comas’s presentation outlining the preliminary plans and the landscape plans. The community of North Beach loves the project and supports it 100%. We are happy about it and it motivates us to succeed.From ADMSP, we all say: Thank you to the community of North Beach for supporting ADMSP. Together we will make North Beach become the center of art travel and tourism elevating the economy and quality of life for all in North Beach and Miami Beach as a whole.

We also got several questions at that meeting that we thought we would put together for you in a Q&A. See:

[slideshare id=4925089&doc=admspqa-100808173210-phpapp02&w=500&h=550]

Wish us luck and let us know if you have more questions.

Marlene Saile, Esq.
President/CEO ADMSP

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Reflecting Back and Looking Forward…

 Altos del Mar Sculpture Park ("ADMSP"), Community Tending, Programs, Social Media  No Responses »
Jul 282010
 
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ADMSP Magazine Cover

Reflecting Back and Looking Forward…I find that I am standing right in the middle. It
makes me be in this moment, a moment that will become the past so quickly.
So now I come to the reflection of time. Almost one year ago ADMSP started on a
road to work
with volunteers. Almost all charities do and why not? The task is easier said
than done but more rewarding than said when done.

Since ADMSP is about an aesthetic experience beyond the traditional museum
audience, it was
thought why not work with volunteers who are students and see if they are able
to make out of the experience a platform they can cross over into a full time
paid position? The pilot program “ADMSP College to Work” was born and
started last year in September. It has been a real learning experience in that
the question became how to learn best using Web 2.0 technologies.

I really did not know how it would go and when you don’t know how it goes, what
do you do? You make a plan. So it began with a plan. The plan was to work with
mass communications students since ADMSP really needed to begin creating
awareness about its project beyond the small group of people who knew about it
in Miami Beach, Florida. Seamlessly, several of these students appeared and we were
off. It was really the time when Facebook overtook My Space and Twitter became
the talk and everyone said: don’t you have a Twitter account? No, we did not.
So the ideas started to drop out of the sky into the plan as small rain
droplets fall on a growing meadow and today we have more than the garden
variety Twitter account.

Since my husband and I wanted to go to Berlin, Germany to raise the funds for this
project, after my volunteer team was assembled, we decided that we would
communicate via e-mail. The volunteers would do their work from their homes and
their own computers 2-6 hours per week.

I wrote up the first public relations campaign for us and we were doing social media.
It’s pretty cute now that I look back on it.

http://www.slideshare.net/admsp/admsp-social-media-public-relations

The campaign went great as it was basically a trial run to learn the insides
and out of Facebook, Twitter, WordPress, Stumbleupon and others.

But how do you teach inexperienced students the ins and outs of the social
media of Twitter. The myth that generation Y grew up with the internet and that
they automatically know how to work a Twitter account is just that, a myth.
There is so much more to Twitter than meets the birds-eye,
specially when you are using a Twitter account to create awareness for a community
project that no one knows about.

So it became clear that we are not doing social media, we are practicing social
media! How does it work? In order to know how it works, you just have to do it!
Since we have time until our opening, why not practice? We need to learn, so
why not learning by doing? By the time we open, our volunteers who have made it
to the finish line (that’s another story) will definitely know social media
inside out.

We started learning our 1st campaign with presentations. Some very general ones
like:

http://www.slideshare.net/admsp/admsp-intro-socialmedia

We also got into the details:

http://www.slideshare.net/admsp/admsp-social-mediacreationsiteflickr

We have come a long way. Presentations are great but they are also limited. I
had to email them
and it was hard to figure out who got what when and where but more importantly,
who read what and did they implement the instructions?

We moved onto mind-maps and google docs and still the limitations where
evident: who got what when and where but more importantly, who read what and
did they implement the instructions?

So after more reflecting the answer was so evident. We have been working with
web 2.0 all along. We needed our own working website and I made one. Today as I
stand and reflect back, I look forward. I am happy to see that we found an
answer. Our own working website is a secret of
course because it is our workplace but I can definitely tell you that it works
great.

As I stand here in the middle today, I look forward to seeing how this website
will evolve and make our practical learning at the “ADMSP College to Work
Program” very easy to manage so that the program becomes very successful.

Beyond a traditional museum audience!

Marlene Saile, Esq.
President/CEO ADMSP

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