Palm Beach Art, International Art News

Pavel Hayek, Jabloň, 2008, 130x130 cm, akryl na plátně. Foto Libor Teplý

From February 29 to April 1, 2012 – Brno The House of Arts
This joint exhibition by the artists Otto Zitko (b. 1959, resident in Vienna) and Pavel Hayek (b.1959, resident in Brno), set up by the Brno gallery owner Karel Tutsche will present two artistic positions which differ but are at the same time complementary. The link between them is not a demonstrative expression of the monarchist relationship of Brno to Vienna; Pavel Hayek invited Zitko as a creative kindred spirit. The compositions in Hayek’s pictures are only compositions to the same extent that Zitko’s gesture is a true gesture. In this context Barbara Steiner talks of Zitko’s compound gesture and Jiří Valoch about Hayek’s composition-free pictures – structures sui generis. This structural aspect is the great connection between the two artistic approaches. Zitko’s endless line overgrowing the pictures and interior walls of the House of Arts, and Hayek’s floorplan-specific structures which are “themselves” placed into the position of a design.

Hours

Robert Jessup - Neighborhood Geometry - oil on canvas 80 X 74 inches

March 21, 2012 – April 21, 2012 – Besharat Gallery
Robert Jessup was born in Moscow, Idaho, in 1952. He graduated from the University of Washington with a BA in Art History and a BFA in Painting, before gaining his MFA in Painting from the University of Iowa City.

Robert Jessup’s paintings describe a place neither here nor there; part memory, part imagination. They are both awkward and beautiful, and they show us what we might otherwise only see with our eyes closed. That is unless you come from a place where people balance fish or teacups on their heads, or push boulders uphill while nude. With the imagination of a child and skill of a seasoned painter, Robert Jessup creates paintings that have the unique ability to both unsettle and delight us at the same time.

Mr. Jessup’s paintings are in the collections of the Metropolitan Museum of Art, New York; the Brooklyn Museum of Art, Brooklyn, New York; the High Museum of Art, Atlanta, Georgia; the Dallas Museum of Art, Dallas, Texas; as well as many public, private, and corporate collections.

Gallery Hours

Jean Cocteau avec un revolver 1926 Berenice Abbott Épreuve gélatino argentique, 35,5 x 28 cm. Ronald Kurtz / Commerce Graphics. © Berenice Abbott / Commerce Graphics Ltd, Inc

From 21 February 2012 until 29 April 2012 – Musee du Jeu de Paume
With Berenice Abbott (1898-1991), urban experience is at the heart of the exhibition: in an America shaken by the Wall Street Crash, her images of 1930s New York convey her fascination with an urban landscape in the throes of dramatic change. Also known for championing the work of Eugène Atget, Abbott, who originally wanted to be sculptor, proved to be a great photographer of matter, space and light.
This is the first exhibition in France to cover every stage of Berenice Abbott’s career, featuring over 120 vintage prints by this American photographer as well as a series of documents never previously shown. The selection of portraits, architectural photographs and scientific plates shows the many facets of a body of work all too often reduced to a handful of familiar images.

Berenice Abbott came to the French capital in the 1920s and was trained by Man Ray before opening her own studio, where she began a successful career as a portrait photographer. Mixing in the artistic and intellectual circles of the day, she photographed a cosmopolitan cast including Eugène Atget, Marcel Duchamp, James Joyce, Man Ray, Jean Cocteau, Sylvia Beach, André Gide, Foujita, Max Ernst, and Marie Laurencin.

Park Avenue et 39e rue, New York 8 octobre 1936 Berenice Abbott Épreuve gélatino argentique, 19 x 24,5 cm. Museum of the City of New York. Gift of the Metropolitan Museum of Art. © Berenice Abbott / Commerce Graphics Ltd, Inc.

The exhibition also features a substantial selection of images form her Changing New York project (1935-1939), for which she is best known. This undertaking was Abbott’s own initiative but was financed by the Works Progress Administration, part of Roosevelt’s New Deal efforts to combat the Great Depression. Conceived as both a record of the city and a work of art in its own right, this ambitious government commission focuses on the contrast between the old and the new in the rapidly changing city.
The photographs she took in 1954 when travelling along the US East Coast on Route 1 (the exhibition is presenting a never previously exhibited selection of these) reflect her ambition to represent the whole of what she called the “American scene.”
In the 1950s, Abbott produced a set of photographs illustrating the principles of mechanics and optics for the Massachusetts Institute of Technology. Combining aesthetic and educational concerns, these abstract, experimental images echo her photograms of the 1920s.
An active participant in the avant-garde circles in the 1920s, a determined opponent of Pictorialism and the school of Alfred Stieglitz, famous for bringing Eugène Atget to international attention, Berenice Abbott spent her whole career exploring the notions of documentary photography and photographic realism. This retrospective at Jeu de Paume brings out the richness of her approach, and both the diversity and unity of her work.

Museum Hours

Gopal Samantray Skinn Less IV Acrylic on Canvas 48" x 48"

16th February 2012 to 8th March 2012 – Indigo Blue Art Gallery
Indigo Blue Art is pleased to present Paradigms & Perspectives, a group show featuring five fresh emerging talents from India.

Showcasing a diverse collection of works, the exhibition explores a myriad of expressions and issues ranging from societal changes and expectations to urbanisation, religion, culture and violence.

Artists include Jimmy Chishi, Nabanita Guha, Kundan Mondal, Gopal Samantray and Parag Sonarghare.

Born in Nagaland, Jimmy Chishi (b. 1977) is greatly influenced by the culture of North-East India. He incorporates traditional folklore, storytelling and theology of North-East India with a contemporary twist.

Nabanita Duttaguha Encapsulate frozen frame Acrylic & thread on canvas 36" x 30"

Nabanita Guha (b.1982) employs dark humour to critique the insular and hypocritical values of the middle class society. Her paintings evoke the sensibilities of a pre-modern era and its corresponding value systems through references to old Indian prints and calendar art.

Kundan Mondal (b.1980) tends to arrange his work in a frenzied style, often forming a tapestry of images that takes references from art history, folk art, mythology, and folk tales. Using the metaphor of the cosmic mythical churning of lord Vishnu, Kundan tries to capture the contradictions and complexities that result in the metaphysical ‘churning’ through his paintings.

In his paintings, Gopal Samatray (b.1976) philosophises on the destructive relationship between humans and nature. His animal subjects are portrayed as being detached and alienated from their natural habitats. The perils of global warming and deforestation are revealed, as wild animals make sudden and incongruous appearances in urban spaces, as if they were the reminders of an impending catastrophe.

Parag Sonarghare Imagine it Done Acrylic on Canvas 75" x 30" (each)

Parag Sonarghare (b.1987) feels that we can never exist in a social vacuity. He is aware of the different identities and characters that people often adopt in daily life. He questions the role of identity in an age of technological advancement, where relations between people have become impersonal and distant.

Gallery Hours

© Dulce Pinzón. "Spiderman"

From February 16 to May 20, 2012 – Art Museum of the Americas
Ñew York, featuring works by young, outstanding Latin American and Spanish artists residing in New York City commemorates a long lost artistic exchange and recovers innovative communication channels between Latin American and Spanish plastic and visual artists.  The exhibition incorporates New York City as the current setting where these creative forces re-encounter themselves.

The exhibition addresses mobility in an era of widespread displacement where barriers between the global and the local are broken down. Motion (mobility), emotion (personal artistic work) and promotion (promote and advance the careers of expat artists) are all addressed throughout the show.

The artists were selected based on their accomplishments, artistic careers and their approach to concepts of mobility, migration and cultural exchange, all intrinsic to a city where new ideas, experiences and diversity converge.

© Sol Aramendi. "Welcome to My Hood" (2011)

Curated by Paco Cano, Eva Mendoza Chandas and Jodie Dinapoli (all from Spain), Ñew York showcases the work of 19 artists from 10 countries from Latin America and Spain -all based in New York – who have made this city the gravitating force of their artistic discourse.

FEATURED ARTISTS
Sol Aramendi (Argentina)
Julieta Aranda (Mexico)
Ada Bobonis (Puerto Rico)
Alberto Borea (Peru)
Antón Cabaleiro (Spain)
Juanma Carrillo (Spain)
Nicky Enright (Ecuador)
Félix Fernández (Spain)
Jessica Lagunas (Guatemala)
Abigail Lazkoz (Spain)
Lluis Lleó (Spain)
Manuel Molina Martagón (Mexico)
Esperanza Mayobre (Venezuela)
Carlos Motta (Colombia)
Iván Navarro (Chile)
Dulce Pinzón (Mexico)
Fernando Renes (Spain)
José Ruíz (Peru)
Manuela Viera-Gallo (Chile)

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Pierre Bonnard, Le Café, 1915, Oil on canvas, 73 × 106.4 cm, Tate, Photo: © 2012, Tate, London © 2012, ProLitteris, Zurich

29 January – 13 May 2012 – Foundation Beyeler
With the exhibition “Pierre Bonnard”, the Fondation Beyeler celebrates the great French colorist and one of the most fascinating of modern artists. More than 60 paintings from renowned museums and private collections provide insight into all phases of his career.
Pierre Bonnard (1867-1947) was a co-founder of an artist‘s group known as the Nabis, who admired the style of Paul Gauguin and Japanese woodblock prints. In Paris, Bonnard depicted the bustling life on the streets and in the cafés, before retiring first to Normandy, very close to Monet‘s water-lily garden, then to the sunny Côte d‘Azur, where he was inspired by the light and colors of the Mediterranean environment. Continually experimenting, he produced variants in ever-new color combinations and from surprising points of view on subjects from everyday life, in which time only apparently seems to stand still. The artist‘s favorite model was the mysterious Marthe, his muse and wife. Bonnard created harmonious still lifes, enigmatic interiors, intimate female nudes, moving self-portraits, and decorative landscapes whose magnificent palette is unique in modern art.

Pierre Bonnard - Place Clichy, 1906–07 Oil on canvas, 102.1 × 116.6 cm Private collection © 2012, ProLitteris, Zurich

One of the principal lenders is the Musée d’Orsay, Paris. Further outstanding loans come from the Tate London; the Musée national d’Art moderne, Centre Georges Pompidou, Paris; the Musée d’Art moderne de la Ville de Paris; the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; the Metropolitan Museum, New York; the Phillips Collection, Washington, D.C.; the Kunstmuseum Basel; the Kunsthaus Zürich; and from distinguished private collections, not least from the Hahnloser successors.

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