- Robert Weingarten: 6:30 A.M.
September 25 – October 20, 2018
September 25 – October 20, 2018
Weingarten began the photographic series 6:30 A.M. on January 1, 2003 and concluded the project on December 31, 2003. Each day he was home during that calendar year, he photographed the Santa Monica Bay from his ocean view residence in Malibu, California. The exact time of exposure – 6:30 in the morning, measured by the artist’s quartz clock – and the exact viewpoint remain constant throughout the series, but the colors of the sky, water and land vary dramatically throughout the year as daylight hours, weather patterns and seasons shift.
After traveling extensively for nearly a decade, capturing the Italian countryside in Tuscany and documenting Amish life in Pennsylvania, Weingarten came across Alfred Stieglitz’s quip that photographers should not travel in order to produce work if they cannot find inspiration locally first. Weingarten took this on as a challenge, turning his lens quite literally to his own backyard. In the spirit of Monet’s studies of light on the Rouen Cathedral, he chose the sunrise as his subject and imposed an additional set of technical parameters to allow for variability only in shutter speed and nature itself. Each photograph was captured with the same lens, the same aperture and the same brand of transparency film purchased at the same time.
The final images are faithful translations of the colors during sunrise in Malibu, with no manipulation. Not only can the camera record what the human eye cannot observe, such as the subtle movements of clouds and water over several seconds, but it functions without preconditioned ideas of how the world should look. While we may consider water to always be blue, the camera and film reveal a different-and constantly changing-reality. Daylight savings time resulted in the fluctuation between blue and red tones, and the crimson streaks that appear in November were the effect of severe wildfires in Southern California. With each photograph in 6:30 A.M., Weingarten invites us to reexamine our expectations and to look more closely at the familiar.
In 2005, a fully illustrated book for the series was published featuring a forward by J. Paul Getty Museum curator emeritus Weston Naef, and in 2014, selected works from 6:30 A.M. were shown in the artist’s solo exhibition at the the Peabody Essex Museum in Salem, Massachusetts.
Robert Weingarten (b. 1941 Brooklyn, NY) is an American photographer noted for his innovative projects combining photography and digital composition. Born and raised in Brooklyn, Weingarten attended Baruch College in New York and, following his graduation, embarked on a thirty-year career in finance. In the early 1980s, he moved to Los Angeles. Although he had been passionate about photography since childhood and had since pursued it as a hobby, Weingarten decided to fully commit himself to the art only in the early 1990s.
In 1997, Weingarten debuted his first photographic series of Italian landscapes. In 2003, he began the noted 6:30 A.M. series, in which he chronicled the changing colors of sky, water and land by capturing an identical ocean view from his home in Malibu, California at the same time each day for a full calendar year. This series was shown in Weingarten’s 2014 solo exhibition at the the Peabody Essex Museum in Salem, Massachusetts. In the following Palette Series begun in 2004, Weingarten produced abstract compositions from the raw materials of the greatest living painters, including Jasper Johns and Wayne Thiebaud.
Weingarten has been the subject of solo exhibitions at Corcoran Gallery of Art in Washington, D.C.; the High Museum of Art in Atlanta, Georgia; the Peabody Essex Museum in Salem, Massachusetts; and the Smithsonian Institution in Washington, D.C. Weingarten’s work is included in the permanent collections of the George Eastman House, High Museum, the J. Paul Getty Museum, the Los Angeles County Museum of Art, the Metropolitan Museum of Art, and the Whitney Museum of American Art. He holds the distinction Fellow of the Royal Photographic Society (FRPS) of Great Britain, and in 2004 his work was published in Another America: A Testimonial to the Amish by Steidl.
- Jean Pagliuso: In Plain Sight
May 16 – June 16, 2018
In Plain Sight
May 16 – June 16, 2018
Jean Pagliuso’s signed monograph In Plain Sight (Damiani 2018) will be available at the opening reception on May 16.
Mary Ryan Gallery is pleased to present In Plain Sight, a retrospective exhibition of photographer Jean Pagliuso in celebration of her monograph of the same name published by Damiani in 2018. On view is a survey of Pagliuso’s most important black and white photographs spanning from 1968 to 2017, including celebrity portraits, Poultry & Raptor Suite and landscapes. Although diverse in subject matter, each image is guided by Pagliuso’s singular approach to photography as portraiture – whether of person, bird or monument – and her experimentation with manual printing processes.
Pagliuso produced her early work alongside her career as a celebrity and editorial fashion photographer, capturing the riotous antics of Hollywood as well as private moments of life behind-the-scenes. Her silver gelatin prints from the 1960s, 70s and 80s offer an intimate and fresh perspective on the familiar faces of cultural icons, from Philippe Petit to Robert Palmer. Often traveling to fashion and film sets around the country, Pagliuso also completed a series of portraits of waitresses in New York, California and on the road in between. Posing in uniform outside the diner or relaxing on a cigarette break, Pagliuso distills her impressions of these fleeting connections.
In 2004, Pagliuso began the ongoing Poultry & Raptor Suite as an elegy to her late father, who raised Bantam Cochin show chickens throughout her childhood in Southern California. Pagliuso approaches her avian subjects in the same manner as her human sitters, posing them against minimal backgrounds and emphasizing each bird’s unique plumage, stance and expression. To date, Pagliuso has photographed more than 50 breeds of chickens in her New York studio. Each chosen image is hand printed onto handmade Thai mulberry paper, a sensitive and meditative darkroom process that reflects the quiet dignity of the birds.
Pagliuso’s landscape work focuses on endangered environments and places of ritual, observing the ravages of time and nature on ancient sites throughout Burma, India, Mexico, Peru and Turkey. Inspired by Anasazi ruins near her home in New Mexico, she began to travel extensively to document Cambodian temples, Egyptian pyramids and other human feats. To Pagliuso, printing process and paper are integral components of her work, and she turned to 19th century printing processes in pursuit of a medium that would reflect the fragility of these monuments. She ultimately developed a method of coating rice paper with silver emulsion and then hand printing the image onto this delicate surface, embracing the variations that are inherent in such an unpredictable process.
Jean Pagliuso (b. 1941 Glendale, CA) is an acclaimed artist who has photographed fashion, film and celebrity portraits since the 1970s, after she received a Fine Arts degree from UCLA in 1963. Working most often with a Hasselblad camera, Pagliuso is known for her experimentation with printing papers and techniques, tailored to each of her projects. Her editorial fashion and celebrity portrait photography has been published in Bazaar Italia, Esquire, Harper’s Bazaar, House & Garden, Interview, Newsweek, The New York Times, Rolling Stone, Seventeen and Vogue. Pagliuso is also known for her collaboration with film director Robert Altman in the 1960s and film studios including Paramount Pictures, Universal Studios and Warner Brothers. In 2018, Pagliuso was the subject of the retrospective solo exhibition Poultry, Raptors, Places of Ritual at the Florida Museum of Photographic Arts in Tampa, and Damiani Publishers produced a monograph of Pagliuso’s work, In Plain Sight. Pagliuso lives and works between Santa Fe, New Mexico and New York City and Sagaponack, New York.
- Portrait PrintsApril 5 – May 12, 2018
April 5 – May 12, 2018
Featuring portraits by Emma Amos, Louise Bourgeois, Jean de Brunhoff, Laurent de Brunhoff, Kota Ezawa, Hugo Gellert, David Hockney, Deborah Kass, Alex Katz, Louis Lozowick, Kiki Smith and May Stevens.
- Ellsworth Kelly Prints: Colored Paper Pieces, Lithographs and ScreenprintsJanuary 6 – February 10, 2018
Editions: Colored Paper Pieces, Lithographs and Screenprints
January 6 – February 10, 2018
Ellsworth Kelly (b. 1923 Newburgh, NY – d. 2015 Spencertown, NY) was an important American abstract painter and a pioneering figure of Minimalism, hard-edge painting and Color Field painting, although he has succeeded in not being solely defined by any of these movements. Working across disciplines, his practice includes painting, sculpture and printmaking.
On view at Mary Ryan Gallery is a selection of colored paper pieces, lithographs and screenprints that integrates Kelly’s interest in both abstract and botanical forms. His early black and white lithographs interpret the rounded contours of plants and fruits as simple, minimal lines. His hard-edged and abstract prints, while in sharp visual contrast to the curvilinear flora, are similarly inspired by natural bodies and man-made subjects such as tree branches or shadows under a bridge. Kelly reduces these forms into the geometric, intensely colorful shapes for which he is widely known, demonstrated by works such as Nine Squares (1977), Blue Black Red Green (2001) and Yellow (2004).
The textured Colored Paper Images (1976) depart from Kelly’s tightly controlled lines and contained shapes. Made by pouring colored and pressed paper pulp into molds on damp handmade paper, each impression of the series is variable; the color bleeds unpredictably as the wet sheet runs through the printing press.
Kelly was born in Newburgh, New York and raised in New Jersey. After graduating high school, he began studying applied arts at Pratt Institute in Brooklyn in 1941, but he left in 1943 to enter the military. He was assigned to a camouflage unit, where he trained in the silkscreen printing process as well as combat duty before the unit was deployed to Europe. This experience ultimately influenced Kelly’s work both in precision and imagery, although printmaking would not become a major part of his practice until the mid-1960s. Following the conclusion of World War II and his subsequent discharge from the army, Kelly continued his artistic studies at the School of the Museum of Fine Arts in Boston between 1946 and 1948, at which time he began drawing plants. He then lived in Paris from 1948 through 1954, studying at Ecole des Beaux-Arts on the G.I. Bill and immersing himself in French museums. While in Paris, he began abstract painting, first inspired by reflected light on the Seine.
Kelly returned to New York in 1954, intrigued by a review of Ad Reinhardt’s work. Initially, in an arts scene focused on abstract expressionism, he struggled to establish a practice that eliminated gestural brushstrokes, but this allowed him to experiment with hard-edged shapes and saturated colors. In the 1960s, he introduced irregularly angled canvas into his work, and in the 1970s, he began incorporating curved shapes. In later works, Kelly refined his color palette and introduced new ideas, sometimes layering contrasting colors. He moved to Spencertown in 1970 and lived there for the remainder of his life, continuing to innovate within painting and printmaking.
In 2013, in celebration of Kelly’s 90th birthday, the National Gallery of Art in Washington, DC mounted an exhibition of his prints. The Barnes Foundation in Philadelphia, Phillips Collection in Washington, DC and Museum of Modern Art in New York also held solo exhibitions of the artist.
Kelly’s work has been the subject of major exhibitions at dOCUMENTA (III, IV, VI, and IX), Kassel; Venice Biennale (1966 and 2007); Barnes Foundation, Philadelphia; Fondation Beyeler, Basel; Haus der Kunst, Munich; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; Museum of Modern Art, New York; Museum Wiesbaden, DE; Phillips Collection, Washington, DC; Serpentine Gallery, London; Solomon R. Guggenheim Museum, New York; and the Whitney Museum of American Art, New York. His work is included in major public collections, among them the Centre Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofía, Madrid; San Francisco Museum of Modern Art; and Tate Modern, London.
- Laurent de Brunhoff: Babar’s Guide to ParisOctober 14 – November 25, 2017
Laurent de Brunhoff
Babar’s Guide to Paris
Original Watercolor Illustrations
October 14 – November 25, 2017
Reception: Saturday, October 14, 4:00–5:30pm
Mary Ryan Gallery is pleased to present Babar’s Guide to Paris, an exhibition of original watercolor illustrations and preparatory studies by Laurent de Brunhoff for his most recent Babar book of the same name. Published in the spring of 2017 by Abrams Books, Babar’s Guide to Paris features 33 new watercolors by de Brunhoff that celebrate the City of Light’s iconic sites and simple pleasures, from wandering through the Louvre to spending an afternoon reading at a café.
In Babar’s Guide to Paris, the youngest daughter of the family, Isabelle, prepares for her first visit to Paris alone. Babar shares his best tips for navigating the city and embracing the local French culture, suggesting not only which well-known sites not to miss but how to truly experience the city like a Parisian: walk everywhere, exchange ideas in a garden, become a regular at a restaurant and befriend the waiter. As Babar gives advice to Isabelle and readers alike, de Brunhoff’s watercolors blend Babar’s memories of the city and his imaginings of Isabelle’s upcoming adventures. Now 92, this is de Brunhoff’s first book set in Paris, the city of his birth and his home for many years.
The classic series began as a bedtime story invented by Laurent’s mother, Cecile de Brunhoff, and later realized as a book by his father, Jean de Brunhoff. Jean published and illustrated The Story of Babar in 1931, but he died in 1937 after completing six books. Laurent, then only 13 years old, colored and designed the cover illustration for the posthumous publication of his father’s seventh and final book. Laurent went on to study art at the Académie de la Grande Chaumière and work as an abstract painter in Montparnasse. In 1946, at age 21, Laurent brought Babar back to life in the first book of his own, Babar’s Cousin: That Rascal Arthur. Laurent has since written and illustrated more than 50 Babar books.
Laurent de Brunhoff (b. 1925 Paris, France) is the acclaimed author and artist of Babar the Elephant books. In 2012, the Musée des Arts Décoratifs and the Bibliothèque Nationale in Paris held major Babar exhibitions of Laurent and Jean’s work. In 2008, the Morgan Library and Museum in New York mounted a major exhibition of original drawings and manuscripts by Jean and Laurent de Brunhoff, for which a catalog was published, Drawing Babar: Early Drafts and Watercolors, including an essay about Babar by Adam Gopnik, which was later published in The New Yorker. Major exhibitions of Laurent and Jean’s work were also held in 1981 at the Centre Culturel du Marais in Paris; in 1983-84 at the Minneapolis Institute of the Arts, Baltimore Museum of Art, Toledo Museum of Art, among others; in 1987 in Japan; and in 1989-90 at the National Academy of Design in New York and the Royal Ontario Museum in Toronto, among others. There have been solo exhibitions of Laurent’s work at many museums throughout the United States, recently at Houghton Library of Harvard University, Cambridge, MA; McNay Art Museum, San Antonio, TX; Customs House Museum in Key West, FL; Dixon Gallery in Memphis, TN; Speed Museum in Atlanta, GA; and Davison Center at Wesleyan University, Middletown, CT. Original Babar manuscripts and artwork by Laurent and Jean are in the collection of The Morgan Library and Museum, New York; the Bibliothèque Nationale, Paris; and Houghton Library at Harvard University, Cambridge. Laurent de Brunhoff holds both French and American citizenship and was made an Officier de l’Ordre des Arts et des Lettres, and a Chevalier of the Légion d’Honneur. He practices yoga daily and lives in Key West, FL and New York, NY.
For press inquiries, please contact Bridget Casey at 212-397-0669 or firstname.lastname@example.org.
- Kiki Smith: Portraits, Celestial Bodies and Fairy Tales (Prints from 1990 through now)February 23 – April 22, 2017
Mary Ryan Gallery is pleased to present Portraits, Celestial Bodies and Fairy Tales, a solo exhibition of Kiki Smith’s prints from 1990 through now. Often known first as a sculptor whose transgressive early works confronted mortality and bodily decay, Smith is an innovative printmaker whose more recent work on paper explores nature, portraiture, and fairy tales. Printmaking became an essential part of Smith’s practice during the mid-1980s, and she persistently pushes the medium’s boundaries not only of style, technique, and imagery but also between print, drawing, and book.
On view is a selection of Smith’s most important prints, including Sueño (1992) and My Blue Lake (1995), that demonstrate her experimental approach and survey her shifting concerns from physical vulnerability to mythological and natural subjects. The life-sized figure of Sueño is the form of Smith herself but represents her sister, Beatrice, who died in 1988 during the AIDS epidemic. A technician traced Smith’s outline onto the copperplate, which the artist then filled in with twisted patterns that recall medical musculature drawings. Smith again takes her own image in the hand colored photogravure and lithograph My Blue Lake, using the British Museum’s 360-degree periphery camera to create an encompassing self-portrait and blending her features into landscape. Also on view are Smith’s interpretations of fairy tales, including the ambitiously large-scale homage to Lewis Carroll Come Away From Her (2003), and two artist’s books, Free Fall (1994) and Tidal (I See the Moon and the Moon Sees Me, 1998).
Kiki Smith (b. 1954 Nuremberg, Germany) is an American artist known primarily for her sculpture and works on paper that employ non-traditional materials to address feminist, philosophical, social, sexual, and political aspects of human nature. Smith’s first solo exhibition was hosted by The Kitchen in New York in 1982. Major solo exhibitions have since been held at Brooklyn Museum, New York; Centre d’Art Contemporain, Geneva; Museum of Modern Art, New York with an accompanying catalog by Wendy Weitman; Walker Art Center, Minneapolis, MN; Whitechapel Art Gallery, London; and Whitney Museum, New York. Smith has also participated in important group exhibitions, including the Whitney Biennial, New York (1991, 1993, 2002); La Biennale di Firenze, Florence, Italy (1996, 1998); and the Venice Biennale, Italy (1993, 1999, 2005, 2009). She has received awards such as Skowhegan Medal for Sculpture in 2000, the Athena Award for Excellence in Printmaking from the Rhode Island School of Design in 2005, and the 50th Edward MacDowell Medal from the MacDowell Colony in 2009. In 2005, Smith was elected to the American Academy of Arts and Letters. Smith’s work is held in prominent museum collections, including the British Museum, London; Herbert F. Johnson Museum of Art, Cornell University, Ithaca; Metropolitan Museum of Art, New York; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; Princeton University Art Museum, Princeton; Solomon R. Guggenheim Museum, New York; Walker Art Center, Minneapolis; and Whitney Museum of American Art, New York. Smith lives and works in New York.
For press inquiries, please contact Bridget Casey at 212-397-0669 or email@example.com.
- Hugo Gellert: ADAA The Art ShowMarch 1-6, 2016
This presentation of artwork by artist/activist Hugo Gellert (1892-1985) from the 1920s through 1943 from a career that spans seven decades, includes three rare paintings from the early 1920s, a selection of screen prints from his 1943 Century of the Common Man portfolio, eight of which were featured in the Whitney’s new downtown building inaugural exhibition, America is Hard to See, and lithographs from his Das Kapital, Comrade Gulliver, and Aesop Said So portfolios from the 1930s.
This showing of Gellert’s paintings is especially important, as his paintings are very rare due to the fact that his primary output was in mural painting, illustration, and printmaking. In writing about Gellert’s paintings, Murdock Pemberton, inaugural art critic of The New Yorker, referred to the artist as “one of the most individual American moderns, painting from the inside rather than from some French source.”
Also on view are drawings and collages from the 1920s and 1930s, a 1938 video clip and an installation of ephemera from the artist’s personal effects and correspondence, including photographs, pamphlets, letters, and publications, which underscore Gellert’s cultural importance as a radical art activist. He consistently fought against racism, fascism, and sexism to promote equal human and labor rights.
Gellert was born in Budapest in 1892 and immigrated with his family to New York in 1906. After studying at Cooper Union and the National Academy of Design, the outbreak of WWI and the death of his brother flamed his interest in politics. He was an active contributor to radical political journals such as Masses, The Liberator, including its inaugural cover, and New Masses. Gellert was also a staff artist for The New Yorker from its inception in 1925 through 1946, and his portraits and illustrations populate many of The New Yorker magazines. His last major museum exhibition was in Hungary in 1968 at the National Gallery in Budapest. Throughout his life, Gellert was known for his involvement in Hungarian-American art and activism and is widely considered one of the most influential political artists of the first half of the 20th century. He died in 1985 at 93.
His works are in the collections of the British Museum, London; the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; Whitney Museum of American Art, New York; and the Wolfsonian Museum, Florida International University, Miami among others.
Mary Ryan Gallery is the exclusive representative of the Hugo Gellert estate.
- Focus on Peter Sís: AnimalsJanuary 7 – February 20, 2016
Mary Ryan Gallery is pleased to announce a focus show that looks at animals in the drawings by Peter Sís. The focus exhibition is held in conjunction with Peter Sís: Animations in RLWindow at RYAN LEE.
On view is a selection of drawings that depict animal imagery from very small black stipple pen of individual animals to full-color watercolors and from animals as tiny elements in the costumes of his miniatures to animals as maps, such as his well-known whale as the map of Manhattan that was commissioned by the MTA for buses and subways.The focus is one wall of illustrations from the artist/author’s own books and his commissioned works for premier publications and organizations, including the New York Times, Harper’s magazine, and New York City’s Metropolitan Transit Authority. Included is a drawing for his 86th Street subway design, illustrations for Conference of the Birds, and two early oil on paper illustrations from the 1980s.
Peter Sís is an internationally acclaimed artist, illustrator, author, and filmmaker. His most recent projects include a series of commissioned tapestries made in Aubusson, France for Amnesty International which are on view at Cape Town International Airport dedicated to Nelson Mandela, Prague’s Václav Havel Airport honoring Havel, Ellis Island’s Immigration Hall in honor of John Lennon, and Dublin Airport for Seamus Heaney. He was born in Brno, Czechoslovakia in 1949, and attended the Academy of Applied Arts in Prague and the Royal College of Art in London. He began his career as a filmmaker, and won the Golden Bear Award at the 1980 West Berlin Film Festival for an animated short. He has also won the Grand Prix Toronto and the Cine Golden Eagle Award. In 1982, he was sent by the Czech government to Los Angeles to produce a film for the 1984 Winter Olympics, but when the project was cancelled and the government ordered him to return home, he decided to stay in the United States, where he was granted asylum.
He went on to become a leading artist in the children’s book illustration field, as an eight-time winner of the New York Times Book Review Best Illustrated Book of the Year, two-time winner of the Boston Globe-Horn Book Award Honor Books, and winner of the Society of Illustrators Gold Medal and Silver Medal. In 2003, Sís won the prestigious MacArthur Fellowship, and he won the 2012 Hans Christian Anderson Award, considered the most prestigious in international children’s literature. His work has been exhibited in Prague, London, Zurich, Hamburg, Los Angeles, and New York in both group and solo shows.
For press inquiries, contact Derek Piech at 212-397-0669 or firstname.lastname@example.org.
- Screenprints, Silkscreens, and SerigraphsSummer 2015
Artists choose to work with the screenprint medium for its graphic and bold qualities and for the ability to create an even, flat surface color. It is essentially a stencil process with one color printed at a time and requiring many screens for a multi-color final print. The terms silkscreen, screen print and serigraph are used interchangeably. MOMA describes screen printing and silkscreen printing as “a printing technique in which areas of a silkscreen, comprised of woven mesh stretched on a frame, are selectively blocked off with a non-permeable material (typically a photo-emulsion, paper, or plastic film) to form a stencil, which is a negative of the image to be printed. Ink is forced through the mesh onto the printing surface with a squeegee, creating a positive image.”
A wide range of approaches to screen printing are employed by the artists in this selection of prints, which includes Josef Albers, Laurent de Brunhoff, Richard Estes, Hugo Gellert, Yvonne Jacquette, Deborah Kass, Alex Katz, Jiha Moon, May Stevens, and Donald Sultan. Hugo Gellert’s proto-pop looking silkscreens from 1943 are replete with visible squeegee marks and irregularities. May Stevens’s “Big Daddy with Hats” is one of her only prints of her infamous Big Daddy and also a strong example of political pop. Gellert’s screen prints and a May Stevens “Big Daddy” drawing are currently on view in the Whitney Museum’s inaugural exhibition, America is Hard to See.
Richard Estes’ monumental “Holland Hotel” is mind boggling in its complexity and a photo-realist screen print tour de force depicting a New York City neighborhood mid-day and devoid of figures. Yvonne Jacquette’s “Chelsea” is a night view from the artist’s studio building roof-top on 29th Street in 1996. Jacquette re-arranged the buildings and used a simple outline for the fire escape in contrast to the multi-layered surfaces of New York’s water towers and building facades. Jacquette spent almost a year on this print before realizing that she had the traffic on Sixth Avenue going in the wrong direction. She added additional screens to reverse the brake and head lights.
The Josef Albers screen print is part of his “Homage to the Square”— an exquisite and deceptively simple image based on the relationship of these yellow colors and a sheer overlay of colors within a square.
Jiha Moon’s one-color silkscreen, “Procession-Detourist,” is printed on a handmade lacquer Hanji paper. Moon’s ribbon-like blue line encompasses Disney’s Snow White along with a Chinese spirit. Laurent de Brunhoff, the author/illustrator of the Babar books, spent a year making four screen prints including “Celeseteville by the Sea.” Here the architecture of Celesteville is inspired in by the Hotel Negresco in Nice and Babar’s family can be found throughout the scene, including the Old Lady on the balcony.
Donald Sultan’s “Red Poppies” at first glance appears to be two colors: red and black. To achieve the richness and depth of color and texture Sultan used seven layers of red to create the final color and added flocking for the black center. Deborah Kass’s “Being Alive” is based on a painting from her “Feel Good Paintings for Feel Bad Times” series and borrows its title from the Bee Gees’ disco song.
Alex Katz’s “Black Dress” is one of nine in a series of women in black dresses, all in the same pose. Katz’s screenprints typically begin with a painting. For “Black Dress,” he made drawings based on the painting that he then used for the screen prints. As the prints were made after the paintings, Katz had time to re-work areas that he thought needed more attention. The prints are another approach to the image. “Black Dress” series was two years in the making and are the most recent prints on view.
- Focus on Richard Segalman: Muses, Magic & MonotypesJuly 23 – August 3, 2015
Mary Ryan Gallery is pleased to announce an exhibition of work by Richard Segalman in celebration of his latest book, Black & White: Muses, Magic & Monotypes (2015). The exhibition highlights his new and ongoing black and white study of the muse as well as a selection of early pastels and oil paintings of his iconic Coney Island imagery and Naples beach scenes.
Segalman’s romantic figurative realist paintings, largely executed in watercolor, oil, or pastel, feature anonymous figures in domestic settings, on beaches or before city architecture whose emotions are evoked by their physical positioning or clothing. Color and the depiction of light is essential to these works. When his shift to monotypes occurred more than 30 years into his career, it introduced the absence of color into his later works. The unpredictable, accident-prone, experimental nature of the monotype intrigued Segalman as it pushed him to return to a drawing quality.
Richard Segalman (b. 1934, New York) began his career in the early 1960s, working with watercolor and oil, gradually adding printmaking and pastel to his oeuvre. His iconic groups of people in tranquil settings capture the true beauty of a shared contemplative moment. Segalman uses clothing and physical positions to communicate feelings and emotions left unknown by expressionless and nondescript faces.
Notable collections that include Segalman’s works are Bass Museum, Miami, FL; Butler Institute of American Art, Youngstown, OH; Harvard University, Fogg Art Museum, Cambridge, MA; Hirshhorn Museum and Sculpture Garden, Washington, D. C.; Minneapolis Institute of Arts, MN; Museum of Fine Arts, Boston, MA; St. Louis Art Museum, MO; and Smith College Museum of Art, Northampton, MA, among others.
Richard Segalman: Black & White: Muses, Magic & Monotypes with text by Susan Castle and Anthony Kirk is to be released by The Artist Book Foundation in Winter 2015.
For press inquiries, contact Derek Piech at 212-397-0669 or email@example.com.
- Alex Katz Black Dress: A Suite of New PrintsMay 14 – June 27, 2015
Mary Ryan Gallery is pleased to announce an exhibition of work by Alex Katz that will feature the debut of his latest large-scale screen prints. The artist will be present at the opening reception, Tuesday, May 19, 2015, 6-8PM.
A consummate printmaker, Katz’s practice of painting and printmaking are deeply entwined as many of his print projects are based on his paintings. The “Black Dress” project was first completed as a series of paintings done on door panels, depicting standing woman in the classic fashion design. The exhibition is centered around this new suite, consisting of nine original screen prints each rendered at a monumental size of 80 x 30 inches, which mimic the size of the paintings. Each one is screen printed in 25 to 35 colors and follows Katz’s signature style of exploring portraiture and monochromatic elements.
In response to this project, noted fashion designer Calvin Klein wrote:
I also love what a simple black dress says about the woman who wears it. By making such a subtle and concise choice, she’s letting the world know she is strong and her sense of self is powerful. She’s not in need of embellishment or exaggeration. She doesn’t expect to have all eyes on her, although, probably, if she carries herself proudly, she will. And that’s just the most modern and wonderful attitude anyone can have.
Alex Katz’s Black Dress series is just as modern and wonderful. And, ironically, it has absolutely nothing to do with fashion. His portraits have such strong color fields and clean lines. And despite their apparent simplicity, they’re extremely expressive and perfectly capture the essence of his subjects. You can’t help but notice these women, these beautiful enigmas drawn in bold and certain strokes. You wonder who they are, how they live, what they feel, just exactly what they have going on.
Also on view is one of the artist’s earliest screenprints, the 1986 “Blueberry Field,” as well as a portfolio of six aquatints called “Small Cuts” that Katz made in 2008 inspired by the early collages he made in the late 1950s. These small collages depict figures in landscapes from hand-colored strips of delicately cut paper.
- Jean Pagliuso: Poultry and Raptor SuitesApril 9 – May 9, 2015
Mary Ryan Gallery is pleased to announce an exhibition of photographs by Jean Pagliuso in celebration of her latest book, The Poultry Suite (April 2015). On view is a selection of work from her newest book, as well as earlier photographs of owls, hens, and roosters from the ongoing The Poultry Suite and The Raptor Suite series that began in 2006 and 2011, respectively.
The unusual subject matter of the The Poultry Suite and The Raptor Suite, beginning as an elegy to her late father who raised show chickens during her childhood in Southern California, is presented through Pagliuso’s technical expertise and history in fashion and celebrity photography, taking on an element of documentary photography. Employing formal elements of photography and portraiture, Pagliuso emphasizes the plumage, stance, form, and countenance of each bird on a minimal background to give a certain air of dignity, sophistication, and luxury. The birds, which are equal parts expressive and distinguished, take on anthropomorphic qualities as Pagliuso ascribes a sort of humanness to each one. Pagliuso shot more than 30 breeds of chickens in her New York studio, using a medium-format camera.
Integral to her work is her traditional printing process. Pagliuso experiments with darkroom techniques, printing each photograph by hand in her studio. She carefully applies a silver gelatin emulsion onto handmade Thai Mulberry papers before exposing the negative. These carefully considered images are simplistic and minimalist in form, creating painterly photographs that are at once distinct and penetrating.
The Poultry Suite: Photographs by Jean Pagliuso is to be released by Hirmer Publishers in Spring 2015.
For press inquiries, contact Derek Piech at 212-397-0669 or firstname.lastname@example.org.
- Laurent de Brunhoff: Babar on Paradise IslandNovember 15 – December 23, 2014
Mary Ryan Gallery is pleased to announce an exhibition of original Babar illustrations by Laurent de Brunhoff in celebration of his latest book, Babar on Paradise Island (2014). The show features a selection of works from de Brunhoff’s newest book as well as graphites, studies, and published watercolors from Babar’s Museum of Art (2003), Babar and the Ghost (1981), Babar’s Little Girl (1987), Babar’s Celesteville Games (2011), and Babar’s Book of Color (1984).
Laurent de Brunhoff (b. 1925, Paris) is the acclaimed author and artist of Babar the Elephant books. The classic series started as a bedtime story first invented and told by Laurent’s mother, Cecile de Brunhoff, and later illustrated in book form by his father, Jean de Brunhoff (1899-1937). Jean de Brunhoff’s The Story of Babar, was published in 1931. After completing only six books, Jean died in 1937 and Laurent, then only 13 years old, colored and designed the cover illustration for the publication of his father’s seventh and last book. Laurent went on to study art at the Académie de la Grande Chaumière, and lived in Montparnasse, working as an abstract painter. In 1946, at the age of 21, Laurent brought Babar back to life in his own first Babar book, Babar’s Cousin: That Rascal Arthur. Laurent has since written and illustrated more than 50 Babar books. Laurent’s wife, author Phyllis Rose, has written the text for his most recent books, extending the story that began with Cecile.
In the 1980s, Laurent moved to the United States and married Rose, and later gave Babar and Celeste a new family member: the adventurous Isabelle in Babar’s Little Girl. In Babar on Paradise Island, Isabelle has grown up; Babar and Celeste are grandparents. Some characters age, while some remain the same age. Paradise Island is inspired by de Brunhoff’s love of Key West. Here, his color palette for the hot tropical setting is bright and intense, in contrast to the more subdued palette he uses for Celesteville’s dry climate.
Mary Ryan Gallery is the exclusive representative for Laurent de Brunhoff’s art including all Babar published watercolor illustrations, studies and drawings. The gallery has organized numerous traveling museum exhibitions of his work and held solo exhibitions in 1987, 1994, 1996, 1998, 2002, and 2008.
In 2012, the Musée des Arts Décoratifs and the Bibliothèque Nationale in Paris held major Babar exhibitions of Laurent and Jean’s work, organized by curator Dorothée Charles. In 2008, the Morgan Library and Museum in New York mounted a major exhibition of original drawings and manuscripts by Jean and Laurent de Brunhoff, for which a catalog was published, Drawing Babar: Early Drafts and Watercolors by Christine Nelson, including an essay about Babar by Adam Gopnik, which was later published in The New Yorker.
Major exhibitions of Laurent and Jean’s work were held in 1981 at the Centre Culturel du Marais in Paris; in 1983-84 at the Minneapolis Institute of the Arts, Baltimore Museum of Art, Toledo Museum of Art, among others; in 1987 in Japan; and in 1989-90 at the National Academy of Design in New York and the Royal Ontario Museum in Toronto, among others. There have been solo exhibitions of Laurent’s work at many museums throughout America, several organized by Mary Ryan Gallery, recently at the Customs House Museum in Key West, FL; the Dixon Gallery in Memphis, TN; the Speed Museum in Atlanta, GA; and the Davison Center of Wesleyan University, Middlebury, CT.
Original Babar manuscripts and artwork by Laurent and Jean are in the collection of The Morgan Library and Museum, New York, and the Bibliothèque Nationale, Paris. Laurent de Brunhoff holds both French and American citizenship and was made an Officier de l’Ordre des Arts et des Lettres, and a Chevalier of the Légion d’Honneur.
- Artists of the East EndOnline exhibition
The Eastern End of Long Island has long been a post of artistic production for important modern and contemporary artists who have found themselves settling in or passing through the South Fork Hamptons communities and North Fork neighborhoods. The following is a brief history, more of a teaser, as there are far too many names of artists past and present to include.
William Merrit Chase and Childe Hassam were among the earliest artists to arrive at the turn of the 19th century. Robert Motherwell arrived in the 1940s, followed by Jackson Pollock and Lee Krasner. Willem de Kooning stayed with Pollock and Krasner for a weekend before buying a house in the 1950s and moving his studio there in the 1960s. Stanley William Hayter lived in Amagansett in the early 1940s, and Joan Mitchell summered in East Hampton during the early 1950s. Fairfield Porter settled in Southampton in the 1960s. By the early 1970s, Andy Warhol and Richard Avedon set down roots in Montauk, while Roy Lichtenstein lived in Southampton.
Louise Bourgeois stored her sculpture unattended outdoors in the fields of the Hamptons in the 1970s, and Bruce Nauman worked in Roy Lichtenstein’s studio for nine months. Three communities in Sag Harbor are historically African American, and became a home to artists in the 1960s, including Nanette Carter, Frank Wimberley, and later Al Loving. Donald Sultan, Eric Fischl, April Gornik, Cindy Sherman, Carroll Dunham, and Vija Celmins all located to Sag Harbor in the 1980s. John Chamberlain settled in Shelter Island; Dan Flavin, George Condo, and Chuck Close in Bridgehampton; Francesco Clemente, James DeWoody, Clifford Ross, Lynda Benglis, and Barbara Kruger in East Hampton; Richard Prince in Southampton; and Annie Leibovitz in Wainscott. In recent years, Matthew Barney, Elizabeth Peyton, and Richard Serra have made Orient Point their home. Stuart Davis did not live on Long Island but is buried in the famous Green River cemetery in East Hampton as are Pollock, de Kooning, and Ad Reinhardt.
Working across disciplines, this group of artists share only the presence of Long Island as their subject matter has little to do with the area. It’s rather astonishing then that Willem de Kooning’s beautiful black and white Abstract Expressionist lithographs are the works that most specifically reference the beaches of the East End.
Now, with the stunning new Parrish Museum designed by Herzog and de Meuron in Southampton, ongoing exhibitions at Guild Hall and the Pollock Krasner House, and other institutions, such as The Watermill Center, Dan Flavin Art Institute in Bridgehampton, and LongHouse Reserve in East Hampton, the East End has become an important destination for anyone interested in American art of the 20th century through today. It is an exciting time to collect work by this extraordinary body of artists who settled in these ocean, bayfront, and farm communities, past and present.
- Portrait Prints