Affichage des articles dont le libellé est Eve Aschheim. Afficher tous les articles
Affichage des articles dont le libellé est Eve Aschheim. Afficher tous les articles
'Episodes with Wayne Thiebaud' by Eve Aschheim and Chris Daubert
In 'Episodes with Wayne Thiebaud', Eve Aschheim and Chris Daubert interview Wayne Thiebaud in four extensive conversations in his studio. Thiebaud, known for his iconic paintings of cakes, pies, and counter displays, is one of the last living painters of the Pop era. Staunchly maintaining his independence from that group and others, he went on to develop vertiginous cityscapes, deeply abstracted rural landscapes, and most recently, monolithic mountains. In these extended conversations, conducted between 2009 and 2011, Thiebaud reveals himself to be extremely well read, articulate, humorous, self-deprecating, and opinionated. Covering a wide range of topics, he discusses his early years in New York, where he became friends with Willem and Elaine de Kooning and hung out at the Cedar Tavern; his return to California; the many influences on his work (Krazy Kat, Persian miniatures, de Kooning, Diebenkorn, Hopper, Balthus, de Chirico); his working methods and thoughts on painting; and his advice to young artists.
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Yifat Gat's Studio Guests : Eve Aschheim David Rhodes
Yifat Gat's Studio Guests :
Eve Aschheim
David Rhodes
Mai 30 - June 15, 2013
Eve Aschheim
David Rhodes
Mai 30 - June 15, 2013
opening 1 June 17:00
l’Ancienne Poudrerie Saint-Chamas 13250 FR.
PRESS RELEASE
Eve Aschheim / New York
Eve Aschheim’s approaches to image-making, concern line and light, interior and exterior space, rhythm and pattern, and gesture and a sense of play conveyed using the medium’s unique processes and material. As a single body of work, Aschheim’s luminous, shimmering, intimate photograms evoke architectural and natural space, and affirm the value of the handmade, constructed, and seen. Each resulting image captures the presence and process of emotion, searching, and thinking; for the viewer, looking at the images provokes feeling, exploration, and thought.Aschheim’s assembled and constructed images retain a semingly contradictory sense of vulnerability, openness, and surprise.
Eve Aschheim is a Lecturer at the Visual Arts Program at Princeton University. New York.
Recent solo exhibitions include: Galleri Magnus Aklundh, Lund, Sweden; Galerie Inga Kondeyne, Berlin; and Larry Becker Contemporary Art, Philadelphia.
Collections include: Museum of Modern Art, New York, NY; Hamburger Bahnhof, Berlin; National Gallery of Art, Washington, DC; Fogg Art Museum, Harvard University; Kunstmuseum Bonn, Germany; and The Lannan Foundation, Santa Fe, NM.
David Rhodes / Berlin
Rhodes’s work, all untitled, is part of the body of mostly black and white paintings that have occupied him for the past few years. Variously thin, taped, near-verticals, under which paint bleeds, make soft-edged lines that zip and zag, running up and down, not quite matching or aligning. In Rhodes’s images there are hints of signage, design, planning, mapping, traffic, interchanges, grains, wedging, each which their own conditions of place and space, layers or flatness: compact, energetic, open and closed, pressed and stacked, fitted and busting out, the world seeping in, the world beyond the painting, all struggling at the edges of the the conventional, containing rectangle. And there is a sense of playfulness and virtue found in no hesitation, repetition, following process, acceptance of decoration, and the value of work for work’s sake.
Widely exhibited, David Rhodes, is also a prolific writer about art, most recently for Artforum, The Brooklyn Rail, and Art Critical. Recent catalog texts include writing about: Ernst Wilhelm Nay for Michael Werner Gallery/Mary Boone Gallery; Nathan Peter for PSM Galerie, Berlin; Henri Matisse for Museum Ludwig, Cologne; and Mary Heilmann for Museum Ludwig, Cologne.
Upcoming 2013 group exhibitions include: Lion and Lamb, London UK; and JiM Contemporani, Barcelona, ES (Paul Pagk, Laurie Reid, Sam Reveles, & David Rhodes).
Recent selected solo exhibitions: Some Walls, Oakland, CA, Galerie Katharina Krohn, Base, CH; and Centrum Berlin, Berlin, DE. Recent selected group exhibitions: On Tour at Kunsthaus, Tosterglope, DE; X6 at galerie oqbo, Berlin DE; Futureshock 12 at Galerie Dr Julius, Berlin, DE; Crossing Abstraction II at Galerie-Kunsthaus and Forum Konkrete Kunst, Erfurt, DE; Twin, Twin at Pierogi, New York, USA; Paper Works and Rhyme Not Reason at Janet Kurnatowsky Gallery, New York, USA; Concrete Things at Forgotten Bar Projekt, Berlin, DE; Ramp at Parkhaus, Berlin, DE; Maximal Pleasure at Souterrain, Berlin, DE; and Offon at Galerie Hafenrand, Hamburg, DE.
Chris Ashley
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Yifat Gat's Studio is open by appointment only.
Yifat Gat's Studio is open by appointment only.
l’Ancienne Poudrerie Saint-Chamas 13250 FR.
View the exhibition online at http://contemporarydrawingsalon.blogspot.fr/
To schedule a visit, or for more information please contact yifat gat at gatyifat@gmail.com
Eve Aschheim: New Work
 February 23 - March 24, 2012 Reception Thursday, February 23, 6 to 8 pm |
Abyssinia (2011). Oil on canvas on panel, 16 x 12 inches |
Eve Aschheim
thank you L for your recommendation
i really love her work:
http://www.princeton.edu/arts/arts_at_princeton/visual_arts/professor_bios/aschheim/
Eve Aschheim
Galerie Inga Kondeyne, Berlin
August 28 – September 27, 2009
When Stefan Wolpe (1902-1972) began “Battle Piece” in 1942, it was to have been the first of a series of works for solo piano titled “Encouragements,” intended as a composer’s contribution to the struggle against Fascism; part of the genre Kampfmusik that had earlier included chamber operas, theatre music, and agitprop songs. The composition not only addressed the social and political struggles of the day, but also a desire to transform disparate musical idioms into a subjective communication of personal experience. The complex, multi-part structure of “Battle Piece” that finally emerged in 1947 is characterized not only by thematic repetitions but also by a sense that the music continuously seeks to discover itself rather than express a previously well-articulated premise. His music is a philosophy, a two-way street connecting communal and solitary modes of being at the junction of their interrelation. As this is music, the philosophy is an abstraction, not a description.
read more
i really love her work:
http://www.princeton.edu/arts/arts_at_princeton/visual_arts/professor_bios/aschheim/
Letter from BERLIN
by David RhodesEve Aschheim
Galerie Inga Kondeyne, Berlin
August 28 – September 27, 2009
When Stefan Wolpe (1902-1972) began “Battle Piece” in 1942, it was to have been the first of a series of works for solo piano titled “Encouragements,” intended as a composer’s contribution to the struggle against Fascism; part of the genre Kampfmusik that had earlier included chamber operas, theatre music, and agitprop songs. The composition not only addressed the social and political struggles of the day, but also a desire to transform disparate musical idioms into a subjective communication of personal experience. The complex, multi-part structure of “Battle Piece” that finally emerged in 1947 is characterized not only by thematic repetitions but also by a sense that the music continuously seeks to discover itself rather than express a previously well-articulated premise. His music is a philosophy, a two-way street connecting communal and solitary modes of being at the junction of their interrelation. As this is music, the philosophy is an abstraction, not a description.
read more
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