“Neue Galerie New York culminates its twentieth anniversary season with the opening of ‘The Ronald S. Lauder Collection,’ a major exhibition featuring approximately 500 works from the collection of the museum’s co-founder and President, many of which have never been on public display. On view at the Neue Galerie from November 11, 2022, through March 27, 2023, the exhibition provides unique insight into one of the finest private collections in the world and introduces visitors to the mindset of a passionate lifelong connoisseur of art, whose forward-thinking vision laid the groundwork for the museum.” — Neue Galerie
As described by Lauder, “In celebration of our twentieth anniversary, we are offering something that has rarely been done before—inviting our visitors to share in the full experience of my collection. Many of the works included in the exhibition appear in similar arrangements as in my home. This gives the visitor an unusual opportunity not only to see these extraordinary works of art, many of which have yet to be presented publicly, but also to experience the interactions they have with each other and the space. In essence, I am opening my doors for the public to understand the evolution of my collection. The exhibition traces why I became an art collector, why I acquired what I have, and shares these ideas with the public, which I think is a critical part of collecting and connoisseurship.”
Installation views of “The Ronald S. Lauder Collection” on view at Neue Galerie New York. Photos: Hulya Kolabas, courtesy of Neue Galerie New York.
“The Ronald S. Lauder Collection” is organized by curator Elizabeth Szancer for Neue Galerie New York. Tom Zoufaly designed the installation and Peter de Kimpe designed the exhibition.
“The Center for Italian Modern Art (CIMA) announces a new exhibition ‘From Depero to Rotella: Italian Commercial Posters Between Advertising and Art’ from February 16th to June 10th, 2023 at its Soho exhibition and research center. The show examines the cross-pollination between avant-garde art and commercial posters in Italy, with a particular focus on the interwar years and the early post-World War II era, during the country’s economic boom.
The exhibition includes over 30 posters from major Italian institutions and corporate collections, as well as a few select private collections in the United States. Among the artists featured: Erberto Carboni, Fortunato Depero, Nikolai Diulgheroff, Lucio Fontana, Max Huber, Bruno Munari, Marcello Nizzoli, Bob Noorda, Giovanni Pintori, Xanti Schawinsky, Mario Sironi, and Albe Steiner. The works of these individuals illustrated the products of companies that made the history of the Italian economy, such as Barilla, Campari, Olivetti, Fiat, Pirelli.” — Center for Italian Modern Art
Nikolay Diulgheroff. Amaro Cora, 1928. Lithograph, 78 x 55 in (198.1 x 139.7 cm). Merrill C. Berman Collection.
Enrico Prampolini. Théâtre Champs-Elysées. Opéra Italien, 1929. Lithograph on paper, mounted on linen, 28 1/2 x 23 in (72.4 x 58.4 cm). Merrill C. Berman Collection.
Xanti (Alexander) Schawinsky. Illy Caffè, 1934. Lithograph on paper,55 1/8 x 39 1/2 in (140 x 100.3 cm). Merrill C. Berman Collection.
Mario Sironi. L’Ambrosiano Edizione del Pomeriggio, 1934. Off. G. Ricordi & C., Milano. Lithograph backed on linen, 55.5 x 77.5 in. internationalposter.com, Boston MA
Xanti (Alexander) Schawinsky. Olivetti MP1 Portable (ico), 1935. Lithograph, 21 3/8 x 14 in (54.3 x 35.6 cm). Merrill C. Berman Collection.
Armando Testa. Pirelli, 1954-c. 1980. Arti Grafiche Pirovano. Offset print, 39 3/8 x 27 1/2 in (100 x 70 cm). Gemma De Angelis Testa Collection.
GiVi (Giuseppe Vincenti). Watt Radio, 1931. Stabilimento Poligrafico Roggero & Tortia, Torino. Chromolithograph on paper, 99.8 x 70.6 cm. Direzione Regionale Musei Veneto – Museo Collezione Salce Treviso. Su concessione del Ministero della Cultura.
Nicola Lucchi, curator of the exhibition, explains that “while poster art has often been described as derivative in character, the show will demonstrate how, from Futurism onwards, Italian posters acquired a visual and communicative force that elevated the medium to a form of artistic expression in its own right, pushing the boundaries of lithographic techniques, photomontage, and typography. The commercial posters’ peculiar ambition to deliver alluring forms and contents to the masses, rather than to an elite circle, also make them an object of socioeconomic and philosophical interest”.
“The first stop on the national tour of the landmark exhibition Whitfield Lovell: Passages is in South Florida at the Boca Raton Museum of Art (February 15 – May 21), and will continue across six states throughout the American South and the Midwest. This is the largest exhibition ever presented of Lovell’s work that focuses on lost African American history, and raises universal questions about America’s collective heritage. Organized by the American Federation of Arts (AFA) in collaboration with the artist, the exhibition is supported by the National Endowment for the Arts (NEA) and the Terra Foundation for American Art, and encompasses the entire first floor galleries of the Boca Raton Museum of Art (7,500 square feet). This is the first time these multi-sensory installations by Lovell are presented together in a museum-wide show of this monumental size and scope.” — Boca Raton Museum of Art
“I have avoided making images of famous people, and instead I use found images of so-called ‘anonymous’ people, whose names we don’t know and whose lives we can’t know about because they were erased from history,” says Whitfield Lovell. “At one time this person walked the earth, spoke and lived and dreamed, just as we are doing today. I look for the humanity that I can find from each of the nameless images I choose to work from.”
“I see the so-called ‘anonymous’ people in these vintage photographs as being stand-ins for the ancestors I will never know,” says Whitfield Lovell. “I see history as being very much alive. One day, 100 years from now, people will be talking about us as history. The way I think about time is very different – I don’t think it really was very long ago that these things happened, it wasn’t that long ago that my grandmother’s grandmother was a slave,” adds Lovell.
Whitfield Lovell (American, b.1959). America, 2000. Charcoal on wood, 89 x 53 1/2 x 20 in. Courtesy of American Federation of Arts, the artist, and DC Moore Gallery, New York.
Whitfield Lovell (American, b.1959). Visitation: The Richmond Project, 2001. Parlor Dining table, organ, various objects, wooden walls, 223 1/4 x 161 3/4 in. Courtesy of American Federation of Arts, the artist, and DC Moore Gallery, New York.
Whitfield Lovell (American, b. 1959). Deep River, 2013. Fifty-six wooden discs, found objects, soil, video projections, sound. Dimensions variable. Courtesy of American Federation of Arts, the artist, and DC Moore Gallery, New York.
Whitfield Lovell (American, b. 1959). Because I Wanna Fly, 2021. Conté on wood with attached found objects. Diameter: 114 in. Virginia Museum of Fine Arts.
Whitfield Lovell (American, b. 1959). The Red I, 2021. Conté on paper with attached found object, 45 3/4 x 34 x 5 7/8 in. Courtesy American Federation of Arts, the artist, and DC Moore Gallery, New York.
“These installations create a profound immersive experience that enables visitors to become participants in, not just observers of, the experience of these ancestors who were lost to time,” says Pauline Forlenza, the Director and CEO of American Federation of Arts. “Together, these works convey passages between bondage, freedom, and socioeconomic independence, promoting a deeper connection with African American histories through art. An exhibition of this magnitude would not be possible without the support of the National Endowment for the Arts, the Terra Foundation for American Art, and the six museums selected for this tour.”
“An ongoing exhibition of the Museum of Arts and Design’s (MAD) growing permanent collection of more than 3,500 objects, Craft Front & Center will feature a fresh installation of more than 60 historic works and new acquisitions dating from the golden age of the American Craft movement to the present day. Organized into themes of material transformation, dismantling hierarchies, contemplation, identity, and sustainability, the exhibition illuminates how the expansive field of craft has broadened definitions of art. Craft Front & Center opens on February 4, 2023.
Established at the Museum’s beginning in 1956, MAD’s permanent collection was the vision of Museum founder Aileen Osborne Webb, the collector and philanthropist who pioneered an understanding of craft and the handmade as a creative driving force of art and design. With the aim of broadening access to the collection’s holdings, the multiyear exhibition will showcase the value of the handmade in the display of contemporary works and recent acquisitions. Craft Front & Center will be updated periodically with new displays of rarely seen works and recent additions, as well as serve as inspiration for hands-on workshops and off-site field trips.” — MAD
Installation views of Craft Front & Center at the Museum of Arts and Design, New York (February 4, 2023 to January 14, 2024). Photos by Jenna Bascom; courtesy the Museum of Arts and Design.
“This is the first long-term exhibition of the permanent collection since MAD opened its doors at our home in Columbus Circle in 2008,” said Elissa Auther, MAD’s Deputy Director of Curatorial Affairs and William and Mildred Lasdon Chief Curator. “Inspired by the Museum’s radical, founding mission to champion craft as central to the advancement of art, the exhibition expands the story of craft conventionally told by scholars and museums and makes the case for the relevance of the handmade in culture and society today.”
“Hervé Chandès, Artistic Managing Director of the Fondation Cartier pour l’art contemporain and Alex Poots, Artistic Director & CEO of The Shed, are pleased to announce the North American debut of The Yanomami Struggle, a comprehensive exhibition dedicated to the collaboration and friendship between artist and activist Claudia Andujar and the Yanomami people, one of the largest Indigenous groups living in Amazonia today.
Following acclaimed presentations at the IMS São Paulo, the Fondation Cartier, and the Barbican Centre (London), among other venues, the exhibition will be expanded at The Shed to include more than 80 drawings and paintings by Yanomami artists André Taniki, Ehuana Yaira, Joseca Mokahesi, Orlando Nakɨ uxima, Poraco Hɨko, Sheroanawe Hakihiiwe, and Vital Warasi. Visitors will also discover new video works by contemporary Yanomami filmmakers Aida Harika, Edmar Tokorino, Morzaniel Ɨramari, and Roseane Yariana. These works will appear alongside more than 200 photographs by Claudia Andujar that trace the artist’s encounters with the Yanomami and continue to raise visibility for their struggle to protect their land, people, and culture. The dialogue established between the contemporary Yanomami artists’ work and Andujar’s photographs offers an unprecedented vision of Yanomami culture, society, and visual art. The contemporary Yanomami works will be shown in New York for the first time, building the most extensive presentation of Yanomami art in the U.S. to date.” — The Shed
“I think the most important thing is the chance to introduce people to another aspect of our world. At the same time, this other aspect of our world allows us to recognize ourselves in other human beings who deserve to live their lives as they wish and according to their own understanding of the world“. — Claudia Andujar
“Those who do not know the Yanomami will know them through these images. My people are in them. You have never visited them, but they are present here. It is important to me and to you, your sons and daughters, young adults, children to learn to see and respect my Yanomami people of Brazil who have lived in this land for many years”. — Davi Kopenawa, shaman and Yanomami leader
“At a time when Amazonia is threatened once again by unbridled development, deforestation, and illegal mining, this exhibition presents a multilayered narrative of violence and resistance. It also uses art as a platform to amplify the Yanomami voices and expose our responsibilities in the humanitarian and environmental crisis threatening Indigenous societies worldwide”. — Thyago Nogueira, curator
The exhibition is curated by Thyago Nogueira, Head of Contemporary Photography at Instituto Moreira Salles, São Paulo, Brazil (IMS) and organized by IMS, the Fondation Cartier, and The Shed in partnership with the Brazilian NGOs Hutukara Associação Yanomami and Instituto Socioambiental.
“Now on view at Scandinavia House, On the Arctic Edge — Artists Explore the Far North presents three contemporary photo-based artists whose work traverses the regions of the Arctic Circle to probe themes ranging from time and memory, to landscape and the built environment, to science and mythology, to our changing climate: Marion Belanger, Clare Benson, and Steve Giovinco.
The exhibition will be accompanied by two upcoming programs: an Artist Panel on Saturday, February 4 at 1:30 PM with artists Marion Belanger, Clare Benson, and Steve Giovinco in conversation with photographer Erika Larsen. The discussion will examine the individual experiences and work of each artist, as well as the broader perspective the exhibition brings as a collective reflection on the rapidly changing landscape of the Arctic region. On Thursday, February 16 at 7 PM at Scandinavia House, author Lisa E. Bloom will discuss her new book Climate Change and the New Polar Aesthetics: Artists Reimagine the Arctic and Antarctica, exploring how artists, filmmakers, and activists engaged with the Arctic and Antarctic represent our current environmental crises and reconstruct public understandings of them, including Katja Aglert, Subhankar Banerjee, Judit Hersko, Roni Horn, Isaac Julien, Zacharias Kunuk, and others.” — Scandinavia House
Marion Belanger, Rift #20, 2006. Pipes for geothermal energy, Hvergaerdi. Archival pigment print, 30×24 inches (framed).
“Americas Society presents Bispo do Rosario: All Existing Materials on Earth, the first solo exhibition in the United States of Afro-Brazilian artist Arthur Bispo do Rosario (b. 1909, Japaratuba, Brazil, d. 1989, Rio de Janeiro)—known as ‘Bispo.’ During his career, Bispo created more than 1,000 artwork objects from Colônia Juliano Moreira, a psychiatric institution in Rio de Janeiro where he lived most of his life.
Bispo do Rosario was born in Japaratuba, Brazil in 1909. A descendant of slaves, he spent his youth working as a servant and a housekeeper and later served in the Brazilian navy, which discharged him for insubordination. In 1938, Bispo had a series of hallucinations that made him believe he had been sent by God on a mission to recreate the universe. After he was diagnosed with schizophrenic paranoia, he was arrested and sent to the Colônia Juliano Moreira psychiatric institution in Rio de Janeiro, where he spent the rest of his life. Much of his work reflects the African folk arts of his native region and his Christian faith.
Bispo do Rosario: All Existing Materials on Earth compiles Bispo do Rosario’s iconic artworks, which include hand-embroidered textiles with attached elements, mixed-media sculptures, and his ‘Annunciation Garment,’ his best-known artwork, which he intended to wear on Judgment Day.” — Americas Society
Untitled [Manto da apresentação (Annunciation garment)], n.d. Fabric, thread, ink, found materials, fiber. 46 5⁄8 × 55 5⁄8 × 2 ¾ inches Above: front view. × 141.2 × 7 cm). Photo: Rafael Adorjan
Untitled [Eu vi Cristo (I saw Christ)], n.d. Fabric, thread, plastic, metal, ink, found materials. 30 × 25 ½ × ¾ inches (76 × 65 × 2 cm). Photo: Rafael Adorjan
Untitled [Asdrubal de Moraes], n.d. Fabric, paper, thread. 24 3⁄8 × 16 ½ × ¾ inches (62 × 42 × 2 cm). Photo: Rafael Adorjan
“His commitment to his craft was the result of a mandate, an offering, and a mission to replicate, catalogue, and organize the world around him,” said the exhibition curatorial team. “His endless activity helped him to survive the hardships of many years of psychiatric institutionalization.”
Exhibition was co-curated by Aimé Iglesias Lukin, Ricardo Resende, and Javier Téllez, with Tie Jojima, the exhibition is organized in collaboration with the Museu Bispo do Rosario Arte Contemporânea in Rio de Janeiro.
“The International Center of Photography will present a new exhibition spanning seven decades—from the 1910s to the 1970s—focusing on how photographers portray their friends. On view from January 27 through May 1, 2023, Between Friends: From the ICP Collection offers viewers intimate moments of collaboration between artists and their friends—in snapshots, casual studio portraits, and going about their everyday lives.
The exhibition features portraits of artists and writers such as Leonard Bernstein, Truman Capote, Helen Frankenthaler, Georgia O’Keefe, and Saul Steinberg by well-known photographers and artists including Ansel Adams, Berenice Abbott, Henri Cartier-Bresson, Alfred Stieglitz and Andy Warhol. Between Friends also calls attention to many women photographers from ICP’s collection, including Nell Dorr, Lotte Jacobi, Consuelo Kanaga, and Barbara Morgan. Between Friends continues a new series drawn from ICP’s collection of photographs and related materials. The exhibition is curated by Sara Ickow, Senior Manager of Exhibitions and Collections at ICP.” — ICP
“The stories behind these images are poignant, funny, sad or uplifting,” notes Sara Ickow about the exhibition. “The images bring to light friendships and connections between artists that were long forgotten and document the importance of friendships to the creative process and an artist’s legacy.”
Barbara Morgan, Berenice Abbott with Cat, 1942. Gift of Mr. and Mrs. David C. Ruttenberg, 1986 (543.1986). Courtesy the Barbara and Willard Morgan photographs and papers, Library Special Collections, Charles E. Young Research Library, UCLA
“Creating an atmosphere of conversations held just beyond the frame of the images, Face to Face features more than 50 photographs by Brigitte Lacombe and Catherine Opie, and two films by Tacita Dean, with bracing, intimate, and resonant portraits of compelling cultural figures including Maya Angelou, Richard Avedon, Louise Bourgeois, Joan Didion, David Hockney, Miranda July, Rick Owens, Martin Scorsese, Patti Smith, Mickalene Thomas, Kara Walker, and John Waters, among others. The exhibition presents some of the often-overlapping subjects immortalized by Dean, Lacombe, and Opie and investigates the charged genre of portraiture, one that often carries a sense of intimacy and exposure simultaneously.” — ICP
“These pictures and films offer us formality and intimacy, patience and curiosity, and the thrill of an unguarded moment,” said curator Helen Molesworth. “I see all three artists involved in making pictures that are not only in dialogue with their given subjects, but also with the history of the genre of portraiture and the medium of photography. Art is many things, but for artists it is a way of talking to each other through pictures. It’s a transhistorical game of stealing and borrowing techniques, paying homage to one another’s triumphs—a constant call and response.”
Face to Face: Portraits of Artists by Tacita Dean, Brigitte Lacombe and Catherine Opie is organized by renowned writer and curator Helen Molesworth. It will be accompanied by a fully illustrated catalogue published by ICP and MACK, London, with essays by Molesworth and writer and curator Jarrett Earnest.
Images courtesy International Center of Photography.
“Organized by El Museo del Barrio and curated by invited guest curator Olga Viso in collaboration with El Museo curator Susanna V. Temkin, Juan Francisco Elso: Por América investigates the brief yet significant career of the late Cuban artist Juan Francisco Elso (1956-1988). Based in Havana, Elso was part of the first generation of artists born and educated in post-revolutionary Cuba, who gained international recognition in the early 1980s.
Created mostly using natural, organic materials, his sculptural practice examines the complex formations of contemporary Cuban, Caribbean, and Latin American identities, as inflected by the cultural influences of Indigenous traditions, Afro-Caribbean religious beliefs, as well as the traumas of colonial oppression. Elso’s commitment to such histories – which relate to El Museo del Barrio’s own foundational ethos – presage current post- and decolonial perspectives. The exhibition examines such legacies and parallels by placing Elso’s prescient work alongside a multigenerational group of artists active in the Caribbean, and throughout North, South, and Central America.” — El Museo del Barrio
Juan Francisco Elso, Por América (José Martí), 1986, wood, plaster, earth, pigment, synthetic hair, and glass eyes, 56.75 x 17.25 x 18.25 in. Photo/ Ron Amstutz Hirshhorn Museum and Sculpture Garden.
Juan Francisco Elso, Install of La ceiba y La palma, 1983, screenprint mounted on cardboard and wood, 86.625 x 59 x 27.2 in and 96 x 40 x 30.75 in.
Juan Francisco Elso, Tierra, maiz, y vida series, 1983, graphite on paper, pencil on paper, or mixed media on cardboard, various measurements.
Juan Francisco Elso, Pajaro que vuela sobre America, 1985, carved wood, branches, wax, jute thread, and basket elements, 70.875 x 153.5 x 6 in.
Juan Francisco Elso, La Fuerza del Guerrero, 1986, carved wood, plaster, wooden rods, and colored cloth, 65 x 63 x 63 in.
Juan Francisco Elso Installation View of Essay on America Gallery.
Juan Francisco Elso Installation View of Transparency of God gallery through Juan Francisco Elso’s El Rostro de Dios, 1987-1988.
Juan Francisco Elso Installation view of Juan Francisco Elso’s Corazón de América c.1987-1988 and a reproduction of La mano Creadora, 1987-1988.
Juan Francisco Elso, Caballo contra colibri [Horse against Hummingbird], 1988, wood, paper, twigs, jute, wax, volcanic sand, earth, and iron, 96 x 156 x 13 in.
Juan Francisco Elso with Caballo contra colibri. Photo/ Christina Lobeira.
“Presented through a contextual rather than monographic approach, Juan Francisco Elso: Por América is organized into several, interrelated thematic sections that explore vital crosscurrents between Elso’s art and the creative output of both close colleagues and others who, despite having not known him, demonstrate parallel affinities. Featuring 45 works by more than 30 artists, the exhibition includes Belkis Ayón, Luis Camnitzer, Glenn Ligon, Ana Mendieta, and Michael Richards, as well as new commissions by Tiona Nekkia McClodden and Reynier Leyva Novo.” — El Museo del Barrio
“The exhibition is part of a broader investigation undertaken by Fondazione Prada since 2015, when it simultaneously presented ‘Serial Classic’ and ‘Portable Classic’ in its Milan and Venice spaces, two exhibitions curated by Salvatore Settis (with Anna Anguissola in Milan, and Davide Gasparotto in Venice) and designed by Rem Koolhaas/OMA. The underlying premise of this research is the need to think of the classical not simply as a legacy of the past, but also as a vital element with the power to affect our present and future. Such themes as seriality, reuse, and recycling in art are closely linked to our conception of modernity, but they also attest to the extraordinary persistence of certain classical values, categories, and models. Through an innovative interpretive approach and experimental exhibition formats, ancient heritage—in particular Greco-Roman heritage—becomes, in Settis’ words, ‘a key that provides access to the multiplicity of cultures in the contemporary world’.” — Fondazione Prada
As Salvatore Settis explains, “Reuse entails the coexistence of different temporalities, in which historical distance and narrative and emotional simultaneity are continually intertwined. The ancient Roman marbles belong to the same cultural horizon as those who reuse them, therefore appropriating them is felt to be natural. But the dimension of time evades the sequence of the calendar: it is unstable and can be manipulated and bent […]. Why take from ruins a relief, a vase, a capital? Why carry it somewhere else to insert it into a new context? The answers explored in recent decades go in three complementary directions: reuse can have a value that is either memorial (aimed at the past), foundational (directed towards the present), or predictive (oriented towards the future). Without documents it is often difficult to decide which of these intents prevailed from one case to the next; it is certainly possible that they were present simultaneously. […] The heart and spur of the act of reuse is often, or maybe always, ‘to insert the past into the future,’ as German historian Reinhart Koselleck contends to foresee or determine its development. The new context absorbs what it reuses, but it must (and wants to) leave it recognizable even while (or rather, precisely because) it takes possession of it.”
Exhibition views of “Recycling Beauty” at Fondazione Prada, Milan. Photos: Roberto Marossi. Images courtesy Fondazione Prada.
“Recycling Beauty” was curated by Salvatore Settis and Anna Anguissola with Denise La Monica, and was designed by Rem Koolhaas/OMA, together with Giulio Margheri.
“In celebration of an exceptional gift of drawings by one of Italy’s leading contemporary artists, the Philadelphia Museum of Art presents a major exhibition examining the poetic vision of Giuseppe Penone, whose artistic production from the late 1960s to the present invites a timely rumination on the relationship between human experience and nature. River of Forms: Giuseppe Penone’s Drawings demonstrates the centrality of drawing in the artist’s work through a selection from the important gift and related sculptures. The exhibition conveys Penone’s extraordinary range of mark-making techniques and traces his explorations of drawing as an interface between artist and nature.“ — Philadelphia Museum of Art
The artist commented: “At the foundation of every single work of art the fascination and wonder that the world and its matter provoke is always felt. It is that fascination that the work, even a simple drawing, can evoke through its signs, its colors. This thought makes me believe and hope that the public will be able to share and appreciate my work, which I hope will manage to convey a sense of participation and belonging. A drawing is both the tracing of a person’s hand, and it is the imprint of a thought. This group of drawings is a journey through the ideas that have nourished my work, and my hope is that the public will be able to feel and to share this energy.”
“Project for Mirroring Contact Lenses—Looking at the Road (Progetto per lenti a contatto specchianti—Guardare la strada),” 1970, by Giuseppe Penone. Blue biro on paper, 13 x 7 1/8 inches (32.9 x 18.1 cm). Gift of the artist in honor of Dina Carrara, 2019. Image courtesy Philadelphia Museum of Art, 2020.
“Project for Projection, Plaster cast, Slides (Progetto per proiettore, calco di gesso, diapositiva),” 1972, by Giuseppe Penone. Hair and pastel on paper, 17 1/16 x 26 5/16 inches (43.3 x 66.8 cm). Gift of the artist in honor of Dina Carrara, 2019. Image courtesy Philadelphia Museum of Art, 2020.
Breaths, 1977, by Giuseppe Penone. Pencil and watercolor on paper. 10 x 14 3/8 inches. Gift of the artist in honor of Dina Carrara, 2019. Image courtesy Philadelphia Museum of Art, 2020.
“Untitled (Senza titolo),” 1982, by Giuseppe Penone. Synthetic polymer paint, spray-applied, and graphite on wove paper, 22 5/16 x 30 3/8 inches (56.7 x 77.2 cm). Gift of the artist in honor of Dina Carrara, 2019. Image courtesy Philadelphia Museum of Art, 2020.
“Project for Hand on Earth (Progetto per Mano di terra),” 1988, by Giuseppe Penone. India ink on paper treated with turpentine, 19 7/8 x 27 9/16 inches (50.5 x 70 cm). Gift of the artist in honor of Dina Carrara, 2019. Image courtesy Philadelphia Museum of Art, 2020.
“Vegetal Gaze (Sguardo vegetale),” 1991, by Giuseppe Penone. Pencil and ink on paper, 14 1/2 x 10 9/16 inches (36.8 x 26.8 cm). Gift of the artist in honor of Dina Carrara, 2019. Image courtesy Philadelphia Museum of Art, 2020.
River of Forms: Giuseppe Penone’s Drawings at Philadelphia Museum of Art was curated by Carlos Basualdo, Keith L. and Katherine Sachs Senior Curator of Contemporary Art, with Lara Demori, Ph.D., Research Associate.
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