Exhibition Archive - Akim Monet Curatorial 2011-2021

Berlin (2011-2018): Bridge over chaos (Spring 2016)

  • AM_14-Bridge-over-Chaos_1600x1200-02
  • John MARTIN (1789-1854)Mezzotint on laid paper19,2 x 26,8 cmThe title work of the present exhibition is John Martin’s most renowned subject, a mezzotint also conserved in major museums such as the Victoria & Albert Museum (London), the Art Gallery of New South Wales, and the National Gallery of Canada (Ottawa).
  • Dante ALIGHIERI (1265-1321)Illustrated by George GROSZ
  • Auguste RODIN (1840-1917) Bronze with a green patinaEd. 2/8190 x 110 x 79 cmCast in 2015 by Susse Fondeur, ParisInscribed A. Rodin, © by Musée Rodin and numbered 2/8, one of the eight examples numbered in Arabic numerals, dated and stamped with foundry markPROVENANCEMusée Rodin, ParisEXHIBITIONExposition Universelle. Pavillon de l’Alma, Paris (plaster)April 15 - November 12, 1900The Laboratory of Creation. Musée Rodin, Paris (bronze - another cast) November 13, 2014 - December 6, 2015 LITERATUREAntoinette Le Normand-Romain (ed.), Rodin en 1900: l'exposition de l'Alma, exhibition catalogue, Paris, Musée du Luxembourg, 12 March – 15 July 2001, p. 270 (another cast)AUTHENTICATIONA certificate of authenticity, signed by the Director of the Musée Rodin, is given to every purchaser of an original bronze by Auguste Rodin.This work will be included in the forthcoming Auguste Rodin catalogue critique de l’oevre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le Blay.NOTESWe are indebted to the Musée Rodin for the following:The city of Calais wanted to pay tribute to the heroism of six town leaders who, at the end of a one- year siege in 1347, were willing to sacrifice their lives for the citizens of Calais: King Edward offered to spare the people if six of the most powerful men of the town handed over the keys to the city. This episode of the Hundred Years War is well known and widespread in France and England through the Chroniques de France by Jean Froissart (1360-1365). However, no one had created a project that recognized the history of the old Calais until 1884, when the city joined with the neighboring commune of Saint-Pierre and the existing city walls were extended. On the 26th of September, the mayor Omer Dewavrin suggested that the town council search for a sculptor with the aid of a national appeal fund to create a monument dedicated to Eustache de Saint-Pierre and the other city fathers to be erected on the site of the merger of the two cities. Some days later, the mayor got to know Rodin through Prosper-Adrien Isaac, a painter originally from Calais, who had settled in Paris. This was the first meeting between these two men whose collaboration would last for ten years. During this period, Dewavrin had many doubts: Rodin appeared very rigorous in the beginning, then became apathetic when the achievement of the monument was about to fail, so the commitment of his intermediary was necessary to complete the project successfully. The Burghers of Calais were formed fully nude, then molded and only then dressed; the finalized versions of the first three statues, of which Pierre de Wissant was one, were exhibited in the gallery of Georges Petit, Paris in May 1887.In 1900, Rodin showed in addition to the final model of the monument a fragmentary study of the nude Pierre de Wissant: The tracks of the armature under the left foot and right shoulder prove that the figure is in a preparatory state for the finalized monument, whereas the lack of hands exemplify Rodin’s working process: The sculptor had the possibility to experiment with different montages. However, over time Rodin realized that the figure had the posture of a slender dancer, as it has a subtle twist. Around 1903 – 1904, Haweis and Cole photographed the statue outdoors in Meudon, but Rodin had already decided to exhibit it in a place of honor--in the middle of the rotunda that served as the entry to the Pavillon de l’Alma, the site that had been reserved for his Eve. The decision to introduce the retrospective of his complete oeuvre with this nude had a symbolic value: It was indeed one of the group elements that constituted his first grand realization, The Burghers of Calais. The figure was presented in plaster, a material that was used for studies but which could be seen in 1900 as the result of Rodin’s recent revolutionary exploration of the essence of sculpture. In spite of the importance that Rodin gave to the Pierre de Wissant, nu monumental sans tête ni mains, the figure was in fact never cast in bronze during his lifetime.
  • George GROSZ (1893-1959)Oil on Masonite 76 x 55,6 cmCourtesy: Ralph JentschThe Grey Man Dances (1949) is a rare and widely exhibited masterpiece by George Grosz, which was shown at the Whitney Museum of American Art (New York), the Neue Nationalgalerie (Berlin), and Centre Georges Pompidou (Paris).PROVENANCEThe artist’s studio, Huntington, Long Island, 1949Lester G. Rees Collection, ChicagoJack Rutberg Fine Arts, Los AngelesPrivate collection, Italy, 1994LITERATUREManfred Fath, Inge Herold, Thomas Köllhofer, Menschenbilder. Figur in Zeiten der Abstraktion (1945-1955), illustrated p. 48, Berlin 1998Ralph Jentsch, Alfred Flechtheim – George Grosz: Zwei deutsche Schicksale, p. 138, Bonn 2008 Juerg M. Judin (Ed.), George Grosz. Die Jahre in Amerika 1933-1958, cat.-no. 51, illustrated p. 153, Ostfildern 2009EXHIBITEDGeorge Grosz: The Stick Men, Associated American Artists Galleries, New York, 12 April – 1 May 1948George Grosz, Whitney Museum of American Art, New York, 14 January – 7 March 1954; William Rockhill Nelson Gallery of Art, Kansas City, Missouri, 1 – 31 May 1954; The Pasadena Art Institute, 25 June – 25 July 1954; San Francisco Museum of Art, 17 August – 19 September 1954George Grosz: Berlin – New York, Neue Nationalgalerie, Staatliche Museen zu Berlin, 21 December 1994 – 17 April 1995; Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 6 May – 30 June 1995; Staatsgalerie Stuttgart, 7 September – 3 December 1995George Grosz: Berlin – New York, Associated American Artists Galleries, New York, 12 December 1995 – 27 January 1996Face à l’histoire 1933-1936: L’artiste modern face à l’événement historique, Centre Georges Pompidou, Paris, 19 December 1996 – 7 April 1997George Grosz: Berlin – New York, The Museum of Modern Art, Kamakura, 8 April – 21 May 2000; The Itami City Museum of Art, 10 June – 30 July 2000; Tochigi Prefectural Museum of Fine Arts, 6 August – 24 September 2000George Grosz: Berlin – New York, Academie de France à Rome, Villa Medici, 9 May – 15 July 2007George Grosz: Kunst aus zwei Welten: Aufbruch nach Amerika, Schloss Ritzebühl, Cuxhaven, 3 August – 5 October 2008NOTESSince choosing to go into exile in the United Stated in 1933, Grosz had closely followed developments in Germany under Hitler, and he also captured the horrors of the war in his art. However, the great hope that the death of Hitler and the end of the war would improve the political situation in the world was dashed. Instead, it was too obvious that the Cold War could lead to a global atomic disaster. It was during this period that the “stickmen” – gray, empty, soulless creatures – began appearing in Grosz’s paintings. In the picture The Grey Man Dances, the stickman seems crazy; he dances the dance of the madman in a world totally gone insane. The figure’s stick legs are clad in worn fur and stuck into hobnailed boots, in which the stickman haphazardly runs across an ice-covered earth. The ears are nailed shut, the mouth is sew together, the top of the skull opened up, and the hollow body hastily mended. Inexpressively, the cold glass eyes stare into the distance. Still, this fragment creature – the spawn of a mad, grotesque world – appears to feel endless pain. No wonder: in the exploding factories in the background, the machines are running out of control, sparks shoot out of the chimney, and black smoke darkens the sky. The buildings seem to glow with the heat, the layer of ice cracks. The word is out of joint. Juerg M. Judin (Ed.), George Grosz. Die Jahre in Amerika 1933-1958, Ostfildern 2009, p. 77ADDITIONAL NOTESWe are indebted to Newcity Art for the following: George Grosz’s venomous satire is still largely evident as in the 1940s series of “stickmen,” emaciated gray figures of working-class poverty. These tortured souls are mutilated and deformed, as in “Grey Man Dances.” The figure’s ears are boarded up, chest empty and lips sutured shut. Grosz’s grizzly topics are amplified by his murky color choices and encrusted paint applications. Another poignant work that evinces the traumatic dislocation of Grosz is “The Painter of the Hole I” from 1948. Sitting at an easel, the same hollow-brained figure stares desperately at a rotting, blistered canvas. His brush is at the ready but the support is crumbling along with the world and his own body. His task is unenviable and absurd. His brush can’t help the situation, and it can’t drive away the rats from his feet. As a metaphor for Grosz’s own growing skepticism with political activism, this painting reveals his discontent with an activity that increasingly seems as hollow as his “stickmen.” (Dan Gunn)
  • George GROSZ (1893-1959)Oil on Masonite 76 x 55,6 cmCourtesy: Ralph Jentsch
  • George GROSZ (1893-1959)Oil on Masonite 76 x 55,6 cmCourtesy: Ralph Jentsch
  • Auguste RODIN (1840-1917)Bronze100,5 x 73 x 49 cmCast in 2015 by Susse Fondeur, ParisInscribed A. Rodin, © by Musée Rodin and numbered IV/IV, one of four examples numbered in roman numerals, dated and stamped with foundry markPROVENANCEMusée Rodin, ParisOTHER CASTS IN PUBLIC COLLECTIONSSéoul, Rodin Gallery, 2/8 cast in 1990Shizuoka, Prefectural Museum of Art, acquired in 1992, II/IV cast in 1991São Paulo, State Pinacothèque, acquired in 1995, 3/8, cast in 1991Salvador de Bahia, musée Rodin, acquired in 2002, 6/8LITERATUREAntoinette Le Normand-Romain, The bronzes of Rodin, catalogue of works in the Musée Rodin, vol. II, Paris, 1997, p. 568AUTHENTICATIONA certificate of authenticity, signed by the Director of the Musée Rodin, is given to every purchaser of an original bronze by Auguste RodinThis work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le BlayNOTESThe Shade officially appeared when Rodin chose to place at the top of The Gates of Hell three identical figures that were cast from the same mold and assembled on a system of repetitive juxtaposition. According to Camille Mauclair, these figures represent the recently deceased who stoop in terror as they discover the crowd of damned into which they are about to be thrown.In Dante’s poem (the Divine Comedy is the major source of reference for The Gates of Hell), the Three Shades warn the newly arrived with this terrible sentence: {quote}Lasciate ogni speranza, voi ch'entrate{quote}, most frequently translated as {quote}Abandon all hope, ye who enter here.{quote}A few days after the opening of the 1900 exhibition at the Pavillon de l’Alma, the group, which was first exhibited at the foot of The Gates of Hell, returned to the top of the composition, of which it constitutes the indispensable crowning.The Shade was enlarged in 1901 by Henri Lebossé who took “exceptional” care in his work, as he perceived the figure to be “perhaps the most important piece of sculpture of [Rodin’s] career” (quoted in Antoinette Le Normand-Romain, The Bronzes of Rodin: Catalogue of Works in the Musée Rodin, Paris, 2007, vol. II, p. 570). By isolating a fragment of the figure, Torse de l’Ombre throws a new light on the striking pose of Les Ombres, recalling the venerated ruins of Greek and Roman antiquity. In its contrived, twisted pose, Torse de l’Ombre specifically resonates with the Torse du Belvedère, hinting at Rodin’s challenging relationship with the great tradition of classical sculpture.The Shades gave birth to autonomous sculptures. Through its movement, the Torso of the Large Shade somehow announces in a metonymical manner the global axis of the sculpture, agitated in a painful contraposto. Even as it references the antique fragment so dear to Rodin, it is clearly the influence of Michelangelo that is materialized in this subject.
  • Louise BOURGEOIS (1911-2010)Gouache and colored pencil on etched music paper29,2 x 38,1 cm
  • Tracey EMIN (b. 1963)Lonely Chair drawing Igouache on paper101.5 x 137 cm (paper)110.5 x 150.5 x 5.1 cm (framed)EXHIBITEDTracey Emin - Egon Schiele, “Where I Want to Go{quote}, Leopold Museum, Vienna, Austria from April 23 – September 19, 2015.LITERATUREKarol Winiarczyk, Tracy Emin | Egon Schiele. Where I Want To Go, Vienna, 2015, p. 110Tracey Emin is known for her autobiographical and confessional artwork. She shares with Louise Bourgeois the use of art as therapy, and her work has been analyzed within the context of early adolescent and childhood abuse, as well as sexual assault. At the age of 13 she suffered an unreported rape, and after graduating from the Royal Academy of Art in 1989, she had two traumatic abortions, which led her to destroy all the art she had produced in graduate school. She later described the period as {quote}emotional suicide.{quote} Using her own life experiences, Tracey Emin often reveals painful situations with brutal honesty and poetic humor. She uses art to make a story out of her own history and to break out of the prison of her negative experiences. By externalizing her past, she confronts it and thus transforms a personal experience into a shared one that touches the viewer, creating intimacy and universality. Emin works in many media, including painting, sculpture, drawing, embroidery, neon, and performance art. Her latest foray into performance-art-as-therapy might be her recent marriage to a “beautiful, ancient stone” that lives under an olive tree in the garden of her studio in the south of France. As reported in The Art Newspaper, when asked what this union meant, Emin replied:“It just means that at the moment I am not alone; somewhere on a hill facing the sea, there is a very beautiful ancient stone, and it’s not going anywhere. It will be there, waiting for me.”
  • George GROSZ (1893-1959)Collage on cardboard30,5 x 26,3 cmCourtesy: Ralph JentschMyself and New York presents a very personal subject – likely Grosz’s reported disappointment with America and his own life arc. Deluded by his American experience, in 1959, Grosz moved back to Berlin, where he died shortly after his return from complications following a fall down the stairs after a night of heavy drinking.
  • George GROSZ (1893-1959)Brush, reed pen, and pen and ink over charcoal on paper69,7 x 52,2 cmIllustrated for Marek S. KorowicStamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-81-9PROVENANCEThe Estate of George GroszAUTHENTICATIONThis work will be included in the forthcoming catalogue raisonné of works on paper by George Grosz in preparation by Ralph Jentsch, managing director of the George Grosz Estate.
  • George GROSZ (1893-1959)Reed pen and pen and ink on paper59,2 x 46,1 cmVersoStudy of a head for the same subject1934Reed pen and pen and ink on paperStamped on the reverse “GEORGE GROSZ NACHLASS” and numbered UC-259-13PROVENANCEThe Estate of George GroszLITERATUREJuerg M. Judin (Ed.), George Grosz. Die Jahre in Amerika 1933-1958, cat-no. 60, illustrated p. 171, Ostfildern 2009AUTHENTICATIONThis work will be included in the forthcoming catalogue raisonné of works on paper by George Grosz in preparation by Ralph Jentsch, managing director of the George Grosz Estate.
  • George GROSZ (1893-1959)Reed pen and pen and ink on paper59,2 x 46,1 cmStamped “GEORGE GROSZ NACHLASS” and numbered UC-259-13
  • George GROSZ (1893-1959)Reed pen and pen and ink on paper59,3 x 46 cmAnnotated lower left “Obit for nobody/26” lower right and “to Ben Hecht 1001 Afternoons in New York 1941”Stamped on the reverse “GEORGE GROSZ NACHLASS” and numbered 4-49-10PROVENANCEThe Estate of George GroszLITERATUREBen Hecht, 1001 Afternoons in New York, illustrated p. 57, New York, 1941Juerg M. Judin (Ed.), George Grosz. Die Jahre in Amerika 1933-1958, cat.-no. 51, illustrated p. 153, Ostfildern, 2009EXHIBITIONGeorge Grosz. Berlin-New York, Tra Visioni e Reality, Academie de France a Rome, Villa Medici, Rome, 8 May – 15 July 2007George Grosz. Die Jahre in Amerika 1933-1958, Nolan Judin, Berlin, 18 February – 25 April 2009, with venue in David Nolan Gallery New York , 16 September – 31 October 2009AUTHENTICATIONThis work will be included in the forthcoming catalogue raisonné of works on paper by George Grosz in preparation by Ralph Jentsch, managing director of the George Grosz Estate.
  • George GROSZ (1893-1959)Reed pen on paper48,1 x 63,6 cmCourtesy: Ralph Jentsch
  • Please click here for Prisoners, the 57 minute documentary by Jonathan Borofsky and Gary Glassman
  • Various unidentified Chicano inmate-artistsCollection of 9 paños*Graphite, colored pencil, pen and ink on cloth handkerchiefEach approx. 37 x 37 cm (14,5 x 14,5 inches)Framed size: 191,5 x 146,5 cm*Southwestern United States prisoner folk art made by mainly illiterate Hispanic detainees on a prison-issued paño, diminutive of pañuelo (“handkerchief” in Spanish), using inspirations and motifs from Chicano culture.Please click here for a comprehensive essay on paños by Martha V. Henry.
  • Pedro HernandezGrouping of 3 Paños Envelopes*Framed size: 54,5 x 74,5 cmGraphite, colored pencil, pen and ink on stamped, franked envelopes1. Hands and Cross, approx. 24,2 x 10,5 cm (95 x 41 inches) 2. Indian couple, approx. 24,2 x 10,5 cm (95 x 41 inches)3. “Betor” with rose, approx. 24,2 x 10,5 cm (95 x 41 inches)*Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing.Please click here for a comprehensive essay on paños by Martha V. Henry.
  • Unidentified Chicano inmate-artistGrouping of 3 Paños Envelopes*Graphite, colored pencil, pen and ink on stamped, franked envelopesFramed size: 54,5 x 74,5 cm1. Woman with sombrero, approx. 24,2 x 10,5 cm (95 x 41 inches) 2. Couple in heart, approx. 18,5 x 12,5 cm (73 x 49 inches 3. “I love you” with handcuffs, approx. 24,2 x 10,5 cm (95 x 41 inches)*Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing.Please click here for a comprehensive essay on paños by Martha V. Henry.
  • Unidentified Chicano inmate-artistGraphite, colored pencil, pen and ink on stamped, franked paño envelope*Approx. 24,2 x 10,5 cm (95 x 41 inches)Framed size: 34,5 x 44,5 cm*Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing.Please click here for a comprehensive essay on paños by Martha V. Henry.
  • Unidentified Chicano inmate-artistGraphite, colored pencil, pen and ink on stamped, franked paño envelope*Approx. 24,2 x 10,5 cm (95 x 41 inches)Framed size: 34,5 x 44,5 cm*Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing.Please click here for a comprehensive essay on paños by Martha V. Henry.
  • Unidentified Chicano inmate-artistGraphite, colored pencil, pen and ink on stamped, franked paño envelope*Approx. 24,2 x 10,5 cm (95 x 41 inches)Framed size: 34,5 x 44,5 cm*Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing.Please click here for a comprehensive essay on paños by Martha V. Henry.
  • Unidentified Chicano inmate-artistGraphite, colored pencil, pen and ink on stamped, franked paño envelope*Approx. 24,2 x 10,5 cm (95 x 41 inches) Framed size: 34,5 x 44,5 cm*Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing.Please click here for a comprehensive essay on paños by Martha V. Henry.
  • Raymond RenteriaGraphite, colored pencil, pen and ink on stamped, franked paño envelope*Approx. 24,2 x 10,5 cm (95 x 41 inches)Framed size: 34,5 x 44,5 cm*Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing.Please click here for a comprehensive essay on paños by Martha V. Henry.
  • Unidentified Chicano inmate-artistGraphite, colored pencil, pen and ink on stamped, franked paño envelope*Approx. 24,2 x 10,5 cm (95 x 41 inches)Framed size: 34,5 x 44,5 cm*Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing.Please click here for a comprehensive essay on paños by Martha V. Henry.
  • Unidentified Chicano inmate-artistGraphite, colored pencil, pen and ink on stamped, franked paño envelope*Approx. 24,2 x 10,5 cm (95 x 41 inches)Framed size: 34,5 x 44,5 cm*Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing.Please click here for a comprehensive essay on paños by Martha V. Henry.
  • Benito FrancoGrouping of 8 Paños Envelopes*Framed size: 104,5 x 74,5 cmGraphite, colored pencil, pen and ink on stamped, franked envelopes1. Lady with hat, approx. 24,2 x 10,5 cm (95 x 41 inches)2. Inscribed “Dreaming of you”, approx. 24,2 x 10,5 cm (95 x 41 inches)3. Inscribed “Low Rider”, approx. 24,2 x 10,5 cm (95 x 41 inches)4. Lady with sombrero and rose, approx. 24,2 x 10,5 cm (95 x 41 inches)5. Female nude, approx. 24,2 x 10,5 cm (95 x 41 inches)6. Matchu Pitchu, approx. 24,2 x 10,5 cm (95 x 41 inches)7. Lady with hat and cross, approx. 24,2 x 10,5 cm (95 x 41 inches)8. Erotic Indian couple, approx. 18,5 x 12,5 cm (73 x 49 inches)*Chicano inmates use hand-decorated envelopes in color or black and white to mail letters and paños (prisoner folk art made on a handkerchief). Demand for these envelopes can provide a profitable business for a convict skilled in drawing.Please click here for a comprehensive essay on paños by Martha V. Henry.
  • Ross BLECKNER (b. 1949)Watercolor on paper40,5 x 30,5 cm
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