And yet, these are not paintings, but groupings and collages of fragments of fabric that the artist has chosen and stitched together. These fragments come from a deconstruction, a pillage. Jones meticulously skins the bindings of outdated books which are supposed to assert their authority in their field: medicine, history, law. He also makes use of materials from other domains, such as American sport.
For his first exhibition in Paris, entitled Let us Grow, the artist has produced a set of new works. In addition to using obsolete institutional publications (encyclopedias, law books, manuals of medicine, etc.), Jones has worked with vintage portfolios, boxes and bindings for French art prints, thus addressing a new European material relating to art history.
And yet, these are not paintings, but groupings and collages of fragments of fabric that the artist has chosen and stitched together. These fragments come from a deconstruction, a pillage. Jones meticulously skins the bindings of outdated books which are supposed to assert their authority in their field: medicine, history, law. He also makes use of materials from other domains, such as American sport.
For his first exhibition in Paris, entitled Let us Grow, the artist has produced a set of new works. In addition to using obsolete institutional publications (encyclopedias, law books, manuals of medicine, etc.), Jones has worked with vintage portfolios, boxes and bindings for French art prints, thus addressing a new European material relating to art history.
Jones was born in 1978 in Marion, Indiana. He lives and works currently in Indianapolis and Chicago, USA and has exhibited widely in acclaimed American museums such as the Albright Knox Art Gallery in Buffalo, the Brooklyn Museum, the Studio Museum in Harlem and the Los Angeles County Museum of Art. His exhibition Left of Center is on view now at the Indianapolis Museum of Art at Newfields from March 15 to September 1, 2019.
An admirer of Paul Cézanne, Boomoon visited the “sacred” site at many times of the day and night, looking for a variety of perspectives, and deliberately ensuring there was no human presence. Through a series of sensitive and meticulous prints, he plays with light, colour, shadows and the various layers of the photograph. Building the image around this “navel” that is formed by the mountain, he manages to evoke a sort of infinite mystery of nature.
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An admirer of Paul Cézanne, Boomoon visited the “sacred” site at many times of the day and night, looking for a variety of perspectives, and deliberately ensuring there was no human presence. Through a series of sensitive and meticulous prints, he plays with light, colour, shadows and the various layers of the photograph. Building the image around this “navel” that is formed by the mountain, he manages to evoke a sort of infinite mystery of nature.
Born in Daegu (South Korea) in 1955 Boomoon lives and works in Toseong (Gangwon province) in South Korea. He initially studied painting, but began to practice photography in the 1970s, going on to dedicate himself entirely to it. His work is regularly exhibited in the USA, Europe and Asia. They also form part of the collections of the Yokohama Museum of Art and the national museum of modern and contemporary art in Gwacheon. In 2013, a major retrospective was organised at the Daegu Art Museum in South Korea. The Borusan Contemporary gallery in Istanbul is currently organising an exhibition of his Bosphorus series.
James Brown was born in Los Angeles in 1951 and now lives in Merida, Mexico. Already, in 1978, the Gemeentemuseum in Arnheim, The Netherlands, gave him his first institutional one-man show. Since then, his work has been exhibited in a number of important American and European museums. Recently, the contemporary art museum in Oaxaca and the Diego Rivera-Anaguacalli museum in Mexico paid tribute to him with the organisation of two major exhibitions.
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James Brown was born in Los Angeles in 1951 and now lives in Merida, Mexico. Already, in 1978, the Gemeentemuseum in Arnheim, The Netherlands, gave him his first institutional one-man show. Since then, his work has been exhibited in a number of important American and European museums. Recently, the contemporary art museum in Oaxaca and the Diego Rivera-Anaguacalli museum in Mexico paid tribute to him with the organisation of two major exhibitions.
The work of James Brown also forms part of many public and private collections around the world. His work appears in MoMA, Whitney Museum and Metropolitan Museum of Art in New York, MNAM / Centre Pompidou in Paris, the Kolumba Museum in Cologne, as well as the centre for contemporary art in Malaga and the Tamayo Museum in Mexico City.
Through the use of sparsity, they succeed in giving their works great visual intensity. Lines, squares, rectangles, meanderings and surfaces are combined in a more or less rigorous way. These geometric elements combine to create sensitive compositions, notable for their supple, shifting strokes.
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Through the use of sparsity, they succeed in giving their works great visual intensity. Lines, squares, rectangles, meanderings and surfaces are combined in a more or less rigorous way. These geometric elements combine to create sensitive compositions, notable for their supple, shifting strokes.
The German painter, sculptor and photographer, Günther Förg (1952-2013), is increasingly recognised as one of the most important artists of his generation. His works have been shown at the Musée d’Art Moderne de la Ville de Paris, the Museo Reina Sofía, the Fondation Beyeler, the Tate Modern, the Arken Museum of Modern Art, and more. In 2018, the Stedelijk Museum in Amsterdam organised a major retrospective entitled A Fragile Beauty, which then moved to Dallas.
Born in Dublin in 1945, the American painter Sean Scully has long enjoyed international recognition. Retrospectives of his work have been organised by leading museums: the Galerie Nationale du Jeu de Paume, the Albertina Museum, the Kunstsammlung Nordrhein Westfalen, the Metropolitan Museum of Art and the Himalaya Museum de Shangaï. In 2019, he will be present at San Giorgio Maggiore during the Venice Biennale.
Frederic Matys Thursz (1930-1992) was an American abstract painter. His works have been exhibited at the Musée de Saint-Etienne and by Galerie Lelong in New York and Paris. His apparition at the Documenta 9 in 1992 was widely remarked upon. Marianne Heinz, former director of the Kassel museum has just produced a catalogue raisonné of his work.
Born in 1954 in Santander, Juan Uslé lives between Saro in Spain and New York. His works form part of the collections of many European and American museums, including the Musée National d’Art Moderne, the Tate Modern, the Irish Museum, the Moderna Museet, the Museo Reina Sofía and the Staatsgalerie de Bonn.
Fabienne Verdier was born in Paris in 1962. Her work is regularly exhibited in Europe and Asia and features in a number of collections, including the Centre Pompidou, the Bayerische Staatsgemäldesammlungen and the Hubert Looser Foundation and the Kunsthaus in Zurich. From 21 June to 13 October 2019, the Granet Museum in Aix-en-Provence is organising a retrospective entitled Fabienne Verdier sur les terres de Cézanne.
For the past 30 years, Drew has transformed varied new materials into expressive assemblage, often distressing raw ingredients to evoke the passage of time. With this exhibition, Drew expands his practice to incorporate a wider spectrum of color and to explore new aspects of his materials. The main gallery features Number 215 (2019), an energetic wood installation that is both sweeping in scale and intimate in detail, creating the appearance of an enveloping explosion that is frozen in time and space.
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For the past 30 years, Drew has transformed varied new materials into expressive assemblage, often distressing raw ingredients to evoke the passage of time. With this exhibition, Drew expands his practice to incorporate a wider spectrum of color and to explore new aspects of his materials. The main gallery features Number 215 (2019), an energetic wood installation that is both sweeping in scale and intimate in detail, creating the appearance of an enveloping explosion that is frozen in time and space.
The exhibition coincides with Drew’s first major outdoor public artwork, City in the Grass, an over one-hundred feet long by thirty-feet wide project commissioned by Madison Square Park Conservancy, New York. City in the Grass will be on view from June 3, 2019, through December 15, 2019. An undulating aluminum substructure serves as the base for the artist’s use of colored sand — a new and unexpected material — and wood reliefs that evoke the designs of a patterned carpet. While City in the Grass responds to the Park’s urban terrain, Number 215 becomes an otherworldly viewer experience.
