![]() ![]() ![]() Her clients included many artists and poets, among them Reinhard Priessnitz, a poet and theorist who would give the name Paßstücke (Adaptives) to West’s most iconic series of sculptures. The family lived in a public housing complex, out of which Emilie ran a private dental practice. Born to a well-to-do Viennese Jewish family, she espoused communist ideals and the artist’s father, Ferdinand Zokan, a Serbian coal merchant. The works in the exhibition, which date from the 1950s through the 1990s, emphasize such common themes as social and political power the evolving acceptance of cultural differences the inevitability of mortality and the glamour and despair of celebrity.A retrospective of Austrian artist Franz West at the Centre Pompidou in Paris begins where most biographical tales perhaps should – with his mother, Emilie West. ![]() The 1960s marked artistic turning points for both artists as they moved away increasingly from strictly commercial work towards their mature independent styles. Avedon’s distinctive gelatin-silver prints and Warhol’s boldly colored silkscreens variously depict many of the same recognizable faces, including Marella Agnelli, Bianca Jagger, Jacqueline Kennedy, Marilyn Monroe, and Rudolf Nureyev.īoth Avedon and Warhol originated from modest beginnings and had tremendous commercial success working for major magazines in New York, beginning in the 1940s. ![]() Portraiture was a shared focus of both artists, and they made use of repetition and serialization: Avedon through the reproducible medium of photography, and in his group photographs, for which he meticulously positioned, collaged, and reordered images Warhol in his method of stacked screenprinting, which enabled the consistent reproduction of an image. Their most memorable images, produced in response to changing cultural mores, are icons of the twentieth century. Both artists rose to prominence in postwar America with parallel artistic output that occasionally overlapped. Gagosian London is pleased to present the first major exhibition to pair works by Richard Avedon and Andy Warhol. They always say that time changes things, but you actually have to change them yourself. My camera and I, together we have the power to confer or to take away. Opening reception: Tuesday, February 9, 6–8pm I don’t say ‘today I’m going to do this bit or that bit’, but I go from one decision to the next, to the next, and I try to find out ‘what if I did this here, and what if I did that differently there’.Ĭontinue reading… prototypes of imagination Katharina Grosse Gagosian Gagosian London Gagosian Britannia Street Britannia Street London Purple Diary Jethro Turner art contemporary art exhibition Gagosian Gallery Larry Gagosian paint painter painting purple ART JETHRO TURNER - So you switch a lot between works? The other one is a little drive away and is an old gunpowder factory where I painted the big cloth and some other works around it. One is really well lit via skylights and is in the city. KATHARINA GROSSE - I painted all the works in the studio in Berlin. JETHRO TURNER - Did you paint the works in Berlin? I thought that was going to be the hinge around which the other two galleries pivot, in a sense. One work that kind of has an impact on the architectural space. I wanted to show the canvases I’ve been painting over the past six or seven months and also have one very large painting that has a relationship with the space. I think it’s a beautifully lit gallery and I had done this site specific work for the South London Gallery last November, so I knew I was going to do something very different here. KATHARINA GROSSE - I wanted to make amazing use of the daylight. What did you intend to do here when you knew you had this space to work with? JETHRO TURNER - You work a lot outside as well as inside gallery spaces. ![]()
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