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Andrea Rosen Gallery: ALINA SZAPOCZNIKOW | ROBERT MOTHERWELL - 30 Oct 2015 to 5 Dec 2015

Current Exhibition

30 Oct 2015 to 5 Dec 2015

Andrea Rosen Gallery
525 West 24 Street
544 West 24th Street
NY 10011
New York, NY
New York
North America
T: 212 627 6000
F: 212 627 5450

Alina Szapocznikow, Illuminowana [Illuminated Woman], 1966-67
courtesy the Estate of Alina Szapocznikow, Piotr Stanislawski, Andrea Rosen Gallery, New
York and Galerie Loevenbruck, Paris. © The Estate of Alina Szapocznikow.

Artists in this exhibition: Alina Szapocznikow, Robert Motherwell

October 30 - December 5, 2015
Opening Reception: October 30, 6 - 8 pm

Andrea Rosen Gallery is pleased to announce Alina Szapocznikow, the gallery's inaugural solo-exhibition of the artist since beginning the representation of her Estate in 2014.

On the heels of a major international traveling retrospective, this exhibition presents a meticulously assembled group of major figurative sculptures from the 1960s and 1970s. Ardently concentrating on life-size freestanding figures, these works represent some of the artist's most significant bodies of work, lent from museums and private collections from around the world.
Szapocznikow, over the distilled course of fifteen years, developed a profound pioneering vision and formal language tensioned between lust and sexuality, and the threat of destruction. Embodying this dichotomy, her work contains an intense vividness of life that perhaps can be drawn to her personal history, surviving as a youth in concentration camps; like a number of artists of her time, such as Paul Thek and Hannah Wilke, who came out of intensity, there is an incredible rigor and vibrance driven from the force of life.

After representing Poland in the 1962 Venice Biennale, she moved to Paris, fully formed, at a historically vital time, when artists from Marcel Duchamp to Yves Klein were simultaneously developing pivotal territories propelled out of Formalism. Evoking characteristics of Surrealism, Nouveau Réalisme and Pop Art, her works embraced both material rigor as well as her own deeply personal psychology, leading her to create "awkward objects" - visceral sculptures that unravel gravity and composition - to explore what she saw as the most vulnerable of all ephemeral manifestations, the human body.

At once seductive and unsettling, Szapocznikow's work is often made from direct impressions and casts of body parts, each an attempt to fix the traces of the body and record the fleeting moments and absurd paradoxes of life. She infused a completely new set of materials: those she concocted and heavily documented in the laboratory of her studio - such as tinted polyester resin and polyurethane expanding foam-creating a post-human form of lamps that used casts made directly from her lips, to every day resources - pantyhose, newspaper clippings, photographs, with straw and resin, grass and foam-resulting in distinctly radical hybrids of the organic and inorganic.

While so significant in her time, Szapocznikow is now widely regarded as one of the most prominent figures in post-war Poland and Paris. Linking the intensely personal to our greater humanity, her work, a vessel for memory and formal innovation, singly holds the capacity to teach and unravel a multitude of historical threads that tell the story of the past sixty years.

Alina Szapocznikow was born in 1926 in Kalisz, Poland. After surviving three concentration camps during WWII, she trained at studios in Prague and the École des Beaux-arts in Paris. She first began showing her work in 1950 and held her first two-person show at the Zacheta National Gallery of Art, Warsaw, in 1957. Szapocznikow, along with two other artists, was selected to represent Poland at the Venice Biennale in 1962. A year later, she moved to Paris, where she continued to live until her untimely death in 1973 at the age of 47.

Her work has been the subject of major survey exhibitions and retrospectives worldwide, including the first comprehensive retrospective outside of Poland, traveling to the Museum of Modern Art, New York; the Hammer Museum, Los Angeles; WIELS Contemporary Art Centre, Brussels; and the Wexner Center for the Arts, Columbus (2011-2013); and a major survey exhibition at the Centre Georges Pompidou, Paris (2012); and Tel Aviv Museum (2014). Additional solo exhibitions include: Bonniers Konsthall, Musée d'Art Moderne de la Ville de Paris; the Stedelijk Museum, Amsterdam; Kunsthalle Basel; Camden Arts Centre, London; and the National Museum of Warsaw. Recent group shows this summer include "THEM" at the Schinkel Pavillion, Danh Vo and Caroline Bourgeois's "The Slip of the Tongue," at Punta Della Dogana, and Massimiliono Gioni's "La Grand Madre," at Fondazione Nicola Trussardi. Her work is in the public collections of the Centre Pompidou, Paris; Hammer Museum, Los Angeles; Israel Museum, Jerusalem; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; Philadelphia Museum Art; and Tate, London, as well as numerous institutions across Poland and Western Europe.


Gallery 2

Robert Motherwell

October 30 - December 5, 2015
Opening Reception October 30, 2015 6 - 8 pm

Andrea Rosen Gallery is pleased to present an intimate exhibition of significant collage works by Robert Motherwell spanning the most prolific period of the artist's collage practice from the late 1950s to the late 1970s. It is a particularly apt time to examine this body of work as there has been increased in depth attention on the artist with the concurrent Elegy exhibition at Dominique Levy Gallery, and earlier this year the Lyric Suite drawing exhibition at the Metropolitan Museum of Art and the Opens painting exhibition at Andrea Rosen Gallery.

The practice of collage was one that Motherwell visited often throughout his career, and is reflective of the evolution of Motherwell's oeuvre, from the emotionally charged expressionistic collages of the 1940s to the serene and minimal compositions of the 1970s, as well as the artist's dichotomous relationship with automatism and formalism. The collages are often credited as the conduit of experimentation that led to the most famous series of his painting career, the Elegies and Opens, and the bounty of his printmaking practice later in his career. Beyond their generative practicality, the collages gave Motherwell a different mode of expression, one that was far more intimate, playful, and autobiographical. Using elements from the tangible world such a artists' materials, travel ephemera, tobacco and wine labels allowed Motherwell to construct a narrative for the viewer while still   maintaining his automatic and gestural style of painting.

Motherwell famously said that he considered collage the greatest creative innovation of the 20th century, reflective of the disjointedness of the modern industrial era. This body of work functions as a bridge between his Dada and Cubist predecessors, whom he idolized and paid homage to through the cultural allusions of his materials, and his Pop and Minimalist contemporaries exploring the ideas of seriality and commercialization. The artistic concepts these collages pioneered, particularly the reclamation of images with personal and popular implication continue to be employed by artists working well into the 21st century using new technologies.

Robert Motherwell, a central figure in twentieth-century painting who coined the name "The New York School," was born in Aberdeen, Washington, on January 24, 1915. He graduated from Stanford University in 1937 and undertook graduate coursework at Harvard University and Columbia University. Motherwell had his first solo exhibition at Peggy Guggenheim's Art of This Century Gallery in 1944; by the mid-1940s he had become the leading spokesperson for avant-garde art in America. Throughout his life, Motherwell taught and lectured extensively, and exhibited widely at museums in the United States and Europe, with major retrospective exhibitions in New York, Los Angeles, San Francisco, Seattle, Washington, D.C., London, Edinburgh, Brussels, Amsterdam, Düsseldorf, Stockholm, Vienna, Paris, and Turin. Robert Motherwell died in Provincetown, Massachusetts, on July 16, 1991.

Works from Robert Motherwell's collage series are in the collections of major international institutions including the Museum of Art, New York; the San Francisco Museum of Modern Art; the National Gallery of Art, Washington, D.C.; the Peggy Guggenheim Collection, Venice; Los Angeles County Museum of Art; the Art Institute of Chicago; Yale University Art Gallery; Harvard University Art Museums; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Seattle Art Museum; the Art Gallery of Ontario; Albright-Knox Gallery, Buffalo, NY,  the Cleveland Museum of Art; the Menil Collection, Houston, TX; the Modern Art Museum of Fort Worth.

Andrea Rosen Gallery

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