Paseo por la Galería Jackson Hole - Verano 2021

Julio de 2021
Noticias

Acompáñenos en una visita en vídeo a nuestra galería de Jackson Hole, Wyoming, con obras de Claude Monet, Camille Pissarro, Frida Kahlo, Diego Rivera, Elaine de Kooning y Willem de Kooning, entre muchos otros.

OBRAS DE ARTE ACTUALMENTE EN VISTA EN HEATHER JAMES JACKSON HOLE

Under the Tang China experienced a period of great cultural flowering, remarkable for its achievements across all areas of the arts and sciences. The tolerance of the Tang Imperial Court to outside influence and the free movement along the East- West trade route known as the Silk Road saw major urban centres become thriving cosmopolitan cities, with the Chinese capital, Chang’an (modern Xian) expanding to reach a population of over one million.<br><br>In keeping with centuries of tradition, funerary rites remained very important. A separate government department existed with responsibility for overseeing the manufacture of funerary wares. Officially there were limits on the number of grave goods and restrictions on the size of the objects which could accompany the deceased, according to rank – the highest ranked officials were meant to have a maximum of 90 figurines, no more than 30cm tall while members of the Imperial family were allowed several hundred up to about one meter tall. However, these rules were frequently broken. The deceased’s relatives believed they could improve their ancestor’s status in the afterlife by providing mingqi in excess of necessity, thereby ensuring their own good fortune. Tang Dynasty figurative ceramics share particular characteristics. The forms are animated and life-like, the subject matter covers all aspects of social and ritual life and the scale of the figures was reasonably small with the exception of some magnificent larger works commissioned for the tombs of the elite. Figures of courtiers and entertainers, polo players and the exotic travelers who now regularly arrived in the Chinese cities with their great pack camels became common place, illustrating the cosmopolitan nature of the times. The variety of forms tells us that craftsmen had scope for individual innovation and were not controlled by rules regarding particular styles. Now the funerary wares spoke not only of power and military strength, but also of the sophistication and intellectual achievements of the deceased.

CHINO

RICHARD SERRA - Cape Breton Horizontal Reversal No. 16 - litho-crayon sobre dos hojas de papel hecho a mano - 19 3/4 x 55 7/8 in.

RICHARD SERRA

ALEXANDER CALDER - Soucoupes Volantes - tinta y gouache sobre papel - 29 1/2 x 43 1/4 in.

ALEXANDER CALDER

<div><font face=Lato size=3>Andy Warhol’s "Marilyn #30" (1967) is part of the artist’s landmark Marilyn portfolio, one of his most celebrated and sought-after series. From an edition of 250 (this work numbered 138/250, with 26 artist’s proofs), the portfolio is represented in major institutions including the Museum of Modern Art, New York. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Based on a publicity still from the 1953 film Niagara, Warhol’s Marilyns epitomize his fascination with celebrity, mass media, and the power of the reproduced image. Each print in the series was created with five screens—one carrying the photographic likeness and four for areas of color—deliberately layered with bold hues that are at times slightly off-register. This misalignment heightens the tension between glamour and artifice, echoing the fragile brilliance of Marilyn Monroe’s own persona. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>As one of Warhol’s defining bodies of work, the "Marilyn" prints remain icons of Pop Art, merging Hollywood stardom with silkscreen’s mechanical repetition to create a timeless meditation on fame, desire, and image. </font></div>

ANDY WARHOL

GEORGE RICKEY - Space Churn with Squares - escultura cinética en acero inoxidable - 35 1/2 x 20 x 13 in.

RICLAJE GEORGE

Rouge Mouille (Rojo mojado) de Alexander Calder presenta un fondo de círculos rojos, algunos dispersándose como explosiones, creando una sensación de enérgica expansión, y otros corriendo hacia abajo como si fueran estelas de un castillo de fuegos artificiales. Este animado telón de fondo está adornado con numerosas bolas redondas opacas, predominantemente negras, pero intercaladas con llamativas esferas azules, rojas y sutilmente amarillas. La colocación estratégica de las esferas de colores frente a los rojos explosivos capta el asombro y el espectáculo de un espectáculo de fuegos artificiales, transformando el cuadro en una metáfora visual de este acontecimiento deslumbrante y festivo. La obra resuena con emoción y vitalidad, encapsulando su belleza efímera en un medio estático.

ALEXANDER CALDER

© 2023 Calder Foundation, Nueva York / Artists Rights Society (ARS), Nueva York

ALEXANDER CALDER

"Wigwam rouge et jaune", una cautivadora pintura al gouache de Alexander Calder, es una vibrante exploración del diseño y el color. Dominada por un entramado de líneas diagonales que se cruzan cerca de su cúspide, la composición destila un equilibrio dinámico. Calder introduce un elemento de capricho con rombos rojos y amarillos, que infunden a la pieza un carácter lúdico y crean un ambiente festivo. Las bolas rojas en el vértice de las líneas inclinadas a la derecha evocan una impresión caprichosa, mientras que las esferas grises más pequeñas sobre las líneas inclinadas a la izquierda ofrecen contraste y equilibrio. La magistral fusión de simplicidad y elementos de diseño vitales de Calder hace de Wigwam rouge et jaune una delicia visual.

ALEXANDER CALDER

© 2023 Calder Foundation, Nueva York / Artists Rights Society (ARS), Nueva York

ALEXANDER CALDER

© 2023 Calder Foundation, Nueva York / Artists Rights Society (ARS), Nueva York

ALEXANDER CALDER

ALEXANDER CALDER - La espiral ovalada - gouache y tinta sobre papel - 43 1/4 x 29 1/2 in.

ALEXANDER CALDER

HARRY BERTOIA - Sin título (Escultura sonora) - cobre berilio y bronce con base de madera - 36 1/2 x 8 x 8 in.

HARRY BERTOIA

© 2023 Calder Foundation, Nueva York / Artists Rights Society (ARS), Nueva York

ALEXANDER CALDER

HARRY BERTOIA - Escultura Sauce - acero inoxidable - 61 1/2 x 39 x 39 in.

HARRY BERTOIA

© 2023 Calder Foundation, Nueva York / Artists Rights Society (ARS), Nueva York

ALEXANDER CALDER

<div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div>

HARRY BERTOIA

The essential and dramatic declaration “Let there be light” of Genesis is not so far removed from Mary Corse’s recollection of the moment in 1968 when the late afternoon sun electrified the reflective road markings of Malibu as she drove east. In an instant, the glowing asphalt markings provided the oracle she needed to realize she could ‘put light in the painting and not just make a picture of light’. Using the same glass microbeads utilized by road maintenance services, she layers and embeds the prismatic material in bands and geometric configurations creating nuanced glimmering abstract fields which shift as the viewer moves in relationship to the work. Move to one side and dimness brightens to light. Walk back and forth and you might feel a rippling effect from its shimmering, prismatic effects.<br><br>A photographic image of a Mary Corse microsphere painting is not only a dull representation, but it also misses the point – it is experience dependent art that requires participation to ‘be’. Of course, “Untitled” (1975) defies that one-point static perspective and instead, depends upon a real time, interactive art experience which heightens awareness of the body in space as the viewer experiences shifts of retinal stimulation, sensation and feeling. It is a rare bird. Unusually petite at two-foot square, its design, geometry and color belie her earlier revelation that led to a devotion to her usual reductive palette. Instead, it is a bold statement in sequined color, its center field bounded at the corners by a sparkling red stepped motif that separates it from its starry night sky corner spandrels. It may not include a star motif, but it has the glamour and presence that belongs along Hollywood’s Walk of Fame.

CÓRCULO MARÍA

<div><font face=Lato size=3>Andy Warhol’s <em>Mao</em> (1972) is one of the artist’s most iconic and provocative screenprints, reflecting his fascination with the intersection of political power and celebrity culture. This impression, numbered 244/250, comes from the regular edition of 250, in addition to 50 artist’s proofs. Warhol based the image on the widely circulated official portrait of Chairman Mao Zedong, a figure whose likeness was omnipresent in China during the Cultural Revolution. By reimagining the image through his vivid Pop palette, Warhol transformed a symbol of political authority into a mass-produced cultural icon. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>In this version, Mao’s face is rendered in a striking deep blue, offset by a green shirt and set against a turquoise background. The bold chromatic choices infuse the portrait with both drama and irony, destabilizing the original propagandistic authority of the image. Warhol further heightens this tension by juxtaposing flat, mechanical silkscreen layers with painterly flourishes, blurring the line between mass production and individual expression. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>The <em>Mao </em>series marked a new chapter in Warhol’s career in the 1970s, shifting from Hollywood stars to figures of global influence. Today, these works are regarded as essential statements on the nature of power, fame, and the pervasive reach of the image in contemporary culture. </font></div>

ANDY WARHOL

KHMER - Torso masculino - arenisca - 24 x 9 x 5 in.

KHMER

Desde finales de la década de 1950 hasta mediados de la de 1960, las primeras contribuciones de Ray Parker a la pintura Color Field destacan por su calidad vibrante y fresca. Parker disponía dos o más bloques de color robustos y de bordes rugosos utilizando una técnica vigorosa y con pinceladas sobre grandes lienzos preparados con gesso. Estos bloques, realizados con colores saturados pero sutilmente vibrantes, muestran una energía inconfundible. Aunque las composiciones de Parker pueden recordar a las de Rothko, la forma en que se aplica el color -sólida y enérgica- las diferencia. Manteniendo la gran escala y el dinamismo de la Escuela de Nueva York, la obra de Parker diverge al renunciar a la intensidad emocional asociada a menudo con el Expresionismo Abstracto y adopta una visión del movimiento desprovista de su típico patetismo.

RAY PARKER

RUSSELL YOUNG - Elvis Heartbreak Hotel (Díptico) - serigrafía manual con tinta acrílica y al óleo y polvo de diamante sobre lino - 160 x 239 cm.

RUSSELL YOUNG

This well preserved bell is one of the largest known bronzes from the Southeast Asian Bronze Age, generally named after the Dongson site in North Vietnam. The swirling band design is finely and crisply cast. Dongson bronze drums were also reported in South China, Thailand, Laos, West Malaysia, and Indonesia and as Far East as Western Iranian Java. <br><br>The Dong Son culture is a Bronze age culture including all of southeast Asia and into the Indo-Malaya Archipelago from about 1000 to 1 BC. Centered on the Red River Valley of Vietnam, the Dong Son were sophisticated agriculturalists, raising rice and buffalo. Dong Son probably arose from local Neolithic cultures, such as Phung Nguyen and Dong Dau phases. Dong Son is identified with the Van Lang ruling dynasty, the first ruling dynasty of Vietnam. By the second century BC, impacts from the Han Dynasty in China were being felt and according to historic records, the Dong Son were absorbed into the Han Dynasty territory.

SUDESTE ASIÁTICO

<div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Breakfast</em>, from an edition of 50, demonstrates the artist’s signature blend of Pop-inflected realism and painterly intimacy. Executed in colored drypoint, the work captures the simple subject of a morning meal with a remarkable freshness: hatching lines soften and blur the composition, creating a pastel-like effect that distinguishes it from the crispness of commercial print design. Though slightly faded, the impression retains the playful chromatic sensibility and softly modeled shadowing that became hallmarks of Thiebaud’s style.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Since the early 1960s, Thiebaud has been celebrated for his depictions of food—cakes, pies, gumball machines, and diner counters—rendered not as literal meals but as cultural icons, at once nostalgic and idealized. In <em>Breakfast</em>, the modest meal is transformed into a subject of contemplation and delight, celebrating the pleasures of everyday American life while evoking memory and desire. The combination of precision and informality speaks to Thiebaud’s ability to merge the immediacy of drawing with the enduring resonance of painting.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Institutional recognition of the work’s importance is reflected in its inclusion within the National Gallery of Art, Washington, affirming its role within Thiebaud’s larger project of elevating common objects into images of enduring cultural significance.</font></div>

WAYNE THIEBAUD

ELLSWORTH KELLY - Untitled, (from portfolio Eight by Eight to celebrate the Temporary Contemporary) - litografía sobre papel arches - 28 3/4 x 40 3/4 in.

ELLSWORTH KELLY

<div><font face=Lato size=3 color=black>Ed Ruscha’s <em>Metro, Petro, Neuro, Psycho</em>, from an edition of 25 with 10 artist proofs, exemplifies the artist’s ongoing investigation into the visual and conceptual potential of language. In this work, stacked words unfold like an architectural structure, their rhyming syllables generating a verbal beat that underscores Ruscha’s fascination with the rhythm and absurdity of text. Letters become forms, spacing becomes structure, and typography itself takes on the weight of image.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bridging Ruscha’s iconic word paintings of the 1960s with his more layered experiments of the 1980s and beyond, the print embodies his approach to isolating fragments of language—billboard slogans, overheard words, or invented phrases—so they can be reconsidered as both visual and semantic phenomena. Ruscha himself has described such arrangements as “visual noise,” simultaneously playful and disorienting. Institutional recognition of the work’s importance is affirmed by examples in the Museum of Modern Art, New York, and the National Gallery of Art, Washington.</font></div>

ED RUSCHA

ALEX KATZ - Vivien - serigrafía sobre tabla de museo - 39 x 41 in.

ALEX KATZ

ELLSWORTH KELLY - Curva Roja - litografía en color - 10 x 7 1/2 pulg.

ELLSWORTH KELLY

ELLSWORTH KELLY - Curva Roja (Estado Negro) - litografía en color - 10 x 7 1/2 pulg.

ELLSWORTH KELLY

JOSEF ALBERS - Formulación: Articulación - serigrafía - izquierda: 10 x 17 1/2 in. derecha: 6 x 10 1/2 in.

JOSEF ALBERS

JOSEF ALBERS - Formulación: Articulación - serigrafía - 12 x 11 3/4 in. ea.

JOSEF ALBERS

LAWRENCE SCHILLER - End of the Day, Marilyn Monroe, "Something's Got to Give" - impresión en gelatina de plata - 20 x 24 in.

LAWRENCE SCHILLER

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LOS CUADROS DE SIR WINSTON CHURCHILL

Del 1 de agosto al 16 de septiembre de 2018 Jackson Hole, WY
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