#LévyGorvy

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On November 29, our London gallery will host NOVA Guitar Duo! Fresh from their début performance at Carnegie Hall, the duo will be performing work by composers ranging from Scarlatti to de Falla in our Mayfair gallery, surrounded by the exhibition “Lord Duveen, My Pictures Never Look So Marvellous As When You Are Here.” • Nelly Von Alven and Luiz Mantovani’s musical partnership formed around their shared interest in the unusual possibilities offered by pairing a 6-string guitar with an 8-string guitar. This unconventional arrangement has been well received: the pair have performed in some of the world’s finest venues and festivals, including Royal Albert Hall, London Guitar Festival in Kings Place, and Wigmore Hall. • NOVA Guitar Duo performs on November 29 at Lévy Gorvy, 22 Old Bond Street, London. There will be two performances at 6:30PM and 7:30PM. RSVP required—click on the link in bio! • #LévyGorvy #LevyGorvy #NOVAGuitarDuo #LordDuveen • Video clip courtesy of NOVA Guitar Duo.
“Bricolage” was the title given to this series of work by Carol Rama’s close friend, the poet Edoardo Sanguineti. In the early 1960s, Rama had begun incorporating an eclectic selection of objects drawn from the world around her into her art. Ranging from animal claws to flayed rubber tubes, these diverse items lend the series an excessive, even disturbing, sense of materiality. • With its frenzy of bold, scraping marks, the present work exudes aggression—an emotional charge made more intense still by the inclusion of bright blue doll’s eyes. Staring out in multiple directions as if seeking to connect with our gaze, their presence implicates the viewer. • #LévyGorvy #LevyGorvy #CarolRama #Bricolage • Carol Rama. “Bricolage,” 1967, Oil, household paint, resin, and doll’s eyes on Masonite. 20 1/16 x 16 1/8 inches (50.9 x 40.9 cm). © Archivio Carol Rama, Torino.
Simultaneously referencing J. Crew catalogues and Roman mythology, Dan Colen’s painting “Venus” invokes the goddess of love, sex, and beauty in a catalogue shot of plaid shirts. Part of the Mailorder series, the painting is a thematic continuation of Colen’s career-long exploration of the twin forces of desire and consumption. By enlarging the scale of the original catalogue image and radically altering the context for which they were created, the paintings are distanced from the source imagery. At once abstract and highly realistic, mystical and banal, “Venus” is an alluring example of postmodern abstraction. • #LévyGorvy #LevyGorvy #DanColen • Dan Colen, “Venus,” 2015. Oil-based enamel on linen. © Dan Colen.
Words are too weak to convey my heart’s emotion. My sweet brother Brett, you are so generous, thoughtful, strong, and true. Thank you. It will be my honor to ever so slowly envelop each page. ✨ I am excited to share in your immersive spacial music performance within the gallery. Until then... 💫 please thank B for his curatorial process. I am dazzled. . . . #thankyou #family #brother #love #generosity #intimateinfinite #lévygorvy #trueart #art #williamblake #meditative #thoughtful #highestgift #nyc #gallery #exhibition #exhibitioncatalogue
With an upcoming exhibition set to open at the Barnes Foundation in the new year, Pat Steir recently hosted a studio visit led by Thom Collins, the foundation’s Executive Director and President. • Steir is only the second artist ever to be commissioned by the Barnes; the other commission was awarded to Henri Matisse in 1932. When it opens on January 12, “Pat Steir Silent Secret Waterfalls: The Barnes Series” will be the foundation’s first ever commission of work for its Annenberg Court. The exhibition will comprise 11 oil paintings, each measuring 7 feet tall, and thematically related to her sensuous Waterfall series. As the foundation explains, the paintings will “revisit the dialogue between intuition and chance that has defined her work since the 1980s.” We can’t wait to see the results! • “Pat Steir Silent Secret Waterfalls: The Barnes Series” will be on view January 12 through November 17, 2019. • #LévyGorvy #LevyGorvy #PatSteir
If you’re in New York this weekend, come to our Madison Avenue gallery to gain an insight into one of the art world’s most inspiring friendships! Including a trove of archival material, “Calder / Kelly” celebrates the unlikely friendship forged between two artists from different generations: Alexander Calder and Ellsworth Kelly. A selection of this material was recently published in T Magazine—see the link in our bio! • #LévyGorvy #LevyGorvy #CalderKelly #AlexanderCalder #EllsworthKelly • Ellsworth Kelly. Letter to Calder, 1955. Ink on paper, 11 x 8 ½ inches (20.3 x 29.2 cm). © Ellsworth Kelly Foundation. Courtesy Calder Foundation, New York. • Installation view, “Calder / Kelly.” All artworks by Alexander Calder © 2018 Calder Foundation, New York / Artists Rights Society (ARS), New York. All artworks by Ellsworth Kelly © Ellsworth Kelly Foundation.
“I think art can help all people whether you’re sick or not sick. It can enrich one’s life and experience.”—Joel Shapiro, 2018. • A dynamic 16-foot sculpture by Joel Shapiro was formally unveiled this week in the foyer of the Leon and Norma Hess Center for Science and Medicine on the Icahn School of Medicine at Mount Sinai campus. • The work was commissioned and generously gifted by Mount Sinai Trustee Arne Glimcher and Milly Glimcher. • #LévyGorvy #LevyGorvy #JoelShapiro • Joel Shapiro. “Untitled,” 2017. Painted aluminum. © 2018 Joel Shapiro / Artists Rights Society (ARS), New York. • Quote: Joel Shapiro in “Behind the Scenes: Installing a Work of Art at the Hess Center for Science and Medicine,” YouTube, November 7, 2018. Video, 0:16. https://www.youtube.com/watch?time_continue=96&v=Vi1C-TJouB0.
💛❤🖤 . Repost @levygorvy - “Calder / Kelly” is OPEN! • “Calder / Kelly” is the first major exhibition exploring the visual and personal affinities between landmark American artists Alexander Calder and Ellsworth Kelly. Celebrating the artists’ friendship and their extraordinary experiences as Americans who were shaped by significant periods of time spent living in Paris, the exhibition reveals a dynamic exchange between two virtuosic talents. • “Calder / Kelly” is on view through January 9, 2019! • In addition to our normal hours, the New York gallery will be open on Sunday, November 11 from 11AM–4PM, and on Monday, November 12 from 10AM–6PM. • #LévyGorvy #LevyGorvy #CalderKelly #AlexanderCalder #EllsworthKelly • Alexander Calder. “Black Beast,” 1940. Sheet metal, bolts, and paint, 103 x 163 x 78 ½ inches (261.6 x 414 x 199.4 cm). © 2018 Calder Foundation, New York / Artists Rights Society (ARS), New York. • Alexander Calder. “Guava,” 1955. Sheet metal, rod, wire and paint, 71 1/4 x 146 1/2 x 46 1/2 inches (181 x 373 x 118 cm). © 2018 Calder Foundation, New York / Artists Rights Society (ARS), New York. • Ellsworth Kelly. “Yellow Curves,” 2014. Painted aluminum, 90 x 63 1/2 x 4 1/8 inches (228.6 x 161.3 x 10.5 cm). © Ellsworth Kelly Foundation. • Ellsworth Kelly. “Black White,” 1961. Oil on canvas, 21 1/8 x 30 inches (53.7 x 76.2 cm). © Ellsworth Kelly Foundation. • Alexander Calder. “Red Maze III,” 1954. Sheet metal, wire, and paint, 56 x 72 inches (142.2 x 182.9 cm). © 2018 Calder Foundation, New York / Artists Rights Society (ARS), New York. Courtesy Calder Foundation, New York.
During the summer of 1971, Adrian Piper performed “Food for the Spirit” in her New York loft. Describing the intense state of mind that engendered the work's production and her penetrating engagement with Immanuel Kant’s magnum opus “The Critique of Pure Reason” (1781) Piper recalls having “spent the summer doing nothing else but studying and writing a paper on it, doing yoga, and fasting. [She] didn’t see other people at all and went out only to shop and take walks for exercise.” • Piper’s immersion in “The Critique” was so total that at times she sensed she might be losing her mind, or her sense of self. In order to counteract this perception, and to document her engagement with the text, Piper periodically photographed herself standing in front of a mirror (often nude), and recorded herself reading particular excerpts of the text “that had caused her to doubt her material existence.” • “Food for the Spirit” is currently on view in our London gallery through January 12 as part of the exhibition “Lord Duveen, My Pictures Never Look So Marvellous As When You Are Here.” • #LévyGorvy #LevyGorvy #AdrianPiper #LordDuveen • Adrian Piper. “Food for the Spirit,” 1971. Unique installation comprised of: Binder containing 14 selenium toned silver gelatin prints, pages extracted from Kant's “The Critique of Pure Reason” with handwritten annotations (1971), and typewritten artist’s text (c. 1980); 14 selenium toned silver gelatin prints (1997). Silver gelatin prints measure approximately 14 9/16 x 15 inches (37 x 38.1 cm) each; binder: 11 1/2 x 10 1/4 x 2 1/2 inches (29.2 x 26 x 6.4 cm). © Adrian Piper Research Archive Foundation Berlin. • Quote: A. Piper, “Out of Order, Out of Sight, Vol. I: Selected Writings in Meta-Art 1968-1992,” Cambridge, MA: MIT Press, 1996, p. 55. • Quote: J.P. Bowles, “Adrian Piper: Race, Gender, and Embodiment,” Durham, NC, and London: Duke University Press, 2011, p. 205.
A trove of archival material that sheds light on the unlikely friendship forged between two artists from different generations is on view as part of Calder/Kelly at Lévy Gorvy, New York (@levygorvy ). Over the weekend, T: The New York Times Style Magazine (@tmagazine ) published a selection of their correspondence from the show, including this postcard that Kelly sent to Calder and his wife Louisa on 23 December 1954, which now resides in the Calder Foundation’s archive. You can read the article and two letters that Calder sent to Kelly at the link in our profile. • Image: Postcard from Ellsworth Kelly to Calder and Louisa Calder, 23 December 1954. © 2018 Ellsworth Kelly • #Calder #AlexanderCalder #CalderFoundation #EllsworthKelly #LévyGorvy
Twenty-three wire sculptures by Gego are currently on view in the exhibition “Southern Geometries, from Mexico to Patagonia,” now on view at the Fondation Cartier pour l’art contemporain! • Brought together in Paris for the first time, Gego’s delicate manipulation of her material gives her works an irregular, organic quality that forms an engaging contrast with their geometric structure. • Celebrating the geometric art of Latin America in all its variety, the exhibition highlights the profusion of color and the many different styles that are associated with this multi-faceted aesthetic from the Precolombian period through to the present day. • #LévyGorvy #LevyGorvy #Gego #GEOSUD
Happy Birthday to Chung Sang-Hwa! • Chung Sang-Hwa began his practice working in the style of Korean informel, then the dominant style in his native country. Subsequent periods of time spent developing his practice in Paris and Japan saw the artist’s work evolve into one focused on repetition and process, where paint is repeatedly applied to the canvas only to be removed through methods such as scraping, cracking, and chipping. Aesthetically austere and thoughtfully laborious, Chung Sang-Hwa’s oeuvre forms a pillar of the Dansaekhwa movement that grew out of the difficult social conditions in postwar Korea. • On view now in Los Angeles at Blum & Poe, “Chung Sang-Hwa & Shin Sung-hy” is the first exhibition to examine the careers of these two influential Korean painters. Included in the show are rare early examples of Chung Sang-Hwa’s early Korean informel art, monochromatic grid works, and some of his Frottage drawings. • “Chung Sang-Hwa & Shin Sung-hy” is on view through January 12, 2019. • #LévyGorvy #LevyGorvy #ChungSangHwa #ShinSunghy • Chung Sang-Hwa. “Work 69-A-6,” 1969. Acrylic on canvas, 64 1/4 x 51 7/8 x 1 5/8 inches framed (163.2 x 131.8 x 4.1 centimeters). © Chung Sang-Hwa. Courtesy of the artist and Blum & Poe, Los Angeles / New York / Tokyo. @jjetman
Happy Birthday to Chung Sang-Hwa! • Chung Sang-Hwa began his practice working in the style of Korean informel, then the dominant style in his native country. Subsequent periods of time spent developing his practice in Paris and Japan saw the artist’s work evolve into one focused on repetition and process, where paint is repeatedly applied to the canvas only to be removed through methods such as scraping, cracking, and chipping. Aesthetically austere and thoughtfully laborious, Chung Sang-Hwa’s oeuvre forms a pillar of the Dansaekhwa movement that grew out of the difficult social conditions in postwar Korea. • On view now in Los Angeles at Blum & Poe, “Chung Sang-Hwa & Shin Sung-hy” is the first exhibition to examine the careers of these two influential Korean painters. Included in the show are rare early examples of Chung Sang-Hwa’s early Korean informel art, monochromatic grid works, and some of his Frottage drawings. • “Chung Sang-Hwa & Shin Sung-hy” is on view through January 12, 2019. • #LévyGorvy #LevyGorvy #ChungSangHwa #ShinSunghy • Chung Sang-Hwa. “Work 69-A-6,” 1969. Acrylic on canvas, 64 1/4 x 51 7/8 x 1 5/8 inches framed (163.2 x 131.8 x 4.1 centimeters). © Chung Sang-Hwa. Courtesy of the artist and Blum & Poe, Los Angeles / New York / Tokyo.
Beautiful✨✨✨ #Repost thank-you @calderfoundation with @repostsaveapp ・・・ Image: Installation view, Calder/Kelly, Lévy Gorvy, New York. © 2018 Calder Foundation, New York / Artists Rights Society (ARS), New York; © 2018 Ellsworth Kelly • #Calder #AlexanderCalder #CalderFoundation #EllsworthKelly #LévyGorvy #LevyGorvy #art #artist #contemporaryart #instaart #dailyart #fineart #artlovers #artsy #amazing #artwork #beautiful #sculpture #interior
Senga Nengudi’s “R.S.V.P. Fall 1976,” is one of over eighty works that will be included in “West by Midwest” at MCA Chicago, opening November 17! • The exhibition examines how American art has evolved since the middle of the 20th century through the framework of westward migration. Focusing on artists who have followed the pattern of moving from the Midwest to the West Coast, the exhibition examines how their artistic development, professional recognition, and personal lives have intersected as a result of this movement. • “West by Midwest” is on view from November 17, 2018—January 27, 2019. • #LévyGorvy #LevyGorvy #SengaNengudi • Senga Negudi. “R.S.V.P. Fall 1976,” 1976/2017. Nylon mesh, sand, and pins. © Senga Nengudi. Photo: Elisabeth Bernstein. • Reminder! In addition to our normal hours, the New York gallery will be open on Sunday, November 11 from 11AM–4PM, and on Monday, November 12 from 10AM–6PM.
“Calder / Kelly” is OPEN! • “Calder / Kelly” is the first major exhibition exploring the visual and personal affinities between landmark American artists Alexander Calder and Ellsworth Kelly. Celebrating the artists’ friendship and their extraordinary experiences as Americans who were shaped by significant periods of time spent living in Paris, the exhibition reveals a dynamic exchange between two virtuosic talents. • “Calder / Kelly” is on view through January 9, 2019! • In addition to our normal hours, the New York gallery will be open on Sunday, November 11 from 11AM–4PM, and on Monday, November 12 from 10AM–6PM. • #LévyGorvy #LevyGorvy #CalderKelly #AlexanderCalder #EllsworthKelly • Alexander Calder. “Black Beast,” 1940. Sheet metal, bolts, and paint, 103 x 163 x 78 ½ inches (261.6 x 414 x 199.4 cm). © 2018 Calder Foundation, New York / Artists Rights Society (ARS), New York. • Alexander Calder. “Guava,” 1955. Sheet metal, rod, wire and paint, 71 1/4 x 146 1/2 x 46 1/2 inches (181 x 373 x 118 cm). © 2018 Calder Foundation, New York / Artists Rights Society (ARS), New York. • Ellsworth Kelly. “Yellow Curves,” 2014. Painted aluminum, 90 x 63 1/2 x 4 1/8 inches (228.6 x 161.3 x 10.5 cm). © Ellsworth Kelly Foundation. • Ellsworth Kelly. “Black White,” 1961. Oil on canvas, 21 1/8 x 30 inches (53.7 x 76.2 cm). © Ellsworth Kelly Foundation. • Alexander Calder. “Red Maze III,” 1954. Sheet metal, wire, and paint, 56 x 72 inches (142.2 x 182.9 cm). © 2018 Calder Foundation, New York / Artists Rights Society (ARS), New York. Courtesy Calder Foundation, New York.
A must see! #Repost @levygorvy with @get_repost ・・・ “Calder / Kelly” opens tomorrow! This is the first exhibition to explore the extraordinary friendship between Alexander Calder and Ellsworth Kelly, and the aesthetic dialogue that exists between these artists’ work. Through an exhibition that includes three-dozen works of art presented alongside a collection of letters and other personal ephemera the artists exchanged, an inspiring story of camaraderie and the sublime emerges. • “Calder / Kelly” is on view November 9 through January 9, 2019. • EXTENDED HOURS: In addition to our normal hours, the New York gallery will be open on Sunday, November 11 from 11AM–4PM, and on Monday, November 12 from 10AM–6PM. • #LévyGorvy #LevyGorvy #CalderKelly #AlexanderCalder #EllsworthKelly • Photo: Delphine Seyrig, Ellsworth Kelly, Alexander Calder in Calder’s studio, Roxbury, Connecticut, 1957. Photo courtesy Ellsworth Kelly Studio.
“Calder / Kelly” opens tomorrow! This is the first exhibition to explore the extraordinary friendship between Alexander Calder and Ellsworth Kelly, and the aesthetic dialogue that exists between these artists’ work. Through an exhibition that includes three-dozen works of art presented alongside a collection of letters and other personal ephemera the artists exchanged, an inspiring story of camaraderie and the sublime emerges. • “Calder / Kelly” is on view November 9 through January 9, 2019. • EXTENDED HOURS: In addition to our normal hours, the New York gallery will be open on Sunday, November 11 from 11AM–4PM, and on Monday, November 12 from 10AM–6PM. • #LévyGorvy #LevyGorvy #CalderKelly #AlexanderCalder #EllsworthKelly • Photo: Delphine Seyrig, Ellsworth Kelly, Alexander Calder in Calder’s studio, Roxbury, Connecticut, 1957. Photo courtesy Ellsworth Kelly Studio.
Calder/Kelly opens tonight at Lévy Gorvy, New York (@levygorvy )! The exhibition is a discourse between generations that celebrates the artists’ friendship and their extraordinary experiences as Americans who were shaped by significant periods of time spent living in Paris. Animated by the tension between figuration and abstraction, the works on view suggest intriguing intersections, including the striking repartee between two- and three-dimensionality (which, in Calder’s case, extends to four-dimensionality) that is a notable element of each artist’s oeuvre. Join us this evening at the gallery for an opening reception ‪from 6–8PM‬. • Image: Installation view, Calder/Kelly, Lévy Gorvy, New York. © 2018 Calder Foundation, New York / Artists Rights Society (ARS), New York; © 2018 Ellsworth Kelly • #Calder #AlexanderCalder #CalderFoundation #EllsworthKelly #LévyGorvy #LevyGorvy
Only a few days left until “Calder / Kelly” opens to the public on November 9 in New York! It’s an exciting time around the gallery as we put the finishing touches on the lighting for this groundbreaking exhibition. • #LévyGorvy #LevyGorvy #CalderKelly #AlexanderCalder #EllsworthKelly • Alexander Calder. “Guava,” 1955. Sheet metal, rod, wire and paint, 71 1/4 x 146 1/2 x 46 1/2 inches (181 x 373 x 118 cm). © 2018 Calder Foundation, New York / Artists Rights Society (ARS), New York. • Ellsworth Kelly. “Yellow Curves,” 2014. Painted aluminum, 90 x 63 1/2 x 4 1/8 inches (228.6 x 161.3 x 10.5 cm). © Ellsworth Kelly Foundation. • Ellsworth Kelly. “Black White,” 1961. Oil on canvas, 21 1/8 x 30 inches (53.7 x 76.2 cm). © Ellsworth Kelly Foundation.
New York auction previews have begun! One of Frank Stella’s most successful concentric square paintings, “Sight Gag” has been in the same family collection for over 35 years and will be offered in the Sotheby’s Contemporary Art Evening auction on November 14! • #LévyGorvy #LevyGorvy #FrankStella #ChristopherWool #Sothebys • Image repost @brettgorvy • Frank Stella. “Sight Gag,” 1974. Acrylic on canvas. © 2018 Frank Stella / Artists Rights Society (ARS), New York. • Christopher Wool. “Fuckem,” 1992. Enamel on aluminum. © 2018 Christopher Wool.
#Repost @levygorvy ・・・ Ellsworth Kelly’s work references shapes observed through his careful study of the world around him—these observations ranged from the play of light and shadow through leaves, to architectural forms. • In 1950 after meeting artist Jean Arp, who made reliefs in organic and abstract shapes, Kelly expanded his own interest in abstracted forms, making shaped wooden reliefs, and solid-colored, multi-panel works. Throughout his career Kelly continued his exploration of form and surface, leaving a legacy that invites us to look more closely at the interplay of shape and color in the environments that surround us each day. • “Calder / Kelly” opens in New York this Friday! • Jack Shear, President of the Ellsworth Kelly Foundation, is seen with Kelly’s work “Three Gray Panels.” • #LévyGorvy #LevyGorvy #CalderKelly #EllsworthKelly • Ellsworth Kelly. “Three Gray Panels,” 1987. Oil on canvas. © 2018 Ellsworth Kelly Foundation.
Died and gone to interior design heaven with this divine combination of mid-century furniture and major artworks @levygorvy , inspired by the one and only Lord Duveen - Britain’s 20th century answer to the mega art dealer with the deepest of pockets. . . . #levygorvy #levygorvygallery #lévygorvy #lévygorvygallery #lévygorvylondon #duveen #josephduveen #londonexhibition #duveengalleries #lordduveen #artdealer
Exhibition to visit! _ Repost @levygorvy Ellsworth Kelly’s work references shapes observed through his careful study of the world around him—these observations ranged from the play of light and shadow through leaves, to architectural forms. • In 1950 after meeting artist Jean Arp, who made reliefs in organic and abstract shapes, Kelly expanded his own interest in abstracted forms, making shaped wooden reliefs, and solid-colored, multi-panel works. Throughout his career Kelly continued his exploration of form and surface, leaving a legacy that invites us to look more closely at the interplay of shape and color in the environments that surround us each day. • “Calder / Kelly” opens in New York this Friday! • Jack Shear, President of the Ellsworth Kelly Foundation, is seen with Kelly’s work “Three Gray Panels.” • #LévyGorvy #LevyGorvy #CalderKelly #EllsworthKelly • Ellsworth Kelly. “Three Gray Panels,” 1987. Oil on canvas. © 2018 Ellsworth Kelly Foundation.
Ellsworth Kelly’s work references shapes observed through his careful study of the world around him—these observations ranged from the play of light and shadow through leaves, to architectural forms. • In 1950 after meeting artist Jean Arp, who made reliefs in organic and abstract shapes, Kelly expanded his own interest in abstracted forms, making shaped wooden reliefs, and solid-colored, multi-panel works. Throughout his career Kelly continued his exploration of form and surface, leaving a legacy that invites us to look more closely at the interplay of shape and color in the environments that surround us each day. • “Calder / Kelly” opens in New York this Friday! • Jack Shear, President of the Ellsworth Kelly Foundation, is seen with Kelly’s work “Three Gray Panels.” • #LévyGorvy #LevyGorvy #CalderKelly #EllsworthKelly • Ellsworth Kelly. “Three Gray Panels,” 1987. Oil on canvas. © 2018 Ellsworth Kelly Foundation.
#Repost @levygorvy ・・・ Dominique Lévy overseeing the installation of “Calder / Kelly” – the first major exhibition of work by visionary artists Alexander Calder and Ellsworth Kelly – which opens next week! • “Calder / Kelly” looks at the artistic and personal affinity between these two artists. Years apart in age, they nevertheless became friends – establishing a fascinating dialogue that is expressed through letters to one another, artworks they exchanged, and in the dynamic interplay of their artworks when seen side by side. • “Calder / Kelly” opens November 9 and will be on view through January 9, 2019. • #LévyGorvy #LevyGorvy #AlexanderCalder #EllsworthKelly • Alexander Calder. “Red Maze III,” 1954. Sheet metal, wire, and paint, 56 x 72 inches (142.2 x 182.9 cm). © 2018 Calder Foundation, New York / Artists Rights Society (ARS), New York. Courtesy Calder Foundation, New York. • Ellsworth Kelly. “Red White,” 1962. Oil on canvas, 83 1/2 x 67 inches (212.1 x 170.2 cm). © Ellsworth Kelly Foundation. Courtesy San Francisco Museum of Modern Art.
✔️🖤 #terryadkins #Repost @levygorvy with @get_repost ・・・ “The relationship of music to art for me is an inverse muscular communion wherein sculpture is as transient as music and music approaches the visceral suggestion of matter.”—Terry Adkins. • A talented musician in addition to his artistic practice, Adkins was a true polymath, with all aspects of his practice benefitting from his understanding of multiple art forms. These amorphous, blown-glass sculptures were made in homage to American blues singer Bessie Smith (1894-1937), and beautifully evoke the fluidity between music and art that interested Adkins. • You can see this work in our London gallery right now as part of the exhibition “Lord Duveen, My Pictures Never Look So Marvellous As When You Are Here!” • #LévyGorvy #LevyGorvy #Terry Adkins #LordDuveen #BessieSmith • Terry Adkins. “Untitled (Bessie Smith Head),” 2007. Blown glass. © Terry Adkins. Courtesy of the Estate of Terry Adkins. • Quote: “Terry Adkins: Songs of Hearth and Valor. Recital in 8 Dominions After Bessie Smith,” exhibition catalogue. Syracuse: The Warehouse Gallery, 2008. @kiroho2 @turiyadkins
“The relationship of music to art for me is an inverse muscular communion wherein sculpture is as transient as music and music approaches the visceral suggestion of matter.”—Terry Adkins. • A talented musician in addition to his artistic practice, Adkins was a true polymath, with all aspects of his practice benefitting from his understanding of multiple art forms. These amorphous, blown-glass sculptures were made in homage to American blues singer Bessie Smith (1894-1937), and beautifully evoke the fluidity between music and art that interested Adkins. • You can see this work in our London gallery right now as part of the exhibition “Lord Duveen, My Pictures Never Look So Marvellous As When You Are Here!” • #LévyGorvy #LevyGorvy #Terry Adkins #LordDuveen #BessieSmith • Terry Adkins. “Untitled (Bessie Smith Head),” 2007. Blown glass. © Terry Adkins. Courtesy of the Estate of Terry Adkins. • Quote: “Terry Adkins: Songs of Hearth and Valor. Recital in 8 Dominions After Bessie Smith,” exhibition catalogue. Syracuse: The Warehouse Gallery, 2008. @jjetman
“The relationship of music to art for me is an inverse muscular communion wherein sculpture is as transient as music and music approaches the visceral suggestion of matter.”—Terry Adkins. • A talented musician in addition to his artistic practice, Adkins was a true polymath, with all aspects of his practice benefitting from his understanding of multiple art forms. These amorphous, blown-glass sculptures were made in homage to American blues singer Bessie Smith (1894-1937), and beautifully evoke the fluidity between music and art that interested Adkins. • You can see this work in our London gallery right now as part of the exhibition “Lord Duveen, My Pictures Never Look So Marvellous As When You Are Here!” • #LévyGorvy #LevyGorvy #Terry Adkins #LordDuveen #BessieSmith • Terry Adkins. “Untitled (Bessie Smith Head),” 2007. Blown glass. © Terry Adkins. Courtesy of the Estate of Terry Adkins. • Quote: “Terry Adkins: Songs of Hearth and Valor. Recital in 8 Dominions After Bessie Smith,” exhibition catalogue. Syracuse: The Warehouse Gallery, 2008.
The exhibition “Gutai” looks at the legacy of the groundbreaking Japanese artistic movement of the same name, and features work by Lévy Gorvy artists Tsuyoshi Maekawa and Kazuo Shiraga. • Gutai artists were challenged by movement founder Jiro Yoshihara to abandon traditional concepts of artmaking and pursue an art that would be fearlessly unconventional, and represent a search for “the origins of artistic creation itself.” Though Gutai artists worked across media—including painting, performance, sculpture and installation and music—this exhibition will focus in particular on the role painting played in the movement. • “Gutai” is on view at Hauser & Wirth’s East 69th Street gallery in New York through December 22, 2018. • #LévyGorvy #LevyGorvy #Gutai #TsuyoshiMaekawa • Tsuyoshi Maekawa. “Work,” 1964. Jute, oil on canvas. © Tsuyoshi Maekawa. Photo: Genevieve Hanson.
Dominique Lévy overseeing the installation of “Calder / Kelly” – the first major exhibition of work by visionary artists Alexander Calder and Ellsworth Kelly – which opens next week! • “Calder / Kelly” looks at the artistic and personal affinity between these two artists. Years apart in age, they nevertheless became friends – establishing a fascinating dialogue that is expressed through letters to one another, artworks they exchanged, and in the dynamic interplay of their artworks when seen side by side. • “Calder / Kelly” opens November 9 and will be on view through January 9, 2019. • #LévyGorvy #LevyGorvy #AlexanderCalder #EllsworthKelly • Alexander Calder. “Red Maze III,” 1954. Sheet metal, wire, and paint, 56 x 72 inches (142.2 x 182.9 cm). © 2018 Calder Foundation, New York / Artists Rights Society (ARS), New York. Courtesy Calder Foundation, New York. • Ellsworth Kelly. “Red White,” 1962. Oil on canvas, 83 1/2 x 67 inches (212.1 x 170.2 cm). © Ellsworth Kelly Foundation. Courtesy San Francisco Museum of Modern Art.
We are thrilled to welcome Bona Yoo to Lévy Gorvy as a Director on the sales team! • Based in New York, Bona brings to Lévy Gorvy a diverse cultural sensibility, working with important collectors and institutions internationally, and a valuable knowledge of Dansaekhwa artists and their work. Welcome Bona! • Learn more in the story on ARTNEWS! (Link in bio). • #LévyGorvy #LevyGorvy #BonaYoo • Bona Yoo. Photo: Kim Jaehoon
Happy Halloween from Lévy Gorvy! • His bat-like wings outstretched, Germaine Richier’s man-bat hybrid stands as if about to pounce, yet the thick, roughly-hewn forms of his legs appear rooted solidly to the ground, as if they were tree-trunks. In her strange hybrid figures, Richier drew on the mythological idea of metamorphosis, which would have been familiar to her from her study of classical sculpture and the myths of ancient Greece and Rome that informed it. Yet these strange forms also expressed the pervasive anxiety that many felt after the war; making them all at once fantastical, and unsettlingly poignant. • #LévyGorvy #LevyGorvy #GermaineRichier #Halloween #HappyHalloween #TrickorTreat • Germaine Richier. “L’homme de la nuit (grand),” 1954. Dark, patinated bronze. © 2018 Germaine Richier / Artists Rights Society (ARS), New York / ADAGP, Paris.
Director Laurence Sillars is quoted in an article about Senga’s current show at the Henry Moore Institute - “Senga Nengudi had such an incredible impact on the trajectory of sculpture with her relentless experimentation,” he says. “It really changed the understanding of what the artform can do and say. I really wanted to create an expansive exhibition to give a broad overview of the major contribution she has made.” Nengudi studied dance and art at the University of California before going on to study sculpture and this can be seen in her work. - Senga Nengudi's Bulemia 1990/2018. (Picture: Charlotte Graham, yorkshirepost.co.uk). - Read more at: https://www.yorkshirepost.co.uk/what-s-on/arts/american-trailblazing-artist-s-work-comes-to-leeds-1-9415073 - #senganengudi #henrymooreinstitute #leeds #newexhibition #sculpture #performance #photography #postminimalism #contemporaryart #africanamericanart #africanamericanavantgarde #feministart #feministartist #ThomasErbenGallery #levygorvy #lévygorvy #contemporaryartuk #yorkshirepost
Dan Colen’s exhibition “High Noon” opens this Friday, November 2, at Gagosian Beverly Hills! • Featuring a new selection of Colen’s Desert Paintings, the exhibition continues the artist’s renewed exploration of “the materiality of color” and “the objecthood of paint” through representational painting—as seen recently in the artist’s début exhibition at Lévy Gorvy, “Dan Colen: Mailorder Mother Purgatory.” In the Desert Paintings, Colen makes reference to the iconic Looney Toons animations, featuring Wile E. Coyote and Roadrunner. Using this imagery as the compositional framework, Colen embarks on a thoughtful and nuanced exploration of the physical potential of his medium, oil paint, resulting in works that float free from the confines of representational imagery, and drift toward abstraction. • Dan Colen “High Noon” is on view from November 2 through December 15, at Gagosian Beverly Hills. • #LévyGorvy #LevyGorvy #DanColen • Dan Colen. Artist in Red Hook, Brooklyn Studio, 2018. Artwork © Dan Colen. Photo: Eric Piasecki. Courtesy Gagosian.
Check out the review of “Senga Nengudi”–a brilliant exhibition held this summer in Los Angeles at Art + Practice–by Kay Whitney in the November issue of Sculpture Magazine! • #LévyGorvy #LevyGorvy #senganengudi
#Repost @levygorvy (@repost_via_instant )During the 1950s Carol Rama made a trip to Paris, to meet the French novelist Colette. While there, Rama saw “a picture with a lot of black sponges, under glass, like relics.” When asked what the sponge-like objects were, Colette explained to Rama that they were prophylactics. Describing the impact this encounter had on the artist, Rama scholar Paolo Fossati relates the experience to Rama’s later “bricolage” works—pieces that incorporated objects such as animal claws, skin, taxidermy eyes, and bicycle tires, giving them a fetishistic quality. • “The poetry of bricolage emerges also and above all from the fact that this ‘speaks’ not only to things, but also through things: recounting through the choices made between a limited number of possibles (sic), the character and life of its creator.”—Paolo Fossati. • #LévyGorvy #LevyGorvy #CarolRama • Carol Rama. “Senza titolo,” 1967. Ink, doll’s eyes, and glue on paper. © Archivio Carol Rama, Torino. • Carol Rama quoted in Fossati, “A Career,” in Cristina Mundici, ed. “Carol Rama.” Milan: Edizioni Charta, 1999. Exhibition catalogue. • Paolo Fossati, “A Career,” in Cristina Mundici, ed. “Carol Rama.” Milan: Edizioni Charta, 1999. Exhibition catalogue. #paolofossati #art #history #greatman #artist #comtemporaryart #bricolage #painting #womaninart
During the 1950s Carol Rama made a trip to Paris, to meet the French novelist Colette. While there, Rama saw “a picture with a lot of black sponges, under glass, like relics.” When asked what the sponge-like objects were, Colette explained to Rama that they were prophylactics. Describing the impact this encounter had on the artist, Rama scholar Paolo Fossati relates the experience to Rama’s later “bricolage” works—pieces that incorporated objects such as animal claws, skin, taxidermy eyes, and bicycle tires, giving them a fetishistic quality. • “The poetry of bricolage emerges also and above all from the fact that this ‘speaks’ not only to things, but also through things: recounting through the choices made between a limited number of possibles (sic), the character and life of its creator.”—Paolo Fossati. • #LévyGorvy #LevyGorvy #CarolRama • Carol Rama. “Senza titolo,” 1967. Ink, doll’s eyes, and glue on paper. © Archivio Carol Rama, Torino. • Carol Rama quoted in Fossati, “A Career,” in Cristina Mundici, ed. “Carol Rama.” Milan: Edizioni Charta, 1999. Exhibition catalogue. • Paolo Fossati, “A Career,” in Cristina Mundici, ed. “Carol Rama.” Milan: Edizioni Charta, 1999. Exhibition catalogue.
Highlights from the #IntimateInfinite exhibition at @levygorvy , which I had the fortunate opportunity to see in its last day as part of a fun and fascinating gallery tour led by Charles Riley and the @nassaumuseum. Brilliantly curated with some really cool works by #JoanMiró , #JasperJohns , #RenéMagritte , #CyTwombly , and many others! . . #JohnChamberlain #AlbertoBurri #AgnesMartin #LévyGorvy #artgallery #artexhibition #modernart
On November 9, we will open a fantastic exhibition of work by two visionary artists: Ellsworth Kelly and Alexander Calder! • Both Kelly and Calder were shaped by their experiences as Americans who spent significant periods of time living in Paris. For Ellsworth Kelly, his first visit to France came with the US Army in 1944, and following the war, he returned to Paris to study through the GI Bill, remaining there for 6 years. The places he visited in France—as well as the art he saw and the artists he met, Calder among them—would remain important to him throughout his career, even after he returned to live in the United States in the early 1950s. • “Calder / Kelly” opens November 9. Among the works on view will be “Charmettes I,” (1956), a painting inspired by the play of sunlight seen through a tree’s leafy canopy. • #LévyGorvy #LevyGorvy #CalderKelly #EllsworthKelly • Ellsworth Kelly. “Charmettes I,” 1956. Oil on canvas. © Ellsworth Kelly Foundation. Photo: Ronald Amstut. Courtesy Calder Foundation, New York.
repost @levygorvy Above is an image of Fontana completing one of his "Concetto Spaziale" (Spatial Concept) works, which manifest the artist's attempt to move beyond the flat surface of the canvas. Fontana had been using the term since 1946, when he first began experimenting with the manipulation of canvases according to their environment—i.e., their temporal and spatial surroundings —rather than treating them as an autonomous pictorial – For Fontana, the perforations in his canvases embodied a radical negation of the frontal orientation typical of the medium of oil painting; the holes reveal the space behind the painting's surface while creating projections and shadows on the opposing side that vary according to the nature of the lighting in the work's setting. – Above left: Concetto Spaziale, Attese (Spatial Concept, Expectations), 1967 Water-soluble paint (idropittura) on canvas, slashes with black gauze backing © 2015 Lucio Fontana / Artist Rights Society (ARS), New York. Courtesy of: Kunstmuseum Basel, Photo: Martin P. Bühler – #LévyGorvy #LevyGorvy #LucioFontana #Fontana #ConcettoSpaziale #SpatialConcept #Spatialism
My review of the astonishing artist Terry Adkins at Levy Gorvy NY. Sculpture Magazine October issue. #terryadkins #lévygorvy #afroamericanart #soundsculptures #sculptureart #original #brilliant
#Art #VisualArt #Sculpture #Gallery #Installation @levygorvy ・・・ “Calder / Kelly” opens November 9! As we prepare for our exhibition of work by these two incredible artists, we’re sharing this great post from the Calder Foundation! • “The hanging mobile Lobster Trap and Fish Tail was commissioned for the Bauhaus stairway in Philip L. Goodwin and Edward Durell Stone’s 1939 International Style building for the Museum of Modern Art, New York ( @themuseumofmodernart ) where it still hangs today. In a short feature on the sculpture for the Christian Science Monitor ( @csmonitor ) in October 1950, the art critic Dorothy Adlow wrote: “The artist adds a new element to the art of sculpture—time. Matter is not interpreted as a static mass, but as something dynamic.” • Image: Lobster Trap and Fish Tail, 1939. The Museum of Modern Art, New York. © 2018 Calder Foundation, New York / Artists Rights Society (ARS), New York. • #LévyGorvy #LevyGorvy #CalderKelly #Calder #AlexanderCalder #CalderFoundation #LobsterTrapandFishTail #MoMA • “Calder / Kelly” will be on view in New York from November 9, 2018—January 9, 2019.
“Calder / Kelly” opens November 9! As we prepare for our exhibition of work by these two incredible artists, we’re sharing this great post from the Calder Foundation! • “The hanging mobile Lobster Trap and Fish Tail was commissioned for the Bauhaus stairway in Philip L. Goodwin and Edward Durell Stone’s 1939 International Style building for the Museum of Modern Art, New York ( @themuseumofmodernart ) where it still hangs today. In a short feature on the sculpture for the Christian Science Monitor ( @csmonitor ) in October 1950, the art critic Dorothy Adlow wrote: “The artist adds a new element to the art of sculpture—time. Matter is not interpreted as a static mass, but as something dynamic.” • Image: Lobster Trap and Fish Tail, 1939. The Museum of Modern Art, New York. © 2018 Calder Foundation, New York / Artists Rights Society (ARS), New York. • #LévyGorvy #LevyGorvy #CalderKelly #Calder #AlexanderCalder #CalderFoundation #LobsterTrapandFishTail #MoMA • “Calder / Kelly” will be on view in New York from November 9, 2018—January 9, 2019.
#Repost from @levygorvy. If you’re in Mayfair, check out our fabulous exhibition “Lord Duveen, My Pictures Never Look So Marvellous As When You Are Here”! • Organized in the spirit of the legendary dealer Joseph Duveen, who formerly occupied the premises at 22 Old Bond Street that now houses our London gallery, the exhibition features a salon-style hang of work by artists including Alexander Calder, Günther Uecker and Yves Klein! • When Joseph Duveen took the helm of his family’s antiques dealership in 1898, his astute taste and canny understanding of the American industrialists’ desire to become paragons of culture as well as industry helped to establish the Duveens as the preeminent connoisseurs of fine painting and sculpture in Europe and North America. • “Lord Duveen, My Pictures Never Look So Marvellous As When You Are Here” is on view in our London gallery through January 12! • #LévyGorvy #LevyGorvy #LordDuveen • Installation view of “Lord Duveen, My Pictures Never Look So Marvellous As When You Are Here.” Photo: Todd White Photography. • Alexander Calder artworks © 2018 Calder Foundation, New York / DACS, London. • Günther Uecker artworks © 2018 Günther Uecker / Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany. • Yves Klein artworks 2018 © Yves Klein Estate, Artists Rights Society (ARS), New York / ADAGP, Paris / DACS, London, 2018. #alexandercalder #guntheruecker #güntheruecker #yvesklein #artgallery #artlover #london
#Art #VisualArt #Gallery @levygorvy ・・・ Only a day and a half left to see “Intimate Infinite”! Our Madison Avenue gallery is open today and tomorrow from 10am–6pm. • The third floor features this work by sculptor Maria Bartuszová. Wishing to find the perfect sculptural form, Bartuszová ultimately achieved it while spending time with her daughter, playing. She found that by pouring plaster into the form of an inflatable ball, she could create a perfect sphere. Bartuszová began pouring plaster into rubber forms, such as balloons, and condoms: because she was pouring into flexible molds, gravity had a natural effect on the spread of the liquid plaster, and the way it set. Bartuszová called this process “gravistimulated casting.” During the 1960s, the artist created a series of “folded” sculptures that were made of interlocking elements, which were used as educational aids, and also for play, in workshops for blind children—a use that beautifully echoes the artist’s own process of search and discovery. • #LévyGorvy #LevyGorvy #MariaBartuszová #IntimateInfinite • Maria Bartuszová. “Untitled (Relief),” c. 1966. Plaster. © The Archive of Maria Bartuszová, Košice.
With this exhibition, Karin Schneider continues her ongoing body of work, Situational Diagram, by staging interventions in the current home of the Kunstverein Nürnberg, the Milchhof building. Built in 1929 by the architect Otto Ernst Schweizer, the Milchhof building features a large, gridded façade of glass that looks onto an atrium. This design was conceived to enable transparency—and, along with it, control—in the building’s operations when it housed a dairy distribution facility. As Schneider covers the building’s windows, as seen in the lower right-hand corner of the first image, she mediates what is referred to in the exhibition as its “architecture of control,” at once intervening in and animating its history to generate a contemporary dialogue. • “Karin Schneider The Milchhof Diagram” is on view at the Kunstverein Nürnberg through December 16. • #LévyGorvy #LevyGorvy #KarinSchneider • Karin Schneider, “The Milchhof Diagram.” Exhibition view, Kunstverein Nürnberg, 2018. © 2018 Karin Schneider. 1/ Photo: Annette Kradisch. 2/ Photo: Kunstverein Nürnberg.
“Intimate Infinite” is on view at Lévy Gorvy in NYC through October 24. Lee Bontecou, Untitled, 1960, canvas, welded steel and wire. #güntheruecker #leebontecou #robertryman #nyc #gallery #lévygorvy @brettgorvy #intimateinfinite
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