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Koji Inoue to Join Hauser + Wirth in Summer 2019

November 21, 2018 by Marion Maneker

Koji Inoue

Koji Inoue is leaving Christie’s to join Hauser + Wirth where he will start in the Summer of 2019 supervising the 69th St townhouse and its exhibitions of historical artists on the secondary market:

Iwan Wirth, Manuela Wirth, and Marc Payot, Partners of Hauser & Wirth, today announced the appointment of Koji Inoue as International Senior Director Post War & Contemporary Art, based in New York. He will assume his post with the gallery in summer 2019.

In this newly created position, Inoue will collaborate closely with the gallery’s partners and staff to continue developing relationships with clients and consignors of important works of art from eminent collections worldwide. His appointment is part of Hauser & Wirth’s mission to give increased attention to historical and secondary market works of art, and to further expand this area of its business.

Inoue will also oversee Hauser & Wirth’s gallery space and viewing rooms at 32 East 69th Street in Manhattan. Under Inoue’s leadership, the former townhouse will become a platform exclusively for historical exhibitions – shows devoted both to artists whose estates are represented by the gallery and others aligned with the gallery’s artists and program, presented in context to further explore tendencies in postwar art.

Inoue joins Hauser & Wirth from Christie’s auction house, where he has served since 2008 and was most recently International Director, Specialist Post-War & Contemporary Art. In his years at Christie’s, Inoue became Global Head of Private Sales for his categories, redesigning the structure and strategy of private sales at an international level. He was previously Head of Client Intelligence and Strategic Development at the firm; before that was Head of the New York Evening Sale, where he orchestrated six consecutive world-record sales.

Inoue’s appointment follows that of fellow Christie’s alumna Liberté Nuti, who joined Hauser & Wirth in early fall 2018 as London-based International Senior Director of Impressionist & Modern. As global counterparts, Inoue and Nuti represent Hauser & Wirth’s commitment to the full spectrum of art from the 20th century to the present – from Impressionism to Contemporary – and the increased depth and breadth of expertise that will be applied to projects in Europe, the United States, and Asia.

‘With the appointment of Koji Inoue – and Liberté Nuti earlier this year – we are entering a new phase of our business,’ Iwan Wirth remarked. ‘Over the course of more than a quarter century, our gallery has supported research into and developed connoisseurship in the field of 20th century masterworks. And now our attention to this area is growing in truly exciting ways. Koji and Liberté bring firepower to our already significant, ongoing project to find and place exceptional works with the foremost collections worldwide. Our vision is to collaborate even more closely with private collectors, estates, families, and public museums and foundations to identify and
secure masterpieces that in turn enrich the story of art when they live together in collections.’ Wirth continued, ‘Some of Hauser & Wirth’s earliest exhibitions were devoted to Calder, Miró, Arp, Giacometti, and Picabia, and these artists have continued to be touchstones in our program years later. We have always successfully combined activities across the primary and secondary markets, the historical and the new. A core principle of our approach is that a strong 20th century program contextualizes the art of today, and the art
of the present re-contextualizes the art of the past. It’s a full circle, and we look forward to tracing it in many interesting ways with a dedicated space for historical exhibitions at our 69th Street gallery.’

Koji Inoue commented: ‘I am thrilled to join such a well-respected organization and become part of Hauser & Wirth’s world-class team.
I was attracted to the gallery as a place where innovation is prized, and I see ahead many great opportunities to engage the full spectrum of the primary and secondary markets through creative initiatives that connect the dots between our artists and the wider sweep of art history. We aim to provide the highest possible level of service to collectors, working with individuals in-depth and covering all ground to fulfil their needs, while bringing new ideas and connections to the discourse of art.’

Di Donna Brings Calder & Miró to Art Basel in December

November 20, 2018 by Marion Maneker

Alexander Calder, Crag with Yellow Boomerang and Red Eggplant (1974)
Di Donna Galleries has released its presentation for Art Basel Miami Beach which begins a little later this year due to the early arrival of Thanksgiving. Some art market denizens’ families will be extra thankful this year for the lower stress levels. Here’s a list of what Di Donna is bringing to the fair:
  • A striking standing mobile by Alexander Calder, Crag with Yellow Boomerang and Red Eggplant (1974), which playfully engages the tension between the concrete and ephemeral aspects of nature, as floating and bouncing elements ring a jagged, dark mountain shape.
  • Leonor Fini’s painting La Prison de Zigriphine (1975), an exquisite demonstration of Fini’s mastery of enigmatic portraiture and her technical skill in rendering light and translucency.
  • Le Combat (de Tancrède et de Clorinde) (1934) by Kurt Seligmann, a dynamic painting featuring figures cloaked in swirling drapery that conjures the movement of drama and combat.
  • Rudolf Bauer’s Counter Fugue (1937-38), which exemplifies the artist’s use of music as a metaphor in geometric compositions, representing the crescendos and rests that naturally occur in the physical world.
  • Joan Miró’s Figure with Bird (1977). Miró challenged the tradition of painting in general by eliminating traces of illusionism at the level of construction. In Figure with Bird, he left visible the wood support and a perimeter of protruding nails around expressive brushwork in primary colors, leaving the subject abstractly rendered.
  • The gallery will also present significant works by Agustín Cárdenas, Leonora Carrington, César, Lynn Chadwick, Marc Chagall, Max Ernst, Auguste Herbin, David Hockney, Hans Hofmann, Wassily Kandinsky, François-Xavier Lalanne, Claude Lalanne, René Magritte, André Masson, Matta, Joan Mitchell, Man Ray, Charles Green Shaw, Georges Valmier, and Andy Warhol.

Di Donna Celebrates Modernism & Biomorphism

October 17, 2018 by Marion Maneker

Di Donna is getting an early jump on the New York season with the opening of The Life of Forms on October 25th. The show is another example of creating an unusual space within a gallery or art fair to highlight a group of works. This time we’re celebrating biomorphism:
Di Donna Galleries is pleased to announces The Life of Forms, an exhibition that explores how modern artists translated forms found in nature into biomorphic shapes in sculpture. The exhibition will bring together important sculptures by Jean Arp, Ruth Asawa, Louise Bourgeois, Alexander Calder, Barbara Hepworth, Henri Matisse, Joan Miró, Henry Moore, and Isamu Noguchi, among others, installed in Di Donna’s Madison Avenue gallery in a setting that evokes an outdoor garden.
The works reveal inspiration ranging from flora (Asawa’s nesting wire mesh pods or the organic “growths” of Calder’s sculptures) to anatomy (Bourgeois and Arp’s depiction of bodily fragments) to living organisms (the amoeba-like forms of Moore and Hepworth’s work). The exhibition features loans from major private collections and institutions, including the Calder Foundation, The Matisse Foundation, and The Noguchi Museum.
The Life of Forms is on view at Di Donna Galleries (744 Madison Avenue) from October 26 trough December 14, with a public opening the evening of October 25. The exhibition will be accompanied by an illustrated catalogue with an essay that investigates the formal and conceptual motivations that led to the development biomorphic abstraction in sculpture.

Hauser + Wirth Returns to FIAC with Bourgeois & Bellmer Exhibition

October 12, 2018 by Marion Maneker

Louise Bourgeois, Untitled (2005) © The Easton Foundation/ Licensed by VAGA, New York, and DACS, London Courtesy the Foundation and Hauser & Wirth
Hauser + Wirth is showing at the Grand Palais in Paris next week for FIAC bringing the gallery back to the fair. Hauser has works by Philip Guston and Günther Förg at the booth but the main emphasis is a themed exhibition called Le Coeur est Là which is meant to be a dialogue between Louise Bougeois (above) and Hans Bellmer. He gallery’s press release explains:
Hauser & Wirth returns to FIAC this October with a selection of works on the theme of notions of desire and sexual ambiguity. Built around an intriguing dialogue between the works of Louise Bourgeois and Hans Bellmer, the concept of the booth takes as a point of departure the title, Le Cœur est Là, referencing a series of works which Louise Bourgeois returned to over the course of her career.
While Bourgeois and Bellmer lived in Paris in 1938, it is believed they never met. Their approaches have marked differences as well as shared themes – of the body as expressive material, a source of creativity and fertility, ambiguity and eroticism. The concept pays homage to the landmark exhibition ‘Double Sexus’ which was held in Berlin at the Nationalgalerie – Sammlung Scharf-Gerstenberg in 2010, the Gemeentemuseum Den Haag and the Wexner Center for the Arts, Columbus Ohio in 2011.
With the participation of Ubu Gallery – who loaned significant works by Hans Bellmer to ‘Double Sexus’ – the booth expands on the topic by creating compelling narratives. The presentation features important works by Franz West, Lee Lozano, Zoe Leonard and others. In two works by Paul McCarthy and Alina Szapocznikow, the human form suggests a trajectory from Hans Bellmer’s illustrated book, ‘Les Jeux de la Poupée’, a collaboration with Paul Éluard for the Surrealist journal Le Minotaure.

Galerie Ropac Previews FIAC Stand with Carl Andre

October 12, 2018 by Marion Maneker

Galerie Thaddaeus Ropac has announced the works it is bringing to FIAC later next week. The fair held in Paris’s Grand Palais will feature works by Jack Pierson, Yan Pei-Ming, and Imi Knoebel, alongside recent works by Robert Longo, Georg Baselitz and Tony Cragg. Coinciding with the survey exhibition Monumental Minimal, on view at Galerie Thaddaeus Ropac Pantin during FIAC, Ropac’s stand will also present major pieces of Minimal art by Carl Andre (above) and Robert Mangold.

Carl Andre‘s Fifth Copper Square (2007) is the result of a life-long investigation into mathematical structures, geometric forms and seriality. Composed of 25 copper plates, this sculpture embodies the characteristic features of Andre’s work, such as the use of ready-made materials, the employment of modular units, and the articulation of three-dimensionality through a consideration of negative as well as positive space. Considered one of the most important figures of Minimal art, Andre has sought to reduce the vocabulary of 20th-century sculpture to basic forms such as the square.

With classical restraint, Robert Mangold translates the most basic of formal elements – shape, line, and colour – into paintings whose apparent simplicity expresses complex ideas. In his shaped panel paintings, of which Four Color Frame Painting (1985) is a distinctive example, he uses subtle modulations of colour and hand-drawn graphite lines to present the viewer with a meditative experience.

Untitled (X-Ray of A Bar at the Folies-Bergère, 1882, After Manet) (2017), a monumental charcoal drawing by Robert Longo, is a remarkable rendering of Édouard Manet’s last major work. Longo decided to tackle Manet’s masterpiece after seeing an X-ray of the work. The X-ray image offered a window into the past, revealing clues about Manet’s working process and, most intriguingly, the adjustments he made to the barmaid’s position in earlier stages of the composition. Both past and present versions are made visible in Longo’s intricately-detailed depiction, showing the viewer what usually remains unseen and revealing an alternate history.

Providing a preview of the artist’s forthcoming exhibition at the Musée Courbet, Ornans, Yan Pei-Ming’s Portrait de Gustave Courbet (2018) pays homage to the master of Realism. Ming’s monochromatic paintings of epic scale have redefined the traditional parameters of portraiture over the past three decades. The artist believes that portraits have the power to capture and transcend experience and thought. His exhibition at Musée Courbet will coincide with the celebration of the bicentenary of Courbet’s birth in June 2019, before it travels to the Petit Palais and to the Musée d’Orsay.

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