Wolf Fine Art - Colorado Springs

The Museum of Modern Art (New York, NY) Exhibit –Print/Out (February 19-May 14, 2012)

Andrew Wolf — Fri, 10 Feb 2012 14:30:16 +0000

Over the last two decades, the art world has broadened its geographic reach and opened itself to new continents, allowing for a significant cross-pollination of post-conceptual strategies and vernacular modes. Printed materials, in both innovative and traditional forms, have played a key role in this exchange of ideas and sources. This exhibition examines the evolution of artistic practices related to the print medium, from the resurgence of ancient printmaking techniques—often used alongside digital technologies—to the worldwide proliferation of self published artists’ books and ephemera. Bringing together over 200 works drawn substantially from MoMA’s extensive collection of prints and books, with the addition of several important loans, the exhibition features major artists and publishing projects, such as Ai Weiwei, Ellen Gallagher, Martin Kippenberger, Lucy McKenzie, Museum in Progress, Editions Jacob Samuel, Thomas Schütte, SUPERFLEX, and Rirkrit Tiravanija, among many others.

For more information visit www.moma.org

January 29, 2012

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The Museum of Modern Art (New York, NY) Exhibit – Cindy Sherman (February 26-June 11, 2012)

Andrew Wolf — Sun, 05 Feb 2012 14:30:22 +0000

Cindy Sherman (American, b. 1954) is widely recognized as one of the most important and influential artists in contemporary art. Throughout her career, she has presented a sustained, eloquent, and provocative exploration of the construction of contemporary identity and the nature of representation, drawn from the unlimited supply of images from movies, TV, magazines, the Internet, and art history. Working as her own model for more than 30 years, Sherman has captured herself in a range of guises and personas which are at turns amusing and disturbing, distasteful and affecting. To create her photographs, she assumes multiple roles of photographer, model, makeup artist, hairdresser, stylist, and wardrobe mistress. With an arsenal of wigs, costumes, makeup, prosthetics, and props, Sherman has deftly altered her physique and surroundings to create a myriad of intriguing tableaus and characters, from screen siren to clown to aging socialite.

Bringing together more than 180 photographs, this retrospective survey traces the artist’s career from the mid 1970s to the present. Highlighted in the exhibition are in-depth presentations of her key series, including the groundbreaking series Untitled Film Stills (1977–80), the black-and-white pictures that feature the artist in stereotypical female roles inspired by 1950s and 1960s Hollywood, film noir, and European art-house films; her ornate history portraits (1989–90), in which the artist poses as aristocrats, clergymen, and milkmaids in the manner of old master paintings; and her larger-than-life society portraits (2008) that address the experience and representation of aging in the context of contemporary obsessions with youth and status. The exhibition will explore dominant themes throughout Sherman’s career, including artifice and fiction; cinema and performance; horror and the grotesque; myth, carnival, and fairy tale; and gender and class identity. Also included are Sherman’s recent photographic murals (2010), which will have their American premiere at MoMA.

For more information visit www.moma.org

February 5, 2012

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The Harwood Museum of Art (Taos, NM) Exhibit – Agnes Martin: Before The Grid (February25-June 17, 2012)

Andrew Wolf — Wed, 01 Feb 2012 14:30:19 +0000

In early 1950, Canadian born artist Agnes Martin created her first semi-abstract work in Taos, New Mexico, where she lived and worked during the years 1954-1957. The biomorphic piece—involving abstract shapes that evoke living forms—was a serious effort to find a new language and visual vocabulary. She would continue with this style as late as 1959. In 1957 New York art dealer Betty Parsons saw Martin’s biomorphic work in Taos and offered to represent her and fund her move to New York City. At Parsons’ urging, Martin relocated from Taos to Coenties Slip in lower Manhattan.

By 1957, Agnes Martin’s work had already begun to move from biomorphic shapes with big areas of gray and black to a more linear and grid-like approach. As this new vocabulary emerged Martin grew to disdain her earlier biomorphic work, destroying as many of those canvases as possible. While most of these works were irreparably damaged, some were given to other Taos artists to reuse, most notably to Beatrice Mandelman.

The biomorphics slowly gave way in a gentle shift of intent. During the biomorphic period Martin’s style was related to the work of the Taos Moderns and a few other artists living and working in New Mexico. Although Martin’s palette would stay largely consistent, the transitional paintings became what Sean Scully referred to as ” the New York Grid.” These transitional paintings, together with her move to New York City, led to the formation of Agnes Martin as a fully realized and mature artist.

In 1995, The Harwood Museum of Art in Taos became home to the Agnes Martin Gallery, the artist having created seven paintings for the space that she had helped design. The Harwood has long considered itself the institutional home of Agnes Martin. It is with this sentiment that the Museum will host the centennial exhibit. The exhibit will feature the rarely seen biomorphic work of Agnes Martin from 1954-1959, as well as the transitional works tracing her subtle conversion from biomorphic shapes to linear grids.

For more information visit www.harwoodmuseum.org

February 1, 2012

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Untitled – Colorado Mountain Landscape #5, 1993

Andrew Wolf — Sat, 28 Jan 2012 21:29:04 +0000

Buff Elting (1953-)

Untitled – Colorado Mountain Landscape #5, 1993

Pastel

20 x 24 inches

Signed lower right

Untitled – Colorado Mountain Landscape #4, 1993

Andrew Wolf — Sat, 28 Jan 2012 21:27:16 +0000

Buff Elting (1953-)

Untitled – Colorado Mountain Landscape #4, 1993

Pastel

20 x 24 inches

Signed lower right

Untitled – Colorado Mountain Landscape #3, 1993

Andrew Wolf — Sat, 28 Jan 2012 21:24:58 +0000

Buff Elting (1953-)

Untitled – Colorado Mountain Landscape #3, 1993

Pastel

20 x 24 inches

Signed lower right

Untitled – Colorado Mountain Landscape #2, 1993

Andrew Wolf — Sat, 28 Jan 2012 21:22:47 +0000

Buff Elting (1953-)

Untitled – Colorado Mountain Landscape #2, 1993

Pastel

20 x 24 inches

Signed lower right

Untitled – Colorado Mountain Landscape #1, 1993

Andrew Wolf — Sat, 28 Jan 2012 21:21:28 +0000

Buff Elting (1953-)

Untitled – Colorado Mountain Landscape #1, 1993

Pastel

22 x 30 inches

Signed lower right

Buff Elting – Artist Bio

Andrew Wolf — Sat, 28 Jan 2012 21:05:25 +0000

b. 1953

Colorado

Elizabeth (Buff) Elting paints Western landscapes from an aerial view that references both topography and mapmaking, and at the same time captures the changes wrought by development. She uses her art to explore the sense of place, creating abstract landscapes that offer new ways of looking at the elements of land, water, and sky.

Elting’s works are found in the collections of The Library of Congress, Washington, D.C., The Nature Conservancy, CO, The Conservation Fund, Boulder, CO and The Autry National Center/Museum of the American West, Los Angeles, CA.

The Museum of Modern Art (New York, NY) Exhibit – Eugène Atget: “Documents pour artistes” (February 6-April 9, 2012)

Andrew Wolf — Tue, 17 Jan 2012 14:30:28 +0000

This exhibition presents six fresh and highly focused cross sections through the career of master photographer Eugène Atget (French, 1857–1927), drawn exclusively from the Museum’s unparalleled holdings of his work. The sign outside Atget’s studio read, “Documents pour artistes,”—declaring his modest ambition to create images for other artists to use as source material. This humility belied the visual sophistication and distinctive vision that characterized much of Atget’s own work. Whether exploring the urban texture of Paris’ fifth arrondissement throughout the first quarter of the 20th century, or the abandoned grandeur of the parks at Sceaux during a remarkable creative outburst in the spring of 1925, Atget captured the essence of his chosen subject through the camera’s lens with increasing sensitivity throughout his career. Also featured are his photographs made in the Luxembourg gardens, as well as a concise selection from Atget’s sustained investigation of Parisian and rural courtyards.

Two final sections of the exhibition highlight Atget’s attention to the human figure, a rare but significant aspect of his work, as well as his “Surrealist” photographs of mannequins, store windows, and street fairs that so intrigued the Parisian avant-garde in the 1920s.  Atget began making photographs in the late 1890s, and the photographs featured in this exhibition span the breadth of his career. However, more than two-thirds of the over 100 works on view were made after World War I when Atget’s photographic vision had fully matured, and these remain taut, essential, and surprising pictures to this day.

For more information visit www.moma.org

January 17, 2012

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