The first edition of Perspective “Witness to a Golden Age” launches in one of the historical sites highlighted in Beirut's art scene from 1955-1975.
Located on Hussein Beyhum Street in the area of Zokak el-Blat, Ecole Palandjian (currently CIS) hosted a cultural center called Association Culturelle Hamaskaine that had programs in art, film, music, dance, publications, while hosting conferences, tours, galas, parties and other activities.
Curated by Sam Bardaouil and Till Fellrath, Perspective #1 focuses on numerous cultural figures and art spaces while unearthing the historiography of a number of artworks hailing roughly from the 1960’s. An unprecedented amount of archival materials from their research will be featured on a website in the form of a searchable map and interactive timeline.
Join us for the launch on Tuesday November 20, 2018 at 8pm
#GoldenAge #60sBeirut #ZokakElBlat #BeirutArtScene #60sArt #Artspace #EcolePalandjian
Pretty Amedeo Modigliani block mounted Athena print 💙 According to Wayne Hemingway’s bible, ‘Just Above The Mantlepiece: mass-market masterpieces’, block mounted art was an Athena innovation. Athena was the first dedicated retailer of mass produced art prints. They opened their doors on 4th July, 1964
“I thought that with the stones, the light would flow better – that it would create more the effect of movement”- Lucio Fontana
This image is one of Ugo Mulas’s iconic portraits of Lucio Fontana taken in the mid 1960s and published in Mulas’s book “La Fotografia” in 1973. The subject of the series is Fontana at work in his studio. There are portraits of Fontana stabbing the canvas to produce buchi, slicing with a penknife to make tagli, and as in this photograph, Fontana scattering “pietre” (fragments of coloured glass) onto canvas. Fontana used in his “La Pietre - Stones” series (1951-1956) and later returned to in a group of Concetto Spaziale works where he was inspired by the light and theatricality of Venice (1961). Mulas’s portraits of Fontana are powerful and intense. He uses dramatic chiaroscuro to enhance the theatre of Fontna’s slash, stab or throw. Shrouded in darkness, the spectator becomes a voyeur watching Fontana undertake an intimate, private action.
The portraits however are deceptive. In spite of the appearance of authenticity we are not being shown Fontana in the process of working on a canvas but rather him performing the role of artist. Fontana had refused Mulas’s request to take photographs of him at work.
”I could not make these large cuts with someone moving around me. […] I need to focus a lot. I mean, I don’t just walk in, take my jacket off, and tac!, make three or four slashes” - Lucio Fontana
They compromised; Fontana agreed to be pictured with blank canvas or works he had already produced and would hold the knife as if in a moment of live action.
Pictured: Ugo Mulas, Lucio Fontana Dropping Pietre, (1966, Photograph)
#LucioFontana #UgoMulas #LaFotographia #Photograph #Pietre #Light #Venice #Glass #Stones #PortraitsofArtists #ItalianArtists #Spatialism #ConcettoSpaziale #60sArt #PostWarArt #ModernArt #BlackandWhite #Abstract #Canvas #FontanaExhibition #Hand
"Critics have asked me what I did with the anquish in my life. My answer is that I leave it at home where it belongs, since it has nothing to do with my painting." Fernando Zóbel de Ayala Montojo
Espejo (Mirror), 1963
Brunk Auctions| November 17 | lot 1395
AT THE NEW YORK CITY PREVIEW November 8-9
Fernando Zóbel was born in the Philippines to prominent Spanish parents. His upbringing was difficult as he struggled with health issues that often left him in bed. He passed the time by reading voraciously and drawing. A brilliant businessman, artist and advocate for modern art in both Spain and the Philippines, he was greatly influenced by Mark Rothko and studied Chinese and Japanese calligraphy. He studied in the United States, both at Harvard and the Rhode Island School of Design as well as under the Chinese master Ch'en Bing Sun. In his double identity, he has established himself as one of the most important Filipino abstract artists.
This work, painted at perhaps the height of his career, marks a transition away from the Serie Negra to the two series, Dialogos and to the Serie Blanca.
#blackandwhiteinagrayworld #blackandwhite_art #midcenturymoderndesign