Barbara Mathes Gallery is pleased to announce an exhibition of the art of Fausto Melotti. In recent years, the gallery has introduced American audiences to a number of different sides to this complex artist’s career, from his elegant metal sculptures to the chromatic fireworks of his ceramics. The current exhibition—comprised of rarely seen objects drawn from the artist’s estate—features drawings and mixed media works on plaster, revealing yet another dimension to the artist’s oeuvre.
Born in Rovereto, Italy in 1901, Melotti studied both art and music in his early schooling before majoring in engineering in university. When he dedicated himself to becoming an artist in 1928, he drew on all of these experiences to formulate an expansive, harmonious understanding of the arts. Also pivotal to his development were his conversations with his Lucio Fontana, with whom he formed a lifelong friendship while in art school in Milan. His mature work was influenced by the competing avant-gardes of the early 20th century, wedding the Constructivist’s technical rigor with the Surrealists’ fantastical, biomorphic vocabulary. Underlying this eclecticism was an artistic philosophy based on inclusion and harmony, inspired in large measure by his lifelong love of music and poetry. As he once stated, “The matrimony of the arts is their life. Poetry is only such if sentiment is wedded to music, if painting is wedded to the sentiments of poetry and music, lyrical music to poetry, contrapuntal music to a plastic idea. Pure art is a spinster.”
Melotti reinvented his practice in the years following World War II. After discovering that his Milan studio had been destroyed in the aerial bombardments, he rented a kiln, thus initiating a fifteen-year period in which he only produced ceramics and terracotta sculptures. Working with ceramics introduced an organic spontaneity to his practice, as the precise geometries and refined classicism of his earlier work gave way to a more elemental urgency born out of the new postwar reality. When he resumed working in metal sculpture in the sixties, he continued to explore this aspect of his practice in drawings and plaster reliefs. The works in this exhibition find Melotti experimenting with loose washes of color, clotted rivulets of plaster, and an assertive materiality. In comparison to the studied refinement of the metal sculptures, they possess an intimacy and sense of personal poetry, representing a more private side to the artist’s practice.

Lucas Samaras Pastels June 7 – August 9, 2013
 
NEW YORK, NY – Craig F. Starr Gallery is pleased to announce Lucas Samaras Pastels, on view from June 7 to August 9, 2013. The exhibition showcases eighteen drawings from 1974 and 1981, as well as three of Samaras’s densely embellished boxes. A fully illustrated catalogue accompanies the show with an essay by Daniel S. Palmer, doctoral candidate in Art History at The Graduate Center, CUNY.
 
In 1974, Samaras produced more than 100 pastels. Working in concentrated bursts, he made fantastically patterned drawings that bridge the gaps between landscape, still life, and self-portraiture. These works evoke the inner landscape of the artist’s mind.
 
As sites of personal exploration and self-reflection, these striking pastels exploit the medium’s intrinsic qualities in dreamlike scenes, many of which contain ghostly figures embedded in their patterning. The active process of discovering this hidden imagery elicits personal inquiry in the viewer as it reveals the artist’s own unconscious desires. Deciphering these mysterious forms parallels the psychological process we enact when we retrieve an image from memory.
 
With his intricate boxes, Samaras explores similar issues of identity and memory, concealing caches of photographs and mementos within threatening, patterned exteriors. As part of his continual investigation of the self, Samaras’s boxes and pastels broaden the boundaries of self-portraiture.
 
Craig F. Starr Gallery is located at 5 East 73rd Street between Fifth and Madison Avenues. Gallery hours are Monday through Saturday, 11:00 am to 5:00 pm in June, Monday through Friday in July & August. For general information please view the gallery’s website at www.starr-art.com.

A selection of Frank Gehry process models will be on display at Leslie Feely Fine Art from April 11 to June 29, 2013. Drawn from significant constructions and concepts of the architect’s prolific career, these organic forms stand as testament to Gehry’s tactile approach, enhancing our perception of this sculptural architect and his work. Projects on view include the California Aerospace Museum and Theater (1984), the Winton Guest House (1987), the Chiat/Day Building (1991), the Barcelona Fish or Peix completed for the 1992 Summer Olympics, and the Beekman Tower/New York by Gehry at 8 Spruce Street (2011).
 
This exhibition presents over 30 diverse process models from 1985-2012, comprising a wide array of materials and approaches that begin to illuminate the subtleties of Gehry’s thought—and working—process. Several renditions of Gehry’s concept for Sonderborg Kunsthalle, for instance, experiment with varying shapes and degrees of fluidity embodied in the structure’s metallic skin. Studies pertaining to an unrealized tower for the Brooklyn Arena utilize materials ranging from basswood, vinyl, and plexiglass to gatorboard and paper. Each successive stage of a given model’s development illustrates the exploratory nature of Gehry’s practice, and the playfulness and originality inherent to his work.
 
Distinguishing his methods from conventional, precision-based modes of development, Frank Gehry’s process is similar to that of artists, sculptors, and scientists. In a 1980 interview he explained, “It’s kind of like throwing things out and then following the ideas, rather than predicting what you’re going to do.” His models can therefore be understood as conceptual drafts, or three-dimensional sketches, integral to project development and design. Moreover, the structures are admirable in themselves as aesthetically beautiful sculpture.
 
This show provides insight into Gehry’s indelible mind, one of the most brilliant—and provocative—of contemporary architecture and design. Photographic reproductions of his studio, the architect at work, and certain realized projects accompany the models on display. This exhibition reveals otherwise concealed aspects of Gehry’s process and practice, while simultaneously inspiring an array of new questions. Ultimately, these architectural studies culminate in a perceptive study of the architect himself.
 
This is Frank Gehry’s second exhibition at Leslie Feely Fine Art, which also held his first ever gallery show in 2007 and featured his models at Art Basel Miami Beach 2011. Solo exhibitions including his process models have been presented by ArtisTree, Taikoo Place, Hong Kong, 2011; the Philadelphia Museum of Art, 2008; New York’s Solomon R. Guggenheim Museum, 2001; the Triennale Design Museum, Milan, 1997; and the Walker Center, Minneapolis, which organized a major retrospective of Gehry’s work in 1986.
 
Gehry is the recipient of the Lifetime Achievement Award, Americans for the Arts (2000), the American Institute of Architects Gold Medal (1999), the National Medal of Arts, National Endowment for the Arts (1998), and the Pritzker Architecture Prize (1989). The architect graduated from the University of Southern California in 1954 and Harvard’s Graduate School of Design in 1956. Frank Gehry lives and works in Santa Monica, California.
 
For more information please visit www.lesliefeely.com, email gallery@lesliefeely.com, or call 212-988-0040.

“Rinpa” is a modern term that refers to a distinctive style of Japanese pictorial and applied arts that arose in the early seventeenth century and has continued through modern times. Literally meaning “school of Korin,” Rinpa derives its name from Ogata Korin (1658–1716), a celebrated painter from Kyoto. It embraces art marked by a bold, graphic abbreviation of natural motifs, frequent reference to traditional court literature and poetry, the lavish use of expensive mineral and metallic pigments, incorporation of calligraphy into painting compositions, and innovative experimentation with new brush techniques.
 
The exhibition features more than one hundred brilliantly executed works of art created in Japan by the Rinpa-school artists. The works on view are part of the first rotation; the second rotation will open on September 12, 2012. Highlighting the school‘s most prominent proponents, this two-part presentation traces the development of the Rinpa aesthetic and demonstrates how its style continued to influence artists throughout the nineteenth and twentieth centuries. Comprising more than fifty works from the Museum’s own holdings supplemented by forty-five loans from public and private collections on the east coast, the exhibition includes many masters' renowned works in a variety of media—painting, textiles, lacquerware, and ceramics.

New York, NY - The designers Stefan Sagmeister and Jessica Walsh are known for their experimental typography and striking visual imagery. Six Things: Sagmeister & Walsh, on view at The Jewish Museum from March 15 through August 4, 2013, marks the first exhibition of their newly minted design firm Sagmeister & Walsh. For the last ten years, Sagmeister has researched the nature of happiness, asking, “Is it possible to train my mind in the same way I can train my body?” In five short films and a sculpture, the studio investigates six things, culled from Sagmeister‘s diary, that he believes have increased his personal happiness such as: “Now Is Better” and “If I Don’t Ask I Won‘t Get.” In addition, intrigued by a recent nationwide survey in which Jews reported the highest levels of well-being of all religious groups, Sagmeister & Walsh are placing a text in the gallery that connects this scientific data to his personal exploration of happiness.
 
Before this partnership, Stefan Sagmeister was already taking an unusual approach to design. He has created signature album covers for Lou Reed, Talking Heads, the Rolling Stones, and OK Go, and others, and executed indelible ad campaigns for major companies such as HBO and Levi’s. In an iconic 1999 poster for the American Institute of Graphic Arts (AIGA), he incised type into the skin of his naked torso like a tattoo. At the contemporary art gallery Deitch Projects in 2008 he stacked 10,000 bananas against a wall. Unripe green bananas among the yellow ones spelled out the rallying sentence, “Self-confidence produces fine results.” The legibility of the text fluctuated as the fruit turned from green to yellow to black over the course of the exhibition.
 
To stimulate his own creativity Sagmeister has gone on regular sabbaticals since 2000, traveling and investigating ideas. Over the last decade he has delved into the nature of happiness. Inspired by the psychologist Jonathan Haidt, whose research connects spiritual wisdom with modern science, Sagmeister developed an intensive regimen of meditation, cognitive therapy, and mood-altering drugs as an experiment in self-discovery. From this emerged a forthcoming documentary entitled The Happy Film and from that The Happy Show, a traveling exhibition and its accompanying publications, organized by the Institute of Contemporary Art, Philadelphia.
 
Six Things is a continuation of this project on happiness, in which Jessica Walsh has been an integral partner. In five compelling short videos and a sound-activated sculpture, Sagmeister & Walsh examines six things culled from Sagmeister‘s diary that he believes have increased his personal happiness:
 
If I Don’t Ask I Won‘t Get
Keeping a Diary Supports Personal Development
Be More Flexible
It’s Pretty Much Impossible to Please Everyone
Now Is Better
Feel Others Feel
 
Sugar cubes, bubbles, and water balloons are just some of the materials used to spell out the phrases. The ambiguous connections between the six epigrams and the objects of which they are composed are left for visitors to decipher, a provocative game based in the pleasure of looking.
 
A text in the Six Things exhibition gallery connects this scientific data to the personal exploration of happiness. It notes: “According to a recent nationwide survey, Jewish Americans report higher levels of happiness than all other major faith groups in the country. This finding is based on more than 676,000 interviews conducted in 2010-11 for the Gallup-Healthways Well-Being Index. Within each faith surveyed, very religious members are happier than their nonreligious counterparts. For example, observant Jews are generally happier than secular Jews. But a higher proportion of practicing members does not predict greater well-being for the faith. Interestingly, though Jews are among the least religious faith groups in America, with only 16.9% identifying themselves as very religious and 53.5% as secular, they still appear to be the happiest. The Well-Being Index does not definitively say that religious observance leads to greater happiness. It does note that belief in a higher power, prayer, acts of charity, and neighborly love can promote a sense of belonging; alleviate stress and depression; and lead to a positive outlook on life.”
 
Six Things: Sagmeister & Walsh has been organized by Rebecca Shaykin, Leon Levy Curatorial Assistant at The Jewish Museum.
 
Stefan Sagmeister and Jessica Walsh are the principals of Sagmeister & Walsh, a New York-based design firm. They have been engaged to create a new graphic identity for The Jewish Museum. Stefan Sagmeister, born in Bregenz, Austria, in 1962, established the design firm Sagmeister Inc. in New York in 1993. He is the recipient of many awards, including two Grammy awards for his packaging designs, the Lucky Strike Designer Award, and an award from the Cooper-Hewitt National Design Museum. Born in 1986 in New York, Jessica Walsh, a multidisciplinary designer, has worked at Pentagram Design and Print magazine and counts The New York Times, AIGA, EDP, Computer Arts, and I.D. magazine among her clients. She was named Computer Art‘s Top Rising Star in Design in 2009 and an Art Director’s Club Young Gun in 2010, as well as Print's New Visual Artist for 2011.
 
Exhibition Related Program
On Thursday, May 2 at 6:30pm, Stefan Sagmeister will talk about his recent projects including the exhibition, Six Things: Sagmeister & Walsh.

New York, NY - Beginning on March 15, 2013, The Jewish Museum will present As it were ... So to speak: A Museum Collection in Dialogue with Barbara Bloom. Artist Barbara Bloom has devoted her career to questioning the ways we perceive and value objects. With a light touch and subtle wit, she divines the meanings encoded in the things with which we surround ourselves. The Jewish Museum invited Bloom to create an installation drawn from its 25,000 works of ceremonial, decorative, and fine art. Her presentation sets a selection of over 270 pieces in unconventional contexts, and offers visitors new ways to view the Museum and its holdings. As it were ... So to speak: A Museum Collection in Dialogue with Barbara Bloom will be on view through August 4, 2013.
 
Exhibition detail: Barbara Bloom. Painting: Artist unknown, Rebecca Seixas Hart, c. 1840, oil on canvas, The Jewish Museum, New York, Gift of Florence Hart.
The exhibition Bloom is creating materializes the idea of people in dialogue across time and space, inspired in part by her reflections on Talmudic discourse, which takes place over centuries. Integrating the former Warburg mansion‘s historic rooms into her concept, the artist envisions the space as both museum and home filled with imagined historical guests from diverse times - Nefertiti, Duke Ellington, Jimi Hendrix, Marcel Proust, Marilyn Monroe, Albert Einstein and others - engaged in discourse and argument. The subjects are wide-ranging and reflect ideas that have long interested the artist: inferring a whole from surviving remnants, navigating the intricacies of bestowing gifts, representing the unspeakable.
 
Furniture-like display cases contain collection objects that the artist finds intriguing or appealing. For example, Torah pointers with their delicate hands and extended forefingers stand in for strings inside a piano; a cigar box owned by Sigmund Freud is displayed in a psychoanalyst’s consultation space; and a Dreyfus Affair game board sits on a table with ancient Roman dice. Each tableau is accompanied by written passages suggesting conversations between people. These evocative juxtapositions of found texts, Bloom‘s writings, artworks and cases, create unexpected associations and spark dialogue.
 
While the artist offers clues on how to read these tableaux, it is up to the individual to draw their own connections among the different elements. In Bloom’s vision, the objects at the core of the installation often transcend their traditional functions and stimulate new ideas.
 
As she searched for a metaphorical structure within which to understand the collection, and sought to envision it in the Museum‘s historic rooms, Bloom became fascinated with the Talmud (a collection of Jewish law and lore) and its unique design. On each page, an original text is framed by centuries of rabbinical debates and commentaries that reach across time and space, as if the writers were conversing in the same room. In choosing works from the collection, the artist passed over familiar masterpieces and instead discovered value and beauty in those that she found peculiar in shape, historically resonant, or marked with traces of past lives. She was inspired by the architecture of the galleries, which still resemble the rooms in which Felix and Frieda Warburg once led a lively family and social life.
 
Barbara Bloom writes, “What if we were to consider objects not for their symbolic or metaphoric qualities, but as intermediaries, or carriers of meaning. Perhaps they could be considered as ambassadors.” She adds, “These rooms are filled with objects. And we are offered an opportunity not only to concentrate on the singular, but to observe the relationships between these many entities, and the meanings implicit in their positioning and combination. The objects are placeholders for thoughts, and when they are situated in proximity to one another, meanings can reverberate and ricochet off of each other.”
 
The exhibition opens with recorded voices engaged in debate and argument. Six pairs of portraits - masked so only the sitters’ eyes are visible - are placed at the entrance to each gallery, standing in for the guests in this imagined home. They remind us of the dialogues taking place within.
 
Highlights include the shell of a piano with Torah pointers in place of strings that explores the friendship of two great composers: George Gershwin and Arnold Schoenberg. Schoenberg enjoyed playing tennis weekly at Gershwin‘s Beverly Hills home. As composer Albert Sendrey observed: “Two contrasting giants of modern music...united in one common thought: to make a little ball scale the top of a net, as though nothing else mattered.”
 
Another tableau suggests the different stages of romantic relationships. Beginning with the sensuality of courtship, singer/songwriter Leonard Cohen and early twentieth-century psychoanalyst Lou Andreas-Salomé are envisioned singing Solomon’s Song of Songs. Love is seen to run its course through legal consummation and dissolution as represented in Jewish marriage and divorce contracts.
 
Jeu de l‘affaire Dreyfus et de la vérité (The Game of the Dreyfus Affair and Truth), 1898, Imprimerie Charaire, Sceaux, photomechanical print on paper. The Jewish Museum, New York, Gift of Count Elie de Comminges.
A section devoted to ideas of a library includes miniature books, some with microscopic writing, nestled inside hollow books. These evoke the layering of text within text that is an important part of Talmudic discourse. An intricate cycle of gift-giving and its Freudian implications are explored through Sigmund Freud’s silver cigar box, a Roman ring from his antiquities collection, and his daughter Anna‘s ivory letter opener, all donated to The Jewish Museum by an anonymous analyst. Four players - Nefertiti, Émile Zola, Amy Winehouse, and Jesus of Nazareth - are imagined seated at a table filled with games from different eras. Many temporalities are superimposed on each other, collapsed into a single game.
 
In the former dining room of the Warburg mansion visitors will see a table set with twelve glasses from the collection, dating from ancient to modern. Above them hangs a chandelier whose design includes copies of the glasses, upside down, mirroring and illuminating the conversation below. This work was commissioned by The Jewish Museum especially for the exhibition. Further reverberations among works in the gallery begin with the painting Friday Evening, by Isidor Kaufmann, in which a lone woman is seated beside a table prepared for the inauguration of the Sabbath. The chandelier in the painting inspired the commissioned work. Above the fireplace, across from Friday Evening, hangs a reproduction of the mirror from the painting, reflecting what is in Kaufmann’s scene rather than what is in the gallery. There are many opportunities for takes and double takes.
 
Chris Mann, a writer and performer, worked with Sepand Ansari to create a new website, www.010011.net, in correspondence with the exhibition. It will be launched on February 20, 2013. Initially loaded with a library of 1,000 texts representing a wide range of disciplines, the site enables users to search for an idea and make rich and ever deeper associations among the works that contain it. In contrast to Google, which provides a prepared answer if you ask the right question, 010011.net is a celebration of the question you are trying to learn how to ask. Additional texts will be added over time. In addition, Museum visitors will be able to access the site on a touchscreen in the exhibition.
 
As it were ... So to speak: A Museum Collection in Dialogue with Barbara Bloom has been coordinated by Susan L. Braunstein, Henry J. Leir Curator at The Jewish Museum.
 
Barbara Bloom was born in Los Angeles in 1951 and lives in New York. She studied with John Baldessari at the California Institute of the Arts and is often associated with the postmodern “Pictures Generation” that includes Cindy Sherman, Louise Lawler, Richard Prince and Barbara Kruger. The Reign of Narcissism (1989), perhaps Bloom‘s most celebrated piece, recreates a Neoclassical period room in an imaginary museum dedicated to the artist’s self-image. She is also widely known for her 1994 permanent installation of Thonet bentwood chairs at the Österreichisches Museum für Angewandte Kunst (MAK) in Vienna. In 2008, an extensive survey of her work, The Collections of Barbara Bloom, was shown at the International Center for Photography, New York and at Martin-Gropius Bau in Berlin. The artist's recent installation, Present (2010), addresses the intimacy of gift-giving and explores how other aspects of a gift - its wrapping, its anticipation, its transfer from giver to recipient - can become just as important as the object itself.
 
Exhibition Related Programs
The Jewish Museum and the New School for Public Engagement are presenting a series of six exhibition-related performative programs beginning March 6 with “Dialogue between texts” featuring Daniel Boyarin, Professor of Talmudic Culture at the University of California at Berkeley, and Chris Mann. Each evening concentrates on a different aspect of “dialogue,” pairing speakers demonstrating theory and practice. A public program series schedule is available at TheJewishMuseum.org/publicprograms.
 
Support
This exhibition is made possible with endowment support from The Skirball Fund for American Jewish Life Exhibitions. Additional support is provided by the Alfred J. Grunebaum Memorial Fund, the Leir Charitable Foundations, and the Leon Levy Foundation.