Tuesday, January 24
James Wellings’s works made between 1974 and 2016 show the wide range of the artist’s aesthetic and conceptual interests in photography. Among the examples of his various experiments with different techniques and subjects is a series of Polaroids of bikes from 1975–76, black-and-white portraits of artists such as Matt Mullican and David Salle, and a moody landscape of Philip Johnson’s Glass House shot through colored filters (Glass House [Lavender Mist], 2014.)
James Welling Chronology
Since 1999 UK-born, Paris-based artist Charlotte Moth has religiously photographed places she has visited, lived, and worked. This conceptual project is the jumping-off point for two new slideshows documenting two buildings constructed in 1966: a church in Nevers, France, and the Apollo Pavilion in Peterlee, England. Also on view: small enigmatic sculptures, including a rotating 3-D-printed rubber plant and a series of cast-bronze hands presenting quotidian items such as an ice-cube tray and a drinking straw.
Charlotte Moth lightly in the world
The artists in this show—Balthus, Ulla von Brandenburg, Eugene von Bruenchenhein, Sanya Kantarovsky, Pierre Klossowski, and Philippe Perrot—represent family relationships in unique, intimate, and nightmarishly erotic ways. With works ranging from von Bruenchenhein’s 1940s pinup portraits of his wife to von Brandenburg’s film depicting the arrival of a foreigner in a community consisting of a grandfather, grandmother, mother, and daughter (Chorspiel, [Choral play], 2010), this exhibition describes family ties as both familiar and strange.
Balthus, Ulla von Brandenburg, Eugene von Bruenchenhein La Perle
Coinciding with Twombly’s retrospective at the Pompidou Centre, this exhibition focuses on paintings and works on paper that describe the mythical figure of Orpheus. Inspired by Rainer Maria Rilke’s Sonnets to Orpheus (1922), here Twombly also interprets Orpheus as a surrogate for himself and his own creative processes. These thematically linked works made between 1968 and 1979 have never before been shown together.
At first glance the French painter’s latest energetic compositions appear wholly abstract. On closer inspection, however, Congnée’s “Crowds,” 2014–16, reveal themselves as such—landscapes filled with throngs of people so densely packed together there is barely room to breathe.
Philippe Cognée Crowds
Featuring some 140 paintings, drawings, sculptures, and photographs, this single-venue retrospective includes loans from public and private collections around the world, highlighting the artist’s special relationship with Paris (where the Pompidou hosted the artist’s first substantial retrospective in 1988.) The chronological hanging, which focuses on three important cycles—Nine Discourses on Commodus, 1963; Fifty Days at Iliam, 1978; and Coronation of Sesostris, 2000—traces Twombly’s career from his first major works made in New York and his hometown of Lexington, VA, in the 1950s, to his 2005 “Bacchus” paintings, made in Italy, in response to the Iraq War.