JEAN PAUL NAJAR FOUNDATION MUSEUM ACQUISITION AND EXHIBITION

JEAN-PAUL NAJAR FOUNDATION

a contemporary art museum

The Monochrome Revisited

October 23, 2018 – February 28, 2019

United Arab Emirates, DUBAI – The monochrome is considered to be one of the most accomplished forms of painting. The importance of the monochrome lies in its conception, in its artistic and philosophical principles, and for some, in its ability to address social concerns. Kazimir Malevich’s Black Square (1915) is considered to be the first monochrome in the history of art. But can the origin of the monochrome be situated prior to the early twentieth- century?

The Jean-Paul Najar Foundation (JPNF) presents The Monochrome Revisited, an exhibition that explores the history and evolution of the monochrome. The exhibition is divided into three parts: the first section focuses on the ‘first monochromes’ found in printed matter from the seventeenth to the nineteenth centuries, putting into question its genesis; the second section takes its inspiration from Marcia Hafif’s seminal text Beginning Again, illustrating her purpose with selected works; and the final part of the exhibition looks at how artists today continue to be preoccupied with the monochrome, engaging with it in their practice to explore contemporary issues.

In late 2015, an announcement was made at the State Tretyakov Gallery in Moscow that incited controversy. Art historians at the national museum had discovered, under Kazimir Malevich’s iconic composition Black Square (1915) a scrawled reference to a provocative work sardonically titled Negroes Fight in a Tunnel by poet Paul Bilhaud. First exhibited in 1882 at Les Arts Incohérents, Bilhaud’s politically incorrect work (today considered to be the first documented monochrome) intended to simultaneously ridicule modernism as it acknowledged its radicalness. Fifteen years later, in 1897 Alphonse Allais published Album primo-avrilesque, which featured a number of works including Paul Bilhaud appropriated black monochrome. This section of the exhibition looks at this publication as well as others including Robert Fludd’s (first published in 1617) masterwork Utriusque cosmi maioris scilicet et minoris metaphysica, physica atque technica historia (The Metaphysical, Physical and Technical History of the Two

45 Alserkal Avenue

PO Box 928040 Dubai, UAE
+971 4 258 70 78 jpnajarfoundation.com

The second part of the exhibition takes as its core Marcia Hafif’s influential essay Beginning Again, published in Artforum in 1978. Throughout her fifty-year artistic career, Hafif, sought to push against any notion that “the enterprise of painting”1 had come to an end. She writes, “It was necessary to turn inward to the means of art, the materials and techniques with which art is made. Artists still interested in painting began an analysis – or destruction – of painting, turning to the basic question of what painting is.”2 We pay homage to Hafif and the important artists she references in her text exploring not only their use of material and technique but the contemplative attributes they bestow onto the monochrome. Artists include James Bishop, Dale Henry, Ralph Humphrey, Douglas Sanderson, Lucio Pozzi, and Susanna Tanger. The exhibition then looks at how these artists elaborated and expounded on the art form, giving a deeper understanding of monochrome painting.

Finally, we look at how contemporary artists today engage with the monochrome. Working across various mediums including painting, photography, and the ready-made, the monochrome has once again undergone an evolution, as artists redefine what it is and what it can be. Contemporary artists such as Miya Ando, David Batchelor, Alteronce Gumby, Alfredo Jaar, Mohammad Kazem, and Hassan Sharif demonstrate the vitally important role the monochrome continues to play in contemporary art. A provocative and innovative art form to this day, the monochrome retains the power to address contemporary issues, challenging our perception of the world we live in.

The Monochrome Revisited is on view at the Jean-Paul Najar Foundation in Dubai through February 28, 2019.

The Jean-Paul Najar Foundation gratefully acknowledges the support of all the artists, individuals and organizations that have made this exhibition possible. Special thanks to Alanna Heiss, The Dale Henry Estate, David Batchelor, Alteronce Gumby, the Estate of Hassan Sharif, Alfredo Jaar Studios, Mohammed Kazem, Gallery Isabelle van den Eynde and Lily Wei.

Full List of Artists (in alphabetical order):

Miya Ando, David Batchelor, James Bishop, Alteronce Gumby, Marcia Hafif, Dale Henry, Ralph Humphrey, Alfredo Jaar, Mohammad Kazem, Lucio Pozzi, Douglas Sanderson, Hassan Sharif, and Susanna Tanger.

About the JPNF

The Jean-Paul Najar Foundation for Contemporary Art is a non-profit ICOM registered private museum, gathering abstract European and American art from the 1960s through today. The JPNF is also home to a remarkable archive tracing forty years of artist-collector exchanges. Education is central to the museum’s mission. We are committed to presenting an educational program that promotes a spirit of discovery and inquiry that engages our diverse communities. The JPNF is designed by Mario Jossa, of Marcel Breuer and Associates, and is presented in partnership with Alserkal Avenue in Dubai.

For further information or images, please contact Wafa Jadallah on T +97142587078 or wafa@jpnajarfoundation.com Link to Marcia Hafif’s Essay ‘Beginning Again’

www.jpnajarfoundation.com | @JPNFMUSEUM JPNF is open Sunday – Saturday, 11AM – 6PM

 “Hamon” (The Cloudlike Pattern on the Edge of a Sword), 40x40 in, pigment, urethane, aluminum, 2016

“Hamon” (The Cloudlike Pattern on the Edge of a Sword), 40x40 in, pigment, urethane, aluminum, 2016

NASSAU COUNTY MUSEUM OF ART : "TRUE COLORS" EXHIBITION JULY 2018

 

Nassau Museum Reveals Blockbuster Color Show

Major paintings by Matisse, Kandinsky, Rothko, Motherwell, Stella and a masterwork by Titian

A wing dedicated to the paintings of Wolf Kahn

A gallery of neon and rising stars of the Contemporary art scene featured

Greta Garbo’s favorite color paintings, including one by her brother, on view

July 21-November 4, 2018

Nothing in art is more powerful than color. From the shock effect the Fauves (“Wild Beasts”) and the rainbows of Delaunay and Kandinsky to the seductive radiance of neon, the story of color is a tale of wonder. The full range of color’s magic is on display in this exuberant show of over 100 works from the original master of color, Titian, to this moment’s hottest talents. The roll call of the great colorists in the show is a hit parade of art history’s most exciting names: Kandinsky, Hofmann, Klee, Albers, Rothko, Warhol, Joan Mitchell, Yves Klein, Ellsworth Kelly, Frank Stella, David Hockney, Wolf Kahn, Peter Halley, Joseph Kosuth, Juan Usle, Nathan Slate Joseph and Callum Innes. The Titian, the only one on view on Long Island, will be presented in a dramatic installation in the library of the former Frick mansion. A painting by Greta Garbo’s brother Sven Gustafson, together with one of the Hollywood star’s favorite works from her “wall of color” in the East Side Manhattan where her collection was on view, have been loaned by her heirs. Among the other lenders to the show are the most important galleries and private collections in the region, including Pace, Kasmin, Sean Kelly, Cheim and Read, Yares, Eric Firestone, Asher B. Edelman and Marc Strauss.  

The show also introduces rising stars of the Contemporary scene, such as Miya Ando, Doug Argue, Deborah Kass, and Keith Sonnier. A remodeled gallery will hold huge Color Field and Neo-Geo works, and a wall of display cases will present the pastel glassware designed by Louis Comfort Tiffany, whose paintings are the core of the Museum’s holdings. Among the significant Long Island-based talents in the show, a huge watercolor by Barbara Ernst Prey, an installation by Nathan Slate Joseph, and paintings by Scott McIntire are part of the show.

Programming for the show has been underwritten by Lord & Taylor, part of their celebration of the remodeling of the Manhasset store. There will be two “curated” concerts by local chamber ensembles, the pieces selected to match the contents of the show, as well as a symposium featuring many of the greatest experts on color in design, fashion, film and psychology (including Donald Kaufman, one of the top color minds in the world), as well as artist talks, lectures, Manhattan gallery tours and a director’s seminar held in his private office.

Potent even to the point of being considered dangerous, color is the most exciting element of art, the strongest tool in the toolbox. Because it is also a largely uncontrollable force, it remains the most vital source of new art. “Color, above all, is a means of liberation,” Matisse declared. 

Here is a partial list of artists included:

Titian

Henri Matisse

Robert and Sonia Delaunay

Stanton MacDonald-Wright

Wassily Kandinsky

Franz Marc

Mark Rothko

Hans Hofmann

Ellsworth Kelly

Andy Warhol

Yves Klein

Alfred Jensen

Arthur Carter

Callum Innes

Joseph Kosuth

Frank Stella

Wolf Kahn

David Hockney

James Nares

Robert Motherwell

Peter Halley

Nathan Slate Joseph

Juan Usle

Joan Mitchell

Miya Ando

Deborah Kass

Larry Poons

The exhibition will be accompanied by a fully illustrated catalogue with essays by curator Charles A. Riley II, PhD, whose book Color Codes is on the required reading list of many art programs including the Rhode Island School of Design, Yale and MIT. In addition, the exhibition will be the center of demonstrations of color theory and technique and classes in painting and drawing at the Manes Family Educational Center that are specifically tailored to the content of the show. The emphasis of the programming will be an inter-disciplinary approach to the study of color, weaving art and music, psychology, literature, philosophy and design. 

About the Museum:

Nassau County Museum of Art is located at One Museum Drive in Roslyn Harbor. The museum is open Tuesday-Sunday, 11 a.m.-4:45 p.m. Admission is $12 for adults, $8 for seniors (62 and above) and $4 for students and children (4 to12). Docent-led tours of the exhibition are offered at 2 p.m. each day; tours of the mansion are offered each Saturday at 1 p.m. Media Contact: Charles Riley, (516) 484-9338 x 37, criley@nassaumuseum.org 

Public Information: Nassau County Museum of Art, (516) 484-9338; nassaumuseum.org

 

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GOTHAM MAGAZINE: 5 NOT-TO-BE-MISSED ART HAPPENINGS IN NYC

By Gary Duff | May 17, 2018 | Culture

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Artists abound in NYC, which makes the Big Apple the perfect place to get inspiration. Here are five not-to-be-missed art events happening right now. 

Miya Ando: Clouds

Now through August 19, art aficionados can view Miya Ando's latest sculptures at the intimate indoor-outdoor Noguchi Museum in Astoria, Queens. The two site-specific pieces, suspended plate-glass sculptures with images of clouds etched internally, were inspired by the Japanese zengo: “Blue mountain does not move. White cloud comes and goes naturally.” Ando will take part in an onsite discussion on June 3 with the museum's Senior Curator, Dakin Hart, about her new pieces.

link to article

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SOLO EXHIBITION AT THE NOGUCHI MUSEUM OPENING TONIGHT, NEW YORK

 #Repost @noguchimuseum ・・・ Forecast: #CLOUDS. Two enigmatic works by @studiomiyaando are now abiding in the indoor-outdoor galleries through August 19. Members’ reception tonight from 6-8 pm, perfect for sky gazing. ☁️ Join us as a member at noguchi.org/membership. — [#MiyaAndo, ‘Haku-un (White Cloud) 4.8.1,’ 2017, etched glass. #IsamuNoguchi, ‘Awa Odori,’ 1982, Mannari granite.] #MiyaAndoClouds #sculpture   http://www.noguchi.org/programs/exhibitions/miya-ando-clouds   Miya Ando: Clouds  Wednesday, April 25, 2018 - Sunday, August 19, 2018     The Noguchi Museum presents  Miya Ando: Clouds , an installation of two site-specific sculptures in the Museum’s indoor-outdoor gallery. The works, suspended plate-glass sculptures internally etched with images of clouds, share Isamu Noguchi’s interest in sculpting ephemeral materials, and in using them to shape space.  Raised in a Buddhist temple by the sea in Okayama, Japan, and on 25-acres of redwood forest in coastal Northern California, artist Miya Ando has always been drawn to the immaterial quality of fog and clouds. She began creating images of clouds in glass cubes and slabs in 2011. Pushing the limits of commercial laser etching technology from the outset, she started small. By collaborating with a highly specialized factory, she has been able to gradually enlarge them. The two examples for the Museum, the first she has decided to hang— Haku-Un (White Cloud) 4.8.1 , the largest to date, and  Haku-Un (White Cloud) 3.3.1 —take the work in a new, more environmental direction.  The pairing of her clouds with Noguchi’s large basalt sculptures was inspired by a Japanese  zengo  (or Zen phrase): “Blue mountain does not move. White cloud comes and goes naturally.” Although the etched image of clouds in the glass is static, the surface of the glass seems to move, as it mirrors changes in the environment. Meanwhile, the clouds shift in and out of sight as viewers walk around them. Seeming to expand and collapse in the charged landscape of the Museum’s indoor-outdoor gallery (Area 1), they are a conceptual and perceptual analogue for Noguchi’s collapsible Akari light sculptures—the subject of the Museum’s current exhibition   Akari: Sculpture by Other Means .   About Miya Ando  Miya Ando is based in New York City and Los Angeles. Her work has been the subject of international solo exhibitions including at SCAD (Savannah College of Art and Design), Savannah, GA; Shibuya Seibu, Tokyo, Japan; Sundaram Tagore Gallery, New York, NY; and Lesley Kehoe Galleries, Melbourne, Australia. Her art has also been included in group exhibitions at institutions including the Los Angeles County Museum of Art (LACMA), CA; San Jose Museum of Art, CA; Bronx Museum, New York, NY; and Queens Museum of Art, New York, NY. Her work is included in the collections of LACMA and the Detroit Institute of Arts, MI, as well as in numerous private collections. Ando has been the recipient of numerous grants and awards, including the Pollock-Krasner Foundation Grant Award and Commission for The Philip Johnson Glass House, New Canaan, CT.   Miya Ando: Clouds  is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

#Repost @noguchimuseum
・・・
Forecast: #CLOUDS. Two enigmatic works by @studiomiyaando are now abiding in the indoor-outdoor galleries through August 19. Members’ reception tonight from 6-8 pm, perfect for sky gazing. ☁️ Join us as a member at noguchi.org/membership.

[#MiyaAndo, ‘Haku-un (White Cloud) 4.8.1,’ 2017, etched glass. #IsamuNoguchi, ‘Awa Odori,’ 1982, Mannari granite.] #MiyaAndoClouds #sculpture

http://www.noguchi.org/programs/exhibitions/miya-ando-clouds

Miya Ando: Clouds

Wednesday, April 25, 2018 - Sunday, August 19, 2018

 

The Noguchi Museum presents Miya Ando: Clouds, an installation of two site-specific sculptures in the Museum’s indoor-outdoor gallery. The works, suspended plate-glass sculptures internally etched with images of clouds, share Isamu Noguchi’s interest in sculpting ephemeral materials, and in using them to shape space.

Raised in a Buddhist temple by the sea in Okayama, Japan, and on 25-acres of redwood forest in coastal Northern California, artist Miya Ando has always been drawn to the immaterial quality of fog and clouds. She began creating images of clouds in glass cubes and slabs in 2011. Pushing the limits of commercial laser etching technology from the outset, she started small. By collaborating with a highly specialized factory, she has been able to gradually enlarge them. The two examples for the Museum, the first she has decided to hang—Haku-Un (White Cloud) 4.8.1, the largest to date, and Haku-Un (White Cloud) 3.3.1—take the work in a new, more environmental direction.

The pairing of her clouds with Noguchi’s large basalt sculptures was inspired by a Japanese zengo (or Zen phrase): “Blue mountain does not move. White cloud comes and goes naturally.” Although the etched image of clouds in the glass is static, the surface of the glass seems to move, as it mirrors changes in the environment. Meanwhile, the clouds shift in and out of sight as viewers walk around them. Seeming to expand and collapse in the charged landscape of the Museum’s indoor-outdoor gallery (Area 1), they are a conceptual and perceptual analogue for Noguchi’s collapsible Akari light sculptures—the subject of the Museum’s current exhibition Akari: Sculpture by Other Means.

About Miya Ando

Miya Ando is based in New York City and Los Angeles. Her work has been the subject of international solo exhibitions including at SCAD (Savannah College of Art and Design), Savannah, GA; Shibuya Seibu, Tokyo, Japan; Sundaram Tagore Gallery, New York, NY; and Lesley Kehoe Galleries, Melbourne, Australia. Her art has also been included in group exhibitions at institutions including the Los Angeles County Museum of Art (LACMA), CA; San Jose Museum of Art, CA; Bronx Museum, New York, NY; and Queens Museum of Art, New York, NY. Her work is included in the collections of LACMA and the Detroit Institute of Arts, MI, as well as in numerous private collections. Ando has been the recipient of numerous grants and awards, including the Pollock-Krasner Foundation Grant Award and Commission for The Philip Johnson Glass House, New Canaan, CT.

Miya Ando: Clouds is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

NOGUCHI MUSEUM SOLO EXHIBITION: CLOUDS

Miya Ando: Clouds

Wednesday, April 25, 2018 - Sunday, August 19, 2018

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The Noguchi Museum presents Miya Ando: Clouds, an installation of two site-specific sculptures in the Museum’s indoor-outdoor gallery. The works, suspended plate-glass sculptures internally etched with images of clouds, share Isamu Noguchi’s interest in sculpting ephemeral materials, and in using them to shape space.

Raised in a Buddhist temple by the sea in Okayama, Japan, and on 25-acres of redwood forest in coastal Northern California, artist Miya Ando has always been drawn to the immaterial quality of fog and clouds. She began creating images of clouds in glass cubes and slabs in 2011. Pushing the limits of commercial laser etching technology from the outset, she started small. By collaborating with a highly specialized factory, she has been able to gradually enlarge them. The two examples for the Museum, the first she has decided to hang—Haku-Un (White Cloud) 4.8.1, the largest to date, and Haku-Un (White Cloud) 3.3.1—take the work in a new, more environmental direction.

The pairing of her clouds with Noguchi’s large basalt sculptures was inspired by a Japanese Zengo (or Zen phrase): “Blue mountain does not move. White cloud comes and goes naturally.” Although the etched image of clouds in the glass is static, the surface of the glass seems to move, as it mirrors changes in the environment. Meanwhile, the clouds shift in and out of sight as viewers walk around them. Seeming to expand and collapse in the charged landscape of the Museum’s indoor-outdoor gallery (Area 1), they are a conceptual and perceptual analogue for Noguchi’s collapsible Akari light sculptures—the subject of the Museum’s current exhibition Akari: Sculpture by Other Means.

About Miya Ando

Miya Ando is based in New York City and Los Angeles. Her work has been the subject of international solo exhibitions including at SCAD (Savannah College of Art and Design), Savannah, GA; Shibuya Seibu, Tokyo, Japan; Sundaram Tagore Gallery, New York, NY; and Lesley Kehoe Galleries, Melbourne, Australia. Her art has also been included in group exhibitions at institutions including the Los Angeles County Museum of Art (LACMA), CA; San Jose Museum of Art, CA; Bronx Museum, New York, NY; and Queens Museum of Art, New York, NY. Her work is included in the collections of LACMA and the Detroit Institute of Arts, MI, as well as in numerous private collections. Ando has been the recipient of numerous grants and awards, including the Pollock-Krasner Foundation Grant Award and Commission for The Philip Johnson Glass House, New Canaan, CT.

Miya Ando: Clouds is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

 

© The Noguchi Museum 

Open Today, 10 am–5 pm  |  9-01 33rd Road (at Vernon Boulevard), Long Island City, NY 11106  |  718.204.7088

Solo exhibition San francisco “OBOROZUKI” (MOON OBSCURED BY CLOUDS)

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https://www.sfstation.com/miya-ando-oborozuki-e2336108

 

Nancy Toomey Fine Art is pleased to announce an exhibition of works by Miya Ando entitled "Oborozuki" (Moon Obscured by Clouds) on view from January 4 to February 17, 2018.

 

Miya Ando's inspiration for this exhibition is the Japanese word Oborozuki, meaning "the moon obscured by clouds." Pieces in the show, Ando's second at Nancy Toomey Fine Art, include a new series of paintings on aluminum entitled Yoake (Dawn), ink on aluminum called Kumo (Cloud), as well as works on paper, Gekkou (Moonlight).

 

The word "Oborozuki" in Japanese means "The moon obscured by clouds". Ando's inspiration for the theme of this exhibition is derived from the oldest known Japanese novel entitled " the tale of genji". Written by Murasaki Shikibu, the book is composed of minute, poetic observations of nature by it's lead female protagonist, Lady Murasaki. This ancient novel takes as its premise the fundamental interconnectivity of all things, and the fleeting, transitory awareness this recognition engenders. Nature is depicted not as a force, but as the vehicle that inspires in us contemplation and reverie.

 

A 48 x 96 inch painting (pigment, dye, urethane, resin, aluminum) from the new series "Yoake" (Dawn) as well as ink on aluminum alucore "Kumo" (Cloud) paintings in addition to works on paper from the series "Gekkou" (Moonlight) will be on view.

 

The works in this exhibition are an ongoing investigation into time and temporality. Ando employs visual vocabulary drawn from natural phenomena and reimagines it utilizing metal-based materials. Her paintings of cloud phenomena become a frozen record in time, focusing on the transformative power of shifting light. The works echo the way the sun changes the quality of light in the sky to obscure the true color of everything it strikes.

 

Created by painting on sheets of aluminum with chemicals and then manipulating color and texture using heat, sandpaper, dyes, and other processes, these works nonetheless contain tremendous spiritual depth.

 

Highly industrial and technically painstaking, Ando's works evoke a meditative quality, born from her own cultural roots and her ongoing Buddhist practice.

 

On Display until February 17, 2018.

CORNELL MUSEUM OF ART EXHIBITION

On view through February 25 2018 “Looking Glass” Exhibition @cornellartmuseum #Alchemy series #sculpture solid #Redwood & #Silver Nitrate #Gekkou (#Moonlight) #worksonpaper #miyaando

 

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ART MIAMI 2018 SUNDARAM TAGORE BOOTH

New #paintings for @artmiamifairs @sundaramtagore See you in #Miami #artbaselmiami #SundaramTagore #ArtMiami Art Miami is in a new location: One Herald Plaza at Northeast 14th Street, downtown Miami on Biscayne Bay, between the Venetian and MacArthur Causeway

 

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