CONTEMPORARY MASTERS

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Bruce Gibson
5 years ago
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1 CONTEMPORARY MASTERS

2 FOREWORD The second half of the 20th century was marked by one of the biggest breaks with the past ever to be witnessed in the history of art. For over 40 years indeed, it has been obvious that a new movement overtook Modern Art: that movement is known as Contemporary Art. Modern Art was undoubtedly an audacious art movement, although it remained within the traditional aesthetics lines. But, unlike the Moderns, Contemporary artists have emancipated from all conventions and have introduced a disruption even deeper than the one that had already occurred at the beginning of the century. and classicism after the Second World War shatters this idea. This era will be the age of glory for Modern Art, recognised by all the main cultural institutions in the Western world. The Masters of this movement are praised, especially Matisse and Picasso. tably four leaders of the abstract movement. Hans Hartung, Master of informal art and undoubtedly the other side, Sam Francis developed in his abstract works a new aesthetics of colour that is now widely recognised. Through their art, these artists embody the questioning of the moral and artistic Man in his quest ment with Jean Dubuffet, who renewed the artistic vocabulary of the period. art stage. - dary names like Andy Warhol and Tom Wesselmann. They depict the urban scene and give visibility to the immense world of consumer goods that are the daily surroundings of these societies. ghting a fascination for the trivial that is tainted with political commitment. Niki de Saint Phalle, the only female artist in the movement, differentiates herself from her peers by a strong and obvious New Realism, an art practice that was oblivious to the worldwide success of Pop Art, emerges with become a global practice. - An overview of Contemporary Art must inevitably take into account the emergence of new artistic 2

3 and civilisation are no longer part of the monopoly of the Western Christian society but are rather moving to other spheres including political and social changes that greatly work in favour of de- reluctance and obvious political tensions, Chinese art wanted to critique the living conditions and the government in place. of a collective yet individual changing society. nothing - the canvas. panese youth and result in a constant introspective search of identity. The ill being and quest for identity are inscribed in the vast majority of work by artists from these new artistic scenes. No more predominant tendencies in painting will be seen before the new millennium, and neither will and about identity? Such a conclusion would be simplistic and inaccurate. that of the New English Sculpture, some subjects appear recurrent such as the body, the space, new technologies and the media. representatives of British Contemporary Art and his work deals mainly with the mutability of the Opie, he reduces the image to the essential and transgresses the boundary between painting and media. the acceptable and the outrageous. - Finally, design is the culmination of artistic liberation. At the border of the visual arts, design has invaded our environment through its uniqueness. Ron Arad today remains one of the most famous designers of the world, both in the artistic sphere and on the market. whose work has contributed to the progression and evolution of art history. Gilles Dyan Founder and Chairman Opera Gallery Group Jean-David Malat Director Opera Gallery London thought and that they will rather trigger knee-jerk reactions to the viewer. mortality and the consciousness of the end. On the other hand, Marc Quinn is one of the leading 4

4 Acrylic on canvas Literature Fondation Hans Hartung et Anna-Eva Bergman

5 Oil on canvas Provenance Galerie Protée, Paris Private collection, Paris catalogue Literature

6 Oil on canvas Provenance

7 Provenance Acquired from the artist Acquired by the present owner by descent from the above Literature

8 Acrylic on canvas

9 Acrylic on canvas

10 ANDY WARHOL Silkscreen ink and acrylic on canvas Provenance Estate of the Artist

11 ANDY WARHOL Silkscreen ink and acrylic on canvas Provenance Galerie Bischofberger, Zurich 20

12 TOM WESSELMANN Enamel on laser-cut steel Provenance Sidney Janis Gallery, New York Private collection, Palm Beach lour 22

13 Hope, red-blue 24

14 Fiberglass and polyester painted Provenance

15 ARMAN Acrylic with brush on canvas

16 Acrylic and silkscreen Provenance Gagosian Gallery, New York Galerie Beaubourg, Paris Jose Mugrabi, New York Private collection, New York Private collection, Greenwich Literature

17 Oil, pencil and ink on paper laid down on canvas

18 Oil on canvas

19 Hero here, 2004 reverse) Oil on canvas Provenance Private Collection, Geneva Literature Notes

20 Oil on canvas

21 40

22 Abstract Acrylic on canvas 42

23 Acrylic on canvas 44

24 Acrylic and collage on paper laid down on canvas

25 Provenance Private collection, France

28 Oil on canvas

29 Acrylic on gesso panel

31 Aluminium, vinyl and lights

32 Gouache, charcoal and gold leaf on paper Provenance Acquired from the above by the present owner

33 SEEN Aerosol on canvas

34 Pre-Raphaelite woman

35 Marilyn head Coat hangers, edition of 4

36 Little Angel

37 RON ARAD Mirror-polished steel and steel mesh tinted pink, edition The Gallery Mourmans Literature

38 RON ARAD Seating, lacquered steel and leather, unique piece Literature Collings Matthew, Ron Arad talks to Matthew Collings, Pahidon Press, London, 2004, drawing of the model in black and white p.40 Notes made objects.

Gilles Dyan Founder and Chairman Opera Gallery Group

Gilles Dyan Founder and Chairman Opera Gallery Group FOREWORD Mauro Corda Gérard Alary It is with pride and delight that we present a joint exhibition of works by contemporary virtuoso sculptor Mauro Corda and dark expressionist painter Gérard Alary in London