ECLAT Magazine

S U Z A N N A F I E L D S

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THE WORLD OF ÉCLATA French word meaning “dazzling brilliance,” ÉCLAT will be a window to the world of the finest — universal and local, popular and obscure. We will cover fine art, past and contemporary, and design, from the classical to the eclectic. Readers will have an opportunity to discover and learn about the finest jewelry, art, wines, and all the markers of a refined lifestyle. Nothing will be deemed outside of our realm, as long as its design, palette, mechan-ics, or workmanship place it amongst the elite. Emphasis will be placed on the optimum use of design and/or technical resources rather than price. Not only do we intend to be a beacon to items that please the eye, we will thoroughly address the key reasons why they also please the mind. Artists will explain the intricacies of the creative process and give insight into the challenges they face. Galleries, museums, auction houses, boutiques, and the people who lead them will be profiled. In every issue, our readers will gain new insight into the most exquisite elements of the world around them.

For collectors or curators, connoisseurs or the merely curious, ÉCLAT will offer an inside track to time-honored classics and new twists for future de-signs. We plan to make ÉCLAT an exciting and information magazine, and

we are pleased that you are accompanying us on our initial excursion.

Prepare to be launched into the world of ÉCLAT.

CONTENTS

Picasso at the Metropolitan Museum of ArtHenry Moore at the Denver Botanic GardensPorsche Ice-Force: Driving on a Frozen Lake

African Contemporary Art in Los AngelesAn Encaustic Journey with Maria O’Malley

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24 CHRONOS • SPRING/SUMMER 2010

Top, Head of a Woman, 1909, (Vollard edition, cast date unknown), bronze, in-cised on reverse: Picasso, Bequest of Florence M. Schoenborn, 1995, © Estateof Pablo Picasso/Artists Rights Society (ARS), New York.

Right, Man Ray, Picasso, 1933, gelatin silver print, The Metropolitan Museumof Art, Ford Motor Comapany Collection, Gift of Ford Motor Company and JohnC. Wadell, 1987, © 2010 Man Ray Trust/Artists Rights Society (ARS), NewYork/ADAGP, Paris.

Opposite page, Woman in Profile, 1901, oil on paper board mounted on parti-cle board, signed, lower left: Picasso, Jacques and Natasha Gelman Collection,1998, © Estate of Pablo Picasso/Artists Rights Society (ARS), New York.

uring the evening of May 4, the bidding wasspirited in the overflowing salesroom at Christie’s NewYork auction. After almost eight minutes, five art loverswere still in the game at $80 million; but a few momentslater, an unidentified buyer on the phone took homePablo Picasso’s Nude, Green Leaves and Bust for $106.5million, a record for the most expensive work of art eversold at auction. The New York Times reported, “When thecanvas last changed hands, in 1951, it sold for $19,800.”

The five-foot-by-four-foot painting depicts the re-clining nude figure of Picasso’s mistress, Marie-ThérèseWalter, with an image of Picasso’s profile watching overher in the background. The painting is considered to be anexceptional example of the artist’s work created during ahigh point in his career.

It is apropos that the Picassopainting caused such a stir in the artworld at the same time a landmarkexhibition, Picasso in The Metropoli-tan Museum of Art, provides an un-precedented opportunity to see oneof the most important collections inthe world of the artist’s work. On view through August 1,2010, the 300 works focus exclusively on the remarkablearray of works by Picasso in the Met’s collection. The ex-hibition reveals the Museum’s complete holdings of theartist’s paintings, drawings, sculptures and ceramics —never before seen in their entirety — as well as a signifi-cant number of his prints.

D

A LIFE FORCE!Picasso at the Metropolitan Museum of Art

by Bertram Kalisher&

Stuart Leuthner

24-26 28-Picasso.qxd:Layout 1 5/20/10 12:12 PM Page 1


Top, Head of a Woman, 1909, (Vollard edition, cast date unknown), bronze, in-cised on reverse: Picasso, Bequest of Florence M. Schoenborn, 1995, © Estateof Pablo Picasso/Artists Rights Society (ARS), New York.

Right, Man Ray, Picasso, 1933, gelatin silver print, The Metropolitan Museumof Art, Ford Motor Comapany Collection, Gift of Ford Motor Company and JohnC. Wadell, 1987, © 2010 Man Ray Trust/Artists Rights Society (ARS), NewYork/ADAGP, Paris.

Opposite page, Woman in Profile, 1901, oil on paper board mounted on parti-cle board, signed, lower left: Picasso, Jacques and Natasha Gelman Collection,1998, © Estate of Pablo Picasso/Artists Rights Society (ARS), New York.

uring the evening of May 4, the bidding wasspirited in the overflowing salesroom at Christie’s NewYork auction. After almost eight minutes, five art loverswere still in the game at $80 million; but a few momentslater, an unidentified buyer on the phone took homePablo Picasso’s Nude, Green Leaves and Bust for $106.5million, a record for the most expensive work of art eversold at auction. The New York Times reported, “When thecanvas last changed hands, in 1951, it sold for $19,800.”

The five-foot-by-four-foot painting depicts the re-clining nude figure of Picasso’s mistress, Marie-ThérèseWalter, with an image of Picasso’s profile watching overher in the background. The painting is considered to be anexceptional example of the artist’s work created during ahigh point in his career.

It is apropos that the Picassopainting caused such a stir in the artworld at the same time a landmarkexhibition, Picasso in The Metropoli-tan Museum of Art, provides an un-precedented opportunity to see oneof the most important collections inthe world of the artist’s work. On view through August 1,2010, the 300 works focus exclusively on the remarkablearray of works by Picasso in the Met’s collection. The ex-hibition reveals the Museum’s complete holdings of theartist’s paintings, drawings, sculptures and ceramics —never before seen in their entirety — as well as a signifi-cant number of his prints.

D


by Bertram Kalisher&

Stuart Leuthner


SPRING/SUMMER 2010 • CHRONOS 25



Born in Malaga, Spain on October 25, 1881, PabloPicasso demonstrated an affinity for drawing as a child.His father, a painter who also taught art, persuaded the of-ficials at Barcelona’s School of Fine arts to admit his sonwhen he was thirteen. Three years later he was acceptedat Madrid’s prestigious Royal Academy or San Fernando.Unhappy with the school’s formal instruction, he quit andmoved to Paris. When he was not painting, the youngartist could be found in the cafes frequented by fellow in-tellectuals and artists.

hen he was a young man, Picasso workedin a wide variety of styles. These included

explorations of realism and modernism, fol-lowed by his Blue and Rose periods. Dating

between 1901 and 1904, Picasso’s Blue Period features apredominantly blue palette and subjects we would char-acterize today as “street people”. It was also during this pe-riod Picasso produced his first sculptures.

In 1904, the artist replaced his blues and blue-greenswith pinks and oranges, and prostitutes and beggars withcheerful circus performers and harlequins. Picasso was alsobeginning to paint figures seen head-on or in profile, astyle influenced by early Greek art and the work of HenriMatisse and Henry Rousseau. It was during his Rose Pe-

riod that Picasso’s work was discovered by art collectorsLeo and Gertrude Stein. Gertrude Stein became Picasso’sprincipal patron, purchasing his paintings and drawingsand displaying them in her Paris informal Salon.

uring the early 20th century, European gallerieswere beginning to display African art. Capti-vated by the “primitive” artifacts, especiallymasks, Picasso was soon exploring forms in-

spired by African sculpture, a style that would lead to Cu-bism. Developed by Picasso and his friend GeorgesBraque, Cubism fragments three-dimensional subjects intobasic geometrical shapes and patterns of color. A later ver-sion, synthetic cubism, creates the illusion of viewing anobject or person simultaneously from a different perspec-tive in one picture. Artists in Europe and America weresoon exploring Cubism, and the style caused a sensationwhen it was introduced at New York’s legendary ArmoryShow in 1913. Picasso was also producing sets and cos-tumes for the Ballet Russe.

Shortly after the Spanish Civil War broke out, Picassowas asked to paint a mural for the 1937 World Expositionin Paris. The result, the monumental Guernica, capturesthe horrors of war and the grief suffered by helpless civil-


Self-Portrait “Yo,” 1900, ink and essence on paper, inscribed in ink, upper left:Yo, Gift of Raymonde Paul, in memory of her brother C. Michael Paul, 1982, ©Estate of Pablo Picasso/Artists Rights Society (ARS), New York.

Seated Harlequin, 1901, oil on canvas, lined and mounted to a sheet of pressedcork, signed and dated in red paint, lower left: Picasso/1901, purchase, Mr. andMrs. John L. Loeb Gift, 1960, © Estate of Pablo Picasso/Artists Rights Soci-ety (ARS), New York.

W

D



ians caught in the middle of events they have no controlover. When asked to explain the symbolism, Picassostated, “It isn’t up to the painter to define the symbols.Otherwise it would be better if he wrote them out in somany words! The public who look at the picture must in-terpret the symbols as they understand them.”

While World War raged, Picasso lived in Paris. Un-able to show his work — the Nazis were not fans of mod-ern art — his paintings turned gloomy and macabre. Afterthe war ended, he joined the Communist party and his in-terests turned to sculpture, pottery and print making. Pi-casso also made a series of paintings based on works byVelazquez, Goya, Poussin, Manet, Courbet and Delacroix.

Now in his eighties, Picasso continued producing anamazing deluge of paintings, ceramics and etching. Onewriter summed up the artist’s final years, “At the timethese works were dismissed by most as pornographic fan-tasies of an impotent old man or the slapdash works of anartist who was past his prime. Only later, after Picasso’sdeath, when the rest of the world had moved on from ab-stract expressionism, did the critical community come to

In her Sponsor’s Statement, Iris Cantor, president andchairman of the Iris and B. Gerald Cantor Foundation,wrote, “Picasso! A life force, an artist who changed theworld, a creator of artworks that remain endlessly fasci-nating.”

For additional information about Picasso in The Met-ropolitan Museum of Art, the Metropolitan Museum of Artcan be reached at 212-535-7710 or at www.metmu-seum.org

see that Picasso had already discovered neo-expressionismand was, as so often before, ahead of his time.”

Pablo Picasso died in Mougins, France on April 8,1973. It has been estimated Picasso produced 50,000pieces of artwork during his lifetime.

Picasso in The Metropolitan Museum of Art encom-passes the key subjects for which the artist is so wellknown: the pensive harlequins of his Rose Period, thefaceted figures and tabletop still lifes of his Cubist years,the monumental heads and bathers of the 1920s, the rag-ing bulls and dreaming nudes of the 1930s and the rakishmusketeers of his final years. On display are thirty-fourpaintings, fifty-eight drawings, a dozen sculptures and ce-ramics, an extensive selection of prints, and many workson paper that have rarely, if ever, been exhibited beforeat the Metropolitan Museum.


Gertrude Stein, 1905-1906, oil on canvas, Bequest of Gertrude Stein, 1946, ©Estate of Pablo Picasso/Artists Rights Society (ARS), New York.

Standing Nude and Seated Musketeer, 1967, oil on canvas, signed right: Pi-casso, dated on reverse in orange paint upper left: 30.11.68, Gift of A.L. andBlanche Levine, 1981, © Estate of Pablo Picasso/Artists Rights Society (ARS),New York.



ians caught in the middle of events they have no controlover. When asked to explain the symbolism, Picassostated, “It isn’t up to the painter to define the symbols.Otherwise it would be better if he wrote them out in somany words! The public who look at the picture must in-terpret the symbols as they understand them.”

While World War raged, Picasso lived in Paris. Un-able to show his work — the Nazis were not fans of mod-ern art — his paintings turned gloomy and macabre. Afterthe war ended, he joined the Communist party and his in-terests turned to sculpture, pottery and print making. Pi-casso also made a series of paintings based on works byVelazquez, Goya, Poussin, Manet, Courbet and Delacroix.

Now in his eighties, Picasso continued producing anamazing deluge of paintings, ceramics and etching. Onewriter summed up the artist’s final years, “At the timethese works were dismissed by most as pornographic fan-tasies of an impotent old man or the slapdash works of anartist who was past his prime. Only later, after Picasso’sdeath, when the rest of the world had moved on from ab-stract expressionism, did the critical community come to

In her Sponsor’s Statement, Iris Cantor, president andchairman of the Iris and B. Gerald Cantor Foundation,wrote, “Picasso! A life force, an artist who changed theworld, a creator of artworks that remain endlessly fasci-nating.”

For additional information about Picasso in The Met-ropolitan Museum of Art, the Metropolitan Museum of Artcan be reached at 212-535-7710 or at www.metmu-seum.org

see that Picasso had already discovered neo-expressionismand was, as so often before, ahead of his time.”

Pablo Picasso died in Mougins, France on April 8,1973. It has been estimated Picasso produced 50,000pieces of artwork during his lifetime.

Picasso in The Metropolitan Museum of Art encom-passes the key subjects for which the artist is so wellknown: the pensive harlequins of his Rose Period, thefaceted figures and tabletop still lifes of his Cubist years,the monumental heads and bathers of the 1920s, the rag-ing bulls and dreaming nudes of the 1930s and the rakishmusketeers of his final years. On display are thirty-fourpaintings, fifty-eight drawings, a dozen sculptures and ce-ramics, an extensive selection of prints, and many workson paper that have rarely, if ever, been exhibited beforeat the Metropolitan Museum.


Gertrude Stein, 1905-1906, oil on canvas, Bequest of Gertrude Stein, 1946, ©Estate of Pablo Picasso/Artists Rights Society (ARS), New York.

Standing Nude and Seated Musketeer, 1967, oil on canvas, signed right: Pi-casso, dated on reverse in orange paint upper left: 30.11.68, Gift of A.L. andBlanche Levine, 1981, © Estate of Pablo Picasso/Artists Rights Society (ARS),New York.


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Reclining Figure: Angles, 1979, bronze, edition of 9 + 1,cast: Noack Berlin, stamped Moore 0/9, The Henry

Moore Foundation: acquired 1986.


Sculpture is an art of the open air. Daylight, sunlight,is necessary to it, and for me its best setting and

complement is nature. I would rather have apiece of my sculpture put in a landscape, al-

most any landscape, than in, or on, the mostbeautiful building I know. — Henry Moore

IN THE GARDENSBy Stuart Leuthner / Photography by William Taylor

MOORE



lthough Henry Moore did notbegin to create sculpture in-tended to be displayed outdoorsuntil he was fifty years old, hehad worked in the open airthroughout his career. During the1930s, Moore owned a countrycottage near the English Chan-

nel in Kent. There, surrounded by the area’s gentle hillsand valleys, he worked almost exclusively outdoors. It wasshortly after the end of World War Two when Moorebegan his first experiments with outdoor locations in themoors of Scotland. Today, sculpture parks can be found incountless cities worldwide, thanks mainly to Moore andhis concepts.

If he were alive today, Henry Moore certainly wouldenjoy a stroll through the exhibition of his work at theDenver Botanic Gardens. Running through January 31,2011, Moore in the Gardens presents twenty of the sculp-tor’s works set against the background of the naturalbeauty found in this twenty-three-acre oasis in the heartof the city.

The exhibition was first shown in London’s RoyalBotanic Gardens in 2007. A year later, it moved to TheNew York Botanical Garden, before journeying on to theAtlanta Botanical Garden in 2009. Denver is the last stopof the exhibition’s triumphant American tour. The large-scale bronzes (and one fiberglass piece), created over aforty-year period of the artist’s life, demonstrate howMoore was constantly refining his vision of the way inwhich his work would relate to the surrounding openlandscape.

Born in Castleford, Yorkshire, England on July 30,1898, Henry Spencer Moore was the seventh child ofMary and Raymond Moore. Raymond, a mining engineerwho did not want his sons to work in the mines, impressedupon them the need for a formal education. As a child,Henry displayed an interest in art, fashioning sculptures

in wood and clay. When one of his teachers noticed histalent, he was awarded a scholarship to Castleford Sec-ondary School. By 1916, Moore was teaching in the sameelementary school he had attended in his boyhood. Withthe outbreak of World War One, Moore joined the CivilService Rifles. Gassed during the Battle of Cambrai in1917, he spent the rest of the war as a physical traininginstructor.

When the war ended, Moore returned to teaching, butsoon left to attend Leeds School of Art on an ex-service-man’s grant. While he was there, he met fellow studentBarbara Hepworth. Hepworth would also become a well-known sculptor, and the two artists remained friendsthroughout their lives.

In 1921, Moore won a scholarship to the Royal Collegeof Art in London. Arriving in London, he wrote, “I was ina dream of excitement. When I rode on the open top of abus I felt that I was travelling in Heaven almost.” Un-happy with the study of romantic Victorian sculpture,Moore began to visit the Victoria and Albert Museum andthe British Museum where he acquired an interest inprimitive art — particularly pre-Columbian sculpture.

Moore would also often visit Paris, where he was in-troduced to the work of Constantin Brancusi, Jacob Ep-stein and Frank Dobson. After a six-month trip to Italy in1925, he was offered a post as Assistant in the Sculpture

Signed in steel, the signature of Henry Moore.

A

Hill Arches, 1973, bronze, edition of 3 + 1, cast: Noack, Berlin, stampedMoore 0/3, The Henry Moore Foundation: gift of the artist, 1977.


Large Reclining Figure, 1984, fiberglass, cast: Edward Lawrence Studios,Midhurst, The Henry Moore Foundation: acquired 1987.


Department at the Royal College of Art. Since he wasonly required to work two days a week, Moore had ampletime to pursue his own work. He was now obsessed withdirect carving, a style in which the marks left by the toolsand imperfections of the material become part of the fin-ished piece.

In 1926, Moore held his first one man show. Two yearslater, he was commissioned to provide a sculpture for thenew headquarters of the London Underground. His work,West Wind, carved from Portland stone, was one of eight“winds” created by contemporary sculptors between 1928and 1929.

Moore married Irina Radetsky, a Russian student study-ing painting at the Royal College, in July, 1929. Theymoved into a studio in Hempstead, joining a small colonyof avant-garde artists. Moore’s work came to the attentionof the art critic Herbert Read as well as many refugee Eu-ropean architects and designers headed for America.These connections proved to be important — Read pub-licized Moore’s work and many of the architects and de-signers would later commission works by Moore.

After Moore’s second one man show received scathingreviews in a number of newspapers, he was sacked by theRoyal College. Hired as the Head of the Department ofSculpture at the Chelsea School of Art, Moore joined TheSeven and Five Society, a group of artists, including Hep-worth, who were moving towards more abstract work. Hiswork was included in the International Exhibition of Sur-realist Art held in London in 1936, the same year hiswork was first seen in the United States in a show at the

Oval with Points, 1968-70, bronze, edition of 6 + 1, cast: Morris Singer,Basing stoke, stamped Moore 0/6, The Henry Moore Foundation: gift of theartist, 1977.


Museum of Modern Art in New York.With the outbreak of World War Two, Moore resigned

his teaching post and applied for training as a munitionstoolmaker. The course was oversubscribed so he beganmaking drawings of people seeking shelter in the LondonUnderground during the Blitz. When his drawings cameto the attention of the War Artists Advisory Committee,he was commissioned to make larger and more finishedworks. The powerful drawings, shown in 1940 and 1941,depicting London’s citizens’ resolve during a terrifying or-deal, helped boost his international reputation, especiallyin America.

Moore’s Hempstead studio was hit by a bomb duringthe Blitz, but, luckily, he and Irina were staying at theircottage in Kent. They moved to a farm in the hamlet ofPerry Green near Much Hadham, Hertfordshire. In spiteof Moore’s later fame and wealth, the farm, relatively un-changed, would be the artist’s final home and workshop.The couple’s daughter, Mary, was born in March, 1946.Mary’s arrival was the inspiration for Moore’s post-wartheme of “mother-and-child” compositions.

The sculptor now began to shift from direct carving tomodeling maquettes in clay or plaster which were then

cast in bronze. Although this was a technique he origi-nally despised, there were several reasons for this decision.In 1960, he said, “The difference between modelling andcarving is that modelling is a quicker thing, and so it be-comes a chance to get rid of one’s ideas.” He was alsobeing offered commissions for an increasing number ofmassive pieces. In 1952, Moore built the first foundry onhis property and in later years the expanding outbuildingsbegan to resemble a small factory as the production of thesculptures was now assigned to assistants.

At his home, Moore had a wonderful collection of ob-jects gathered during his travels including skulls, drift-wood, rocks and shells he would use for inspiration. Forhis larger works, he would often produce a half-scalemodel. These would be scaled up for the final molding andcasting at the foundry.

y the end of the 1970s, therewere more than forty exhibitionsa year featuring Moore’s work.He was the recipient of numer-ous honors, but turned down aknighthood because “such a titlemight tend to cut me off from fel-low artists whose work has aims

similar to mine.”Although a new generation of artists wasdetermined to challenge Moore, now considered a mem-ber of the “establishment,” many of these same artists ac-knowledged the influence he had on their work. Theseinclude Sir Anthony Caro, Phillip King and Isaac Witkin(all assistants at Perry Green), Lynn Chadwick, Reg But-ler, William Turnbull and Kenneth Armitage.

Henry Moore died on August 31, 1986. Before hisdeath, he, along with his daughter Mary, established theHenry Moore Foundation. The Foundation holds thelargest collection of the Moore’s work and maintains theartist’s home, grounds and studios; open to the public fromApril to October.

In his introduction to the catalog for Moore in the Gar-dens, Denver Botanic Gardens’ chief executive officerBrian Vogt, stated, “Like all artists who have a new vision,Henry Moore inspired conversation in his day and con-tinues to do so today...Times have shifted and change isnow woven into our cultural consciousness...No wonderthat Moore is now mainstream, seen in almost every majorcity in the world. But something is quite timeless abouthis work. I recently visited a sculpture garden that featuredworks by many abstract artists, including a couple byMoore. His pieces were instantly recognizable and hadthat certain something that makes the art of a genius sin-gular and compelling. Reading about his life, I suspect ithas something to do with a sense of dignity. These piecesevoke completion and maturity.”

If you would like more information about Moore inthe Gardens, the Denver Botanic Gardens can be reachedat 720-865-3500 or www.botanicgardens.org


BUpright Motive No. 7, 1955-56, bronze, edition of 5 + 1, cast: Martyn, Chel-tenham, The Henry Moore Foundation: gift of the artist, 1977.


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PORSCHE ICE-FORCEPORSCHE ICE-FORCE

ince 1974, the PorscheSport Driving School has beenoffering automotive enthusiaststhe opportunity to hone theirdriving schools both on and offroad.

The courses are held year-round at race courses around theworld, including a number of in-ternational circuits and the

FIA-compliant test track at the Porsche facility inLeipzig.

Subject to availability, students can choose from aBoxter, Cayman, Panamera or Cayenne. This not onlyprovides an opportunity for drivers who have alwayswanted to drive a Porsche to discover what the legend is

all about; it allows those who already own a Porsche, orare thinking of purchasing one, to try out a new model.

Students are assigned a personal instructor. ThesePorsche specialists — expert drivers who have turnedtheir passion into a profession — are able to share valu-able insider knowledge acquired over many years spenttesting and fine-tuning new models. During a session, theinstructors are sitting next to a driver in the passengerseat, observing the student from track side or followingin a chase car. This not only guarantees the student dri-ver’s safety, it also optimizes the learning experience.Under the guidance of these highly trained professionals,participants master techniques lifting their driving skillsto another level.

The Porsche Sport Driving School consists of severaltraining levels. The Warm-up course, lasting one day,

SBy Stuart Leuthner

20-21 Porsche.qxd:Layout 1 5/22/10 1:05 PM Page 1


PORSCHE ICE-FORCEPORSCHE ICE-FORCE

ince 1974, the PorscheSport Driving School has beenoffering automotive enthusiaststhe opportunity to hone theirdriving schools both on and offroad.

The courses are held year-round at race courses around theworld, including a number of in-ternational circuits and the

FIA-compliant test track at the Porsche facility inLeipzig.

Subject to availability, students can choose from aBoxter, Cayman, Panamera or Cayenne. This not onlyprovides an opportunity for drivers who have alwayswanted to drive a Porsche to discover what the legend is

all about; it allows those who already own a Porsche, orare thinking of purchasing one, to try out a new model.

Students are assigned a personal instructor. ThesePorsche specialists — expert drivers who have turnedtheir passion into a profession — are able to share valu-able insider knowledge acquired over many years spenttesting and fine-tuning new models. During a session, theinstructors are sitting next to a driver in the passengerseat, observing the student from track side or followingin a chase car. This not only guarantees the student dri-ver’s safety, it also optimizes the learning experience.Under the guidance of these highly trained professionals,participants master techniques lifting their driving skillsto another level.

The Porsche Sport Driving School consists of severaltraining levels. The Warm-up course, lasting one day,

SBy Stuart Leuthner


Rudy Albers, wearing the red hat, takes a break between driving sessions onFinland’s Lake Pasasjarvi. Sitting next to Albers is his assigned co-driver, Dr.Joachim Leineiver, who drove 3,000 from Berlin to Ivalo in his personal Porsche.


teaches the basics of driving safety. Students learn howto respond correctly to situations that occur in everydayroad traffic — emergency stops, taking evasive action andmaintaining control in any situation.

The next level, Precision training, is a two-day pro-gram designed to allow the driver to explore the potentialof the vehicle. Since students can choose this as their in-troductory course, it covers the basics, similar to theWarm-up training program, but also teaches students thebasics of precision steering, braking and acceleration. Theprogram’s climax is an unforgettable experience wheredrivers complete full laps on the circuit.

Once a student has completed the two-day Precisiontraining program, they are ready to challenge the ad-vanced courses — Precision, Performance and Master.Each level builds on what has already been learned, while



PORSCHE ICE-FORCEalso concentrating on all aspects of motorsports. These in-clude identifying the ideal line on a circuit, performing“standing” and “flying” starts, safely overtaking and pass-ing other vehicles, and proper race etiquette.

For those who love winter sports, or simply want toimprove their driving on ice and snow, the Ice-Force Pre-cision course is the answer. Offered at three facilities —one in Austria, and two in Finland — the hands-on ses-sions are designed to prepare a driver for the special chal-lenges presented by driving in the winter.

The Ice-Force Pro-Driving Experience is held atCamp 4S, a frozen lake located near Ivalo, a village innorthern Finland. Earlier this year, Rudy Albers, presidentof Wempe Jewelers’ Manhattan store, headed north tochallenge the elements. “The course is not for beginners,”Albers explains. “Porsche asked me for proof to show Iknew how to drive, so I lined up a few of my racing awardson my Porsche’s hood and sent them a photograph.”

When Porsche discovered Albers was not only an ex-perienced competition driver, but had a serious bias fortheir automobiles, he was given the green light. After ar-riving in Helsinki, Albers boarded another plane for theone-hour flight to Ivalo. “It is a very small village,” Alberssays, “but there are a lot of hotel rooms because touristscome to see the Northern Lights.”

Breakfast was served at eight o’clock. After a half-hour bus ride, the students arrived at a huge garage locatedadjacent to the lake. Inside, they discovered a line-up offorty shiny Porsches. During the three days on the lake,drivers could experience driving the Cayman S, the 911 S(two-wheel drive), the 911 4S (four-wheel drive), theTurbo, and the Panamera, (Porsche’s new 4-door sportssedan). The car’s tires are fitted with 4-mm studs to pro-

Brrrrr! The temperature display on the Porsche’s dashboard readsa frosty -31.5° C.

The drivers and instructors discussing their upcoming circuit around the frozenlake. The aim of the Ice-Force program is to teach drivers how to optimize ve-hicle control and find the ideal line, even on slick surfaces.


Follow the leader. Rudy Albers describes the opportunity to drive a Porsche onthe frozen lake as, “Thrilling. Maybe even better than thrilling.”


vide additional traction, and Cayenne SUVsare available to pull drivers who stray off thetrack and end up in the snow. “You know it’sbad,” Albers says, “when the Cayenne driversknow you by name.”

“The point of the school is not onlylearn how to drive on ice,” Albers says. “Italso allows you to experience the differentmachines from four-wheel drive, rear-wheeldrive and the Turbo.” Although he describesthe Turbo as a “real animal,” Albers’ favoriteride was the 911 S. “I own a 2009 911 S withstandard shift and it is an exciting and ex-ceptional-handling car.”

Testing your driving limits on a frozenlake has benefits. “You can’t get hurt or dam-age the car,” Albers says. “You just end up‘crashing’ into deep snow. And it’s a sportdriving school, so you’re most likely coveredunder your life insurance.” When asked todescribe the experience, Albers laughs. “Itwas thrilling. Maybe even better thanthrilling. I added to my driving skills, metsome interesting racing people from all over the world anddrove some great automobiles.” And, he adds, “Thescenery was amazing. It’s as if somebody took nature andput it in a deep freezer.”

ixing business with pleasure, Albersdecided to pack four high-endsport watches and see how they

would perform in Finland’s punishing -31°Ctemperatures. One evening, he left a stainlesssteel Rolex Deepsea, a Wempe ZeitmeisterCeramic Chronograph, a stainless steel Pan-erai Luminor 1950 Submersible with depthgauge, and a stainless steel Audemars PiguetOffshore outside on his balcony. “In themorning,” Albers says, “I brought them insideand slowly defrosted them in the sauna in myroom.” Despite their night in the frigid snow,the watches performed as advertised. “I was-n’t surprised that they were running a few sec-onds slower,” he says, smiling, “nor that theywere still there. But I surely wouldn’t havetried this ‘stunt’ at home.”

TIME ON ICE

M


Museum of Modern Art in New York.With the outbreak of World War Two, Moore resigned

his teaching post and applied for training as a munitionstoolmaker. The course was oversubscribed so he beganmaking drawings of people seeking shelter in the LondonUnderground during the Blitz. When his drawings cameto the attention of the War Artists Advisory Committee,he was commissioned to make larger and more finishedworks. The powerful drawings, shown in 1940 and 1941,depicting London’s citizens’ resolve during a terrifying or-deal, helped boost his international reputation, especiallyin America.

Moore’s Hempstead studio was hit by a bomb duringthe Blitz, but, luckily, he and Irina were staying at theircottage in Kent. They moved to a farm in the hamlet ofPerry Green near Much Hadham, Hertfordshire. In spiteof Moore’s later fame and wealth, the farm, relatively un-changed, would be the artist’s final home and workshop.The couple’s daughter, Mary, was born in March, 1946.Mary’s arrival was the inspiration for Moore’s post-wartheme of “mother-and-child” compositions.

The sculptor now began to shift from direct carving tomodeling maquettes in clay or plaster which were then

cast in bronze. Although this was a technique he origi-nally despised, there were several reasons for this decision.In 1960, he said, “The difference between modelling andcarving is that modelling is a quicker thing, and so it be-comes a chance to get rid of one’s ideas.” He was alsobeing offered commissions for an increasing number ofmassive pieces. In 1952, Moore built the first foundry onhis property and in later years the expanding outbuildingsbegan to resemble a small factory as the production of thesculptures was now assigned to assistants.

At his home, Moore had a wonderful collection of ob-jects gathered during his travels including skulls, drift-wood, rocks and shells he would use for inspiration. Forhis larger works, he would often produce a half-scalemodel. These would be scaled up for the final molding andcasting at the foundry.

y the end of the 1970s, therewere more than forty exhibitionsa year featuring Moore’s work.He was the recipient of numer-ous honors, but turned down aknighthood because “such a titlemight tend to cut me off from fel-low artists whose work has aims

similar to mine.”Although a new generation of artists wasdetermined to challenge Moore, now considered a mem-ber of the “establishment,” many of these same artists ac-knowledged the influence he had on their work. Theseinclude Sir Anthony Caro, Phillip King and Isaac Witkin(all assistants at Perry Green), Lynn Chadwick, Reg But-ler, William Turnbull and Kenneth Armitage.

Henry Moore died on August 31, 1986. Before hisdeath, he, along with his daughter Mary, established theHenry Moore Foundation. The Foundation holds thelargest collection of the Moore’s work and maintains theartist’s home, grounds and studios; open to the public fromApril to October.

In his introduction to the catalog for Moore in the Gar-dens, Denver Botanic Gardens’ chief executive officerBrian Vogt, stated, “Like all artists who have a new vision,Henry Moore inspired conversation in his day and con-tinues to do so today...Times have shifted and change isnow woven into our cultural consciousness...No wonderthat Moore is now mainstream, seen in almost every majorcity in the world. But something is quite timeless abouthis work. I recently visited a sculpture garden that featuredworks by many abstract artists, including a couple byMoore. His pieces were instantly recognizable and hadthat certain something that makes the art of a genius sin-gular and compelling. Reading about his life, I suspect ithas something to do with a sense of dignity. These piecesevoke completion and maturity.”

If you would like more information about Moore inthe Gardens, the Denver Botanic Gardens can be reachedat 720-865-3500 or www.botanicgardens.org


BUpright Motive No. 7, 1955-56, bronze, edition of 5 + 1, cast: Martyn, Chel-tenham, The Henry Moore Foundation: gift of the artist, 1977.


Christian FaurThe Land Surveyors

June 17 - July 17, 2010

Kim Foster Gallery 529 West 20th Street N Y, NY 10011 212.229.0044 [email protected] www.kimfostergallery.com

.....The Land Surveyors.... 20,000 hand cast encaustic crayons..... 30 x 60 inches..... 18 panels..... 2010.....

MUSEUMS

One of the most adventurous and ac-complished artists working today, Mari-lyn Minter uses bold, luscious colors and glossy surfaces to depict extreme close-ups of women – often fashion models – to examine beauty and decadence while ex-posing the pleasures and dangers of glam-our. Minter’s world, though steeped in fashion and glitz, is one in which beauty has gone awry. She says that her art is in-vested “in the moment when everything goes wrong. . . when the model sweats.” This exhibition presents a focused selec-tion of Minter’s work centered on one of her most recent major paintings, Orange Crush, 2009, a 9 x 15 foot triptych. Ac-companying the painting are five related large scale photographs and an acclaimed video, Green Pink Caviar, 2009, originally featured on a billboard in Times Square.

Lee Bontecou first exhibited her steel-and-canvas sculptures at New York’s prominent Leo Castelli Gallery in the 1960s. Although they bear little resem-blance to the Minimalist and Pop art dominant at the time, these wall-mount-ed sculptures—made in New York be-tween 1959 and 1967—elicited both critical acclaim and curiosity. Writing about one of them, a reviewer asked, “Is it apterodactyl? A spaceship? An outsize artichoke or a monstrous whorl of gi-ant flower corollas?” Bontecou’s imagi-native vision encompasses all of these possibilities. For decades she has left her work untitled, preferring not to re-strict the ways in which it may be un-derstood. Bontecou’s excitement about the Space Age and her memories of the Second World War are fundamental to

her visual language. While her art defies easy classification, suggestions of infinite expanse, anxiety, and threat are perva-sive, expressed, for example, in the black circular forms that have been insistent motifs in her work. The cavernous black voids of her steel-and-canvas sculptures and the deep black circles of her drawings conjure associations as varied as volcanic craters, jet engines, eye sockets, and cos-mic black holes, invoking what the artist has described as “the visual wonders and horrors” of the natural and man-made worlds. In 1971 Bontecou left New York City. Since then she has worked primarily in rural Pennsylvania, where her engage-ment with the natural world has become more pronounced. The sculpture sus-pended at the center of this installation—a slowly whirling galaxy of forms she worked on for eighteen years—represents a fulfillment of her longstanding desire to create art that celebrates “no barriers, no boundaries, all freedom in every sense.”

(clockwise from bottom left) Lee Bon-tecou: detail - Untitled, 1976, pencil and colored pencil on prepared paper. 15”x11”. MoMA, the Judith Rothschild Foundation Contemporary Drawings Collection Gift; detail of Untitled, 1980-1998, welded steel, porce-lain, wire mesh, canvas, and wire. 7’x8’x6’. MoMA, gift of Philip Johnson (by exchange) and the Nina & Gordon Bunshaft Bequest Fund; Marilyn Mint-er: Orange Crush, 2009, enamel on metal, 108”x180”. Courtesy of John and Amy Phelan; Gimme, 2008, c-print, 70” x 97.25” AP. Courtesy of the artist & Regen Projects, Los An-geles. All work © respective artists.

Lee BontecouMoMA New York[through Aug 30]

Marilyn MinterMOCA Cleveland

[through Aug 15]

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DARKmatter

Nadine Rovner, One at a Time Archival Digital Pigment Print , 2009

Featured Artists: Narelle Autio • Jen Davis • Scott Davis • Marian Drew • John Houshmand • Molly Landreth • Eric Ogden • Trent Parke • Charles Robb • Nadine Rovner • Haley Jane Samuelson • Phillip Toledano • Nicola Vinci

march 25 - august 17 2010

GALLERY NEWS

Contemporary African art is something few international collectors have access to in the States, mainly because few gal-leries exist that carry the work. Yet both continental and diasporic African Art-ists abound and their rare and innovative work is testimony to the creativity and insight that exists. Actress and gallery co-founder Gloria Huwiler speaks about dis-covering her interest in the field and the creation of Anajuwa Gallery.

In 2006 I had recently graduated from Brown University and moved to New York to pursue acting. I also took up a part time job in a contemporary art gal-lery in the Time Warner Center, Millenia Fine Art. My mother has always been a collector of African Art, and I grew up with a keen appreciation and love of the field. Coming from this background, a part time job in a gallery was an ideal creative day job while I immersed my-self in New York’s acting scene. Carlene Soumas, the gallery director at Millenia Fine Art asked her new assistants to put together ideas for prospective exhibitions by researching emerging artists, offering the possibility of an exhibition at Millenia Fine Art, New York, if she approved of the concept. I immediately turned to the plethora of contemporary African Artists I’d been exposed to at home and put to-gether a presentation for a group exhibi-tion of Zambian painters and sculptures entitled “Realizing an African Renais-sance.” With the help of Carlene Soumas and various people on the ground in Zambia, the exhibition took place within the next six months and featured nine Zambian painters and one sculptor. The exhibition at Millenia Fine Art was well received by collectors, and several of the artists' work sold out quickly, show-ing a strong demand for this new, unseen work. In the course of preparing for the exhibition, I realized just how underde-

Bringing Contemporary African Art to Los Angeles

(above) An Opening at Anajuwa with actress Sydney Tamiia Poitier, writer/director/producer Oz Scott, Anajuwa founder Gloria Huwiler; (below) Vincentio Phiri, Chibede, 48” x 36.8”.

by Gloria Huwiler

ART SCENE

veloped and underexposed the field of contemporary African art in the United States was. Only one contemporary Afri-can artist, Yinka Shonibare, has been sold at auction in Sotheby’s Contemporary Section. No auction at present is dedicat-ed exclusively to the field, despite the fact that contemporary African art of superb quality continues to be produced, and auctions in contemporary Chinese, Lat-in, Indian, and European work take place regularly. Rather, the mainstream repre-sentation of African art that exists in New York is dedicated solely to antiques and tribal artifacts. Yet, with the proposed Museum for African Art currently un-der construction on Museum Mile on the Upper East Side, contemporary African

art is slowly entering mainstream con-sciousness and getting the necessary ex-position and exposure it deserves. Having seen the success of the work at the Time Warner center, I was confi-dent of the interest in contemporary Af-rican art – if well curated and exhibited in a central and well exposed venue – and have been committed to continuing to provide access and exposure to contem-porary African Artists since. In following my acting ambitions by moving to Los Angeles, I met a business partner keen on opening a contempo-rary African art gallery. Anajuwa Gallery was borne out of our mutual interest in the field, and is dedicated to showcasing emerging and established contemporary

African artists in Los Angeles. In my time here, I have found the the exposure of contemporary African art to be lacking, as in New York. Apart from the superbly curated exhibits at the Fowler, few com-mercial galleries carry contemporary Af-rican art and none specialize in it. While few generalizations can be made on so broad a field, contemporary Af-rican art is a fusion of traditional influ-ences with modern and contemporary styles and forms. Debate often abounds on the nature of the work and the ques-tion of authenticity is a commonly held concern of intellectual art critiques. How “African” does contemporary African Art has to be, in order to be considered au-thentic? The question seems utterly inane when one considers that art is an expres-sion of an artist’s experience, his vision – a projection of himself on reality. Con-temporary African art is precisely that, an expression of modern Africa through the eyes of its artists, and the result is the rich, hybrid, combination of influences that post modernism has wrought on Af-rican itself.

Anajuwa’s inaugural exhibition, Inte-gration, was displayed at Anajuwa Gal-lery’s Melrose. The opening reception was hosted by Sydney Tamiia Poitier, and at-tended by Sir Sidney Poitier, Bernie Casey, Gina Ravera, and various members of the African American and entertainment community in Los Angeles. The exhibi-tion features the work of artists William Bwalya Miko, Mwamba Mulangala, Geo-phrey Phiri, Vincentio Phiri, Rikki Lungu, Baba Jakheh, Lutanda Mwamba, the Zata Brothers and Stary Mwaba. The work will be on display at the 8360 Melrose Avenue gallery till the end of May and then relo-cated to the Fairmount Miramar Hotel in

Santa Monica.

Sydney Tamiia Poitier and Sir Sidney Poitier at an Anajuwa opening.

ART SCENE

EXHIBITIONS

For three consecutive nights, Maria O’Malley, an accomplished figurative oil painter, dreamed of bees. Her ancient Greek ancestry taught her to be sensi-tive to the interconnectedness of life and that dreams can convey messages. Because of these dreams and their re-petitive nature, O’Malley paid attention. Her subconscious thoughts and ensuing research about bees led her to determine what the dreams meant. She discovered that beeswax, also known as encaustics, is an ancient art form. Except for Jasper Johns’ encaustic resurgence, the medium was not popular at the time of O’Malley’s dreams. With no knowledge of working in encaustics, O’Malley learned all she could about using beeswax in her art.

While the artist investigated and studied new art supplies, she continued to paint in oils. O’Malley’s figurative oils won sev-eral first place prizes and were part of a

long list of fine exhibitions. These include the Laguna Art Museum and Chapman University. Working in familiar oils and less familiar encaustics, the artist realized she was at home using the beeswax pro-cess. Following every lead, she sought to know more about her life’s new direction. Eventually, an unknown, elderly artist in New York City graciously taught her much of what she needed to know.

O’Malley never anticipated that her Greek ancestry would come to her aid in the 20th century. Almost 3,000 years ago, Greek artists, were accomplished in encaustic portraits and mythological scenes on panels which still exist today. Homer, the epic Greek poet, sited the use of encaustics in describing the battle of Troy. Increasingly O’Malley was drawn to beeswax when she realized its durability over other art materials. It has no toxic fumes and requires no solvents. Encaus-

tics do not deteriorate, yellow, or darken; and do not have to be placed under glass. In fact, the Greeks used encaustic and resin to weatherproof their ships. While the process is laborious, a work of art has a permanency rarely seen in other mate-rials. Also important is health hazards are reduced or eliminated making the pro-cess environmentally sound.

Requiring a heat of 180 to 200 degrees, molten beeswax is like scalding thick syrup. It does not unite with water or many other materials and requires sig-nificant experience to know when it is ready to use. Like a neophyte chemist, O’Malley made her studio into a labora-tory, finding her way in unexplored ter-ritory. Many experiments were disasters and dangerous, however, perseverance prevailed. Not only has she gained exper-tise, O’Malley has tailored the encaustic process to suit the materials she loves and her particular artistic style. Today she blends drawing materials into wax; in-vents her own equipment, and incorpo-rates disparate supplies bought at lumber yards. O’Malley’s unique process inte-grates natural resins, and fuses drawing, painting, and relief sculpture.

When O’Malley went from oils to en-caustics, her style and subject matter al-tered, yet certain key signature features remain. Her encaustic landscapes, as her oil-based figurative paintings, engage the viewer with large open negative spaces and linear configurations. A lone tree or a few trees in a solitary open white field are haunting images. Or, graceful trees, with elegant branches may cover the en-tire surface. Painted in grays and blacks from graphite pencil shavings, or reds of melted Conte crayons, O’Malley’s land-scapes are painted more from imagina-tion than observation. Their enigmatic quality comes from a fusion of layers that

An Encaustic Journey by Roberta Carasso

Maria O’Malley, Cosmic Landscape, encaustic and graphite on panel, 36”x48”.

ART: IN DEPTH

may appear deceptively flat or texturally thick, but always painterly as O’Malley builds layer upon layer, up to 30 layers of encaustics and resins varying the density of each area.

This arduous process requires continu-ously adding and removing materials by abrasion and application; includes vari-ous drawing methods - thick and thin brushstrokes and mark making; and sculptural methods - the carving and building up of tactile surfaces. The result of this rich process of constructing and deconstructing, is a luminous and matte surface that reflects light in varying de-grees throughout the composition. In ad-dition, an interplay of layers, with edges of one process meeting layers of a former process, gives the surface an other world-ly appearance as if one can see and feel different time periods simultaneously. Viewing an O’Malley painting is like be-ing in the moment yet going back in time, peeling through stratum of the past that are either covered over or seem to juxta-pose past with present.

Using thick leather welding gloves, sculpting tools, torches, hot air wallpaper guns, and working with molten materials, it is impossible to have preconceived no-tions or be formulaic. Rather encaustics demand discovery. Consequently, trained in a representational style, O’Malley now works conceptually, becoming a partner

with the process as she finds sacred places and spaces that are intuitive and organic. With each step, each abrasion, each over-lay of placing natural resins and beeswax on the panel, surprises continuously oc-cur. Like a symphony conductor, O’Malley guides each element to fruition, keenly overseeing the many dynamics simulta-neous at play. Thus, like her Greek ances-

try, O’Malley creates timeless and lumi-nous encaustic imagery that will endure.

Roberta Carasso, Ph.D., is an elected member of the International Art Critics Association, curator, and art writer. Her website is carasso.com/roberta. For more information about Maria O'Malley visit

mariaomalley.com.

Maria O’Malley: (above) Red Dune, encaustic and conte on panel, 32”x38”; (below) White Lake, encaustic and graphite on panel, 6”x24”.

ART: IN DEPTH

Santa Monica Civic AuditoriumJanuary 13 - 16, 2011

Norman Kulkin, The Gallerist, 2008

The longest running art fair in Los Angeles andthe largest photography art fair in the country,is celebrating its 20th anniversary this January.

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