viernes, 28 de enero de 2022

THE WORLD OF STONEHENGE EXHIBITION. BRITISH MUSEUM, LONDON

17 Feb 2022 - 17 Jul 2022

London — The British Museum announces full details of its upcoming special exhibition on Stonehenge. This major exhibition will see over 430 objects brought together from across Europe in a once-in-a-lifetime spectacle on the history – and mystery – of the ancient monument.

The world of Stonehenge (17 February – 17 July 2022) is the UK’s first ever major exhibition on the story of Stonehenge. Key loans coming to the British Museum and announced for the first time today include: Britain’s most spectacular grave goods which were unearthed in the shadow of Stonehenge; elaborate ancient gold hats depicting the cosmos; and the astonishing wooden monument – dubbed Seahenge - that recently emerged after millennia from the sands of a Norfolk beach.

Stonehenge was built 4,500 years ago around the same time as the Sphinx and the Great Pyramid of Giza in Egypt. This landmark exhibition will set the great monument in the context of one of the most remarkable eras on the islands of Britain and Ireland, which saw huge social and technological revolutions, alongside fundamental changes in people’s relationships with the sky, the land and one another.

At the heart of the exhibition will be the sensational loan of a 4,000-year-old Bronze Age timber circle, dubbed Seahenge due its similarity to Wiltshire’s Stonehenge. It is a hugely significant and extremely rare surviving example of a timber monument that has also been called “Stonehenge of the Sea.” It reemerged on a remote Norfolk beach in 1998 due to the shifting sands, and it consists of a large upturned tree stump surrounded by 54 wooden posts. The oak posts, some up to 3m tall, were tightly packed in a 6.6m diameter circle with their bark-covered sides facing outwards. Inside the circle was a mighty oak, its roots upturned towards the heavens like branches. Collectively the circle creates a giant tree. A narrow entranceway was aligned on the rising midsummer sun and it is thought this monument was used for ritual purposes.

Seahenge comes to the British Museum from the Norfolk Museums Service, where it is partially displayed at the Lynn Museum in King’s Lynn. This is the first time Seahenge has ever gone on loan. Visitors to the exhibition at the British Museum will see some of the monument’s most important elements, including many timber posts that have never been displayed before. They will also see the hugely important ‘doorway’ where worshippers would enter. Its inclusion in the exhibition will help tell the story of the shared beliefs that inspired ancient communities to build the many astonishing monuments found across Britain, Ireland and beyond.

Dr Jennifer Wexler, project curator of The world of Stonehenge at the British Museum, said: “If Stonehenge is one of the world’s most remarkable surviving ancient stone circles, then Seahenge is the equivalent in timber. But as it was only rediscovered in 1998, it is still relatively unknown. We know about some aspects of the monument, including that it was constructed in the spring and summer of 2049 BC, from mighty oaks. But there’s much that still eludes us, including exactly what it was used for. Perhaps the central upturned trunk was used in funerary rituals to support a dead body. Perhaps entering the circular shrine brought worshippers closer to the otherworld. By displaying Seahenge in this exhibition we hope to bring it to a wider audience, and it provides an unparalleled opportunity to time travel back to the moment when circles of stone and timber were at the heart of people’s beliefs.”

Nearly two-thirds of the objects going on display in The world of Stonehenge will be loans, with objects coming from 35 lenders across the UK, the Republic of Ireland, France, Italy, Germany, Denmark and Switzerland. Of these, the majority have never been seen in the UK before. Newly revealed today as going on show in the exhibition are two rare and remarkable gold cone-shaped hats - the Schifferstadt gold hat from Germany and the Avanton gold cone from France. This is the very first time either will have been seen in Britain. These are decorated with elaborate solar motifs that reflect the religious importance of the sun during this era. Only two other examples of these hats are known to have survived. Serving as headgear during ceremonies or rituals, they perhaps imbued the wearer with divine or otherworldly status. Carefully buried alone or accompanied by axes, rather than interred with the deceased, it seems they were held in trust for the community. Similar motifs are to be found on a belt plate on loan from the National Museum of Denmark. This example, and others like it, was found on the stomach of a women buried in Scandinavia. It’s conical central point might represent the same concept as the sun hat, but in miniature form.

Alongside the international loans, visitors will see some of the most important objects unearthed in the Stonehenge landscape, many of them now in the collections of neighbouring museums. On loan from Wiltshire Museum will be the whole hoard of objects that accompanied a burial known as the Bush Barrow site. This burial hoard has never been lent in its entirety before. They include the ‘gold lozenge’ which is the finest example of Bronze Age gold craftsmanship ever found in Britain, which was buried across the chest of the Bush Barrow chieftain. This grave, with commanding views of Stonehenge, shows close parallels with the richest graves from northern France, eastern Germany and even Ancient Greece. The exhibition will illustrate these long-distance connections.

From Salisbury Museum will be the treasures buried with the Amesbury Archer, a man honoured with remarkable grave goods after his death. His grave contained the richest array of items ever found in a Bronze Age burial site in the UK, and 39 of these items – including copper knives, gold ornaments and flint tools – will travel to the exhibition. The gold discovered is thought to be among the earliest found in Britain. The Amesbury Archer was also buried close to Stonehenge, but he came from the area of modern day Switzerland or Germany. His early dates mean that he could have participated in the construction of the iconic phase of the stone circle.

Hartwig Fischer, Director of the British Museum, said: “To understand the purpose of the great stone monument constructed on Salisbury Plain, it is essential to consider its contemporary world and the culture of its builders. We are delighted to be able to do this in this unprecedented exhibition. Over 430 exceptional objects are being brought together, objects which are the last and only testament of sophisticated and ingenious people, and we are grateful to all of the lenders who have made it possible.”

Neil Wilkin, curator of The world of Stonehenge at the British Museum, said: “The mystery of Stonehenge is a source of enduring fascination for every generation who visit or catch a glimpse of its distinctive silhouette. This landmark exhibition will begin to reveal its secrets by setting this great monument in the context of a period of radical change on these islands, and by bringing together exceptional objects that shed new light on its meaning and significance. It is an exhibition about the people who built and worshipped at the monument, but it is also a story that transcends the Salisbury Plain and even Britain and reaches far into continental Europe. Stonehenge’s eternal mystery and significance can only be fully understood by charting the surrounding world that made it possible.”

The exhibition has been organised with the State Museum of Prehistory, Halle/Saale, Germany, who will be lending the previously announced Nebra Sky Disc, the oldest surviving representation of the cosmos anywhere in the world.

Stonehenge today is cared for by English Heritage on behalf of the nation.

https://www.finebooksmagazine.com/news/world-stonehenge-slated-exhibition-2022

OPÉRA NATIONAL DE PARIS: DESSINE-MOI LA KHOVANTCHINA UNE MINUTE POUR COMPRENDRE L’INTRIGUE. BARI, SAGRIPANTI E ALBRECHT, NUOLVI DIRETTORI AL PETRUZZELLI


Par Octave le 10 janvier 2022

Après Boris Godounov, Moussorgski continue d’explorer et d’interroger l’histoire de la Russie. Il s’inspire, pour cet opéra, de la Révolte de Moscou de 1682, année où Pierre le Grand est sacré tsar. Alors que celui-ci souhaite réformer la Russie, il se heurte aux résistances de la noblesse et de l’église, la première conduite par le Prince Ivan Khovanski, la deuxième par les VieuxCroyants et leur chef Dosifei. À cette histoire tragique, Moussorgski a donné la musique la plus fascinante qui soit, sombre et envoûtante, semblant venir du fond des âges. La mise en scène d’Andrei Serban nous plonge dans la Russie féodale du XVIIe siècle avec ses costumes flamboyants et ses décors monumentaux. 

https://www.operadeparis.fr/magazine/dessine-moi-la-khovantchina

E.....

Petruzzelli: Sagripanti e Albrecht nuovi direttori stabili

Sostituiscono maestro Bisanti,neo direttore Opéra Royal Wallonie

(ANSA) - BARI, 24 GEN - Dal 24 gennaio la Fondazione Petruzzelli ha due nuovi direttori stabili che sostituiscono il maestro Giampiero Bisanti, nominato direttore musicale dell'Opéra Royal de Wallonie di Liegi.

Si tratta di Giacomo Sagripanti e Hansiorg Albrecht.


    Il primo, ritenuto tra i più interessanti direttori d'orchestra della nuova generazione, ha ricoperto numerosi incarichi all'estero, tra l'altro a Lubecca e Parigi. In Puglia ha collaborato con il Festival della Valle d'Itria e con il Petruzzelli. Il secondo, un organista di Dresda, ha cominciato i suoi studi nella Germania dell'Est e poi, specializzatosi, ha ricoperto numerosi incarichi in Germania e in Europa. La loro collaborazione con il Petruzzelli avrà una durata di due anni.
    (ANSA).

THE PUNK MARIE ANTOINETTE OF THE 1970S NEW YORK ART SCENE

In Colette Lumière’s world, the theatricality of Versailles meets the punk ethos of the Sex Pistols.

by Ksenia M. Soboleva


Colette Lumière, "Bed Series II" (1975-76), fabric, photograph, light, and mixed media on wood (all photos by the author)

Though she symbolically died from a staple cut at the Whitney Museum in 1978, Colette is alive and well. Resurrected a few days later as Justine, lead singer of a newly formed band, Justine and the Victorian Punks (a collaboration with Peter Gordon’s Love of Life Orchestra), Colette recalls in a 2013 BOMB magazine interview with Katie Peyton that her performative death was a critique of artists often having to wait until their passing to be recognized (which is particularly the case for women). And indeed, it is an indisputable fact that the French-Tunisian Colette Lumière is a severely under-recognized artist, whose lasting importance on visual culture and performance practice has yet to be fully grasped by the art world. Before moving to Berlin in 1984, Colette was a prolific artistic persona immersed in the 1970s New York art scene, a punky Marie Antoinette with a childlike voice and fashion confections. Working across a variety of media, yet always emphasizing the performance of identity, her creations ranged from frilly dresses and punk T-shirts to sculptural installations, light boxes and short films.

Before Tilda Swinton ever slept in the glass box constructed by Cornelia Parker at MoMA, Colette incorporated sleep as an endurance practice in several of her performances. Between 1972 and 1983, the artist created a gesamtkunstwerk by turning her downtown loft into what she has termed “a living environment,” an immersive installation in which she herself is activated as a living sculpture. The current exhibition at Company gallery, Notes on Baroque Living: Colette and Her Living Environment, 1972-1983, curated by Kenta Murakami, takes the latter as its foundation. Entering Colette’s reconstructed living environment feels like stepping into a dreamlike universe saturated in a palette of crème and light pinks. Spread throughout the gallery are mixed-media wall fragments, light boxes, sculptures, garments and objects, as well as film footage and framed postcards. In Colette’s world, the theatricality of Versailles meets the punk ethos of the Sex Pistols, and ruched silky fabric is a signature material that you can’t possibly have too much of. The artist’s own likeness is omnipresent; photographs are embedded in the majority of the pieces, and her image is featured in the performance announcements and documentation. A large sculptural installation titled Notes of Baroque Living (1978-1983/2021), reconstructed from original elements of her living environment, centers a life-sized doll sculpture of Colette, made in collaboration with Company artist Cajsa von Zeipel.

During a decade that witnessed a preponderance of conceptual art, as well as an emerging Pictures Generation that denounced the notion of authenticity even as artists returned to representation, Colette’s practice is nothing short of radical. Her performance of identity, embodying a number of personas in addition to Justine throughout the years, is combined with a deep dedication to materiality that is rare in performance art, by its nature an ephemeral form. The “baroque” element referenced in the title does not simply point to extravagance and taste for dramatic lighting. What Colette shares with the Baroque movement is a brilliant ability to eliminate the boundary between art and life, between the space of the viewer and that of the artwork, creating a truly immersive environment.

https://hyperallergic.com/704186/the-punk-marie-antoinette-of-the-1970s-new-york-art-scene/?utm_medium=email&utm_campaign=W011522&utm_content=W011522+CID_84566f260ea80eaf139838371e284d43&utm_source=hn&utm_term=The+Punk+Marie+Antoinette+of+the+1970s+New+York+Art+Scene

ANTONIO DE LA TORRE PROTAGONIZA 'UN HOMBRE DE PASO', OBRA DE TEATRO DIRIGIDA POR MANUEL MARTÍN CUENCA

Antonio de la Torre protagoniza en el teatro ‘Un hombre de paso’, reflexión sobre la memoria y el Holocausto dirigida por el cineasta Manuel Martín Cuenca.

Antonio de la Torre protagoniza la obra de teatro ‘Un hombre de paso’, un texto escrito por el cineasta Felipe Vega y dirigido por Manuel Martín Cuenca que reflexiona sobre la memoria y el Holocausto a través de las experiencias del escritor Primo Levi y Maurice Rossel, exmiembro de la Cruz Roja, en el campo de exterminio de Auschwitz durante la Segunda Guerra Mundial.

‘Un hombre de paso’, que se estrena en el Teatro Lope de Vega de Sevilla, podrá verse en Madrid, en las Naves del Español en Matadero, del 3 al 20 de febrero.

El relato nos sitúa en el bar de un hotel de Turín en 1984, escenario en el que se encuentran tres personajes, dos reales, el escritor italiano Primo Levi (al que interpreta Juan Carlos Villanueva) y el antiguo miembro de Cruz Roja Internacional Maurice Rossel (Antonio de la Torre), y uno imaginario, Anna, una periodista (Ana María Morales) que entrevista a Rossel a propósito de la estancia de este en el campo de exterminio de Auschwitz durante la Segunda Guerra Mundial como representante de la organización humanitaria. Allí permaneció durante diez meses Levi, químico de profesión, cuyo cautiverio le marcó el resto de su vida. De ello escribió en los libros autobiográficos 'Si esto es un hombre' y 'La tregua'.

https://www.fotogramas.es/noticias-cine/a38912944/antonio-torre-hombre-paso-obra-teatro-manuel-martin-cuenca/

LA CENERENTOLA – Teatro Coccia Novara

 Al di la dei singoli e collettivi comportamenti da “adulti” tutti quanti abbiamo “desiderio” di favole, anche per illuderci un po' e dimenticandoci  magari che le favole contengono narrazioni e morali di grande spessore! Questo è anche il caso di Cenerentola!

 23 gennaio 2021

Musica di Gioachino Rossini
Libretto di Jacopo Ferretti

Maestro concertatore e direttore d’orchestra Antonino Fogliani
Regia Teresa Gargano
Assistente alla regia Salvatore Sito

Angelina Mara Gaudenzi
Don Ramiro Chuan Wang
Don Magnifico Simone Alberghini
Dandini Emmanuel Franco
Alidoro Francesco Leone
Tisbe Caterina Dellaere
Clorinda Maria Eleonora Caminada

Scenografie Sormani-Cardaropoli SRL
Sartoria Teatrale Arrigo Costumi

Maestro del Coro Francesca Tosi
Coro Colsper
Maestro al fortepiano Nicola Pascoli
Orchestra Filarmonica Italiana

Produzione Fondazione Teatro Coccia

Si ringrazia Atelier Fornasetti per il fortepiano

Si potrebbe sintetizzare il racconto del pomeriggio al Coccia con poche parole: spettacolo di vera bellezza con musica, voci regia e tutto quanto di pregio!

Lo spettacolo colpisce perché pur mantenendo la tradizionalità, si presenta quasi come nuovo dove la teatralità dell’interpretazione è posta in gran rilievo e la narrazione fluisce tra diversi cambi di scena, costumi appropriati   e scenografie favolistiche e favoleggianti.

La regia della giovane e molto abile Teresa Gargano è dinamica ed attenta ad ogni particolare: si percepisce che tutto è stato pensato e tutto è realizzato puntando al divertimento ed alla scorrevolezza! (e non è scontato nemmeno per nomi più conosciuti ed affermati).  Produzione meritevole anche per le scenografie a tutto palco realizzate con semplice efficacia ed in alcuni casi direi intuizione, che sono curate da Sormani e Cardaropoli srl dove ben si inseriscono i costumi classici della sartoria Arrigo Costumi.  L’orchestra filarmonica italiana  diretta dal magistrale Antonino Fogliani affermato nel campo; fin dalla magnifica ouverture si percepisce la bravura sia dell’orchestra che del direttore che con padronanza asseverata  e con molto rispetto  pari all’entusiasmo, accompagna il pubblico a trascorrere qualche ora in un mondo di ascolto sorridente e piacevolezza del ritrovarsi, trastullati anche dalla dolcezza del suono del fortepiano suonato da Nicola Pascoli. Oltre alla regia al femminile anche la direzione del Coro Colsper è affidata all’abile Francesca Tosi, che in sintonia con la regia ha compiuto un ottimo lavoro di vocalità e presenza attoriale dei coristi.

Parlando di opera inevitabilmente si va a raccontare di quanto si è udito ed ascoltato, quindi si parla di voci ed in questo caso oserei dire che nessuno ha tradito le aspettative; quasi tutti giovani e al debutto hanno riscosso talmente tanti applausi da consolidarli tra i buoni cantanti.

La voce conosciuta è quella del profondo baritono Simone Alberghini, non certamente nuovo a ruoli rossiniani, che con padronanza rende sempre efficacemente per la globale interpretazione, come in questo caso che interpreta un Don Magnifico superbamente autorevole con i deboli e decisamente succube e “viscidamente ossequioso” con i potenti.

Brave vocalmente  ed altrettanto efficaci come attrici le due sorellastre   Tisbe, Caterina Dellaere
e Clorinda Maria Eleonora Caminada parti integranti e di rilevo della storia che conducono brillantemente e con vivacità.

Francesco Leone, giovane basso cagliaritano ha ben espresso la figura di Alidoro con voce giovane, ma profonda e con piglio sicuro scenicamente.

Dandini il cameriere che si presta alla gag della sostituzione di persona con il principe per saggiare la bontà dei sentimenti delle pretendenti, è di per sé figura brillante e comica ed Emmanuel Franco ha saputo eccellentemente divertire quasi rocambolescamente  senza lesinare con l’emissione vocale calibrata in tonalità e ironicità. Don Ramiro ha incontrato Chuan Wang che ha reso con bei colori e note alte e sicure il personaggio del principe. Cenerentola, la protagonista, è stata interpretata dalla debuttante Mara Gaudenzi ( per un caso del destino proprio nei giorni di San Gaudenzio patrono di Novara) che ha veramente stupito favorevolmente un pubblico attento ed in buona parte esperto.

La Gaudenzi si è presentata sul palco del Coccia con la sicurezza di cantanti avvezze al ruolo riuscendo ad esprimere il ruolo da contralto senza alcuna sbavatura, anche con punte di ottimo livello, insomma una bella scoperta!

Le agilità rossiniane, le coloriture e le reminiscenze da Barbiere sono apparse con luminosa vivacità in molti momenti dell’opera.

Se un sentimento collettivo si vuole riservare sia alla produzione che all’effettiva realizzazione, può essere solo un sentimento di apprezzamento, come condiviso anche con una parte esperta del pubblico.

La Musica vice sempre.

Renzo Bellardone

credito fotografico: Mario Finotti

martes, 25 de enero de 2022

THIERRY MUGLER, STYLISTE QUI A MARQUÉ LA MODE FRANÇAISE, EST MORT À 73 ANS

Le couturier français est décédé d’une « mort naturelle » et de façon inattendue, selon son agent. Il avait encore des projets et devait annoncer de nouvelles collaborations.

Le Monde avec AFP


Le couturier Thierry Mugler, à Montréal, en 2019. MARTIN OUELLET-DIOTTE / AFP

Le créateur français Thierry Mugler, qui avait régné sur la mode des années 1980, est décédé dimanche à 73 ans de « mort naturelle », a annoncé son agent Jean-Baptiste Rougeot à l’Agence France-Presse (AFP). « Nous avons l’immense tristesse de vous faire part du décès de Monsieur Manfred Thierry Mugler survenu dimanche 23 janvier 2022 », est-il également écrit sur un communiqué posté sur le compte Facebook officiel du créateur. « Que son âme repose en paix. » Selon Jean-Baptiste Rougeot, la mort de Thierry Mugler est survenue de façon inattendue. Le grand couturier avait encore des projets et devait annoncer de nouvelles collaborations en début de semaine.

Thierry Mugler était un metteur en scène dans l’âme aussi célèbre pour sa couture qui a transformé les femmes en créatures fantasmagoriques que pour ses défilés aux allures de superproductions car pour lui, la mode était un show. « J’ai toujours pensé que la mode ne se suffisait pas à elle-même et qu’il fallait la montrer dans son environnement musical et théâtral », a souvent raconté Thierry Mugler, ancien danseur. « Les défilés d’aujourd’hui sont la suite de ce que Mugler a inventé. Les collections étaient des prétextes à défilés », se souvient Didier Grumbach, ancien PDG de Thierry Mugler et ex-président de la chambre syndicale de la couture.

Elégance structurée et sophistiquée

Né à Strasbourg en décembre 1948, Mugler est engagé à 14 ans dans le corps de ballet de l’Opéra du Rhin avant de suivre des cours à l’école des arts décoratifs de la capitale alsacienne. Il crée déjà ses propres vêtements à partir de ceux achetés sur les marchés aux puces. A 20 ans, il gagne Paris à la recherche d’un engagement dans un autre corps de ballet. Il aura plus de succès avec sa garde-robe personnelle. Thierry Mugler devient très vite styliste free-lance et travaille pour différentes maisons à Paris, Londres et Milan.

En 1973, il franchit le pas et crée sa propre griffe Café de Paris, avant un an plus tard de fonder la société Thierry Mugler et d’imposer son élégance structurée et sophistiquée, une mode qui exacerbe les formes des femmes : des épaules accentuées par des rembourrages, des décolletés plongeants, des tailles étranglées et des hanches rebondies. « La danse m’a beaucoup appris sur le maintien, l’organisation du vêtement, l’importance des épaules, du port de tête, du jeu et du rythme des jambes », disait le créateur.

Objet de fantasmes, la femme Mugler est un outrage à la pudeur, une sirène galactique, un robot cybernétique, un animal fantastique… Elle est une « hell’s angel » dans son bustier Harley-Davidson ou une Marilyn dans un fourreau en guipure caoutchouc rose chair. Sa couture vit aussi le jour avec des tailleurs à basques reconnaissables au premier coup d’œil.

« Ma mesure, c’est la démesure »

Mugler, qui a régné sur la mode des années 1980, a le sens du spectacle : pour le dixième anniversaire de sa maison, en 1984, il organise la première présentation de mode publique en Europe, au Zénith, devant 6 000 personnes, comme un concert de rock. Les billets sont vendus 178 francs (27 euros) l’unité. Le défilé, placé sous le signe du liturgique, du divin et du mysticisme, s’est déroulé sur un podium de 35 mètres. Comme d’habitude, il contrôlait tout, des accessoires à la bande-son. « Ma mesure c’est la démesure », disait-il.

Pour le 20e anniversaire de sa marque, le créateur choisit le Cirque d’Hiver. Soixante-quinze stars et mannequins, de Naomi Campbell et Jerry Hall à l’héritière américaine Patricia Hearst, l’actrice Tippi Hedren et même James Brown en final surgissant d’une étoile géante au rythme de Sex Machine. Thierry Mugler, qui a lancé en 1978 une collection pour hommes, bénéficiera d’un formidable coup de publicité grâce au ministre de la culture Jack Lang dont le costume « col Mao » signé du créateur provoquera en 1985 un scandale sur les bancs de l’Assemblée nationale.

L’autre grande réussite de la maison Mugler est sans conteste le lancement en 1992 du parfum féminin Angel, en collaboration avec Clarins qui est entré dans le capital de l’entreprise avant d’en prendre le contrôle en 1997. Angel disputera la première place des ventes au mythique No 5 de Chanel.

Bodybuilding et yoga

En 2013, il a créé des spectacles musicaux à Paris et Berlin dont Mugler Follies pour « bousculer » l’art de la revue à grand renfort de transformistes et créatures ambiguës dans un étonnant « hommage à toutes les beautés ». Après avoir quitté la mode, le couturier a d’ailleurs poussé l’art de la métamorphose jusqu’à devenir méconnaissable, corps et visage, en ayant recours au bodybuilding intensif et à la chirurgie esthétique, tout en s’engageant dans la méditation et le yoga.

« La première urgence était de me réapproprier mon corps, éreinté par mes années de danse et de couture, comme une renaissance, une façon d’effacer le passé », a expliqué le couturier, revendiquant « [sa] nouvelle maison corporelle », et exigeant qu’on l’appela désormais « Manfred T. Mugler ».

Une grande exposition intitulée « Thierry Mugler, Couturissime », conçue par le Musée des Beaux-Arts de Montréal, lui est actuellement consacrée au Musée des arts décoratifs à Paris. Elle avait été lancée fin septembre, au moment où la fashion week renouait avec les défilés après avoir été confinée pendant la pandémie. Un symbole pour celui qui fut le pionnier du défilé spectacle.

Le Monde avec AFP

https://www.lemonde.fr/disparitions/article/2022/01/24/le-createur-de-mode-thierry-mugler-est-mort-a-73-ans_6110679_3382.html

PRINTS ARE A WAY TO COLLECT OTHERWISE IMPOSSIBLE-TO-GET ARTISTS

Shannon Lee

For all but the very top one percent of art lovers, collecting a great work by a top artist can seem impossible. Along with the issue of scarcity, works by high-demand artists are often astronomically expensive and far out of reach for most collectors. But there is still a way to collect works by these impossible-to-collect artists.

“One might ask themselves, ‘How could I ever collect a work by James Turrell?’ You wait eight hours to see his work at the Guggenheim, and people travel from all around the world to see his site-specific pieces,” said Jenny Gibbs, the executive director of the International Fine Print Dealers Association (IFPDA). “Many people don’t realize he’s also an avid printmaker!”

This year, accompanying the very first hybrid online and in-person edition of its Fine Art Print Fair, the IFPDA is also hosting its first-ever Print Month, which includes daily virtual programming with printmakers, curators, artists, and collectors. With more than 100 galleries, fine art presses, and print studios participating worldwide, a good number of the fair’s virtual booths feature prints by artists who are otherwise inaccessible.

At Dolan/Maxwell’s booth, for instance, one can find prints by the late painter Jacob Lawrence alongside work by Elizabeth Catlett. In recent years, Lawrence has received long-overdue recognition, with works consistently breaking auction records. His prints, however, have yet to reach the secondary market.

In addition to historic works, the fair is also debuting a number of exciting new editions by hot-ticket contemporary artists. Kiki Smith’s new print series will be on view at the Universal Limited Art Editions (ULAE) booth, and Wisconsin’s Tandem Press will be sharing new editions by Derrick Adams. “Jay-Z collects Derrick Adams,” said Gibbs, emphasizing the excitement around the multidisciplinary artist’s work. “If you think, ‘How could I ever afford to collect someone that Jay-Z collects?’ the answer is in some of these new editions.”

Along with Turrell and Adams, Gibbs also noted Richard Serra’s long career as a printmaker. “Gemini G.E.L. has produced a couple of amazing editions that really capture the scale of his work and the texture, but on really subtly toned paper,” she said. “If I were a collector starting out and looking for impossible artists, Serra and Turrell would be my top two.”


For Dakota Sica, director at New York gallery Leslie Feely, collecting prints by big-name artists is a way to get a foot in the door of serious collecting. “These brand-name artists have gotten so expensive both at auction and at galleries that collecting their editions is the only sensible way to be part of that conversation and live with great works without breaking the bank,” he said. “It’s a really easy way to climb the ladder and build your collections.” The gallery’s online presentation for IFPDA features prints by blockbuster artists including Richard Diebenkorn, David Hockney, and Kenneth Noland, and is accompanied by an in-person exhibition.

Investing in an artist’s printmaking practice can also open up entirely new avenues of appreciation. “The printmaking technique offers even further insight to the artist’s practice and expression,” explained David Blum of Peter Blum Gallery. His father, Peter, had been publishing prints and editions since 1981; along with the gallery, David inherited an intimate understanding of the medium and the close collaborative process and exchange between printer, publisher, and artist. The gallery’s IFPDA viewing room features works by the Tlingit/Unangax̂ artist Nicholas Galanin

. “It’s a whole other way to get to know an artist you’re a fan of,” echoed Sica. “There are certain artists who, in addition to their painting or sculpture practice, are also great printmakers. Diebenkorn is an artist we work with a lot. Robert Motherwell and Helen Frankenthaler are also equally phenomenal printmakers.”

Still, while prints by these artists are often significantly more affordable than works in other media, they can be quite expensive. The plus side, however, is that prints frequently offer a much broader range of price points depending on factors that include the edition size, the colors used, and the dimensions of the print. This allows for greater opportunity and access to a single image.

“Some of Diebenkorn’s ‘Ocean Park’ prints can go for half a million a piece, but then there are other ‘Ocean Park’ [works] from the same suite that are around $15,000 to $20,000,” Sica explained. “You can buy a black-and-white ‘Ocean Park’ etching for $2,500.” Collectors can also feel confident these works will generally appreciate in value—assuming they are well cared-for—because they are made by artists who devoted years of their practices to the medium.

“If you think about the most famous artists—Picasso, Rembrandt, Matisse, Dürer—they were all avid printmakers,” said Gibbs. While great paintings by any of these artists typically cost a minimum of tens of millions of dollars, their prints can range anywhere between four and six digits, giving more people access to the artists they love. Last night, for instance, Christie’s sold the Picasso portrait painting Femme dans un fauteuil (1941) for $29.5 million; last month, meanwhile, the auction house sold a print of the artist’s 1949 lithograph Tête de jeune fille for a comparably very affordable price of £16,250 ($20,900).

What these prints make abundantly clear is that collectors need not spend their life’s fortune on a singular piece by a great artist. Collecting prints offers a low-risk opportunity to invest in and live with work that’s often impossible to get a hold of, allowing more and more people to participate in their market.

Shannon Lee is Artsy’s Associate Editor.

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