As part of Master Drawings New York 2015, Mary-Anne Martin Fine Art will exhibit an original sketchbook by Gunther Gerzso, drawn in 1943-46 when the young artist was strongly influenced by the circle of Benjamin Péret and the European artists exiled in Mexico during the 1940s.
The book presents a striking record of Gerzso’s close ties to the Surrealists in Mexico, including Wolfgang Paalen, André Breton, Remedios Varo, César Moro and Alice Rahon. Their interest in pre-Columbian art became the foundation for Gerzso’s eventual style, a version of geometric abstraction inspired by the landscape and ancient culture of Mexico.
This notebook consists of 54 original drawings done by carbon transfer, some augmented with India ink, frottage and colored pencils. In addition there is an actual drawing done on carbon paper, which was discovered in the artist’s studio along with the sketchbook. This is the first time these works have been exhibited to the public.
Master Drawings New York runs from Saturday January 24 through Saturday January 31. Visit Master Drawings New York or call the gallery for hours. There is an opening at the gallery on January 23 from 4:00 to 8:00 pm. The Gerzso exhibition continues at Mary-Anne Martin Fine Art through February 20, 2015.
The following is a selection of drawings from the surrealist sketchbook
Visit the Gallery to see recent acquisitions and selected inventory. The installation coincides with Latin American Art Week in New York and will continue through June 2014. Highlights include a striking 1955 painting by Matta that once belonged to Andy Warhol, a large 1986 painting by Guillermo Kuitca, and a 1930 Diego Rivera portrait of a little girl that was included in his first one man show at the Museum of Modern Art in New York in 1931.
This two-day symposium at the Frick on public and private collectors of Spanish Colonial and Latin American art will feature presentations by experts from museums and universities in Los Angeles, Houston, Phoenix, New York, and Philadelphia. The keynote address will be presented by Edward J. Sullivan, the Helen Gould Sheppard Professor of the History of Art at the Institute of Fine Arts and the Department of Art History, New York University, and a leading specialist in the art of Latin America. Professor Sullivan will also interview Roberta and Richard Huber (Friday) and Patricia Phelps Cisneros (Saturday), collectors who actively acquire the art of the Americas.
Tickets for both days of the symposium are $50 ($35 for members); single-day tickets are $30 ($25 for members).
Mary-Anne Martin will give a talk titled How the Art Market Affects Collecting Decisions by Individuals and Institutions on Saturday May 17 at 11:35.
Please visit Mary-Anne Martin Fine Art at The Art Show put on by the Art Dealers Association of America at the Park Avenue Armory from March 5-9, 2013. The following is a selection of works that will be exhibited in MAMFA booth C2 at the fair.
Elena Climent, “Niño Dios y Rosas Rojas” 2013
As part of Master Drawings New York 2014, Mary-Anne Martin Fine Art will present 20 digital drawings created on the iPad by Mexican painter and muralist Elena Climent. Output as giclée prints, the works will be mounted side by side with actual iPads showing the step-by-step progression of the drawings from first outline to completed work. Climent, who is interested in the link between traditional methods of drawing and electronic drawing in the 21st Century, compares the ability of the iPad “Zoom” feature to show details not visible to the naked eye with Vermeer’s use of the camera obscura to investigate tiny visual details he later included in his paintings – details that can only be seen using a magnifying glass.
In the artist’s own words, “When making art on an iPad, you are creating a pure image with no physical weight or texture or temperature. You are not mixing colors on a palette until you find the exact hue; you are not thinning the paint with turpentine to make it more transparent; you are not interacting with the behavior of the surface, whether canvas, paper, wood, tin or any other. There is no drying time, no humidity factor, no cracking. Creating art on an iPad or computer is the closest I have ever felt to drawing or painting directly from my mind. I look, I think, I decide what color I want and I make it happen on the screen. I have learned to mix colors in my brain. My experience with iPad art has taught me that even something as seemingly cold, industrial and impersonal as a computer screen can become intimate, personal and poetic.”
There will be an opening reception at the gallery on January 24 from 4:00-8:00. The exhibition continues through Friday February 21, 2014. Please call for hours.
The online catalogue for Isabel De Obaldía: Metates is now available. The fully illustrated catalogue includes an introductory essay by Lowery Stokes Sims, curator of the Museum of Arts and Design, NY, and a scholarly article by Dicey Taylor titled, The Ancient Metates of Panama.
Print versions of the catalogue will be available at the gallery starting November 15, 2013.
Opening November 15, 2013
On view through December 13, 2013
For this exhibition the artist has created 13 new sculptures based on Pre-Columbian prototypes. The show will be accompanied by an illustrated catalogue with an introductory essay by Lowery Stokes Sims, curator of the Museum of Arts and Design, NY, and a scholarly article by Dicey Taylor titled, The Ancient Metates of Panama.
According to Dr. Taylor, an expert on Pre-Columbian art and archaeology, “The glass sculptures of Isabel De Obaldía evoke the ancient spirits of Panama’s rainforests and seas. Many of her pieces have rustic textures that infuse her powerful forms with a compelling force, echoing the volcanic stone sculptures of ancient times.”
This is De Obaldía’s sixth solo exhibition at Mary-Anne Martin Fine Art. In 2009 the artist was awarded the Rakow Commission from the Corning Museum of Glass and in 2011 she was the subject of a retrospective exhibition at the Museum of Art Fort Lauderdale.
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To accompany the current exhibition, Diego Rivera: The Italian Sketchbook, 1920-21, the gallery has published an online catalogue available for viewing here. The catalogue features high resolution images of individual sketchbook pages, historical photographs, and commentary and annotations by Rivera’s friend and fellow artist, Jean Charlot.
This year the gallery is exhibiting a 31 page original sketchbook by Diego Rivera, drawn from Winter 1920 to Spring 1921, when the artist traveled through Italy studying paintings and murals of the Renaissance. Rivera had requested this one last trip from his patrons in the Mexican government before accepting their request to return to Mexico to direct the Mexican mural movement.
This sketchbook was preserved by Rivera’s first wife, Angelina Beloff, and given to Rivera’s friend, the artist Jean Charlot. It is being presented in its entirety for the first time in 92 years. It provides a valuable art historical connection between the Italian Renaissance and the birth of Mexican and American muralism. The sketchbook contains studies of murals in Venice by Tintoretto, mosaics in Ravenna, a precise technical drawing of a scaffold, sketches of the Italian landscape and studies of street people in Rome, both high and low.
The exhibition at the gallery will continue through February 22. To learn more about Master Drawings visit the official website.
This short film documents the preliminary stages of the artist’s process for creating a group of large sand cast glass metates made at Wheaton Arts in Millville, NJ.
Film and original music by Pedro Joaquin Icaza.
“The work with the most direct visual links to Panama’s archaeological past is De Obaldía’s series of cast-glass metates, based on the Pre-Columbian stone ceremonial ‘thrones’ found in Panama and Costa Rica. Stone metates, used to grind maize and other foodstuffs, were probably incorporated into ancient rituals and the decorative quality of some Central American examples certainly suggests a ceremonial function. Carved from porous volcanic stone, they often have protruding animal heads and tails and are covered in geometric relief carving. Linked to rites of fertility, it has also been suggested that some of the larger and more ornate examples may have served as thrones for rulers.”
-Susan L. Aberth, “Emissaries from the Primordial Realms: The Presence of Pre-Columbian and Indigenous Art in the Work of Isabel De Obaldía”, essay from the catalogue for Primordial: Paintings and Sculpture by Isabel De Obaldía at Museum of Art | Fort Lauderdale, Nova Southereastern University, 2011-2012