We provide art lovers and art collectors with one of the best places on the planet to discover modern and contemporary art. 0000014216 00000 n Collection SFMOMA, purchase, by exchange, through the bequest of Elise S. Haas @ Vija Celmins. Photo: Courtesy Matthew Marks Gallery; Vija Celmins - Blackboard Tableau #1, 2007-10. Featured image: Vija Celmins - Untitled (Ocean), 1977. The images on display are an effect of different strokes and marks; the artist made the highlights by leaving some portions of the paper visible. The Women's Studio. These works are based on her own photographs or those cut from magazines and journals. Vija Celmins. Almost one hundred and fifty works produced throughout more than four decades of Celmins’s career will be shown, and presented in eight chronological segments such as studio objects, disaster works, oceanscapes, lunar drawings, desert floors, night skies, and spider webs, as well as recent works. Her subject matter: starry blue-black skies, aerial views of choppy seas, or pale lunar landscapes has remained consistent with the emphasis on nature, that was in her earlier 1970s works. The artist was very much moved with the landscape, so she took photographs of the desert floor while collecting astronomical photographs of galaxies, and that is how this series of drawings of both subjects was released. Matthew Marks is pleased to announce Vija Celmins: Ocean Prints, the next exhibition in his gallery at 526 West 22nd Street. The first major publication on the artist in twenty years to mark Vija Celmins' retrospective at the SFMoMA - San Francisco Museum of Modern Art in 2018, this comprehensive and lavishly illustrated volume explores the full range of Celmins’s work produced since the 1960s—drawings and paintings as well as sculpture and prints. The recipient of a MacArthur Fellowship in 1997, Celmins has had more than 40 solo exhibitions in galleries in New York, Los Angeles, Santa Fe, and San Francisco. Change ). A Latvian-American artist, Vija Celmins started her career in Los Angeles, where she quickly became one of the rare 1960s female artists to be recognized by the art scene. Vija Celmins: To Fix the Image in Memory will be on display at SFMOMA from 15 December 2018 until 31 March 2019. In 1981, Celmins moved to New York and returned to painting after twelve years of working in pencil. Around the same time Celmins began depicting the night sky, she made a single painting of a spider web based on an image she found in a scientific text in a used bookstore. Photo: Courtesy Matthew Marks Gallery. Executed on a monumental scale, these works are serious but playful, redolent of the works of Surrealist artist Rene Magritte. There are very few women artists who easily gained access to the créme of the 1960s American art world largely dominated by (white) men, and one of them certainly was Vija Celmins. In the mid-1960s at Venice Beach in Los Angeles, Vija Celmins started photographing the ocean which quickly became the central motif of her work during the following ten years. The artist once stated: I tend to do images over and over again because each one has a different tone, slant, a different relationship to the plane, and so a different meaning. This segment explores Celmins' adornment of this motif, which is present in her work off and on for the next eight years. Her earlier work included pop sculptures and monochromatic representational paintings. Courtesy the artist. Celmins first North American retrospective in 25 years will feature some 150 paintings, sculptures, and drawings. These images were often used by the artist and are present as early as in the works such as Suspended Plane from 1966, and then two years later in a series of small-scale graphite drawings. In the early 1960s, Celmins began painting life-size depictions of everyday objects. Based in New York City, … We aim at providing better value for money than most. In this segment, the audience can see images of objects from her studio (close-ups of shell fragments, pieces of porcelain, etc), as well as works which reflect an interest in memory and the passage of time. Change ), You are commenting using your Google account. This Celmins series on view at SFMoMA stands out among the works of a number of her peers back in the mid-1960s who intensively used color, since she often used the gray palette. In order to get you familiarized with the exhibition, we decided to present you the list of seven mentioned segments which will be briefly described. These replicas followed more than a decade of her exquisite drawings of the surface of the sea, the moon, the night sky, and the desert. Celmins’s source for Burning Plane, a page torn from Martin Caidin’s 1957, mass-market history of aerial warfare Air Force, confirms something of the artist’s tactile investment in the talismanic quality of such photographs. In 1965, she received her M.F.A. This Celmins series on view at SFMoMA stands out among the works of a number of her peers back in the mid-1960s who intensively used color, since she often used the gray palette.Namely, in 1964 the artist made a series of still lifes of objects from her studio aiming to “redescribe” them. Around the same time as the previous one, the Disaster Objects series was produced. Between 1977 and 1982, Celmins made 11 small painted bronze replicas, exact in every detail, of ordinary stones. Celmins was interested in “not using Pop’s commercial techniques, but a more tender touch.” (Lane Relyea, Robert Gober and Briony Fer, eds., Vija Celmins, London, 2004, p. 15) Celmins made three erasers and one large pencil between 1966 and 1967. The following segment will encompass the works made in the early 1990s, when Celmins became fascinated with the night sky. 0000010378 00000 n 0000003506 00000 n Two decades later, as an established artist she moved to New York where she continued creating. From her early representational photorealistic paintings and pop-inspired sculptures, through the 1970s graphite pencil drawings and painted stones, to works which balanced between the abstract and the photorealistic in the 1980s onward and the more recent spider web and blackboard works in 2000s, this artist created an astonishing, slightly mysterious and above all allegorical body of work. She has had retrospectives in the Museum of Modern Art, Tate London, and Los Angeles County Museum of Art. Collection SFMOMA, gift of Helen and Charles Schweb through The Art Supporting Foundation @ Vija Celmins. By the end of the decade, Celmins expanded this theme, making sculptures of familiar objects – many related to childhood – such as puzzles, pencils, erasers, and combs. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. 0000003040 00000 n Her nature works give a viewer a sense of quiet since there is no presence of any person or living creature shown. ( Log Out / The main highlight of this segment is a work titled To Fix the Image in Memory I–XI (1977-82), from which the exhibition subtitle comes. 0000001178 00000 n That idea is further extended with her sculptures or objects from her studio such as an oversized comb inspired by René Magritte’s Personal Values from 1952. During the late 1990s, Celmins started collecting children’s slate blackboards, so she engaged a sculptor and furniture maker to produce duplicates of some of the tablets, which were then painted to replicate the originals as closely as possible (as in the work Blackboard Tableau #1 (2007–10). 0000002929 00000 n She studied art and won a fellowship to Yale’s Summer School of Art where she met Chuck Close and Brice Marden. ( Log Out / from U.C.L.A. The work Night Sky #16 (2000–1) is perhaps the most complex from the series since it was made after twenty layers of paint were sanded off and reworked; in order to achieve the density of the surface, the artist used ivory blacks mixed with burnt umber, ultramarine blue or bits of white.
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