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A view into our world at Suzanne Lovell, Inc. and the ideas that inspire us daily. 

The MCA strikes gold again with a new retrospective on Merce Cunningham, one of the forefront modern dance artists of our generation. Cunningham is as known for his contemporary dance choreographic innovations as well as for his collaborations with artists from different art forms such as Andy Warhol and Frank Gehry. 

Born in Washington state in 1919, Cunningham followed his heart to NYC and went on to be a soloist for the  Martha Graham Dance company for six years. Afterwards, spending time teaching at Black Mountain College, Cunningham became exposed to different art forms such as theater and visual arts. It was here that he came up with the idea of choreographing to include other disciplines. 

Merce Cunningham Dance Company frequently collaborated with visual artists, architects, designers, and musicians; back then, it was rather pioneering! Over the course of his career, Cunningham choreographed more than 200 dances and over 800 “events,” (site specific) choreographic works. Working to disengage his pieces from being set to music; and in such, springing the music onto the dancers at rehearsal for the first time, Cunningham was able to tell a complete story. So ahead of his time, it's great to see Cunningham's work honored today when people might begin to forget who he was!

Merce Cunningham, 1981.

Image courtesy of: Places Journal, photographed by: Terry Stevenson

Some costumes from the Merce Cunningham Dance Company. 

Image courtesy of: The New York Times, photographed by:Gene Pittman

"Common Time" runs at the MCA through April 30th and also, concurrently through July 30th at Minneapolis' Walker Art Center.

Image courtesy of: Concierge Preferred, photographed by: Nathan Keay

If there's one word to describe Cunningham, it'd be "innovative".

Image courtesy of: Chicago Tribune, photograph courtesy of: Alyssa Pointer

Posted in: Culture

Marianne Herstein Deson

Image courtesy of the Museum of Contemporary Art, Chicago

We were so touched by the MCA’s very special tribute to Marianne Deson. The personal stories from friends, photographs in celebration of her life, and the special cheers in her name felt warm, familial, and was very much in her spirit. Suzanne had a special moment with David Klamen when she learned that the piece she purchased of his through Marianne, her first ever, was the first in his career that launched him into a 10 year exploration in that subject matter, a darker palette and heavy varnish. Ms. Deson certainly was a force to be reckoned with, it’s hard to believe that at the first show of Gerhard Richter in the country, hosted by Marianne, that not one piece sold! She certainly did know better!!

Suzanne in front of David Klamen's painting of a Besbach antelope (The Choir Boy, 1986) with Lucy Ferrari when she visited our office recently. Mrs. Ferrari is the wife of Suzanne's mentor Olivio Ferrari, the late Alumni Distinguished Professor Emeritus in the College of Architecture at Virginia Tech. 

Image courtesy of Suzanne Lovell, Inc.

Posted in: Fine Art

Above, Doris Salcedo working in her studio in Bogotá, Colombia, while she prepares a series of abstract sculptures based on antique household furniture. From the 2009 video “Art in the Twenty First Century, Season 5 – Compassion”. Watch this video for an excellent introduction to her work here.

Doris Salcedo, A Flor de Piel, 2011-2012, (detail) Made from hundreds of rose petals, sutured together by hand. The work is currently a featured display as part of Doris Salcedo's retrospective at MCA Chicago, on view until 24 May 2015. Images courtesy the artist, Photo: Ben Westoby 

Click here to watch a video about the piece and how it was produced.

The Museum of Contemporary Art Chicago presents the first retrospective of the work of renowned sculptor Doris Salcedo (Colombian, b. 1958). Salcedo—who lives and works in Bogotá—gained prominence in the 1990s for her fusion of postminimalist forms with sociopolitical concerns (you may recall her work "Shibboleth", a 160 meter crack in the foundation of the Tate Modern's Turbine Hall in London, 2008).  Viewers should note that her recent major work Plegaria Muda (2008–10) is making its U.S. debut at this exhibition venue. Also of note, the artist received the Hiroshima Art Prize for Peace in 2014.  This exhibition is a must-see!!

Make sure to check out the MCA’s exhibition microsite as a wonderful complement to the exhibition:

Doris Salcedo, Untitled, 1998
Wooden cabinet, concrete, steel, and clothing
Collection of Lisa and John Miller, fractional and promised gift to the San Francisco Museum of Modern Art.

Photo: David Heald via the Museum of Contemporary Art, Chicago.
Reproduced courtesy of the artist; Alexander and Bonin, New York; and White Cube, London.

Posted in: Fine Art

Gordon Matta-Clark, Circus - Caribbean Orange, 1978, cibachrome print Edition of 3

Image courtesy of Galerie Seroussi 

Known for his building "cuts", Gordon Matta-Clark adopted "anarchitecture" as a term to describe his process of opening up a space as a critique of dehumanized urban renewal and international style architecture. In fact, most of his pieces were abandoned sites that he illegally defaced. Art historian Irving Sandler calls these works "exercises in entropy and futility that trade abandoned buildings for demolished artworks, both equally destined for the rubble". 

In February 1978, Matta-Clark was invited by the Museum of Contemporary Art, Chiacgo to cut through an adjacent brownstone as a temporary installation prior to its conversion into additional museum space. The project, Circus, was actually "three rings", and toured by museum guests as a collective performance space.  This project turned out to be the artist's last, as he passed away from pancreatic cancer in August 1978.

The artist did produce artworks to commemorate his final project, Circus. He collaged and arranged his photographs as an expression of the viewer's experience of the actual spaces he created. The media as film is left apparent as if to acknowledge his violation of traditional photographic space, providing a "behind the scenes" view, and the consideration of space is confusing to mimic the disorienting affect that was felt by the viewer in the real space. Of course this aspect is fascinating to our office!! 

Visit the Rhona Hoffman Gallery now through April 18, 2015 to learn more about this important Chicago project, and to even collect a piece of great Chicago history.

Gordon Matta-ClarkCircus drawing, 1978.

The anarchitectural result was vertiginous and disorienting. (Literally so, one of Matta-Clark’s artist friends fell through the floor.) It must have been exhilarating to walk through these treacherous spaces. The careful alignment of cuts created strange windows through rooms and floors. Sunlight and winter cold alike streamed through the architectural displacements. Chicago permeated the building's interior, and vice-versa.

Image and description courtesy of Metopal

Posted in: Fine Art
Tagged: CHICAGO MCA Gordon Matta-Clark Rhona Hoffman Gallery

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