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Untitled - 2015-2016 (details) - Julian Lethbridge 〰 paulacoopergallery#adscite 📷 #AlexandreFisselier ➕199,4 x 152,4 cm. ➕Julian Lethbridge uses multiple, partially obscured layers of paint to create works of complex and disorienting spatial depth. The paintings have a methodical precision that works through, rather than against, the looseness of the artist’s hand. In a new series made for this exhibition, the dimensions of some of the frames reference the proportions of the human body. Six-foot-tall canvases physically engage the viewer. Upon close inspection, their seemingly random “all over” compositions reveal the trace of a highly choreographed movement of brushstrokes across the canvas. These new works are a continuation of a process the artist has employed since the mid-1980s, using colored grounds on which rhythmic brushstrokes are overlaid. The grounds, spare underpaintings done in monochrome or with a limited palette, are carved to create burrs and ridges along their surface. These ridges provide an internal, closed structure upon which the highly worked webbing of the surface painting rests. Julian Lethbridge received his education at Winchester College and Cambridge University. His work has been widely exhibited throughout the United States and Europe and can be found in the permanent collections of The Metropolitan Museum of Art (New York), The Whitney Museum of American Art (New York), The Tate Gallery (London), The Art Institute of Chicago (Chicago), and The National Gallery of Art (Washington D.C.). In 1988, Julian Lethbridge was awarded the Francis J. Greenberger Award. He lives and works in New York.

42 1 Nov 15, 2017

Untitled - 2015-2016 (details) - Julian Lethbridge 〰 paulacoopergallery#adscite 📷 #AlexandreFisselier ➕199,4 x 152,4 cm. ➕Julian Lethbridge uses multiple, partially obscured layers of paint to create works of complex and disorienting spatial depth. The paintings have a methodical precision that works through, rather than against, the looseness of the artist’s hand. In a new series made for this exhibition, the dimensions of some of the frames reference the proportions of the human body. Six-foot-tall canvases physically engage the viewer. Upon close inspection, their seemingly random “all over” compositions reveal the trace of a highly choreographed movement of brushstrokes across the canvas. These new works are a continuation of a process the artist has employed since the mid-1980s, using colored grounds on which rhythmic brushstrokes are overlaid. The grounds, spare underpaintings done in monochrome or with a limited palette, are carved to create burrs and ridges along their surface. These ridges provide an internal, closed structure upon which the highly worked webbing of the surface painting rests. Julian Lethbridge received his education at Winchester College and Cambridge University. His work has been widely exhibited throughout the United States and Europe and can be found in the permanent collections of The Metropolitan Museum of Art (New York), The Whitney Museum of American Art (New York), The Tate Gallery (London), The Art Institute of Chicago (Chicago), and The National Gallery of Art (Washington D.C.). In 1988, Julian Lethbridge was awarded the Francis J. Greenberger Award. He lives and works in New York.

47 2 Nov 15, 2017

Modulation TC 210 - 1975 (details) - Julio Le Parc julio_le_parcgalerieperrotin#adscite 📷 #AlexandreFisselier ➕pattern on walls, ceiling and floor, mirrors. ➕Opening Saturday October 14, 4 - 9 pm October 14 – December 23, 2017 ➿Following his major retrospective at the pamm and his concurrent exhibition at Perrotin New York, Julio Le Parc, 89 years old, returns to Paris with an exhibition of recent and historic works. Both oors of the gallery will be dedicated to new installations and mobiles that will be exhibited alongside recent paintings. Shown for the first time, these works will create a dialogue with the historical paintings, sculptures and installations from the 70’s to the 90’s. Lastly, a virtual reality artwork, designed with his son Juan Le Parc, will offer an insight into the artist’s work.

43 3 Nov 14, 2017

Modulation 209 - 1976 (details) - Julio Le Parc julio_le_parcgalerieperrotin#adscite 📷 #AlexandreFisselier ➕pattern on walls, ceiling and floor, mirrors. ➕Opening Saturday October 14, 4 - 9 pm October 14 – December 23, 2017 ➿Following his major retrospective at the pamm and his concurrent exhibition at Perrotin New York, Julio Le Parc, 89 years old, returns to Paris with an exhibition of recent and historic works. Both oors of the gallery will be dedicated to new installations and mobiles that will be exhibited alongside recent paintings. Shown for the first time, these works will create a dialogue with the historical paintings, sculptures and installations from the 70’s to the 90’s. Lastly, a virtual reality artwork, designed with his son Juan Le Parc, will offer an insight into the artist’s work.

40 4 Nov 14, 2017

Modulation 48 - 1976 (details) - Julio Le Parc julio_le_parcgalerieperrotin#adscite 📷 #AlexandreFisselier ➕pattern on walls, ceiling and floor, mirrors. ➕Opening Saturday October 14, 4 - 9 pm October 14 – December 23, 2017 ➿Following his major retrospective at the pamm and his concurrent exhibition at Perrotin New York, Julio Le Parc, 89 years old, returns to Paris with an exhibition of recent and historic works. Both oors of the gallery will be dedicated to new installations and mobiles that will be exhibited alongside recent paintings. Shown for the first time, these works will create a dialogue with the historical paintings, sculptures and installations from the 70’s to the 90’s. Lastly, a virtual reality artwork, designed with his son Juan Le Parc, will offer an insight into the artist’s work.

35 4 Nov 14, 2017

Espace à pénétrer avec trame (Variation du labyrinthe de 1963) # - 2017 (details) - Julio Le Parc julio_le_parcgalerieperrotin#adscite 📷 #AlexandreFisselier ➕pattern on walls, ceiling and floor, mirrors. ➕Opening Saturday October 14, 4 - 9 pm October 14 – December 23, 2017 ➿Following his major retrospective at the pamm and his concurrent exhibition at Perrotin New York, Julio Le Parc, 89 years old, returns to Paris with an exhibition of recent and historic works. Both oors of the gallery will be dedicated to new installations and mobiles that will be exhibited alongside recent paintings. Shown for the first time, these works will create a dialogue with the historical paintings, sculptures and installations from the 70’s to the 90’s. Lastly, a virtual reality artwork, designed with his son Juan Le Parc, will offer an insight into the artist’s work.

56 2 Nov 10, 2017

Espace à pénétrer avec trame (Variation du labyrinthe de 1963) # - 2017 (details) - Julio Le Parc julio_le_parcgalerieperrotin#adscite 📷 #AlexandreFisselier ➕pattern on walls, ceiling and floor, mirrors. ➕Opening Saturday October 14, 4 - 9 pm October 14 – December 23, 2017 ➿Following his major retrospective at the pamm and his concurrent exhibition at Perrotin New York, Julio Le Parc, 89 years old, returns to Paris with an exhibition of recent and historic works. Both oors of the gallery will be dedicated to new installations and mobiles that will be exhibited alongside recent paintings. Shown for the first time, these works will create a dialogue with the historical paintings, sculptures and installations from the 70’s to the 90’s. Lastly, a virtual reality artwork, designed with his son Juan Le Parc, will offer an insight into the artist’s work.

45 2 Nov 10, 2017

Espace à pénétrer avec trame (Variation du labyrinthe de 1963) # - 2017 (details) - Julio Le Parc julio_le_parcgalerieperrotin#adscite 📷 #AlexandreFisselier ➕pattern on walls, ceiling and floor, mirrors. ➕Opening Saturday October 14, 4 - 9 pm October 14 – December 23, 2017 ➿Following his major retrospective at the pamm and his concurrent exhibition at Perrotin New York, Julio Le Parc, 89 years old, returns to Paris with an exhibition of recent and historic works. Both oors of the gallery will be dedicated to new installations and mobiles that will be exhibited alongside recent paintings. Shown for the first time, these works will create a dialogue with the historical paintings, sculptures and installations from the 70’s to the 90’s. Lastly, a virtual reality artwork, designed with his son Juan Le Parc, will offer an insight into the artist’s work.

47 1 Nov 10, 2017

Alchimie 372 - 2017 (details) - Julio Le Parc julio_le_parcgalerieperrotin#adscite 📷 #AlexandreFisselier ➕100 x 100 cm ➕Opening Saturday October 14, 4 - 9 pm October 14 – December 23, 2017 ➿Following his major retrospective at the pamm and his concurrent exhibition at Perrotin New York, Julio Le Parc, 89 years old, returns to Paris with an exhibition of recent and historic works. Both oors of the gallery will be dedicated to new installations and mobiles that will be exhibited alongside recent paintings. Shown for the first time, these works will create a dialogue with the historical paintings, sculptures and installations from the 70’s to the 90’s. Lastly, a virtual reality artwork, designed with his son Juan Le Parc, will offer an insight into the artist’s work.

56 1 Nov 9, 2017

Alchimie 364 - 2017 (details) - Julio Le Parc julio_le_parcgalerieperrotin#adscite 📷 #AlexandreFisselier ➕200 x 200 cm ➕Opening Saturday October 14, 4 - 9 pm October 14 – December 23, 2017 ➿Following his major retrospective at the pamm and his concurrent exhibition at Perrotin New York, Julio Le Parc, 89 years old, returns to Paris with an exhibition of recent and historic works. Both oors of the gallery will be dedicated to new installations and mobiles that will be exhibited alongside recent paintings. Shown for the first time, these works will create a dialogue with the historical paintings, sculptures and installations from the 70’s to the 90’s. Lastly, a virtual reality artwork, designed with his son Juan Le Parc, will offer an insight into the artist’s work.

43 1 Nov 9, 2017

Alchimie 371 - 2017 (details) - Julio Le Parc julio_le_parcgalerieperrotin#adscite 📷 #AlexandreFisselier ➕100 x 100 cm ➕Opening Saturday October 14, 4 - 9 pm October 14 – December 23, 2017 ➿Following his major retrospective at the pamm and his concurrent exhibition at Perrotin New York, Julio Le Parc, 89 years old, returns to Paris with an exhibition of recent and historic works. Both oors of the gallery will be dedicated to new installations and mobiles that will be exhibited alongside recent paintings. Shown for the first time, these works will create a dialogue with the historical paintings, sculptures and installations from the 70’s to the 90’s. Lastly, a virtual reality artwork, designed with his son Juan Le Parc, will offer an insight into the artist’s work.

37 2 Nov 9, 2017

Untitled - 2015 (details) - Mai-Thu Perret maithumuseedartmodernedeparis#adscite 📷 #AlexandreFisselier

36 2 Nov 8, 2017

Untitled - 2015 (details) - Mai-Thu Perret maithumuseedartmodernedeparis#adscite 📷 #AlexandreFisselier

37 1 Nov 8, 2017

Untitled - 2015 (details) - Mai-Thu Perret maithumuseedartmodernedeparis#adscite 📷 #AlexandreFisselier

35 2 Nov 8, 2017

Lies, Lies - 2008 (details) - damienhirstwhitecubeofficial#adscite 📷 #AlexandreFisselier ➕Damien Hirst’s wide-ranging practice includes installation, sculpture, painting and drawing. Consistently challenging the boundaries between art, science and religion, his visceral, visually arresting work has made him a leading artist of his generation. Hirst explores the tensions and uncertainties at the core of human experience. Love, desire, belief and the struggle of living with the knowledge of death are all investigated, often in unconventional and unexpected ways. Hirst is perhaps best known for his ‘Natural History’ series of works which present animals in vitrines suspended in formaldehyde. These iconic sculptures such as The Physical Impossibility of Death in the Mind of Someone Living (1991) or Mother and Child (Divided) (1993), aim to recast fundamental questions about the meaning of life and the fragility of biological existence. Hirst uses the vitrines as both a window and barrier, seducing the viewer visually while also providing a minimalist geometry to frame, contain and objectify his subject. He first constructed a steel and glass tank in the seminal work A Thousand Years (1990), in which a miniature life cycle is created by flies hatching, feeding and then dying at the hands of an insect-O-cutor. In many of his other vitrine sculptures from the 1990s such as The Acquired Inability to Escape (1991) or The Asthmatic Escaped (1992), he implies a human presence through its absence, including relic-like objects such as clothes, cigarettes, ashtrays, tables and chairs. Science and our unquestioning faith in the power of pharmaceuticals remains one of Hirst’s most enduring themes. These ideas are investigated in the installation Pharmacy (1992) as well as in the ‘Medicine Cabinets’ and ‘Instrument Cabinets’ which display a cornucopia of reflective, precision-tooled surgical implements within steel and glass cases. Other sculptures are more celebratory in tone such as Hymn (1999-2001), a polychrome bronze sculpture which reveals the musculature and internal organs of the human body as they are presented in toy-like anatomical models enlarged to...

36 1 Nov 6, 2017

Lies, Lies - 2008 (details) - damienhirstwhitecubeofficial#adscite 📷 #AlexandreFisselier ➕Damien Hirst’s wide-ranging practice includes installation, sculpture, painting and drawing. Consistently challenging the boundaries between art, science and religion, his visceral, visually arresting work has made him a leading artist of his generation. Hirst explores the tensions and uncertainties at the core of human experience. Love, desire, belief and the struggle of living with the knowledge of death are all investigated, often in unconventional and unexpected ways. Hirst is perhaps best known for his ‘Natural History’ series of works which present animals in vitrines suspended in formaldehyde. These iconic sculptures such as The Physical Impossibility of Death in the Mind of Someone Living (1991) or Mother and Child (Divided) (1993), aim to recast fundamental questions about the meaning of life and the fragility of biological existence. Hirst uses the vitrines as both a window and barrier, seducing the viewer visually while also providing a minimalist geometry to frame, contain and objectify his subject. He first constructed a steel and glass tank in the seminal work A Thousand Years (1990), in which a miniature life cycle is created by flies hatching, feeding and then dying at the hands of an insect-O-cutor. In many of his other vitrine sculptures from the 1990s such as The Acquired Inability to Escape (1991) or The Asthmatic Escaped (1992), he implies a human presence through its absence, including relic-like objects such as clothes, cigarettes, ashtrays, tables and chairs. Science and our unquestioning faith in the power of pharmaceuticals remains one of Hirst’s most enduring themes. These ideas are investigated in the installation Pharmacy (1992) as well as in the ‘Medicine Cabinets’ and ‘Instrument Cabinets’ which display a cornucopia of reflective, precision-tooled surgical implements within steel and glass cases. Other sculptures are more celebratory in tone such as Hymn (1999-2001), a polychrome bronze sculpture which reveals the musculature and internal organs of the human body as they are presented in toy-like anatomical models enlarged to...

37 1 Nov 6, 2017

Lies, Lies - 2008 (details) - damienhirstwhitecubeofficial#adscite 📷 #AlexandreFisselier ➕Damien Hirst’s wide-ranging practice includes installation, sculpture, painting and drawing. Consistently challenging the boundaries between art, science and religion, his visceral, visually arresting work has made him a leading artist of his generation. Hirst explores the tensions and uncertainties at the core of human experience. Love, desire, belief and the struggle of living with the knowledge of death are all investigated, often in unconventional and unexpected ways. Hirst is perhaps best known for his ‘Natural History’ series of works which present animals in vitrines suspended in formaldehyde. These iconic sculptures such as The Physical Impossibility of Death in the Mind of Someone Living (1991) or Mother and Child (Divided) (1993), aim to recast fundamental questions about the meaning of life and the fragility of biological existence. Hirst uses the vitrines as both a window and barrier, seducing the viewer visually while also providing a minimalist geometry to frame, contain and objectify his subject. He first constructed a steel and glass tank in the seminal work A Thousand Years (1990), in which a miniature life cycle is created by flies hatching, feeding and then dying at the hands of an insect-O-cutor. In many of his other vitrine sculptures from the 1990s such as The Acquired Inability to Escape (1991) or The Asthmatic Escaped (1992), he implies a human presence through its absence, including relic-like objects such as clothes, cigarettes, ashtrays, tables and chairs. Science and our unquestioning faith in the power of pharmaceuticals remains one of Hirst’s most enduring themes. These ideas are investigated in the installation Pharmacy (1992) as well as in the ‘Medicine Cabinets’ and ‘Instrument Cabinets’ which display a cornucopia of reflective, precision-tooled surgical implements within steel and glass cases. Other sculptures are more celebratory in tone such as Hymn (1999-2001), a polychrome bronze sculpture which reveals the musculature and internal organs of the human body as they are presented in toy-like anatomical models enlarged to...

35 2 Nov 6, 2017
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