It is timely that the Deutsche Guggenheim has brought together these three major artists under the banner of the Sublime. Although 2001 might now seem to epitomise the epoch of the Sublime and the Terrible, many opinions vary as to which three artists might best fit the bill. Pre-eminently Rothko qualifies, but then equally does Klein. Their preferences for colour could not be more divergent however. Jim Turrell is the perfect complement to these two, and this reconciliation of opposites is achieved through his work here. The problem with the sublime, whether that of Kant or of Burke, is not only who qualifies on their own merits, but also which work can be shown with which. The problem is the rooting of the term ‘sublime’ within the whole idea of the German romantic movement, and yet at the same time its affiliation with but also its incompatibility with, the ‘picturesque’ as experienced in England. The Guggenheim exhibition manages to balance both tendencies in an enlightened and informed rapprochement.
Kandinsky: The Path to Abstraction
For decades, art history taught us that Kandinsky was the greatest pioneer of abstract art, the artist who removed the subject matter from painting. The great ideological debate between abstraction and figuration has given way to a more considered view of the dialogue between the two, yet many misguided views and myths remain.
David Blackburn: The Sublime Landscape
David Blackburn's exhibition at the Hart Gallery in London coincides with the publication of The Sublime Landscape, by Charlotte Mullins
American Sublime: Landscape Painting in the United States 1820-1880
In the opening column of the curator Andrew Wilton’s excellent catalogue summary, The Sublime in the Old World and the New he refers most appropriately to President Thomas Jefferson’s famous government scientific expedition, carried out by Captain Lewis and Lieutenant Clark. Two years were allocated to the quest for the true course of the great Missouri River, tracing it up from its confluence with the Mississippi at St Louis to its source in the Rocky Mountains, to cross the continental divide and then to follow the Columbia River to its Pacific exit.
Douglas Gordon: Superhumanatural
The film and video artist Douglas Gordon had his first one-man exhibition in Britain at the Lisson Gallery in 1994, sponsored by its perceptive director Nicholas Logsdail, to which he returned again in 2001. The following year, he was to exhibit 'Entre'Act 3' at the Stedelijk Van Abbe Museum in Eindhoven. 'Fuzzy Logic' followed at the Pompidou Centre in Paris, and from about this time his work really took off internationally.
Richard Lindner and the human being as a toy
Richard Lindner and the human being as a toy – A Lindner retrospective exhibition, shown at the Städitsches Museum Schloss Morsbroich, Leverkusen in November, is to be shown at the Staatliche Kunsthalle, Baden-Baden, from January 1 until March 9, 1969.