動物,肖像與他的王國 - Irving Kriesberg回顧展
展覽時間｜2018/08/17 – 2018/09/07
開放時間｜1pm - 6pm (Tue - Sun)，週一休
Animal,Figures,and His Realm - A Retrospective of Irving Kriesberg
Time｜2018/08/17 – 2018/09/07
Venue｜Galerie Grand Siècle
Open Hours｜1pm - 6pm (Tue - Sun)，Closed on Monday.
Irving Kriesberg 展經歷
動物、肖像與他的王國 — Irving Kriesberg回顧展
Animal, Figures, and His Realm: A Retrospective of Irving Kriesberg
展出藝術家｜艾爾文•克里斯伯格 Artist｜Irving Kriesberg
開幕時間｜2018/08/17(五) 6:00pm Opening｜2018/08/17(Fri.) 6:00pm
展覽時間｜2018/08/17(五) - 2018/09/07(五) Duration｜2018/08/17(Fri.) - 2018/09/07(Fri.)
新苑藝術將於2018年8月17日至9月7日，展出美國已故藝術家艾爾文·克里斯伯格(Irving Kriesberg)回顧展《動物、肖像與他的王國 — Irving Kriesberg回顧展》，開幕酒會訂於8月17日（週五）傍晚六點。藝術家艾爾文·克里斯伯格於1919年出生於美國芝加哥，曾於墨西哥、印度與日本等地居住生活，豐富的藝術語言積累自不同藝術文化的深刻影響，直到定居紐約之後，參與紐約現代藝術博物館策展人桃樂絲‧米勒(Dorothy Miller)於1952年策畫的聯展「15位美國人」(15 Americans)，使克里斯伯格受到廣大的關注，開始經常受邀於重要的紐約畫廊展出，例如格雷厄姆畫廊(Graham Gallery)、柯特·瓦倫丁畫廊(Curt Valentin Gallery)以及泰瑞·丁坦費斯畫廊(Terry Dintenfass Gallery)。
除了畫家的身分之外，艾爾文·克里斯伯格同時也是雕塑家、導演、作家與大學教授，並曾出版三本關於藝術理論類的書籍。他曾於許多美術館展出個展，包含紐約猶太博物館(The Jewish Museum, 1961)、耶魯博物館(The Yale Museum, 1967) 、位於紐約州雪城的埃弗森藝術博物館(The Everson Art Museum, 1980)、位於麻州的羅斯藝術博物館( Rose Art Museum, 1980) 以及位於德州的長景美術館(Longview Museum of Fine Art, 2012)等藝術機構。作品也受到多個機構典藏，例如亞歷山德里亞美術館(Alexandria Museum of Art)、布魯克林博物館(Brooklyn Museum) 、大通銀行(Chase Manhattan Bank) 、海格提美術館(Haggerty Museum of Art)等。
媒體聯絡人: 楊博婷 電話: 02-2577-1676 Email: firstname.lastname@example.org
Animal, Figures, and His Realm: A Retrospective of Irving Kriesberg
Duration｜2018/08/17(Fri.) - 2018/09/07(Fri.)
Galerie Grand Siècle is going to present A Retrospective of Irving Kriesberg Animal, Figures, and His Realm during Aug 17th to Sep 7th, 2018. The opening will be held at 6 pm on Aug 17th, Friday. Irving Kriesberg was born in Chicago in 1919, and was living in Mexico, India, and Japan for a few years. The sustained influence of different culture and art cultivate a deep impact on his art language. After settled in New York, he participated in a group exhibition 15 Americans at 1952, which was curated by Dorothy Miller (the curator of MoMA) and drew a lot of attention to Kriesberg’s artworks. Afterward, Kriesberg exhibited regularly in major New York galleries including the Graham Gallery, Curt Valentin Gallery, Terry Dintenfass Gallery.
This retrospective is going to summarize Irving Kriesberg ‘s creating career over sixty years with selected twelve artworks from 1974 to 2003. He is known for the intense colors of Abstract Expressionism with haunting images of human and animal forms as his feature. Most animals in his artwork — frogs, birds, people, angels and much else — were with a clear figures and biological characteristics that could be recognized by first sight; therefore he was often called a Figurative Expressionist. But the rich color, the dreamlike symbolism, and the unusual size ratio were shown with an abstract way — normally small creatures are as high as people that occupy the whole picture, dancers weave through space at unorthodox angles, and customarily static objects appear fluid and sinuous. All these things gave his work a sense of wit and mystery.
Irving Kriesberg is a painter, a sculptor, a director, a writer and also a college professor who published three books about artistic theory and technique. He was solo exhibited in many museums including The Jewish Museum (New York, NY) in 1961, The Yale Museum in 1967, The Everson Art Museum (Syracuse, NY) and Rose Art Museum (Boston, MA) in 1980, and the Longview Museum of Fine Art (Longview, TX) in 2012. His work has been collected by several organizations such as Alexandria Museum of Art, Brooklyn Museum, Chase Manhattan Bank, and Haggerty Museum of Art.
Media Contact: Mesha YANG Tel: 02-2577-1676 Email: email@example.com
Excerpts from selected literature about Irving Kriesberg’s work
“Irving Kriesberg literally makes creation his central theme. He directly describes generative action. Time for him is palpable and sequential, moment following moment. He ponders organic energy, seeing it as an event, embodied in hieratic transmutations from animal to
human to inanimate nature, back and forth, a simultaneously progressive and retrogressive Darwinism. Obliquely, he is thus referring to the creation of art....Kriesberg’s method of enumerating his themes (or more precisely, his enactments of creation) into evenly cadenced and often symmetrical groupings, induce the beholder a response which customarily accompanies religious or mystical experience (ancient hieratic arts, like the Egyptians, knew this well), though no nameable cult is here referred to. Marking off and centering objects or signs, which are deemed revelatory, suggests not only their potency, but heightens their discreteness, as in the tick of a clock. The multiple panels and “charts” of animals are like periodic tables in some grand genealogy. Their chemistry is cosmic and Kriesberg in directing it is a High Priest, but the potential lesson in this conception of art is of importance to all artists....”
-Allan Kaprow, "Nature in the Art of Irving Kriesberg." Art International, January 16, 1964.
“In a year Kriesberg has made amazing advances. A generous spirit has entered his work, in the form of richer color and a more relaxed attitude to composition....Kriesberg’s work has always been dense with shapes and hard to describe; it is no less complex with its combinations of symbols, patterns and actual representations, but it now seems to have zest...”
-Arts Magazine, February 1965.
“Irving Kriesberg’s recent paintings make one think of the late Cliff Sterrett’s comic-strip Polly and Her Pals. This famous series delighted readers, and for good reasons: its amiable satire, its remarkable draftsmanship, its sensitive handling of lights and darks. Kriesberg’s paintings, on a different level, have a similar lusty directness. He has combined what might have been daily panels into single paintings. The mood and color is of half-night. There is a deepening alarm. His paintings are places for him to store thoughts, but they keep spilling out – erotic fancies, snakes, germ-bloated forms, squeaky blots, hairy objects...”
-Lawrence Campbell, Art News, February 1965.
“From his youthful works to the present Kriesberg has sought not the letter of mythology but its spirit. There may be no Ledas and no Krishnas specifically announced in his works, but they, as well as numerous Old Testament figures, are lodged in Kriesberg’s store of imagery...Kriesberg’s works of the past two or three years show him seeking to endow his images with the strength and beauty of an original insight, while yet never abandoning the dreamlike character of the myth.”
-Dore Ashton, "Irving Kriesberg." In Irving Kriesberg: Paintings - Drawings. 1978.
“Every now and then it is extremely refreshing to come across an artist who does what he wants to do regardless of history or fashion...Such an artist seems to be Irving Kriesberg, who more than 20 years ago was recognized as a singular American talent. He had a one-man show at the Art Institute, and was sent to Europe by New York’s Museum of Modern Art...Kriesberg creates a personal space that satisfied equally well when flat or deep. His compositions are deft. His colors sing: it is a tonic in and of itself. It beguiles and cajoles and is oddly intelligent. In short there is something to reckon with.”
-“Kriesberg’s Sneaky, Serious Style.” Chicago Tribune, January 19, 1979
“Though Kriesberg’s work stands apart, placing him not as one affiliated with an accepted school of art but rather as an independent entity, it is evident that he has been affected by artisans of another place and time. The effects of several visits to ancient ruins of India and Hindu shrines there surface in work that reminds one of the paintings on relics: his characters move about on the landscape rather than in it; his standard images are are those of monkeys, frogs, birds, and morphised combinations of them; his settings retain a colorful roughness, wirht figures reminiscent of those in cave paintings. But Kriesberg’s brilliance of color, his involvement with design and detail, his special repertoire of images, and the recurrence of a central theme - his own personal myth and awareness of it - lift the work to a station of modern sophistication.
-Beth Escott, "Irving Kriesberg." In Irving Kriesberg: Recent Work. Chicago: Galerie Elizabeth. 1980.
“In his art, Kriesberg strikes an exemplary balance between orderliness and inchoate passion. This often exquisite and always harmonious balance between reason and passion is no accident. It is the result of an exuberant, yet not entirely sanguine, spirit modified by great technical sophistication into pictorial coherence. It is the result of Kriesberg’s patent desire to make a picture work plastically –literally to depict and to compose at once.”
- Peter Frank, "Irving Kriesberg." In Irving Kriesberg: Paintings and Works on Paper, 1980-1985. New York: Graham Modern, 1985.
“Kriesberg’s work is a critique of abstract art and an original explication of postmodern expressionism of which he was a herald, and is now an unaligned advocate. Chronologically, his work pre-dates the advent of Neo-Expressionism. His style runs parallel to but on a very different track from that of the younger expressionists. Their struggle with the antiaesthetic and newness effect is not a concern of Kriesberg’s. He has never consciously sought a counteraesthetic through purely painterly means. He has been a leader in innovations through eccentricity of composition and exposition of an internal mental dialectic of polarities. The means by which this has been carried out are largely through the presentational motifs of proscenium, setting, and encounter.”
-George Preston, "Irving Kriesberg and the Threads of Knossos." Arts Magazine, December 1987.
“Irving Kriesberg is an artist of integrity who has resisted the mere effect of newness in order to sing in a truly original voice, which could be cultivated only steadily over decades. Kriesberg is both an erudite and sensual painter and sculptor. His work is informed by the intellectual curiosity associated with artists since the Renaissance.”
-George Preston, "Irving Kriesberg: Deep Current Beneath the Mainstream," 1997.
“Gestural paint handling and high-key color coalesce in the stylized figures that seem to flow freely from Kriesberg's unconscious. His paintings offer a bemusing iconography in which sometimes cartoonish animals play a prominent role…Kriesberg plays his large, flat shapes against the speed of his paint handling, contrasting stillness against motion. As the artist has remarked apropos of his own work, "dream images are meant to express some mystic order."
-Elisa Decker, "Irving Kriesberg at Peter Findlay." Art In America, April 1, 2005.
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