August 13, 1995 |
The planned opening of a PaceWildenstein Gallery branch in Los Angeles has generated much curiosity since being formally announced more than 18 months ago. A 1993 merger between Wildenstein & Co., the venerable dealer of Old Master and Impressionist art, and New York's Pace Gallery, whose stable includes some of the most important artists of our time, had created a formidable partnership. With plans to open branches in L.A.
February 10, 1996 |
Cindy Sherman had visions of horror films dancing in her head when she made her latest body of work, an exhibition of which opened this week at PaceWildenstein in Beverly Hills. The 14 photographs of lurid and somber masks and faces were inspired by Sherman's current foray into film on the heels of the '80s art pack.
January 14, 1999
* "Georg Baselitz"--Several recent oils by the noted artist including "Elke si riposa," above, is part of three separate shows at PaceWildenstein Gallery in Beverly Hills. * "Lo Que Me Corresponde/What Is Rightfully Mine"--Drawings, photographs and objects by Tania Bruguera explore art and power in Cuba starting Friday at Iturralde Gallery. * "Elliot Erwitt"--An exhibition of photographys focusing on dogs of all kinds opens Friday at the Paul Kopeikin Gallery, 138 N. La Brea Ave.
March 24, 2006 |
The Bellagio Gallery of Fine Art at Las Vegas' Bellagio resort and casino has announced plans to present a yearlong exhibition of nearly 50 works by American photographer Ansel Adams, to be on display May 3 through May 6, 2007. Works in the exhibition, from the Center for Creative Photography in Tucson, will include "Monolith, Face of Half Dome, Yosemite National Park, California" (1927), "Rose and Driftwood, San Francisco" (ca. 1933) and a 1941 image of Boulder Dam.
October 30, 1998 |
A pair of solo shows at PaceWildenstein Gallery provide an opportunity to see the profound differences between Robert Irwin's line paintings from the early 1960s and Agnes Martin's new acrylics on canvas. Superficially similar, in that each artist strips painting down to bare essentials (i.e., line and color), the bodily scaled abstractions by these two renowned artists actually make radically different propositions about art's relationship to time.