PRINT EXHIBITIONS · Untitled [Architecture, Green & Gold IV] Ink, acrylic gold leaf, and collage...

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Volume 68

THE BULLETINCHILDS GALLERY

Established 1937

FALL/WINTER 2018

169

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1

The International Art Fair for Prints & Editions

OCTOBER 25 – 28, 2018RIVER PAVILION, JAVITS CENTER, NEW YORK CITY

www.printfair.com

INK Miami Art Fair DECEMBER 5 – 9, 2018

SUITES OF DORCHESTER, MIAMI BEACH, FLwww.inkartfair.com

Palm Beach Jewelry, Art & Antique Show

FEBRUARY 13-19, 2019PALM BEACH COUNTY CONVENTION CENTER, PALM BEACH, FL

www.palmbeachshow.com

PRINT EXHIBITIONS

Volume 68

THE BULLETINC

HIL

DS G

AL

LE

RY

Esta

blished

1937

FALL/WINTER 2018

169 Newbury StreetBoston, Massachusetts 02116

[email protected]

CHILDS GALLERYEstablished 1937

childsgallery.com

Laurent Hours: History Imagined August 23 – October 21, 2018

Sawool Kim: Grafted Relics September 6 – November 11, 2018

Adam Van Doren: Homes of the American Presidents November 1 – December 30, 2018

Model and Muse: Intimate Connections November 15, 2018 – January 6, 2019

Andrew Fish: In the Memory Palace January 10 – March 10, 2019

Sawool Kim’s surreal, dream-like paintings fuse cultural relics with flora, fauna, and everyday objects. Her latest body of work explores transcultural identity through the visual metaphor of botanical grafting, a horticultural technique whereby the shoot of one plant is joined to the stock of another to create new, hybrid growth. Like grafting, transcultural experience can be seen as a process of hybridization – as cultural contact which generates new cultural forms and meanings.

Kim depicts cross-cultural hybridization as a visual grafting of cultural images. Her complex, interwoven compositions combine relics of diverse cultures with objects from our own time, visually transplanting these images onto one another to create new meaning. Inspired by her recent travels to South America, Kim incorporates artifacts from Pre-Columbian cultures, including Nazca, Moche, and Chancay ceramics. Her work also reflects her own transcultural experience; born in South Korea, Kim has lived and worked in Boston since 2013.

Flora and fauna merge with ancient and modern relics in new, unexpected, and incongruous ways. A woven basket sprouts a bright blue pinwheel, which morphs into a pair of lips, and from these lips escape an effusion of nightingales, wood thrushes, and yellow-throated warblers. These couplings can be abrupt and absurd, mirroring the sometimes awkward process of navigating transcultural identity. At the same time, such novel juxtapositions celebrate the transformative power of cross-cultural exchange and the striking originality of hybrid identity.

1

2

EXHIBITIONSawool Kim: Grafted Relics SEPTEMBER 6 – NOVEMBER 11, 2018

Adam Van Doren: Homes of the

American Presidents NOVEMBER 1 – DECEMBER 30, 2018

childsgallery.com 617-266-1108

Laurent Hours: History Imagined

AUGUST 23 – OCTOBER 21, 2018

Laurent Hours’ small-scale mixed media works reveal a captivating, whimsical world of ancient cities, mysterious figures, and architectural fantasies. Detailed drawings rendered in sepia ink resemble the virtuoso sketches of a great Renaissance mind. The use of handmade papers, handwritten notes, and antique stamps completes the effect, evoking an ancient past that belies the work’s contemporary origins.

Featuring watercolors found in Adam Van Doren’s book The House Tells the Story: Homes of the American Presidents, this exhibition explores the famous lodgings of both living Presidents and those from the past. Van Doren visited each house and even corresponded with former Presidents to ensure the details of every home were faithfully recorded in his watercolors.

1 Laurent Hours French (b.1946) Untitled [Architecture, Sepia II] Ink and wash on paper 8 ½ X 17 INCHES

2 Laurent Hours French (b.1946) Untitled [Architecture, Green & Gold IV] Ink, acrylic gold leaf, and collage on paper 8 ½ X 16 ¼ INCHES

Mount Vernon Watercolor and graphite on Arches paper

Sawool Kim, Index 25 - renaturation, 2017, Acrylic on canvas, 18 ½ x 18 ½ inches


NEW HOURS: Tuesday – Friday, 9 am to 6 pm Saturday & Sunday, 11 am to 5 pm

1 Totem pole today, 2018 Acrylic on canvas 58 X 38 INCHES

2 Index 28 - mind receiver, 2018 Acrylic on canvas 18 ½ X 18 ½ INCHES

3 Topology – fountain, 2018 Acrylic on canvas 44 X 44 INCHES3

2

The Bulletin is a revival of the Childs Gallery Bulletin, begun in 1950 by Charles D. Childs. In an effort to keep our clients informed of our current and upcoming exhibitions, we will publish The Bulletin twice per year. We also invite you to send us your email address so that you may receive additional notifications on the artists you are most interested in. Email us at [email protected] with any specific interests.

1. Donald De Lue (American 1897-1988), Seated Figure, Graphite, 10 X 8 in., $2,500 2. Jason Berger (American 1924-2010), Petites Dalles, Normandy, 2002, Oil on canvas, 23 1/2 X 29 in., $10,000 3. Ruth Eckstein (American 1916-2011), Nara: Tea Pavilion, 1975, Collagraph with collage elements, 20 X 16 1/2 in., $1,800 4. Sean Flood (American b. 1982), 1 Train, 2018, Monotype, 41 1/2 X 30 1/2 in., $4,500 5. Jean Michel Mathieux-Marie (French b.1947), Le Pont de Brooklyn, 2005, Drypoint, 9 3/8 X 9 in, $800 6. Walker Kirtland Hancock (American 1901-1998), Pegasus and Warrior, 1937, Bronze, 27 3/4 X 13 X 23 in., $26,000 7. Karen Lee Sobol, Telescope, 2016, Watercolor and crayon on paper, 11 X 14 in., $1,200 8. John Thompson (American b.1950), Philene III, 2014, silkscreen monoprint, 48 x 36 in, $6,500 9. Sally Michel (American 1902-2003), Untitled [Poolside Reader], 1987, Watercolor on paper, 12 X 16 in., $4,500 10. Marcantonio Raimondi (Italian c.1480 - c.1534), Two Satyrs Placing Silenus on a Braying Ass, circa 1515-27, Woodcut, 4 1/4 X 6 1/2 in., $1,200 11. Pierre Francois (Baron d’Hancarville) Hugues (French 1719-1805), Plate 81 from “Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Hon. W. Hamilton.”, 1766-67, Hand colored etching, 9 X 27 in., $525 12. Botkin (American 1896-1983), Double Green, 1957, Oil on Masonite, 29 ¾ x 40 in., $14,000

GALLERY HIGHLIGHTS

1

2

3

4

8

1110

7

6

5

9

12


169 NEWBURY STREET BOSTON, MASSACHUSETTS 02116-2895CHILDSGALLERY.COM 617-266-1108 [email protected]

The Bulletin Volume 68 ` Editor: Richard J. BaianoAssistant Editors: Julie Edwards and Stephanie V. Bond Staff: Samantha Barnett, Katherine Bartlett, Gina Canning,

Kathryn Fields and Sally NortonPhotography: Darren Stahlman|darrenstahlmanphotography.com,

Greg Perko; perkophoto.comDesign: Carlos Ridruejo|caridossa.com

©2018 Bond Baiano LLC / Childs Gallery All Rights Reserved.

OUR PUBLICATIONS

FALL/WINTER 2018

EXHIBITION

In Classical Antiquity, inspiration was dependent upon the nine Muses, goddesses and daughters of Zeus presiding over the Arts and Sciences whose invocation bestowed divine creativity upon their acolytes. The term “muse” has since become synonymous with an individual who similarly inspires another. There exists a long tradition within the Fine Arts of muses, men and women whose looks, personalities, and attitudes encourage bursts of prolific creative energy. Often this relationship between artist and muse is, or becomes, intimately familiar. Lovers, spouses, children, and friends have all been sources of great inspiration as subjects within an artist’s oeuvre.

Model and Muse: Intimate Connections reflects upon the fascinating and complicated relations between an artist and their inspiration. Bonds familial and otherwise play out over paintings, photographs, drawings, and sculpture from the early 20th century to the present, revealing the intricacies of close working and private relationships.

1 Moise Kisling Polish-French (1891-1953) Jeune Femme, 1942 Oil on canvas 21 ¼ X 17 ¾ INCHES

3 4

1

Model and Muse:Intimate Connections

NOVEMBER 15, 2018 – JANUARY 6, 2019

EXHIBITIONAndrew Fish: In the Memory Palace

JANUARY 10 – MARCH 10, 2019

The fleeting feeling of Andrew Fish’s artwork is intentional. Concerned with the ubiquity of picture-making and—taking in our society, Fish’s work explores the ephemeral nature of technology-based images through the blending of traditional media and contemporary digital motifs. In this exhibition, the artist examines human memory in the context of the digital age. Memories, constantly mutating, lie at the intersection between what is ephemeral and what lasts over time. We are constantly forgetting, just as we are constantly replacing digital images with new ones, and yet some images persist in their familiarity and resonance.

A “memory palace” is a mnemonic enhancement technique dating back to ancient Greece, in which spatial visualization is used to recall information. With this body of work, Fish creates a series of images of obscure locations, meant to summon memories that will be unique to each viewer. By conjuring places that feel familiar to the audience but lack recognizable features of photographs and maps, and omit details observed in the present moment, the scenes invite immersion, yet simultaneously feel as if they are moments slipping away in time.

childsgallery.com 617-266-1108childsgallery.com 617-266-11084

3

1

2

1 Red Stripe, 2016 Oil on canvas 42 X 42 INCHES

2 Age of Enlightenment, 2015 Oil on linen 30 x 40 inches

3 Flood, 2017 Oil on linen 48 X 72 INCHES

4 Life Saver, 2017 Oil on linen 20 X 30 INCHES

2 Paul Cadmus American (1904-1999) Winter #2, 1985 Egg yolk tempera 11 ½ X 15 ½ INCHES

3 R.H. Ives Gammell American (1893-1981) Figure with Totem, circa 1980 Oil on paper 24 X 30 INCHES

4 Will Barnet American (1911-2012) Circe II, 1980 Serigraph 18 X 18 INCHES

2

1

The International Art Fair for Prints & Editions

OCTOBER 25 – 28, 2018RIVER PAVILION, JAVITS CENTER, NEW YORK CITY

www.printfair.com

INK Miami Art Fair DECEMBER 5 – 9, 2018

SUITES OF DORCHESTER, MIAMI BEACH, FLwww.inkartfair.com

Palm Beach Jewelry, Art & Antique Show

FEBRUARY 13-19, 2019PALM BEACH COUNTY CONVENTION CENTER, PALM BEACH, FL

www.palmbeachshow.com

PRINT EXHIBITIONS

Volume 68

THE BULLETINC

HIL

DS G

AL

LE

RY

Esta

blished

1937

FALL/WINTER 2018

169 Newbury StreetBoston, Massachusetts 02116

[email protected]


childsgallery.com

Laurent Hours: History Imagined August 23 – October 21, 2018

Sawool Kim: Grafted Relics September 6 – November 11, 2018

Adam Van Doren: Homes of the American Presidents November 1 – December 30, 2018

Model and Muse: Intimate Connections November 15, 2018 – January 6, 2019

Andrew Fish: In the Memory Palace January 10 – March 10, 2019

Sawool Kim’s surreal, dream-like paintings fuse cultural relics with flora, fauna, and everyday objects. Her latest body of work explores transcultural identity through the visual metaphor of botanical grafting, a horticultural technique whereby the shoot of one plant is joined to the stock of another to create new, hybrid growth. Like grafting, transcultural experience can be seen as a process of hybridization – as cultural contact which generates new cultural forms and meanings.

Kim depicts cross-cultural hybridization as a visual grafting of cultural images. Her complex, interwoven compositions combine relics of diverse cultures with objects from our own time, visually transplanting these images onto one another to create new meaning. Inspired by her recent travels to South America, Kim incorporates artifacts from Pre-Columbian cultures, including Nazca, Moche, and Chancay ceramics. Her work also reflects her own transcultural experience; born in South Korea, Kim has lived and worked in Boston since 2013.

Flora and fauna merge with ancient and modern relics in new, unexpected, and incongruous ways. A woven basket sprouts a bright blue pinwheel, which morphs into a pair of lips, and from these lips escape an effusion of nightingales, wood thrushes, and yellow-throated warblers. These couplings can be abrupt and absurd, mirroring the sometimes awkward process of navigating transcultural identity. At the same time, such novel juxtapositions celebrate the transformative power of cross-cultural exchange and the striking originality of hybrid identity.

1

2

EXHIBITIONSawool Kim: Grafted Relics SEPTEMBER 6 – NOVEMBER 11, 2018

Adam Van Doren: Homes of the

American Presidents NOVEMBER 1 – DECEMBER 30, 2018


Laurent Hours: History Imagined

AUGUST 23 – OCTOBER 21, 2018

Laurent Hours’ small-scale mixed media works reveal a captivating, whimsical world of ancient cities, mysterious figures, and architectural fantasies. Detailed drawings rendered in sepia ink resemble the virtuoso sketches of a great Renaissance mind. The use of handmade papers, handwritten notes, and antique stamps completes the effect, evoking an ancient past that belies the work’s contemporary origins.

Featuring watercolors found in Adam Van Doren’s book The House Tells the Story: Homes of the American Presidents, this exhibition explores the famous lodgings of both living Presidents and those from the past. Van Doren visited each house and even corresponded with former Presidents to ensure the details of every home were faithfully recorded in his watercolors.

1 Laurent Hours French (b.1946) Untitled [Architecture, Sepia II] Ink and wash on paper 8 ½ X 17 INCHES

2 Laurent Hours French (b.1946) Untitled [Architecture, Green & Gold IV] Ink, acrylic gold leaf, and collage on paper 8 ½ X 16 ¼ INCHES

Mount Vernon Watercolor and graphite on Arches paper

Sawool Kim, Index 25 - renaturation, 2017, Acrylic on canvas, 18 ½ x 18 ½ inches


NEW HOURS: Tuesday – Friday, 9 am to 6 pm Saturday & Sunday, 11 am to 5 pm

1 Totem pole today, 2018 Acrylic on canvas 58 X 38 INCHES

2 Index 28 - mind receiver, 2018 Acrylic on canvas 18 ½ X 18 ½ INCHES

3 Topology – fountain, 2018 Acrylic on canvas 44 X 44 INCHES3

2

The Bulletin is a revival of the Childs Gallery Bulletin, begun in 1950 by Charles D. Childs. In an effort to keep our clients informed of our current and upcoming exhibitions, we will publish The Bulletin twice per year. We also invite you to send us your email address so that you may receive additional notifications on the artists you are most interested in. Email us at [email protected] with any specific interests.

1. Donald De Lue (American 1897-1988), Seated Figure, Graphite, 10 X 8 in., $2,500 2. Jason Berger (American 1924-2010), Petites Dalles, Normandy, 2002, Oil on canvas, 23 1/2 X 29 in., $10,000 3. Ruth Eckstein (American 1916-2011), Nara: Tea Pavilion, 1975, Collagraph with collage elements, 20 X 16 1/2 in., $1,800 4. Sean Flood (American b. 1982), 1 Train, 2018, Monotype, 41 1/2 X 30 1/2 in., $4,500 5. Jean Michel Mathieux-Marie (French b.1947), Le Pont de Brooklyn, 2005, Drypoint, 9 3/8 X 9 in, $800 6. Walker Kirtland Hancock (American 1901-1998), Pegasus and Warrior, 1937, Bronze, 27 3/4 X 13 X 23 in., $26,000 7. Karen Lee Sobol, Telescope, 2016, Watercolor and crayon on paper, 11 X 14 in., $1,200 8. John Thompson (American b.1950), Philene III, 2014, silkscreen monoprint, 48 x 36 in, $6,500 9. Sally Michel (American 1902-2003), Untitled [Poolside Reader], 1987, Watercolor on paper, 12 X 16 in., $4,500 10. Marcantonio Raimondi (Italian c.1480 - c.1534), Two Satyrs Placing Silenus on a Braying Ass, circa 1515-27, Woodcut, 4 1/4 X 6 1/2 in., $1,200 11. Pierre Francois (Baron d’Hancarville) Hugues (French 1719-1805), Plate 81 from “Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Hon. W. Hamilton.”, 1766-67, Hand colored etching, 9 X 27 in., $525 12. Botkin (American 1896-1983), Double Green, 1957, Oil on Masonite, 29 ¾ x 40 in., $14,000

GALLERY HIGHLIGHTS

1

2

3

4

8

1110

7

6

5

9

12


169 NEWBURY STREET BOSTON, MASSACHUSETTS 02116-2895CHILDSGALLERY.COM 617-266-1108 [email protected]

The Bulletin Volume 68 ` Editor: Richard J. BaianoAssistant Editors: Julie Edwards and Stephanie V. Bond Staff: Samantha Barnett, Katherine Bartlett, Gina Canning,

Kathryn Fields and Sally NortonPhotography: Darren Stahlman|darrenstahlmanphotography.com,

Greg Perko; perkophoto.comDesign: Carlos Ridruejo|caridossa.com

©2018 Bond Baiano LLC / Childs Gallery All Rights Reserved.

OUR PUBLICATIONS

FALL/WINTER 2018

EXHIBITION

In Classical Antiquity, inspiration was dependent upon the nine Muses, goddesses and daughters of Zeus presiding over the Arts and Sciences whose invocation bestowed divine creativity upon their acolytes. The term “muse” has since become synonymous with an individual who similarly inspires another. There exists a long tradition within the Fine Arts of muses, men and women whose looks, personalities, and attitudes encourage bursts of prolific creative energy. Often this relationship between artist and muse is, or becomes, intimately familiar. Lovers, spouses, children, and friends have all been sources of great inspiration as subjects within an artist’s oeuvre.

Model and Muse: Intimate Connections reflects upon the fascinating and complicated relations between an artist and their inspiration. Bonds familial and otherwise play out over paintings, photographs, drawings, and sculpture from the early 20th century to the present, revealing the intricacies of close working and private relationships.

1 Moise Kisling Polish-French (1891-1953) Jeune Femme, 1942 Oil on canvas 21 ¼ X 17 ¾ INCHES

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Model and Muse:Intimate Connections

NOVEMBER 15, 2018 – JANUARY 6, 2019

EXHIBITIONAndrew Fish: In the Memory Palace

JANUARY 10 – MARCH 10, 2019

The fleeting feeling of Andrew Fish’s artwork is intentional. Concerned with the ubiquity of picture-making and—taking in our society, Fish’s work explores the ephemeral nature of technology-based images through the blending of traditional media and contemporary digital motifs. In this exhibition, the artist examines human memory in the context of the digital age. Memories, constantly mutating, lie at the intersection between what is ephemeral and what lasts over time. We are constantly forgetting, just as we are constantly replacing digital images with new ones, and yet some images persist in their familiarity and resonance.

A “memory palace” is a mnemonic enhancement technique dating back to ancient Greece, in which spatial visualization is used to recall information. With this body of work, Fish creates a series of images of obscure locations, meant to summon memories that will be unique to each viewer. By conjuring places that feel familiar to the audience but lack recognizable features of photographs and maps, and omit details observed in the present moment, the scenes invite immersion, yet simultaneously feel as if they are moments slipping away in time.

childsgallery.com 617-266-1108childsgallery.com 617-266-11084

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1 Red Stripe, 2016 Oil on canvas 42 X 42 INCHES

2 Age of Enlightenment, 2015 Oil on linen 30 x 40 inches

3 Flood, 2017 Oil on linen 48 X 72 INCHES

4 Life Saver, 2017 Oil on linen 20 X 30 INCHES

2 Paul Cadmus American (1904-1999) Winter #2, 1985 Egg yolk tempera 11 ½ X 15 ½ INCHES

3 R.H. Ives Gammell American (1893-1981) Figure with Totem, circa 1980 Oil on paper 24 X 30 INCHES

4 Will Barnet American (1911-2012) Circe II, 1980 Serigraph 18 X 18 INCHES

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PRINT EXHIBITIONS · Untitled [Architecture, Green & Gold IV] Ink, acrylic gold leaf, and collage...

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Transcript of PRINT EXHIBITIONS · Untitled [Architecture, Green & Gold IV] Ink, acrylic gold leaf, and collage...