Tuesday, April 29, 2014






















1. Ai Weiwei
2. Damien Hirst
3. Jeff Koons
4. Ed Ruscha
5. Richard Prince
6. Gerhard Richter
7. Lucian Freud
8. Nelson Mandela
9. Alexander McQueen
10. Kate Moss
11. Lance Armstrong
12. Tricky
13. Anthony Kiedis
14. Bruce Springsteen
15. Tom Waits
16. Iggy Pop
17. Patti Smith
18. Johnny Cash
19. Paul McCartney
20. Mick Jagger

Inwards and Onwards work is an extensive selection of impressive photographic portraits of eminent figures in the world of art, music and fashion.

The large-format portraits featured in the exhibition »Inwards and Onwards« testify to the substantial body of artistic work that Anton Corbijn has created. Apart from striking photographs of true music legends such asBruce Springsteen, Patti Smith or Tom Waits, who have always fascinated Corbijn, the photographer has focussed in his recent work on modern personifications of artistic inspiration such as Marlene Dumas, Gilbert & George or Jeff Koons. Working only in black and white with a Hasselblad camera, Anton Corbijn aims to reduce his photo shoots to the essential. He uses his subjects’ familiar environments as settings and works on his own with available light – assistants or artificial lighting are off-limits for him. Corbijn understands the camera as a means to an end – ultimately, he tries to capture the personality and the character hidden deep within the person portrayed beyond any kind of superficial staging although some playfulness is sometimes apparent as with Damien Hirst’s photograph and that of Jeff Koons.
This unique visual experience can also be found in the unconventional portrait of Gerhard Richter, who not only because of his profession is fully aware of the possibilities that the photographic medium offers for self-dramatization. Anton Corbijn shows the artist with his back turned, thus granting the subject his wish for personal intimacy while at the same time reflecting on his creative work – after all, the people portrayed in Richter’s works often have their backs turned on the viewer or are blurred beyond recognition. The late painter Lucien Freud, who passed away in 2011, was another one of the artists who not only let Anton Corbijn enter his private space, but who also allowed him a glimpse of his character. The gesture and the portrayal of personality that define the picture as well as the palpable atmosphere of the photograph are the result of Anton Corbijn’s unique approach to his subjects. This approach allows Corbijn to picture layers of personality hidden behind enactments and facades that can only be elicited by art.
The photographs offer fascinating insights into singular personalities, as exemplified in the portrait of Kate Moss, whose mask creates a paradox: while destroying the model persona created by the media and calling attention to the real person rather than the construct, it also works as a symbol for the interplay between the sacrifice of privacy and its protection. Other images shown in the exhibition, such as the portrait of Anthony Kiedis, play with the appeal of the serious surreal. Anton Corbijn’s photographs attest to the self-analysis of the portrayed and make it visible, while at the same time captivating the viewer with their appealing imagery and their seemingly abstract scenarios, in which the figures depicted allow an intimate glimpse into their personalities: »Inwards and Onwards«.”                                                                                            via Camera Work Press Release

Friday, April 18, 2014


    Ever Since The World Began

"These skulls are just obvious reminders that you're going to die and you should create beautiful things while you have the opportunity to."

w   e   s      l   a   n   g

Wednesday, April 16, 2014


Untitled (The Pequod)
Steel, wood, wax and pigment
207 x 192 x 12 inches

Untitled (Black Jack Boot)
Charcoal on mounted paper
63 x 63 inches

Untitled (Capitol)
2012 - 2013
Charcoal on mounted paper
120 x 450 inches overall

After Frankenthaler (Mountains and Sea, 1952)
Charcoal on mounted paper

After DeKooning (Woman and Bicycle, 1952-1953)
Charcoal on mounted paper

After Krasner (Birth, 1956)
Charcoal on mounted paper

After Lewis
Charcoal on mounted paper

After Mitchell (No Birds)
Charcoal on mounted paper

After Motherwell (Elegy to the Spanish Republic, No. 70, 1961)
Charcoal on mounted paper

After Newman (Onement, I , 1948)
Charcoal on mounted paper

After Pollock (Autumn Rhythm, Number 30, 1951)
Charcoal on mounted paper 

After Reinhardt (Abstract Painting, 1963)
Charcoal on mounted paper
11.9375 x 12 inches

After Rothko (Untitled , 1968)
Charcoal on mounted paper

After Still (1957-D No. 1 , 1957)
Charcoal on mounted paper

Petzel Gallery present, “Strike The Sun,” a solo exhibition by Robert Longo in partnership with Metro Pictures.

At Petzel, Longo looks to the U.S. Capitol building and the American flag, two highly polarizing national symbols. In Longo’s enormous seven-panel drawing
of this historic building, the immutable monumentality of the U.S. Capitol image is particularized by subtle variations in the molding above each of the building’s windows and by their individual curtains. Longo’s most recent confrontation with the contentious nature of the American flag as symbol of both nationalism and protest is a 17-foot high black wax surfaced sculpture that appears to collapse into or fall through the gallery’s floor. A mediating note is a drawing of the poignantly solemn image of the riderless horse that led JFK’s funeral procession.

A concurrent exhibition at Metro Pictures, “Gang of Cosmos,” includes twelve charcoal drawings of well-known Abstract Expressionist paintings. Represented are Willem DeKooning, Adolph Gottleib, Helen Frankenthaler, Lee Krasner, Norman Lewis, Joan Mitchell, Robert Motherwell, Barnett Newman, Jackson Pollock, Ad Reinhardt, Mark Rothko and Clyfford Still. In entering into this dialogue with major figures of 50 years ago, Longo acknowledges Abstract Expressionism’s undiminished importance in American art and its influence on his own thinking. This thoroughly studied and finely executed body of work represents Longo’s most personal engagement with his subject and the revelatory process of executing the drawings in minute detail.

Longo studied the actual paintings in museum collections and worked from photographs that he digitally manipulated to take on the challenge of drawing a painting, representing the overall picture and translating the three-dimensional
detail of the physical paint and the color into black-and-white. Rendered in charcoal, the original artworks are immediately recognizable, but it is the overlooked or imperceptible details of the complex surface, the tactility of the paint, the brushstrokes, and the pattern of the canvas that Longo has made visible. Exploring his own ambivalence toward painting, Longo’s drawings address the historical magnitude of Abstract Expressionism in art historical and cultural contexts—the shift in political and cultural dominance from Europe to the United States in the years following the Second World War—as well as the fundamental differences between the execution and behavior of painting and Longo’s own intensive and acutely rendered drawings. The new aggression of these Abstract Expressionist paintings and their exploitation for international propaganda stand in counterpoint to the U.S. Capitol building and American flag installed at Petzel.

For more than 30 years Longo has been a prominent figure in New York’s cultural scene. His artworks, performance pieces, music performances, films and videos invent, cull, and recycle iconographic images from an expansive cultural visual cache to comment on ideas surrounding image potency, production and circulation. He was among the five artists included in the seminal 1977 Artists Space exhibition “Pictures” and is a key figure of the subsequently named Pictures Generation. In May Longo will be honored by The Kitchen. Longo has had one-person exhibitions at the Musée d‘art moderne et d‘art contemporain, Nice; Krefelder Kunstmuseum, Krefeld, Germany; the Albertina, Vienna; Isetan Museum of Art, Tokyo; the Deichtorhallen, Hamburg; Los Angeles County Museum of Art; Museum of Contemporary Art Chicago and the Menil Collection in Houston. Robert Longo has participated in Documenta, the Whitney Biennial and the Venice Biennale.                                                                 via petzel.com