79 0 obj <> endobj xref 79 21 0000000016 00000 n Collection SFMOMA, purchase, by exchange, through the bequest of Elise S. Haas @ Vija Celmins. 0000003040 00000 n Scholarly essays, a narrative chronology, and a selection of excerpts from interviews with the artist illuminate her methods and techniques; survey her early years in Los Angeles, where she was part of a circle that included James Turrell and Ken Price; and trace the development of her work after she moved to New York City and befriended figures such as Robert Gober and Richard Serra. Featured image: Vija Celmins - To Fix The Image in Memory I-XI, 1977-82. Almost one hundred and fifty works produced throughout more than four decades of Celmins’s career will be shown, and presented in eight chronological segments such as studio objects, disaster works, oceanscapes, lunar drawings, desert floors, night skies, and spider webs, as well as recent works. Change ), You are commenting using your Facebook account. �R��ۛ��l_�3�g���C�9G���;m�|�gؙ����0a�B)�ufZ-��RY��' During the late 1990s, Celmins started collecting children’s slate blackboards, so she engaged a sculptor and furniture maker to produce duplicates of some of the tablets, which were then painted to replicate the originals as closely as possible (as in the work Blackboard Tableau #1 (2007–10). b. She studied art and won a fellowship to Yale’s Summer School of Art where she met Chuck Close and Brice Marden. That idea is further extended with her sculptures or objects from her studio such as an oversized comb inspired by René Magritte’s Personal Values from 1952. Her earlier work included pop sculptures and monochromatic representational paintings. Two decades later, as an established artist she moved to New York where she continued creating. The Women's Studio. Photo: Courtesy Matthew Marks Gallery. Executed on a monumental scale, these works are serious but playful, redolent of the works of Surrealist artist Rene Magritte. In the early 1960s, Celmins began painting life-size depictions of everyday objects. Matthew Marks is pleased to announce Vija Celmins: Ocean Prints, the next exhibition in his gallery at 526 West 22nd Street. Celmins was interested in “not using Pop’s commercial techniques, but a more tender touch.” (Lane Relyea, Robert Gober and Briony Fer, eds., Vija Celmins, London, 2004, p. 15) Celmins made three erasers and one large pencil between 1966 and 1967. By the end of the decade, Celmins expanded this theme, making sculptures of familiar objects  – many related to childhood –  such as puzzles, pencils, erasers, and combs. The stars effect was achieved with tiny drops of liquid rubber that were sanded off as layers built up. The exhibition includes all fifteen of Celmins’s prints of the ocean’s surface, a subject of central importance to her oeuvre. h�b```b``�g`e`�`d@ A�+G�����Ć�ԂSFU���\޾�w;��\���yc�GLb�Kɝ��r���U��[����7inӯ ˬ���ʸ�\�[��S�R2���F��5�;�g��ZᑼPy���k���� �y��u��N���1��BV�[n�-P,��dy������Z����QPP����2FA��KYC# ΀P���`+�*�h ��y��C�K(��f%�ÂP�չ0pV��B@,֩� �����X�4��a\/�ʔ�4�əa/O>c&�O.Sޢ�M������2�1��X����N�t ^` >� endstream endobj 80 0 obj <>>> endobj 81 0 obj <>/ExtGState<>/Font<>/ProcSet[/PDF/Text/ImageC]/XObject<>>>/Rotate 0/TrimBox[0.0 0.0 419.528 595.276]/Type/Page>> endobj 82 0 obj <> endobj 83 0 obj <>stream Featured images: Vija Celmins - Japanese Book, 2007-08. This Celmins series on view at SFMoMA stands out among the works of a number of her peers back in the mid-1960s who intensively used color, since she often used the gray palette.Namely, in 1964 the artist made a series of still lifes of objects from her studio aiming to “redescribe” them. 0000010378 00000 n From her early representational photorealistic paintings and pop-inspired sculptures, through the 1970s graphite pencil drawings and painted stones, to works which balanced between the abstract and the photorealistic in the 1980s onward and the more recent spider web and blackboard works in 2000s, this artist created an astonishing, slightly mysterious and above all allegorical body of work. 0000008410 00000 n It is a photograph of eleven pairs of found stones and their bronze casts, whose surfaces were fastidiously painted. 0000002929 00000 n In 1965, she received her M.F.A. This segment explores Celmins' adornment of this motif, which is present in her work off and on for the next eight years. Her work is in the permanent collections of the Whitney Museum, Hammer Museum, and Art Institute of Chicago among other.

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