Leonard Hutton Galleries is pleased to announce its participation in Art Miami
December 1-6, 2015 featuring a selection of 20th century and contemporary artworks by Josef Albers, Richard Anuszkiewicz, James Brooks, Pier Paolo Calzolari, Nick Cave, Friedel Dzubas, Lucio Fontana, Augustus Francis, Sam Francis, Helen Frankenthaler, Adolph Gottlieb, Paul Jenkins, Lee Krasner, Robert Motherwell, Michelangelo Pistoletto, Kristina Riska, Ettore Spalletti, Frank Stella, and Jack Tworkov.
Frank Stella’s Michael Kohlhaas, Panel #8, (1999), Mixed media collage,
73 x 60 inches (185.4 x 152.4cm)
A panel from a series of artworks named after a novel by Heinrich von Kleist.
In this series of work Stella interprets what he previously realized in three dimensions onto the two dimensional surface, creating a work of infinite movement comprising a symphony of swirling shapes. Frank Stella stated, “When it’s successful the result creates a visual experience, but it does something more. It makes available to you both a kind of experience and information that you couldn’t have gotten any other way.” Similar work by renowned American abstract artist Frank Stella is currently featured in the most comprehensive retrospective of his oeuvre in the US to date at the Whitney Museum of American Art through February 7, 2016.
Pier Paolo Calzolari’s Natura Morta, (2005), Mixed media installation,
103 1/8 x 55 7/8 x 27 ½ inches (262 x 142 x 70 cm)
Although Calzolari thinks of himself as a sculptor, he could easily be considered an alchemist. Perhaps, the best description of the artist is as an activator of materials who seeks to infect art with life. In his installations, Calzolari transforms these materials, oftentimes fixing them in evanescent states, suspending matter in a transfiguration that engulfs the viewers’ senses.
The perception of the artist is an unspoken theme in Calzolari’s work as he examines the ideas of experience versus expression, with experience defined both autobiographically and through viewer awareness. For Calzolari, the perfect white—the very “essence” of white—cannot be recreated as pigment. Rather, it exists only in nature in the form of frost. An investigation of and display of time passing recurs in his installations, often via the incorporation of melting or freezing elements.
Lucio Fontana, Concetto Spaziale, (1960), Painted terracotta,
6 1/8 x 6 ¾ x 9 inches (15.5 x 17 x 23 cm), Archivio Fontana 1253/43
Lucio Fontana studied sculpture at Milan's Brera Academy in the late 1920s. In 1941, Fontana’s spatial theories, which had been developing in his paintings, could no longer be expressed through a two-dimensional surface and hence he created his first spatial environment, Ambiante Spaziale a Luc Nera, in the Galleria del Naviglio. From then on, Fontana titled all his works ”Concetto Spaziale” (Spatial Concept). The technique, which Fontana named Spazialismo, was conceived in 1949 when he punctured a thinly painted monochromatic canvas with a knife, exploding the definition–or at least the conventional space–of art. This act challenged the entire history of Western easel painting and led him to the understanding that painting was no longer about illusion contained within the dimensions of a canvas but a complex blend of form, color, architectural space, gesture, and light. In 1959, Fontana resumed his work as a sculptor with a series of spherical works known as Nature forms. Using the tactile mediums of fired clay and, later bronze, Fontana could once again directly manipulate a three-dimensional form in space.
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