Hubert Schmalix “Häuserbild” Oil on Canvas 1989
HUBERT SCHMALIX (1952-) Austria
Oil on canvas
Signed and dated on back: Schmalix 89
Exhibited: Galerie Krinzinger Vienna 1990 (Solo exhibition)
Illustrated: Nach Schiele, Tobias G. Natter and Thomas Trummer (Köln, Germany: Atelier Augarten, DuMont, 2006), p 142.
Provenance: Private Collection Vienna
For related works by Hubert Schmalix see: Hubert Schmalix, Lóránd Hegyi exhibition catalog (Museum Moderner Kunst StiftungLudwig Wien) November 19, 1994 – January 1995.
H: 85” x W: 49”
Hubert Schmalix was born in Graz, Austria, on December 17, 1952 and studied at the Vienna Art Academy from 1971 to 1976. By 1979 Schmalix was showing work at the forward-looking exhibition ‘Europa 79 – Kunst der 80er Jahre’ in Stuttgart. In 1983 the London Tate Gallery invited Schmalix to present work at ‘New Art’, an important survey of contemporary art. Schmalix has become well-known world-wide as an exponent of ‘New Art’, working with a retrospective glance at both classical art history and modern art. Schmalix focuses on the world of things and the human figure. Although the expressive gesture was the dominant feature of his 1980s work, it yielded early in the 1990s to stringent tectonic composition. In 1984 Hubert Schmalix went to the Philippines and on to the US, moving to Los Angeles in 1987. In 1986-87 Schmalix taught at the Academy for the Decorative and Applied Arts in Vienna and from 1997 he has been a professor at the Vienna Art Academy. Schmalix is a visiting professor at the University of California Los Angeles (UCLA). In 1993 his work was featured at the Venice Biennale and in 1998 he was awarded the Fine Art Prize of the City of Vienna. Schmalix has done several large fresco cycles in Salzburg and his work has been shown extensively at numerous international solo and group shows and most recently at Art Basel 2006.
The Kunstforum in Vienna is dedicating a major retrospective show to Hubert Schmalix from May 6th – July 12th, 2015.
“I’m not nervous or angry when I paint, but well rested and concentrated. Each stroke of the brush is important! I’ve painted a whole lot of beautiful pictures this way.” (Hubert Schmalix)
Hubert Schmalix “Häuserbild” Oil on Canvas 1989
RICHARD A. HAMBLETON (1954-) USA
Untitled (Shadow Man) 2002
Acrylic on paper
Signed: “RHambleton 02”
For more information see: Artists Observed, photographs by Harvey Stein, preface by Corness Capa, essay by Elaine A. King (New York: Harry N. Abrams, Inc., Publishers, 1986), p. 121; Capured: A film/video history of the Lower East Side, Clayton Patterson (New York: Seven Stories Press, 2005), p. 149, 301 and 530; New, Used & Improved: Art for the 80’s, Peter Frank (New York: Abbeville Press, 1987), 46-48, 50-51 and 60.
Framed: H: 32 5/16” x W: 26 13/16”
*** By repute this portrait painting was of Jean-Michel Basquiat.
Hambleton can handle paint. When he throws white or black on the canvas, his waves break, his rodeo rider bucks, a man shot seems blown apart. – Michael Brenson, New York Times, March 30, 1984
During the 1970s, a loosely woven network of aspiring artists made a break into the public venue by raising graffiti to a new level of significance. Richard Hambleton was among a growing number of artists who came to be known as “illegal street artists.” He seemed undaunted by the consequences of being perceived as deviant and moved in and out of the urban alleyways, leaving behind a wake of paper paste-ups, freehand drawings, photos and stenciled images. When Hambleton moved from Vancouver in 1980 he left behind several hundred life-size diazo prints of himself plastered all over the city. Upon his relocation to New York, Hambleton was often spotted with friends that included Jean-Michel Basquiat and Keith Herring. He continued painting his energized, life-size figures that earned him the label pop-expressionist, a parody on modernity’s generic expressionism.
JAN DE SWART (1908-1987) Netherlands / USA
Peach sculpture c. 1970
Hand carved and formed jelutong wood in a symbolic / erotic form of a peach
For more information see: Jan de Swart: A Day That Becomes a Lifetime, exhibition catalogue (California: Fine Arts Gallery at the San Fernando Valley State College, February 1972); Jan de Swart, Mike McGee and William G. Otton (Laguna Beach, California: Laguna Art Museum, 1986).
H: 7 ½” x D: 4”
Constantly seeking and inventing new materials Jan de Swart was a true modernist. He was influenced by artists such as Isamu Noguchi, Harry Bertoia, Charles Eames, and later Sam Maloof and Wendell Castle. Although he had been creating small sculptures since his arrival in California from Holland in 1929, he had not been widely recognized until being introduced to John Entenza, publisher of Arts & Architecture magazine in 1947. Soon thereafter, he was able to create larger works and began collaborating with architects such as Whitney Smith and Victor Gruen on special commissions. His work is in the permanent collection of Los Angeles County Museum of Art, The Smithsonian, and the Ford Foundation. He was honored with the American Institute of Architects Gold Medal for Sculpture in 1965.