Our July Artist of the Month is the internationally acclaimed French photographer Jean-François Rauzier, who is Waterhouse & Dodd’s best-selling contemporary artist. We are pleased to present a new short video in which our Director of Contemporary Art in New York, Sandra Safta Waterhouse, sits down with the artist to discuss his methods, inspirations, and..........
Our June artist of the month is American photographer Kim Keever. Having graduated with a degree in Thermal Engineering from Old Dominion University, Norfolk, VA, Keever briefly pursued a thermal engineer career, working primarily on NASA projects. However, by the late 1970s, his passion for photography took over and he switched paths to become a full-time artist. Despite the stark contrast in direction, he has always drawn on his original vocation by retaining a scientific and innovative process in his artistic work......
Our May Artist of the Month is contemporary American artist Doug Argue. Born in St. Paul, Minnesota and based in New York City, Argue’s thirty-year painting career has culminated in a striking body of abstract work that encompasses a diversity of mediums and formats. His compositional approach extends to both spatial construction and figural depiction in an oeuvre that lyrically conjures metaphors and art-historical references to the past and present.
Waterhouse & Dodd sits down with the artist to discuss his practice, inspirations, and how he's managing his creative life now......
In April, our featured Artist of the Month is contemporary British artist Sophie Ryder. Born in London in 1963, Ryder has developed a unique cast of characters in her figurative work, making her style instantly recognizable. Over the last 30 years, she has built a personal repertoire of mythological figures and motifs. Tender and self-aware, her hybrid creatures encapsulate mythology’s significance: steeped in cultural symbolism, they nevertheless resonate on an immediate and human level. Two of her most enduring figures, the Minotaur and the Hare (whose body is based on Ryder’s own), address a complex range of human emotions, from introspection to desire.
Karen Gunderson was born in Racine, Wisconsin. She earned her MA of Fine Arts from the University of Iowa and has since received many honors and awards, including a Lorenzo Magnifico Prize in Painting at the 2001 Florence Biennale, Italy. Significant solo exhibitions include: the Charles A. Wustum Art Museum, Wisconsin, 1985; Brattleborough Museum Art Center, 2002; Circulo de Bellas Artes, Madrid, 2004; Museum of Gdansk, 2009 and Bahrain National Museum, 2010. Her paintings were included in the ART in Embassies US program in Togo, West Africa 2000 and in Manama, Bahrain, 2010. Gunderson’s work was exhibited in Belgium in 2016, curated by Barbara Rose.
Beginning in the 1980s, Gunderson developed her own style and language of painting in which she applies black oil paint with innovative brush strokes. She uses five different hues of black and by scoring the surface to create impasto she manipulates the reflections of light to generates extraordinary effects - in her sea paintings, for example, the viewer experiences an illusion of movement in the waves and clouds as they walk around the canvas. One could accurately describe her medium as ‘light on oil paint on canvas’.
“In essence Gunderson directs the reflection of light, controlling the physics of illumination and transforming the painting’s shimmer of glistening black, creating the image out of pure light.”
- Mark Daniel Cohen.
One of the most innovative artists associated with Abstract Expressionism, Bluhm’s work fell into relative obscurity over the past two decades. Two major reasons are his multifaceted style, which has made his work difficult to categorise, and the fact that a leading dealer did not champion him during his lifetime. But attention to his work is gaining much momentum, with major exhibitions taking place recent years. The quality of Bluhm’s work certainly deserves much greater recognition, and, in our opinion, his paintings are undervalued compared to his contemporaries and friends.
In a career spanning six decades, Bluhm essentially produced four bodies of work, from his Surrealist-inspired figurative paintings of the 1940s to his large-scale, almost diagrammatic paintings of the 1990s. During 1959 -1963 he embraced an open and gestural style that resonated with the New York School, but remained resolutely his own. It was also at this time that Bluhm started showing at Leo Castelli Gallery, launching his career in earnest.
At the age of 16 Bluhm became Mies van der Rohe’s youngest student at the Armour Institute of Technology, where he studied Bauhaus architecture. Following the Japanese attack on Pearl Harbour, at the age of 20 he enlisted in the army as a bomber pilot, flying in 44 missions until he was sent home severely wounded. WWII profoundly affected Bluhm, as it did many artists of his generation. He did not return to his architectural training and instead went to study art in Paris, with aid from the GI Bill, where he was instantly integrated into the dynamic artistic scene, sharing a studio with Sam Francis and meeting figures such as Giacometti, Cocteau and Riopelle. Bluhm became very close with Matisse's son-in-law, Georges Duthuit, and it was his wife, Matisse's daughter Marguerite, who purchased Bluhm's first paintings in Paris.
Following a divorce, Bluhm returned to the United States in 1956, fatefully the year of Pollock's death, which was also the year of the seminal Jackson Pollock memorial retrospective at MOMA. This exhibition undoubtedly had a great impact on Bluhm, who went on to frequently spend time at the Cedar Tavern with artists who were establishing the New York School. Upon his relocation to America, Bluhm rejected the aesthetic of the École de Paris altogether and instead devoted himself exclusively to De Kooning and Pollock as his main sources of inspiration. Like Sam Francis and Pollock, Bluhm championed the all-over technique of painting, conveying vigorous painterly rhythms in his work through gestural abstraction.
Given his originality and prominent position amongst the second generation of Abstract Expressionist painters, Bluhm’s paintings are still a relative bargain. His works from the late 1950s and early 1960s command the highest prices at auction; indeed, his top prices of $1.14m and $722,000 were achieved by two works from 1959 and the fourteen prices that follow were for works painted before 1964.
Bluhm’s work can be found in numerous major public collections, including the Metropolitan Museum of Art, Smithsonian American Art Museum, Hirshhorn Museum and Sculpture Garden, Harvard University Art Museums, Cleveland Museum of Art, Addison Gallery of American Art and Ball State Museum of Art in Indiana. Galerie Stadler held solo exhibitions of Bluhm's work in 1968, 1970, 1972, 1982 and 1988.