Niki de Saint Phalle. Tableaux Éclatés on View at Salon 94

 

 

 

Niki de Saint Phalle, Ganesh II, 1992, Paint, synthetic resin, wood, metal, plastic, electric motors and electronic components on wood. 51 1/5 x 35 2/5 inches (130 x 89.9 cm) (NdSP 230). Image courtesy of the artist and Salon 94, New York. © Niki de Saint Phalle. Photo: Matthew Praley.

Salon 94 opened its doors to the second solo exhibition of French-American artist Niki de Saint Phalle, featuring five works of her late-career Tableaux Éclatés, the series first exhibited in her retrospective at the Musée d’Art Moderne de Paris in 1993. The dynamic Tableaux Éclatés (“Burst Paintings”) are vibrant, mechanized pictures depicting landscapes upon which animals and still lifes, as well as her trademark Nanas, dance across beaches, deserts, and seas. Each painting’s composition is animated through an intricate motorized armature activated through a photo sensor: when the artwork recognizes a viewer, internal motors trigger motion of the work’s disparate elements or illuminate the scene with brilliant electric bulbs.

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Salon 94 Unveils the Exhibition ‘Desert + Coast: Seven Elder Aboriginal Painters’

 

 

 

Installation view, Desert + Coast: Seven Elder Aboriginal Painters, 2024. The Wood Room, Nongirrna Marawili. Courtesy of the artist and Salon 94. Photo: Elisabeth Bernstein

Spanning Salon 94’s landmark 3 East 89th Street building, Desert + Coast: Seven Elder Aboriginal Painters presents works by seven renowned senior women artists from Australia. From the deserts, Pitjantjatjara women Betty Muffler and Maringka Burton work from—and heal—the arid, sun-scorched Aṉangu Pitjantjatjara Yankuntjatjarra (APY) Lands, while Pintupi artists Mantua Nangala and Yukultji Napangati paint stories belonging to women in the remote communities where they live and work. By contrast, the rich traditions and coastal landscapes of northern Arnhem Land are reflected in the colorful, expressive paintings of Yolŋu artists Dhambit Munuŋgurr and Noŋgirrŋa Marawili on eucalyptus bark and board, while Kaiadilt artist Mirdidingkingathi Juwarnda Sally Gabori feverishly painted her relationship to her traditional home of Bentinck Island in an unprecedented outburst of creative energy and aesthetic reconfiguration.

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‘Karon Davis: Beauty Must Suffer’ on view at Salon 94

 

 

 

Karon Davis, Beauty Must Suffer Installation View. Image courtesy: Photo by Elisabeth Bernstein. Courtesy of the artist and Salon 94.

Currently on view at Salon 94, Karon Davis: Beauty Must Suffer, an exquisite exhibition tracing the life and labor of Black dancers, from the first encounter with the barre to the final bow.  The exhibition will be on view to December 23, 2023, coinciding with The High Line commission, Curtain Call, on view at 23rd Street.

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‘César: Sacred Anarchy’ on View at Salon 94

 

 

 

Installation view, César, Sacred Anarchy, 2021 Courtesy of the Fondation César and Salon 94, New York. Photo: Farzad Owrang

Iconic and iconoclastic. Prolific and destructive. Reverential and rebellious. “Loved and detested,” according to his obituary in Le Monde, the French newspaper. What distinguishes César (1921-1998) from other giants of postwar art is the dichotomous, dangerous dynamism of his oeuvre. Within his sculptures, there are antithetical forces at work ~ pushing and pulling against the modern tradition, the French cultural establishment, and the nascent mass consumerism of his time. A founding member of the 20th-century Nouveau Réalisme movement, César looms large in the art canon. His masterpieces remain ever relevant, offering fresh perspectives.

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