Exhibitor listing

ARCHEUS / POST-MODERN

ARCHEUS / POST-MODERN
By Appointment
London,
United Kingdom
T  +1 (212) 652 1665
M   +44 7979 695079
F  +44 1225 482191
art@archeus.com
www.archeus.com

E-mail address : art@archeus.com
Website :http://www.archeus.com

ABOUT

  • Brian Balfour-Oatts Director

  • Alastair Brake Director

Exhibitor's Artists:

  • Anni Albers

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  • Josef Albers

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  • Carl Andre

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  • Marina Apollonio  (+)

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  • Ruth Asawa

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  • John Baldessari

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  • Louise Bourgeois

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  • Enrico Castellani

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  • Lynn Chadwick  (+)

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  • Eduardo Chillida

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  • Dadamaino

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  • Saskia De Tollenaere

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  • Marcel Duchamp

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  • Sam Francis  (+)

  • Helen Frankenthaler  (+)

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  • Lucian Freud

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  • Eric Gadsby

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  • Ron Gorchov

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  • Barkley Hendricks

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  • David Hockney  (+)

    Biography : David Hockney is considered one of the most influential British artists of the twentieth century, and was a key member of the Pop art movement of the 1960s. Born in Bradford, Yorkshire, he studied at the Royal College of Art. He was featured in the exhibition Young Contemporaries with Peter Blake, and was almost instantly successful as an artist. In 1963 Hockney visited New York where he met Andy Warhol. He subsequently settled in California, and was inspired to make a series of paintings of swimming pools in Los Angeles, in the comparatively new medium of acrylic. A Bigger Splash, from this series is in the permanent collection of the Tate Gallery. In 1967 his painting, Peter Getting Out Of Nick's Pool, won the John Moores Painting Prize at the Walker Art Gallery in Liverpool. Hockney has also worked with photography, or, more precisely, photocollage. Using varying numbers of Polaroid snaps or photolab-prints of a single subject he combined them to make a composite image. Hockney created these photomontage works mostly between 1970 and 1986. He referred to them as "joiners". These works show the movements of the subject seen from the photographer's perspective. In later works Hockney changed his technique and moved the camera around the subject instead. Hockney has always embraced new media and technology, using xerox machines and more recently iPhones and iPads to create works. In October 2006 the National Portrait Gallery in London held one of the largest ever displays of Hockney's portraiture work, including 150 of his paintings, drawings, prints, sketchbooks and photocollages from over five decades. Hockney himself assisted in displaying the works, and the exhibition proved to be one of the most successful in the gallery's history. In June 2007, Hockney's largest painting Bigger Trees Near Warter which measures 15x40' and was painted on 50 individual canvases, was included in the Royal Academy Summer Exhibition. In 2008, he donated this work to the Tate Gall

    Artist's Objects:

    • David Hockney - Dog Etching No. 12, from Dog Wall

      Dog Etching No. 12, from Dog Wall

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  • Jasper Johns  (+)

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  • Anish Kapoor

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  • Julije Knifer

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  • Barbara Kruger  (+)

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  • Julio le Parc

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  • Jason Martin  (+)

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  • François Morellet

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  • Richard Prince

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  • Robert Rauschenberg  (+)

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  • Bridget Riley

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  • Ed Ruscha  (+)

    Biography : Ed Ruscha is an American painter, printmaker and photographer, living and working in Los Angeles. Ruscha first came to prominence there in the late 1950s with small collages that he made which were influenced by those of Jasper Johns and Robert Rauschenberg. Soon he began to refine his collages, isolating and recombining words and images in increasingly subtle and unique ways. Words, in paintings, are often very awkward things to incorporate harmoniously and there are very few artists, notably Picasso in his cubist works, who have succeeded happily. By making single words and phrases the subject of his work, Ruscha mastered his intentions. Because he drew upon sources from the real world and the imagery of commercial culture, Ruscha's work is associated with Pop art. In 1962 Ruscha's work was included, along with Roy Lichtenstein, Andy Warhol, Robert Dowd, Phillip Hefferton, Joe Goode, Jim Dine, and Wayne Thiebaud, in the historically important and ground-breaking New Painting of Common Objects, curated by Walter Hopps at the Pasadena Art Museum. This exhibition is historically considered one of the first Pop art exhibitions in America. Ruscha had his first solo exhibition in 1963 at the Ferus Gallery in Los Angeles. In 1966, Ruscha was included in Los Angeles Now at the Robert Fraser Gallery in London, his first European exhibition. Ruscha joined the influential Leo Castelli Gallery in New York in 1970 and had his first solo exhibition there in 1973. Also in 1970 Ruscha represented the United States at the Venice Biennale as part of a survey of American printmaking with an on-site workshop. He constructed Chocolate Room, a visual and sensory experience where the visitor saw 360 pieces of paper permeated with chocolate and hung on the gallery walls. The pavilion in Venice smelled like a chocolate factory. He had begun to use unconventional materials in his graphic work of that period: he drew with gunpowder and painted and printed with foodstuffs and with

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  • Jesús Rafael Soto  (+)

    Artist's Objects:

    • Jesús Rafael  Soto - Tige Vibrante

      Tige Vibrante

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  • Pierre Soulages  (+)

    Biography : Pierre Soulages is the last, great, living painter to have been involved at the beginning of Art Informel, the post-war movement which encompassed Tachisme, Abstraction Lyrique, Gutai and CoBrA, that was the European concurrent of Abstract Expressionism and which favoured abandonment of any premeditated approach. Born in 1919, in Rodez, France, where a museum devoted to his work will open this year, Soulages became known as “the painter of black”. By 1946, having rejected formal art training before the war, Soulages established a studio in Paris and exhibited at the Salon des Indépendants in 1947, having his first solo exhibition at the Galerie Lydia Conti in 1949. The paucity of colour in his work set him apart from his contemporaries and established him quickly as an intellectual leader of the Jeune École de Paris, but his rejection of a total abandonment of formality soon set him at odds with the principles of the Informelistes and since the early 1950s, Soulages has defied classification. A looser style of brushwork increasingly defined his method throughout the 1950s, and a fascination with the surface reflection of, and contrasts within, pure tones of black began to steer his exploration as an artist. A visit to Japan in 1958 cemented his interest in painted large-scale calligraphy, and this influence is clearly visible for prolonged periods throughout the 1960s and 1970s. Soulages was regularly included in the influential Documenta exhibitions and his first major travelling retrospective took place in Hanover, Essen and The Hague during 1960 and 1961. Soulages’ fascination with black, the tone with which he had come almost exclusively to mark his canvases, became a practical obsession in 1979 with the creation of his first outrenoir (beyond black) paintings. With outrenoir, black became the starting point of a painting, the canvas itself, upon which he would perform dynamic actions with the brush or palette-knife. In this way, through scoring

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  • Pat Steir

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  • Victor Vasarely  (+)

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  • Bernar Venet  (+)

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  • Andy Warhol  (+)

  • Jonas Wood

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  • Christopher Wool  (+)

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Other Artists represented by the Gallery:


Contented Green -

Contented Green

Oil on Masonite
1948-1955
Size: 22 x 26 in : 55.8 x 66.0 cm

Inscriptions: Signed with the artist's monogram and dated lower right; Signed, titled, dated and extensively inscribed on the reverse.
Provenance: Sidney Janis Gallery, New York; Galerie Denise René, Paris; Acquired from the afore by the previous owner in 1980.
Literature/Certification: This work will be included in the forthcoming catalogue raisonné currently being prepared by the Josef and Anni Albers Foundation, under no. JAAF 1948.1.8

Portraits of the Artists -

Andy Warhol

Portraits of the Artists

from Ten for Leo Castelli

One hundred screenprinted polystyrene boxes in ten colours

1967
20 x 20 in : 50.8 x 50.8 cm overall (each box: 2 x 2 in)
From the edition of 25, lettered A-Y, aside from the numbered edition of 200
Inscriptions: the bottom right box incised with the artist's signature and lettered "D"
Printer: Tanglewood Press, Inc., New York
Literature: Feldman & Shelmann (F&S) II 17

AP XL -

AP XL

Acrylic on canvas

2003-4
39 3/8 x 39 3/8 in : 100.0 x 100.0 cm
Signed and dated on the reverse; Further titled and dated on the stretcher
Exhibited: Mitchell-Innes & Nash, New York, JULIJE KNIFER, Feb 6 - Mar 15, 2014

Dog Etching No. 12, from Dog Wall - David Hockney

David Hockney

Dog Etching No. 12, from Dog Wall

Etching, on Somerset paper, with full margins

1998
Sheet: 22 1/4 x 29 3/4 in: 56.5 x 75.6 cm
Publisher: Pace Editions, Inc., New York

Tige Vibrante - Jesús Rafael  Soto

Jesús Rafael Soto

Tige Vibrante

Wooden multiple with oil and silkscreen, metal and nylon thread

1967
From the edition of 100, signed by the artist in ink on a numbered label accompanying the work
20 1/4 x 9 1/2 x 1 1/4 in : 51.4 x 24.3 x 3.3 cm
Publisher: Édition Denise René, Paris
Provenance: Purchased directly from Galerie Denise René, Paris by the previous owners

Untitled [Chicago Eight]

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Bridget Riley

Untitled [Chicago Eight]

also known as Untitled (Chicago Seven)
Screenprint in colours
1971
Sheet: 24 x 18 1/8 in : 61.0 x 46.0 cm
Image: 20 3/8 x 15 1/16 in : 51.7 x 38.3 cm
Edition: From the edition of 150, signed and numbered by the artist

Printer: Kelpra Studio, London
Notes: The entire edition was donated by the artist to help fund the Chicago Eight defendants. As the case was dropped for one of the original defendants in the trial, the print is sometimes referred to as Untitled (Chicago Seven)
Literature: Schubert 15