Bringing together a group of outstanding female artists in an innovative and collaborative effort to support the next generation, Sprüth Magers is pleased to announce a benefit exhibition to raise funds for the non-profit organization Artadia.
Through grant-making, community-building and advocacy, Artadia strengthens the invaluable role visual artists play in our society. The exhibition comprises influential contemporary voices across multiple generations, reflecting both the discourse on art, gender and power that is firmly embedded in Sprüth Magers’ history and its enduring support of pioneering female figures. Featured will be works by artists who are all part of the gallery’s dynamic roster, including Thea Djordjadze, Lucy Dodd, Karen Kilimnik, Barbara Kruger, Louise Lawler, Pamela Rosenkranz, Analia Saban and Rosemarie Trockel. All funds raised will go towards the impactful Artadia Awards program.
The show’s artists examine the social, political and cultural environments in which we all live. Karen Kilimnik, one of the most important representatives of figurative painting, sculpture, video and installation in the last four decades, continues to produce work that is as wide-ranging as it is groundbreaking. Indicative of Kilimnik's lush style of painting, the beach and the sea (2022) achieves a feeling of cheeky opulence via bold colors and velvety brushwork. A deep blue horizon marks a border in a deserted setting, with a view of the sky, sand and sea shaded in pastel blues beyond. Kilimnik’s refined use of medium and penchant for fantasy are apparent, as is her playful approach to style and substance.
Barbara Kruger’s 2011 series of text-based editions, which each pose a fundamental philosophical or ethical question, is thus emblematic of the artist’s practice not only visually but also conceptually. Untitled (Are there animals in heaven?) addresses the viewer in stark white letters, outlined in black, atop a vibrant colored and patterned background. As ever, the aim is not to find explicit answers, but rather to encourage reflection upon one’s own reactions to the artist’s bold inquiries. Regardless of politics, religion or worldview, Kruger’s questions challenge viewers to think clearly, critically and emphatically.
Pamela Rosenkranz rose to prominence with a conceptual practice that encompasses sculpture, video, installation and painting. Her work questions the subjective element in the apprehension of an artwork, shifting the viewer’s focus toward the material, biochemical and neurological determinants of human behavior. I Wish I Could Cry Blood (Stare Circle) (2021) demonstrates Rosenkranz’s exploration of our current Internet-driven and image-saturated times. The watermarked stock photo of an eye, coated in thin layers of semi-transparent pink paint—a color Rosenkranz often returns to and that references human tissue—probes into the viewer’s relationship to familiar images, highjacked and branded for commercial purposes. Her monumental sculpture Old Tree, which raises questions about the real and the breakdown of the boundary between nature and artifice, was selected for the third High Line Plinth commission and is to be unveiled later this spring.
The exhibition is underpinned by both organizations’ current and historical steadfast support of artists, many of whom have made or are continuing to make abiding and original contributions to the conversation around contemporary art. Sprüth Magers x Artadia highlights the gallery’s ceaseless commitment to fostering long-lasting careers and its interest in engaging in the communities surrounding its artists, who individually challenge ideas around gender in the world of art and the world at large.