Dennis Hopper

Wilhold Up the Mirror Photograph and Mixed Media Assemblage Wall Hanging Artwork

1961

Dennis Hopper, (American, 1936-2010) Mixed media sculpture "Outmolding Older Concepts (Wilhold Up the Mirror)", 1961, photo and assemblage, Ace gallery and Easy Rider Production labels verso 27"h x 40"w x 5"d. There is broken mirror glued into the wooden collage box with the ceramic head that is attached to the front. I assume that is how it was made. Provenance: Estate of Pentti Kouri, NYC; Ace Gallery, Los Angeles; Exhibited MOCA, Los Angeles, 2010 From a 1997 interview with Hopper where he references this piece "Right now it's very intense. I had a show that travelled Germany, about 15 different museums. Sunday we go to Denmark; I'm showing the early assemblage I did in 1961 which was the signal for conceptual art. I'm just two days there, then I'm going to Venice to meet Julian Schnabel - Count Volpe's given us a place to paint in Giudecca. Then I'm going to Documenta in Germany to hang another show, then I go back to LA on the 21st and start a film on the 23rd." Notes/Literature: Dr. Pentti Kouri(1949-2009) was a Finnish economist and venture capitalist with partner George Soros. He built his prestigious art collection with the goal of opening a private art foundation focused on his interests in Minimalism, Arte Povera, Conceptual and Text-based art. He was a member of the Board of Trustees of Dia Art Foundation, and on the boards of Tate, London and the Guggenheim Museum, New York. In addition, a portion of his collection forms the core of the Kiasma Museum of Contemporary Art in Helsinki, Finland Hopper made his film debut alongside James Dean in 1955's Rebel Without a Cause. Both lost souls from dysfunctional households, they gravitated to each other, smoked dope and took joy rides. When Dean died, Hopper saw himself as the natural inheritor of his rebellious mantle and, revelling in his nickname of "Dennis the Menace", gave it to Hollywood with both barrels; so they dropped him. Dennis didn't make another Hollywood movie for seven years. Frustrated by the deliberate stifling of his film career, Dennis turned to art and photography for creative stimulus, beginning with abstract subjects such as landscapes. His cutting-edge conceptual art became established round the world, with exhibitions in major cities. At home in the dining room stood one particularly interesting work, a white plastic box, eight feet long, that had an aluminium shaft sticking out of it, and two very large balls. It was called The Perpetual Erection Machine. Before Tracy Emin and Damien Hirst, there was Dennis. In 1961, Hopper took part in an international photography competition in Australia with a contribution of five abstract photos, which he called Pieces. He won first place. Soon after, Hopper married Hayward, daughter of the film producer Leland Hayward, whose credits include The Sound of Music and South Pacific. The wedding party of Hopper and Hayward was held in August at the apartment of actress Jane Fonda, a childhood friend of Hayward, who introduced Hopper to her younger brother Peter Fonda. Their daughter Marin was born in 1961, and they moved to Bel Air, California. Soon afterward the famous Bel Air fire destroyed their home, including approximately three-hundred Abstract Expressionist works and hundreds of pages of poetry that Hopper had begun in the mid-1950s. Hopper and his actor friends Dean Stockwell and Russ Tamblyn were close to many artists in California, especially assemblage artists Edward Kienholz...

Igor Vishnyakov is a Russian Postwar & Contemporary artist who was born in 1968 in Moscow. Igor spent his childhood in Africa and Southeast Asia. After returning to Moscow in the mid-80’s he started painting and photographing key figures of the Russian avant-garde movement, and began to widely exhibit his work. In his youth Vishnyakov became a significant figure in the Moscow and St. Petersburg art community. He became a permanent member of the New Academy of Fine Arts soon after it was founded by Timur Novikov in 1989. He was first made aware of alternate photographic printing processes while studying in the New Academy. Amongst other photographers such as Novikov, Egelskiy, Alexandrov, Ostrov and other Academy members, Vishnyakov was engaged in reviving precious photo printing techniques widely spread in the XIX century, such as gum arabic pigment print, bromoils, calotypes, chirotypes, carbon process, Savrasov and Sery methods and many others. In 1990 Vishnyakov moved to New York to establish himself as a reporter and then as a fashion photographer and soon got his work published in a dozen of American and European magazines. Soon after, he continued his art education in the New York studio of a French painter, Emmanuel Flipo. Although living as an emigrant, Vishnyakov retained his connections with the Russian art world, especially with the New Academy, and participated in a number of group exhibitions. In 1997 he joined the movement that gathered neo-academics from Moscow and St. Petersburg. His very own established technique is mixed media, combining classical photography, gum arabic pigment printing, tempera painting and printing. The smallest details, such as the peculiarities and nuances of applying an emulsion, with the pressure of brush strokes, or paper texture, give a strange, mystic significance, to his whole work. Photographic details show through and then dissolve in the layers of paint, leaving the image slightly unexposed and the philosophical background unrevealed, impelling the viewer to come back over and over again. Vishnyakov’s work has a feeling of ephemerality, conveying a sense of never being truly finished, leaving the viewer in a truly meditative state. In his never ending reconnaissance of an ideal image of beauty, Vishnyakov is inspired by esoteric and Oriental spiritual practices. Everything finds a place in his art, whether it is Tao doctrine of five elements, symbols of Tarot’s Major Arcana, majestic temples of ancient India or plain netsuke figures. Whatever it is, his major principle is harmony, both inner and outward, spiritual and visual. Vishnyakov also teaches photography in America and Japan, practices kung fu and remains a Shaolin monk’s novice, a practice he has been doing for eleven years. At present he is living between New York and Moscow with his muse, the Russian supermodel, and talented painter, Sasha Pivovarova. SELECTED GROUP SHOWS Beauty of the Beast, Mimi Ferzt Gallery New York Mystical Neo-Realism, Barbarian Art Gallery Passion Bild. Bern Kunstmuseum Bern MIR Faberge, Royal Academy of Arts, London Russian House photography...

Igor Vishnyakov is a Russian Postwar & Contemporary artist who was born in 1968 in Moscow. Igor spent his childhood in Africa and Southeast Asia. After returning to Moscow in the mid-80’s he started painting and photographing key figures of the Russian avant-garde movement, and began to widely exhibit his work. In his youth Vishnyakov became a significant figure in the Moscow and St. Petersburg art community. He became a permanent member of the New Academy of Fine Arts soon after it was founded by Timur Novikov in 1989. He was first made aware of alternate photographic printing processes while studying in the New Academy. Amongst other photographers such as Novikov, Egelskiy, Alexandrov, Ostrov and other Academy members, Vishnyakov was engaged in reviving precious photo printing techniques widely spread in the XIX century, such as gum arabic pigment print, bromoils, calotypes, chirotypes, carbon process, Savrasov and Sery methods and many others. In 1990 Vishnyakov moved to New York to establish himself as a reporter and then as a fashion photographer and soon got his work published in a dozen of American and European magazines. Soon after, he continued his art education in the New York studio of a French painter, Emmanuel Flipo. Although living as an emigrant, Vishnyakov retained his connections with the Russian art world, especially with the New Academy, and participated in a number of group exhibitions. In 1997 he joined the movement that gathered neo-academics from Moscow and St. Petersburg. His very own established technique is mixed media, combining classical photography, gum arabic pigment printing, tempera painting and printing. The smallest details, such as the peculiarities and nuances of applying an emulsion, with the pressure of brush strokes, or paper texture, give a strange, mystic significance, to his whole work. Photographic details show through and then dissolve in the layers of paint, leaving the image slightly unexposed and the philosophical background unrevealed, impelling the viewer to come back over and over again. Vishnyakov’s work has a feeling of ephemerality, conveying a sense of never being truly finished, leaving the viewer in a truly meditative state. In his never ending reconnaissance of an ideal image of beauty, Vishnyakov is inspired by esoteric and Oriental spiritual practices. Everything finds a place in his art, whether it is the Asian Tao doctrine of five elements, symbols of Tarot’s Major Arcana, majestic temples of ancient India, nude figures or plain netsuke figures. Whatever it is, his major principle is harmony, both inner and outward, spiritual and visual. Vishnyakov also teaches photography in America and Japan, practices kung fu and remains a Shaolin monk’s novice, a practice he has been doing for eleven years. At present he is living between New York and Moscow with his muse, the Russian supermodel, and talented painter, Sasha Pivovarova. SELECTED GROUP SHOWS Beauty of the Beast, Mimi Ferzt Gallery New York Mystical Neo-Realism, Barbarian Art Gallery Passion Bild. Bern Kunstmuseum Bern MIR Faberge, Royal Academy of Arts, London Russian House...

Sorry for the reflection on the plexi. In the early 1980s, the Polaroid Foundation invited Hungarian-born painter and photographer György Kepes (1906-2001) to use the 20x24 Polaroid camera. The resulting carefully staged compositions summarize many of his artistic concerns, employing such objects as prisms, flowers, and graphic papers to manipulate the effects of light and form. György Kepes 1906-2001 was a Hungarian-born painter, photographer, designer, educator, and art theorist. After emigrating to the U.S. in 1937, he taught design at the New Bauhaus (later the School of Design, then Institute of Design, then Illinois Institute of Design or IIT) in Chicago. In 1967 He founded the Center for Advanced Visual Studies at the Massachusetts Institute of Technology (MIT) where he taught until his retirement in 1974. Kepes was born in Selyp, Hungary. His younger brother was Imre Kepes, ambassador in Argentina, father of András Kepes journalist, documentary filmmaker and author. At age 18, he enrolled at the Royal Academy of Fine Arts in Budapest, where he studied for four years with Istvan Csok, a Hungarian impressionist painter. In the same period, he was also influenced by the socialist avant-garde poet and painter Lajos Kassak. Kepes gave up painting temporarily and turned instead to filmmaking. In 1930, he settled in Berlin, where he worked as a publication, exhibition and stage designer. Around this time, he designed the dust jacket for Gestalt psychologist Rudolf Arnheim's famous book, Film als Kunst (Film as Art), one of the first published books on film theory. In Berlin, he was also invited to join the design studio of Laszlo Moholy-Nagy, the Hungarian photographer who had taught at the Dessau Bauhaus. When, in 1936, Moholy relocated his design studio to London, Kepes joined him there as well. Kepes was lured to Brooklyn College by Russian-born architect Serge Chermayeff, who had been appointed chair of the Art Department in 1942. There he taught graphic artists such as Saul Bass. In 1944, he published Language of Vision, an influential book about design and design education. In part, the book was important because it predated three other influential texts on the same subject: Paul Rand, Thoughts on Design (1946), László Moholy-Nagy, Vision in Motion (1947), and Rudolf Arnheim, Art and Visual Perception (1954). In 1947, Kepes accepted an invitation from the School of Architecture and Planning at MIT to initiate a program there in visual design, a division that later became the Center for Advanced Visual Studies (c1968). Some of the Center's early fellows included artists Otto Piene, Vassilakis Takis, Jack Burnham, Wen-Ying Tsai, Stan Vanderbeek, Maryanne Amacher, Joan Brigham, Lowry Burgess, Peter Campus, Muriel Cooper, Douglas Davis, Susan Gamble, Dieter Jung, Piotr Kowalski, Charlotte Moorman, Antoni Muntadas, Yvonne Rainer, Keiko Prince, Alan Sonfist, Aldo Tambellini, Joe Davis, Bill Seaman, Tamiko Thiel, Alejandro Sina, Don Ritter, Luc Courchesne, and Bill Parker...

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