#max neumann

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Max Neumann (German, b. 1949), Untitled, November, 2013, 2013. Acrylic and charcoal on canvas, 200.7 × 149.9 cm

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"UNTITLED (NOVEMBER)" MAX NEUMANN // 2013 [oil and acrylic on canvas | 63 × 47"]

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Helen Lundeberg, “Interior with Two Paintings”, 1982, acrylic on canvas

Room with sculpture by Chakaia Booker, “The Privilege of Eating”, 2012, rubber tires, wood, shovel

Max Neumann, “Untitled”, 1986, oil on linen

Liza Lou, “Dog”, 2002, glass beads on fiberglass and plaster

Ori Gersht, “Against the Tide, Diptych Monks”, 2010, archival pigment print on aluminum

There’s a lot of exceptional work on view for A Shadow Set Free, the group exhibition at Palm Springs Art Museum. Above are a few of the standouts, as well as one of two walls on which numerous works are grouped together.

From the museum about the exhibition and its theme-

A Shadow Set Free presents a selection of sculpture, photography, painting, drawings and prints from roughly the last 100 years. Though very different in style, subject matter and historical context, the works are united in their ability to evoke a sense of memory and convey an otherworldly aura.

The artists forgo an interest in the bright light of objective reality in favor of creating dream worlds, maintaining a rootedness in everyday reality while remaining free from specific histories. Together they demonstrate the various ways that modern and contemporary art imbues the familiar, external world with a spirit of subjectivity.

This exhibition closes 8/4/24.

[dogandcatcomics]

Attribution: Max Neumann (Germany, 1949-). Dog related art spotted at @ma_idf Maison de l'architecture Ile de France (Couvent des récollets) in Paris 10e, France. Tout homme craint les temps, le temps craint la pyramide (Cheops). 1992. @galerievidalbertoux

maxneumann.com

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Max Neumann - Untitled. 1993

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"How many lives go into a life?" Leaving by Cees Nooteboom, Drawings by Max Neumann

How many lives go into a life? Leaving by Cees Nooteboom, with drawing by Max Neumann @seagullbooks

A man standing in a winter garden becomes aware of something not quite right—a cloud that seems too heavy, bare branches against an ancient wall, the refusal of neighbouring geese—an unspoken uneasiness that carries his thoughts back to the war: The war that never stopped coming back, a guest who’s known to all, a toothless kiss, the language of intimate betrayal around him now again, remembering…

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[elegant-artist]

© Max Neumann - sans titre (2018)