Joachim Bandau – Black Watercolors

Joachim Bandau / P1130453 / 2014 / watercolor on paper / 30 x 22 inches (77.4 cm x 56.76 cm)

Joachim Bandau / P1130465 / 2014 / watercolor on paper / 30 x 22 inches (77.4 cm x 56.76 cm)

Joachim Bandau / P1130455 / 2014 / watercolor on paper / 30 x 22 inches (77.4 cm x 56.76 cm)

Joachim Bandau / P1130468 / 2014 / watercolor on paper / 30 x 22 inches (77.4 cm x 56.76 cm)

Joachim Bandau / P1130459 / 2014 / watercolor on paper / 30 x 22 inches (77.4 cm x 56.76 cm)

Joachim Bandau / P1130464 / 2014 / watercolor on paper / 30 x 22 inches (77.4 cm x 56.76 cm)

Joachim Bandau / P1130467 / 2014 / watercolor on paper / 30 x 22 inches (77.4 cm x 56.76 cm)

Joachim Bandau / P1130449 / 2014 / watercolor on paper / 30 x 22 inches (77.4 cm x 56.76 cm)

Joachim Bandau / SP8 / 2014 / watercolor on paper / 30 x 22 inches (77.4 cm x 56.76 cm)

Press Release

Exhibition Dates: February 17 – March 31, 2018
Joachim Bandau – Black Watercolors
Reception: Saturday, February 17,  3 – 6 pm

PATRICIA SWEETOW GALLERY looks forward to the sixth one-person exhibition of Joachim Bandau, Black Watercolors.  The exhibition opens Saturday, February 17th with a reception from 3 – 6pm, and closes March 31st. 

Joachim Bandau began painting black watercolors in 1983. The paintings embody the political, aesthetic and spiritual discourse of his 50-year career. Nuanced in technique and posture, Bandau’s watercolors require a lithe balance; conversely the repetitive hatched drawings of his earlier years were scarred with the memories and gravitas of the Third Reich.

Using only black pigments, Bandau starts a series of paintings with a herculean session lasting many hours, brushing layer by layer, light to dark and edge to edge. Because the paintings dry between each application of pigment, the rhythmic accretion of layers takes months, if not years to resolve. Kenneth Baker, writing for the San Francisco Chronicle, said of Bandau, “No one unfamiliar with watercolor should underestimate the feats of control that pieces such as this record. Just the right decisions regarding tools, materials and timing have to be sustained to achieve the look of effortless perfection Bandau gets.”

Whereas the technical acuity of achieving each painting is remarkable, it’s the unique visual experience that resonates. Dr. Katja Blomberg, a Berlin based art critic wrote, “Bandau stands by himself. As a sculptor he recreates shadows, objects, walls, rooms, floors, windows, gray on gray, with transparence and peace, as though from the distance of a remote state of consciousness.”

Joachim Bandau (b.1936) belongs to a protean group of German artists, along with Gerhard Richter, Joseph Beuys, and Imi Knoebel, who came out of the Kunstakademie Düsseldorf in 1961. Groundbreaking his exploration of form, in the late 70s, Bandau literally moved sculpture from above ground to underground. As with Carl Andre’s development of the floor sculpture, and Bruce Naumann’s concrete casting of the empty space under his chair, this new art form “Bodenskulptur”, Floor Sculpture, provided Bandau with an independent and important position.

For his participation in documenta 6, 1977, Bandau specified “Automobiles” (built by Mercedes Benz). Towering shapes in different human postures required a human “driver” who entered the sculpture only to be encased in a steel cocoon.  When the door shut the occupant had visibility through a small horizontal window. As the automobile began moving there were no controls available to the occupant. The structures crashed into each other, then reversed their path until the next collision. They were bumper cars loaded with the symbolism of camp deportations and the reengineering of Post WWII Germany.

In the 1980s Bandau expanded the scope of his sculpture into a lead sea, or lead field, that today are in the Ludwig Museum collections of Cologne and Aachen. Again, the hatched graphite drawings of previous decades recede and the black watercolors known today come forward. He continued to explore and define sculpture in many future exhibitions, including “Inside-Outside. An Aspect of Contemporary Sculpture”, at the M HKA in Antwerp in 1987. 

Joachim Bandau lives and works in Germany. He’s represented in over 45 museum collections including the Kunstmuseum Basel; Museum Ludwig, Cologne; Kunstmuseum Nürnberg; Jewish Museum, Berlin; Suermondt-Ludwig-Museum Aachen; Zeppelin Museum, Friedrichshafen; and the Achenbach Collection of the Fine Arts Museums of San Francisco, with over 20 public installations throughout Europe. Bandau’s work can be viewed at Art Basel, Art Cologne, Art HK12 Hongkong, along with other international art fairs.

Artist Page

Toshiaki Noda

Toshiaki Noda / Upcoming February 17th / Installation view Tomio Koyama Gallery

Toshiaki Noda / Untitled / 2017 / ceramic / 10 x 13 x 11.5 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 8.5 x 10.5 x 10 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 8 x 8 x 7.5 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 12 x 8 x 8 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 11.5 x 5 x 4 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 6.5 x 9 x 8.5 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 15 x 9.5 x 9 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 4.5 x 4 x 4 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 5 x 6 x 5.5 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 4 x 7 x 7 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 10 x 6 x 5.5 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 6.5 x 14 x 8 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 5 x 7 x 5 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 7 x 10 x 9 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 7.5 x 5 x 5 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 5 x 5 x 4 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 5 x 5.5 x 5 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 4.5 x 5.5 x 5.5 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 5 x 5 x 4 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 5 x 3.5 x 4 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 6 x 6.5 x 2 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 13 x 9 x 8.5 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 9.5 x 13.5 x 11.5 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 14 x 11 x 10 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 7 x 8.5 x 8 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 8 x 13.5 x 5.5 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 13 x 12 x 11 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 13 x 10 x 9.5 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 5 x 6 x 5 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 5 x 7 x 5 inches

Toshiaki Noda / Untitled / 2017 / ceramic / 9.5 x 7 x 6.5 inches

Press Release

Exhibition Dates: February 17 – March 31, 2018
Toshiaki Noda: Ceramic Sculpture
Reception: Saturday, February 17,  3 – 6 pm

Event: Saturday, March 3rd at 3pm. Living With Ceramics with Jeffrey Spahn and Chris Weiss. 

Jeffrey Spahn is a specialist in ceramic art and 20th century sculpture, with a focus on 20th century American, British and Japanese studio ceramics. With over 20 years’ experience in the field, Jeffrey has worked with museums, universities and private collections nationally and internationally.

Chris Weiss is the co-founder of MRCW Design/Build, with Monica Reskala. Chris received a BA in Architecture from UC Berkeley College of Environmental Design. Chris specializes in traditional Japanese joinery of timber frame homes. He was Lead Carpenter and Project Manager for the construction of Larry Ellison’s residential compound in Woodside, CA. PSG is  collaborating with MRCW, who is providing a unique solution for the presentation of Toshiaki Noda’s ceramics.

PSG looks forward to the exhibition of Toshiaki Noda, Ceramic Sculpture, opening Saturday, February 17th, with a reception for the artist from 3 – 6pm. His work will be exhibited with the Black Watercolors of Joachim Bandau. The exhibition concludes March 31st.

Toshiaki Noda was born in Arita, Saga Prefecture, Japan, a region noted for its remarkable porcelain ceramics dating back to the 1600s. His parents are ceramic dealers in this treasured craft, where Toshiaki lived in an incomparable aesthetic culture influencing his studio practice today. He studied printmaking at California State University, Long Beach where he received a BFA in 2008. His printmaking education combined with his aesthetic and technical training in Japan lends a unique vision to his ceramic practice.

Unlike the smooth, consistent surface of the treasured Imari wares, Toshiaki uses the plasticity of clay to push boundaries of form, and the alchemy of glaze to explore texture. Noda discards traditions, instead expresses temporal degradation, a throwaway culture through tears, cracks, crust – a sculptural manifestation of waste. With spontaneity and curiosity as his guide, his sculptural planes contort with tension. In his first exhibition at PSG we’ve combined several series of ceramics that have textural and structural adulteration tying the works together in a unique visual field. 

In 2017 Toshiaki Noda was selected from 2,744 applicants for The New York Foundation for the Arts Artist Fellowship in Sculpture. Noda lives and works in New York, where he was employed as a studio assistant for Jeff Koons for several years. Recent exhibitions include Tomio Koyama Gallery in Tokyo as well as exhibitions in Milan and New York.

 

Artist Page