Carolina Nitsch Contemporary Art

from nature – summer group show

from nature – summer group show

New York, NY, USA Wednesday, July 2, 2008Friday, August 8, 2008
ode à la bièvre by louise bourgeois

Louise Bourgeois

Ode à la Bièvre

Price on Request

ode a la bievre - deluxe edition (close up view) by louise bourgeois

Louise Bourgeois

Ode a la Bievre - Deluxe Edition (close up view), 2007

Price on Request

ode a la bievre - deluxe edition by louise bourgeois

Louise Bourgeois

Ode a la Bievre - Deluxe Edition, 2007

Price on Request

cartographic series i by olafur eliasson

Olafur Eliasson

Cartographic Series I, 2000

Price on Request

new wood, old wood by ed ruscha

Ed Ruscha

New Wood, Old Wood, 2007

Price on Request

europa by kiki smith

Kiki Smith

Europa, 2001–2005

Price on Request

rock surface by jeff wall

Jeff Wall

Rock surface, 2006–2007

Price on Request

New York, NY, USA
Wednesday, July 2, 2008Friday, August 8, 2008


534 WEST 22ND STREET NEW YORK NY 10011 TEL 212 645 2030

from nature – summer group show

Ai Weiwei, Louise Bourgeois, Carroll Dunham, Olafur Eliasson, Peter Fischli/David Weiss, Eric Hollender, Carsten Höller, Tony Matelli, Bruce Nauman, Olaf Nicolai, Gerhard Richter, Ed Ruscha, Thomas Schütte, Alyson Shotz, Kiki Smith, and Jeff Wall
July 2–August 8, 2008
Summer Hours: Tuesday–Friday 11 – 5

We are pleased to present from nature, our summer group show at Carolina Nitsch Project Room in Chelsea, focusing on various interpretations of the natural world, in different media.

Bruce Nauman’s 1966-67 drawing The negative shape of the right half of my body carved into a living tree suggests, while establishing a formal analogy between the artist’s own body and a tree, how nature takes over and the body ‘could not get away’ in a self imposed trap.

Thomas Schuette’s Fleurs pour M. Duchamp, 2002, follows the tradition of nature printing by actually pressing flowers directly onto a plate prepared for an etching. The same process, a sort of primitive photocopy, has been used for centuries by artists and naturalists to make a “record” of nature. This appropriation also acknowledges Duchamp’s role in the invention of the “readymade”.

Louise Bourgeois’ Ode a la Bievre, 2007, is a deluxe cloth book with 25 fabric panels printed with archival dyes and with embroidery and appliqués. It is a memoir of the artist’s childhood near the Bievre River outside of Paris where her parents operated a tapestry business. Each page is an abstraction of the landscape and how it intertwined with daily life and work.

Fischli and Weiss’ Einheimischer Waldboden, 1982, is a playful recreation of a forest floor made of unfired clay. Waldboden is created in much the same way a child might render these objects; small strands of clay for worms, a fist of clay for a mushroom stump and the cap made by pressing a ball of clay against the artists palm (which also creates the „signature“). Another work using clay is A Bed of Grass, 2008, by Eric Hollender. Built one blade at a time, this piece speaks as much about obsession and tease as it does about nature and luxury.

In The Wave, 2006, Ai Weiwei deals with the rupture of tradition and modernism. The porcelain work, burned in Jingdezhen depicts a key element of Chinese thinking, praised for its softness and strength.

Rock Surface, 2006, by Jeff Wall challenges our perception of distance when confronted with a detail of nature; we could be looking at a rock held in our hand or the side of a mountain. Similarly, Olafur Eliasson’s Cartographic Series I, 2001, is comprised of satellite images of Iceland. These 25 photogravures, each printed in a slightly different black, causes our interpretation to oscillate between micro and macro.

Ravine, 1997, a photograph by Gerhard Richter, based on an earlier painting, illustrates the artist’s interest in the evocative nature of landscape as well as in the impact of the image in the age of reproduction.

Ed Ruscha’s New Wood-Old Wood, 2008, appears to be two wood slabs but is actually a pair of three dimensional prints made from pressed paper pulp with coloring. Full of irony (paper pulp originates from wood and both slabs are made from the same cast) the work also references Ruscha’s early assemblages of the late 1950’s in which he combined real wood slabs, paint and pop cartoon cut outs.


For more information please contact or call 212 645 2030

At our second space on Greenwich street, which is by appointment during July and August, we will show new works by Louise Bourgeois, E.V. Day, Richard Dupont, Guillermo Kuitca, Vera Lutter, Alyson Shotz.