Marianne Hesselbjerg

Marianne Hesselbjerg
Cubes, Squares, and a Cone

This was an attempt to create the perfect cube within the Stalke Cube.
The cubes stood on the floor. The squares appeared as cubes that had sunk into the floor, or into the wall.

The lawn behind the foundry was dug up, and 1,000 degrees of hot liquid aluminum was poured into the holes where the burnt grass roots had been, creating impressions and, subsequently, positive marks in the figures.

Loose aluminum shells could be seen on a row of small, polished aluminum shelves.
The cone and a few cubes were placed outside the room.

The sculptures emerged as three-dimensional pencil drawings, in contrast to the black and white cube.

Over the past three decades, Marianne Hesselbjerg had exhibited several times at Stalke Gallery, both in solo exhibitions and group shows.

Aske Sigurd Kraul
Deposition of Air(Front gallery)

Using simple objects and pure materials, the exhibition was a philosophical reflection on reconstructing the world. In its entirety, the exhibition could seem distant within a society based on evidence. The works investigated the potential of the uncontrolled and the fleeting.

Through their transformation processes, the works became self-referential in framing the concept.

Copper degradation resulted in the formation of a colored pigment applied directly to the canvas, determining the visual expression. Thus, the works were in constant change.

Including selected works by Thorbjørn Lausten, Line Toftø, Morten Tillitz, and William Anastasi

A new book by William Anthony(NYC) was simultaneously announced: DEVIANT DRAFTMANSHIP.

Anthony relentlessly waged war against the art world, as well as against the joys and madness of love. He explained that his style originated from the drawing mistakes made even by the least talented art students.

The New York Timeswrote that Anthony was “hilarious” and “profound,” meaning absurdly funny and profound at the same time. He had achieved cult status in the art world, and Anthony was represented in more than 30 museum collections worldwide.

New Book: DEVIANT DRAFTSMANSHIP – The Art of William Anthony

William Anthony’s paintings and drawings were represented in the collections of more than 30 major art museums.

The origin of his distinctive style was often attributed to his early experience as an instructor in figure drawing. During this period, he developed a unique teaching method for beginners, focusing on identifying and correcting the mistakes students made. These mistakes later became the foundation of Anthony’s satirical style.

It did not take Anthony long to realize that his classroom satire could form the basis of a new artistic practice. He began by making take-offs of both old and modern masters such as Michelangelo, Vermeer, Picasso, and Johns. Soon, however, his work expanded to target almost anyone and anything.

DEVIANT DRAFTSMANSHIP included a substantial body of work Anthony had produced since the publication of IRONIC ICONS (2013), another compilation of his paintings and drawings. That publication was also edited by Sam Jedig and published by Stalke Galleri, Denmark.

Praise for Anthony's Work:

ROBERT ROSENBLUM, ART CRITIC
"Outrageous! Repulsive! Insults standards of art! Ought to be banned! Congratulations!"

ROBERTA SMITH, NEW YORK TIMES
"…a terrific show…"

VIVIEN RAYNOR, NEW YORK TIMES
"…Anthony (is)… a cult figure…"

ROY LICHTENSTEIN, ARTIST
"Rave review!"

LEO STEINBERG, ART HISTORIAN
"Incisive social commentary in the delicious disguise of incompetence."

GALLERY VISITOR SEEING A SMALL PENCIL DRAWING BY ANTHONY
"Oh, that must be the work of a retarded person."

Marianne Hesselbjerg — Stalke Cube Space, 2021.

In Dagbladet, Agnete Vistar presented the exhibition at Stalke Galleri in Kirke Sonnerup with a focus on material processes and the individual contributions of the participating artists.

The article described Marianne Hesselbjerg’s works as aluminum cubes produced by casting molten aluminum directly into the ground. Through this method, traces of soil, roots, and heat became embedded in the surfaces of the cubes, making the production process visible in the finished works.

Aske Sigurd Kraul’s works were described as process-based paintings created through chemical reactions involving copper and acidic substances. The article noted that the visual outcome developed over time as a result of material interaction rather than predetermined composition.

The article also addressed Sam Jedig’s dual role as artist and gallerist, describing his involvement in the spatial organization of the exhibition and the practical handling of the heavy sculptural works. The physical placement of the works in the gallery space was presented as part of the exhibition’s overall structure.

Overall, the article outlined an exhibition in which each artist worked with material transformation and process, emphasizing the role of physical conditions and time in the formation of the works.

(Based on an article by Agnete Vistar, Dagbladet)

Aske Sigurd Kraul — Front Gallery, 2021.

Line Toftsø, William Anastasi, Thorbjørn Lausten, Morten Tillitz

Center Gallery.

Willian Anthony

+ Deviant Draftsmanship (New book)

From the opening

View full  PDF: Deviant Draftsmanship of William Anthony

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