Anne Deleporte

Anne Deleporte

Born in 1960 in Corsica (FR).

Anne Deleporte is a French-American artist living and working in Long Island, NY.
With studies in sculpture, Deleporte began her multimedia installations in the 1990s. In 2008, she participated in the New Orleans biennial, Prospect I, with related gigantic frescos in the US Mint and the L9 Art Center, Lower 9th Ward. In 2009, she had simultaneous solo exhibitions at Museo do Paco Imperial and Galeria Laura Marsiaj in Rio de Janeiro, presenting large multi-media installations. During the fall of 2010 she realised a wallpainting, an 80 foot-long panorama, at the Dallas Contemporary.
Anne Deleporte has exhibited nationally and internationally in such institutions as the New Museum, NY, PS1, NY, the Santa Monica Museum of Art, the Shanghai Art Museum,the Centre Georges Pompidou, Paris and the Musée d’Art Moderne, Paris. She received the Peter S Reed Foundation Grand 2013.

Sara Reisman
Matisse, Marx, & Einstein

Anne Deleporte’s Einstein, Marx & Matisse is a series of works that the artist calls photo-frescos. Part collage, part painting, Deleporte’s work is created through a chance process of collecting newspapers late in the day, or long after the news is current. Each photo-fresco begins with one or more sections of the newspaper, more often than not from The New York Times; this group of paintings on view at Bulova is based on newspapers published between 2005 and 2013. Deleporte’s relationship to the news is different than yours or mine. She collects newspapers whenever she can, quickly checking for visual interest. From this news archive, she unfolds and pastes the newspapers onto wood, canvases, and in many cases, walls, ceilings and other architectural surfaces. She then locates images from the news that she wants to highlight by carefully painting around them, filling in the gaps between them with solid color, most often pale blue and, more recently, black.

As a viewer, you might be immediately drawn to certain details in each painting: a color wheel, Picasso’s portrait of Thérèse, the Mississippi River, sculptures by artists Richard Serra and Joel Shapiro, a crumbling loaf of bread, a swimmer cutting a long stroke, the right field pole at Fenway Park. It may look like the frescoes include more artistic imagery (references to da Vinci, a painter’s palette, and the aforementioned works by Picasso, Shapiro, and Serra) than non-art images. What do sections of corn on the cob, cheese fondue, a red robin, and a bull have to do with art? Which of these things is not like the other? In viewing, or rather reading, these artworks pictorially, an appreciation emerges for the artistry of print media: photography, drawing, typeface, and paintings captured within Deleporte’s paintings, rich with shadowed depth, suggest a three-dimensionality that makes the news all the more surreal. The background (or, in Deleporte’s case, the foreground) of the paper enlivens our collective reading of the news.

This is no doubt an artist’s filter of the newspaper. Images are privileged over words, suggesting a different kind of literacy. Deleporte’s selective reading creates a sense of order out of the glut of visual and textual matter we face daily, both awake and in dreams. The way in which Deleporte’s work summarizes the news, bringing together chance occurrences in print media, is integral to her art, while it also leaves the door open to the viewer’s subjective reading. If you happen to be an avid reader of the newspaper, you may feel familiar with what you’re seeing, the gestalt of past papers read. Or, specific symbols might trigger associations that have nothing to do with the artist’s intentions. In fact, three of the artworks on view – Matisse, Marx, & Einstein (all 2005) – are from the same day, and two of these works, Matisse and Marx, were made using duplicate copies of the same day’s newspaper, demonstrating the possibility for variations in casting these contemporary hieroglyphs. Even if we agree with Deleporte’s emphasis on these three historical figures for their symbolic value in art, political theory, and science, our individual understanding of the news and the world is distinctly subjective. Like the news itself, Deleporte’s paintings leave certain details to the imagination. How one image or detail relates to another is part of the experiment. The real mystery is what Deleporte chooses to cover up.



Abisselfa, Coustof Waxman gallery, New York (USA)
Matin, midi et soir, Honoré Visconti, Paris (FR)
Cinema Permanent, Musée des Beaux Arts d’Orléans (FR)
Final Harvestings, Cathouse FUNeral, Brooklyn (US)
Micro Salon #6, galerie l’inlassable, Paris (FR)
My Favorite Horror Show, Cathouse FUNeral, Brooklyn (US)
Palace, galerie l’inlassable, Paris (FR)
Provoquer l’Apparition, galerie l’Inlassable, Paris (FR)
The Museum Imagined, Danese Corey gallery, New York (US)
Iris Time, L’Inlassable Museum, New York (US)
Micro Salon #5, galerie l’inlassable, Paris (FR)
{647912}, galerie l’inlassable, New-York (US)
Ex Nihilo, galerie l’Inlassable, Paris (FR)
Wet Water, ShowRoom Gowanus, Brooklyn (US)
Einstein Matisse & Marx, Queens Museum at Bulova center, NY (US)
Secret Behavior, Berl’s Brooklyn Poetry & MoMa PS1 Book Fair (US)
OpenSkyMuseum, Nantes (FR)
Mary Poppins is a Junkie, Lust Gallery, Vienna (AT)
Les verres(…)Lenses were clear glass, Rue Visconti Editions, Paris (FR)
Passionnément, Musée Fesh, Ajaccio (FR)
Derrière le Rideau, L’ Esthétique du Photomaton, Musée de l’Elysée, Lausanne (CH)
Museum Botanique, Brussels (BE) / Kunst Haus Wien
Black painting, Librairie des Galeries, Bruxelles (BE)
Arte Video Night, Palais de Tokyo, Paris (FR)
Showroom 170, Salon Zurcher, Paris (FR)
BIG Queens drawing show, Jamaica Center for Art, New York (US)
Cibles, Musée de la Chasse, Paris (FR)
Mary Poppins is a Junkie, Showroom 170, New York (US)
Betes off, La Conciergerie, Paris (FR)
Hot Dog Smart Dog, The Office, New York (US)
Cat Art Film Festival, Anthology Film Archive, New York (US)
Open Frame, Sète Contemporary Art Center, Sete (FR)
Le Bel Eté, La Citadelle de Corte, Corsica (FR)
Arte Video Night, Petit Palais, Paris (FR)
Here, There & Beyond, Dallas Contemporary, Dallas (US)
Fantomas vs Chardin, Musée de la Chasse et de la Nature, Paris (FR)
Palimpsest, Teatro delle esposizioni, Villa Medici, Rome (IT)
Hors Pistes, Centre Georges Pompidou, Paris (FR)
The Arbitrariness of Signs, Momenta Art, New York (US)
Anatomies Sommaires, Fondation Deyrolle, Paris (FR)
L.C.O.D., Museu do Paço Imperial, Rio de Janeiro (BR)
Video Night, Arte / Centre Georges Pompidou, Paris (FR)
This has Been, On Stellar Rays Gallery, New York (US)
Que Choisir, Contemporary Art Center, Sete Prospect 1 (FR)
New Orleans Biennial, New Orleans Glow Festival, Santa Monica, CA (US)
Mondo E Terra, Nuoro Museum of Art, Sardinia (IT)
Nature Fragile, Musée de la Chasse, Paris (FR)
L’Ottava Tavola, Etruscan Museum of Tuscany, Cortona (IT)

Robert McClain Gallery, Houston (US)
Exit Art Center, Peja (XK)
Les Peintres de la Vie Moderne, Centre Georges Pompidou, Paris (FR)
The Only Book, Center for Book Arts, New York (US)

Passionnément, Anne Alessandri & Philippe Costa Magna, Palais Fesh / Frac Corse (FR)
Derrière le Rideau, Clément Chéroux & Sam Stourdzé, Musée de l’Elysée (FR)
Lilly Wei, New Orleans – Deliverance: The biennial, Art in America (US)
February Shaila Dewan, New Orleans Rising, New York Times, October (US)
Semaine 3305 Frac Corse n.63 (FR)
Collection, exhibition catalogue, Frac Pays de Loire (FR)
Sixtine, texts by Anne Alessandri and Olivier Kaeppelin, FRAC Corse (FR)
Bernard aGoy, catalogue FRAC Ile de France 1999 (FR)
Instants Donnes, Musee d’Art Moderne de la ville de Paris (FR)
Art-gens, carnet d’un mecene #9, Caisse des Depots et Consignations, Paris (FR)
Bye, exhibition catalogue, Caisses des Depots et Consignations, Paris (FR)
Winning Icon, New Museum, New York (US)